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This is listed first, but really you should do this last.

Record yourself...either with video or audio. Introduce the work we are about to experience.

Your introduction should include:

Introduction/Description of Anchor Text

Description of Driving Question and why it matters

Discussion of at least 3 sources to synthesize information and begin to answer the Driving Question

Your “epiphany”... Your learning moment.. Your deepened understanding… Tell us what you took away from this experience. You can speak to both the topic and the learning experience itself.

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Here you will link to the most interesting article you can find about your author. In the introduction, give us the key points. Why is your author so interesting?

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Completing the CAPTCHA proves you are a human and gives you temporary access to the web property.

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If your book is fiction: Where and when does your book take place? How does the setting influence our understanding of the book? What are the connections to be made to today?

If your book is non-fiction: tell us about the exigence of the book. What is the issue, problem, or situation that caused the author to write this book? Who is the intended audience of the book, and why? What is the author's intended purpose (desired impact or outcome)? How does all of this influence our understanding of the book?

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Setting grounds your writing in the reality of place and depicts the theme of your story through powerful metaphor. Without setting, characters are simply there, in a vacuum, with no reason to act and most importantly, no reason to care. Without a place there is no story. Setting helps with plot, determines and describes character and gives metaphoric links to theme. Like the force in Star Wars, setting provides a landscape that binds everything into context and meaning.
Place Your Story
According to acclaimed novelist Richard Russo, if you're not writing stories that occur in a specific place, you're missing the opportunity to add depth and character to your writing. We are creatures of our environment, adds Robert Louis Stevenson. Our outlook on life is colored by the setting in which we find ourselves. Editors have told me that they have little faith in the vision of writers who don't clearly depict the world their characters inhabit. Imagine Thomas Hardy's characters without Egdon Heath or Scarlet O'Hara without her beloved Tara or Dorothy without the Land of Oz. In science fiction and fantasy, which I write and teach about, setting becomes an entire world.

Setting includes time, place and circumstance. These three form a kind of critical mass that creates the particular setting best suited to your story. If you change any of these it will affect the quality of the others.
Setting as Character
Settings can not only have character; they can be a character in their own right. A novelist, when portraying several characters, may often find herself painting a portrait of "place". This is setting being "character". The setting functions as a catalyst, and molds the more traditional characters that animate a story. The central character is often really the place, which is often linked to the protagonist. In Lord of the Rings, for instance, Frodo is very much an extension of his beloved Shire. Setting, then, comes to mean so much more. Setting ultimately portrays what lies at the heart of the story.
Setting as Metaphor
When you choose your setting, remember that its primary metaphoric role is to help depict theme. This is because place is destiny. Russo tells us that place is crucial to human destiny and the formation of human personality. "The more specific and individual things become, the more universal they feel," says Russo. This is not an oxymoron, but an example of the principle of a truism, which comes to us in the form of paradox (like all good truisms).

Detail provides the color and texture of your story and helps it resonate with a sense of place. This does not necessarily translate into lots of exposition; but it does require creative choice of words. So, instead of "John took a drag from his cigarette as he drove his sports car along a winding road in the country" (twenty words) try something like "Vinnie sucked on a Camel as his red Corvette careered the hair-pinned curves of Hell's Gate" (seventeen words).
Setting & Emotion
The setting may amplify a character's emotions or contradict them, depending on the circumstance of the character, her mood, disposition, tendencies, and observational skills. And the kind of story you're telling. Either way, setting provides an "emotional landscape" upon which a character's own temperament may play counterpoint or may resonate in a wonderful symphony. The writer should think of the less obvious, of contrast, and how you can increase tension and emphasize the character's situation.
Setting as Weather
Weather conveys the mood and tone of both story and character. Weather is not just part of the scenery. To a writer, weather is a device used in plot and theme. A good example is Michael Ondaatje's The English Patient and how he used the desert setting and the hot winds to evoke mood, character, tension, theme and ultimately story:

"The desert could not be claimed or owned-it was a piece of cloth carried by winds, never held down by stones, and given a hundred shifting names long before Canterbury existed, long before battles and treaties quilted Europe and the East"

In summary, here are some suggestions that will help you create vivid, memorable and meaningful settings:

Don't "tack" setting in; make it an integral part of the story; give it purpose

Describe selectively and with purpose-through integration in "scene" rather than exposition

Be specific (e.g., soft pink rose, not flower; beat up Chevy, not car; old clapboard cottage, not house)

Use similes, metaphors, and personification to breathe life into setting

Use the senses like sight, sound, smell, taste, feel

Don't tell, show (e.g., don't say the time is the 1920s; show the cars and dresses. Don't tell the reader it's raining; show them by describing the dripping trees, etc.)

Compare and contrast settings and relate them to the point of view characters

Don't describe setting all at once in the beginning; work it in slowly throughout the story; let it unfold as the story does

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Setting grounds your writing in the reality of place and depicts the theme of your story through powerful metaphor. Without setting, characters are simply there, in a vacuum, with no reason to act and most importantly, no reason to care. Without a place there is no story.

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The key to great learning is asking great questions. What questions does this book make you ask about the world? Think back to the questions from your rationale and choose one that you want to focus on for this project. You may refine or revise the wording now that you've done more reading.

Write your question and explore it in this post. Draft some of your initial thoughts and tell us why the question is important and relevant today.

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Connecting Students and Literature to the Real World: Motivation, Choosing Literature and Literature and the Real World

Literature is almost always seen as an art form. It is something that is meant to take you away from the real world for a while. Literature is a worldview from another perspective, place, time, or world. The language used in this literature is just a way to pass on information to others. So, literature is just kind of a time capsule of information being passed down for years and years. It is a more solid and concrete form of oral information. It can last forever if we are careful with it. Showing that this, sometimes old, information is useful or relevant to our students can be difficult for teachers in the English language arts classroom.

Sometimes seeing and showing the rewards of reading is challenging. Not all literature has its relevance splayed out in the first few pages. Some pieces may not have any relevance to certain students immediately. However, this shouldn't deter you from choosing literature and using tactics to help you and your students choose literature that your class thinks is helpful to everyone. If you truly feel a piece of information is relevant to students' lives, then it more than likely will be. If students feel that a piece of literature is relevant to their lives, then you are doing your job right! Making them see and believe that literature is useful and interesting, however, can be very challenging for teachers. Teaching, like literature, is art.

Teaching is an art and a science. It requires complexity, not simplicity. It requires deepcontent knowledge as well as...'local knowledge'-in our case knowledge of the studentsin the classroom and the community. (Christensen, Reading, Writing, 163)

There are a ton of things you can do to help yourself choose "good" literature for your students and help your students relate it to their own world. Motivation is a key to helping students understand how literature can relate to their world. If they don't want to see something in the reading, they aren't going to dig meaning out of it by forcing them to. Here are a few ways to get students motivated about the literature you want them to get through. Even if you are required to get through specific texts, these can still be applicable.

- Motivation
Have them choose the reading.
People enjoy making their own choices. Students will feel respected if you let them choose their own reading. Even if you have a "theme" for your unit, have them choose from a selected list of literature, or let them make suggestions to you from books following the same theme. When you select the literature for them to choose from, you should pay attention to your students, the conditions of their lives, and the events unfolding in the world around them (Chritensen, Reading, Writing, 164). Selecting literature that is relevant to them is crucial for their motivation.

If you absolutely have to work within some restrictions, such as assigned books or a certain period of literature, try to wiggle as much as possible. Still let students decide certain texts. Another good idea is have self-selected reading and require them to read a certain amount time out of their selected text every night. Allow them to read assigned books for their timed reading at night when you have to get through it. Allowing students to find out what they like and allowing them to not like a book or a type of book can really boost their confidence as a reader. Lausé states how she feels about the plight of classrooms in the US today. She says, "Selecting and reading books in school should not be a luxury, but it certainly feels like it to students accustomed to traditional English classes." (Lausé 25). This is, unfortunately, often true in many classrooms across the United States. As teachers, we have the ability and responsibility to slowly change how and what literature is taught, not only in our classroom but, across the United States.

Using a workshop to get students to read what they want and figure out what they like can boost their motivation to read and break away from "sticking to the script" that is standard English curriculum and canon in the United States. Even though some students may not know what type of literature they like immediately, they do have the ability to figure out what they like. "...While students may enter my classroom without skills, they don't enter my classroom without knowledge or talent or potential." (Christensen, Reading Writing, 165). This quote by Christensen shows how students may not always be the best readers or the most well-read students, but all of them have the potential to become a better reader. They all have the potential to figure out what type of reading they like and to choose literature that they find relevant and motivating to themselves.

Self-selected reading can be an easy grade for you to manage and for your students to accomplish. If you set a goal for a certain amount of time for nightly or weekly reading for students to do, they will probably do it. You could easily assess if they are reading by having them write about the reading in a journal or blog or you could just discuss the literature with them. Self-selected reading in the classroom will boost students motivation because they can choose what they want to read, and can read at their own pace. For example, not every student will like The Scarlet Letter, even if you are required to get through it. But you can still have students have their own self-selected reading on the side for them to get through as well. You can explain to your students that you are required to get through a certain text, and have them decide what they like and dislike about it, without forcing them to see what lessons they can pull from it.

Don't make the reading a burden, but don't make it too light either.

Students have a lot going on in their life. If you force them to read something they don't immediately see as useful, they probably won't bother reading it. However, if you expect too little out of your students, they won't be challenged and still might not do the work you ask them to. A lot of students won't do it because they see it as mind numbing busy work. Work that isn't useful for them, just a grade in the book. Most of your students want a challenge. They don't want to sit there and do busywork and not learn anything. They want something interesting and fun, not boring and arduous. If you challenge them just enough, the students will do the work. If you challenge them too little, they will just skip over it. If you challenge them too much, they will struggle.

You know you are expecting just the right amount when everyone is complaining a bit about the work; it's like the body when it aches because you used new muscles, you strained them. (Burke and Krajicek 34)

Finding that balance between manageable but challenging can be extremely difficult. Especially since that balance is also different for every child. You may have to ask yourself, "If I require this of the whole class, will it challenge everyone equally? Do I need to adjust what I am doing to challenge everyone the right amount?" This can be a difficult balancing act and you may need to adjust your curriculum to get it just right.

You need to find a good middle ground of in class reading and outside of class reading, even if the outside is much lighter than the in class. You need to know what is going on with the students' lives and compensate for that. Maybe you assign 20 minutes of reading a night, but if someone can't do it one night, they can do 40 another night. You have to give your students leeway, because they are just students. They have a lot going on with other classes, and with their own lives. They are just people like everyone else. You can't expect too much out of everyone or they will never accomplish anything. However, they are still students, and they should be given a challenge. Challenges will help them learn. If they aren't being challenged they probably aren't learning a whole lot in the classroom. Linda Rief offers several tips on promoting reading including:

Give students...A balance of easy-to-read, just right, and challenging books. By reading books aloud to the students, we can choose books that are more difficult and thought-provoking because in the ensuing class discussions and written responses, we can help guide kids through layers of meaning, ideas, or innuendoes they may not pick up on their own. (Rief 51)

Giving students a wide variety of easy to challenging books can boost their confidence as readers as well as motivate them to want to read more often. One of our jobs as English teachers is to create life-long readers and writers. If we can keep from making reading seem like a hassle to students, more like an academic chore than something we can do to enrich our lives, we can hook them onto reading for a lifetime.
Read to them and let them read to each other.
Reading to students can give them an example of how an active reader will read through a text. It can also make a text more interesting by giving voices to characters and emotions behind those voices. If you read out-loud to them, it might make a daunting book seem less challenging and more readable. Even if a student says they do not like to read, most students enjoy hearing a story (Beers 290). Reading aloud with expression is entertaining and puts the students into the story. If you are acting out a scene with your voice, you will be entertaining to your students. If you do this you will also be instilling interest in the story for your students as well as actually getting parts of a book read through. They may take the book home and read it on their own just to see what happens to those characters that you were acting out earlier. This can put real people and thoughts behind these characters in a story and make it fun for students.

Another form of reading aloud in the classroom could be audio-books. Audio books can usually be found online for pretty cheap. Sometimes the author will even be the one who reads the book. Sometimes the book is narrated with sound effects and multiple voice actors and actresses to help develop characters. These can be a useful tool to help students get into the literature and get more interested in the story. This can be a good tool to help students follow along in the book while listening to a fluent story.

With many pieces of literature, there is a screenplay counterpart. While this may help them get a feel for what is going on in a piece of literature, movies probably shouldn't completely replace the text. However, showing students a powerful scene from something they are about to read (or have just read) could pique their interests and motivate them into reading the text. Movies are a great way to motivate students to read a text. If students know that you will get to watch the movie of the book you are about to read, they will be more likely to want to actually finish reading the book before watching the movie.

Reading aloud can be a good chance to model what active readers do while reading out loud to students in class. Whether reading it aloud, listening to audio-books, or watching the movie take time to pause and ask questions of the text. What is going on here? Why did that happen? What do I think is going to happen next? If you model active reading to your students, they will begin to understand how to actively read better and more efficiently. Kylene Beers mentions that too often secondary teachers forget the value of reading aloud to students. She then goes on to explain how secondary teachers can use reading aloud to model good reading to students.

...if you read aloud on a consistent basis, ask students to summarize what was read the day before, stop occasionally to discuss the action or unusual words or a confusing part, and then, at the end, have students predict what will happen next, you'll have tied this activity to comprehension and vocabulary development. (Beers 291)

Reading a few chapters aloud in class is another good way to motivate students who don't want to do the reading to actually read the text. If students hear the first bits of a story, they may be more motivated to do the rest of the reading on their own time, to see what happens in the book. Beers suggests that doing what are called "Booktalks". These are little speeches about the book that ask questions of the students and motivate them to want to read the text. They are like little advertisements for the book and may motivate some students to read them. This is also a good way to see what type of texts students may be interested in. If a few students think the science fiction novel you just booktalked sounded interesting, maybe you know what other books those few students may like. The same can go for any type of book for any student.

With all this reading aloud, it can be a good chance for students to actively participate in the class. Students will want to read aloud and give the dead words on the page life. However, with all this in class reading make sure not to force the vocal reading on anyone who doesn't want to read. If they want to read try to let them as much as possible. They can play with dialogue as well as make up voices and emotions where necessary. Thinking about these emotions in the literature can also get students thinking about what is really going on in the literature and also how it connects to the real world.
Make your students confident readers by helping them read better.
Students who often say they hate reading are also students who struggle to read. It is important to make sure if you want to motivate students to read, that they have the skills necessary to read on their own and be confident about it. If a student doesn't "get" a book, it is most likely because they lack the skills necessary to be a confident reader. Some students need help in active reading, while some students may need even more basic instructions. Kylene Beers puts readers into two groups: independent readers and dependent readers (Beers 16) Beers describes independent readers as readers who figure out what is confusing them, set goals for getting through the reading, use many strategies for getting through the text, and know how to make the mostly invisible process of comprehension visible. She describes dependent readers as readers who stop, appeal to the teacher, read on through, keep the mostly invisible process of comprehension at the invisible level. We as teachers want to create independent readers out of any dependent readers in our classroom. But, how can we do that? We as teachers will need to assess individual struggles with different students. Are they struggling with the words? Is the syntax too difficult for them to comprehend? Do they understand the vocabulary used?

Assessing each student's issues could become time consuming as a teacher. However, these small issues with each student could become a teachable moment for the entire class. If one student is struggling with one area of the text, maybe you could take that and teach a mini-lesson over it the next day. Try to help students get over their problems and they will become better readers in the process. If you allow them to continue to struggle and just throw more work at them, they will not become better readers. They will struggle and give up on you and they will give up on the text.

Another way to help students become better readers is to help them actively read. A good way to help them do this is to have them mark in some way questions they have about the text. Get some sort of thin paper bookmarks and have them write questions and other thoughts they have on the piece of paper. If they do this they will not only have things to reflect on and think about the text, but they will also have good talking points if they want to discuss the text in class. Actively reading the text by asking questions and thinking about what is going to happen next and what is happening now is not only a good skill for any reader to have, but can be especially helpful for students because it allows them to better comprehend what they are reading. With better comprehension comes better understanding and motivation to read more challenging texts.
Don't require tests just to make sure they read.
While this can be a motivator for some students, it can make some students lose trust and respect in you and in their education. If you can't trust your students to do the work, giving them a multiple choice test isn't going to fix the problem. Literature is art, it's subjective. Giving these kinds of tests can lead to the idea that the teacher is the one source of true information, when really the teacher is just a guide that is also learning along the way. Tests don't really assess the students' abilities to make connections to the literature (and that is our goal); it just checks to see if they have access to the information presented. A quote from a student in Linda Christensen's classroom summarizes how she felt after taking a test:

[Tests] caused us to feel nervous, make us feel stupid, conditioned us to testing and to being told what to do without questioning, made us compete against each other, fostered an "I'm better than you," appeared fair, but made us internalize the fault. (Christensen, Teaching for Joy 60)

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How to Connect Students to Literature and Literature to the Real Life World: Making Reading Fun

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Literature is almost always seen as an art form. It is something that is meant to take you away from the real world for a while. Literature is a worldview from another perspective, place, time, or world. The language used in this literature is just...

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Non-Fiction Connection (if your book is fiction)

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Non-Fiction Connection (if your book is fiction)

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Link to a real world example - news or magazine story.. Explain the connection and why the connection matters. Does it connect to your larger question about the world?

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Fiction Connection (if your book is non-fiction)

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Fiction Connection (if your book is non-fiction)

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Link to a short story (or literary essay.... think about sources The New Yorker or The Atlantic) that connects with your topic in a substantial way. Explain the connection and why the connection matters. How does it connect to your larger question about the world?

The link below is a good source for selecting a short story. You may then have to check the story collection out through SORA or your local library, so plan accordingly.

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Welcome to the exciting world of short stories:

A bound man with a rope around his neck is on a bridge with guards all around and rushing water below. Find out if there's any escape in "An Occurrence at Owl Creek Bridge." (12% into Amazon preview)

A mysterious package is followed by a visitor with a shocking offer. Find out if they accept it in "Button, Button". (30% into preview)

When hostilities break out between the Muslims and Hindus in India, a friendship is tested with unforgettable results in "A Grain of Mustard Seed". (27% in)

A young hitchhiker has an unsettling admiration for a serial killer in "#8". (65% in)

A robbery goes wrong and a kidnapping goes worse in "The Weekender". (52% in)

Short Story Guide is designed to help middle school/high school teachers, students, and reading lovers find the right story and allow them to easily read online short stories free, where possible. Short stories are categorized by subject, theme, place, author and type.

I try not to reveal too much about the stories, but simply categorizing them can sometimes be a bit of a spoiler.

I hope this list of short stories will be a useful teacher's resource, however, they haven't been specially selected for students and not all are appropriate for all ages.

A big anthology full of interesting stories with literary merit is Fiction 100. (Links are to Amazon) The newest edition is expensive, but an earlier one, like in the link, is affordable. It has many of the commonly anthologized stories. If you only want one short story anthology, this would be a good choice.

A good anthology for middle school is Little Worlds. This book has 31 short stories for students, divided by the usual story elements. Another good one full of stories 1,000 words or less with a coming-of-age slant is Sudden Flash Youth: 65 Short-Short Stories.

As for single-author collections, the two that I've enjoyed the most are The Complete Flannery O'Connor and The Complete Roald Dahl (two volumes). If you read one Flannery O'Connor story and like it, you'll probably like them all. If you like unusual, darkly humorous stories where anything can happen, you'll probably like Dahl. I also have to mention Alice Munro. She doesn't have a complete collection yet, but there are many others to choose from. I find her stories very hard to classify because they're just about life-they're so complex (not complicated) that it feels like I'm being insulting when I put one on a category page.

I know what's inside a book is the main thing, but I also like seeing really nice looking books on my shelf. If you do too, check out 100 Years of the Best American Short Stories. I love the look of this one. I also like the look of Bradbury Stories: 100 of His Most Celebrated Tales. It's a very simple design, but I think it's perfect. These books are full of great stories, so it's really just a bonus that they look so nice.

If you'd like to scroll through some free, well-known stories with a quick description, start here.

"A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is."-Flannery O'Connor

"I want the reader to feel something is astonishing -not the 'what happens' but the way everything happens. These long short story fictions do that best, for me."-Alice Munro

"Unlike the novel, a short story may be, for all purposes, essential."-Jorge Luis Borges

(of the short story) "...it achieves closure-meaning that, when it ends, the attentive reader understands why."-Joyce Carol Oates

"Short stories are the deep, encoded crystallizations of all human knowledge. They are rarefied, dense meaning machines, shedding light on the most pressing of life's dilemmas."-George Saunders

(on what a short story is) "A shaft driven straight into the heart of human experience."-Edith Wharton

"Conciseness is the sister of talent."-Anton Chekhov

"It's possible, in a poem or short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things-a chair, a window curtain, a fork, a stone, a woman's earring-with immense, even startling power."-Raymond Carver

"A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story-you can work more by suggestion-than in a novel. Less is resolved, more is suggested, perhaps."-Eudora Welty

"A short story is the ultimate close-up magic trick-a couple of thousand words to take you around the universe or break your heart."-Neil Gaiman

"'Who reads short stories?', one is asked, and I like to think that they are read by men and women in the dentist's office, waiting to be called to the chair; they are read on transcontinental plane trips instead of watching banal and vulgar films spin out the time between our coasts; they are read by discerning and well-informed men and women who seem to feel that narrative fiction can contribute to our understanding of one another and the sometimes bewildering world around us."-John Cheever

". . . each short story has one chief purpose, and every sentence, phrase, and word is crafted to achieve that end. The ideal short story is like a knife-strongly made, well balanced, and with an absolute minimum of moving parts."-Michael Swanwick

"I want my stories to be something about life that causes people to say, not, oh, isn't that the truth, but to feel some kind of reward from the writing, and that doesn't mean that it has to be a happy ending or anything, but just that everything the story tells moves the reader in such a way that you feel you are a different person when you finish."-Alice Munro

"Short stories do not say this happened and this happened and this happened. They are a microcosm and a magnification rather than a linear progression."-Isobelle Carmody

"Short fiction seems more targeted-hand grenades of ideas, if you will. When they work, they hit, they explode, and you never forget them."-Paolo Bacigalupi

". . . there is in the short story at its most characteristic something we do not often find in the novel-an intense awareness of human loneliness."-Frank O'Connor

"A short story is a different thing all together-a short story is like a kiss in the dark from a stranger."-Stephen King

"I just want to tell a story, and if people listen, and if it stays with you, it's a story."-Sandra Cisneros

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Welcome to the exciting world of short stories: A bound man with a rope around his neck is on a bridge with guards all around and rushing water below. Find out if there's any escape in "An Occurrence at Owl Creek Bridge." (12% into Amazon preview) A mysterious package is followed by a visitor with a shocking offer.

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Find a poem and link to it. Explain the connection to your book. Explain why the poem matters and how it elevates the conversation about your book. Continue to think about the questions this book makes you ask about the world.

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Poems, readings, poetry news and the entire 100-year archive of POETRY magazine.

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Find 2 (CP) or 4 (Honors) more sources to expand your text set. Think about the genres you have missed... what can you add that will address those larger questions you've been asking about the world?

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Find a translation for the multigenre definition in other languages: - Select - 简体中文 (Chinese - Simplified) 繁體中文 (Chinese - Traditional) Español (Spanish) Esperanto (Esperanto) 日本語 (Japanese) Português (Portuguese) Deutsch (German) العربية (Arabic) Français (French) Русский (Russian) ಕನ್ನಡ (Kannada) 한국어 (Korean) עברית (Hebrew) Gaeilge (Irish) Українська (Ukrainian) اردو (Urdu) Magyar

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Find a TEDTalk and link to it. Explain the connection to your book. Explain why the TED Talk matters and how it elevates the conversation about your book. Continue to think about the questions this book makes you ask about the world.

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Get a daily email featuring the latest talk, plus a quick mix of trending content.

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TED Talks are influential videos from expert speakers on education, business, science, tech and creativity, with subtitles in 100+ languages. Ideas free to stream and download.

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Find a piece of art and link to it. Explain the connection to your book. Explain why the art matters and how it elevates the conversation about your book. Continue to think about the questions this book makes you ask about the world.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.