Utah State Board of Education - 1993
Compiled by: Margaret Mortenson, Tina Howard, Carolyn Aagard
Dedicated to Shauna Cook. Without her valuable help this volume could not have been produced.
Introduction | Writing
Genres | Writing Process |
Evaluation | Rubrics
How to Teach the Six Traits | APA
Style Sheet | Reader Response
Ideas
Book Review Ideas | Book
Review Activities | Read Around
Group
Using Text Sets | Reader
Response Ideas
Secondary: Making Connections | Reading/Literature Framework | MLA Style and Format
The CLAS lessons were written by classroom teachers experienced in writing and computer use.
The intent of the lessons is to provide suggestions and models for teachers who are using computers in their writing programs.
The lessons are only samples. Teachers will likely want to omit or add material to meet the needs of their students. The Appendix has additional material for teachers to use.
The student models included in each lesson are samples, not intended to be benchmarks. They are typical student responses which may be used for instruction.
All lessons are based on CORE curriculum standards. Most standards
have two lessons; they use two different approaches to the paper.
Thanks to the following teachers for their lessons:
First Grade: Annette Boulter Hollie Carlson
Second Grade: Carolyn Aagard, Hollie Carlson, Pam McKinney, Carolyn Shire
Third Grade: Carolyn Aagard, Karen Bodily, Hollie Carlson
Fourth Grade: Damon Bahr, Janine Clark, Margaret Mortenson
Fifth Grade: Carolyn Aagard, Karen Bodily, Sherri Burton,Margaret Mortenson
Sixth Grade: Carolyn Aagard, Karen Bodily, Margaret Mortenson, Velyle Taylor, Barbara Ure
Seventh, Eighth and Ninth: Roz Capell, Madelein Nyffeler, Kathy McDaniel, Janet McDaniel, Sally Taggart
Tenth, Eleventh, and Twelfth: Wendy Anderson, Margaret Mortenson, Tina Howard, Elaine Rawlings
Each Utah school district will receive disks with the complete
lessons. The lessons were prepared on DOS machines and are written in
WordPerfect 5.1 using Hewlett Packard LaserJet III. Printing on a
different printer may alter the look/format of your hard copy.
Individual teachers should contact their districts for copies or send
to Orem High using the appropriate mailing box for 3 1/2" DD
diskettes.
Mail to: Orem High School, 175 South 400 East, Orem, UT 84058
FIRST GRADE
SECOND GRADE
THIRD GRADE
FOURTH GRADE
FIFTH GRADE
SIXTH GRADE
SEVENTH GRADE
EIGHTH GRADE
NINTH GRADE
TENTH GRADE
ELEVENTH GRADE
TWELFTH GRADE
Definition: Descriptive writing presents an object,
feeling, a place or a person in a way that creates a vivid impression
in the reader's mind, enabling the reader to readily picture what the
writer is talking about, to gain a rich, comprehensive and detailed
sense of what is being described, and to feel that he or she is very
much part of the writer's experience.
Complete rubrics in Appendix.
Definition: Narrative writing recounts a personal
experience based on something which really happened (or might really
have happened). All details work together in an integrated way to
create a complete story with beginning, middle, and end.
Complete rubrics in Appendix.
Definition: Expository writing gives information, explains
something clarifies, or defines. The writing teaches, reveals,
informs, or amplifies the reader's understanding through a carefully
crafted mix of key points and critical support.
Complete rubrics in Appendix.
Definition: Persuasive writing attempts to convince the
reader that a point of view is valid, or to persuade the reader to
take specific action. It is based on a topic that is limited in scope
(and therefore manageable), and that is debatable--a topic about
which there could be more than one point of view. Persuasive differs
from expository writing in that it does more than explain or
enlighten; it also takes a stand, and endeavors to persuade the
reader to take that same stand.
Complete rubrics in Appendix.
Definition: Expository writing gives information, explains
something, clarifies, or defines. The writing teaches, reveals,
informs, or amplifies the reader's understanding through a carefully
crafted mix of key points and critical support.
Complete rubrics in Appendix.
The discovery (or realization) that writing was a process rather than a product changed the way writing instruction was given. The process has several stages which often, but not always, follow in this order:
The stages are recursive, with a writer returning to previous stages as the need arrives in a particular piece of writing. The amount of time given to each stage varies, but each stage has a place. Traditionally, the student completed stage 2 (Writing) and the teach completed stage 6 (Editing, in red ink), and the Post-writing stage consisted of paper being wadded up and thrown under the desk as the bell rang. CONSCIOUS ATTENTION SHOULD BE PAID TO EACH STAGE OF THE PROCESS.
1. Prewriting
The fist stage includes any experience or activity intended to
stimulate thinking, encourage fluency, or help the writer focus on
the writing task at hand. Clustering is prewriting; watching a film
is prewriting; going on a field trip is prewriting. This stage is
critical; the rest of them don't follow if this was inadequate.
2. Writing (Drafting, Composing)
Following a series of planned prewriting activities, the writer
begins thinking out the first draft on paper. His/her ideas are put
down with more attention to fluency and completeness than to
correctness.
3. Responding
Peers, parents, friends, or teachers react to the first draft of the
paper from the point of view of what works and what doesn't, not from
what is right and what is wrong. This takes the form of questions,
suggestions, or constructive statements about content or form. (The
response is not an evaluation; this response helps the writer to
clarify and strengthen the writing.)
4. Revising
Using the response suggestions as well as the author's own ideas,the
writer rethinks and reviews the paper. This helps the writer see
his/her own work through others' eyes. It involves such matters as
unity, order of details, use of dialogue, description, word choice,
clarity, and supporting information. Revising is not recopying neatly
correcting the spelling; it is an new look at the paper.
5. Skill development
Skills in language are more effectively taught when there is a need
to know them because they are being used in the work. (The
traditional way has been backwards and has resulted in little
transfer to writing.) Process writing instruction allows teachers to
work on skills appropriate to the writing being done. For example, if
students are writing a personal narrative, the conventions of written
dialogue must be taught because it is part of the narrative.
6. Editing
This stage is a final check to see if the piece conforms to the
standards of written English. It can be done by the teacher, by peer
groups, by another class, or by the writer himself/herself using a
checklist or scale.
7. Post-writing (Publishing)
This stage is important for people of all ages, whether it is the
second grader making a book to put into the learning center, the
eighth grader having a finished piece put on the bulletin board, or
an adult having a selection included in a group publication or
newsletter. Writing has to go beyond the teacher to create purpose
and meaning. (The outside audience also is a great motivator for kids
who really don't care what the teacher thinks.)
That's all well and good, you may say, but what about evaluation and grading? They cannot and should not be ignored. They must be given special attention. The difference in evaluation with process writing is there is so much more to evaluate! Each stage of the process matters. The final product is only a small part of what went on to create it. Evaluation must include each stage with no more weight given to the final draft than to the first draft.
Actually, process instruction simplifies evaluation because you have several drafts to look at as a teacher. You can see if progress was made or if the same paper was merely recopied time after dreary time.
Ideas and Content
WHOSE SHOES?
Objects help students create detailed character sketches. They learn the importance of using specific details as they stay away from overused trite words and look for exact words to express meaning.
Shoes can trigger creation of characters. Prior to writing, teacher collects various shoes--workboot, clogging shoe, thong, running shoe, baby shoe, sandal, tennis shoe, etc. Shoes are displayed at the front of the room. Teacher shows individual shoes and asks students to picture the person who would wear it. Each student then chooses a shoe and creates a character. Teacher can guide students through a visual imagery exercise asking them to list details. "Picture your character. Look at the face. What color are the eyes? Are they large, small, squinty, almond shaped? What do the eyebrows look like? Bushy, painted, straight. . . " (See Character Sketch Handout) When students finish lists, they write a detailed description. At this point, teacher can go several ways: Share descriptions orally. Create a story involving 2-4 characters. Write the dialogue two characters would have. Make word lists of effective details, etc.
Organization--TRIP TRAP, TRIP TRAP--WHAT'S FIRST? WHAT'S LAST?
This strategy helps students discover the importance of sequencing and organizational patterns in writing. Use a common fairy tale or fable such as "The Three Billy Goats Gruff. " List characters in the fairy tale--Troll, Small Billy Goat Gruff (Micro), Medium Billy Goat Gruff (Mini), Large Billy Goat Gruff (Maxi), and Narrator. Create an accurate play script and then create a second script putting the events out of sequence. Ask for volunteers to read the play. Instruct class members to listen to the play carefully and determine what is wrong. Read the out of order version first. Discuss student reactions noting difficulty in understanding, confusion, etc. Read the accurate script. Discuss which script worked better and why. Note the importance of proper sequencing to create better understanding.
Now practice with already written student papers to check sequencing. Is anything out of order? Is anything left out? Can a reader follow the action of the story without problems in understanding? Students revise to improve organizational sequencing. See "Billy Goat Gruff" Handouts.
The Three Billy Goats Gruff
Version--Whoops
Narrator: Once upon a time there lived three billy goats gruff. They were going to McDonald's to get fat. On their way to pig out at the Golden Arches, there was a freeway overpass. And under this road lived a far-out, super-rad troll, with eyes as big as frisbees and a nose as long as a skateboard. First came Micro Billy Goat Gruff. Trip, trap, trip, trap, trip, trap, across the overpass went Micro Billy Goat Gruff.Troll: Who goes trippity trap, trippity trap, trippity trap over my interchange?
Mini: It is I, Mini Billy Goat Gruff, and I'm boppin' over to McDonald's for some Veggies.
Narrator: So the troll cruised on up, intending to pig out on tender goat meat, but Maxi used a combination of Rambo, He-man, Rocky, and Karate Kid maneuvers to transform the troll into a satellite. She propelled him into space and that troll became a new moon circling Pluto. So trip trop, trip trop, trip trop over the interchange went Maxi to join her sisters, Mini and Micro, at the Golden Arches.
Troll: Who goes trip, trap, trip, trap, trip, trap over my interchange?
Micro: It is I, Micro Billy Goat Gruff, and I am heading out to McDonald's to get fat.
Troll: Oh, no, you ain't, man. You been had, `cause I'm going to eat you up!!
Micro: You won't want me. I have anorexia, and there isn't enough fat on these bones to whet your appetite. Wait for my sis, Mini Billy Goat Gruff. She'll be much tastier than I.
Troll: Go, the. Be off like a dirty shirt.
Narrator: So trippity trap, trippity trap, trippity trap over the interchange went Mini Billy Goat Gruff, hoping the free Kraft Dressing offer would still be in effect when she ordered her chef's salad. At last, Maxi Billy Goat Gruff waddled over the interchange, leaving hoofprints in the oil. Trip trop, trip trop, trip trop.
Troll: Who goes trip trop, trip trop, trip trop, over my interchange?
Maxi: It is I, Maxi Billy Goat Gruff, and I am going over to Mac's for three Big Mac's, two large orders of fries, ten icy Cokes, and a couple of soft serves, three apple turnovers, and because I'm on a diet, three garden fresh salads with dressing.
Narrator: So trip, trap, trip, trap, trip, trap over the interchange went Micro Billy Goat Gruff with visions of a quarter pounder dancing before her eyes. Soon, along came Mini Billy Goat Gruff. Trippity trap, trippity trap, trippity trap across the overpass she went.
Troll: Oh, no you ain't, man. You been had, 'cause I'm going to eat you up!!
Mini: Oh, no, sir. You don't want to eat me. I do Jane Fonda twice a day, and my muscles are tough and hard to chew. Wait for my sister, Maxi. She's much bigger than I.
Troll: Go then. Make like a tree and leave.
Troll: Oh, no you ain't, man. You been had, 'cause I'm going to eat you up!!
Maxi: Oh, really man? I don't think so. I'm your worst nightmare. Come on up here and make my day!
The Three Billy Goats Gruff
Version--One
Narrator: Once upon a time there lived three billy goats gruff. They were going to McDonald's to get fat. On their way to pig out at the Golden Arches, there was a freeway overpass. And under this road lived a far-out, super-rad troll, with eyes as big as frisbees and a nose as long as a skateboard. First came Micro Billy Goat Gruff. Trip, trap, trip, trap, trip, trap, across the overpass went Micro Billy Goat Gruff.Troll: Who goes trippity trap, trippity trap, trippity trap over my interchange?
Micro: It is I, Micro Billy Goat Gruff, and I am heading out to McDonald's to get fat.
Troll: Oh, no, you ain't, man. You been had, `cause I'm going to eat you up!!
Micro: You won't want me. I have anorexia, and there isn't enough fat on these bones to whet your appetite. Wait for my sis, Mini Billy Goat Gruff. She'll be much tastier than I.
Troll: Go, the. Be off like a dirty shirt.
Narrator: So trip, trap, trip, trap, trip, trap over the interchange went Micro Billy Goat Gruff with visions of a quarter pounder dancing before her eyes. Soon, along came Mini Billy Goat Gruff. Tripity trap, trippity trap, trippity trap across the overpass she went.
Mini: It is I, Mini Billy Goat Gruff, and I'm boppin' over to McDonald's for some Veggies.
Troll: Oh, no you ain't, man. You been had, 'cause I'm going to eat you up!!
Mini: Oh, no, sir. You don't want to eat me. I do Jane Fonda twice a day, and my muscles are tough and hard to chew. Wait for my sister, Maxi. She's much bigger than I.
Troll: Go then. Make like a tree and leave.
Narrator: So trippity trap, trippity trap, trippity trap over the interchange went Mini Billy Goat Gruff, hoping the free Kraft Dressing offer would still be in effect when she ordered her chef's salad. At last, Maxi Billy Goat Gruff waddled over the interchange, leaving hoofprints in the oil. Trip trop, trip trop, trip trop.
Troll: Who goes trip trop, trip trop, trip trop, over my interchange?
Maxi: It is I, Maxi Billy Goat Gruff, and I am going over to Mac's for three Big Mac's, two large orders of fries, ten icy Cokes, and a couple of soft serves, three apple turnovers, and because I'm on a diet, three garden fresh salads with dressing.
Troll: Oh, no you ain't, man. You been had, 'cause I'm going to eat you up!!
Maxi: Oh, really man? I don't think so. I'm your worst nightmare. Come on up here and make my day!
Narrator: So the troll cruised on up, intending to pig out on tender goat meat, but Maxi used a combination of Rambo, He-man, Rocky, and Karate Kid maneuvers to transform the troll into a satellite. She propelled him into space and that troll became a new moon circling Pluto. So trip trop, trip trop, trip trop over the interchange went Maxi to join her sisters, Mini and Micro, at the Golden Arches.
Word Choice
DEWRITING
Take a paragraph from any literature selection that approximates
the writing assignment you are working on. Eliminate verbs, or
adjectives, or details. (Whatever you are emphasizing. )
Have individual students replace the verbs. Share their changes in
small groups. Have each group choose the one that worked the best and
read aloud to the entire class. Place one of the sentences on an
overhead. Write in all of the various suggestions for that one
sentence from the entire class. Compare the possibilities. Discuss
differences in meaning.
Alternative: Assign each row to make the changed paragraph different in tone. Row #1--cheerful; row #2--sad; row #3 angry; row #4 joyful. Then each row becomes a group in which paragraphs are exchanged, differences are compared, and one sample is chosen to share with the entire class.
Dewriting Sample:
The red sunset with (adjective), (adjective) (noun)like (simile), lay on the curved horizon of the prairie.
The air was (adjective) and (adjective)
and it settled the (adjective) (noun)
and (adjective) (noun) of night.
(From The Portable Phonograph. )
WORD CHOICE
(Second, third grade example)
Nouns and adjectives deleted.
From Clyde Monster by Robert Crowe
Clyde wasn't very old, but he was growing_________every day. He lived in a large forest with his parents. Father was a _________ _________ monster and very _________, which was good. Friends and family usually make fun of a pretty monster. Mother monster was even _________ and greatly admired. All in all, they were a picture family--as monsters go.
Clyde lived in a _________. That is, he was supposed to live in a _________, at night anyway. During the day he played in the _________ , doing typical monster things like _________ to make the steam rise. He also did typical Clyde things like _________.
From Clyde Monster by Robert Crowe
Clyde wasn't very old, but he was growing uglier every day. He lived in a large forest with his parents. Father was a big, big monster and very ugly, which was good. Friends and family usually make fun of a pretty monster. Mother monster was even uglier and greatly admired. All in all, they were a picture family--as monsters go.
Clyde lived in a cave. That is, he was supposed to live in a cave, at night anyway. During the day he played in the forest , doing typical monster things like breathing fire at the lake to make the steam rise. He also did typical Clyde things like turning somersaults that made large holes in the ground.
Sentence Structure
TUCKER, THE TRUCKER
Sentence combining is an excellent way to improve sentence variety. (It can be deadly, also, if turned in to worksheets. Keep it frequent, mainly oral, and relatively brief. ) Bill Strong's "Tucker" sentences are a great way to begin it. Write the following five kernal sentences on an overhead. Show the students the sentences gradually, showing the first two, then adding one at a time. Ask for volunteers to combine the sentences. Slight wording changes can be made and the order of details can be changed, but the meaning and the main words must remain the same. When students see all five sentences, give them their assignment: "Combine the five sentence three different ways. We will go around the classroom and everyone will read his/her sentence. You must each read a different sentence. " The teacher may also combine them and add interest by telling students anyone who has the exact same sentence as the teacher will get 50 extra credit points (or a candy bar or some other prize).
Tucker was a trucker
He was stuck.
He was in the muck.
He was out of luck.
He was near Winnemucca.
Go around the class and have each student read his or her sentence.
Sentence Conventions
IMPROVE IT
Read the following student paper. Edit.
I'm wrighting about the little black dog that I still hateIt was a tues. afternoon when I cam home from school I saw the papers on the poarch, I took them inside, rolled them, stuffed them in my paperbag and went on my way.
Everything was going fine, I've had my route for a year and a half and never been bitten once but I've had some close calls I didn't get bitten today either, thats what I thought.
When I neared the end of the route I came to a cirten house where this sory takes place. I didn't really like the kids that lived there of corse I never did. They were snotty nosed bratts with hotty heads and big mouths you know the kind that arren't your absolute favoite.
They had two dogs that were just as bad. I met them before under not so pleasant circumstances, but they never bit me, just snarled and groweled and pulled there lips back and beard their teeth warning me to get of his territory.Today they weren't there I walked up causiosly and deliverd the paper when my back was turned and I started to walk away one of the kids let the dogs lose, they came terring up to me barking rappidly (every time something like this happens I always turn around sharply whith a newspaper held high in my hand to scare them away) I turned around and they backed off a little I turned around and started walking a few steps and turned around again and continued this procedure until I worked my way out of the yard.
When I got to the next yard I didn't think they would follow me, I was wrong I turned around just in time to stop them I stood there paralized with fear I didn't dare make a move for fear I would be bitten. the dog didn't move either. I think to myself, I've never been bitten but I think this might be my first time.
he still just stood there showing me his little Ivory white shiny teeth that were as sharp as neddles and could peirce my skin esialy. And he was glaring at me which his two little red beady eyes, while every muscle in his little body shown and were as tight as a bow string ready to lunge forward at me and clench his powerful jaws around my leg at any second.
Finaly I gatherd up enough corage to move. With a news paper clenched tightly in my fist, I backed off slowly just then he leaped forward, and then there were two puncher wounds in my leg.
The owner called him back and said, "I'm sorry, with sarcaism in his voice and a sniker on his face and I limped away.
Voice
MAD TALKING, SOFT TALKING, FAST TALKING
The purpose of this activity is to let students experience something of the range their writing voices are capable of and to see inductively that they use a variety of stylistic devices in their writing, automatically adjusting them to the use to which they're putting their voices. It shows them how purpose influences voice in specific ways. This activity will show students the techniques they use automatically and intuitively in their own writing.
MAD TALKING
Ask students to think of someone or something that makes them very angry. "Who is someone who really makes you mad? Don't say the name out loud; just think of the person. Or maybe there's some thing that makes you madder than any person--your neighbor's aggravating dog, your little brother hanging on you, something like that. Think of it. Or maybe it's a situation that really annoys you--like some rule here at school or something that you've seen on the news that's going on in some country in the world. Think of that. " Give students a few minutes to pick a specific subject, then ask them to close their eyes for a new seconds to see their subject and feel mad about it. Ham it up a little--"Concentrate hard! Grrr--Oh, that makes you soooo mad!" Then give students 2-5 minutes to say in writing the angry things they feel about that person, thing, or situation.
SOFT TALKING
Ask students to think of a person or thing in need of comforting. "You know, someone who's been hurt or is in trouble or who's suffering in some way. Or maybe it's an animal--a pet hit by a car, or sick--or even something not alive you feel sorry for--like your bicycle. Concentrate on that person or animal or thing and feel sorry. " Ask students to close their eyes again and visualize the subject for a few seconds. Then write for 205 minutes to comfort that person or thing.
FAST TALKING
The third writing to complete during the class period is to ask students to persuade someone to do something or to believe something. "Think of somebody you want to talk into doing something--maybe you want your parents to buy something for you or to let you have a sleep-over--or maybe there's somebody you need to argue over to your side. " Have them write for 2-5 minutes their most persuasive argument to that person.
FOLLOW-UP
Talking about the writings is the key to the success of this activity. Ask volunteers to read aloud at least two of their papers, and talk about how the papers change from one mode for another.
From the Publication Manual of the American
Psychological Association (APA)
This style sheet is to be used for documentation of informative papers.
Reference Citations in Text
Citation of an author's work in text documents your work, briefly identifies the source for readers, and enables readers to locate the source of information in the alphabetical reference list at the end of the paper.
APA suggests that writers use the author-date method of citation; that is, the surname of the author and the year of publication are inserted in the text at the appropriate point:
Smith (1983) compared reaction times. . . or
In a recent study or reaction times (Smith, 1983). . .
If the name of the author appears as part of the narrative, as in the first example, cite only the year of publication in parentheses. Otherwise, place both the name and the date, separated by a comma (as in the second example), in parentheses. In the rare case in which both the year and the author are given as part of the text, do not add parenthetical information.
In 1983, Smith compared. . .
Within a paragraph, you do not need to include the year in subsequent references to a study as long as the study cannot be confused with other studies cited in the article:
In a recent study of reaction times, Smith (1983) described the method. . . Smith also found. . .
When a work has no author, cite in text the first two or three words of the reference list entry (usually the title) and the year. Use quotation marks around the title of an article of chapter and underline the title of a periodical or book.
. . . on free care ("Study Finds," 1982). . .
. . . the book College Bound Seniors (1979). . .
*Arrange entries in alphabetical order by the last name of the first author.
*If there is no author, the title moves to the author position, and the entry is alphabetized by the first significant word of the title.
*Align reference's first line with the left margin. Indent each succeeding line of the reference. (See following examples. )
*References is the title of the page listing the references or works cited in the paper.
Examples of References
Journal, One Author
Paivio, A. (1975). Perceptual comparisons through the mind's eye.
Memory & Cognition, 3, 635-647.
Author's last name, first initial. (Date published). Title of article. Name of journal, vol. no. , pages.
Journal, Two Authors
Becker, L. J. , & Seligman, C. (1981). Welcome to the energy
crisis. Journal of Social Issues, 37, 1-7.
First author's last name, first initials, & Second author's last name, first initial. (Date published). Title of Article. Name of journal, vol. no. , pages.
Magazine Article
Gardner, H. (1981, December). Do babies sing a universal song?
Psychology Today, pp. 70-76.
Author's last name, first initial. (Date, month published). Title of Article. Name of magazine, pages.
Newspaper Article, No Author
Study finds free care used more. (1982, April 3). APA Monitor,
p. 14.
Article title. (Year, Date published). Name of Newspaper, page.
Newspaper Article, Letter to the Editor
O'Neill, G. W. (1982, January 5). In support of DSM-III [Letter
to the editor]. Daily Herald. p, 16.
Author's last name, initials. (Year, Date published). Name of Article [Letter to the Editor]. Newspaper name. page.
Book, One Author
Bernstein, T. M. (1965). The careful writer: A modern guide to
English usage. New York: Atheneum.
Author's last name, initials. (Date published). Title. City where published: Name of publisher.
Book, Editors
Letheridge, S. , & Cannon, C. R. (Eds. ). (1980). Bilingual
education. New York: Praeger.
Editor's last name, initial, & second editor's last name, initials. (Eds. indicates editors). (Date published). Title. City where published: Name of publisher.
Book, No Author or Editor
College bound seniors. (1979). Princeton, NJ: College Board
Publications.
Title. (Date published). City, state published: Name of publisher.
Film and Other Media
Maas, J. B. (Producer), & Gluck, D. H. (Director). (1979).
Deeper into hypnosis [Film]. Englewood Cliffs, NJ:
Prentice-Hall.
Last name, initials. (function of contributor). (Year released). Film or media title [form of media--other examples might include videotapes, audiotapes, slides, charts, and art work]. Location of distributor: Name of distributor.
Cassette Recording
Clark, K. B. (Speaker). (1986). Problems of freedom and
behavior (Cassette Recording No. 7612). Washington, DC: American
Psychological Association.
LITERATURE DISCUSSION QUESTIONS
Open-ended Questions
1. Were there any good guys or bad guys? Tell me about them.2. Which character would you like to be? Why?
3. Which character do you relate to and why?
4. How does the setting affect the way the story feels?
5. How would the story change if it were set in a different time period?
6. Why do you think the author chose this setting?
7. Compare the character at the beginning of the book to the character at the end. Note similarities and differences.
8. What happened at the most exciting part of the book?
9. What event caused the greatest change in the main character?
10. How did reading this story change how you feel or think?
11. How did you feel about the main character? Would you choose him for a friend? Why?
12. What would be a different ending for this story?
13. What three qualities did the main character possess?
14. What is similar or different about you and a character in the book.
15. Where does this take place? How do you know? Give details to defend your answer.
16. What other time and place could this story have taken place?
17. How did the author introduce the conflict? (What happened that was good? What happened that was bad?)
18. What was the most exciting part of the story and why?
19. What would you leave out of the story?
20. How would you make it more exciting or would you keep it the same? Why?
21. What was the theme? What lesson did you learn?
22. How does the author show the theme?
23. What two events in the book portray the personality of the main character?
24. Did you learn anything from the main character that would help you in your life?
25. Describe the setting in detail. What part does the setting play in the book and why?
26. Discuss (2-5) events that were the most important in the story.
27. What was the main conflict (plot)? How was it resolved.
28. What in your opinion was the most exciting part in the book?
29. Make a circular time line in the events of the main characters in story.
30. Write a poem and share your feelings on the story.
31. Suppose you could join the story. Would you? Why or Why not?
32. How could this story be modernized using the same type of characters and theme?
33. Why did the author choose this title for the book? What might be another good title for this book. Defend your answer.
The following ideas can be used for the required two book reviews that are due each month. Each idea can only be used once. Those that are starred (*) at the end of the requirement will need three written paragraphs. Please place a check mark and date by each requirement you do.
1. Tell about the book during the morning announcements. Must clear with teacher before given.2. Condense the book to 15, 50, or 100 words.
3. Write about it to a friend, (one page).
4. Make a map of where it takes place. (poster size, colored neatly).
5. Create a crossword puzzle, using its setting and plot. (with answers)
6. Tell why it would (or wouldn't) make a great movie. Include how it would be done, who you would hire for actors, and setting. *
7. Make a poster about the book. (be creative)
8. Pick 10 adjectives that describe the book. Tell why you chose them and how they apply. *
9. Draw objects from it and make them into a mobile. it should be colored and ready to hang.
10. Choose an idea or scene from the book as the subject of a collage. Use magazine pictures and mount on a poster.
11. Make up a limerick and haiku about the book.
12. Create a mural about it, using charcoal, crayons, cut paper, water color, or any other art form. Must supply your own art needs.
13. Make a time-line on the book events on poster board.
14. Describe the main characters in 75-100 words.
15. Choose a character you'd like (or not like) to have as a friend. Tell why. *
16. Do a cartoon strip (10 frames) based on a character or a particular event in the book. (on poster board)
17. Write a poem about the character.
18. Write a biography of one of the characters (one page).
19. Make a list of 15 facts you learned from it.
20. Persuade an audience to read (or not read) it. *
21. Tell why you would (or wouldn't) recommend it to your principal, a parent, or another student. *
22. List its five most interesting or critical sentences. Explain.
23. Prepare a list of its most unusual, difficult, or exciting words from the novel. You should have 25 words. Include a short definition for each.
24. Make a bulletin board about it. Showing the main characters, the setting, and so forth.
25. Become the author and tell why you wrote this book. *
26. Plan the questions you'd use in a conference-call interview with the author. (10 questions and answers)
27. The author has written to you and wants to know how this book could have been improved. How would you answer?
28. As an interior decorator, how would you decorate a character's bedroom and why. draw pictures, color, and explain.
29. Invite one character to dinner and write a note of explanation to your mother explaining who it is, what you want to eat, and what you will talk about.
30. Make a time line of the events in the life of the main character.
31. Make up five interview questions (with answers) for the main character.
32. Make a map of your book on poster paper, color, and identify the major areas.
33. Write to the author and explain your reaction to the book. *
34. Make up five interview questions (with answers) for the author.
35. Pretend you're the author and explain why you chose your title. *
36. Pretend you're the author and describe the part that was the most fun to write. *
37. Pretend you're the author and tell about your life and how this book fits into it.
38. Describe what you think happened to the main character after the book ended. *
39. Explain why your book should be included in a time capsule to be dug up in one hundred years.
40. Describe an experience you've had that was like the experience of one of the characters. *
41. Write an ad for your book. It should be poster size.
42. Write two articles for a newspaper published at the time of or in the country of your book. You need to tell about two events in the book.
43. Write an obituary for one character, giving as much information about the character as possible in two paragraphs.
44. Find twenty-five similes or metaphors and write them down telling why you liked five of them.
45. Think about who the narrator is, then write one scene from the point of view of another character and explain the switch.
46. Make a job application for the main character and fill it in. (Teacher has sample applications. )
47. Find five newspaper ads of interest to one of the characters and explain why.
48. From the yellow pages of a phone book, pick out five businesses the main character would be interested in and explain why.
Activities for experiencing books from another viewpoint.
WRITING ACTIVITIES
1. Rewrite part of the story, telling it from the viewpoint of a different character.
2. Write an advertisement for the book. Identify where the advertisement will be displayed.
3. Write a poem based on the book.
4. Make up a riddle about the book or any part of it.
5. Write a rebus of the book's title, a short summary, or a certain scene in the book.
6. Develop a word game based upon the book (word scramble, crossword puzzle, acrostics. )
7. Write a letter to the author, particularly if you enjoyed the book or have a question (Send the letter to the publisher of the book).
8. Write a Barbara Walters/Howard Cosell or any other type of interview with the main character--or any character, which may include non-human elements.
9. Make a newspaper which summarizes or presents elements from the book. Include as many regular departments of a newspaper (sports, comics, lovelorn, classified ads, business,a nd so on) as you desire.
10. Write your own book on the same theme, perhaps writing some and outlining the rest.
11. Make your own book and circulate it and/or record it for reading along.
12. Rewrite a section of the book in either radio or stage script.
13. Select a passage or quotation which has special significance for you. Write it down and then tell why it is meaningful.
14. Rewrite the story or part of the story as a news article.
15. Rewrite part of the book in a different time period--space age future, caveman, etc.
16. Write a Mad Magazine satire of the book.
17. Find some trivia questions to exchange with someone else who does the same.
18. Make a family tree of the main character.
19. Write a chapter which tells what happened before or after the book.
20. Make long term predictions for those who are int he story.
21. If the book were made into a movie, choose who would play the characters. (See if you can select real people who are known, at least by name, to classmates. )
22. Write a letter to the main character in which you ask questions, protest something or make a suggestion.
23. Write a letter from some character to a real or fictitious person outside the book.
24. Summarize the plot in the form of a telegram.
25. Rewrite part of the book in a highly identifiable style, such as the Bible, a romance magazine, Shakespeare, Scientific American, time, etc.
26. Write the same scene from three or four different points of view.
27. Write a review of the book.
ART AND CRAFT ACTIVITIES
1. Make a diorama.
2. construct a mobile representative of the books or some part of it.
3. Draw a design suitable for a T-shirt.
4. Do portraits of the main character(s).
5. Draw a class mural which retells much of the story.
6. Make something in the same style as the illustrator, or using the same medium (pen and ink, collage, watercolor, etc. )
7. Make a picture collage with pictures from magazines.
8. Do a word collage which gives a feeling for the book using any printed words which are cut out.
9. Make a wall hanging or decorate an article of clothing using liquid embroidery or stitching.
10. Draw on clear film to make a filmstrip of the book.
11. Design a bookmark with the book as a theme.
12. Draw a coat of arms for a character(s).
13. Make a cube with information about the book or its characters.
14. Draw a poster with a scene or character from the book.
15. Draw a silhouette of something from the book.
16. Section off a blank pillow case and draw one picture from each of many books in the squares, or draw on muslin squares and sew together.
17. Design a new dust jacket for the book.
18. Illustrate what you believe to be the most important aspect of the book.
19. Make a poster advertising the book.
20. Do a soap carving of some character or activity in the book.
21. Design and make a game which represents the book.
22. Make a time line of the important events.
23. Design a logo for one of the characters.
24. Make a roll movie of the book which can be shown on a t. v. set made from a box.
25. Cut up the reinforced dust jacket to make a puzzle.
26. Make something from paper mache. . . perhaps a relief map of the setting.
27. Make puppets--sack masks, socks, or finger--of the characters.
28. Retell the story using a flannel board and bits of string, yarn and felt--or make recognizable characters.
29. Identify the important places in the book on a map of your own making.
30. Make paper dolls and clothes of the main character(s).
31. Tell the story in pictures--yours, photographs, or those cut from magazines.
32. Make a story board of the book showing what it would look like if planned for a movie.
33. Make a travel poster inviting tourists to visit the setting of the book.
34. Construct a scene or character out of clay.
35. Build a shadow box scene.
36. Construct something in wood from the book.
37. Make a picture book with a simplified version or an introduction to the book for younger readers.
38. Design a costume for a character to wear.
39. Make something which was in the room or house of the main character.
40. Illustrate the title and wear on a name tag or button.
41. Make a cloth animal or character from the book.
42. Make a mask of one of the characters.
43. Prepare and serve a food that the characters ate or which is representative of the story.
DRAMA, MUSIC AND ASSORTED ACTIVITIES
1. Produce a puppet show of the book.
2. Dress as a character and present some of the character's feelings, or tell about a part of the book, or summarize very briefly the story.
3. Make a 8mm movie of a part of the book.
4. Videotape a dramatized scene from the book.
5. Write a song which tells about the book.
6. Choose an existing song which represents the theme or feeling of the book.
7. Act out the title of the book in a charade, or act out something else about it.
8. Conduct an interview between an informed moderator and character(s). . . maybe t. v. or radio.
9. Research the music of the time of the book, and find some songs they may have sung.
10. Pantomime a scene from the book.
11. Perform a scene with one person taking all the parts.
12. Write lyrics to a familiar tune which tells about the book.
13. Choose different pieces of music to fit the personalities of each character.
14. Give a sales pitch to get listeners excited about the book.
15. Give a party for characters and their friends, or for characters from many books. Invite parents, and have characters present themselves.
16. Research some aspect of the book and present your newly found facts.
17. Bring something from home which reminds you of the book.
18. Play "What if?" What if the boy had gone straight home, What if Sally had seen the cup?
19. Choose a real life person who reminds you of a character in the book. Explain.
20. Select one passage which is the focal point of the book. Explain.
21. Collect and display a collage of quotes from the book which stimulated you.
Character - Activities
1. Write a physical description of exactly fifty words about nay one of the main three characters.2. Write a three-paragraph essay about the changes in the main character from the beginning to the end of the book. In paragraph one, describe his or her personality at the beginning of the book. In paragraph two, describe his or her personality at the end of the book. In paragraph three, tell what occurred to make that changes take place.
3. Design a T-shirt for your main character that reflects his or her personality.
4. Locate a paragraph that shows the main characters thoughts about.
5. Write a biographical or autobiographical article about he main character based on what was learned about him or her from the story.
6. Write a diary entry as if it were written by one of the main characters in the book.
7. Stage a mock interview with the main character that will reveal his or her personality and feelings.
8. Write a letter to a character, giving him or her advice about a problem that he or she is having in the book.
9. Pretend to be a character from the book and write a letter to an advice columnist, stating your problem and asking for advice.
10. Choose a character from the book and invent another chapter with this character in it. remember to have the character behave "in character. "
11. Write a short story using a character form the book as the protagonist.
12. Compare and contrast two of the characters form the book. Use a Venn diagram or cluster for organization. Tell about how they are alike or different.
13. Find a quotation that reveals something about the personality of the main character.
14. Describe how the main character in the book would fit into or classroom.
15. Be the main character and write a postcard to a friend, describing some incident from the book.
16. Design stationery for the protagonist.
17. Write a letter from the protagonist (on his or her stationery) to one of the other characters using information and the language he or she ,DKXC normally use.
18. Make a newscast (live, video recorded, or tape recorded) in which the main character is interviewed. Plan ahead by writing out questions and answers.
19. Design a business card, bumper sticker, or banner for one of the main characters.
20. Explain why you would or would not like the main character to live in your neighborhood.
21. Plan a party for main character.
Design an invitation
Choose what food will be served
Plan what kind of entertainment will be provided
Plan how the guests will dress
22. Write a dialogue between yourself and the main character.
Because this is a practice paper which is intended to teach the
student writer techniques which can be implemented in future paper,
the evaluation is informal. Students use a read-around to select
which paper was the best and to develop a criteria list for effective
description.
Read Around Group
1. Divide students into groups of four. Appoint a group leader and a recorder for each group. Students arrange their desks in groups. The group leader collects the papers for that group and takes them to the group to the right.2. On a signal from the teacher, the leader gives each person in the group a paper.
3. The teacher times the reading, giving students 30-60 seconds (this has to be adjusted depending on the lengths of the papers). At the end of each reading time, the teacher says "Pass" and the students pass the papers from person to the right in each group. That continues until each paper in the group has been read.4. When the reading is completed, the group leader leads a brief discussion with group members to come to consensus about which of the papers was the best and why. The recorder lists the number on the paper selected and one reason why that one was chosen. The selection process takes 1 minute.
5. The group leader collects the papers and moves them to the next group on the right. The reading, coming to consensus, and moving of the papers continues until the group gets back papers written by group members. The group does not read papers from its own group members.
6. When all the papers have been read and are back with their original writers, the recorder for each group reports on the papers selected as best in each reading session. The numbers of those papers are recorded on the board. A mark is added each time that paper gets a vote. The reasons are also recorded on the board.
7. When all votes are tallied, the paper(s) with the highest numbers are read to the whole class.
8. The list of "reasons why" can be discussed by the class in general, applied to the paper(s) which are read, or copied by each student for future reference.
Rationale
Since there is no one right answer to literature interpretation, since good pre-writing activities ensure greater participation in writing assignments, and since problem-solving is an important part of the educational process, using text sets is an excellent classroom strategy.
Jerome Harste and Kathy Short introduced the concept of text sets in their book, Creating Classrooms for Authors.
When readers read two or more texts that are related in some way, they are encouraged to share and extend their comprehension of each text differently than if only one text had been read and discussed. Learning and understanding are processes of making connections. We are able to understand what we read only because of the connections we make between the current book and our past experiences which include previous books we have read or written. Text Sets highlight the strategy of searching for connections as we read.
As readers make connections between texts, they begin to see the reading event as an experience in itself. A reader can read one text to prepare for reading and better understanding a second text. The focus is not on what readers have to do to get ready to read, but on what happens when readers read one text to facilitate their understanding of other, related texts.
In addition, reading related texts encourages discussion among a group of students in Literature Circles. Because they have read different texts, they have a real reason for sharing their books with one another. Text Sets facilitate the connections they can make in the discussions as they compare and contrast the related texts (358).
Through collaborative learning, students are able to direct the
discussions and make connections, not only about the content of the
pieces, but about style. Eventually, they can develop a working
rubric for writing their own pieces. This is learning from the inside
out. This reading/writing strategy is an excellent alternative to
teacher-led discussions, teacher-written rubrics, and
teacher-assigned topics for writing.
Copied by permission of Jerome C. Harste and Kathy G. Short: CREATING CLASSROOMS FOR AUTHORS: THE READING-WRITING CONNECTION (Heinemann, A Division of Reed Publishing (USA) Inc. , Portsmouth, NH, 1988).
TEXT SETS
*Select a book to read. Read it and make enough notes so you can retell it.
*Take turns retelling the stories you have read. Take notes on the stories others share. Be sure to list the title and the storyteller's name.
*After everyone in the group has shared a story, brainstorm ways the stories are similar. How are they connected and related in some way? What are the major ways the stories are different?
*Decide as a group how to represent the above connections in a drawing, diagram, or chart. This drawing should show how all the stories relate to each other. Make the drawing.
*As a group, write an original story that would also fit with the stories in your text-set. List the events you want in the story. Then decide how everyone will contribute to writing the story. Write it.
Marne Isakson--Timpview High School
Note: Marne has used text sets for audiences from pre-school to doctoral candidates to use all the language processes to connect different texts and to stimulate thinking.
1. Double Entry/Dialectical Journal
What: A double-entry in which the student takes notes and adds his own reflections while reading literature. It provides the student with two columns which are in dialogue with each other. The journal provides a non-threatening beginning to writing and promotes writing fluency. Students are encouraged to explore ideas, responses, and to take risks in their writing.
When: As reader progresses through text.
Why: To actively involve the reader in making meaning by encouraging interaction with the text. This journal not only develops a method of critical reading but also encourages habits of reflective questioning. The journal creates a visible, permanent record and allows the students to interact personally with literature.
How: Divide a sheet of paper in half. On the left side, the reader copies a quotation or passage from the text that has been selected by the teacher or the reader. On the right side of the paper, the reader may respond, question, make personal connections, evaluate, reflect, analyze, and interpret. Or in other words, the left column is for note-taking from the text, and the right column is for note-making from the students.
What: A group activity that allows students to assume the persona of a character in the literature being read. The student (in character) answers question from someone else in the group, requiring that the student live in the shoes of the selected character.
When: Do Hot Seat after a portion or all of the text has been read.
Why: The Hot Seat enables the student to become a character in literature.
How: Divide class into small groups of 3-5 students. Each student selects a different character to become. In turn, students are given 2 minutes to respond "In character" to questions posed by other members of the group.
To Facilitate Implementation:
1. Brainstorm possible question in groups. Questions might focus on why a character did something or how he felt about something that happened.2. For responding to questions, put students in expert characters groups to share ideas about characters.
Some direction:
As you read, write your personal responses to the work. State your feelings, thought, reactions, and questions about situations, ideas, actions, characters, settings, symbols, plot, theme, and any other elements of the work which interest you or mean something to you.
You cannot be wrong in your responses, so take risk and be honest. Write about what you like or dislike, what seems confusing or unusual to you. Tell what you thinks something means. Make predictions about what might happen later. Relate your personal experiences which connect with the plot, characters, or setting.
If you like, quote brief passages form the work and respond to them. Try to relate this story to another story you've read. How are they alike? How are they different?
Avoid plot summary. Simply read, think, and write your thoughts.
Let me hear your voice.
The following is a list of suggested sentences and ends.
1. I wonder what this means. . . . .
2. I really don't understand this part because. . .
3. I really like/dislike this idea because. . .
4. This character reminds me of somebody I know because. . .
5. This character reminds me of myself because. . .
6. This character is like (name of character) in (title of book) because. . .
7. I think this setting is important because. . .
8. This scene reminds me of a similar scene in (title of book) because. . .
9. This part is very realistic/unrealistic because. . .
10. I like/dislike this writing because. . .
11. This section make me think about- because. . .
12. I think the relationship between and is interesting because.
13. I like/dislike (name of character) because. . .
14. This situation reminds me of a similar situation in my own life. It happened when. . .
15. The character I most admire is because. . .
16. If I were at this point, I would. . .
Remember:
Be truthful, thoughtful, thorough.
Write as you read, as ideas and thought occur to you. If you don't, they will be lost.
Make connections between what you read and your own life.
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Introduction
Readers need to be encouraged to take an active stance to their reading, asking questions and looking for points of agreement or disagreement with the author as they read. This active stance to reading is facilitated when readers interact with other readers and discuss their differing questions and interpretations of a shared piece of reading.
Less proficient readers often believe that proficient readers understand everything they read and that there is one "right" interpretation of every text. Save the Last Word for Me demonstrates to them that all readers work at constructing their one interpretation of what they read thorough relating their backgrounds and experiences to the text as well as though discussing the text with other readers.
Procedure:
1. Each student individually reads the text.2. As the students read, they write on the first side of the cards or slips of paper any segments of the text (words, phrases, or sentences) that particularly catch their attention. These segments can be items that they find interesting and want to discuss later or that they particularly agree or disagree with. Students should also record the page number of that segment.
3. On the other side of the cards or slip of paper, the students write out what they want to say about each quote they have selected. This can include questions and points of agreement or disagreement they have with the text segments.
4. Once students have completed the reading and writing of the cards, they gather in small groups or in a single group to share their cards.
5. Before class discussion, students go thorough their cards and put them in order from most important to least important in terms of their desire to discuss them. During sharing, if someone else uses the same top quote, the person will choose his or her next quote.
6. Each student reads the quote on a card to the group. The other members of the group have a chance to react to what was read. The student who reads the quote then has the last word about why that segment of text was chosen and bases the remarks both on what he or she earlier wrote on the back of the card and on the preceding discussion.
Copied by permission of Jerome C. Harste and Kathy G. Short: CREATING CLASSROOMS FOR AUTHORS: THE READING-WRITING CONNECTION (Heinemann, A Division of Reed Publishing (USA) Inc. , Portsmouth, NH, 1988).
Introduction
Sketch to Stretch encourages students to go beyond a literal understanding of what they have experienced. By becoming involved in this strategy, students who are reluctant to take risks or who have dysfunctional notions of language see that not everyone has the same response to a selection. Although much of the meaning is shared, variations in interpretation add to new meanings and new insights. Often, as students draw, they generate new insights of their own. They are faced with a problem because the meanings they had constructed for the selection through language cannot be transferred into a drawing. As they deal with his problem, they usually come to understand the selection at a different level than they initially understood it. Sometimes students discuss and explore aspects of meaning they may have captured in art that they were not aware of having understood verbally.
1. Students should be divided into small groups of four or five.2. After reading the selection, students should think about what they read and then draw a sketch of "What the selection meant to you or what you made of the reading. "
3. Students should be told there are many ways of representing the meaning of an experience and they are free to experiment with their interpretation. Students should not be rushed but given ample time to read and draw.
4. When the sketches are complete, each person in the group shows his or her sketch to others in the group. The group participants study the sketch and say what they think the artist is attempting to say.
5. Once everyone has been given the opportunity to hypothesize an interpretation, the artist, of course, gets the last word.
6. Sharing continues in this fashion until all group members have shared their sketches. Each group can then identify one sketch in the group to share with the entire class. This sketch is put on an acetate sheet for the overhead projector.
Teachers may need to help students focus on interpretation rather than on their artistic talents. Teachers should do their own Sketch to Stretch and share it with the group of students they are working with at an appropriate time. Students often initially have difficulty understanding the directions to "draw what the story means to you," and will draw their favorite scene. Don't give up on the activity before they begin to play with meanings they are creating through sketching and to get beyond their initial limited interpretations of what a sketch should be.
Teachers should discuss (1) why various readers have different interpretations, (2) why there is no correct reading (or sketch) but rather that what each reader focused on depended on the reader's interest and background, and (3) how and under what conditions Sketch to Stretch might be a particularly useful strategy for readers to use.
Copied by permission of Jerome C. Harste and Kathy G. Short: CREATING CLASSROOMS FOR AUTHORS: THE READING-WRITING CONNECTION (Heinemann, A Division of Reed Publishing (USA) Inc. , Portsmouth, NH, 1988).
Say Something is designed to help readers develop a more functional view of reading. Participants learn to respond in terms of what the passage meant to them and how it does or does not relate to their own experiences, rather than in terms of what they think the teacher wants. This activity also helps readers become aware of alternative reading strategies they can use when they run into difficultly in reading a text.
1. Students are asked to choose a partner, and each pair is given a single copy of a reading selection.2. Before reading, each pair of participants is asked to decide whether they will read the selection aloud or silently.
3. Students are informed that as they read the selection, they will discuss what they have read with their partner. After they read the first several paragraphs, they are to stop to "say something" to their partner about what they have read. Then it is the second person's turn to "say something" about what was read. After each exchange of this sort, the partnership reads the next several paragraphs and again each "says something" to the other before going on to the next paragraph, and so on through the text. Students can comment on what was just read, make predictions about what will happen next, or share experiences related to the selection.
4. When the majority of students have finished reading the selection, the teacher should organize a group discussion by writing a central topic for the reading in the middle of the overhead, circling it twice, and asking students to talk about some of the things that the author had to say on the topic and how it fits in with the other ideas that the article discussed. Ideas mentioned should be webbed off the topic statement on the overhead, so that a map of the author's ideas and how these relate and interrelate are shown on the overhead.
Teacher demonstrates that Say Something is used by successful language users by choosing a partner and participating in this activity with students. Throughout the group discussion, the teacher works at establishing a context in which students feel that their interpretations are accepted and that there is no one "right" answer. Any interpretation is accepted as long as the student can support it. "Why" should be a frequent response.
The teacher should encourage students to challenge and extend the interpretations of other students, rather than stepping in to correct what the teacher perceives as misinterpretations. When divergent interpretations are given, the text may be consulted. It is important to point out, however, that given a certain form of reference, both interpretations could be viable. If the discussion is not going smoothly, the teacher may want to ask, "What kinds of things did your partner say or relate that helped you better understand this selection?"
After the first several times that Say Something is used with a group, the teacher should engage the students in a group discussion aimed at helping them become aware of how they can use this strategy in their own reading.
Copied by permission of Jerome C. Harste and Kathy G. Short: CREATING CLASSROOMS FOR AUTHORS: THE READING-WRITING CONNECTION (Heinemann, A Division of Reed Publishing (USA) Inc. , Portsmouth, NH, 1988).
Secondary: Making Connections | Frameworks | MLA Style Sheet
Other Prompts for the Biographical Narrative in various modes
DESCRIPTION
(Firsthand Biography)
WRITING SITUATION
In A Chase, Annie Dillard describes the man who chased them with great accuracy and detail, although she had never met the man before in her life. She comments that this ordinary adult evidently knew what I thought only children who trained at football knew, and then ends up saying that he could only begin 'You stupid kids', and continue in his ordinary Pittsburgh accent with his normal righteous anger and the usual common sense.
DIRECTIONS FOR WRITING
Select a person who you have never met, but whose thoughts, feelings, and actions you could easily describe without really knowing the person. This could be the clerk at the store, the chorister at church, or a stranger on the street.
Describe this person in detail. Tell how you know what this person is like.
FAMILY RELATIONS
(Firsthand Biography)
WRITING SITUATION
In The Kitten, the young boy is quite resentful of his father. He was always a stranger to me, always somehow alien and remote. To the young boy his father is unreachable and the kitten is a way he could hit back at him.
DIRECTIONS FOR WRITING
Select a person you have known who might feel alienated towards their parents. What kinds of things would they do to get attention? What kinds of actions/reactions would be the best choice in creating a better relationship? What would hurt the relationship more? You may want to describe specific interactions or feelings from both points of view.
SAVING SOULS
(Firsthand Biography)
WRITING SITUATION
In "Salvation"Langston Hughes describes the people at the church who
are part of the revival: A great many old people came and knelt
around us and prayed, old women with jet-black faces and braided
hair; old men with work-gnarled hands. He tells that the whole
church rocked with prayer and song. These people showed what they
felt clearly by their actions: The whole congregation prayed for
me alone, in a mighty wail of moans and voices, and ...the
whole room broke into a sea of shouting as they saw me rise...women
leaped in the air. Their actions showed their feelings.
DIRECTIONS FOR WRITING
Think of a person you know who shows his or her feelings clearly at
public events. Describe this person for your readers through
attention to the way the person looks (characteristic dress)
and the way the person acts which shows the emotions. Show how dress
reveals something about your character and is consistent with the
person's personality. Your reader will also want to see a description
of the scene (basketball game, crowded store, rock dance, church
event, ski trip, etc.) along with the incident which shows what the
person is like.
THE MAXIM
Firsthand Biography
WRITING SITUATION
In Growing Up Russell Baker associates maxims--those old
cliches-- with his mother, and a picture of what she was like emerges
through her sayings and her dialogue.
By the time I was ten I had learned all my mother's maxims by
heart. Asking to stay up past normal, I knew that a refusal would be
explained with, "Early to bed and early to rise, makes a man healthy,
wealthy, and wise." If I whimpered about having to get up early in
the morning, I could depend on her to say. "The early bird gets the
worm."
The one I most despised was "If at first you don't succeed, try, try,
again." This was the battle cry with which she sent me back into the
hopeless struggle whenever I moaned that I had rung every doorbell in
town and knew there wasn't a single potential buyer left in
Belleville that week.
DIRECTIONS FOR WRITING
Select a person you have known who is notable for the advice he offers to you or to others in your family. Through the use of maxims or mottoes, show how the sayings reveal the person's personality. In addition to the maxims, focus on a specific incident which reveals what the person is like.
COSTUME
(Firsthand Biography)
WRITING SITUATION
In The Jacket, Gary Soto associates a distinctive kind of dress-- a biker's jacket with black leather and silver studs with enough belts to hold down a small town -- with the popular crowd. To Gary, the girls seem to blow away like loose flowers to follow the boys in neat jackets.
DIRECTIONS FOR WRITING
Select a person you have known who might be distinguished by a particular kind of clothing he/she wears. Describe this person-- for your colleagues--through an attention to the characteristic way he/she dresses; show how the attire reveals something about the person's personality. You may also want to describe some incidents that show what the person is like.
PERSONAL HAPPINESS
(Reflective Essay)
WRITING SITUATION
In A Chase, Annie Dillard writes about one of the happiest times of her life. She also says that it was one of the most terrifying, like football where your fate, and your team's score, depended on your concentration and courage.
DIRECTIONS FOR WRITING
Reflect on one of the most terrifying times of your life. Was this also an exhilarating and thrilling experience? How can you explain the irony of an experience being both a terrifying time and one of the happiest times? Take time to describe to your readers, your peers, this experience and its resulting significance to you.
TWO VIEWPOINTS
(Reflective Essay)
WRITING SITUATION
In Growing Up, Russell Baker recognizes his own limitation.
He and his mother disagree about the meaning of life -- his life in
particular. I told my mother I'd changed my mind about wanting to
succeed in the magazine business.
"If you think I'm going to raise a good-for-nothing," she
replied, "you've got another thing coming." She told me to hit
the streets with the canvas bag and start ringing doorbells the
instant school was out the next day. When I objected that I didn't
feel any aptitude for salesmanship, she asked me how I'd like to lend
her me leather belt so she could whack some sense into me, I bowed to
superior will and entered journalism with a heavy heart.
DIRECTIONS FOR WRITING
Write an essay in which you reflect on your viewpoint of life, on your abilities and limitations. Perhaps you will show someone else's viewpoint in relationship to your own. Take time to develop your viewpoint, and show it in a specific incident.
Life Discovery
(Reflective Essay)
I remember a time in high school when I realized that no matter how adroit a girl was in drill team and cheerleader tryouts, if she didn't have the "right" family name or her parents weren't high school teachers or personal friends of Mrs. Hansen, the girl's P.E. teacher, she may as well forget about ever getting on the pep or cheerleader squads. This was a small town where family relationship was strong, teachers stuck together, and friends were the "until death" kind. My town was a town with a clique the size of Texas.
This revelation first struck me at ten years of age. My next door neighbor, Gloria, was a cute, petite, bubbly brunette who wanted desperately to be a varsity cheerleader. She practiced constantly in her backyard. Night after night as I stood washing dishes, I would watch Gloria from the kitchen window practicing her jumps, springs, and splits. She was good! She knew every school cheer and routine by heart.
Tryouts were in two parts -
THE POWER OF WORDS
(Poetry)
WRITING SITUATION
In A Chase, Annie Dillard uses descriptive language to effectively tell her story. She uses poetic devices such as metaphors, similes and hyperboles to describe her experience. For example, Annie describes the neighborhood kids as the Reynolds, where the boys grew up dark and furious, grew up skinny, knowing and skilled. She also describes the snow as being like crenelated castle walls and the thrown snowball as a smashed star with a hump in the middle. She accurately describes the maze-like structure of the backyard as a labyrinth.
DIRECTIONS FOR WRITING
Write a poem, describing an exhilarating event in your life. It doesn't have to rhyme. Use as many descriptive words and poetic devices that you can. Be exact and make the readers feel like they were part of the experience.
REFLECTIONS ON DEATH
(Poetry)
WRITING SITUATION
In the kitten, Richard Wright describes the impact od death on the young boy. As the boy realizes that death also applies to him. He is horrified. My mind was frozen with horror. I pictured myself gasping for breath and dying in my sleep. Wright brings the idea of death into the boy's mind, causing him to question his own mortality.
DIRECTIONS FOR WRITING
Think of your experiences with death or loss. Has someone close to you died, moved away or left? A relative, a friend, a fellow student, etc. There are many types of loss as opposed to death. Have you moved away, had a friend, sibling or parent move? Compose a poem that describes the feelings you have or would have in this type of situation in relation to a kind of loss. Create a tone in the poem that lets your friends understand and feel what you were experiencing.
CHANGES
(Poetry)
WRITING SITUATION
In Salvation, Langston Huges uses contrasts. The high
expectations of seeing Jesus and having something good happen
to you inside are contrasted with the disappointment and shame of
having to pretend and to deceive everybody. Another contrast of
emotions is Langston's crying when he goes to bed. His aunt tells his
uncle he was crying because the holy ghost came into my life.
He knows he is crying because he doesn't believe in Jesus
anymore.
DIRECTIONS FOR WRITING
Create a contrast poem which shows a time when you have felt contrasting emotions or which shows how you have changed from the past to the present. For example, I used to be a child who played with cars and trucks and laughed at cartoons. Now I am a teenager who drives cars and trucks and live a cartoon. Create a series of contrast statements around a personal change. Your reader will want your last statements to sum up the whole point you are making.
AN ERA
(Poetry)
WRITING SITUATION
In Growing Up Russell Baker uses rich description to create
the depression era for the reader. From the pearl-gray spats, and
Saturday Evening Post to little boys' answering questions
about whether or not they'd like to become president, Baker
re-creates a specific era and time. He uses rich
metaphor--Security depended upon us soldiers of the free
press.
He uses action verbs--I clasped the idea to my heart. And,
imagery that depicts life-- And died with a few sticks of
mail-order furniture as their legacy.
DIRECTIONS FOR WRITING
Think of our time and our era, or perhaps the era when you were a child. Recreate a time and place by listing specific music, food, clothing, sayings, and movies with enough detail that anyone reading your paper would recognize the era. Let the reader feel the essence of the era, and do it, if possible, writing poetry. You do not need to rhyme, but if possible use simile or metaphor.
SPECIAL POSSESSIONS
(Poetry)
WRITING SITUATION
In The Jacket, Gary Soto uses rich detail to describe his new jacket and its effect on him. From showing us his "dream" jacket, --a jacket like bikers wear: black leather and silver studs with enough belts to hold down a small town-- to his "real" jacket--the color of day-old guacamole--he creates vivid pictures so the reader will know how he feels. Sometimes his descriptions are straightforward and direct, but, often he uses "simile" or "metaphor" to dramatize the effect of the jacket: Simile: I stared at the jacket, like an enemy. I wore that thing for three years until the sleeves grew short and my forearms stuck out like the necks of turtles; Metaphor: I started up the alley and soon slipped into my jacket, that green ugly brother who breathed over my shoulder that day and ever since.
DIRECTIONS FOR WRITING
Think of your special possessions and the way you feel about them. Possessions might include a favorite gift or treasure, an inherited object, a project you crafted yourself, even a special piece of clothing, like the jacket in Gary Soto's essay. Select something that has special meaning for you, and compose a poem that describes this special object and the way you feel about it. Compose the poem for your friends so that they can see the object just as you do. Consider using similes and metaphors to dramatize the details of your description.
TENDRILS OF DESIRE
(Poetry)
WRITING SITUATION
Floyd Dell's writing style is direct and straightforward, but at one point he says, The tendrils of desire unfold their clasp on the outer world of objects, withdraw, shrivel up. Wishes shrivel up, turn black, die. It is like that. It hurt. But nothing would ever hurt again. I would never let myself want anything again.
DIRECTIONS FOR WRITING
Think about a time, place, person, or event which caused you to experience a specific emotion. Compose a poem that describes this specific feeling and/or emotion.
ACROSS THE STREET POPULARITY AND ACCEPTANCE
(Problem/Solution)
WRITING SITUATION
In A Chase, Annie Dillard portrays herself as a tomboy.
Boys welcomed her to play baseball and football with them. Through
practice, she had obtained a boy's arm. She only finds
excitement in the roughness of sports and the thrill that comes from
living on the edge. She says that nothing girls did could compare
with it.
DIRECTIONS FOR WRITING
Imagine that you write a column for the school newspaper - a Dear
Abby sort of feature - where students write to share problems and
ask for advice. Imagine that Anne Dillard had written to you about
her dilemma. She enjoys sports and doing things with the boys, but
she wants the guys to treat her like a girl. In your letter to her,
show Annie how you understand her problem, and offer her some
suggestions to get her out of her rut. Keep in mind how frustrated
she feels, but try convincing her to take your ideas seriously.
HOW TO DEAL WITH DAD
(Problem/Solution)
WRITING SITUATION
In the kitten, the young boy believes that by killing the kitten, he will get back at his father. It irked me that I could never make him feel my resentment. How could I hit back at him? The boy is struggling with not being heard by his father, so he kills the kitten in an attempt to gain attention.
DIRECTIONS FOR WRITING
Imagine you write for the school newspaper - a Dear Abby sort of feature -- where students write to share problems and ask for advice. Imagine that this young boy has written to you about the struggle he has communicating with his father and just getting along with him. In your letter, show the young boy that you understand his problem with his father and offer him some suggestions on how he can improve the relationship. Keep in mind that he father is not going to go away and leaving is not an option. Identify with the boy's frustrations and try to convince him that your ideas are worth taking seriously.
FACING THE TRUTH
(Problem/Solution)
WRITING SITUATION
In Salvation, Langston Hughes believes there is no Jesus since Jesus didn't come to help him. He had lied, had deceived everybody in the church because he didn't know how else to solve the problem in that situation.
DIRECTIONS FOR WRITING
Imagine you were Langston's aunt or uncle, two people who really cared about him. Imagine that Langston tells you what really happened, why he lied, and how he felt. Write Langston a letter telling him how you feel about what he did and what, if anything, you would like him to do about remedying the situation. Keep in mind that he is 12-years-old. He is upset and frustrated because he feels he had no choice but to lie. Try to help him resolve that situation and handle future situations better.
ADVICE COLUMN
(Problem/Solution)
WRITING SITUATION
In Growing Up, Russell Baker tries for three years to please his mother and sell the magazines. He listens to her maxims, An apple a day keeps the doctor away, and watches his younger sister outsell him in five minutes.
Brimming with zest, Doris, who was then seven years old,
returned with me to the corner. She took a magazine from the bag, and
when the light turned red she strode to the nearest car and banged
her small fist against the closed window. The driver, probably
startled at what he took to be a midget assaulting his car, lowered
the window to stare, and Doris thrust a Saturday Evening Post
at him.
You need this magazine, she piped, and it only costs a
nickel.
DIRECTIONS FOR WRITING
Imagine you write a column for the school newspaper -- a Dear Abby sort of feature -- where students write to share problems and ask for advice. Imagine that Russell Baker has written to you about his worries about the future. What will he do in the future? Should he be concerned about it now? How can he get his mother off his case? How can he handle a pesky younger sister who is better than he is? Write a letter to Russell Baker showing that you understand his problems and offer him some suggestions for handling his problems.
POPULARITY AND SUCCESS
(Problem/Solution)
WRITING SITUATION
In The Jacket, Gary Soto believes his new jacket -- the color of day-old guacamole -- dooms him to life with the ugly crowd. He also blames the jacket for his poor performance in school and for the giggles of rejection by teachers and friends. If only he had received the biker's jacket -- with black leather and silver studs with enough belts to hold down a small town -- He might have been accepted by the popular crowd.
DIRECTIONS FOR WRITING
Imagine you write a column for the school newspaper -- a Dear Abby sort of feature where students write to share problems and ask for advice. Imagine that Gary Soto has written to you about his embarrassment about his new jacket and his declining success at school. In your letter to him, show Gary how you understand his problem, and offer him some suggestions to get him out of his rut. Keep in mind how frustrated he feels, but try convincing him to take your ideas seriously.
BOASTFUL EMBARRASSMENT
(Problem/Solution)
WRITING SITUATION
After realizing his family was poor, Dell remembered, I was one of those poor children I had been sorry for when I heard about them in Sunday school...I remembered something that made me squirm with shame--a boast. (...Had I said to some Nice little boy, "I'm going to be President of the United States"? Or to a Nice little girl, "I'll marry you when I grow up"? It was some boast as horribly shameful to remember.) ...I had thought all sorts of foolish things: that I was going to Ann Arbor--going to be a lawyer--going to make speeches in the Square, going to be President. Now I knew better.
DIRECTIONS FOR WRITING
Imagine you are writing a letter to Dear Abby explaining your embarrassment of prideful boasting in relationship to your knowledge of being poor. In your letter, explain the problem and why it is of great concern to you. Then, write a response from Abby. As Abby show Floyd that you understand his problem, and offer suggestions on how he can overcome his boastful embarrassment and growing up poor.
Problem/Solution Example
Dear Abby:
I feel so embarrassed. I have told people of important things I had hoped to accomplish. I had believed that I could attend an Ivy league school, that I could marry whomever I chose, that I might even run for President. You see, I didn't know that I am poor - now I do and I realize that I have few options. I Wonder if people are making fun of me. What can I do?
Dell
Dear Dell:
What is important is what you are inside. You may still accomplish some of your desires if you hold onto your dreams and work hard. Forgive yourself for boasting. Your concern for the other children you saw as poor shows that you are a caring person. Hold your head high.
Abby
Life Discovery
(Reflective Essay)
I remember a time in high school when I realized that no matter
how adroit a girl was in drill team and cheerleader tryouts, if she
didn't have the right family name or her parents weren't high
school teachers or personal friends of Mrs. Hansen, the girl's P.E.
teacher, she may as well forget about ever getting on the pep of
cheerleader squads. This was a small town where family relationship
was strong, teachers stuck together, and friends were the until
death kind. Mu town was a town with a clique the size of
Texas.
This revelation first struck me at ten years of age. My next door
neighbor, Gloria, was a cute, petite, bubbly brunette who wanted
desperately to be a varsity cheerleader. She practiced constantly in
her backyard. Night after night as I stood washing dishes, I would
watch Gloria from the kitchen window practicing her jumps, springs,
and splits. She was good! She knew every school cheer and routine by
heart.
Tryouts were in two parts - individual and pairs. So, Gloria and her
best friend, Mary Ellen practiced together every night until I
thought they must be the best cheerleaders the high school would ever
see.
The day of tryouts arrived. Gloria took me to the tryouts - as
moral support she said for her and Mary Ellen. I knew where to
yell, scream, and clap in their routines, and Gloria wanted my 10
years old help. As the tryouts progressed and girl after girl did her
yells, I couldn't help noticing Mrs. Hansen talking and laughing with
the judges after each pair of cheerleading contestants had finished
their routines.
Soon it was Gloria's turn. She confidently took the floor and did her
individual routines. She was flawless. In fact, she was the only girl
there who could do the Chinese splits and she did them perfectly. She
smiled constantly and her enthusiasm started rubbing off on the
judges as they began clapping to her routines. Gloria and Mary
Ellen's routines were almost as perfect. The only mistakes were Mary
Ellen's. She slipped on the words to one of the yells and on a jump
she landed wrong and fell flat on her butt. Both times Mary Ellen was
flustered, but Gloria laughed and helped her out of the
situations.
The time for totalling the judges scores arrived. I just knew in my
ten year old heart that Gloria would be chosen and I would be living
by a high school cheerleader. I was thrilled! As the judges started
leaving the gym with their score pads, Mrs. Hansen stopped them and
made an announcement to the participants and the crowd, Since it
is so late and some of the judges have another cheerleading tryout to
judge in the next town, the winners will not be announced until
tomorrow at a special assembly.
Most of the girls seemed understandably upset over the announcement,
but a few took it in stride and began leaving the gym. Gloria was
deflated. She felt she couldn't wait one more night. She had been
practicing for years. Every year since ninth grade she had tried out
and every year she'd lost. This was her
last chance since she would be a senior next year. She hated the
wait and the anticipation even for a few more hours.
Gathering up the judges score pads and turning off the gym lights,
Mrs. Hansen said she would take the score pads home where she felt
they would be safe for the night. Everyone left wondering which
girls' names had the most points next to them.
I don't remember much that happened the next day. When I got home
from school Gloria was already home. She had come home at lunch time
with a migraine right after the special cheerleading assembly. Gloria
hadn't made cheerleader, but Mary Ellen, the daughter of Mrs.
Hansen's best friend had.
As I tried out for cheerleader several years later I thought of
Gloria. We were so similar in our hopes, enthusiasm, and school
spirit. When Mrs. Hansen took the judges score pads home that night
also, I looked around and noticed for the first time who was really
trying out for cheerleader. Susan, the school snob and despised by
all, would eventually be head cheerleader. Her mom was a high school
history teacher. Karen, who couldn't so the splits, but whose father
was the local banker, would also be a cheerleader the next year.
Cathy, my pairs partner and daughter of the city attorney,
well...
The next day after the special cheerleading assembly, I left school
with a migraine headache.
LIFE DISCOVERY
(Reflective Essay)
WRITING SITUATION
In We're Poor, Floyd Dell writes about the time in life where he realized ...All these things, and others, many others, fitted themselves together in my mind, and meant something. Then the words came into my mind...We're Poor!
DIRECTIONS FOR WRITING
Reflect upon a time in your life where you learned a personal truth of lesson. What was it you learned? How did you learn this truth/lesson? How did it affect you and your relationship with others and yourself? Did you progress and grow with this revelation? (If so, why? If not, why?) Explain so your readers may experience this revelation of truth with you.
MY FIRST JOB
(Autobiographical Incident)
WRITING SITUATION
In Growing Up, Russell Baker describes a three year long experience with his first hob; he details its frustrations and shows us a growing experience.
Some weeks I canvassed the entire town for six days and still had four or five unsold magazines on Monday evening; then I dreaded the coming of Tuesday morning, when a batch of thirty fresh Saturday Evening Posts was due at the front door.
"Better get out there and sell the rest of those magazines tonight," my mother would cry.
DIRECTIONS FOR WRITING
Write about one of your first jobs. Describe a specific incident in
relationship to the job so well that the reader can picture the
people at your job, the place where you worked, hear voices, and
smell the hamburgers frying, much as Russell Baker describers his
first job.
(Your job may be cleaning house for your mom, baby sitting, washing the car, or working at McDonald's. Many possibilities exist.
PERSONAL CLOTHING
(Autobiographical Incident)
WRITING SITUATION
In The Jacket, Gary Soto dreams of owning a jacket like bikers wear: black leather and silver studs with enough belts to hold down a small town. He seems to suggest that like this will allow him entry into the popular crowd. But, when he receives from his mother a jacket the color of day-old guacamole, he feels the jacket will doom him to life with the ugly crowd. The way he describes the jacket shows his disdain for it: I stared at the jacket, like an enemy; I wore that thing for three years until the sleeves grew short and my forearms stuck out like the necks of turtles; I started up the alley and soon slipped into my jacket, that green ugly brother who breathed over my shoulder that day and ever since.
DIRECTION FOR WRITING
Write about a time an article of clothing affected the way you felt about yourself. Perhaps the clothing made you feel special and appealing or uncomfortable and embarrassed. Imagine the kind of details that will help your readers--your colleagues--see this item and its influence on you. Your readers will also want to know why you still remember this incident.
LIVING ON THE EDGE
(Autobiographical Incident)
WRITING SITUATION
Throughout A Chase, Annie Dillard centers her story on the exhilaration that comes when you fling yourself at what you're doing, you have to point yourself, forget yourself, aim, dive. After the chase was over, Annie claims that she could have died happy, for nothing had required so much of her than being chased all over Pittsburgh.
DIRECTIONS FOR WRITING
Write about an exhilarating experience that you have had when you felt like you were living on the edge, but loving every minute of it. Perhaps this experience came for you in connection with a sports event, playing a musical instrument, or even completing a challenging school assignment. How did you fell when it was over? Why did you feel this way? Give detail and tell why it was a memorable experience for you.
REFLECTIONS ON DEATH
(Autobiographical Incident)
WRITING SITUATION
In the kitten, the young boy must face the reality of his own mortality. As he recites the prayer--And spare my poor life, even though I did not spare the life of the kitten...And while I sleep tonight, do not snatch the breath of life from me--he realizes the reality of death. My mind was frozen with horror. I pictured myself gasping for breath and dying in my sleep. The young boy cries over this realization.
DIRECTIONS FOR WRITING
Write an essay in which you reflect on your feelings about death. What did you feel when a close friend of relative passed away? How did this affect your perceptions of death? Take time to show your peers the significance this realization has in life, especially to teenagers.
ADVICE FROM OTHER PEOPLE
(Autobiographical Incident)
WRITING SITUATION
In Salvation, Langston Hughes wants to see Jesus and be saved as others in his church have been. His aunt tells him that when he is saved, he'll see a light and something would happen to him inside. As Langston said, I believed her. I had heard a great many older people say the same thing and it seemed to me they ought to know. He feels like there is something wrong with him because he has to pretend and because everyone is so happy when he gets up. He is confused: That night...I cried. I cried, in bed alone.
DIRECTIONS FOR WRITING
Write about a time when you had to follow advice given to you by someone older, someone who cared about you, and it didn't turn out as they said it would. Maybe it was to try a new sport, try out for a play, run for an office, apply for a job, or to try to get along with someone. Share the situation with your readers; help them to understand your feelings and to see what happened. Your readers will also want to know what you now think of the incident.
BAH, HUMBUG!
(Autobiographical Incident)
WRITING SITUATION
It's Christmas time when Floyd Dell realized the pain that he was poor. There in bed in the dark, I whispered it over and over to myself. I was making myself get used to it. (Or--just torturing myself, as one presses the tongue against a sore tooth? No, memory says not like that--but to keep myself from ever being such a fool again: suffering now, to keep this awful thing from ever happening again. Memory is clear on that; it was more like pulling the tooth, to get it over with--never mind the pain, this will be the end!)
DIRECTIONS FOR WRITING
Write about an unhappy time of your life. What was it that caused this unhappiness? How did you deal with it personally? What emotions did it elicit from you? Why do you still remember this specific incident?
Salvation THE CAMPING TRIP
(Autobiographical Incident)
You are old enough to make up your own mind, she had said
flatly as she closed the car door.
And I will, I had retorted, because I think it sounds
fun.
Well, you're always done exactly what you wanted so why should you
ask my permission now?
I wasn't asking permission. I am 18, you know, I had added over
my shoulder as I went in the back door.
It was the same old discussion, the same old argument, the same old
mother-daughter problem through all my years of growing up. My
mother's advice was seldom what I wanted to hear and seldom what I
took to heart. This time was no exception.
After finishing two quarters of college, I was completely grown up
and in love. Although I was sure of both those things, my mother was
sure of neither. The discussion topic for this event was a proposed
camping trip to Strawberry Reservoir with James, the then-love of my
life. I had to work that night until 10:00, so the three hour drive
to fishing camp wouldn't end until well after midnight. The fact that
we would be arriving well after midnight and sleeping on the floor of
the cabin with James' parents didn't seem very respectable to my
mother, although I certainly didn't see why it was a problem.
For me, Mother's refusal to buy into the idea presented several
possibilities. First, she didn't like James. Second, she didn't trust
me. Third, she thought I was still just a baby. Fourth, she thought
we'd be killed on the way. Or, fifth, she just plain didn't want me
to have fun. Well, I'd show her. I'd go with James and have a
wonderful time.
I should have listened to Mother. The trip was a disaster beginning
with a flat tire in the middle of the canyon and ending with the
major fight still erupting between James' parents, one which we could
clearly hear three cabins away. The cabin was small and smelly, the
sleeping bags were lumpy and uncomfortable. The remains of the
argument hovered in the air just over the four of us all weekend.
When we left Sunday afternoon, my cheery Thanks for a great
time! fell flat onto the bare wood floor as James' parents glared
at each other, no doubt ready to begin Round 2 as soon as our car
doors closed. Our small talk died and left us in silence as we rode
home.
I had a good time, I lied as we pulled up in front of my
house. I'd better get my Psych 101 paper done now, or I'll be in
trouble tomorrow.
I walked quickly up the walk, glad to see the end of an
embarrassing and uncomfortable weekend.
Well, my mother asked from the kitchen, how was the trip?
Oh, I lied, it was just great. We had so much fun. His parents
are really nice people and everything just went perfectly.
Well, she sighed, I guess you were right. I'm glad you had a
nice time.
I've never admitted anything different because I have not yet
forgiven her for being right.
HIGH TOPS
(Autobiographical Incident)
Seventh grade! Junior high school!! Dressing for gym!!! The thought sent a shuddering wave of apprehension over me. The gap from grade school to junior high school was a giant leap in my mind, and I dreaded the certainty of it like a trip to the dentist.
The much-anticipated first day of school arrives. I go to my classes like a lemming to the sea. I am a bewildered mew face in the teeming crowd, groping my way down the winding labyrinth of strange-smelling halls. The press of maturing faces and bodies push and shove me, like I'm an apple bobbing in the water barrel of junior high school.
Fifth period physical education. A strange new territory gapes open before me, Lockers, benches, mirrors, and ...showers! An efficient-looking gym teacher gathers us around her like a mother hen gathering her baby chicks, clucking instructions and rules, shower policy, and regulation dress standards. Maybe this wasn't going to be so bad, I say to myself consolingly.
Mom, I say. I need a pair of tennis shoes for p.e. tomorrow. Can you buy them for me, and drop them off at school during my lunch? I can meet you in front of the school at 11:45. I need them by 2