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Transcript of Creative Writing
Write a scene utilizing dialogue.
Demonstrate awareness that dialogue can develop a character's motivations and authenticity, while also promoting awareness of register demands in different social settings.
What are we doing? Why are we doing this, who are we doing this for?
Task, Audience, Purpose
Application Across Disciplines
Through experiences with listening to, reading, and writing a variety of text types, ELs "develop an understanding of how language is a complex and dynamic resource for making meaning, and they develop language awareness, including an appreciation for their primary language as a valuable resource in its own right and for learning English. They demonstrate knowledge of content...and they develop proficiency in shifting language use based on task, purpose, audience, and text type."
(California Common Core ELD Framework pp. 81-82)
A Presentation on
Task, Purpose, Audience
a piece of paper and a pen/pencil.
one piece of paper out of the container. This will tell you the character for which you will write your dialogue.
Step 3: You have
8 minutes to write
"We must challenge students to expand their linguistic capital. Yet at the same time, we must be willing to push back against society's narrow-minded expectations... and limited perceptions of our students' abilities." (Zwiers p. 12)
"I tell them that their language and cultural style is unique and wonderful but that there is a political power game that is being played, and if they want to be in on that game there are certain games that they too must play."
Peers and teachers
a partner next to you to
Step 5: You have
6 minutes to discuss
your dialogue with your partner and
based on the rubric.
Kit: Good afternoon officer.
Officer Ramos: License and registration please.
Kit: Here you go.
Officer Ramos: Do you know why I pulled you over?
Kit: Well, does it have something to do with the dead raccoon on top of my car?
Officer: Why do you have a dead raccoon on top of your car?
Kit: Well, you see, I have a good excuse for that. Really, I do.
Kit: I was just on my way home from work - you see, I still have my uniform on - and this raccoon dropped out of the sky and landed on the windshield. Scared me half to death.
Officer: Uhh, go on…
Kit: Well of course I got outta my car and tried to revive the little fella.
Officer: What do you mean?
Kit: I tried CPR for a little while, but the poor kritter was gone.
Officer: Ummm, I’m sorry.
Kit: So you see, I’m taking him into the forest so I can give him a nice burial.
Officer: I see. Well... go on then.
Kit: Thank you officer.
Officer: Oh, and you better get those tail lights fixed! This is a warning!
Kit: Will do! Thanks!
In the actual teaching of this lesson, we would first “deconstruct” the mentor text. We would provide students with the rubric, and a hard copy of the mentor text to annotate. We would score the mentor text as a class, and pick out textual evidence to support our scores.
How can we use dialogue to assess attributes of a character or person?
How does the way a person speaks portray their character?
How can I convey tone in my own writing?
Tone of voice can mean the difference between laughter and lament.
Dialogue builds character.
There are certain registers that foster success in specific discourses.
Students will practice narrative writing standards (3b) through techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters.
Unit focus: writing
Unit focus: characterization
Unit focus: discovering discourse
Unit focus: college and career
Next Step Activities:
re-creating a Shakespeare scene using modern vernacular
creating a political cartoon to study historical conflicts/ issues both past and present
paraphrase a conversation
fun way to expose how chemicals "react" with each other
mock job interview
For this specific lesson, it would be mid-way through a larger unit, and certain skills will have already been scaffolded. For example, this could be a unit on characterization that focuses on character development through actions,
, description, and perception from other character's thoughts/dialogue. Or, perhaps a unit on the play genre, where students would build up to creating and acting out their own holistic scenes (including dialogue, setting description, stage direction, film editing, soundboarding, etc.)
Hills Like White Elephants,
Shakespeare plays (plays in general).
Dialogue from various novels;
Lord of the Flies, Of Mice and Men
: Any Presidential Debate,
Tales of Soldiers and Civilians,
The Things They Carried
, Tim O'Brien.
: National Geographic articles/ interviews
Claire: The carpets are spotless, I only had three wall hangings, and all of the appliances are functioning and in good condition.
Landlord: No they are not. You get no deposit back.
Claire: Please, by all means, show me something about the apartment that determines whether or not I get my deposit back.
Landlord: (walks into kitchen and looks up) This light bulb is out.
Claire: A light bulb. A light bulb? You’re taking $500 for a light bulb that is your job to replace?
Landlord: Look at this stove, there is--rust--here, and here.
Claire: Yes that tends to happen when the stove is as old as my mother.
Landlord: (walks over to living room wall and points) What about this hole?
Claire: That’s from a wall hanging.
Landlord: It’s a hole.
Claire: You cannot take money from my deposit from a hole that small! If it were five feet, yes! Take my deposit. It’s not even five millimeters.
Landlord: (walks into bathroom) The bar is missing.
Claire: That was the towel bar you were supposed to replace three weeks ago.
Landlord: You never told me it was broken.
Claire: Yes I did. I called twice, left a voicemail, and left you a handwritten note on your door. And you said you’d call the maintenance guy, remember?
Landlord: No I do not recall.
Claire: Would you like me to get a copy of the note for you to jog your memory?
Landlord: That is unnecessary.
Claire: This is unnecessary.
Landlord: You are not getting your deposit back.
Claire: I’m calling in a third party.
"For most of us--and especially for most stud-
ents--audience and expected response have a
huge influence on the experience of writing."
Elbow, Peter. (2000).
Delpit, Lisa. (1995).
Other People's Children:
Cultural Conflict in the Classroom
. NY Press.
"When writing a novel a writer should create living people; people not characters. A character is a caricature." -Ernest Hemingway
"Either write something worth reading or do something worth writing." -Benjamin Franklin