t« 5ËCTI0M TWO

How to Organize a Short Story Unit

In a semester class, a typical short story unit nms about three tojjour°wççks (2$;25 how« of study). The,
length of the unit depends on
1 ) how ninny stories are studied in detail;
2) how many evaluation items are planned
A minimum of eight stories are studied in detail and at least three main/major evaluation items ate щ
planned.
Many teachers, however, choose to study literature using a multi�genre thematic approach, incorpo-
rating poetry, film, and/or non�fiction into the units. The text is designed to facilitate such instruction; in
fact, many of the creative response activities require students to cross over the borders of genre,
Regardless of the teaching approach, the minimum selection numbers and timelines would still »pply

Typical Activities for Teaching a Short Story Unit

The following activities are appropriate for a short story unit:

• some oral reading of all or portions of stories by both teacher and students
• close reading/analysis of a variety of selected stories
• presentation of background to the genre, such as main themes and their roles in unifying the study of:
the stories
• frequent class discussion of form, technique, and style, especially in relation to how these elements
serve both content and theme
• frequent integration of specific fiction terms and concepts into classroom discussion
• an end�of�unit evaluation, such as a comprehensive review test or an in�class essay
• assignment of post�story Responding questions as appropriate to the focus of study
• oral, visual, and multimedia group representations by students
• periodic reading checks and quizzes to check that homework readings are done
• creative writing.

Generally, a unit is composed of three parts: an opening, a middle, and a conclusion. Below are some
suggestions for openers, developers (developing activities), and closers.

OPENERS

1 Discuss your favourite stories and those of your students.

2. Give a definition of the short story (see the Glossary of Fiction Terms on page 510 of the student
text for Poes definition). Discuss whether or how the definition is true.
3. Complete the first unit, Critical Reading of Stories, to introduce the elements of character, plot, con-
flict, point of view, setting and atmosphere/mood, irony, symbol, theme, purpose, and style. Have
students read the story and explore the questions that have been posed. Discuss the importance of
recognizing and understanding the interrelationship of these elements as a way of constructing
meaning.
4. Read and discuss the theme introduction at the beginning of the unit. Use the first activity of the
"Unit Overview" in the Teacher's Guide as an opening activity.
5 Read aloud passages from a favourite story in the unit, and explain the strengths of those passages.
6. Share the connections to your own life experiences using the first story read. Discuss with students
the ways in which stories present truths about human nature and experience. Discuss the
importance of personal reflection about such truths as a necessary part of understanding the
storys meaning.
 PLANNING A SHORT STORY UNIT

/ J f e / : / í W ' H Í £ § Ш ff«! itftefjjííejIMUtefiffldetl,'whllcMtitletils art developing their critical'thinking!,

\т*йаш$і*ші ншітіргешт Шёл twtew
есЩ&*ета l i Ä} Ä №h m ШытіЪШоіюту of Thinking Skills (see pages 12�13) and pte�
тяі»іоші^Щфііі ('ЬІ'^фЧаг7^ртіеЫп0іщ. For example:
ЩШфЁіШШ^ЩШШщЫшш ind interprétation, and ideas

ОХнФшмт ЫікЧіЩіЫ It t» pTêMil.cd, timi the worth or relevance of a selection

% Ри}'/Шф pymimd utilfo'«wd tö flkfstfãte lhe typical structure and parts of a story plot:

Main Pari»
а) Ашщ mikm > ,
W puím Ыфяша

uma
d) РгХрітШШ, ішЛиаНщ antecedent aetion/iiiformailon
e) тіщчІіепіоп/етщіікМІщ incident (which creates conflict)
0før©tedøsv)n#,ma 'l* relationship to conflict and outcome
fí ¿risi«
fí) т&Лнікт/ашш тпІ I
I) епаіщ і агкш* type,»—«wived, indeterminate, surprise)

Itødl ЬуШШі derøefltS/ The following is an appropriate order for introducing the elements:
$) plot må eooñíet (f«eluding both Internal and external conflict, and the variety of possibilities
v/fthin gggh)
W eftäßiew (facas да goals, motivation, obstacles, character contrasts and foils)
\ej mtífíg Ima He foflucnee on plot, conflict, characters, theme, and point of view)
4U ite ihres щш of irony
е%$утШ (syrnboHeobjects, settings, characters, names, and actions)
0 thetne�>Wri&)f theme »tatements. Provide an approach as follows:
i.Anubjett identifies in a word or a phrase what a story is about.
Ü Ì4 thenu I* a eteieiftëfll of one or more sentences explaining what the story says about the
ШЩем, it usually an observed truth about life that is revealed in the story,
/ii. When WC ач:п;;ііі/е :i lictional character's dreams,Struggles, decisions, discoveries, fears, and
¡mmhim i№ Ыщ elinilar io cuti' own, we arc beginning to understand the story's theme.
j^X^^íi'thí.bítWicI ¿iVl tÍÍií(^reillly',Cí»iist;c|u«;iilly, when we write a theme statement we often use
' • А м ^ с ^ ^ ^ І Ш к * ^nanv/^omctinies,'' "often," that suggest that what follows need
 Bloom's Taxonomy of Thinking Skills
tCVEl DEFINITION ACTIONS/PRODUCTS

£v EVALUATION Judging the v

Arranging ìde sion; editing; personal essay;
Mafcmg, pres. literary criticism essay; prediction,
defending ch personal response, reflection
Drawing cone

5. SYNTHESIS Using/changing old ideas to Charact erization; conversation;

create new ideas; inferem [e; prediction;
Putting together constituent parts to re-medi at ion/rep resen talion (comic
form a new whole strip, d rawing/mural/coUage,
mime/p•antomime,
movem ent, multi-media,
narram re/play, poem/song, video)

4. ANALYSIS Breaking down information/ideas Analytical essay; cartoon;

into constituent parts;
Looking at parts;
Seeing relationships
character analysis; chart/T-chart;
classification/rank ordering; com-
pare/contrast; critical response; dia-
gram/list; explanation; interpreta-
tion; mind map; précis; personal
response

3 . APPLICATION Applying previously learned infor- Chart; collage; diagram;

mation in new situations or to solve demonstration; diorama; display;
new problems; dramatization; illustration; map;
Using information model; photograph; poster;
simulation

2. COMPREHENSION Understanding information without Demonstration; chart/timeline; defi-

(imthl It-vrl of undersiandrngl
relating it to other ideas;
Organizing, rephrasing or describ-
ing information in one's own words;
Predicting effects on the basis of
known facts
nition; illustration; outline; estima-
tion; paraphrase;
prediction; retelling; sequence; sum-
mary

1. KNOWLEDGE Recalling/recognizing discrete bits of Definition; description; fact chart;

. (recaUi/í information; identification; matching; retelling;
Memorizing terms selecting, timeline

Blooms Taxonomy of Thinking Skills: as they relate to the sludy of short stories (Adapted from: Bloom,
Taxonomy of Educational Objectives: Handbook Ï: Cognitive Domain [New York: Longman, 19561 n.p,)
 P L A N N I N G A SHORT STORY UNIT ij

ASKING QUESTIONS AND STRUCTURING TASKS LEVEL

...ACCORDINO TO AN ISTAIMSHID ( I T OF IXTIRNAL OR INTERNAL CRITERIA
6. EVALUATION

the impl JUtlH

UiSplntft-llw.ÓrTÖI»:,-., -
Evaluât« ilu< importarte«, f¡
th« älgiiijtemee
Critique ilve арргоршіепем/
Іш рргоргіаіепеда ,

...COMBININO I I I M I N T S INTO A RATTIRN NOT CLEARLY THERE BEFORE

5. SYNTHESIS
Plan.,,
Create ,,,
Make up
Compose
Develop Imagine ,.
Predict., Design ,.,
What if.
...BREAKING THI WHOLI DOWN INTO ITS PARTS, FORMS

What is fact/opinion? 4. ANALYSIS

What conclusionsrainbe drawn?
What Is the Funcuon ol',,,? »
What is the relationship
between,,,?
Implicit in the statemeli! is
lhe idea that ...
What is the
main/subordinate Idea?
Stale the point of view of.
What motive is there?
What inconsistencies '.' ?
What Is lhe theme?
What assumptions . .? ,

...TO SITUATIONS THAT ARI NIW ON HAVI A NIW SLANT FOR STUDENTS

Which,,,? illustrate , 3. APPLICATION

Give an example ...� Explain ,.
Predict whai would happen 11,,, Select .,.
Judge the effects'A¡ '
Tell what will happen when ...
How much change would there be?

Outline . 2. COMPREHENSION
Paraphrasc/rephras*,,.
Summarize ... (initial level of
State üi)-5ur own фма>^»<.
Translate ... understanding)
State In one word ,,,
Is this the same us ..? Compare/contrast...
Explain what is happening... Differentiate »а&й
Which is more probable? What exceptions are there?
Which swieitiems support ЩЛ, Locate wfll
Which part doesn't fit?. Match,...

1. KNOWLEDGE
•yVhe •:�,? Ь •How many ...?'�
(recall)/.
Describe•.. , When �...
Name,., Where . ¿ л *
Ята?ШЕіІ.таг ¿ÜB'ii..-
 SECTION THREE

Responding to the Stories: Four Levels of Response

Inside Stories III is response�based in its approach to teaching the story. This approach allows you to
focus your teaching on aspects of the story and to evaluate student responses on several levels. The four
levels of questioning and activities following the stories include personal, critical/analytical, creative, and
problem�solving/decision�making responses.
The following diagram offers a graphic overview of a general process for approaching the study of the
short story. This process permits substantial teacher flexibility: the amount of time spent during each
stage of the process will be determined by the needs of the students, the content and features of each
story and of the unit, and the requirements of the curriculum learning outcomes. A major advantage of
teaching using a thematic approach is that when stories are studied as part of a thematic grouping, it is
not necessary to spend an inordinate amount of time at Stage I of the process with each story.

Response to Literature Personal, Critical, Creative, Problem�Solving

Which? When? Activity What is happening?
Stage I Before Preliminary work: Preparing a context
Pre�reading linking to prior for making meaning
knowledge

Stage II During "Reading" of the Constructing

Reading text: imaging meaning
inferring, predicting

Stage III During Opportunity for Holding, exploring,

Personal and individual response: and consolidating
and Critical/ After making connections meaning
Analytical
Response
Stage IV After
Creative Collaborative Individual
and
Problem�solving/
Decision�making Personal work through Developing meaning:
Response a range of media activity: extending, transferring,
written, aural/musical, modifying, and
visual, technological refining

Multimedia/
Oral Visual Written Kinesthetic
Technology
Śctwity activity activity activity activity

(Model adapted from: Benton, Miches!, & Fo.v. Geoff. Te.irhinj Lucratine Nine lo Fourteen ICambridge, MA: Oxford University Press, 19021. HO.)

16
 FSPONO N

Within ih ntext oi this approae! tdyine tl Y Г�'lt�l

trategies intended to develop stud и

Maintaining a Response Journal

One strategy man i I
use in assisting studeni develop tl и m man marte* í
response journal. Resi lournals may take many forms; ofti more ihan я «udi i
book in which all entri corded, titled, and dated. A 1 íxed-i к ín a «ttukrit'» bi
serves multiple pui
'
I
It is handy, alwavs tl e I ready to be used
I
AH of a student's thin] bout a story
n Kl n n нас t го re�i Rd initial re*pøn
storv. ritical analvsi s isci I
1,1 ream I problem�*
tion In addition, su nis a ib e to ta i h ther» in tl i
may present differing \
' tl st alternative înterpi w dents relut ry i
to deal with its ideas at another level as I
in anaiyti ie in I m can b e i lit
i
need be, revised and developed
Journals provide teachers with an opportunity i t discussi/» a b i
II its in v
understandings of the story. I mpanng their thought irs in an individual diæussioi tges
students in meaningful, a n d private communication. Typically, such communication will bi
open than a whole-class setting will allow. Si laents n cu ideas in private that they v not
do in public
O n occasion, you may ask students to submit tl eirioi ils for evaluation and grading, All
thoughts, feelings, observations, and even questions about the story will be there for you l
I
i
will be quickly evident both whether the students ai litted to their work a n d whethe
u n d e r s t a n d i n g of the stories meets the requiremeni the curriculum. (See pages 1 5 1 - 1 5 2 for
sample grading rubrics on Response to Literature.)
Finally, a n d perhaps most importantly, journals allow students I impare their current thinking
about a n issue with their thoughts from an earlier time. Journals also provide a concrete demonstra
tion of w h e t h e r or n o t s t u d e n t s' own thinking, and the articulate expression of that thought, has
m a t u r e d over time

I n t r o d u c e r e s p o n s e j o u r n a l s by explaining the journal's p u r p o s e , y o u r expectations, a n d especially the

assessment a n d evaluation procedures. Evaluation focuses may vary, and m a n y teachers c o m m e n t o n
j o u r n a l e n t r i e s a n d assess t h e m for s u c h features as variety of response ( h o w the student c o m p a r e s ,
a p p r e c i a t e s , q u e s t i o n s , interprets, synthesizes, evaluates), quality of t h o u g h t , a n d d e p t h of u n d e r -
s t a n d i n g . Ideally, the following characteristics of s t u d e n t response are to b e rewarded:

• A willingness to s u s p e n d closure, to entertain problems rather t h a n avoid t h e m in t h e p u r s u i t of a

c o n c l u s i v e i n t e r p r e t a t i o n or answer. Initially, s t u d e n t s will ask teachers, " W h e n will y o u tell u s the
a n s w e r ? " T h e h u m a n m i n d prefers h a r m o n y to chaos: Teachin g s t u d e n t s to ask themselves q u e s t i o ns
a b o u t a s t o r y in w h i c h a n s w e r s m a y be inconclusive is difficult. But they s h o u l d b e m a d e to appreci-
ate that ideas are n o t always linear, c o n c r e t e , or finite. "Right" a n s w e r s m a y b e a m a t t e r of context ,
a n d as s u c h , fluid a n d variable.
• A w i l l i n g n e s s to take risks, to r e s p o n d w i t h h o n e s t c o m m e n t s , to offer "variant" r e a d i n g s , to p r e d i c t
a n d risk b e i n g w r o n g . S t u d e n t s s h o u l d b e e n c o u r a g e d to p u t their intellectual selves o n t h e line.
W h i l e a n e r r o n e o u s r e a d i n g of a s t o r y c a n n o t be a c c e p t e d a s correct, o u r c o m m e n t s to s t u d e n t s
s h o u l d h e l p t h e m to u n d e r s t a n d where o r why they h a v e r e a d i n error, a n d h o w s u c h m i s r e a d i n g
m i g h t b e c o r r e c t e d . In t h i s s e n s e , e v a l u a t i o n s h o u l d b e p r e s c r i p t i v e r a t h e r t h a n d e s c r i p t i v e .
• A t o l e r a n c e for p r o l o n g e d a m b i g u i t y , a w i l l i n g n e s s to re-read a difficult story, a n d t o p e r h a p s discard
a n d t h e n r e - f o r m a n o p i n i o n . S t u d e n t s s h o u l d b e led to u n d e r s t a n d t h a t m e a n i n g , especially i n a
 SECTIO!/ THREE

complex t e r i ^ a ^ ^ d f ø w s r ø « ^ ^
dei ifls; 'voicing ' l i í i r а і м ф и Л фММКИМtoífeiíSíifonr and rff-r&öng are Strategies thai
inevitably heip^aatòi» U) ІЖШ 'ційішШ tín¿í)4'f% ito?;
• An apprcciattöfjfor a l t ó ^ fiofrvalue in
'ons: The рат^^М'ш^твт^аШт/т S) tfø гЩт п ls% •leT-|íudcn«°hear Out imsrpretani
differ т^ШШ^Шшщш^Щ/Щ^етШШШ Іпагкрчгя^еИ 'to alioy/othefa,»nfluen«
their re5ponse*,<-«pe«í*fly «Hie« mAmSt m № ЩИ supports bthír interpreiauòfil. 'All к
and develop іЬго 0.фШ�ЮШЖШЩІЯШЛ * /efdillg «(тіішпІГуГеуіаейсе of changed hinkin
can indicate an appropriale Г! #ШИШ/
Generally, at the point 0Ítøjflal««^яШ^РрОМК, ¡lieJjUf&ïiorj óf correctness in languá ! is less
important than a focus mihe iOBUIIt et Ш jeúttttt entfiel. The ргіпсйзаі purpose of the jemal Is i
provide the students with ¿.medium liìmiifàl фк іЬ«у ml«lurøplorethoughts and fcelin > about i
selection that has been read ЬуатаШг

Pre�Reading Strategies

Research into reading comprehettsUm ileum* limiЫЯаЬш @Ш, at the pre�reading stage, provide lessons
and experiences that increase íbe Jíkelfbtfod lha! studente will understand the story and respond to it on
a personal level. For this reason, in (be (gift, students яге provided with two pre�reading questions that
precede each story. Student« am be assigned, øf they might gelaci themselves, either question to com-
plete. The classroom discussion that ensues as sluttens »har« their comments should help establish an
appropriate context for reading lhe Mory, The prö»reading questions attempt to engage some of the fol-
lowing strategies.'
• Linking to prior knowledge or experience
Students may be invited to speculale—orally 0t ill writing—on experiences they have had that
parallel the conflict ør experienced tkś&ibed in the могу.
• Building connections to the story
If the story has an unusual setting, or ifipf »tory lakes place In a particular social or historical
context, studenis may be given (or asked to research) the necessary background.
• Providing a context for the reading
Links between the story and the unit's theme ør previous works studied may be explored. As well,
students' attention may be directed to particular elements or techniques in the story.
• Preparing the way
Special vocabulary or essential details student* should know if they are to understand the story may
be shared.
Predicting and speculating
Students may be asked to study the lille and predict the story's theme. As well, students may be asked
to read the story's first paragraph and then «peculate on the story's central conflict, focus, and/or
imagery

Personal Response

When people read stories they respond to ibe content in a number of ways, including via their first
impressions, the associations they make, the memories the cement and their questions about
what they have read. Typically, personal response" question» ask studi nts for their initial thoughts about
the story. Students are prodded ta'tm element« öf their own life expi rienee and prior knowledge to
build a bridge to the often-new experience of {hé fjtorys Imagined w< irld. In this way, the students' first
tentative and speculative explorations are held, reflected upon, and | erhaps expanded or refined. As
their responses establish a coffiiextiirø between them tiriti the story, si udents create for themselves a coir
fort zone of understanding,
 l i n S I ' O N O I N O TO THE S T O R I E S : FOUR LEVELS O f R E S P O N S E t,

, "Epical question;" lii this «retiñir focus on Individual opinion—what the student thought of sömeonejë
' ' «¡R*Mnethtng In the ніогуЛЧUldeiiis lîîiiy heve heen «[fijnded of ihemselves, of other people, similar situ-
ations, or other stories and/or movies, .Чипшііпіе.ч the questioni ask students io think about a characters
decision and whether llley themselves would шике the same choice, These questions establish and

Most pedagogy suggests thaï, lirai, and foremost, teachers should approach the teaching of the story
based on the polni where your students are, Many of the Responding Personally questions prompt stu-
dents to share their Initial responses with other studenti) comparing notes and sharing journal entries.
The following are some sample personal response questions!

• Record the questions chat come to mind after you have finished reading the story. What possible
answers can you think of?
• Who do you know that most reminds you of the Storys protagonist? What are the similarities?
• Do the characters and events in the story seem realistic and true to life? Why or why not?
• Which parts of the story do you like or dislike the most? Why?
• Which other stories or movies does this story remind you of?, How are they similar?
• if you could talk with the author, what questions would you ask about this story? Why would you
ask those questions? What answer do you expect the author might give?
• If you could interview one of the characters, who would you choose? What would you ask? Why
would you ask that? I low might the character answer?
• What patternfs) can you see in the story? What do you think might be the purpose of the pattem(s)?
Modelling for students, at least in the Initial phase of teaching the response process, is imperative.
Students, especially those who are reluctant to offer something that might be construed as a wrong
answer, must hear that Initial meaning-making varies from reader to reader. As individual readers bring
their own prior knowledge and experience to bear upon their understandings, that which is deemed
significant in the text may also vary from reader to reader, "The youth needs to be given the opportunity
and the courage to approach literature personally, to let'it mean something to him directly. The class-
room situation ind the relationship with the teacher should create a feeling of security. He should be
made to feel that his own response to books, even though it may not resemble the standard critical
comments, is worth expressing, Such a liberating atmosphere will make it possible for him to have an
unselfconscious, spontaneous, and honest reaction" (Rosenblatt, Louise M., Literature as Exploration
[New York: Modern Languages Association, 1983], 66-67).
Some of the following suggestions may assist your students in identifying and expressing their
personal response:
• Early in the course, share your own personal response to a story with your students. Explain why you
have responded as you have,
• Ask students to share with an individual partner, rather than in a larger group. An exchange of
journals may be appropriate. In this situation, students can be asked to comment in writing about
their partner's response,
• Ask students in small groups to collaborate on a response. This provides them with opportunities to
consolidate their views, to raise questions for the class to consider, and to refine their thoughts and
feelings about the story, all in the safety of a group environment.
» Ask students to share their responses In small groups, and to select from the group one response
which they feel the entire class might benefit from hearing, Two responses showing conflicting
viewpoints could also be shared,
•'Select from a set of graded journals a small number that might serve as effective models of response,
hut thai do so In differing ways, Urtth differing points of emphasis. Ask for permission to read these
to theclass, *
• Introduce critical literary termi as a natural part of responding whenever the opportunity or need
'._ arises.
 SECTION THREE

Critical/Analytical Response
This level of response has become mi p portant in the most rece ly revised curili ula, with inlnltìll'leu
of education showing renewed intere: developing critical thinkii fskills Critical
basic understanding of the content, si ie of the questions are fat tal or literal« EfJ leeially m fofvs
with complex plot elements (such as ent time shifts, stream�of�cot rration) manye».
dents, especially weaker readers, need inderstand what is basically/1 ally taki Pi*«*»?*»»,
identify, and recall facts about characi id plot—before they can mol re alisi mei etømettt»
such as theme and symbolism.
In critical/analytical response, stud refer to details from the si ort their developing
ideas. They draw points of compariso A contrast, and note cause в. Criticai response, then,
is focused on understan the story, s content-centered, but qui u language, Imagery,
form, and the organizat f that con : begin to surface as studer rthi ptplore a story, They tils�
cover quickly that, in о о talk cle, about stories, they have tc kn bn;concepts and term»,
Below are some sample :al�respon [uestions, with factual/literal 1 s placed first;
• Explain what happ i the story by resp. inding to the following ques What are the main
events? What is th< a resolution? Is the ending I adowed? Is the ending
happy, sad, or uncertain?
• Where and when does the story take place? How can you tell'
• Who is the protagonist and central character? How do you know?
• From whose point of view is the story told? In your opinion, is the point с 'What
would have been the result had the story been told from a different point 3f'
• What are the protagonists goals and motivations? What are the obstacles 01 nilu Ai uh«
conflicts external or internal? Are they resolved? Does the protagonist achieve the des ¡d goals? Why
or why not?
• Has the character changed by the end of the story? Does the character have an epiphi ,ny If:
explain,
• What type of story is this (i.e., science fiction, adventure, romance)? What story conventions does it
follow?
• How has the story been organized? What are its sections or episodes?
• Identify any allusions that you found in the story.
• Identify any symbols or ironic events in the story.
• What pattern(s) occur in the story? What appears to be the purpose of the pattern(s)?
• What is the story's theme? Compose a thematic statement for the story. (The following question has
been used in the student text: "In a sentence or two, write a thematic statement that you feel
effectively identifies the controlling idea (or one of the controlling ideas) of the story. Be prepared to
defend your statement in terms of the choices the writer appears to have made." (See page 223 of the
student book; see page 9 of the Teacher's Guide—"Typical Activities for Teaching a Short Story Unit:
Developers"—for specific directions regarding the writing of theme statements. There is also a
student handout "How to Write a theme Statement"on page 145 of this guide.)
• (n your opinion, is this story a good one? Is it relevant to life or situations today? Explain.
• Is this story as good as other similar stories you have read? Support your opinion.
A key advantage of using questions as a strategy for focusing investigation of a story is that questions
are a flexible resource that may be used in a variety of ways, allowing students frequent opportunities to
exercise their reading, writing, listening, and speaking skills. Below are some examples of ways in which
you might assign and follow up on questions:
• The most familiar and simplest procedure is to have students complete the assigned questions inde-
pendently, then share their answers in a small�group or whole�class discussion.
• Divide the class into small groups, assign each group a different question, and allow time for them to
discuss and record their answers. Jigsaw the students, and have group members "teach" the rest of the
group by having them report on the discussions in their initial groups.
 • Write each question on me ton lin II' of a ьііееі ni' chart paper or erminal. Have email

; to but not repentit

has already beenгееогеЫ,I lave enfili group study all the responses lor each question and prepari &
summary forint аШГ
• Have studenti record two queiilliitifl they have niter reading the story Pair students up and have the
partners share their questiona u inj eonslder possible answers. Have each pair choose the one question
they see as mo« pressing and present liioaritnher pair of students. The group of four should discuss '
their questions and decide on one question they wish to bring to the class,
• Assign questions lor homework, During thefollowingperiod, have students offer their answers orally,
In your evaluation records make ti »Imple notation to indicate the calibre of the answer (e.g., restates
the question, takes a «Irar view, provides precise and detailed support, probes for depth oí
understanding),
After students have shared their answers In writing and in discussion, you may find that the key critical
elements of the story have already been discussed in depth and that there is no need for further work.
At other times, though, you might decide the story has other levels or aspects to be examined beyond
those that were addressed by the students, "The student should be led to discover that some interpreta-
tions are more defensible than others, A complex work ... offers the basis for various interpretations', yet
their acceptability will depend, first, on whether they take into account as many as possible of the
elements present In the text, and second, on whether they do not imply elements that are not present In
it." (Rosenblatt, Louise M,, Literature As Exploration (New York: The Modem Languages Association,
19831, 115). An appropriate strategy Is to have students complete a "second look" entry in their
journals, where they are challenged to return to an aspect of the story and to:
• reconsider the accuracy or appropriateness of an earlier answer
• add to or elaborate upon an otherwise incomplete answer
• summarize the classroom discussion that occurred in response to an answer
• demonstrate an increase in either the depth or breadth of their thinking
• think in new ways, from alternative perspectives.

Creative Response
Logically, this level of response occurs after critical thinking has taken place. Students must understand a
story before they can respond to it creatively. Creative response presupposes knowledge and mastery 01
the story, and is an application of its meanings and concepts to alternative characters, settings, genres,
and/or forms of expression. Visually oriented students especially enjoy these types of imaginary assign-
ments. Often students do well on visual assignments because of their exposure to imagery from televi-
sion, computers, games, and movies. It is important for us to remember that by allowing students to
explore other texts we are supporting them in developing text-making skills. Imagination remains a key
focus in literature studies. Educating the imaginations of students by allowing them to use their Imagina*
tions is an essential part of English curriculum.
The assignment menu below gives examples of the range of assignments and projects that you might
use to develop your students' creative responses, It can be used to brainstorm creative response projects.
with your students or have them select assignments of their choice.
 SupiHtMENTARv ASSIGNMENT MEHU FOR CREATIVE RESPONSE

О
WRITING ASSIGNMENTS
"l • * ppnüöTWil response (based on observations and past experience}
• !ilienïll»of*consögusness writing

• written monologue ОТ dialogue; pbv/movie. scene or outline

• profile

• prediction; hypothesis or theory

• character sketch
• parody or spoof
• fairy idle, fable, legend, or myth
• description
• definition, clarification, classification, organization
• argument: pros and cons; persuasion; justincañon or rationale for a point of view; position paper
• comparison-contrast
• cnuse-cffcei observations
• paraphrase; summary/synopsis; conclusions drawn
• prepare a quiz with answers
» crossword or word search based on terras, names, and vocabulary in selections
• notes or outline
• lists Including brainstorming list, checklist, rubric, self-assessment, list of suggestions, schedule
• research
• editorial
• announcement, nomination
• business letter, letter of apology, complaint, thank you, invitation, congratulations, request, ínqinty,
résumé, resignation, sympathy
• testimonial, confession
• court or police report, testimony, employer repon
• obituary, tribute, epitaph
» bibliography of related resources
SPEAKING ANO PRESENTING ASSIGNMENTS ( L I V E / A U D I O / V I D E O )
» informal anecdote
' * speech,eulogy
• instructions, demonstration
» standard oral report
• survey
» debate
« trial
* audiotape (e.g., commercial with sound effects and music)
* slide show
• videotape
• music video
• finding appropriate background music and sound effects for leading
* TV news report
* mime or tableau
f- puppet show
• iSKnactment, role�pląyed scene, skit
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Problem�Solvlng/Declslon�Making R e s p o n s e s

As well as being able to eorømwi alierreuive tesis, students need to apply their knowledge of text to
related situations and dreumsi anees. They need ю solve real problems and make informed lite decisions
based on their imaginative experience and crii leal reading. The practical, "relevant" side to English study
• occurs in part during probkm�SOlvini/deeteion�making activity. This focus demonstrates that skills, atti-
tudes, knowledge mid behaviours learned can be applied to real life and personal situations in the con-
text of life�long learning.
Like creative response, problem�solving/decision�making presupposes critical understanding. Before
students plunge into Responding Creatively and Problem�Solving/Decision�Making, make sure they have
addressed Responding Personally and Responding Critically/Analytically, to establish that they literally
understand what they have read.
Below are sample problem�solving/declslon�making questions from inside Stories III:
• What problems occur in the selection? How are they solved? Why can some of them not be solved?
• What similar problems have occurred in your life? How did you deal with them? What would you
recommend to someone faced with these problems?
> What is your opinion of the dedsion(s) made In the selection? Would you have done things any dit� '�:
ferently? If so, explain.
What arc some other decisions people have made that are similar to those in the story? On what hasis
would people make those decisions? What values and beliefs might prompt them?
What advice would you give someone in the same or a similar situation?
What processes of decision�making and problem�solving are demonstrated in the story? What can we
leam from the characters' approaches to problems and decisions?
 Mind M a p s
A mînd map Vt ti visual TT lent Ш m ІгІЙШШ

The mind map a •vftefir shggfii e» g 11 g ¡глАтпй o f f É t V M r 4Mftt ЧЪМЙ Irr 4Rft ЯМІ
illustrate a suppoi f äetaii'irmrt the srbrv œat sus •�.crłeдааівгä * *з»? .,даг*А жгй 'fe мАмИ
work together to tvey the storys idei? ^

You can emphasize the relative rmpotta trêíast ïSr5wife*i5t;ï?jjgb iääse

| | | | , as well as through the use of colour a n i tfee гяйгся& ¡täflnafflssat. л іЪе ¿etaûs.

Also, visual details can be organized in many сШБзксс чвЕС5,т«авяк A e ^saäjvas -etemeSK гте etìhef

с~> E trebeòifcà \<*�tón чзпе another

Off
.separate from one another

Mind maps which appear balanced on the page; base a mass «¡jwâw&à «Sect, Ibisse iät» йаск the details
appear unbalanced may suggest a kind of disarray, or eresa еашш. H»e ÌÉ»à <á brvewet can assist in sug-
gesting the story's main idea.

Finally, elements which are placed doser tegetter шоу е м к ^ а э аае îaîgbasàoess or proximity among
the details, while those placed/armerapffiftmaysíigg^as^Rdà^iteiie^^

Content suggestions:
• 3 or 4 visuals (key details of the story) shoöM Q
• An accompanying textual passage (short) may he \
• A visible, functioning (e.g., flaming letters) Ötfefe^
• Black on white should suffice. Selective cdouriDgarçrbt wsá <;
• Arrows and lines may be used to suggest тотедаяй: of áeeeíÉSSfe.
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