Song of Solomon group creative writing activity rubric

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1 Advanced Placement literature, Saltmarsh First semester final, December 2017 These activities introduced ~ Friday 17 th November 2017 Submit by pm on Tuesday 12th th December 2017 to e @dekalbschoolsga.org This is a long document containing a variety of options. All options involve writing. Select ONE. Everything must be your own, original work. Do not create a parody or satire of a serious work. Ms. Tessa Whitaker s fabulous idea ~ Do not put your name on the actual document, but do (obviously) include your name on the send page. This method will encourage anonymous presentations from Wednesday 13th December through Wednesday 20 th December; that is, students will be more likely and willing to share if the author remains unknown. ~~~~~~~~~~~~~~~~~~~~~~~~~~ Option 1: Group creative writing activity for Song of Solomon. This is the only group-activity option. A group of no more than three will construct and perform a Song of Solomon activity. Parameters: 1 The group will create a new scene or scenes consistent with the novel s temperament or will build on an existing part of the work, expanding a scene. This addition may not offend the work s integrity. This addition may not introduce new characters. 2 The work must be at least 2000 words. There is no upper word limit. 3 The group will construct a scene collectively and perform the scene to the class. It is acceptable to read from the script. Each student will read and act out one character. One character may be the 3 rd person narrator. Hence, the group will have as many members as characters. The group may create more than three characters and draw on other members of the class to assist with the actual performance. 4 Each literary character demands development, a commanding place in the writing. In other words, the work may not dispense with a character in one sentence, relying on other students to pull the weight. 5 The work will identify in foot- or end-note three features (perhaps linguistic or stylistic or behavioral) of each character that mirror those found in the actual novel. These foot notes should be brief, sharp, exacting. These will help ensure the new work s integrity. Follow this rubric ~

2 Song of Solomon group creative writing activity rubric The group members are ~ Superior Good Fair 9-12 Lacking 5-8 Poor or missing 0-4 The piece is consistent with the original in style and temperament. The work is at least 2000 words. There is a penalty of up to 10% for mechanical errors. The group performs the work to the class. Each member of the group is present for the performance. The performance is invigorating, enjoyable. The work fully develops each character. Foot- or side notes identify three features of the characters in the new piece, consistent with those in the original. Obviously, each student must be present for the performance. The group s score is ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Option 2: Prose-style analysis Song of Solomon Construct a prose style analysis essay of 800 to 1000 or more words analyzing an aspect of the style of Toni Morrison s Song of Solomon. Use the questions and suggestions below to help prepare. Where to start? Read Roberts, chapter 14. Read this carefully. Annotate. Now read it again. Then consider which one of the three aspects of style grammar, sound and rhythm, and diction appeal to you most. Now look back at Song of Solomon and seek about three passages, each of 50 to 80 words or so, which exemplify this stylistic

3 approach. The final essay will incorporate these quotes, each exemplifying the selected, specific stylistic domain. What is the end in mind? Structurally, the end in mind is much like the sample model in Roberts, pages 207 to 210. This passage is useful because it does a fine job of delineating a complex subject matter. However, rather than using one quote across three domains as Roberts does, your essay will incorporate about three short quotes. Note how Roberts integrates small sections of text into the analysis. So, your paper will have a selected quote followed by your analysis of that quote and then a second quote followed by your analysis of the second quote, and so on. Here are some things to do: Use a meaningful title. Create an effective introduction, beginning with an appropriate recognition of the work, moving to a very brief synopsis, and concluding with a well-defined thesis Begin each paragraph with a topic sentence that relates to the thesis statement. Support assertions with details from the novel. Avoid generalities. Use page numbers and quote directly. Explain details thoroughly. Elaborate. Remember, the difference between strength and mediocrity is in the analysis. Create a strong conclusion that provides some form of evaluation. Do not regurgitate. Never, ever use the conclusion as a dumping ground for matters not addressed elsewhere. Follow all MLA requirements. This is a useful site: Here are some things to avoid: Avoid passive voice, first and second person, contractions, clichés, platitudes, tautology, sweeping generalities, in conclusion, in the book, on page, and other nastiness. Avoid waste and ineffective verbs. Do not include any graphics. Do not include a cover page with enormous font sprawled on it. Put identifying information in the top, left-hand corner of the first page. Rubric for the style analysis paper Name The work is 800 to 1000 words or more. The work includes two or three passages, Excellent Good Fair Lacking Absent

4 each of 50 to 80 words, each well suited to the selected style analysis. The work has a meaningful title, an effective introduction that begins with an appropriate recognition of the work, moves to a very brief synopsis, and concludes with a well-defined thesis. The work begins each paragraph with a topic sentence that relates to the thesis statement. The work presents insightful, thorough analysis and supports these assertions with details from the novel. It avoids generalities and uses page numbers and quotation marks. The work contains a strong conclusion that provides some form of evaluation. The work follows all MLA requirements The work is grammatically intact Score /100 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Directions: Choose one of the following activities (options 3 to 18, inclusive). These are serious works. Aim for at least 800 to words. There is no upper word limit. There is a penalty of up to 10% for mechanical errors, nastiness. Option 3: You are going to visit your doppelganger. In a short story, reveal your double. In footnotes matched to subscripts, identify the speaker, audience, and purpose. List at least four characteristics of your double and the details that reflect each characteristic. Also, identify two different tones, using three words, phrases, or images for each tone. Finally, identify three different poetic or literary devices and explain how each works. Option 4: Choose a passage from Heart of Darkness and apply it to a specific state, national, or international behavior today. Consider products we buy, places we visit, or countries/areas/people we attempt to help/exploit/ignore. Use a journalistic/editorial style at the qualitative standard of The New York Times. Option 5: Write a scene from the point of view of one of the unnamed Congolese. Consider some of the following: the lack of identity given to the Congolese, their views of the colonialists, the attitudes toward life and land. Option 6: Write an argument between two people with strongly differing view on colonialism. For each speaker, create a persona. Characters may be real or imagined. Identify the speaker, the audience,

5 and the purpose. Support with real and specific evidence. Do not write, directly or in a thinly-veiled style, about any specific, modern political person. Option 7: Write a dramatic monologue that not only reflects outrage at a current human practice but also admonishes others. Identify the speaker, audience, purpose, structure, and three literary devices. Explain how each literary device works. Use footnotes. Option 8: Take ten meaningful, quotes from Heart of Darkness, fully explain each quote, and apply each quote to a soundtrack. Fully explain the relationship between the music and the quote. Each music sample must be at least 60 seconds long. Obviously, this will not be 1000 to 1500 words. Option 9: We never actually discover what Kurtz s Horror is. Construct a scene from Kurtz s point of view defining this horror. Reference specific passages. Use at least three distinct appeals to imagery; mark these and explain them in footnote. Option 10: Create a propagandistic speech delivered by a head of state in the time of expanding empire. Use a Victorian tone. Include at least five rhetorical devices. Explain each device in a footnote. Option 11: Write a scathing critique in the style of Jamaica Kincaid s Seeing England for the First Time. Direct this critique at an ideology, but strip away the ideology, as Kincaid does, to reveal the truths beneath. This is a serious work. Option 12: Create one scene and one musical chorus segment in the style of Margaret Atwood s The Penelopiad. Write the scene as if it were an insert in the original, a scene consistent in style and temperament. The musical chorus segment is limited only by your imagination. For options 3 to 12, inclusive use this rubric ~ Quantitative ~ the work meets the word count Yes 10 No do not proceed Qualitative: ~ the work is well-considered, reflecting well-spent 80 to 20, graduated time and energy. It captures the style, tone, and spirit of the work it reflects. The work is polished, complete. The work is clear, concise, and organized. The work is insightful. Mechanical ~ the work is free of unintended mechanical errors 10 to zero, graduated ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Objective: Create a story in first-person Grendel. Imitate the style, voice, and tone of John Gardner s work, Grendel, and insert a section of poetry (with a serious, Beowulf-like tone) in the story of between 15 to 20 lines in the style of Beowulf. The story (non-poetry section) should be between 700 and 1000 words. The poetry section must incorporate a few conspicuous examples (about three each) of kenning, assonance, caesura, enjambment, alliteration, and about four to five hard syllables per line. Do not copy any of the novel or the original poem, however small a part. Do not print names on the left, as found in a play. Rather, characterize to evidence the speaker s identity. Use a new line for each speaker.

6 Option 13: Write a dialogue between Grendel and one or more characters in the novel. These meetings may be imagined; these meetings need not have happened, but the characters must exist in Gardener s work. Keep narrative very minimal. Option 14: Write a dramatic monologue. Grendel speaks to a listening but unresponsive audience. A dramatic monologue usually contains a direct second-person address; the you is the listening but unresponsive audience. This is pure dialogue. Option 15: Write an internal dialogue. Imagine Grendel has a split personality, each very different. Keep narrative very minimal. Option 16: Write a dialogue between Grendel and God. Keep narrative very minimal. It is up to you how to creatively invoke the poetry section. Obviously, it may be in media res and employ elliptical beginning and ending. For example, if Grendel were chatting with another, he might invite that other to listen to a poem he has just created. The poem must have a serious, Beowulf-like tone. Do not use the name Beowulf or any other listed character. Make the placement of the piece work. Do not tack the poem on the end or beginning. The poem need not be the singular focus of this creative work; that is, the creative writing itself may navigate away from the poem and its themes. Because it is a creative assignment, be creative. The work is not limited by chronology, space, layout, font shape or size, or any conventional rules of writing. Write in any mixture of intended fragments or highly stylized forms, moving action in many directions as our novel illustrates. The limitation is the writer s imagination. For options 13 to 16, inclusive, follow this rubric: Rubric for Grendel creative writing assignment for Advanced Placement literature Possible score Your score The work is typed, double-spaced, in legible font, and at least 700 to 1000 words for the creative writing and 15 to 20 stylized lines for the poem. The total word count should be at about 850 to 1100 words or so. The work both clearly identifies the style form and option number at the top of the work and maintains the same stance throughout. In other words, what type of work is it? Make it plain. The work clearly identifies the characters directly or indirectly. The work employs very little narrative. 10 If the work does not meet the word count, grading does not proceed

7 The prose section replicates, but does not copy, the style, voice, and spirit of Gardner s original. The work is creative, considered, engaging, and imaginative. The poetry section incorporates a few conspicuous (about three each) examples of kenning, assonance, caesura, enjambment, alliteration, and about four to five hard syllables per line. The poetry section has a serious, Beowulf-like tone The work is free of unintended grammatical horrors! 10 Score That s it, folks! Ms. Tessa Whitaker s fabulous idea ~ Do not put your name on the actual document, but do (obviously) include your name on the send page. This method will encourage anonymous presentations from Wednesday 13 th December to Wednesday 20 th December; that is, students will be more likely and willing to share if the author remains unknown.