COURSE OUTLINE Course Name Course overview This course

COURSE OUTLINE Course Name: Course overview: This course is designed for middle years students who want to understand writing in the Genre of Dark Romanticism and also want to explore the phenomenon of Edgar Allan Poe. Number of lessons: 4 Age group: 12 -16 Duration of each lesson: 50 Minutes Number of places: 8 Course learning objectives: The objective of this course is to explore writing through the eyes of Poe. This course divides and explores writing into different parts and then helps students gain the confidence to reach a higher level of composition. They understand the method behind the madness of Poe, which gives them a recognition of their own style and tone. Lastly, the course ends with an assessment that gets their creative juices flowing and challenges them to think like the maestro himself. Topic of each lesson: Lesson 1 Characters - How to make interesting and captivating characters Lesson 2 Setting - Making settings that compliment the story Lesson 3 Plot - an emotive journey up or downhill Lesson 4 Tone - the mood, pace, and imagery of the story

LESSON PLAN Lesson Number: 1 Learning objectives: (of this lesson) Topic: Characters How to make characters more interesting and memorable. What are the traits that make a character more real to a reader. Breaking down the behavioral and psychological backstories of characters. Time Section Description 10 mins Lesson opener Introduction to lesson and Ted Ed Video https: //www. youtube. co m/watch? v=8 lgg-p. Vj. Ook 15 mins Key concepts to be covered What are some traits of characters that make them memorable for the reader? What should we watch out for when making a character? Slides 15 mins Discussion/ activity 5 mins Between-lesson activities Reading - The Masque of the Red Death 5 mins Wrap up Assessment Task 1 to be assigned. ● ● Discuss the idea of the Red Death as a character. Poe was known to be a pioneering author who took the path of Art for Art’s sake, although, don’t you think that the story of The Masque of the Red Death has a message? Resources/ links Slides Link

LESSON PLAN Lesson Number: 2 Learning objectives: (of this lesson) Topic: Setting The purpose of this lesson is to learn how to make settings that complement the story and become one with the characters. It tells learners what to do and what not to do when creating a setting befitting the purpose of the story. Time Section Description 10 mins Lesson opener Introduction to settings, excerpts from The Cask of Amontillado which describe the setting. 15 mins Key concepts to be covered What is it about settings that makes them crucial for a good story? Why or how do settings become a trap? 15 mins Discussion/ activity How does a setting almost become a character? Talk about the setting in The Cask of Amontillado. Does the setting reflect anything in the story? 5 mins Between-lesson activities Reading - The Cask of Amontillado 5 mins Wrap up Assessment Task 2 Resources/ links https: //www. poemuseum. org/t he-cask-of-amontillado

LESSON PLAN Lesson Number: 3 Learning objectives: (of this lesson) Topic: Plot The purpose of this lesson is to learn how to keep your characters on an emotive journey up or downhill by using the complexities of the plot. The lesson will include understanding of the plot mountain, internal and external conflict, and desires and difficulties. Time Section Description Resources/ links 10 mins Lesson opener Introduction to the Plot Mountain. 15 mins Key concepts to be covered What is conflict? What are the external and internal conflicts evident in Poe’s stories? 15 mins Discussion/ activity The Plot Mountain? What are desires and difficulties? What is the importance of desires and difficulties in a story? Are modern settings better in terms of desires and difficulties? https: //www. teacherspayteachers. c om/Product/Plot-Diagram-Template -3089552 5 mins Between-lesson activities Reading - The Black Cat http: //www. poemuseum. org/th e-black-cat 5 mins Wrap up Assessment Task 3

LESSON PLAN Lesson Number: 4 Learning objectives: (of this lesson) Topic: Tone The purpose of this lesson is to learn how to set a pace and tone for your story, how to make it more urgent, or suspenseful. Tone, Mood, and word choice are discussed. Time Section Description Resources/ links 10 mins Lesson opener Use of imagery in Poe’s works. 15 mins Key concepts to be covered How was imagery important in making Poe’s stories stand out? What about the pace of the story and the 1 st person narration? 15 mins Discussion/ activity What is the mood of a story? How do you set it? The Mood web activity for The Raven. Mood Web https: //www. dropbox. co m/s/x 1 bzbjbtxel 79 vb/288 8391. png? dl=0 5 mins Between-lesson activities Reading - The Raven https: //www. poetryfoundation. o rg/poems/48860/the-raven 5 mins Wrap up Summative Assessment

Dear Edgar Exploring the writings of Edgar Allan Poe

Characters How to make interesting and captivating characters that are morally superior, inferior, or just nefariously cryptic. Plot How to when to keep your characters on an emotive journey up or downhill. 01 02 Setting 03 04 Tone Making settings that compliment the story and become one with the characters. Setting the mood, pace, and imagery of the story in a way that makes stories a world readers would never want to leave.

Introduction Edgar Allan Poe is one of literature’s greatest finds, and also one of the greatest mysteries. He was a pioneer in the Art for Art's sake genre. As we progress, examples and references from his work will show why his work was chosen for this unit.

“Quoth the raven, "Nevermore!" All that we see or seem is but a dream within a dream. ” — Edgar Allan Poe

Why should you read Edgar Allan Poe? Watch the following video by Ted Ed to show you why Edgar Allan Poe and his style of writing have left a mark on English literature. Video: Watch

01 Characters We can only pull the reader in with something abnormal… someone abnormal?

A little Insanity What makes characters memorable? Characters with dilemmas and problems can be much more interesting and appear less flat. However, a really small detail can show something different, something insane; “Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? ” The nameless protagonist from the tell -tale heart didn’t say that he was mad, he just showed it

What else? Some Mystery Don’t unveil your characters fully. It kills the mystery, however, do not make them so conspicuous that the reader is not able to relate. I feel the best way to use this is to show only one side of the character, in Edgar’s case, he only showed the peculiar side. Ever wonder what his characters were like when they were not killing people? We don’t know much about the protagonist from The Tell-Tale Heart. All we know that he is young. We don’t even know if he is a he or a she. .

And? Some Loss All good characters have lost something, some their minds, while others, just their sense of morality. While some have lost actual people too. When we talk of loss, and I don’t mean death, it could be just the loss of an emotion, youth, etc. It makes the reader feel something, which is your ultimate goal, to make the reader feel. The protagonist from the poem ‘Annabel Lee’ has lost the love of his life, Annabel. That is why he lies in her tomb day and night.

Things to watch out for. . . Irrelevant details Readers do not like it when characters have loose ends in back stories, so keep the details relevant. Copycat Killers! Try to make your characters different from famous characters. Do not use any names, traits, or dialogues that are very well-known or that you’ve read before. Higher Morals A really tough thing to do is to make a character good and have people like it. It’s just hard. Also, it’s the age of the Anti-Hero, use that!

Reading: The Masque of the Red Death. Read here.

The Red Death The Masque of the Red Death - Edgar Allan Poe Among the many characters of Edgar, one really profound is Red Death. It’s an embodiment of a plague, horrid and deathly, appearing in the prince’s ball when he thought that he had avoided the plague by locking himself in a fort with his kinsmen in an eternal frolic. But much to his dismay. . .

So, keep your friends close. . .

. . . and your characters closer. See you in the next class!

Task 1 You’ve studied Edgar’s characters and have tried to understand their traits. Now let’s try to make a character using all that you know. Requirement: Create a protagonist who has all the traits of Poe’s characters. Write in 1 st person perspective to follow his technique and introduce your character in prose. ** You could also add an antagonist to contrast your character. Word Limit: 100 -200 words

We’re back. . . on the road to learning

02 Setting Great stories have great settings, but not always big, expansive, or even noticeable.

The Trap A good writer knows that a good setting is a must to catch the reader’s attention, but a great writer would know that an expansive setting can be a trap for the writer. Yes, the bigger the setting, the more there are chances of loopholes or flaws in a story.

Great Settings!

Reading: The Cask of Amontillado. Read here.

What is it about settings? Veiled Remember the Cask of Amontillado? The setting didn’t describe anything about the time or place, and while reading, one had to guess which place Poe was referring to. I believe that Poe veiled his settings to not let his reader be distracted by too much information about the place. It also helped him keep his work being from being influenced by socio-economic factors of the time and place. Adaptive How can a setting be adaptive? Well, if your story requires something to be added to a setting, it should have that levay. The catacombs were underground burials which could have any type of structure since they were not specifically from a real place, so when he needed there to be a dark recess, he could produce it whenever.

They are also. . . Mirrored The Carnivale from the Cask of Amontillado is a reflection of the madness that our narrator was experiencing. In the same way, Gotham city mirrors the darkness of Batman’s character. Brutish Of all places, the wine was placed in a burial chamber deep underground, yet the plot gave in to the setting since the antagonist had been so drunk. Curious Settings can also work to add hints to the story, or to add an aura of insanity. They can foreshadow something, or they can unsettle readers for their want to know more. Sometimes allegorical. A great setting, when placed with all the above elements, can become allegorical to portray meaning that is not explicitly stated, and at times, can be construed only after deeper analysis, like a secret message through time.

Why don’t we use all the above characteristics of settings? Use only as much as needed. For most stories, only some of the above elements are relevant. Use them all, but only at times. It’s not forbidden to use them all, but only when you need them all. Do not get lost in a setting. Settings can not take up all your time as a writer or reader.

A door. . . Consider a door, a vault, a huge metal monstrosity, a portcullis (huge french castle door), a cellar door. In all of these, the door is your setting. “The door opened. . . ”

Now, find your door!

Task 2 Using the door you find, create a modern setting for your character. Write down the details you feel would be necessary for your setting. Requirement: Write a descriptive setting in prose and keep in mind the style of exposition used by Edgar Allan Poe. Word Limit: 100 -200 Words

Plot 03 The highs and lows of any story.

The Journey Each and every story in the world of fiction takes its readers on an emotional and fantastical journey where they experience love, loss, lament, and of course, loathing among many other emotions. Try to remember the last good book you read and think about how the journey went. . .

Let’s head up to the mountain. . . You might have heard about the plot mountain or the shakespearean curve. Let’s have another look at them framing the writings of Edgar Allan Poe.

Climax The Plot Mountain n tio Ac g tio Ac n Ri sin g lin l Fa Conflict Introduction/ Exposition Resolution

Now, you can use the above plot explanation to think of other stories from Edgar Allan Poe and come up with a plot analysis and explanation.

What is Conflict? Conflict is what drives a story. It’s the problem that causes our protagonist to go up that hill and face the antagonist. External Conflict is conflict that the protagonist faces with another person, a group, the setting or environment. It could also be with an impossible situation. Internal Conflict is the conflict our protagonist faces within his or her self. It could be a difficult decision, a dilemma, or a devastating feeling.

Conflict in Poe’s writing? Conflict in Poe’s writing is diverse and inordinary. Among all the stories, the conflict is both internal and external. External Conflict In the Tell-Tale Heart, the protagonist, in his head, has a conflict with the old man’s eye. Whereas, in The Fall of the House of Usher, the protagonist is in conflict with the house itself. Internal Conflict In the poem The Raven, the protagonist is failing to decide if the raven is a something supernatural or is it just a figment of his imagination.

Desires & Difficulties All characters have some desires which are quite obvious in the exposition of a story. All of these desires are which drive the character. However, the problem/conflict arises when there are difficulties in getting to these desires and they end up making the plot more interesting. Consider Connie stuck in a pit… What are her immediate desire? What is the difficulty?

Reading: The Black Cat Read here.

Task 3 Identify and detail the internal conflict, desires and difficulties from the story, The Black Cat. You also have to plot the story on a plot mountain. Now, make a plot mountain for a short story in the style of Edgar Allan Poe using a nameless unreliable narrator. Requirement: Plot Mountain Diagram(s)

“Sleep, those little slices of death; Oh how I loathe them. ” — Edgar Allan Poe

We’re Back On the road to resurrecting the Raven. . .

04 Tone Setting the mood, pace, and imagery of the story to achieve the most impact.

Imagery is the use of language that leaves an image in the reader’s mind. Over the years, we have explored a lot of literary elements that help with imagery, such as, simile, metaphor, personification, extended metaphor, and hyperbole. “The familiar tang of his grandmother's cranberry sauce reminded him of his youth. ”

Imagery in Poe’s Writing Poe was a master of imagery and used his words to paint the most modest settings into horror houses in the minds of his readers. In the short story “The Cask of Amontillado, ” Poe gives the reader a vivid picture through the use of imagery. By stating, “It was about dusk one evening, ” Poe adds various elements to the story such as setting and foreshadowing. Throughout this piece, he uses small words, such as “dusk, ” to symbolize an idea or feeling. This use of imagery helps describe the setting by telling the reader when the story takes place. In literary works, the word “dusk” gives the reader an indication that the end is near; therefore, it foreshadows the death of Fortunato.

In addition, Poe adds more dramatic imagery when he states, “The wine sparkled in his eyes and the bells jingled…We had passed long walls of piled skeleton. ” Wine, since it is an alcoholic beverage, puts Fortunato in a state of oblivion, and he becomes unaware of what is taking place. By telling the reader more about him, Poe develops the character of Fortunato and he begins to reveal his fate. The skeletons represent death: the death that was to take place in the near future. Imagery adds many elements to the short story “The Cask of Amontillado. ”

Understanding Poe’s Tone We’ve read a lot of Poe’s work and we can try to dissect it into the different techniques he uses to keep his readers hooked. First-Person Narration The first-person narration is one of the strongest tools for creating suspense in the narrative. Throughout the story, the narrator questions his own madness, and it is clear pretty quickly that the narrator is, in fact, mentally unstable. The reader is never sure what the narrator will do next because he is insane, and the rules of logic do not apply to his thoughts or actions. The reader can also not be sure what is real in the story, since the narrator may be hallucinating. This creates suspense because it takes some time to determine what is real and what is not.

Story Pacing The timing of events in the story helps to build suspense. For example, the narrator goes into the man's room each night for a week and shines a small light on the man's eye while he is sleeping, building the suspense of what he will do. He finally kills the man on the eighth night. The arrival of the police also builds suspense, since it is unclear whether they will uncover the truth. The tension is momentarily relieved when it appears that the narrator will get away, but it builds back up when the narrator decides to have tea with the police and then starts hearing the beating of the heart below the floorboards. Setting the Scene Most of the story's action takes place at night, which helps to build the tension. The narrator creeps into the man's room at midnight each night, when no one is awake, and the only light seen is the one the narrator shines on the man's eye. Meanwhile, deathwatch beetles tick outside, contributing to the dark and foreboding atmosphere. With this setting, Poe emphasizes the narrator's dark nature and builds terror and suspense surrounding his actions.

Word Choice Descriptions are key to building suspense in the story. For example, the narrator does not describe himself as mad, but rather “very, very dreadfully nervous, ” hinting at his instability, which makes him dangerous. He uses extremes in his descriptions, such as calling the eye the "vulture" or the "evil eye, " even though it is clear that the elderly man simply has glaucoma or a similar eye disease. The narrator also uses repetition, such as saying "I undid the lantern cautiously -- oh, so cautiously -- cautiously" each night when he goes into the room, emphasizing his actions and building suspense.

Mood Web Word choices in the story end up making the mood. To understand the mood of a story or to create one, the mood web is an amazing and effective tool. Mood

This time, you start by writing the mood you want in the centre of the web and then coming up with word choices that can help you achieve this mood. as gh e br To create a mood for a new story a ac Extract the mood words(imagery etc. ) from a story and put them in the cobweb (at least 20). This will help you arrive at a mood which you with then write in the centre. m To ascertain the mood of a story tly How to use the mood web? Ominous

Reading: The Raven Read here. ** While your read, use the mood words to make a Mood Web and determine the mood of the poem.

Summative Task: Write a short story using the style of Edgar Allan Poe keeping in mind all that you have learned about his style and Technique. Details: Create a Mood Web for your story and start writing your story combining all previous tasks to gather your characters, setting, plot and mood to create a new story. Imagine that the setting is today’s world, but keep in mind that the imagery and style have to match Poe’s. Word limit: 400 -800 words

RUBRICS Assessment Rubrics: Performance Criteria Following rubrics will be applied to all tasks and assessments keeping in mind the specific marks for all criterion. Exceeds Expectation(5) Meets Expectation(3 -4) Below Expectation(1 -2) Content (5 Marks) Accomplished the purpose of task with impactful vocabulary, mood and tone in an exceptional manner. Accomplished the purpose of task with appropriate vocabulary, mood and tone. Accomplished the purpose of task with somewhat fitting vocabulary, mood and traces of uniform tone. Organization (5 Marks) Structure of the story is varied to achieve desired emotions, with exceptionally clear sense of unity and order. Highly effective opening and closing. Structure of the story is somewhat varied to achieve desired emotions, with clear sense of unity and order. Effective opening and closing. Structure of the story lacks variation without any sense of unity and order. Opening and closing abrupt or do not gel into the structure. Style (5 Marks) Used smooth, clear, readable prose in a superior way throughout, no cliches or wordiness, consistently effective word choice. Used smooth, clear, readable prose throughout most of the paper, few cliches, occasional wordiness, generally appropriate word choice. Lacked smooth, clear, readable prose, contains cliches and wordiness, generally ineffective word choice. Grammar & Mechanics (5 Marks) Few, if any, errors throughout in use of Standard English rules of grammar, spelling, punctuation, capitalization, and usage. Not more than a few errors per page in use of Standard English rules of grammar, spelling, punctuation, capitalization, and usage but did not affect overall clarity. More than a few errors per page in use of Standard English rules of grammar, spelling, punctuation, capitalization, and usage that made the story unclear or difficult to read.

Thank You!