The WRITE Time for Poetry shares how to get your students motivated, inspired, and have the stamina to grow and learn as readers and writers of poetry.
The write time for poetry psu presentation 2013HollyMarsh
This session will introduce, explain, and demonstrate how to teach your students to create a poetry anthology- a book of poems. This session will show you how to get started in getting your students to read and write like poets, how to use mentor texts to move your students into producing poetry, and how to get your students to publish poetry.
This document summarizes the activities and lessons from Miss Catherine's poetry class over 4 days. The class discusses what art is, examines examples of paintings and discusses whether they are considered art. They also explore poetry, discussing elements like subjects, structure and how poems are organized into stanzas. Students read and analyze various poems in small groups, considering how each stanza contributes to the overall meaning. The importance of reading poetry aloud and appreciating different genres is emphasized.
This document introduces the book Poetry For Dummies and provides an overview of its contents and organization. It aims to make poetry accessible to all readers by explaining how to read, interpret and write poetry. The book is divided into six parts that cover reading poetry, analyzing poetic techniques and forms, a historical overview of poetry, guidance for writing poetry, lists of common myths and great poems, and additional resources. Its goal is to help readers discover and appreciate poetry through practical tips, exercises and recommendations.
Using Cartoons, Comic Books and Graphic Novels in the Classroom Quinn Rollins
Some tips, tricks, and warnings about using Cartoons, Comic Books and Graphic Novels in the secondary classroom, featuring "American Born Chinese" by Gene Luen Yang.
The document summarizes a classroom lesson on poetry. The teacher leads students in analyzing poems to understand the author's purpose, inspiration, and central idea. Students consider how elements like rhythm, repetition, and onomatopoeia create sound in poetry. They then apply these skills to poems by Langston Hughes and Jacqueline Woodson. Later, the teacher prompts students to write poems expressing their hopes and visions of peace for their community and world.
Are You An Author or a Writer & What's the Difference?Kytka Hilmar-Jezek
Ever wonder what the difference is between an author and a writer? This quick presentation explains it...
Get your FREE resource list for writers, author and publishers:
http://www.distinctpress.com/master-resources
Thinking about writing your book? Visit
http://www.distinctpress.com/get-published/
This document provides 10 tips for becoming a writer from the author's experience. The tips include publishing your writing, setting deadlines, learning storytelling, reading widely, learning constantly while becoming an expert in nothing, stealing or being inspired by other writers, facing difficult realities without looking away, enduring the frustrations of the writing process, surrounding yourself with other creative people, and consistently writing daily. The author shares some challenges and struggles they faced on their writing journey in order to inspire and help others to become writers. They invite the reader to join a program to help transition from aspiring to daily writers.
The document outlines a poetry webquest task for students where they will learn about different types of poems and poets, write original poems in various forms, and compile their work into a class poetry book to commemorate their eighth grade year. Students are provided steps to research poetic terms and genres, influential poets, write inspired and original poems, and criteria for evaluation. Helpful poetry resources are also listed.
The write time for poetry psu presentation 2013HollyMarsh
This session will introduce, explain, and demonstrate how to teach your students to create a poetry anthology- a book of poems. This session will show you how to get started in getting your students to read and write like poets, how to use mentor texts to move your students into producing poetry, and how to get your students to publish poetry.
This document summarizes the activities and lessons from Miss Catherine's poetry class over 4 days. The class discusses what art is, examines examples of paintings and discusses whether they are considered art. They also explore poetry, discussing elements like subjects, structure and how poems are organized into stanzas. Students read and analyze various poems in small groups, considering how each stanza contributes to the overall meaning. The importance of reading poetry aloud and appreciating different genres is emphasized.
This document introduces the book Poetry For Dummies and provides an overview of its contents and organization. It aims to make poetry accessible to all readers by explaining how to read, interpret and write poetry. The book is divided into six parts that cover reading poetry, analyzing poetic techniques and forms, a historical overview of poetry, guidance for writing poetry, lists of common myths and great poems, and additional resources. Its goal is to help readers discover and appreciate poetry through practical tips, exercises and recommendations.
Using Cartoons, Comic Books and Graphic Novels in the Classroom Quinn Rollins
Some tips, tricks, and warnings about using Cartoons, Comic Books and Graphic Novels in the secondary classroom, featuring "American Born Chinese" by Gene Luen Yang.
The document summarizes a classroom lesson on poetry. The teacher leads students in analyzing poems to understand the author's purpose, inspiration, and central idea. Students consider how elements like rhythm, repetition, and onomatopoeia create sound in poetry. They then apply these skills to poems by Langston Hughes and Jacqueline Woodson. Later, the teacher prompts students to write poems expressing their hopes and visions of peace for their community and world.
Are You An Author or a Writer & What's the Difference?Kytka Hilmar-Jezek
Ever wonder what the difference is between an author and a writer? This quick presentation explains it...
Get your FREE resource list for writers, author and publishers:
http://www.distinctpress.com/master-resources
Thinking about writing your book? Visit
http://www.distinctpress.com/get-published/
This document provides 10 tips for becoming a writer from the author's experience. The tips include publishing your writing, setting deadlines, learning storytelling, reading widely, learning constantly while becoming an expert in nothing, stealing or being inspired by other writers, facing difficult realities without looking away, enduring the frustrations of the writing process, surrounding yourself with other creative people, and consistently writing daily. The author shares some challenges and struggles they faced on their writing journey in order to inspire and help others to become writers. They invite the reader to join a program to help transition from aspiring to daily writers.
The document outlines a poetry webquest task for students where they will learn about different types of poems and poets, write original poems in various forms, and compile their work into a class poetry book to commemorate their eighth grade year. Students are provided steps to research poetic terms and genres, influential poets, write inspired and original poems, and criteria for evaluation. Helpful poetry resources are also listed.
Advanced Nonfiction Workshop, Introduction to ClassJulia Goldberg
This document outlines the syllabus for an advanced creative nonfiction workshop. The class will focus on writing exercises, discussions of craft techniques, workshops of student work, and readings of published essays. Students will write three original pieces to workshop, including memoir, journalism, and lyric essays. They will also complete weekly critical response papers analyzing assigned readings, which include works by Montaigne, Beerbohm, and Suleri. The goal is for students to refine their writing practices and understanding of the creative nonfiction genre.
Poetry is a way to express feelings and share talents and perspectives with others through carefully chosen words arranged in short lines. While poetry may not need to be intensely studied in school, writing, reading, and sharing poetry can be a enjoyable hobby and creative outlet. Effective poetry uses language devices like metaphors, similes, and descriptive words to illuminate an experience or perspective in a beautifully crafted manner.
Creative writing is important as it allows writers to use their imagination to convey meaning through imagery, narrative, and drama. It helps broaden people's thought processes and strengthen their minds by having them think creatively. Creative writing is also important for exams like CSS and PMS as it requires applicants to use their own words. There are many types of creative writing like poetry, plays, songs, speeches, memoirs, personal essays, movie scripts, and fiction. Creative writing brings new ideas and impressions to essays, books, and stories that help engage readers and make the content more interesting.
The document discusses the lyric essay, a hybrid form of creative nonfiction. It originated in the late 1990s and is championed by writers like John D'Agata. Lyric essays emphasize language, imagery, and experimentation with form over traditional structure. They explore themes through questions rather than conclusions. Common forms include flash essays, collages, braided essays, and hermit crab essays, which adopt the form of an outside source. The document provides examples and discusses how different forms shape content and themes. It concludes with an in-class assignment to write a collage essay using found text fragments.
The document provides information about graphic narratives and children's books. It discusses different types of children's books categorized by age ranges, including picture books for ages 0-5, early reader books for ages 5-7, chapter books for ages 7-12, and young adult fiction for ages 13-18. It also covers traditional literature techniques like anthropomorphism, magic, and happy endings. The document discusses fonts commonly used in children's books and provides examples of books for different age groups. It describes graphic novels and examples of popular titles. It outlines key aspects of layout and text features in graphic novels.
This document provides information about teaching prose and poems. It defines prose as a natural form of language that includes novels, textbooks, and newspaper articles, in contrast to poetry which has a regular structure. It then discusses the origins and etymology of the word "prose." There are many types of prose listed including nonfictional, heroic, prose poem, and alliterative. Poetry is defined as writing that expresses feelings and ideas through attention to diction, rhythm, and imagery. The document concludes by listing numerous creative suggestions for incorporating poetry into the classroom through reading, writing, and performing poems.
Jale Sancak is a Turkish storywriter and stylist. She attended Bebek Primary School and Behçet Kemal Çağlar High School. She has worked as a secretary, editor, and designer. Her short stories have been published in several Turkish literature magazines. One of her stories was adapted into a television film. Her books include Bu Gece Pera'da, Aynadaki Yüzler, and Surdibinde Çilingir Muhabbeti. When asked about her writing process, she says she began writing poems as a young student. She enjoys being able to focus solely on writing now without having to work other jobs. The main themes in her books are
The document discusses what a theme is and is not in stories. It explains that a theme is not just a single word, but rather a sentence or question that explores some aspect of human nature. Themes are not necessarily something the reader must agree with or know the answer to. Different types of stories convey themes in different ways - fables state the theme directly, myths and movies imply it indirectly, and novels explore complex themes throughout the work. Examples of themes are provided for different story types. The document concludes with examples of short stories and prompts for identifying their themes.
This document provides guidance on how to write a novel in several steps:
1. Come up with an idea and simple outline of the beginning, end, and key plot points.
2. Develop characters with names, backgrounds, and personalities to bring the story to life.
3. Build the world and set of rules in which the story will take place.
4. Continue writing and editing drafts to refine the story, characters, and ensure it makes sense before seeking publication. Perseverance is key to overcoming hurdles in the writing process.
The document provides guidance for writing a literary response. It explains that a response has 5 parts: a summary, meaning/theme, connections, codes/conventions, and judgment. It gives details on what to include in each part, such as providing a short summary of the plot in the first part. It also gives an example response analyzing the short story "The Greedy Father." The response demonstrates how to identify the theme of greed and its negative consequences, make connections to other works, and discuss characterization and imagery used in the story.
Concrete poems take the form of their subject, where the text is arranged in the shape suggested by its theme. The document provides instructions for writing a concrete poem, starting with choosing a theme and shape, then writing the poem without considering shape. Students then draw the chosen shape with pencil and arrange the written poem within the lines. Photos or other decorations can be added to enhance the shaped poem. The goal is to improve students' writing skills and engage them with literature in a creative way.
The document announces that Otterbein University's literary magazine, The Quiz & Quill, is accepting submissions for its 2012 single-author chapbook. Writers are invited to submit 12-25 original pages of any genre by April 9th. The submission will be reviewed anonymously, and the selected author will have their work published as a chapbook. The document provides instructions for submitting work and background on The Quiz & Quill.
The document discusses unleashing creativity and provides tips for overcoming writer's block from an interview with author Nema Al Araby. It describes how a mother creatively taught her son about animals using crafts and games. Creativity is defined as turning ideas into reality through implementation. The author interviews Al Araby about her writing process and overcoming writer's block. Al Araby explains the meaning behind her book title and approach to developing her writing skills in both English and Arabic. She recommends reading favorite books to overcome writer's block through inspiration.
The New literature, white Tiger by Arvind AdigaBinkalba Gohil
The document discusses various metaphors used by Arvind Adiga in his novel "The White Tiger". It analyzes metaphors like the River Ganga, Hanuman, Buddha, Gandhi, entrepreneurship, animals, and the white tiger. It explains how each metaphor is used to critique issues like servitude, corruption, and the realities of poverty in India. In conclusion, it states that Adiga uses metaphors to add deeper meanings and subtle critiques to the novel's portrayal of social deprivation and inequality.
This document provides the requirements for a poetry scrapbook assignment. Students must compile a scrapbook containing 5 published poems, one original poem, and one song lyric. Each item must be illustrated and have a one paragraph description of its significance. The scrapbook must have a creatively designed and illustrated cover. It will be graded based on meeting the content requirements, creativity of illustrations and design, and neatness. Late assignments will be penalized points.
This document discusses the hermit crab essay form, which appropriates or borrows the structure of an existing document to frame new content. It provides examples of published hermit crab essays that use forms like instructions, a board game, and a collection of vignettes. The document also raises questions for writers to consider when using this form, such as how the chosen structure enhances the meaning or theme of the piece. Overall, the hermit crab essay adapts an outside framework in a way that blends form and content.
The document provides an A-Z overview of tips for novel writing based on the author's experience. Some of the key tips covered include: reading work aloud to catch errors, letting work "breathe" by taking breaks between drafts, using empathy to develop characters, keeping work private from critics early on, treating writing like "stringing beads" by working in small increments each day, and maintaining solitude and quiet when writing to stay focused. The document emphasizes developing heart for one's work and being ruthless in editing as important aspects of the writing process.
This document provides information on several popular Indian literature figures, including RK Narayan, Chetan Bhagat, Premchand, Harivansh Rai Bachchan, Narsinh Mehta, Rabindranath Tagore, and Jhaverchand Meghani. It discusses their biographies, major works, and contributions to Indian literature in English and various regional Indian languages such as Hindi, Gujarati, and Bengali.
This document provides information about book club selections for different grade levels. It includes a list of books assigned for each grade from 8-12, along with rationales for the selections. One book assigned for Grade 8 is summarized in 3 sentences: "Schooled" by Gordon Korman, which tells the story of Capricorn Anderson, a teen who grows up isolated on a hippie commune until he must attend junior high, where he struggles to fit in at first but eventually wins his classmates over with his kindness. Accompanying activities and complementary texts are also suggested for teaching some of the books.
Blackout poetry originated from librarians reusing books that were going to be thrown away. Pages from old books are used to create poetry by blacking out, or covering up, unwanted words, leaving only the words that form the poem. To make a blackout poem, the writer scans a page for "anchor words" that inspire the theme, then circles additional words that connect to the theme before erasing unwanted words to reveal the poem within the text.
This document outlines a unit plan for a 4th grade English/Language Arts class where students will create self-portrait poetry anthologies by finding poems that reflect themselves and then performing their chosen poems through creative arts projects. The unit introduces students to poetry, teaches poetry analysis skills, and has students discover themselves through finding poems that speak to them in order to build relationships and foster community in the classroom.
This document outlines a lesson plan for teaching poetry writing to high school students. The objectives are for students to recall elements of poetry, examine techniques in sample poems, and demonstrate genre knowledge in their own poems. Activities include identifying elements in a "snake" game, analyzing techniques in poems, and creating seed, erasure, ekphrasis and personification poems. Tips are provided on studying genre, being sensitive to language, thinking divergently, making writing time, and using a poetic journal. Groups will present and critique poems using a rubric. The follow up assignment uses a "poetry pentad" process to observe, describe and experiment with a subject in different poetic forms.
Advanced Nonfiction Workshop, Introduction to ClassJulia Goldberg
This document outlines the syllabus for an advanced creative nonfiction workshop. The class will focus on writing exercises, discussions of craft techniques, workshops of student work, and readings of published essays. Students will write three original pieces to workshop, including memoir, journalism, and lyric essays. They will also complete weekly critical response papers analyzing assigned readings, which include works by Montaigne, Beerbohm, and Suleri. The goal is for students to refine their writing practices and understanding of the creative nonfiction genre.
Poetry is a way to express feelings and share talents and perspectives with others through carefully chosen words arranged in short lines. While poetry may not need to be intensely studied in school, writing, reading, and sharing poetry can be a enjoyable hobby and creative outlet. Effective poetry uses language devices like metaphors, similes, and descriptive words to illuminate an experience or perspective in a beautifully crafted manner.
Creative writing is important as it allows writers to use their imagination to convey meaning through imagery, narrative, and drama. It helps broaden people's thought processes and strengthen their minds by having them think creatively. Creative writing is also important for exams like CSS and PMS as it requires applicants to use their own words. There are many types of creative writing like poetry, plays, songs, speeches, memoirs, personal essays, movie scripts, and fiction. Creative writing brings new ideas and impressions to essays, books, and stories that help engage readers and make the content more interesting.
The document discusses the lyric essay, a hybrid form of creative nonfiction. It originated in the late 1990s and is championed by writers like John D'Agata. Lyric essays emphasize language, imagery, and experimentation with form over traditional structure. They explore themes through questions rather than conclusions. Common forms include flash essays, collages, braided essays, and hermit crab essays, which adopt the form of an outside source. The document provides examples and discusses how different forms shape content and themes. It concludes with an in-class assignment to write a collage essay using found text fragments.
The document provides information about graphic narratives and children's books. It discusses different types of children's books categorized by age ranges, including picture books for ages 0-5, early reader books for ages 5-7, chapter books for ages 7-12, and young adult fiction for ages 13-18. It also covers traditional literature techniques like anthropomorphism, magic, and happy endings. The document discusses fonts commonly used in children's books and provides examples of books for different age groups. It describes graphic novels and examples of popular titles. It outlines key aspects of layout and text features in graphic novels.
This document provides information about teaching prose and poems. It defines prose as a natural form of language that includes novels, textbooks, and newspaper articles, in contrast to poetry which has a regular structure. It then discusses the origins and etymology of the word "prose." There are many types of prose listed including nonfictional, heroic, prose poem, and alliterative. Poetry is defined as writing that expresses feelings and ideas through attention to diction, rhythm, and imagery. The document concludes by listing numerous creative suggestions for incorporating poetry into the classroom through reading, writing, and performing poems.
Jale Sancak is a Turkish storywriter and stylist. She attended Bebek Primary School and Behçet Kemal Çağlar High School. She has worked as a secretary, editor, and designer. Her short stories have been published in several Turkish literature magazines. One of her stories was adapted into a television film. Her books include Bu Gece Pera'da, Aynadaki Yüzler, and Surdibinde Çilingir Muhabbeti. When asked about her writing process, she says she began writing poems as a young student. She enjoys being able to focus solely on writing now without having to work other jobs. The main themes in her books are
The document discusses what a theme is and is not in stories. It explains that a theme is not just a single word, but rather a sentence or question that explores some aspect of human nature. Themes are not necessarily something the reader must agree with or know the answer to. Different types of stories convey themes in different ways - fables state the theme directly, myths and movies imply it indirectly, and novels explore complex themes throughout the work. Examples of themes are provided for different story types. The document concludes with examples of short stories and prompts for identifying their themes.
This document provides guidance on how to write a novel in several steps:
1. Come up with an idea and simple outline of the beginning, end, and key plot points.
2. Develop characters with names, backgrounds, and personalities to bring the story to life.
3. Build the world and set of rules in which the story will take place.
4. Continue writing and editing drafts to refine the story, characters, and ensure it makes sense before seeking publication. Perseverance is key to overcoming hurdles in the writing process.
The document provides guidance for writing a literary response. It explains that a response has 5 parts: a summary, meaning/theme, connections, codes/conventions, and judgment. It gives details on what to include in each part, such as providing a short summary of the plot in the first part. It also gives an example response analyzing the short story "The Greedy Father." The response demonstrates how to identify the theme of greed and its negative consequences, make connections to other works, and discuss characterization and imagery used in the story.
Concrete poems take the form of their subject, where the text is arranged in the shape suggested by its theme. The document provides instructions for writing a concrete poem, starting with choosing a theme and shape, then writing the poem without considering shape. Students then draw the chosen shape with pencil and arrange the written poem within the lines. Photos or other decorations can be added to enhance the shaped poem. The goal is to improve students' writing skills and engage them with literature in a creative way.
The document announces that Otterbein University's literary magazine, The Quiz & Quill, is accepting submissions for its 2012 single-author chapbook. Writers are invited to submit 12-25 original pages of any genre by April 9th. The submission will be reviewed anonymously, and the selected author will have their work published as a chapbook. The document provides instructions for submitting work and background on The Quiz & Quill.
The document discusses unleashing creativity and provides tips for overcoming writer's block from an interview with author Nema Al Araby. It describes how a mother creatively taught her son about animals using crafts and games. Creativity is defined as turning ideas into reality through implementation. The author interviews Al Araby about her writing process and overcoming writer's block. Al Araby explains the meaning behind her book title and approach to developing her writing skills in both English and Arabic. She recommends reading favorite books to overcome writer's block through inspiration.
The New literature, white Tiger by Arvind AdigaBinkalba Gohil
The document discusses various metaphors used by Arvind Adiga in his novel "The White Tiger". It analyzes metaphors like the River Ganga, Hanuman, Buddha, Gandhi, entrepreneurship, animals, and the white tiger. It explains how each metaphor is used to critique issues like servitude, corruption, and the realities of poverty in India. In conclusion, it states that Adiga uses metaphors to add deeper meanings and subtle critiques to the novel's portrayal of social deprivation and inequality.
This document provides the requirements for a poetry scrapbook assignment. Students must compile a scrapbook containing 5 published poems, one original poem, and one song lyric. Each item must be illustrated and have a one paragraph description of its significance. The scrapbook must have a creatively designed and illustrated cover. It will be graded based on meeting the content requirements, creativity of illustrations and design, and neatness. Late assignments will be penalized points.
This document discusses the hermit crab essay form, which appropriates or borrows the structure of an existing document to frame new content. It provides examples of published hermit crab essays that use forms like instructions, a board game, and a collection of vignettes. The document also raises questions for writers to consider when using this form, such as how the chosen structure enhances the meaning or theme of the piece. Overall, the hermit crab essay adapts an outside framework in a way that blends form and content.
The document provides an A-Z overview of tips for novel writing based on the author's experience. Some of the key tips covered include: reading work aloud to catch errors, letting work "breathe" by taking breaks between drafts, using empathy to develop characters, keeping work private from critics early on, treating writing like "stringing beads" by working in small increments each day, and maintaining solitude and quiet when writing to stay focused. The document emphasizes developing heart for one's work and being ruthless in editing as important aspects of the writing process.
This document provides information on several popular Indian literature figures, including RK Narayan, Chetan Bhagat, Premchand, Harivansh Rai Bachchan, Narsinh Mehta, Rabindranath Tagore, and Jhaverchand Meghani. It discusses their biographies, major works, and contributions to Indian literature in English and various regional Indian languages such as Hindi, Gujarati, and Bengali.
This document provides information about book club selections for different grade levels. It includes a list of books assigned for each grade from 8-12, along with rationales for the selections. One book assigned for Grade 8 is summarized in 3 sentences: "Schooled" by Gordon Korman, which tells the story of Capricorn Anderson, a teen who grows up isolated on a hippie commune until he must attend junior high, where he struggles to fit in at first but eventually wins his classmates over with his kindness. Accompanying activities and complementary texts are also suggested for teaching some of the books.
Blackout poetry originated from librarians reusing books that were going to be thrown away. Pages from old books are used to create poetry by blacking out, or covering up, unwanted words, leaving only the words that form the poem. To make a blackout poem, the writer scans a page for "anchor words" that inspire the theme, then circles additional words that connect to the theme before erasing unwanted words to reveal the poem within the text.
This document outlines a unit plan for a 4th grade English/Language Arts class where students will create self-portrait poetry anthologies by finding poems that reflect themselves and then performing their chosen poems through creative arts projects. The unit introduces students to poetry, teaches poetry analysis skills, and has students discover themselves through finding poems that speak to them in order to build relationships and foster community in the classroom.
This document outlines a lesson plan for teaching poetry writing to high school students. The objectives are for students to recall elements of poetry, examine techniques in sample poems, and demonstrate genre knowledge in their own poems. Activities include identifying elements in a "snake" game, analyzing techniques in poems, and creating seed, erasure, ekphrasis and personification poems. Tips are provided on studying genre, being sensitive to language, thinking divergently, making writing time, and using a poetic journal. Groups will present and critique poems using a rubric. The follow up assignment uses a "poetry pentad" process to observe, describe and experiment with a subject in different poetic forms.
The document provides an overview of how to teach a poetry workshop, including introducing students to poetry through immersive stations, using mentor texts to guide students in writing different poetry forms, and revising techniques like experimenting with line breaks and word choice.
This document discusses the importance of sharing poetry with students and provides tips for incorporating poetry into classroom routines. It notes that poetry can be an outlet for expressing feelings and connecting with others. The document recommends making poetry a regular, enjoyable part of the school day through activities like poetry read-alouds, poetry walks, and designating a "poet of the month." It emphasizes modeling appreciation for poetry and avoiding over-analyzing poems to help students develop a lifelong love of the art form.
The document provides guidance for revising poetry written for a class project. It includes the following key points:
1) Students should review the poems they have written and choose which ones to submit for the project. They should consider feedback from peers and clarification of poetic elements if needed.
2) The revision process involves carefully examining elements like titles, message clarity, rhythm, imagery, word choice, organization, spelling and punctuation. Students are encouraged to read their poems aloud to help identify areas for improvement.
3) The use of concrete imagery over abstract language and meaningful words over unnecessary ones can help strengthen the poems. Students should add to and cut from their writing to refine their poetic communication.
Poetry can be used in the classroom to develop listening, speaking, reading and writing skills while also sparking students' imaginations. Introducing poetry need not be daunting - start by reading fun poems aloud and using pictures or mime to help convey meaning. Different types of poems like acrostics or limericks can offer structure ideas for student writing. Choosing an interesting topic focused students' thoughts as they plan, draft, and revise their own poems to later share with the class.
The document provides an overview for a 2-5 week poetry unit for primary grades. It includes suggestions for immersing students in poetry through read alouds, mini lessons on poetic techniques, and conferring during the writing process. Students then edit, revise, publish and celebrate their poems. The goal is to nurture students' love of poetry and help them generate ideas while learning craft elements.
This document provides the lesson plan for a 6th grade poetry unit. The objective is for students to broaden their understanding of poetry through exposure to different poem types and then writing their own "bio poems". Students will analyze poems, identifying literary devices. They will then create bio poems about themselves following a specific format. Assessment will be based on correctly applying the bio poem structure. The lesson involves defining poetry, discussing literary elements, reading sample poems, explaining the bio poem activity, and allowing time for creation and sharing.
The document provides information for parents on developing their child's reading skills. It discusses:
1) Different stages of reading development and how parents can support skills like blending, fluency, and comprehension at each stage.
2) How reading is taught in school through shared, guided and individual reading.
3) Tips parents can use to help children who are confident readers or reluctant readers, such as making reading pleasurable, discussing texts, and providing a variety of reading materials.
4) Recommended resources for finding book recommendations.
The document provides ideas and activities for teaching poetry to Year 3 students. It begins by outlining the Australian curriculum requirements around poetry, including discussing language devices like rhythm, onomatopoeia, and imagery. It then presents several engaging activities to introduce different poetry concepts and techniques to students, such as creating brainstorm webs, using thinking hats to evaluate poems, writing with poetry magnet apps, and creating concept maps to inspire poems. A variety of poetic forms are explored, like free verse, alliteration, rhyme, and onomatopoeia poems. Bloom's taxonomy is applied to scaffold poetry writing across different levels of thinking. The document aims to equip teachers with fun, hands-on ways of teaching poetry to middle
Workshop 1About Workshop 1Workshop 1 is designed to help you.docxdunnramage
Workshop 1
About Workshop 1
Workshop 1 is designed to help you explore the possibilities in your story/poetry by reflecting on its characters, plot/structure, imagery, and subject matter. You need to have all of your options laid out in front of you before you can decide which one is best.
The purpose of Workshop 1 is NOT to fix your work. It is absolutely crucial to keep this in mind!
Workshop 1 Requirements
There are two basic requirements for Workshop 1:
1. Submit the first 2-3 pages of a story, AND 2-3 pages of poetry (that’s 2-3 pages of poetry, not 1-2 poems), properly formatted, by the assigned due date. To submit your work, create a message, title it with your name, and post your work. You can either copy/paste your work into the message body, or provide a link to a Google Doc. If you provide a link to a Google Doc, you must be certain to set sharing permissions so your group members and I can read your work.
2. Read your group members’ work, and compose a thoughtful response to each work using the “Workshop Response” guidelines below. To respond to group member’s work, simply respond to each person’s message and type your work.
Below you’ll find detailed info on these requirements and step-by-step instructions on what to do.
Workshop Groups
Workshop groups have been randomly selected, and will be posted on the Workshop 1 page on our Canvas site. Each workshop group has its own discussion forum thread on Canvas, which you can find on the Workshop 1 page.
NOTE ON DEVELOPING YOUR FIRST DRAFT: If you’re struggling to find ideas for your Workshop 1 creative work, you can use the “Finding Your Work” exercise at the end of this document.This exercise will lead you through a series of steps to help you develop an idea for your story/poetry. This exercise is not required. You don’t need to submit the results. It isn’t graded. It’s purely an exercise to help you develop your first draft, it’s entirely optional, and it’s purely for own personal use.
NOTE ON POETRY FORMATTING: Poetry may be single-spaced. Underline and/or boldface poem titles, and leave a little white space between poems—just enough to show readers where one poem ends and the next one begins. DO NOT try to get away with placing one extremely short poem on each page, just to reach the page limit.
NOTE ON WHERE ALL OF THIS IS HEADING: Workshop 1 is about exploring your creative ideas in multiple genres (fiction AND poetry). For Workshop 2, you’ll choose ONE genre (fiction OR poetry) to develop from your Workshop 1 draft. At the end of our class, you’ll submit copies of your Workshop drafts along with other materials in a final portfolio, which including another draft of your story/poetry.
· After Workshop 1, you have the freedom to choose to write either a story or a collection of poems. Not both. The final draft of your story will be 8-10 pages long. The final draft of your poetry collection will be 7-9 pages long (any number of poems).
· If you choose to write poetry, .
The lesson plan introduces students to cinquain poetry by having them analyze sample cinquains and their structure. Students will then brainstorm topics and write their own cinquains, which have five lines with a specific pattern. The teacher will assess students' understanding of cinquains and the quality of their original poems.
This document provides an overview of a poetry unit for an elementary writing workshop. It is divided into 5 phases: 1) Immersion, where students are exposed to various poems; 2) Collect and Generate Ideas, where students brainstorm ideas; 3) Writing, where students draft poems; 4) Editing and Revising, where students refine their work; 5) Publishing and Celebrating, where students share their final poems. The overview recommends filling the classroom with poetry, highlighting poets, incorporating exciting poetry activities, and making poetry a regular part of literacy learning beyond just the unit. Student work should be showcased and the power of words celebrated.
The document discusses various types of children's books and strategies for reading aloud to children. It describes 17 categories of children's books including alphabet books, beginning-to-read books, big books, board books, concept books, and more. It provides tips for reading aloud such as selecting an appropriate book, practicing reading, encouraging participation, and asking questions. The document also discusses word walls, word study, bibliotherapy, and using books to help children cope with challenges.
This document discusses encouraging authenticity in student writing. It describes the author's teaching experience and contends that nurturing authenticity is critical for helping students become capable writers by articulating their own thinking for particular audiences. The author prompts students to identify story topics from their own lives and models sharing personal stories. Key practices discussed for developing writing skills include using writer's notebooks, selecting personally important topics, and ensuring students have authentic audiences for their writing.
This document provides instructions on how to write a poem. It discusses brainstorming ideas, choosing a topic, selecting a poetic form like limericks, cinquains or haikus, including imagery and literary devices, and revising the poem. Specific techniques are described, such as free writing, writing to prompts, making lists of images, using metaphors, similes, personification and alliteration. Examples are given for different forms and devices. The document encourages reading examples of poems and getting feedback to improve one's writing.
This document summarizes a presentation about writing workshops for elementary school students. It discusses:
1. The importance of teachers being writers themselves and using their own writing as examples for students. Various units of study are described for kindergarten through 2nd grade, including how-to books, memoirs, pattern books, and more.
2. The concept of "reading like a writer" is introduced, where students analyze aspects of text like punctuation, illustrations, and word choice to understand author's craft. Mentor texts and author studies are recommended.
3. Tips and materials for implementing writing workshops are provided, including the importance of daily writing time, mini-lessons, conferencing, and sharing
This document provides a teaching guide for a summer literacy plan to promote reading over the summer break. It includes instructions for teachers to introduce the plan to students, have students select reading and writing goals in different areas, and send the plan home with a parent letter. It also provides a sample plan form for students to track their progress, ideas for teachers to recognize student accomplishments in the fall, and links to an associated blog for additional resources. The overall goal is to encourage purposeful independent reading and writing over the summer months.
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1. The WRITE Time for Poetry
Holly Marsh
www.thewritetimeforpoetry.blogspot.com
2. Welcome
INVITATION
If you are a dreamer, come in.
If you are a dreamer, a wisher, a liar,
A hope-er, a pray-er, a magic bean
buyer . . .
If you're a pretender, come sit by my
fire,
For we have some flax golden tales to
spin.
Come in!
Come in!
3.
4. Student Comments
• It’s boring!
• It’s too hard!
• I don’t get it.
• It’s for girls.
• I don’t know what to write about. (Teacher
favorite)
12. Where do I Find Resources?
What are some poems, books, websites,
blogs that I can use?
• http://www.poetryfoundation.org/
• http://www.poets.org/
• http://www.poetryarchive.org/childrensarchive/hom
e.do
• http://www.poemhunter.com/
• http://ettcweb.lr.k12.nj.us/forms/newpoem.htm
• Poet Websites letter-from-poet_Joyce_Sidman.pdf
http://www.kristinegeorge.com/for_teachers.html
• Interview with poets Interview with Bobbi Katz
18. How Do I Get My Students
to Dig Deeper?
How To Eat a Poem
by Eve Merriam
Don't be polite.
Bite in.
Pick it up with your fingers and lick the juice that
may run down your chin.
It is ready and ripe now, whenever you are.
You do not need a knife or fork or spoon
or plate or napkin or tablecloth.
For there is no core
or stem
or rind
or pit
or seed
or skin
to throw away.
19. TeachWriteShare
Framework
• In a nutshell…
– I do it; You watch
• Teacher thinks aloud, explains, models.
– We do it: I do it, you help. You do it, I help.
• Teacher and students
• Shared Writing or Interactive Writing
– You do it; I watch.
28. Parts are due each week
Poetry Anthology Project
Dear Students,
This year, you will be keeping a poetry anthology. In it, you will be collecting
published poetry you love and be writing many of your own poems.
The following is an explanation of what I will expect you to do.
Gather a few poetry books at the beginning of each month. You can borrow
some from the class library or take some out of our school library or the
public library. Spend some time each day reading and enjoying poems.
Identify those you love by placing a sticky note on the pages of your
books or recording the title and book from which you found the poem.
By the beginning of the next week, you should have found at least one
poem you especially love. Copy or photocopy it. It will eventually get
pasted onto the left side of your book. The right side will be for your
own writing. If you type a copy of the poem, be sure you type it exactly
as the poet wrote it. Do not change any spelling, punctuation or line
breaks.
Now you are ready to search through your writer’s notebook for entries
that you think could easily sit beside the published poem. You will see
that your writing has a lot in common with published poetry; perhaps the
subject is the same, the style, the mood or the feeling.
Once you have identified the entry you will use, you have some choices to
make. You can use everything you know about writing poetry and
rework the entry so that it becomes a poem. You may, however,
decide to use the entry as it is. If so, you need to revise, edit and type
it. It will go onto the right side of the page opposite the published piece.
We will set aside a time somewhere around the middle of the month for you to
share your work. At that time, you can schedule a conference to get
feedback and help with revising your work.
Illustrate the poems, choosing a medium and style that best suits the subject
and mood of each poem. Plan your illustration before you paste your
poems in. This way, you can be sure you’ve used all the space wisely.
You may do one illustration across both pages or you may choose to
illustrate each one separately.
Try to vary the medium you use each month. Remember to think about how
the images created in writing will influence the images you create with
your art.
Your anthology is due the last school day of every month. On this day,
you will have an opportunity to share your work with your classmates
and get their feedback. At the beginning of each month, you will
receive a blank calendar/checklist to help you schedule time to work on
this project. You will be expected to turn the calendar/checklist,
signed by a parent, in to me.
By the end of the school year, each of you will have a collection you will be
very proud of and will cherish. You will be amazed at how your work
changes over the course of the year.
I can’t wait to see the remarkable work you will do this year!
Happy Reading and Writing,
Mrs. Marsh
33. "The Pen" by Muhammed al-Ghuzzi
Take a pen in your uncertain fingers.
Trust, and be assured
That the whole world is a sky-blue butterfly
And words are the nets to capture it.
Thank you and Good Luck on your Poetry Journey!
Editor's Notes
Delicious Fun Exciting Wish Making A Celebration A Tasty Treat It makes you want to stick your finger in and lick the icing!
Peel back layers to reveal a gem Worth all the hard work Precious time spent mining for a quality piece Brilliant
Helps support struggling readers and writers. It lets creative ideas learned flow into other areas of writing. It connects reading and writing. It closes the gap between our challenged readers and writers and our advanced readers and writers.
Read lots of poetry aloud. Notice what poets do. Have poetry everywhere in the classroom. Let students absorb like a sponge.