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.
Tuesday, March 18, 2008
Monday, March 3, 2008
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...
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!
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!
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.
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