TUESDAY, SEPTEMBER 27, 2011

CREATIVE WRITING

TODAY’S TARGETS

• Identify methods of developing character in a story• Identify areas for revision through writer’s

workshop formats

WORD OF THE DAY

bivouac \BIV-wak, BIV-uh-wak\, noun:1. An encampment for the night, usually under little or no shelter. intransitive verb:1. To encamp for the night, usually under little or no shelter.•Rob had made his emergency bivouac just below the South Summit.-- David Breashears, "Death on the mountain", The Observer, March 30, 2003•They were stopped by savage winds and forced to bivouac 153 m below the day's goal.-- Erik Weihenmayer, "Men of the Mountain", Time Pacific, February 4, 2002

TODAY’S TASKS

1. Journal write2. 2 truths and a lie3. Writing portfolios4. Debrief from writer’s workshop with character

sketches5. Return sketches6. Showing vs. telling7. Developing plot8. HOMEWORK: none unless you still need to

work on your “sketch”

JOURNAL WRITE

• What if you (or a character) suddenly found yourself transported to another time period? • What would you/your character suddenly see,

feel, hear, smell?• How would you/your character respond?

WRITER’S WORKSHOP DEBRIEF

• How did you do with the workshop rules?

WRITER’S WORKSHOP RULES

1. Elect a facilitator to help you stick to the format.2. Each person will read their sketch out loud to the

group without comment.3. After each person has their sketch, pass the sketches

around and read them silently.4. Read each sketch again but this time discuss each

piece after it is read out loud. (Writer’s need to just listen and take notes on the feedback.)

5. Discuss sketch by answering these two questions:• What do you like about it?• What do you want to know more about or would like to see

more of in it?

6. Writers: Thank your group for their feedback.

CRITIQUING TIPS

When critiquing

• BE HONEST • BE KIND• BE ENCOURAGING• LOOK AT THE BIG

PICTURE (In other words, don’t worry about nit-picky little things like conventions.)

When receiving critique

• BE THICK-SKINNED• CONSIDER

COMMENTS CAREFULLY

• LOOK AT THE BIG PICTURE (The purpose is to make your writing stronger. Don’t forget, it is all part of a process.)

SHOWING VS. TELLING

• How do you know when a child is upset, happy, sad, lonely, etc.? Children don’t always tell us, but they certainly show it.• Complete the showing vs. telling group activity.

Share these. Remember: It isn't about using the biggest words or long strings of adjectives and adverbs.  It is about the ideas. Flowering language does not necessarily mean good writing.

SHOWING VS. TELLING

Possible events Showing

DEVELOPING PLOT

• To outline or not to outline?• Ideas for outlining• Four parts

• Alternatives to outlining

TO OUTLINE OR NOT

• Spilling Ink Reading (pages 46-52) Read on your own and take notes on the following in your journal.

1.If you are going to write your story without an outline, what things do you need to consider when writing?  What ideas should drive your plot?  (46-52)

2.What should you do or think about if you find that your story is going in a different direction from what you had planned?  (53-54)

3.Review Question: Stories need conflict.  How can you develop conflict in a story, and how should this conflict relate to the goal/motivation/conflict chart?  How does this conflict drive the plot?

ASSIGNMENT

• Write a scene SHOWING an event (possibly for your story)