Sunday, February 24, 2008
Writing Without Boundaries
I have finished reading these chapters on multigenre writing, I am still overwhelmed! The volume of preparation one must perform is remarkable. Based upon the chapters and my understanding, the typical classroom teacher must do the following prior to the project:
- firmly establish writer's notebooks and conduct daily/weekly writing assignments
- read, investigate, and write based on a variety of genres
- help students select a" model text" as a reference when writing
- conference with students on a consistent basis (depending upon their needs)
- provide plenty of exposure to various genres (whole group lessons)
- have students work in pairs or small groups to identify the literary features, author's voice, perspective, etc.
- allow students time to model the features from the selection into their own writing
- model, model, and utilize "think alouds"
After approximately a semester of this intense study, the student will gradually be introduced to the multigenre paper. The teacher must assist the child in proper topic selection. The authors mentioned how the student can refer to his notebook for ideas such as family member or a special vacation. From a large, ambiguous topic the instructor can help the student focus on one key element. The proposal enables both the teacher and student to reflect on why the topic was selected, how to communicate the ideas, and how the final piece will look. Once the student has a list of possible genres, and an overall feel of the project, he/she can gradually build a product which reflects their knowledge though various genres for their specific writing purpose.
How does one teacher manage all of this with a classroom of children? Many of our high school students don't even have a computer at home! Therefore, most research must be completed at school under the supervision of the teacher. How would an elementary teacher ensure success for every child without sacrificing other subject matter? How is the project graded? A rubric? A speech delivered by the child? I am still trying to "sort" all of the steps while visualizing this in a typical classroom where the teacher is already extremely overworked. I am hoping the reminder of the text will provide some much needed answers!
Moulton Article
I thoroughly enjoyed reading the article on the multigenre paper. I have never heard of this approach to research before. It is such a creative, refreshing alternative to the frequently plagiarized research paper. Students oftentimes detest it, and the instructor spends more time prodding the students along. As I read the piece, I reflected on last week's class discussion on the significance of scaffolding. Students can be successful if the teacher presents well planned lessons which connect to each genre. As a result, this paper will more accurately demonstrate content knowledge by the selected genre. However, I don't know how successfully this paper will work on a high school block schedule.
I would like to see an "experiment" transpire where seniors would do this as an alternate assignment in lieu of the current senior project. However, it would be the responsibility of the ninth, tenth, and eleventh grade English teachers to provide the structure and opportunities for the students to model as many of the genres as listed on page 531. By the twelfth grade, the instructor would simply be performing "mini lessons" and showing completed versions to the students. Students must be exposed to all types of genres prior to entering the twelfth grade.
Without a doubt, the students I have taught in the upper level courses would like the challenge, but would not understand how the piece "comes together." It would take a considerable amount of time to complete the project in addition to covering the curriculum. I am also trying to visualize what the final paper would look like. After studying the examples on 533-536, I definitely see the appeal for the students in Moulton's classroom. I like how students are presented with options. This allows the teacher to easily differentiate within the classroom. The teacher would initially have to help the student select a topic that could easily be represented by a variety of techniques. The endnotes were extremely beneficial to both the students and teacher. I liked how the student has the opportunity to explain why she/he selected the representation.
By allowing students to express their research knowledge through these varied techniques, she/he is actually "immersing themselves" in the content area. This approach will foster an understanding of the topic through genres students use in their everyday life; they will actually experience a connection between the past vs. present. The reflection will also enable the teacher to determine the validity of the assignment.
On a more practical side, the article noted how this was done in an undergraduate course due to the "experimental factor." How does this approach translate into an elementary or middle school setting? Would the options be too overwhelming? I would like to see an article written about how to implement this in a public school setting with students of varied intellect and no prior experience with a project of this magnitude. If college students had conflicts, how can this be adequately taught in a room of 26 fourth graders? As a high school teacher, I see many opportunities to implement this. As a former middle school teacher, I am a skeptic. I am still reading Writing Without Boundaries so hopefully, it will provide some insight to my concerns.
I would like to see an "experiment" transpire where seniors would do this as an alternate assignment in lieu of the current senior project. However, it would be the responsibility of the ninth, tenth, and eleventh grade English teachers to provide the structure and opportunities for the students to model as many of the genres as listed on page 531. By the twelfth grade, the instructor would simply be performing "mini lessons" and showing completed versions to the students. Students must be exposed to all types of genres prior to entering the twelfth grade.
Without a doubt, the students I have taught in the upper level courses would like the challenge, but would not understand how the piece "comes together." It would take a considerable amount of time to complete the project in addition to covering the curriculum. I am also trying to visualize what the final paper would look like. After studying the examples on 533-536, I definitely see the appeal for the students in Moulton's classroom. I like how students are presented with options. This allows the teacher to easily differentiate within the classroom. The teacher would initially have to help the student select a topic that could easily be represented by a variety of techniques. The endnotes were extremely beneficial to both the students and teacher. I liked how the student has the opportunity to explain why she/he selected the representation.
By allowing students to express their research knowledge through these varied techniques, she/he is actually "immersing themselves" in the content area. This approach will foster an understanding of the topic through genres students use in their everyday life; they will actually experience a connection between the past vs. present. The reflection will also enable the teacher to determine the validity of the assignment.
On a more practical side, the article noted how this was done in an undergraduate course due to the "experimental factor." How does this approach translate into an elementary or middle school setting? Would the options be too overwhelming? I would like to see an article written about how to implement this in a public school setting with students of varied intellect and no prior experience with a project of this magnitude. If college students had conflicts, how can this be adequately taught in a room of 26 fourth graders? As a high school teacher, I see many opportunities to implement this. As a former middle school teacher, I am a skeptic. I am still reading Writing Without Boundaries so hopefully, it will provide some insight to my concerns.
Sunday, February 17, 2008
Utilizing "I Poetry"
For "I Poetry" to be successful, students must be immersed in the subject matter. In addition, the teacher must constantly model the format to the students. For example, when I taught tenth grade World Literature, my students were required to read the book Night by Elie Wiesel. Anyone who has read Wiesel's autobiography will agree that he creates an empathy within the reader about the atrocities of the Holocaust. By the conclusion, my students had completed numerous activities, watched many videos, and participated in many seminar discussions. However, could the students put themselves in Wiesel's position? Could they accurately encompass all his tribulations with a voice as poweful as the author? As I read Dr. Frye's blog about the importance of scaffolding and informational poetry, I began to brainstorm how how I could have utilized this activity.
I would approach the "I Poem" much like the papers my students write. I would utilize a graphic organizer where the students would analyze the physical appearance, actions, speech, behavior, what others think, and how the person perceives himself/herself. The students would locate examples from the book that support each characteristic. Afterward, I would employ Think Pair Share where the students could select a partner to examine their activity.
Then as a class we would look at any emerging traits of the author such as cunning, loyal, etc. As the students completed each step, I would also do this (only with another character from the novel).
Students would then compose a rough draft to share in their writing circle. Students would already have been presented with a rubric. Each student would suggest improvements if needed. Finally, students would type this poem and present it to the class.
These are merely ideas; I have not done this type of poetry before. Therefore, there may be unforeseen problems. This is how I "envision" it. Lastly, this would be a great culminating activity for a research paper on a famous individual. Students could literally dress as the individual and deliver it as the actual person might have (ex. Martin Luther King Jr.) Students would not only enjoy this approach, but they would retain the information better because he/she has become the individual and is using a different voice!
I would approach the "I Poem" much like the papers my students write. I would utilize a graphic organizer where the students would analyze the physical appearance, actions, speech, behavior, what others think, and how the person perceives himself/herself. The students would locate examples from the book that support each characteristic. Afterward, I would employ Think Pair Share where the students could select a partner to examine their activity.
Then as a class we would look at any emerging traits of the author such as cunning, loyal, etc. As the students completed each step, I would also do this (only with another character from the novel).
Students would then compose a rough draft to share in their writing circle. Students would already have been presented with a rubric. Each student would suggest improvements if needed. Finally, students would type this poem and present it to the class.
These are merely ideas; I have not done this type of poetry before. Therefore, there may be unforeseen problems. This is how I "envision" it. Lastly, this would be a great culminating activity for a research paper on a famous individual. Students could literally dress as the individual and deliver it as the actual person might have (ex. Martin Luther King Jr.) Students would not only enjoy this approach, but they would retain the information better because he/she has become the individual and is using a different voice!
Reflection "I Poetry" Books
I have just finished reading the books I Am the Mummy, Sierra, Atlantic, and Dirty Laundy Pile and find myself unable to articulate how the richness of the language moved me. I noticed many common features: the author's voice (as the object, person, place), the figurative language, carefully crafted themes, and the research which each author compiled before writing.
The poetry I have always read is based on subject matter from the writer's perspective. Most of the writings are based upon a profound experience which the reader may/may not be able to understand. The voice is more formal and sometimes distant. The vocabulary may be elevated and hard for young audiences to comprehend.
These poems, in contrast, are beautifully written from the perspective of the subject. This is such a creative approach. These "mask poems" or "I Poems" educate the reader; I've never experienced poetry in this manner. For example, the I Am Mummy allows the reader to share the pain, conflicts, and the history of the protagonist Heb-Nefert. This would be an excellent way to introduce Egyptian culture and lifstyles in seventh grade Social Studies for example. Students would be able to connect the poetry to actual people.
Three of these selections have a "hidden message" for the reader. However, it's not done in a "preachy format." The reader feels an empathy for the Sierra Mt. For example, when the author states MAN is the one who will determine what its future course will be. The Atlantic book educates the reader based on facts. In addition, it reminds the reader not to forget about its existence. I Am Mummy is my personal favorite; oftertimes, we forget that (like Heb-Nefert) none of us are invincible whether we are rich or poor.
For elementary chidren, Dirty Laundry Pile inspires children to write from a creative approach. What does a crayon say when plucked from the box? What a great way to teach point-of-view! My definition of an "I Poem" would be placing yourself in a position of an animate or inanimate object and writing from that perspective. More importantly, the writer may conduct prior research on the topic for it to have a more "authentic feel."
The poetry I have always read is based on subject matter from the writer's perspective. Most of the writings are based upon a profound experience which the reader may/may not be able to understand. The voice is more formal and sometimes distant. The vocabulary may be elevated and hard for young audiences to comprehend.
These poems, in contrast, are beautifully written from the perspective of the subject. This is such a creative approach. These "mask poems" or "I Poems" educate the reader; I've never experienced poetry in this manner. For example, the I Am Mummy allows the reader to share the pain, conflicts, and the history of the protagonist Heb-Nefert. This would be an excellent way to introduce Egyptian culture and lifstyles in seventh grade Social Studies for example. Students would be able to connect the poetry to actual people.
Three of these selections have a "hidden message" for the reader. However, it's not done in a "preachy format." The reader feels an empathy for the Sierra Mt. For example, when the author states MAN is the one who will determine what its future course will be. The Atlantic book educates the reader based on facts. In addition, it reminds the reader not to forget about its existence. I Am Mummy is my personal favorite; oftertimes, we forget that (like Heb-Nefert) none of us are invincible whether we are rich or poor.
For elementary chidren, Dirty Laundry Pile inspires children to write from a creative approach. What does a crayon say when plucked from the box? What a great way to teach point-of-view! My definition of an "I Poem" would be placing yourself in a position of an animate or inanimate object and writing from that perspective. More importantly, the writer may conduct prior research on the topic for it to have a more "authentic feel."
Monday, February 11, 2008
Kucan's Article
This article really excited me and I am already adding this actvity to my novel study of Fahrenheit 451. I like how the "I Poem" format can be done in the pre-reading or the post-reading phase of a book. The flexibility of the poem provides even the most intimidated child to feel successful due to the simple format. Many students (like we mentioned last week in class) feel poetry must always rhyme. This activity conforms to what the student wants to explore.
After I finish a piece of literature, I am constantly searching for meaningful activities. I want to see if the students understand the crucial element of a plot or can they perform a character analysis. On page 518 the article mentions how this activity allows the students to "revisit the text... they begin to think about it in deeper ways and to notice what they overlooked in the first place." For elementary teachers, the opportunity for students to imitate the first person-point-of-view allows them to develop a "voice. " It must be extremely difficult for students at this age
to understand this concept. This activity also serves as a tool for developing more sophisticated pieces. I also felt the way the teacher introduced the activity by doing research was very well planned. The students could then easily be the "voice" of the desert or the sea because they acquired background knowledge. The image of the sea (520) was particularly impressive since the child developed the poem into a "concrete image."
Composing these poems before reading a piece can activate prior learning. However, it furthers solidifies the text when done as a concluding feature. The author mentioned the book Out of the Dust and how the students could write from the perspective of piano or a protagonist. Students can literally become an individual from a biography or autobiography. The format provides security, yet it does not limit creativity either. As a teacher, it is refreshing to locate activities which can allow a child to develop empathy for a character while writing in such a unique manner.
After I finish a piece of literature, I am constantly searching for meaningful activities. I want to see if the students understand the crucial element of a plot or can they perform a character analysis. On page 518 the article mentions how this activity allows the students to "revisit the text... they begin to think about it in deeper ways and to notice what they overlooked in the first place." For elementary teachers, the opportunity for students to imitate the first person-point-of-view allows them to develop a "voice. " It must be extremely difficult for students at this age
to understand this concept. This activity also serves as a tool for developing more sophisticated pieces. I also felt the way the teacher introduced the activity by doing research was very well planned. The students could then easily be the "voice" of the desert or the sea because they acquired background knowledge. The image of the sea (520) was particularly impressive since the child developed the poem into a "concrete image."
Composing these poems before reading a piece can activate prior learning. However, it furthers solidifies the text when done as a concluding feature. The author mentioned the book Out of the Dust and how the students could write from the perspective of piano or a protagonist. Students can literally become an individual from a biography or autobiography. The format provides security, yet it does not limit creativity either. As a teacher, it is refreshing to locate activities which can allow a child to develop empathy for a character while writing in such a unique manner.
My Favorite Poem
- Introduction:
When I was in fourth grade, I read the novel The Outsiders by S.E. Hinton. Like many children, this was my first introduction to Robert Frost. At the time I did not understand the signficance of the author's message nor the symbolism. As a child, I realized life should be enjoyed each and every day. As an adult, the theme resounds deeply within me. I must let go of the past, " the golden moments" and attempt to salvage what remains when "dawn goes down to day."
Nothing Gold Can Stay
Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank down to grief,
So dawn goes down to day.
Nothing gold can stay.
- Analysis:
- I often equated the line "Nature's first green is gold" as a reference to childhood, immaturity, and ignorance. Frequently, I hear the best times of a person's life referred to as "golden." However, these are the days we cannot hold onto. It's like watching water run through a sieve. Because these are the childhood years, we openily embrace them without regard to consciously storing them unlike when we are older.
- "Her early leaf's a flower," is much like the teenage years and young adulthood. During this stage of life young teens and adults discover who they really are. They literally "bloom" with individuality but only within "an hour" instead of years.
- "Then leaf subsides to leaf," we join our elders in the "Garden of Life. " These individuals are no longer blooming but have "sank to grief" over the loss of childhood, innocence, and ignorance due to corruption of society. "So dawn goes down to day," the golden dawn of the past is forever lost in the burning sunlight of day because "nothing gold can stay."
This is such a profound piece of poetry. I also enjoy the poems Fire and Ice and of course, The Road Not Taken. His poetry truly speaks to the heart.
Sunday, February 3, 2008
The Writer's Notebook
Ralph Fletcher understands the difficult situation teachers are facing concerning writing. As educators, we want children to write for "fun" or as a means of "self expression." However, when exactly does the educator manage to include free writing? The author feels now more than ever before, children must be given the opportunity to write and often.
It is crucial that educators and their students begin writer's notebooks in order to creatively preserve LIFE. By modeling writing in their journals, students can see the necessity of capturing moments of happiness, surprise, or frustration. Here, in the writer's notebooks, there are no limits of self expression. Poetry, jokes, and stories of any genre are welcome.
More importantly, students have a wealth of selections to expand upon into a formal paper. Or, it can remain as precious memory tucked away in the writer's mind.
I have not kept a journal in years. I look forward to the journey...
It is crucial that educators and their students begin writer's notebooks in order to creatively preserve LIFE. By modeling writing in their journals, students can see the necessity of capturing moments of happiness, surprise, or frustration. Here, in the writer's notebooks, there are no limits of self expression. Poetry, jokes, and stories of any genre are welcome.
More importantly, students have a wealth of selections to expand upon into a formal paper. Or, it can remain as precious memory tucked away in the writer's mind.
I have not kept a journal in years. I look forward to the journey...
Thoughts on Chapter Six
Reading chapter six was a very enlightening experience for me. It was refreshing to see prolific writers such as L'Amour state that a "writer's brain is like a magician's hat" (121). Oftentimes, we educators are more concerned with the final product than the strategies which contribute to the final draft. Prewriting is the most critical stage (in my opinion) of the entire process. I tell my students that prewriting is similar to driving across the country with no directions. You may have a general idea of where you're going, but you may be confronted with obstacles. The students who refuse to prewrite, often "get lost" and only skim the surface. In contrast, those who have a graphic organizer know where he/she is going.
When I first started teaching, I assumed my students had been exposed to various prewriting strategies. I remember one prompt where the students were to select an individual who greatly influenced their life. I remember reading my paper to the class and discussed the expectations for the following day. I was dismayed the next day when I had very few rough drafts.
"What," I asked a student "did you not understand?"
"How to get started. I don't know what to say," she stated.
Together, the class and I selected a famous individual and I modeled a chart which included physical appearance, personality, actions, speech, what others think, and how the person sees himself. For homework, the class had to give examples (supporting details) to share in a writing group the next day. I learned very quickly that day a teacher must model and then model some more. Unfortunately, I taught my first year the way writing was presented to me as a student. I was given a prompt and merely told to write. Then, I would edit all the red marks and still not understand how to improve the content.
I have done various types of planning strategies including the inquiry and the prewriting as described on page 122. The only time I have done the strategy instruction is in preparation for the tenth grade writing test. Generally, I present various types of techniques throughout the semester and allow the student to select what works for him/her. I like giving the students some type of ownership. However, with the writing test, I told the students to choose the graphic organizers we utilized in class. Due to time constraints, I think it "frees time" for the student to focus on the rough draft. Again, the product is what's graded...
I agree with the authors that one must emphasize the importance of prewriting. When I taught tenth grade, I would assign the prewriting as homework. Then the students would go to their assigned writing group the next day and share their ideas. I would circulate and ask for volunteers. I tried to create an atmosphere where the students could confide to their writing peers or me. I emphasized remaining positive and how to give constructive critcism. With my struggling writers, I had to meet in small groups instead of individually. In one writing class I had thirty-one students. Unfortunately, while I was meeting with some students, others did not want to focus.
I will also admit, I really had to battle some students. On page 129, it mentioned how some students don't value the strategy for many reasons such as authenticity. For example, on the day of the writing test one student came in that afternoon and slammed his binder down and glared at me really hard before speaking.
"Well, I hope you're happy," he said. "I did that stupid prewriting you told us to. I barely had enough time to rewrite my final draft. I've never used it before and made passing scores."
Needless to say, I prayed he would pass in order to understand the value of this skill (he did with a three...)
The conclusion of the chapter gave some suggestions for helping students to write various papers such as reports, persuasive papers, or compare/contrast. The most impressive to me was the six week long report the students created described on pages 132-136. If only every teacher had the resources, time, and training to teach this way. Imagine the budding young writers who would emerge as a result! What impressed me was how the teacher verbalized what she wrote and the words to keep herself on task.
In my high school, we utilize a mnemonic device to help our tenth graders break down the writing prompt. We call it RAFT. I've seen other forms of this in journals; it really does work. R-role, A-audience, F-format, and T-topic. Once the students have memorized this and have been taught how to analyze the prompt, the most difficult part is over. I include this as part of the prewriting. In several weeks one of my classes will be writing a persuasive paper. I plan on using the suggestions on page 138. I am anxious to see how their papers will be in comparison to my techniques of the past. I love how this book includes actual tips you can implement the very next day!!
Dr. Frye, do you have any suggestions you could share next week concerning elementary children? I would like any books, journals, or tips concerning prewriting. I don't have any knowledge except for our readings so far. Does anyone else have some thoughts? I would be very appreciative.
When I first started teaching, I assumed my students had been exposed to various prewriting strategies. I remember one prompt where the students were to select an individual who greatly influenced their life. I remember reading my paper to the class and discussed the expectations for the following day. I was dismayed the next day when I had very few rough drafts.
"What," I asked a student "did you not understand?"
"How to get started. I don't know what to say," she stated.
Together, the class and I selected a famous individual and I modeled a chart which included physical appearance, personality, actions, speech, what others think, and how the person sees himself. For homework, the class had to give examples (supporting details) to share in a writing group the next day. I learned very quickly that day a teacher must model and then model some more. Unfortunately, I taught my first year the way writing was presented to me as a student. I was given a prompt and merely told to write. Then, I would edit all the red marks and still not understand how to improve the content.
I have done various types of planning strategies including the inquiry and the prewriting as described on page 122. The only time I have done the strategy instruction is in preparation for the tenth grade writing test. Generally, I present various types of techniques throughout the semester and allow the student to select what works for him/her. I like giving the students some type of ownership. However, with the writing test, I told the students to choose the graphic organizers we utilized in class. Due to time constraints, I think it "frees time" for the student to focus on the rough draft. Again, the product is what's graded...
I agree with the authors that one must emphasize the importance of prewriting. When I taught tenth grade, I would assign the prewriting as homework. Then the students would go to their assigned writing group the next day and share their ideas. I would circulate and ask for volunteers. I tried to create an atmosphere where the students could confide to their writing peers or me. I emphasized remaining positive and how to give constructive critcism. With my struggling writers, I had to meet in small groups instead of individually. In one writing class I had thirty-one students. Unfortunately, while I was meeting with some students, others did not want to focus.
I will also admit, I really had to battle some students. On page 129, it mentioned how some students don't value the strategy for many reasons such as authenticity. For example, on the day of the writing test one student came in that afternoon and slammed his binder down and glared at me really hard before speaking.
"Well, I hope you're happy," he said. "I did that stupid prewriting you told us to. I barely had enough time to rewrite my final draft. I've never used it before and made passing scores."
Needless to say, I prayed he would pass in order to understand the value of this skill (he did with a three...)
The conclusion of the chapter gave some suggestions for helping students to write various papers such as reports, persuasive papers, or compare/contrast. The most impressive to me was the six week long report the students created described on pages 132-136. If only every teacher had the resources, time, and training to teach this way. Imagine the budding young writers who would emerge as a result! What impressed me was how the teacher verbalized what she wrote and the words to keep herself on task.
In my high school, we utilize a mnemonic device to help our tenth graders break down the writing prompt. We call it RAFT. I've seen other forms of this in journals; it really does work. R-role, A-audience, F-format, and T-topic. Once the students have memorized this and have been taught how to analyze the prompt, the most difficult part is over. I include this as part of the prewriting. In several weeks one of my classes will be writing a persuasive paper. I plan on using the suggestions on page 138. I am anxious to see how their papers will be in comparison to my techniques of the past. I love how this book includes actual tips you can implement the very next day!!
Dr. Frye, do you have any suggestions you could share next week concerning elementary children? I would like any books, journals, or tips concerning prewriting. I don't have any knowledge except for our readings so far. Does anyone else have some thoughts? I would be very appreciative.
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