inside stories - how to organize a short story unit

13
5ËCTI0M TWO How to Organize a Short Story Unit In a semester class, a typical short story unit nms about three tojjour°wççks (2$ ; 25 how« of study). The, length of the unit depends on 1 ) how ninny stories are studied in detail; 2) how many evaluation items are planned A minimum of eight stories are studied in detail and at least three main/major evaluation items ate щ planned. Many teachers, however, choose to study literature using a multi genre thematic approach, incorpo- rating poetry, film, and/or non fiction into the units. The text is designed to facilitate such instruction; in fact, many of the creative response activities require students to cross over the borders of genre, Regardless of the teaching approach, the minimum selection numbers and timelines would still »pply Typical Activities for Teaching a Short Story Unit The following activities are appropriate for a short story unit: • some oral reading of all or portions of stories by both teacher and students • close reading/analysis of a variety of selected stories • presentation of background to the genre, such as main themes and their roles in unifying the study of : the stories • frequent class discussion of form, technique, and style, especially in relation to how these elements serve both content and theme • frequent integration of specific fiction terms and concepts into classroom discussion • an endof unit evaluation, such as a comprehensive review test or an inclass essay • assignment of post story Responding questions as appropriate to the focus of study • oral, visual, and multimedia group representations by students periodic reading checks and quizzes to check that homework readings are done • creative writing. Generally, a unit is composed of three parts: an opening, a middle, and a conclusion. Below are some suggestions for openers, developers (developing activities), and closers. OPENERS 1 Discuss your favourite stories and those of your students. 2. Give a definition of the short story (see the Glossary of Fiction Terms on page 510 of the student text for Poes definition). Discuss whether or how the definition is true. 3. Complete the first unit, Critical Reading of Stories, to introduce the elements of character, plot, con- flict, point of view, setting and atmosphere/mood, irony, symbol, theme, purpose, and style. Have students read the story and explore the questions that have been posed. Discuss the importance of recognizing and understanding the interrelationship of these elements as a way of constructing meaning. 4. Read and discuss the theme introduction at the beginning of the unit. Use the first activity of the "Unit Overview" in the Teacher's Guide as an opening activity. 5 Read aloud passages from a favourite story in the unit, and explain the strengths of those passages. 6. Share the connections to your own life experiences using the first story read. Discuss with students the ways in which stories present truths about human nature and experience. Discuss the importance of personal reflection about such truths as a necessary part of understanding the storys meaning.

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Page 1: Inside Stories - How to Organize a Short Story Unit

t« 5ËCTI0M TWO

How to Organize a Short Story Unit

In a semester class, a typical short story unit nms about three tojjour°wççks (2$;25 how« of study). The, length of the unit depends on 1 ) how ninny stories are studied in detail; 2) how many evaluation items are planned A minimum of eight stories are studied in detail and at least three main/major evaluation items ate щ planned.

Many teachers, however, choose to study literature using a multi�genre thematic approach, incorpo-rating poetry, film, and/or non�fiction into the units. The text is designed to facilitate such instruction; in fact, many of the creative response activities require students to cross over the borders of genre, Regardless of the teaching approach, the minimum selection numbers and timelines would still »pply

Typical Activities for Teaching a Short Story Unit

The following activities are appropriate for a short story unit:

• some oral reading of all or portions of stories by both teacher and students • close reading/analysis of a variety of selected stories • presentation of background to the genre, such as main themes and their roles in unifying the study of:

the stories • frequent class discussion of form, technique, and style, especially in relation to how these elements

serve both content and theme • frequent integration of specific fiction terms and concepts into classroom discussion • an end�of�unit evaluation, such as a comprehensive review test or an in�class essay • assignment of post�story Responding questions as appropriate to the focus of study • oral, visual, and multimedia group representations by students • periodic reading checks and quizzes to check that homework readings are done • creative writing.

Generally, a unit is composed of three parts: an opening, a middle, and a conclusion. Below are some suggestions for openers, developers (developing activities), and closers.

OPENERS

1 Discuss your favourite stories and those of your students. 2. Give a definition of the short story (see the Glossary of Fiction Terms on page 510 of the student

text for Poes definition). Discuss whether or how the definition is true. 3. Complete the first unit, Critical Reading of Stories, to introduce the elements of character, plot, con-

flict, point of view, setting and atmosphere/mood, irony, symbol, theme, purpose, and style. Have students read the story and explore the questions that have been posed. Discuss the importance of recognizing and understanding the interrelationship of these elements as a way of constructing meaning.

4. Read and discuss the theme introduction at the beginning of the unit. Use the first activity of the "Unit Overview" in the Teacher's Guide as an opening activity.

5 Read aloud passages from a favourite story in the unit, and explain the strengths of those passages. 6. Share the connections to your own life experiences using the first story read. Discuss with students

the ways in which stories present truths about human nature and experience. Discuss the importance of personal reflection about such truths as a necessary part of understanding the storys meaning.

Page 2: Inside Stories - How to Organize a Short Story Unit

PLANNING A SHORT STORY UNIT

/ J f e / : / í W ' H Í £ § Ш ff«! itftefjjííejIMU tefiffldetl,'whllc Mtitletils art developing their critical'thinking!, \т*йаш$і*ші ншітіргешт Шёл twtew

есЩ&*ета l i Ä Ä №h m ШытіЪШоіюту of Thinking Skills (see pages 12�13) and pte�тяі»іоші^Щфііі}('ЬІ'^фЧаг7^ртіеЫп0іщ. For example:

ЩШфЁіШШ^ЩШШщЫшш ind interprétation, and ideas

ОХнФшмт ЫікЧіЩіЫ It t» pTêMil.cd, timi the worth or relevance of a selection

% Ри}'/Шф pymimd util fo' «wd tö flkfstfãte lhe typical structure and parts of a story plot:

Main Pari» а) Ашщ mikm > ,

W puím Ыфяша

uma d) РгХрітШШ, ішЛиаНщ antecedent aetion/iiiformailon

e) тіщчІіепіоп/етщіікМІщ incident (which creates conflict)

0 før©tedøsv)n#, ma 'l* relationship to conflict and outcome fí ¿risi« fí) т&Лнікт/ашш тпІ I I) епаіщ і агкш* type,»—«wived, indeterminate, surprise)

Itødl ЬуШШі derøefltS/ The following is an appropriate order for introducing the elements: $) plot må eooñíet (f«eluding both Internal and external conflict, and the variety of possibilities

v/fthin gggh) W eftäßiew (facas да goals, motivation, obstacles, character contrasts and foils)

\ej mtífíg Ima He foflucnee on plot, conflict, characters, theme, and point of view) 4U ite ihres щш of irony

е%$утШ (syrnboHeobjects, settings, characters, names, and actions)

0 thetne�>Wri&)f theme »tatements. Provide an approach as follows:

i.Anubjett identifies in a word or a phrase what a story is about.

Ü Ì4 thenu I* a eteieiftëfll of one or more sentences explaining what the story says about the ШЩем, it usually an observed truth about life that is revealed in the story,

/ii. When WC ач:п;;ііі/е :i lictional character's dreams,Struggles, decisions, discoveries, fears, and

¡mmhim i№ Ыщ elinilar io cuti' own, we arc beginning to understand the story's theme.

j^X^^íi'thí.bítWicI ¿iVl tÍÍií(̂ reillly',Cí»iist;c|u«;iilly, when we write a theme statement we often use ' • А м ^ с ^ ^ ^ І Ш к * ^nanv/^omctinies,'' "often," that suggest that what follows need

Page 3: Inside Stories - How to Organize a Short Story Unit

Bloom's Taxonomy of Thinking Skills tCVEl DEFINITION ACTIONS/PRODUCTS

£v EVALUATION Judging the v Arranging ìde Mafcmg, pres. defending ch Drawing cone

sion; editing; personal essay; literary criticism essay; prediction, personal response, reflection

5. SYNTHESIS Using/changing old ideas to create new ideas; Putting together constituent parts to form a new whole

Charact inferem re-medi strip, d mime/p movem narram

erization; conversation; [e; prediction; at ion/rep resen talion (comic rawing/mural/coUage, •antomime, ent, multi-media, re/play, poem/song, video)

4. ANALYSIS Breaking down information/ideas into constituent parts; Looking at parts; Seeing relationships

Analytical essay; cartoon; character analysis; chart/T-chart; classification/rank ordering; com-pare/contrast; critical response; dia-gram/list; explanation; interpreta-tion; mind map; précis; personal response

3. APPLICATION Applying previously learned infor-mation in new situations or to solve new problems; Using information

Chart; collage; diagram; demonstration; diorama; display; dramatization; illustration; map; model; photograph; poster; simulation

2. COMPREHENSION (imthl It-vrl of undersiandrngl

Understanding information without Demonstration; chart/timeline; defi-relating it to other ideas; Organizing, rephrasing or describ-ing information in one's own words; Predicting effects on the basis of known facts

nition; illustration; outline; estima-tion; paraphrase; prediction; retelling; sequence; sum-mary

1. KNOWLEDGE . (recaUi/í

Recalling/recognizing discrete bits of information; Memorizing terms

Definition; description; fact chart; identification; matching; retelling; selecting, timeline

Blooms Taxonomy of Thinking Skills: as they relate to the sludy of short stories (Adapted from: Bloom, Taxonomy of Educational Objectives: Handbook Ï: Cognitive Domain [New York: Longman, 19561 n.p,)

Page 4: Inside Stories - How to Organize a Short Story Unit

PLANNING A SHORT STORY UNIT ij

ASKING QUESTIONS AND STRUCTURING TASKS LEVEL

...ACCORDINO TO AN ISTAIMSHID ( I T OF IXTIRNAL OR INTERNAL CRITERIA 6. EVALUATION

the impl JUtlH UiSplntft-llw.ÓrTÖI»:,-., -Evaluât« ilu< importarte«, f¡ th« älgiiijtemee Critique ilve арргоршіепем/ Іш рргоргіаіепеда ,

...COMBININO I I I M I N T S INTO A RATTIRN NOT CLEARLY THERE BEFORE

Make up Develop Predict., What if.

Plan.,, Create ,,, Compose Imagine ,. Design ,.,

5. SYNTHESIS

...BREAKING THI WHOLI DOWN INTO ITS PARTS, FORMS

What conclusions rain be drawn? What Is the Funcuon ol',,,? » What is the relationship between,,,? Implicit in the statemeli! is lhe idea that ... What is the main/subordinate Idea?

What is fact/opinion? Stale the point of view of. What motive is there? What inconsistencies '.' ? What Is lhe theme? What assumptions . .? ,

4. ANALYSIS

...TO SITUATIONS THAT ARI NIW ON HAVI A NIW SLANT FOR STUDENTS

Which,,,? Give an example ...�Predict whai would happen 11,,, Judge the effects'A¡ ' Tell what will happen when ... How much change would there be?

Paraphrasc/rephras*,,. State üi)-5ur own фма>^»<. State In one word ,,, Is this the same us ..? Explain what is happening... Which is more probable? Which swieitiems support ЩЛ, Which part doesn't fit?.

•yVhe •:�,? Ь Describe•.. , Name,., Ята?ШЕіІ.таг

illustrate , Explain ,. Select .,.

Outline . Summarize ... Translate ... Compare/contrast... Differentiate »а&й What exceptions are there? Locate wfll Match,...

•How many ...?'�When �... Where . ¿ л *

¿ÜB'ii..-

3. APPLICATION

2. COMPREHENSION (initial level of understanding)

1. KNOWLEDGE (recall)/.

Page 5: Inside Stories - How to Organize a Short Story Unit

SECTION THREE

Responding to the Stories: Four Levels of Response

Inside Stories III is response�based in its approach to teaching the story. This approach allows you to focus your teaching on aspects of the story and to evaluate student responses on several levels. The four levels of questioning and activities following the stories include personal, critical/analytical, creative, and problem�solving/decision�making responses.

The following diagram offers a graphic overview of a general process for approaching the study of the short story. This process permits substantial teacher flexibility: the amount of time spent during each stage of the process will be determined by the needs of the students, the content and features of each story and of the unit, and the requirements of the curriculum learning outcomes. A major advantage of teaching using a thematic approach is that when stories are studied as part of a thematic grouping, it is not necessary to spend an inordinate amount of time at Stage I of the process with each story.

Response to Literature

Which? When?

Stage I Before Pre�reading

Stage II Reading

Stage III Personal and Critical/ Analytical Response

Stage IV Creative and Problem�solving/ Decision�making Response

During

During and

After

After

Personal, Critical, Creative, Problem�Solving

Activity What is happening?

Oral

Śctwity

Visual activity

Preliminary work: linking to prior

knowledge

"Reading" of the text: imaging

inferring, predicting

Opportunity for individual response: making connections

Individual Collaborative

Personal work through a range of media activity:

written, aural/musical, visual, technological

Preparing a context for making meaning

Constructing meaning

Holding, exploring, and consolidating

meaning

Developing meaning: extending, transferring,

modifying, and refining

Written activity

Kinesthetic activity

Multimedia/ Technology

activity

(Model adapted from: Benton, Miches!, & Fo.v. Geoff. Te.irhinj Lucratine Nine lo Fourteen ICambridge, MA: Oxford University Press, 19021. HO.)

16

Page 6: Inside Stories - How to Organize a Short Story Unit

FSPONO N

Within ih ntext oi this approae! tdyine tl Y Г�'lt�l trategies intended to develop stud

и

Maintaining a Response Journal

One strategy man I develop tl i use in assisting studeni m man marte* í и

response journal. Resi lournals may take many forms; ofti more ihan я «udi book in which all

i

corded, titled, and dated. A 1 entri íxed-i к ín a «ttukrit'» bi serves multiple pui '

I It is handy, alwavs tl I ready to be used e I AH of a student's thin] bout a story t n Kl n Rd initial re*pøn нас n го re�i

I ritical analvsi isci storv. I problem�* s 1,1 ream tion In addition, su ib e to ta ther» in tl i h nis a i

may present differing \ dents relut w ' tl st alternative înterpi i ry

to deal with its ideas at another level as I I m can b e i l i t in anaiyti ie in i need be, revised and developed Journals provide teachers with an opportunity i i t discussi/» a b its in v II understandings of the story. I mpanng their thought irs in an individual diæussioi tges students in meaningful, and private communication. Typically, such communication will bi open than a whole-class setting will allow. Si ideas in private that they v laents n cu not do in public On occasion, you may ask students to submit tl ils for evaluation and grading, All eirioi

I thoughts, feelings, observations, and even questions about the story will be there for you l i will be quickly evident both whether the students ai litted to their work and whethe unders tanding of the stories meets the requiremeni the curriculum. (See pages 151-152 for sample grading rubrics on Response to Literature.) Finally, and perhaps most importantly, journals allow students I impare their current thinking about an issue with their thoughts from an earlier time. Journals also provide a concrete demonstra tion of whether or not s tudents ' own thinking, and the articulate expression of that thought, has matured over time

Int roduce response journals by explaining the journal's purpose , your expectations, and especially the assessment and evaluation procedures. Evaluation focuses may vary, and many teachers comment on jou rna l entr ies and assess them for such features as variety of response (how the s tudent compares, appreciates , quest ions , interprets, synthesizes, evaluates), quality of thought , and dep th of under-s tanding. Ideally, the following characteristics of s tudent response are to be rewarded:

• A wil l ingness to suspend closure, to entertain problems rather than avoid t h e m in the pursui t of a conclusive interpretat ion or answer. Initially, s tudents will ask teachers, " W h e n will you tell u s the answer?" The h u m a n m i n d prefers ha rmon y to chaos: Teaching s tudents to ask themselves quest ions abou t a s to ry in which answers may be inconclusive is difficult. But they shou ld b e m a d e to appreci-ate that ideas are no t always linear, concrete , or finite. "Right" answers m ay b e a mat te r of context , a n d as such , fluid a n d variable.

• A wil l ingness to take risks, to r e spon d wi th hones t c o m m e n t s , to offer "variant" readings , to predict a n d risk be ing wrong . S tuden t s shou ld be encouraged to p u t their intellectual selves o n the line. Whi l e a n e r r o n e o u s reading of a s tory canno t be accepted as correct , o u r c o m m e n t s to s tuden t s s h o u l d h e l p t h e m to u n d e r s t a n d where o r why they have read in error, a n d h o w s u c h misreading migh t be cor rec ted . In this sense , eva lua t ion shou ld be prescript ive ra ther t h a n descr ipt ive.

• A to lerance for p ro longed ambigui ty, a wil l ingness to re-read a difficult story, a n d t o pe rhaps discard a n d t h e n re-form a n o p i n i o n . S t u d e n t s s h o u l d b e led to u n d e r s t a n d tha t m e a n i n g , especially in a

Page 7: Inside Stories - How to Organize a Short Story Unit

SECTIO!/ THREE

complex te r i^a^^dføwsrø«^^ dei ifls; 'voicing ' l i í i r а і м ф и Л фММКИМ to ífeiíSíifonr and rff-r&öng are Strategies thai inevitably heip^aatòi» U) ІЖШ 'ційішШ tín¿í)4'f% ito?;

• An apprcciattöfjfor a l t ó ^ fiofrvalue in 'ons: The рат^^М'ш^твт^аШт/т S) tfø гЩт п ls% •leT-|íudcn«°hear Out im differ т^ШШ^Шшщш^Щ/Щ^етШШШ Іпагкрчгя^еИ 'to alioy/othefa,» their re5ponse*,<-«pe«í*fly «Hie« mAmSt m № ЩИ supports bthír interpreiauòfil. 'All к and develop іЬго 0.фШ�ЮШЖШЩІЯШЛ * /efdillg «(тіішпІГуГеуіаейсе of changed can indicate an appropriale Г!#ШИШ/

Generally, at the point 0Í tøjflal ««^яШ^РрОМК, ¡lieJjUf&ïiorj óf correctness in languá important than a focus mihe iOBUIIt et Ш jeúttttt entfiel. The ргіпсйзаі purpose of the je provide the students with ¿.medium liìmiifàl фк іЬ«у ml«lu røplore thoughts and fcelin selection that has been read ЬуатаШг

srpretani nfluen«

hinkin

! is less mal Is i > about i

Pre�Reading Strategies

Research into reading comprehettsUm ileum* limiЫЯаЬш @Ш, at the pre�reading stage, provide lessons and experiences that increase íbe Jíkelfbtfod lha! studente will understand the story and respond to it on a personal level. For this reason, in (be (gift, students яге provided with two pre�reading questions that precede each story. Student« am be assigned, øf they might gelaci themselves, either question to com-plete. The classroom discussion that ensues as sluttens »har« their comments should help establish an appropriate context for reading lhe Mory, The prö»reading questions attempt to engage some of the fol-lowing strategies.' • Linking to prior knowledge or experience

Students may be invited to speculale—orally 0t ill writing—on experiences they have had that parallel the conflict ør experienced tkś&ibed in the могу.

• Building connections to the story If the story has an unusual setting, or ifipf »tory lakes place In a particular social or historical context, studenis may be given (or asked to research) the necessary background.

• Providing a context for the reading Links between the story and the unit's theme ør previous works studied may be explored. As well, students' attention may be directed to particular elements or techniques in the story.

• Preparing the way Special vocabulary or essential details student* should know if they are to understand the story may be shared. Predicting and speculating Students may be asked to study the lille and predict the story's theme. As well, students may be asked to read the story's first paragraph and then «peculate on the story's central conflict, focus, and/or imagery

Personal Response

When people read stories they respond to ibe content in a number of ways, including via their first impressions, the associations they make, the memories the cement what they have read. Typically, personal response" question» ask studi the story. Students are prodded ta'tm element« öf their own life expi build a bridge to the often-new experience of {hé fjtorys Imagined w< tentative and speculative explorations are held, reflected upon, and | their responses establish a coffiiextiirø between them tiriti the story, si fort zone of understanding,

and their questions about nts for their initial thoughts about rienee and prior knowledge to irld. In this way, the students' first erhaps expanded or refined. As udents create for themselves a coir

Page 8: Inside Stories - How to Organize a Short Story Unit

l inSI 'ONOINO TO THE STORIES: FOUR LEVELS Of R E S P O N S E t ,

, "Epical question;" lii this «retiñir focus on Individual opinion—what the student thought of sömeonejë ' ' «¡R*Mnethtng In the ніогуЛЧUldeiiis lîîiiy heve heen «[fijnded of ihemselves, of other people, similar situ-

ations, or other stories and/or movies, .Чипшііпіе.ч the questioni ask students io think about a characters decision and whether llley themselves would шике the same choice, These questions establish and

Most pedagogy suggests thaï, lirai, and foremost, teachers should approach the teaching of the story based on the polni where your students are, Many of the Responding Personally questions prompt stu-dents to share their Initial responses with other studenti) comparing notes and sharing journal entries. The following are some sample personal response questions!

• Record the questions chat come to mind after you have finished reading the story. What possible answers can you think of?

• Who do you know that most reminds you of the Storys protagonist? What are the similarities? • Do the characters and events in the story seem realistic and true to life? Why or why not? • Which parts of the story do you like or dislike the most? Why? • Which other stories or movies does this story remind you of?, How are they similar? • if you could talk with the author, what questions would you ask about this story? Why would you

ask those questions? What answer do you expect the author might give? • If you could interview one of the characters, who would you choose? What would you ask? Why

would you ask that? I low might the character answer? • What patternfs) can you see in the story? What do you think might be the purpose of the pattem(s)?

Modelling for students, at least in the Initial phase of teaching the response process, is imperative. Students, especially those who are reluctant to offer something that might be construed as a wrong answer, must hear that Initial meaning-making varies from reader to reader. As individual readers bring their own prior knowledge and experience to bear upon their understandings, that which is deemed significant in the text may also vary from reader to reader, "The youth needs to be given the opportunity and the courage to approach literature personally, to let'it mean something to him directly. The class-room situation ind the relationship with the teacher should create a feeling of security. He should be made to feel that his own response to books, even though it may not resemble the standard critical comments, is worth expressing, Such a liberating atmosphere will make it possible for him to have an unselfconscious, spontaneous, and honest reaction" (Rosenblatt, Louise M., Literature as Exploration [New York: Modern Languages Association, 1983], 66-67).

Some of the following suggestions may assist your students in identifying and expressing their personal response:

• Early in the course, share your own personal response to a story with your students. Explain why you have responded as you have,

• Ask students to share with an individual partner, rather than in a larger group. An exchange of journals may be appropriate. In this situation, students can be asked to comment in writing about their partner's response,

• Ask students in small groups to collaborate on a response. This provides them with opportunities to consolidate their views, to raise questions for the class to consider, and to refine their thoughts and feelings about the story, all in the safety of a group environment.

» Ask students to share their responses In small groups, and to select from the group one response which they feel the entire class might benefit from hearing, Two responses showing conflicting viewpoints could also be shared,

•'Select from a set of graded journals a small number that might serve as effective models of response, hut thai do so In differing ways, Urtth differing points of emphasis. Ask for permission to read these to theclass, *

• Introduce critical literary termi as a natural part of responding whenever the opportunity or need '._ arises.

Page 9: Inside Stories - How to Organize a Short Story Unit

SECTION THREE

Critical/Analytical Response

This level of response has become mi

of education showing renewed intere:

basic understanding of the content, si

with complex plot elements (such as

dents, especially weaker readers, need

identify, and recall facts about characi

such as theme and symbolism.

In critical/analytical response, stud

ideas. They draw points of compariso

is focused on understan

form, and the organizat

cover quickly that, in о

Below are some sample

p portant in the most rece

developing critical thinkii

ie of the questions are fat

ent time shifts, stream�of�cot

inderstand what is basically/1

id plot—before they can mol

ly revised curili

fskills Critical tal or literal« EfJ

ally taki

ula, with inlnltìll'leu

leeially m fofvs rration) manye». Pi*«*»?*»», re alisi mei etømettt»

the story, f that con о talk cle,

:al�respon

rthi

kn

i the story by resp. inding to the following ques

a resolution? Is the ending I

ort their developing в. Criticai response, then,

u language, Imagery,

ptplore a story, They tils�

bn;concepts and term»,

s placed first;

What are the main

adowed? Is the ending

3f ' nilu Ai

'What

uh«

¡d goals? Why

,ny If:

refer to details from the si A contrast, and note cause s content-centered, but qui : begin to surface as studer about stories, they have tc

[uestions, with factual/literal 1 • Explain what happ

events? What is th< happy, sad, or uncertain?

• Where and when does the story take place? How can you tell' • Who is the protagonist and central character? How do you know? • From whose point of view is the story told? In your opinion, is the point с

would have been the result had the story been told from a different point

• What are the protagonists goals and motivations? What are the obstacles 01

conflicts external or internal? Are they resolved? Does the protagonist achieve the des

or why not?

• Has the character changed by the end of the story? Does the character have an epiphi

explain,

• What type of story is this (i.e., science fiction, adventure, romance)? What story conventions does it

follow?

• How has the story been organized? What are its sections or episodes?

• Identify any allusions that you found in the story.

• Identify any symbols or ironic events in the story.

• What pattern(s) occur in the story? What appears to be the purpose of the pattern(s)?

• What is the story's theme? Compose a thematic statement for the story. (The following question has

been used in the student text: "In a sentence or two, write a thematic statement that you feel

effectively identifies the controlling idea (or one of the controlling ideas) of the story. Be prepared to

defend your statement in terms of the choices the writer appears to have made." (See page 223 of the

student book; see page 9 of the Teacher's Guide—"Typical Activities for Teaching a Short Story Unit:

Developers"—for specific directions regarding the writing of theme statements. There is also a

student handout "How to Write a theme Statement"on page 145 of this guide.)

• (n your opinion, is this story a good one? Is it relevant to life or situations today? Explain.

• Is this story as good as other similar stories you have read? Support your opinion.

A key advantage of using questions as a strategy for focusing investigation of a story is that questions

are a flexible resource that may be used in a variety of ways, allowing students frequent opportunities to

exercise their reading, writing, listening, and speaking skills. Below are some examples of ways in which

you might assign and follow up on questions:

• The most familiar and simplest procedure is to have students complete the assigned questions inde-

pendently, then share their answers in a small�group or whole�class discussion.

• Divide the class into small groups, assign each group a different question, and allow time for them to

discuss and record their answers. Jigsaw the students, and have group members "teach" the rest of the

group by having them report on the discussions in their initial groups.

Page 10: Inside Stories - How to Organize a Short Story Unit

• Write each question on me ton lin II' of a ьііееі ni' chart paper or erminal. Have email

; to but not repentit has already been гееогеЫ, I lave enfili group study all the responses lor each question and prepari & summary forint аШГ

• Have studenti record two queiilliitifl they have niter reading the story Pair students up and have the

partners share their questiona u inj eonslder possible answers. Have each pair choose the one question

they see as mo« pressing and present liioaritnher pair of students. The group of four should discuss '

their questions and decide on one question they wish to bring to the class,

• Assign questions lor homework, During the following period, have students offer their answers orally,

In your evaluation records make ti »Imple notation to indicate the calibre of the answer (e.g., restates

the question, takes a «Irar view, provides precise and detailed support, probes for depth oí understanding),

After students have shared their answers In writing and in discussion, you may find that the key critical elements of the story have already been discussed in depth and that there is no need for further work. At other times, though, you might decide the story has other levels or aspects to be examined beyond those that were addressed by the students, "The student should be led to discover that some interpreta-tions are more defensible than others, A complex work ... offers the basis for various interpretations', yet their acceptability will depend, first, on whether they take into account as many as possible of the elements present In the text, and second, on whether they do not imply elements that are not present In

it." (Rosenblatt, Louise M,, Literature As Exploration (New York: The Modem Languages Association, 19831, 115). An appropriate strategy Is to have students complete a "second look" entry in their

journals, where they are challenged to return to an aspect of the story and to:

• reconsider the accuracy or appropriateness of an earlier answer • add to or elaborate upon an otherwise incomplete answer • summarize the classroom discussion that occurred in response to an answer • demonstrate an increase in either the depth or breadth of their thinking • think in new ways, from alternative perspectives.

Creative Response

Logically, this level of response occurs after critical thinking has taken place. Students must understand a story before they can respond to it creatively. Creative response presupposes knowledge and mastery 01 the story, and is an application of its meanings and concepts to alternative characters, settings, genres, and/or forms of expression. Visually oriented students especially enjoy these types of imaginary assign-ments. Often students do well on visual assignments because of their exposure to imagery from televi-sion, computers, games, and movies. It is important for us to remember that by allowing students to explore other texts we are supporting them in developing text-making skills. Imagination remains a key focus in literature studies. Educating the imaginations of students by allowing them to use their Imagina* tions is an essential part of English curriculum.

The assignment menu below gives examples of the range of assignments and projects that you might use to develop your students' creative responses, It can be used to brainstorm creative response projects. with your students or have them select assignments of their choice.

Page 11: Inside Stories - How to Organize a Short Story Unit

SupiHtMENTARv ASSIGNMENT MEHU FOR CREATIVE RESPONSE

О WRITING ASSIGNMENTS

"l • * ppnüöTWil response (based on observations and past experience}

• !ilienïll»of*consögusness writing

• written monologue ОТ dialogue; pbv/movie. scene or outline

• profile

• prediction; hypothesis or theory • character sketch • parody or spoof • fairy idle, fable, legend, or myth • description • definition, clarification, classification, organization • argument: pros and cons; persuasion; justincañon or rationale for a point of view; position paper • comparison-contrast • cnuse-cffcei observations • paraphrase; summary/synopsis; conclusions drawn • prepare a quiz with answers » crossword or word search based on terras, names, and vocabulary in selections • notes or outline • lists Including brainstorming list, checklist, rubric, self-assessment, list of suggestions, schedule • research • editorial • announcement, nomination • business letter, letter of apology, complaint, thank you, invitation, congratulations, request, ínqinty,

résumé, resignation, sympathy • testimonial, confession • court or police report, testimony, employer repon • obituary, tribute, epitaph » bibliography of related resources

SPEAKING ANO PRESENTING ASSIGNMENTS ( L I V E / A U D I O / V I D E O ) » informal anecdote

' * speech,eulogy • instructions, demonstration » standard oral report • survey » debate « trial * audiotape (e.g., commercial with sound effects and music) * slide show • videotape • music video • finding appropriate background music and sound effects for leading * TV news report * mime or tableau f- puppet show • iSKnactment, role�pląyed scene, skit

Page 12: Inside Stories - How to Organize a Short Story Unit

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Problem�Solvlng/Decls lon�Making R e s p o n s e s

As well as being able to eorømwi alierreuive tesis, students need to apply their knowledge of text to related situations and dreumsi anees. They need ю solve real problems and make informed lite decisions based on their imaginative experience and crii leal reading. The practical, "relevant" side to English study

• occurs in part during probkm�SOlvini/deeteion�making activity. This focus demonstrates that skills, atti-tudes, knowledge mid behaviours learned can be applied to real life and personal situations in the con-text of life�long learning.

Like creative response, problem�solving/decision�making presupposes critical understanding. Before students plunge into Responding Creatively and Problem�Solving/Decision�Making, make sure they have addressed Responding Personally and Responding Critically/Analytically, to establish that they literally understand what they have read.

Below are sample problem�solving/declslon�making questions from inside Stories III:

• What problems occur in the selection? How are they solved? Why can some of them not be solved? • What similar problems have occurred in your life? How did you deal with them? What would you

recommend to someone faced with these problems? > What is your opinion of the dedsion(s) made In the selection? Would you have done things any dit� '�:

ferently? If so, explain. What arc some other decisions people have made that are similar to those in the story? On what hasis would people make those decisions? What values and beliefs might prompt them? What advice would you give someone in the same or a similar situation?

What processes of decision�making and problem�solving are demonstrated in the story? What can we

leam from the characters' approaches to problems and decisions?

Page 13: Inside Stories - How to Organize a Short Story Unit

Mind Maps

A mînd map Vt ti visual TT lent Ш m ІгІЙШШ

The mind map a illustrate a suppoi work together to

•vftefir shggfii e» g 11 g ¡глАтпй

f äetaii'irmrt the srbrv œat sus tvey the storys idei? ^

You can emphasize the relative rmpotta

o f f É t V M r 4Mftt ЧЪМЙ Irr 4Rft ЯМІ

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trêíast ïSr5wife*i5t;ï?jjgb iääse

м А м И

| | | | , as well as through the use of colour a n i tfee гяйгся& ¡täflnafflssat. л іЪе ¿etaûs.

Also, visual details can be organized in many сШБзксс чвЕС5,т«авяк A e ^saäjvas -etemeSK гте etìhef

с ~ > .separate from one another

O f f

E trebeòifcà \<*�tón чзпе another

Mind maps which appear balanced on the page; base a mass «¡jwâw&à «Sect, Ibisse iät» йаск the details

appear unbalanced may suggest a kind of disarray, or eresa еашш. H»e ÌÉ»à <á brvewet can assist in sug-gesting the story's main idea.

Finally, elements which are placed doser tegetter шоу е м к ^ а э аае îaîgbasàoess or proximity among the details, while those placed/armerapffiftmaysíigg^as^Rdà^iteiie^^

Content suggestions: • 3 or 4 visuals (key details of the story) shoöM Q • An accompanying textual passage (short) may he \ • A visible, functioning (e.g., flaming letters) Ötfefe^ • Black on white should suffice. Selective cdouriDgarçrbt wsá <; • Arrows and lines may be used to suggest тотедаяй: of áeeeíÉSSfe.

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