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ISR’s. Independent Silent Reading – Grade 9. Independent Silent Reading Choice Assignment :.
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ISR’s Independent Silent Reading – Grade 9
Independent Silent Reading Choice Assignment: • You will be required to complete four of the six following assignments; however, you will only complete one of the assignments for each book that you read. You will be required to complete one book per month of your choosing. Once you have chosen one of the following writing pieces, you may not do it again. Remember that the book must be school appropriate and must be a novel or anthology that has been approved by the teacher. • Once a book has been chosen, it may not be chosen again. Plagiarism will not be tolerated. If a student is suspected of plagiarizing or cheating they will receive an automatic zero, be referred to administration, receive a phone call home and will have no chance to make the assignment up.
Because you have all come here at different levels, we will examine each writing piece in detail to ensure you are all aware of expectations and stylistic detail. • Ask yourself, “What do I already know about each of the following?”
Sample Completed Chart As you can clearly see, we have chosen different books each month as well as different writing styles!
Create a prequel to the book. This must be a minimum of two pages long, single-spaced, typed, 12 point font. You will be assessed as follows: Originality 0 1 2 3 4 5 Follows Storyline 0 2 4 6 8 10 Written in Same Format 0 2 4 6 8 10 Cohesive (flows) 0 2 4 6 8 10 Appropriate Length & Typed 0 1 2 3 4 5 Spelling & Grammar 0 1 2 3 4 5 Use of Time 0 2 4 6 8 10 Total: /55
Prequels are, generally speaking, easier to write because you already know about your characters. There is always something that happened prior to the story starting. It is key to observe moments throughout the literature that are identified as past events. For example, if the protagonist states that ‘they remember when they were 5 and they started school’, this could prove to be an essential component of forming your prequel.
Typically the most difficult aspect to a prequel would be in the attempt to write as the author wrote. Their book was obviously published for a reason, and that is because they have a team of people analyzing, editing and publishing their work. You simply do not have these luxuries, so of course your prequels will be elementary, but don’t worry, they are supposed to be! • A key component to a prequel is to divulge some new information to the reader that they would not have known from reading the original text. This is what the reader is looking for, not simply the same text rewritten.
To start your prequel, choose the time period. Do you want the character to be 2 years old, 20 years old or 40 years old? Just remember that it has to be a time period prior to the time period in the novel you are reading. Now think aboutsupporting characters. Does your character know them already, or are they going to be introduced at a later date? Lastly, think about location. Did your protagonist always live where they are in the current novel? If not, when did they move, where did they move to and why did they move? These are all key in developing your story further.
You must create an eight box cartoon for your book. It must summarize the entire book in just eight boxes. If you cannot draw, you may choose to use images from the computer or magazines, but you must cite all sources (or you will receive a zero). Your text must be original and it must summarize the book in the small amount of space. It must be full color. You will be assessed as follows: Originality 0 1 2 3 4 5 Summarizes Story 0 4 8 12 16 20 Cohesive (flows) 0 2 4 6 8 10 Appropriate Length 0 1 2 3 4 5 Spelling & Grammar 0 1 2 3 4 5 Full Color 0 1 2 3 4 5 Use of Time 0 2 4 6 8 10 Total: /60
People usually think “Oh yeah! A cartoon, that’s so easy, I’m doing that for sure!” Granted it’s not a formal essay, but it’s certainly not the easiest thing to succeed at. Cartoons in general lack effort and creativity. Another very difficult thing is to summarize an entire novel in just 8 tiny boxes! Many people underestimate the difficulty of this. Remember that I may not have read your book; therefore, if I cannot understand the book within the 8 boxes, you will probably not be graded very well. The whole idea of the cartoon is understandability. Remember that dialogue is important, as well as text to tell the reader who people are or where they are located.
Characterize. A cartoon character can be anything, wear anything, speak in any way, and possess any abilities or shortcomings you imagine.Use dialogue to move the story. Though everything is pictured, all events are set up and highlighted with dialogue. A narrator will sometimes even verbalize the obvious. Common script form shows the name of the character speaking off to the left, with their speech separated to the right. Descriptions of settings and character movements can be noted in separate paragraphs or parenthetically inserted with dialogue.
Exaggerate the action. To make the best use of the unlimited physics these drawings permit, create lots of action sequences that are beyond conceivable reality. Anything goes, and any result can come of it. The effect it has on your characters, and their condition, depends on the needs of the story. Some action is simply used for gags. The ridiculously impossible needs no explanation.
Jacala, Omni. Deviant Art. August 20, 2011 <http://hextupleyoodot.deviantart.com/art/Animal-Farm-Episode-2-119972479>
You will create a script and movie poster. Your script will be two pages long and will be the beginning of the book. You must set this up as if you were writing a script. Your movie poster will have famous actors and actresses and should be full color. You must do this on an 8x10 sheet of blank paper. It can be hand drawn or done on the computer (if you have access to a color printer). However, if you choose to do this on the computer, you must cite all sources for images and text. Remember that if you do not cite your sources, you will receive a zero. You will be assessed as follows: Originality 0 1 2 3 4 5 Formatting 0 2 4 6 8 10 Beginning of book 0 2 4 6 8 10 Cohesive (flows) 0 2 4 6 8 10 Appropriate Length & Typed 0 1 2 3 4 5 Spelling & Grammar 0 1 2 3 4 5 Full Color Movie Poster 0 4 8 12 16 20 Use of Time 0 2 4 6 8 10 Total: /75
Get your story straight to build up as it develops. Write up with lots of ideas of what you want to happen. Create the premise and purpose of that story. What are the circumstances and what are the goals of the stories and main characters involved? Sometimes drawings or diagrams may be used. This could be used to make a temporary storyboard to show to other persons to demonstrate facets of your plot and characters, etc.
Let your characters drive the action on the stage or screen; so make sure you make them interesting and innovative. It may not be necessary for you to develop all of the characters right away, but some writers need to have everything set out before they can begin working. Find your method and work with it. • Create an outline or treatment. Before you begin actually writing dialog and script, it might help to create a basic road-map/story of what will happen in your story so you don't forget. Sketch out a general plan and envision how events will unfold. This should be told in the third-person.
Maintain your style. Remember, scripts are all about action and dialog. Make sure your characters speak realistically, and try not to mix styles of speech and vocabulary too much unless you are going for a certain effect. • Ensure that different characters have their own "voice" and "persona" based on their background, which will affect their attitude, word choices and dialect. This will help stop your characters from blending into one another.
Set the scene. Don't forget to include important details such as time of day, setting, and actions of the characters in the scene. These are nearly as important as the dialog that occurs. • Develop a rough draft of your actual script and begin to format your writing as a script. Find examples of scripts, formatting standards and tips freely available according to what kind of script you are writing; so check the library, textbooks, and search the Internet for associations such as the Writer's Guild to find standards to follow for your purpose and application of your script.
Skip lines between one character speaking and a different one speaking, especially if you're handwriting it. This will enable those reading the script to distinguish between speakers more easily and also allow space for notes, or you could just get a screen writing program. • Capitalize characters names. When recognizing the speaker, the name can be either above or at the beginning of their lines. • Edit your work. Don't be a perfectionist. Polish it. Work "toward" perfection, not "to" it. Continually revise your writing, and, if possible, show the script to a friend or adviser who has writing experience and can critique and improve the script as needed. Be humble.
Don't let yourself be insulted, controlled, or too fragile, upset or angered by a critiques or remark (its opinion, not fact). Laugh and be enthused about help and advice, but be noncommittal about using advice, yet be very appreciative. Do not say for sure one way or the other about changes, unless you are sure. • Decide how to compose your script in one of several ways. A narrator may introduce characters. A character may setup characters through dialog (conversation) or monologue (thinking aloud). • Tell the reader by annotations within brackets what is happening that the narrator is not communicating, i.e.: [JEFF walks off the stage, and JOHN closes the door behind him].
Sample from Wind in the Willows screenplay by Sue Langwade. 2009.
You must create 10 journal entries for the protagonist in your book. These must be a minimum of one paragraph in length each. They should sound as though the protagonist is actually writing them. These will be typed (single-spaced, 12 point font). Each entry requires a date and a title (using dates from your book). You will also include an introduction summarizing the character (listing a minimum of 5 character traits for them and giving some background information about them.) You will be assessed as follows: Originality 0 1 2 3 4 5 From Protagonists Perspective 0 2 4 6 8 10 Cohesive (flows) 0 2 4 6 8 10 Appropriate Length & Typed 0 1 2 3 4 5 Spelling & Grammar 0 1 2 3 4 5 Introduction 0 4 8 12 16 20 Date & Title for Each 0 1 2 3 4 5 Use of Time 0 2 4 6 8 10 Total: /70
Date your entry. This may seem a real drag, but this is the only real rule when it comes to keeping a journal. You’ll be amazed just how useful having each entry dated can be. • Understand true characteristics of the protagonist. Without gaining this insight into your character, you will be lacking in expressing their thoughts in journal entries. • Speak like the protagonist. The biggest struggle of creating diary entries has to be the language. Many find it very difficult to delve into the language of another being, especially when that language is used to express the characters innermost thoughts and struggles.
Write in first person perspective. Most people do not refer to themselves in the third person, so make sure you are writing in first person! (“Today I went to the grocery store with my mom, and I couldn’t believe it, but she spit on her hand and flattened my mohawk right in front of the popular kids at school! I just about ran out of there, but I knew I would never hear the end of it!” • Be creative. Try different techniques, such as lists, collage, drawing, other visual styles, or whatever takes your fancy. Your journal is a place to express thoughts and emotions. 6 • Reread what you’ve written, if you can. Either read it directly after making the entry or set aside a time to read your past entries. There is much to gain from rereading your journal entries.
Your critical book review will be a minimum of one page in length, single spaced, 12 point font. It must include a thesis that is fully developed. Your conclusion will either recommend the book or persuade others to avoid it. You will be assessed as follows: Originality 0 1 2 3 4 5 Formal Writing 0 2 4 6 8 10 Introduction 0 2 4 6 8 10 Thesis Fully Developed 0 2 4 6 8 10 Cohesive (flows) 0 2 4 6 8 10 Appropriate Length & Typed 0 1 2 3 4 5 Spelling & Grammar 0 1 2 3 4 5 Conclusion evident 0 2 4 6 8 10 Use of Time 0 2 4 6 8 10 Total: /75
There are two approaches to book reviewing: • Descriptive reviews give the essential information about a book. This is done with description and exposition, by stating the perceived aims and purposes of the author, and by quoting passages from the text. • Critical reviews describe and evaluate the book and support this evaluation with evidence from the text. The following pointers are meant to be suggestions for writing a critical review.
Basic requirements • To write a critical review, the reviewer must know two things: • A book review tells not only what a book is about, but also how successfully the book explains itself. Professors often assign book reviews as practice in careful, analytical reading.
As a reviewer, you bring together the two strands of accurate, analytical reading and strong, personal response when you indicate what the book is about and what it might mean to a reader (by explaining what it meant to you). In other words, reviewers answer not only the what but the so what question about a book. • Thus, in writing a review, you combine the skills of describing what is on the page, analyzing how the book tried to achieve its purpose, and expressing your own reactions.
Reading the Book • As you are reading or preparing to write the review, ask yourself these questions: • What are the author’s viewpoint and purpose? • Are they appropriate? • The viewpoint or purpose may be implied rather than stated, but often a good place to look for what the author says about his or her purpose and viewpoint is the introduction or preface. • What are the author’s main points? • Again, these will often be stated in the introduction. • What kind of evidence does the author use to prove his or her points? • Is the evidence convincing? Why or why not? • Does the author support his or her points adequately? • How does this book relate to other books on the same topic? • Is the book unique? • Does it add new information? • What group of readers, if any, would find this book most useful?
Does the author have the necessary expertise to write the book? • What credentials or background does the author have that qualify him or her to write the book? • Has the author written other books or papers on this topic? • Do others in this field consider this author to be an expert? • What are the most appropriate criteria by which to judge the book? • How successful do you think the author was in carrying out the overall purposes of the book?
Writing the Book Review • Book reviews generally include the following kinds of information; keep in mind, though, that you may need to include other information to explain your assessment of a book. • Most reviews start off with a heading that includes all the bibliographic information about the book. Title. Author. Place of publication: publisher, date of publication. Number of pages. • Like most pieces of writing, the review itself usually begins with an introduction that lets your readers know what the review will say.
The first paragraph usually includes the author and title again, so your readers don’t have to look up to find this information. You should also include a very brief overview of the contents of the book, the purpose or audience for the book, and your reaction and evaluation. • You should then move into a section of background information that helps place the book in context and discusses criteria for judging the book. • Next, you should give a summary of the main points of the book, quoting and paraphrasing key phrases from the author.
Finally, you get to the heart of your review—your evaluation of the book. In this section, you might discuss some of the following issues: • How well the book has achieved its goal • What possibilities are suggested by the book? • What the book has left out • How the book compares to others on the subject • What specific points are not convincing • What personal experiences you’ve had related to the subject.
It is important to use labels to carefully distinguish your views from the author’s, so that you don’t confuse your reader. Then, like other essays, you can end with a direct comment on the book, and tie together issues raised in the review in a conclusion. There is, of course, no set formula, but a general rule of thumb is that the first one-half to two-thirds of the review should summarize the author’s main ideas and at least one-third should evaluate the book.
Sample Book Review (shortened) The Ka is a book for all tastes. This skillfully craft novel contains history, science, mysticism, mystery, intrigue, humor and romance in a neat package that is not just entertaining but challenges your mind and imagination. Mary Deal has created word images so vivid it is almost like watching a movie. She takes you for a romp through ancient Egyptian history as an archaeological team finds and opens a tomb in Valley of the Queens. An archaeological student has the mystical ability to communicate with the ancient Egyptians, and this keeps the story moving at a breathtaking pace. The Ka is a delight to read. One can only hope that from a writer of this talent, there will be many more books to come. ~~ Joseph J. Ursprung, Phoenix, Arizona
Create five poems that relate back to the book. Each poem must be a minimum of 5 stanzas in length at a minimum of 4 lines per stanza. You will be assessed as follows: Originality 0 1 2 3 4 5 Allows Reader to Gain Insight into Characters 0 2 4 6 8 10 Formatting 0 2 4 6 8 10 Cohesive (flows) 0 2 4 6 8 10 Appropriate Length & Typed 0 1 2 3 4 5 Spelling & Grammar 0 1 2 3 4 5 Use of Time 0 2 4 6 8 10 Total: /55
Read and listen to poetry. Whether someone who has never seen a sonnet nor heard haiku can truly be a poet is an open question. It is almost certain, though, that any poet who has been published or who has garnered any following enhanced their skills by reading or listening to good poetry, even if they later scoffed at conventional notions of what was "good." "Good" poems fall into three categories: those that are recognized as classics, those that seem to be popular, and those that you personally like. Poems typically being short, there is no reason not to explore plenty of both.
Find a spark. A poem may be born as a snippet of verse, maybe just a line or two that seems to come out of nowhere. This is usually called 'inspiration', and the remainder of the poem need only be written around it. • At other times you may want to write about a specific thing or idea. If this is the case, do a little planning. Write down all the words and phrases that come to mind when you think of that idea. Allow yourself to put all your ideas into words. • It may sound difficult, but do not be afraid to voice your exact feelings. Emotions are what make poems, and if you lie about your emotions it can be easily sensed in the poem. Write them down as quickly as possible, and when you're done, go through the list and look for connections or certain items that get your creative juices flowing.
Think about what you want to achieve with your poem. Perhaps you want to write a poem to express your love for your boyfriend or girlfriend; perhaps you want to commemorate a tragic event; or maybe you just want to get an "A" in your poetry class. Think about why you are writing your poem and who your intended audience is, and then proceed in your writing accordingly. • Decide which poetry style suits your subject. There are a great many different poetic styles. If you see "Winter icicles / plummeting like Enron stock..." perhaps you've got a haiku in your head. As a poet, you have a wide variety of set forms to choose from: limericks, sonnets, villanelles ... the list goes on and on. You may also choose to abandon form altogether and write your poem in free verse. While the choice may not always be as obvious as the example above, the best form for the poem will usually manifest itself during the writing process. • Try to fit into a particular scene you want to write about. For example, if you want to write about nature, try to visit a park or a small forest nearby. The natural scenery may inspire few lines, even if they're not perfect.
Listen to your poem. While many people today have been exposed to poetry only in written form, poetry was predominantly an aural art for thousands of years, and the sound of a poem is still important. As you write and edit your poem, read it aloud and listen to how it sounds. o A poem's internal structure commonly focuses on rhythm, rhyme, or both. Consider classic styles like sonnets and Greek epics for inspiration. o The bulk of English texts seem to be two-syllable words with the first syllable stressed. You can more easily fit rhythmic patterns with second syllables stressed, like iambic pentameter with a one-syllable less-important word such as an article or preposition at the beginning of a line to offset a string of two-syllable words. o This is where poems can become songs. It is easier to find a tune for regular meter, so maybe you want to cut words out or put some in to get the same number of syllables in each line. Memorize it. If you believe it, then maybe someone else will learn it and love it before it is a song.
Write down your thoughts as they come to you. Don't edit as you write, or do edit as you write - the choice is yours. However, you should try both methods at least a couple times to see what works best for you. • Choose the right words. It's been said that if a novel is "words in the best order," then a poem is "the best words in the best order." Think of the words you use as building blocks of different sizes and shapes. Some words will fit together perfectly, and some won't. You want to keep working at your poem until you have built a strong structure of words. Use only those words that are necessary, and those that enhance the meaning of the poem. Choose your words carefully. The differences between similar sounding words or synonyms can lead to interesting word play.
