Narrative Essay Brainstorming Grade 4: Hurricanes

Total Page：16

File Type：pdf, Size：1020Kb

Narrative Essay Brainstorming Grade 4: Hurricanes

Narrative Essay Brainstorming Think about ideas for your narrative essay. Before you begin organizing the plot of the story, consider the characters, setting and theme. Who are the main and supporting characters in your story? Where does your story take place? What is the message you want your readers to learn from your story? Provide this information below. Step 1: Create and develop a main character Use the space below to begin to describe a main character for your narrative essay. What is your main character’s name? How old is your main character? Where does your main character live? Who does your main character live with? What does your main character’s occupation? How does your main character experience the hurricane? Where is he or she? Why? What is your main character’s emotions before the hurricane? What are some of your main character’s emotions during the hurricane? What are some of your main character’s emotions after the hurricane? Step 2: Create and develop supporting characters What is your supporting character’s name? What is your supporting character’s relationship with the main character? How does the supporting character help the main character to grow or change? Grade 4: Hurricanes Step 3: Setting When are where does your story take place? Think about the hurricane you have chosen to write so that your setting is accurate. ________________________________________________________________________________________________ ________________________________________________________________________________________________ ________________________________________________________________________________________________ Step 4: Theme What is your message in this story? What do you want your main character to learn from his or her experience with a hurricane? ________________________________________________________________________________________________ ________________________________________________________________________________________________ ________________________________________________________________________________________________ Grade 4: Hurricanes .

Copy Link

Recommended publications

Ukrainian Folk Singing in NYC
Fall–Winter 2010 Volume 36: 3–4 The Journal of New York Folklore Ukrainian Folk Singing in NYC Hindu Home Altars Mexican Immigrant Creative Writers National Heritage Award Winner Remembering Bess Lomax Hawes From the Director Since the found- a student-only conference. There are prec- Mano,” readers will enjoy fresh prose pieces ing of the New York edents for this format, also. In commenting and poetry in English and Spanish from a Folklore Society, the on the 1950 meeting, then-president Moritz recently published anthology, produced by organization has pro- Jagendorf wrote, “Another ‘new’ at the Mexican cultural nonprofit Mano a Mano, vided two consistent Rochester meeting was the suggestion to the New York Writers Coalition, and a group benefits of member- have an annual contest among students of of New York’s newest Spanish-language ship: receipt of a New York State colleges and universities for writers. Musician, discophile, and Irish- published journal— the best paper on New York State folklore. American music researcher Ted McGraw since 2000, Voices— The winner will receive fifty dollars, and his presents a preliminary report and asks Voices and at least one annual meeting. or her paper will be read before the mem- readers for assistance in documenting the In the early years, the annual meeting bers.” (It is unclear whether this suggestion fascinating history of twentieth-century took place jointly with the annual gathering was implemented!) button accordions made by Italian craftsmen of the New York Historical Association, The 2010 meeting was held at New York and sold to the Irish market in New York.
[Show full text]
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
[Show full text]
Tragic Hero Analysis on Apollo in Rick Riordan's The
TRAGIC HERO ANALYSIS ON APOLLO IN RICK RIORDAN’S THE TRIALS OF APOLLO: THE HIDDEN ORACLE THESIS BY: KASYFUL GHOMAM REG. NUMBER: A73217114 ENGLISH DEPARTMENT FACULTY OF ARTS AND HUMANITIES UIN SUNAN AMPEL SURABAYA 2021 TRAGIC HERO ANALYSIS ON APOLLO IN RICK RIORDAN’S THE TRIALS OF APOLLO: THE HIDDEN ORACLE By: Kasyful Ghomam Reg. Number: A73217114 Approved to be examined by the Board of Examiners, English Department, Faculty of Arts and Humanities, UIN Sunan Ampel Surabaya Surabaya, July 18ᵗʰ, 2021 Thesis Advisor Sufi Ikrima Sa’adah M. Hum NUP. 201603318 Acknowledged by: Head of English Department Dr. Wahju Kusumajanti, M. Hum NIP. 197002051999032002 EXAMINER SHEET ii The Board of Examiners are: Examiner 1 Examiner2 Sufi Ikrima Sa’adah M. Hum Dr. Wahju Kusumajanti, M.Hum NUP. 201603318 NIP. 197002051999032002 Examiner 3 Examiner 4 Dr. Abu Fanani, S.s., M.Pd Ramadhina Ulfa Nuristama, M.A. NIP. 196906152007011051 NIP. 199203062020122019 Acknowledged by: The Dean of Faculty of Arts and Humanities UIN Sunan Ampel Surabaya Name NIP iii iv v ABSTRACT Ghomam, K (2021). Tragic Hero Analysis On Apollo In Rick Riordan’s The Trials Of Apollo: The Hidden Oracle. English literature, UIN Sunan Ampel Surabaya. Advisor: Dr. Sufi Ikrima Sa’adah, M.Hum. Keywords: tragic hero, Apollo, myth, catharsis This study aims to analyze the tragic hero shown by Apollo in Rick Riordan’s The Trials of Apollo: The Hidden Oracle. This study focuses on two research questions: How are the characteristics of a tragic hero shown by Apollo, and how did Apollo escape from a tragic hero in The Trails of Apollo: The Hidden Oracle.
[Show full text]
An Analysis of Major Characters Characterization in Burgess's A
Chapter II An Analysis of Major Characters Characterization in Burgess’s A Clocwork Orange 2.1 Literature According to A. Teeuw (in Sastra dan Ilmu Sastra: 1987:30) , literature described as everything written; the use of language in written form. Literature is a form of personal expression of human experience, thought, passion, and belief in a form of concrete picture that evokes the fascination with language tools. In more detail, Faruk suggested that initially very broad definition of literature, which includes all kinds of activity results of language or writing. Along with the widespread the habit of reading and writing, the understanding narrows and is defined as any result that is both imaginative language activities, both in the life depicted in them, and in terms of the language used to describe that life. 2.2 Novel Literally novel come from word “Novella” Italian language vocabulary, which in Latin language mean novus or newly. As for definitively novel is story regarding remarkable event or occurence of life of someone is in it met by processing of soul altering someone chance road, its meaning of someone which is narrated in the novel experience of life of problem in details, good in the form of grief, adventure, struggle, 1 which is on finally the figure experience of change of chance which enough base, what experienced of that figure basically represent of top from all distortion live and life which have happened. Equally can be said that by novel represent life life concentration at one time, which is determine toward its perpetrator chance road.
[Show full text]
The Role of Supporting Character in Animation with an Emphasis On
Global Journal of HUMAN-SOCIAL SCIENCE: A Arts & Humanities - Psychology Volume 19 Issue 4 Version 1.0 Year 2019 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X The Role of Supporting Character in Animation with an Emphasis on Horse's Character Design By Mohamad Eslami & Mohsen Nafar Islamic Republic of Iran Broadcasting University Abstract- In many animation works, along with the main character, there is a dependent character, who is the close friend of the hero of the story, which is called side kick or supporting character. The supporting character has been widely presented in animation cinema works and it is necessary to study the use of this kind of character based on its characteristics in the story and its relation to elements and other members of the story. An attempt has been made to fully investigate the supporting character because the more the identification of these kind of characters in the creation of the animation cinema works and the more the narrative of the story will help as effective as possible. In addition to studying the basic principles and types of supporting characters in this series, the focus is on horse's character as a supporting character in the stories and works of animation cinema and in which supporting character plays as a close friend or companion in the hero of the story is more to be addressed. Keywords: supporting character, horse, horse's character, animation character. GJHSS-A Classification: FOR Code: 8 90401 TheRoleofSupportingCharacterinAnimationwithanEmphasisonHorsesCharacterDesign Strictly as per the compliance and regulations of: © 2019.
[Show full text]
Bye Bye Birdie Synopsis and Character Descriptions
Bye Bye Birdie Synopsis and Character Descriptions SYNOPSIS (compliments of Tams-Witmark Music Library, Inc.): BYE BYE BIRDIE is one of the most captivating musical shows of our time. It tells the story of a rock and roll singer who is about to be inducted into the army. The singer, Conrad Birdie, an Elvis Presley type, has a pompadour and thick sideburns; he wears gaudy gold costumes and speaks in a rugged voice. Albert Peterson, his agent, is a very pleasant mild-mannered young man. Albert's faithful secretary Rose Alvarez keeps him and Birdie moving forward in the world. Rosie concocts one final national publicity plan before Conrad's induction. Conrad will bid a typical American teen-age girl goodbye with an all-American kiss. Kim MacAfee in Sweet Apple, Ohio wins the honor. All of the phones in her town are already busy during The Telephone Hour as Kim has just been pinned to Hugo, a local boy. She is a pretty girl of fifteen and sings with spring-like ardor How Lovely to Be a Woman, as she pulls on the plaid woolen socks and the baggy mustard colored sweater considered stylish and popular among young ladies. The arrival of Birdie in Sweet Apple causes people of all ages to swoon. Birdie says that his success is due to the fact that he is Honestly Sincere when he sings, and the quiet little town goes into a spin. The MacAfee household is completely upset by the visiting celebrity. It is decided that Birdie will give his One Last Kiss on the Ed Sullivan show.
[Show full text]
Fiction As a Brand – a Discussion on Application of Popular Brand Management Theories in the Creative Industry
Zeszyty NaukoweMaciej Politechniki D. Sobociński Częstochowskiej Zarządzanie Nr 27 t. 2 (2017) s. 136–146 dostępne na: http://www.zim.pcz.pl/znwz7 t. 11 FICTION AS A BRAND – A DISCUSSION ON APPLICATION OF POPULAR BRAND MANAGEMENT THEORIES IN THE CREATIVE INDUSTRY Maciej D. Sobociński Czestochowa University of Technology Faculty of Management Abstract: Many reports indicate that the creative industries are an important part of the global economy. While some examples of popular brands of movies, books or computer games, they are not widely discussed, and their specifics differ greatly from other goods and services. This article attempts to study the application of the concept of brand extensions, presenting different ways of brand building on selected examples from the creative industry. Author also highlights other issues related to brands in this industry that require further analysis. Keywords: brand, brand extension, creative industry, film industry, video games, transmedia storytelling DOI: 10.17512/znpcz.2017.3.2.13 Introduction Keller (Keller 2011) indicates that basically everything can be a brand, including people, organizations, ideas. In the field of entertainment, he gives examples of movie characters including Austin Powers, Batman and Harry Potter (additionally he presents the case of Star Wars franchise as a brand). The main implied reason for treating those fictional characters as brands is their general recognition, which causes the audience to follow movie sequels, referred in the book as “brand extensions”. In the Polish edition of his book, the editors try to give examples of Polish movie series in the form of Vabank1 and Sami swoi2. While those movies clearly follow the idea of using known characters in sequels, something seems wrong with this comparison.
[Show full text]
Story Building Blocks Fundamental Elements of Compelling Stories
Story Building Blocks Fundamental elements of compelling stories 1. AN EFFECTIVE CHARACTER 3. AUTHENTICITY üüUniversal need (often emotional/intangible üüCharacter’s voice, perspective – and the rather than physical/tangible) perspectives of others üüRelatable for similarities (i.e. mother, father, üüDetails; telling your audience how to feel etc.) or through connection to unexpected vs. showing your audience and letting obstacle (i.e. “it could happen to me, too”) them decide how they feel (hint: the latter is much more compelling!) üüCharismatic, yet authentic (not necessarily a perfectly polished spokesperson) üüAvoid jargon üüThree-dimensional (What do others think üüProvide broader context about issue of the character? What other interests/ prevalence, past challenges/ personality traits does s/he possess? Not successes, etc. solely defined by their need.) üüNOT the organization in most cases; the 4. ACTION-ORIENTED EMOTIONS organization is a supporting character üüMove people to action üü Consider confidentiality and/or ethical üü implications of asking someone to be your Choose active emotions (anger, anxiety, featured character excitement, awe) vs. passive ones (contentment, sadness)* 2. TRAJECTORY üüFollow up with a call-to-action in your content or presentation (or both) üüPlot that propels the story forward; think action! 5. A “HOOK” üüChoices/devices to consider: üüLead with a sense of urgency üWhere/when to start? üü ü Immediately provide a sense of whose Time sequence – linear, or flashback/ story it is, what’s happening at this forward? moment in time, and what’s at stake.** üPacing – get into action quickly or slow build-up? üWhether/how to resolve the story? üSetbacks or no setbacks? (as a way to acknowledge organizational failure/ growth) * Berger, J.
[Show full text]
Personality Development of Edmund Pevensie As Seen in Cs Lewis's The
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DEVELOPMENT OF EDMUND PEVENSIE AS SEEN IN C.S LEWIS’S THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Antonia Rosa Gravita Student Number: 121214013 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2016 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DEVELOPMENT OF EDMUND PEVENSIE AS SEEN IN C.S LEWIS’S THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Antonia Rosa Gravita Student Number: 121214013 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2016 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Gravita, Antonia Rosa. 2016. Personality Development of Edmund Pevensie as Seen in C.S Lewis’s The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe. Yogyakarta: English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University. The study concerned about the personality of Edmund Pevensie, one of the central characters in C.S Lewis’s novel entitled The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe.
[Show full text]
Length Big Ideas Basic Outline
Current Staff Course Unit/ Length Big Ideas Basic Outline/ Structure Content Vocabulary Text Assessment CCSS Beginning Self-Portrait Students will write an essay all none Rough Draft Listing Activity about them. They will add a Finished essay those (2 cover with a baby picture. Cover most weeks) There should be no names on heavily any of the finished product so used in the the papers are a Guess Who. unit 1. Charact Literary Elements a. Pre-test to determine what Alliteration Notes er Traits they know and b. Start working on those they Literary don’t know Element i. Review Plot Mountain s ii. Notes/definitions iii. Applying them as we read (4 weeks) Character Development: A. Raymond’s Run: Exposure: Irony of situation A. Raymond’s Run A. Quickwrite, rewrite RL 8.3 change in Protagonist i. Analyze protagonist’s relationships Introducing: Antagonist, B. Ransom of Red Quickwrite from RL 8.4 with other characters in the story word choice (why certain Chief character’s point of RL 8.5 ii. How does the protagonist change names like Ebeneezer) C. Raymond’s Run view, comprehension RL 8.10 and what causes the changes? Mastery: Protagonist, and Ransom of test SL 8.1 iii. Do quickwrite from Squeaky’s point inference, compare/contrast, Red Chief L 8.4 of view draw conclusion, predict, D. A Retrieved B. irony chart, draw point of view, suspense Reformation conclusions chart, B. Ransom of Red Chief: E. Ransom of Red comprehension test i. Analyze Bill and Sam’s motivation Chief and A ii. Track the character development of Retrieved C.
[Show full text]
Interpreting Invisibility: in Defense of Regan
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2014 Interpreting Invisibility: In Defense of Regan Brittany Ginder Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3431 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Brittany M. Ginder 2014 All Rights Reserved INTERPRETING INVISIBILITY: IN DEFENSE OF REGAN A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre at Virginia Commonwealth University. by BRITTANY M. GINDER BA English Language and Literature, Stevenson University 2010 Director: DR. NOREEN BARNES DIRECTOR OF GRADUATE STUDIES, ASSOCIATE PROFESSOR OF THEATRE Virginia Commonwealth University Richmond, Virginia May 2014 ii Acknowledgement I must begin by thanking Dr. Noreen Barnes for helping me to navigate “Thesis Island” with ease and comfort, despite the fact that I still went a bit over the official page limitations. Thank you for pushing me, for stopping me, and for letting me jump down this rabbit hole with minimum fall damage. You are my white rabbit. Next, I have to thank the scholars that have helped me get here: Dr. Laura Snyder for letting me join the crazy, wonderful world of the Comparative Drama Conference where I feel like I’ve flourished as a scholar and as a human being; Shaun McCracken for reminding me that teaching theatre is all about loving every aspect of it; and Dr.
[Show full text]
Approval Page Satire in George Orwell's Animal Farm
Approval page Satire in George Orwell’s Animal Farm Vidya Evenangelia NRP: 167010052 Approved by, Advisor I Advisor II H. Wawan Setiawan, M. Hum Husni Thamrin, M. Hum NIP.Y. 151 10 348 NIP.Y. 151 10 540 Acknowledged by, Dean of Faculty Head of English Literature Department Dr. Hj. Senny Suzanna Alwasilah, M.Pd Angga Maulana, S.S, M. Pd NIP.Y. 151 10 322 NIP.Y 151 10 592 i Declaration of Originality The one who signed here: Name : Vidya Evenangelia Student Number : 167010052 Department : English Literature Faculty : Arts and Letters Declares that this graduating paper is written by the writer herself. This graduating paper does not contain any materials that already been published by other people, and it is not cited any people’ idea except the information from the references. I give permission to publish this paper on Universitas Pasunda e-repository. Bandung, 8th June 2020 The Writer Vidya Evenangelia NPM. 167010052 ii Approval of Publicity The one who signed here: Name : Vidya Evenangelia Student Number : 167010052 Department : English Literature Faculty : Arts and Letters Give permission to English Literature Department of Pasundan University upon the writer’s paper entitle “Satire in George Orwell’s Animal Farm” to publish this paper on Universitas Pasundan e-repository. Bandung, 8th June 2020 The Writer Vidya Evenangelia NPM. 167010052 iii Preface Bismillaahirrahmaanirrahiim, Assalamualaikum, Wr.Wb. In the name of Allah, The Most Gracious and The Most Merciful, The Lord of Universe. Because of Him, the writer could finish this graduating paper as one of the requirements for Sarjana English Literature Department of Faculty of Arts and Letters in Universitas Pasundan Bandung.
[Show full text]