Creative Writing PDF

Grades 10, 11, 12  Unit 1
Creative Non-Fiction Writing

'If people cannot write well, they cannot think well, and if they
cannot think well, others will do their thinking for them.'
-- George Orwell
OVERVIEW
Creative Writing is divided into three six weeks units that cover Non-fiction,
Fiction and Poetry.
Non-fiction is a good place to begin because students can use personal

experience for memoir and personal essay assignments. It is recommended that
students keep a journal and write daily from prompts related to terminology or
models from the specific unit.
This first unit is the ideal time to review the writing process, revision and peer
editing to ensure a successful semester. Students should create a final polished
memoir or personal essay as a culmination to the unit.
Suggested time: 6 weeks

ENDURING UNDERSTANDINGS
 Voice is established by the author in personal writing.
 Point of view can be altered for different purposes or effects in non-fiction.
 Showing a scene creates a picture in the reader’s mind.
 Memory can be manipulated with fictional elements.
 Style is unique to a particular author and genre.
 Non-fiction is a blend of actual experience and literary elements.
 Peer editing can help revision.
 Description is an essential element of any kind of writing
 Following the steps of the writing process enhances the final product.
 Humor is a genre that includes elements such as timing, unpredictability,
conciseness, consistency and logic.
GUIDING QUESTIONS
 How is voice established in non-fiction?
 What is the purpose of voice?
 What are the 1st, 2nd, and 3rd person points of view?
 How does an author decide the most effective point of view?
 How does an author SHOW a scene?
 What are action verbs?
 Why are action verbs effective?
 What is the role of memory in non-fiction?
 How do authors manipulate or create their style?
1|Updated November, 2013

 What is non-fiction?
 What are the different forms of non-fiction?
 What are the steps of the writing process?
 What is the purpose of peer editing?
 What makes a good description?
 What are the elements of humorous writing?
STUDENTS WILL KNOW AND UNDERSTAND
 Brainstorming  What voice is
strategies  The steps of the writing process
 Fiction vs. Non-fiction  Brainstorming strategies
 Implicit themes,  The difference between fiction and non-fiction
explicit themes  What style is
 Memoir  What point of view is
 Memory  What tone is
 Peer editing—  What memoir is
praising, questioning,  What personal essay is
making suggestions  How to peer edit
 Personal essay  What implicit and explicit themes are
 Point of view  How to use transitions
 Revising—adding,  Revising includes adding, deleting, reordering,
deleting, reordering, substituting and reformulating
substituting and  Peer editing includes praising, questioning and
reformulating making suggestions
 Show vs. Tell  Following the steps of the writing process
 Style enhances writing
 Tone
 Transitions
 Voice
 Writing process
STUDENTS WILL BE ABLE TO
Reading: Informational Text
Key Ideas and Details
 RI.9-10.1 Cite strong and thorough textual evidence to support analysis of what
the text says explicitly as well as inferences drawn from the text.
 RI.11-12.1 Cite strong and thorough textual evidence to support analysis of what
the text says explicitly as well as inferences drawn from the text,
including determining where the text leaves matters uncertain.
 RI.9-10.2 Determine a central idea of a text and analyze its development over
the course of the text, including how it emerges and is shaped and
refined by specific details; provide an objective summary of the text.
 RI.11-12.2 Determine two or more central ideas of a text and analyze their
development over the course of the text, including how they interact
and build on one another to provide a complex analysis; provide an
objective summary of the text.
Range of Reading and Level of Text Complexity

 RI.9-10.10 By the end of grade 9, read and comprehend literary nonfiction in the
grades 9–10 text complexity band proficiently, with scaffolding as
needed at the high end of the range.
By the end of grade 10, read and comprehend literary nonfiction at the
high end of the grades 9–10 text complexity band independently and
proficiently.
 RI.11-12.10 By the end of grade 11, read and comprehend literary nonfiction in the
grades 11–CCR text complexity band proficiently, with scaffolding as
needed at the high end of the range.
By the end of grade 12, read and comprehend literary nonfiction at the
high end of the grades 11–CCR text complexity band independently
and proficiently.
Writing
Text Types and Purposes
 W.9-10.3 Write narratives to develop real or imagined experiences or events using
 W.11-12.3 effective technique, well-chosen details, and well-structured event
sequences.
 W.9-10.3.a Engage and orient the reader by setting out a problem, situation, or
observation, establishing one or multiple point(s) of view, and
introducing a narrator and/or characters; create a smooth progression
of experiences or events.
observation and its significance, establishing one or multiple point(s) of
view, and introducing a narrator and/or characters; create a smooth
progression of experiences or events.
 W.9-10.3.b Use narrative techniques, such as dialogue, pacing, description,
 W.11-12.3.b reflection, and multiple plot lines, to develop experiences, events,
and/or characters.
 W.9-10.3.c Use a variety of techniques to sequence events so that they build on
one another to create a coherent whole.
 W.11-12.3.c Use a variety of techniques to sequence events so that they build on
one another to create a coherent whole and build toward a particular
tone and outcome (e.g., a sense of mystery, suspense, growth, or
resolution).
 W.9-10.3.d Use precise words and phrases, telling details, and sensory language to
 W.11-12.3.d convey a vivid picture of the experiences, events, setting, and/or
characters.
 W.9-10.3.e Provide a conclusion that follows from and reflects on what is
 W.11-12.3.e experienced, observed, or resolved over the course of the narrative.
Production and Distribution of Writing

 W.9-10.4 Produce clear and coherent writing in which the development,
 W.11-12.4 organization, and style are appropriate to task, purpose, and audience.

(Grade-specific expectations for writing types are defined in standards
1–3 above.)
 W.9-10.5 Develop and strengthen writing as needed by planning, revising, editing,
 W.11-12.5 rewriting, or trying a new approach, focusing on addressing what is most
significant for a specific purpose and audience.
 W.9-10.6 Use technology, including the Internet, to produce, publish, and update
individual or shared writing products, taking advantage of technology’s
capacity to link to other information and to display information flexibly
and dynamically.
individual or shared writing products in response to ongoing feedback,
including new arguments or information.
Range of Writing
 W.9-10.10 Write routinely over extended time frames (time for research, reflection,
and revision) and shorter time frames (a single sitting or a day or two) for
a range of tasks, purposes, and audiences.
a range of tasks, purposes.
Language
Conventions of Standard English
 L.9-10.1  Demonstrate command of the conventions of standard English
 L.11-12.1 grammar and usage when writing or speaking.
 L.9-10.1.a Use parallel structure.*
 L.11-12.1.a Apply the understanding that usage is a matter of convention, can
change over time, and is sometimes contested.
 L.9-10.2  Demonstrate command of the conventions of standard English
 L.11-12.2 capitalization, punctuation, and spelling when writing.
Knowledge of Language
 L.9-10.3  Apply knowledge of language to understand how language functions in
 L.11-12.3 different contexts, to make effective choices for meaning or style, and
to comprehend more fully when reading or listening.
SUGGESTED WORKS
ADOPTED RESOURCES
 On Writing Well by William Zinsser
RECOMMENDED RESOURCES (May vary by building):

Nonfiction:
 “Camping Out” by Ernest Hemingway
http://grammar.about.com/od/classicessays/a/campinghemingway.htm
 Dave Barry Columns: http://www.davebarry.com/misccol/misccol.htm
 “First Bend on the Baro” by Richard Bangs
 “Gifts from the Genetic Pool” by Susan G Falk
 “How to Become a Writer” by Lorrie Moore
http://www.ninetymeetingsinninetydays.com/lorriemooore.html

 “My Hands” by Barry Lopez
 “My Horse” by Barry Lopez
 “Neither Here Nor There” by Aimee O’Leary
 “Picking Cotton” from I Know Why the Caged Bird Sings by Maya Angelou:
http://msproehl.wikispaces.com/file/view/Picking_Cotton.pdf
 “Stop the Clock” by Amy Wu:
http://www2.d125.org/~rtompson/StoptheClock.pdf (See copyright notice.)
 “Taste” by,J. Kingston Pierce
 “The Explorer’s Lesson” by L. F. Willard,
 “The Inheritance of Tools” by Scott Russell Sanders
 “The Lean and Hungry Look” by Suzanne Britt Jordan:
http://www.tlex.com/msmosk/documents/183E3C0A032091AF09HtPQBAF525/Th
eLeanandHungryLook.pdf?-session=cchs_sess:42F94CA6029d93992DVKi4165620
 “Winter Lights” by Roger Rosenblatt
http://content.time.com/time/magazine/article/0,9171,1101980216-
138598,00.html
 “Yearbook Signing Day” by Dempsey, Chris
 Zinsser, William “Writing About Yourself: The Memoir” from On Writing Well
SAMPLE ACTIVITIES AND ASSESSMENTS
ACTIVITIES
1. ANALYSIS OF NON-FICTION (RI.9-10.1, RI.11-12.1): After viewing the LearnZillion
lesson: LearnZillion: Close reading informational text, President Lincoln’s Second
Inaugural Address, students will apply what they have learned to analyze one of
the following non-fiction models: letters, memoirs, personal essay, humor:
http://learnzillion.com/lessonsets/439-close-reading-informational-text-president-
lincolns-second-inaugural-address
2. EFFECTIVE VERBS (L.9-10.3, L.11-12.3): Compare effectiveness of verbs in different

passages: “Effective Writing”:
 http://www.nature.com/scitable/topicpage/effective-writing-13815989
(Good review of using verbs to strengthen a clause.)
3. SUMMARY (RI.9-10.10, RI.9-10.2, RI.11-12.10, RI.11-12.2): Read and summarize

William Zinsser’s “Writing About Yourself: The Memoir” from On Writing Well.
4. WRITING A MEMOIR (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.11-12.3, W.11-12.3.a, W.11-12.3.b, W.11-
12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6): Read or watch
a few of the examples of memoirs listed below. Then memorable times, events,
and/or experiences in your life and write your memoir based on those.
 Writing Memoir: http://www.csun.edu/~hflrc001/fall09/sample-memoirs.html
(This site has links to several memoirs written by high school and college
students.)
 Center for Digital Story Telling: http://storycenter.org/ (Click on “Stories.”
Then click on a category to hear the memoir from that category.)

 The Center for Digital Story Telling:
http://www.youtube.com/user/CenterOfTheStory/videos?shelf_index=5&sort=
dd&view=1&tag_id=
 “The PBS NewsHour: Carlos Eire: A Conversation”:
http://app.discoveryeducation.com/search?Ntt=memoir&N=18343
 “The PBS NewsHour: Dorothy Height: A Conversation”:
http://app.discoveryeducation.com/search?Ntt=memoir&N=18343
5. WRITING A PERSONAL NARRATIVE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c,

W.9-10.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6):
Write a personal narrative.
 “Memoir vs. Personal Narrative”: http://youtu.be/E_OO5FmaiRQ
 “What is the Difference Between a Memoir & Personal Narrative?”:
http://everydaylife.globalpost.com/difference-between-memoir-personal-
narrative-29263.html
6. SHORT WRITING PIECES (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d,

W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6):
Write and share short pieces in journal from prompts: descriptions, memories,
dreams, imitations.
 These Journal Writing Prompts Will Encourage Kids to Develop Their
Composition Skills: http://www.dailyteachingtools.com/journal-writing-
prompts.html#1
 10 Ideas for Descriptive Writing: http://www.writingforward.com/writing-
ideas/descriptive-writing-ideas
7. NO LINKING VERBS (L.9-10.3, L.11-12.3): Write a story, paragraph or certain

number of words using no linking verbs to vary word choice.
8. IMITATION IS THE HIGHEST FORM OF FLATTERY (W.9-10.10, L.9-10.1, L.9-10.1.a, L.9-

10.2, W.11-12.10, L.11-12.1, L.11-12.1.a, L.11-12.2): Imitate style of other authors.
 Beyond Primer Prose: “Two Ways to Imitate the Masters”:
http://www.nwp.org/cs/public/print/resource/1792
9. LETTER WRITING (W.9-10.10, W.11-12.10): Write letters to self and others for a
variety of purpose and audiences.
END OF SEMESTER PERFORMANCE ASSESSMENT (Scroll to end of document.)

Grades 10, 11, 12  Unit 2
Poetry as a Writing Style

'I wish our clever young poets would remember my homely definitions
of prose and poetry; that is prose; words in their best order; - poetry;
the best words in the best order.'
-- S. T. Coleridge
OVERVIEW
During the poetry unit students begin to explore essential elements of poetry.
Students should be exposed to a variety of models and continue to use their
journals to respond to prompts that allow them to experiment with different kinds
of poetry and different aspects – sound, line, image, etc. It is important for
students to share these journals often. As a culminating activity, students can
submit polished poems that have been through the writing process including
peer editing and revision.

 Sounds are an essential element of poetry because poetry uses rhythm and
rhyme.
 Poetry creates visual images using figurative language.
 There is more versatility in the structure of poetry than prose because poetry does
not have to follow specific rules.
 The main difference between poetry and prose is structure.
 Voice is unique to individual pieces of writing.
GUIDING QUESTIONS
 How is voice established in poetry?
 What is the purpose of voice?
 What is voice?
 How is meter used to establish rhythm?
 How do poets manipulate line to emphasize rhythm or meaning?
 What are the different types of rhyme?
 What are alliteration, assonance, consonance, and repetition?
 In what ways can sound be manipulated?
 How is meter used to establish rhythm?
 How does figurative language enhance poetry?
 What is metaphor, simile and personification?
 How are images created in poetry?
 What is free verse?
 How is poetry different than prose?
 What is a stanza?
 What is the form of a sonnet?

 Alliteration  What voice is
 Assonance  The different forms of poetry
 Consonance  What closed, endstopped and
 Content enjambed lines of poetry are
 Dividing Lines Of Poetry For Effect  What an image is
 End-Stopped  What the devices of sound are –
 Enjambed/Enjambment alliteration, assonance, consonance
 Figurative Language  What the structure of poetry is
 Figurative Language  How rhythm is established with
 Form stressed and unstressed syllables
 Forms Of Poetry  What stressed and unstressed syllables
 Free Verse are
 Image  What figurative language is
 Rhythm  How to divide lines of poetry for
 Sound effect
 Stresses And Unstressed Syllables  What free verse is
 Structure
 Voice
 Voice
Reading: Literature
 RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its
development over the course of the text, including how it emerges and is
shaped and refined by specific details; provide an objective summary of
the text.
 RL.11-12.2 Determine two or more themes or central ideas of a text and analyze
their development over the course of the text, including how they
interact and build on one another to produce a complex account;
provide an objective summary of the text.
Integration of Knowledge and Ideas
 RL.9-10.7 Analyze the representation of a subject or a key scene in two different
artistic mediums, including what is emphasized or absent in each
treatment (e.g., Auden’s “Musée des Beaux Arts” and Breughel’s
Landscape with the Fall of Icarus).
 RL.11-12.7 Analyze multiple interpretations of a story, drama, or poem (e.g.,
recorded or live production of a play or recorded novel or poetry),
evaluating how each version interprets the source text. (Include at least
one play by Shakespeare and one play by an American dramatist.)
Writing
sequences.

observation, establishing one or multiple point(s) of view, and introducing
a narrator and/or characters; create a smooth progression of
experiences or events.
 W.11-12.3.b reflection, and multiple plot lines, to develop experiences, events, and/or
characters.
 W.9-10.3.c Use a variety of techniques to sequence events so that they build on one
another to create a coherent whole.
another to create a coherent whole and build toward a particular tone
and outcome (e.g., a sense of mystery, suspense, growth, or resolution).
 W.9-10.3.d Use precise words and phrases, telling details, and sensory language to
 W.11-12.3.d convey a vivid picture of the experiences, events, setting, and/or
characters.
 W.9-10.3.e Provide a conclusion that follows from and reflects on what is
(Grade-specific expectations for writing types are defined in standards 1–
3 above.)
and dynamically.
Range of Writing

Speaking and Listening
Comprehension and Collaboration
 SL.9-10.1  Initiate and participate effectively in a range of collaborative discussions
(one-on-one, in groups, and teacher-led) with diverse partners on grades
9–10 topics, texts, and issues, building on others’ ideas and expressing
their own clearly and persuasively.
 SL.11-12.1  Initiate and participate effectively in a range of collaborative discussions
(one-on-one, in groups, and teacher-led) with diverse partners on grades
11–12 topics, texts, and issues, building on others’ ideas and expressing
their own clearly and persuasively.
 SL.9-10.1.a Come to discussions prepared, having read and researched material
 SL.11-12.1.a under study; explicitly draw on that preparation by referring to evidence
from texts and other research on the topic or issue to stimulate a
thoughtful, well-reasoned exchange of ideas.
Language
Vocabulary Acquisition and Use
 L.9-10.5  Demonstrate understanding of figurative language, word relationships,
and nuances in word meanings.
SUGGESTED WORKS
ADOPTED RESOURCES

Novel
 Scars by Peter Meinke
Poems
 “Ask Me” by William Stafford: http://www.poemhunter.com/poem/ask-me/
 “Cobb Would Have Caught It” by Robert Fitzgerald:
http://writing.upenn.edu/~afilreis/88/prokosch-baseball.html
 “Do Not Go Gentle Into the Night” by Dylan Thomas:
http://www.poets.org/viewmedia.php/prmMID/15377
 “Heavyweight” by Van Ingram
 “Introduction to Poetry” by Billy Collins:
http://www.poetryfoundation.org/poem/176056
 “Latin Night at the Pawnshop” by Martin Espada:
http://sanspoetica.wordpress.com/2012/10/15/reflection-latin-night-at-the-
pawnshop-by-martin-espada/
 “Look Here” by Pamela Alexander:
 “Name of Horses” by Donald Hall: http://www.poemhunter.com/poem/name-
of-horses/
 “Oranges” by Gary Soto: http://www.akoot.com/garysoto10.html
 “Poetry is the Art of Not Succeeding” by Joe Salerno:
http://flannelowl.tumblr.com/post/99571538
 “Sun” by Gary Soto
10 | U p d a t e d N o v e m b e r , 2 0 1 3
 “The Eye” by Michael Benedikt:
http://www.poetryfoundation.org/poetrymagazine/browse/106/4#!/20597425
 “The Poet” by Jane Hirschfield
 “The Tragedy of Hats” by Clarinda Harriss:
http://www.poetryfoundation.org/poetrymagazine/poem/29856
 “What I Do” by Ellery Akers
 “What the Living Do” by Marie Howe:
http://www.poets.org/viewmedia.php/prmMID/21378
 “Why I Will Not Get Out of Bed” by James Tate: http://inpoems.tumblr.com/
(Scroll down.)
 “Yellow” by Charles Wright:
http://apoetreflects.tumblr.com/post/6414886594/yellow-yellow-is-for-regret-the-
distal-the
http://www.theatlantic.com/past/docs/unbound/poetry/atlpoets/alex9406.htm
 www.poems.com
 http://www.newyorker.com/fiction/poetry/search
 “How to Write a Rotten Poem with Almost No Effort” by Richard Howey:
http://temerson.pageout.net/page.dyn/student/course/general_assignment?co
urse_id=150985&assign_id=1582851
 “Poetry and the Writing Standards” by Jan Burkins and Kim Yaris:
http://www.burkinsandyaris.com/poetry-and-the-writing-standards/ (A piece
that discusses poetry in relation to Common Core standards.)
ACTIVITIES
1. THEMES OF POETRY (RL.9-10.2, SL.9-10.1, SL.9-10.1.a, RL.11-12.2, SL.11-12.1, SL.11-
12.1.a): Read various models. In a small group discuss the themes of several
poems. Share ideas with the entire class.
 “Themes of Poetry”:
http://www.litscape.com/indexes/themes/Themes_Of_Poetry.html
2. THEMES IN POETRY (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Write poems on different themes or have students write at least two
poems on the same topic with different themes.
 “Poetic Themes”: http://www.poetseers.org/themes/
3. IMAGES IN POETRY (RL.9-10.7, W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-

10.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, L.9-10.5, RL.11-12.7,
W.11-12.3, W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-
12.4, W.11-12.5, W.11-12.6, W.11-12.10, L.11-12.5): Write a poem focusing on a
specific image or analyze the poems and paintings paired at this website:
 “Pairing Paintings with Poems” by Jessica Camis:
http://artsmarts4kids.blogspot.com/2010/02/pairing-paintings-with-
poems.html
 (Section on Imagery):
http://app.discoveryeducation.com/player/view/assetGuid/851FE8FB-697F-
4339-9251-5FE30E5F64B7
4. IMITATING POETIC STYLES (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d,

W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Imitate poetic styles. Take a title of a poem and use it as title or first
line of a poem.
 Literary Parodies: Exploring a Writer’s Style through Imitation:
http://www.readwritethink.org/classroom-resources/lesson-plans/literary-
parodies-exploring-writer-839.html?tab=1#tabs
5. RHYME AND RHYTHM (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d,

W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Experiment with rhyme and rhythm:
 http://app.discoveryeducation.com/player/view/assetGuid/851FE8FB-697F-
4339-9251-5FE30E5F64B7 (Section on Rhyme and Rhythm)
 Poems for Studying Rhythm and Meter:
http://literatureguides.weebly.com/poems-for-studying-rhythm-and-
meter.html
6. POETRY AND PROSE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Compare poetry and prose on the same topic.
 What is Poetry? Contrasting Poetry and Prose:
http://www.readwritethink.org/resources/resource-print.html?id=30738
7. FIGURATIVE LANGUAGE IN POETRY (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c,

W.9-10.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, L.9-10.5, W.11-12.3,
W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-
12.5, W.11-12.6, W.11-12.10, L.11-12.5): Create figurative language: metaphors,
similes, personification.
 Examples of Poems Using Figurative Language:
http://literatureguides.weebly.com/examples-of-poems-using-figurative-
language.html
8. POETRY AND PROSE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Convert poems in prose form with their line breaks.
 “Literary Alchemy: Turning Your Prose into Poetry”:
http://www.writersdigest.com/writing-articles/by-writing-
genre/poetry/literary_alchemy_turning_your_prose_into_poetry
9. FORMS OF POETRY (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-
10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Write poems in different forms: haiku, sonnets, shapes:
 “Examples of Haiku Poems”: http://examples.yourdictionary.com/examples-
of-haiku-poems.html
 “Sonnet Central”: http://www.sonnets.org/
 Shape Poems and Calligrams:
http://www.angelaspoems.com/teacherspage/different-poetry-
forms/shape-poems-and-calligrams/
END OF SEMESTER PERFORMANCE ASSESSMENT (Scroll to end of document.)
Grades 10, 11, 12  Unit 3
Fiction as a Form of Creative

Writing
Good fiction creates empathy. A novel takes you somewhere and asks you to
look through the eyes of another person, to live another life.
--Barbara Kingsolver
OVERVIEW
During the fiction unit students begin to explore essential elements of short
stories, drama, etc. Students should be exposed to a variety of models and
continue to use their journals to respond to prompts that could eventually lead
them to a completed piece of fiction. It is important for students to share these
journals often. For the culminating activity, students should submit a short story
or one-act play that has been through the writing process, including peer
editing and revision.

 Characters are developed through direct and indirect methods of
characterization.
 Characters serve different purposes in fiction.
 Effective characters should exhibit typical, universal and individual
characteristics.
 Dialogue develops character in fiction.
 Dialogue in fiction should mirror natural speech.
 Narrative time is a device of plot.
 Plot and structure are the building blocks of narrative.
 Tone and mood are essential elements of fiction.
 Characterization influences emotional response of the audience.
GUIDING QUESTIONS
 What methods are used to create characters?
 How do you develop character directly?
 How do you develop character indirectly?
 What purposes do characters serve in fiction?
 How do you create flat, round, static and dynamic characters?
 What do all effective characters have in common?
 What makes characters typical?
 How do you create a typical character?
 How do you create a universal character?
 How do you create an individual character?
 What is the purpose of dialogue in fiction?
 How does dialogue develop character?
 How does dialogue show, not tell action?
 How should dialogue be written?
 How is narrative time developed in plot?
 How is plot developed?
 What is structure in plot?
 How is structure in plot developed?
 What is tone? Mood?
 How are tone and mood created in fiction?
 What is the goal of characterization?
 How does an author get an emotional response from the reader?
 Character—flat, round, static, dynamic  What voice is
 Cliché  The different forms of poetry
 Dialogue—rules, function  What closed, endstopped and
 Effective beginnings enjambed lines of poetry are
 Flashback  What an image is
 Foreshadowing  What the devices of sound are –
 Genre of “short fiction” alliteration, assonance,
 How to develop a setting consonance
 In medias res  What the structure of poetry is
 Mood  How rhythm is established with
 Narrative stressed and unstressed syllables.
 Narrative time
 What stressed and unstressed
 Plot and structure
syllables are.
 Point of view
 What figurative language is
 Point of view
 Reliable narrator
 How to divide lines of poetry for
 Scene effect
 Setting  What free verse is
 Show vs. Tell
 Slow motion
 Stereotypes
 Summary
 Tone
Reading: Literature
RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the
text says explicitly as well as inferences drawn from the text.
RL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the
text says explicitly as well as inferences drawn from the text, including
determining where the text leaves matters uncertain.
 RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its
development over the course of the text, including how it emerges and is
shaped and refined by specific details; provide an objective summary of
the text.
 RL.11-12.2 Determine two or more themes or central ideas of a text and analyze their
development over the course of the text, including how they interact and
build on one another to produce a complex account; provide an objective
summary of the text.
 RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting
motivations) develop over the course of a text, interact with other
characters, and advance the plot or develop the theme.
 RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop and
relate elements of a story or drama (e.g., where a story is set, how the
action is ordered, how the characters are introduced and developed).
Craft and Structure
RL.9-10.4 Determine the meaning of words and phrases as they are used in the text,
including figurative and connotative meanings; analyze the cumulative impact
of specific word choices on meaning and tone (e.g., how the language
evokes a sense of time and place; how it sets a formal or informal tone).
RL.11-12.4 Determine the meaning of words and phrases as they are used in the text,
including figurative and connotative meanings; analyze the impact of
specific word choices on meaning and tone, including words with multiple
meanings or language that is particularly fresh, engaging, or beautiful.
(Include Shakespeare as well as other authors.)
RL.9-10.5 Analyze how an author’s choices concerning how to structure a text, order
events within it (e.g., parallel plots), and manipulate time (e.g., pacing,
flashbacks) create such effects as mystery, tension, or surprise.
RL.11-12.5 Analyze how an author’s choices concerning how to structure specific parts
of a text (e.g., the choice of where to begin or end a story, the choice to
provide a comedic or tragic resolution) contribute to its overall structure
and meaning as well as its aesthetic impact.
Writing
sequences.
observation, establishing one or multiple point(s) of view, and introducing
a narrator and/or characters; create a smooth progression of
experiences or events.
W.11-12.3.b reflection, and multiple plot lines, to develop experiences, events, and/or
characters.
 another to create a coherent whole.
 W.11-12.3.c another to create a coherent whole and build toward a particular tone
and outcome (e.g., a sense of mystery, suspense, growth, or resolution).
 W.9-10.3.d  Use precise words and phrases, telling details, and sensory language
 W.11-12.3.d to convey a vivid picture of the experiences, events, setting, and/or
characters.
 W.9-10.3.e  Provide a conclusion that follows from and reflects on what is
(Grade-specific expectations for writing types are defined in standards 1–
3 above.)
and dynamically.
Range of Writing
SUGGESTED WORKS
ADOPTED RESOURCES

Short Stories
 “Around the Corner” by Sharon Bryan:
http://eng250summer2007.wikispaces.com/Around+the+Corner+story (not sure if
this is the complete selection.)
 “Barbie-Q” by Sandra Cisneros:
http://connection.ebscohost.com/c/articles/18524331/sandra-cisneros-barbie-q-
subversive-hegemonic-popular-text (click the links to get to the article.)
 “Evacuation Order No. 19” by Julie Otsuka:
http://mostlyfiction.com/excerpts/whenemperor.htm (not sure if this is the
complete selection.)
 “Figure Eight” by Joseph Monninger
 from A Farewell to Arms by Ernest Hemingway
 from She’s Come Undone by Wally Lamb:
 from The Best of Bad by Hemingway, George, Plimpton, Ed.
 from The Things They Carried by Tim O’Brien:
http://corysnow.files.wordpress.com/2009/12/ttc-full-text.pdf (Full text is available
after the acclaim.)
 “Gryphon” by Charles Baxter
 Keith” by Ron Carlson
 “Macauley’s Thumb” by Lex Williford
 “Mama’s Bank Account” by Kathryn Forbes
 “Memorial Day” by Mark Richard
 “Passions” by Louise Erdich
 “Strays” by Mark Richard
 “The Chaser” by John Collier:
http://www.utdallas.edu/~aargyros/the_chaser.htm
 “Walking Out” by David Quammen
 “Yours” by Mary Robison:
http://wps.pearsoncustom.com/pcp_longman_rmcmllgt_1/43/11016/2820141.c
w/index.html
ACTIVITIES
1. CHARACTERIZATION (RL.9-10.3, RL.11-12.3): Analyze how complex characters
(e.g., those with multiple or conflicting motivations) develop over the course of a
text, interact with other characters, and advance the plot or develop the
theme.
 “Characterization in Literature”: http://youtu.be/AzqEgKwG0o4
2. ANALYZING FICTION (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.4, RL.9-10.5, RL.11-12.1,

RL.11-12.2, RL.11-12.3, RL.11-12.4, RL.11-12.5): Analyze fiction models:
 “Analyzing a Character with The Five Facts of Fiction”:
http://carriedeahl.typepad.com/the-real-deahl/2012/05/analyzing-a-
character-with-the-five-facts-of-fiction.html
 “The Elements of Fiction: The Beginning of Analysis”:
http://www.ulm.edu/~ryan/206/documents/elements_%20f.htm
 Analyze Literature Critically Using the SIFT Method:
https://www.teachingchannel.org/videos/sift-method-analyze-literature
3. STYLE (RL.9-10.5, RL.11-12.5): Identify style in fiction.
4. MOTIVATION (RL.9-10.3, RL.11-12.3): Identify a character’s motivation.
 “How to Discover Your Character’s Motivation”:
http://writeitsideways.com/how-to-discover-your-characters-motivations/
5. NARRATOR (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Create and identify a reliable narrator.
 “A Voice Revealed”:
http://app.discoveryeducation.com/player/view/assetGuid/36DA7023-
736A-4A84-81BD-FECB9D830275
6. SHORT FICTION (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Write short fiction.
 “Eight Rules for Writing Fiction”:
http://www.newyorker.com/online/blogs/shouts/2013/06/eight-rules-for-
writing-fiction.html
7. CHARACTER SKETCH FROM NEWSPAPER ADS (W.9-10.3, W.9-10.3.a, W.9-10.3.b,

W.9-10.3.c, W.9-10.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10,
W.11-12.3, W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e,
W.11-12.4, W.11-12.5, W.11-12.6, W.11-12.10): Clip ads from the newspaper
and write a character sketch of the person writing the ad.
8. CHARACTER SKETCHES (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-

10.3.d, W.9-10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-
12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-
12.5, W.11-12.6, W.11-12.10): Create character sketches.
 “How to Write a Character Sketch”:
http://www.scribendi.com/advice/how_to_write_a_character_sketch.en.
html
9. DIALOGUE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Experiment with dialogue between characters.
 Writing Dialogue: The 5 Best Ways to Make Your Characters’
Conversations Seem Real:
http://www.writersdigest.com/uncategorized/writing-dialogue-the-5-best-
ways-to-make-your-characters-conversations-seem-real
 10 Easy Ways to Improve Your Dialogue: http://writetodone.com/10-easy-
ways-to-improve-your-dialogue/
10. SHOW VS. TELL (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-
10.3.e, W.9-10.4, W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-
12.3.b, W.11-12.3.c, W.11-12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6,
W.11-12.10): Turn a telling scene into a showing and vice versa.
 How to Write Fiction that Feels Real: http://www.creative-writing-
now.com/how-to-write-fiction.html
11. PARODY (W.9-10.4, W.11-12.4): Imitate style of authors by creating parody or

copy change.
 Imitation as Inspiration: An Exercise for Writers:
http://writeitsideways.com/imitation-as-inspiration-an-exercise-for-writers/
 Beyond Primer Prose: Two Ways to Imitate the Masters:
http://www.nwp.org/cs/public/print/resource/1792
END OF SEMESTER PERFORMANCE ASSESSMENT
Purpose: Students will understand that successful creative writing combines a writer’s
unique style, voice, form, and technique effectively.
Target: (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-10.3.e, W.9-10.4,

W.9-10.5, W.9-10.6, W.9-10.10, W.11-12.3, W.11-12.3.a, W.11-12.3.b, W.11-12.3.c, W.11-
12.3.d, W.11-12.3.e, W.11-12.4, W.11-12.5, W.11-12.6, W.11-12.10): Students will create a
bound writing portfolio using original work from each unit which demonstrates their
growth as creative writers, analyzes themselves as writers, and evaluates the Creative
Writing course.
Engaging Scenario: You have decided you want to submit some of your work from this
semester for possible publication. Create a bound portfolio of your best writing
formatted for publication. Include an analysis of yourself as a writer which shows your
progress so far, as well as your future goals.
Task 1: Using original work and revisions of work done all semester, students include 10-
15 pieces of their best writing. The writings should be formatted like a submission for
publication. The collection can include all poetry or a blend of poetry and prose.
Task 2: Students write a 3-4 page analysis of themselves as writers, which includes:
• Their progress as writers over each quarter

• What they have learned and discovered about themselves as writers
• Their writing rituals and processes
• A discussion of their preferred themes and topics
• Their future plans and goals as writers
• Their own evaluation of their writing and effort over the length of the course
Task 3: Students write a 2-3 page evaluation of the course and the method by which it
was taught in order to help the instructors grow and improve the content and
instructional practice.
Task 4: Have the 3 portions listed above bound together in book form.
CHECKLIST FOR END OF SEMESTER PERFORMANCE ASSESSMENT

Task 1: Samples of Original and Revised Work
_______ Includes 10-15 pages of best writing. (Includes original work and revisions done
during the semester.)
_______ Typed (prose is double spaced, poetry is single spaced.)
_______ Formatted like a submission for publication.
_______ Name, address, and phone number are in the upper right hand corner.
_______ All works are titled.
_______ Proofreading is evident.
_______ Multi-paged pieces are titled and numbered.
_______ Demonstrates the highest standards of neatness.
_______ Demonstrates the highest standards of presentation.
Task 2: Self-Analysis
_______ 3-4 pages.
_______ Demonstrates progress as a writer over each quarter.
_______ Shows what was learned from the course.
_______ Describes writing rituals and processes.
_______ Discusses preferred themes and subjects.
_______ Discusses future plans and goals.
_______ Evaluates own writing.
_______ Evaluates effort over the semester.
_______ Organized
_______ Statements and ideas are supported with details and examples from own
writing and experiences.
_______ Clear.
_______ Interesting. (A good read)
______ Voice is friendly, confident.
Task 3: Course Evaluation

______ 2-3 pages.
______ Identifies favorite assignments.
______ Evaluates course content.
______ Evaluates teaching methods.
______ Clearly written.
______ Honest reflections of the writer’s viewpoints.
Task 4: Binding
______ Bound in book form.
______ Uses staple and cover bindings or plastic ring bindings.
______ Professional appearance.

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Grades 10, 11, 12  Unit 1

Creative Non-Fiction Writing

Non-fiction is a good place to begin because students can use personal

Suggested time: 6 weeks

1|Updated November, 2013

2|Updated November, 2013

Production and Distribution of Writing

3|Updated November, 2013

RECOMMENDED RESOURCES (May vary by building):

4|Updated November, 2013

2. EFFECTIVE VERBS (L.9-10.3, L.11-12.3): Compare effectiveness of verbs in different

3. SUMMARY (RI.9-10.10, RI.9-10.2, RI.11-12.10, RI.11-12.2): Read and summarize

4. WRITING A MEMOIR (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

5|Updated November, 2013

5. WRITING A PERSONAL NARRATIVE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c,

6. SHORT WRITING PIECES (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d,

7. NO LINKING VERBS (L.9-10.3, L.11-12.3): Write a story, paragraph or certain

8. IMITATION IS THE HIGHEST FORM OF FLATTERY (W.9-10.10, L.9-10.1, L.9-10.1.a, L.9-

END OF SEMESTER PERFORMANCE ASSESSMENT (Scroll to end of document.)

6|Updated November, 2013

Poetry as a Writing Style

Suggested time: 6 weeks

7|Updated November, 2013

8|Updated November, 2013

9|Updated November, 2013

RECOMMENDED RESOURCES (May vary by building):

2. THEMES IN POETRY (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

3. IMAGES IN POETRY (RL.9-10.7, W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-

4. IMITATING POETIC STYLES (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d,

5. RHYME AND RHYTHM (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d,

6. POETRY AND PROSE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

7. FIGURATIVE LANGUAGE IN POETRY (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c,

8. POETRY AND PROSE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

END OF SEMESTER PERFORMANCE ASSESSMENT (Scroll to end of document.)

Fiction as a Form of Creative

Suggested time: 6 weeks

RECOMMENDED RESOURCES (May vary by building):

2. ANALYZING FICTION (RL.9-10.1, RL.9-10.2, RL.9-10.3, RL.9-10.4, RL.9-10.5, RL.11-12.1,

3. STYLE (RL.9-10.5, RL.11-12.5): Identify style in fiction.

5. NARRATOR (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

6. SHORT FICTION (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

7. CHARACTER SKETCH FROM NEWSPAPER ADS (W.9-10.3, W.9-10.3.a, W.9-10.3.b,

8. CHARACTER SKETCHES (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-

9. DIALOGUE (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-

11. PARODY (W.9-10.4, W.11-12.4): Imitate style of authors by creating parody or

END OF SEMESTER PERFORMANCE ASSESSMENT

Target: (W.9-10.3, W.9-10.3.a, W.9-10.3.b, W.9-10.3.c, W.9-10.3.d, W.9-10.3.e, W.9-10.4,

• Their progress as writers over each quarter

CHECKLIST FOR END OF SEMESTER PERFORMANCE ASSESSMENT

Task 3: Course Evaluation

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