Students Publish Here! is gaining more readers and today won the Blog of the Day Award. It is nice to know that someone has noticed the hard work that goes into this site. Thank you! Thank you!
http://blogofthedayawards.blogspot.com/
Monday, April 28, 2008
Winner for the Day!
Students Publish Here! is gaining more readers and today won the Blog of the Day Award. It is nice to know that someone has noticed the hard work that goes into this site. Thank you! Thank you!
http://blogofthedayawards.blogspot.com/
Sunday, April 27, 2008
More Spanish Short Stories
I recently finished teaching a Spanish class in which the students were required to write short stories in Spanish. From this group I selected 3 to publish. These will appear this week with English translations. Viva la historia!
Last year Students Publish Here sponsored a Spanish short story contest for High School students. There were over 40 entries and the 6 winners had their stories published. You may read those stories beginning here. One was published daily for 6 consecutive days.
Last year Students Publish Here sponsored a Spanish short story contest for High School students. There were over 40 entries and the 6 winners had their stories published. You may read those stories beginning here. One was published daily for 6 consecutive days.
Thursday, April 24, 2008
A Poetry Experiment
Ed Pacht, who contributes regularly to this blog, recently wrote, "You know, the very existence of a word is a powerful attack upon randomness. Every word or phrase, even a bit of nonsense like 'slithy tove', is a purposeful ordering of reality to an end. I'd say further that it is impossible for a single human mind to make a truly random selection among words. One's brain is, it would seem, wired so as to make connections, even when they are not apparent. Actually, the list I worked from, if I'd found it without attribution, would have made me think of a personality much like what I've come to know of yours. I would not/could not have made that selection myself. Writing the poem actually felt like taking a journey with Alice into her own wonderland."
This caused me to wonder what would happen were Ed to provide me with a random list. Would I create a poem that reflects his inner world? So I proposed an experiment and he wrote back with his list and said: "You're on -- as random as I could make it. A couple of them popped into my head. I randomly did page roulette on a thesaurus, a dictionary, my BCP, my Bible, and a couple of books I've been reading. Even so, the choice can't be entirely random as what was chosen is whatever caught my attention during the process -- and my attention is uniquely mine."
Here is Ed's list: tinder-box --magic-lantern slides--peace offerings--semi-transparency--tabernacle--headstone--visible sign--careful observations--gaunt little man--leaping lizard--hearing impaired--attention deficit--waterfall--bright image--spring pollen--bouquet--diamond sheen
And here is the poem I wrote. I wasn't able to use the phrase: magic-lantern slides.
Athos Tabernacle
Alice C. Linsley
Gaunt little man in monkish garb
beside his hermit house sits
in contemplation of the headstone moon
streaming light on his bearded face.
From gnarled fingers flow whispered prayers,
a waterfall of beads on a black cord with a diamond sheen.
At prayer, attention deficit, though not hearing impaired,
He strikes a bright image of semi-transparency.
Careful observations of high soaring hawks and leaping lizards
Of spring pollen from earth’s bouquet,
He too is a visible sign of Heaven’s peace offerings,
His soul a tinderbox for the Divine Fire.
Related: Random Word Contest
Wednesday, April 23, 2008
From Random to Reason
Ed Pacht has attempted to use all the words and has succeeded. What an excellent poem!
Ed wrote to me that "Improbable though it seemed, I decided I just had to use them all in one poem. I finally had two [words] left. One went into the title, and the other into the two-line epilog, and I did it. Not my best poem ever, but it works."
(Here again is the list of random words and phrases: cornered and caged--pink prom flowers--feverish brain--glimpse--warp speed--unfailing youth--tagging along--spreading silence--peace forseen--tortuous path--mocking sign--hung out to dry--derailed affair--corrosive speech--sea-being--payday--broken bones)
Pain Like Broken Bones
Ed Pacht
Cornered and caged, my feverish brain,
working at warp speed, not ever resting,
its tortuous path leading me nowhere,
while, tagging along, the worries keep coming ...
Cornered and caged, my feverish brain,
hung out to dry in the flames of confusion,
corrosive speech, a derailed affair,
cruel mocking sign, bringing despair ...
Cornered and caged, my feverish brain,
now gets a glimpse, like pink prom flowers,
of beauty that is, though beauty unseen,
of rest from confusion, of real peace foreseen.
Cornered and caged, my feverish brain,
suddenly touched by swift spreading silence,
restoring the strength of unfailing youth,
is touched by the payday unsought.
Like a sea-being resting weightless and free,
in limitless oceans of calm.
Ed wrote to me that "Improbable though it seemed, I decided I just had to use them all in one poem. I finally had two [words] left. One went into the title, and the other into the two-line epilog, and I did it. Not my best poem ever, but it works."
(Here again is the list of random words and phrases: cornered and caged--pink prom flowers--feverish brain--glimpse--warp speed--unfailing youth--tagging along--spreading silence--peace forseen--tortuous path--mocking sign--hung out to dry--derailed affair--corrosive speech--sea-being--payday--broken bones)
Pain Like Broken Bones
Ed Pacht
Cornered and caged, my feverish brain,
working at warp speed, not ever resting,
its tortuous path leading me nowhere,
while, tagging along, the worries keep coming ...
Cornered and caged, my feverish brain,
hung out to dry in the flames of confusion,
corrosive speech, a derailed affair,
cruel mocking sign, bringing despair ...
Cornered and caged, my feverish brain,
now gets a glimpse, like pink prom flowers,
of beauty that is, though beauty unseen,
of rest from confusion, of real peace foreseen.
Cornered and caged, my feverish brain,
suddenly touched by swift spreading silence,
restoring the strength of unfailing youth,
is touched by the payday unsought.
Like a sea-being resting weightless and free,
in limitless oceans of calm.
Tuesday, April 22, 2008
Priming the Poetry Pump
I have 3 private writing students now and they are working on poetry. This doesn't come naturally for any of them, but what they lack in experience, they make up for in enthusiasm! They are having a difficult time moving past prose to poetry. Poetry isn't telling a story with fancy words.
In fact, words themselves are a problem. Their word reservoirs are fairly shallow. The solution isn't to require them to memorize vocabulary words, but to present them with random lists of words and phrases from which they are to create a poem. I've discovered that this is an excellent way to stimulate poetic imagination while building vocabulary. Now and then a poem of fine quality is produced, or one nearly ready for publication.
You may want to try this at home. If so, here is a sample list.
cornered and caged
pink prom flowers
feverish brain
glimpse
warp speed
unfailing youth
tagging along
spreading silence
peace forseen
tortuous path
mocking sign
hung out to dry
derailed affair
corrosive speech
sea-being
payday
broken bones
I'm interested in reading what you come up with. Email me your best work here:
aproeditor-at-gmail-dot-com
In fact, words themselves are a problem. Their word reservoirs are fairly shallow. The solution isn't to require them to memorize vocabulary words, but to present them with random lists of words and phrases from which they are to create a poem. I've discovered that this is an excellent way to stimulate poetic imagination while building vocabulary. Now and then a poem of fine quality is produced, or one nearly ready for publication.
You may want to try this at home. If so, here is a sample list.
cornered and caged
pink prom flowers
feverish brain
glimpse
warp speed
unfailing youth
tagging along
spreading silence
peace forseen
tortuous path
mocking sign
hung out to dry
derailed affair
corrosive speech
sea-being
payday
broken bones
I'm interested in reading what you come up with. Email me your best work here:
aproeditor-at-gmail-dot-com
Friday, April 18, 2008
Floating a Book Proposal
Here is a step-by-step approach to floating your first novel.
Before you begin writing the novel, develop your ideas on paper. How will the story open? Can you picture the scene in your mind? What is the main character’s problem and how is that problem going to get worse? How is this story going to end? What has to happen to get to that ending? What surprises await the reader?
Sketch the principal characters. Develop their inner lives and their motivations for doing what they do. Describe their appearance and show their attitudes by things they do and say. How are the characters related? Are they friends or enemies? Family members or strangers?
Decide how the story will be told. From whose perspective? Or will each chapter be told from the perspective of a different character? If so, which character gets to go first?
State the theme of the story as concisely as possible. For example: "This novel is about how a woman in a man’s world comes to embrace her femininity." If you are having trouble stating the theme, it is probably because you don't know yet what it is. Keep thinking about it.
Tell about what inspires you to write the book. What experiences in your life qualify you to write about this? In what ways might this story be autobiographical?
Now write the first 2 chapters. Have another writer read what you have written and make observations and suggestions. Join a writers group, if possible. You will learn so much from other writers, and it is a great way to receive constructive criticism of your work.
Now do your market research using the most current edition of Novel and Short Story Writer’ Market. (You may read about this and purchase a copy here.) Make a list of book publishers who buy your kind of fiction: fantasy, romance, suspense, mystery, western, etc. Now eliminate any publishers who require submissions through agents. Now highlight the publishers who accept simultaneous submissions. Contact these publishers for Guidelines.
Read the Guidelines. You may have to eliminate a few more publishers from your list. The publishers remaining on the list are the ones you will mail your book proposal to first. Some publishers accept online submissions.
Send your proposal with the first 2 chapters and a synopsis of the story. Include a cover letter introducing yourself and state briefly what your book is about. (Go back to what you have written about theme.) Mention any published fiction in the cover letter.
Now wait patiently. It takes weeks for publishers to look at book proposals. Sometimes they don't bother. If you have sent a self-addressed stamped envelope (SASE), someone will probably mail back your propsoal with a form rejection letter. The letter is likely to say something like: Thank you for allowing us to see your writing. We regret that your book doesn't meet our publishing needs at this time.
While you are waiting for a reply, keep writing. If you are a writer at heart, you'll write no matter what!
If none of these publishers responds after 10 weeks, submit your proposal to the most promising publisher who doesn’t accept simultaneous submissions. Again wait patiently for 10 weeks. If you haven’t heard anything from that publisher, send your materials to the next possible publisher, and so on until you have exhausted all the potential publishers on your list.
If you run out of potential book publishers, look for online publications. Some sites will publish chapters from novels. This may be a way for you to build your publications record.
Publishers don’t appreciate phone calls, but they do appreciate good writing. 80% of your efforts should be spent improving your writing and 20% should be spent doing market research.
Yeah, I know… writing for publication is hard work.
Before you begin writing the novel, develop your ideas on paper. How will the story open? Can you picture the scene in your mind? What is the main character’s problem and how is that problem going to get worse? How is this story going to end? What has to happen to get to that ending? What surprises await the reader?
Sketch the principal characters. Develop their inner lives and their motivations for doing what they do. Describe their appearance and show their attitudes by things they do and say. How are the characters related? Are they friends or enemies? Family members or strangers?
Decide how the story will be told. From whose perspective? Or will each chapter be told from the perspective of a different character? If so, which character gets to go first?
State the theme of the story as concisely as possible. For example: "This novel is about how a woman in a man’s world comes to embrace her femininity." If you are having trouble stating the theme, it is probably because you don't know yet what it is. Keep thinking about it.
Tell about what inspires you to write the book. What experiences in your life qualify you to write about this? In what ways might this story be autobiographical?
Now write the first 2 chapters. Have another writer read what you have written and make observations and suggestions. Join a writers group, if possible. You will learn so much from other writers, and it is a great way to receive constructive criticism of your work.
Now do your market research using the most current edition of Novel and Short Story Writer’ Market. (You may read about this and purchase a copy here.) Make a list of book publishers who buy your kind of fiction: fantasy, romance, suspense, mystery, western, etc. Now eliminate any publishers who require submissions through agents. Now highlight the publishers who accept simultaneous submissions. Contact these publishers for Guidelines.
Read the Guidelines. You may have to eliminate a few more publishers from your list. The publishers remaining on the list are the ones you will mail your book proposal to first. Some publishers accept online submissions.
Send your proposal with the first 2 chapters and a synopsis of the story. Include a cover letter introducing yourself and state briefly what your book is about. (Go back to what you have written about theme.) Mention any published fiction in the cover letter.
Now wait patiently. It takes weeks for publishers to look at book proposals. Sometimes they don't bother. If you have sent a self-addressed stamped envelope (SASE), someone will probably mail back your propsoal with a form rejection letter. The letter is likely to say something like: Thank you for allowing us to see your writing. We regret that your book doesn't meet our publishing needs at this time.
While you are waiting for a reply, keep writing. If you are a writer at heart, you'll write no matter what!
If none of these publishers responds after 10 weeks, submit your proposal to the most promising publisher who doesn’t accept simultaneous submissions. Again wait patiently for 10 weeks. If you haven’t heard anything from that publisher, send your materials to the next possible publisher, and so on until you have exhausted all the potential publishers on your list.
If you run out of potential book publishers, look for online publications. Some sites will publish chapters from novels. This may be a way for you to build your publications record.
Publishers don’t appreciate phone calls, but they do appreciate good writing. 80% of your efforts should be spent improving your writing and 20% should be spent doing market research.
Yeah, I know… writing for publication is hard work.
Monday, April 14, 2008
Opening Paragraphs that Rock!
Great short stories have great first paragraphs. Greatness is marked by punched up word selection, writing stripped of useless words, key details, images that evoke emotion, and action with an element of suspence.
Consider the following example of a great first paragraph:
Some of the evil of my tale may have been inherent in our circumstances. For years we lived anyhow with one another in the naked desert, under the indifferent heaven. By day the hot sun fermented us; and we were dizzied by the beating wind. At night we were stained by dew, and shamed into pettiness by the innumerable silences of stars. We were a self-centered army without parade or gesture, devoted to freedom, the second of man's creeds, a purpose so ravenous that it devoured all our strength, a hope so transcendent that our earlier ambitions faded in its glare. (T.E. Lawrence, The Seven Pillars of Wisdom)
Here is an exercise for Creative Writing teachers to use with their students:
Select 2 of the following opening paragraphs. Re-write them so as to increase action and to evoke emotion in the reader. Submit your work to a peer for evaluation and evaluate that peer's work, using these questions to evaluate the success of the editing:
Consider the following example of a great first paragraph:
Some of the evil of my tale may have been inherent in our circumstances. For years we lived anyhow with one another in the naked desert, under the indifferent heaven. By day the hot sun fermented us; and we were dizzied by the beating wind. At night we were stained by dew, and shamed into pettiness by the innumerable silences of stars. We were a self-centered army without parade or gesture, devoted to freedom, the second of man's creeds, a purpose so ravenous that it devoured all our strength, a hope so transcendent that our earlier ambitions faded in its glare. (T.E. Lawrence, The Seven Pillars of Wisdom)
Here is an exercise for Creative Writing teachers to use with their students:
Select 2 of the following opening paragraphs. Re-write them so as to increase action and to evoke emotion in the reader. Submit your work to a peer for evaluation and evaluate that peer's work, using these questions to evaluate the success of the editing:
- Is the editing effective in cutting useless words? (The most common useless words are just, like, that, and very.)
- Does the re-write stir the suspence pot? Does it make the opening more exciting?
- Does the re-write make you want to read the rest of the story?
- Does the re-write produce a feeling or emotion in you as the reader? What is that emotion?
- Is the re-write better than the original overall?
Example #1: The First Book of Adam by Carl Dauber (winner of the First Place Fiction Award at the 28th Annual Midwest Writers' Conference at Kent State University)
In the beginning there was me. At least that's how I remember it. God told me He was here first so I have to take Him as His Word. God's big on keeping His Word.
I was born in the Garden on a Friday. I awoke fully grown with morning dew and God was whispering in my ear.
"Good morning, Adam."
"Morning, God."
"Adam, I have given you the gift of life and in return I ant you to end my Garden."
"Whatever you say, God."
"As well, you must obey My One Commandment."
"You'll have to be a little more specific about this commandment business. For instance, what is it?"
"Other commandments may come later, but for now this is it: do not eat the fruit from the Tree of Knowledge of Good and Evil."
"Can I eat vegetables?"
"Yes, Adam, you may eat vegetables. But stay away from the fruit of the Tree of Knowledge of Good and Evil."
"Is there a vegetable of Good and Evil I should know about?"
God let loose a heavy sigh. "Adam, I have given you a brain and I expect you to use it. Any more questions?"
"Just one. If you don't want me to eat from the Tree of Knowledge of Good and Evil why did you put it in the Garden in the first place?"
"I don't want to get too philosophical on this point, Adam, so let me just say this is an experiment in Free will"
Example #2: Deep Betrayal by Ansil Williams (winner of Ms. Linsley's First Place Award for Adventure-Suspense)
It was a hot day in Kingstown, so hot that the tires on the cars were gooey. Even the rain that afternoon turned to steam as it rose off the streets. Kevin Brown, a respected policeman, made his daily route through the most dangerous part of town. Jamaicans sat idle on the front steps of rundown homes and shacks. Kevin's black Cadillac with gold rims was known by everyone in that neighborhood.
As he turned onto New Street, he noticed a familiar figure trying to pick the lock of a clothing store. Kevin sighed. Only a fool such as Sprintie would try to rob a store in broad daylight. Kevin parked his car and approached the culprit.
Example #3: Five Stones by Matthew Healy (winner of Ms. Linsley's First Place Award for Fantasy)
The plants and trees around Chad were dying and there was a stale odor that hung heavy in the air. Chad looked at the gray dried moss that he held in his hand. It was the moss that was infecting the forest, leeching life out of the trees and plants. This was the moss his father had left him as a clue before he was murdered.
Chad stood in the unnatural silence, looking at the dead forest, unable to grasp what was happening. What was he supposed to find here? Even thinking was difficult because of his grief and the gray darkness around him.
Example #4: Solitary, Alice C. Linsley (pending publication)
We were all miserable the day that Sergeant Rahmani was caged outside in the hot sun, visible from the airless staff room where the instructors gathered to drink mostly stale coffee. There were no trees or shrubs, just an endless stretch of dusty earth and the dejected Rahmani slumped in the sweltering heat. Company policy said that the Americans were to keep their noses out of the Iranian Army's business, and the barbed wired enclosure, 7 by 7 by 7 feet, had the strategic effect of reinforcing policy.
The Iranian government's contract with Regent Helicopter Company was concise and unambiguous. We were to teach the Iranians how to fly helicopters, to read the manuals in English, and to maintain their aircraft. And we were to be respectful toward all nationals and their traditions, especially careful not to tread on any Shi'ite sensibilities. No boozing, no provocative dress, no public display of affection, and no public disturbances that might reflect poorly on the company when it came time to renew the contract.
Example #5: Inner Harbor, Nora Roberts
Phillip Quinn died at the age of thirteen. Since the overworked and underpaid staff at the Baltimore City Hospital emergency room zapped him back in less than ninety seconds, he wasn't dead very long.
As far as he was concerned, it was plenty long enough.
What had killed him - briefly - was two .25 caliber bullets pumped out of a Saturday night special shoved through the open window of a stolen Toyota Celica. The finger on the trigger had belonged to a close personal friend - or as near to a close personal friend as a thirteen-year-old thief could claim on Baltimore's bad streets.
The bullets missed his heart. Not by much, but inlater years Phillip considered it just far enough.
That heart, young and strong, if sadly jaded, continued to beat as he lay, his blood pouring out over the used condoms and crack vials in the stinking gutter on the corner of Fayette and Paca.
Sunday, April 6, 2008
Creative Tension between Plot and Theme
I've written a dozen short stories and find that the best ones are those which maintain a creative tension between plot and theme. Here are some ideas for how you might work for that creative tension.
Playing with the Plot
One of the ways you can discover creative tension between plot and theme is to play with the plot. Plot is the story line or narrative structure of a story. The pyramid structure involves a beginning (exposition), rising action, climax, falling action, and resolution. When plotting a story, you may find it helpful to draw a pyramid. Now make a list of the most important events that take place in your proposed story. Decide where these events should go on the pyramid and write them down. Make this diagram #1.
Consider this example. My list has 2 children who discover magic rings. The rings transport them between worlds. An evil queen attaches herself to the children as they escape from her dead world back to their own. She brings chaos to the children's world until they bravely drag her out by transporting themselves into an unknown world. In that new world all comes right when they meet a regal talking lion. (Readers will recognize the plot of C.S. Lewis' The Magician's Nephew.)
In this story the children's discovery of the rings is the beginning and so I would write that at the bottom left of the pyramid. Their travel to another world and their attempted escape from the evil queen is the rising action. The unleashing of the queen's fury on unsuspecting Londoners marks the climax. The children's action in dragging her out of that world is the falling action, and their meeting of Aslan and the creation of Narnia is the resolution.
But this would be a very different story if I reordered these elements. For example, I might have the children discover the rings and travel to Narnia. The rising action would be what happens in Narnia that results in the children being sent by Aslan to Queen Jadis' world. The encounter of the children with Jadis and the final days of her realm would be the climax. The children's escape and return to Narnia would be the falling action and Aslan's sending them home with special honors would be the resolution. Label this second pyramid diagram #2.
Now draw a third pyramid and reorder the events again. What does this reordering of events suggest about the theme of your story?
What is meant by theme?
The theme of a short story is its view about life and human beings. The short story presents a theme through the characters, actions, dialogue, setting and symbolism. Playing with the plot often clarifies theme for the writer. Very often we are working with themes unconsciously. In the plots above we have the theme of children caught between good and evil. Regardless of how we plot the elements, the children must to decide which side they will serve, and having decided, they must learn to be courageous in the face of dangers. This is the theme of The Magician's Nephew. C.S. Lewis doesn't tell us the theme. We have to discover it through the plot.
As you plot and replot your story you will gain clarity about your theme. Once you understand it, strengthen the theme by incorporating symbolism. Aslan represents the divine person of Jesus Christ. He is symbolized by a regal beast who comes and goes at will, often appearing in bright light and exhibiting great strength, compassion and self-sacrifice. As C.S. Lewis demonstrates in his many writings, the Bible provides a vast reservoir of symbols that are useful to story tellers, so don't neglect to read it.
Playing with the Plot
One of the ways you can discover creative tension between plot and theme is to play with the plot. Plot is the story line or narrative structure of a story. The pyramid structure involves a beginning (exposition), rising action, climax, falling action, and resolution. When plotting a story, you may find it helpful to draw a pyramid. Now make a list of the most important events that take place in your proposed story. Decide where these events should go on the pyramid and write them down. Make this diagram #1.
Consider this example. My list has 2 children who discover magic rings. The rings transport them between worlds. An evil queen attaches herself to the children as they escape from her dead world back to their own. She brings chaos to the children's world until they bravely drag her out by transporting themselves into an unknown world. In that new world all comes right when they meet a regal talking lion. (Readers will recognize the plot of C.S. Lewis' The Magician's Nephew.)
In this story the children's discovery of the rings is the beginning and so I would write that at the bottom left of the pyramid. Their travel to another world and their attempted escape from the evil queen is the rising action. The unleashing of the queen's fury on unsuspecting Londoners marks the climax. The children's action in dragging her out of that world is the falling action, and their meeting of Aslan and the creation of Narnia is the resolution.
But this would be a very different story if I reordered these elements. For example, I might have the children discover the rings and travel to Narnia. The rising action would be what happens in Narnia that results in the children being sent by Aslan to Queen Jadis' world. The encounter of the children with Jadis and the final days of her realm would be the climax. The children's escape and return to Narnia would be the falling action and Aslan's sending them home with special honors would be the resolution. Label this second pyramid diagram #2.
Now draw a third pyramid and reorder the events again. What does this reordering of events suggest about the theme of your story?
What is meant by theme?
The theme of a short story is its view about life and human beings. The short story presents a theme through the characters, actions, dialogue, setting and symbolism. Playing with the plot often clarifies theme for the writer. Very often we are working with themes unconsciously. In the plots above we have the theme of children caught between good and evil. Regardless of how we plot the elements, the children must to decide which side they will serve, and having decided, they must learn to be courageous in the face of dangers. This is the theme of The Magician's Nephew. C.S. Lewis doesn't tell us the theme. We have to discover it through the plot.
As you plot and replot your story you will gain clarity about your theme. Once you understand it, strengthen the theme by incorporating symbolism. Aslan represents the divine person of Jesus Christ. He is symbolized by a regal beast who comes and goes at will, often appearing in bright light and exhibiting great strength, compassion and self-sacrifice. As C.S. Lewis demonstrates in his many writings, the Bible provides a vast reservoir of symbols that are useful to story tellers, so don't neglect to read it.
Wednesday, April 2, 2008
What Makes a Good Short Story?
It used to be that we read good stories in literature textbooks, stories selected for their literary merit, but today the stories are banal and uninspiring. That is because they are not chosen for literary merit as much as for their political correctness, as it is judged by political pressure groups of all kinds. The mediocre quality of literature textbooks in America is due to the adoption process used in over 20 states, including Texas, Florida and California, which purchase enormous qualities of textbooks. The books are selected by statewide committees rather than by the teachers, who must then try to teach good writing using inferior examples. It is a sad state of affairs that speaks once again of how children really are not the main concern of American public education.
Some of the stories students read in their literature texts receive a more favorable response than others. Contrary to the prevalent view, the stories they like best are the ones that open before them experiences and worlds that they have never imagined. Students really don't care about characters who are like them, or who resemble people they know in school. This is one of the reasons they keep returning to classics like Dune, The Lord of the Rings, and The Chronicles of Narnia. They want to read about worlds where young people are challenged, where they can be heroes, and where dangers and challenges bring strength and character.
What makes a story good? Well, it should entertain and it should have memorable characters. But most importantly, it should have a positive impact on the character of the reader.
Some of the stories students read in their literature texts receive a more favorable response than others. Contrary to the prevalent view, the stories they like best are the ones that open before them experiences and worlds that they have never imagined. Students really don't care about characters who are like them, or who resemble people they know in school. This is one of the reasons they keep returning to classics like Dune, The Lord of the Rings, and The Chronicles of Narnia. They want to read about worlds where young people are challenged, where they can be heroes, and where dangers and challenges bring strength and character.
What makes a story good? Well, it should entertain and it should have memorable characters. But most importantly, it should have a positive impact on the character of the reader.
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