Friday, June 3, 2016

PORTFOLIO


10th Grade FINAL PORTFOLIO INSTRUCTIONS


There are two (2) parts to your final portfolio:
A. A 4-5 page, double-spaced, typed self evaluation essay
B. A variety of your best work chosen from all your CW classes
Your final portfolio will count for both 9th grade creative writing classes and will be reviewed by Mr. Craddock and Ms. Gamzon. It will constitute 25% of your final grade.
Part A. Self Evaluation Essay (see details below)
Part B. Portfolio
Select work that you created this year in Ms. Gamzon’s or Mr. Craddock’s classes. All work should be copies of original work. No journals will be accepted. Follow the guideline below.
Table of contents. Your table of contents should order your portfolio into the following parts:
a. Poetry
b. Fiction
c. Non-fiction
d. Scripts
e. MEDIA projects (magazine, podcast, photo essay, PSA, Transmedia project, propaganda poster, etc.)
Poetry. Choose 4-5 of your best poems. Select work that shows your understanding and growth in the field of poetry. Each poem’s title should be listed on the table of contents.
Fiction. Choose 4-5 of your best fiction pieces. Select work that shows your understanding and growth in the field of fiction. Each fiction piece’s title should be listed on the table of contents.
Non-fiction. Choose 4-5 of your best non-fiction pieces. Select work that shows your understanding and growth in the field of non-fiction. Each non-fiction piece’s title should be listed on the table of contents.
Scripts: Choose 1-3 of your best scripts. Select work that shows your understanding and growth in the field of script writing. Each script’s title should be listed on the table of contents.
MEDIA Projects: Choose 4-5 of your special projects (documentary, newsletter, brochure, literary magazine, online blog, etc.) that show your growth and creative ability. Each project should be listed on the table of contents. If you have been working on a project not assigned in class, you may include this work in your special projects. (Example: I am working on a novel, and I haven’t told my teachers or I have written a musical, etc.) Please do NOT print your special project, unless you already have an extra copy. Instead, please write about these projects in your reflection.

Self Reflection Non Fiction - Creative Essay: 
During this year, we have thrown quite a bit of information, projects, and assignments your way. We did not do this to be cruel, but to see how you react to pressure, deadlines, writing & reading skills, and so that you had the opportunity to grow as a writer and a student. It is true that the most important qualification for writers is that they write. Apart from this, reading is also the most important way to improve your writing at this stage of your development and education. These introductory courses are designed to get you to know yourself as a student and writer a little better. Part of this is the need to self-reflect. Examine the writing rubrics below and the material in your portfolio. Reflect on your work this year.
Reflective piece: 4-5 pages, double-spaced. Write about what you learned about the Craft of Writing and Media Studies this year. What has been easy/hard for you, what areas you feel you need more work in; reflect on your progress as a writer, a reader, and as a student. Write about each selected piece you have chosen to include in your portfolio (per genre): why did you include these pieces in your portfolio? How does the piece show your growth and development as a writer in this particular genre? What did you learn about yourself concerning writing from this assignment or project? Discuss the writing process you used to create the work, where you got your ideas, what you learned about the form or genre of the work as you wrote and revised it, what you learned about yourself as a writer, etc. Discuss special projects and reading that had an impact on you. Which books you read were of high interest and what did you learn about writing from reading them? What did you learn about writing and about yourself through these assignments and courses this year?
Rubric
_____ Table of Contents 10 points
_____ Reflective Essay (4-5 pages) 30 points
_____ Poetry (4-5 poems) 10 points
_____ Fiction (4-5 short stories) 10 points
_____ Non Fiction (4-5 creative essays or articles) 10 points
_____ Scripts (2-3 scripts) 10 points
_____ MEDIA Projects (4-5 special projects) 10 points
_____ Grammar (Work is clean, copy-edited, free of errors) 10 points
Penalty: (-1/2 point for each grammar error. Up to -10 points)
_____ Portfolio turned in complete and on time: bonus 10 points
Penalties:
• Late portfolios (-10 points per day late)
• Handwritten work (-1 for each handwritten page)
• Grammar errors (see above) & missing required components of your portfolio

Thursday, May 19, 2016

Villanelles and Revision

AGENDA:

Continue to work on revising earlier poems and writing a villanelle.

If you want extra credit, work on another choice poem from the packet.

Tuesday, May 17, 2016

Villanelle

AGENDA:

Write a villanelle

Villanelle

A villanelle (also known as villanesque) is a nineteen-line poetic form consisting of five tercets followed by a quatrain. There are two refrains and two repeating rhymes, with the first and third line of the first tercet repeated alternately until the last stanza, which includes both repeated lines. The villanelle is an example of a fixed verse form.


Tuesday, May 3, 2016

Line-breaking Exercise

AGENDA:

Linebreaking/Enjambment


AGENDA:


Read the following:
Do the line break exercise on the handout.  Cut and paste the passage onto a word document.
EXERCISE:
http://english202-childers.blogspot.com/2010/09/line-break-exercise.html


Also read:

The Poetic Line

What is a poetic line?
A line is a unit of words in a poem, and it can vary in length.  According to Oliver (1994), "The first obvious difference between prose and poetry is that prose is printed (or written) within the confines of margin, while poetry is written in lines that do not necessarily pay any attention to the margins, especially the right margin" (35).

An example
Here are three lines from Robert Creeley's poem "The Language":


Locate I
love you some-
where in


SOURCE: OLIVER, M. (1994). A POETRY HANDBOOK. ORLANDO: HARCOURT BRACE & CREELEY, R. (1992). THE COLLECTED POEMS OF ROBERT CREELEY, 1945-1975. BERKELEY, CA: UNIVERSITY OF CALIFORNIA PRESS

Lineation

What is lineation?
According to the Merriam-Webster dictionary, lineation is "an arrangement of lines."  Coulson and Temes (2002) elaborate on this definition: "[T]here is an interplay between the grammar of the line, the breath of the line, and the way lines are broken out in the poem--this is called lineation" (para. 12).

An example
Here is an example of  "an arrangement of lines," spanning two stanzas, from Robert Creeley's poem "The Language":


Locate I
love you some-
where in

teeth and   
eyes, bite   
it but


SOURCE: COULSON, J & TEMES, P. (2002) HOW TO READ A POEM. RETRIEVED FROM HTTP://WWW.POETS.ORG/VIEWMEDIA.PHP/PRMMID/19882 & CREELEY, R. (1992). THE COLLECTED POEMS OF ROBERT CREELEY, 1945-1975. BERKELEY, CA: UNIVERSITY OF CALIFORNIA PRESS

Enjambment

What is enjambment?
Estess and McCann (2003) tell us: "Enjambment means breaking a line but not ending the sentence, that is carrying over a sentence from one line to the other" (p 140).

An example
There are multiple examples of enjambment in these lines from Robert Creeley's poem "The Language." Notice how this single sentence is carried over from one line to the next and over multiple stanzas, and all the lines break abruptly.

Locate I
love you some-
where in

teeth and   
eyes, bite   
it but

take care not   
to hurt, you   
want so

much so   
little.

SOURCE: ESTESS, S. & MCCANN, J. (2003). IN A FIELD OF WORDS: A CREATIVE WRITING TEXT. UPPER SADDLE RIVER, NJ: PRENTICE-HALL & CREELEY, R. (1992). THE COLLECTED POEMS OF ROBERT CREELEY, 1945-1975. BERKELEY, CA: UNIVERSITY OF CALIFORNIA PRESS

Robert Creeley and The Line

One of the masters of enjambment and the line is the poet Robert Creeley.  As you can see above, Creeley's line breaks are often startling and unexpected.  To find out more about Creeley's unique use of the line (or breaking the line), read the section on "The Line" in How to Read A Poem, which you can find here:
You can also find a brief biography of Robert Creeley and his poems here:
SOURCE: POETS.ORG FROM THE ACADEMY OF AMERICAN POETRY

Robert Creeley's "The Language"

Here is the complete poem of Robert Creeley's "The Language":

The Language

Locate I
love you some-
where in

teeth and   
eyes, bite   
it but

take care not   
to hurt, you   
want so

much so   
little. Words   
say everything.

I
love you
again,

then what   
is emptiness   
for. To

fill, fill.
I heard words   
and words full

of holes   
aching. Speech   
is a mouth.

SOURCE: CREELEY, R. (1992). THE COLLECTED POEMS OF ROBERT CREELEY, 1945-1975. BERKELEY, CA: UNIVERSITY OF CALIFORNIA PRESS

Robert Creeley's "The Language": An Animated Version

An animated poem of Robert Creeley's "The Language" read by Carl Hancock Rux:
SOURCE: POETRY FOUNDATION

"Creeleyizing" A Poem

Assignment Task:
Select a poem that you have written.  For the purposes of this assignment, it is best if the poem consists of lines at least ten syllables in length and/or heavily end-stopped lines (meaning that punctuation appears at the end of the line). 
After you have selected a poem, "Creeleyize" your poem.  In other words, rewrite your poem by breaking your lines at unexpected moments (like Creeley does in a number of his poems), creating frequent enjambment and short lines.  
Assignment Purpose:
The purpose of this assignment is to revise the lineation of your poem, exploring ways in which your changes in line breaks and line length open up new meanings and points of emphasis in the poem.  It might also suggest possibilities for further revision to imagery and sound.
Some Questions to Consider After Your Revision:
  • Does the change in lineation help reinforce the rhythm of the poem? Or does it seem distracting?
  • Is the change in lineation appropriate for the meaning of the poem? In other words, does this new form enhance the content of the poem?
  • What words and phrases stand out to you in this revision that did not stand out before?  How does this change the poem?
  • What additional ways might you revise the poem to explore other possibilities for making meaning, sound or word play?

Wednesday, April 27, 2016

Poetry

AGENDA:



READING: Read the assigned poems and fill out a TPCASTT graphic organizer (HANDOUT) for ONE (1) of the poems you read. Hand it in for participation credit.

Carl Sandburg:  "Chicago"  pg. 715-716
Wallace Stevens: pg. "The Snow Man" "Thirteen Ways of Looking at a Blackbird"  "Of Mere Being"    
pg. 718-727 
William Carlos Williams: "Danse Russe"  "This is Just to Say"  "The Red Wheelbarrow" pg. 728-729
Marianne Moore: "Poetry"  "The Fish"  pg. 760-764


WRITING::
Continue to work on your first “choice” poem from page 1 of the packet and turn it in since it is due today.  Those of you who have turned in your first poem should look through the packet and find a 2nd prompt assignment that you like and begin working on that.

Friday, April 8, 2016

Screenplay Treatment and Scene/End of Marking Period

AGENDA:

Continue working on your screenplay treatment and scene.  If you finish, turn it in.
Maintain a quiet writing environment for the class periods.
Next week is the end of the marking period!

HOMEWORK  (you can begin this in class if you finish and turn in your screenplay and scene)


Finish reading A Streetcar Named Desire for homework.