Over the course of the semester, you are required to read at least ONE novel for independent reading. You are encouraged to read more, and I will keep record of all novels completed.
You are an editor at a publishing house that publishes books of a particular genre: romance, young adult, mystery, suspense thrillers, fantasy/Sci Fi historical, and literary fiction.
Create a Book Trailer using MovieMaker that employs film techniques (shots, angles, music, font, etc.) to demonstrate how the genre features/conventions are used in your novel. (ex. 1 st person point of view, obstacles, setting and mood).
Create a five-minute multimodal presentation to show your Book Trailer and explain how the details and film techniques in your Book Trailer reflect your analysis of genre features in your novel.
Remember that many authors reinvent and reject some the conventions of their genre.
See next page for Performance Standards.
Mark:_____________ Comments: Issue Date: Thursday, 3 April 2014, Week 10 Draft Due: 10ENS1_9 Friday, 2 May 2014, Week 13 10ENS1_6 Thursday, 1 May 2014
FINAL DUE: Monday, 12 May 2014. WEEK 15 PERFORMANCE STANDARDS FOR YEAR 10 EXTENSION ENGLISH AND ENGLISH
Knowledge and Understanding Analysis Application Communication O u t s t a n d i n g
A
A
Extensive knowledge and understanding of ideas, values and beliefs in texts. Extensive knowledge and understanding of the ways in which the readers and creators of texts use language features and text structures to make meaning. Extensive knowledge and understanding of the ways in which texts are composed for particular purposes and audiences. Perceptive analysis and evaluation of connections between reader/audience experiences, ideas, values, and beliefs, and those explored in texts. Perceptive analysis of the ways in which the creators of texts use textual features to influence opinions and decisions in texts. Perceptive analysis of the connections between texts. Sophisticated use of textual features in the creation of a range of texts. Sophisticated use of evidence from texts to develop and support ideas/opinions and to make comparisons. Sophisticated application of research skills and synthesis of information to create texts for particular purposes. Fluent and precise use of appropriate communication skills in the selected modes. Fluent and precise use of appropriate style and structure for particular audiences and purposes. Fluent and precise use of appropriate grammar, spelling, vocabulary and punctuation. H i g h
B
Detailed knowledge and understanding of ideas, values and beliefs in texts. Detailed knowledge and understanding of the ways in which the readers and creators of texts use language features and text structures to make meaning. Detailed knowledge and understanding of the ways in which texts are composed for particular purposes and audiences. Clear analysis and evaluation of connections between reader/audience experiences, ideas, values, and beliefs, and those explored in texts. Clear analysis of the ways in which the creators of texts use textual features to influence opinions and decisions in texts. Clear analysis of the connections between texts. Effective use of textual features in the creation of a range of texts. Effective use of evidence from texts to develop and support ideas/opinions and to make comparisons. Effective application of research skills and synthesis of information to create texts for particular purposes. Effective use of appropriate communication skills in the selected modes. Effective use of appropriate style and structure for particular audiences and purposes. Effective use of appropriate grammar, spelling, vocabulary and punctuation. S o u n d
C
Sound knowledge and understanding of ideas, values and beliefs in texts. Sound knowledge and understanding of the ways in which the readers and creators of texts use language features and text structures to make meaning. Sound knowledge and understanding of the ways in which texts are composed for particular purposes and audiences. Sound analysis and evaluation of connections between reader/audience experiences, ideas, values, and beliefs, and those explored in texts. Sound analysis of the ways in which the creators of texts use textual features to influence opinions and decisions in texts. Sound analysis of the connections between texts. Sound use of textual features in the creation of a range of texts. Sound use of evidence from texts to develop and support ideas/opinions and to make comparisons. Sound application of research skills and synthesis of information to create texts for particular purposes. Sound use of appropriate communication skills in the selected modes. Sound use of appropriate style and structure for particular audiences and purposes. Sound use of appropriate grammar, spelling, vocabulary and punctuation. L i m i t e d
D
Limited knowledge and understanding of ideas, values and beliefs in texts. Limited knowledge and understanding of the ways in which the readers and creators of texts use language features and text structures to make meaning. Limited knowledge and understanding of the ways in which texts are composed for particular purposes and audiences. Limited analysis and evaluation of connections between reader/audience experiences, ideas, values, and beliefs, and those explored in texts. Limited analysis of the ways in which the creators of texts use textual features to influence opinions and decisions in texts. Limited analysis of the connections between texts. Limited use of textual features in the creation of a range of texts. Limited use of evidence from texts to develop and support ideas/opinions and to make comparisons. Limited application of research skills and synthesis of information to create texts for particular purposes. Limited use of appropriate communication skills in the selected modes. Limited use of appropriate style and structure for particular audiences and purposes. Limited use of appropriate grammar, spelling, vocabulary and punctuation. V e r y
l i m i t e d
E
Very limited knowledge and understanding of ideas, values and beliefs in texts. Very limited knowledge and understanding of the ways in which the readers and creators of texts use language features and text structures to make meaning. Very limited knowledge and understanding of the ways in which texts are composed for particular purposes and audiences. Very limited analysis and evaluation of connections between reader/audience experiences, ideas, values, and beliefs, and those explored in texts. Very limited analysis of the ways in which the creators of texts use textual features to influence opinions and decisions in texts. Very limited analysis of the connections between texts. Very limited use of textual features in the creation of a range of texts. Very limited use of evidence from texts to develop and support ideas/opinions and to make comparisons. Very limited application of research skills and synthesis of information to create texts for particular purposes. Very limited use of appropriate communication skills in the selected modes. Very limited use of appropriate style and structure for particular audiences and purposes. Very limited use of appropriate grammar, spelling, vocabulary and punctuation.
The Genre: Adventure When thinking of the action/adventure genre, most people think of a tale filled with excitement and danger, a tale that will keep them on the edge of their seat, turning pages until the very end. The adventure novel is essentially a quest story, where the primary complication is often physical danger to the protagonist. R.L. Stevenson said that if youre confronted with great fear and danger all you need are imagination and courage.
The quest may be literal (survive hardship and terror to deliver this ring to an ancient wizard), or more abstract (finding a way to improve a relationship). The quest is a long and difficult search for something. The traditional quest involves: treasure, a mission, an exploration, or, at its simplest, survival. As a reader, the quest is something we can all identify with. Like the main character, we all hope to find that certain something or someone that will change our lives. And this is the key to the power of the quest in story: it represents our innermost desires.
A likeable protagonist (main character, not necessarily a hero) An unlikable antagonist (character who does their best to hinder the efforts of the main character). Note: The antagonist does not have to be a person, and can instead be represented in the form of society, nature, or even appear within the protagonist themself (e.g. character flaws, fear, physical disability, etc) Hero: the principal character in a text; a person of distinguished courage or performance Antihero: A hero or central character who does not possess the traditional heroic virtues or characteristics Setting often somewhere exotic or unusual, often not your everyday location Danger taking the main character out of their comfort zone or normal everyday experience Fast paced the action moves quickly. Verbs are used to propel the narrative. Descriptive writing which draws on the five senses (smell, taste, touch, sight, sound). Often includes vivid descriptions of physical action. Dialogue - gives insight into the characters; is often snappy and can be humorous
The Genre: Allegory
The term allegory derives from Greek allegoria, speaking otherwise. As a rule, an allegory is a story with a double meaning: a primary or surface meaning; and a secondary or under-the-surface meaning. It is a story, therefore, that can be read, understood and interpreted at two levels (and in some cases at three or four levels). It is thus closely related to the fable and the parable.
Allegory teaches a lesson through symbolism. Allegory communicates its message by means of symbolic figures, actions or symbolic representation. An allegory in its most general sense is an extended metaphor.* The origins of allegory are very ancient, and it appears to be a mode of expression (a way of feeling and thinking about things and seeing them) so natural to the human mind that it is universal. Its fundamental origins are religious. Much myth, for example, is a form of allegory and is an attempt to explain universal facts and forces. The best known allegory in the English language is John Bunyans Pilgrims Progress (1678). This is an allegory of Christian Salvation. Christian, the hero, represents Everyman. The whole work is a simplified representation of the average mans journey through the trials and tribulations of life on his way to Heaven. Sources: Dictionary of Literary Terms and Literary Theory pp 20-21 *http://en.wikipedia.org/wiki/Allegory Features of the Allegory Genre
Teaches a lesson through symbolism; involves a process of learning for both the main character(s) and the reader Uses an extended metaphor, which is well developed and spans the narrative Often uses the narrative structure of the journey, quest or pursuit Uses fictional characters and events which resemble the subject to communicate its message Characters represent abstract qualities such as lust, greed, good and evil, etc Story can be understood on two or more levels An allegory has no determinate length The form may be literary or pictorial Language is often concise and lucid
The Genre: Crime Fiction
At a very basic level, crime fiction has three elements. A crime is committed, there is an investigation into the crime, and then some resolution to the investigation. From here, there can be many twists and turns that add extra drama to this genre. The criminal could be revealed very early on, with the suspense increasing as the detective draws closer. Or the reader might found out who the killer is on the very last page. The author might give away lots of clues, or might not give many at all, with lots of tricks red herrings along the way to send the reader off course. Every crime story would have a puzzle that engages the reader. We are trying to work out the answer as we go along. Sometimes we do this at the same time as the detective. At other times, we find out right at the end. This is the essential part of this genre that makes it a gripping and compelling story. The characters in crime fiction can be great fun to create. They often touch upon well-used clichs, such as the over-worked policeman, the nosy old lady, the amateur private detective, the scary and intimidating mobster. All of these character types feature heavily in these stories. Features of Crime Fiction
A protagonist with a shady past A red herring Suspense Descriptive passages to set mood and tone A plot twist Climax the reveal
The Genre: Gothic Horror
Gothic fiction (sometimes referred to as Gothic horror) is a genre of literature that combines elements of both horror and romance. Gothic terror includes terror, mystery, the supernatural, ghosts, haunted houses, castles, darkness, death, decay and curses. The characters can be villains, monks, nuns, femme fatales, magicians, vampires, werewolves, demons, angels, ghosts, skeletons and devils. The story often includes some of the following: Howling wind, rain (especially blowing), doors grating on rusty hinges, footsteps approaching, clanking chains, lights in abandoned rooms, doors suddenly slamming shut, gusts of wind blowing out lights, characters trapped in a room, ruins of buildings, crazed laughter, thunder and lightning, baying of distant dogs or wolves, eerie sounds including sighs, moans and howls. Features of Gothic Horror Fiction
Setting in a castle. The action takes place in and around an old castle, sometimes seemingly abandoned, sometimes occupied. The castle often contains secret passages, trap doors, secret rooms, dark or hidden staircases, and possibly ruined sections. An atmosphere of mystery and suspense. The work is pervaded by a threatening feeling, a fear enhanced by the unknown. Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. An ancient prophecy is connected with the castle or its inhabitants (either former or present). The prophecy is usually obscure, partial, or confusing. Readers are connected to the characters and want to know what happens to them Omens, visions. A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. Supernatural or otherwise inexplicable events. Dramatic, amazing events occur, such as ghosts or giants walking, or inanimate objects (such as a suit of armour or painting) coming to life. High, even overwrought emotion. The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Women in distress. As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. Women threatened by a powerful, impulsive, tyrannical male. One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. Source: Excerpts from Elements of the Gothic Novel by Robert Harris
The Genre: Humour
To be humorous is to be funny, entertaining, to make people laugh. Humour can be witty or satirical. Humour can also be used to draw attention to things in society that the writer thinks is silly, ludicrous or wrong. A comedian will often poke fun at his own, or other peoples, inadequacies. The situations that they use are many and varied. What makes one person laugh is quite different to another. What a person finds funny is influenced by many things: the historical period in which we live, cultural and social experiences, age, gender and their own unique personality.
The world is a tragedy to those who feel, but a comedy to those who think Horace Walpole (1717-1797) Humour is a way of saying something serious T.S. Eliot (1888-1965) Comedy is simply a funny way of saying something serious Peter Ustinov (1921-2004)
Source: www.jenimawter.com Features of Humorous Fiction
The aim of humorous writing is to draw attention to something funny or ridiculous in the way the world works. Can focus on personal characteristics or traits, relationships between individuals or groups or people and the way they interact with their environment. Exaggeration or mimicry of human characteristics or traits is an important technique. Don't tell the reader that something is funny. Let the reader discover this for himself. Do this by painting a picture with words that the reader can relate to with all five of his senses. Describe the smells, textures, tastes, sights, and sounds. Descriptive passages to set mood and tone. Use metaphors and similes that bring familiar images into your reader's mind. Used effectively, metaphors and similes say volumes with a few words. A metaphor is a figure of speech using a word or phrase that usually means one thing to refer to something else. Using action verbs and colourful adjectives help build the image for the reader. Find new ways to say the same old thing. Satire and irony add humour to the written story also. Irony is the use of words to express the opposite of their literal meaning. Satire is the use of irony or wit to attack something.
The Genre: Romance
At a very basic level romantic fiction has two main elements. The first element is a central love story where two individuals fall in love and have to struggle to make the relationship work because there is a difficulty which keeps them apart. The second element is a happy ending which is emotionally satisfying and optimistic. The characters who risk and struggle for each other and their relationship are rewarded with unconditional love. (There are some variants on this, like the romantic tragedy Romeo and Juliet). In some situations readers recognise that the two characters should be together before the characters understand this themselves. This is the case in the classic love story Pride and Prejudice and in a lot of contemporary teenage romantic fiction.
Some readers are critical of romantic fiction, yet romantic writing is one of the most popular forms of fiction. It is also one of the oldest and most distinguished forms of story writing. There are famous poems from ancient Greece and wonderful verses of love from medieval times. Australians are becoming increasingly interested in romance in general. Today's trend is for real-life situations. Couples are as likely to meet in the supermarket as at a romantic ball.
There are many kinds or subgenres of romantic fiction. The writing can involve contemporary situations, historical settings, mystery or thrillers. There is also Young Adult romantic fiction.
A relationship between 2 people Difficulty which keeps them apart Readers are connected to the characters and want to know what happens to them Readers can recognise that the 2 lovers should be together well before the characters know this A positive or happy ending where love endures Dialogue which gives insights into characters Descriptive writing
The Genre: Sci-Fi/Fantasy/Speculative Fiction
Science Fiction is also known as Speculative Fiction and explores the human condition by placing human beings in worlds that are different to ours. This includes all stories being set in the future, alternate world stories or those set in the historical past that contradict known facts, stories set on other worlds and stories that contradict the laws of nature such as time travel. If the story is set in a universe that follows the same rules as ours, its Science fiction; it is about what could be, but isnt. Whereas fantasy is about what couldnt be, for example magic. Several structures could be adopted in constructing a Science fiction story. The story could be character based and begin when the main character is so unhappy, impatient or angry in his present role that he begins the process of change. It ends when the character settles into his new role or gives up the struggle and remains in the old role; happily or not. Alternatively the story could be event based. In this case something is wrong in the fabric of the universe; the world is out of order. The story starts when the character whose actions are most crucial to establishing the new order becomes involved in the struggle. Science fiction stories can also be centred on an idea. The story begins with a question and ends when the question is answered. Readers need to connect with the characters before caring about saving the world of the story. Features of Science-Fiction
Set in another world, often in the future Rules of the world similar to ours Character, event or idea based Main character in pain, suffering and actively can change things in the world Readers sympathise with the main characters Descriptive writing
The Genre: Literary Fiction The term Literary Fiction can be thought of as serious-minded novels of high artistic intent by writers with a passionate commitment to the moral purpose of fiction. The term is often used as a way of describing a novel that places style before content, puts prose before plot and subordinates character and narrative to aesthetic concerns. The term Literary Fiction is used by a variety of publishes to distinguish fiction that seems to defy the familiar categories of genre fiction, such as science fiction, fantasy, mystery, horror, romance, etc. Publisher Allen & Unwin describe Literary Fiction as critically acclaimed novels that are rich and thought-provokinggood enough to be read again and again.
Literary fiction often refers to classic works of literature and contemporary works that publishers assert are of the quality that they will become classics.
Recent examples include works like
The Time Travellers Wife by Audrey Niffenegger One Hundred Years of Solitude by Gabriel Garcia Marquez The Secret Life of Bees by Sue Monk Kidd The Lovely Bones by Alice Sebold The Handmaids Tale by Margaret Atwood
Features of Literary Fiction
Vivid and often poetic use of descriptive language Narrator with a distinct voice that adds perspective, even prejudice, to the retelling of events An emphasis on character development over plot A strong complex protagonist that struggles with internal as well as external conflicts The use of techniques like allusion and diction (word choice) which assume an audience that is well read and familiar with the canon of English literature Experimental and innovative approaches to the traditional techniques of point-of-view, structure and language A conclusion that strives beyond simply revealing the fate of the characters to help the reader understand some truth about the human condition.
Sources: http://www.allenandunwin.com/default.aspx?page=20 http://www.writersdigest.com/writing-articles/by-writing-genre/literary-fiction-by-writing-genre McCrum, Robert. The Observer. 5 August 2001.
The Genre: Young Adult Young Adult (YA) is fiction written for teens that captures the adolescent experience if not in realistic ways, in the character traits of its teen protagonists and in the emotional content of the narrative. Young adult novels offer a mature contemporary realism directed at adolescents. There is a strong focus on serious issues treated with candour. These novels feature teenage protagonists coping with adolescent issues like jealousy and peer pressure, as well as more serious issues like drugs, eating disorders and suicide, or more recently on fantastic quests to save the world and overcome formidable antagonists. The term "young adult" was adopted by the Young Adult Library Services Association in the 1960s to represent the 12-18 year-old age range of readers. Young adult novels during the time included bestsellers like S. E. Hinton's The Outsiders. In the 1980s a variety of genre fiction evolved within the young adult market, like horror with R.L. Stine's popular Fear Street series, and later J.K. Rowling's Harry Potter series that inspired a whole generation of fantasy series novelists. This shift to genre fiction led to the success of Stephenie Meyer's Twilight vampire saga and Suzanne Collins' futuristic The Hunger Games. According to Jennifer Lynn Barnes, a young adult author, Ph.D. and cognitive science scholar "Teens are caught between two worlds, childhood and adulthood, and in YA, they can navigate those two worlds and sometimes dualities of other worlds, hence, the appeal of the paranormal and supernatural in the young adult genre. Scholastic editor David Leviathan says, "Teens want things that are real, that they connect with. It doesn't have to reflect reality directly. They love 'The Hunger Games' not because it's real in that it happens, but the emotions there are real, and it's very relatable." Young adult novelists don't shy away from tackling the deepest and darkest issues that teens face, from identity struggles and abuse to drug/alcohol use and suicide. YA authors aim to write about the best and worst of adolescence fearlessly and honestly, building a trust within readers. Meg Cabot has written more than 45 young adult books, and she says "The whole reason you're reading [YA] is because you want some hope that you're going to get through whatever you're going through. I know how hard it was as a teenager, and I understood how it felt to be an outsider. I want to be able to offer people hope." Recent examples include works like
Stephenie Meyer's Twilight saga Meg Cabot's Princess Diaries novels Jay Asher's Th1rteen R3asons Why Suzanne Collins's Hunger Games Scott Westerfeld's Uglies
Features of YA Fiction A confessional first-person point-of-view protagonist between the ages of 15 and 19, who provides an authentic voice for the audience Unforgettable characters readers care about and can relate to in some way Protagonists with traumatic events in their background, and protagonists who have celebrity status actors, musicians, athletes, etc. Extraordinary characters and extraordinary stories set in contemporary, paranormal, fantasy, science- fiction and historical worlds Powerful credible-world settings A romantic element or romantic subplot contemporary themes, frank, modern language, high relationship drama and intense conflict Frank age appropriate characters actions, dress and dialogue Usually a happily ever after or happily for now or at least hopeful resolution.
Procedure:
Book Trailer
1. Research the conventions of several genre, using the Genre Conventions handout to correctly identify the genre of your novel and make an accurate list of conventions of your genre.
2. Create a comparison chart to record details and evidence from your Independent Reading novel and examine how your selected author uses, reinvents or rejects the conventions of the genre you identified. Plan your Book Trailer recreating the chart below in your notebook.
Convention (s) Textual Evidence/example Film feature for Book Trailer
3. Create a story board. 4. Use MovieMaker to create your film.
Presentation
1. Write an overview/introduction to your novel, using a description of a. important characters, motivations, conflict (remember central characters usually have an internal and external conflict) b. actions, obstacles and turning points c. a summary of the through-line
2. Calculate time for Viewing your trailer
3. Compose a 3 minute detailed explanation of how the features of your film reflect the conventions of the genre. Use detailed evidence from your novel to explain your choice of images, music, transitions, voice over, action, etc. in the film.
4. Conclude with an evaluation of the target audience for your novel/Book Trailer, identifying at least one other similar and successful novel.
5. Your presentation must be 5-minutes in length delivered using palm cards with attention to volume, pace, body language, and expression.
6. A written transcript of your oral and an electronic copy of your film are required for final submission.