If you’re a writer and/or teacher, you may be feeling the MUF-love emanating from your screen right now. That’s because today’s post about writing using setting-specific details is in your honor. Yep, it’s all for you. And for your readers. And for your students. And maybe even for your labradoodle named Cocoa who was briefly abducted by aliens and now spends his days pawing at a MacBook, composing original similes.
As a writer and a teacher, I love to explore and teach about the gloriously complex world of writing. I’m always learning something new and trying to improve my own writing craft. That’s what made me decide it was time to revisit my teaching roots and share something I’ve been working on in my own writing. And I brought J. K. Rowling along to help!
(Well, okay, that J. K. Rowling thing may almost, maybe, kind of be a lie. But I use a brief excerpt from Harry Potter and the Prisoner of Azkaban. And I allow my voice to climb toward falsetto as I do a very poor imitation of Professor McGonagall. So it’s pretty much like J. K. Rowling personally created this MUF post. Except she really didn’t. But I still couldn’t have done it without her.)
Anyway, enough parenthetical rambling! For today’s post you don’t need to do much reading. Instead, you can kick back with your Starbucks Pumpkin Spice Latte (or other favorite beverage), click the video below, and spend 3 minutes learning how setting-specific details strengthen a story and make it more believable.
If you’re a writer, I hope the video will give you something to think about in your own writing. If you’re a teacher, maybe you can use the video as a springboard to a writing lesson with your students. And if you’re neither a writer nor a teacher? . . . Well, maybe Cocoa the labradoodle will enjoy the brief respite from composing all of those similes.
Writing & Creating Story Setting with Specific Details
Have any favorite books or series where the author brings the setting alive? Any great examples of rich, setting-specific details from a book you’ve read? Feel free to post in the comments below.
Along with his MUF posts, T. P. Jagger can be found at www.tpjagger.com, where he provides brief how-to writing-tip videos as The 3-Minute Writing Teacher plus original readers’ theatre scripts for middle-grade teachers. He also has a 10-lesson, video-based creative writing course available at Curious.com.
Amy Vatne Bintliff is a teacher and researcher who has taught language arts and reading in traditional and alternative programs in Minnesota and Wisconsin. She has developed a wide array of programming for students who struggle with school. A passionate advocate for human rights and multicultural education, she believes strongly in listening to the voices of adolescents.
I sat down to chat with Amy, who is working on a new edition of the book, adding a new chapter about her recent work with middle school students.
What turns kids away from reading?
For many students, the hectic schedules that they lead turn them away from reading. They are so busy with athletics, jobs, etc. that they just don’t build in the time. And then when they do have time to read in class, they often feel sleepy. That makes sense, right? We know that most adolescents need more sleep. Feeling that they just aren’t good at reading also causes disengagement. I find that many students get one MAP score or STAR score back that is low, and their self-esteem just tanks. No matter how much I tell students that those scores don’t represent their complete lives as a reader, they internalize those scores and carry a feeling of defeat with them. That turns students away.
Why do you think books with social justice themes are appealing to students and how do you use them in the classroom?
I began using human rights education and social justice education early on in my career partly because that’s where my own passions are. But then I began really observing how active my students were when they were discussing or debating themes of injustice. Nearly every young person I have taught has felt the sting of injustice in some way. At the start of the year, we begin debating what is meant by the word “justice” and “injustice”. We look at modern texts, such as opinion editorial pieces, plus brief excerpts by philosophers, such as Aristotle. Then we read about people like Martin Luther King Jr., Mark Twain, Septima Clark, and others involved in social change. We also each write a personal essay, journal or poem about times injustices have impacted us. I also directly teach my students different frameworks depending on the text and student interest. A few of the frameworks are:
Generally, students are presented with the frameworks and then have time to discuss them, choose an article, standard or stereotype that they want to explore more deeply, and present a group or individual project.
I then find some strong examples from literature, usually our class reads aloud to start with, so that we can explore with new eyes. We then use the frameworks to analyze literature, current events, and our own responses to them. Students begin to actively engage with text because they have a new vocabulary to back up their thinking. When we get to Close Reading activities, students can say, “I found a gender stereotype here” or “What’s happening is going against the message of the Universal Declaration of Human Rights”. They feel empowered. They also feel moved by the very human stories involved in the work. Finally, we create service projects that allow students choice. For example, last year, my students chose to teach Teaching Tolerance’s Anti-bias Standards to 4th graders. The service portion of a reading classroom engages them and helps lessen the feelings of sadness, anger and helplessness often associated with reading about social justice themes.
What is the role of diverse books in engaging young people?
Diverse books allow students to create imagined dialogue with people outside of their normal daily interactions. These imagined dialogues decrease fear and build connections. It builds capacity, teaches background knowledge, and allows students to reflect on how they are similar or different from narrators or main characters. Diverse books also teach students that one person’s story does not represent a whole race, gender, etc. As a teacher, I reiterate that each time we explore a piece of literature.
What are some of your favorite books to reach disconnected students?
The graphic novels, March Book One and March Book Two by John Lewis, Andrew Aydin and Nate Powell are fantastic! Students who never read full books in the past completed both. What I love about these graphic novels is that they tie to other social justice texts or current events. Even though the books may take some students only a matter of days to read, there are many weeks worth of connections and discussions to stem from the graphic novels. I love that the history re-connected not only struggling readers, but also students who generally weren’t enjoying traditional history texts.
I have had great success with the novel Ninth Ward by Jewell Parker Rhodes. There is so much to talk about in this book such as bullying, coming of age, poverty, and equality.
In a classroom with students at a range of reading levels, how do you both challenge advanced readers and engage those that are struggling?
I think one of the key things is to engage students with concepts and philosophies that are challenging no matter what their reading level. If the theme of a story, such as injustice, is carefully selected, students can work with partners, or solo, on the text. You then need to create space for dialogue so that all students have equal opportunities to share their thinking. I also help students select books that match their interests and push students to new levels when they are ready. My reading students select their books of choice and I build in time for independent reading in a comfy part of the classroom. I work with three rotating stations: guided reading where I teach new strategies, a writing station and an independent reading station.
In your video (embedded below), you talk about including physical activities in the reading classroom. Can you elaborate on that?
Movement is essential when working with reading students! I have a whole array of brief “brain games” that I use between station rotations. I play the game with them, so we build trust by laughing, setting game goals, and getting blood flowing to the brain.
When I was younger, school taught me to brainstorm an idea for a story, write it, then turn it in. I’d get feedback and a grade, but that was the end of it. I’m so grateful when I see my daughters not only write in school, but also practice revising. Very few things come out amazing in the first draft (and often the second, third, and fourth drafts, too). Every time you put writing away for a bit then look at it with fresh eyes, or receive feedback from trusted critique buddies or publishing professionals, there’s a chance to take your work up at least a level or two. But sometimes, it’s hard to know where to start.
Once you finish your first draft of a book, assignment, etc. I think the most important thing to do is CELEBRATE! So many people want to be writers and have all kinds of ideas swimming around their heads, but don’t find the time to actually sit and get them down on paper or into a computer. Congrats for finishing your draft!
Years ago, I used to leap into revisions in a very unproductive way—by trying to make the prose sing. That’s very important, but if the bones of your story aren’t strong enough, you can spend tons of time polishing up areas that will have to be cut. Concentrate on the big picture items first. Once you get them as strong as possible, that’s the perfect time to tweak your prose to perfection.
I’ve learned that I’m much stronger at voice and writing dialogue than plotting, so that’s where I usually start with a revision. I use Joyce Sweeney’s Plot Clock as much as possible while planning a new novel or picture book. Sometimes surprises pop up that take my plot in an unexpected direction. I love when my characters take over and start to lead the story! Sometimes, I’ll go back and rework the Plot Clock soon after I finish a draft, other times I jot notes on it and don’t completely redo it until I finish several rounds of revisions.
If you’d like, you can take a peek atsome notes I shareda few years ago after taking Joyce’s Plot Clock Workshop, or you cansign up for Joyce’s newsletterthen log in to her site to watch her free hour and a half Plot Clock webinar.
Here are some other revision tips:
*Look at your characters and see if they’re all necessary and unique enough. Get to know them better through interviews. I love keeping a list of the traits, sayings, etc. of each character (and it tends to grow throughout the first draft and continues to expand and morph through rounds of revisions).
*Is every scene needed?
*Did you take the most obvious route? Play around with all the possibilities you can think of. What can really make your story and characters unique? What can surprise your readers (but looking back, they’ll hopefully have enough clues to realize how everything led up to that moment)?
*If you hit a section that you know needs to be stronger, but aren’t sure how to fix it, you can try setting a timer for ten minutes and brainstorming all the possibilities. You can also play with the time of day that you write. My inner critic gets tired late at night, and I’ve found that I take more chances with my writing then. It’s a great way to attack a scene I know I need to change, but am not exactly sure how.
*Now is a fantastic time to get feedback from trusted critique buddies. If possible, see if you can work on another project or character sketches, so you can view your story with fresh eyes when you receive their comments.
At the end, you can fine-tune your story. Make sure every word is needed and the strongest possible choice. Look for often repeated words. Read your story out loud and see where you stumble. Or have someone else read it out loud—it’s amazing how much clearer you can see your work when read by another person. If others hear it too, do they laugh at the right time or lose attention during scenes that can be streamlined?
Here are a couple of older Mixed-Up Files posts about revision that you might want to read:
I’d love to know what revision strategies work best for you!
Mindy Alyse Weiss writes humorous middle grade novels with heart and quirky picture books. She’s constantly inspired by her two daughters, an adventurous Bullmasador adopted from The Humane Society, and an adorable Beagle/Pointer mix who was rescued from the Everglades. Visit Mindy’s Twitter, Facebook, orblogto read more about her writing life, conference experiences, and writing tips.
Welcome to the Mixed-Up Files, Amie and Shannon. We’re thrilled to have you here. Congrats on the launch of Dancing in the Storm. It’s so inspiring and powerful. I had...
From the Mixed-Up Files is the group blog of middle-grade authors celebrating books for middle-grade readers. For anyone with a passion for children’s literature—teachers, librarians, parents, kids, writers, industry professionals— we offer regularly updated book lists organized by unique categories, author interviews, market news, and a behind-the-scenes look at the making of a children's book from writing to publishing to promoting.
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