Short Stories provides students with a curriculum that blends creative writing with literary analysis. We will build our skills by studying and emulating the great writers of our time. Students will analyze the techniques used in the stories and work to hone their own voices. How do you see the world around you? You will have plenty of opportunities to craft stories that reflect your world view.
How is the human experience reflected in works of fiction?
What can we as writers learn from studying authors and their bodies of work?
How can you tell if something is well written?
What strategies can we use to improve the quality of our own writing?
Assignments are leveled in terms of requirements (length and complexity). Students earning Honors Distinction will have completed the course work with additional expectations. Students must complete the Honor’s Level requirements and maintain a grade of 85% or higher.
Major Concepts:
Word choice, making inferences, the author’s “promise” to the reader.
Major Content:
Deliberate Diction- short stories, like poetry, have a limited space in which to convey your story. Learning to be intentional with every word is an essential part of storytelling and is especially important within the genre. Looking below the surface of what is actually written on the page and analyzing author’s intention. Making inferences. Editing for impact.
Unit Assessments:
Six Word Novels Bracket Challenge.
Major Texts:
Six Word Novels
“Why Don’t You Dance?” by Raymond Carver
“The Wig” by Brady Udall
Major Concepts:
Story Arcs, The Hero’s Journey, moving between the known/ familiar world and the world of the unknown
Major Content:
Joseph’s Campbell’s Hero’s Journey outlines an idea that every story is the same. We look at his 8 point story arc as well as other common story structures including the Three Act structure and the Disney Arc. We will look at the common components of these Story Structure to answer the question, “Are all stories, in fact, the same?”
Unit Assessments:
Applying The Hero’s Journey in unlikely places.
Major Texts:
“To Build a Fire” by Jack London
Major Concepts:
Suspense, foreshadowing, tone, using a Chekhov’s Gun as a set up and pay off.
CCSS.ELA-LITERACY.RL.11-12.1- Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.
CCSS.ELA-LITERACY.RL.11-12.3- Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).
Major Content:
We will explore the techniques that authors use to create tension and look at the physiological responses to tension to make connections between real life and authentic fiction.
Unit Assessments:
Written Performance Task- How do authors build suspense and tension in their writing? How can understanding psychological reactions to stress inform the choices that an author makes while crafting suspenseful scenes?
Major Texts:
“N” by Stephen King
“The Interlopers” by Saki
“The Most Dangerous Game” by Richard Connell
Toward a General Psychology Model of Tension and Suspense of By Moritz Lehne and Stefan Koelsch
Major Concepts:
What is the difference between a short story and a novella? What are the characteristics of a short story? Is it just the length of the text?
Major Content:
Widely regarded as one of the best written short stories of all time, we’ll learn about crafting a story that expertly uses theme, tone, character, and a sense of place. We will experience Joyce’s rumination on the living and on the Dead.
Unit Assessments:
Story Analysis and Critique
Major Texts:
“The Dead” by James Joyce
Major Concepts:
No blabbity blab! Everything a character says should either give insight to the character or move the story forward. Dialogue tags. Punctuation refresher.
Major Content:
Dialogue is a lot more than just people talking. We’ll break it down here.
Unit Assessments:
Screenwriter, Aaron Sorkin says, “I worship at the alter of intention and obstacle.” Write dialogue that shows your understanding of this concept.
Writing dialogue in a style other than your own.
Major Texts:
“Man from the South” by Roald Dahl
“Hills Like White Elephants” by Ernest Hemingway
Major Concepts:
Situational, Dramatic, and Verbal Irony
Major Content:
Irony can be jarring or subtle, but however you choose to deliver it, it should be well thought out and leave an impression on the reader. We will look at shocking twists as well as veiled messages.
Unit Assessments:
Quiz- identifying types of irony.
Major Texts:
“Where Have You Gone, Charming Billy?” by Tim O’Brien
“The Sniper” Liam O’Flaherty
“The Machine That Won the War” by Isaac Asimov
Major Concepts:
Text, sub-text, context, imagery, static vs dynamic characters, flat arcs, theme
Major Content:
We’ll start with the writer’s concept of The Goal, The Lie, The Truth and fit these ideas into the arcs of familiar characters both from the class materials and elsewhere.
Unit Assessments:
Common Character Arcs
Writing Workshop- Character Development
Major Texts:
“A Good Man is Hard to Find” by Flannery O’Connor
“Lamb to the Slaughter” by Roald Dahl
“The Machine That Won the War” by Isaac Asimov
Major Concepts:
Review of most of the major concepts of the class from Iceberg Theory through the end.
Major Content:
Laurie Halse Andersen says don’t write what you know, rather write what you can feel. This unit deals with human emotions and we will look at how authors use personal experiences to create characters and their stories.
Unit Assessments:
Writing Workshop: A Serene Scene that has Danger Lurking Below the Surface
Major Texts:
“The Sea Devil” by Arthur Gordon
“Big Two-Hearted River” by Ernest Hemingway