1.  After watching the J.D. Salinger video, please answer the following question with a partner:  What affect did The Catcher in the Rye have on youth culture in America? BELL RINGER 9/10

2.  EQ: How do Salinger’s choices about structure, narration, and character impact the theme of The Catcher in the Rye?  Agenda  Bell Ringer/Discussion  EQ/Agenda  Literary Terms Notes – Structure & Narration  “Phony” Journal Entry - Brainstorming  Homework: Chapters 1-3  Take notes on major plot points for each chapters (so you can refresh your memory before a quiz). ENGLISH III

3.  Frame Story: an introductory story that sets the stage for a second, more emphasized story  One Thousand and One Nights, How I Met Your Mother  Holden’s story begins in a “rest home” where he relates the events that lead up to his going to the “rest home.”  Establishes time frames, defines the narrator or storyteller, sets a mood for the rest of the novel, and prepares the reader for the inside narrative  Quest Narrative: a story in which the central character is searching for something, such as a person, location, or abstract value.  Monty Python and the Holy Grail, The Lord of the Rings, The Wizard of Oz  Part of understanding The Catcher in the Rye is figuring out exactly what Holden is looking for in the world around him. STRUCTURE & NARRATION

4.  Picaresque: An episodic story about a series of adventures of a rather roguish protagonist  Huckleberry Finn, The Lone Ranger  The Picaresque Hero has noble intentions but is somewhat misguided and unreliable in his/her perception of the world.  Holden’s story is broken down into chapters that focus on one or two interactions with other characters.  Holden is a noble young man (protector of the innocent) who is also confused about life and the way he wants to live.  Psychological Story: A story that focuses on the internal psychological aspects of the central character, yet still mixes in the outer narrative.  “The Tell-Tale Heart”  Much of the important plot points in this story happen in Holden’s mind, not in the outward action. STRUCTURE & NARRATION

5.  First Person Narrator: story told in the grammatical first person (I, me, my, etc.)  Holden tells his story to his therapist, but as we read, we become the audience to whom he is directing his tale.  Focuses the story from one perspective, but forces the reader to ask, “Is this narrator reliable?”  Narrative: an account of connected events (plot)  The Catcher in the Rye seems “plot-less” to some readers because it’s events are not related in chronological order which makes Holden seem like he’s rambling.  Confessional: the tone of the story is confidential, much like the confession of sins to a priest or of secrets to a close friend.  Holden spends much of his time trying to “confess” is innermost thoughts to the people around him, but they refuse to listen (which isn’t all their fault). STRUCTURE & NARRATION

6.  Stream of Consciousness: the reader sees what Holden thinks about in a random association of ideas, much like the actual pattern of human thoughts.  These are the tangents that Holden continually wanders off into, much like the flow of an actual conversation (even though that’s not what we expect from a novel).  Dialogue: conversations between characters  Flashbacks: a scene that is set in a time earlier than the main story.  Holden uses flashbacks and earlier dialogue (conversations) to expand on his points about life and people.  On the surface they seem like Holden losing focus, but every part of a narrative contributes to it’s meaning (they are there for a reason). STRUCTURE & NARRATION

7.  Colloquial Language: language used in ordinary conversation, not literary or formal.  Holden speaks like an actual teenager (not like a writer trying to speak like a teenager).  Swearing, slang, grammatical mistakes STRUCTURE AND NARRATION

8.  Identify some of the things about your own society that you think are “phony.”  Fake, insincere, dishonest, hypocritical  Holden often applies this word to people who try too hard to fit in or people who try too hard to pose as a member of a certain group.  Make a list with a partner  Don’t worry about writing a response yet, just try to come up with potential ideas. “PHONY” JOURNAL ENTRY

9.  What do you remember of dramatic structure from last year?  What are the parts? In what order?  What do the parts measure?  If you’re in 11 th grade this year, talk to one of the seniors around you. BELL RINGER 9/10

10.  EQ: How are comedic sketches structured and formatted?  Agenda  Bell Ringer/Discussion  Agenda/EQ  Structure Notes  Example: The Black Knight CREATIVE WRITING

11.  A beginning, middle, and end  A Premise (beginning)  Some Complications (middle)  A Resolution (end) SKETCH STRUCTURE

12.  Premise  Have a story to tell, not just crazy antics  Having a story means having a conflict  Internal: character’s conflict with self  External: character’s conflict with other characters, society, or nature  You know you have a conflict when you reach the point in the story where you ask, “Uh oh, what are they going to do now?”  You should be able to state a sketch’s premise in one or two sentences SKETCH STRUCTURE

13.  Some Complications  When you present a premise with a conflict, you need to resolve it for the audience.  If there is a goal to be accomplished, you have to introduce some complications to that goal to keep the audience interested.  Episodic: a series of joke situations that happen one right after the other  Complications could be used in any order  Progressive: point A causes or leads to point B, to point C, and so on  Must proceed in a logical, chronological sequence  Hint: solve the immediate problem and search for a complication to that. Then solve that difficulty but find another problem it can cause. Keep going until the ending. SKETCH STRUCTURE

14.  A sketch is an acted-out story joke – the most important part is the punch line.  If you have a weak ending, you have a weak story.  The ending must provide a big laugh (probably the biggest laugh)  Should progress naturally out of the sketch’s action, but it shouldn’t be predictable  Should tie the sketch into a neat little package – the sketch couldn’t go any further even if you wanted it to in order to give the audience some satisfaction.  The exception is an ending that seems to bring the sketch back to its beginning – A woman spends an entire sketch destroying her house chasing after her dog, so she gets rid of the dog – only to have her husband bring home a gorilla at the end of the sketch.  This should be used sparingly because the audience sees it as cheating because you haven’t really solved the problem. SKETCH STRUCTURE

15. THE BLACK KNIGHT  Beginning  What’s the Premise (conflict)?  Middle  How is the conflict complicated to build tension and add humor?  End  How is the conflict resolved?  Does it make sense with the rest of the sketch?  Was it too easy to predict?