First, look at the illustrations and write a composition
By observing the illustrations in the text, students can contact their own life experience, mobilize their own image reserves, make the image in the picture come alive in their minds, and then resort to the pen to turn the static into the dynamic, and turn the plan into a three-dimensional person and scene. For example, the illustrations of the texts "Danqing Miaoshou Lotus" and "Guilin Landscape" are vivid. First, guide students to observe carefully and write articles through imagination; Then compare it with the content of the text and let the students make up for the defects of imagination by themselves. After a certain stage of training, students can be inspired to break away from the constraints of the original text and carry out creative imagination.
second, expand the writing in combination with the textbook
expand the writing, that is, expand the details and enrich the content by boldly imagining the more general and brief plots written in the text. For example, the lesson "The Little Match Girl" only wrote about the tragic death of the little girl, but didn't write about her parents' care and love for him. It even wrote, "She didn't dare to go home because she didn't sell a match and didn't earn any money, and her father would definitely hit her." Is her father really so ruthless, unreasonable, and has no love for his daughter? Of course not. Teachers can inspire students to imagine how the little girl will feel when she doesn't come home late at night. What would you think? How to say? How to do it? How does the little girl's father find a woman in the middle of the night against the wind and snow? What will happen the next morning when dad finds his daughter who has died of cold and hunger? This touching plot is expanded with the title "Looking for Women Late at Night". Another example is the lesson "Adventure in the Canyon", in which the five-year-old son put his physical strength to the limit and saved his father, but his young body was cold. After the father was rescued, he threw himself on his son, used his body temperature to warm his cold body, and then the ellipsis. This touching plot text left a large "blank". When teaching, teachers can inspire students to imagine: how does a father feel after throwing himself at his son? What would you think? How to say? And what did the father and son say after the son woke up? Then take "The Rebirth of Life" or "Family is priceless" as the topic, or you can make your own topic and expand this plot into a short article.
Third, follow-up writing after learning the text
Some texts come to an abrupt end with endless aftertaste, leaving room for daydreaming and thinking. At this time, teachers should guide students to spread their imagination wings and teach them the key to innovation. For example, the lesson "A Passage to the Dead Sea" ends with: "At some point in the future, the waves in front of it will also solidify and turn into a salt lake". At that time, the Dead Sea was really "dead". When teaching, students can be inspired to imagine: Will the Dead Sea really die in the future? What will it be like? What would it be like if it didn't die? Continue to write an imaginary composition with the title of "The Dead Sea in the Future". Another example is the lesson "The Poor", which ends with Sang Na pulling open the curtains. Students can be inspired to imagine the attitude, psychology, language and actions of both husband and wife after Sang Na opened the curtains, and write a composition that conforms to the personality characteristics of the characters with the title "After the curtains are opened". Or imagine how Anna's family will take care of Simon's children? How are their lives? So what do they do when they grow up? Write an article on "Twenty Years Later" or "Old Sang Na".
Fourth, write after reading the text
Some texts have profound meanings. After reading the text, the teacher should arrange small exercises for the students in time, and write down the spiritual qualities of the characters or the truth contained in the text, which will become the source of guidance and progress. For example, in Rescue Action in Wang Yang, Victor lost contact with others, lost his way and was seriously injured when he was sailing in the vast Pacific Ocean. He used his quick wits, was strong and brave, and dared to fight against difficulties. This spiritual quality is worth learning. Students write their own feelings. It not only consolidates the main content of the text, but also internalizes itself. Another example is the lesson "Li Bai seeks a teacher". Li Bai is already a "poetic immortal", but he still went through hardships and resolutely sought a teacher until he succeeded. His character of loving poetry and not thinking highly of himself is admirable: his strong will of not being afraid of difficulties, hardships and not stopping until he reaches his goal is always worth learning from students. Students are required to write a reflection on this lesson, from which they can feel Li Bai's love for poetry and his lack of self-esteem, and realize that strong will and firm belief are the cornerstones of success.
V. Recombination of content
Recombination of content refers to putting forward the main points of the text after learning the text, or fusing the same type of text together, so that students can be the authors themselves, choose materials, arrange the structure and form a new article from a new angle. For example, in "Young Runner", the text contains the appearance of Runner and examples showing its characteristics, and an article introducing Runner is written with the title of "Young Runner in My Eyes" or "I Love Young Runner". Another example is based on the similarities of Huang Jiguang, Dong Cunrui, Qiu Shaoyun, Chen Yi and other heroes, with the theme of "Heroes' Grand Meeting" or "Laughing at the Present", let the students imagine that these heroes are not dead, but happily attending the heroes' meeting together, and write an article about the heroes' words about the present.