I can't believe we are in the third week of school already! I have three blocks of language arts classes that total 100 students. My classes are huge, but the kids are really awesome. My 6th graders are so smart I don't know if I can keep up with them. They want to know everything about everything. I am presenting a lesson this week based on the book Dreams by Susan Bosak. Has anyone read it? Leslie and I attended a workshop last summer where the author presented and read the book to us. It was awesome listenting to her read her own words! Since the book focuses on dreams and goals, I plan to have the kids make their gold stars and write their own goals and dreams for this year on them. After they make their stars, I'll hang them from the ceiling for the parents to see on open house night. What do you think? I think I'll bring the book to share with all of you on Saturday.
Is everyone writing? So far, my students love to write--my 6th graders do, the 7th graders are more reluctant. We talked about modeling this summer, and I have really taken it to heart. I am writing everyday with my students. When I ask them to write in response to a jounal topic, I write with them. So far we have all responded to Chrysanthemum, Alexander and the Horrible, Terrible, No Good, Very Bad Day, and numerous poems. This dinosaur is right there with them.
Do I sound excited? Am I rambling? I guess it's because I am so pumped about this new school year and sharing my experiences from this summer. My principal, assistant principal, and counselor are coming to share the 'dream' lesson on Thursday.
Okay all you Bluebonnets out there. I want to hear back from you.
Tuesday, September 11, 2007
Wednesday, August 8, 2007
Response to Janelle
Life is a journey that we all make. I want my classroom to be a positive stop on that journey. Students dance in and out of our school lives, and we should let them sing. We should encourage them to sing during that stay. When we present lessons that encourage choice and creativity, we allow them to sing and dance their way to learning. Choices help students develop voice in their writing. We have to prepare students to pass that pesky test in April or February or June or whenever they take it, but we don’t have to participate in that hoax of drill and kill. All we do with that is kill creativity and voice. In short, we perpetuate the hoax. Keep things real for kids. Give them skills they can use when they leave our studios. Give them the skills to sing and dance and perform on the stage of live.
Monday, August 6, 2007
Aunt Sister
Aunt Sister
She resembled a penguin in her back and white habit, but she wasn’t one. Her voice lilted with a very slight brogue from her parents’ homeland. She was my Aunt Sister—Sister Joseph Catherine to be exact. My dad’s big sister. Her entry into the convent just out of eighth grade was expected of the eldest daughter from an Irish Catholic home in those days, and my Aunt Sister heeded the call. Her hair was shorn; in fact, I had never seen her hair. I think she had some. Nuns really never took vacations; they were lucky to spend time with family. Most people thought they were born as nuns. The kids who went to St. Benedict’s with me thought schools came with nuns. Build school, sprinkle holy water, nuns appear.
Yes, Aunt Sister was a nun from the old school of nuns, but that didn’t stop her from having a great time. I knew a different side of this ‘penguin.’ A secret side.
The cars were crammed full of people and possessions on that trip to Florida in 1966—all 10 of us, including Aunt Sister. How uncomfortable she must have been in that penguin outfit what with the black wool dress and veil and starched white collar and wimple, but Aunt Sister didn’t complain; she waited for her chance to be free. Her sights were set on the beach—the water, the sand, the shells.
I traveled to Florida before with my family and strolled the beach many times, but this was Aunt Sister’s first venture to this new world. She had traded that hot, hot suit for a pair of long black shorts and a long-sleeved white blouse adorned with her silver cross. I didn’t see this as a major difference, but Aunt Sister relished it. Her eyes lit up at her first glimpse of the Gulf of Mexico, and I hate to admit, her feet were much faster than mine as she dashed to the shoreline and scooped up some wet sand. Granules slid through her fingers and floated back to the ground, but something remained.
“Patty, come here. What kind of shell is this? Ooh, there’s a creature in here! A snail, do you think? Would your dad let us take this back to the room? I could slip it into my suitcase before we leave. Have you ever seen anything like this before? Do you think we can find more?”
Question after question, comment after comment, smile after smile. The joy was there.
Aunt Sister only made that one trip to Florida with us, but her joy in seeing the beauty of God’s creation stayed in her heart and mine for a lifetime.
Six Word Stories
Jeannine
Feisty leader, soar, up and away.
Jeannine, leader, soaring to new heights.
Institute
Workshop fosters voice. Sing on, writers.
Choices are good for writers—challenging.
Feisty leader, soar, up and away.
Jeannine, leader, soaring to new heights.
Institute
Workshop fosters voice. Sing on, writers.
Choices are good for writers—challenging.
Sunday, August 5, 2007
Literature Review
Abstract
So much emphasis is put on high stakes tests. Not only do we want students to pass these tests, but we want them to be commended. Sixth, seventh, and eight grade students must now pass the reading test in order to move onto the next grade level. What happens when a student does not like to read? Does not want to participate in class? How can this student be encouraged? By modeling. This is the path I took with one seventh grade student. She entered my classroom as a nonreader, but she left it hooked on reading. I kept a pile of books on my desk for her to see, I read during her RICH time, I responded to the very short letters she wrote about her books, and I recommended books to her. All of this modeling helped her become an avid reader. This modeling helped this one student not only pass the test, but she made commended. Since this method, modeling, worked so well with my reading students, I wanted to see if it would work with writing as well. That was the emphasis of the research for this review: Since the practice of modeling is helpful to student success in reading, can it also be helpful to student success in writing?
Review
Research shows that a reading/writing workshop is the best approach to get students to write. As I read article after article, not only was the emphasis placed on the workshop method, but also on teacher modeling. Keaton Shenk (Writing from the Heart, 1996) implemented the reading/writing workshop in his classroom and determined that not only was this a good way to encourage student writing and participation, but it was vital that teachers write alongside their students, sharing drafts of their work with students. “I could identify more keenly with my students’ feelings each day in class as I asked them to write and revise, persuade and publish.” (Shenk 1996).
This same line is shown in articles by Tom Romano. In his April 1996 “Crafting Authentic Voice,” Romano shares his own writing with students in his writing class and together they analyze his craft—how he develops his authentic voice. Romano encourages the “death of adverbs’ and the “use of verbs with muscle” to craft voice. Romano revisits this idea of voice
in “Writing with Voice” (2003). Students used prompts from 100 Quickwrites by Linda Reif (2003) and When I Was Young in the Mountains by Cynthia Rylant to spur writing. Not only did Romano write as students wrote, he shared his writing with them. Modeling.
William P. Bintz and Karen S. Shelton focus on a unique strategy in their 2004 article titled “Using Written Conversation in Middle School: Lessons from a Teacher Researcher Project.” Bintz and Shelton showed that note passing is a way for students to do something they enjoy, passing notes in class, and combine it with something they really do not like all that much, studying a novel. Shelton modeled the note passing procedure for her students. The model included: the format for each note, the manner in which students respond, and reflection at the end. Once again modeling for students.
Joyce Armstrong Carroll, in “Drawing into Meaning: A Powerful Writing Tool.” (1991) relates how drawing is not just for children who cannot write, but images at any age are part of making meaning. Use of images can be a valuable writing tool. This is shown many times over, I think, when we utilize a slideshow presentation. These slideshows are full of words and pictures to make our points. Even though Carroll does not make a direct case for teacher modeling as a strategy or idea, she shows models of drawings and books to enhance her idea of ‘drawing into meaning.’
Students must be exact in their writing by ‘showing not telling’ (Anderson, 2003). He shares how teachers can take skeletal sentences and flesh them out into full images. Use concrete nouns to help writing stick in the readers mind. Add absolutes and participles to create a telephoto lens that enhances the focus on specific details. Pull passages from novels to model this for students.
These ideas can be used in drafting as well as in revision. Writing is all about revision (Saddler 2003). Revision is hard for students, I think it is hard for all writers, but it is easier if teachers model specific revision strategies and give students time to practice them.
Students need several things to help them develop as writers. They need time, choice and models (Rief 2006). Students need good models of writing, professional writing and peer writing, to help them develop their skills. Using these models is learning to read as a writer. Models from all genres should be shown and shared to allow students to step inside and gain understanding of its characteristics.
Nancy Atwell, in my opinion, offers language arts teachers the best model for teaching reading and writing, the reading/writing workshop. Atwell encourages teachers to keep things real for students. She tells us writers thrive and create when they are motivated to work hard, have regular opportunities to practice and reflect, and benefit from the knowledge and experiences of a teacher who writes and knows writing (Atwell 2003). In other words, a teacher who models writing for them. She brings this to the forefront once again in “Hard Trying and These Recipes” (Atwell 2003). Students can accomplish good writing if they have lessons about topics, lessons about principals, lessons about genres, and lessons about conventions. The information she collected for this article became the focus for her book Lessons That Change Writers (2002). Each of these types of lessons is modeled for teachers and students in the book.
Much of the research I found cited Atwell’s workshop method for language arts classes. Sherry Guice (“The Second Time Around” March 2000) chose to implement the workshop when she returned to a middle school classroom. Sheryl Lain states, “My students learn to write better when I use the writing workshop because they write more and practice more thoughtful process.” (Lain 2007). No matter where I turned or what research I read, writing workshop was a main focus. Not only was writing workshop the method chosen for students, modeling was a major strategy used.
Modeling takes on many forms. It can be sharing examples, models, of your expectations for students, sharing examples, models, of your own writing with students, and simply doing the same thing your students are. No matter how your look at it, modeling is a must for student success in both reading and writing.
Article 11
I. Title: What’s Right with Writing
II. Author: Linda Rief
III. Author’s Purpose: Linda Rief shares with readers the progress that
has been made in writing and the teaching of writing over the past twenty years.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Rief tells readers that teachers must
be researchers in our own classrooms, gather information from our students over time,
question ourselves about what is working and not working, and act on this information to
help students reap the benefits of writing. Rief comments, as well, on the following points:
A. Writing is thinking; it is a way of communicating our understanding and
misunderstanding of ourselves and the world around us.
B. There is no one process that defines the way all writers write. Writing is recursive, and
the writer shifts back and forth between steps to make ideas clear.
C. We learn to write by reading extensively and writing for real audiences. Model for
students and share samples of good writing for students to read and imitate.
D. Writers need constructive response. Let students know what you noticed about their
writing, what was done well and questions that came to mind as you read. Put away
the red pen.
E. Evaluation of writing should highlight the strengths of process, content, and
conventions, and give the writer the tools and techniques to strengthen the
weaknesses. Allow students to verbalize their thinking as they moved through the
process helps them. Evaluation should move the writer forward and help them grow in
their thinking.
F. Writing is reading. For too long, the past ten years, the focus has been on literacy as
reading. We have forgotten writing. Since writing is a recursive process, students
engage in critical thinking and questioning and reading and writing.
V. Author’s Inquiry Question/s: What is right with writing and the
teaching of writing? How did we reach this point and where do we go
from here?
VI Author’s Methodology: Observation of and reflection on the
development and progress of writing instruction
A. Who is being studied? Students and teachers
B. Over what length of time: Twenty years
C. What data is being collected? Rief gathered teaching methods and strategies,
student writing samples, and other literature on writing to analyze ideas on how the
teaching of writing has changed over the past twenty years or so.
D. How is it being analyzed? Rief has taken the information gathered and looked at
where we were twenty years ago and where we are now
E. Any other interesting or pertinent data: Rief tells readers what our students need to
help them write well. They need time, choice, and models. This seems to sum up most
of the articles I have read for this review. She also mentions the need for professional
development for teachers that focuses as much on writing as on reading. Certainly,
The National Writing Project has done this around the United States.
VII. How the author collected information? I think Rief collected her
information through reading the works of John Dewey, Donald Murray, Peter Elbow,
Donald Graves, Tom Newkirk, Shelley Harwayne, Tom Romano, and Nancie Atwell in
addition to observations in classrooms and analysis of student work.
VIII. What the Author Discovered or Conclusions/Implications: Rief
also mentions in her article that testing is standing in the way of powerful writing
instruction. She even mentions that she met two young teachers who had to sign a clause
in their contracts that if they didn’t raise the scores of the students in their classrooms
from one year to the next, they understood they would be let go. What a difficult task to
accomplish! We need to do what is best for our students. In addition to her thoughts on
testing, Rief wants teachers of writing to stay focused on their own writing because this
helps us to understand what we are asking our students to do every day. Rief feels that we
have come a long way in the past twenty years, but we still have a long way to go.
II. Author: Linda Rief
III. Author’s Purpose: Linda Rief shares with readers the progress that
has been made in writing and the teaching of writing over the past twenty years.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Rief tells readers that teachers must
be researchers in our own classrooms, gather information from our students over time,
question ourselves about what is working and not working, and act on this information to
help students reap the benefits of writing. Rief comments, as well, on the following points:
A. Writing is thinking; it is a way of communicating our understanding and
misunderstanding of ourselves and the world around us.
B. There is no one process that defines the way all writers write. Writing is recursive, and
the writer shifts back and forth between steps to make ideas clear.
C. We learn to write by reading extensively and writing for real audiences. Model for
students and share samples of good writing for students to read and imitate.
D. Writers need constructive response. Let students know what you noticed about their
writing, what was done well and questions that came to mind as you read. Put away
the red pen.
E. Evaluation of writing should highlight the strengths of process, content, and
conventions, and give the writer the tools and techniques to strengthen the
weaknesses. Allow students to verbalize their thinking as they moved through the
process helps them. Evaluation should move the writer forward and help them grow in
their thinking.
F. Writing is reading. For too long, the past ten years, the focus has been on literacy as
reading. We have forgotten writing. Since writing is a recursive process, students
engage in critical thinking and questioning and reading and writing.
V. Author’s Inquiry Question/s: What is right with writing and the
teaching of writing? How did we reach this point and where do we go
from here?
VI Author’s Methodology: Observation of and reflection on the
development and progress of writing instruction
A. Who is being studied? Students and teachers
B. Over what length of time: Twenty years
C. What data is being collected? Rief gathered teaching methods and strategies,
student writing samples, and other literature on writing to analyze ideas on how the
teaching of writing has changed over the past twenty years or so.
D. How is it being analyzed? Rief has taken the information gathered and looked at
where we were twenty years ago and where we are now
E. Any other interesting or pertinent data: Rief tells readers what our students need to
help them write well. They need time, choice, and models. This seems to sum up most
of the articles I have read for this review. She also mentions the need for professional
development for teachers that focuses as much on writing as on reading. Certainly,
The National Writing Project has done this around the United States.
VII. How the author collected information? I think Rief collected her
information through reading the works of John Dewey, Donald Murray, Peter Elbow,
Donald Graves, Tom Newkirk, Shelley Harwayne, Tom Romano, and Nancie Atwell in
addition to observations in classrooms and analysis of student work.
VIII. What the Author Discovered or Conclusions/Implications: Rief
also mentions in her article that testing is standing in the way of powerful writing
instruction. She even mentions that she met two young teachers who had to sign a clause
in their contracts that if they didn’t raise the scores of the students in their classrooms
from one year to the next, they understood they would be let go. What a difficult task to
accomplish! We need to do what is best for our students. In addition to her thoughts on
testing, Rief wants teachers of writing to stay focused on their own writing because this
helps us to understand what we are asking our students to do every day. Rief feels that we
have come a long way in the past twenty years, but we still have a long way to go.
Article 10
I. Title: “But teacher, I added a period!” Middle Schoolers Learn to Revise
II. Author: Bruce Saddler
III. Author’s Purpose: The author describes how writers at different skill levels approach
revising, the difficulties they encounter, and shares several successful methods to help
middle school students.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Saddler shows readers that skilled
writers view revision as a whole-text task; they often revise and retool
a piece as they write. Many middle school students do not view
revising in this manner. Saddler offers suggestions to use within the
writing workshop, again modeling for students.
A. Students need to know why revising is important. Writing is all about making the
things the writer knows known to others in a particular way and for a particular
reason.
B. Conferencing—have someone else read the paper for clarity and understanding. It is
important to hear what you have written out loud. Peer conferencing can be viewed as
an interactive dialogue between writers.
C. Provide students with a checklist to guide their review of their own and each other’s
drafts. Students have concrete tasks and clear-cut goals set out for them. This is helpful
for all writers.
D. Have several pieces of writing being worked on at the same time. This way a student
can step back from a piece that is giving them some trouble and work on another piece.
When a student returns to the first piece after this reflective pause, their mind is clear
and refreshed, ready to tackle writing again.
E. The author also suggests that you grade the process as well as the product. Writing is a
process, and having multiple pieces being worked on at one time allows you to see a
student’s progress.
V. Author’s Inquiry Question: I think the main question this author had was focused
on ‘how can I help my students to not only revise their writing, but to see that there is a
need for revision.
VI Author’s Methodology: The author is teaching revision skills through
modeling
A. Who is being studied? Students in a middle school language arts writing
workshop are being studied to see how well they develop their revision skills.
B. Over what length of time: No specific length of time is given.
C. What data is being collected? Student writing samples are being collected and
studied to see how well they implemented revision strategies.
D. How is it being analyzed? Saddler is looking for progress in student writing after
learning new strategies.
E. Any other interesting or pertinent data: Saddler included two samples of
revision guides for teachers to use. These are very user friendly and can be easily
adapted for classroom use.
VII. How the author collected information: He used student writing from
student journals, essays assigned, and other samples of their writing to
analyze for this study.
VIII. What the Author Discovered or Conclusions/Implications: The
author concludes that a teacher can change how students approach
revision as you model specific revision strategies and give them time
to practice those strategies. Here again, the idea of model is discussed
and applauded as a means of helping students achieve success in their
writing.
II. Author: Bruce Saddler
III. Author’s Purpose: The author describes how writers at different skill levels approach
revising, the difficulties they encounter, and shares several successful methods to help
middle school students.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Saddler shows readers that skilled
writers view revision as a whole-text task; they often revise and retool
a piece as they write. Many middle school students do not view
revising in this manner. Saddler offers suggestions to use within the
writing workshop, again modeling for students.
A. Students need to know why revising is important. Writing is all about making the
things the writer knows known to others in a particular way and for a particular
reason.
B. Conferencing—have someone else read the paper for clarity and understanding. It is
important to hear what you have written out loud. Peer conferencing can be viewed as
an interactive dialogue between writers.
C. Provide students with a checklist to guide their review of their own and each other’s
drafts. Students have concrete tasks and clear-cut goals set out for them. This is helpful
for all writers.
D. Have several pieces of writing being worked on at the same time. This way a student
can step back from a piece that is giving them some trouble and work on another piece.
When a student returns to the first piece after this reflective pause, their mind is clear
and refreshed, ready to tackle writing again.
E. The author also suggests that you grade the process as well as the product. Writing is a
process, and having multiple pieces being worked on at one time allows you to see a
student’s progress.
V. Author’s Inquiry Question: I think the main question this author had was focused
on ‘how can I help my students to not only revise their writing, but to see that there is a
need for revision.
VI Author’s Methodology: The author is teaching revision skills through
modeling
A. Who is being studied? Students in a middle school language arts writing
workshop are being studied to see how well they develop their revision skills.
B. Over what length of time: No specific length of time is given.
C. What data is being collected? Student writing samples are being collected and
studied to see how well they implemented revision strategies.
D. How is it being analyzed? Saddler is looking for progress in student writing after
learning new strategies.
E. Any other interesting or pertinent data: Saddler included two samples of
revision guides for teachers to use. These are very user friendly and can be easily
adapted for classroom use.
VII. How the author collected information: He used student writing from
student journals, essays assigned, and other samples of their writing to
analyze for this study.
VIII. What the Author Discovered or Conclusions/Implications: The
author concludes that a teacher can change how students approach
revision as you model specific revision strategies and give them time
to practice those strategies. Here again, the idea of model is discussed
and applauded as a means of helping students achieve success in their
writing.
Article 9
I. Title: Reaffirming the Writing Workshop for Young Adolescents
II. Author: Sheryl Lain
III. Author’s Purpose: Lain writes this article to show that a writing workshop approach to
teaching writing is the best way to help students learn to write and is instrumental in
raising students’ scores on state tests.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Lain shows a successful way to set up
and implement a successful writing workshop:
A. Minilessons (modeling what students should do)
B. Variety of writing modes
C. Use of writing folders
D. Revision practices
E. Sharing work with peers
F. Publishing student work
G. Teacher wrote more and keeps in tune with writing tasks
expected of students
V. Author’s Inquiry Question: Is there a more direct way to ensure
student success in writing than trough the use of writing workshop?
VI. Author’s Methodology: Observation and analysis of student writing
A. Who is being studied? Students in middle school language arts classes
B. Over what length of time? No specific timeframe given
C. What data is being collected? Samples of student writing, discussion of students
about their writing, scores students receive on state tests
D. How is it being analyzed? Lain looked at the quality of the students’ examples and
noticed the depth and complexity of their writing. This is how she could see that the
workshop approach was beneficial to her students.
E. Any other interesting or pertinent data: Lain made sure that she modeled lessons
for her students through minilessons and sharing her own writing with them
VII. How the author collected information: Lain asked students to write
for different purposes, peer edit drafts, participate in minilessons, and
take pieces to final copy so they could be analyzed to progress and
success as writers.
VIII. What the Author Discovered or Conclusions/Implications: Lain
definitely feels there is not better or more meaningful method for students to
achieve success as writers than the writing workshop that includes teacher modeling. She
says that her students learn to write better when they use a writing workshop approach
because they write more and practice a more thoughtful approach.
II. Author: Sheryl Lain
III. Author’s Purpose: Lain writes this article to show that a writing workshop approach to
teaching writing is the best way to help students learn to write and is instrumental in
raising students’ scores on state tests.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Lain shows a successful way to set up
and implement a successful writing workshop:
A. Minilessons (modeling what students should do)
B. Variety of writing modes
C. Use of writing folders
D. Revision practices
E. Sharing work with peers
F. Publishing student work
G. Teacher wrote more and keeps in tune with writing tasks
expected of students
V. Author’s Inquiry Question: Is there a more direct way to ensure
student success in writing than trough the use of writing workshop?
VI. Author’s Methodology: Observation and analysis of student writing
A. Who is being studied? Students in middle school language arts classes
B. Over what length of time? No specific timeframe given
C. What data is being collected? Samples of student writing, discussion of students
about their writing, scores students receive on state tests
D. How is it being analyzed? Lain looked at the quality of the students’ examples and
noticed the depth and complexity of their writing. This is how she could see that the
workshop approach was beneficial to her students.
E. Any other interesting or pertinent data: Lain made sure that she modeled lessons
for her students through minilessons and sharing her own writing with them
VII. How the author collected information: Lain asked students to write
for different purposes, peer edit drafts, participate in minilessons, and
take pieces to final copy so they could be analyzed to progress and
success as writers.
VIII. What the Author Discovered or Conclusions/Implications: Lain
definitely feels there is not better or more meaningful method for students to
achieve success as writers than the writing workshop that includes teacher modeling. She
says that her students learn to write better when they use a writing workshop approach
because they write more and practice a more thoughtful approach.
Article 8
I. Title: Drawing into Meaning: A Powerful Writing Tool
II. Author: Joyce Armstrong Carroll
III. Author’s Purpose: The author wants readers, teachers, to see how
drawings, pictures of some sort, add meaning to writing.
IV. What are the points made in the review of the literature? Do they
support the need for the study?
A. Keep drawing as part of writing
B. The use of drawings to enhance writing keeps kids going
C. Drawing enhances thinking skills
D. Practicing writing is one way to help students develop voice in
their writing
E. Model this for students
F. There is a relationship between words and images
V. Author’s Inquiry Question: If drawing, scribbling, and doodling,
fascinate us all, if all these loops and lines hold tacit meaning, why don’t
we use drawing in middle and high school as the powerful writing tool it
is?
VI Author’s Methodology:
A. Who is being studied? Students and teachers in middle and high school classrooms
B. Over what length of time: No exact length of time is given; maybe over a school year
C. What data is being collected? The author uses samples of drawing and writing from
students
D. How is it being analyzed? Discussion on how the visual and auditory work together to
enhance creativity
E. Any other interesting or pertinent data: You need to use both visual and auditory
skills to learn, the two modes release human creativity.
VII. How the author collected information? The author visited many
middle and high schools, interacted with the teachers and students, and
discussed this information with them.
VIII. What the Author Discovered or Conclusions/Implications:
Drawing is not just for children who can’t write. Images at any age are
part of making meaning. Use images as a writing tool.
II. Author: Joyce Armstrong Carroll
III. Author’s Purpose: The author wants readers, teachers, to see how
drawings, pictures of some sort, add meaning to writing.
IV. What are the points made in the review of the literature? Do they
support the need for the study?
A. Keep drawing as part of writing
B. The use of drawings to enhance writing keeps kids going
C. Drawing enhances thinking skills
D. Practicing writing is one way to help students develop voice in
their writing
E. Model this for students
F. There is a relationship between words and images
V. Author’s Inquiry Question: If drawing, scribbling, and doodling,
fascinate us all, if all these loops and lines hold tacit meaning, why don’t
we use drawing in middle and high school as the powerful writing tool it
is?
VI Author’s Methodology:
A. Who is being studied? Students and teachers in middle and high school classrooms
B. Over what length of time: No exact length of time is given; maybe over a school year
C. What data is being collected? The author uses samples of drawing and writing from
students
D. How is it being analyzed? Discussion on how the visual and auditory work together to
enhance creativity
E. Any other interesting or pertinent data: You need to use both visual and auditory
skills to learn, the two modes release human creativity.
VII. How the author collected information? The author visited many
middle and high schools, interacted with the teachers and students, and
discussed this information with them.
VIII. What the Author Discovered or Conclusions/Implications:
Drawing is not just for children who can’t write. Images at any age are
part of making meaning. Use images as a writing tool.
Article 7
I. Title: Naming Names: A Concrete Way to Help Students Write
II. Author: Jeff Anderson
III. Author’s Purpose: Anderson wants to share with his readers ways in
which students can add detail and voice to their writing by showing not
telling.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Students need to be given specific
ways to ‘show not tell’ in their writing. Some of these methods are:
A. Showing nouns: by using concrete nouns, readers get a good idea
of what the author is trying to say
B. Fleshing out details: add detail, name names and the ideas will
stick with the reader
C. Absolutes: use a noun + -ing (participle) to show action and
description
D. Appositives: start with a simple sentence and choose a noun to
amplify
V. Author’s Inquiry Question/s? How do I get students to be more exact
and concrete in their writing and how do I help this idea to stick for
them?
VI Author’s Methodology: Anderson shared models of good writing,
writing that incorporated concrete details, absolutes, and fleshed out
sentences.
A. Who is being studied? Jeff Anderson studied students in his 6th, 7th, and 8th grade
classes.
B. Over what length of time? No specific time is given, but it seems that it was a school
year.
C. What data is being collected? Samples of student writing and how they incorporate
concrete nouns, fleshed out detail, absolutes, and appositives in their essays
D. How is it being analyzed? Anderson is studying the affect of these techniques on
students’ writing
E. Any other interesting or pertinent data: Anderson took some interesting ideas and put
them into practice. Some of these ideas come from Harry Noden and his Image
Grammar, a book that I have used in my class. This is a book that gives a lot if ideas on
helping students to put their all into an essay and how we , as teachers can model this
for them.
VII. How the author collected information? He collects samples of student writing
from class assignments
VIII. What the Author Discovered or Conclusions/Implications: The
author determined that naming names, using concrete names for
nouns, offers students a concrete way to revise their writing so
that it conveys their ideas clearly. Again, Anderson shows us that
we, as teachers, need to model for our students. We can model with
our own writing or share professional models with our students.
There are many ways to model for them, but we can’t expect
them to just do it on their own.
II. Author: Jeff Anderson
III. Author’s Purpose: Anderson wants to share with his readers ways in
which students can add detail and voice to their writing by showing not
telling.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Students need to be given specific
ways to ‘show not tell’ in their writing. Some of these methods are:
A. Showing nouns: by using concrete nouns, readers get a good idea
of what the author is trying to say
B. Fleshing out details: add detail, name names and the ideas will
stick with the reader
C. Absolutes: use a noun + -ing (participle) to show action and
description
D. Appositives: start with a simple sentence and choose a noun to
amplify
V. Author’s Inquiry Question/s? How do I get students to be more exact
and concrete in their writing and how do I help this idea to stick for
them?
VI Author’s Methodology: Anderson shared models of good writing,
writing that incorporated concrete details, absolutes, and fleshed out
sentences.
A. Who is being studied? Jeff Anderson studied students in his 6th, 7th, and 8th grade
classes.
B. Over what length of time? No specific time is given, but it seems that it was a school
year.
C. What data is being collected? Samples of student writing and how they incorporate
concrete nouns, fleshed out detail, absolutes, and appositives in their essays
D. How is it being analyzed? Anderson is studying the affect of these techniques on
students’ writing
E. Any other interesting or pertinent data: Anderson took some interesting ideas and put
them into practice. Some of these ideas come from Harry Noden and his Image
Grammar, a book that I have used in my class. This is a book that gives a lot if ideas on
helping students to put their all into an essay and how we , as teachers can model this
for them.
VII. How the author collected information? He collects samples of student writing
from class assignments
VIII. What the Author Discovered or Conclusions/Implications: The
author determined that naming names, using concrete names for
nouns, offers students a concrete way to revise their writing so
that it conveys their ideas clearly. Again, Anderson shows us that
we, as teachers, need to model for our students. We can model with
our own writing or share professional models with our students.
There are many ways to model for them, but we can’t expect
them to just do it on their own.
Thursday, August 2, 2007
Showcase
Join us for a reflective of our Bluebonnet time.
https://mavspace.uta.edu/pkh8515/bluebonnet%5B1%5D.ppt
https://mavspace.uta.edu/pkh8515/bluebonnet%5B1%5D.ppt
Article 6
I. Title: Using Written Conversation in Middle School: Lessons from a Teacher Researcher
Project
II. Author: William P Bintz and Karen S. Shelton
III. Author’s Purpose: This article focused on two different topics—teaching as researching
and a specific lesson, written conversation.
IV. What are the points made in the review of the literature? Do they support the
need for the study? The author and the teacher-researcher showed that note passing is
a way for students to do something they enjoy, passing notes, and combine it with
something they really don’t like all that much, studying a novel.
V. Author’s Inquiry Question: How can note passing in class be used as a potentially
positive, rather than always a negative activity for students?
VI. Author’s Methodology: Qualitative research methodology
A. Who is being studied? Students in 7th and 8th grade language arts classes are being
studied.
B. Over what length of time? The time frame is not stated, but it appears to be over
one novel study.
C. What data is being collected? The teacher-researcher, Karen Shelton, collected
writing samples and written reflections from students during her language arts class
and sharing this at a summer conference and during visits to teachers’ classrooms.
D. How is it being analyzed? The teacher-researcher, Karen Shelton, used a three step
process to analyze her research:
1. She read through the data recording comments and not stopping to reflect on the
data; she wanted to determine the reading process the pairs of students used to
create and represent meaning from the text.
2. She then read the data set a second time more critically and reflectively to construct
her working hypotheses by seeing patterns in responses, what similar reading
processes were used.
3. She read the entire set again focusing on refining emerging patterns by comparing
them against the data.
E. Any other interesting or pertinent data? Shelton notices six patterns or
categories of reading processes in her research:
1. making a prediction
2. drawing an inference
3. making a personal connection
4. taking a position
5. asking a question
6. detecting an anomaly
VII. How the author collected information: The teacher-researcher
is keeping anecdotal records, looking at writing samples, and also looking at student
reflections to determine the effectiveness of written conversation in student learning and
retention of material.
VIII. What the Author Discovered or Conclusions/Implications:
Written conversation is a great strategy to help students learn in a fun, creative way. The
author also shows that teaching and researching are the same thing; teachers have
to support their own learning in order to support the learning of students, and teaching as
researching is rewarding but very hard work.
Project
II. Author: William P Bintz and Karen S. Shelton
III. Author’s Purpose: This article focused on two different topics—teaching as researching
and a specific lesson, written conversation.
IV. What are the points made in the review of the literature? Do they support the
need for the study? The author and the teacher-researcher showed that note passing is
a way for students to do something they enjoy, passing notes, and combine it with
something they really don’t like all that much, studying a novel.
V. Author’s Inquiry Question: How can note passing in class be used as a potentially
positive, rather than always a negative activity for students?
VI. Author’s Methodology: Qualitative research methodology
A. Who is being studied? Students in 7th and 8th grade language arts classes are being
studied.
B. Over what length of time? The time frame is not stated, but it appears to be over
one novel study.
C. What data is being collected? The teacher-researcher, Karen Shelton, collected
writing samples and written reflections from students during her language arts class
and sharing this at a summer conference and during visits to teachers’ classrooms.
D. How is it being analyzed? The teacher-researcher, Karen Shelton, used a three step
process to analyze her research:
1. She read through the data recording comments and not stopping to reflect on the
data; she wanted to determine the reading process the pairs of students used to
create and represent meaning from the text.
2. She then read the data set a second time more critically and reflectively to construct
her working hypotheses by seeing patterns in responses, what similar reading
processes were used.
3. She read the entire set again focusing on refining emerging patterns by comparing
them against the data.
E. Any other interesting or pertinent data? Shelton notices six patterns or
categories of reading processes in her research:
1. making a prediction
2. drawing an inference
3. making a personal connection
4. taking a position
5. asking a question
6. detecting an anomaly
VII. How the author collected information: The teacher-researcher
is keeping anecdotal records, looking at writing samples, and also looking at student
reflections to determine the effectiveness of written conversation in student learning and
retention of material.
VIII. What the Author Discovered or Conclusions/Implications:
Written conversation is a great strategy to help students learn in a fun, creative way. The
author also shows that teaching and researching are the same thing; teachers have
to support their own learning in order to support the learning of students, and teaching as
researching is rewarding but very hard work.
Wednesday, August 1, 2007
Article 5
I. Title: Hard Trying and These Recipes
II. Author: Nancie Atwell
III. Author’s Purpose: Atwell wants teachers of writing to look for and think about
writing lessons that will make the intangible tangible for students. She wants to make it
real for her students.
IV. What are the points made in the review of the literature? Do they support the
need for the study? Writers will thrive and create when they are motivated to work
hard, have regular opportunities to practice and reflect, and benefit from the knowledge
and experiences of a teacher who writes and knows writing, a teacher who models for
them.
V. Author’s Inquiry Question: Can writing ability be learned, or do good writers have a
natural ability?
VI. Author’s Methodology: Observation, discussion, and analysis of writing were the
methods employed.
A. Who is being studied? Students in Atwell’s class over the last 10 years.
B. Over what length of time? 10 years
C. What data is being collected? Atwell is collecting pieces of student writing to
see which lessons had an impact on students and their growth as writers.
D. How is it being analyzed? Atwell looks at the quality and creativity of her
students' pieces.
E. Any other interesting or pertinent data? Atwell used much of this
information in her book Lessons That Change Writers.
VII. How the author collected information: Atwell used observation and questioning
of students, analysis of students’ writing, and their verbal and written response
VIII. What the Author Discovered or Conclusions/Implications: Students can
develop their writing skills if given the opportunity to do so. This can be accomplished if
they had the following:
A. Lessons about topics: ways to develop ideas for pieces of writing that matter to kids
and to their readers.
B. Lessons about principals: ways to approach drafting and revising deliberately, in
order to craft meaningful, literary prose and poetry.
C. Lesson about genres: ways kids and teacher collaborate to observe and name the
qualities of good poetry, short fiction, memoirs, essays, book reviews, and other
genres.
D. Lessons about conventions: what a reader’s eyes and mind will expect from a piece of
writing, and how marks and forms give writers voice make reading predictable and
easy.
It is important that students have a predictable structure, a regular schedule, and student’s discretion on topics. Atwell presented all of this in her article and again in her book.
II. Author: Nancie Atwell
III. Author’s Purpose: Atwell wants teachers of writing to look for and think about
writing lessons that will make the intangible tangible for students. She wants to make it
real for her students.
IV. What are the points made in the review of the literature? Do they support the
need for the study? Writers will thrive and create when they are motivated to work
hard, have regular opportunities to practice and reflect, and benefit from the knowledge
and experiences of a teacher who writes and knows writing, a teacher who models for
them.
V. Author’s Inquiry Question: Can writing ability be learned, or do good writers have a
natural ability?
VI. Author’s Methodology: Observation, discussion, and analysis of writing were the
methods employed.
A. Who is being studied? Students in Atwell’s class over the last 10 years.
B. Over what length of time? 10 years
C. What data is being collected? Atwell is collecting pieces of student writing to
see which lessons had an impact on students and their growth as writers.
D. How is it being analyzed? Atwell looks at the quality and creativity of her
students' pieces.
E. Any other interesting or pertinent data? Atwell used much of this
information in her book Lessons That Change Writers.
VII. How the author collected information: Atwell used observation and questioning
of students, analysis of students’ writing, and their verbal and written response
VIII. What the Author Discovered or Conclusions/Implications: Students can
develop their writing skills if given the opportunity to do so. This can be accomplished if
they had the following:
A. Lessons about topics: ways to develop ideas for pieces of writing that matter to kids
and to their readers.
B. Lessons about principals: ways to approach drafting and revising deliberately, in
order to craft meaningful, literary prose and poetry.
C. Lesson about genres: ways kids and teacher collaborate to observe and name the
qualities of good poetry, short fiction, memoirs, essays, book reviews, and other
genres.
D. Lessons about conventions: what a reader’s eyes and mind will expect from a piece of
writing, and how marks and forms give writers voice make reading predictable and
easy.
It is important that students have a predictable structure, a regular schedule, and student’s discretion on topics. Atwell presented all of this in her article and again in her book.
Tuesday, July 31, 2007
Article 4
I. Title: Crafting Authentic Voice
II. Author: Tom Romano
III. Author’s Purpose: Romano wants to make sure students don’t lose their voice when
they write. He feels that voice can be crafted and developed through practice and
modeling.
IV. What are the points made in the review of the literature? Do they support
the need for the study?
A. Voice is created when you write authentically-with a purpose and about something
you care about
B. Quick writes and journaling can be great tools for helping to develop voice
C. Voice can also be crafted; he shows this through an analysis of his own writing
V. Author’s Inquiry Question: What is authentic voice and how can it be crafted?
VI. Author’s Methodology: The author studies and analyzes his own writing and
applied the research of others to analyze it.
A. Who is being studied? Tom Romano himself as well as his students
B. Over what length of time? No length of time given
C. What data is being collected? He wants to look at pieces of his own writing and
student writing and find voice
D. How is it being analyzed? The author took a close look at his writing and analyzed
it based on research put forth by other writers and researchers
E. Any other interesting or pertinent data? I think it is interesting that he analyzed
his own writing but also applied it to students writing as well. He used a number of
strategies to accomplish this:
1. Death of adverbs—they lure writers into laziness
2. Use of verbs with muscle
3. Use adjectives of exactitude
4. Add tension—character conflict
5. Pull in other voices
6. It’s okay to say it simply
VII. How the author collected information: He took articles, essays, syllabi from his
own writing and essays of his students to examine. He also listened to what his
students had to say and took notes on that information.
VIII. What the Author Discovered or Conclusions/Implications: The author
shows us that there are many ways to craft and develop voice in writing, no one single
way. He also shows that it is necessary to model this for students in our own writing.
II. Author: Tom Romano
III. Author’s Purpose: Romano wants to make sure students don’t lose their voice when
they write. He feels that voice can be crafted and developed through practice and
modeling.
IV. What are the points made in the review of the literature? Do they support
the need for the study?
A. Voice is created when you write authentically-with a purpose and about something
you care about
B. Quick writes and journaling can be great tools for helping to develop voice
C. Voice can also be crafted; he shows this through an analysis of his own writing
V. Author’s Inquiry Question: What is authentic voice and how can it be crafted?
VI. Author’s Methodology: The author studies and analyzes his own writing and
applied the research of others to analyze it.
A. Who is being studied? Tom Romano himself as well as his students
B. Over what length of time? No length of time given
C. What data is being collected? He wants to look at pieces of his own writing and
student writing and find voice
D. How is it being analyzed? The author took a close look at his writing and analyzed
it based on research put forth by other writers and researchers
E. Any other interesting or pertinent data? I think it is interesting that he analyzed
his own writing but also applied it to students writing as well. He used a number of
strategies to accomplish this:
1. Death of adverbs—they lure writers into laziness
2. Use of verbs with muscle
3. Use adjectives of exactitude
4. Add tension—character conflict
5. Pull in other voices
6. It’s okay to say it simply
VII. How the author collected information: He took articles, essays, syllabi from his
own writing and essays of his students to examine. He also listened to what his
students had to say and took notes on that information.
VIII. What the Author Discovered or Conclusions/Implications: The author
shows us that there are many ways to craft and develop voice in writing, no one single
way. He also shows that it is necessary to model this for students in our own writing.
Article 3
I. Title: The Second Time Around
II. Author: Sherry Guice
III. Author’s Purpose: The author wanted to present information/findings from CELA
and the ways she can implement her findings in her 8th grade reading club to assure
student success on high stakes tests.
IV. What are the points made in the review of the literature? Do they support
the need for the study?
A. Strategic curriculum requires ongoing consideration of students’ knowledge and
needs—base curriculum on student interest and needs.
B. Knowledge from action engages students in meaningful conversation within the
fields of study. Guice will focus on folklore including pulling in folklore form their
own families and communities.
C. Thinking communities understand that learning is a social activity. Learning
communities are both supportive of learning and challenging for students. Students
and teachers interact developing ideas, challenging one another, encouraging risks
necessary for new learning to occur. Quite an interesting way to manage a class. In
this case, all students will read different books that lend themselves to discussion on
broad topics with big ideas and questions. The questions the teacher asks must
model her thinking and stretch students to go beyond what they think they are
capable of doing.
D. Orchestrated connections create coherence and continuity within what students are
learning. Again the teacher must model for the students. S/he must create and
orchestrate situations for students to make coherent connections rather than just
presenting isolated skill land knowledge. By making these connections, students will
learn and retain the information more easily. For this Guice will have the students
write and talk about how books connect to their personal lives, other books they
have read, and their lives beyond school.
E. Generative learning allows students to go beyond what is taught. Students must be
able to transfer these new skills to other learning, take it beyond the language arts
classroom. Guice wants the students to participate in an oral history study focusing
on the post World War II boom of the late 1940s and 1950s. For this students will
interview members of the community after writing their own interview questions.
V. Author’s Inquiry Question: How can I help my students prepare for high stakes
tests when I return to a middle school classroom after an absence of 10 years and reach
their full potential as learners, readers, and writers?
VI. Author’s Methodology: I am assuming the teacher would observe students during
discussions and keep copies of their writing for analysis.
A. Who is being studied? Students in a 7th and 8th grade reading club who need
extra help to pass high stakes tests will be studied when this is put in place.
B. Over what length of time? A school year
C. What data is being collected? Student writing, participation in discussion, and level
of answers to discussion question.
D. How is it being analyzed? Guice will observe her students during discussion and
reading time and read their essays to determine progress.
E. Any other interesting or pertinent data? The author studied various aspects of
literature, writing, and reading as a doctoral student, as a co-director of a five-year
longitudinal study, and as a director at CELA. She wanted to put these ideas and
practices into place with a group of reluctant 7th and 8th grade reading club
students.
VII. How the author collected information: I assume the teacher would keep
anecdotal records of observations and copies of students writing.
VIII. What the Author Discovered or Conclusions/Implications: There were no
conclusions given since the study had not yet been put in place. I did not find a follow-up
article to know how the study turned out.
II. Author: Sherry Guice
III. Author’s Purpose: The author wanted to present information/findings from CELA
and the ways she can implement her findings in her 8th grade reading club to assure
student success on high stakes tests.
IV. What are the points made in the review of the literature? Do they support
the need for the study?
A. Strategic curriculum requires ongoing consideration of students’ knowledge and
needs—base curriculum on student interest and needs.
B. Knowledge from action engages students in meaningful conversation within the
fields of study. Guice will focus on folklore including pulling in folklore form their
own families and communities.
C. Thinking communities understand that learning is a social activity. Learning
communities are both supportive of learning and challenging for students. Students
and teachers interact developing ideas, challenging one another, encouraging risks
necessary for new learning to occur. Quite an interesting way to manage a class. In
this case, all students will read different books that lend themselves to discussion on
broad topics with big ideas and questions. The questions the teacher asks must
model her thinking and stretch students to go beyond what they think they are
capable of doing.
D. Orchestrated connections create coherence and continuity within what students are
learning. Again the teacher must model for the students. S/he must create and
orchestrate situations for students to make coherent connections rather than just
presenting isolated skill land knowledge. By making these connections, students will
learn and retain the information more easily. For this Guice will have the students
write and talk about how books connect to their personal lives, other books they
have read, and their lives beyond school.
E. Generative learning allows students to go beyond what is taught. Students must be
able to transfer these new skills to other learning, take it beyond the language arts
classroom. Guice wants the students to participate in an oral history study focusing
on the post World War II boom of the late 1940s and 1950s. For this students will
interview members of the community after writing their own interview questions.
V. Author’s Inquiry Question: How can I help my students prepare for high stakes
tests when I return to a middle school classroom after an absence of 10 years and reach
their full potential as learners, readers, and writers?
VI. Author’s Methodology: I am assuming the teacher would observe students during
discussions and keep copies of their writing for analysis.
A. Who is being studied? Students in a 7th and 8th grade reading club who need
extra help to pass high stakes tests will be studied when this is put in place.
B. Over what length of time? A school year
C. What data is being collected? Student writing, participation in discussion, and level
of answers to discussion question.
D. How is it being analyzed? Guice will observe her students during discussion and
reading time and read their essays to determine progress.
E. Any other interesting or pertinent data? The author studied various aspects of
literature, writing, and reading as a doctoral student, as a co-director of a five-year
longitudinal study, and as a director at CELA. She wanted to put these ideas and
practices into place with a group of reluctant 7th and 8th grade reading club
students.
VII. How the author collected information: I assume the teacher would keep
anecdotal records of observations and copies of students writing.
VIII. What the Author Discovered or Conclusions/Implications: There were no
conclusions given since the study had not yet been put in place. I did not find a follow-up
article to know how the study turned out.
Article 2
I. Title: Writing With Voice
II. Author: Tom Romano
III. Author’s Purpose: The author wanted to share with readers how students can
develop voice through drafting and crafting.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Romano works with students in class and
workshops, and he wants them to find ways to develop their own authentic voice in
their writing. In order for him to do this, he must model the skill for them; share his
method and his writing.
V. Author’s Inquiry Question: How can I, as their teacher, help students develop
their own, authentic voice?
VI. Author’s Methodology: The author used student writing and student ideas and
comments throughout his study.
A. Who is being studied? Students in Romano’s classes and workshops
B. Over what length of time? Semester; not really stated
C What data is being collected? Student writing and reflections were collected
and analyzed.
D How is it being analyzed? Romano is looking at the writing created by his
students for content and to determine the best way for him to help his students
can be improved.
E. Any other interesting or pertinent data? Romano shows the reader how to
work with students to create or develop voice. I enjoy reading Romano and have
used his books and methods in my class. He makes writing easy and fun for
students.
VII. How the author collected information: The author based this information on
research by Linda Reif (100 Quickwrites, 2003). Students used the prompts from her
book plus readings Romano shared, such as When I Was Young in the Mountains by
Cynthia Rylant to spur the writing. He showed his students how to penetrate the
barriers to writing, “how to break free with a string of words that generates more
words, more thinking, more meaning.” (Romano, 2003).
VIII. What the Author Discovered or Conclusions/Implications: The author
discovered that it is in both the gushing and the cultivating that voice is developed. He
doesn’t want his students to write in a stilted, academic manner; he wants them to
bring forth a unique and authentic voice that can be identified as theirs. He discovers,
or perhaps rediscovers, that one of the best ways to do this is to model, and model
again.
II. Author: Tom Romano
III. Author’s Purpose: The author wanted to share with readers how students can
develop voice through drafting and crafting.
IV. What are the points made in the review of the literature? Do they
support the need for the study? Romano works with students in class and
workshops, and he wants them to find ways to develop their own authentic voice in
their writing. In order for him to do this, he must model the skill for them; share his
method and his writing.
V. Author’s Inquiry Question: How can I, as their teacher, help students develop
their own, authentic voice?
VI. Author’s Methodology: The author used student writing and student ideas and
comments throughout his study.
A. Who is being studied? Students in Romano’s classes and workshops
B. Over what length of time? Semester; not really stated
C What data is being collected? Student writing and reflections were collected
and analyzed.
D How is it being analyzed? Romano is looking at the writing created by his
students for content and to determine the best way for him to help his students
can be improved.
E. Any other interesting or pertinent data? Romano shows the reader how to
work with students to create or develop voice. I enjoy reading Romano and have
used his books and methods in my class. He makes writing easy and fun for
students.
VII. How the author collected information: The author based this information on
research by Linda Reif (100 Quickwrites, 2003). Students used the prompts from her
book plus readings Romano shared, such as When I Was Young in the Mountains by
Cynthia Rylant to spur the writing. He showed his students how to penetrate the
barriers to writing, “how to break free with a string of words that generates more
words, more thinking, more meaning.” (Romano, 2003).
VIII. What the Author Discovered or Conclusions/Implications: The author
discovered that it is in both the gushing and the cultivating that voice is developed. He
doesn’t want his students to write in a stilted, academic manner; he wants them to
bring forth a unique and authentic voice that can be identified as theirs. He discovers,
or perhaps rediscovers, that one of the best ways to do this is to model, and model
again.
Monday, July 30, 2007
Article 1
I. Title: Writing from the Heart
II. Author: Keaton Shenk
III. Author’s Purpose: The author wanted to share his ideas on incorporating a reading
and writing workshop method of teaching in his middle school classroom
IV. What are the points made in the review of the literature? Do they support
the need for the study? The author presented the following points about the workshop
model he incorporated:
A. 25 minutes for reading
B. 20 minutes for writing
C. Self-selection of both reading material and writing topics
D. Teacher needs to write with his/her students
E. Teacher needs to share his/her writing along with students
F. Keep a fairly low key atmosphere in the classroom
I found this to be in keeping with Nancie Awell’s model of the reading/writing workshop.
V. Author’s Inquiry Question: How do I get my students to write pieces that matter and
write from the heart? When did my students and I ache with caring over what we are
writing about?
VI. Author’s Methodology: The author implemented the workshop and observed
students’ reactions and quality of their work.
A. Who is being studied? Students in a sixth grade language arts class.
B. Over what length of time? Not stated, but I’m assuming over at least one school year.
C. What data is being collected? Student writing and the changes they experience
through participation in the reading/writing workshop.
D. How is it being analyzed? The teacher looked at the quality of student work, ideas
expressed in the writing, willingness of students to share writing, quality of editing
and had the students write a reflection of the model.
E. Any other interesting or pertinent data? I really didn’t look at the date the article
was written until was reading when I discovered it was written in 1996. This author,
Keaton Shenk, was giving the reading/writing workshop a first go.
VII. How the author collected information: He implemented a reading/writing
workshop in his class and gave the students a bit of free reign in their topics by allowing
them to write about things that were important to them. He then looked for changes
and development in their writing.
VIII. What the Author Discovered or Conclusions/Implications: The author used
strategies he learned at a workshop to develop his students’ writing and discovered that
this was a great way to bring out the best in his students.
II. Author: Keaton Shenk
III. Author’s Purpose: The author wanted to share his ideas on incorporating a reading
and writing workshop method of teaching in his middle school classroom
IV. What are the points made in the review of the literature? Do they support
the need for the study? The author presented the following points about the workshop
model he incorporated:
A. 25 minutes for reading
B. 20 minutes for writing
C. Self-selection of both reading material and writing topics
D. Teacher needs to write with his/her students
E. Teacher needs to share his/her writing along with students
F. Keep a fairly low key atmosphere in the classroom
I found this to be in keeping with Nancie Awell’s model of the reading/writing workshop.
V. Author’s Inquiry Question: How do I get my students to write pieces that matter and
write from the heart? When did my students and I ache with caring over what we are
writing about?
VI. Author’s Methodology: The author implemented the workshop and observed
students’ reactions and quality of their work.
A. Who is being studied? Students in a sixth grade language arts class.
B. Over what length of time? Not stated, but I’m assuming over at least one school year.
C. What data is being collected? Student writing and the changes they experience
through participation in the reading/writing workshop.
D. How is it being analyzed? The teacher looked at the quality of student work, ideas
expressed in the writing, willingness of students to share writing, quality of editing
and had the students write a reflection of the model.
E. Any other interesting or pertinent data? I really didn’t look at the date the article
was written until was reading when I discovered it was written in 1996. This author,
Keaton Shenk, was giving the reading/writing workshop a first go.
VII. How the author collected information: He implemented a reading/writing
workshop in his class and gave the students a bit of free reign in their topics by allowing
them to write about things that were important to them. He then looked for changes
and development in their writing.
VIII. What the Author Discovered or Conclusions/Implications: The author used
strategies he learned at a workshop to develop his students’ writing and discovered that
this was a great way to bring out the best in his students.
Irish Tenor
Bluebonnet Writing Project
Teaching Demonstration
Title of the Book: Song and Dance Man
Author: Karen Ackerman
Illustrator: Stephen Gammell
Publishing Information: Alfred Knopf
ISBN: 0-679-81995-9
Suggested Grade Level: This lesson was developed for a 6th grade class, but it can be used for grades 4-12 with a few modifications.
Goal: Students will weave thick description into a piece of prose to create a poem.
Objectives:
1. Students will write the lyrics of a song in poetry form
2. Students will write a description of the person who shared the song
3. Students will blend the two short pieces into a poem
4. Students will draft, revise, edit, and publish the poem
5. Students will work cooperatively with a partner
TEKS:
6.1) The student listens actively and purposefully in a variety of settings.
(A) determine the purposes for listening such as to gain information, to solve problems, or to enjoy and appreciate
(B) eliminate barriers to effective listening
(6.2) The student listens critically to analyze and evaluate a speaker's message(s).
(A) interpret speakers' messages (both verbal and nonverbal), purposes, and perspectives 6.3) The student listens to enjoy and appreciate spoken language.
(A) listen to proficient, fluent models of oral reading, including selections from classic and contemporary works
(6.12) The student analyzes the characteristics of various types of texts (genres).
(A) identify the purposes of different types of texts such as to inform, influence, express, or entertain
(B) recognize the distinguishing features of genres, including biography, historical fiction, informational texts, and poetry
(6.15) The student writes for a variety of audiences and purposes and in a variety of forms. (A) write to express, discover, record, develop, reflect on ideas, and to problem solve (D) write to entertain such as to compose humorous poems or short stories
(E) select and use voice and style appropriate to audience and purpose
(H) produce cohesive and coherent written texts by organizing ideas, using effective transitions, and choosing precise wording
(6.16) The student composes original texts, applying the conventions of written language such as capitalization, punctuation, penmanship, and spelling to communicateclearly.
(A) write legibly by selecting cursive or manuscript as appropriate
(B) capitalize and punctuate correctly to clarify and enhance meaning such as capitalizing titles, using hyphens, semicolons, colons, possessives, and sentence punctuation
(6.18) The student selects and uses writing processes for self-initiated and assigned writing.
(C) revise selected drafts by adding, elaborating, deleting, combining, and rearranging text
(D) revise drafts for coherence, progression, and logical support of ideas
(E) edit drafts for specific purposes such as to ensure standard usage, varied sentence structure, and appropriate word choice
(F) use available technology to support aspects of creating, revising, editing, and publishing texts
(6.19) The student evaluates his/her own writing and the writings of others.
(A) apply criteria to evaluate writing
(B) respond in constructive ways to others' writings
(C) evaluate how well his/her own writing achieves its purposes
Research Supporting this Lesson:
Atwell, N. (1998) In the middle: New understandings about writing, reading, and
learning (2nd ed.). Portsmouth, NH: Heinemann.
Atwell, N. (2002). Lessons that change writers. Portsmouth, NH: Heinemann
Bernabei, G. (2005). Reviving the essay: How to teach structures without formula.
Shoreham, VT. Discovery Writing Press.
Ward, C. (2006) How writers grow: A guide for middle school teachers.
Portsmouth, NH: Heinemann.
Introduction to author and/or story:
Think about people in your lives, especially grandparents.
What kinds of entertainment did they have when they were your age?
Sit back and enjoy a trip back in time to when these children’s grandpa was a young man.
Read the story Song and Dance Man by Karen Ackerman
Previewing the Text: After reading the story answer these questions to prepare for writing lesson:
1. What did you notice in the story?
2. What was happening?
3. Who were the characters?
4. Who was the main character?
5. What did he do for the children?
**Get the students to notice that the grandfather shared his past with the kids. He shared song and dance.
Procedures:
1. Hand out pieces of paper to each student
2. Draw a line across the middle of the paper, separating the top from the bottom. If you want, just fold the paper in half hamburger style.
3. Now look at the top half. Draw a line dividing the top half into two halves.
4. Show sample
**Since we are in the computer lab, you may create this on your computer**
5. Now, I want you to think of a song you remember someone singing to you when you were little. It might be a lullaby, a Broadway show tune, or any kind of song at all. The important thing is that you remember someone singing it to you. It might also be something they said, like a nursery rhyme, or a saying; the important thing is that you remember the sound of someone saying it to you.
6. In the top right hand section of your paper, write the words to the song. Write as much as you can remember, but please have at least four lines. Write the words in poetry form, not in paragraph form.
**Use your computer if you need to get the words for your song**
**Show example of “I’ll Take You Home Again Kathleen”**
***Time to write***
***Share***
7. Now that you have your song in mind, think of the person whose voice that was. How did they look at the time they were singing to you? Picture this person in your mind.
8. On the left side of the top, write a paragraph describing them as clearly as you can, so that we can picture them as you do in your mind’s eye. Were they sitting? On what? What did their eyes look like? What do you remember most about how they looked? What might have been going on at that time?
***Time to write***
***Share***
9. Look at the lines on the right. Number every line using only even numbers.
10. Look at the paragraph on the left. Underline five or six phrases that are the most important (the best phrases or words) in the paragraph).Now number the underlined phrases using only odd numbers.
11. The hard work is done. Look at my fingers and see how I weave them together. That’s what you are going to do with your writing.
12. Write your poem on the bottom of the page. Start by copying line one first. Directly underneath it, copy line two. Continue until you’re finished. If you need to, repeat lines from your song.
***Time to write***
***Share with table partner***
***Share with class***
**Share mine at the end**
Debriefing Questions for writing:
Did you hear any that “got you”?
What made those pieces so effective?
Did you hear any that didn’t work at all?
Was anyone surprised at what happened, how it sounded, when you wove the two together?
Reading/Writing/Drawing Connection:
Use a picture book to help students go back in time to remember
Write about a person who sang to you
Illustrate the poem you created
Discussion Protocol:
What did you think of the lesson?
What was easy for you?
What was challenging for you?
What did you like about the lesson?
What will you remember about the lesson?
How could you use this lesson with your students?
Extension/Service Projects:
Write a memoir that includes the person you mentioned in this poem.
Use lines from famous speeches and a description of the person who made the speech.
Use lines from famous speeches and a description of leadership.
Use significant lines of text from a piece of literature you are reading in class as one of the columns and a first person character analysis as the other column.
Share poems with residents of a nursing home and have them share song memories of theirs.
Teaching Demonstration
Title of the Book: Song and Dance Man
Author: Karen Ackerman
Illustrator: Stephen Gammell
Publishing Information: Alfred Knopf
ISBN: 0-679-81995-9
Suggested Grade Level: This lesson was developed for a 6th grade class, but it can be used for grades 4-12 with a few modifications.
Goal: Students will weave thick description into a piece of prose to create a poem.
Objectives:
1. Students will write the lyrics of a song in poetry form
2. Students will write a description of the person who shared the song
3. Students will blend the two short pieces into a poem
4. Students will draft, revise, edit, and publish the poem
5. Students will work cooperatively with a partner
TEKS:
6.1) The student listens actively and purposefully in a variety of settings.
(A) determine the purposes for listening such as to gain information, to solve problems, or to enjoy and appreciate
(B) eliminate barriers to effective listening
(6.2) The student listens critically to analyze and evaluate a speaker's message(s).
(A) interpret speakers' messages (both verbal and nonverbal), purposes, and perspectives 6.3) The student listens to enjoy and appreciate spoken language.
(A) listen to proficient, fluent models of oral reading, including selections from classic and contemporary works
(6.12) The student analyzes the characteristics of various types of texts (genres).
(A) identify the purposes of different types of texts such as to inform, influence, express, or entertain
(B) recognize the distinguishing features of genres, including biography, historical fiction, informational texts, and poetry
(6.15) The student writes for a variety of audiences and purposes and in a variety of forms. (A) write to express, discover, record, develop, reflect on ideas, and to problem solve (D) write to entertain such as to compose humorous poems or short stories
(E) select and use voice and style appropriate to audience and purpose
(H) produce cohesive and coherent written texts by organizing ideas, using effective transitions, and choosing precise wording
(6.16) The student composes original texts, applying the conventions of written language such as capitalization, punctuation, penmanship, and spelling to communicateclearly.
(A) write legibly by selecting cursive or manuscript as appropriate
(B) capitalize and punctuate correctly to clarify and enhance meaning such as capitalizing titles, using hyphens, semicolons, colons, possessives, and sentence punctuation
(6.18) The student selects and uses writing processes for self-initiated and assigned writing.
(C) revise selected drafts by adding, elaborating, deleting, combining, and rearranging text
(D) revise drafts for coherence, progression, and logical support of ideas
(E) edit drafts for specific purposes such as to ensure standard usage, varied sentence structure, and appropriate word choice
(F) use available technology to support aspects of creating, revising, editing, and publishing texts
(6.19) The student evaluates his/her own writing and the writings of others.
(A) apply criteria to evaluate writing
(B) respond in constructive ways to others' writings
(C) evaluate how well his/her own writing achieves its purposes
Research Supporting this Lesson:
Atwell, N. (1998) In the middle: New understandings about writing, reading, and
learning (2nd ed.). Portsmouth, NH: Heinemann.
Atwell, N. (2002). Lessons that change writers. Portsmouth, NH: Heinemann
Bernabei, G. (2005). Reviving the essay: How to teach structures without formula.
Shoreham, VT. Discovery Writing Press.
Ward, C. (2006) How writers grow: A guide for middle school teachers.
Portsmouth, NH: Heinemann.
Introduction to author and/or story:
Think about people in your lives, especially grandparents.
What kinds of entertainment did they have when they were your age?
Sit back and enjoy a trip back in time to when these children’s grandpa was a young man.
Read the story Song and Dance Man by Karen Ackerman
Previewing the Text: After reading the story answer these questions to prepare for writing lesson:
1. What did you notice in the story?
2. What was happening?
3. Who were the characters?
4. Who was the main character?
5. What did he do for the children?
**Get the students to notice that the grandfather shared his past with the kids. He shared song and dance.
Procedures:
1. Hand out pieces of paper to each student
2. Draw a line across the middle of the paper, separating the top from the bottom. If you want, just fold the paper in half hamburger style.
3. Now look at the top half. Draw a line dividing the top half into two halves.
4. Show sample
**Since we are in the computer lab, you may create this on your computer**
5. Now, I want you to think of a song you remember someone singing to you when you were little. It might be a lullaby, a Broadway show tune, or any kind of song at all. The important thing is that you remember someone singing it to you. It might also be something they said, like a nursery rhyme, or a saying; the important thing is that you remember the sound of someone saying it to you.
6. In the top right hand section of your paper, write the words to the song. Write as much as you can remember, but please have at least four lines. Write the words in poetry form, not in paragraph form.
**Use your computer if you need to get the words for your song**
**Show example of “I’ll Take You Home Again Kathleen”**
***Time to write***
***Share***
7. Now that you have your song in mind, think of the person whose voice that was. How did they look at the time they were singing to you? Picture this person in your mind.
8. On the left side of the top, write a paragraph describing them as clearly as you can, so that we can picture them as you do in your mind’s eye. Were they sitting? On what? What did their eyes look like? What do you remember most about how they looked? What might have been going on at that time?
***Time to write***
***Share***
9. Look at the lines on the right. Number every line using only even numbers.
10. Look at the paragraph on the left. Underline five or six phrases that are the most important (the best phrases or words) in the paragraph).Now number the underlined phrases using only odd numbers.
11. The hard work is done. Look at my fingers and see how I weave them together. That’s what you are going to do with your writing.
12. Write your poem on the bottom of the page. Start by copying line one first. Directly underneath it, copy line two. Continue until you’re finished. If you need to, repeat lines from your song.
***Time to write***
***Share with table partner***
***Share with class***
**Share mine at the end**
Debriefing Questions for writing:
Did you hear any that “got you”?
What made those pieces so effective?
Did you hear any that didn’t work at all?
Was anyone surprised at what happened, how it sounded, when you wove the two together?
Reading/Writing/Drawing Connection:
Use a picture book to help students go back in time to remember
Write about a person who sang to you
Illustrate the poem you created
Discussion Protocol:
What did you think of the lesson?
What was easy for you?
What was challenging for you?
What did you like about the lesson?
What will you remember about the lesson?
How could you use this lesson with your students?
Extension/Service Projects:
Write a memoir that includes the person you mentioned in this poem.
Use lines from famous speeches and a description of the person who made the speech.
Use lines from famous speeches and a description of leadership.
Use significant lines of text from a piece of literature you are reading in class as one of the columns and a first person character analysis as the other column.
Share poems with residents of a nursing home and have them share song memories of theirs.
Sunday, July 29, 2007
How Writers Grow by Cynthia Carbone Ward
Chapter 3 ‘Making Words Work’
While I was able to just dive into chapter 2 and let the ideas flow over me, I had to wade through chapter 3 with care, not because of Ward’s presentation of the material but because of the depth and breadth of the writing formats presented. This is really the meat and potatoes of writing; these are the skills our students will need and use for a lifetime—the personal letter, the persuasive essay, and technical writing.
Ward gives the reader simple, step-by-step instructions for each form of writing.
The Personal Letter (pages 45-46) What an easy way to bring back a dying art-let’s keep this direct, personal connection! Kids can write to each other about the books they are reading, thank their parents or grandparents for a gift they received, or maybe their teacher for a particularly super lesson.
The Persuasive Essay (pages 46-54) In this part of the chapter, Ward breaks the essay into its components and gives lots of examples to move from one step to the next. The revision methods are broken into meaning and style and self and peer. I think these will be particularly helpful for my students because they are easy to follow. This is one of the best ways I have seen for teaching the persuasive essay.
Technical Writing Unit (pages 54-67) Ward gives us a means to help students develop skills they can use in a way that is fun for them and for us.
a. How to work cooperatively with others to solve problems is demonstrated on pages 59-60 with Legos.
b. How to communicate clearly in writing and speaking is shown on pages 61-66 with a means to write a business letter.
c. How to follow directions is presented on pages 57-59 and on pages 60-61 with drawing house plans and creating a how to manual.
Again, Ward has put together some great ideas and presented them to the reader in a very user friendly way.
While I was able to just dive into chapter 2 and let the ideas flow over me, I had to wade through chapter 3 with care, not because of Ward’s presentation of the material but because of the depth and breadth of the writing formats presented. This is really the meat and potatoes of writing; these are the skills our students will need and use for a lifetime—the personal letter, the persuasive essay, and technical writing.
Ward gives the reader simple, step-by-step instructions for each form of writing.
The Personal Letter (pages 45-46) What an easy way to bring back a dying art-let’s keep this direct, personal connection! Kids can write to each other about the books they are reading, thank their parents or grandparents for a gift they received, or maybe their teacher for a particularly super lesson.
The Persuasive Essay (pages 46-54) In this part of the chapter, Ward breaks the essay into its components and gives lots of examples to move from one step to the next. The revision methods are broken into meaning and style and self and peer. I think these will be particularly helpful for my students because they are easy to follow. This is one of the best ways I have seen for teaching the persuasive essay.
Technical Writing Unit (pages 54-67) Ward gives us a means to help students develop skills they can use in a way that is fun for them and for us.
a. How to work cooperatively with others to solve problems is demonstrated on pages 59-60 with Legos.
b. How to communicate clearly in writing and speaking is shown on pages 61-66 with a means to write a business letter.
c. How to follow directions is presented on pages 57-59 and on pages 60-61 with drawing house plans and creating a how to manual.
Again, Ward has put together some great ideas and presented them to the reader in a very user friendly way.
How Writers Grow by Cynthia Carbone Ward
Chapter 2 ‘The Light in the Language: Looking at Poetry’
Poetry is such an important part of language arts—or it should be. I can’t believe some teachers stay away from it. This is truly a way for kids to share their feelings without all of the restrictions placed on them by the formal essay. These longer writing tasks can be intimidating to some students.
Ward shares a number of reasons for teachers to include poetry as a part of their writing curriculum:
1. Poetry is a way for kids to voice their feelings and fantasies
2. Poetry gives students a chance to experience the sheer pleasure of language
3. Poetry presents opportunities to unleash the imagination , unfettered by mechanics
4. Poetry helps kids to become better writers
Ward shares a number of ides for embedding poetry into the curriculum:
1. Gather an assortment of poems to read to our class. (Don’t worry that you don’t have poems. Ward gives us some great resources on
pages 28-30.)
2. Talk about the poems-but don’t overdo it. Look at song lyrics. (Let the kids bring in lyrics to their favorite songs, school appropriate, of course. It gives you a chance to keep up with popular music, and the kids thing you’re really cool.)
3. Catch poetry with imaginary nets, close your eyes as you listen to a poem and then sweep the nets through phrases, images, and feelings that linger in the air. (I can’t wait to try this with my 6th graders. They can jot down the phrases that stay in their minds and cross out words until they get to the main idea of the poem.)
Ward gives her readers some activities to share with students that, I think, are pretty good. I put together a poetry unit a number of years ago that included a lot of different formats for poetry writing. Over the years I have added and deleted some of the formats and finally put the unit away. I think I’ll pull it out of moth balls and try it again with a few additions from Ward:
1. List Poems page 36
2. Really Knowing page 40
3. Snapshot Writing page 43
4. Time Travel page 43 (I’m particularly anxious to try this one because it will tie in nicely into social studies.)
Poetry is such an important part of language arts—or it should be. I can’t believe some teachers stay away from it. This is truly a way for kids to share their feelings without all of the restrictions placed on them by the formal essay. These longer writing tasks can be intimidating to some students.
Ward shares a number of reasons for teachers to include poetry as a part of their writing curriculum:
1. Poetry is a way for kids to voice their feelings and fantasies
2. Poetry gives students a chance to experience the sheer pleasure of language
3. Poetry presents opportunities to unleash the imagination , unfettered by mechanics
4. Poetry helps kids to become better writers
Ward shares a number of ides for embedding poetry into the curriculum:
1. Gather an assortment of poems to read to our class. (Don’t worry that you don’t have poems. Ward gives us some great resources on
pages 28-30.)
2. Talk about the poems-but don’t overdo it. Look at song lyrics. (Let the kids bring in lyrics to their favorite songs, school appropriate, of course. It gives you a chance to keep up with popular music, and the kids thing you’re really cool.)
3. Catch poetry with imaginary nets, close your eyes as you listen to a poem and then sweep the nets through phrases, images, and feelings that linger in the air. (I can’t wait to try this with my 6th graders. They can jot down the phrases that stay in their minds and cross out words until they get to the main idea of the poem.)
Ward gives her readers some activities to share with students that, I think, are pretty good. I put together a poetry unit a number of years ago that included a lot of different formats for poetry writing. Over the years I have added and deleted some of the formats and finally put the unit away. I think I’ll pull it out of moth balls and try it again with a few additions from Ward:
1. List Poems page 36
2. Really Knowing page 40
3. Snapshot Writing page 43
4. Time Travel page 43 (I’m particularly anxious to try this one because it will tie in nicely into social studies.)
Tuesday, July 24, 2007
Chicken Sunday
I think I would like to live in Aunt Eula's town. The people seem friendly and happy there. I wish we still had the community shops to visit. It does take me back to the days of ‘Bloom’s Drug Store’ with the friendly pharmacist who was also a ‘soda jerk’ who would step from behind the high counter that housed all of the pills, powders, and potions to dispense an egg cream or even whip up a banana split. Those places just don't seem to exist anymore.
Wednesday, July 18, 2007
River Legacy Park
The Enchanted Forest
Sun peeked through the tree canopy and lit the spider web woven through the branches. Gazing around me at the green of leaves and the red of berries and the look of pure awe on the faces of my fellow Bluebonnets, I was transported to days gone by and revisited an old friend from my youth, the Enchanted Forest. Not just any enchanted forest, my very own enchanted forest.
Oh, the days spent picnicking, playing, and prancing among the trees and flowers were glorious when viewed through the eyes of a 10 year old girl and her merry band of friends. We took on the roles of prince, princess, ogre, knight. Robin Hood and Maid Marion teamed up with us as well. Our fair princess (my best friend Sharon because she was so pretty) was rescued from the hideous ogre (my baby brother Dennis, just because) by the handsome prince (Sharon’s brother Roger because he was older and, well, cute) in this magical fairyland. I was the troubadour, our story teller, who told of our exploits
We didn’t know what kinds of trees grew in our forest, but we suspected leprechauns lived in them. After all, we found the crock (a broken flower pot discarded by the landowner) hiding their gold. There was simply no other explanation for that pot being there in our forest. Our feet seemed to take on a life of their own as we pranced with reckless abandon across the carpeted forest. Were they inhabited by fairies and sprites? Perhaps Pan himself fashioned this flute that could only be heard in our mind’s ear.
All of these memories came flooding back to me during my walk through River Legacy Park. This tree-filled oasis is home to beavers, birds, bobcats, and other wildlife indigenous to our part of Texas. Serene paths meander throughout this lush garden rich with wonder and graced by sheer beauty. Wander the paths, stroll the riverbed, replenish your spirit and soul.
Remember the lines from Joyce Kilmer’s inspiring poem Trees:
Poems are made by fools like me
But only God can make a tree.
Sun peeked through the tree canopy and lit the spider web woven through the branches. Gazing around me at the green of leaves and the red of berries and the look of pure awe on the faces of my fellow Bluebonnets, I was transported to days gone by and revisited an old friend from my youth, the Enchanted Forest. Not just any enchanted forest, my very own enchanted forest.
Oh, the days spent picnicking, playing, and prancing among the trees and flowers were glorious when viewed through the eyes of a 10 year old girl and her merry band of friends. We took on the roles of prince, princess, ogre, knight. Robin Hood and Maid Marion teamed up with us as well. Our fair princess (my best friend Sharon because she was so pretty) was rescued from the hideous ogre (my baby brother Dennis, just because) by the handsome prince (Sharon’s brother Roger because he was older and, well, cute) in this magical fairyland. I was the troubadour, our story teller, who told of our exploits
We didn’t know what kinds of trees grew in our forest, but we suspected leprechauns lived in them. After all, we found the crock (a broken flower pot discarded by the landowner) hiding their gold. There was simply no other explanation for that pot being there in our forest. Our feet seemed to take on a life of their own as we pranced with reckless abandon across the carpeted forest. Were they inhabited by fairies and sprites? Perhaps Pan himself fashioned this flute that could only be heard in our mind’s ear.
All of these memories came flooding back to me during my walk through River Legacy Park. This tree-filled oasis is home to beavers, birds, bobcats, and other wildlife indigenous to our part of Texas. Serene paths meander throughout this lush garden rich with wonder and graced by sheer beauty. Wander the paths, stroll the riverbed, replenish your spirit and soul.
Remember the lines from Joyce Kilmer’s inspiring poem Trees:
Poems are made by fools like me
But only God can make a tree.
Tuesday, July 17, 2007
Weather Report
Here's the news from the 'Hometown Gals.'
https://mavspace.uta.edu/pkh8515/htownnews.mp3
https://mavspace.uta.edu/pkh8515/htownnews.mp3
How Writers Grow, Ward
Thanks so much for sharing this book with me. It's going to be a helpful tool for me when I return to my classroom in August. In Chapter One Ward shows teachers a way to get started with writing. This is always the hardest step. I already use a few of these with my students; they know a great deal about me and what I like to read, when I grew up, what my kids are doing these days. The prompts, starters, will add a bit of whimsy to the writing and the writing process.
While Ward shared a wealth of ideas about writing and how to get the students stared on their journey, I feel the best part of this chapter was the focus on respect. We need to let the students know we respect them, their ideas, and their writing. If we don't show them respect for what they are doing, they will never find the value in doing a good job.
While Ward shared a wealth of ideas about writing and how to get the students stared on their journey, I feel the best part of this chapter was the focus on respect. We need to let the students know we respect them, their ideas, and their writing. If we don't show them respect for what they are doing, they will never find the value in doing a good job.
Ratiocination
I just love the sound of that word! Ratiocination is a great way to work through specific revisions in a fun way. The kids will view it as a game, a mystery, and may buy into the revision process. I think it is best, as Armstrong suggested, to introduce the codes one at a time so as not to overwhelm the students. I have tried this approach to help my students eliminate the be verbs, and it really helped. It's also a fabulous way to include grammar in context for those of us who have a hard time with this.
Monday, July 16, 2007
Now and Forever
Athena and Zeus
For a short time, you were a part of me
And the pain in my head gave no rest
Haphaestus found an answer, he smacked with his big stick
And you burst from my head fully dressed
Now and forever, I’ll remember
All the strife and all the pain
And think of all the battles between us
That seemed to enhance my reign
You had a good time, that one good time
The grey-eyed goddess you were meant to be
But I’m the lucky one
Because I always get to do just what I want to do
Now and forever, I’m glad that I’m not you
For a short time, you were a part of me
And the pain in my head gave no rest
Haphaestus found an answer, he smacked with his big stick
And you burst from my head fully dressed
Now and forever, I’ll remember
All the strife and all the pain
And think of all the battles between us
That seemed to enhance my reign
You had a good time, that one good time
The grey-eyed goddess you were meant to be
But I’m the lucky one
Because I always get to do just what I want to do
Now and forever, I’m glad that I’m not you
Sunday, July 15, 2007
Ashley Revisited
Ashley was not a reader when she walked into my classroom last year, and she made sure that she let me know how much she disliked, no make that hated, reading and all it entails. I love reading, after all, I’m a reading teacher. How could anyone not like to read? Reading is what makes my world go ‘round, the places I travel, the people I meet. They’re all in books. Here was a challenge for me, and Lord knows I love a good challenge!
Since reading is such a big part of my life, and life in my classroom, I wanted to share this with Ashley. I never sit at my desk alone; I’m always surrounded by friends. I made sure Ashley, and everyone else, saw those friends. John Grisham’s The Fifth Horseman was lying on top of Patricia Cornwell’s Blowfly while Mitch Albom’s Five People You Meet in Heaven peeked out from under Hazel, Fiver, Bigwig, and the other talking rabbits inhabiting Watership Down. From her corner on the front cover, Anne Frank seemed to wink at Ebeneezer Scrooge who hadn’t yet converted from his clanking chains and money-grubbing ways. So many of my nearest and dearest were close at hand.
Every Friday is RICH Letter Day in my class (Reading is a Coolossal Habit), and the kids respond to their books in the form of a letter to me. Ashley’s response was always, ‘I just started my book so I’m not really ready to write.’ This went on for weeks, but I wasn’t about to give up.
Daily I would ask Ashley what she was reading and comment about it.
“Oh, Ashley, I read Maniac Magee over the summer and really liked it.” Or “I haven’t read Speak yet. May I borrow it when you’re finished?”
Throughout all of this, I kept my ‘friends’ on my desk for all, most especially Ashley, to see. Finally, she asked me what book I was reading. I showed her my latest James Patterson, and she wanted to know a bit about mysteries. Now I realize Patterson is not really meant for a seventh grader, so I was very glad she found The Westing Game on the shelf and started reading it.
On Friday she had a lot to write about.
Dear Ms. Huster,
I’m reading The Westing Game by Ellen Raskin, and I have a few questions about some of the characters. Why is Turtle so mean to everyone? Does Crowe really dress all in black and have a hooked nose? Why doesn’t Turtle’s mother seem to like her much?
Happy reading,
Ashley
Are we making some progress here?
Ashley took several weeks to get through The Westing Game, but she picked up another mystery after that. Her letters were getting quite interesting and long. She made comments and asked questions about characters, plot, setting, and even the author’s writing style.
Once the second mystery was finished, Ashley again asked me what I was reading, and I told her I was rereading The Diary of Anne Frank. She picked out a biography to read.
Dear Ms. Huster,
I am reading a biography of Sam Houston. It’s also for Texas History. Is it okay that I'm reading the same book for both classes?
Keep on reading,
Ashley
I think she’s got it!
Ashley continued to read by first asking me what I was reading and then finding something in that genre. She always went back to the mystery, though, as that became her favorite. I don’t really blame her; it’s mine as well.
Last week my husband and I went to see Live Free or Die Hard and, as usual, I ran into a parent. That’s what happens when you live and teach in the same town.
The lady sitting next to me gazed into my face and said, “You’re a teacher at CMS, right?”
Thoughts zigzagged through my brain. Do I have a giant scarlet T stamped on my forehead, or is it that bleary-eyed teacher look I can’t get rid of? I just wanted to spend a nice, quiet evening with my hubby. Okay, Die Hard won’t exactly be quiet. Skip and I just wanted alone time with dinner and a little wine. I had a full glass of wine in my hands, and I was transporting it slowly to my lips. Drat, why am I drinking wine now? Why am I at a movie theater? Why did I leave the house?
“Yes, I’m Pat Huster and you are?”
“I’m Ashley Sexton’s mom. I just wanted you to know that you changed her life.”
Again, those thoughts tumbled around up there. I don’t have a scarlet T on my forehead and maybe that bleary-eyed look is on vacation, but how did I change Ashley’s life? What could I have possibly done that was life altering? She seemed to be the same sweet girl when she left my class as she was when she entered.
“You see, Ms. Huster, before walking into your classroom, Ashley hated to read. It was only something she did if she really had to. You showed her how great books can be and all that can be gained from them. Ms. Duncan, her English teacher this past year, even commented on it. Do you still keep a pile of books on your desk? Ashley told me about that. She spends all of her birthday money on new books. You really changed my daughter’s life.”
I have to admit that a few stray tears slid down my cheek while sitting there in the movie theater. Good thing it was dark.
Since reading is such a big part of my life, and life in my classroom, I wanted to share this with Ashley. I never sit at my desk alone; I’m always surrounded by friends. I made sure Ashley, and everyone else, saw those friends. John Grisham’s The Fifth Horseman was lying on top of Patricia Cornwell’s Blowfly while Mitch Albom’s Five People You Meet in Heaven peeked out from under Hazel, Fiver, Bigwig, and the other talking rabbits inhabiting Watership Down. From her corner on the front cover, Anne Frank seemed to wink at Ebeneezer Scrooge who hadn’t yet converted from his clanking chains and money-grubbing ways. So many of my nearest and dearest were close at hand.
Every Friday is RICH Letter Day in my class (Reading is a Coolossal Habit), and the kids respond to their books in the form of a letter to me. Ashley’s response was always, ‘I just started my book so I’m not really ready to write.’ This went on for weeks, but I wasn’t about to give up.
Daily I would ask Ashley what she was reading and comment about it.
“Oh, Ashley, I read Maniac Magee over the summer and really liked it.” Or “I haven’t read Speak yet. May I borrow it when you’re finished?”
Throughout all of this, I kept my ‘friends’ on my desk for all, most especially Ashley, to see. Finally, she asked me what book I was reading. I showed her my latest James Patterson, and she wanted to know a bit about mysteries. Now I realize Patterson is not really meant for a seventh grader, so I was very glad she found The Westing Game on the shelf and started reading it.
On Friday she had a lot to write about.
Dear Ms. Huster,
I’m reading The Westing Game by Ellen Raskin, and I have a few questions about some of the characters. Why is Turtle so mean to everyone? Does Crowe really dress all in black and have a hooked nose? Why doesn’t Turtle’s mother seem to like her much?
Happy reading,
Ashley
Are we making some progress here?
Ashley took several weeks to get through The Westing Game, but she picked up another mystery after that. Her letters were getting quite interesting and long. She made comments and asked questions about characters, plot, setting, and even the author’s writing style.
Once the second mystery was finished, Ashley again asked me what I was reading, and I told her I was rereading The Diary of Anne Frank. She picked out a biography to read.
Dear Ms. Huster,
I am reading a biography of Sam Houston. It’s also for Texas History. Is it okay that I'm reading the same book for both classes?
Keep on reading,
Ashley
I think she’s got it!
Ashley continued to read by first asking me what I was reading and then finding something in that genre. She always went back to the mystery, though, as that became her favorite. I don’t really blame her; it’s mine as well.
Last week my husband and I went to see Live Free or Die Hard and, as usual, I ran into a parent. That’s what happens when you live and teach in the same town.
The lady sitting next to me gazed into my face and said, “You’re a teacher at CMS, right?”
Thoughts zigzagged through my brain. Do I have a giant scarlet T stamped on my forehead, or is it that bleary-eyed teacher look I can’t get rid of? I just wanted to spend a nice, quiet evening with my hubby. Okay, Die Hard won’t exactly be quiet. Skip and I just wanted alone time with dinner and a little wine. I had a full glass of wine in my hands, and I was transporting it slowly to my lips. Drat, why am I drinking wine now? Why am I at a movie theater? Why did I leave the house?
“Yes, I’m Pat Huster and you are?”
“I’m Ashley Sexton’s mom. I just wanted you to know that you changed her life.”
Again, those thoughts tumbled around up there. I don’t have a scarlet T on my forehead and maybe that bleary-eyed look is on vacation, but how did I change Ashley’s life? What could I have possibly done that was life altering? She seemed to be the same sweet girl when she left my class as she was when she entered.
“You see, Ms. Huster, before walking into your classroom, Ashley hated to read. It was only something she did if she really had to. You showed her how great books can be and all that can be gained from them. Ms. Duncan, her English teacher this past year, even commented on it. Do you still keep a pile of books on your desk? Ashley told me about that. She spends all of her birthday money on new books. You really changed my daughter’s life.”
I have to admit that a few stray tears slid down my cheek while sitting there in the movie theater. Good thing it was dark.
One Teacher's Journey
Wow! I hope I am this kind of teacher! I want my classroom to be a place of exploration and discovery.
I do understand the conflict Paesano felt. The kids still need to pass that pesky test and move on to the next grade. If there is progress and growth, I guess things are okay.
I do understand the conflict Paesano felt. The kids still need to pass that pesky test and move on to the next grade. If there is progress and growth, I guess things are okay.
Getting Real
It certainly helps when writers know who their audience is. If my 6th graders know their letters will be sent to the editor of the newspaper, they will take ownership of their writing and do a better job. Similarly, when they write their RICH letters to me on Friday, they know I will respond to their questions, comments, and concerns.
Skeletons Out of the Closet
What an idea! Let's flesh out those skeletons. Use Barry Lane and Harry Noden and help our students revise. Snapshots, thoughtshots, explosions, and a writer's palette are great ways to bring skeletons to life.
Mozartians,Beethovians, and the Teaching of Writing
I like Donald Murray's idea of teaching our students how to teach themselves to write. We need to provide them with the tools and strategies, of course, but we should let them take it from there.
I also like Boehm's use of the Mozart and Beethoven analogy. I think I am a Beethovian because I don't always know what I want to say until I start writing. As a teacher I want my students, Beethovians, Mozartians, and Combinations, to be free to follow their own path.
I grew up in an era where everything was taught as a logical, step-by-step process. I guess we were all left-brained, even those of us who were really right-brained. I'm glad that pendulum has swung.
I also like Boehm's use of the Mozart and Beethoven analogy. I think I am a Beethovian because I don't always know what I want to say until I start writing. As a teacher I want my students, Beethovians, Mozartians, and Combinations, to be free to follow their own path.
I grew up in an era where everything was taught as a logical, step-by-step process. I guess we were all left-brained, even those of us who were really right-brained. I'm glad that pendulum has swung.
Computers and English
I'm still a bit afraid of this contraption called a computer. It can do so many things I don't understand, but I've caught on to quite a few. It checks my spelling and my grammar. It allows me to revise without rewriting my whole paper. It shares my ideas with others through email and blogging.
I agree with Marcus that handwriting has been affected; in fact, I think handwriting is becoming a lost art. That aside, when my students turn in a paper to me, I just want to be able to read it.
I agree with Marcus that handwriting has been affected; in fact, I think handwriting is becoming a lost art. That aside, when my students turn in a paper to me, I just want to be able to read it.
Whose Writing Is It Anyway?
I think this is very true-even for older writers. The story is theirs; we need to allow them share that story with others. Middle schoolers have their own forms of scribble and invented spelling. They will transition from this to correctly written pieces with a little help from us.
Teachers as Writers
Gillespie's article reminded me that we really can't expect our students to do something we aren't willing to do oursleves. We must write; we must let them see us write. They can't value wht they are doing if we don't appear to value it as well. I have learned so much just this week that will allow me to be a better writing teacher. I have rediscovered my own love of writing. I hope that love comes through to my kiddos.
Tuesday, July 10, 2007
Teacher-Researcher
I've only kept a journal of my classes when I was working on my GT Certification and it was required for an assignment. I don't know why I didn't keep up with it.
In class today we talked about making connections, reaching out to our students, and Ms. Mohr did just this. She became a student of her students and made observations that she was able to use to improve her teaching. The students let her know what their needs were, and she listened to them. How important it is for us to listen to our students! Writing down their ideas and our obervations is a great way to keep our learning going.
Journaling will return to my classroom on August 27th.
PS for Powerpoint--The music is in!
In class today we talked about making connections, reaching out to our students, and Ms. Mohr did just this. She became a student of her students and made observations that she was able to use to improve her teaching. The students let her know what their needs were, and she listened to them. How important it is for us to listen to our students! Writing down their ideas and our obervations is a great way to keep our learning going.
Journaling will return to my classroom on August 27th.
PS for Powerpoint--The music is in!
Some Other Thoughts on Today
What hard work this writing business is. Now I really know what my kids go through everytime I say, "Get out paper and pencil. We're going to write today." My brain hurts!
Thanks, Scott
Today was pretty amazing for me. I'm catching on to this computer business, sort of. I scanned the pictures (okay, with help) and put together a real powerpoint presentation. I haven't gotten my music into it yet (that's part of my homework tonight), but I'm getting there. Thanks, Scott, for all of your help today. Your assistance was invalluable.
Monday, July 9, 2007
On Demand Writing
I know I went to school a long time ago, but I never had to write a complete essay in class, let alone in 20 minutes. I don't know how kids do it today. We expect them to do so much in a short period of time. That was one thing that caught my attention in the readings. Another thing is about teacher writing--how can we expect students to do something we ourselves don't do. I know that I should write more with my kiddos, and I will from here on out.
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