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!