I concur with Maria regarding the importance of modeling. In fact, this semester I have been modeling the writing of the stories I am writing about my dogs and sharing this writing with my students as our read aloud story. In the beginning, I wanted them to simply see that I am a writer, and I am allowing myself to take risks as a writer, just like I ask them to do every day. However, I found that it became so much more. I am able to model everything that a read aloud story promotes: comprehension strategies, vocabulary, fluency and accuracy, and writing skills. But I have also been able to model peer response strategies by having students give me PATS (praise, ask a question, tell something that stuck with you, and a suggestion) after I read each section. Even though we haven’t used this PATS technique in student peer response groups yet, they are getting enough practice doing it with me that they should feel comfortable doing it when they finally give feedback on their classmates’ writing. The one obstacle I did not foresee was parental interference.
Last week I received an e-mail questioning my sharing of my stories with the class. She mistakenly inferred that it had nothing to do with the language arts curriculum so I shouldn’t be wasting class time on something that didn’t matter. I was confused because no one had ever questioned whether or not I should have shared reading experiences via read aloud stories in my classroom. Wasn’t my own life story a read aloud? It was a story that included exploding moments, descriptive settings, colorful characters, showing (not telling), problems and solutions…all the skills we have been working on adding to our writing in class. And couldn’t she assume that a teacher who is also a writer can help motivate students with their writing?
When I ask the students about why it is important that I share my writing with them, they get it. They see that I am engaged in doing tasks that I ask them to do every day (which is something they said most of their teachers don’t do). They know that it's important for me to get their feedback so that I can make my writing better. They understand that 5th graders are my target audience so it's essential that I get this feedback from them. They know I want them to get to know me better as a person so we can connect on a different level. And they understand that it’s a risk to share topics that are important to you and that I’m putting myself in the same shoes they wear when they expose a piece of themselves to their audiences.
If my students understand this, why can't the parents? I have to admit that this parent made me feel reluctant to share my stories with my students this week. Writing involves so many risks, and I certainly don't want to reveal this part of my self if it is criticized by parents. Parents need to be educated about the importance of adults modeling the acts of writing for our children. They too can have a huge impact on how their child progresses with writing just by being writers themselves. If we expect adults to be readers around students, we should assume the same advantages exist for having adults be writers, as well. This continues to be a struggle for me because parents often respond that they don't have time to write with their children when given suggestions of how they can interact with their 5th graders in this way. Sharing stories is such a wonderful way to get to know people, and I want to figure out how to educate parents so they support us and help their children become lifelong writers. Any ideas?
Wednesday, March 10, 2010
Tuesday, March 9, 2010
Okay. Good. Now, look over your shoulder like you have a secret...
Unlike Zoolander, my fascination with modeling started with Donald Graves, was fomented last June by Velvet, and has most recently been reinforced by Carl Anderson and Ronald Barron.
Modeling. Modeling. Modeling.
As writing teachers (and teacher writers), it seems that this is the most important thing that we can do.
We must model the act of writing (Graves and Barron), and model reviewing one another's writing (Graves, Barron, and Anderson), and model a writer's response to these reviews (Graves, Barron, and Anderson). As Barron puts it, "Modeling of the process is essential."
Rather than revising our own work prior to sharing it, we should let students see our down-drafts. We should let them know that even grown ups -- and teachers at that! -- might have to start in the muck. In this way, we can "show" techniques as opposed to just "telling". These are all things that I know.
Furthermore, I know that I know them...which is why the next bit is frustrating for me to admit.
I do and share my own writing with students. I try to model fair and effective peer conferencing. Sometimes, on odd Friday nights, I sit down with my DVD of Donald Graves modeling the modeling process.
Yet, somehow, I'm still not convinced that my students are getting all that they can from their peer conferences. Granted, they are young (2nd grade), and the groups are not optimum size (two instead of the four suggested by Barron)
As many poses as I strike, my students still struggle with the peer conferencing piece. Fellow early primary teachers: Am I asking too much? Are you all having peer conference success? Can you be my models?
Effective Peer Resposnse Groups
I think the Barron article did a very good job of explaining how to set up and maintain effective peer response groups. This is something that I have never set up. I set up lab groups and expect students to work collaboratively on their experiments. I do think I could include some of these ideas about peer response groups to help improve student writing of lab notebooks. I would particularly like to focus on improving the writing of conclusions. I think following the format of McQuade and Sommers and using the three steps: observations, evaluations and end comments would be a good start to teach students how to evaluate each others work. Peer review is a very important process in the publication of scientific papers. It would be good to get students used to receiving and giving peer reviews. Here is a humorous youtube video about scientific peer review. It also an example of digital remixing.http://www.youtube.com/watch?v=-VRBWLpYCPY
Monday, March 8, 2010
how's it going?
how's it going
urban DICTIONARY
"It should be noted that this phrase is not only used in by english speakers of all nationalities and dialects but by speakers of many different languages across the globe
2) A question used to inquire about the status of an on-going process or event. In this interrogative state the sentence carries a question mark. "
"How's it going?" is the phrase we ask ourselves over and over as we write, and if we are lucky enough to be in a writer's group, it's the phrase we ask each other when we gather.
"The act of writing we have in common with our students puts us on the level of them and them on a level with us.... because each writer, no matter how experienced, begins again with each draft." (First half a paraphrase of Don Murray(1985) by Carl Anderson and the last a direct Murray quote from Anderson's Chapter 1, "Conferences are Conversations" in How's It Going?: A Practical Guide to Conferring with Student Writers.
"... allowing students to respond to an early teacher-written draft does pay dividends for students and teachers. ...students see that even experienced writers need to revise their papers, sometimes extensively, to clarify their writing and to achieve quality final copies." is one of the foundations Ronald Barron shares in writing about his use of Peer-Response Groups. He shares additional benefits including better writing, self confidence on the part of students that they can support other writers, reducing initial judgment, and producing more interesting writing.
Barron and Anderson challenge us to be vulnerable with our students by authentically sharing our work. The importance of interacting with other as we write through peer reviews, teacher-student writing conferences or in peer cooperative groups as shared by Zimmer is the source of creating writers and deeper learning and thinking. Created simultaneously in conversation based conferences are connections that build relationships. That getting to know our students and they us, that allows for motivation and growth based on authentic communication, commitment and the shared goal of better writing.
Anderson insightfully writes. " Writing, after all, is an individual act that occurs in a social context." "It's the members of that circle (of mentors and friends) after all who listen to us while we are in the process of writing, not our future audience." Peer conferences, writing in cooperative groups and conversations in writing conferences provide that listening and reflection that supports us as writers, together.
urban DICTIONARY
"It should be noted that this phrase is not only used in by english speakers of all nationalities and dialects but by speakers of many different languages across the globe
2) A question used to inquire about the status of an on-going process or event. In this interrogative state the sentence carries a question mark. "
"How's it going?" is the phrase we ask ourselves over and over as we write, and if we are lucky enough to be in a writer's group, it's the phrase we ask each other when we gather.
"The act of writing we have in common with our students puts us on the level of them and them on a level with us.... because each writer, no matter how experienced, begins again with each draft." (First half a paraphrase of Don Murray(1985) by Carl Anderson and the last a direct Murray quote from Anderson's Chapter 1, "Conferences are Conversations" in How's It Going?: A Practical Guide to Conferring with Student Writers.
"... allowing students to respond to an early teacher-written draft does pay dividends for students and teachers. ...students see that even experienced writers need to revise their papers, sometimes extensively, to clarify their writing and to achieve quality final copies." is one of the foundations Ronald Barron shares in writing about his use of Peer-Response Groups. He shares additional benefits including better writing, self confidence on the part of students that they can support other writers, reducing initial judgment, and producing more interesting writing.
Barron and Anderson challenge us to be vulnerable with our students by authentically sharing our work. The importance of interacting with other as we write through peer reviews, teacher-student writing conferences or in peer cooperative groups as shared by Zimmer is the source of creating writers and deeper learning and thinking. Created simultaneously in conversation based conferences are connections that build relationships. That getting to know our students and they us, that allows for motivation and growth based on authentic communication, commitment and the shared goal of better writing.
Anderson insightfully writes. " Writing, after all, is an individual act that occurs in a social context." "It's the members of that circle (of mentors and friends) after all who listen to us while we are in the process of writing, not our future audience." Peer conferences, writing in cooperative groups and conversations in writing conferences provide that listening and reflection that supports us as writers, together.
Sunday, March 7, 2010
Writers Grow Like Oak Trees
“Writers grow like oak trees-slowly over a period of time. You cannot cram over night to be a writer.” Lucy Calkins
I enjoyed reading the article called “Conferences Are Conversations” by Carl Anderson. In particular, I appreciated the references he made to Lucy Calkins and her book, “The Art of Teaching Writing.” It reminded me of working on my capstone for my master’s degree. After reading the article, I went and found my book and dusted it off. Colored strips of paper, used as bookmarks, were still in it marking my favorite pages.
Calkins has three components for effective conferences: Research, Decide, and Teach
Research: This is the time to listen to everything we see, know, and hear about a child in order to get to understand the student as a writer. Be fully present as a listener when reading a draft or talking to a writer.
Decide: Decide what the writer needs that will help not only today, with this piece of writing, but also tomorrow, with other pieces of writing. Think in terms of “what might help this writer” rather than “what might help this writing.”
Teach: Teach the student what they need to know to move them along on their journey as a writer.
Several years ago I compiled a few quotes by Lucy Calkins. I have added them here.
"Let’s not ever fool ourselves into thinking that our time with students does not matter that much. Our teaching can change what kids pack in their suitcases; it can help them cherish the intersection of a gravel driveway and a paved road; it can invite them to do wheelies as writers, readers, and learners. Our teaching matters more than we ever dreamed possible. …Thinking about the power of good teachers, I have goose bumps. What power and what responsibility! Sometimes, I see teachers and I want to say, “How do you live, knowing you matter so much?" By Dr. Lucy Calkins
From: The Art of Teaching Reading
The Art of Teaching Writing
Adapted by Debra Stortz, Edina
I enjoyed reading the article called “Conferences Are Conversations” by Carl Anderson. In particular, I appreciated the references he made to Lucy Calkins and her book, “The Art of Teaching Writing.” It reminded me of working on my capstone for my master’s degree. After reading the article, I went and found my book and dusted it off. Colored strips of paper, used as bookmarks, were still in it marking my favorite pages.
Calkins has three components for effective conferences: Research, Decide, and Teach
Research: This is the time to listen to everything we see, know, and hear about a child in order to get to understand the student as a writer. Be fully present as a listener when reading a draft or talking to a writer.
Decide: Decide what the writer needs that will help not only today, with this piece of writing, but also tomorrow, with other pieces of writing. Think in terms of “what might help this writer” rather than “what might help this writing.”
Teach: Teach the student what they need to know to move them along on their journey as a writer.
Several years ago I compiled a few quotes by Lucy Calkins. I have added them here.
"Let’s not ever fool ourselves into thinking that our time with students does not matter that much. Our teaching can change what kids pack in their suitcases; it can help them cherish the intersection of a gravel driveway and a paved road; it can invite them to do wheelies as writers, readers, and learners. Our teaching matters more than we ever dreamed possible. …Thinking about the power of good teachers, I have goose bumps. What power and what responsibility! Sometimes, I see teachers and I want to say, “How do you live, knowing you matter so much?" By Dr. Lucy Calkins
From: The Art of Teaching Reading
The Art of Teaching Writing
Adapted by Debra Stortz, Edina
Saturday, March 6, 2010
Habits of Highly Effective Writing Conferences
"Conferences Are Conversation" applies many of Stephen Covey's popular "Habits of Mind".
"Seek first to understand, then to be understood": Involve students in conversation about their writing process before providing guidance.
"Sharpen the Saw": Anderson's conference script opened my eyes to how conversation about writing can help students improve as writers. In his brief writing conference, Anderson helps his student clarify his process, purpose, audience, plan next steps, affirm the student, and provide focused instruction on analyzing a mentor text.
"Begin with the end in Mind": Based on conversation with the writer, Anderson focuses on one line of thinking: writing an effective lead. "When we finish a conference, we should be able to name what it is we did to help that student become a better writer." (Anderson, p. 9)
"Win/Win": Effective writing conferences are mutually beneficial: Writing teachers celebrate as their students become better writers.
"Synergize" "Synergize is the habit of creative cooperation. It is teamwork, open-mindedness, and the adventure of finding new solutions to old problems."
"Conferences Are Conversations" is both instructional and motivational. Equipped with fresh insight on writing conferences, I am energized to make time for this important practice next week.
"Conferences Are Conversation" is from Carl Anderson (2000). How's it Going?
"Seek first to understand, then to be understood": Involve students in conversation about their writing process before providing guidance.
"Sharpen the Saw": Anderson's conference script opened my eyes to how conversation about writing can help students improve as writers. In his brief writing conference, Anderson helps his student clarify his process, purpose, audience, plan next steps, affirm the student, and provide focused instruction on analyzing a mentor text.
"Begin with the end in Mind": Based on conversation with the writer, Anderson focuses on one line of thinking: writing an effective lead. "When we finish a conference, we should be able to name what it is we did to help that student become a better writer." (Anderson, p. 9)
"Win/Win": Effective writing conferences are mutually beneficial: Writing teachers celebrate as their students become better writers.
"Synergize" "Synergize is the habit of creative cooperation. It is teamwork, open-mindedness, and the adventure of finding new solutions to old problems."
"Conferences Are Conversations" is both instructional and motivational. Equipped with fresh insight on writing conferences, I am energized to make time for this important practice next week.
"Conferences Are Conversation" is from Carl Anderson (2000). How's it Going?
Friday, March 5, 2010
10 or 20 Years Ago
Upon seeing the 1991 publication date on the Barron article, one of my first questions was, Is he still doing Peer-Response Groups? The article, like the Zimmet and Anderson pieces, date from at least 10 years ago, before NCLB, before the dominant mantra of data-driven instruction meant constant standardized testing. I certainly hope Mr. Barron is still teaching with his purposeful and level-headed attitude.
Barron channels Donald Murray when he says, "For the modeling to be effective, teachers must be willing to let students respond to early drafts of their own writing" (emphasis added). We as teachers must share our own work as well as student samples. Doing so encourages risk-taking and builds trust. Barron also suggests using high-quality student work as samples--the '4's we talked about last week. The assumption is the students will be working with drafts that can grow into 3's and 4's, A's or Excellents.
One of the practical suggestions which Barron makes is how to set up groups, with the acknowledgement that they might not always work. It sounds like he has worked in the real world, which gives his approach credibility.
But mostly, I liked his focus on teaching the writer, not grading the writing. As he writes on page 34, "One of the purposes of a composition course should be to make students more confident and more independent writers." Anderson (p. 18) asks, "What can I teach students about the writing work they are doing that will help them become better writers?" Whereas Anderson focuses on teacher-student conversations, Barron uses the resources of the student's peers as well to answer these important questions.
Barron channels Donald Murray when he says, "For the modeling to be effective, teachers must be willing to let students respond to early drafts of their own writing" (emphasis added). We as teachers must share our own work as well as student samples. Doing so encourages risk-taking and builds trust. Barron also suggests using high-quality student work as samples--the '4's we talked about last week. The assumption is the students will be working with drafts that can grow into 3's and 4's, A's or Excellents.
One of the practical suggestions which Barron makes is how to set up groups, with the acknowledgement that they might not always work. It sounds like he has worked in the real world, which gives his approach credibility.
But mostly, I liked his focus on teaching the writer, not grading the writing. As he writes on page 34, "One of the purposes of a composition course should be to make students more confident and more independent writers." Anderson (p. 18) asks, "What can I teach students about the writing work they are doing that will help them become better writers?" Whereas Anderson focuses on teacher-student conversations, Barron uses the resources of the student's peers as well to answer these important questions.
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