1. Writing Narrative Poetry Wednesday, September 30, 2015 9 th Grade MYP

2. Greek Roots Quiz You will have a quiz over Greek roots 1-20. You may have 2 minutes to study. After the 2 minutes, please put your notebook under your desk. You will have approximately 4 minutes to complete the quiz. When you are finished, please turn it face-down. We will score it together this week.

3. Objective, Agenda, & Homework Objective: I give and receive meaningful feedback. Agenda: Greek Roots Quiz Focus Lesson: Rhythm and Word Choice Model of Workshop Groups Homework: Continue drafting poems at home. Study for Greek roots 1-20 midterm.

4. Your Narrative Poems (Due Friday) Poem requirements: write 3 or more poems of 15 lines or more each (so 45+ total lines) counts as a formative assessment grade based on MYP Rubric (C: Producing Text / D: Using Language) Structure of 3 poems: 1 st poem = introduction of character, setting, and conflict 2 nd poem = development of conflict (i.e. rising action and climax) 3 rd poem = conclusion and illustration of the theme (i.e. falling action and resolution) Additionally, students need to include the following: 5 literary elements of the 6 below: Plot Conflict Setting Point of View Character Theme 2 craft tools of the 3 below or others: Variation in Rhythm (caesura, enjambment, etc. ) Imagery Figurative Language

5. Rhythm Notes from Yesterday – Tape into Section 2 of Notebook Rhythm is created by using a pattern of stressed and unstressed syllables in a line and by creating lines with (approximately) the same number of syllables. 4 Ways to play with rhythm: Use Caesura a visible break or pause within a line of poetry Use Enjambment when a phrase or sentence in one line continues into the next line Use a Change in Rhythm/Line Length for Emphasis Use Repetition

6. Rhythm in Soul Moon Soup Example Reread “Fading Fast” on page 35 Use of Caesura “and the lady at the shelter/moves on, and life keeps getting easier” (lines 45-46: She makes you pause after “moves on.”) Use of Enjambment “How simple life would be/if I could fade away to/nothing.” (lines 9-11: All 3 lines are 1 sentence, so they just keep flowing smoothly.) Change in Rhythm/Line Length for Emphasis “Inside I’m still/kicking and screaming a little/but fading fast./So Mama goes on thinking what she’s thinking,” (lines 41-44: She makes the line about Mama longer to show how her thoughts trail off.) Use of Repetition “But deep inside I’m slowing down,/ down deep inside I’m shutting down,/ closing down, turning into/nothing.” (lines 2-6: The repetition of “down” makes us feel like we are being dragged down with Phoebe.”

7. Figurative Language Practice9/30/15 Read one of the following 3 poems. “Waking the Moon” (93) “Waiting” (104) “Who I Am” (9) List the types of figurative language that you see and include the examples.

8. Figurative Language Debrief What types of figurative language did you see? Simile: comparison using “like” or “as” Metaphor: comparison where one thing is the other Personification: human-like qualities for an object/animal Hyperbole: over-exaggeration Onomatopoeia: sound noises Alliteration: repetition of the same sound at the beginning of words Internal rhyme: 2+ rhyming words within a line Now, take a few minutes to revise your poems for figurative language.

9. Writer’s Workshop Expectations Respect the community of writers. Be willing to take risks. Be willing to share your writing. Find your purpose and audience. Develop your own process(es) for writing. Continuously add to your writer’s notebook. Be 100% attentive during the focus lesson. Be prepared to revise your work repeatedly. Focus on the positives when giving feedback. Ask questions and give suggestions instead of giving negative feedback. During independent writing time, focus on brainstorming, planning, researching, drafting, conferring, revising, and editing.

10. Tips for Workshopping Questions to think about: What did I like best about this paper? What would I like to know more about? What stands out? What is confusing? When asking questions or giving suggestions for a short story, consider: Do the poems have a clear conflict.? Does this conflict drive the plot? Do the poems have clear character development? Is the point of view clear/consistent in the poems? Is the theme of the poems clear?

11. Steps for Workshopping Step 1: Writer: tell purpose, audience, and what you need help with Group: take notes on what writer said Step 2: Writer: read short story aloud Group: listen and take notes on what comes to mind Step 3: Group: start with positives; ask questions Writer: listen, take notes, and then respond to questions Step 4: Writer: ask for clarification; share plan for revision Group: praise the writer for sharing

12. Practice Workshop Group with Miss Garlock As you listen, think about: Positives Questions Suggestions or Possible Changes Tomorrow, you will give similar feedback in groups. You need to have a completed draft of all 3 poems by the beginning of class tomorrow.

13. Writing and Revising After you have received feedback from your group, start working on revising. Replace Add Delete And Reorder Remember that a complete draft of your poems is due Friday at the end of class.