The second unit, Reading to Learn: Grasping Main Ideas and Text Structures, addresses essential skills for reading expository nonfiction, such as ascertaining main ideas, recognizing text infrastructure, comparing texts, and thinking critically, as well as the skills for
reading narrative nonfiction, such as determining importance by using knowledge of story structure.
Not exact matches
As a result of this daily focus on
reading nonfiction and writing in response to argumentative, informative and
narrative prompts, we have witnessed greater gains in our students» writing, analytical thinking skills and confidence than we have ever experienced before in over two decades of combined teaching.
When teachers decide to
read nonfiction in class, they most often
read its
narrative forms, precisely because of their accessibility.
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Both fiction and
nonfiction require a
narrative structure that encourages the reader to continue
reading.
Simultaneously offering the absorbing
reading experience of a can't - put - it - down thriller and the perception - altering resonance of a story whose reverberations continue even today, American Lightning is a masterpiece of
narrative nonfiction.
This is essential
reading for anyone interested in social justice, poverty, and feminist issues, but its
narrative nonfiction style will also draw general readers — and will hopefully spark national discussion.
Biss» research is far reaching, and she has an amazing talent for synthesizing what she's
read and turning it into seamless prose, the kind of
narrative nonfiction that makes for compelling, intriguing listening.
Creative
nonfiction employs literary devices, techniques, and elements of style more commonly associated with fiction to create a factually accurate
nonfiction narrative that
reads in a vivid and compelling way.
What she wants to
read: Literary and commercial fiction, especially upmarket and women's fiction, as well as select memoir,
narrative nonfiction, cultural studies, and pop culture.
Again, these self - publishing channels don't seem to be the go - to place for publishers to find contract - worthy literary fiction and
narrative nonfiction (the latter of which is Friedman's preferred
reading).
So that raises the question of what I do
read, and it's
narrative nonfiction of a journalistic bent (one of the reasons I recently joined VQR).
And I just started BEING MORTAL, a riveting
nonfiction narrative about mortality, written by Atul Gawande and
read by Robert Petkoff.
Let your facts «show, not tell:» Guberman says that the facts in a brief should
read like
narrative nonfiction, like something you'd
read in The Atlantic or The New Yorker.