Annotated Fairy Tales, Fairy Tale Books and Illustrations Active Voice Versus Passive Voice Today's topic is active voice versus passive voice. Here's a question from Brian in Iowa. He writes, “It drives me crazy when people write in passive voice. How can I teach people how to tell the difference between passive and active voice and to stay away from passive voice?” Well, Brian is right, the first step is to help people understand the difference between active and passive voice, because many people believe they should avoid the passive voice, but fewer people can define it or recognize it. What Is Active Voice? I'll start with active voice because it's simpler. Another example is the title of the Marvin Gaye song “I Heard It through the Grapevine.” What Is Passive Voice? In passive voice, the target of the action gets promoted to the subject position. If you wanted to make the title of the Marvin Gaye song passive, you would say “It was heard by me through the grapevine,” not such a catchy title anymore. Next: Is "To Be" a Sign of Passive Voice? Is Passive Voice Always Wrong? 1.
List of fairy tales A modern definition of the fairy tale, as provided by Jens Tismar's monologue in German, is a story that differs "from an oral folk tale"; is written by "a single identifiable author"; can be characterised as "simple and anonymous"; and exists in a mutable and difficult to define genre with a close relationship to folktales.[1] Jump up ^ Zipes, xvJump up ^ Laura Gibbs (July 12, 2003). "Don Giovanni de la Fortuna". Mythfolklore.net.
HowStuffWorks "Structural Effects -- Poetic Meter" Put Your Feet Together: Building Meter There really is no limit to the number of syllables that can be contained in a foot. A poet could even create a meter that has ten syllables in each foot if he or she wanted to. Most feet, however, are made up of four or fewer syllables. An iamb is an unstressed syllable followed by a stressed syllable as in par-TAKE.A trochee is a stressed syllable followed by an unstressed syllable as in BAN-jo.A dactyl is a stressed syllable followed by two unstressed syllables as in CAP-it-al.An anapest is two unstressed syllables followed by a stressed syllable as in sev-en-TEEN.An amphibrach is an unstressed syllable followed by a stressed syllable and then an unstressed syllable as in ar-CHA-ic.A cretic is a stressed syllable followed by an unstressed syllable and then another stressed syllable as in TRAM-po-LINE. When you put the feet together, you get meter. Another tool poets have is structure. Sometimes poets put a whole sentence on one line.
Magical Fairytales - Eugenio Recuenco (10 photos) Eugenio Recuenco is an award-winning fashion photographer from Spain. His unique style has been referred to as "cinematographic" and "pictorial" and his work has been featured in magazines such as Vogue and Twill. Eugenio Recuenco Palabras Que Rimen (versión mejorada) mondo immaginario Da Wikipedia, l'enciclopedia libera. Spesso un mondo immaginario è costruito in maniera coesa e fa da ambientazione o sfondo ad una o più opere di letteratura come una serie di romanzi, di film, di videogiochi (talvolta in questo senso impropriamente si parla di universo immaginario, che invece implica concetti astronomici e fisici o teorie scientifiche). Elementi[modifica | modifica sorgente] Ambientazioni[modifica | modifica sorgente] Le ambientazioni immaginarie non devono necessariamente riflettere o riprodurre il mondo naturale, e logica, leggi della fisica e plausibilità sono spesso ignorate o violate. Luoghi[modifica | modifica sorgente] I luoghi immaginari sono meglio conosciuti nella mitologia e nelle opere di narrativa, dove sono creati come parte di un universo immaginario, con informazioni sulla loro storia passata ed attuale. Città immaginariaPaese immaginario (inteso come area geografica) Eventi o scenari[modifica | modifica sorgente] Bibliografia[modifica | modifica sorgente]
Assonance Examples Many examples of assonance can be found in prose and poetry. Assonance is the repetition of vowel sounds in nearby words. It is used to reinforce the meanings of words or to set the mood. Setting the Mood with Assonance In this example by Carl Sandburg, in Early Moon, the long “o” sounds old or mysterious. “Poetry is old, ancient, goes back far. Assonance examples are sometimes hard to find, because they work subconsciously sometimes, and are subtle. Notice how the mood is set by using the long “A” in this excerpt from Cormac McCarthy's book, Outer Dark: “And stepping softly with her air of blooded ruin about the glade in a frail agony of grace she trailed her rags through dust and ashes, circling the dead fire, the charred billets and chalk bones, the little calcined ribcage.” The words "glade," "frail," "grace," and "trailed" help set the chilling mood of the work, and it is repeated and emphasized at the end with “ribcage.” Here are a few short assonance examples: Other Literary Devices
carte d'Oz et environnement Read-Aloud Books Why Use Read-Aloud Books Read-Aloud Books introduce and expose students to the sounds that different letters or combinations of letters make, help teachers provide models of fluent reading, and build oral and listening comprehension skills. Alliteration with consonants or repetition of vowel sounds in each book provides opportunities for students to demonstrate listening for particular units of sound, or phonemes, in the initial, medial, and final positions of words. How to Use Read-Aloud Books Each Read-Aloud Lesson provides suggestions for listening and comprehension skills to explore with each book focused on the target sound or set of sounds. Used in combination with Alphabet Books, Sound/Symbol Books, and Decodable Books, Read-Aloud Books provide critical practice to build foundational literacy skills. Phonological Awareness Lessons also use the Read-Aloud Books for an optional listening activity at the end of each lesson.
Rate Your Story Children's Illustrated Picture e-Book Reviews: Children's eBook Review: A Brand New Day, by A.S. Chung, illustrated by Paula Bossio Illustrations: 5 Stars Cover: 5 StarsStoryline: 4.5 Stars Total: 5 Stars Summary: A little girl enjoys time with both her Dad and her Mom, even though they are divorced and live in different houses. Illustrations: The illustrations are so adorable, I want to squeeze them. Storyline: With all the children in divorced families these days, it is a good theme for those children to remember: focus on the positive, like the girl in this story, and remember that their parents love them even though they live in different homes. VH: How do you decide what to write about? VH: How did you find your illustrator? VH: Did you create your own publishing company, how and why? As for how, a lot of research and finding the medium that would suit me from a creative and financial point of view. VH: What are your favorite books (children's books and otherwise)? As an adult, my all-time favourite genre is fantasy. I read all the classics too. VH: What's your favorite part of being a writer?
Rate Your Story: Get the Drama Out of Your Life - And Into Your Writing The sky knows it's Wednesday... Outside my morning window, black clouds churn and thrash fat raindrops everywhere. Every few seconds, snapping flashes of white pierce the scene, followed by growls that shake from sky to ground in angry tantrums. It's dramatic. And don't we all love drama? Nature's dramatic shows, maybe. With this dramatic spirit, I enthusiastically welcome today's inspirational, creative, unique, and experimental author/illustrator with a drum roll........ ...Mira Reisberg, PhD (ba dooom-boom-ching!) Dramarama: Different Ways to Play with Plot By Mira Reisberg, PhD As most of you reading this know, the world of children’s book publishing has gotten more and more competitive. One of the things I encourage my students to do is to get the drama out of their lives and into their writing. Deborah Hopkinson’s Book, Abe Lincoln Crosses a Creek: a Tall Thin Tale (Introducing His Forgotten Frontier Friend) begins with: Right off the bat we know there’s going to be trouble.
why there’s no such thing as children’s books “I don’t believe that I have ever written a children’s book,” Maurice Sendak once said. “I don’t write for children. I write–and somebody says, ‘That’s for children!’” Madeleine L’Engle said, “You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children.” J R R Tolkein agreed that there was no such thing as writing “for children.” What are they getting at? There is a disturbing, patronizing dumbing down that happens in so many bad children’s books. People often think it’s easy to write a picture book. Why do we think it’s easy to write for children? Astrid Lindgren said: “I don’t want to write for adults. Only a high view of children and a deep respect for them will produce work worthy of them. Roald Dahl, who wrote novels for adults at the start of his career, said: “I’m probably more pleased with my children’s books than with my adult short stories. And of course, the same is true of the children who read them.