1. Check SLC schedule.  Check your grades and answer the following starter.  You may want to brainstorm on a separate sheet and then cut and paste it into your starter.


2.  Peer critique/analysis due by the end of the hour.  Turn in a copy to me and a copy to the person whose draft you critiqued.  If you were absent, check in with me about a make-up critique.

3.  WORK TIME

• Honors :  Get your project ready.  Put together your docuentation binder.  Make a "tent" with your research question.
• Critique due at the end of the hour
• SLC Prep
• Revise narrative
• LINK work

HONORS Documentation Binder Contents
1.  Cover Page:  Name, Project Title, Research Question
2.  Research Synthesis (1000-1500 words)
3.  Responses to five sources (at least one primary, one secondary, one creative, plus two others)
4.  Historical Thinking Skills Chart (2)
5.  Bibliography

1.  Random critique sort

2.  Talk to the person you will give your draft to and communicate how and when you will pass it to them.

3.  Narrative Peer Analysis and Critique (due on Monday at the end of the hour)
Use the handout as a guideline to answer the questions.  You may do so electronically on a separate document or use the handout to write your answers down.

WORK TIME:

• Honors:  Exhibition Tuesday!
• (Let your independent study project take priority during work time!)
• Narrative Project (Another draft is due tomorrow for peer analysis/critique)
• SLC Prep
• LINK work (project proposal, DP)
• Conference with me!

NARRATIVE DRAFT DUE TOMORROW

SLC Guidelines

Review SLC Schedule

Eight Rules for Writing Short Stories by Kurt Vonnegut

In his book Bagombo Snuff Box: Uncollected Short Fiction, Vonnegut listed eight rules for writing a short story:

1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.

2. Give the reader at least one character he or she can root for.

3. Every character should want something, even if it is only a glass of water.

4. Every sentence must do one of two things—reveal character or advance the action.

5. Start as close to the end as possible.

6. Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.

7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.

8. Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

DUE FRIDAY:  Draft for peer critique/analysis.  This should be a full draft with revisions!

Happy Valentine's Day!

I love you guys!

If you are absent today, please check in with Libby at your earliest convenience.

Narrative drafts due by midnight with cover letter. (see yesterday's post for cover letter questions)

Please sign up for an SLC time on this Google Doc.  Please sign up for the times in yellow if possible. Please sign up with your real name and not your Superhero name:)


WORK TIME!
Draft due to me tomorrow by  midnight with "cover letter."

Cover letter:  When you turn in your draft, please include in the body of the email answers to the following questions.  (If you turn in a physical draft, attach a paper)
1) What is the strongest aspect of your narrative right now?
2)  What needs most refinement?
3)  When I give you feedback, what areas would you like me to focus on?
4)  Is there anything else you want to let me know about your process or your draft or your struggles?

Critique #1:  PROJECT TUNE!

In groups of three, you will help "tune" each other's projects using the following protocol for each person.

1.  SHARE: Presenter will share the project with their group in whatever way works best.  If it is a story or poem, let them read the draft.  (Critiquers feel free to annotate the draft with specific questions and feedback.  For images, share your sketch or storyboard, explaining the narrative elements thoroughly.  

2. FRAME THE CRITIQUE:  Presenters should frame the tune with a question or concern that they want their peers to think about.  What are you struggling with?  What is the emotional effect that you are trying to create for your reader?  Where is your narrative headed?

3. QUESTIONS:  Peers will barrage the presenter with questions about the project.  Start with clarifying questions, and then move into open-ended questions that help the person think more deeply about what they are doing with their story.  Use the rubric to generate ideas for questions.

4. OPEN DISCUSSION:   The whole group discusses the project, offering suggestions for refinement and creative direction.  What can the presenter do to bring their historical perspective to life and highlight the humanity in the history?  Don't forget to address the presenter's framing concern/question.

WORK TIME:  Continue Drafting