Showing posts with label lesson plan. Show all posts
Showing posts with label lesson plan. Show all posts

Thursday, August 09, 2012

An Author Visit Program to Help Promote Self-Esteem and Combat Bullying


I need feedback on a possible author visit program that addresses bullying, and I hope you'll help. 

I'm going to be sending out flyers for my funny, middle-grade novel, Dan Quixote: Boy of Nuevo Jersey to schools, and at the bottom of the flyer, I want to offer an option of Skype or local in-person classroom visits. Dan Quixote deals with the power of friendship and self-esteem to overcome peer pressure and bullying, so I want to offer a program focused on that. 

This is the idea I have for the class. Each student will be given two pieces of paper. 

I will start by talking about being a geek and what it means to me. I think geeks are people who are passionate about something to the point where they don't care what other people think. I'm a geek about books, Doctor Who, The Princess Bride, technology, Eureka, Mythbusters, and lots of other things. I just love them all so much. I love books so much that I have a huge library in my apartment with probably around a thousand books. I love The Princess Bride so much that I can quote about half the movie. Some people are geeks about the TV show Glee, which makes them Gleeks. Some people are geeks about Star Trek, which makes them Trekkers. There are also theater geeks, band geeks, rock-climbing geeks, and people who are geeky about pretty much anything you can imagine. 

At the top of the first piece of paper, each student should write down something they're geeky about. I would point out that I think being a geek is a good thing, and I feel sorry for anyone who either hasn't found something they love that much or is too afraid to admit what they're geeky about. When they're done writing, I would explain that, in the book, the class queen bee bullies Dan for being a geek. On the same piece of paper, I want them to write three things a bully like the class queen bee might say to make you feel bad about the one thing you're most passionate about. 
Illustration from Dan Quixote: Boy of Nuevo Jersey--
Sandy discovers Dan's beloved notebook after queen bee Jade trashes it

When the kids are done with that, all of those pieces of paper will be folded and put into a box. The students would then randomly pick out one of those pieces of paper. 

I'll then say, "In my novel, Dan realizes that being a geek is a good thing, and Sandy steps in to show her support. She stands up for him. On the second piece of paper, I want you to pretend you're either Dan or Sandy, and I want you to write five things in response to the bully, focusing only on why it's good to be geeky about that one thing, not about the bully or the bullying. Just keep it positive. Pretend you're standing up for something you or your friend loves."  

I would then ask each of the students to read out their five responses. 

In the end, I would ask students how it feels to read the things they wrote and how it feels to hear these things. I would ask them to carry that feeling with them. Each one of them can be Dan or Sandy. They just have to believe in their own passions and support their friends' right to love the things they're passionate about. We're all geeks in some way, and that's a great thing, because passionate people make a difference in the world. 

So what do you think? Does it sound like a good author visit and could it help combat bullying by building self-esteem?

Wednesday, July 11, 2012

Guest Post by W. Jack Savage

A while ago I sent out a request for guest posts. I asked that they be either inspirational or informative, and I wanted them to be personal, because I didn't want something I could have written.

The guest post below is one of my favorites. It's raw and honest, and it shows how it you can learn something in the most surprising places if you just pay attention. It also shows how one person can have a long-lasting impact in a teenager's life.

_________________________________________


The Crown of the Road
By W. Jack Savage


            I’ll never forget Mrs. Johnson, my art teacher in high school.  I liked her at a variety of levels.  She had a good sense of humor, she didn’t take any crap, and she would make observations about you through your artwork that went beyond the usual critique.  “You’re my dreamer,” she would say.  “Your work has a dream quality to it.”  I found her comments useful because in high school my whole life had a dream quality to it.  But her observation, using the vehicle of a drawing I was working on, gave substance to what I was feeling without judgment.  “Don’t be such a dreamer,” other teachers might say.  As if to dream was the enemy of one’s education.  Indeed, it may have been.  It was in my case.  But, at times, to dream was all that allowed me to survive.  When she said it though, it was just another word used to describe something—in this case a drawing.
            One spring day she came in and began our day with this sentence: “No matter who you are, you have to be pretty comatose not to have noticed the budding of the trees and bushes today on your way to school.”  I hadn’t.  It wasn’t the first time the winters of my youth had instilled in me a paralysis of observation that lingered through late spring.  But, again, her giving words to my affliction made me notice it.  Her speech preceded our first outdoor sketching assignment of the spring.  I remember thinking a lot that day about why I hadn’t noticed these obvious signs of spring.  As time went by, I began to realize that whereas a nuance or an inflection of speech, a side-ways glance, or even a conspicuous silence could never escape my notice; the terrain or background against which these little dramas played out was less significant to me.  Therefore, now in my fifties, it came as somewhat of a surprise to me when I became aware of the crown of the road.
            Mind you, I don’t know if engineers or the people who work on roads even call it that.  But, to me, where the curve of a road from curb to curb meets its highest point is what I consider the crown of the road.  If it had ever occurred to me in the past, and it never had, I would have assumed that the crown of the road for the most part was always in the middle of the road.  I would have frankly doubted any idea that the crown of the road could be as near to one side as five or six feet in some cases.  But it is.  As an avid runner, I became aware of this one day.  I recently brought this observation up to someone in passing, who, having given it some thought, wondered out loud who could possibly give a damn about such a thing.  I then pointed out that it was my opinion that observing such a thing was no less poetic in nature than noticing the budding of the trees in spring.
            “Who says budding trees are poetic?” he asked.  “This is California for Christ’s sake.  We don’t have a ‘budding’ spring as such anyway.  I can’t remember noticing a budding tree since I left the Midwest, and now this…this crown in the road business.  What the hell are you talking about?”
            “I’m a runner,” I said.  “You know that.  I run everywhere: streets, trails, up in the mountains, in your neighborhood, too.  I’ve never been known as the most observant guy around when it comes to outdoors anyway.  I’m just telling you that I noticed something about the streets.  They’re a part of our world that we take for granted and drive on every day.  The crown of the road, or at least its high point, is different.  Sometimes it drifts from side to side depending on how they want the water to drain off.”
            “What water?” he asked.  “I’ve lived out here for sixteen years.  It didn’t rain at all for the first four.  If it did, I never noticed it.”
            “Yes,” I said, “but when it does, and real hard I mean, like the flood years, that’s what the crown in the road is for.  If you live on a north hill that slopes to the south, and the street in front of your house goes east and west, the crown of the road is almost certainly nearer to your house and your side of the street than the other side.  You see it impedes the water flow a little and drains it east and west to a natural flow point on either side.  There they put storm sewers or something to catch the majority of the run-off.”
            He just looked at me.  “I don’t live on a hill,” he said quietly.
            This man clearly had no sense of wonder.  Or if he had, it was long gone.  I tried for a little longer but it was no use.
            Not long after that, I began again with a woman I had known for some time.  Perhaps, unconsciously, I chose her because I wanted a woman’s opinion to begin with.  Secondly, being a woman, I reasoned that even if my observation held no particular interest for her, she would at least assess what I had to say with less antagonism.  The possibility that it might even be of interest seemed increased by the fact that she had once been a runner like me.
            “When you used to run,” I began, “did you ever notice the crown of the road?”
            “I’m not sure what you mean.”
            “Well,” I explained.  “You know how most roads have a sort of arc, a slight rounding to them in the middle from curb to curb.”
            “Yes, that is, I suppose so,” she said.  “That makes sense for the drainage, I’d guess.”
            “Okay,” I said.  “As you get up in the hills, the crown of the road varies a great deal.  Sometimes the crown or high point is as close to the curb as six feet.  As the street continues, sometimes the crown will change completely to the other side.  If it winds up a hill or something, it will change from side to side.  It’s not always in the middle is what I mean.”
            She looked at me.
            “Did you ever notice that when you were running?” I asked.
            “No, I was too busy noticing suspicious cars or vans that might follow me and want to force me in if I wasn’t paying attention.  In other words, I was trying not to get raped while I took my morning exercise.  Now that you mention it, I didn’t notice anything about the roads or my neighborhood either.”
            “You weren’t by any chance listening to music, were you?” I asked.
            “Not then,” she said.  “I power walk now.  It’s easier on the knees.  I have a headset that I listen to now and then.”
            “I see. Ever notice the budding of the trees in spring?”
            She shook her head. “Not the budding exactly, but the purple Jacaranda trees bloom in the spring.  I always notice them.  What did you call it?”
            “I’m sorry?”
            “The crown,” she said.  “Was that it?”
            “Yes,” I said.  “I don’t know what road engineers call it.  I mean, I don’t know if that’s what it’s called.  That’s just what I call it.”
            “Was there something else you wanted to ask me?”
            “Well, no not really,” I said.
            “Are you sure? You know if you change your mind, you can call me at home.”
            “Oh,” I said.  “Okay.”
            I next called my son who listened to my observation and said, “Is there a point to this Dad?” 
            My daughter wondered if I might be getting high again after all these years and said, “That’s the kind of thing someone who’s high would notice.”
            A part of me wanted to argue with both of them.  But since the lion’s share of their up-bringing was done by their mother, while my contribution could be measured more in canceled checks, I was not unaware of the futility of attempting communication with those for whom their own luminescence provides a shield against official and, in my case, semi-official points of view.  Much the same as ours did in our youth.
            Finally, I attempted to call Mrs. Johnson.  From time to time, actually once after I got home from the service and again fifteen years after that, I looked up Mrs. Johnson just to say hello.  In so doing, I hoped this would indicate my affection for her.  Her somewhat sarcastic nature made telling her of my affection more difficult than any “three times in thirty years” phone call should be.  If she couldn’t figure out that I still thought of her fondly enough to call, she wasn’t as sharp as I’d always imagined.
            I called long-distance information expecting to get her number as I had done in the past.  But I was unsuccessful this time. She had always been listed under her first two initials, but it seemed this was no longer true.  I sat there, trying to remember her first name (if ever I’d known it) and theorized that, because she had long since retired from teaching, it was possible that she had gone back to using her first name.  I tried again and again but had no luck.
            This might well have been the end of my effort to get someone—anyone—to appreciate the fact that the crown of the road varies with the terrain and the various undulations it passes through, but my daughter’s observation kicked off something in my memory.
            “The crown of the road,” she rationalized, “might be something that someone who was high might take notice of.”
            Naturally, being an avid runner, I am no stranger to the endorphin high.  It is a heady state that can be achieved by prolonged exercise, usually by runners.  Indeed, I have felt it often.  Not consistently but often nonetheless.  I tried for a moment to remember exactly when it was that I first noticed the crown in the road.  I could not, at least not exactly.  Therefore, it’s at least possible that I was in the state known as “the runner's high” when it first came to me.  But although the crown of the road itself may be a somewhat offbeat observation, the way I presented it was not.
            I first chose a friend over drinks.  The fact that we were drinking alone should have at least paved a surface conducive for such an observation.  The nonsense I have listened to over drinks down through the years could fill volumes with observations less astute than mine.
            “Ever notice how people who drive yellow cars are all assholes?  If they’ve never seen Pluto, how do they know it’s there?” These two were just off the top of my head.
            After that I choose a fellow runner: a woman fellow runner, but a runner anyway.  She should have registered something approaching an affirmation of my observation; instead, I came away with the feeling she thought I was hitting on her.  And, upon further thought, had I been hitting on her, I might have done so successfully.  I could still call her.
            That my children were unresponsive was a surprise something akin to the sun coming up each day.
            And yet, perhaps my observation was the kind that never quite lands when you bring it up, but one that you never forget either.  I was riding a bus down University Avenue once, going to a job that I hated.  Actually, it was a bus ride with a transfer, and University was the final leg, making the fact that I hated the job worse because the commute was tedious as well.  Anyway, I’d get on the bus that was always full, and there were a number of retarded riders from some group home; each morning they took this bus to where they all worked.  I enjoyed this leg of the ride because, since the bus was usually full, the retarded riders couldn’t sit together.  They were scattered around the bus.  Being that I was in my twenties, during the seventies, and less than enamored of my employment status quo or prospects, I got high on marijuana every day before going to work.  And while I’ve grown tired of the debate over what, if any, benefit may be gained by staying in such a state, being that I no longer use it; it seemed at the time to provide great theater now and then, and this bus ride was an example.
            First, with no obvious signs of mental retardation, it was fun trying to decide who in fact was retarded and who wasn’t.  Everyone sat quietly on the bus and unless someone had their hat on sideways or slept so that one side of their hair stood straight up, given my own state of impaired reality, it was hard to tell.  Under these circumstances, a man I may otherwise have pegged as a shop foreman or even small business owner of some kind might just get up and shuffle off at their stop with the other mentally challenged riders.  Then, who’s to say they were all a part of the same group just because they got off at the same stop?  You get my drift.  Over time, of course, you could kind of tell.  After a while, my daydreams concerned themselves with other things.
            One day, as happened occasionally, I was lucky enough to get a window seat for this last leg of my commute.  Another guy, who had been standing as well, took the seat next to me as I got in.  In moments, I was in that reverie aided by a window view I knew I had been lucky to get.  As we approached Fairview and the stoplight there, the fellow on my left leaned forward a bit.
            As we stopped, he suddenly blurted out “A gas station!”
            I immediately knew he was one of our challenged group and I, challenged in my own way but part of the larger whole nevertheless, responded with good-natured stoned affirmation, “Yeah...a gas station.”
            “I’ll bet they have road maps in there,” he said.
            “Yeah,” I bet they do.”
            But it was more than that.  Over the years I believe it was far more.  To begin with, given both my state of general dissatisfaction and marijuana impairment, this young guy’s progressive observation has stayed with me for thirty years. 
          At the time it was just something funny that happened on the bus.  But, after a while, it seemed like an answer to a prayer somehow.  A road map could get you anywhere, and they were available at the nearest gas station.  Too simplistic to be profound you say?  Nonsense!  It’s as simple as this: if you don’t like your situation--job, relationship, prospects, whatever--and the process of change seems too complex, leave!  Maps are available.  They chart a path of both escape and renewal.  Moreover, they are proof positive that wherever it is, you can get there from here.  I have used this metaphor countless times to kick-start my life whenever I felt trapped.
            I’m not saying that the “crown of the road” will one day compete with “road maps available at your nearest gas station,” but, over time, it may find meaning for someone.  Consider that a path—any path—leads somewhere and can therefore lead you back if necessary.  But taking your eyes off the path to a point too far ahead can lead you off the path in a hurry; looking back can as well.  Therefore, staying to the rounded apex of the path and following that apex or crown as it moves from side to side can not only provide security against leaving it but also allows you to go faster.  That is, should you desire to.

            Well, I’m not saying that it will keep anyone up nights.  But the first of many springs in my life, where I failed to notice the budding of the trees, spawned in me enough of a sense of wonder to notice the variances in what I have now dubbed “the crown of the road.”  And if the “rounded apex of the path” thing seems too contrived, then consider that the crown of the road is only my observation.  What you do with it is your business.  I’m staying with “road maps available at the nearest gas station.”



W. Jack Savage is a retired broadcaster and associate professor in Film Studies who now writes full time. The Children Shall Be Blameless is Jack's third novel and fifth book. He and his wife Kathy live in Monrovia, California. You can find out more about him by clicking here.

Monday, November 28, 2011

Improv for Writers, Part 3 of 3:Speed Writer--a Lesson Plan for a Writers' Conference

I sometimes like to imagine giving a class at a SCBWI (Society of Children’s Book Writers and Illustrators) conference. I have a long list of things I’d like to teach, and one of them is Improv for writers. Here’s my lesson plan for that class.

1. Hand out the information from my two previous blog posts on Improv: “How Improv Can Help You Write Better, Faster, and More Creatively“ and “Mind Games: Five Solitaire Games for Fiction Writers,” as well as recommendations for further reading. In each hand out, include an index card with the name of a well-known children’s book character, like Harry Potter or Clifford the big red dog: a different name on each card. There should be a note on it about not showing your card to the other people in the class. Also hand out several small pieces of paper that might be used later for suggestions. (Each handout should be attached with a paper clip. Bring a hat for scenes-from-a-hat type games. Also bring in a well-known children’s book, like The Cat in the Hat or Guess How Much I Love You, and a box that can be opened and closed.)

2. If there isn’t a space at the front of the room, ask everyone to help me make a space.

3. Ask “What is Improv?” Explain that Improv requires players to come up with ideas and scenes on the spot and that following the rules of Improv can help writers not only come up with lots of ideas fast but write faster and better. Explain that the most important words in Improv are “Yes, and . . .” Explain how this affects a story, that it lets the story move forward. Explain that we will be playing several Improv games that deal with voice, emotion, character, raising the stakes, coming up with story ideas, revision, and if we have enough time, using all your senses. There’s a lot to learn from Improv, and it takes most people months or years to hone the craft. We’ll do our best to cram as much as we can into the time we have.


The Games

(Remember to finish each game on a high note, so the excitement doesn’t wane.)

1. It’s How You Say It (3-5 minutes)

This game is all about voice. Ask for three volunteers to come to the front of the class. Tell them they’re going to read from the children’s book you brought with you, but they’re going to change the way they read it according to the emotions or characteristics I call out.  Here are some of the things you can try: angry, shy, surfer dude, bored, nervous, confused, in song, mafia hit man, giggling, suspicious, and overjoyed.  Ask the audience for suggestions too. After the game, ask what was the most fun. Was it an unexpected voice for reading that particular story? A surprising voice is usually more fun.  

2. I Gotta Feeling (20 seconds or less per person so it’s under 10 minutes, I hope)

This game is about embracing emotions. It’s like the first game but with adlibbing, and it’s for everyone. A box gets passed around a room along with a reaction to what’s in the box (the box is actually empty, but players can make up what they find in the box). Tell the players they must react to what’s in the box based on the kind of reaction I will give them. They need to pay attention, because the reaction can change at any time and I could ask for the box to be passed at any time. Pass the box around and call out reactions, like anger, angrier, angriest, indifferent, delighted, overjoyed, confused, perplexed, distraught, like, love, passion, bored, more bored, bored out of your mind, sarcastic, very sarcastic, scared, terrified, with apprehension, anxious, hopeful, jealous, proud, sleepily, reverently, and so on. After the game, ask which reaction the group thought was best. Why was it best? Was it very specific? Was it heightened? It’s usually best to vary the level of the emotions in your writing between five and nine with an occasional ten. That lets the tens stick out.


3. Character Conference (10-15 minutes)

This game is about creating characters. Ask for one volunteer, preferably someone who’s read a lot of children’s books. Everyone else should look at the index card they got with the name of a well-known children’s book character. They should stand until the volunteer correctly guesses who they are. Then they can sit down. The volunteer has to mingle at the character conference and try to figure out who everyone else is by asking questions. Everyone else needs to be their character without saying his or her name, the title of their book, or the names of other characters. They should try to feed hints to the volunteer without giving things away. If the volunteer gets stuck and a person playing a character isn’t helpful, other characters can mingle with that character until it’s obvious who that character is.  

4. What Could Possibly Go Wrong? (5-10 minutes)

This game is about story middles and raising the stakes. Ask for three to five volunteers. Ask everyone else for an activity. One person plays the main character and is given a goal related to the activity (like write a great novel, win a race, buy a toy, and so on). When I clap, the main character has to say, “What could possibly go wrong?” One of the other characters then needs to step in and raise the stakes by presenting obstacles related to the goal (make it clear that it has to be related to the goal and not some random obstacle) or by giving a reason why the thing the main character wants is now something he truly needs. The main character has to work to overcome these obstacles. This illustrates how to raise the stakes and how this increases tension and audience interest. Point out Murphy’s Law for fiction writers: If anything can go wrong (for your main character), it should.


5. The Untold Story (10-15 minutes)

This is about using old stories to create something new. Before doing this game, explain that Improv can be used to change an existing story and make it something new by changing the who, what, why, where, when, or how of the original story. The how is about how the story is told, like the style or the genre. Ask for a genre, like paranormal romance, murder mystery, Doctor Seuss, Star Wars, or evening news. Have each person write down on a scrap of paper something they associate with that genre, like if it’s mystery, the word could be detective or gun. Collect the pieces of paper and put them in a hat. Next have the group pick a well-known fairy tale. Ask for one volunteer who’s a really good storyteller. Take two more volunteers. The first volunteer has to narrate the untold story of the fairy tale in the chosen style or genre. The other two have to act out what the narrator says and come up with their own dialogue. The narrator in turn has to incorporate what the characters are saying and doing into the story. Every once in a while the narrator says, “That’s what everyone thinks happened, but what really happened is the character said . . .” The chosen character reaches into the hat and says a line that incorporates whatever is written on the piece of paper that character draws out. All players should try to make sense of and incorporate whatever it is into the story. When the game is over, ask how many variations of Romeo and Juliet the group knows. And what about Cinderella? What’s changed in those variations? Is it the who, what, where, or how? What other changes can they think of to either of those classics that haven’t been done yet?

6. Work for Hire (about 5 minutes)

This game is a fun game about being flexible and open to revision. Only do it if you have extra time, which isn’t likely. Everyone in the class has to pretend they each have a chance to get hired to write the next book in the hugely successful Happy, Happy Princess series, but they need to prove they can work with an editor. Point at one player and ask him to pitch his story idea for a Happy, Happy Princess book. After about 30 seconds say, “Stop right there. That’s good, but we’re thinking of taking Happy, Happy Princess in a new direction.” Make suggestions for a possible change (different character traits, different setting, different actions, different genres. and so on). “Give me what you got.” After the first person is finished, ask, “Anyone else?” After that person gives me her pitch, I switch the suggestion again. It could be something like “Comic books are really popular, so we want you to give Happy, Happy Princess a superpower” or “We’ve decided to kill off this character, but keep it happy” or “This story needs a werewolf” or “We think we could get a Star Wars tie in, so stick Yoda or Darth Vader into the story.”  This game ends after someone gives a really great pitch.

7. Story Settings (about 10 minutes)

This game reminds writers to think of the five senses when they write. It’s more educational than fun, but it could be a good way to wind things down. Have everyone walk around the room. Call out settings, and have the other writers react as if they’re in that setting. They need to react with all their senses: sound, sight, touch, taste, smell. Their reaction should be apparent in the way they walk, their posture, how they hold their noses, the way they move their hands, and of course the expressions on their faces. Among the settings to use are a crime investigation scene, a beach on the hottest day of summer, a garden in Wonderland, a kindergarten classroom, a funeral, and a space ship.  When the game is over, ask what people heard, saw, touched, tasted and smelled. How can they use this game in their own writing?

CONCLUSION

Improv can teach writers a lot, but perhaps the most important thing it teaches is how to overcome fear. There's no time for fear when you're performing Improv.

When Tina Fey began working at Saturday Night Live, Lorne Michaels told her, "Don't worry that it's going to be crap, because it's definitely going to be crap." Isn't that freeing? No one expects you to get the first draft perfect, so don't even try. Just have fun.

You have to take a leap of faith in yourself. Pick a genre and a starting point, create your characters, give your main character a goal, and raise the stakes. Don't ask yourself if it's crap, because it's definitely going to be crap. Just accept it and let your imagination go wild. Remember, you do have one advantage over an Improv actor: you can always edit your story later.

Improv opens up your choices in all areas of writing. You can always rewind and do a scene again and again until it's just the way you want it. Sometimes writers are paralyzed by having too many options. Don't be. Pretend it's Improv. Give yourself 30 seconds. Make a choice, take a leap, and find out where it takes you. 


And now, three books on Improv:

101 Improv Games for Children and Adults--just what the title says, this book has lots of fun games of varying difficulty and for varying group sizes.

The Ultimate Improv Book: A Complete Guide to Comedy Improvisation--this book is mostly for those who wish to teach Improv in a high school setting, but it does include some fun games and a lot of information on the skills required to do Improv well.

Truth in Comedy--this book was written by some of the people who originated Improv as it exists today. It gets to the heart of what makes Improv great, and it’s fun to read.



I hope you've enjoyed this series on Improv for writers. Please feel free to use the comments section below to let me know your thoughts or ask any questions. And if you're a conference organizer and you're interested in having me teach a class, drop me an email. I'd love to hear from you.