Poetry Lesson Plan

Please visit links under downloads to view poetry lesson plan, poetry invitation, "I Poem" rubric, and poerty project reflection.

Chapter 13 Best Practices

At one time I thought I had posted my comments on this chapter. Apparently, I was wrong...

Chapter thirteen really "spoke" to me as an English teacher. I truly enjoy teaching the writing process. However, there seems to be so little time for it in a semester course. On page 267 the authors states how ideally "every teacher, across all grades and subjects, should incorporate writing as an integral part of instruction because writing reveals thinking..." This quote incorporates my feelings on this subject. Writing is a critical source of information. When I read a student's paper, journal, or homework I feel a connection. I don't think a teacher of any other subject area can learn so quickly the intimate feelings of a child. However, each writing assignment does require patience and much time. A novice writer should not feel pressure; it takes years for a person to develop his/her own style and voice. Ironically, this is opposite of what the State Department of Education expects. Therefore, we as educators must aid our students in developing their skills.

Research tells us that students must always "write to learn," and in a world of multiple choice exams, this can be difficult. On pages 270-271 the scenarios involving Samuel and June demonstrate how students can display their knowledge in various ways. Samuel, for instance, could not record his answers on paper. Yet, the teacher was able to prompt his discourse on his baby sister. June's teacher can ask her critical thinking questions to determine comprehension before formal writing begins. Teachers must be willing to find alternate forms of assessment.

I find assessing student writing to be my least favorite part of the process. I do not feel uncomfortable in a writing conference, yet I wonder how my judgement will affect the student. As a result, I have found assessing both the product and the process to be extremely beneficial as described on page 268. Students should receive acknowledgement for each step of the process. For the struggling writer "getting there" is half the battle. Again, on page 269 the authors reiterate the significance of an authentic task. In addition, the student must receive feedback and valid assessment in order for the task to have any academic merit. This is why I enjoyed the multigenre project. There are so many options and assessment can range from reading the reflection, listening to the presentation, or reviewing the artifacts. The assignment has meaning for the individual. This is exactly how Martin felt when the author(s) asked him about the Chicago Bulls (pgs. 274-275). He could use appropriate vocabulary and read complex articles when it suited him! The text had to be purposeful and "real."

What can the classroom teacher do to determine adequate assessment for each child? First, I feel the teacher must determine the difference between testing and assessment. Second, one must gage his/her classroom and the dynamics. What I have successfully done with one group does not necessarily work with another. Third, the authors suggest allowing the students to have some type of peer collaboration on assignments. This technique can work, but it takes excessive modeling. The teacher must be structured and thoroughly explain each child's duty. This takes so much time and practice, practice, practice! Finally, the chapter discusses utilizing rubrics and their worth. However, the instructor must carefully decide which components are essential to measure the student's work.

Overall, I feel this chapter did not present any "new information" to me. However, it did make me realize educators everywhere recognize the significance of writing. More importantly, the chapter highlights what one must do to guide a young writer to success.

Chapter Seven Best Practices

I agree with the author when he stated that "revising is a way to learn about the craft of writing" (141). Unfortunately, students feel revision is merely correcting the editing marks and submitting a clean copy. However, revision is the most complex step in the writing process. It requires the author to effectively communicate with the audience by developing and clarifying the information. The author must decide if the quality being presented is coherent. If not, one must rewrite the content. Hopefully, the focus on revision will carry over to the next assignment. How does one teach students to evaluate their own papers? How can a teacher keep students from repeating the same mistakes on future assignments?

"Teachers who write" should establish high expectations for students during the revision phase of the writing process. To me, editing should include whole group lessons, paired student activities, and teacher conferences. Editing should not be exclusively centered on grammar and mechanics. The content of the paper should be critically examined and read by several different individuals. Feedback is crucial if the author is to correct any lapses in writing. On page 142 the author stated that "secondary school levels generally do little substantive revising." The proficient writer will see the purpose of revising as he/she writes; however, struggling writers only seem to make minor changes. The author gives many scenarios and ideas for enabling all students to demonstrate proficiency in this area. However, each one requires the teacher to model "think alouds" extensively. The teacher must provide opportunities for the students to observe how begin the revision process. By utilizing rubrics, students also get the opportunity to see how their paper will be assessed. Again, the teacher must explain the components to the students before they begin to evaluate their own papers.

I liked how the chapter primarily focused on the clarity and comprehensibility of student papers. On page 146 the peer revising activity proved to be a worthwhile approach. The students focused on the paper until there was a problem with content. The teacher instructed the editor to ask the author for clarification first. Then the editor and author discussed how to properly correct the paper. I liked the teamwork approach. Students often respond better to a peer offering constructive criticism. The teacher would have to carefully demonstrate how to approach the individual.

I would often take old papers and retype certain sections. I would place the paper on the overhead and have the students "talk through" the content problems. Many students are especially sensitive concerning their writing. I tried to make my students see revision as a way to improve. Personal attacks on writing are not allowed (although I had to deal with this one time).

The sample instructional examples provided me with new ideas for approaching writing. On pages 155-160, the teacher showed a variety of steps in order to achieve success with persuasive writing. As a former tenth grade teacher, I found this type of paper very difficult to teach to struggling writers. It was difficult to teach the students to expand their thoughts. Often, I would receive papers like the sample on page 157. Attempting to teach a counterargument became frustrating for some. My students could not predict their "opposition." Therefore, I liked the evaluation strategy described on page 155. His rubric was very simplistic; it's easy for the students to rate their partner. At the bottom of 156 it stated how the teacher did the think aloud and highlighted the position, reasons, and refutations. As he highlighted each section of the paper, he analyzed whether each portion was effectively written. I thought how effective it would be if the students highlighted their own papers. Visually, students could see if there was enough supporting evidence. As a result, the students knew specifically what to revise.

I feel one reason this eighth teacher was successful was due to the type of topics the teacher selected. Our RE5130 class has discussed how writing must be authentic. The teacher selected the topic of smoking in a public facility. Any type of contraversial topic will spark an opinion at this age. If students see the assignment is meaningful, they will spend more time revising their content to ensure they are understood correctly. The teacher was also successful because he had the assistance of his team partners. Writing across the curriculum is a necesssity. It is not the sole responsibility of the English teacher. Therefore, his partners could reinforce the techiques he introduced.

I also agree that students will benefit more by evaluating papers from another class. One teacher in our department assigns a number to each student. All papers are typed and the number is placed in the corner instead of the name. This anonymity helps the students focus on the assignment. Many students do not feel comfortable critiquing their peers.

Students can learn to revise if the teacher makes this part of the writing routine. Whether it is in the form of a workshop or with a partner, students must be given explicit instructions before they begin. Otherwise, this step becomes meaningless. The teacher must remember this essential step will improve the overall quality of the writing. Lastly, it can help promote the publication stage which is oftentimes forgotten.

Multigenre Reflections

I cannot begin to express how impressed I was with the multigenre presentations tonight. I always find activities like this intriguing. Everyone receives the same assignment, yet the diversity of topics is always interesting. The individuals in my group selected topics which were so heartfelt and sincere. For example, Holly's project on Ada Byron Countess was refreshing. I never would have thought about investigating a person/topic that I didn't enjoy! As a result, she investigated this lady's life and now has an appreciation for the pioneer of the modern day computer. Toni's choice of displaying the internal struggle of Donnie McClurkin through the interpretive dance was more effective than anything she could have articulated. To me, this was more meaningful because she read, choreographed, and immersed herself in the life of this person. Every intricate movement directly correlated to an event in his life. How creative!

Tonight, I witnessed students actually enjoying their project and literally glowing with excitement. Heather's face was one of pure joy when she described her experience with the loggerhead turtles. With her background in Environmental Science, she had the opportunity to share her passion with us. I learned about ecosystems and how man is contributing to their demise. The two ladies-Kari and Mary both took the assignment and created a memoir. Their raw emotions truly gave me insight to topics such as Ellis Island and tuberculosis. They have inspired me to learn more about these subjects. The products keep the audience's attention and make history literally come "alive." Students such as Caroline has learned and enjoyed studying about the Civil War. She has a personal connection because it's an authentic, relevant assignment. This is what our students also want. The fact that this project is one of self- selection makes the student want to read and research even more!!

It's really nice to work on an assignment that is productive, informative, and not "busy work. " I did have a hard time trying to balance school and this assignment. However, I feel like the work was purposeful and I have a product I can actually use. I don't know when I can incorporate the product into my own classroom. Nonetheless, I now have new ideas to present to my students such as the poetry. It is my sincerest hope that my students will one day enjoy this paper. I certainly did!

Wordless Picture Books

Wordless picture books is a new concept to me. Therefore, I really enjoyed the two articles on how to implement these into the classroom. I definitely see the advantages to having these books in an ESL classroom. However, this is also an ideal approach for those students who do not demonstrate adequate oral storytelling skills. Initially, I was surprised that some students in preschool and kindergarten would struggle to describe an event. Then I realized the importance of reading with children at home may not be emphasized at all. By allowing students to create their own stories based on these book, he/she feels a sense of ownership and pride in their product. I firmly believe a "first" positive writing experience will lead to future success.

The Cassady article in particular focused on the teacher's role with wordless picture books. The author emphasized the importance to make the experience nonthreatening and to allow the younger children to speak "naturally." This is something I would not have considered. We teachers often correct grammar and spelling automatically. Second, the emphasis on allowing the students to determine what's in the pictures would be difficult for me. I would find it hard to not voice my opinion of asked.

The Cassady article also demonstrated uses of these books in middle school in such subjects as social studies. I have read the bibliography, but would love some additional books I could use with my students. If anyone has a list or internet site, I'd appreciate any suggestions.

Chapter 3 Best Practices

Although I have never taught writing on the elementary level, I am constantly surprised at the similarities in a high school writing class and a class of younger writers. When I taught sixth grade, I was always looking for techniques to help the various writing needs of the students within my room. How do you accommodate the student who cannot transmit his ideas on paper? (pg. 52). In contrast, there's the student who enjoys writing (pg. 51). This type of student has a wealth of life experiences, usually enjoys reading, and can create a story with a full plot structure. Generally, most of the students demonstrate proficiency, yet need consistent feedback. This is a difficult task in a room of 25+ and no one to help. Therefore, I felt the ideas in Best Practices were extremely appropriate.

One of the first prompts I always assigned in middle school was a narrative to assess writing. Many still struggled with the beginning, middle, and end. There would be a "bare bone" plot structure and oftentimes there was no elaboration. Again, this is a similarity to high school writing. Students will state facts, yet not fully develop their ideas. Students assume the reader can identify with their experience. As a result, this leads to incoherence. This is why I personally liked the concept of the "comic strip." This approach is less intimidating for the struggling writer. This storytelling approach is fun and sparks more creativity. To me, this is a type of pre-writing... Students can then "read" their story to another student, teacher, or assistant. If the sequence does not "flow," additional frames can be added.

The icons over the frames reminds the students to fully develop the character or the internal/external conflicts of the character. The "superglue" words is an interesting approach to help students create compound sentences. For example, on the seventh and tenth grade writing test, the evaluators are looking for sentence variety- simple, compound, complex, compound-complex. I would find this very difficult to explain to younger children. This will allow them to slowly develop a more sophisticated style/writer's craft.

Although I liked the idea of story cards, I think there are more effective ways to prompt writing. Wordless Picture Books might initiate an interest which may lead the student to fully compose an original piece. Personally, I was always frustrated with the student who stated he/she had nothing to write about. Hopefully, this could serve as an alternative. We have also talked in class about the importance of student journals. One episode can help with the plot structure since it's a true experience. Lastly, the children's storybooks is always an alternative. I have utilized these with my tenth graders in the past. Once they get over the initial shock that's a storybook, most enjoy this alternative.

One thing that did surprise me about the chapter was the researchers chose to utilize "trickster tales" to determine student assessment in story composition. I thought this was a very difficult unit to present to struggling writers. I assume a teacher would not begin with such intricate pieces. Not all students will grasp the concept of a "trickster" as evidenced on page 66. The story was not on topic and totally illogical. The teacher would have to do an intense study with considerable scaffolding and plenty of modeling. The story plot sheet was very similar to a sheet that I composed years ago. I primarily used it with my struggling writers; however, this is a tool which is beneficial to all children. A teacher could conduct a writing conference with the student just to check the plot sheet. This would give the instructor an idea if a student needs intervention or not.

Finally, I liked how the authors of Best Practices regard writing rubrics. I feel it's more of a "check list" for the student to determine if all essential information has been included. However, it's frequently used as a grade (hence, the North Carolina Writing Test). All of these ideas are practical and can easily be implemented with considerable dedication on the behalf of the teacher.

Writing Without Boundaries Chapter Six

Chapter six was extremely informative concerning how to properly assess the multigenre project. In my own classroom I am an advocate of rubrics and frequently utilize the rubric star site. In elementary school I vividly recall receiving letter grades on assignments. Yet, I never knew how the teacher determined the point value. Therefore, as an instructor I always present a rubric in order to alleviate worries concerning what constitutes "A" work, "B" work, etc. In addition, it has helped me become more efficient at handling the paper load.

Very rarely though do students have the opportunity to defend their project. This is what I personally like about the multigenre paper. The teacher can record strengths and weaknesses, but the child writes a reflection piece. This allows the teacher to see what the student considered the most valuable aspect to the project. Hopefully, the teacher will take any student feedback and restructure the process if needed.

I appreciate how the authors described the eight principles of classroom-based literacy assessment to prove the merit of multigenre writing. Unfortunately, some administrators may not understand how this one assignment encompasses our English Standard Course of Study. It's effects are far reaching. Yet, it looks oddly "out of place" in a classroom where multiple choice questions take precedent. On page 106 the authors state how this project is ongoing, authentic, collaborative, and allows students to move from their strengths. No worksheet can substitute for this type of assessment. I've sat in numerous workshops where the emphasis is on individualizing assignments for students. Not only can the teacher adjust the expectations for each student (pgs. 122-121), but the teacher will have documentation to prove a student has demonstrated proficiency in a content area.

Students create their own voice and combine genres to determine the most effective ways to communicate. However, a teacher must still instruct students in the "proper way" to address the writing test in fourth, seventh, and tenth grade. Without adequate preparation, students are being "set up" to fail. The authors recognize the teacher accountability which is truly ironic according to this chapter. Although documentation proves this approach will help with writing scores, younger writers still need explicit instruction in tested grades. Otherwise, the state will decide the child does not have adequate writing skills.

The multigenre paper has numerous purposes, but using it as a "portfolio assessment" is extremely beneficial. Students have the opportunity to defend what pieces they selected; therefore, the teacher truly gains an insight about the student's thinking. In addition, this feedback will enable the teacher to improve the project for the next endeavor. With proper implementation and careful daily reflection from the teacher, this assignment will reveal multiple facets to each child's way of thinking. This can only lead to higher critical thinking skills which is a necessity for mastery of any subject area. The benefits greatly outweigh any possible disadvantages.

Multigenre Thoughts and Ideas

I would first define multigenre writing as the opportunity for students to select a topic of interest. Then the students would communicate their knowledge by creating representations based on that topic. In the past, I had defined these activities as appealing to each child's multi-intelligence or as interdisciplinary units. Now, I realize there is a tremendous difference. Students have ownership in their creations and each product becomes uniquely theirs.

If I were an elementary teacher, I would scaffold this project differently. I would expose the students to as many of these genres as possible during the first term. Next, I would select a book on an individual such as Martin Luther King for Black History Month. The students would do the activities as suggested in Writing Without Boundaries concerning keeping journals, reading the book numerous times, etc. Afterward, I would have the students select several genres from the list to practice. I know that seems over controlling. However, I would want to see if the students understand the basic principles first. The students would have the chance to create their own paper, but I need to do a "trial run first." Of course, if I had an example, I would show this first. It would provide students the opportunity to "visualize" what the paper will look like.

In high school I would give them the Moulton article to read and allow them to see on-line examples first. We would establish a goal sheet, weekly sheet, and writing groups. In my fantasy world, I could actually get into the library for longer than once a week. Students would literally immerse themselves in their topic. I would set up a "fair" and the principals, parents, and central office personnel would go to each booth and be educated on this topic. Students would receive instant feedback from their audience members and I would feel a sense of accomplishment. All students working cooperatively toward a common goal-writing for the sheer enjoyment of it.

Currently, I am thinking of authors for my multigenre project. My first selection would be Edgar Allan Poe. I have also considered Mark Twain as well. I have always been fascinated with the sinking of the Titanic and the bizarre world of Stephen King. All of these are intriguing topics for me. I have not considered my classroom curriculum. Right now, I am trying to narrow my choice...

Writing Without Boundaries 4-5

Last week I was extremely overwhelmed with the application of the multigenre paper within the classroom. The idea of such an intense study on a topic selected, researched, and presented through various types of media/genres was unique. However, what I could not fathom was how to properly manage this ongoing assignment while meeting each child's needs. I am a visual learner, so the examples provided in chapter four were extremely beneficial. The requirement sheets and due dates that the teacher and the students formed cooperatively were refreshing. This enables the students and the instructor to manage this project efficiently. The students already have ownership in this project. I always thought students (regardless of age) appreciate their "voices" being heard and opinions considered. In addition, the multigenre weekly goal sheet helps the teacher to evaluate progress. Plus, it helps keep the students on task. This is critical when conducting a conference with a student. Both the teacher and the student can re-examine the previous week's successes, failures, and uncertainties. I like how it provides a "springboard" for conversation as well.

Although there is much preparation and scaffolding one must do for this project, students also demonstrate much independence. This is seen while researching, writing during the drafting phase, or taking the initiative to help a fellow student who is in the same "genre group." As a novice to this project, I think its biggest success can be attributed to the conferencing with both the instructor and the child's peers. Through this assignment, the teacher is able to question and learn why the student chose a certain artifact to represent the book, person, time period, etc. In a traditional research paper, the only conferences I was able to conduct occurred after each draft was submitted. Then, it was about the content/grammar and not the selection of sources.

As I read through both chapters, I noticed how the authors emphasize the P-urpose A-udience and C-ontent for each piece a student chooses. I am going to remember this when I attempt to do my project. I feel if children understand this concept, one of the major goals for the unit has been successfully fulfilled. In chapter five, the approach I identified with the most was on page 71. The author said this about multigenre writing, "Where in my curriculum would multigenre fit? And what units of study already exist..." This was like a light bulb went off in my head. What a great cumulative activity! Although I knew better, I was attempting to make this an isolated project with absolutely no connection to the curriculum.

The biography and persuasive speeches are intriguing. I see so many possibilities with students researching various authors, playwrights and poets. This "authentic assessment" enables students to familiarize themselves with the time period. As a result, the genre selection should not pose as a problem due to the extensive prior research. Overall, I like how the authors demonstrated how this could be utilized in history while studying the Revolutionary War. This is definitely writing across the curriculum at its best!

Poems

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Journal Invitation

Please see "Journal Invitation" link under downloads.

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.

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!

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."

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.

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.

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...

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.

Best Practices In Promoting Motivation for Writing

One of the first assignments I give my students is to write a letter of introduction. I always ask them to identify their strengths and weaknesses in writing. Many have stated that finding an appropriate topic is always difficult. Several have problems with their grammar and mechanics. Overall, many blatantly tell me they dislike writing because it's boring. They are not given choices, nor the opportunity to write in different formats. As a result, I frequently see a lack of self-confidence which affects student writing.

This chapter particularly resonated with me when recalled my previous units where I taught narrative, expository, and argumentative writing in a rigid format. Did I ironically turn my students against writing? In my haste to cover the NC Standard Course of Study and my county's pacing guide, I had forgotten what's truly significant-the students and their experiences. This chapter focuses upon the difference between intrinsic and extrinsic motivation in regards to writing. I feel that most students do see the purpose of writing, but fail to enjoy the activity due to past experiences. Like most teachers, I want students to write for their own pleasure much like reading. How can I help them to intrinsically appreciate writing?

Student writing should not only be equated with the adjectives authentic and useful. It must be a collaborative effort on the behalf of teacher and student. An instructor must make frequent use of opportunities where students can observe, record their thoughts, discuss, and authenticate their feelings through writing. To me, this could happen in any subject area. Students need to see writing not as an isolated activity. Motivation can only occur when students see writing being done in other disciplines. Children can write. The problem is can we as teachers address this before it's too late?

Graves Article

I firmly believe any student can be taught to write. However, a teacher cannot expect one technique to accommodate the needs of every pupil. That is a misconception which rears its ugly head during writing workshops (when the main focus is exclusively on the writing test). In the article Graves recalls a discussion with Nancie Atwell about a student who was unable to write from a personal narrative point-of-view. The student was eventually able to express his inner turmoil from a narrative stance. The instructor recognized the student wanted to compose the paper, but the approach did not fit his needs. Writing should allow the opportunity for a student to uncover the truth about his "wants." I agree with Atwell when she stated that "writing is a way to make sense of things" (2).

The author states that for children to have an authentic voice, the teacher must be the one to demonstrate the truth of situations. One must also be willing to help a student bridge the connection between their wants and the solutions which only authentic writing can provide. Teachers must be willing model the writing process by verbally walking the students through the steps beginning with topic selection, brainstorming, and stance. By allowing children to observe the "truth in writing," students will hopefully imitate this form.

Teachers who are willing to learn from their own writing are definitely risk takers. They often inquire what their students are learning from their drafts. They want each assignment to be meaningful and relevant. Oftentimes, students feel so removed from the topics, that writing remains an isolated activity. Educators must be willing to determine how to uncover the truth from each young writer.

I also feel like a hypocrite because I also must teach a "formula approach" to writing. I personally feel we as educators are doing our students a great disservice. Unfortunately, we also realize the consequences of not presenting this format. I remain very torn on how to approach writing. I wonder if anyone else feels this way...

Reflection on Chapter One

Writing, in my opinion, is a skill which must be taught in conjunction with reading beginning in the primary grades. Effective writing must be modeled and taught across the curriculum in a consistent manner. However, the authors of the text found that approaches to writing vary not only from school to school, but within the school itself. In addition, other factors such as classroom environment, engaging lessons, and the practice of displaying student work can all contribute to a successful school-wide writing program. The authors further discuss how writing practices must not be solely based on state department expectations and/or standardized testing. A commitment of good writing instruction will improve test scores. More importantly, it will enable even the youngest student to effectively communicate his ideas.

Best practices in writing cannot occur without direct input from the teachers; each writing instructor plays an integral role. Therefore, vertical alignment in writing is a necessity. Each teacher must be passionate about their role in cultivating a reading and writing curricula which meets each child’s individual needs. In turn, this will create a “need to improve” attitude (23). Unfortunately, not all school systems have the funding to send their educators to writing workshops. I have also talked with recent college graduates who have little or no experience in teaching the writing process. This can greatly affect the success or failure of any child as described in pages twenty-two through twenty-four.

One negative criticism of writing instruction is the attitude of my colleagues. I have taught middle and high school in two different states. Yet, I hear the statement, “It’s the job of the English teachers to do writing.” Am I the only one who is bothered by this negativity? And if you teach grades four, seven, or ten it’s all on you!! How can we ensure everyone is implementing writing appropriately? I have participated in Write for the Future where students learn how to write for problem solution and compare and contrast essays. When the English teachers mention simple things such as having students write in complete sentences in health (for example) immediate friction occurs? Why is that?? Workshops are crucial to help educate teachers on the latest techniques, but can’t we share the responsibility?

I do agree with the authors that writing is a time consuming process. However, if it’s done correctly whether in journals, peer editing groups, or more formally children can and will benefit.