1. Start a pseudonym project. A lot of student writers—especially younger students—are very shy about sharing their writing with their peers. Many hold back from writing anything too personal or passionate when they know someone else will see it and might even say something negative about it. To give new writers a sense of safety, try adding some anonymity. Have students privately pick a pseudonym that they will use for all of their assignments. They can hand in their writing to a drop box outside the classroom, so that others won’t get a chance to discover their identity. This way, students can feel comfortable having their writing read and critiqued without worrying that any comments or judgments are personal. 7. Rewrite. Give your students a famous story and have them rewrite a portion of the tale. You can do this with fairy tales, classic literature, or even pop fiction. It’s common for fiction writing classes to rewrite the endings of stories, but why stop there? Have your students change an event that occurs in the middle, or even in the very beginning. How does that affect the outcome? For example, what would have happened if Belle had refused to live with the Beast after her father had promised her to him in order to save his life? Would her father have been killed? Would she and the Beast still have met? This is a good exercise for stretching the imagination and for examining the nuances of plot. 6. Art writing #2. Inspiration is often found in pictures comparing and contrasting topics for papers, but sometimes it’s found by making pictures, too. Ask your students to spend some time drawing out a part of their story. It can be a character, a room, an important object, or an entire scene. It doesn’t matter if they aren’t good at drawing—the point is to encourage them to visualize what they are writing before they write it. This can help students with adding important and engaging details to their writing. Once they see what someone or some place from inside their mind looks like, they will be much better at describing it. All Together Now: Collaborations in Poetry Writing After the First Draft: 30 Fast, Easy Writing Tips for the Second Draft 27 Magical Paths Begging To Be Walked By the Old Mill Stream The 100-Word Challenge 20 Mystical Bridges That Will Take You To Another World Back to our Writing Lesson Plans Story Creation Magic Grades Elementary This lesson plan has strong practical and operational features do online homework for me, which can be applied into our teachers' daily classrooms. It came to the cultivation of students' creative thinking and its correlations with the activities for practicing their writing abilities, under certain carefully set background - 'a third person in students' mind when suffering a dark and stormy night'. 4.About the finally part - 'Follow up', I think: let students share their stories in front of blackboard is a positive operation for creativity essay check for plagiarism, which can also cultivate students' skills in public performance and speech. However, I didn't agree that ' other students need to tell the errors from rights and correcting them '. If it is real creative thinking questions about critical thinking, there is no right or wrong. The encouragements provided to students and the 'to be better' suggestions are what our teachers need give to them, which could make their thinking patterns more reasonable and acceptable by all in their future. actually you can also try pen picture which i do in my class.i ask a trainee to draw the pen picture of his friend in class.as regarding story it is better if we have individual story from each of participants. suman804 replied on 22 July, 2013 - 04:46 Permalink M ALAM replied on 30 October, 2011 - 15:51 Permalink Hello Nik The procedure is as follows: B.) The students should not talk to each other during the writing and if they take a break they should not stand around mutually guessing the identity of the creator of each box. From this story I gained the idea for the following assignment: The students should set up the story with the barest of plots. generally one paragraph explaining why they are having visitors. The description should comprise 85%-90% of the paper. The visitors can range from good to best what is an expository essay topics, or, bad to worst. The writing should be controlled so that the gradations are evident. This gradation requires much more control in writing than a simple writing of four descriptions. The class should be told that this is Not a fashion commentary and also should be done with awareness not to bring a focus on anyone in the class. The assignment is generally 2+ typewritten pages. Some of these units are presented in more or less detail on individual pages on this website. To read samples of student writing click here: One Hour Blind and One Hour Deaf. Teacher Focus. without making it yet a part of the students' assignments, begin to point out writing which is notable for its "sound" and clarity. UNIT: "THREE MINUTE" WRITING CYCLES' I have used some of these sentences, and used some of my own according to the classes' needs and responses. This exercise may not take up a full period, but does make a nice 'filler' at end of a long period or unit. Sample form: Click here for some sample paragraphs. UNIT: FOUR VISITORS The setting for this unit is similar to the story cycles. The students are told to describe a character and are given 3+ minutes to do so, and then they pass the description on to the next student, who adds to the description. This process helps everyone 'buy into' the characters. After 5-6 turns of writing on the characters, the character sheets are passed back to the first writer who sees what happened to the character. Then the class is divided into groups of 5-6 students who are told to come up with a story plot and outline using all of the characters that they have. *The story does not become plot driven because by now the students have an idea of what the character is like as a person and they know whether the character would act in a certain way or not. This unit is valuable even if the students don't get the combined comments on their boxes. UNIT: EXTENDED FABLE As an alternative unit, each student writes a 3/4 to one page description of a character outside of class. They make two copies of the character description which they turn into the instructor. The instructor keeps one copy of each for grading and gives the other ones to students at random, making sure that the original writers don't receive their characters. A.) With sufficient notebook paper, the students go from box to box writing first their assessment of the external qualities of the box maker as portrayed by the exterior of the boxes and then doing the same with the interior of the boxes. Then they are to make a guess as to whose box it is. If they change their minds, they should draw a single line through previous choices. Then when the sheets containing all the comments on their individual box are typed up and given to them, they can see which other students had similar boxes. This unit is simply to lighten up the class with a fun unit. Students are given a list of situations for which they write one or two sentence responses. I got the idea for this unit from an article entitled 'Self-Starting Writing Exercise Flounders' in a March 1984 copy of Media and Methods. The author ideas on essay topics, Dick Saggio, gave fourteen situations that the students were to respond to. A few of his situations were: A.) On the outside of the box they place a collage of pictures and words from magazines, etc. that describes them as they think others see them. *This page contains the complete lesson plans for a thirteen week course in creative writing which I taught for Lane Community College for 22 years, most recently spring quarter, 2002. Before turning the paper in to the instructor, they read it in class. This is a good first assignment for students to read orally before the class because it requires writing skills they already possess and therefore they should feel less uneasy about how their peers may react. What does bring positive reactions from the class and one of the elements I look for when grading, is involvement with the assignment. When the writer has been involved, the class listens more intently and more actively develops their listening and discussion skills. 2) Exercise two [with a theme] The concept for teachers is that growth in the writer is important as well as growth in writing skills. However, this growth should not be prescribed but rather built into the course so that the writers can discover themselves and the principles affecting their lives. This unit causes young people who are sometimes inward focused to see others' viewpoints. It helps them further empathize with characters in their final story and perhaps create them with more depth. As mentioned earlier the focus of the course is to develop the students' writing abilities by focusing on different aspects of the short story. The purpose of this unit is to improve the students' ablility to write description. At first it may seem that beginning writers don't need to focus on description because their stories contain too much of it in proportion to the other elements of a story. Further study though, may show that instead of reducing the amount of description, students may need to more consciously control the location and quality of their descriptions. Other teachers may consider therefore that if the student has written a prior research paper, the knowledge gained from the paper could be employed in the short story, since one of the main shortcomings of 'first' short stories is their lack of depth. There is a significant increase in the effectiveness of the story when it is tied to sufficient background knowledge. Comments on the actual reading process: 1.) Students generally should read louder and with a little more feeling. 2.) Students draw 'name cards' for this last story. [This means that all the students' names are put into a box and someone draws the names to be read. This process insures that everyone will be ready on time, and not put this end of the class assignment off, counting on others to volunteer.] 3.) The teacher can make comments on the oral reading on each students' name card as it is drawn. Excellent sample haikus may be found in 'A Net of Fireflies' by Harold Tran Stewart. [See the section on Teaching Haikus for some sample 'classic' haikus.] As Stewart illustrates, the Japanese haikus translate better into English couplets than into the traditional haiku form of three lines of 5, 7, 5, syllables. Stewart's haikus contain the other more important elements of haikus and I use them in class to illustrate these elements and use a few more conventional haikus to teach the haiku format of three lines of 5, 7, 5 how to do an article review, syllables. * Work on reading skills so that students can present their writings in the best manner. All the assignments except the first one using Haiku's are presented orally by the students before they turn them in. Therefore they need to have their assignments completed by the due date. If the teacher lets the students volunteer, it causes a better class spirit buying a personal statement, but some students may put off finishing on time because they rely on others to volunteer. All assignments are to be typed except those written in class and as journals. I generally grade this paper with little criticism, the primary value being in completing the assignment rather than in the grade. UNIT: WRITING A SHORT STORY I hand out two pages of Japanese haikus which we read and discuss in the same manner as we will later discuss student haikus. I have the students take turns reading these model haikus and discussing them in relation first to clear picture, then distinct emotion, then spiritual insight. I.) The students choose a box [usually cardboard] that 'fits' their personality. They may vary from shoe boxes and hat boxes to packing boxes. A few have made their boxes, some from plywood. Next, the teacher assigns 3-4 students to a group, with no student in the group placed with a student that has their original character. Then the groups develop a story based on how the characters would 'reasonably act' in the situation that they create. That restriction means: no insane killers, no 'mad' people to justify inexplicable, irrational actions. Likewise, there should be no inexplicable Hollywood style '24 hours to fall in love' type of stories. B.) Then they cover the inside with pictures and words that describe them as they really are. **They do not need to put anything that they feel uncomfortable with or don't wish to disclose. The children should write their own Dr. Xargle story in which he teaches his class about a different aspect of Earth life (e.g. school sex discrimination essay, work). This will encourage them to look at everyday life from a different point of view. If there is enough time, they could also make illustrations to accompany their text. Read "The True Story of the Three Little Pigs" (by Jon Scieszka) with the children. This tells the "Three Little Pigs" story from the wolf's point of view. Finally hooks for essays about technology, say that as Paul is missing, we will have to make some missing person posters, explaining who Paul is (with a picture so others can identify him!), where he was last seen and who to contact if he is found. When these are made, you could post them around the school. Find a small soft toy or puppet which will become the class mascot. With the class, choose a name for the mascot, and discuss its background (where it comes from, its friends and family, its likes and dislikes etc.). When all of the recipes are finished, they could be made into a "Dream Recipe Cook Book". Discuss the above quote with the children, and talk about what it means to be famous. Would they like to be famous? What would they like to be famous for? Ask the children to think of a story that they know well, and to write another version from another point of view. 11) Writing a story based on adverts In the back of many books, there are often adverts for other stories. Why not get the children to choose one of these adverts, and write a story based on the description of the story in the advert. They don't need to have read the book which is being advertised, and you can get them to compare their own story to the real version when they have finished. An newspaper interview, written as if in the future, with the child who is now famous. Choose a name for a missing person (e.g. "Paul"), making sure that this is not the name of someone in the class. Before the lesson, put a chair in an empty space in the classroom. For the purposes of the lesson, pretend that this space is where "Paul" normally sits. Ask the children who have read the story if they can think of any of the other rooms in the factory. Make a list of these on the board for the children to refer to later. OR Write "Goldilocks and the Three Bears" from the point of view of Goldilocks. Read through some of the books in the series.
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