Good narrative writers don’t rely on punctuation to convey emotion. Good writers know that characters convey emotion. Their body language, their actions, and their speech reveal what they feel.
Get a step-by-step tour of how you might teach a poetry unit. Sample mini-lessons, noticing charts, conferring videos, conferring notes and more are included. Also includes “Teacher Try-Its” to help you fill your own writer’s notebook with material that you can teach from!
Here are five notebook strategies that can support your poetry unit. They also fit or could be adapted to other units of study. In fact, it’s not a bad idea to teach the same notebook strategy in multiple units—that demonstrates how valuable the strategy is across genres, subject matter, audiences, purposes, etc.
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)”