(estimates: 11
, average: 4,64
out of 5)
Software for writers
yWriter5
yWriter is a very convenient text editor, a program that was created specifically for writers. Allows you to divide a work into separate chapters, chapters into scenes, add characters and comments to them. The program is great for structuring large volumes of texts. In addition, your work is automatically saved and words counted in chapters and scenes.
But the best news, perhaps, is support for the Russian language in the yWriter program. In order to enable the Russian language, select Localise -> Choose language on the top panel. If “Russian” is indicated by marvelous hieroglyphs, select COBECTb`s translate(ru).
You can download yWriter5 we have :
"A fresh look"
“Fresh Look” is a Russian-language software for checking your texts. The program can find words that sound the same, which helps ensure that there are no tautologies and makes your work smooth and readable. Language and style are the highlights that distinguish works from others. “Fresh Look” helps to find those flaws that a writer may miss after repeated proofreading.
The program is free, has a simple and intuitive interface, which allows you to get started right away. The only drawback is that checking one document takes a lot of time. Otherwise, the check is very high quality, suspicious words are highlighted in different colors.
There is also an online version of this program - http://quittance.ru/tautology.php
You can download "Fresh Look" we have :
yEdit2
This program is simpler, it takes on the functions of an ordinary notepad. But! yEdit2 has the ability to limit the number of characters, which is very convenient for writing articles or texts for competitions.
You can download yEdit2 we have :
CELTX
CELTX is a whole field for the activities of writers and screenwriters. The program performs approximately the same functions as yWriter, but allows you to work not only with text information, but also with graphics, audio and video objects. There will be no limits to your imagination here. You can add illustrations that will visually depict the characters in your story, or insert an atmospheric musical composition that you associate with a certain fragment of the work. The only disadvantage of CELTX is that it is difficult to understand for those who are used to working with text editors such as MS Word.
RHYMES
RHYMES is a program for selecting rhymes. Works on the basis of many dictionaries. Easy to use, in addition to finding rhymes, it can select synonyms and antonyms for a given word.
XMind
XMind is a planning service that is suitable not only for writers, but also for scientists and developers. The program helps in drawing up so-called mental maps, which will help to visually depict an idea and bring it to life step by step. As you work on the work, you will add new elements and build entire connection diagrams. The resulting document can be exported to any convenient format - text or graphic.
I hope this article helped you choose writing software for myself. On the site you can also find out about. I wish you creative success and inspiration!
Elizaveta Babanova
29551
Stephen King can be called the king of literature in the genres of science fiction and horror.
I'm not a fan of King's work, but I couldn't pass up his how-to guide/autobiography called How to Write a Book? for one simple reason: I was interested in trying to open the chip code of this outstanding writer of our time.
How did he develop his talent?
Thanks to what unique abilities does he produce book after book with enviable regularity?
What is the secret of his hyper-productivity?
Why did most of his books become bestsellers?
Stephen King has published approximately 160 works, including books, film scripts, and collections of short stories.
If you're just looking to start writing or want to develop your already obvious talent as a writer, why not learn the principles of literary craft from one of the most popular and sought-after writers of our time?
Even if you don't plan to work in his genre, there is a lot to learn from him.
Lesson #1: Learn to read and write before watching TV
“If that doesn’t work out, then turn off the TV and just read. And then write.
Television came relatively late to the King household, and I'm glad for that. Come to think of it, I belong to a very select group: the last handful of American writers who learned to read and write before ingesting their daily dose of video bullshit. Maybe it doesn't matter. And yet, if you want to be a writer, then it’s not the worst option to rip off the TV cord, wrap it around a steel spike and poke the plug into the socket - see what comes out where.”
Lesson #2: Your job is not to look for these ideas, but to recognize them when they appear.
“Let's get one thing straight right now, okay? There is no Landfill of Ideas, no Central Repository, no Island of Lost Bestsellers. Good story ideas literally come out of nowhere, falling straight out of the blue: two completely separate thoughts mesh together and something new emerges under the sun. Your job is not to look for these ideas, but to recognize them when they appear.”
Lesson #3: Optimism. Believe in the best!
“Having received a piece of paper with a refusal from Hitchcock, I hammered a nail into the wall, wrote “Happiness Coupons” on the piece of paper and stuck it on the nail. Then he sat on the bed and listened to Fats sing “I'm Ready”... When you're too young to shave, optimism is a very natural reaction to failure.
When I was already fourteen (and I shaved twice a week, whether it was necessary or not), the nail in the wall could no longer support the weight of the refusal slips. Replacing the nail with a carpenter's crutch, I continued to write. By sixteen, I began to receive refusals with handwritten notes that were somewhat more encouraging... The first such note came from Algis Badris, then editor of Fantasy and Science Fiction. He read my story “Night of the Tiger”... and wrote: “Okay. It won't suit us, but it's good. You have talent. Send more."
Four short phrases, written with a fountain pen that left uneven blots, illuminated the winter of despair of my sixteen years. About ten years later, having already sold a couple of novels, I discovered Night of the Tiger in a box of old manuscripts and decided that it was still a great story, albeit written by someone who was still learning the craft. I rewrote it and sent it out of curiosity to the same “Fantasy and Science Fiction”. This time they bought it. I noticed this thing: if you have achieved some success, magazines are much less likely to write “Won’t suit us.”
Lesson #4: Your story is not yours.
“When you write a thing, you tell it to yourself,” he said. “When you rewrite, your main job is to remove everything that doesn’t belong to the thing.”
Gould said something else that was interesting to me on the day of my first two notes: write with the door closed, rewrite with the door open. Your writing begins for yourself, in other words, but then it goes out into the world. When you understand what a thing is and do it right - at least as best you can - it belongs to everyone who wants to read it. Or criticize. If you’re very lucky (this is my idea, but I think John Gould would have subscribed to it), there will be more of the former than the latter.”
Lesson #5: Don't feel sorry for your children when you're young. A busy schedule makes you stronger
“The last weeks of my studies at Lisbon School, my day looked like this: wake up at seven, to school at seven thirty, last bell at two, take off to the third floor of Varumbo at 14.58, then eight hours of stuffing fabric into bags, leaving at 23.02, home about at a quarter past twelve, bowl of cereal, flop into bed, get up in the morning, all over again. Sometimes I would work double shifts, sleep in my '66 Ford Galaxy (Dave's old car) for about an hour before school, then sleep at school during the fifth and sixth periods."
And specific lessons on how to write popular novels:
Lesson #6: Vocabulary
“Put your dictionary at the very top of your toolbox and don't make a conscious effort to improve your vocabulary. (Of course, when reading it comes naturally... but that will come later). You can really mess up your writing if you force the dictionary to look for long words, because it’s somehow embarrassing to use short ones. It's kind of like dressing up your pet mutt in evening gowns. The mongrel is embarrassed, and the person who commits such an act of deliberate affectation must be even more embarrassed. Make a solemn promise to yourself never to write “precipitation” when you can say “rain,” and never to say “John stopped to excrete” when you mean John stopped to take a shit. If you think that “fuck” is an indecent word or is not appropriate for your audience, calmly say “John stayed late to relieve himself” or “do it in a big way”, at worst. I'm not persuading you to express yourself dirty - just simply and directly. Remember the main rule of the dictionary: take the first word that comes to mind, if it is suitable and vivid. If you hesitate and reflect, there will be another word - that’s for sure, because there is always another word, but it is unlikely to be as good as the first, or as close to what you wanted to say.”
Lesson #7: Description and Importance of Reading
“Description is what makes the reader a perceptive participant in your story. Describing well is an acquired skill, one of the main reasons why you cannot learn to write unless you read a lot and write a lot. And the question is not only how, the question is also how much. Reading will help you find out how much, but only reams of scribbled paper will answer the question of how. You can only learn this on the job.
The description begins with a visualization of what the reader is supposed to experience. It ends with you translating what you see with your inner vision into words on the page. I already said that we often hear: “You know, this is so amazing (or so terrible/weird/funny)… I just can’t describe it!” Now, if you want to succeed as a writer, you must be able to describe it in a way that gives your reader goosebumps of recognition. If you can do this, your work will be paid, and deservedly so. If not, you'll be collecting rejection slips and perhaps wondering about a career in the exciting world of telemarketing.
A skimpy description leaves the reader feeling confused and shortsighted, a too detailed description buries him under an avalanche of details and images - the trick is to find the middle ground. It is also important to know what to describe and what to leave aside while you do your main job - tell the story.
Description begins in the writer's imagination, but must end in the reader's imagination. When it comes to this, the writer has better luck than the filmmaker, who is almost always doomed to show too much...
Very often the reader puts the book aside because he is “bored.” And the boredom arose because the writer, enchanted by his own ability to describe, forgot about the most important thing: the ball must roll further.”
Lesson #8: What to Write About
“These are just interests that grew out of my life and thoughts, from my experiences as a boy and an adult, from my roles as a husband, father, writer, lover. These are the questions that occupy my mind when I turn off the light before bed and find myself alone, staring into the darkness with my hand under the pillow.
You probably have your own interests and your own thoughts, and they grew, like mine, from the events and experiences of your life. Some are probably similar to the ones I just named, others are completely different from them, but you have them, and you should use them in your work. That's probably not all these ideas are for, but it's certainly one of the things they're useful for.
I must conclude this little sermon with a warning: starting with questions and ideas is a recipe for bad literature. Good literature always starts with a theme and develops towards an idea; it almost never happens the other way around. The only possible exception I can think of are allegories like George Orwell's Animal Farm (and I have a sneaking suspicion that here, too, the plot came first. If I see Orwell in my future life, I'll ask him).
But when the plot is already on paper, you need to think about what it means and write your conclusions into the next options. Not to do this is to deprive your work (and ultimately the reader) of the vision that makes every thing you write yours and only yours.”
Lesson #9: How to write?
“If you are a beginner, then take my advice: do at least two drafts - one with the office door closed and one with the office door open.
Behind a closed door, unloading the contents of my head onto paper, I write as fast as I can, but I enjoy it. Writing fiction, especially long fiction, can be difficult and lonely work—like swimming across the Atlantic Ocean in a bathtub. There are a million opportunities for self-doubt. If I write quickly, writing down the plot as it comes to mind, only checking the names and significant background of the characters, I manage to maintain the initial enthusiasm and at the same time escape from the self-doubts that are just waiting to happen.
The first draft - of the entire thing - must be written without anyone's help (or hindrance).
Now let's say you've finished the first draft. Congratulations! Great job! Have a glass of champagne, order a pizza, do what you usually do when you have something to celebrate.
You have done a lot of work, and you need time (for each writer - its own) to rest. The mind and the imagination - two related things, but not the same thing - must be restored, at least in relation to this particular work.
My advice would be to take a couple of days off - go fishing, kayak down the river, do jigsaw puzzles - and then start working on something else. Preferably something shorter and a complete change of direction and pace from the finished work. How long to let the book sit is up to you, but I think it should be at least six weeks. All this time, the manuscript is securely locked in a desk drawer, aging and (one hopes) maturing. You often mentally return to it, and dozens of times you are overcome by the temptation to take it out, even if only to read this or that passage that you remember as particularly successful, which you want to re-read and rejoice at what a good writer you are.
Don't be tempted. If you don’t resist, you will probably decide after reading that the place is not as good as it seemed, and it’s better to rewrite it right there. Is that bad. The only thing that could be worse is if you decide that the passage is even better than you remembered, and why not re-read the whole book at once? Resume work? Damn, it's about time! I'm just Shakespeare!
But you're not Shakespeare, and you're not ready to go back to your old job, unless, of course, you're so caught up in your new job (or your daily life) that you've almost forgotten that fictional realm that took up three hours of your time every morning or afternoon for three, or five, or seven months.
When that evening arrives (which could be scheduled in advance on a desk calendar), take the manuscript out of the drawer. If it looks like an archaeological find bought at a flea market or garage sale, and you can't even remember where, then you're ready. Close the door (soon it will have to be opened into the world), take a pencil and place a notepad next to it. Now read the manuscript.
Do everything in one sitting, if possible (of course, this won't work if the book is four hundred to five hundred pages long). Take any notes you can, but focus on routine chores like correcting typos and noting inconsistencies. And there will be many of them; only God does everything right the first time, and only a idiot will allow himself to say: “Oh, okay, that’s what editors are for.”
If you've never done this before, you'll find that reading your own book after a six-week delay is a strange, often even intoxicating experience. She is yours, you will recognize her as yours. You can even remember the music that sounded from the speakers when you wrote this or that, and still it’s as if you were reading someone else’s work, some kind of spiritual twin, perhaps. That’s how it should be, that’s why we had to wait. It's always easier to kill someone else's loved ones than to kill your own.
After the six-week recovery period, you'll also be able to notice all the gaping plot holes and character development. I'm talking about the kind of holes that a tractor can drive through. It's amazing how some things escape a writer's attention when he is busy with the daily grind of writing. And remember; When you find these big holes, you can't get upset or beat yourself up. Failure happens even to the best of us.
As I read, the top layer of my mind focuses on the plot and the toolbox: kicking out pronouns with unclear antecedents (I hate pronouns and don't trust them, they're all slippery, like cheap lawyers), adding explanatory phrases where they're needed, and, of course, crossing out all the adverbs that I can part with without tears (I never manage to cross out everything, and never enough).
And on a deeper level, I ask myself the Important Question. Most important: does the story connect into a whole? And if so, how do you turn this coherence into a song? What are the recurring elements here? Do they intertwine into a leitmotif, into an idea? In other words, I ask myself, “Stevie, what is this all about?” and “How to clarify these deep ideas?” Most of all, I want to achieve resonance, so that something will resonate in the mind (and heart) of my Regular Reader when he closes the book and puts it on the shelf. I'm looking for a way to do this without spoon-feeding the reader or selling my birthright for weaving in a message. Shove all these messages and morals where the sun never shined. I want resonance.
In the spring of my senior year at Lisbon High School (1966), I received a handwritten note that once and for all changed the way I rewrote my writing. Following the editor's printed signature was the following motto:
“Not bad, but overblown. Needs to be reduced. Formula: second option = first option - 10%. Good luck".
Lesson #10: Background
“Backstory is everything that happened before your story begins that influences the plot. Backstory helps establish the characters' personalities and indicate their motivations. I think it's important to lay out the backstory as quickly as possible, but it's also important to do it with some grace. As an example of a lack of grace, consider the following line of dialogue:
“Hi, ex-wife,” Tom said as Doris entered the room.
Maybe it's really important to the plot that Tom and Doris are divorced, but there has to be a better way to say it than the one above that rivals the grace of a cleaver's blow. For example:
It's also not Pulitzer Prize-winning, and much longer than Hello Ex-Girlfriend, but speed isn't everything, as I've already tried to point out. And if you think that the main thing is information, stop writing fiction and take up the instructions - “Dilbert” will not wait for you.
As a reader, I am much more interested in what will happen than in what was. Yes, there are brilliant novels that contradict this preference (or prejudice). It's "Rebecca" by Daphne Du Maurier or "Eyes Accustomed to Darkness" by Barbara Vine, but I prefer to start at the beginning, even as an author. I like things to be in order: serve me the appetizer first and dessert after dinner.
The main thing to remember about backstory is that a) everyone has their own story and b) there is little interesting in it. Stick to the parts that are of interest and leave the rest alone. Long stories from life are best heard in bars, about an hour before closing, and only if you believe them.”
Lesson #11: Write for Your Ideal Reader
“Let's call the person you are writing for the Ideal Reader. He or she will be a constant presence in your office: in the flesh, when you open the door and let the light of the world fall on the bubble of your dreams; invisibly during the hectic and often joyful days of writing the first draft, with the door closed. And guess what? You'll find yourself reworking things before the Ideal Reader even sees the first sentence. I.Ch. will help you go a little beyond the boundaries of your personality, re-read your work as you work. This is perhaps the best way to not deviate from your narrative, a way to play for an audience when there is no audience and everything depends only on you. When I write a scene that I think is funny (like the pie-eating contest in Corpse), I also imagine that my I.H. will find it funny.”
In my work, lesson #11 is perhaps one of the key ones. Every time I write an article or develop the structure and content for a new program, I imagine someone who will be able to use my materials to improve their life.
For my new module, which will be broadcast live on Saturday, June 28 at 12:00 Moscow time, I imagined my Ideal Client in this way: this is a person who feels untapped and unclaimed creative potential. Whether it's a musician, writer, designer, financial analyst, teacher or accountant, we all have a creative streak within us. Without the developed ability to activate it, we very often mark time in our careers and remain unfulfilled in various areas of life.
And to enhance career growth, nothing is more important than developing creative thinking. Research confirms this:
A recent IBM survey of 1,500 CEOs found that creativity is the most important management competency.
In another survey of Adobe systems, in which 5 thousand people from around the world took part, the results showed that 80% of people surveyed see the unlocking of creative potential as the key to economic development. However, only 25% of people feel they make the most of their creativity at work.
What percentage of your potential are you using today?
If you feel that the time has come to work on this area and you need a push and a number of proven tools for this, then I am waiting for you on June 28th. Live, we will all together pave the way to unleash your creative abilities. As always, there will be a recording of the master class if you wish to re-work the material.
State Institution “Kushmurun Secondary School No. 121 of the Education Department of the Akimat
Auliekolsky district"
Elective course for primary school students
"Secrets of Literary Reading"
Compiled by:
Melikhova L.B., Oleynikova N.V.,
primary school teachers
2015
UDC 371.383
BBK 74.200.585.00
From 28
Reviewers:
Sukhoteplaya G.I.– Director of the State Institution “Kushmurun Secondary School No. 121 of the Education Department of the Akimat of the Auliekol District” of Kostanay Region
Kazhenova M.K.– methodologist of Auliekol Regional Educational Institution
From 28 Secrets of literary reading: an elective course for beginning students. class general education school / compiler: L.B. Melikhova, N.V. Oleynikova – Kushmurun, 2015 - 11 p.
ISBN 978-601-303-399-0
The textbook materials can be used both during class learning activities and in extracurricular activities.
UDC 371.383
BBK 74.200.585.00
ISBN 978-601-303-399-0 © State Institution "Kushmurun Secondary School No. 121 Department
Education of the Akimat of Auliekol
district of Kostanay region", 2015
Explanatory note
The modern school is experiencing a new stage of its development. The primary school teacher is faced with the task of building the educational process in such a way that society receives highly cultural, deeply moral and socially active citizens, for whom the ability and desire to learn should become stable personality traits. This cannot be achieved without serious work by students from the first days of school, not only with the textbook, but also with children's books from the available reading range. Until recently, the value of books and reading was undeniable in our country. But today the situation looks different. The picture of mass reading, its prestige, reading preferences and habits have changed significantly. In our age of scientific and technological progress, where television, computers and video games dominate, children have lost interest in reading. We observe:
changing the nature of reading;
the predominance of “business” reading over “free”;
an increase in the number of students who limit themselves to reading literature only according to the school curriculum;
Currently, there is no official extracurricular reading lesson; work with books is included in the structure of literary reading lessons.
The “Secrets of Literary Reading” program solves the problem of developing correct, conscious, fluent and expressive reading that worries every teacher, since reading plays a very important (if not dominant) role in the education and development of a child’s personality.
This program will help the teacher enthusiastically introduce students to children's literature, as well as develop the ability to perceive works of art, empathize with the characters, and express emotions about the works they read.
The program helps to develop students' readiness for active and successful functioning in the 21st century, instilling critical thinking skills, self-motivation, self-regulation, and the ability to learn.
The selection of literary content is guided by the value of the works and takes into account the age capabilities and social experience of younger schoolchildren. That is why, along with classical Russian and foreign literature, a place is given to works of oral folk art and modern children's books.
During the classes, children also get acquainted with the literature of their native land, works of oral folk art, reflecting the life and traditions, the richness and originality of the language of the people living in the area, which will not only have an impact on the formation of the personal identity of the growing person, but will also help to master the figurative specifics literature as an art form.
Teachers who work with primary schoolchildren know how difficult it is to teach childrenreading technique, but it is even more difficult to raise an enthusiastic reader. It is necessary to organize the process so that reading contributes to the development of personality, and a developed personality feels the need in reading as a source of further development. Reading and storytelling of books is organized throughoutmoments of life at school, it is associated with games and walks, with everyday activities and work.
Target programs introduce students in depth to children's literature and books, ensure the literary development of younger schoolchildren, open up the world to childrenmoral and aesthetic values and spiritual culture accumulated by previousgenerations, to develop artistic taste, to form a culture of feelings and communication.
The program is aimed at solving the following problems:
develop in children the ability to fully perceive a work of art, empathize with the characters, and respond emotionally to what they read;
to teach children to feel and understand the figurative language of a work of art, the means of expression that create an artistic image, to develop students’ imaginative thinking;
to develop the ability to recreate artistic images of a literary work, develop students’ imagination, associative thinking, develop children’s poetic ear, accumulate aesthetic experience in listening to works of fine literature, cultivate an artistic ear;
To create a need for constant reading of books, to develop an interest in literary reading, the creativity of writers, creators of works of literary art;
Enrich the child’s sensory experience, his real ideas about the world around him and nature;
to form a child’s aesthetic attitude to life, introducing him to the classics of art literature;
Provide a sufficiently deep understanding of the content of works of varying levels of complexity;
expand children's horizons through reading books of various genres, varied in content and subject matter, enrich the child's moral, aesthetic and cognitive experience;
ensure the development of students’ speech and actively develop reading and speech skills;
work with different types of texts;
create conditions for the formation of the need for independent reading of works of fiction.
The forms of working with a book are varied and determined by the creativity of the teacher. To develop an interest in reading, we have a variety of Forms of organization of classes:
lesson-debate,
activity-performance,
activity-holiday,
lesson-interview,
integrated lesson,
conference,
oral journal,
competitions,
literary meetings,
literary living room,
literary ring, etc.
The system of work presented in the program makes it possible to implement new technologies, non-standard forms of work in extracurricular activities, develop students’ speech, increase children’s educational motivation and, most importantly, raise a literate reader. The use of computer and multimedia technologies will significantly increase the effectiveness of cultivating interest in books and reading.
The teacher must create conditions for the modern child that guarantee him the discovery of a holistic picture of the world thanks to the current set of children's books, the development of motives for his attitude towards reading, so that the culture of understanding the value and priority of reading and reading activity is not violated.
Having studied the works of scientists, teacher-researchers and innovators, we have developed our own system of conducting classes, the basis of which is the rule of “thoughtful reading”.
Guiding principles of the literary circle program
"Secrets of literary reading."
The program assumes the following content of books, their structure and teaching methods, which are based on the following guiding principles:
artistic and aesthetic;
literary studies;
communicative-speech.
Artistic and aesthetic principle determines the strategy for selecting works for reading, and therefore the reading range of younger schoolchildren includes mainly literary texts. Children's attention is drawn to the fact that before them are not just educational, interesting texts, but works of verbal art that reveal to the reader the richness of the surrounding world and human relationships, give rise to a sense of harmony, beauty, teach them to understand the beauty in life, and form in the child their own attitude towards reality. This principle involves the active establishment of connections between all other forms of art.
Literary principle taking into account the characteristics of the initial stage of training, it is implemented when analyzing a literary work and brings to the fore the artistic image. The word becomes the object of attention of the reader and is interpreted by him as a means of creating a verbal and artistic image through which the author expresses his thoughts, feelings, and ideas.
In elementary school, analysis of a work of art should help children feel the integrity of the artistic image and adequately empathize with the hero.
The literary principle is also expressed in the fact that the program covers all major literary genres: fairy tales, poems, short stories, fables, dramatic works (in excerpts). When analyzing a work, this principle aims to enrich students with their first ideas about the issue.
Communicative speech principle is aimed at developing the speech culture of students, at the formation and development of speech skills in younger schoolchildren, the main of which is reading skills. The goal of literary reading classes is to intensively develop the skill of reading as a type of speech activity: from the loud speech form of reading to silent reading.
The selection and arrangement of educational material, the use of various methods and pedagogical technologies in this program correspond to the age and psychological characteristics of children of primary school age, for whom the leading activity is communication in the learning process.
The program is focused on children's feelings, images and thoughts that arise during the lesson. The process of working with a work is a generalization, search and discovery of truths, collaboration according to the scheme students – teacher – author. The language of our classics should become an inexhaustible source for the speech, intellectual and moral development of children.
Expected results:
The student must be able to:
search:
survey the environment;
consult a teacher;
get information;
think:
establish connections between past and present events;
be critical of this or that statement or proposal;
be able to confront uncertainty and complexity;
take a position in discussions and develop your own opinions;
evaluate works of art and literature;
cooperate:
be able to work in a group;
decisions;
resolve disagreements and conflicts;
agree; develop and carry out assigned responsibilities;
get down to business:
join a group or team and make a contribution;
prove solidarity; organize your work;
adapt :
use new information and communication technologies;
to withstand difficulties; find new solutions.
It follows from this that students must demonstrate the ability to mobilize previously acquired knowledge, use the practical experience of adults, demonstrate the ability to prove (substantiate their point of view), be able to organize the relationship between past and present knowledge in solving a specific situation, i.e., use previously acquired competencies. The knowledge obtained in this way turns out to be more durable and of higher quality.
As a result of the program, students should be able to:
Independently divide the text into parts that are complete in meaning and highlight the main thing in them, determine with the help of the teacher the themes of the work and its meaning as a whole.
Make a plan for what you read and briefly retell its content with the help of a teacher.
Verbally draw pictures for literary texts.
Write a story about your observations from the life of the school and your class.
Independently find in the text words and expressions that the author uses to depict characters, nature and descriptions of events.
Compare and comprehend the actions of the characters, the motives for their behavior, the feelings and thoughts of the characters, and evaluate their actions (with the help of the teacher).
Understand figurative expressions used in the book.
Navigate in the book: independently find a work by its title in the content, search for works in the book that are similar in theme, independently compose assignments for the text.
Collective dramatization of works of art.
Introduction of game situations that will help children act as a poet, writer, performer and spectator;
Collective discussion of creative works, nurturing a friendly attitude among children towards the results of creative searches of classmates.
By the end of primary school education, as a result of mastering the content of the “Secrets of Literary Reading” program, students develop general educational abilities, skills and methods of cognitive activity, and students’ readiness for further education.
Thematic planning of classes according to the literary circle program “Secrets of Literary Reading”
p/p
Number of hours
Extracurricular reading topic
Offered for use
nyu literature
Main content of the work
Individual work with a children's book
Group work with a children's book
Deadlines
What do the magazines talk about?
Children's periodicals
Deepening the details
about periodic
print. Getting to know
magazine
Selection and reading
materials from
periodicals.
Organization in the corner reading section periodicals. Compilation of oral
magazine
“Where, what, how and why?”
Reference books, encyclopedias
Expansion of informationabout benefits to help to the young reader. Summary of information about books -
reference books
Making a book -homemade products “Do you know You?". Working with children's information center literature
Performance by primary school students
"Yesterday and today"
Books about science and technology, about machines and things and about their creators - scientific inventors.
Ordering and systematization available circle readings on the topic. Selection from books read
especially interesting
information from science and
technology
Selection and reading of books on the topic “Yesterday and Today.”
Selection of books in the corner series readings: "Heroic biographies. Legendary heroes".
“What were you like, my age, during the Great Patriotic War?”
Books about children of the same age, participants of the Second World War
Analysis and assessment of skills briefly, understandable, interesting to tell about read book. Getting to know
Annotated
telny
index of books and annotation techniques
Making annotations for books read.
Preparation and execution
thematic oral
magazine "What were you like,
my age, in years
Great Patriotic War
war?
"From the history of our Motherland"
Books about distant events and people who remained in in memory of the people century.
S. Babenko,
B.Sokpakbaev
Stories about heroesbooks read, compiled according to different sources.
Oral annotation books on the topic of the lesson.
Reading stories and essays about our heroes
days from the nursery
periodicals, in
Internet .
Presentation
or
homemade album “From
history of our Motherland"
Love the living
Writers about animals: M. Prishvin
D. Mamin -
Siberian
Reflection of the writer’s biography and interests in
his works
Expressive reading excerpt of the work.
Oral illustration
11-12
"Let's go, friends!"
Books about
travel and
traveling
nikah, real and
fictional
S. Golitsyn
"Forty Prospectors"
Book analysis.
Selecting episodes
Developing a sense of humor
curiosity,
observation,
attention.
Writing assignments
for literary
marathon
Preparation and holding of the literary marathon “B”
Way to go, friends! By
materials read
books.
Extraordinary
Naya
biography in
extraordinary time"
Artistic
works,
autobiographies,
letters, diaries
A. Gaidar;
memories,
notes about A.
Gaidar.
Getting to know something new
type of publication - with the collected works of the writer. Selective
reading, retelling,
recitation of passages,
recreating the image
A. Gaidar - fighter,
writer, citizen
Independent
examination
four-volume
(Collected works
A. Gaidar).
Decor
annotated
cards for this
publication.
Presentation design
"Books of Gaidar and about
Gaidar."
Readers' conference
based on Gaidar's story "Timur"
and his team"
About heroism and cowardice
Glory warms, shame burns
Heroism in the works of: S. Marshak A,
Artyukhova,
S. Mikhalkov, K. Ushinsky
Selective reading
characteristics
main characters.
Title
thematic
Exhibitions
select
consider and
bring to class
books about courage.
Drawing up advice for
those who want to be
brave.
15-16
"Native Poets"
Poems of poets -
classics 19-
early 20th century
for children:
Getting to know the wide
circle of poets -
classics, with
their themes
creativity. Reading
selected poems
by heart
Reading a series of poems
classical poets.
Selection of several
poems for
reading aloud, by heart
Literary game “Do you know the classical poets?”
17-18
I'm learning to compose
Balmont, M. Tsvetaeva
Genres of literature. Versification - 11 words
Essay 11 - words
Creating cool
collection of poems
"We create!"
19-20
“Fight and search, find and don’t give up!”
R. L. Stevenson "Treasure Island"
Kir Bulychev
"Guest from
future"
V. Gubarev
"Journey to
Morning
Star"
In-depth
book review
adventure
genre.
Decor
reader's
diary.
Literary quiz onworks of the section"Foreign adventure classic"
21-22
"Steps of Wisdom"
Tales of Leonardo da Vinci
Arrangement and
systematization
available circle
readings on the topic.
Selection from
books read
especially interesting
information, wise
advice
Selection of information about
Leonardo da Vinci, his
creativity, scientific
activities for
drawing up
presentations
Design of the presentation “Steps of Wisdom”.
23-24
"From
grateful readers"
M. Twain
"The Adventures of Tom Sawyer" D. Swift "Gulliver's Travels"
Book analysis.
Selecting episodes
raising
sense of humor,
curious
ness,
observation,
attention, respect for
senior
Formulation
his attitude towards
what's happening in
work, compiling characteristics of the main characters.
Compiling a filmstrip based on one of the works.
25-26
"Modern
writers-
children"
E.Veltisov
V. Medvedev
Getting to know the wide
around modern
writers, with their themes
creativity. Analysis
works.
Excerption,
retelling from my
name. Drawing up questions based on these works
Design of a book exhibition.
Self-presentation “Book,
27-29
Theater and literature
Fairy tale play "Blue Bird"
Maurice Materlinck
Introduction of the concept
"play", structure
plays, dramaturgy.
Choosing and learning a role
Dramatization game “Blue Bird”
30-31
"With my
book
shelves"
V.Gauf
"Little Longnose",
"Little Muck"
H.K.Andersen "The Little Mermaid"
Arrangement and
systematization
available circle
readings on the topic.
Decor
reader's
diary. Compilation tasks based on data works (questions, crosswords,puzzles, pictograms and etc.)
Literary game “You to me,
I am for you" according to what I read
works.
Generalizing
lesson with parents
Event with parents instilling reader interest
Prepare quiz questions
"Literary Lounge"
"What can you talk about?
what do you need, oh
Control and orientation lesson.
Level check students’ mastery of special knowledge, skills and abilities,received in the system extracurricular reading. Installation
for independent
reading
Drawing up reading plans for future.
Arranging a book exhibition"To help the young reader" and "journey"
at the exhibition with
tour guide -
high school student.
Final
diagnosing
Testing by
identifying the reader's horizons.
Making a list for summer reading with taking into account the degree
mastering read works
Decorating a summer reading corner
Literature and Internet resources used:
Gostimskaya E.S. Extracurricular reading M., 2005.
Russian literary classics. Samara: Fedorov Corporation, 1995.
What's happened? Who it? M.: Pedagogy, 1990. T.1-3
Russian children's writers xx century. Bibliographic Dictionary. M.: Flinta - science, 2001.
Svetlovskaya N.N., Dzhezheley O.V. Extracurricular reading in grades 1-3.
M. Education, 1985.
Svetlovskaya N. N. “Methods of extracurricular reading”, M. 1991.
Magazines "Elementary school", 2006-2013.
9. Internet resources with literary presentations
10. Literary encyclopedia on Yandex
“You say that words are needed here.
Oh no! This is precisely where words are not needed, and where they are powerless,
is fully armed with its “language of music...”
(P. Tchaikovsky)
The desire to embody the features of nature can constantly bring to life significant works of art. After all, nature is so diverse, so rich in miracles that these miracles would be enough for more than one generation of musicians, poets and artists.
Let us turn to P. Tchaikovsky’s piano cycle “The Seasons”. Like Vivaldi, Tchaikovsky’s each play has a title corresponding to the name of the month to which it is dedicated, as well as an obligatory subtitle and epigraph that deepens and specifies its content.
"January. At the Fireplace", "February. Maslenitsa", "March. Song of the Lark", "April. Snowdrop", "May. White Nights", "June. Barcarolle", "July. Song of the Mower", "August. Harvest", "September. Hunt", "October. Autumn Song", "November. On the troika”, “December. Christmas time."
Tchaikovsky associated such images with the perception of special poetry, the soul of each month of the year.
Probably, for any person, a certain time of year evokes a whole layer of images, thoughts, experiences that are close and understandable only to him. And if different composers created their own “Seasons,” then, of course, these are completely different works that reflect not only the poetry of nature, but the special artistic world of their creators.
However, just as we accept nature in its various manifestations - after all, rain, a blizzard, and a cloudy autumn day have their own charm - in the same way we accept that artistic look, full of love, that the composer embodies in his works . Therefore, listening to the play “November. On the troika,” we don’t think about the fact that the troikas of horses ringing with bells are long gone from our lives, that November awakens in us completely different ideas. We are again and again immersed in the atmosphere of this beautiful music, which so expressively tells about the “soul of November” that the great Tchaikovsky breathed into it.
Music can tell us about wonderful countries and the eternal poetry of nature, it immerses us in the distant historical past and gives us a dream of a wonderful future, it re-creates the characters of heroes - even those that are already known to us from works of literature or fine art.
History, people, characters, human relationships, pictures of nature - all this is presented in music, but presented in a special way. Correctly found intonation, a bright rhythmic pattern will tell us much more about the work than the longest and most detailed literary description. After all, each art expresses itself with its own, unique means: literature influences with words, painting with colors and lines, and music captivates with its melodies, rhythms and harmonies.
Listen to the playP. Tchaikovsky “November” from the piano cycle “The Seasons”.
Listen to the sound of the initial section of the play “November” and try to imagine what kind of autumn the composer depicts in his music, what feelings and moods its sound evokes in us.
P. Tchaikovsky
Music example 2
P. Tchaikovsky. "November. At three." From the piano cycle “The Seasons”. First section. Fragman T
You remember that this cycle was conceived by the composer as a kind of musical narrative about the life of nature, about its continuously changing appearance, so subject to the endless movement of the seasons.
The second section of the play brings us closer to the content expressed in the title of the play - “On the Troika”. The music of this section is enriched by the introduction of a striking pictorial moment - the ringing of bells. It evokes the cheerful running of three horses, which once formed an integral part of Russian national life. This ringing of bells gives the sound of the play visibility and at the same time introduces another cheerful moment - the moment of admiring a picture dear to every Russian heart.
Music example 3
P. Tchaikovsky. "November. At three." From the piano cycle “The Seasons”. Second section. Fragment
The ringing of bells ends the play “November”, the sound of which becomes quieter towards the end, as if the troika that had just rushed past us was gradually moving away, disappearing in the haze of a cold autumn day.
Perhaps, in this final dissipation of sound, the lines from the epigraph to the play are remembered for the first time? After all, in the play itself there are no echoes of the promised melancholy and anxiety that are given in the poem. How then can we understand the programmatic content from the epigraph to the play?
November, the last month of autumn, the last days before the onset of a long winter. Here, ringing the bells, the troika rushed by - and now it is further and further from us, hiding in the distance, and the ringing of the bells is getting quieter... The play of farewell - such is “November” in its location in the cycle of the seasons. And no matter how cheerful the composer’s gaze may be, able to see the beauty and fullness of life at any time of the year, he is still not free from the feeling of acute regret, which is always inevitable when parting with something familiar and, in its own way, dear. And if this is so, then we can say that the software here is significantly expands and deepens a musical image, introducing into it a semantic subtext that we would not have caught in music alone.
Questions and tasks
1. Is the mood of P. Tchaikovsky’s play “November” consistent with your ideas about this time of year?
2. What is the role of N. Nekrasov’s poem “Troika” in the context of the play “November”?
3. Which of the program components of the work (name of the month, title of the play, epigraph poem) do you think best reflects the character of the music?
4. What do you see as the main similarities and differences in the embodiment of artistic images of the seasons in the works of A. Vivaldi and P. Tchaikovsky?
Song repertoire:
Showers. Autumn decorates the road with leaves. Apologizing profusely, he sweeps Wind colorful spots of October. Light flows. Chorus Autumn blues sounds in silence. Don't be silent, write. I want it so much, I strive so much Hear your autumn blues Hear your autumn blues. These sounds They take my hands out of the piano, Evaporating, driving away hearts of torment To the melody of autumn rain. Light flows. A string of ripe berries turns purple, And swinging on the branches - on thin knitting needles, It falls, as if melting before our eyes. Chorus Loss Chorus (2 times)1.What is autumn? This is heaven Crying sky underfoot Birds with clouds fly in puddles Autumn, I haven’t been with you for a long time. CHORUS: Autumn. Ships are burning in the sky Autumn. I would like to get away from the earth Where sadness drowns in the sea Autumn, dark distance. 2.What is autumn? These are stones Loyalty over the blackening Neva Autumn again reminded the soul of the most important thing Autumn, I am again deprived of peace. Autumn. I would like to get away from the earth Where sadness drowns in the sea Autumn, dark distance. 3.What is autumn? It's the wind Plays again with torn chains Autumn, will we crawl, will we reach the dawn, What will happen to the Motherland and to us? Autumn, will we crawl, will we live to see the answer? Autumn, what will happen to us tomorrow. CHORUS: Autumn. Ships are burning in the sky Autumn. I would like to get away from the earth Where sadness drowns in the sea Autumn, dark distance. The city is melting in a flock in the darkness Autumn, what did I know about you How long will the foliage be torn? Autumn is always right.
Alena Baltseva | 01/18/2016 | 20096Alena Baltseva 01/18/2016 20096
If there is a schoolchild in your family, this is a great reason to re-read with him the best books included in the literature curriculum. We can bet that many of the works will open up to you in unexpected ways and will become a reason for frank conversations on important topics.
Everyone knows that in the novel “Fathers and Sons” Turgenev touches on the theme of generational conflict, but this work is much deeper. This is not only the story of the relationship between an eccentric son and elderly parents who dote on him and are at the same time afraid of him. This small book is about the conflict of worldviews, human values, and the meaning of life.
Perhaps, rereading “Fathers and Sons” with your child, you will recognize each other there. Isn’t it a great opportunity to invite your child to an open discussion and learn from other people’s mistakes, even literary ones?
A censored novel, written behind prison bars, which caused a real storm in the Russian Empire and beyond - it seems that this is enough to intrigue a teenager, doesn’t it?
In many ways, this philosophical work by Nikolai Chernyshevsky is a response to Turgenev’s “Fathers and Sons.” In Notes from Underground, his ideas were challenged by Fyodor Dostoevsky. And Lenin and Mayakovsky, for example, admired him.
So what is the mystery hidden in this book? Is the new society that Chernyshevsky wrote about possible? Try to figure this out together.
“Am I a trembling creature or do I have the right?” - this question tormented not only Raskolnikov, but at certain moments in life it also arises before each of us. Is evil allowed for good? Does the criminal have a chance for redemption and forgiveness? The teenager must find the answers to all this first of all together with his parents. Read Crime and Punishment together.
Admit it honestly: did you get through all four volumes of War and Peace at school without missing a single line about the war? If you answered yes, your endurance can only be envied!
In fact, Tolstoy’s epic novel has only two drawbacks that scare away schoolchildren: the abundance of quotations in French and its impressive length. Everything else is all about merit: a fascinating plot (love for girls, war for boys), dynamic storytelling, vivid characters.
Help your child consider all the beauty of this work. To make reading more fun, add an element of competition: who can finish the first volume faster? And second? How about reading the entire book to the end? You will not regret that you decided to re-read this great work.
“The less we love a woman, the easier it is for her to like us”, “We all learned a little something and somehow”, “We honor everyone with zeros, and ourselves with ones”, “But I was given to another and I will be faithful to him forever “- the list of catchphrases from this poem can be continued indefinitely. No wonder Pushkin considered this work one of the most significant works of his own composition.
This book contains the story of the first unrequited love of a romantic girl, the story of the idle life of a young dandy, the story of fidelity and self-denial. All this will appear before your eyes in color if you arrange family readings based on the roles of this masterpiece of Russian literature.
Fonvizin's hysterically funny play about the Prostakov family won instant success on the day of its premiere at the end of the 18th century and continues to make readers laugh at the beginning of the 21st. They say that Grigory Potemkin himself praised Fonvizin with the following words: “Die, Denis, you can’t write better”.
Why did this play fall into the category of immortals? Thanks to at least two quotes:
- “I don’t want to study - I want to get married!
- “Here are the fruits of evil.”
At the most, thanks to caustic satire exposing ignorance. Another brilliant story about the relationship between parents and children.
To quote Griboedov, “happy people don’t watch happy hours.” Especially when you hold “Woe from Wit” in your hands, because reading it is a sheer pleasure. As Pushkin predicted for the work, almost half of the poems became proverbs.
This brilliant tragicomedy only superficially touches on the theme of love, exposing sycophancy and servility. Important questions for every person, whether he is 15 years old or 40.
Gogol’s most famous novel is a standard example of Russian ironic prose, a kind of “Odyssey” that describes the journey of the enterprising landowner Chichikov through the Russian province, an encyclopedia of archetypes.
To learn to recognize buns, manilas, and boxes in life, you should read “Dead Souls” in your youth. And in order not to “lose your skill”, re-read it in adulthood.
The plot of this ironic, witty novel is indecently simple: for the most part, the main character lies on the sofa in an old robe, occasionally being distracted by attempts to arrange his personal life. Despite this, Oblomov is easy to read and interesting.
Unfortunately, “Oblomovism” affects not only lazy bachelors just over 30, but also respectable fathers of a family already over 40, and originates in the minds of spoiled children under 18. In order to prevent this acute disease, read Goncharov with the whole family!
Unlike Ilya Ilyich Oblomov, the heroes of Chekhov's plays are quite active, but the result is still the same - indecision and mental torment, which in the end do not lead to anything good. To cut down a garden or not to cut down? To lease land or not?
Indeed, what would you do if you were the main character of the play, Ranevskaya? A good topic for family discussion.
Orest Kiprensky, “Poor Liza”
This dramatic novel is a good reason to discuss with a teenager the ethics of relationships with the opposite sex, talk about male decency and maiden honor. The story of poor Lisa, who committed suicide due to the betrayal of the young man who seduced her, unfortunately, is too often repeated in real life in various variations to be considered just a literary fiction.
An epic work, the main character of which is the classic “bad guy”, the skeptic and fatalist Pechorin. A Hero of Our Time is inspired by the romantic works of Walter Scott and Lord Byron, as well as Pushkin's Eugene Onegin.
The gloomy main character will seem in many ways relatable to a teenager, and to a seasoned adult too.
Replenish your vocabulary with Ella Shchukina’s laconic phrases, learn to beg in several European languages, get a master class on turning a skin of dubious quality into Shanghai leopard fur, learn 400 relatively honest ways of taking money? Easily!
While a schoolchild will most likely see only a sparkling humorous story in the novel by a talented writing duo, his parents will appreciate the subtle irony of the authors.
Another work that is literally bursting with quotes. Re-read Mikhail Bulgakov’s brilliant satire to remind yourself and explain to your child that “devastation is not in the closets, but in the heads.”
