Category Archives: narrative writing

Story cubes encourage imaginative story telling

The younger the student, the more using gimmicks propels learning.

Story cubes

I have found that cartoons, scenes from fairy tales and drawings of steps in a process (how to carve a pumpkin or how to draw a turkey) attract a child to write much better than if I say to a student, “Okay, today we’re going to write a story about a dog.”

So I am passing along a gimmick that might encourage your young students to write: story cubes.

Invented in Northern Ireland, Rory’s Story Cubes are cubes which can be tossed to write stories. On each cube’s surfaces are icons. The idea is to use the icons to create a story. Some of the icons include a tent, bumble bee, turtle, eye, cane, hand, magnet, castle and shooting star. Some story cubes are based on a theme, such as Batman, and include icons of Batman, the Joker, a rocket and Batman’s car.

Another way the story cubes can be used is on an app available on Apple and Android devices. By shaking the phone, the cubes are “tossed.”

The icons are deliberately simple so that they can be interpreted various ways by different story tellers. A castle tower, for example, could mean a castle, or entrapment, or royalty or a chess rook.

For more information, see http://www.storycubes.com.  You might also enjoy reading how one home schooling mother uses the cubes at http://highlysensitivehomeschooler.com/20-ways-to-use-rorys-story-cubes/.  And if you search for “story cubes” on Amazon, you will find other kinds of cubes and polyhedrons for sale.

How to design writing lessons for kindergarteners

Sequencing information is a kindergarten skill. Students are shown three or four drawings—of how to build a snowman, for example—and they are asked to organize the drawings in the correct order.

This learning can be extended into a writing lesson by asking students to write about the events so that they tell a story. Below is a tiny story based on three drawings. It was written by a pre-K student.

KindergartenWritingLesson02
When I teach writing to pre-K or kindergarten students, I start by offering the students three drawings which they put in order. Over time, they move from three to four, six or eight drawing sequences. At first students tell only what they see, but later I ask them to weave people into their writing. The story below came from the same student as above, but after half a year of writing. Now in kindergarten, this student used six drawings of a jack-o-lantern in the process of being cut to create this story.

KindergartenWritingLesson01
As students gain experience, the number of drawings and written words will increase. So will the amount of time spent writing. Since new writers fatigue easily, it is better to start small, let the student succeed, and then incrementally increase the demands.

Where can you find good pictures to sequence?

  • Search online using key words like “drawings” “sequence” and “children.” Many websites offer such pictures. You can copy and paste, print the results, and cut out tiny wordless stories for your child to sequence.
  • Some four-panel comics are perfect for this kind of work. I found a “Peanuts” cartoon book from which I took several wordless stories.
  • Pictureless books are another good source.
  • Drawings lessons are good too. Online, you can find many websites showing how to draw a turkey or Santa. Copy and paste, print the results, and cut out the drawings. I tape them to index cards for my students to put in the right order before they write.

Direct quotes bring writing to life

Child writingAdding more details to writing almost always enhances it. One kind of detail students should be encouraged to use is direct quotes.

Direct quotes can be conversation between two or more people. Direct quotes can be the inner thoughts of a person. Direct quotes can be onomatopoeia sounds that a person hears—a dog’s bark, a siren or a plane’s engine.

But most children don’t use direct quotes.  They use indirect quotes. For example, they write, “Joyce said that I could come to her party,” instead of Joyce said, “Why don’t you come to my party?” With indirect quotes readers do not hear exact words or sounds. Instead they hear the words or sounds filtered through the mind of the narrator.

Is there a meaningful difference? Definitely! Suppose you hear the screeching of tires and the thud of a car crash with your own ears. You become hyperalert, perhaps scared. You might feel a chill ripple through you. But suppose your friend tells you about an accident near her home. She tells you there were awful sounds and she was scared. In the first instance, you are there. You are hearing the sounds yourself and the impact is palpable. In the second instance, the events are second hand. You are not hearing the sounds yourself.  The impact is weak.

When we write we want to let readers experience as much as possible through their own senses, not through a character’s or a narrator’s. One way to put readers into a situation is to use direct quotes. Let’s look at how some students have used direct quotes.

Here a sixth grader uses the exact words of a teacher. The student could have written, “The teacher said the cookies tasted good.” But isn’t hearing the exact words of the teacher better?

Today we presented our cookies to Mrs. Smith, and she eyed them carefully. She took a bite, and her face lit up. “Why, this cookie beats every cookie I’ve tasted,” she bellowed. “Can you make me these again?”

Next, we hear the thoughts and the shouting of a child written by a fifth grader.

I woke up in the morning, running down the stairs, feeling grown up. I’m turning seven!

“Mom! Dad! Mom? Dad?” I ran upstairs and downstairs, searching all rooms. “Where is everybody?” I thought. “Did they forget my birthday?” Two thousand questions about my birthday ran in my head!

I wondered if my parents were in the garden. I rushed upstairs, changed my clothes, ran downstairs, and opened the door. Where was everybody?

“Mom! Dad!” Silence. “Mom? Dad?” Still silence.

Another fifth grader wrote about a boy who cared for a baby dragon.

Weeks later when the dragon was bigger than Cody and had grown wings, Cody said, “We have to get out of here. I’m endangering the entire village.”

“Yes, you’re right. We do,” the dragon said.

“You can talk. Whoa! Listen, it’s getting late. I better get home,” Cody said.

As Cody entered the village, a mystic traveler was listing dragon names. One name caught his attention: Phoenixheart. Suddenly Cody sprinted to where his dragon was. “Your name is Phoenixheart.”

“Cool name, but I have something to admit. I can’t actually speak. I’m just forming words in your mind,” Phoenixheart said.

Did you notice how we, the readers, learn that the dragon speaks at the same moment that the boy does.  We are there, hearing the conversation with our own ears.

Next, a fourth grader tells about his birthday party. His direct quotes are short, but notice how real they sound.

We played tag in the downstairs hall, but it didn’t last long because my mom yelled, “That’s enough!” After that, we played magnetic darting. When everyone kept hitting the hall wall, my dad said, “Go outside and play.”

Finally, a first grader shows that even seven-year-olds can use direct quotes effectively as she summarizes a book she read.

One day Nate the great was in his garden weeding when Oliver the pest came over. 

“I have lost a weed,” said Oliver. 

“No problem,” said Nate the great.  “You may have all of my weeds.” 

“But this was my weed,” said Oliver the pest.  “I bought it at Rosamond’s adopt-a-weed sale for a nickel.  It’s name is Superweed.  It is small and scraggly,” said Oliver. 

“Very well, I will take your case,” said Nate the great.

Once kids see how powerful direct quotes are, they want to use them all the time.

In a dialog, don’t identify the speakers over and over. Trust your readers.

What do you notice about this dialog?

“Can I go with you?” the child asked her father.
“No, not this time,” her father said.
“Why not?” the child asked.
“Because,” the father said.
“Because why?” the child said.
“Because I’m going on a business trip,” the father said.

Beginning writers often identify the speaker in every line of dialog in narrative writing.  This slows down the action and needlessly irritates the reader. If there are just two characters talking, it is unnecessary to identify someone on every line. Compare the above dialog with this one:

“Can I go with you?” the child asked her father.
“No, not this time, hon.”
“Why not?”
“Because.”
“Because why?” She pouted her lip.
“Because I’m going on a business trip.”

Did you have any trouble keeping track of who was speaking?

Suppose the above dialog continued for another six or more lines? You might need to write “he said or “she said,” one more time to keep the speakers clear. But maybe not.

“Why can’t I go, Daddy?”
“Because you’re five years old.”
“So—” The child folded her arms over her chest.
“So when you are grown up, you’ll go on lots of business trips.”
“Really?
“Really.”
“Daddy?”
“Yes, angel.”
“Will you bring me a present?”

Did you notice there were no he saids or she saids?

How can you avoid over-identifying the speaker in a dialog, yet keep the speaker clear?

  • Make sure that the first one or two lines clearly show who is talking. Often both identifications can go on the first line, if the relationship between the speakers is made clear, as above.
  • Use the “voice” of the speakers, so their way of speaking—their grammar, their vocabulary, and their pronunciation—identifies them. “Because why?” is the way a child would talk.
  • Use details that identify who is talking. “Because I’m going on a business trip” would be said by a father, not by a child. “She pouted her lip” identifies that the child said the previous words without using “she said.” “Yes, angel” would be said by a father. A child would ask for a gift.
  • Make sure each character’s line of dialog becomes a separate paragraph, and the person speaking—if identified—is identified in the same paragraph with his spoken words.
  • Instead of using “he said” or “she said,” write words to let the reader “see” the speaker. “He snapped his suitcase closed. She hugged her Teddy bear.”