Category: Writing

“Have you READ their writing?” Resisting the Obsession with Mechanical Correctness

Listening to teachers complain about student writing is exhausting. They can’t write; they don’t know where to use commas; they don’t capitalize every i; their spelling is atrocious. When this sort of narrative pops up in mainstream discourse, it’s often to complain about education’s failure to prepare kids for the workforce and to provide a platform for ‘back in my day, teachers made us diagram sentences/memorize parts of speech/etc.’ bloviating.

When these sentiments appear inside a school, they take on a slightly different tenor. Behind every complaint about a kid’s writing seems to be an underlying message about the failure of that child’s previous language arts teacher(s). It’s as if the teacher is throwing their hands up and proclaiming ‘Look at the mess I inherited! What am I supposed to do? How can I teach my content when these kids don’t even understand the basics!’

There’s a lot to unpack here. First, this nagging is counterproductive and can build resentment among teachers. Schools have more than enough finger-pointing as it is; engaging in ego-driven grandstanding serves no one.

To the teachers who regularly engage in this sort of carping, please stop. If you don’t like what your students are producing, then address it in the classroom. Regardless of content or grade, helping children learn to read, write, speak, and think is everyone’s responsibility. These complaints also elevate surface features (spelling, grammar, basic syntax) above all else.

The notion that mechanical perfection is the goal of writing instruction is deleterious to good teaching. It reinforces a deficit view of student writing by focusing on what a child did wrong. It trains us to approach student writing as something to be endured, some sort of gauntlet all language arts teachers must go through. It also encourages teachers and students to see writing as a series of levels to be mastered. Writing doesn’t care about scope and sequence documents or district-wide vertical alignment. It grows in fits and starts, evolving through recursive spirals of progress and regress.

Historically, evidence shows that teachers have been complaining about student writing since the first American universities. In The Rise and Fall of English, Robert Scholes examines primary documents such as university syllabi and commencement speeches to conclude that

English teachers have not found any method to ensure that graduates of their courses would use what were considered to be correct grammar and spelling. A number of conclusions can be drawn from this situation. One is that the good old days when students wrote “correctly” never existed. A second conclusion might well be that two hundred years of failure are sufficient to demonstrate that what Bronson called beggarly matters (spelling, grammar, capitalization, punctuation) are both impossible to teach and not really necessary for success in life. (p. 6)

This isn’t all to say that mechanical correctness doesn’t matter. The above notion that grammar and spelling are not “necessary for success in life” should be followed by “for certain people.” I’m reminded of an anecdote from Christopher Emdin’s For White Folks Who Teach in the Hood. Emdin recounts a conversation with a white teacher about the role of appearance. The teacher doesn’t understand why her students of color seem so focused on fashion and style. What do these things matter? After all, she says, she comes to school every morning in casual dress. Emdin replies that the ability to be treated professionally regardless of dress is a luxury many people of color can’t necessarily afford.

So of course grammar and spelling matter. Certain errors like nonstandard verb forms and incorrect subject/verb agreement can carry serious connotations of race and class. The legacy of mechanical correctness is steeped in racism, xenophobia, and class anxiety (for more on this, check out Mechanical Correctness and Ritual in the Late Nineteenth-Century Composition Classroom by Richard Boyd and The Evolution of Nineteenth-Century Grammar Teaching by William Woods). As teachers, we have the responsibility to help students understand the intersections of power and literacy. But this doesn’t mean chastising students for every mistake they make in their writing. Nor does it mean requiring every student draft to be mechanically perfect.

My go-to authority for how to treat errors in student writing is Constance Weaver. She urges us to see errors as a necessary component of growth. The following chart, taken from her Teaching Grammar in Context, sums up what a more compassionate and purposeful approach towards errors might look like.

Along with the solid tips outlined above, remember that students should focus on superficial edits using their own writing, on a topic they care about, during the final stages of the writing process.

If nothing else, stop complaining about student writing. It’s counter-productive to our mission and makes an already exhausting job that much more draining. If you’re not enjoying yourself, neither are they.

 

Making Family Dialogue Journals Work

A little over a year ago I first wrote about family dialogue journals (FDJs). An FDJ is a notebook that travels between a student’s home and classroom. Teacher, child, and family member use the journal to engage in a written dialogue about curriculum, traditions, family history, etc. I decided to try FDJs out as a way to keep families informed of what was going on in their child’s English class. My first year using them was neither a success nor a failure. It was, however, a lot of work. I spent the year haranguing children to return their journals and lugging around tote-bags of notebooks so I could scratch out personalized FDJ responses during any spare moment.

So when it came time to map out my 2016-17 school year, I didn’t know if I had it in me to continue. This changed when I connected with Kathleen Sokolowski over at Two Writing Teachers in August. A Voxer conversation that started with a discussion of removing grades from the classroom turned into an extended back and forth about family dialogue journals. Kathleen decided to give FDJs a shot (check out her excellent post on the subject over at Two Writing Teachers). Her enthusiasm reignited my commitment. I wrote an FDJs Revisited post, cleared away any mental detritus, and prepared to try again in September.

It’s now November; my 7th graders have completed four rounds of FDJing. This year’s crop of students seem more amenable to the FDJ concept than last year’s. They brought in their notebook at the beginning of the year (without any nagging on my end. They’ve also been more apt to speak openly about their families and non-school lives.

Instead of asking students to read their FDJs in entirety in front of the class as I did at the beginning of last year (wince), I’ve asked students to share sections of their family’s responses in small groups. I’ve also given students the option to share a different piece of writing if they wish. This way everyone has something to read. Kids who don’t have their FDJs or don’t feel comfortable sharing them for whatever reason can still participate. These small tweaks, combined with the aforementioned shift in classroom attitude, have resulted in a much friendlier environment for sharing. What follows is a slightly more in-depth look into how I’ve been approaching Family Dialogue Journals this quarter.

Every other Friday is a designated FDJ day. By the time Friday rolls around I’ve managed to respond to every journal I’ve received over the two week period. Below are two random examples of my responses. As you can see, they’re not great. Sometimes the parent gives me something to work with, and often they don’t. But writing these replies is a two-way street, and I’m just as responsible for crafting interesting responses as families are. Probably more so, in fact. Right now as long as I’m replying to one specific thing from each FDJ entry I’m satisfied. Writing 60+ personalized responses (while not every student brings them in, this is almost a 100% increase in participation from this time last year) requires me to straddle the line between making it meaningful and getting it finished. Part of me relishes this challenge since figuring out that balance seems to be a crucial aspect of life.

I mentally divide FDJ day into two chunks: sharing last week’s response and writing next week’s letter. Instead of taking part in our normal class openers (we alternate between independent reading and notebook time), I ask students to find something to share with their group. If they have their FDJs they read their family’s most recent response and select up to four sentences to share. I’ve learned that students need these few minutes in order to decipher handwriting, mentally prepare to read out loud, and figure out what they want to share.

When everyone is ready, I kick things off by reading my own family’s response. Last year my mom was kind enough to write back and forth with me, and this year my dad has taken over the duty. Once I read my dad’s response I have a few students share connections, summarize, etc with what I read. I expect students to do this for each other, so getting everyone warmed up with my own FDJ works well. Then it’s their turn. Every group of four reads to one another using the following protocol:

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This protocol helps group members stay involved by requiring them to respond in a particular way (I enjoy thinking protocols. The National School Reform Faculty’s website has a ton of good ones). I do my best to stay on the sidelines during this time, planting myself in the middle of the room and dividing my attention between every group.

After everyone has shared, we get ready to write our next letters home. Although I change the exact mechanics each time, I like to make sure the students talk before they write. Sometimes we use chalk talk activities where students move silently throughout the room and reflect on the last two weeks’ worth of instruction. Last time I sorted everything we’d done into four categories (see below).

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Then students picked the category they wanted to write about and met up with other students interested in the same topic. The goal is to help each child come to the page ready with some ideas. Once we’ve brainstormed and bounced ideas off of one another, it’s time to write.

I show them the next letter I’ll send to my dad. I like to color code my writing; it helps me highlight the different elements I want the students to include.

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A much better way to do this would be to engage students in some type of letter genre study. What common elements can we find in typical letters? What kind of information do authors include? How do they convey that information? What purposes do we write letters for? etc. But I’m approaching FDJs in baby steps, and what we’re doing now gets the job done.

What students choose to say about class and what they’ve been doing is always illuminating.

Students end their letters by coming up with a question to ask someone at home. Ideally every child’s question relates to what we’re studying in class. Right now, however, I’m pretty much giving them free reign over what they ask. By the time students finish writing their letters the class period is just about over. The process ends when I send out an email reminder to parents that afternoon (the first of three reminder emails per cycle).

So far the FDJs are mainly functioning as a form of increased school-family communication. This is the most basic of purposes. My next goal is to use the family dialogue journal to engage parents with questions related to the content of the course. By the time I write my next FDJ post in a couple months I’ll hopefully be able to speak on using the FDJ as a instructional resource.

How do you communicate with families? What methods do you use beyond report cards and signed quizzes/tests?

Beyond Socratic Seminars and Essential Questions: The Importance of Student Generated Questions – NVWP Summer ISI – Day 14

Welcome to the Northern Virginia Writing Project’s 2016 Invitational Summer Institute! I’ll be blogging the demonstration lessons and the various activities occurring during our four-week duration. Find out more about the NVWP and the National Writing Project.

Today’s second presentation comes from Steph Lima. It explains how to use student-centered questions in the classroom.

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Quickwrite: Write about your  successes and challenges with either small and / or large group discussions. 

Oh, boy. Discussion is something that I really need to work on. I’m acceptable at it, but nowhere near great. Right now I can only think of my deficits in this area. I need to work on finding the right balance of creating guiding questions and having a direction in mind vs. allowing a discussion to grow organic legs that allow it to move wherever. I know that it helps to write out a few sequenced questions before hand, to frame questions in affective ways, to begin with real-life scenarios, and to summarize/paraphrase student responses, and to help connect students to each other during the discussion. Perhaps some of my weakness comes from my fear of sustaining a whole class discussion for any length of time. I’m always so afraid children will get squirrely and bored and that the introverts will disappear.

We share out. Someone talks about how their own school experiences played a role in this. This gets me thinking. It’s hard for me to remember a time when I felt confident participating in a large scale conversation. This also relates to a larger feeling of alienation that I experience whenever talking about academic/intellectual things.

Stephanie tells us about the origin of her presentation. She was unsatisfied with the quality of student discourse, and she felt she was enabling it. Heads are nodding. She decided to revamp how she approached class discussion. She divided questions into three types:

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She spent time with students going over questions, writing them, and categorizing questions that students brought in. This reminds me of the importance, again, of modeling and teaching the academic moves we expect children to do. Asking questions and conversing is actually a complex skill, one that requires multiple layers of cognition.

After students brought in their self-generated questions, they took turns passing them around, reading each other’s questions, and annotating. Then Steph had the students pick a few questions that weren’t theirs to answer in writing. Students then picked one of their answers to discuss with the small group. Then, after that, she opened it up to the whole class. By talking it out in small groups first, every student went into the whole-group with a variety of talking points. The power of constructivism!

Now it’s our turn. Steph passes out copies of “The School Children” by Louis Gluck. She says it offers a rich variety of analyses.

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We read twice and then annotate for whatever we notice. Next we write as many questions as we can, keeping the previous levels in mind. After that we write our best two on sticky notes and put them in a pool on our group’s table. We pick two (that aren’t ours!) and then write answers to them. No one is speaking yet. After writing, then we begin sharing out our questions and answers with our group members. Holy smokes this poem is amazing!

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This reminds me of a) the value of writing before discussing and b) how this sort of ‘write questions – put them in the center for everyone’ technique can be way more useful than ‘everyone look at each other and brainstorm out loud.’ This way there’s less pressure and I can come up with ideas at my own pace and even pick out from among my ideas the best ones to share out. Each group discusses. Zone of Proximal Development in full effect!

We share out. Many of us cry out to hear what the poem is “about.” Steph wisely stays mum on the subject. We often tell children “it’s not about the answer.” We must resist this temptation ourselves. Steph ends by telling us she has the kids write about and reflect on why they chose the questions they did, and etc. This approach was way more generative than her previous discussion techniques.

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I cannot WAIT to do this next school year.

 

Harnessing the Power of Purpose and Audience: Authentic Writing in the Classroom – NVWP Summer ISI – Day 14

Welcome to the Northern Virginia Writing Project’s 2016 Invitational Summer Institute! I’ll be blogging the demonstration lessons and the various activities occurring during our four-week duration. Find out more about the NVWP and the National Writing Project.

Our final day of presentations begins with Sara Watkins talking to us about how she uses authentic writing in her high school classroom.

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Quickwrite: Think about a writing assignment you’ve given that your students enjoyed. Describe the lesson: what was it? What was its purpose? Who was the audience for the students?

Towards the end of the year I ran the students through a Flash Fiction mini-unit. We read examples, took them apart to see what made them tick, and tried to figure out what the genre was all about. Students then created their own examples of Flash Fiction. I had them concentrate on conflict types, economy of language, and otherwise following the genre rules we discussed. I wanted the students to gain practice with honing in on various conflict types, working through plot elements, and figuring out how to say a lot with a few amount of words. The audience, unfortunately, was just the class. By the end of the year students knew that pretty much anything they wrote would be put up on the walls to be read and discussed with classmates. 

BTW, authentic writing is pretty much any genre of writing that is “found in the real world” and written for an audience outside of the school. Authentic writing creates links to the community. Writing for an authentic audience helps children believe in the power of their own voice and their own story. Here are some examples of genres of writing used by non-teachers:

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Sara passes out a Kelly Gallagher sheet on approaching one topic in 18 different ways. The left hand column represents six prominent purposes available for a topic. The right hand column offers some guidance on how to get started with each purpose.

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Sara shows us a model of her own writing. She splits her favorite topic (dogs!) into the six purposes. Each purpose contains at least three topics about dogs. Yet another successful example of the basic guided release model (teacher walks the class through an already completed/in process example to show basically show students what to do. Then students are encouraged to do their own). Now it’s our turn to do the same! Here’s my example. I didn’t finish it in time. Sorry about the poor lighting.

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We share out. It’s amazing what a wealth of information can come from just a single topic! Even if some of my/out ideas don’t fit squarely into each category, that doesn’t matter. What matters is generating tons of student-centered ideas from a single student-centered topic. The classroom is crackling with ideas and laughter.

I can’t wait to use this in my class this year. She ends up with a list of resources.

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Picturing Writing: Empowering ELLs with Writing through Pictures – NVWP Summer ISI – Day 13

Welcome to the Northern Virginia Writing Project’s 2016 Invitational Summer Institute! I’ll be blogging the demonstration lessons and the various activities occurring during our four-week duration. Find out more about the NVWP and the National Writing Project.

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Today’s second demonstration lesson comes from published author Natalina Bell. She’ll talk to us today about using pictures to enhance and empower ELL (English Language Learners) writing.

She gets us started with a freewrite.

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Normally, Natalina would provide a word bank and sentence frames to help her ELL students get started. We go to work.

Ok. So what can I write about looking at this? I see presumably a man almost fully obscured by newspaper/news/things external to the moment. I also see a woman, presumably his wife, staring longingly/wistfully/somberly at an unknown point outside the frame. To be honest, I don’t really like Normal Rockwell images. I don’t actively dislike them, but they don’t do anything for me. I feel weird saying that, because I know a ton of teachers who find success using them in the classroom. I’ve used a few of them myself. But personally I don’t find anything to connect with. Ok, it’s a freewrite, so keep writing. I just zoned out for a second. Gotta practice what I preach! The stain on the table cloth is a nice touch, as is the depiction and positioning of her heels. She seems to be balanced somewhat precariously, pulling back from the husband’s angular and obtrusive presence. I can’t find much to connect with emotionally here, not much seems compelling. Nice details and etc. etc., but the subject doesn’t get me going. Instead my mind keeps pulling away into the psychic realm of worries, errands, and random thoughts. But I’m going to keep writing. Others in the room are bent forward, diligent in their completion of the warm-up. I wonder what they’re writing. When were these images popular, again? I’m sure there’s a ton of quality scholarship on Rockwell and his life/times/work. Maybe that would help me connect. Ok! 

We share out. I’m in awe of the creativity in the room! A few of us created fictional stories from the image. Was I supposed to do that? I need to up my fiction game. Natalina tells us why she often starts with (and sticks with!) images:

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ELL teachers face many challenges in the classroom. They must teach a room full of students with drastically different levels of English proficiency. Some ELL students come to the states without much experience in their ‘home’ language. ELL students also have different cultural experiences, making working from previous experiences and schema difficult. The difficult and essential and complex role of socialization. This is the dream of American compulsory education. No matter what or who or how we try to educate. This falls on teachers, as inequitable funding formulas and histories of racism make providing equitable education to all quite challenging.

Today’s lesson starts with one of 2nd grade classroom’s favorite books: Aliens Love Underpants. Great title! She reads it aloud to us. Who doesn’t love that? Today we get to create our own alien!

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We only have five minutes. Here’s mine:

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Next we present the alien in writing. We use the sentence frame that Natalina provides to her students to help scaffold. Sort of like Madlibs only minus the parts of speech. You can probably figure out the frame.

My name is Goopy, but most of my friends call me Lil Goops. I come from a solar system a billion light years away. I was born among the stars, as are all of my kin. I don’t have legs (what are those?); I float softly through the air, trailing a quiet melody behind me. I love eating space trash. That’s what brought me to this place! You all have so many delicious tidbits of space junk. And when I don’t have to go to school I like to tumble around in the atmosphere and feel the clouds tickle my fur. I hope we can be friends! 

We share out. We love this. Natalina tells us normally she would videotape every presentation so she can share it with the student later. Students can use the image as a reference for what they will write. This is a neat point. The writing helps them generate the language. Natalina plays a few clips of her students presenting on their aliens. They’re wonderful. Many of the students project aspects of themselves onto their aliens. They map their strengths, weaknesses, and origin stories onto their creations. Natalina also uses images on notecards to help students practice sequencing stories and creating a logical flow from which to write. She has her students illustrate and describe nearly every aspect of the stories they read together.

Natalina ends up by sharing some resources with us. Sorry the links aren’t clickable!

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Enjoy!

Using “This I Believe” Podcasts to Elevate Student Voice – NVWP Summer ISI – Day 13

Welcome to the Northern Virginia Writing Project’s 2016 Invitational Summer Institute! I’ll be blogging the demonstration lessons and the various activities occurring during our four-week duration. Find out more about the NVWP and the National Writing Project.

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We kick off our final week of Summer Institute with Joanne Mann. She’s going to present to us on using “This I Believe” podcasts to elevate student voice. Can’t wait!

Joanne begins her demonstration by having us arrange ourselves along a value line as she reads us a series of affective statements such as “Violence is sometimes necessary,” “Everyone is basically good,” and “All students should be required to speak English.”

Quickwrite: Which one made you think the most? Did others’ positions influence where you stood?

“Love lasts forever” probably resonated with me the most. To begin with, I don’t believe in soul mates. For me love is something that’s built up over time through the accumulation of shared experiences and the continued rejection of outside threats. I also try to think about my family and spouse dying a few times a week. I started doing this after reading about it on a mindfulness website. As a way to remind myself of life’s impermanence and to truly live in the single moment. In one sense, love lasts forever because it, and the memory of it, can remain in someone’s mind. Time’s up!

Here are the objectives for today’s lesson:

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We’re doing this for a few reasons. It helps students develop technology skills. It helps them to reflect on their voice and to understand that their voices matter.

We listen to a podcast on Muhammad Ali from Muhammad Ali. This is the first draft reading; we sit and take it in. After this Joanne passes out the transcript of the podcast. Ali discusses his confidence growing up and how Parkinson’s Disease has affected him. The story culminates in Ali holding the Olympic Torch at the 1996 summer games. As he felt his trembles take over he heard a thunderous ruckus storming down from the stadium. Terrific story.

Next we do our second draft reading, annotating the transcript as we listen again. We share out. I discuss how Ali’s story seems quintessentially American. The idea that will and determination can triumph over everything. Others mention that Ali must have experienced failure and disappointment, but he chooses to focus on the triumphant aspects.

Then we create categories to make observations on about the text and fill them in on the following sheet. She runs is through two examples first (the guided release model) before having us work with our partner:

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We come up with categories like theme, details, and structure/organization. After sharing out Joanne has us turn out attention towards another podcast. We have a few to choose from. I choose “A Grown-Up Barbie” from Jane Hamill (all of these come from the This I Believe book). I read it and analyze it for structure, theme, and details. I also jot down anything I notice about the piece. Joanne’s methodology here fits in with the type of model-based analysis currently popular among secondary English teachers.

Now that we’ve listened to a podcast, read two transcripts, and discussed both it’s time for us to create one ourselves.

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So, what do we believe? Why do we believe it? What happened to us that created that belief? How has it been reinforced? She passes out a planner (I love planners, btw! I know they’re frowned upon in some circles – and I get it – but my attention deficient brain finds them extremely useful in organizing my thinking). Here’s what I come up with.

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After completing the planner we spend time crafting our own brief “This I Believe” essay. The ultimate goal is to then record them using free software (such as the Voice Memos app which comes installed on every iPhone). Let’s give it a shot!

“Honey. This is ridiculous,” my wife said, frowning down at my desk with her hands on her hips. I had to agree with her. My massive white desk, once cramped with books and papers, was now completely obscured by composition text books, histories of education, and expensive books on pedagogy.” 

Crud! Out of time! 

Joanne ends our lesson by playing a couple examples from her students. Outstanding!

A Masterclass in Writing Fiction pt. 2 – NVWP Summer ISI – Day 12

Welcome to the Northern Virginia Writing Project’s 2016 Invitational Summer Institute! I’ll be blogging the demonstration lessons and the various activities occurring during our four-week duration. Find out more about the NVWP and the National Writing Project.

See pt. 1 of this amazing session here. As I’m blogging this as it occurs, the post will have a certain disjointed quality to it.

Mark Farrington continues his presentation on writing fiction with a discussion on the intersections of reality and fiction. He reminds us that:

1. Fiction is not reality.
2. It’s not a mirror of reality.
3. It’s an illusion of reality.

You don’t try to duplicate reality. You suggest it and let readers react to it. What details are essential for the reader to know? You must convince the reader to believe in your story.

Tips for writing fiction based on real life:
1. Changing the name
2. Changing the gender
3. Changing a key personality quirk
4. Changing the events or the outcome of events
5. Looking for metaphorical or symbolic truth vs. literal truth
6. Realizing that the setting is often the easiest to both “steal” and “alter”/fictionalize

Gain distance from a real life story by asking yourself “What if?” and then following your line of thought. Mark says this also works if you’re at a point in your story when you feel it’s slowed down.

Mark also recommends the Mr. Potato Head approach. You can pull different personality and setting and plot aspects from whatever you want. It’s not who or what you based it on that matters, it’s how you manipulate it and how it ends up on the page.

Another tip Mark suggests is the “situation / catalyst” approach. First you come up with an interesting situation (one that has potential for conflict and tension). But without an initiating event nothing happens. Therefore you try to think up a catalyst that gets the plot going. The catalyst is an event or situation that makes the tension of the situation concrete and real.

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Don’t try to force the ending. Writing fiction is like driving a car at night, he says. You can always see in front of you, and you get where you need to get, but you can’t always see the path. I’m reminded, not for the first time, of the disconnect between what Mark is saying and the way many of us (myself included) teach fiction writing. I’m not necessarily saying Mark’s word is gospel, but it’s important to think about the ramifications behind what we do and why we do it.

Prompt: Building a character. Mark asks us questions and we write down answers to each one. Quick rapid fire. The only rules are that the character you create must be human. Try not to base the character on a real person.

1. What gender is this character? M
2. What age? 23
3. What words or phrases describe this character’s appearance? Puny, emaciated, hunched
4. What about the way your character looks would they like to change? giant ears
5. Where does your character live? Arlington, VA
6. What kind of structure do they live in? A micro-home
7. Who else lives there? Three cats and a bird
8. What’s their favorite place within the structure they live in? The bathroom. Twee wall paper, retro shag carpeting, furry toilet seat cover, and, most importantly, a giant mirror.
9. What do they like to eat for breakfast? Poptarts with frosting on them
10. What work do they do? OR how do they spend their weekdays? Sweeping hair at an all-male salon
11. Speaking in the voice of your character, finish the sentence: ‘It makes me angry when…’ I get a haircut and my ears are always clipped,
12. What clothing do they wear when they want to feel comfortable? Skinny jeans, snug sweaters, beanie cap pulled down tight
13. How does your character usually spend Sunday morning? Making boutique teas for the old folks living in his apartment complex, delivering door to door
14. What vehicle do they drive / ride in most often? A battered brown bike with a deflated, punctured black horn attached to the right handlebar
15. Which parent was more important? Dad, he made sure his kid grew up on a steady diet of Led Zeppelin and other hard rock staples\
16. Finish the sentence in the character’s voice: ‘I am afraid that/of…’ people will see the way I dress and reduce me to a hipster stereotype
17. What is the educational background? HS grad, community college associate’s degree in progress
18. When confronted with a decision, is your character decisive or ruminative? Quick-witted and decisive
19. Does your character believe that the world is orderly and fair or chaotic and purposeless? Orderly and fair
20. Finish the sentence in your character’s voice: ‘I don’t know why I remember the time…’ my dad brought me home a furby, a special Kiss edition complete with Gene Simmons tongue

Write five of this character’s stepping stones. Two of them have to be what the character would describe as ‘difficult.’ 

  1. I was born on September 12th, 1995
  2. Dad played my first Zep record
  3. Got my first crush on my 3rd grade babysitter
  4. Parents divorced
  5. Dropped out of college 
  6. Moved to new apartment and bonded with the building’s septuagenarian population

That was frustrating! I had to keep going even though I wasn’t satisfied with most of my answers. Now we begin to write a story in the first-person voice of this character. They have to talk about one of the difficult stepping stones or begin with “I don’t know why I remember the time…” Okay, let’s do this.

I don’t know why I remember it. The Furby I mean. Pops didn’t normally bring me home gifts. When I think about it I’m pretty sure that was the only thing he ever got me outside of a holiday. 

He called me into the living room where he was seated with Ma. Her eyes looked real red, I could tell she had been crying. We need to have a talk, he said. But I can’t remember anything he said. It was like one of those Charlie Brown wom-wom-wom voice overs, you know?  I sat down on the ruddy carpet, almost prostrating myself before the thing. It sat on the living room table, a heavy oak thing my dad picked up from some country store. 

I was afraid to touch it. Maybe I was afraid that if I touched it I would break the spell and whatever my parents were saying would reach me. So I just sat there, transfixed by the thing’s plastic eyes and ridiculous eyelashes. I don’t know how long I stayed like that. 

You don’t have to do these types of exercises, Mark says, but they can be helpful for generating content or fleshing it out. Have students volunteer questions for the class to use. He also brings up interviewing your character. Asking them, “why did you do X?”

Here are some more story prompts for getting started with fiction:

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He ends by reminding us that most people don’t build stories like a bookcase. We don’t start with exposition, rising action, etc. The form grows out of the piece, not the other way around. And besides, not all stories follow story grammar.

Hope you’re able to glean some useful info from this wonderful presentation!