Using Vignettes to Build and Assess Teacher Understanding of Instructional Strategies

Total Page:16

File Type:pdf, Size:1020Kb

Using Vignettes to Build and Assess Teacher Understanding of Instructional Strategies Using Vignettes To Build and Assess Teacher Understanding of Instructional Strategies Carolyn Jeffries Dale W. Maeder California State University, Northridge University of California, Los Angeles Abstract In the last fifty years, the use of stories in education has included vignettes as an effective stimulus for discussion of real-life contexts and problems. However, vignettes have rarely been used as an assessment tool and there is no reported consensus on their definition and design. This article documents the use of vignettes as an effective method of assessing pedagogical understanding in our teacher development courses from 1995-2003, suggesting that vignettes are significantly correlated with more traditional forms of assessment, are highly predictive of course-ending project performances, and represent an episode of learning in their own right. Finally, we propose a more concise definition and a more rigorous course of study for vignette development and implementation. A critical theme of institutions of higher contexts and problems. education in the preparation and continuing Vignettes have rarely been reported as a education of teachers is that educational research means of assessing mastery of course content. informs and is informed by practice. Identifying Furthermore, there are few definitions or con- and assessing what and how teachers learn during struction criteria for vignettes in these contexts, their professional development is an important and certainly no reported consensus on their component in assisting them to better teach their definition and design. Given the benefits of using students. The use of stories in various formats has vignettes in research, modeling, discussion, and long been a powerful and successful method for reflection, and the need to determine teacher modeling, teaching, and researching behavior and qualification, it is important to determine whether understanding in general education, health sci- vignettes can also be an effective assessment tool ences, social sciences, and behavioral sciences. in teacher education. One type of story, the vignette, has been used An important step in this process is the collec- in the social sciences and more recently in the tion of evidence that vignettes are a reliable as- health and education fields as a reflective, re- sessment tool that complements more traditional search, and modeling tool (Callicott, 2003; Camp- assessment styles. In addition, it should be deter- bell, n.d.; Chambers, 1999; Galguera, 1998; Hughes mined whether vignettes can augment the infor- & Huby, 2002; King, Murray, Salomon, & Tandon, mation gathered in more traditional assessments. 2002a; Kruse, 1997; New Hampshire Equity Hand- Besides content and skill mastery, do vignettes book Writing Team, n.d.; Pransky & Bailey, 2002; help to measure affective goals, such as the moti- Schwartz & Riedesel, 1994; TESOL, 2001; Vaughn vation to learn? Do vignette assessments provide & Klingner, 1999; Volkmann, 1998). Researchers evidence of problem solving and critical thinking? and educators have found vignettes to be very Furthermore, it is critical to determine if effective in these contexts for several reasons: vignettes can assist in state-mandated assessment vignettes are relatively easy to construct, they of teacher understanding of pedagogy. The chal- provide a useful focus and stimulus for discus- lenge of assessing portfolios may be partially sion, they are valuable in addressing difficult-to- addressed through vignette scoring guides that explore and sensitive topics, they can be used with quantify responses that are unique and authentic. individuals and groups, and they reflect real-life Finally, vignettes should be studied for evidence Volume XXVII • Number 1 & 2 • Fall 2004 & Spring 2005 17 Carolyn Jeffries & Dale W. Maeder of an assessment as an episode of learning. Does opment Oriented Research in Agriculture, n.d.; an assessment task that encourages modeling, Pesonen, n.d.), and vignettes. rehearsal, and transfer provide more opportuni- ties for learning than more traditional forms of Vignettes in Education and Research assessment, (e.g., multiple-choice, fill-in items)? A recent review of the literature on vignettes Since 1995, we have been using vignettes as a revealed a wide range of definitions, usage, con- method of assessing pedagogical understanding struction, testing, and examples. Definitions were in teacher development courses. We believe the rarely provided and varied greatly, which caused vignette to be a highly effective assessment tool confusion of vignettes with other types of stories. and suspect that vignettes have a strong predic- In fact, many studies and articles used the terms tive component as well as provide a rich learning case study, case story, scenario, and vignette experience for eliciting and promoting teacher interchangeably, incorrectly, or uniquely, (e.g., understanding. We would like to share our experi- Jackson, 1998; Kruse, 1997; Walen & Hirstein, ences and data with teacher educators and re- 1995; Weigle & Scotti, 2000; Weiner, Rand, Paga- searchers in order to propose a course of study on no, Obi, Hall, & Bloom, 2001). the use of vignettes in assessing pedagogical Broadly defined, vignettes are “short stories understanding in teacher education programs. about hypothetical characters in specific circum- Based on the literature and our experiences, we stances to whose situation the interviewee is would also like to propose a more concise defini- invited to respond…moving from the abstract to tion and establish more rigorous criteria for context-specific” (Finch, 1987, p. 106). Vignettes vignette development and implementation in this consist of text, images, or other forms of stimuli, assessment process. ranging from short written prompts to live events, to which research participants are asked to re- Review of Literature spond (Hughes & Huby, 2002). Herman (1998) Stories as Educational Tools uses the term case vignette to describe a written A story is defined by Cambridge Advanced description, photograph, or videotaped scene as a Learner’s Dictionary (Cambridge University Press, brief glimpse of an educational situation. Camp- 2003) as “a description, either true or imagined, of bell (n.d.) comes closest to an operational defini- a connected series of events and, often, the charac- tion: ters involved in them.” Stories have been used in A vignette is a short story without an ending. many different forms and formats as a powerful It is short, but not too short to present an and successful method for modeling, teaching, issue. It is detailed, but not so detailed that the and researching behavior and understanding in underlying issue gets lost. A vignette presents general education, health sciences, social sciences, an issue, such as the under-representation of and behavioral sciences. Story formats include case girls in advanced math courses, in a context studies, long narrative descriptions of real or with which individuals can identify. A good hypothetical situations in which learners are vignette has fewer complexities and personali- asked to identify or solve a problem (Gideonse, ties than real life, sets up a situation in which 1999; Hrabe, Kinzie, & Julian, 2001; Jackson, 1998; there is no one “right” answer, and is flexible Loughner, Harvey, & Mil-heim, 2001; Marsick, enough that individuals from different groups 1998); case stories, stories that simulate the real (teacher/administrator, female/male, liberal/ world but are written by individuals within the conservative) can identify with the story and classroom and told from their perspectives (Hunt- bring their perspective forward in discussions er & Hatton, 1998; Maslin-Ostrowski & Ackerman, of solutions. (p. 2) 1998); scenarios, narrative descriptions that contain a set of realistic assumptions and facts about the Vignette Construction and Design future used to provide a unified context for In addition to a lack of consensus on vignette decision-making (International Centre for Devel- definition, there was a noticeable lack of informa- 18 The Professional Educator Using Vignettes to Assess Teacher Understanding tion on how vignettes were constructed or should the vignette character’s intellectual, cultural, and be constructed. When using vignettes to promote religious background as well as physical attributes discussion and problem solving concerning equity and personal information. They recommended in math and science education, Campbell (n.d.) that vignettes be written so that people from proposed a vignette construction process and different backgrounds could understand them as shared samples of vignettes for different target similarly as possible, that details be scrutinized to groups, (e.g., administrators, teachers, students, avoid introducing unwarranted assumptions, and parents, policy makers, researchers). She listed that vignette characters be as similar as possible to three major steps in creating vignettes: determine the audience. issues and areas of concern, develop situations When authors did provide samples of their that are realistic and relevant, and test the vi- vignettes, a wide range of formats were found that gnettes on groups similar to those who will be included short and long dialogues, formulas, using them (Campbell, n.d.). pictures, and short and long narratives with and In their review of the use of vignettes as a without follow-up questions. Vignettes ranged research tool in the behavioral sciences and health from 25 to 1000 words in length. The
Recommended publications
  • What Literature Knows: Forays Into Literary Knowledge Production
    Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism.
    [Show full text]
  • Genres of Experience: Three Articles on Literacy Narratives and Academic Research Writing
    GENRES OF EXPERIENCE: THREE ARTICLES ON LITERACY NARRATIVES AND ACADEMIC RESEARCH WRITING By Ann M. Lawrence A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Rhetoric and Writing – Doctor Of Philosophy 2014 ABSTRACT GENRES OF EXPERIENCE: THREE ARTICLES ON LITERACY NARRATIVES AND ACADEMIC RESEARCH WRITING By Ann M. Lawrence This dissertation collects three articles that emerged from my work as a teacher and a researcher. In Chapter One, I share curricular resources that I designed as a teacher of research literacies to encourage qualitative research writers in (English) education to engage creatively and critically with the aesthetics of their research-writing processes and to narrate their experiences in dialogues with others. Specifically, I present three heuristics for writing and revising qualitative research articles in (English) education: “PAGE” (Purpose, Audience, Genre, Engagement), “Problem Posing, Problem Addressing, Problem Posing,” and “The Three INs” (INtroduction, INsertion, INterpretation). In explaining these heuristics, I describe the rhetorical functions and conventional structure of all of the major sections of qualitative research articles, and show how the problem for study brings the rhetorical “jobs” of each section into purposive relationship with those of the other sections. Together, the three curricular resources that I offer in this chapter prompt writers to connect general rhetorical concerns with specific writing moves and to approach qualitative research writing as a strategic art. Chapters Two and Three emerged from research inspired by my teaching, during which writers shared with me personal literacy narratives, or autobiographical accounts related to their experiences with academic research writing.
    [Show full text]
  • Anecdotes and Mimesis in Visual Music
    Diego Garro The poetry of things: anecdotes and mimesis in Visual Music ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- The poetry of things: anecdotes and mimesis in Visual Music DIEGO GARRO Keele University, School of Humanities – Music and Music Technology, The Clockhouse, Keele ST5 5BG, UK E-mail: [email protected] I. INTRODUCTION Ten years into the third millennium, Visual Music is a discipline firmly rooted in the vast array of digital arts, more diversified than ever in myriads of creative streams, diverging, intersecting, existing in parallel artistic universes, often contiguous, unaware of each other, perhaps, yet under the common denominator of more and more sophisticated media technology. Computers and dedicated software applications, allow us to create, by means of sound and animation synthesis, audio-visuals entirely in the digital domain. In line with the spectro-morphological tradition of much of the electroacoustic repertoire, Visual Music works produced by artists of sonic arts provenance, are predominantly abstract, especially in terms of the imagery they resort to. Nonetheless, despite the ensuing non-representational idiom that typifies many Visual Music works, composers enjoyed the riveting opportunity to employ material, both audio and video, which possess clear mimetic potential (Emmerson 1986, p.17), intended here as the ability to imitate nature or refer to it, more or less faithfully and literally. Composers working in the electronic media still enjoy the process of ‘capturing’ events from the real world and use them, with various strategies, as building blocks for time-based compositions. Therefore, before making their way into the darkness of computer-based studios, they still use microphones and video-cameras to harvest sounds, images, ideas, fragments, anecdotes to be thrown into the prolific cauldron of a compositional kitchen-laboratory-studio.
    [Show full text]
  • Cypriot English Literature: a Stranger at the Feast Locally and Globally
    Kunapipi Volume 33 Issue 1 Article 9 2011 Cypriot english literature: A stranger at the feast locally and globally Marios Vasiliou Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Vasiliou, Marios, Cypriot english literature: A stranger at the feast locally and globally, Kunapipi, 33(1), 2011. Available at:https://ro.uow.edu.au/kunapipi/vol33/iss1/9 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Cypriot english literature: A stranger at the feast locally and globally Abstract My focus in this essay revolves around a corpus of literature written by Cypriots in English that has yet to define itself either as a hyphened branch of a national literature or as a minor independent category. So from the outset, my paper has a twofold task: firstly, to draw attention to the paradoxical position of Cypriot English writers who remain outside the literary feast both at home and abroad; and secondly, to explore the literary vicissitudes of some works of this corpus, and to examine how their minor position locally in relation to the dominant literatures in Greek and Turkish, and internationally in relation to global English — a position that Deleuze and Guattari (1986) describe as ‘minor literature’— has engendered syncretic aesthetics. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol33/iss1/9 83 MARIoS VASILIou cypriot English Literature: A Stranger at the Feast Locally and Globally My focus in this essay revolves around a corpus of literature written by Cypriots in English that has yet to define itself either as a hyphened branch of a national literature or as a minor independent category.
    [Show full text]
  • Uncovering and Recovering the Popular Romance Novel A
    Uncovering and Recovering the Popular Romance Novel A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jayashree Kamble IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Timothy Brennan December 2008 © Jayashree Sambhaji Kamble, December 2008 Acknowledgements I thank the members of my dissertation committee, particularly my adviser, Dr. Tim Brennan. Your faith and guidance have been invaluable gifts, your work an inspiration. My thanks also go to other members of the faculty and staff in the English Department at the University of Minnesota, who have helped me negotiate the path to this moment. My graduate career has been supported by fellowships and grants from the University of Minnesota’s Graduate School, the University of Minnesota’s Department of English, the University of Minnesota’s Graduate and Professional Student Assembly, and the Romance Writers of America, and I convey my thanks to all of them. Most of all, I would like to express my gratitude to my long-suffering family and friends, who have been patient, generous, understanding, and supportive. Sunil, Teresa, Kristin, Madhurima, Kris, Katie, Kirsten, Anne, and the many others who have encouraged me— I consider myself very lucky to have your affection. Shukriya. Merci. Dhanyavad. i Dedication This dissertation is dedicated to my parents, Shashikala Kamble and Sambhaji Kamble. ii Abstract Popular romance novels are a twentieth- and twenty-first century literary form defined by a material association with pulp publishing, a conceptual one with courtship narrative, and a brand association with particular author-publisher combinations.
    [Show full text]
  • A Call for Storytelling in Family Medicine Education William Ventres, MD, MA; Paul Gross, MD
    SPECIAL ARTICLE Getting Started: A Call for Storytelling in Family Medicine Education William Ventres, MD, MA; Paul Gross, MD BACKGROUND: In this article we introduce family medicine edu- conclude by presenting the basic cators to storytelling as an important teaching tool. We describe components of effective stories and how stories are a critical part of the work of family physicians. We describing how to integrate the prac- review the rationales for family medicine educators to become tice of storytelling into family medi- skilled storytellers. We present the components of effective sto- cine education. ries, proposing two different perspectives on how to imagine, con- struct, and present them. We provide a list of resources for getting Background and Rationale started in storytelling and offer two personal vignettes that ar- Stories, Clinical Practice, and ticulate the importance of storytelling in the authors’ respective professional developments. We point the way forward for family Professional Development medicine educators interested in integrating storytelling into their The practice of family medicine (and, repertoire of teaching skills. in fact, all the generalist medical dis- ciplines) is integrally involved with (Fam Med 2016;48(9):682-7.) the telling of stories.1 Numerous practitioners and scholars from psy- chology, narrative studies, the medi- tories make differences in our medicine. It also reminds us just cal humanities, medical ethics, and care of patients. They help us how challenging it is for family med- medical education have discussed Sthink about our patients and icine educators to teach the skills of the crucial role that the telling, in- their family members.
    [Show full text]
  • A Vignette Model for Distributed Teaching and Learning
    A vignette model for distributed teaching and learning Marcel Chaloupka and Tony Koppi Centre forTeaching and Learning, University of Sydney Computer software and telecommunication technologies are being assimilated into the education sector. At a slower pace, educational methodologies have been evolving and gradually adopted by educators. The widespread and rapid assimilation of technology may be outstripping the uptake of better pedagogical strategies. Non-pedagogical development of content could lead to the development of legacy systems that constrain future developments. Problems have arisen with computer-based learning (CBL) materials, such as the lack of uptake of monolithic programmes that cannot be easily changed to keep pace with natural progress or the different requirements of different teachers and institutions. Also, hypertext/hypermedia learning environments have limitations in that following predefined paths is no more interactive thanpage turning. These considerations require a flexible and dynamic approach for the benefit of both the teacher and student. Courses may be constructed from vignettes to meet a desired purpose and to avoid the problems of adoption for the reasons that programmes cannot easily be changed or are not designed to meet particular needs. Vignettes are small, first-principle, first-person, heuristic activities (which are mimetic) from which courses can be constructed Vignettes use an object- orientated approach to the development of computer-based learning materials. Vignettes are objects that can be manipulated via a property sheet, which enables changing the object's inherent character or behaviour. A vignette object can interact with other vignette objects to create more complex educational interactions or models. The vignette approach leads to a development concept that is horizontally distributed across disciplines rather than vertically limited to single subjects.
    [Show full text]
  • Style Brings in Mental States1
    Lisa Zunshine University of Kentucky Style Brings in Mental States1 I Much of what I write these days is an elaboration of Alan Palmer’s argument that “novel reading is mind-reading.” Here, too, I take up one aspect of that argument and consider it in light of my recent experience of studying fiction in a lab with fMRI equipment. (Well, not really—we are actually very far from approaching actual works of literature with brain imaging technology—but as close as I have come to doing so.) As Palmer observes in his target essay for this volume, to claim that we understand the actions of fictional characters by uncovering “the mental network” behind them, is not to flatten out the undeniable differences between novels, or to make impossible any worth- while distinctions between them. To say that the reader can only follow the actions of the characters in Henry Fielding’s Tom Jones (1749) by following the thought processes behind those actions is certainly not to say that it is the same sort of novel as James Joyce’s Ulysses (1922). Of course the two are different. And again, later in the essay, [An] understanding of characters’ thought processes is as necessary for Tom Jones as it is for Ulysses. I cannot find any way of retreating from the universality of my claim. Equally, I do not see any way in which this claim is a refusal to acknowledge the astonishing and endless variety of narrative. To say so would be like suggesting that I am trying to flatten out fictional variation by pointing out that Ulysses and Dan Brown’s The Da Vinci Code use exactly the same 26 letters of the alphabet! Palmer identifies here what constitutes both a problem and a “major cultural studies research project.” If fiction is all about mind-reading, then the burden is on us (i.e., on cognitive literary critics) to explain why reading Ulysses feels so strikingly different from reading Tom Jones (not to mention The Da Vinci Code!).
    [Show full text]
  • Unit Plan the House on Mango Street
    Unit Plan The House on Mango Street By Jessica DeMarie Fall 2005 Introduction Unit: The House on Mango Street 9th grade 50-minute periods 3 weeks Overview: This unit plan is for the novel The House on Mango Street by Sandra Cisneros. The unit will be taught over the course of three weeks. There will be a variety of activities and strategies used over the three weeks, as well as a final writing project and an evaluative exam. As it is a multicultural novel, culture will in fact be a supplemental part of the overall unit. Students will learn several important concepts and will be able to relate much of the content of the unit to their own lives. Theme: The theme of this unit plan is identity and finding ones own identity in the process of growing up. In the novel we see the main character Esperanza growing up and finding out who she really is. She identifies herself with her name, her house on Mango Street, and her cultural heritage. Her home becomes a part of her and makes her who she is. This unit plan explores these ideas from the novel and relates them to the students’ own lives as well. Concept: There are several concepts covered throughout this unit. Students will learn about literary elements such as theme, symbolism, and juxtaposition. They will also learn about culture – what it means to Esperanza as well as what it means to themselves. Many different themes from the novel will be analyzed and related to the main theme of the unit, identity.
    [Show full text]
  • Introduction Mimesis in Theory and in Cultural History
    ᫂ Introduction Mimesis in Theory and in Cultural History JEANNETTE MAGEO How do people meet and fathom one another in transcultural encounters? What do they reap from such encounters? How do they bridge boundaries, reaching out to a transcultural Other? Alternatively, how do they establish boundaries or fail to do so, falling instead under the spell of a transcultural Other? Our answer in this volume is this : through mimesis. In the West, the concept of mimesis has been around at least since Plato, who sees art as mi- mesis and the artist as a copyist. For Plato in Th e Republic (1968) life is a dim copy of ideal forms and art a yet dimmer copy. Aristotle in the Poetics (1927) also sees art as mimesis, but for him art creates a special contemplative state of mind, a balance point or special zone poised between identifi cation with a fl awed hero and the distance inspired by his tragic fate. In this introduction I take mimesis to be making likenesses and, like Ar- istotle, a way to negotiate identifi cation and dis-identifi cation. Making like- nesses can be manifest in performances (mime or parody, for example) or productions (ritual or art), or can simply proceed within a person’s mind. Indeed, Pacifi c Islanders in the arts of caricature, theater, costume, carving, and more, have long used mimesis to contemplate transcultural encounters as many of the essays to follow show. I begin here by off ering a model of mimesis as a mode of thinking, feeling, and contemplation, one that suggests how this mode of processing experience lends itself to intercultural identifi cations and dis-identifi cations and can help bring to light Pacifi c Islanders’ and their visi- tors’ mental and emotional reactions to encounters between them.
    [Show full text]
  • The Romance Novel Cover
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-5-2018 The Romance Novel Cover Jessica D. Spears CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/350 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Romance Novel Cover by Jessica Spears Submitted in partial fulfillment of the Requirements for the degree of Masters of Arts (Art History), Hunter College, The City University of New York 2018 Thesis Sponsor: May 5, 2018 Maria Antonella Pelizzari Date Signature May 5, 2018 Thomas LaPadula Date Signature of Second Reader “The Romance Novel Cover” by Jessica Spears copyright and related rights waived via CC0 “I hereby waive all copyright and related or neighboring rights together with all associated claims and causes of action with respect to this work to the extent possible under the law.” All Images use is Restricted and not included under the Creative Commons 0. Table of Contents List of Illustrations . ii Introduction . 1 Chapter 1: The History of Paperback Publishing and Paperback Covers . 9 Chapter 2: The Nature of Big Book Historical Romance Covers . 24 Chapter 3: Images of Feminine Power and Submission . 35 Chapter 4: The Shame of Being Seen to Read Romance . 48 Chapter 5: Romance’s Relationship with Pornography and Sexual Advertising . 60 Chapter 6: The Male Figure on 1990s Romance Covers .
    [Show full text]
  • Verse Or Vignette Post-Visit Activity Grades/Level: Middle – High School (6+) Subjects: English Time Required: Variable
    Verse or Vignette Post-Visit Activity Grades/Level: Middle – High School (6+) Subjects: English Time Required: Variable Activity Overview Take inspiration from your visit to Castle in the Clouds to pen a poem or evocative description based on your experience. Learning Objectives Youths will review common styles of poetry and descriptive writing. Youths will create original poetry or prose, following the given writing process. Youths will reproduce writing skills such as rhythm, rhyming, and descriptive vocabulary. Activity Steps 1.) Read “Lucknow” on the following pages, or use the QR code or link to hear a reading of the poem. https://youtu.be/WDtGFPJv9JM 2.) Reflect on Olive’s inspiration for writing this poem. What experiences and emotions does she explore in verse? 3.) Either, use the link or QR code at right to review the characteristics of different styles of poetry, https://www.literacyideas.com/latest/2018/3/1/7-poetry- forms-every-teacher-should-be-teaching-and-why-they- should-be-teaching-them 4.) Or, review the characteristics of short stories, flash fiction, and vignettes on the following pages. 5.) Choose a style of poetry or prose to emulate. 6.) Reflect on your visit to Castle in the Clouds, making note of memorable experiences. What did you do during your visit? What did you see, hear, smell, taste, and touch? What emotions did you feel and what were those emotions linked to? 7.) Use your reflections from the previous step as inspiration in drafting your own poem or vignette. PO BOX 687 ~ 455 OLD MOUNTAIN ROAD ~ RTE 171 ~ MOULTONBOROUGH, NH 03254 ~WWW.CASTLEINTHECLOUDS.ORG ~ 603-476-5900 PO BOX 687 ~ 455 OLD MOUNTAIN ROAD ~ RTE 171 ~ MOULTONBOROUGH, NH 03254 ~WWW.CASTLEINTHECLOUDS.ORG ~ 603-476-5900 What Is the Difference Between a Vignette, a Short Story, and Flash Fiction? Vignettes are sometimes confused with short stories and flash fiction, but there is one major difference between them: Short stories and flash fiction are complete works, while a vignette is a smaller part of a story.
    [Show full text]