Narrative Writing
To begin our lesson, our instructor awakened our critical
consciousness or awareness (in Latin, conscientização). She did this by engaging us in dialogue, problem
solving, reflection and critical thinking to receive our analysis and perspectives
on ‘The Story of An Hour’ by Kate Chopin (1984). In doing so, I immediately, reflected on our
current class LAE 101: Curriculum and Instruction in Language Arts Education and
a former study I did on an educator, philosopher and pioneer of critical
literacy Mr. Paulo Freire. In that class,
we are studying what is critical literacy but we have not really practiced
it. As such, at the moment our
instructor questioned our understanding of the text, that included questions such
as why was the main character crying, I immediately realised she wanted to practice
critical literacy which involves the practice of conscientização. Therefore,
while I came to class expecting first to learn of the elements and features of
narrative writing, I was surprised but pleased to experience with the instructor
how critical literacy could be practiced on a narrative text in the
classroom.
In narrative writing, I use the plot diagram with my
students. We use the diagram to dissect and
make a note of the plot of a narrative we are studying or it is used by the students
to prepare a plan for writing a narrative.
The diagrams that I use has the conflict section for the story
immediately after the exposition or sometimes during the rising action. As such, when we were told to identify the
conflict in the narrative, The Story of An Hour,’ I was shocked to realise that
it came almost at the ending or that there was not really a conflict as
such. I thought to myself that I now
have to be remember to be careful when discussing where the conflict is situated
in a story that I must relay that it can be anywhere in a narrative and not
just at the beginning.
I was also pleased to note and learn about some other
key features of narrative text. For
example, when reading and writing a narrative I should be conscious of word
choice, voice and point of view. These
play a critical role in communication of the text and engaging readers. In addition, I also recorded that I should
always try to have my students identify the author’s theme, mood and tone in a narrative
text. However, although I understood
that mood and tone is not quite a focus in elementary narrative writing, theme should
be even though it may be challenging for many students to include it in their
narrative writing. What is more, was
hearing of using poetry to help make things more interesting or impactful for
the reader. Therefore, as it pertained
to mood and poetry, I realised why figurative language should not be left only
for descriptive writing, which is usually taught after narrative, as students
need it for direct and indirect communication in their narratives.
A comprehension strategy called, “sketch to stretch”
was discussed near the ending of our session.
Having understood what this was about I thought, why not engage my
students in this strategy since they already like to draw and colour. I think this twist should interest them when
they understand that I would rather see more through their sketching what they
understand the text to mean rather than through our usual class
discussion. This I find is also a
meaningful way for students to be actively engaged in the text. Who knows maybe they’ll surprise me with conscientização through
their sketches as well.
Lastly, I enjoyed hearing of the humorous story
entitled, “Alexander and the Terrible, Horrible, No Good, Very Bad Day.” This I had to take note of because it was
filled with humour. I think if I share
it with my students, it would inspire them to include humour in their
narratives, especially those who are naturally humorous themselves. On the other hand, it would be different and
a joy for me to read children humour than their ordinary fairy tale scripts. Therefore, for a change this week, I intend to
play the read-a-loud version of the story for my students to encourage them to
include some humour in their current draft narratives. I hope it turns out impressive not just for
me but for my students as well.
Thank you for this Jeneva!
ReplyDeleteHaving been absent during the last session, I gathered substantial information that was shared given your reflection on narratives and the key components which it entails. What immediately stood out was your comment about not practising "critical literacy" in LAE 101. I firmly believe that once deeper, more personal and meaningful thought-provoking follow-up questions are asked, critical literacy is exercised. I am happy that you made the connection between critical literacy and narrative writing as I believe that the skill knows no discipline boundary.
Another interesting point brought out in your reflection was the conflict in the story, "The Story of An Hour", you mentioned that you were "shocked to realise that it came almost at the ending or that there was not really a conflict as such" so I am curious to know which exactly was it. As I read and pondered on that sentence my critical literacy skills went into overdrive. Consequently, I am propelled to ask:
1) what made you think that there was no real conflict?
2) with the lack of a reasonable, evident conflict, do you think narratives can be boring, uninteresting or fail to grab and hold the readers' attention?
3) did you find the story interesting? if so why.
If I recall from prior knowledge, conflict can be internal (within the mind of characters) or external (anything between characters or other external forces/things).
I like your recollection of "sketch to sketch". I've never heard of the actual term, but I am fully aware of what it is. I recall overseeing the work of a student when I first became a teacher and because he was a lower achiever in language, he literally drew most of his work for his teacher in the beginning. I was in awe of this. Verbally he would be able to explain his drawings to present a good story or description but to scribe, he just didn't have it. So, I encourage you to present options for your students to express themselves.
Finally, who does not like a good piece of humour? I know I do! This brings to mind one of my favourite primary school teachers, Mr. Evret Simon. In grade 5, I vividly recall him reading and having us read stories from "Sideways Stories from the Wayside School" by Louis Sachar. Boy did these narratives explode with humour. Perhaps you can check them out, there are some PDFs and Read Aloud's available on the web.
Hello Sandra
ReplyDeleteI am pleased that I was able to enlighten you briefly on what transpired in your absence.
In relation to practising critical literacy in LAE 101, allow me to rewind a bit. I meant to communicate that we did not practise it in that course from the standpoint of using a text we would use with students in the elementary classroom, like a narrative, descriptive, etc. However, I do agree that the questioning/problem solving, reflections, critical thinking, discussions, etc. - even our discussion on the critical literacy articles themselves - are all an exercise of critical literacy in the LAE 101 course.
Regarding the conflict in ‘The Story of an Hour’, it was agreed that the conflict is at the end. However, in our analyses to derive at where the conflict was situated it was puzzling for many and it was mentioned that there was “no conflict at the beginning and no conflict as such.” But what would be a story or plot without a conflict? The conflict in the story can be between the main character(s) and another character(s) (whether human or not), character and nature, character and society or all-in-all, as you said, external forces and also internally between the main character and oneself. In my view, the conflict in “The Story of an Hour was between the character and herself. This made it interesting for me because the lady was under so much pressure to accept the death of her husband and the reality of being able to embrace the impending freedom, she was eager to receive from him - from so long ago. Unfortunately for her, surprisingly in the end, she had to accept within seconds/minutes that he was still alive. In fact, it was so much pressure for her that in my opinion, that pressure killed her. All the more reason why, I state the conflict was between the character and herself.
Lastly, thanks for informing about the stories by Louis Sachar. I have already looked them up and will surely indulge in the humour. I too love a good piece of humour :-).
"The Story of an Hour" is an interesting read and I too agree that the conflict was internal and occurred at the end.
ReplyDeleteOn another note, I am elated to know that you have researched the stories of, "Sideways Stories from the Wayside School by Louis Sachar. Happy reading to both you and your students. Please fill me in as I would like to hear how it goes.