Students decide which adaptations would help an animal if it switched locations - and which would hurt it.
First, students research how one animal is adapted to its environment.
Then, they pick a related animal from a totally different biome and research its adaptations.
Imagine that the two animals switch locations. Which adaptations will now be an advantage, neutral, or a disadvantage?
Finally they write the story of the two animals switching places.
Students will rewrite the climax of one story using a difference genre.
Students pick a new genre, then note what they'll need to change, and what can stay the same.
They'll rewrite just the climax of the original story into the new genre.
Finally, they write a pitch to convince the publisher Byrd 'n' Mifflin to publish their new version of the story.
Students will write a story about going roller skating in a Halloween costume that is not designed for roller skating!
First, students will come up with a costume idea that is not great for roller skating. They'll highlight three details that will lead to skating problems.
Then, they'll write a draft of their story featuring three moments: false hope, losing balance, and, yes, a spectacular fall.
Finally, students will revise their writing to add some spice and pizzaz!
Students will re-write passages in the style of various authors.
I introduce the concept of "voice" and then students work with a piece from Lewis Carroll.
Now they analyze the voice in a piece from Edgar Allen Poe.
Students re-write one author's language using the voice of the other author.
Students work practice writing in a specific voice about a random topic.
To practice the common writing advice of "show, not tell," students will write two examples of a scene: one showing a character's trait, and one just telling. They'll put a famous character into a mundane situation and develop their scene.
Students pick a well-known character and put them into an everyday situation. They identify the character's main trait and come up with an event that will highlight that trait. They brainstorm ten specific ways that the character will show that trait (words they'll say, noises they'll make, actions they'll take, how they'll look, etc).
Finally, they write up the situation - using their ten ideas to show the character's main trait. They'll also write a non-example in which they only tell the trait. No showing allowed!
Students will add structure to their plots using the time-tested, five-act model. I introduce it using several student-friendly stories.
First, I break down how the exposition and dénouement work in Finding Nemo. Students will do this for a story of their choosing.
Now, I plan the exposition and dénouement for our my story. Students will do this for their story.
Then, I break down the main conflict of Finding Nemo. I show how the rising action sets up the climax. Students will do the same for a story of their choosing.
Finally, I plan the rising action and climax for my own story. Students will do this for their story.
Students will learn to apply a range of conflict types to their stories.
Students will identify stories featuring each of the four types of conflict.
They'll begin writing their own tiny stories.
Students will become familiar with four literary themes, learning to identify them as well as use them to create their own stories.
First, students will identify stories from each of the themes.
Then, they will continue writing their story from last time.
We open our unit on narrative writing with a big idea: "structure increases creativity." I show how this is true by bringing in examples from across all disciplines.
Students will use four repeating types of characters as the starting point for their own interesting characters.