Extra Credit Prompts

Those of you who have finished the assignments for the class can do extra credit projects independently.  This can be writing and/or drawing or illustrating your writing!

Here are some places to go for prompts:
http://thinkwritten.com/365-creative-writing-prompts/

http://www.creativewritingprompts.com/

Assignment #4 Moviemaker Animated Poem

Moviemaker instructions

Video instructions: https://www.youtube.com/watch?v=TXr_kzfnCM4

Music converter:https://mp3-youtube.download/en

Add "slide"--TITLE (home)

Add text--CAPTION (home)--can change size, color, font, etc.

Add video or photo (home)

Add music (home)

Link for music converter:

https://mp3-youtube.download/en

Animate This Poem
https://www.youtube.com/watch?v=eqKitAWAl-w

https://www.youtube.com/watch?v=uxZWaonSuoo

https://www.pw.org/content/introduction_to_poetry

https://www.youtube.com/watch?v=TkREA94QYRk

Introduction to Poetry

BY BILLY COLLINS

I ask them to take a poem

and hold it up to the light

like a color slide

or press an ear against its hive.

I say drop a mouse into a poem

and watch him probe his way out,

or walk inside the poem’s room

and feel the walls for a light switch.

I want them to waterski

across the surface of a poem

waving at the author’s name on the shore.

But all they want to do

is tie the poem to a chair with rope

and torture a confession out of it.

They begin beating it with a hose

to find out what it really means.

Billy Collins, “Introduction to Poetry” from The Apple that Astonished Paris. Copyright � 1988, 1996 by Billy Collins. Reprinted with the permission of the University of Arkansas Press.

Source: The Apple that Astonished Paris (University of Arkansas Press, 1996)

Story Prompt Assignment #3

Story Prompts--Assignment #3

ASSIGNMENT #3

Write a short story based on one of these picture prompts.  Use the first line of the story from the picture.  Story should be 2-3 pages with characters, plot, dialogue and description.

The Mysteries of Harris Burdick

https://mrsgraveswebsite.weebly.com/uploads/1/2/6/8/12686140/the_mysteries_of_harris_burdick.pdf

First Week Writing Prompts--Assignment #1 and #2

First Week Writing Prompts

AGENDA:

1. Finish working on your heart map--Assignment #1

2.Assignment #2:

 Choose something from your heart map to write about or choose something from the list below

1 pg.

12 pt. font. double-spaced, Times New Roman

Use header as follows:

Your name

Ms. Gamzon

CW7

Date

3. First Week Writing Prompts

Here are some questions to help you with your descriptive writing.

1. What was the best thing that happened at school today? (What was the worst thing that happened at school today?)

2. Tell me something that made you laugh today.

3. If you could choose, who would you like to sit by in class? (Who would you NOT want to sit by in class? Why?)

4. Where is the coolest place at the school?

5. Tell me a weird word that you heard today. (Or something weird that someone said.)

6. If I called your teacher tonight, what would she tell me about you?

7. How did you help somebody today?

8. How did somebody help you today?

9. Tell me one thing that you learned today.

10. When were you the happiest today?

11. When were you bored today?

12. If an alien spaceship came to your class and beamed someone up, who would you want them to take?

14. Tell me something good that happened today.

15. What word did your teacher say most today?

16. What do you think you should do/learn more of at school?

17. What do you think you should do/learn less of at school?

18. Who in your class do you think you could be nicer to?

20. Who is the funniest person in your class? Why is he/she so funny?

21. What was your favorite part of lunch?

22. If you got to be the teacher tomorrow, what would you do?

Welcome to SOTA and Creative Writing 7/

AGENDA:

1. Welcome/Seating/Introductions--Name/Major

 https://www.youtube.com/watch?v=FH3akqBwYfo

a. Write your major underneath your name on folder
b. Sign on to computer: Your ID number and your birthday!
MM/DD/XXXX
c. Go to the Class BLOG
CW7sota.blogspot.com
Click it blue in the star to bookmark


2. Sign-in:  Google classroom (hw9qx3)

3. Classroom expectations

1) Treat others as you would like to be treated.  RESPECT ALL NOUNS (People, objects, ideas)

2) Respect other people and their property (e.g., no hitting, no stealing).

3) Laugh with anyone, but laugh at no one.

4) Be responsible for your own learning.

5) Come to class and hand in assignments on time.

6) Do not disturb people who are working.

In addition:

No food or drink in classroom or computer lab.

No cell phones.

As we begin to create writing

Use Times New Roman font  12 pt.

Ask permission to print

USE MLA HEADING:

Your name

Teacher name

CW7

Date/Assignment

Write shortcuts on folder:

4. Discuss;

EQ: Why is Art important? Why are you at SOTA?  Why do you want to pursue your art major?

Student reads:
"By awakening our imagination, art intensifies and complements our ownexperience. Art represents people, cultures, values, and perspectives on living, but it does much more. While bringing us pleasure, art teaches us. While reading or contemplating a painting our minds go elsewhere. We are taken on a journey into a world where form and meaning are intertwined.

Form matters and gives pleasure. How a work of art is organized — its technique, its verbal or visual texture, its way of telling — gives pleasure. So does the inextricable relation between form and content. The form of imaginative art, as well as the form of well-written non-fiction, organizes the mess (if not the chaos) of personal life as well as that of external events. Form not only organizes and controls art but also other bodies of knowledge within the humanities. Form imposes structure that our own lives — as we move from moment to moment through time — may lack.

Narrative — sequential telling — imposes form as it orders and gives shape. Indeed, in the sense that each of us is continually giving shape to the stories we tell to and about ourselves, there is continuity between what we read and see and our own lives. Put another way, what we read teaches us to find narratives within our own lives and hence helps us make sense of who we are. Our seeing shapes and patterns in stories and other kinds of art helps give interpretive order — in the form of a narrative that we understand — to our lives. We live in our narratives, our discourse, about our actions, thought, and feelings.

While there is always a gulf between imagined worlds and real ones, does not the continuity between reading lives and reading texts depend on our understanding reading as a means of sharpening our perceptions and deepen our insights about ourselves? Reading is a process of cognition that depends on actively organizing the phenomena of language both in the moment of perception and in the fuller understanding that develops retrospectively."

Daniel Schwartz, Huffington Post

5.  Marshmallow exercise

Don’t Eat the Marshmallows !

Are you a Marshmallow Eater 

Or 

A Marshmallow Resister? 

Show students: Joachim de Posada: Don't eat the marshmallow! This is a very engaging 6 minute TED video about the importance of self-regulation and delayed gratification.  Students of all ages find this video amusing.  Here is the link: 

http://www.ted.com/talks/joachim_de_posada_says_don_t_eat_the_ marshmallow_yet.html 

https://stosselintheclassroom.org/videos/delayed_gratification/

Complete class discussion and worksheet after watching the video 

Name______________________ 

1. Are you a marshmallow eater or a marshmallow resister?   

2. Are you in the majority or minority of the population? 

3. What are the advantages of being a marshmallow resister? 

4. What are the disadvantages of being a marshmallow eater? 

5. What can a person do to change from being a marshmallow eater to a marshmallow resister? 

6. How do these videos affect you and how you feel about SOTA's cell policy?

Write about a time you had to wait until you got something you wanted badly.

Was it worth the wait?  Were you gratified when you received it?

ASSIGNMENT 13 MONOLOGUE

Assignment #13--Monologue

The Monologue

See sample monologues:

http://www.monologuegenie.com/basketball-therapy-monologue.html

Exercise: The Monologue

ONE: Dealing with the Past

It is a common practice with monologues that a character relates a past story in order to illuminate something that is currently happening the plot of the play.

The problem with these types of monologues is when a character says, "I remember." "I remember" creates an insular experience; it's something that only happened to the character and it's difficult for the audience to share in the event. The audience doesn't remember.

Another problem with past monologues is the use of the past tense. When something has happened in the past, it's over, it's done. Using the present tense is much more alive and active.

EXERCISE

1. Write a monologue where the first line is 'I remember when...' and uses the past tense. Have a character talk about a childhood memory that has significant impact on how they are today.
2. Re-write the monologue, taking out all mentions of 'remembering.' Just tell the story.
3. Re-write the monologue in the present tense.
4. Read aloud the first version and then the third. Discuss the differences.

TWO: Making the Story Count

If a character tells a story in a monologue - "I went to the grocery store and THIS JUST HAPPENED," there has to be something besides the base story going on for the audience. There has to be more. The story has to show something: a character flaw, a plot point we didn't know, a lie, a romance, and so on.

EXERCISE

1. Write a monologue where the character tells a story about going to a parade.
2. Re-write the monologue so that by telling the story, the audience sees the character is a liar.
3. Re-write the monologue so that by telling the story, the audience sees the character is heartbroken.
4. Re-write the monologue so that by telling the story, the audience sees the character is in love.

THREE: The Need to Speak

In every monologue a character must 'need to speak.' Otherwise, why is the monologue there? In every monologue you write, you must determine the need for the character to speak. What drives the character? Is there anything that stands in the way of the character's need to speak? The character doesn't necessarily have to succeed with what they need. Maybe they're too afraid, or they change their mind, or there's something stopping them. Obstacles are good! But start with the need and then see what happens.

EXERCISE

Choose one of the following needs. What kind of character would have that need? Give them a name, an age, and a physical appearance. Who are they talking to? Who is the listener? What is the relationship? Decide if your character will succeed or fail with their need. Now write the monologue.

1. The character needs to reveal a secret to the listener.
2. The character needs to prove something to the listener.
3. The character needs to reveal they love the listener.
4. The character needs to reveal they hate the listener.
5. The character needs to stand up to the listener.

Scripts--Assignment #12

Scriptwriting--Assignment #12

AGENDA:

Playwriting Exercise

Pick an opening line:

The scene should be at least one page long. The scene should only have two characters who are in one room, in one location. Go down the list and  use the provided first line as the first line of your scene and write scene using proper format.

1. Well, aren’t you going to congratulate me?
2. What do you mean “I have to give the ring back?”
3. This is most definitely the result of a curse.
4. Dude, Lara Croft is not your girlfriend.
5. I can fix this, I am determined to fix this.
6. I have something important to tell you.
7. Why are you hiding in the bathroom?
8. Sir, you dropped your wallet.
9. I would do anything for a peanut butter dipped chocolate bar right now.
10. First day of school, first day of hell.

THE STANDARD STAGE PLAY FORMAT What follows is a guide to “professional” stage play script formatting. These pages are an explanation of the standard stage play format. See the Example Pages for visual examples of the format. There are three reasons why playwrights use this format: 1) In this format, it is easy for a producer/script reader to estimate how long the running time of the script will be. The accepted format lays out the script at roughly one minute per page. 2) This standard format is optimized to make all the separate elements of the script easy to read and comprehend (character names, dialogue, stage directions, page numbering, etc.). 3) This standard format immediately tells a producer/script reader that the playwright knows something about submitting plays. “How good could the play be if the playwright doesn’t even know the basics of formatting?” they will ask. Unfair, yes... but the way your script looks is the first impression you make.

http://downloads.bbc.co.uk/writersroom/scripts/stageus.pdf