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1. Dear Teachers: An Open Letter about Images of Indians

November 17, 2015

Dear Teachers,

Each day when young children get home from school, parents ask how their day went and if they have any homework. For some parents, the homework their child brings home can be daunting because it has material on it that they haven't thought about in years. They have to "brush up" on it in order to help their children understand the concepts the child's homework is intended to reinforce. Some parents find homework annoying because it is so repetitive and their children could be doing something more engaging.

Last month on social media, Native parents circulated photos of worksheets and books their children were bringing home. Some of these photos were of cartoon-like images of Indians who greeted Columbus.

November is Native American month. Thanksgiving happens this month, too, so, some of the worksheets parents are sharing on social media are about Indians greeting the Pilgrims. Some just have random images of Indians on them because it is Native American month.

If I asked you, teachers, to look through your file of worksheets, some of you will see what I'm talking about. Smiling Indians handing corn to Pilgrims. Cute Indians sitting cross legged on the ground, tending a fire, next to a tipi. Color-by-number worksheets of Indians... We could go on and on, right?

For Native parents--and for non-Native parents who know these images are stereotypical--the homework itself is more than daunting or annoying. They know those worksheets carry messages of who or what Indians are supposed to be. They know those images are misinforming the children the worksheets are meant to educate. For them, these worksheets put them in a what-do-I-do about this moment. Some will point out the stereotypical image and, if needed, tell their child why it is stereotypical and not ok. Some will arrange to meet with the teacher. Some will express their frustration, with family and friends, in person and on social media. And some will keep silent because they fear that speaking to you, their child's teacher, will put their child in an awkward position.

For Native children, those images are one more silent assault on Native culture. These silent assaults, however, are ones their teachers are handing to them. My guess is that some of you, teachers, don't even notice those images on those worksheets.

I have empathy and respect for teachers. I taught elementary school in the 1980s. I know how hard it was, then, to work with the limited resources I had from the school itself, and from my own pocket. Teaching is even harder, today, than it was then. So I'm not writing this to make you feel bad.

I'm writing to ask you to take a few seconds to look--really look--at the worksheets you're going to use today, or tomorrow, or the next day, or any day. Do they have those images of Indians on them? If they do, set them aside.

A lot of you assume these worksheets and biased children's books don't matter because you believe there aren't any Native kids in your classroom. If you're basing that belief on an idea that Native people have dark skin, dark hair, high cheekbones, and personal names that sound Indian in some way, you're reflecting a stereotype.

I don't say any of this to shame you, or to embarrass you.

We all have a lot of ignorance about people who are unlike ourselves. I have had many moments of being embarrassed! I, for example, loved Five Chinese Brothers. I have very warm memories of reading it--memories that go all the way back to my early childhood years. I carried that book in my heart for decades. Then, in a graduate school course about children's literature, that book was one we looked at, and I realized how racist its depictions are... and I let it go.

I hope you'll read this letter as a virtual hug, of sorts, from a fellow educator who--like you--cares about teaching and what we teach to children. We're all learning, every day, how to do it better. I welcome any questions you have--about worksheets, or books. My entire website is for you. It's all free. For you.

Sincerely,
Debbie Reese
American Indians in Children's Literature

P.S. (added an hour after I hit upload on my letter):

My husband suggested I say a bit more about what teachers can do instead of the usual Thanksgiving activities. So! If you're working with very young children, remember your training. Early childhood education is centered on teaching children in a here-and-now framework. For them, the long-ago (when colonization began) is not best practice. For children at that age, if you want to do something about the holiday, take the what-I'm-thankful approach instead of a usual Pilgrims and Indians ones. Because you're working on their fine motor skills and use craft projects for that purpose, you can do arts activities about turkeys. For older children (3rd grade and up), check out American Indian Perspectives on Thanksgiving. If you want to take some time to unlearn what you've learned about Thanksgiving, you can start with a fellow teacher's post about Thanksgiving books: Kara Stewart's "Children's Books about Thanksgiving."

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2. Paper Lightning

paperlightningsmall.jpg

The #1 Writing Lesson: Prewrite for Effective Essays

Paper Lightning: Prewriting Activities to Spark Creativity and Help Students Write Effectively

by Darcy Pattison. Prufrock Press

, 108 Pages. ISBN: 978-1-877673-77-1

When faced with an essay writing prompt, kids need to slow down and plan before they write. The best writing lesson you can teach students a variety of prewriting activities. Let your teaching go beyond simple outlining and graphic organizers to encourage new ideas and ways of thinking. In short, a rich prewriting environment encourages exploration and expansion of ideas that will result in stronger essays and creative writing

If You Teach Students To Do Multiple Pre Writing Activities, Essays Improve

If The #1 Writing Lesson is to prewrite, then The #2 Writing Lesson is to teach students to do multiple prewriting activities, focusing on different aspects of the writing process. For example, some prewriting lessons focus on expansion of ideas, while others focus on vocabulary or language used, which impacts voice. For personal narrative essays, teach students to remember or recall details for the essay. Descriptive essays benefit from lessons on sensory details. Other activities teach students to evaluate the information that research turned up. Some prewriting tasks teach kids to structure or outline the information in a convincing way for a persuasive essay. Prewriting can even direct the research needed for an expository, informational, descriptive, analytical or persuasive essay.

Lesson Plans, Prewriting Assignments & Brainstorming Ideas

For any given writing prompt or writing assignment, you’ll likely teach four or five prewriting activities to strengthen the writing process. That’s where Paper Lightning: Prewriting Activities to Spark Creativity and Help Students Write Effectivelycan help.

  • For teachers: Over 30 Prewriting Activities, ready to teach, supports teaching the writing process for descriptive, expository, personal or persuasive essays; lesson plans for folktales and short story
  • For teachers: Printable Student Pages, easy to teach
  • For teachers: Sample Answers
  • For teachers: Use with any approach to teaching writing. Includes chart for correlations to 6 +1 Writing, Scaffolded Writing, Writer’s Workshop and the NCTE Beliefs About the Teaching of Writing.

TABLE OF CONTENTS
DOWNLOAD SAMPLE PAGES

  • Introduction
  • Acknowledgments
  • Oral Storytelling
  • Using Strong Words
  • Adding Details
  • Ugly Writing
  • Organizing Facts
  • Planning to Persuade
  • Planning Fiction
  • Folk Tales
  • Sample Answers

DARCY PATTISON: Children’s Book Author and Writing Teacher

Children’s book author and writing teacher Darcy Pattison understands
the writing process from the inside out. She is the author of The Journey of Oliver K. Woodman (Harcourt), which received starred reviews in Kirkus and Bulletin of the Center for Children’s Books and was included on the Best Book of the Year lists from Child magazine and Nick Jr. Family Magazine. MORE About Darcy Pattison

ORDER NOW

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3. A Writer's Tip: Turn Social Networking into Character Development


"Plot springs from character...  I've always sort of believed that these people inside me- these characters- know who they are and what they're about and what happens, and they need me to help get it down on paper because they don't type."  

- Anne Lamott
 
Over the past couple of weeks, we’ve shown you a few tools to get your story in shape to make good on all those new writing resolutions. Important stuff, sure. But all that pre-writing work is just a warm-up for the real thing. The story doesn’t really feel like a story until your characters come alive. Until they seem so real our nose wrinkles with the smell of acne medicine in the morning.

There are tons of awesome character cheat sheets out there. Like here. And here. And here. Also here.
Shameless plug, I know I know. But if you’ve got a shred of OCD in you, these worksheets are like chocolate-covered espresso beans in an empty cupboard. Are they necessary? Maybe not. Are they the equivalent to Match.com between you and your character? Totally.

Great! But… are they fun to do?

Well, depends on who you ask. It’s no Scrabble night, that’s for sure. But much can be learned during the discovery process of fine-tuning all the details you see and don't see on the page. There are writers galore who hug on their character sheets like they're…well, like they're chocolate-covered espresso beans.

For me, I always start out wanting to create a sparkly encyclopedia for each character, complete with charcoal renderings lovingly sketched by hand…or something. And the ‘character bible’ method is practically a must if you plan on writing a series with lots of characters or species, each with their own set of rules to track. I get it. I do. But it’s not really FUN-fun, you know what I mean? (Although I know there will be plenty of you who will still argue with me on this. I bet you also enjoy cleaning, huh? :))

So if, like me, you want the value of discovering more about your characters without the mundane task of notating where each birthmark, scar, or stray hair rests, then maybe this craft tip is for you.

My friend and 2011 debut YA author, Gwen Hayes, mentored me last year and as her first order of mentorly business, she told me I didn't know diddly-squat about my characters (she may have put it more tactfully than that). Obviously she had something up her sleeve, so I wholly expected her to send me one of those standard character worksheets to fill out. I’d be lying if I didn’t say I wasn’t already sharpening my pencil to drive through my hand in an attempt to get out of it, but luckily she didn’t have me do that. Instead, her homework was this:

Create a blog (or Myspace, Facebook, or other social networking page) as if you’re your character.

• What is the blog called?
• What song plays when the page opens?
• Are there pictures posted of friends or family?
• Is it used as a public diary or more for updating friends with a quick recap of the day?
• What kind of wallpaper is in the background —does it ooze school spirit or flou

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4. The Scene Conflict Worksheet - Developing Tension in Your Novel

We all know that a novel is about conflict. No one wants to read about people living happily ever after--that's why it isn't in the fairy tales.

But a good novel, a great novel, isn't just one big conflict. It's a series of tense scenes driven by inner turmoil, polite warfare, and open confrontation, that follow each other in the classic formula of action, reaction, and complication.

It's easy to make the mistake of believing a scene simply moves the plot forward by unfolding action or revealing information. It does that, but to be effective, a scene also has to establish a specific goal the main character wants to achieve, develop conflict that blocks the character from getting what she wants, and add complications to the plot as the character fails to reach her goal and must react to disaster.

As you develop your scene or break down your novel revision by looking at your scenes individually, ask yourself the following questions:
  • What is the mood of the scene?
  • Who is the Point of View (POVC) character in this scene?
  • What does the POVC think she wants or what is she supposed to want? (External goals)
  • What does the POVC really want, deep down inside? (Internal goals)
  • How do the POVC's internal and external goals oppose each other?
  • How do these goals fit into the overall plot conflict?
  • How do these goals fit into the overall story theme?
  • Who are the other characters in the scene?
  • What do each of the other characters want that is in opposition to the POVC's internal and external goals?
  • Who are the allies and opponents among the other characters? Who are they each rooting for?
  • What emotion do you want the reader to feel during this scene?
  • What emotion(s) does the POVC feel?
  • How can you make the POVC feel something other than the obvious?
  • What action(s) would best showcase the POVC's emotion(s)?
  • What elements can you introduce to make the POVC simultaneously feel the opposite of the primary emotion?
  • As the writer, what are your goals for the scene?
    • What information do you need to to tell the reader?
    • What action must occur?
    • What new characters must be introduced?
    • What revelations are you going to unveil about these characters?
    • What character growth do you need to show?
  • How can you take each of your goals and satisfy them in a way that pits the characters against each other or underscores the conflict between the POVC's internal and external goals?
  • How can you make it even harder for the POVC to achieve her goals?
  • What physical obstacles can you place in front of your characters?
  • What setting would make those physical obstacles even more obvious?
  • How can you make that setting more unique and memorable?
  • How can you twist the setting to make it unexpected?
  • What memories and emotions does the setting bring out in the POVC?
  • What oblique objects or details in the setting will help you underscore the POVCs emotions?
  • What kind of weather would highlight the mood of the scene?
  • Can you make the weather work against the POVC in any other way?
  • How does what happened in the scene make the POVCs situation and the overall situation worse?
  • What impossible decision does the POVC have to make after this scene?
  • How does that decision go against her needs, desires, or moral principles?
  • What questions does this scene raise that force the reader to continue reading?
Now that you have the framework of your scene in mind, do the following:
  • Visualize the scene.
  • Find a striking opening and closing image.
  • Create a compelling opening line that raises questions and highlights the tension.
  • Write a closing line that is either a cliffhanger, 

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5. Shrinking Your Characters to Enlarge Them: Character Worksheet Part 2

Okay, I'm writing a novel. Now that I've considered whether my characters are novel-worthy (see Part 1), I have an idea of their basic characteristics. But is that enough? Not even close. Especially if the character I am working with is the protagonist or the antagonist.

As I work through my character worksheet, the next thing I want to do is get a feel for what the character looks like and how she dresses, because her choices at that level immediately give me a better sense of who she is. Once I've come up with the basics, I use Google image search and iStockPhoto to put in the most identifying feature or phrase I can think of that describes her appearance. The search results usually teach me a lot more about what my character isn't than what she is, but that's all good, too. For clothing and style, I love the style browser at ShopStyle.

By this time, I'm halfway down the second page of the worksheet, and I know a lot more about how she appears to others. Now I need to know much more about who she is beneath the skin.

Once I check off some of the basic characteristics of health and personality, I'm ready to hit what I think is probably the most helpful part of the character worksheet. And this part is easily overlooked because it masquerades as just a handful of lines and checkboxes.

The 16 Myers-Briggs personality types provide a rich source of characterization data for writers. Not only can they help extend a few personality traits by providing related characteristics, but they also contain built-in weaknesses and failings. I like to match and extend these by using astrological signs, and play with the combination of characteristics until they match the role or achetype that character plays in the novel.

At this point, I am ready for the fun work to begin. Now that I know who my character is, I get to consider how she got there. I get to dig into her psychology and uncover the secrets she is trying to hide, the things she won't admit to  herself, and the highs and lows of her childhood. If she is shy, how did her parents react to her shyness? Did they push her to be more outgoing? Did they accidentally reward her for her reluctance to put herself out? If she's selfish or lazy, how did she get that way? What problems does it cause in her life? How does that pit her against the other characters in my novel?

By the time I'm done shrinking my character, I know her pretty well. And whether he or she is the protag or the antag, chances are I like her. Like her? What? YES! Even the antag has to have redeeming features. She has to be every bit as compelling as my protagonist, every bit as smart, every bit as powerful, every bit as engaging. She has to have weaknesses the protagonist can use against her, the same way the protagonist has weaknesses the antagonist will try to exploit, and because this is fiction I want the strengths and weaknesses of both the protag and the antag to be epic. Quintessential. Whatever chief strength I have identified for each of them, the one that is the most interesting and well-substantiated psychologically, that's the characteristic I am going to exploit and build-on until I can't think of the character without thinking of that one particular

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