The Blink-off

The Blink-off

Pencil and paper
Overview
Using this Resource
Connecting to the Curriculum
Marking Student Responses
Working with Students
Further Resources
This task is about a character – thinking about him and how the author made him.
Read The Blink-off! by Sharon L.Norris (pages 6 to 13 in School Journal Part 1, Number 5, 2004).
 
a)  How do you know Jon is sure that he can last the longest without blinking? (Use information from the text to help you.)
 
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b)  Did Jon deserve to be tricked?
 
Yes       No       Yes and No
 
Explain why you chose this:
 
 
 
 
 
 
 
 
 
 
 
 
 
c)  Do you like Jon?
 
Yes       No       Yes and No
 
Explain why you chose this:
 
 
 
 
 
 
 
 
 
 
 
 
 
Task administration: 

This task can be completed with pencil and paper.

Equipment:

The Blink-off! [pdf], pages 6 to 13 by Sharon L. Norris, in School Journal Part 1, Number 5, 2004.

  • This task can be done individually or in groups.
  • You may need to explain to the students that "Did Jon deserve to be tricked?" (task b) asks if they think it is right that he was tricked because of the way he behaved.
  • For tasks b) and c), tell students that to explain their response of Yes/ No/ Yes and No, they must support their thinking by using evidence from the text and from their prior knowledge, i.e., things that have happened to them, things they have seen, heard, or read about.
  • Responses can be discussed by teacher and student only, or within larger groups.
Level:
2
Curriculum info: 
Key Competencies: 
Description of task: 
After reading a narrative that is about sibling rivalry, students identify evidence in the text that supports their thinking. Assessment focus: analysis and evaluation of a character and the author's construction of him. (There is a link to the text used for this resource in the Task administration section of the Teacher information pages.) Reading age <8. SJ-1-5-2004. Text provided.
Learning Progression Frameworks
This resource can provide evidence of learning associated with within the Reading Learning Progressions Frameworks.
Read more about the Learning Progressions Frameworks.
Answers/responses: 

For task a) we have listed evidence that shows us Jon is sure he can last the longest without blinking. We have not listed evidence that tells us this because that type of evidence is relatively easy to identify. (NOTE: not all texts have evidence that "tells" about a character.) The evidence we have listed relates to what Jon looks like (appearance), what he says (dialogue) and what he does (action).

a) How do you know Jon is sure that he can last the longest without blinking?Appearance (what Jon  looks like)Note that in The Blink-off, evidence comes from the visual, not written, text.Page 6:

  • The way Jon is drawn: He looks confident - he is standing tall and straight, he is smiling, he is making eye contact with his sister, his gesture to his sister is explicit, and he has a hand on his hip.
Page 9:

  • The way Jon is drawn: He looks triumphant; his posture is tall, arms raised above his head, fists clenched, eyes closed, and a big smile.

Page 11:

  • The way Jon is drawn: He looks determined.

Dialogue (what Jon says)Direct dialogue (a direct quote; speech marks will always be used)Page 6:

  • "Let's have a blink-off." (This challenge to his sister suggests he is sure of himself.)
  • "We stare at each other, and the first one to blink loses." (This suggests Jon is confident because he knows how to do it/ has done it before.
  • "No one can beat me. I'm the Blink-master."

Page 8:

  • "Ha!...I beat you!"
  • "Let's have a blink-off." (This challenge to Paul again suggests he is sure of himself.)

Page 9:

  • "Ha!...I beat you!"
  • "Ho ho! Hey hey! The Blink-master's won again!"

Page 10:

  • "Snowball! Get real, Sally. Bring me a real challenger!" (This suggests Jon thinks his competition is well below his standard.)
  • "Of course I can ... I'm the Blink-master. No one beats me ... especially not a silly cat."

Action (what Jon does)Page 6:

  • Jon shakes his head when Sally bets she can beat him.

Page 9:

  • 'Jon sang as he danced around the room.'

Page 10:

  • 'Jon's mouth sagged open.' (This suggests he's flabbergasted/ dumbfounded/ very surprised about being asked to compete against such lowly competition.)

Page 11:

  • 'Jon flopped down onto the sofa.' (This suggests the movement of a confident person.)
Next steps: 

The following section Students who need more work on using text details is presented as an example of how you might foreground the Key Competencies within reading. In particular, it exemplifies how you might foreground "Using language, symbols, and texts" and, to a lesser extent, "Thinking" within reading through a focus on the way authors construct characters with carefully chosen details. This approach requires students to not just understand the text but to understand how the text is constructed and why it is constructed that way. This idea is expanded below. In the table below, Using language, symbols, and texts has the largest bolded font because it is the most important to this particular example.

Students who need more work on using text details.Writers build characters with details. Good writers are meticulous in their choice of details, including only those that add value and meaning to the description of a character. It is these details, as well as background knowledge, that a reader uses in order to respond to questions such as "How do you know Jon is sure that he can last the longest without blinking?", "Did Jon deserve to be tricked?" and "Do you like Jon?"

Details: telling and showing

Writers may choose to use details that tell readers about characters if they want to convey information quickly. For example:

Paul tried hard.... (p.8)

However by telling the reader that Paul "tried hard ", the writer has not given the reader the opportunity to come to their own conclusions about the effort Paul was making; and, increasingly, modern readers expect to have that opportunity.

More commonly, writers of fiction will choose to use details that show characters to readers. For example:

Jon flopped down onto the sofa. (p.11)

Here the reader must infer why Jon does this: perhaps he is feeling tired, perhaps he is over weight, or maybe he is feeling confident (a less confident person/ a person who doubted himself would move more slowly/ tentatively).

Ask your students to compare how they respond to having the opportunity to come to their own conclusion about why Jon "flopped" onto the couch with how they would respond if the author had simply told them "Jon was convinced he would win".

Details: general and specificWhen writers tell readers about characters they use details that are general or broad. For example, Sally says to Jon he's playing:

"...a silly game." (p.8)

The word "silly" is general (or abstract); it has a broad rather than specific meaning because it can be generally applied to all sorts of situations. You might like to ask your students to tell you about the situations "silly" can be applied to in an attempt to show them that it is not specific to any particular situation. (Note that at this point your students will probably be unclear about why "silly" is general; in fact they may even argue that it has a specific meaning. It will probably not be until the end of the following exercise that they have a clearer understanding.)

However, when writers show characters to readers they use specific (or concrete) details. For example:

[Sally, Paul, and, eventually, Jon's eyes begin to] ...shake... and bulge...and...BLINK! (pp.7, 8, and 12.)

Here readers create an image that is specific. They create a vivid picture in their heads; they can "see" this image. Most importantly, it is vivid pictures like this one that have impact upon readers.

Finally, ask your students to attempt to create a picture in their heads of someone who is being "silly" (you may need to explain at some point that it is impossible unless they imagine a specific situation).

For more information on the terms "abstract" and "concrete" see:  http://www.nzcermarking.org.nz/help/AbstractInformation.html
 
Reference: Burroway, J. and Stuckey-French, E. (2007). Writing Fiction: A guide to narrative craft. Seventh Edition. New York, NY: Longman.