To me, endings are all about the take-away. What do you want readers to know, feel, do, think or wonder about after they finish reading your story? You can’t write an ending until you decide that.
When I first read stories with students and ask them to identify the climax, they tend to point to a small amount of text, often two sentences or less. This is one of a handful of common phenomena that still baffles me — where did so many of us get the idea that climaxes are small?
More accurately, the climax is often the most important part of the story, and, consequently, it gets the most space.
After my post about “Beginnings, Middles and Ends” a few weeks ago, a teacher-friend reached out to me. “When I tell students I want them to work on ‘the beginning,’ I don’t mean all that rising action you mentioned,” she said. “I am talking about much simpler stuff. I just want them to write anContinue reading “Beginnings: 3 Examples (and Why They Work)”
I recently helped judge a story writing contest, and one of the criteria on the assessment form I was provided was: Does the story have a beginning, middle and end? As I began reading the entries, I quickly discovered that this was not useful assessment criteria.
The best touchstone texts are sophisticated enough to work across multiple grade and comprehension levels. One of the first—and still one of the most frequent—touchstone texts that I used was THE LEAVING MORNING by Angela Johnson. Here are just a few of the brilliant craft strategies my students and I have discovered in it:
Readers and writers have strong – and disparate – opinions about the “right” way to read a poem. Worse yet, there’s wide disagreement among accomplished and highly educated poets, too. There’s really only one point we all agree on—poems are meant to be read aloud. Beyond that, it gets dicey, but here are some things to consider.
For starters, I’d always have one board that mimics a strategy I use in my writer’s notebook. I’d teach the strategy and invite students to try it—not only to try it in their notebooks but to post their ideas on the bulletin board as well. I’d choose a strategy that will serve students across genres so we can continue to fill the board for months at a time, just as I want them to re-use “old” strategies in their notebooks throughout the year, storing up ideas and inspiration for writing projects they haven’t even thought of (or I haven’t assigned) yet. After all, that’s exactly what I do in my writer’s notebook.
The story below is one of my favorites from our 2011 anthology, probably because I envy the author a bit. Click the video below to follow along as Cody reads it, then I’ll tell you why I’m jealous. Get the video and read more here. Written for Indiana Partnership for Young Writers
Summer is a great time for teachers to “stock up” their writers’ notebooks. Not sure what to write? Here are three strategies to help get you thinking. Read more
People always ask, “How do you come up with ideas for writing?” So I analyzed my writer’s notebook and identified my most frequently used strategies for recording, nurturing, and thinking about story content. Here’s what I found: