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HW Short Stories
Material Covered for Ms. K's Midterm
Modes of Writing
Of Mice and Men
Short Stories Scope
Skills and Strategies
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HW Short Stories
Competencies Semester I:
Plot Diagram Opportunities
"Thank you Ma'am" by: Langston Hughes 1/3/11 @ home seting
"Most Dangerous Game" by Richard Connell
Re-do opportunities -->
"The Most Dangerous Game" 1/7/11
The Midterm Exam 1/21/11
2. Organizational Opportunities
Binder Clip n' St
SDL Monthly Grades
Study packet completion
by: Richard Connell (p. 21)
Photo: Rattlesnake Speedboat
(c) Klimowicz, 2010
In Class: We
pre-read pages 115-120
of "The Most Dangerous Game"
The Goal: by looking at the Editor's notes, we have background information that will activate our thinking
This will establish a purpose, context, and background information without giving us too much extra work.
Highlight dialogue from pages 115-125 in MDG. You are not yet responsible for comprehension. This remains a pre-reading exersize.
Also: On the checklist, it tells you to box and highlight first sentences. YOU DO NOT HAVE TO DO THIS due to the heavy dialogue of the text.
You had last Friday to work for the entire period. For tonight, please be sure to complete your checklist reading assignment for Langston Hughe's, "Thank you, Ma'am" including the pre/during/re/reading activities. DO NOT FORGET TO CREATE THE PLOT DIAGRAM ON THE BACK! THIS IS YOUR FIRST TRY AT THE PLOT DIAGRAM COMPETENCY
Homework Due Dates
Thank You, M'am
by Langston Hughes
: American novelists
Date of birth
: February 1, 1902
Date of death
: May 22, 1967
: Lyricist, Poet, Columnist, Social…
: Montage of a dream deferred, weary…
: Quill Award for Poetry, ...
: Ask questions that specifically tell me what I can do to help you
LEARNING IS A PROCESS
But learn from them as well
As we become more confident in putting together plot diagrams, we begin to notice that embedded strategies begin to surface. In about 10 minutes we came up with 6 examples that we have used; highlighting for dialogue, re-reading exposition, having a conversation in the margin, working with others to explore the text, reading aloud for oral fluency... All of this, combined with the foundation you have built with nearly ten literary elements to supply your conversation, has demonstrated much.
For homework tonight, I want you to SERIOUSLY ask me those questions, and in ways that I can answer clearly. For example; some of you were confused about the appprenticing. No problem. We practice. My goal for you is that you learn to become life-long learners who have a love (or at least a respect) for literature.
HW: Try to apprentice the left-over pink-sheet on your own from today's lesson. Also, fill in the "reaction" section to the apprenticed strategy sheet (green). and I'll give you ONE MORE NIGHT to study for.../I mean, fill in the plot-diagrams for Button/Cask.
Complete 2@ plot diagrams. 1. Button, Button; 2. Cask of Amontillado. You have already completed both of these as a group and as a class, but I want you to test yourself to be sure you have the individual facet of understanding.
No homework. Be ready to plot out Cask.
Complete Literary Device Handout for "First Person Point of View" for "The Cask of Amontilliado."
Hand in and staple sheets as follows by end of class
Cask of Amontilliado Short Story to correct for Carnival reqs.
Complete Literary Device Handouts for "Mood" and "Setting" using "The Cask of Amontilliado." Hand in and staple sheets as follows by end of class.
Write two of the three essays offered on the Carnival/Cask sheet from t11/27
*For Extra Credit, well-written essays for ALL THREE can be used to help out grades
Also: Inner/Outer Conflict Papers may be handed in late for full credit if handed in tomorrow
Tripping Over the Lunch Lady
Write a one-paged detailed narrative about an aspect of David Lubar's "Science Friction" (p.60 from "Tripping Over the Lunch Lady.") Moldy descriptions, laundry piles, book-cases, and lunch-meat stages of decomposition welcome. Tomorrow we will use the story to plot out on a diagram.
How do we thin others perceive us and how does that affect how we act and what we are able to succeed in school? How could we be free of this if we chose instead to openly be ourselves, regardless of our environment? If you are uncomfortable with your own life, choose one of the four characters we met in the "Science Friction" story by David Lubar.
All work up to this point due today; missing work will be changed to a zero
Complete the attached Cask Handout and write out at least two of the essays.
This you-tube is
from Edgar Allen Poe, but the energy captures the vivacity of the Carnival that Poe used as a backdrop in his short story, "The Cask of Amontilliado." The You tube excerpt is from Kevin Reynolds direction of, "The COunt of Monte Cristo," the screenfilm based on Alexandre Dumas Pere's book of the same title (and looseley based plot).
Research the setting of "Carnival" in Rome around the 1700s to help build context to accompany our reading of Poe's, "The Cask of Amontilliado." This will build on the setting aspect of Exposition and really create a sense of place. Use as many senses as you like to describe it and feel free to add some links to help one and other or start a discussion regarding Carnival!
By: Richard Matheson
Literary Device Worksheet Sample.docx
1. Be sure you understand how we identified aspects of exposition as we did in class
2. Use the dialogue in-class/homework assignment to help understand the plot
3. Create your own ending of Matheson's short story, "Button, Button" (an alternate if you have previously read it)
"Welcome" 2006, by Amanda Klimowicz
What is the dominant conflict in "Button, Button?" Is it internal or external?
Bonus: Highlight ALL dialogue in short-story
Complete highlighting the in-class dialogue assignment
Remember: yellow = Mr. Stuart, pink = Norma, blue = Arthur
Complete the Monday
Sheet for "Dialogue//" using "Button, Button"
Write the ending (or alternate if you have already read it) of "Button, Button" in your Journals
Mark each page with at least three questions, connections, predictions, comments, etc. to show your interaction with the text.
Re-write your "Names" narrative from today's warm-up. It should be a minimum of 5 sentences long, include a connection, and begin with a topic sentence.
Use your in-class free-write to elaborate on your "Name" piece in your journal. If you want to begin again with something new, that is just as well.
Welcome to the new unit! Today I read to you Angela Johnson's short story, "Tripping over the Lunchlady." You started to draft ideas in your journal. For homework, write your own short story depicting a middle-school or high-school experience. It does not have to be your own but must be fictional if you stray from your own experience.
High-school can be tough. That is why I thought it best to begin Q2 with a touch of humor that we find in the every-day, personal experiences of High School.
The two narrations we will be reading for the Short Story Unit include:
"Tripping Over the Lunch Lady" by Angela Johnson, acclaimed Young Adult Author, and
A chapter excerpt from Sandra Cisnero's House on Mango Street entitled, "Names."
These two short stories reflect perspectives of young adults, will be read aloud in the first week.
The goal is to write two short narratives regarding our own experiences in draft form
We will begin to create a final draft of our chosen narrative in 218 that will be due on the following Monday.
The Literary Element(s) we will learn include
Setting: Mood and Tone.
(You will also be developing voice through your writing.)
The Skills we will learn include:
Chunking and Marking text
Unlike the discussions found on the homepage, intended to engage you actively to better understand literary terms, the discussion on this page is specifically designed for you to ask each other questions directly related to homework assignments. When posting, please provide the due-date so that others may use and reflect what you need help understanding. This is especially important with written assignments.
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