Using the worksheets linked below, we brainstormed a fictional character and put him in a setting. We thought about his internal and external goals, potential conflicts, and the various directions his story could go. The quotes from AIM are ones the students selected to demonstrate each story component.
Grandaddy's gray hair was flat on one side from sleeping on it. I nudged his leg with my knee. "I brung your supper."
"Thunderation! You fool. You woke me up." His eyelids slid shut again, and his mouth fell open like a trapdoor without a hook. A dried stream of tobacco snuff ran from the corner of his mouth and down onto his neck. p. 15Alex M. commented that he was interested in how Junior's two aunts were portrayed:
"So there I was, with a piece of fudge in each hand, watching her and Aunt Lucille tiptoeing around each other. I tried to imagine them with Pop, playing together when they were all young'uns. But those two women eyeing each other didn't seem like the kind of people who could have been small and childlike once upon a time. For one thing, they are both tall. And big-boned. Right now, Aunt Lucille's face was more serious than Miss Hinkle's in the middle of a handwriting session. Lillian was smiling, but I could tell she was all pretend--just tying to buy something with that fudge of hers. p. 133-4After a discussion about the difference between internal and external goals, the class decided that Junior's external goal was to help his mother and his internal goal was to gain respect.
Students discussed how this line of dialogue from Junior's mother portrayed setting and character:
"After your granny died, Homer would sit on the neighbors' porches day in an day out, sniffing their cooking and inviting himself for dinner." p. 42We talked about how settings need to be sensory and one of my students picked this section. It's a good example of using setting to show a character's conflicts:
I peeked through the small holly tree, and not far away was Ann Fay with Leroy. He had a finger over his lips, reminding her to be quiet. I could see they had their eyes on my squirrel!
The crunchy sound of their feet on the dry leaves took me way back, to when I was eight years old. And their white breath clouds in the cool air--it was like being there again, in the woods with Pop, learning to shoot squirrel for the first time. p. 59
"Sit down, Junior." She said it real low, but there was something in her voice that told me I better listen. Or else.
So I sat. But inside I was standing up. Inside I was marching to the back of the room and jerking that Dudley Catfish Walker up and showing him what a Democrat could do to a Republican. If he wanted a fight, I was a mind to let him have it.
Miss Hinkle tried to bring the discussion back to the economy and how, if we did got to war, we'd have to sacrifice on more luxuries here at home. That didn't help because Dudley and opinions on that too, and I spoke out and said his ideas were stupid so maybe he should just dry up, and Dudley said I was dumber than a box of rocks. p. 86
Another student selected this section showing Junior's internal conflict over Dudley's suggestion they "borrow" Miss Hinkle's car:
Dudley shook his head. "Just think about it," he said. "We won't be stealing because we're bringing it back. After all that woman has put us through, don't you think she owes us a little something?"
"There's nothing to think about," I said. And I meant it, too.
But after he left, I couldn't stop thinking about it. What a confounded stupid idea! I thought about it when I was doing odd jobs at the sawmill and when I was planting cotton for a farmer near the crossroads. p. 209-210When we talked about the concept of antagonists, we considered why Dudley acted the way he did. The students readily agreed that the abuse he suffered as a child laid the groundwork for his anger and bullying.
WHAT I LEARNED FROM AIM
|Look closely for some items from AIM!|