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Monday
Feb022009

Writing Contest Winners

Following are the winners of The Writing Teacher Tips and Techniques contest! The contest asked teachers to submit a tip or technique that would help other teachers teach writing.

 

The winners are Jeff Murry and Sally Ginburg. Finalists are Kim Kuruzovich, Kelly Snyder, Sharon Flank, and Deb Blaz. LearningExpress is providing a Flip Video recorder to both winners, and winners and finalists will each receive 30 copies of any book in the LearningExpress ELA Series.

 

Jeff Murry submitted the video below, which describes how he sets up a startup activity that requires students to go to the class website daily, review the daily assignments, and post responses.

Sally Ginburg described how she has taught the writing process to kindergarten through fifth grade classes. She included writing and editing rubrics in her submission. To download her description and rubrics, click here.

 

Kim Kuruzovich submitted a podcast describing how she engages the students by having them write their own podcasts. Learn how she gets students excited about editing their own work. To listen, click on the play button below.

Kelly Snyder shared her rubrics for evaluating essays. To download her rubrics, click here.

 

Sharon Flank described how she finds problems that the students identify with, and then has them write letters to help resolve those problems. Click here to read her submission.

 

Deb Blaz documented how she uses a highlighter to help students learn the techniques of self-editing. You can download her submission here.

 

Over 2,500 individuals found these tips helpful, and we hope that you will, too.

 

A hearty congratulations and thanks to all six teachers!

Thursday
Jan152009

How to Introduce the 6 Traits

by Dennis O'Connor

 

Dennis O'Connor teaches at the University of Wisconsin-Stout and has 30 years of experience as an elementary and middle school teacher, as well as a professional development trainer. As a district Language Arts Coordinator he organized teacher training in the writing process and Traits Writing Model. In addition to teaching and consulting, he maintains two invaluable websites:
6-Traits Resources
21st Century Information Fluency

 

I have taught 6-traits assessment and writing on the Internet since the turn of the century. Before that I developed a writing workshop with a technology enabled blend of writing process and traits. Most of my students were 7/8 mixed classes of middle schoolers in a block schedule. I was fortunate to have the same students two years in a row. The blend of writing process and 6-traits instruction produced remarkable results, in the classroom and on the state mandated writing test. Online, I have shared what I learned in the classroom with hundreds of dedicated teachers as they create writing workshops empowered by 6-traits concepts.

Establishing the writing process as the basis for instruction.

It’s always writing process first, then the traits. Traits and the writing process fit together naturally. The writing process provides a path to a young writer. The traits are the touchstones on the path.

The pre-writing phase of the traits is the perfect place to hammer home the importance of Ideas. Help young writers generate ideas with any number of brainstorming techniques. When the right topic and information has been generated, you'll see a writer light up.

Drafting helps the writer apply organization, word choice and sentence fluency to the first rush of ideas and voice.

Responding is enhanced by a traits based vocabulary that sharpens and enhances revision. When students understand the language and criteria of traits, they have a variety of ways into the revision process. Simply checking conventions and making a neat copy gives way to revision based on all the traits.

Multiple response sessions may be needed, since you'll want to limit the response to one trait at a time. Too much feedback will only confuse a writer. It's always better to keep the feedback short and focused on one strength and one area for improvement.

Editing for conventions helps prepare the piece for formal assessment and publication, which ends the writing cycle.

Resources:

Where do I start teaching the 6 Traits?

Introduce traits sequentially:

  • Ideas
  • Voice
  • Word Choice
  • Organization
  • Sentence Fluency
  • Conventions

This order of presentation isn't set in cement. If there is a particular trait you are comfortable with, start there. I start with voice in my online class. Many teachers struggle with this trait, so I make understanding the concept of voice the foundation for the class. However, in a face-to-face, K-12 classroom, the trait of ideas is a logical place to start, as generating ideas is the first step in the writing process.

How much time do I spend teaching the 6-traits?

You can spend the entire year working with the writing process and the 6-traits and never exhaust the possibilities. Of course, you have to adapt your planning to meet the realities of your classroom. That said:

  • Schedule 2-4 weeks for each trait.
  • Introduce one trait at a time.
  • Introduce and teach all of the traits.
  • Provide rubrics, 6-traits writing guides and checklists.

Resources:

 

First teach the concept, then apply the concept as a trait of writing.

Introduce the core concept of a trait separately from writing.

  • What's the voice you see in a painting or hear in music?
  • Can you recognize fluency in a dance?
  • One more good example

A teacher in one of my online classes introduced organization by scattering desks all around her room. Students walk in and suddenly, they're confused. There's no order! Once students experience the connection between chaos and organization, it's time to explain the concept of organization in writing.

A basic pattern for introducing each trait.

Hammer home the trait's criteria with many small focused lessons, followed by a practice writing period.

  • Compare strong & weak writing examples for each trait.
  • Provide ample practice rewriting weak samples into strong samples.
  • Have students score sample papers.

Consider using online databases of practice papers that provide expert feedback. Have students assess samples for a single trait and then check expert feedback. Students need to practice recognizing traits in anonymous samples many times before they are able to independently use the traits to revise their own writing.

After presenting your traits mini-lesson, write with your students. As you write, you will show your students how important writing really is. Revise your weak pieces using a computer or overhead projector. Use a think aloud technique as you revise for a specific trait. This form of modeling is essential to any writing workshop.

Seize Teachable Moments!


If a chance to understand another trait presents itself before you formally introduce it, seize the teachable moment! Quickly introduce the new trait in the context of the current trait. If you have an opportunity to show how finding the right idea fires up a writer's voice with confidence and enthusiasm, don't miss it! Say enough about a trait to be appropriate for the moment without getting lost in a tangent. Foreshadowing concepts and vocabulary creates a foundation for the traits concepts to come.

Use 6-Traits Posters.


Plaster the walls with traits posters. Keep the concepts and criteria on the walls for ready reference. Sometimes just walking over to the poster and touching it as you talk will set the patter for your students. Soon you will see students glancing at the posters as they work. Constant coaching on the concepts, supported by bullet points on the criteria helps everyone build understanding. Posters that explain the writing process are a good idea as well. Multiple graphics representations of big concepts are always a good idea.

Resources:

 

Plan to Teach and Re-Teach.


Each time you introduce the concept of a new trait, refer to the previous trait, while mentioning the traits yet to come. Freely use the vocabulary of traits as you present your mini-lessons. Plan to teach and re-teach throughout the year. Combine mini-lessons with ample writing time focus on the trait. When using sample papers or the practice databases available on the web, focus one trait at a time. Here's the practice pattern:

  • Read the story.
  • Write your traits score and a brief rationale for your thinking.
  • Check your score against that of the experts.

Once the new trait is locked in, repeat the process for each trait you have already introduced. This can be done solo or in small groups. Understanding the traits by scoring and discussing multiple samples works for both students and teachers!

Resources:

Traits allow meaningful revision!

The ultimate goal of writing instruction is for students to become assessors of their own writing. 6-Traits provides the vocabulary and the concepts teachers and students need to recognize the entry points for revision. Too often, students think revision is just a matter of fixing the sloppy copy. While conventions are important, there are 5 other, equally important traits to consider while revising during the writing process.

It is best to save intense focus on conventions until the editing phase which happens just before the publishing stage of the writing process. Sadly, many young writers freeze when hit by negative feedback on conventions. Those who don't instantly suffer a case writer's cramp may go into a play it safe shell that destroys voice by limiting word choice to only those words the writer can safely spell. By postponing editing until later in the writing process, the writer has time to practice traits application during an extended respond and revise experience.

Patience and Waiting for Eureka Moments.


When you first start, you wonder if a six traits approach will really work. You have to commit a lot of time to teaching and writing. This is difficult in test-driven environments where time is short and success isn't always measured by improved writing ability. However, over the course of the first year you will see significant improvement. It will take faith and patience, but doesn't all teaching?

I recall a eureka moment as I listened to previously inarticulate kids from my toughest class speak eloquently about the ideas and voice being shared by their peers. These middle schoolers, who a few months before hated writing, were using traits vocabulary to offer supportive and insightful feedback. It is moments like these teachers never forget. They were writers helping each other.

Contrast the hushed and focused atmosphere of a writing-process-based classroom full of motivated young writers with the groans, protests, and glassy eyed resentment of kids stuck in a test prep system and you'll understand why fighting to create a writing workshop powered by the traits is worth the effort.

Recommended books on the 6-traits:

PK-4 : Creating Young Writers: Using the Six Traits to Enrich Writing Process in Primary Classrooms (2nd Edition) (Creating 6-Trait Revisers and Editors Series) (Paperback) by Vicki Spandel. Allyn & Bacon; 2007

Middle School-Adult Ed: Creating Writers Through 6-Trait Writing Assessment and Instruction (5th Edition) (Creating 6-Trait Revisers and Editors Series) (Paperback) by Vicki Spandel. Allyn & Bacon, 2008.

 

Tuesday
Jan062009

Teaching Writing by Creating a Website

Interview with Jennifer Stone

In 2001 Jennifer Stone took a group of Seventh Graders, and walked them through the writing process by having them build their own websites. Today, Dr. Stone is an Assistant Professor of English in the Department of English at the University of Alaska in Anchorage.

 

I caught up with Dr. Stone to ask her what she and the students learned about writing, how she went about teaching them, and what she would do today. This is a 28 minute interview and well worth listening to. Some of the highlights are listed below.

 

Why have students build websites to learn writing?

All writing uses some technology; teaching writing is really about using that technology to get a point across to an audience.

 

Creating a website has a lot of elements to enthuse students about writing: a topic they care about, in a media they like to use, with the ability to have their work published and viewed by others. The lessons they learn will carry over into their other writing and thinking activities.

 

In our world, the traditional word processed writing is not the only writing we have to do to be active members of our culture. Creating a website set the additional point across that your writing style has to change depending on the media: you need to write differently if you are writing a narrative, a website, a children's book, a blog, or texting your friends.

 

What did the students learn?

The students learned the general process of writing:

  • how to model by looking at other websites and analyze how the website delivers its message,

  • how to plan out what they want to say,

  • how to think about how others will perceive what they have written,

  • how to take criticism and edit, and

  • how to think about the presentation.

Can you outline a lesson plan for teachers to teach writing by having students build websites?

  1. Look at existing websites: analyze what their message is, what they do to get their message across, what works, and what could be better.

  2. Construct a model for what a good website looks like, and how the students accomplish that as writers.

  3. Teach how to use the tools, whatever tools the students will be using in building their websites: how do you set up the tool, format text, use a picture, link to other pages, and create a table.

  4. Talk about using the tool and design considerations, getting into issues of writing as design, and discussing the whole process.

  5. Allocate enough time for the actual production of the website: time for planning, time for research, time for drafting, time for feedback (perhaps having students, families, and friends review the sites), and time for drafting, and time for going public.

What tools would you recommend?

At the time, 2001, the students used FrontPage, but today, DreamWeaver has the advantage that it allows for full expression on a website and on the individual pages. The chief disadvantage is its learning curve. If a teacher is facile with Word and PowerPoint, she can learn enough of Dreamweaver to be able to create a good looking site in a one-day class.

 

There are also easier tools that still allow the students to change things like the background, fonts, color-scheme, and add pictures and media. Some free examples are

Tool

Description

Address

PBWiki

This is a site that hosts classroom wikis, students can collaborate on a website

http://pbwiki.com/academic.wiki

 

Blogspot

Free site owned by Google that allows individuals to create blogs and blog-style websites.

http://www.blogger.com/home

 

Edublogs

Free site that is dedicated to hosting educational blogs

http://edublogs.org/

 

 

The above summarizes some of the points in the interview. Listen to the entire interview by clicking the Audio Interview Podcast button below.

 

Audio Interview Podcast

Friday
Dec192008

Teaching Beowulf to Vikings Fans by Liz O'Neill

Mrs. O'Neill is a secondary school teacher from the UK who is teaching in Minnesota. She also maintains the always interesting Mrs O'Neill's Blog.

 

 

It starts quite well. There's a sticky moment for my Minnesotan students when they realize we are not talking about those Vikings. However, they grudgingly admit they liked the short film on Anglo-Saxon Britain. They are fascinated by just how different old English is from modern English. 'Bad' spelling is always comforting. We actually have a couple of brief discussions on why we use punctuation and Beowulf's author(s) didn't. The students are willing to talk about alliteration and what it actually does in a poem. They have written a couple of their own kennings and some rather clever riddles.

 

Question: You punch my face and expect to hear a friend's reply. What am I?

Answer: A cell phone.

 

And now we come to the actual text. We look at several translations, not just the one in our book, and we choose the translation we, as a class, like best. We're off. We race through to Hrothgar's building of Heorot. We are suitably repulsed by Grendel's gory 'take out'. We can't wait for Beowulf to dispose of him. We love it when Beowulf vanquishes Grendel with nothing but the power of his hands. We can almost hear Grendel's claws cracking like walnuts.

 

The battle with Grendel's mother is a little more challenging. His mother? We descend with Beowulf into the murky lake and dutifully dissect the fight. Attention is waning, however, and students are starting to ask when we will 'finish off Beowulf'? The malcontents are grumbling amongst themselves. Beowulf it seems has become a bit 'boring'an unwelcome alliteration.

 

And now comes the English teacher's dilemma. Do I wrap it up now, whilst they are still – apart from the usual suspects, who would be bored by Armageddon - thinking fondly of Beowulf? Or do I push on regardless, to the end of the text, anxious to make sure they 'know the poem'?

 

Every now and then when I am struggling with this sort of problem. I hear the voice of a wise and wonderful teacher, my last department head. "You have to ask yourself," she says, "what is in this for the kids? What exactly are you hoping they will learn from this? What is your learning objective?"

 

The answer comes easily. At this point in the study I want them to be making connections with the text, seeing its relevance for themselves. It's time for me to stop trying to entertain them, and have them entertain me.

 

I set a new assignment. 'Take the basic plot of Beowulf's fight with Grendel's mother and put it into a modern setting. We discuss a few scenarios. A small storeowner about to be put out of business by a large chain, a policeman who discovers that the killer he has put behind bars has an even more evil boss. I put the students in groups to help out the less imaginative. Each group may use the same basic plot, but each member must submit their own version of it.

 

The results are profoundly heartening. The students choose their own forma page torn from a novel, a key scene in a movie, or a dramatic monologue. New talents are discovered. A few students opt to script and film a scene on their own time. Another student writes a film script that shows a deeper awareness of the themes of Beowulf than I had grasped myself. He has me cross referencing the text with his script, in delight.

 

Hardly any students remember their class mantra: 'How long does it have to be?'

 

And I re-learn something. Don't underestimate your students. Don't be afraid to change direction. Keep asking yourself: What do I want these students to learn, now?

 

One of these days I am actually going to put that into practice before I get into "the murky lake".

 

More commentary by Mrs. O'Neill:

 

In Minnesota, I teach 9th Grade to 12th Grade. It's a small school.

 

This lesson involved teaching Beowulf to a British Lit class, which is mainly aimed at juniors

who are not taking AP classes.

 

My school teaches it during the Junior - but I can see it being taught at any high school stage.

 

I think the idea of placing a scene in a modern context is applicable at most grades, to one degree or another.

 

In the UK I taught 12 -18 year-olds - our high schools have six grades rather than four. Most high school teachers would have students from each year group.

 

I have used the idea of transferring the plot to a modern setting to good effect with all of these age groups. The most difficult class I ever had - thoroughly disaffected 15 year olds- began to be enthused about Macbeth when I got them to try portraying him as a soldier suffering from post traumatic stress syndrome. (a pretty serious case :)

 

Obviously you must take care not to 'dumb down' the material. I insist on having them read the original text. They need to know its context. However, they also need 'a way in'. Great literature isn't bound by time... but we are, I suppose.

 

 

Friday
Dec122008

The Art of Teaching Writing by Alan Gibbons

Teachers sometimes receive stories from their students which drive them to distraction. They may go something like this:

Once upon a time I met a monster so I punched it on the nose and then I chopped its head off with my machete and then I machine gunned it with my Uzi and then I went home for my tea but it was all a dream. The end.

 

Why does this story fail? There are so many reasons. It starts with a clichéd opening. It is chronologically organized by the connective and then, which dispenses with the need for sentence breaks. It relies on action for plot development and ends with another cliché. This kind of storytelling is increasingly common because of the way society is developing in the industrialized countries. Children view a lot of television programs, which are visual or constructed as a sequence of simple events. Many computer games follow this simple pattern. This reinforces many other features of modern life that can get in the way of good creative writing:

 

  • The pace of modern life means there are fewer opportunities for extended, discursive talk (many households don't have an evening meal together where adults and children swap their stories).

  • Electronic media increasingly challenge reading as a recreational activity.

  • Schools are forced to adopt ever more prescriptive tracking and testing regimes.

 

Encouraging good writing

 

To write well, students have to recognize that a story is not simply a matter of narrating events. It is a sensory interaction with human experience. The writer who wants to make the reader feel engaged in the narrative asks these questions: what do you see; what do you hear; what do you feel physically and emotionally? This is where metaphor, simile, description, telling dialogue, and internal monologue come into play. They reconfigure human experience in the reader's consciousness. In the words of Stephen King, "Description starts in the head of the writer and ends up in the head of the reader."

 

Teaching good writing

 

So how do we teach this?

 

I scaffold the writing process, breaking it into bite-sized ten to fifteen minute sections, modelling sample sentence structures and brainstorming potential vocabulary. This provides a pathway into the activity and allows the young writer to feel secure. It is equally important not to over-model. Once my students are focused on writing a particular section, I step back and allow them to explore. If they do not have the chance to play with language and try new things, they become almost completely dependent on me, the teacher. It is their story, not mine. I can stimulate their writing and structure its possibilities, but it would be wrong to turn story writing into a glorified form of copying.

 

Usually, I scaffold the opening few paragraphs and then gradually loosen my hold on the lesson, instead suggesting pathways the writers might take. In this way, they begin to take their own decisions, pointing the narrative camera in whatever direction they wish. The teacher's job in this part of the teaching process is to demonstrate a number of points to aid the student's planning of the narrative:

 

  • You plan your ending somewhere in the opening or middle of the story so that you can give a shape to it

  • You don't allow an ending which just 'dribbles away.' You recognize that the ending is what stays in the reader's mind. Make it tell!

 

The other piece of advice for the young reader is about structure. Most good writing follows this pattern:

 

  • anticipation (what's it going to be like?)

  • experience (what is it like?)

  • reflection (what do you think/feel about it afterwards?)

 

It is the failure to understand this that makes many young writers jump straight into a chronological sequence of poorly developed action scenes.

 

Examples of good student writing

 

Here is the opening of a time-slip story by a ten year old. It uses tension and the age-old principle of show, don't tell:

 

I stumbled over a blunt, metal object, brutally poking out of the ground. Spinning round, I stared at it thoughtfully. It was bronze and sphere shaped, which glistened blindingly in the sunlight. I quickly bent down, straining my arms out in front of me. Resting on my knees, I used my fingers to chip away the mud around the object. With one hard tug it smoothly slid out of the ground. As I carefully inspected it, I noticed that I had seen one of these in a book at school. As I ran my fingers over the rusted cheek guards I realised it was an ancient helmet, maybe Roman. My heart started to beat out of my chest as I wondered what it was worth. Scooping out the crusted mud out of the inside of the helmet, I proudly put it on. I soon found that a big mistake as it started to tighten. As hard as I tried, it wouldn't come off. Suddenly, I felt myself falling into a deep sleep, it grew darker around me as I started to fall. There was nothing I could clutch hold to.

 

Here is another from the same lesson (both students responded to the same prompt):

 

I stumbled over an object that was bursting from out of the ground. Turning round, I gave a quick glance back behind me to see what it was. It was shimmering in the light and as I looked closer I saw it was a rounded shape.

 

Suspiciously I started to scratch off the dirt, making it more visible to me. I yanked ..... yanked it until after what seemed like a 100 years, it broke off from the ground into my sweaty palms. Carefully I observed the mystery object. What could it be? It had a dome and cheek guards. Now I knew – it was an ancient helmet. Of course! It looked Roman to me. All of a sudden my heart started beating so hard I thought it was going to come right through my chest.

 

The teaching has helped both children become more confident writers. It hasn't made them clones of the teacher. Good creative-writing teachers help their students develop their own individual styles. Children should be the subject, not the object, of the education system.

 

 

Alan Gibbons is an award winning children's writer based in the UK. A winner
of the BBC TV Blue Peter Book Award, he was a teacher for eighteen years before becoming a full-time writer.

 

website: www.alangibbons.com

blog: www.alangibbons.net

 

 

Below is an example of Alan Gibbons teaching: