Enjoy Your Well-Earned Break!

December 17, 2014

Dear Scholars and Families,

Congratulations to all our young scholars who finished out the semester. So many showed exceptional work ethic, discipline, integrity, and creativity as we closed out the first half of the 2014-2015 school year.

Over break, please make sure you read a book (or books!) of your choice. 

With the tax year coming to a close, we offer two more opportunities for families who would like to contribute to our STEMM program through two Donors Choose grants. 

One is for computers to be used both for the third-year Engineering elective, as well for special projects across the disciplines: http://www.donorschoose.org/project/our-computer-scientists-technical-writ/1441180/?rf=link-siteshare-2014-12-teacher_account-teacher_245243&challengeid=61610 .

The other is to continue to build our classroom library through Literature Circle books so that students can enjoy a "book club" experience as they support and encourage one another in reading: http://www.donorschoose.org/project/gripping-books-make-for-compelling-liter/1441799/?rf=link-siteshare-2014-12-teacher_account-teacher_245243&challengeid=61610 .

Thank you for supporting the growth of our exciting young program, whether through financial contributions or simply enthusiastic engagement and hard work. 

Here's to the art of public education!

With Gratitude, 

Ms. Witham

Final Noveling Projects and End-of-Semester Reminders

End of Semester reminders: 

**Please return any books from our class library, including Of Mice and Men, Fahrenheit 451, and Feed.**

Complete THREE Written Annotations on Independent Reading books by 12/10. See post on Independent Reading or purple handout for guidelines on written annotations: http://stemmroots.blogspot.com/2014/08/independent-reading-annotated.html


National Novel Writing Month Culminating assignments
Entering the Homestretch:

**Total Word Count GOAL UPDATING Deadline: The site will “lock you in” at the goal you have set on November 24, so if you need to up your goal to something more ambitious and want the site to reflect that, be sure to do so before Monday, November 24.

Last day to enter your word count and have your word count validated and be celebrated as a “Winner” is November 30, at 11:59pm, but PLEASE do not wait until the last minute!!

**Monday, 12.1.14: 100% Word Count Check (you MUST bring your file on your flash drive or email document to Ms. Witham by 7:00am 12.1.14) (150 points)

10th Grade: Opening Pages workshop: Tuesday, 12.2: Bring in opening pages polished and edited as best you can, at least 300-500 words, printed. 
9th Grade: Opening Pages workshop: Wednesday 12.3: Bring in opening pages polished and edited as best you can, at least 300-500 words, printed. 

M-F, 12.1-12.5: Novel Finalization Week

Book Jacket Creation: Book jackets can be 8.5” x 11” or smaller if you choose to format like a small book

Excerpt revision, both individual and peer workshopping, using Cleanup/Editing Handout, NaNoWriMo Rubric, and workshop protocol. See rubric link below, under excerpt section.

About the Author/Book Summary writing.

Monday 12.8: Book Jackets due; Gallery walk. Book Jackets include:

☐ Creative cover [Title, Author, Image that conveys tone/plot/theme-should avoid simple clipart and go for more original, creative visuals] (30 points)

☐ Three Excerpts [See requirements below] (150 points)

☐ About the Author [At least two paragraphs, with interesting details, in third person—May work with a partner to write each others] (30 points)

☐ Back-of-Book Summary [at least three paragraphs, vivid character, setting, and conflict description, cliffhanger-ending] (40 points)

Excerpts should be at least 300-500 words each, typed, polished, revised for word choice and detail, and error-free.

See Rubric for Character, Plot, Setting, Dialogue, Voice, and Conventions at http://ywp.nanowrimo.org/files/ywp/nano_ywp_10_suggested_rubric.pdf

1.     Opening pages (required)

2.     [Choose two of the following]:

a.     STEMM-inspired/Research-inspired (research can include an interview you did, with a footnote at the bottom as to your source)

b.     A “call-to-action, stand against injustice” scene, where a character makes a persuasive argument about a societal ill/issue. (Remember Sherman Alexie’s Ode to Tolerance from ATDOAPTI)

c.      A scene that goes into the “lyric register,” slowing down time to convey strong emotion/turning point/conflict. The “Lyric register” involves a shift into poetic language, unusual syntax, or significant figurative language to convey the intensity of a character’s experience.

d.     A pivotal scene for your character that captures an essential moment from the plot rollercoaster (Inciting Incident/Plot Point 1, Plot Twist/Climax).

12.9-12.11: In-class Readings, mandatory. Option to sign up for After School NaNoWriMo Author reading. (practice reading excerpt at least 15-20 times out loud. Seriously. No, Seriously. Read it again. Trust me.) (50 points)

Author Reading in VHS Library:  Wednesday 12/10, 3:15-5pm:  Students sign up to read in front of a diverse audience and show off the incredible work they have done in a 3-4 minute reading. Students will have a fellow novelist introduce them. Invite parents, teachers, and friends. 

What We've Learned about Writing Novels

Period 1

The second time doesn't make it any easier or fun.

Cliches are okay~Don't stress out about originally.

The "crappy first draft" doesn't always make sense.

Time management is critical.

Sometimes music is distracting. Try finding music that can inspire your novel. Try nature sounds like rain, ocean, whale song.

Going back over your novel midway through the month. Allows for flashbacks, scene expansion, character development.

Let the world outside your novel enter into your novel.

Write everyday.

Novel before…[fill in the break] napping,

Tell yourself you will just novel for 10 minutes. Once you are there, you will probably get into "the flow" and keep going.

Period 5

Have multiple writing sessions throughout the day.

Steal traits from other characters (movies, books, real life).

Reward yourself with _______ (large and small rewards).

Write first thing in the morning. 

Write at night. 

Snack as you write.

The story never unfolds as you initially planned. 

Get descriptive, go into detail. 

Period 6

Use current events/yahoo news to give inspiration.

Give yourself a soundtrack to capture the mood of your scene.

Get outside for new inspiration. Especially helpful for setting. 

Watch a movie for inspiration.

Add new layers to a character. Use interesting details, don't restrict them. 

Talk to yourself to get realistic dialogue. 

Try to capture a gesture by acting it out. 

Writing in Honor and a Poetry Contest

Around this time of NaNoWriMo, perhaps your momentum is slowing. Your perfectly imagined story is starting to show a few cracks. You're behind on your word count. Maybe you have even gone a day or two without writing, and your story seems far away. 

With Veterans Day tomorrow, I think it is a great time to consider the idea of writing in honor of someone you love or someone you've lost. Whether they are a veteran, whether they are dead or alive, sometimes writing for something greater than yourself can help you going when the writing gets slow.

So tomorrow, when you have a little extra time, consider who you might honor with your story. Perhaps you weave some of their story into your own. Perhaps you create a character who captures something of their spirit. Perhaps you listen to some stories at StoryCorps about veterans who have served in post-9/11 wars: http://www.npr.org/series/4516989/storycorps

Perhaps you just write like crazy for all those who can't tell their own stories anymore. 

Today I think of Mr. Johnny Cash, the country musician who was so vocal about the injustices faced by so many people in our society. His song, "Man in Black," explains who he was honoring in so many of his songs: the poor, the prisoners, the veterans, the downtrodden. No matter what you think of country music, this is a great example of honoring others though art:

https://www.youtube.com/watch?v=t51MHUENlAQ

Also, an opportunity for all you young poets that are sophomores: 
The Kenyon Review, a prestigious literary magazine is hosting the "Patricia Grodd Poetry Prize for Young Writers" during the month of November. If selected your poem will be published in the literary journal and the winner receives a full scholarship to the 2015 Kenyon Review Young Writers Workshop in Gambier, Ohio next summer.

This is a great opportunity to get your work out there, and it will look fantastic on your college application, especially if you are a winner! Submission is free, go to:
kenyonreview.org/groddprize

Check out last year's winner, it is stunning: 
http://www.kenyonreview.org/wp-content/uploads/jenkins_michaela.pdf

NaNoWriMo 20% Check In and First Excerpts

Congratulations, Novelists, you have reached the 20% mark in your noveling journey!

By now your protagonist has been introduced, the setting established, and you are swiftly approaching Plot Point #1 (sometimes known as the inciting incident). There is probably a good amount of foreshadowing happening to hint at upcoming conflict, and you definitely have introduced an antagonist, either in the form of another character or an abstract force. 

The most important thing in these first chapters is to establish what is AT STAKE for your Character. 

To get even more words, introduce a significant subplot that connects thematically to your main plot. 

AND NOW…(From the Larry Brooks article, "Storytelling in Chunks…"):

"At Plot Point #1, you change everything. 

The hero’s quest – the thing this story is all about – really begins here.  Because right here, at the First Plot Point, you throw something into the story mix that challenges, that defines and/or gets in the way of what the hero needs or wants, that threatens the hero, that puts the hero’s pre-PP1 life on hold until they can conquer this obstacle, or at least defines what they must do in the near term to continue that journey.

All that happens in one chapter.  It should be at about the 20^th percentile of your story."

Go big. Try listing all the awful, tragic, horrible things that can befall your character--betrayal by an ally/friend/love interest, accident, death, etc, and see what seems the most interesting to turn your character's world upside down.

Homework for all: 

1. Make your 20% Goal by midnight on Thursday, 11/6, and update your word count accurately. You will get credit for your progress for this first week's worth of noveling. Make sure you update the site, because that is where Ms. W is checking. 

Hold mini-marathons with your writing buddy, either in person or with text challenges to get to 20% (3,000 for 15,000 novelists, 2,000 for 10,000 word novelists)

2. By end of day Friday: Choose a 200-300 word excerpt from your opening pages (anywhere you like) that capture your character, setting, or conflict. Post your excerpt in your class-specific forum on the ywp.nanowrimo.org site. This is part of building your digital literacy skills by being a contributing member to our virtual classroom. More importantly, it's a great chance for you to show off your work and make people want to read your novel. Make sure your excerpt is polished and error free. Use spell check, read out loud, and run it past your writing buddy first. 

Be sure to read at least 3 other classmate's excerpts over the weekend. You will be inspired!

3. Do a word-count marathon for an extended period of time over the weekend, either in-person or virtually. Compete with your fellow novelists for how much you can write in a sustained session. 

Ms. Witham will host a writing session at the Venice Grind (12224 Venice Blvd, Mar Vista, CA 90066) on Saturday morning from 8:30am-?? First five novelists will get treated to their choice of caffeinated or uncaffeinated beverages, and others will have their pick of Gray's Halloween candy. 

Noveling Non-Negotiables so "You Don't Get Sloppy"

Novel Writing Reminders:

1. Turn off your inner editor, but don’t forget about using solid grammar, spelling, and punctuation conventions. You don’t want to reread 15,000 words adding in commas or a space after periods because “You Got Sloppy.” With this in mind, here are some…

Noveling Non-Negotiables:

a. You MUST Use Paragraphs. Start a new paragraph each time there is a shift in scene, time, or topic. Start a new paragraph with EACH new speaker, even if they are only saying, “huh?”

Example:

Charlie scrounged in his grimy Jansport backpack for his 49ers cap. It wasn’t there. His ear was burning where he’d just shoved the safety pin, and he wanted to cover up the bleeding that was sure to commence. He looked at Alfredo, and said, “Where’s my hat, loser?”

“It’s not a hat, it’s a beanie,” said Alfredo.

“You took it.”

“No I didn’t.”

“Yes you did. You always do.”

“Do not.” Alfredo skated his eyes toward the English teacher who was doing the owl-eyes thing to get them to refocus on their exciting district assessment.

“Do too.”

b. You must use capitals properly, (AND THAT DOESN’T MEAN ALL CAPS) and spell out all words like “u”. Again, you do NOT want to be capitalizing all 4200 sentences at the end of the month, and you do not want to correct “u’s” either. After each writing session do a quick spell check to catch places where “You Got Sloppy.”

c. You must use chapters. Small chapters are great. They keep you progressing, and you don't want to wade through 42 pages with no breaks. Don't pull a Bradbury. 

2. Every day, when you open your document, write the date at the top, “Day #,” and begin writing. This will help you find key scenes later, and help you see your daily progress.

3. Requirements for tracking progress:

a. On the last page of your document write the Day # plus your word count total for that day (found at the bottom of your word document). I go in reverse order, so I’m just adding the latest Day to the top. *Be sure to put your cursor before the Day list and take that word count so that you aren’t counting those numbers as words written.

Ex:

Day 3: 3610, 3700, 4873 (a day when I wrote three different sessions)

Day 2: 2527

Day 1: 1679

b. Make a Character page below your Day word count list. This is where you can write down new characters and quick descriptions as they show up for the party, since you may forget who “Cassandra” a few days after you’ve written her into the novel. This is great for those random friends or family members you mention by name.

4. SAVE AND SAVE OFTEN!!!! Get that flash drive and use it, or get into the habit of emailing to yourself after each writing session to back up your work. 

**Bolding consistency brought to you by Gia P.**

Book Proposals and Writing in Chunks

Enjoy the tips above, but NOTE: You will create an account at ywp.nanowrimo.org, not the site listed under "sign up" step 1. 


Please complete the following for your Novel. Don't worry, lots may change, this is just your initial planning for your novel. Due Thursday or Friday. 

Book Proposal for _________________

1. 6-word Synopsis of Novel:

2. Protagonist:

3. Antagonist: (Character and Abstract)

4. Point of view in which story is told (first person/second person/third person/multiple narrators):

5. Setting: (time/season/place)

6. STRUCTURE: Ordinary world/Special world:

7. Time Span of Novel/Tense it is written in (past/present/combo):

8. Major Conflicts (External and Internal):

9. Novel Writing Buddy/ies and Support plan:

10. Word Count Goal (total, 20 day daily, and 30-day daily):

11: Inspiration (Model novels, Soundtrack, Movie, etc):

12. Summary of last year’s novel (if applicable), and anything you plan to differently this year.

Writing in Chunks: 

Check out this article, about paying attention to not only word count, but the "chunks" of story you are building in November with your novel: 
http://storyfix.com/storytelling-in-chunks-a-nanowrimo-tip

Below are the major "phases" of Novel Writing, as excerpted from the article by Larry Brooks: 

Instead of word count, shoot for phases of story.

In the first few days of November, try to complete two or three chapters that deliver a narrative hook.  A proposition that intrigues and demands understanding.  A reason for the reader to plow forward.

Your pretty words and sentences are never that reason.  (Here’s why.)

In the next few days after that initial phase (the hook), complete your set-up chapters.  To do this right you need to know what your First Plot Point will be.  You should have 10 to 15 chapters (short is good, 500 to 1000 words each) that lead up to that moment – which, by the way, is the most important moment in your story, trumping even the ending – by introducing your hero… showing us their life in pre-PP1 context… foreshadowing the forthcoming drama and antagonist (even introducing the antagonist)… setting up a theme-intensive sub-plot (including sub-text)… and most importantly, establishing what’s at stake for the hero.

Then, at PP1, you change everything. 

The hero’s quest – the thing this story is all about – really begins here.  Because right here, at the First Plot Point, you throw something into the story mix that challenges, that defines and/or gets in the way of what the hero needs or wants, that threatens the hero, that puts the hero’s pre-PP1 life on hold until they can conquer this obstacle, or at least defines what they must do in the near term to continue that journey.

All that happens in one chapter.  It should be at about the 20^th percentile of your story.  For you word counters, that’s at about 10,000 words.  But here’s a reality check: 50,000 words isn’t long enough for a publishable book.  If that’s your goal – which is the higher goal… to start a book that will end up being publishable one day, long after November has come and gone – then your PP1 should arrive at about 17,000 to 20,000 words into the narrative.

Give yourself 8 days to get there.  This is Part 1 of your story, and these chapters are the most important of all.  Because here is where you hook your reader, where you give your story dramatic resonance and thematic weight.

Once there, you embark on the second part of your story.

You now have 10 to 12 short chapters to show how your hero responds to whatever it was you’ve thrown in their way at PP1.  Show us their emotional and action-based response (which may not be the same thing).  Show us how their pre-PP1 self isn’t enough to conquer what must be conquered.

Bring back the antagonistic force in some way – simple and clear, smack in the middle of this Part 2 phase.  If your story is about a fickle lover, give us a betrayal in the middle of Part 2.  If your story is about a sinking ship, have the ship flip onto its back in the middle of Part 2.

Part 2 ends with another major twist. 

It’s similar to the First Plot Point, but with a specific mission.

In the very middle of your novel, throw back the curtain that allows the hero, the reader, or both to glimpse a force that has been at work in the story all along.  Perhaps it was completely hidden, perhaps misunderstood, perhaps masquerading as something other than what it is.

Example: at the mid-point reveal that an ally has actually been plotting against the hero from the opening bell.  That’s a peek behind the curtain, though the force of that betrayal has been in play all along.

Now you’re ready for the third part of the hero’s journey.

You’re at about November 15^th by now.  Halfway there.

And, if you’re doing this right, you know exactly how the story will end.  Everything you do from this point forward is a path toward that outcome, complete with more twists, complications and set-backs.

In the third part, put your hero to work on the problem.  The hero has been reactingin your Part 2 scenes (running, complaining, searching, flailing, resorting to old tapes, etc.), you now, in Part 2, will have them on the attack.  Plotting and planning.

In part two they were submissive to the weight of the problem.  They were victimized by it.  Threatened and frightened by it.  In Part 3, they take control and mount a proactive attack on whatever stands in their way.

An important thing happens here in Part 3. 

Your hero entered the story with flaws, shortcomings and weaknesses.  Here in the third quartile – the next 10 to 12 scenes after the Mid-point behind-the-curtain context shift – the hero realizes that their old self isn’t getting it done.

That they need to change, to be different, to grow.  This is called character arc, and Part 3 is when it really kicks in. 

As they set about their forceful attack on the obstacles to reaching their goal in the story – it’s critical that you can succinctly summarize what that goal is, by the way – show the hero overcoming that which has, before now, been holding her or him back.

The fourth chunk is when the chase scene starts.

It’s about November 22^nd now.  You have 8 to 10 more scenes to write.

To begin this fourth part, which is all about driving the story toward its intended outcome, you need one final twist.  A new piece of information that either empowers the hero’s conquering push toward the finish line, or changes the game in a way that challenges the hero to be better, even more heroic than they knew they could be.

These scenes won’t exactly write themselves, but if you’ve written your story with structural discipline, by the time you get here you’ll know precisely what needs to happen in the story.  There are machinations to launch, character arc to pay off, reader satisfaction to deliver.

Four parts, four phases, four different missions for those blocks of scenes: set-up… response… attack… resolution.

Four chunks of storytelling awaiting you.

Cardinal rule: your hero must be the primary element or catalyst that brings about the story’s climax.  The hero must be heroic.  The hero must demonstrate courage and resourcefulness, rather than perfection.

Give the reader a vicarious ride as you go.  By placing the hero jeopardy and then by allowing the hero to conquer, you will have delivered the full range of story-experience to your reader.

Make this journey – your journey as the writer – one that comprises of four phases, or chunks of story, each separated by milestones. 

Write toward the next milestone, rather than the finish line (your story’s ending). 

Each scene is a step. 

Each flight of steps is a landing that changes the direction of the ascent.  You are climbing a four story mountain, and to get to the top with something you can take forward into your writing life, these structural principles are essential.

They will also keep you sane and confident.  Nobody travels cross country without stopping.  To get there in 30 days, embark on a journey comprised of four narrative chunks of seven days each.

It’s a mindset.  Wrap your head around four chunks of 12,500 words each (you can add the requisite detail and length later if you want to make your manuscript publishable), rather than the cross-country marathon of 50,000 words, which seems like a much taller mountain.