Teaching Creative Writing Online

            Today, there is the desire in perhaps more people than ever before, to become writers. Increased access to word processors has made writing an option for many. Blogs, online publications, online reviews, self-publishing to e-readers and so forth have made it possible for a diverse group of people to publish their work and gain a large audience, even to earn a living from writing. Effective teaching of creative writing at the high-school level meets a critical need and will equip students with the tools to fashion well-written stories and embark upon a career as a writer.

The Internet and the ever increasing accessibility of computers have instigated a revolutionary change in the way students think, learn and participate in education. Educators are increasingly recognizing the value of online education in place of, or in addition to, traditional brick and mortar settings. Educators are challenged by the need to reevaluate the traditional learning paradigm.

Horace in the Ars Poetica asserted that the storyteller should “delight and entertain” (Leitch 119). In the modern world the relevance of this statement remains. The series of lessons contained in this paper are designed to introduce students to essential tools which contribute to the creation of writing that is more than just a required scholastic exercise. I have chosen to focus on creative writing due to its importance as a medium through which people communicate, instruct and entertain. Text books and the school curriculum often teach creative writing only in the most rudimentary form. Instruction covers basic skills but skims over or omits entirely more crucial instruction regarding specific techniques needed to create exemplary writing. This paper will provide the first three lessons in a course on creative writing delivered through the online classroom. An entire unit will not be reproduced to accord with word requirements. The lessons serve as a model of online instruction and incorporate synchronistic and asynchronistic activities.

Humanity has always been involved in storytelling. The earliest parts of recorded history involve the recounting myths, legends and folktales which define, “what people have learned, who they were and where they come from” (Noble 2809). Storytellers have played a central role in human society.  In Ancient Greece, storytelling provided the “cultural underpinning and cohesion” to society (2809). Horace, in his “Epistle to Augustus” outlines the cultural significance of poetry and storytelling:

The poet forms the young child’s stammering mouth, and turns his ear at a timely hour from obscene discourse; next he also shapes his heart with friendly precepts, castigating harshness, resentment, and wrath. He tells of deeds honorably done, instructs rising generations by examples of famous men and consoles the sick and helpless (Leitch 119).

Storytelling has been used for didactic purposes. It has taught moral lessons, as in Aesop’s fables, spiritual lessons in the Everyman plays, and the conventions of courtly love in the songs of Troubadours. Narrative tales have been used to instruct people how to live and think. Writing creative stories has a place in how we live: “Storytelling is the way a child learns the delight of the language, of the world of words and of the bridge words build upon people” (2809).

Online learning presents a major challenge to traditional teaching and learning styles. The technology gap between adults and students presents further problems. Students born after 1982, “Millennials” (West 551), tend to be more digitally literate. They have been exposed to information technology, giving them an advantage over many adult educators who have had to grapple with the new technology and the concomitant paradigm shift in education.

This group of students poses a challenge to established teaching practice. Classroom methods such as chalk and talk are inadequate in the online setting, while constructivist, hands-on methods are easily adapted to meet the needs of computer based learners. Nipper (1989), writes that a successful student in computer education is “a noisy learner” (Palloff 8), one who is active and creative and who plays an important role in the learning process.

Millennials, whose thinking is “wired” (West 551) by the technological phenomena of the Internet, require immediacy in learning. They prefer speed and multi-tasking. Through the use of Instant Messaging they have become accustomed to immediate contact and feedback (551), and prefer to learn by doing rather than being passive recipients of information. Additionally, they are familiar with technology and adapt quickly to new aspects. (551) An online course should take these learning preferences into account and provide ample opportunities for students to become active participants.

“To know someone here or there with whom you can feel there is understanding, in spite of distances or thoughts expressed, can make of this earth a garden.” –Goethe.

Community building, while an important feature of the face-to-face classroom becomes far more essential in the online environment. According to Nipper, “The need for social connection is a goal that almost supersedes the content-oriented goals for the course” (Palloff 9). He maintains that online students rely on each other to achieve expected learning outcomes. If a student logs onto the learning site and sees that there has been no activity for several days, the feeling may be comparable to attending a face-to-face class and being the only person present. Lack of activity can lead to feelings of isolation and precipitate a decline in the student’s motivation and participation. (9)

In the online classroom the educator functions as an “online facilitator” (Palloff 74), who guides students, acting as a “cheerleader” (74) to keep motivation levels and participation high. With asynchronous participation learners log on at different times. The physical equivalent would be entering a classroom and writing messages for each other on the blackboard then leaving. The student responds to the message but the situation is devoid of interpersonal connection. It becomes incumbent upon the facilitator to develop a sense of collaboration and community amongst the students. The establishment of a positive environment where each student is made to feel as though they are a part of a team becomes “the learning vehicle through which learning occurs online” (Palloff 29). The development of a collaborative team spirit can be achieved through carefully planning both synchronistic and asynchronistic activities.

Asynchronous activities that promote a sense of community include the use of Wiki’s which enhance traditional learning. Wiki’s allow students to collaborate as they research, analyze and solve problems. It allows for peer reviews and editing before the presentation of final pieces of work. Students are able to read and comment on each individual’s contribution, then modify the text to help the author progress. Such peer to peer involvement leads to genuine collaboration between students.

Jonathan Finklestein in Learning in Real Time, defines collaboration as the key to online learning success. He asserts that “lessons are best learned from group discussion or collaboration” (7). Synchronous activities allow for prompt, immediate feedback which prevents many students from feeling isolated and unsatisfied. (23) Synchronous activity allows questions to be asked and issues to be resolved immediately. Email back and forth adds delay which can lead to a lack of interest, while live interaction can provide the student with the information needed to continue. 

The virtual classroom is therefore an integral part of an online course. It allows for:

·       Interactive Seminars

·       Student Led presentations

·       Critique Sessions

·       Organized break-out sessions (53).

Real time contact through both audio and text on the whiteboard are further tools to promote positive relationships between instructor and students, leading to the development of a “group dynamic that builds from one live online session to the next” (59).

Beth L. Hewett in, The Online Writing Conference, maintains that teachers of writing online need to make genuine efforts to connect with students. She suggests a self-introduction at the commencement of each course along with attentive and constructive comments throughout (1514).

 Instructor participation is a key feature in an online writing course, both as a model and as an example of the instructor being part of the community. In an asynchronous activity the instructor could prepare a written piece to share with the class. In a synchronous classroom the instructor could prompt students to suggest topics which the teacher then writes briefly on the whiteboard before repeating the exercise with students doing the writing. This activity allows students to see writing being done in real time and invites comment and editing as the class works together with the instructor to critique and revise a short written piece. The exercise aims to get and keep student attention. (1775)

The modern world presents possibilities for writing unknown to previous generations. Writing was once the domain of the highly educated but the World Wide Web with its wide-ranging accessibility through both coverage and affordable devices has created the opportunity for a heterogeneous mix of people to be published, reach large audiences, and to earn a living from writing. With this in mind educators need to make the teaching of compelling and engaging creating writing a priority in the 7-12 classroom.

Online education poses challenges for teachers. Writing is mostly a solitary occupation, but to learn key skills and to maintain interest, students learn best when they are a part of a thriving group of writers. The need to build an online community which allows for collaborative learning is essential. Traditional methods such as lecture and answer sessions do not translate well in the electronic sphere and lead to feelings of isolation and discontent. Pursuing strategies which are both synchronous and asynchronous: Discussion Board questions, Wiki’s, Blogs, interactive classrooms and peer assessment, allows students to maximize their learning potential.

Creative Writing Unit

Lesson 1: Free writing/Story Ideas

Lecture:

Free writing

“There are three rules for writing a novel. Unfortunately, no one knows what they are” –Somerset Maugham.

Playwright August Wilson devised four rules of playwriting which can be applied to all forms of creative writing.

1.     There are no rules

2.     The first rule is wrong, so pay no attention.

3.     You can’t write for an audience; the writer’s first job is to survive.

4.     You can make no mistakes, but anything you write can be made better. (Johnson 41).

A beginning writer wants to know what the rules are. They want guidelines to follow that will lead to the creation of brilliant writing. Yet when picking up any book on writing they are constantly told that in writing there are no rules. It might not be a good idea to stringently follow a formula, but there are certain techniques utilized used by exceptional writers.

 Correct grammar, spelling and sentences that make sense are important, as are certain elements such as using an active rather than passive voice, and showing as opposed to telling. Passive verbs are generally considered weak in writing. “She is walking” is always less effective than “she walked.” Readers want to feel that they are there in a scene. They want to experience the action not merely be told about it. Capable writers remember these techniques, even though they understand that there are no rules!

            The best writers often suffer from writers block; this should not discourage anyone. To be a good writer, as opposed to just, a writer, one needs two things: Practice and great ideas.

Journaling is an essential process for any writer.  It is important to write for at least 10 minutes every day if we are serious about improving our skills. Free writing is the “practice school of writing. Like running, the more you do it, the better you get at it” (Goldberg 319). Through practice, writing improves and we learn to trust “our skills and our mind” (339). It does not matter how good or bad the writing in your journal is, it is the process of writing that matters.

How to Begin Free Writing

Using pen and paper or the computer keyboard write about anything, whatever comes into your mind. You can change topics, write about your day, how you feel about something or someone, you could even start to create stories and characters. Don’t worry about spelling or grammar or typos. Don’t stop writing to correct mistakes, just keep going. Feel free to let your writing be a complete mess.

Free writing helps us not to be bogged down by writers block. If your topic runs out, change it, complain about your lack of ideas, record your thoughts and feelings about the task, and just keep writing. “Free writing helps you to learn to write when you don’t feel like writing” (Elbow 15). Writers frequently suffer from writer’s block; the inability to come up with an idea or a way to move the story forward. Free writing helps to overcome such blocks.

 According to Brenda Ueland in, If You Want to Write, “Imagination works when you are NOT trying, when you have a peculiar passive clarity” (2381). Free writing helps the writer to let go and trust their imagination. It creates the freedom to write without the restraint of reason or concern over what an audience might think.

Story Ideas—Triggers

“What a writer in our time has to do is write what hasn’t been written or beat dead men at what they have done.” –Ernest  Hemingway

Story ideas, or triggers can come from anywhere. A clever idea could come into your mind after you see a person sitting in a restaurant and you decide to give them a name and a backstory. Who are they? What are they doing here? Where did they come from? What kind of life have they lived? What will happen to them in the future? A writer needs to be alert, always observing what is around them.

The French novelist Claude Simon said that to find ideas for a novel, “Take a walk around a city block, come back, report what you saw, thought, felt, remembered and so on” (Novacovich, Fiction Writers Workshop, 9). Nicolai Gogol wrote “The Overcoat” after he went to a party and heard a man speaking about how he had saved for years to buy a hunting rifle, only to have it stolen before he could go hunting. Gogol took the facts and turned it into a fictional story. He replaced the rifle with a coat and created a character who saved for a coat that was stolen from him. Writers can take a seed that begins in something true, then apply their own imagination and turn it into fiction. (9)

Anything can be used as a trigger. Debra Spark writes: “An overhead conversation, image, sentence, family story or book” (Spark 15), can be story triggers. Triggers are incomplete fragments, they require a writer to develop them into a story. A good example is when you chose a random sentence from a piece of writing and use it as a prompt for something entirely original which is not based on the former tale.

Works Cited

Elbow, Peter. Writing with Power: Techniques for Mastering the Writing Process. New York, NY: Oxford UP, 1998. 15. Print.

Johnson, Charles. "Creative Adventures: The Fiction Writer's Apprenticeship." Creating Fiction: Instruction and Insights from Teachers of the Associated Writing Programs. Cincinnati, OH: Writer's Digest, 1999. 34-42. Print.

Goldberg, Natalie. Writing down the Bones: Freeing the Writer within. Boston: Shambhala, 1986. 319-339. Kindle.

Ueland, Brenda. If You Want to Write: a Book about Art, Independence and Spirit. Blacksburg, VA: Wilder Publications, 2010. 2381. Kindle.

Class work:

Discussion Board

1.     How do you feel about keeping a journal and free writing for at least 10 minutes a day?

2.     Do you think it will be difficult to stick with daily writing?

3.     What kinds of things do you think you might write about? Things you know, friends, family, places, pets, or things you imagine?

Respond to at least 2 other students. Remember that your grade includes not only your post but your responses.

Interactive Classroom

Ask students for a topic then demonstrate free writing by writing on the whiteboard for 5 minutes about the chosen idea. Spelling and grammar mistakes are to be left.

At the conclusion, students take turns free writing on the white-board. Students and the teacher may provide topics or prompts.

Once several students have had a chance to complete the free writing challenge the lesson moves on to Story Ideas.

Using prepared slides show a series of sentences lifted from various texts, and then follows this with two separate slides, each of which displays a short beginning to two different stories based on the initial sentence.

Example

Slide one. “Jeronimo, who in the meantime had also been imprisoned, went almost out of his mind when he was informed of this appalling turn of events” (Kleist 52). “The Earthquake in Chile,” by Heinrich Von Kleist.

Slide two: “The Bulbous Red Balloon”

“No good can come of this unnatural thing,” the mayor ranted. “It is an offence against the natural order. Man should leave the skies to the birds and the devil,” he said angrily, shaking a fist while the villagers nodded in agreement behind. “Never come back Jeronimo, you are no longer welcome,” yelled the bombastic man. As the balloon rose into the sky, Jeronimo looked down at the implacable crowd. They had become tiny dots. The raised voices were reduced to feeble whispers.

Slide three: “The Mercenary of Trino”

Piercing the man’s heart was easy. Aiming at the chest he violently thrust his sword forward. It was the natural response, the only response. The abbot had shown no mercy, Jeronimo showed him none in return.

Point out to students that both stories are very different in terms of style and story yet they originated in the same fragment.

A sentence taken from another story is sent to each student via instant message, a different sentence for each student. Students are asked to free write a story opening from this sentence for 10 minutes. While students are writing show a series of slides containing interesting images to stimulate the imagination.

After 10 minutes students cut and paste their responses to the White Board. Volunteers read out their work.

Lead discussion by making positive/encouraging comments about the student’s efforts.

Writing Activity

Choose one of the following prompts and create a response of 200-500 words

1.     Make a list of historical events or figures who have intrigued you. Choose five of the above list and write for five minutes on each of them, exploring the possibilities of a work of fiction.  (Johnson 42)

2.     Borrow the plot of a famous work of literature or myth and plan a contemporary story that follows along the same lines. (Barth  134)

Lesson 2: Story Beginnings/First sentences.

Lecture:

Story Beginnings

Once you have your idea remember that how a story begins is vitally important. A long, boring introduction will cause people to stop reading. Aim to grab attention through a striking and exciting start, something that entices people to read on instead of moving on.

Consider the following examples that inspire curiosity and resist the temptation to simply begin by presenting details or backstory. Instead, they allude to a dazzling tale waiting to be read and enjoyed.

1.     “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a giant insect.” Franz Kafka, “The Metamorphosis” (Kafka 467).

2.     Someone must have betrayed Joseph K., for one fine morning, he was arrested without having done anything wrong.” Franz Kafka, “The Trial.” (Prose 47)

Exposition at the Start of a Story

Many good short stories begin by telling the reader the back ground instead of showing the action. There is no rule saying that it can’t be done, but unless a writer is very skilled, a good idea is to start right in the thick of things. William Noble in Show Don’t Tell, A Writers Guide, states: “Make that opening happen” (85). He suggests that writers should start the story  halfway down the page by disposing of the first few paragraphs to make the story begin in a much more interesting place. Instead of letting the story creep up on the reader (85), a writer could follow the advice of novelist Phyllis Whitney who wrote: “Perhaps the best and safest beginning is for the writer to present immediately someone interesting doing something interesting” (qtd. in Noble 86).

Writer Josip Novakovich wrote that “A story is like a party: You don’t want to arrive too early or too late” (Novacovich, Writing Fiction Step by Step, 128). When a story begins with something already happening, it is more likely to engage the attention of readers. Novacovich also suggests that the opening of the final finished piece does not need to be the same as the “opening that gets you writing the story” (128).

This example from my story “Chaucer’s Horses,” demonstrates my first attempt to begin the story as I formulated my thoughts. The following example shows changes made in the finished piece. The initial exposition was replaced in the re-draft so that the action begins “halfway down the page.”

Original draft—A writer of several best-selling novels, Bee Chambres adopted the pseudonym, Margaret M. Margaret for publishing, as the name on her birth certificate was far too medieval, she concluded, to appeal to the masses. Her publisher, Hugo Carter was thrilled to have her as a client. Then one day news arrived that her latest novel, Chaucer’s Horses, was exactly the same as another book, of the same title, published by another author, three years ago.

Final draft: When Bee Chambres walked into the office Hugo was already drunk. A tower of unread manuscripts teetered on his desk as he pulled open a draw and rummaged through the contents. He picked up a glossy hardcover book and read, “Chaucer’s Horses, by Margaret M. Margaret.” Hugo peered over the cover at Bee who shook her head and pretended to be amused. Bee had chosen her publishing name on a whim, she liked its absurdity; Hugo thought it banal.

 Hugo put down the book and leaned back in his chair. “It would seem, Margaret M. Margaret, that there is a serious problem with your latest literary offering.”

Through the drafting and revising process, I was able to take the basic story idea and work with it until the action begins with the first sentence. Immediately the reader is placed in the center of the action rather than having to wade through a whole of unnecessary background information.  

Works Cited

Kafka, Franz, and R. S. Gwynn. "The Metamorphosis." The Art of the Short Story. New York: Pearson Longman, 2006. 467. Print.

Noble, William. Sanger: TheWriteThought,1991. 2809. Kindle.

Novakovich, Josip. Writing Fiction Step by Step. Cincinnati, OH: Story, 1998. 128-134. Print.

Class work:

Discussion Board

1.     Are there any stories that stand out in your mind as starting in a very exciting way? What makes the first sentence interesting?

2.     Give an example by providing the first line.

3.     Are there any stories that you think have a terrible first line and why? Provide an example.

Interactive lesson

A series of words are placed on the whiteboard. One student arranges them to form a coherent sentence. The next student forms a new sentence from the same words. This is repeated until several students have had a turn.

Break-out classrooms

Students are placed in groups and sent to break-out rooms. They have 15 minutes to compose a story introduction based on the following sentence:

“For half a century the housewives of Pont-El’Eveque envied Madame Aubain because of her servant, Felicite.” Gustave Flaubert, “A Simple Heart,” (Flaubert 265)

All groups return to main room and students read their introductions to the group. Discussion is based on the different variations that one fragment can germinate

Wiki

1.     Choose a random sentence from a story, post it in a Wiki entry along with the name of the author and title. Use this sentence as a prompt—without referring to the original in any way. Write at least two paragraphs. Be as creative and imaginative as you want.

2.     Critique the postings of at least two other students. Check for grammar and spelling errors and make suggestions.

Example ways to approach critiquing

·       “I really like this character, have you considered…..?”

·       “This is a really interesting beginning, an idea might be to add…..”

·       “I’m not sure what you are trying to say here. Can you explain it to me in more detail?” (Ueland 1927)

Part of your wiki assessment will include your ability to take constructive comments and use them to improve your writing.

Taking into account any feedback received from your classmates, revise and re-post your story beginning to the Wiki.

Writing Activity

Choose a random sentence or a headline from a newspaper (don’t be tempted to read the original story) and write two different story beginnings. 200-500 words.

Lesson 3: Show don’t Tell/Vividness

Show don’t Tell

When you are describing,
A shape, or sound, or tint;
Don't state the matter plainly,
But put it in a hint;
And learn to look at all things,
With a sort of mental squint.
~Charles Lutwidge Dodgson (Lewis Carroll)

Good writing seldom involves large slabs of exposition which tell the reader what is happening. If the author interrupts too many times the reader may feel as though the characters are just cardboard cut-outs, puppets whose strings are clearly visible. Instead, the writer should aim to make the reader feel that the characters exist in their own way, on some alternate plane, and that what is happening to them is real. Showing, not telling is crucial to turning your story ideas into writing that comes alive.

Use Action Verbs

Aim to create strong, rather than washed out writing. John Gardner in The Art of Fiction favors a more direct presentation of events as opposed to the weak descriptions that characterize mediocre writing. For example, “Turning, she noticed two snakes fighting in among the rocks,” could be changed from passive to active easily. “She turned. In among the rocks, two snakes whipped and lashed, striking at each other.” (Gardner 98).

Don’t explain every detail. Connie Shelton in Show, Don’t Tell, gives a very good example.

Telling: I went to the store to pick up some potato chips. My neighbor, Elsa Brown, was pushing her cart down the aisle, looking at the canned soups. I remembered tht Bill and I had talked about inviting Elsa and her husband Charlie to dinner one night this week so the men could discuss a business deal. But Elsa’s son had said some mean things to our daughter on the playground a few days ago, hurting her feelings. This was going to be awkward but I knew I needed to clear the air (85).

Often when we write we tell, because that is our mind plays out the scene and that is fine for a first draft. In the vital editing and revising stages we need to slash and tear out all the unnecessary words, the explaining that will only drive the reader to boredom, and make sure we are showing the scene.

Showing: Elsa Brown stood there, staring at the canned soups. I rounded the corner and pulled up short. Awkward moment. Bill wanted me to invite Else and Charlie to dinner—something about that big merger. But how could I forgive…?

I must have squeezed my bag of chips. Else looked toward the cackling sound.

“Beth, hi!”

“Elsa.” I felt the chips crush. “I, uh…”

“Look I’m glad I ran into you. I wanted to apologize for Danny’s comments to Ashley the other day. I sent him over to apologize but I guess you guys weren’t home.

I felt a smile at the corners of my mouth. “Hey how about you guys come over for burgers tonight?” (99)

The second example gives far more detail, we see the characters as real people. Notice the use of clues for background? In the first example we are told Bill is a business man who wants to talk business with Charlie, in the second we are given clues, “something about that big merger.” It is always far more exciting when something is hinted at rather than spelled out.

Vividness

Don’t include too many –ing words.  The following paragraph from my story, “The Dying Light,” was written in the first draft stage. When the piece was revised I circled all the

 –ing words and noticed that there were too many. They made the writing sound passive and dull.

First draft: The dragon was strutting along the ancient street accompanied by pounding drums. Red metallic ribbons were leaping from the beast’s mouth like shimmering flames as his mighty head was jerking from side to side. Revelers jostled against each other. Laughing children were weaving among the throng, throwing chubby hands over their ears when firecrackers violently exploded. Amelia hated crowds. Desperate to avoid the rabble she slipped into a doorway. The red and gold beast performed its lively dance as people wearing fancy scarlet costumes followed merrily behind. The parade passed Amelia leaving behind the smell of gunpowder and the echo of drums.

After the first draft when I circled all words ending in –ing I realized that the writing lacked energy. I edited the piece and removed many of the –ing words and some passive –ly words as well. The scene became more active.

Final draft: The dragon strutted along the ancient street accompanied by pounding drums. Ribbons leapt from the beast’s mouth like flames as his mighty head jerked up and down. A laughing child stopped in front of Amelia and threw chubby hands over his ears when firecrackers exploded. He then clapped in delight and ran back into the crowd. The woman who had yelled at Amelia slapped him on the back of the head as he darted past. The noise, along with the pushing and shoving left Amelia dazed, she slipped into a doorway.

Works Cited

Gardner, John. The Art of Fiction: Notes on Craft for Young Writers. New York: Vintage, 1991. 98. Print.

Shelton, Connie. Show Don't Tell: Five Secrets to Solving the #1 Problem in Fiction Writing. Connie Shelton. 85-99. Kindle.

Discussion Board

1.     After reading the lecture discuss your views on Showing and Telling and Vividness. Do you agree that is important to show and not tell or do you think it does not really matter?

2.     Are you interested in reading stories that mostly tell?

Interactive Classroom

Present a slide which contains two story openings. Students are asked to volunteer to read them.

1.     “About the middle of the sixteenth century there lived beside the banks of the River Havel a horse-dealer called Michael Kohlhass, the son of a schoolmaster, who was one of the most honorable as well as one of the most terrible men of his age.

Kleist, Heinrich Von, David Luke, and Nigel Reeves. The Marquise of O--, and Other Stories. Harmondsworth: Penguin, 1978. 52-114. Print.

---------------------------------------------------------------------------------------------

2.     “And where’s Mr. Campbell?” Charlie asked.

“Gone to Switzerland. Mr. Campbell’s a pretty sick man, Mr. Wales.”

“I’m sorry to hear that. And George Hardt?” Charlie inquired.

“Back in America, gone to work.”

“And where is the Snow Bird?”

“He was here last week. Anyway, his friend, Mr. Schaeffer, is in Paris.”

Fitzgerald, F. Scott. "Babylon Revisited." The Art of the Short Story. Longman Pub Group, 2005. 247. Print.

The group discusses whether the examples tell, show or does both.

Each class member then votes in a poll which asks if they would like to continue to read the story or not.

Class discussion is based on these results.

Additional Questions: Is the opening is powerful? Does it include hints that are intrigue readers making

them want to continue reading?

Break-out groups

The following image and the accompanying text should be shown on a series of slides as a model:

(Lise Sarfati, The Serbsky Institution for Psychiatric Expertise, Moscow, 1995)

“I promise I am not insane Ivan, I am just a normal guy trying to survive in these tough times.”

Ivan stared ahead. He did not dare look sideways as the man next to him spoke.

“You believe I am innocent don’t you?” Yuri stared at the faded paint on the wall in front of him as he spoke.

Ivan’s hands shook. “Of course Yuri, you didn’t kill those people, it was someone else who just happened to look like you.”

“That’s right. I have been set up, it’s a conspiracy to persecute an innocent man, but I will show them. I am going to escape you know.”

Ivan looked down at the worn slippers on his feet and spoke through the side of his mouth so the guards wouldn’t notice. “No one escapes from here alive.”

Yuri lifted his sleeve and held his arm in front of Ivan to reveal a sharpened toothbrush tied to his wrist. His eyes sparkled as he said, “I will.”

The class is then shown a slide depicting a painting by Caribbean artist Wagler Vital. 

The following slide contains instructions:

·       Compose a paragraph or two about this scene. You may invent characters/situations.

·       You must show and not tell and use vivid words to describe the action.

At the completion of this activity groups return to the main room and a member of each break-out group reads the group effort to the class.

Discussion Board

1.     Which story opening did you prefer? Why?

2.     Which do you think is easier to write Show or Tell?

Blog

Write a blog entry where you take a piece of your own writing from a first draft stage. It could be a journal entry, a story you wrote in the past, or even your writing activity from Lesson 2.

·       Highlight all words ending in –ing. Do you think there are too many? If so, rewrite the passage and make sure you change some of them into more active forms.

·       Are there any passive constructions that you think could be changed? If the writing begins with exposition rewrite it so that the story begins, “halfway down the page.”

Writing Exercise:

 Choose one of the following prompts and create something exciting.

1.     Re-write a scene from everyday life: Boarding a bus, riding a train, going into the supermarket, etc. and turn it into a wild event with magic, intrigue and mystery.

2.     Write about a day in the life of someone who lived in the past.

3.     Start a story with a question such as “Should I turn him in?” or “Should I confess this morning?” (Novacovich, Writing Fiction Step by Step, 134).

As you write consider the following: spelling, grammar, vividness, showing versus telling.

Works Cited

Barth, John. "Incremental Perturbation: How to Know Whether You've Got a Plot or Not." Creating Fiction: Instruction and Insights from Teachers of the Associated Writing Programs. Cincinnati, OH: Writer's Digest, 1999. 126-47. Print.

Elbow, Peter. Writing with Power: Techniques for Mastering the Writing Process. New York, NY: Oxford UP, 1998. 15. Print.

Finkelstein, Jonathan. Learning in Real Time: Synchronous Teaching and Learning Online. San Francisco: Jossey-Bass, A John Wiley & Sons Imprint, 2006. 7-53. Print.

Fitzgerald, F. Scott. "Babylon Revisited." The Art of the Short Story. Longman Pub Group, 2005. 247. Print.

Flaubert, Gustave. "A Simple Heart." The Art of the Short Story. Longman Pub Group, 2005. 265. Print.

Gardner, John. The Art of Fiction: Notes on Craft for Young Writers. New York: Vintage, 1991. 98. Print.

Goldberg, Natalie. Writing down the Bones: Freeing the Writer within. Boston: Shambhala, 1986. 319-339. Kindle.

Hewett, Beth L. The Online Writing Conference: a Guide for Teachers and Tutors. Portsmouth, NH: Boynton/Cook, 2010. 1514-1775. Kindle.

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