LA7: Fictional Narrative Packet

What is a fictional narrative?Imagine creating a character--a person who never existed before--and then plunging him or her into an exciting or challenging situation. When authors write fictional narratives, or made up stories, they have the power to bring to life any kind of character or situation they imagine. Their only limit is their imagination!

Writers of fictional narratives follow a plot to build their short story:

Exposition: Introduction of the setting, characters, and conflict

Complications: Scenes which intensify the conflict and build anticipation and suspense

Climax: Conflict is resolved at the story's most anticipated, suspenseful part

Resolution: The loose ends of the story are tied up and the characters respond to the resolved conflict

Ingredients of A Fictional Narrative:Characters: The narrative has well-developed characters. Characters are indirectly developed through STEAL—speech, thoughts, effect on others, actions, and looks. It’s important to SHOW your characters’ personalities through these aspects rather than just TELL.

Setting: Creating a well-defined time and place are important in all stories. Setting can create a mood or conflict in a story. Precise word choice and sensory details are used to give the reader vivid images!

Conflict: All fictional narratives are centered around a character’s internal and/or external conflict and a solution to the conflict.

Plot: Each narrative follows a plot of exposition, complications, climax and resolution.

Narrative Action: Characters are described in detail through specific narrative action. Movements, gestures, and facial expressions make the characters believable and interesting. Writers can better develop believable characters with focus on narrative action.

Dialogue: Dialogue is spoken lines between characters. Dialogue with a purpose can move the plot forward, give indirect characterization, and build suspense. Choice of thoughtful dialogue tags also helps to fully develop characters.

Narrative Practice: We have already studied plot in short stories. Now, we will study characterization, dialogue, and narrative action. In our upcoming stories, focus upon these key ingredients to see how skillful authors can be in their creation of their own characters, setting, and conflict! We will work through the Narrative Packet over the next several weeks. Eventually, you will recreate a climax and resolution of a short story showing proficiency in the key narrative areas. Finally, you will write an in-class timed narrative as additional practice for our March state writing test!

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California State Standards: 1.0 Students write clear, coherent, and focused essays with an awareness of the audience and the purpose. Students progress through the stages of the writing process as needed.

1.1 Create an organizational structure that balances all aspects of the composition and uses effective transitions between sentences to unify important ideas.

1.3 Use strategies of outlining to impose structure on composing drafts.

1.6 Create documents using word-processing skills and publishing programs.

1.7 Revise writing to improve organization and word choice after checking the logic and ideasand the precision of the vocabulary.

2.0 Students write narrative texts of at least 500 to 700 words.

2.1 Write narratives:a. Develop a standard plot line and point of view. b. Develop complex major and minor characters and a definite setting. c. Use a range of appropriate strategies (dialogue, suspense, naming of specific narrative

action, including movement, gestures, and expressions)

Narrative Instruction Deadlines__________ Review of parts of plot and terminology

__________ Completion of Holt Literature Workshop on Narration (534–557 and 704-705).

__________ Read "The Legend of Sleepy Hollow". Note-take in packet and discuss.

__________ View portions of Hallmark Films "The Legend of Sleepy Hollow” in order to gain perspective of another writer’s interpretation of the classic tale. Analyze dialogue, narrative gestures, expressions, and movements, and motive for a character who may not be fond of Ichabod. (not necessary for completion)

__________ Complete packet and class activities on dialogue punctuation and format, description of setting, and narrative action to characterize as practice of state standards and ingredients for narratives.

__________ Brainstorm a new climax and resolution of “The Legend of Sleepy Hollow”. Use packet page to see where complications end. Decide who the Headless Horseman should be—a true haunting ghost or another character who wants to torment Ichabod. Decide what exactly happens between the two as the climax. What was the horseman’s motive? Why does he want to attack Ichabod? What does he do to Ichabod? What specifically do they say to each other? What are the lasting effects and results for all?

__________ Write each of the four parts together in class with extensive modeling with the projector and student examples. (see page 12)

Part One: Part Two: Part Three: Part Four: __________ Edit and revise each part at home as homework. Share with adult!

__________ Type the narrative rough draft in MLA format. Print.

__________ Upload all drafts to EDMODO as a Word document. This will allow students to work at home and for the student/teacher access the work as needed in class.

__________ Revise typed draft using EDIT sheet. Make changes on EDMODO if needed and reprint.2

__________ Submit final printed essay and grading rubric to teacher!

Standards: What’s A Narrative?Holt Literature: pages 542-547

1. In order to keep your readers turning the pages of your narrative, a good story should contain a character facing a _____________________________.

2. In order to start brainstorming for a narrative, a writer should start with:

a. ________________________________________________________

b. ________________________________________________________

c. ________________________________________________________

3. In order to develop your characters for your audience in a true or made up story, a writer should ask himself or herself:

a. __________________________________________________________?

b. __________________________________________________________?

c. __________________________________________________________?

Narrative Strategies: page 545 (read carefully)

1. People or characters can communicate through their ____________________ or ______________________.

2. The more details a writer includes in the story about how the characters __________________ and _____________________, the better the reader will be able to picture them.

3. Specific narrative action makes characters come alive! People speak with their bodies. Three types of specific narrative action are:

a._______________________ b. _____________________ c.____________________

Point of View: page 5471. In first person point of view, the narrator is a _________________in the _____________.

2. In third-person limited, the narrator is not a character in the story. The narrator tells only what one character ________________, ________________, and ________________.

3. In third-person omniscient, the narrator is not a character in the story. The narrator knows what __________of the characters are ________________, __________________, and

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experiencing. This narrator can also tell things that none of the characters could know such as the future!

Practice: Tracing the Plot

BASIC SITUATION:Give a two sentence description for each character. Write in complete sentences!

Ichabod Crane is

Katrina Van Tassel is

Brom Bones is

Washington Irving provides description of the setting to provide information about the story's characters, the mood, and the creation of conflict? Describe these details in minimally three sentences.

What is the internal conflict that our main character, Ichabod Crane, will face? With whom will he have external conflict throughout the story? Explain in 3 sentences.

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COMPLICATIONS: How does the conflict become more complicated? What obstacles does Ichabod Crane encounter? Explain in 2 sentences.

CLIMAX:Describe the appearance of the Headless Horseman and his steed in two sentences.

Describe what happens to Ichabod Crane in three sentences.

Resolution:The characters are changed in some way as a result of the resolved conflict. Look back at the resolution, and give 3 sentences to show how the “loose ends” are tied up. What are the effects of the attack?

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Standards: Quotations and Dialogue

Dialogue is conversation or the exact spoken words between people or characters. Always use quotation marks “ ” to show a speaker’s exact words.

Dialogue is an opportunity for students to show attention to detail. In order to be an advanced narrative writer, students must properly punctuate dialogue and invest in creating dialogue that is purposeful and indirectly characterizes.

RULE 1: A direct quotation begins with a capital letter.

Jimmy shouted, “See you at the game!”

“Is it true?" asked Cindy. 

RULE 2: Punctuation within dialogue depends upon where the dialogue tag (speaker + verb form) is placed outside of the quotation. Notice the punctuation for an end tag, starter tag, and interrupter tag.

“Let's visit the museum,” suggested Samantha. (end tag)

Jon replied, “Didn't we go there last weekend?” (starter tag)

“We’ve already,” Beth added, “seen the exhibits.” (interrupter tag)

RULE 3: Do not put a period inside the end of a quotation mark when a dialogue tag ends the sentence. Use commas, question marks, and exclamation marks…but not periods. Periods end sentences.

“I do not like green eggs and ham!” Paul yelled. “Why not?” Becky giggled.“They look moldy,”

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RULE 4: Note that there is always some type of punctuation inside of every single end quotation mark! This is an easy rule to remember! See examples above!

RULE 5: When a quotation that is a complete sentence is interrupted into two parts, the second part begins with a lower case letter. This is only the case when a sentence is interrupted. Look carefully at the difference between the examples.

“What are some of the things,” Ms. C inquired, “that make school fun?” “One thing I like,” chortled Will, “is lunch!”

“Lunch is fun,” remarked the principal. “You’ll learn more in class though.”

RULE 6: Start a new paragraph (indent) each time the speaker changes. Narration can continue in front of or after a quotation. But, when a new person begins speaking, you must indent a new paragraph. Ex1:

"Last night, I dreamed that I ate a giant marshmallow," Kevin said.

“That was so ridiculous. Are you always thinking of eating?” Suzy joked. "Was that anything like the dream you had about eating your way through a mountain of cotton candy?"

"Scarier," Kevin explained. "This time I woke up and my pillow was gone!"Ex2:

Ichabod paced back and forth and mumbled his rehearsed speech. When his beloved approached, sweat beaded upon his brow. “Katrina, will you make me a happy man and marry me?” asked Ichabod nervously. “There’s no doubt I could be your protector and guide. We could--”

“Ichabod,” Katrina interrupted, “I can’t let you embarrass yourself. I could never love somebody who believes my dreams are ‘foolish’. Perhaps next time you are trying to earn my father’s favor, you won’t stoop to dishonest, hypocritical insults!”

Ichabod knew not what to do. His eyes widened, and he stammered, “But…Katrina, my love...” He slumped to the floor in disbelief.

 RULE 7: To show uncertainty or trailing off in speech, a writer can use a punctuation

form known as the ellipsis. The ellipsis is three spaced periods . . . (see above in rule 6 example). To show an interruption, use a dash-- (see above in rule 6 example).

RULE 8: Sometimes it is helpful to show a character’s personal thoughts. An easy way to do this is to underline the thoughts in handwriting or to italicize when typing.

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As the witching hour approached, Ichabod spurred Gunpowder on into the hollow of which he had heard so many tales of ghosts, goblins, and unspeakable evil. Gunpowder, reluctant to enter, slowly moved back a few steps, but Ichabod dug his heels into his side. You too, Gunpowder. Surely you don’t believe in the Headless Horseman!

Practice: Punctuating Dialogue

Add proofreading marks to the dialogue of the selection. You should include the paragraph symbol ¶, quotation marks “ ”, commas , and periods when needed. Capitalize any needed areas too by using a triple underline.

Tell the Tale

As night grew darker, the revelers gathered around the warm fire to share

stories of the gray spirits and monstrous ghouls of sleepy hollow. It seemed an

air of seriousness grasped them all as the moon’s light became shielded with

dark clouds. An eerie glow fell across the solemn faces of those who dared to

listen of the rumors of the headless horseman.

All ye that gather the eldest announced beware of what we speak. It is

an evil so horrible that it may plague you to even entertain conversation of it.

The priest interrupted now don’t go evoking evil, Herr Miller. This is not the

time nor the place.

Yes, with women being present and all Katrina reminded. Please be

mindful that not all here can withstand the unspeakable fear of he who roams

our hollow. Brom chortled Katrina there is no need to be overly cautious.

These are tales that have given us entertainment since we were children. He

continued those who do not want to listen should simply leave.

Here, here, Brom! the folks cheered He speaks the truth! 8

Ichabod sat cowered in his chair. He clasped his hands and thought to

himself, There is no such thing as a Headless Horseman. It is all legend

Practice: Dialogue’s Purpose

One of the key ingredients in a narrative is dialogue. A writer must include meaningful conversation between the characters.

So, what is meaningful conversation in a story? What should dialogue do? Dialogue is one of the fictional elements you can use to propel your plot forward and integrate your theme into a scene. But, dialogue is one of the hardest parts of fiction to write effectively.

So, as a narrative writer, make sure your dialogue has a purpose! Dialogue may:

1) Provide background or new information to the characters about the conflict

2) Reveal new obstacles that the character must overcome to achieve his or her goal

3) Introduce a pivotal moment in the plot that changes the character(s)

4) Accelerate the emotion and story movement to increase the suspense and make the situation more urgent for the characters

Dialogue can provide background information and move the plot forward. Dialogue can provide further characterization and personality.

“Ichabod, I would never marry a hypocrite like you,” Katarina barked.

“Why, Katerina, whatever do you mean, my dear?” Ichabod hemmed and hawed.

“I overheard your conversation with my father about my ‘foolish dreams’. I want nothing more to do with you,” she bellowed. “Please respect my wishes and be on your way!”

When showing the interaction between two characters, the writer must carefully choose his or her words.

“Who’s there?” Ichabod stammered. “Why are you following me…what do—”

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At first the headless being offered no reply. He simply pointed with one menacing finger. Finally, the monstrous shadow sneered, “Your head is what I seek, you sniveling fool. Dare ye trespass on my hollow and disrespect my authority?”

Practice: Narrative Action Giving your reader a clear picture is important in narrative writing. Remember to include

sensory details. Use precise words in your description! Equally important to bringing your

writing alive is narrative action such as gestures, expressions, and movement of your

characters. These will indirectly develop your characters and make you a better story-teller!

Goal: Read the following passage. Rewrite the passage to include precise words. Also,

focus on indirect characterization by showing about your characters instead of telling.

Do not use the first few lines in your recreation. Instead, show their nervousness and

create a scene which further heightens the mood!

For example, I have directly told you Ichabod was nervous and Gunpowder was scared

too. How can we show this through their body language? What would Ichabod do to

show his nervousness? What would his face, his hands, his legs do? How would a horse

show apprehension? Think about its sounds, its movements, etc. What imagery may

further create a spooky mood?

Ichabod was nervous, and his horse showed fear too as they knew that

entry to the hollow could be dangerous.

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BASIC SITUATION AND COMPLICATONS

This is the story of a man called Ichabod Crane and his unfortunate encounter with The Headless Horseman of Sleepy Hollow. Sleepy Hollow is one of the quietest places in the whole wide world. The only sounds to be heard above the babbling brook that meanders there, are the birds; starlings, sparrows, and perhaps the occasional woodpecker. An unusual tranquility indeed!

However, no one ever went into Sleepy Hollow, not even in the daytime, because people for miles around believed that the place was haunted. To venture out there after dark would be folly indeed, for witches were known to cavort there with goblins and spirits and ghosts and unspeakable things that could bite! It is said that the most fearful spirit that haunts this nightmarish region is the apparition of a figure on horseback. The figure has no head! It is said to be the ghost of a Hessian trooper whose head had been carried away by a cannonball in some nameless and forgotten skirmish during the Revolutionary War, and who is compelled forever to furiously ride, as if on the wings of the wind, to the scene of battle in a forlorn and nightly quest to recover his head and then get back, before daybreak, to the little whitewashed church where lay his troubled grave. He is known throughout the region of fantasy and shadows as The Headless Horseman of Sleepy Hollow.

Not very far from Sleepy Hollow was a school house. The schoolmaster's name was Ichabod Crane. He was tall, lean, and lanky with long legs and arms that protruded from his too short sleeves. His head seemed small because his ears were so large. His nose was long and pointed. He could easily, from a distance, be mistaken for a scarecrow. Ichabod Crane fervently believed in witchcraft. His imagination, however, would become active as he often walked through the hollow, and it would fill him with dread as he would sing shakily, or dryly try to whistle to bolster his spirits, believing that he was being followed by the unspeakable hollow or the galloping Headless Hessian.

Katarina Van Tassel was the daughter and only child of a wealthy, local Dutch farmer. She was an attractive lady of eighteen years. Plump as a Partridge and as rosy cheeked as one of her father's peaches. Ichabod was enraptured and found her almost as desirable as her father's considerable wealth! He had serious thoughts of marriage. Unfortunately, for Ichabod, he was not the only contender for Katarina's hand. She had many admirers.

The most formidable of these was the swashbuckling young giant named Brom Van Brunt. He was famous for miles around for feats of great strength and daring. His powerful frame gave credence to his nickname, "Brom Bones". Being good humored and boyishly mischievous, he enjoyed playing pranks and engaging in boisterous fun and frolics. He was

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also a superb horseman, his feats in the saddle were legendary and he liked nothing better than to race his huge black stallion called "Daredevil".

One fine autumnal evening, Ichabod was invited for merrymaking at the house of Herr Van Tassel. Everyone was there, including Brom Bones. The dancing had begun. Ichabod was a good dancer and partnered with Katrina, while Brom Bones, filled with jealousy, sat watching and brooding alone, in a corner.

(YOU RECREATE FROM HERE! WRITE A NEW CLIMAX AND RESOLUTION!)

Rough Draft of Four Parts We will be using extensive modeling in class using the projector in order to guide you in your narrative writing of each part. Each section should start on a new comp book page with the title. Suggested rough draft length (with skipped lines) is in parentheses following each section title.

Part One: Ichabod’s and Katarina’s Farewell (two to three pages) ________ The festival comes to an end and guests depart

________ Ichabod and Katrina approach each other and speak. Show that Ichabod is nervous and that Katrina is irritated through smart dialogue tags and gestures, movements, and expressions.

________ Ichabod leaves the Van Tassel’s with Gunpowder. Include his thoughts in italics.

Part Two: Ichabod enters the hollow (two to three pages)________ Describe the sights and sounds of the hollow to create suspense and spooky mood

________ Detail the expressions, gestures, and movements as they Ichabod and Gunpowder become fearful

________ Ichabod’s thoughts or comments during the apprehension

Part Three: The approach and encounter of a Headless Horseman (two to three pages) ________ Vivid description of the appearance of the horseman and his steed

________ Dialogue between the two characters or individual thoughts to show motive. Include what the horseman wanted with Ichabod. Why did he attack him?

________ Tell precisely what happened between the two. Give results of both. Do not leave it up to inference as was done in the original.

Part Four: The after-effects of the attack (two pages) ________ Detail who discovers that the encounter happened

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________ Describe reaction of townsfolk, Katrina and Brom, school children and add detail of their future

________ Give sentences of inference about the attacker’s future

________ Detail future for the main characters.

_______ Finish with a few concluding sentences that reestablish the haunted setting and the legend

Language Arts 7: Narrative Essay Grading Rubric(do not staple to essay)

Scoring Rubric:O = outstanding mastery of standard; creative and advanced understanding S= satisfactory understanding of skill/concept; effort shown to meet standardN= needs improvement in meeting standard although some understanding is apparentU= unsatisfactory; standard not addressed; directions not followed

MLA FORMAT:All essay parts are double-spaced; size 12 font; proper heading; pagination;paragraphs indented; one inch margins; white paper; (refer to handout or print another from the blog to review this previously taught concept)

O S N U

ENTRY TO THE HOLLOW CREATES SUSPENSEFUL, SPOOKY MOOD:A vivid description of the sights and sounds was detailed and builds suspense and effect. The writer shows (rather than just tells) Ichabod’s and Gunpowder’s apprehension and fear through their narrative gestures, expressions, and movements.

O S N U

POINT OF VIEW NARRATION:The writer chooses one consistent narrator and remains in the same tense (present or past) throughout.

O S N U

MAJOR CHARACTERS ARE WELL-DEVELOPED:The student has made the characters come alive through their thoughts, actions, and words; detail, description, and dialogue are used to develop full, complex characters. Motive is shown for the Headless Horseman and/or attacker.

O S N U

SPECIFIC NARRATIVE ACTION:Gestures, facial expressions, and movement shows attitudes and personalities of characters; the writer has made a dedicated effort to successfully incorporate narrative actions to show the reader personality of the characters rather that just tell the reader about the characters.

O S N U

PRECISE WORD CHOICE DESCRIBES CHARACTERS AND SETTING:Choice of words reflects a thoughtful, revised effort to skillfully and vividly create images of the characters and setting. Selection of dialogue tags shows consideration for characterization. Word choice and plot are appropriate for a 1790’s setting

O S N U

CREATIVE CLIMAX and RESOLUTION (REMAINING IN IRVINGS' STYLE):The climax includes exactly what was said and done between the attacker and Ichabod. Motive of the attacker was included through thoughts and/or dialogue. Ichabod’s whereabouts are known. The townsfolk discover and react to the attack. The effects are noticeable in present and in the future for the residents of Sleepy Hollow.

O S N U

DIALOGUE AND ADVANCEMENT OF PLOT:The writer included dialogue between the characters (especially Katrina, Ichabod, and the Headless Horseman). The dialogue moves the plot forward and shows the characters' personality and motives. It is purposeful and meaningful dialogue.

O S N U

STANDARD CONVENTIONS WITH QUOTATIONS:The writer utilized the example page to punctuate the quotations. Each new speaker's lines are indented as a new paragraph. Punctuation is included inside the end quote. Commas are positioned properly. Capitalization rules were followed.

O S N U

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SPELLING, PUNCTUATION, AND CAPITALIZATION:Standard use of spelling, punctuation, and capitalization are used appropriately for this grade level; proofreading and editing were done prior to submission of this final draft. Students have properly punctuated commas with a direct address and compound sentences.

O S N U

STANDARD ENGLISH GRAMMAR AND SENTENCE STRUCTURE:Grade-level sentence variety and structure are used appropriately; the writer shows mastery of complete sentence writing with few or no run-ons or fragments O S N UMinimum page requirement was 2 ½ pages. With over two weeks spent on the unit with extensive in class modeling with projector and student responses, length requirement and editing should show satisfactory effort.

O S N U

Name: _____________________________________________ Number: _______________ Period: _____________

Narrative Essay: Edit Activity

Please review your narrative packet to ensure that you have followed directions and have focused specifically on our key narrative areas.

After doing so, please initial each additional edit area for completion.

__________ I have re-read my final typed draft. A second person has read it also.

__________ I have met the length suggestion of 2 ½ to 5 typed pages.

__________ My essay is in MLA format (double spaced, four row heading, centered title, pagination, one inch margins, indented paragraphs, times new roman point 12).

__________ Using page 12 in the packet, I checked off the requirements for each of the four parts to ensure all directions were followed.

__________ In dialogue use, I indented a new paragraph each time a speaker changed.

__________ During revision, I checked punctuation of all of my dialogue using page 4 of the narrative packet.

__________ I chose dialogue tags with thought in order to show emotion and further characterize using the 300 Ways to Say Said.

__________ I added narrative action: gestures, expressions, and movements to show indirect characterization for Ichabod, Katrina, Gunpowder, and the Headless Horseman.

__________ I capitalized and spelled the following properly: Sleepy Hollow, Headless Horseman, Hessian, Ichabod Crane, Brom Bones, Katarina/Katrina Van Tassel, Gunpowder. I have not capitalized common nouns such as the hollow or the horseman.

__________ I included sensory details to define the setting of the entry to Sleepy Hollow

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__________ My writing style is similar to the author’s. I have a ghost story that is not too violent or unbelievable.

Name: ______________________________________________ Period: _____________ Number: _______________

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