When the students arrive for the evening class, have them all meet in a room that doesn't contain the boxes, and go over the directions with them first. Then let them into the room with the boxes. The procedure is as follows. A.) With sufficient notebook paper, the students go from box to box writing first their assessment of the external qualities of the box maker as portrayed by the exterior of the boxes and then doing the same with the interior of the boxes. Then they are to make a guess as to whose box. If they change their minds, they should draw a single line through previous choices.
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They may vary from shoe boxes and hat boxes to english packing boxes. A few have made their boxes, some from plywood. A.) On the outside of the box they place a collage of pictures and words from magazines, etc. That describes them as they think diwali others see them. B.) Then they cover the inside with pictures and words that describe them as they really are. They do not need to put anything that they feel uncomfortable with or don't wish to disclose. C.) Nowhere on the box should they put their name. II.) They should turn the box in on the morning of the evening class. The box should be in an opaque bag with a piece of paper with the student's name. Iii.) For the evening class arrange the boxes in the room with an identifying number on the desk which the box.
Plus, the interaction between students as they guide or deflect each other's purposes, also shows the power of intent and concept on the story at any given point. Note: besides the educational value of these exercises, they build enjoyment for the class and an appreciation of each other's cleverness, or problems, in dealing with the story in the form that is handed to them. Unit: exterior/interior boxes *This assignment came from an elementary teacher. As one joins in doing the assignment, its value and strength in teaching creative writing becomes apparent. It develops inward and outward directed perceptions regarding real life people that can be transferred to the development of more realistic characters. The assignment was done when I had the option to have an evening class, plan 7-10. It may not be feasible to do in less than several hours, and I did not include it in my most recent classes. The procedure is as follows:.) The students choose a box usually cardboard that 'fits' their personality.
As the time for a conclusion draws near, the instructor announces that the next writer will begin to finish up the story and the one after that will conclude the story. (The class may be told that this will happen so that they can mentally prepare for finishing a story although they won't know which one.) 2) Exercise two with a theme. Previous to this exercise the instructor has asked each student to turn in 3 sayings, preferably original, on a sheet of paper. The instructor chooses 1 of the 3 sayings from each and puts one for each class member, and the instructor, on a slip of paper. When everyone has drawn their sayings from a box, the instructor says "Begin." They unfold their sayings, write them and their names at the top of their papers, and begin a story aimed at using the saying they have drawn as a theme of their. The procedure is the same as the "without saying" cycle except the last two writers have the particular challenge of ending the story to fit and/or support the saying. Return the stories to their originators so they can see what happened to their ideas. These exercises are helpful in showing the function of "theme" by being absent and then present. The students then see how theme shapes the evolution of a story.
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Teacher Focus : without making it yet a part of the students' assignments, begin to point out writing which is notable for its "sound" and clarity. Unit: "three minute" writing cycles' 'it was a dark and stormy night.'. This unit contains two exercises. The first exercise causes an awareness of the existence of plot as an element of the short story, and the second exercise- with the addition of a "theme" shows how plots are shaped by a theme. The instructor may also wish to point out to students how plot-orientation focus draws attention away from character development. 1) Exercise one without a theme: The students sit in a circle, each having sufficient writing paper and their names on the first sheet.
When the instructor says, 'begin' they begin writing a story help starting with the phrase "It was a dark and stormy night." The teacher should instruct the class not to write about anyone in the class or in the school. After 3 minutes, the teacher instructs them to pass the story to the person on their right/left. The next student adds to the story for 3? Minutes and passes it on, and so forth. The instructor keeps track of the time periods, adjusting them for the "speed" of the class but 3 minutes is generally best. The instructor joins in the writing.
When this unit is done with accuracy, tact, and consideration, the students learn how to give and take feedback, and they do not mind reading their own assignments next time. Note: creative writing classes work best when the seating is in a circle. To read samples of student writing click here: haikus, unit: blind/deaf experience, the students spend one hour either "blind" or "deaf" in a safe situation of their choosing and then they write two typewritten pages, one narrative and one expository. The first page consists of a narrative description of their experiences and the second page consists of an explanation of what they learned from the experiment. Although the assignment covers two different modes of writing, it should be written as a single assignment.
Note: This assignment should be done individually, and not as a group, because the group experience lessens its value in strengthening perceptions. Before turning the paper in to the instructor, they read it in class. This is a good first assignment for students to read orally before the class because it requires writing skills they already possess and therefore they should feel less uneasy about how their peers may react. What does bring positive reactions from the class and one of the elements I look for when grading, is involvement with the assignment. When the writer has been involved, the class listens more intently and more actively develops their listening and discussion skills. To read samples of student writing click here: One hour Blind and.
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Since the focus of the class is on the short story, this is the only poetry that they write, and the purpose database is not actually to teach a poetry form. It is rather to learn to use image, emotion, and insight in a creative way that avoids the beginning writer's tendency to wordiness. A discussion of students' works when read by the instructor also helps the students to begin being involved in discussions without being as self-conscious as they might be after reading their own writing. I read an 'anonymous' student haiku. Then i ask the class what the 'mental image'. As various people comment, the writer can see how the writing is perceived. Next, we discuss the 'distinct emotion and then the 'insight.' sometimes the writers golf may anonymously want to state the purpose that they thought that their haiku contained.
longer assignments. Excellent sample haikus may be found in 'a net of Fireflies' by harold Tran Stewart. See the section on teaching haikus for some sample 'classic' haikus. As Stewart illustrates, the japanese haikus translate better into English couplets than into the traditional haiku form of three lines of 5, 7, 5, syllables. Stewart's haikus contain the other more important elements of haikus and i use them in class to illustrate these elements and use a few more conventional haikus to teach the haiku format of three lines of 5, 7, 5, syllables. I hand out two pages of Japanese haikus which we read and discuss in the same manner as we will later discuss student haikus. I have the students take turns reading these model haikus and discussing them in relation first to clear picture, then distinct emotion, then spiritual insight. This discussion helps students realize what qualities a haiku should possess, which is image, emotion, and insight, and it also begins a right brain shift so students can write more creatively.
Therefore they need to have their assignments completed by the pdf due date. If the teacher lets the students volunteer, it causes a better class spirit, but some students may put off finishing on time because they rely on others to volunteer. All assignments are to be typed except those written in class and as journals. Unit: haikus, haikus are underestimated in their challenge and value as a writing assignment. I assign only two or three. When possible, i assign them the week before spring break so the students can work on them over the vacation. Haikus are intended to convey a clear Picture mental Image, a distinct Emotion, and a 'spiritual' Insight.
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This page contains the complete lesson plans for a thirteen week course in creative writing which I taught for Lane community college for 22 years, most recently spring quarter, 2002. The longer units in this lesson plan are designed to develop specific skills in a certain order during the class. The shorter units can occur in a different order in the class than given here, according to the teacher's experience and preferences. Some of these units are presented in more or proposal less detail on individual pages on this website. When you view the students' writing samples, please use the -back button- on your browser to return to your place in these lesson plans. Writing 241 7/15/02 * Work on reading skills so that students can present their writings in the best manner. All the assignments except the first one using haiku's are presented orally by the students before they turn them.