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CLASS 3:  Creative Writing -- "English Dept. Method"

Examining works of literature for examples of elements of fiction; i.e., character, plot, setting, theme, voice, style, etc.   Examples:

FIRST PERSON – CHARACTER “SHOWN” IN VOICE

If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it.  In the first place, that stuff bores me, and in the second place, my parents would have about two haemorrhages apiece if I told you anything pretty personal about them.   They’re quite touchy about anything like that, especially my father.  They’re nice and all – I’m not saying that – but they’re also touchy as hell.   Besides, I’m not going to tell you my whole goddam autobiography or anything.  I’ll just tell you about this madman stuff that happened to me around last Christmas…                                                       (from  The Catcher in the Rye  by J.D. Salinger.) 

 

CHARACTER & PLOT – ECONOMY

Patrick Blatchford was in love with Rose.  This had become a fixed, even furious idea with him.  For her, a continual surprise.  He wanted to marry her.  He waited for her after classes, moved in and walked beside her, so that anybody she was talking to would have to reckon with his presence.  He would not talk, when these friends or classmates of hers were around, but he would try to catch her eye, so that he could indicate by a cold incredulous look what he thought of their conversation.  Rose was flattered, but nervous.  A girl named Nancy Falls, a friend of hers, mispronounced Metternich in his presence.  He said to her later, “How can you be friends with people like that?”

          Nancy and Rose had gone and sold their blood together, at Victoria Hospital.   They each got fifteen dollars.  They spent most of the money on evening shoes, tarty silver sandals.  Then because they were sure the bloodletting had caused them to lose weight they had hot fudge sundaes at Boomers.  Why was Rose unable to defend Nancy to Patrick?

          Patrick was twenty-four years old, a graduate student, planning to be a history professor….There was something edgy, jumpy, disconcerting about him.  His voice would break under stress – with her, it seemed he was always under stress – he knocked dishes and cups off tables, spilled drinks and bowls of peanuts, like a comedian.  He was not a comedian; nothing could be further from his intentions.  He came from British Columbia.  His family was rich. 

(from “The Beggar Maid” in Who Do You Think You Are?   By Alice Munro.)

 

METAPHOR AS CENTERING IMAGE –LANGUAGE          

The candleflame and the image of the candleflame caught in the pierglass twisted and righted when he entered the hall and again when he shut the door.   He took off his hat and came slowly forward.   The floorboards creaked under his boots.   In his black suit he stood in the dark glass where the lilies leaned so palely from their waisted cutglass vase.  Along the cold hallway behind him hung the portraits of his forebears only dimly known to him all framed in glass and dimly lit above the narrow wainscotting.  He looked down at the guttered candlestub.  He pressed his thumbprint in the warm wax pooled on the oak veneer.  Lastly he looked at the face so caved and drawn among the folds of funeral cloth, the yellowed moustache, the eyelids paper thin.  That was not sleeping.  That was not sleeping.             (from  All the Pretty Horses  by Cormac McCarthy)

 

PEER EDITING:

WHY USE PEER-BASED FEEDBACK? 

-We learn and understand more when we read each others' work.

-We are more actively engaged when asked to give feedback.

-We learn editing skills and how to respond to writing.

-We understand that readers bring different assumptions to texts.

-Learning to give feedback develops critical thinking skills which can be applied to our own writing.

-It helps students recognize other conventions of writing.

 

GUIDELINES FOR SUCCESSFUL PEER EDITING 

-  The teacher must lead the process, giving specific direction.

-  Be specific:   give feedback according to the criteria agreed upon - this could be process, strategy, rubric.

-  Be respectful: focus on content.  Don't judge the writer as a person. Avoid hurtful comments.

-  Ask clarifying questions: let the writer explain what they mean. There is no such thing as "failure" in writing. There is always a way to improve. Writing is always in process.

-  Look for something that is positive, something that works first.  “Catch them doing it right”.

-  Peer-evaluation needs to be taught as part of the course.

-  Quality examples of peer feedback can be used to teach aspects of writing and editing.

-  Different rubrics can be used at different periods.

 

Author’s name _____________________Reviewer’s name: _______________________

PEER FEEDBACK SHEET  #1

After you have read the story, please answer any of the questions below that you can comment on.  You don’t need to answer all of them.  Be as clear as possible so the author has explicit instructions on ways to improve his or her writing.  You can continue writing on the back or another sheet if there is not enough room provided. 

1.  What did you like about the story?

 

2.  Idea:  Was the “beginning” clear?  Did the opening follow through to a satisfying ending?  What was the continuous thread running from beginning to end?  Does the story have something significant to say?

 

 

3.  Character:  Could you picture the character(s) in your mind?  Did the main character(s) develop in some way through the story?  Do we learn about the character in a number of ways, through reacting to the conflict, through dialogue, through dramatized scenes, and/or from other characters?

 

 

4.  Plot:  If the story has a traditional plot, is there a rise and fall of action?  Is the conflict clear? Does the conflict become more complex?  Does the plot move forward throughout the story?

 

 

5.  Setting:  Did the setting play a part, either to enhance the “mood” of the story, reflect a character’s feelings, offer a “breather”or break between scenes, heighten interest or serve to vary language?

 

 

6.  Language:  Are the descriptive words sharp and fresh?  Do they call up images?  Are the verbs appropriate?  Are there some interesting sentences, ones that call to the imagination?  Can many adjectives be removed and the verbs do the bulk of the work?  Are there extraneous words that can be taken out to strengthen the writing?  Does the language change to match the action; i.e. short, forceful Anglo-Saxon words at the climax or Latin-based longer words for nature descriptions, onomatopoeia, etc.

 

 

7.  Most critical for fiction:  Are important points  “Shown, Not Told”?

 

 

 

CLASS 4:  Creative Writing -- "Education Dept. Method"

This method is derived from Murray's "The Writer's Seven Skills" and SFU's Dr. Carolyn Mamchur's "Four Step Teachable Process Strategies".  This method is more universal and may be used to teach most forms of writing, not just creative writing.

Discovering a Subject-- Demonstrates the ability to clearly focus on one subject throughout the composition, avoiding the temptation to include several related topics. Can see the relationships that are meaningful.

Sensing an Audience-- Demonstrates the ability to write with clarity and affect, delivering what is promised.

Searching for Specifics-- Demonstrates the ability to select concrete detail which enables the audience to accept the writer’s voice of authority.

Creating a Design -- Demonstrates the ability to construct the composition with an appropriate introduction, middle (tension) and conclusion.

 

“Four-Step Teachable Process Strategies” (Mamchur)

Name of Reviewer____________________    Name of Writer _____________________

PEER FEEDBACK SHEET  #2

Discovering a Subject-- ability to clearly focus on one subject or theme throughout the writing, avoiding the temptation to go off on irrelevant tangents.  All sentences and paragraphs move the writing forward to that point.  The author is guided by a premise or search for meaning that remains consistent.

 

 

Sensing an Audience-- able to write with clarity, avoiding clichés, contradictions, or abstract, self-conscious, pedantic or forced language.  Author is willing to risk revealing his or her humanity, avoids fake, trivial or false human issues where nothing worthwhile is at stake.  Introduction delivers what is promised.

 

 

Searching for Specifics—Author has skillfully employed enough concrete detail, using appropriate language, style and inventiveness to convince the reader that the writer is the authentic “voice of authority”, thereby encouraging the reader to suspend any disbelief.

 

 

Creating a Design -- Demonstrates the ability to construct the writing with an appropriate introduction, middle (conflict/climax) and conclusion.  Paragraphs and sentences follow one another logically and there is a rise and fall of tension, with a satisfying conclusion/denouement.

 

 

 

Framework for a Lesson Plan - basic template to consider:

BEFORE:

1)     Activate Prior Knowledge

2)     Introduce new Vocabulary, if possible in context

3)     Clearly state your Purpose for this lesson

4)     Prediction and Imaging

DURING:

5)     Reading/Writing Formats and Comprehension Strategies – How will they read? What activities will they be doing?

AFTER:

6)     Follow up on Purpose, making sense of the whole