Mary Quattlebaum's Blog, page 33
June 4, 2012
READER'S THEATER (Part 1)
by Mary Quattlebaum
These last weeks of school are tough for student and teacher alike. The kids are dreaming of summer plans, but teachers are still hopeful of imparting a few lessons before break. Enter: Reader’s Theater.
Basically, Reader’s Theater is a group of people giving a dramatic reading of a script or book. Lines are not memorized. And there’s no need for props, costumes, special lighting, numerous rehearsals, or an audience (though they can all add to the fun). An added bonus: students in classrooms that regularly do Reader’s Theater often report an increased interest in reading and demonstrate enhanced reading and speaking skills. It’s a great way for shy children to participate without feeling on the spot and for class “hams” or “clowns” to get positive attention while working toward a common class goal.
I first became acquainted with the power of Reader’s Theater many years ago while teaching creative writing in a summer camp for remedial students (ages 9-11). They did not want to read and write, which they experienced as “boring” and “stupid” activities. But they did like connecting (flirting, chatting, arguing) with the other kids there. So, how to harness all this great verbal and potentially collaborative and creative energy?
I wasn’t familiar with the concept of Reader’s Theater, alas, but in desperation began having the kids work in small groups to write and perform dialogue poems (see my January 30, 2012 post on Dialogue and Two-Person Poems). The kids loved the performance aspect and were soon writing and revising more carefully in order to perform their best work. From there, they wanted to read-perform or essentially do Reader’s Theater with longer works and even wrote their own scripts (more on how to develop writing activities out of Reader’s Theater in Part 2, my next post in July).
If you’re looking for helpful books, scripts and resources, check the website of author/storyteller Aaron Shepherd. http://www.aaronshep.com/rt/ It includes more than 20 scripts, ranging in suitability from grades 1 to 10, that can be printed and used for free in the classroom.
www.maryquattlebaum.com
These last weeks of school are tough for student and teacher alike. The kids are dreaming of summer plans, but teachers are still hopeful of imparting a few lessons before break. Enter: Reader’s Theater.
Basically, Reader’s Theater is a group of people giving a dramatic reading of a script or book. Lines are not memorized. And there’s no need for props, costumes, special lighting, numerous rehearsals, or an audience (though they can all add to the fun). An added bonus: students in classrooms that regularly do Reader’s Theater often report an increased interest in reading and demonstrate enhanced reading and speaking skills. It’s a great way for shy children to participate without feeling on the spot and for class “hams” or “clowns” to get positive attention while working toward a common class goal.
I first became acquainted with the power of Reader’s Theater many years ago while teaching creative writing in a summer camp for remedial students (ages 9-11). They did not want to read and write, which they experienced as “boring” and “stupid” activities. But they did like connecting (flirting, chatting, arguing) with the other kids there. So, how to harness all this great verbal and potentially collaborative and creative energy?
I wasn’t familiar with the concept of Reader’s Theater, alas, but in desperation began having the kids work in small groups to write and perform dialogue poems (see my January 30, 2012 post on Dialogue and Two-Person Poems). The kids loved the performance aspect and were soon writing and revising more carefully in order to perform their best work. From there, they wanted to read-perform or essentially do Reader’s Theater with longer works and even wrote their own scripts (more on how to develop writing activities out of Reader’s Theater in Part 2, my next post in July).
If you’re looking for helpful books, scripts and resources, check the website of author/storyteller Aaron Shepherd. http://www.aaronshep.com/rt/ It includes more than 20 scripts, ranging in suitability from grades 1 to 10, that can be printed and used for free in the classroom.
www.maryquattlebaum.com
May 28, 2012
THE POWER OF PUBLISHING
by Jacqueline Jules
At the end of the year, many schools publish literary magazines. It’s a wonderful way to help young writers see that they write for a purpose and an audience. Publication is also a powerful motivator for revision. Before you send your literary magazine to the printer or post it online, give your students the opportunity to see “proof pages” of their entry. This simulates the real world model many magazines and publishing houses follow of giving authors one last final approval before publication. Explain to the students that this is their chance to look over their work and make any necessary changes before it is presented to the public. You might be surprised how seriously even elementary school students take this responsibility.Presented with a typed and formatted version of their own writing, students will suddenly see repetitious or weak word choices. They will add snappier endings or beginnings and they will find typos you missed. Some will even come up with stronger titles.I recently visited five third grade classes with proof pages of work most of them had completed at least two months prior. All of these students had previously seen their stories typed on an individual page. They had chosen the font type and formatting. However, when told that their work would be part of a grade level book, they re-read their work with a critical eye. Working in pairs, they read their own work and their partners', checking for mistakes and making suggestions. They were told to write on the papers directly and put a 0,+1, +2, +3, etc, indicating how many changes they wanted. One boy who had been lackadaisical about his writing in earlier conferences suddenly had all sorts of details he urgently wanted added to his story. His proof page came back with +8! Another girl changed the sentence, “It was sooo beautiful,” to “She was enchanted by its beauty.” Student after student crossed out bland words for more descriptive ones.And while I am not a proponent of changing ,“said,” simply for variety since there is no point in calling unnecessary attention to a speech tag, I was delighted when a child looked over his story and changed a “said” to “murmured.” The story was about a misunderstanding in a conversation. Indicating that one speaker mumbled, strengthened the whole story. Other third graders found inconsistencies in their stories such as “My mom drove the car. I don’t drive!” Or, “The story shouldn’t take place in 55 A.D.” I even saw students catch pronouns with no antecedents. Wow! Publishing student work in a literary magazine is time-consuming and can be expensive, but it is a powerful tool for motivating students to do their best work. There is something about knowing your work will be in an anthology beside other pieces that makes young writers realize that a little extra effort might just be worth it.
http://www.jacquelinejules.com/
May 21, 2012
WRITING TRIBUTES TO MAURICE SENDAK
by Laura Krauss Melmed
Maurice Sendak, one of the true giants of children’s literature, died on May 8 at the age of 83. This post is dedicated to him.
In 1964, Mr. Sendak, in spare words and exuberantly scary pictures, launched a defiant child named Max on a journey that took him sailing
…off through night and day And in and out of weeksand almost over a yearto where the wild things are.
With the publication of that book, Where the Wild Things Are, Mr. Sendak sent the field of children’s literature into uncharted waters as well. This classic work is so familiar to all of us now that it is hard to imagine how different it was from what preceded it. For the first time, the darker side of childhood was examined in a book for young children. In Where the Wild Things Are and other titles, Sendak uses dreamlike settings and powerful imagery to depict difficult emotions like anger, fear and rebelliousness. In each instance, his characters confront and cope with these feelings in ways that ring true for children and adults alike.
As a remembrance of Maurice Sendak, here are some writing prompts to spur students in creating a picture book based on his work:
Where the Wild Things Are. In this book, a jungle grew in Max’s room after he was sent to bed without any supper. If you were mad at your parent, what type of fantastical setting would your room transform into? How would you journey through it? What would be scary about your destination? What would be funny about it? How would you meet the challenges you found there and make your way home? What would be waiting for you there?
Outside Over There. Your best friend has been stolen away by magical beings. It is your job to find your friend and perform a rescue. Describe where you go and what you do.
Higglety Pigglety Pop. Your pet just ran away from home. Why? Where will it go? What adventures will it have (the wilder, the better)? Will your pet learn anything or change in any way? Will it come home? (If you don’t have a pet, make one up or write about an animal leaving the zoo.)
The Nutshell Library. The Nutshell Library consists of four tiny books in a boxed collection: One Was Johnny, a counting story; Alligators All Around, an alphabet story, Chicken Soup With Rice (my absolute personal favorite), a story about the months of the year, and Pierre, a cautionary tale about an unpleasant little boy. Students could make small books on one or more of those themes. To house a library of four books, a tea box can be cut up and stapled together into a smaller box, then decoupaged to make a home for the collection.
http://www.laurakraussmelmed.com/
Maurice Sendak, one of the true giants of children’s literature, died on May 8 at the age of 83. This post is dedicated to him.
In 1964, Mr. Sendak, in spare words and exuberantly scary pictures, launched a defiant child named Max on a journey that took him sailing
…off through night and day And in and out of weeksand almost over a yearto where the wild things are.
With the publication of that book, Where the Wild Things Are, Mr. Sendak sent the field of children’s literature into uncharted waters as well. This classic work is so familiar to all of us now that it is hard to imagine how different it was from what preceded it. For the first time, the darker side of childhood was examined in a book for young children. In Where the Wild Things Are and other titles, Sendak uses dreamlike settings and powerful imagery to depict difficult emotions like anger, fear and rebelliousness. In each instance, his characters confront and cope with these feelings in ways that ring true for children and adults alike.
As a remembrance of Maurice Sendak, here are some writing prompts to spur students in creating a picture book based on his work:
Where the Wild Things Are. In this book, a jungle grew in Max’s room after he was sent to bed without any supper. If you were mad at your parent, what type of fantastical setting would your room transform into? How would you journey through it? What would be scary about your destination? What would be funny about it? How would you meet the challenges you found there and make your way home? What would be waiting for you there?
Outside Over There. Your best friend has been stolen away by magical beings. It is your job to find your friend and perform a rescue. Describe where you go and what you do.
Higglety Pigglety Pop. Your pet just ran away from home. Why? Where will it go? What adventures will it have (the wilder, the better)? Will your pet learn anything or change in any way? Will it come home? (If you don’t have a pet, make one up or write about an animal leaving the zoo.)
The Nutshell Library. The Nutshell Library consists of four tiny books in a boxed collection: One Was Johnny, a counting story; Alligators All Around, an alphabet story, Chicken Soup With Rice (my absolute personal favorite), a story about the months of the year, and Pierre, a cautionary tale about an unpleasant little boy. Students could make small books on one or more of those themes. To house a library of four books, a tea box can be cut up and stapled together into a smaller box, then decoupaged to make a home for the collection.
http://www.laurakraussmelmed.com/
May 14, 2012
THE CURSE OF THE BLANK PAGE
by Mary Amato
You know the look. A student who is supposed to be writing is staring at the blank page. You can almost smell the panic. The blankness seems to be seeping into the kid's brain, causing all possible ideas to evaporate. In Jonah Lehrer’s great new book, Imagine: How Creativity Works, he notes that few creative breakthroughs have occurred while the artist or inventor is actually sitting down staring at the blank page.
Guest blogger Nancy Viau addresses this in her “Are You Bogged Down?” entry with some great suggestions to kick-start creativity. I’m going to add a simple idea that can be easily used in the classroom. If I’m working with students and I notice one falling prey to the curse of the blank page, I walk over and whisper: “Close your eyes and imagine that the story is playing like a little movie in your mind…what do you see?” The student begins to talk, describing the scene. I say, “Oooh, that’s great! Write that down!” Boom! Curse broken.http://www.maryamato.com/
You know the look. A student who is supposed to be writing is staring at the blank page. You can almost smell the panic. The blankness seems to be seeping into the kid's brain, causing all possible ideas to evaporate. In Jonah Lehrer’s great new book, Imagine: How Creativity Works, he notes that few creative breakthroughs have occurred while the artist or inventor is actually sitting down staring at the blank page.
Guest blogger Nancy Viau addresses this in her “Are You Bogged Down?” entry with some great suggestions to kick-start creativity. I’m going to add a simple idea that can be easily used in the classroom. If I’m working with students and I notice one falling prey to the curse of the blank page, I walk over and whisper: “Close your eyes and imagine that the story is playing like a little movie in your mind…what do you see?” The student begins to talk, describing the scene. I say, “Oooh, that’s great! Write that down!” Boom! Curse broken.http://www.maryamato.com/
May 7, 2012
DRAWING A STORY
by Joan Waites
Which comes first, the chicken or the egg? If applying this question to a picture book, which comes first, the words or the illustrations? In the world of traditional publishing, manuscripts are typically written by the author and then assigned to an illustrator by the publisher. If the illustrator is also the author, sometimes the pictures are imagined first, or the illustrations and text are imagined simultaneously.
In previous posts, I’ve talked about some classroom exercises I’ve used during a school visit where children collaboratively write a story and then come up with illustrations to complement the text. The flip side to this exercise is to have children draw a story in pictures only. This works especially well with younger children who haven’t fully mastered writing and spelling.
Make up a simple storyboard sheet with as many pages as you would like to have the children draw. Six to eight pages seems to be a number most can work with without getting overwhelmed. Children can draw a story of their choosing, or use a story prompt (as outlined in previous Pencil Tips posts) to jump start ideas. When the children have completed their drawings, have them either write the text to accompany the drawings, or give each a turn to orally tell their story. Another fun twist is to collect the storyboards, mix them up, and then redistribute them to the class. Have children write a story based on the pictures their classmates have drawn.
For children that are old enough and have access to a camera, this same exercise could be done using photographs. Ask children to tell a story using the camera. Have them take a series of pictures at an event. A soccer game, a party, a trip to the zoo or an outing with a pet can all tell a story. Spread out or mount the pictures in a series and have children write the story to accompany the photos.
It is interesting to see how each child interprets another’s drawings and photos. Mirroring real world of picture books, this exercise emphasizes the http://www.joanwaites.com/
Which comes first, the chicken or the egg? If applying this question to a picture book, which comes first, the words or the illustrations? In the world of traditional publishing, manuscripts are typically written by the author and then assigned to an illustrator by the publisher. If the illustrator is also the author, sometimes the pictures are imagined first, or the illustrations and text are imagined simultaneously.
In previous posts, I’ve talked about some classroom exercises I’ve used during a school visit where children collaboratively write a story and then come up with illustrations to complement the text. The flip side to this exercise is to have children draw a story in pictures only. This works especially well with younger children who haven’t fully mastered writing and spelling.
Make up a simple storyboard sheet with as many pages as you would like to have the children draw. Six to eight pages seems to be a number most can work with without getting overwhelmed. Children can draw a story of their choosing, or use a story prompt (as outlined in previous Pencil Tips posts) to jump start ideas. When the children have completed their drawings, have them either write the text to accompany the drawings, or give each a turn to orally tell their story. Another fun twist is to collect the storyboards, mix them up, and then redistribute them to the class. Have children write a story based on the pictures their classmates have drawn.
For children that are old enough and have access to a camera, this same exercise could be done using photographs. Ask children to tell a story using the camera. Have them take a series of pictures at an event. A soccer game, a party, a trip to the zoo or an outing with a pet can all tell a story. Spread out or mount the pictures in a series and have children write the story to accompany the photos.
It is interesting to see how each child interprets another’s drawings and photos. Mirroring real world of picture books, this exercise emphasizes the http://www.joanwaites.com/
April 30, 2012
ARE YOU BOGGED DOWN? Ten Helpful Tips to Get You Writing Again
Guest Post by Nancy Viau
bog - verb. To get stuck while doing something; to be hindered in movement; to be prevented from making progress
Writers get bogged down. It’s hard to be creative and productive all of the time. There are days when our thoughts wander and other things seem more important or interesting. We tell ourselves we’ll feel more like writing tomorrow. A little procrastination never hurt anybody, right? But what if our passion for writing dwindles because we’re not practicing our craft? What if writing becomes so hard that we start to dislike it, or even worse, we stop altogether?
Kids have a knack for getting bogged down, especially when asked to complete a structured writing assignment. They often lose their patience and focus, and become agitated and overwhelmed. Many feel the pressure for perfection. After all, there are so many rules to consider—rules about spelling, sentence and paragraph formation, grammar, setting, plot, character, theme, point of view, rhyme, and a hundred more. Whew!
No matter what the issue, the bottom line is that when writers get bogged down, the flow of words from brain to paper stops.
And that’s okay. Really. Whether you are the writer or you are teaching writing, learn to embrace the fact that writing is more than the creation of outstanding prose or beautiful poetry. It’s a creative process, one that needs a bit of nurturing now and then. The steps below can be used to help writers of all ages with that process. Soon, process will be replaced with progress.
1. Cut pictures out of magazines. Is there a picture of your main character? Is there a setting you like? Does a facial expression give you an idea about plot?2. Draw a tree. On the trunk, put the title of your story. On the branches, list all the possible things that may happen in that story.3. Talk about your story to a friend. If stuck, let your friend pick up where you left off. If a whole story is too overwhelming, talk about titles only.4. Brainstorm. Even if an idea sounds ridiculous or you haven’t formed it into complete sentences, put it down on paper. Put that paper away in a SEEDS file. When you look at it later, you may find the seed of a brilliant idea.5. On the computer or on your phone, say your thoughts out loud and record them, even if those thoughts are random and don't connect to each other. 6. Draw the first picture that comes to your mind. Is there a story in there?7. Watch TV. (I did NOT say that, did I?) Well, guess what? There are wonderful story ideas (not to mention interesting bits of dialogue) stuck inside TV dramas, comedies, movies, cartoons, and yes, even reality, game, and cooking shows. Borrow some of these ideas and tweak them, making them your own.8. Sing, play an instrument, or listen to music. Music enhances mood. Good moods lead to productivity.9. Travel or try a new experience. Ever been camping in your living room? Ever sleep with your head at the bottom of your bed instead of the top? Ever eaten breakfast for dinner or dinner for breakfast? You'd be surprised at how your brain wakes up when you mix things up.10. Get a good night's sleep, but keep a notebook by your bed. If a great idea wakes you at four in the morning, jot it down immediately, before your conscious mind edits it.
Guest Bio: Nancy Viau has worked as an elementary school teacher, a counselor in an after-school program, an instructor for reluctant readers, and a freelance writer. She now specializes in writing for children, and along with her novel for kids 8-12, Samantha Hansen Has Rocks in Her Head, and two forthcoming picture books, I Can Do It! and Storm Song), her stories, poems, and activities appear in Highlights, Highlights High Five, Babybug, Ladybug, and many other magazines. Please visit her website at http://www.nancyviau.com/.
bog - verb. To get stuck while doing something; to be hindered in movement; to be prevented from making progress
Writers get bogged down. It’s hard to be creative and productive all of the time. There are days when our thoughts wander and other things seem more important or interesting. We tell ourselves we’ll feel more like writing tomorrow. A little procrastination never hurt anybody, right? But what if our passion for writing dwindles because we’re not practicing our craft? What if writing becomes so hard that we start to dislike it, or even worse, we stop altogether?
Kids have a knack for getting bogged down, especially when asked to complete a structured writing assignment. They often lose their patience and focus, and become agitated and overwhelmed. Many feel the pressure for perfection. After all, there are so many rules to consider—rules about spelling, sentence and paragraph formation, grammar, setting, plot, character, theme, point of view, rhyme, and a hundred more. Whew!
No matter what the issue, the bottom line is that when writers get bogged down, the flow of words from brain to paper stops.
And that’s okay. Really. Whether you are the writer or you are teaching writing, learn to embrace the fact that writing is more than the creation of outstanding prose or beautiful poetry. It’s a creative process, one that needs a bit of nurturing now and then. The steps below can be used to help writers of all ages with that process. Soon, process will be replaced with progress.
1. Cut pictures out of magazines. Is there a picture of your main character? Is there a setting you like? Does a facial expression give you an idea about plot?2. Draw a tree. On the trunk, put the title of your story. On the branches, list all the possible things that may happen in that story.3. Talk about your story to a friend. If stuck, let your friend pick up where you left off. If a whole story is too overwhelming, talk about titles only.4. Brainstorm. Even if an idea sounds ridiculous or you haven’t formed it into complete sentences, put it down on paper. Put that paper away in a SEEDS file. When you look at it later, you may find the seed of a brilliant idea.5. On the computer or on your phone, say your thoughts out loud and record them, even if those thoughts are random and don't connect to each other. 6. Draw the first picture that comes to your mind. Is there a story in there?7. Watch TV. (I did NOT say that, did I?) Well, guess what? There are wonderful story ideas (not to mention interesting bits of dialogue) stuck inside TV dramas, comedies, movies, cartoons, and yes, even reality, game, and cooking shows. Borrow some of these ideas and tweak them, making them your own.8. Sing, play an instrument, or listen to music. Music enhances mood. Good moods lead to productivity.9. Travel or try a new experience. Ever been camping in your living room? Ever sleep with your head at the bottom of your bed instead of the top? Ever eaten breakfast for dinner or dinner for breakfast? You'd be surprised at how your brain wakes up when you mix things up.10. Get a good night's sleep, but keep a notebook by your bed. If a great idea wakes you at four in the morning, jot it down immediately, before your conscious mind edits it.
Guest Bio: Nancy Viau has worked as an elementary school teacher, a counselor in an after-school program, an instructor for reluctant readers, and a freelance writer. She now specializes in writing for children, and along with her novel for kids 8-12, Samantha Hansen Has Rocks in Her Head, and two forthcoming picture books, I Can Do It! and Storm Song), her stories, poems, and activities appear in Highlights, Highlights High Five, Babybug, Ladybug, and many other magazines. Please visit her website at http://www.nancyviau.com/.
April 23, 2012
Connecting with Writing
by Mary Quattlebaum
What books might help to create a bridge from reading to writing? Which ones might help students to connect with writing as a meaningful activity in their own lives?
Recent posts by fellow Pencil Tippers Jacqueline (April 9, 2012, “Tips for Writing Poetry”) and Alison (March 19, 2012, “The Reading/Writing Connection”) got me thinking about the two questions above.
Too often students (kids, especially) don’t see writing as particularly relevant to their lives. They’ll go through the motions of writing essays or persuasive letters but rarely realize, until they’re older, how such writing sharpens their analytical and organizational skills. As teachers, though, we recognize the value of such writing and work to ensure that our students learn these skills.
But sometimes, especially with reluctant writers and readers, it helps to sweeten the writing pot a bit. To give students a chance to try their hand at writing that might have a more immediate connection.
I’m talking poetry.
Students rarely seem to read poetry on their own, but when guided to explore certain elements in a poem (imagery, sound, emotion), they are quick to discuss—and often to draw connections to their own lives.
Alas, too often, young people come to poetry with preconceived notions: a poem must rhyme and be about elevated subject matter (love, beautiful things). To counter those notions, I’ve found it helpful to share two particular books:
Honey, I Love by Eloise Greenfield, illustrated by Diane and Leon Dillon (HarperCollins). First published in 1971, these free-verse poems in the voice of a young girl reflect on jump roping, train riding, and the people and things that she loves. The subject matter and style are kid friendly and accessible. Kids discussing the poems often mention their liking for some of the same things and then write of the small joys in their own lives—and eagerly share their poems aloud.
Guyku by Bob Raczka, illustrated by Peter Reynolds (Houghton Mifflin). These haiku on puddle splashing, stone skipping and tickly grasshoppers encourage kids to think about details and imagery and dispense with rhyme.
www.maryquattlebaum.com
What books might help to create a bridge from reading to writing? Which ones might help students to connect with writing as a meaningful activity in their own lives?
Recent posts by fellow Pencil Tippers Jacqueline (April 9, 2012, “Tips for Writing Poetry”) and Alison (March 19, 2012, “The Reading/Writing Connection”) got me thinking about the two questions above.
Too often students (kids, especially) don’t see writing as particularly relevant to their lives. They’ll go through the motions of writing essays or persuasive letters but rarely realize, until they’re older, how such writing sharpens their analytical and organizational skills. As teachers, though, we recognize the value of such writing and work to ensure that our students learn these skills.
But sometimes, especially with reluctant writers and readers, it helps to sweeten the writing pot a bit. To give students a chance to try their hand at writing that might have a more immediate connection.
I’m talking poetry.
Students rarely seem to read poetry on their own, but when guided to explore certain elements in a poem (imagery, sound, emotion), they are quick to discuss—and often to draw connections to their own lives.
Alas, too often, young people come to poetry with preconceived notions: a poem must rhyme and be about elevated subject matter (love, beautiful things). To counter those notions, I’ve found it helpful to share two particular books:
Honey, I Love by Eloise Greenfield, illustrated by Diane and Leon Dillon (HarperCollins). First published in 1971, these free-verse poems in the voice of a young girl reflect on jump roping, train riding, and the people and things that she loves. The subject matter and style are kid friendly and accessible. Kids discussing the poems often mention their liking for some of the same things and then write of the small joys in their own lives—and eagerly share their poems aloud.
Guyku by Bob Raczka, illustrated by Peter Reynolds (Houghton Mifflin). These haiku on puddle splashing, stone skipping and tickly grasshoppers encourage kids to think about details and imagery and dispense with rhyme.
www.maryquattlebaum.com
April 16, 2012
SPRING TWEETS
by Laura Krauss Melmed
The ancient art of poetry and the much, much newer art of composing the Tweet both aspire to pack lots of punch into few words. Sometimes these forms of communication intersect. This was illustrated recently in an NPR story by Steve Inskeep about Nigerian writer Teju Cole. Mr. Cole, who lives in New York City tweets at his Twitter account @tejucole. His subject matter of late is (very) short stories based on small news items, those unattributed little articles found in metro sections which describe freak accidents and odd happenings. Mr. Cole calls these stories “Small Fates.” His first Small Fates project used items culled from researching a novel about Lagos. Currently, his Tweets are based on items in New York newspapers of exactly 100 years ago.
Mr. Cole’s tweets are often tragic or poignant and are obviously meant for an adult audience. But at this time of year, having young students Tweet about how the world is springing back to life around them could provide a perfect structure for writing a poem.
The goal is for students to write a series of “Tweets” based on observations of springtime changes. They will then put the Tweets together to form a 6-line poem. These observations could take place either independently or following a short daily class walk or garden visit. Show the students how to count the 140 characters allowable for each “Tweet.” Stress that they will be using a different sense each day of the week to make their observations. Make sure they know not to try to make these poems rhyme.
Assign a sense to be explored for each of the five days of the school week. Students should then write a tweet a day for five days. Each should evoke a vivid picture, scent, sound, etc. through the use of such poetic devices as metaphor, simile, and personification. Daily Tweets can be written on index cards and displayed on a magnetic board for review and discussion. “Tweet” number six should summarize the student’s feelings about springtime.
The students could illustrate their poems for a Spring Tweet display.
Here is my own Spring Tweet poem:
Agreeable tulips nod heads togetherACHOO! A sneeze flies from an open window.The scent of lilacs floats over me like a purple chiffon scarf The breeze that tickles my bare arms also lifts a kiteIf spring had a taste it might be asparagusSomehow the world feels new.
http://www.laurakraussmelmed.com/
The ancient art of poetry and the much, much newer art of composing the Tweet both aspire to pack lots of punch into few words. Sometimes these forms of communication intersect. This was illustrated recently in an NPR story by Steve Inskeep about Nigerian writer Teju Cole. Mr. Cole, who lives in New York City tweets at his Twitter account @tejucole. His subject matter of late is (very) short stories based on small news items, those unattributed little articles found in metro sections which describe freak accidents and odd happenings. Mr. Cole calls these stories “Small Fates.” His first Small Fates project used items culled from researching a novel about Lagos. Currently, his Tweets are based on items in New York newspapers of exactly 100 years ago.
Mr. Cole’s tweets are often tragic or poignant and are obviously meant for an adult audience. But at this time of year, having young students Tweet about how the world is springing back to life around them could provide a perfect structure for writing a poem.
The goal is for students to write a series of “Tweets” based on observations of springtime changes. They will then put the Tweets together to form a 6-line poem. These observations could take place either independently or following a short daily class walk or garden visit. Show the students how to count the 140 characters allowable for each “Tweet.” Stress that they will be using a different sense each day of the week to make their observations. Make sure they know not to try to make these poems rhyme.
Assign a sense to be explored for each of the five days of the school week. Students should then write a tweet a day for five days. Each should evoke a vivid picture, scent, sound, etc. through the use of such poetic devices as metaphor, simile, and personification. Daily Tweets can be written on index cards and displayed on a magnetic board for review and discussion. “Tweet” number six should summarize the student’s feelings about springtime.
The students could illustrate their poems for a Spring Tweet display.
Here is my own Spring Tweet poem:
Agreeable tulips nod heads togetherACHOO! A sneeze flies from an open window.The scent of lilacs floats over me like a purple chiffon scarf The breeze that tickles my bare arms also lifts a kiteIf spring had a taste it might be asparagusSomehow the world feels new.
http://www.laurakraussmelmed.com/
April 9, 2012
TIPS FOR WRITING POETRY
by Jacqueline Jules
In honor of National Poetry Month, I'd like to offer 10 tips for writing poetry. This list grows out of my personal experiences as a poet and as a teacher. All poets struggle to create a clear picture in their reader's mind. I hope this list is helpful to you and your students.
1. Don't be chained to rhyme. Rhymes drastically reduce word choices and can send poems in nonsensical directions. Think about what you really want to say in your poem and if you can't say it with rhymes, ditch them.
2. Embrace alliteration. The repetition of a beginning sound can reinforce the mood or subject of your poem and create a musical quality, akin to rhyme. For example, my poem "Olympic Skater," uses a number of words beginning with an "s" sound. http://www.jacquelinejules.com/skater.htm
3. Use everyday experiences. Anything can be a powerful topic. One day I found a missing blue sock and wrote a poem called, "Finding a Sock." http://www.imitationfruit.com/Issue_7/finding_sock/finding_sock.html
4. Juxtapose. Linking unlike things or experiences can be powerful in a poem. Gliding down the slopes one day, I remembered how klutzy I used to be in middle school gym. It inspired a poem called "Graceless Girl Skis Down Slope." http://www.csmonitor.com/2004/1223/p18s02-hfpo.html
5. Examine your endings. I've had more than one poem accepted on the condition that I kill the last two lines. While my initial reaction is always horror, I usually come around and see that the poem stands alone without an ending that hits my reader over the head with a fry pan.
6. The internet has pictures. When I am trying to describe something, I often do a search on Google images. Staring at a photograph can help you paint a picture with words.
7. Don't forget the other senses. How does it smell, taste, touch, and sound? While sight may be a dominant sense, particularly in our video driven society, adding other sensory details will enrich your work.
8. Lists are good. Providing details, particularly in groups of three, gives your reader a stronger image. In my poem, "Daddy and Venice," I remember a ride through the Grand Canal in Venice with "velvet seats, a Persian rug, and a singing gondolier." http://www.imitationfruit.com/Issue_6/daddy_venice/venice.html
9. Rearrange the lines. Sometimes a line works better on the top than in the middle. And don't be afraid to cut off the top if you have created a stronger beginning.
10. Economize. Poetry is all about economy of language. Cross-examine each word and be sure it's needed and evokes a strong enough image for your reader.
http://www.jacquelinejules.com/
In honor of National Poetry Month, I'd like to offer 10 tips for writing poetry. This list grows out of my personal experiences as a poet and as a teacher. All poets struggle to create a clear picture in their reader's mind. I hope this list is helpful to you and your students.
1. Don't be chained to rhyme. Rhymes drastically reduce word choices and can send poems in nonsensical directions. Think about what you really want to say in your poem and if you can't say it with rhymes, ditch them.
2. Embrace alliteration. The repetition of a beginning sound can reinforce the mood or subject of your poem and create a musical quality, akin to rhyme. For example, my poem "Olympic Skater," uses a number of words beginning with an "s" sound. http://www.jacquelinejules.com/skater.htm
3. Use everyday experiences. Anything can be a powerful topic. One day I found a missing blue sock and wrote a poem called, "Finding a Sock." http://www.imitationfruit.com/Issue_7/finding_sock/finding_sock.html
4. Juxtapose. Linking unlike things or experiences can be powerful in a poem. Gliding down the slopes one day, I remembered how klutzy I used to be in middle school gym. It inspired a poem called "Graceless Girl Skis Down Slope." http://www.csmonitor.com/2004/1223/p18s02-hfpo.html
5. Examine your endings. I've had more than one poem accepted on the condition that I kill the last two lines. While my initial reaction is always horror, I usually come around and see that the poem stands alone without an ending that hits my reader over the head with a fry pan.
6. The internet has pictures. When I am trying to describe something, I often do a search on Google images. Staring at a photograph can help you paint a picture with words.
7. Don't forget the other senses. How does it smell, taste, touch, and sound? While sight may be a dominant sense, particularly in our video driven society, adding other sensory details will enrich your work.
8. Lists are good. Providing details, particularly in groups of three, gives your reader a stronger image. In my poem, "Daddy and Venice," I remember a ride through the Grand Canal in Venice with "velvet seats, a Persian rug, and a singing gondolier." http://www.imitationfruit.com/Issue_6/daddy_venice/venice.html
9. Rearrange the lines. Sometimes a line works better on the top than in the middle. And don't be afraid to cut off the top if you have created a stronger beginning.
10. Economize. Poetry is all about economy of language. Cross-examine each word and be sure it's needed and evokes a strong enough image for your reader.
http://www.jacquelinejules.com/
April 2, 2012
Crafting a Creative Character Description
by Mary Amato
When introducing a character, many writers begin and end with a list of the physical traits of the character: eye or hair color, height, etc. Try a different approach: direct commentary. Say something about this character's effect on the world around him or her.
Illustration by Eric Brace
Please Write in This BookListen to Roald Dahl capping off his description of the formidable Miss Trunchbull in Matilda: "Thank goodness we don't meet many people like her in this world, although they do exist and all of us are likely to come across at least one of them in a lifetime. If you ever do, you should behave as you would if you met an enraged rhinoceros out in the bush—climb up the nearest tree and stay there until it has gone away."
In The Whipping Boy, Sid Fleischman doesn't tell us what the prince looks like. Instead he says: "The young prince was known here and there (and just about everywhere else) as Prince Brat. Not even black cats would cross his path.
For your next personal writing project, choose one character to receive special treatment. Ask: How do others see or respond to this character? Write a sentence or two about the character's effect on the world.
If you're a teacher, here's how to approach this lesson. 1. Read the above examples first. 2. Choose a character from a book you've all read and brainstorm commentary about the character. If your students are too young to understand the concept of commentary, try using the term "gossip." If you were gossiping to someone else about this character, what might you say?3. Ask your students to do this with a character in one of their own stories.
Have fun coming up with surprising ways of making characters come alive.
http://www.maryamato.com/
When introducing a character, many writers begin and end with a list of the physical traits of the character: eye or hair color, height, etc. Try a different approach: direct commentary. Say something about this character's effect on the world around him or her.
Illustration by Eric BracePlease Write in This BookListen to Roald Dahl capping off his description of the formidable Miss Trunchbull in Matilda: "Thank goodness we don't meet many people like her in this world, although they do exist and all of us are likely to come across at least one of them in a lifetime. If you ever do, you should behave as you would if you met an enraged rhinoceros out in the bush—climb up the nearest tree and stay there until it has gone away."
In The Whipping Boy, Sid Fleischman doesn't tell us what the prince looks like. Instead he says: "The young prince was known here and there (and just about everywhere else) as Prince Brat. Not even black cats would cross his path.
For your next personal writing project, choose one character to receive special treatment. Ask: How do others see or respond to this character? Write a sentence or two about the character's effect on the world.
If you're a teacher, here's how to approach this lesson. 1. Read the above examples first. 2. Choose a character from a book you've all read and brainstorm commentary about the character. If your students are too young to understand the concept of commentary, try using the term "gossip." If you were gossiping to someone else about this character, what might you say?3. Ask your students to do this with a character in one of their own stories.
Have fun coming up with surprising ways of making characters come alive.
http://www.maryamato.com/
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