Becoming a Teacher of Writing in Elementary Classrooms [2 ed.] 1032529288, 9781032529288

Citation preview

Becoming a Teacher of Writing in Elementary Classrooms The Second Edition of Becoming a Teacher of Writing in Elementary Classrooms is an interactive learning experience focusing on all aspects of becoming-writer and teacher of writing in the Writing Studio. The Writing Studio is illustrated with authentic classroom scenarios and include descriptions of assessments, mini-lessons, mentor texts, and collaborative and individual teaching strategies. The parallel text, Becoming-Writer, allows readers to engage as writers while learning and applying writing process, practice, and craft of the Writing Studio. The new edition includes integration of preschool writers, multilingual learners, translanguaging, culturally sustaining pedagogy, social emotional learning, Universal Design for Learning, and an updated companion website with teacher resources. This dynamic text supports teachers’ agency in the ongoing journey of joyful teaching and writing. Donna Kalmbach Phillips, PhD, is Professor Emerita, Pacifc University, USA. Throughout her career, Donna has been writing alongside children of all ages, undergraduate and graduate teacher education students, and writers of Cotzal Ixil in Guatemala. Mindy Legard Larson, PhD, is Professor of Education and Elementary Education Coordinator at Linfeld University, USA. Prior to teaching in undergraduate and graduate teacher education programs, Mindy taught frst, second, and third grades and served as an Elementary Curriculum and Program specialist.

Becoming a Teacher of Writing in Elementary Classrooms

Donna Kalmbach Phillips and Mindy Legard Larson

Designed cover image: Getty images Second edition published 2024 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2024 Donna Kalmbach Phillips and Mindy Legard Larson The right of Donna Kalmbach Phillips and Mindy Legard Larson to be identified as authors of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. First edition published by Routledge 2015 Library of Congress Cataloging-in-Publication Data Names: Larson, Mindy Legard, author. | Phillips, Donna Kalmbach, author. Title: Becoming a teacher of writing in elementary classrooms / Mindy Legard Larson and Donna Kalmbach Phillips. Description: Second edition. | New York, NY : Routledge, 2024. | Includes bibliographical references and index. Identifiers: LCCN 2023047267 | ISBN 9781032529288 (hardback) | ISBN 9781032522593 (paperback) | ISBN 9781003409243 (ebook) Subjects: LCSH: Language arts (Elementary) | English language—Composition and exercises—Study and teaching (Elementary) | Report writing—Study and teaching (Elementary) Classification: LCC LB1576 .P5756 2024 | DDC 372.62/3—dc23/eng/20231115 LC record available at https://lccn.loc.gov/2023047267 ISBN: 978-1-032-52928-8 (hbk) ISBN: 978-1-032-52259-3 (pbk) ISBN: 978-1-003-40924-3 (ebk) DOI: 10.4324/9781003409243 Typeset in Palatino by Apex CoVantage, LLC

For all the children, families, and teachers shaping our becoming

Contents Beginnings: Who Am I as a Writer? .............................................................................................xi PART I:

Introduction to the Writing Studio .............................................................................1 Becoming-Writer I: Finding Ideas and Drafting .................................................3 1

The Student of Writing – The Teacher of Writing .............................................................. 13 Why Writing Studio?................................................................................................................. 15 How Do Writers Develop Across Grade Levels? .................................................................. 16 Who Is the Teacher of Writing, and What Is Their Role in the Writing Studio?............... 23 Community and the Writing Studio ....................................................................................... 24 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ....................... 24 Learning with Peers: Discussion ............................................................................................. 25

2

Purposes, Possibilities, and Goals for the Writing Studio ............................................... 27 Introduction to the Common Core State Standards ............................................................. 30 Writing and Language CCSS Standards: Purposes, Possibilities, and Goals ................... 32 English Language Profciency Standards: Purposes, Possibilities and Goals .................. 36 Genres: Purposes, Possibilities, and Goals ............................................................................ 38 Writing Traits: Purposes, Possibilities, and Goals................................................................. 41 An Illustration: Developing Writing Possibilities, Purposes, and Goals with Sebas....... 46 Possibilities, Purposes, and Goals in the Writing Studio ..................................................... 47 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ....................... 47 Learning with Peers: Discussion ............................................................................................. 48

3

Organizing the Writing Studio .............................................................................................. 50 The Writing Studio Schedule ................................................................................................... 52 Writing Studio Snapshots ......................................................................................................... 53 Organizing the Writing Studio: Physical Space .................................................................... 61 Organizing the Writing Studio: Instructional Resources ..................................................... 63 Organizing the Writing Studio: Writing Tools....................................................................... 65 Organizing the Writing Studio: Some Final Thoughts ......................................................... 67 And So It Matters....................................................................................................................... 67

viii

Contents

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ....................... 68 Learning with Peers: Discussion ............................................................................................. 68 PART II

Assessing Writers: Determining Strengths, Needs, and Instructional Directions ......................................................................................................................69 Becoming-Writer II: Playing Around with Form – Developing the Idea .....71 4

Getting Started: Who Are These Writers? Assessments to Begin Teaching Writing ........................................................................................................... 77 Who Are These Writers? Writer Surveys................................................................................ 79 Who Are These Writers? Grown-Up Surveys........................................................................ 83 Who Are These Writers? Observations................................................................................... 86 Who Are These Writers? Writing Samples ............................................................................. 88 Synthesizing the Data: Looking for Patterns to Guide Instruction .................................... 94 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ..................... 100 Learning with Peers: Discussion ........................................................................................... 100

5

Assessments to Inform and Celebrate Writers and Teachers of Writing ..................... 103 Roll Call to Action and My Writing World .......................................................................... 106 Teaching, Conferencing & Planning Notebook ................................................................... 111 Teaching, Conferencing & Planning Notebook: Young Writers ....................................... 114 Daily Writing Folder ............................................................................................................... 114 Cumulative Writing Folder .................................................................................................... 119 Writer Self-Assessment ........................................................................................................... 121 Writing Sample ........................................................................................................................ 124 Synthesizing a Writer’s Progress ........................................................................................... 130 Grading and Writing Instruction........................................................................................... 130 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ..................... 131 Learning with Peers: Discussion ........................................................................................... 131

PART III

The Writing Studio Goes Live ................................................................................. 133 Becoming-Writer III: Engaging in Struggle – Cycles of Revising and Conferring ....................................................................................135 6

Writing Studio: Whole Group Instruction Through the Writing Mini-Lesson ....................................................................................................... 142 Managing the Writing Mini-Lesson ...................................................................................... 144 What to Teach in Your Writing Mini-Lessons ...................................................................... 145

Contents

ix

Choosing Mentor Texts for Writing Mini-Lessons.............................................................. 147 Types of Writing Mini-Lessons .............................................................................................. 147 Demonstration Writing Mini-Lessons .................................................................................. 148 Inquiry Writing Mini-Lessons ............................................................................................... 150 Shared Writing Mini-Lessons ................................................................................................ 153 Interactive Writing Mini-Lessons .......................................................................................... 156 Planning Writing Mini-Lessons Ahead ................................................................................ 160 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ..................... 162 Learning with Peers: Discussion ........................................................................................... 162 7

Writing Studio: Individual and Collaborative Writing................................................... 164 Becoming-Collaborative........................................................................................................... 166 Collaboration and Multilingual Learners ............................................................................ 167 Collaboration and Technology............................................................................................... 167 Collaboration Through Peer Conferencing.......................................................................... 168 Becoming-Independent ............................................................................................................ 170 The Teacher–Student Writing Conference: Individualizing Writing Instruction............................................................................................................ 171 Small Group Writing Instruction........................................................................................... 180 Creating Possibilities from Writing Studio Challenges...................................................... 183 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ..................... 185 Learning with Peers: Discussion ........................................................................................... 185

8

Sharing, Celebrating, and Broadcasting Writers and Writing ....................................... 187 Sharing and Social Emotional Learning in the Writing Studio ......................................... 188 Sharing Writing Practice, Process, and Craft ....................................................................... 191 Scheduled Public Forums for Sharing in the Writing Studio ............................................ 193 Sharing, Celebrating and Broadcasting Writers’ Work Through Publication................. 194 And Now – One More Thing – Because It Matters ............................................................. 197 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter.............................................................................................. 198 Learning with Peers: Discussion ........................................................................................... 198

PART IV

Bringing It All Together – Writing Curriculum ................................................... 201 Becoming-Writer IV: Sharing, Celebrating, and Broadcasting Your Work as Author...................................................................203 9

Planning for a Year: Themes to Integrate Writing Across the Curriculum ............................................................................................ 208 Yearlong Themes to Integrate Learning ............................................................................... 209

x

Contents

“Change” as a Yearlong Theme ............................................................................................. 209 Planning With Standards........................................................................................................ 209 “Change”: Yearlong Integrated Units for Grade 3 .............................................................. 210 Writing All Day Long, All YearLong..................................................................................... 212 Adapting Writing Instruction for Young Writers ................................................................ 217 Illustration: Integrated “Life Cycle” Unit for Preschool and Kindergarten ............................................................................................ 218 “Design Curriculum? I Am Given Curriculum!” ............................................................... 219 The Curriculum Map as a Living Document ...................................................................... 220 Other “Bumps in the Night” and Reasons for Adapting Curriculum ............................. 220 Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ..................................................................................... 220 Learning with Peers: Discussion ........................................................................................... 221 10 Planning & Living an Integrated Language Arts Writing Unit ..................................... 222 Framing Decisions ................................................................................................................... 223 Focusing Decisions .................................................................................................................. 229 Decisions Once the Writing Studio Is Live ........................................................................... 244 Teacher J’s Week 3 Refective Analysis ................................................................................. 244 [Always] Becoming a Teacher of Writing – An Open Invitation ........................................ 246 Index........................................................................................................................................... 247

Beginnings:Who Am I as a Writer? Why Do People Write? ♦

♦

♦ ♦ ♦ ♦

♦ ♦ ♦

Marta writes lists – she is the queen of lists, and we all love them! She makes lists of possible projects, things to do, books to buy for the library where she works, and items needed by her college daughter. Marta writes to organize life. Tim publishes books using online sites with his children’s photos and copies of their schoolwork and gives these as gifts. Grandparents love these, but he also does this for his children. Tim writes as legacy. Elena’s written arguments to the city convinced them to allow an exception in city code so she could build her garage. Elena writes as an act of citizenry. Nando/a writes poetry they turn into rap lyrics. They write rage, love, a cry to make a difference, sorrow. Nando/a writes for social justice. Mindy recently wrote multiple letters to state legislators voicing opposition to educational legislation she felt would be harmful to children. Mindy writes as advocacy. Gen writes funny, cryptic would-be bumper stickers (among many other more important things!), but we love these because they make us laugh. Gen writes to make a statement. Michael draws and writes graphic novels, sci-f/fantasy, crazy, wild stories of creatures, aliens, and humans colliding! Michael writes to entertain. Donna’s dad died after a long struggle with Parkinson’s disease. She writes to work through the grief. Donna writes to make sense of life. We all email, text, use social media – we write to stay connected.

None of us writes as practice for a standardized test, to meet a standard, to please a teacher, or for a grade. “We write to taste life twice, in the moment and in retrospection” (Nin, 1974, p. 149). Why do you write, for what purpose? When do you write, always, often, only when required? How do you write? What do you need as a writer? As you begin this book on becoming a teacher of writing, now is the time to consider how you identify as a writer; how you view yourself as a writer will matter in the way you read and learn with this text, with who you become as a teacher of writing. Horner (2010) writes: The frst priority is for teachers to be writers themselves. Only in this way do they learn empathy with their pupils, which enables them to give more space to pupils when they are writing and respond more appropriately to their work. They are also then able to model writing “live” rather than repeat what has been rehearsed (p. 30).

xii

Beginnings: Who Am I as a Writer?

How comfortable are you with the title “writer”? How confdent are you becoming a teacher of writing? What is your frst reaction to these questions? A. I am a writer – teaching writing will be a treat. B. I didn’t sign up for this (I don’t really like writing). C. While I am not terrifed or dreading the title, I am not totally convinced I know how to do this. D. None of the above ft. Here’s my response: There is no right or wrong way to respond to these questions. They simply mark a place of beginning. There is no “good” or “bad” writer, just where you are now. This is the way we accept our students at the beginning of every school year; this is the way we treat ourselves as well – with kindness and a sense of anticipation. So, however you responded, we believe this book will be useful to you. We don’t think it is quite like any other book on learning to teach writing. Let’s start with the title of the book, Becoming a Teacher of Writing in Elementary Classrooms, and a closer look at the word becoming. We are using becoming as described by two French philosophers, Deleuze and Guattari (1980/1987). The idea is that one never “arrives,” that becoming as a state of constant change is a way of being in relation with other humans and nonhumans: students, desks, pencils, standards, the clock, administrators, intercom, parents – all that makes up a classroom, teaching, and learning. In other words, as teachers of writing, we never “arrive,” we refute “expert-status,” and we are always in progress. It is not about getting the teaching “right” or “perfect.” Each moment unfolding in an elementary classroom has multiple possibilities, layered with past, present, and future; everything is adapting, changing, resisting, affrming – becoming. We love this concept – we fnd this hopeful as teachers. Although this book is specifcally designed for those pursuing teacher licensure, it may also be useful to those who have teaching experience but are seeking alternatives for teaching writing or need inspiration. Depending on who and where you are in becoming a teacher of writing, you may choose to read this book sequentially, or you may choose to spend time on particular sections that are most relevant to you. Part I is all about getting started: who young writers are; possibilities, purposes, and goals for the Writing Studio; and organizing the Writing Studio to support all writers. Part II focuses on assessments that provide authentic data for instructional decision making. In Part III, the Writing Studio goes live. This section includes examples and illustrations of daily teaching and learning in the Writing Studio. Finally, Part IV sweeps the view to a wide angle with a look at writing curriculum for the year and a synthesis of the Writing Studio in action. Throughout the book, you will fnd references to the companion website. These resources can be accessed via the QR code on the title pages of the chapters.

Introducing Teacher J in Becoming a Teacher of Writing Teacher J and their teaching insights are sprinkled throughout this book. Who is Teacher J? They are a composite of us, the authors of this book, and of teachers with whom we have taught and learned. They are informed by hundreds of writers, our own teaching of writing, a host of mentor teachers, distant colleagues, and the shelves of books we have read and will read. Teacher J is us – all of us – and perhaps even you, the reader of this book. And they

Beginnings: Who Am I as a Writer?

xiii

are always already becoming-teacher of writing. Throughout this book, we write them into existence – that is just one of the wonders of writing. In doing so, we explore the joys, the problematic, and strategies of teaching writing to children. Teacher J speaks to the fact that we are not writing this book in a vacuum but in the company of many teachers and young writers with whom we have written and learned with in our own journey of becoming teachers of writing. We thank them for joining us here (pseudonyms primarily used) and providing the many rich illustrations woven throughout the text of Becoming a Teacher of Writing in Elementary Classrooms.

Becoming-Writer As a parallel text to the main text, Becoming a Teacher of Writing in Elementary Classrooms, Becoming-Writer sections are strategically placed prior to each new part in the main text so you can grow your identity as a writer and your knowledge base of writing practice simultaneously. It is at this intersection between the content knowledge gained as a writer and the pedagogical knowledge learned as a teacher of writing that both teacher and teaching are transformed into powerful learning for children (Shulman, 1987, 2004; Higgs-Coulthard & DeFauw, 2022). As you read the main text, you will be writing your own personal narrative as guided by the Becoming-Writer sections. During this time, Donna will be writing along with you; Mindy will be Donna’s peer for conferencing, giving her feedback along the way. We will be modeling (and you will be experiencing) the writing practice, process, and craft of the Writing Studio. By doing this you will be prepared for each new Becoming-Writer section, and by the end of Becoming a Teacher of Writing in Elementary Classrooms, you will have a completed personal narrative or memoir to celebrate and broadcast to others. You will have also learned more about teaching writing based upon your developing identity and experience as a writer. Some might say we are guiding you through the process of writing in these BecomingWriter sections. However, writing is always already more than a single process. It is context dependent, open ended, infuenced by emotion, personal and cultural history, and even the choice of a writing tool; when we use the term writing process, we consider it plural. So, explore writing, not as a student, not as an assignment, but to see what writing can do for you. With each writing pause along the way, there will be opportunities for you to refect on yourself as a writer and your process as a writer and make a connection to who you are becoming as a teacher of writing. There are opportunities to share your writing process and your draft writing with others. Analyze similarities and differences; consider what this means to you as a teacher of writing. Writing instruction comes alive when implemented by a teacher who sees themself as a writer and as a member of a community of writers, listening and learning to one another. By writing while reading this text, you will become a member of a Writing Studio and form a unique community of writers with your colleagues. The term studio has long been associated with the work of artists gathered in a workroom, studying and experimenting with various art forms under the tutelage of a mentor. Studio is derived from Latin, stadium, meaning to study with eagerness or zeal. This is an apt term for the kind of teaching and learning illustrated and explored in Becoming a Teacher of Writing in Elementary Classrooms: young writers exploring writing as an art form, learning what writing can do for them, and experimenting with a variety of text types and genres while learning writing practice, process, and craft from their teacher, who is their writing mentor.

xiv

Beginnings: Who Am I as a Writer?

We suggest the following procedure for writing and reading your way through the entire book: 1. Read and complete the writing invitations of the Becoming-Writer sections. 2. Continue reading the main text, Becoming a Teacher of Writing in Elementary Classrooms. 3. Take strategic reading breaks, and then return to the writing you are working with in the Becoming-Writer sections: play and experiment with what you are writing. 4. Intentionally connect the two experiences of personal writing and what you are learning about yourself as a writer with reading the text and what you are learning about becoming a teacher of writing. The “Practice Metacognition” prompt at the end of the section will support you in making these connections. Your Writing Studio experience will be unique – notice and name this experience, care for the processes of writing and of becoming, practice listening to yourself and others.

Let’s Get Started Let’s return to the questions we asked at the beginning of this section: ♦ ♦ ♦

Why do you write, for what purpose? When do you write, always, often, only when required? How do you write? What do you need as a writer?

Go a little deeper with these questions by trying one of the following: 1. Create a two-column list. In the left column, list all the reasons you write and have written during given periods of your life, including high and low points of your writing life. In the right column, summarize how you think these reasons and events construct your view of yourself as a writer. See Table B.1 for an example. 2. Construct a writing timeline of yourself as a writer from childhood to the present. Mark the time when you learned to write, note places when writing was rewarding, inconsequential; inspiring, boring; diffcult or easy. When you have completed your timeline, summarize how you think these events construct your view of yourself as a writer. See Table B.1 for an example. Now, fnd a colleague and share your list or timeline. Talk about how you do or don’t or are learning to see yourself as a writer. Share stories of your writing experiences! Being a writer and a teacher of writing allows us to examine “the relationship between our own writing practices and our classroom practice,” resulting in “more authentic tasks which offer a higher than usual degree of congruence with writing in the real world” (Cremin, 2012, p. 134). Examine the relationship between who you are currently as a writer and who you want to become as a teacher of writing by responding to these prompts and sharing with peers: Based upon my past experiences as a writer: ♦ ♦ ♦

I would like to . . . I think I am most likely to be a teacher of writing who . . . Something I think I need to learn as a teacher of writing is . . .

Beginnings: Who Am I as a Writer?

xv

Table B.1 Mindy’s Two-Column List

Mindy’s Key Writing Events

What Mindy Learned From Writing Events

Diaries

Learned I can process life’s ups and downs and report on what I accomplished in a day. Learned I have a habit of starting new diaries and rarely fll them.

Mrs. Duncan’s 5th grade anthology family Christmas gift

Learned that poetry can help me share my thoughts and ideas and that writing short stories and creating illustrations into a polished, published book as a gift to my parents gave me a new purpose for writing.

Mrs. Carnahan’s 7th grade language arts journal

Learned how to write fast, without concerns of conventions to get my thoughts, emotions, and critiques of the world on paper as a means to process life.

Diagramming sentences in Mrs. Bumpus’ 8th grade language arts class

Learned there is a predictable structure to the English language.

Writing weekly essays in high school English classes

Mastered the fve-paragraph essay and learned that the more I wrote, and received feedback, the quality of my writing improved. Learned that I needed a lot of support in writing conventions – many of my essays were returned with A/D – A for content of paper, D for conventions.

Master’s degree action research thesis

Grew in my confdence as an academic writer – studied my own teaching and how it impacted my elementary students’ learning and identity as readers.

Doctoral studies

Learned more about myself as a writer – how I need to read and process with others before I write to work out my thinking. Learned how writing an outline helps to structure and organize me before I type, and that the act of typing or writing can bring new ideas that I hadn’t outlined.

Notes on my phone flled with memories of my mom

Learned that when I write down small moments, memories shared by friends, and dreams about my mom, I have a way to keep her stories alive.

Social media posts

Learned how I like to connect with others, especially family that lives far away and my mom’s childhood friends.

Becoming a Teacher of Writing 2nd edition

Learned that my naive optimism continues to cause me to underestimate the time needed to write even a small section. Learned that I should (though I have yet to try) set a timer when I start down a rabbit hole of research so I don’t lose focus.

We fnd that being a writer and a teacher of writing is to joyfully enter into the ever-deepening, unpredictable worlds of becoming-writer with your students. We welcome you to this journey with us! Keep the self-work you have completed here and read it again when you have completed reading and writing with this text. Study with zeal; anticipate change!

xvi

Beginnings: Who Am I as a Writer?

Figure B.1 Donna’s Writing Timeline

References Cremin, T. M. (2012). Writing voices: Creating communities of writers. Routledge. Deleuze, G., & Guattari, F. (1980/1987). A thousand plateaus: Capitalism and schizophrenia (B. Massumi, Trans.). University of Minnesota Press. Higgs-Coulthard, K. R., & DeFauw, D. L. (2022). Supporting teacher candidates through engagement of practice: Enacting pedagogical content knowledge of writing. In T. S. Hodges (Ed.), Handbook of research on teacher practices for diverse writing instruction (pp. 315– 334). IGI Global. https://doi.org/10.4018/978-1-6684-6213-3.ch016 Horner, S. (2010). Magic dust that lasts: Writers in schools – sustain the momentum. Arts Council England. Nin, A. (1974). The diary of Anaïs Nin, Vol. 5: 1947–1955 (G. Stuhlmann, Ed.). Harcourt Brace Jovanovich. Shulman, L. (1987). Knowledge and teaching: Foundations of the new reform. Harvard Educational Review, 57(1), 1–23. Shulman, L. (2004). How and what teachers learn: A shifting perspective. Journal of Curriculum Studies, 36(2), 257–271.

Part I

Introduction to the Writing Studio

Figure Part I.1 Eva, Grade 4 Writer and Author

DOI: 10.4324/9781003409243-1

Becoming-Writer I

Finding Ideas and Drafting

Writing a personal narrative is a good way to reconnect with what writing can do for you. It is also a good place for young writers to start since the topics are close to home. So let’s get started with what every writer experiences: the blank page and the need to fnd an idea one cares enough about to commit time and effort to write! Embrace this advice from Barbara Kingsolver, “There is no perfect time to write. There’s only now” (Thomas, 1994, p. 26).

Strategies for Writers to Find Writing Ideas No need to look outside yourself to fnd a writing topic; start by looking near you. In the following are fve strategies for fnding a personal narrative idea. Explore them all. Begin with the one that resonates immediately. Already have an idea for a personal narrative? Skip down to “Talk About It.”

Strategy for Finding an Idea: Make a List Here is a strategy adapted from Donald Graves (1994): ♦ ♦ ♦

♦ ♦

Remember back to yesterday. Make a list of the details of your day. Return to the list and “read the world,” your world, by jotting down questions and comments about your list of activities. Reread your list and your questions. Choose something from your list and write for 15 minutes. Set a timer. Write fast. Try not to be literary. Don’t be concerned about “product.” Do it again: choose another item from your list and write for another 15 minutes. Yes – try it again (and again) until you are relaxed with your writing.

DOI: 10.4324/9781003409243-2

4

Introduction to the Writing Studio

Modeling: An Excerpt From Donna’s List 5:50 a.m. Wake up at beach. Pull myself out of bed into cold. Head for coffee shop. Why didn’t I bring my work? Have book I am reading but I don’t have time to just read. Question: Why do I always feel the need to bring work when I am supposed to be getting away for a short break? Why do I work on a reward system? 8:10 a.m. It was a good book! Four dogs, three friends, one spouse, all crowded in the beach trailer, making breakfast together. Sun is out. Life is good. Pacifc City has lots of memories. I am not sure what memory I would write about. Would need to explore. I could write a book review for Mink River: A Novel, by Brian Doyle (2010). Great read; great reward.

Strategy for Finding an Idea: Photographs as Inspiration Do you use social media? If yes, pull up your latest posts. Alternatively, check the pictures on your phone, pull out a photo album, or check out photos you have hanging in your hallway or sitting on your desk or nightstand. Choose any one post or photograph. Start writing rapidly, flling in the details, the memories, the moment of the post or photograph. Conversely, write a bulleted list or sketch your memory.

Modeling: Donna Uses a Photograph Smiling Buddhist monk, Thailand. Absolutely infectious smile. I can still feel that smile, almost as intensely as the moment. Even though we were sitting in the shade, it was hot and humid but the sun was all in this monk’s smile. Oh, and his laughter! I swear I could feel the laughter in my body, like a surge of goodness. . . . Too bad John was sure he was just trying for another paying recruit. Maybe I could be a recruit? Can I imagine myself submitting to such discipline for a week, a month? (Maybe not!) He told us this story of his wandering for fve years all over the world and called our friend “Superman.”

Strategy for Finding an Idea: Neighborhood Map Take some blank paper (large is good) and draw a quick sketch of a neighborhood where you lived or any location where you have had lots of experiences as a child. Just create a map

Finding Ideas and Drafting

5

of a place where you know there are memories you might discover and write about. Once you have the map sketched, create a key for your map: 1. 2. 3. 4. 5. 6.

Laughter and good fun Scary! Accidents Warm and cozy Painful Choice category (You name it!)

Label all the places on your map that correspond to the key. With a “1” mark all the places, for example, that represent “laughter and good fun.” Maybe you won’t have any Item 1 – that is okay. Maybe you’d like to add something to the key – that is okay! Add away!

Modeling: Donna’s Neighborhood Map Figure BW I.1 Donna’s Neighborhood Map

6

Introduction to the Writing Studio

Strategy for Finding an Idea: Heart Mapping Here’s another topic-fnding strategy we will borrow and adapt from Georgia Heard (1998) and Nancie Atwell (2002) called “heart mapping.” Draw a map of your heart. Ask yourself, “What has stayed in your heart? What memories, moments, people, animals, objects, places, books, fears, scars, friends, siblings, parents, grandparents, teachers, other people, journeys, secrets, dreams, crushes, relationships, comforts, learning experiences? What’s at the center? The edges? What’s in your heart?” (Atwell, 2002, p. 13). Spend some time with this map – don’t rush it. Fill in your heart with as much detail as you can.

Modeling: Donna’s Heart Map Figure BW I.2 Donna’s Heart Map

Finding Ideas and Drafting

7

Strategy for Finding an Idea: Reread Favorite Authors Sometimes we fnd writing ideas from authors we enjoy. Return to a favorite book that resonated with you. Maybe it was the topic, setting, emotion, or scene from the book that elicits a memory from your own life. Perhaps it is the style of the author’s writing that beckons you as something you’d like to try with your own memory. If it is a graphic novel, you may fnd yourself doodling a few potential scenes. Explore! (And, yes, this is using your favorite books as mentor texts!)

Modeling: Donna Returns to Sandra Cisneros (1984), The House on Mango Street I am looking through the table of contents of The House on Mango Street. I love how Cisneros can write a few powerful paragraphs and tell volumes. Even though we do not share the same culture, I fnd common ground with some of her subjects: ♦

♦

♦

“Hairs” (p. 6). I am the only one in my family with curly hair. My brothers repeatedly convinced me I did not belong in the family based upon this when I was little – could write this. “My Name” (p. 10). My name. I’ve never liked it. “I would like to baptize myself under a new name, a name more like the real me, the one nobody sees” (p. 11). I could use this as my writing prompt. What new name will I choose? “Papa Who Wakes Up Tired in the Dark” (p. 56). I love this one. It reminds me of my own dad. Of his hands. I could write about my father’s hands.

Strategy for Finding an Idea: Talk About It Talk is a critical component to writing. So – take any one or two or three of your ideas for writing, a question from your day, a possible story behind a photograph, an item from your neighborhood map, or memory that has stayed in your heart, and talk the story. Tell the story, the event, or wonder aloud your questions to a friend. Meet face-to-face, do a Zoom or FaceTime or use another such tool, phone, or even have a live chat, but talk about your writing idea before spending time drafting that idea. Talking about our writing ideas helps us determine if we want to spend more time with the idea or abandon it for another.

Modeling: Mindy and Donna Talk via Live Chat Hey, Mindy . . . I am thinking I might write about the only pet John and I ever had. I discovered this topic doing the heart map. What do you think? M: I wonder why you only had one pet? D: We only had one pet because after Morgan, it is too painful to think about having another pet. We are not responsible enough. We had to give him up. I am ashamed or maybe just guilty about the whole thing. M: Pets are like children. Ashamed? Guilty? Pretty strong words. Why? D:

8

Introduction to the Writing Studio

We were young. Other people our age were having babies. We had a dog. Loved the thing like crazy. He ruled our world. . . . When we made the decision to leave the county and move to a city apartment, John argued it would be criminal and unethical to take Morgan and make him stay in a studio apartment ten hours a day while we were at work. So we decided to give him up. M: BTW remember I am terrifed of dogs (all about that Doberman Pinscher that chased me when I was young). . . . So why do you think this memory of leaving Morgan is still so strong today? Sounds like you were responsible. D: Responsible???? No one would adopt him. Friends said they would take him to the pound. Do you know what happens to dogs at the pound if no one adopts them? It was awful. . . . D:

[The conversation continues . . . Donna telling the story, expressing emotions. Mindy empathizing, asking questions . . .] M:

So maybe this story is more about how life changes vs. abandoning Morgan. . . . Maybe it is about a sense of losing control of life, or all of the above. Maybe you’d better start writing . . .

Your Writing Goal: Start Writing or Draft Now that you’ve talked your story, told a friend about your idea, fnd a place conducive to begin writing or sketching your personal narrative idea. Either way, get the supplies you need (Coffee? Music? Favorite pen? Or . . .?) and allow yourself time . . . to write. Just get started. Get those words down – fast. Give yourself 30 minutes and see where you are in the writing. Give yourself a break; stretch – give it another go if you can. If you really do not love the idea after 30 minutes, try another. There are all kinds of reasons to abandon an idea: it doesn’t seem to work; it doesn’t seem like that great of a story; it is too personal; another story idea keeps popping into your head. Switch topics; draft again. You are developing writing practice! And sometimes, “just getting started” is easier said than done. Consider two pieces of advice from Anne Lamott (1994) that we love: First, remember all you need to do is write down as much as you can see through a one-inch picture frame (you are not writing a novel). Just describe that one funny line (not everything leading up to it), that moment of panic (get to the gasping part quick!), or fnd that lovely beach and describe the warm sand. Second, embrace the idea of “shitty frst drafts.” As Lamott (1994) writes, “all good writers write them” (p. 21). Try not to stop and reread much and try really hard not to start revising or editing – the idea is to draft quickly and decide later if you want to keep the draft and do the work of revision. If you are using a word processor or a tablet, you may consider turning off the auto correct so annoying squiggly green and red lines under misspelled words and incorrect grammar do not distract you. Just get it down: draft. The word implies a beginning, something temporary to be developed later, a frst attempt. If you get stuck – walk away and come at it again. Begin more than one draft and settle later on the one you most like. Oh – and you don’t need to “fnish” the draft. If everything comes to a screamin’ halt – try another topic. See where that one goes.

Finding Ideas and Drafting

9

Happy writing! When you have completed drafting, complete the following, “Metacognition Practice.”

Metacognition Practice: Writing Practice, Writing Process, Writing Craft Metacognition is taking an intentional moment to think about your thinking processes. We invite you to this metacognition space to consider what you are learning about yourself as a writer: your writing practice, process, and craft. It may be useful to return to the selfwork you completed in “Beginnings.” Additionally, consider how what you are learning as a writer infuences your practice as a teacher of writing. Take risks in being honest with yourself – see what you can discover about yourself as writer and teacher of writing! When you have completed drafting, consider what it was like for you to fnd an idea and begin writing by using the following prompts: ♦ ♦ ♦ ♦

How easy or hard was it for you to fnd a topic to write about? What did or didn’t help you in this process? How important was it for you to talk with a friend about your writing topic? Describe the process of drafting. How did you go about it? How long did it take? What language(s) did you use to think, draft the writing? What did you learn from this experience that you want to remember as a teacher of writing?

Donna Practices Metacognition: Writing Practice, Writing Process, Writing Craft I found it easy to pump out four pages of a rambling story about leaving our home in central Oregon and giving up this little half-beagle that was the love of our life. It was cathartic to write the words, own the story. Talking with Mindy is how I discovered the bigness of the story, all that leaving Morgan behind symbolizes (or might symbolize). I need to think more about this. Morgan as a topic kept playing around in the back of my mind after I completed the heart map. But when I reviewed Cisneros’ (1984) short stories, I started thinking about the Morgan idea even more. I am wondering if I can actually work with these rambling four pages and write a few powerful paragraphs like Cicneros does. Based upon this experience, here are some ideas I want to remember as a teacher of writing. It is much easier for me to write about topics that I care about, that are personal. I also know that some topics are too personal and I am not ready to commit them to written words. I like writing on a computer – I can keyboard faster than writing with a pen or pencil. I can almost type as fast as my thoughts (but not quite). As a teacher of writing, I want to make sure my students also have the opportunity to write about topics they care about. And I want them to have a choice in what they share and when. Not every writer is going to be skillful at keyboarding; the writers in my classes need access to the writing tools that work best for them, including voice recording. Also, I have experience with writing. Drafting is the easiest part of the process for me. How do I support writers for whom this is not true? I want to remember that it was my chat with Mindy that directed me to the idea that the story of Morgan

10

Introduction to the Writing Studio

is bigger than just Morgan. Mindy asked great questions that made me think: how can I do a better job of asking these kinds of questions for writers in my class?

Tracking Writing Progress: My Writing World Understand more about yourself as a writer and your writing practice by tracking your writing progress as you work through these Becoming-Writer sections. This is a practice we use with writers in our classes. Table BW I.1 Donna’s My Writing World

Donna’s My Writing World Date

Title/Description

Genre of Writing

Writing Process Status B = Brainstorming D = Draft R = Revise E = Edit PC = Peer Conference

5/2

“Morgan” Played around with different writing strategies to fnd an idea. I like the heart map, writing from photos (although I got distracted looking at photos). Found writing craft inspiration from Cisneros.

Personal narrative

B

5/15

“Morgan” Returned to Cisneros’ House on Mango Street.

PN

B

5/20

Met with Mindy about Morgan as my writing topic.

PN

B

5/20

After talking with Mindy, I really wanted to start writing. Drafted 4 pages of rambling text about my Morgan memories.

PN

B/D

Go to the companion website to download a “My Writing World” template.

As You Are Reading Part I Introduction to the Writing Studio . . . ♦

Note the descriptions of young writers in Chapter 1. Connect back to the self-work you did in “Beginnings.” How do or don’t the descriptions resonate with your own experiences as a young writer?

Finding Ideas and Drafting ♦ ♦

11

Apply the concept of genres and writing traits from Chapter 2 to fnding an idea for your personal narrative writing. Do these ideas open writing possibilities for you? Consider what kinds of routines, support, and writing tools you need as a writer to sustain your writing practice, encourage the writing process, and develop writing craft.

References Atwell, N. (2002). Lessons that change writers. Firsthand. Cisneros, S. (1984). The house on Mango Street. Bloomsbury. Doyle, B. (2010). Mink river: A novel. Oregon State University Press. Graves, D. (1994). A fresh look at writing. Heinemann. Heard, G. (1998). Awakening the heart: Exploring poetry in elementary and middle school. Heinemann. Lamott, A. (1994). Bird by bird: Some instructions on writing and life. Random House. Thomas, C. (1994). 100 tips from bestselling writers. Writer’s Digest, 74(8), 24–29.

Chapter 1

The Student of Writing – The Teacher of Writing

It is the middle of August. Teacher J opens the classroom door, fnding boxes of supplies, crates of books, laptops collecting dust, and desks and chairs all stacked and corralled into the middle of the classroom for summer cleaning and painting. The whiteboard is draped with posters from last year’s fnal writing celebration; empty bulletin boards beckon; a lone Star Wars fgure is the welcoming committee from an empty child’s cubby. Teacher J savors this moment. They love every new beginning: the do-over, the re-invention of themself as a teacher with each new school year. Soon this classroom will be flled with children and their lives, their community and families, their play, dreams, disappointments, and events local and global that will alter the course of their well-intentioned plans. “It is time,” Teacher J says to no one in particular. Time to begin the living narrative that will emerge as the biography of the yet unknown children and the teacher of Room 23. Who are the elementary writers who will join Teacher J this coming school year? While composites and rubrics are developed to defne Preschool through Grade 5 writers, individual writers with their own life context do not always ft into tidy categories. Research informs us that writing is a socially situated act, mediated by culture, class, and gender expectations (Bakhtin, 1986; Davies, 2003; Dyson, 2013; Heath, 1983; Meyer, 2010; Solsken, 1993; Street, 1995). Furthermore, writing is an embodied and material act (Barad, 2007; Lenz Taguchi, 2010; Phillips & Larson, 2013). Samuel, Joseph, and Jakinda hurry to the sandbox during playtime. “What are you making?” the teacher asks. “We are digging for pipes,” announces Samuel. “Yep, the pipe is broken,” says Joseph. “Oh, no!” cries Jakinda. “Watch out, it is going to be a gusher!” The day before, Mark the Plumber came with his plunger, pipes, and illustrations of basic plumbing to visit Samuel, Jack, and Jakinda’s classroom. Today, they play “plumber,” and not surprisingly, during the Writing Studio, they all have variations of fantastic plumber stories. Writing is a result of the social interactions of our lives. This is why so many teachers’ good intentions and generic writing prompts fail to motivate – it is not the stuff of writers’ lives, and in writing, we write to make meaning and further our relationships with others. DOI: 10.4324/9781003409243-3

14

Introduction to the Writing Studio

“Socially situated” (Gee, 2001) refers to how children are infuenced by culture, class, and gender expectations of the community. How does the writer’s home and community value writing? What kind of writing is valued? Does the child see writing as a necessary part of daily life? Such home and community values infuence children’s motivation, engagement, and vision of what writing can do for them. Despite popular stereotypes of writers in isolation, researchers fnd that writing is relational; it is a social act (Davidson, 2007; Dyson, 2020; Fisher et al., 2010). Talk is a critical component from fnding an idea to broadcasting one’s work as an author. Collaboration, friendships, and community are necessary and fostered through writing. The four Grade 5 boys beg their teacher, “Please, we need time to work on our story!” They gather around a table and plunge into the action. “Let’s write this fght scene!” “Yeah – I think he draws out this sword and it is like glowing blue and . . .” “Maybe he doesn’t draw it out right away, you know, he hesitates . . .” “That’s what gets him!” “He hesitates and this guy from behind . . .” “No, not a guy – it is a reincarnated monster!” Furthermore, writing is embodied and material (Barad, 2007; Lenz Taguchi, 2010; Phillips & Larson, 2013). Introduce a new technology, for example, and the substance of the writing may drop as the technology is learned. If a new teacher is present, children are less likely to share personal stories. Children change their view of the tasks of writing based on different aspects of the environment (Hartse et al., 1984; Olson & Sulzby, 1991). Elias squirms in his chair that is too big for him, balancing on one folded leg and then the other. His fngers clench a pencil that is awkward in his hand. If his elbow could rest easy on the table, it would make a difference. It doesn’t help that his classmate occasionally shoves his table against Elias’, causing the pencil to jump out of control. Elias is supposed to write a full page. And he wants to write a full page – he wants to write about being a basketball player. Not just any basketball player, but one that dunks and swivels and wins every time – except he doesn’t know all the English words, doesn’t know all the Spanish words, either, but he does have memories of playing basketball with his cousins, of the feel of the ball, of the sound of it swishing through the net. Yet Elias writes with the help of his teacher and his peers. He writes with Spanish and English words and occasionally a drawing. When Elias fnishes that page, he has a new standing with his peers (they didn’t think he could write); he has written himself an identity (star basketball player), and it has been a material and relational effort of paper, pencil, desk, peer, teacher, community norms, and expectations. Writing is thinking; therefore, it involves cognitive processing. For multilingual learners, this processing is using their unifed repertoire of language resources. What kind of processing is involved in writing is dependent on the purpose and audience for writing. Writing a note or a text requires immediate thought and a quick response. Desiring to write a few perfect lines to someone on a sympathy card takes considerably more time and consideration. Writing research reports evolves over time as the writer’s knowledge of the subject area grows. Writing is often described as a process of fnding an idea that is important to the writer and that fulflls the purpose of the writing; drafting the writing (which may involve single or multiple revisions); editing for spelling, punctuation, and grammar after content revisions are completed; and publishing the writing to the intended audience. Too often this

The Student of Writing – The Teacher of Writing

15

processing is described as “the writing process,” as if all writing requires the same process from each writer, each and every time. Writing is rarely so linear; the writer loops back and between and around, even while moving forward to publication; this looping process refects thinking, the revision of thoughts, and the process of meaning making. Writing is not only a cognitive process but includes emotional processing and physical work. Writing cannot always be summoned as “on demand” – it requires time and the time required is dependent upon purpose and audience (Elbow, 1981; Graves, 1983; Harwayne, 2001; Murray, 1985). Miley comes home from school expressing her concerns about writing. In her classroom, writing instruction follows this pattern: Day 1/Draft, Day 2/Revise, Day 3/Edit, Day 4/Write a fnal draft. Miley is also a reader and a fan of author Jason Reynolds. She has read about Reynolds as an author, and so she questions, “If real authors take time to write about their stories and sometimes don’t even know how the story will end, why do I have to fnish a story in four days?” Who is the elementary writer? They are socially constructed by community expectations, culture, linguistic abilities, class, gender, and the material world in which they dwell. This writer is the author of their life, writing themself an always, already changing identity. These writers need a space to explore and grow their writing identities. They need a Writing Studio.

Why Writing Studio? We write this book on a foundation of writing research that informed our work as public school teachers and continues to inform our work as teacher educators (Graves, 1983; Murray, 1985). In the 1980s and early 1990s, an important body of work used this research to champion a writing pedagogy known as the “writing workshop” (e.g. Atwell, 1987; Fletcher, 1993; Graves & Hansen, 1986). As public school teachers in the height of writing workshop pedagogy, we immersed ourselves in these texts. But along the following years of writing instruction, it seems to us the name “writing workshop,” and the pedagogy associated with it, has often been blurred, mischaracterized, scripted, and hijacked. Maybe it is time for the term to be retired, re-imagined, and re-vitalized. In our attempt to honor the work that has so infuenced us and in the spirit of re-claiming and re-envisioning, we morph “workshop” into “studio.” It is in a Writing Studio that children can develop as writers develop writing practice, process, and craft:

Writing practice is developing writing habits and routines that support the writing life. Every writer develops a practice which includes favorite writing tools, writing spaces, and writing process and craft that support the creative and technical processes of writing. Writing practice is the journey of coming to know one’s self as a writer. Writing process is the thinking and talking and drafting and revising and editing and producing that goes into creating meaning through words. Writing processes are not linear, are context dependent, and vary given the writer and the complexity of the writing task. Writing practice is through and with, writing process. Writing craft refers to the artistry and technical skills a writer uses to create and convey meaning to specifc audiences. As a writer learns to use writing craft, they better use writing process to create and refne their work and their writing practice deepens.

16

Introduction to the Writing Studio

How Do Writers Develop Across Grade Levels? Our work and the work of others illustrates how preschool and elementary writers can move far beyond traditional expectations for writing (e.g., learning the basics of spelling, punctuation, and mechanics) when they are in a supportive environment for writing and taking writing risks. Creating such an environment includes being mindful of how writers develop. There are those that hold to a strict learning trajectory of writing development often displayed in continuums; these continuums can be useful in developing curriculum and expectations. They can also be problematic. Such continuums often focus on a narrow aspect of writing. Patterns of development can be distinguished between preschool and elementaryaged writers, but the discerning teacher of writing understands how language, culture, class, gender, community values, and expectations infuence the interpretation of such patterns (Davies, 2003; Dyson, 2003, 2013; Garcia & Kleifgen, 2019; Rowe, 2003).

Preschoolers and Kindergartners as Writers Elbow (2004) notes that young children are positioned to write: They can read only the words they have learned to read or sound out – a fairly small lexicon. But they are beautifully positioned for writing: They can write all the words they can say. Even younger children who don’t know the alphabet can write if they have seen other people write: They just scribble, scribble, scribble – but with meaning and they can ‘read’ their writing back to you (p. 9). Preschoolers are enthusiastic writers, delighted to share the stories of their lives with others. “They do not yet have a concept of words, but they do have a concept of the world” (Pilonieta et al., 2014, p. 14). Children as young as 2 years old imitate the act of writing, drawing and scribbling to share ideas that are important and relevant to them. These young writers enter into their writing practice by way of play, by observing, and participating in, authentic reasons to write, using symbols to “make a world,” and guided by interactive talk with their peers and grownups (Dyson, 2008, 2020). Correct formation of letters or proper spelling is not a priority in the preschool writing studio; rather, these young writers are learning that the marks they make on paper have meaning even as they make initial steps to sound out letters and words and grow their identities as writers (Bear et al., 2004) Young writers need time, encouragement, and purpose as their writing develops from drawing and scribbles to beginning words and phrases (Bredekamp et al., 2022). Preschool teachers of writing support young writers’ writing explorations, building their understanding of the wonder of words written on a page. Preschool writers remind us as adult writers and teachers of writing that writing is joyful! Claire’s writing samples show three pieces of her writing as a preschooler from ages 3 to 4 (Figure 1.1). She wrote her frst writing sample as a 3-year-old. In this writing sample, Claire is able to write her name and can form some letters – m, y, o, u. She also writes using her own approximations of letters. She takes her writing seriously, conveys her story and meticulously flls all the lines with her story. Claire’s second writing sample was written when she was 4 years old and knows many of her letters and their sounds. Her story, “ iWT TO HAV YO gRTY” [I want to have yogurt] demonstrates that she knows people write to inform others of their needs and desires. The last writing sample, also as a 4-year-old, shows Claire’s growth as a writer. Her story, “il k sMEING EVA MOMO” [I like swimming with Eva and Momo] records

The Student of Writing – The Teacher of Writing

17

an important event from her day with her friends at the pool. She is able to hear the beginning, middle, and ending sounds of words and has more sight words – Eva and Momo, two of her good friends. What are you noticing about Claire’s writing? Compare and contrast with the writing of Maddie, a kindergartener, in the following or a young preschool writer you know. Figure 1.1 Preschool Writing Samples – Claire

Kindergartners participate in interactive and shared writing; they use everything they know to approximate their own writing. They are continuing to discover what writing can do for them. Like preschoolers, they often communicate meaning through drawings, and then draw with labels, spelling according to how they hear the words, most likely according to consonant sounds at the beginning and end of words. They use approximation to make short books telling a story that has a beginning, a middle, and an end. Kindergarteners begin to understand the relationship between print, letters, words, and sentences, showing an awareness of left-to-right directionality, the need for spaces between words, and the function of text structures like where a title is placed on the page. They begin to notice author and illustrator’s craft. Simple sentences develop with subject–verb agreement, and these grow throughout the school year, as kindergarteners understand the role of capitalization and punctuation. Kindergarteners develop the ability to hold a pencil and position the page and to locate letters on a keyboard. They willingly explore genres through the books they read and write. They begin to draw and write for specifc audiences and purposes, and they develop an ability and a motivation to add details to their drawings for their audiences. Talk, play, art, storytelling, and immersion in reading all kinds of texts are critical elements necessary to the development of young writers. Perhaps more than any other grade level, children in kindergarten develop writing abilities and writing identities in stunning and wide-ranging ways (see Pinnell & Fountas, 2011).

18

Introduction to the Writing Studio

Maddie is an eager kindergartener. She has access to rich literacy experiences at home and in the world. Read Figure 1.2 for Maddie’s personal narrative about one of her favorite Christmas memories with her brother: “My brother was drinking eggnog and I was decorating the tree. We turned on the tree lights and we turned on the tree.” How does Maddie’s writing compare with the previous description of kindergarten writing? Figure 1.2 Kindergarten Writing Sample – Maddie

Visit the companion website to watch a video of kindergarten teacher, Ms. Coy, explain young writers’ development.

Multilingual Writer Development Let’s pause and consider for a moment writing development for multilingual learners. Some students are considered Long-Term English Language Learners. They may have attended U.S. schools since kindergarten. Because it takes 1 to 3 years for English learners to develop basic communicative language profciency and 5 to 7 or more years to develop academic language profciency (Cummins, 1981; Thomas & Collier, 1997), Long-Term English Language Learners may fnd writing in English challenging, even if their conversational English is adequate. Other children arrive from home countries with limited and/or interrupted formal schooling, bringing with them varied writing profciencies in their native language or languages. All children, however, bring with them cultural understandings, memories, and knowledge of how language is used for various purposes and is connected to their lives. The English Language Profciency (ELP) Standards (Council of Chief State School Offcers, 2014) can be insightful for teachers of writing. The standards describe English profciency from Level 1 (emerging) to Level 5 (profcient) and duly note “students may demonstrate a range of abilities within each ELP level” (p. 1). Profciency can vary for each language domain: speaking, listening, reading and writing. Furthermore, the standards state, . . . by defnition, ELL status is a temporary status. Thus, an English language profciency level does not identify a student (e.g., ‘a Level 1 student’) but rather identifes

The Student of Writing – The Teacher of Writing

19

what a student knows and can do at a particular stage of English language development (p. 3). Learning any language is never a straightforward trajectory, and multilingual children move between and around the levels depending upon context and complexity of text. The ELP standards describe the progression of learning and can be used by teachers of writing to better understand the journey of multilingual writers adding English to their language repertoires. While understanding writing development phases of those learning English can be useful, translangu aging scholars teach us that phases or stages inherently assume a writer is using two separate language systems, such as English/Spanish, giving preference to the dominant and colonizing language, English. Freddy C. (2023) writes about his experience learning English in America, To be an American, you must speak English because all other languages are inferior. . . . And if you have that attitude, of course you will think that knowing another language is bad. . . . Losing my Spanish meant losing a connection to my people and yet not being fully accepted by Americans because I didn’t look like them (pp. 12–13). Translanguaging teachers understand that overemphasis on English learning by isolating the languages of multilingual students conveys to the student that English and the dominant culture is “best.” “Stages” and the separation of languages, as in “bilingual,” focus on English language acquisition without acknowledging the fullness of multilinguals’ repertoire of languaging. Multilinguals employ a “unifed repertoire of linguistic features,” their “whole selves,” to create meaning as they acquire the English language (García & Kleifgen, 2019). They do not write in one language or another; they use all the languages they know, regardless of the language in which the written text appears (Wei & García, 2022). Such writers use what they know in one language to solve what they do not know in another (Velasco & García, 2014). Translanguaging is both a lens to view how individuals construct meaning by drawing upon their entire linguistic repertoire and a pedagogical approach. As a lens, it brings attention to the fexible, fuid, and creative ways through which students use their language resources (Ascenzi-Moreno, 2018, p. 12). Translanguaging is more than simply acknowledging a frst language or allowing writers a choice to use their home language or English in the writing studio; it embraces that language represents generational richness and culture. As Freddy C. writes, “There is power, culture, and history in a person’s language. To speak it, is to continue that connection” (p. 12). Translanguaging teachers take into account “the full sociocultural, sociolinguistics, and multimodal dimensions of learning” (García & Kleifgen, 2019, p. 561). They see the whole multilingual student, “starting with the internal perspective of the bilingual students themselves” (Wei & García, 2022). Translanguaging teachers trust students to be able to use their language abilities according to their own processes for creating and making meaning; they are curious and eager to learn more about these languaging processes from their students as co-learners during the Writing Studio (Wei & Garcia, 2022). Ivan is a kindergarten writer who loves to write nonfction (Figure 1.3). Here, he expresses an opinion, “No Me gustan las! ab gols (abejas) porque pican.”(No I do not like

20

Introduction to the Writing Studio

the! bees because they sting) Learning to read and write in Spanish validates his culture, language, and identity; this will support his overall academic success. As a teacher practicing translanguaging, what can you do to continue to grow and encourage Ivan’s Spanish language development?

On the companion website, watch an interview with Ms. Martinez-Ponce as she describes what translanguaging means to her and what translanguaging looks like in her teaching.

Figure 1.3 Multilingual Kindergarten Writing Sample – Ivan

Grade 3 Writers Grade 3 writers are lively storytellers! They understand the concept of genre and can organize text in interesting and different ways, even providing support for informational text and additional details for narratives. They have a growing awareness of author’s purpose based on audience. As writers, they begin to develop voice, that human capacity to express a writer’s perspective through word choice, text style, organization, and conventions. Grade 3 writers begin to use appropriate verb tense and a range of complete and compound

The Student of Writing – The Teacher of Writing

21

sentences in developing their voice. Grade 3 writers typically are able to use capital letters for all kinds of appropriate purposes, and the punctuation discoveries (!) they make (!!) can be a delightful expression (!!!) of their growing identities as authors (!!!!). Grade 3 writers can spell 300 or more high-frequency words and develop additional spelling abilities as they read and write frequently. They can use knowledge of syllables and patterns of language to approximate more advanced spelling. Grade 3 writers are able to stay with writing tasks for 60 minutes a day. They generate ideas, explore revisions, gain confdence as writers, and expand their vocabulary and use of expression through social interaction. Motor skills are developing so that handwriting is easier, and they can begin experimenting with cursive. Using word processing to plan, revise, edit, and publish their work, along with various applications, is exciting for these writers as their keyboard skills continue to develop. Grade 3 writers in a safe environment rich in reading and writing grow their writing identities, coming to see more and more the power of writing and what it can do for them (see Pinnell & Fountas, 2011). Read Figure 1.4 for an example of writing authored by Morgan, a Grade 3 writer. Morgan’s teacher read Airmail to the Moon (Birdseye, 1989) about a girl, Ora Mae Cotton, who accuses family members of stealing her recently lost tooth only to realize her tooth was in her pocket all along. Morgan was inspired by Airmail to the Moon to write her own story of a time she had lost something, her story “Lost.” Compare Morgan’s writing to the previous description.

Figure 1.4 Grade 3 Writing Sample – Morgan

22

Introduction to the Writing Studio

Grade 5 Writers By Grade 5, most writers have been immersed in a wide range of texts, from narrative, informational, opinion, to poetic, and have a more defned vision of what writing can do and be. Main ideas are clearly communicated through relevant support and details that are interesting and accurate. Grade 5 writers have a more developed sense of audience and of writing for a specifc purpose. A Grade 5 writer is a relational writer – often writing to entertain and engage peers. For this reason, they write with a more unique voice, experimenting with various author’s craft such as dialogue. Writers at this grade level are developing a sense of text layout, enjoying graphic representations, or how they can arrange pictures with text while word processing or working with a tablet application. They enjoy experimenting with titles and subtitles, underlining, and italics. They have developed grammar skills, writing in appropriate sentences and learning to vary sentences to convey a message. Grade 5 writers are learning some of the more inconsistent or diffcult usage of parts of speech (e.g., indefnite and relative pronouns). Grade 5 writers work to master the more specialized use of capitalization, such as those used for headings, and begin to view punctuation as a way to effectively communicate with readers. They include in their set of writing conventions such things as ellipses, dashes, colons, and semicolons. Grade 5 writers in a supportive environment are ready to work through writing processes in more sophisticated ways as they explore multiple genres and continue to grow their identities as writers (see Pinnell & Fountas, 2011). Nickolas’s teacher was in the middle of an integrated reading and writing unit about “Theme.” His teacher modeled identifying the theme of picture books and YouTube videos by thinking aloud for the class and guiding them in discussions about theme. Then, the Grade 5 writers created their own comics demonstrating a self-selected theme. Read Nickolas’s comic centered on the theme of “trustworthiness” (see Figure 1.5). Compare Nickolas’s writing to the earlier description of Grade 5 writers. Figure 1.5 Grade 5 Writing Sample – Nickolas

The Student of Writing – The Teacher of Writing

23

Becoming-writer is a beautiful human act. At any age, we have stories to tell, opinions to share, information we want others to know, poetry to sing. “We are cups, constantly and quietly being flled. The trick is knowing how to tip ourselves over and let the beautiful stuff out” (Bradbury, 1990, p. 112). Young writers are developing a sense of what writing can do and be, of who they are as writers, as they develop writing practice, writing process, and writing craft. Our role as teachers of writing is to support this development, to facilitate that tipping over of the elementary writer’s life so the “beautiful stuff” can come out and be shared with the world.

Who Is the Teacher of Writing, and What Is Their Role in the Writing Studio? Each teacher of writing brings their unique voice to the Writing Studio. Effective teachers of writing have a depth of knowledge about writing practice, process, and craft. As writers, they know what writing can do for them. While their style varies, they also share some common beliefs about who young writers are and the possibilities writing holds for them. These beliefs become the dynamic force flling the structures and strategies of the Writing Studio. Johnston’s (2010, 2012) work analyzes the dynamic belief systems of effective teachers. Such teachers do not resort to quick judgments like “That student is just an active kid and writing doesn’t suit them.” Rather, a dynamic belief system avoids generalities and creates a classroom environment empathetic to children who are growing up and will sometimes make poor decisions. Such decisions do not become life markers determining the future but opportunities for forgiveness and learning. In this dynamic classroom, risks can be taken; writers embrace writing challenges as opportunities to learn. They are not plagued by a worry of “failure.” It is understood that all learning involves struggle, so struggle is sought after, valued, documented, and celebrated. Writing is not an isolated act; it is social and collaborative. Such belief systems fll the Writing Studio as a place of possibility for each elementary writer. Acting on such a belief system, the teacher of writing assumes multiple roles – they are forever an evolutionist. Nancie Atwell (1998) writes, I’ve become an evolutionist. The curriculum unfolds as my kids and I learn together and as I teach them what I see they need to learn next. . . . Learning with students, collaborating with them as a writer and reader who both wonders and knows about writing and reading, has made me a better teacher to them than I dreamed possible (p. 3). Teachers of writing live the life of a writer, observing and wondering the world, noting the moments storying our lives, and we share these wonders and observations with the writers in our classroom. Mr. Mackie, a Grade 5 teacher, demonstrates writing as a writer, modeling strategies for fnding ideas, revision, editing, and broadcasting writing in all genres. He is an active co-learner and writer with his students. As the mentor in the Writing Studio, he prompts, nudges, and directs as necessary to move writers to new writing places. Mr. Mackie also sees himself as a facilitator. He listens and observes carefully, noting that Marcos voraciously reads about spiders but hasn’t once attempted to write about them; he is waiting for the story or the possible stories behind and around spiders.

24

Introduction to the Writing Studio

He knows that Alannah struggles to start a piece but then, once she fnds her “zone,” can hardly leave it. He knows that Gabby is a pleaser and wants to “do it right,” that Rajesh, who can make everyone in the class laugh, just needs to fgure out how to write down his entertaining jokes, and he has learned Jasnam thinks (and dreams) in Punjab but writes in English. Mr. Mackie knows his writers through his talk with them, the interactions with the grownups in their lives, and the assessment data he gathers. He adapts instruction based upon this. Mr. Mackie is very much a Teacher with a capital T (Atwell, 1998), the one who plans, assesses, delivers instruction, and organizes the Writing Studio. His goal is to provide these young writers time and opportunity to develop writing practice, process, and craft. He is cheerleader: “Kara, I know you say writing is hard, but yesterday you wrote fve sentences! Five sentences! How did you do it yesterday? Can you do it the same way today?” He is critic: “I am wondering about your design. When I look at your webpage, all I see is this large picture. I am not sure what the page is about without reading way down here.” And he is collaborator: “Let’s write one together! What do you say? How about a six-word memoir about our feld trip to the watershed!” Mr. Mackie is all of these things for one reason: his goal is for the writers in his classroom to become independent, empowered writers who understand what writing can do for them.

Watch beginning of the year interviews of elementary teachers discussing their roles as teachers of writing on the companion website. How do these videos further inform you about becoming a teacher of writing?

Community and the Writing Studio Ultimately, writers inspire and drive the Writing Studio. There are many distractions: standards, testing, pullout services, meetings, mandates, and a classroom day flled with so many disciplines and tasks, and interruptions to well-made plans. It is all too easy to have such things blur the focus of the Writing Studio. We fnd that as teachers of writing, when we are feeling overwhelmed with the workload and all the many important things to do, it is time to pull in close and listen to writers. Time to refocus on what inspires: creating the sentence that makes someone laugh; the poem that captures the birthday surprise; the essay that changes a mind, writing for meaning and to make sense of the world.

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter Compare the fve writing samples in the chapter. What do you notice about these studentwriters? If you are in a classroom, how do these writing samples compare to those of your students? How does your own cultural and linguistic background infuence you as a translanguaging teacher of writing?

The Student of Writing – The Teacher of Writing

25

Learning with Peers: Discussion Discuss with your peers the following scenario: Jade, a multilingual ffth grader, has been spending most of their time in the Writing Studio copying poems written in English. As their teacher of writing, what kinds of questions might you ask Jade to learn about their thinking, languaging, and choices to copy these poems? What would you hope to learn with them and about them as their teacher?

References Ascenzi-Moreno, L., & Espinosa, C. (2018). Opening up spaces for their whole selves: A case study group’s exploration of translanguaging practices in writing. NYS TESOL Journal, 5(1), 10–29. Atwell, N. (1987). In the middle: Writing, reading, and learning with adolescents. Heinemann. Atwell, N. (1998). In the middle: New understandings about writing, reading and learning (2nd ed.). Heinemann. Bakhtin, M. (1986). Speech genres and other late essays (V. W. McGee, Trans.). University of Texas Press. Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press. Bear, D. R., Invernizzi, M., Templeton, S., & Johnston, F. (2004). Words their way: Word study for phonics, vocabulary, and spelling instruction (3rd ed.). Pearson. Birdseye, T. (1989). Airmail to the moon. Holiday House. Bradbury, R. (1990). Zen in the art of writing. Joshua Odell Editions. Bredekamp, S., Masterson, M. L., Willer, B. A., & Wright, B. L. (Eds.). (2022). Developmentally appropriate practice in early childhood programs serving children from birth through age 8 (4th ed.). National Association for the Education of Young Children. C., F. (2023). La lengua salvaje en la América civilizada. A savage language in a civilized American. In C. Monto & V. Díaz Romero Paz (Eds.), Viviendo en dos lenguas. Living in two languages (pp. 12–13). Chemeketa Press. Council of Chief State School Offcers. (2014). English language profciency (ELP) standards. CCSSO. https://ccsso.org/resource-library/english-language-profciency-elp-standards Cummins, J. (1981). The role of primary language development in preventing educational success for language minority students. In Schooling and language minority students: A theoretical framework (pp.  3–49). California State University Evaluation, Dissemination and Assessment Center. Davidson, C. (2007). Independent writing in current approaches to writing instruction: What have we overlooked? English Teaching: Practice and Critique, 6(1), 11–24. Davies, B. (2003). Shards of glass: Children reading and writing beyond gendered identities. Hampton Press. Dyson, A. H. (2003). The brothers and sisters learn to write: Popular literacies in childhood and school cultures. Teachers College Press. Dyson, A. H. (2008). The pine cone wars: Studying writing in a community of children. Language Arts, 85(4), 305–315. Dyson, A. H. (2013). Rewriting the basics: Literacy learning in children’s cultures. Teachers College Press. Dyson, A. H. (2020). “We’re playing sisters, on paper!”: Children composing on graphic playgrounds. Literacy, 54(2), 3–12. https://doi.org/10.1111/lit.12214

26

Introduction to the Writing Studio

Elbow, P. (1981). Writing with power: Techniques for mastering the writing process. Oxford University Press. Elbow, P. (2004). Writing frst. Educational Leadership, 62(2), 8–13. Fisher, R., Jones, S. J., Larkin, S., & Myhill, D. (2010). Using talk to support writing. Sage. Fletcher, R. (1993). What a writer needs. Heinemann. García, O., & Kleifgen, J. (2019). Translanguaging and literacies. Reading Research Quarterly, 55(4), 553–571. Gee, J. P. (2001). Reading as situated language: A sociocognitive approach. Journal of Adolescent and Adult Literacy, 44(8), 714–725. Graves, D. (1983). Writing: Teachers and children at work. Heinemann. Graves, D., & Hansen, J. (1986). The writing and reading process: A new approach to literacy. Heinemann. Hartse, J., Woodward, V., & Burke, C. (1984). Language stories and learning lessons. Heinemann. Harwayne, S. (2001). Writing through childhood: Rethinking process and product. Heinemann. Heath, S. B. (1983). Ways with words: Language, life and work in communities and classrooms. Cambridge University Press. Johnston, P. H. (2010, December). Discursive frames in literacy learning and agentive networks of development. Paper presented at the Annual Meeting of the National Reading Conference/ Literacy Research Association, Fort Worth, TX. Johnston, P. H. (2012). Opening minds using language to change lives. Stenhouse. Lenz Taguchi, H. (2010). Going beyond the theory/practice divide in early childhood education: Introducing an intra-active pedagogy. Routledge. Meyer, R. (2010). Offcial and unoffcial counterportraits of ‘at risk’ students: Writing spaces in hard times. Routledge. Murray, D. (1985). A writer teaches writing (2nd ed.). Houghton Miffin. Olson, K., & Sulzby, E. (1991). The computer as a social/physical environment in emergent literacy. In J. Zutell, S. McCormick, L. Caton & P. O’Keefe (Eds.), Learner factors/ teacher factors: Issues in literacy research and instruction (pp. 111–118). National Reading Conference. Phillips, D. K., & Larson, M. L. (2013). The teacher-student writing conference reimaged: Entangled becoming-writing conferencing. Gender & Education, 25(6), 722–737. Pilonieta, P., Shue, P. L., & Kissel, B. T. (2014). Reading books, writing books: Reading and writing come together in a dual language classroom. YC Young Children, 69(3), 14–21. www. proquest.com/scholarly-journals/reading-books-writing-come-together-dual-language/ docview/1621405803/se-2 Pinnell, G., & Fountas, I. C. (2011). The continuum of literacy learning, grades PreK-8: A guide to teaching (2nd ed.). Heinemann. Rowe, D. W. (2003). The nature of young children’s authoring. In N. Hall, J. Larson & J. Marsh (Eds.), Handbook of early childhood literacy (pp. 258–270). Sage. Solsken, J. (1993). Literacy, gender, and work in families and in school. Ablex. Street, B. (1995). Social literacies: Critical approaches to literacy in development, ethnography and education. Longman. Thomas, W. P., & Collier, V. (1997). School effective for language minority students (NCBE Resources Collection Series 9). National Clearinghouse for Bilingual Education. Velasco, P., & García, O. (2014). Translanguaging and the writing of bilingual learners. Bilingual Research Journal, 37(6), 6–23. Wei, L., & García, O. (2022). Not a frst language but one repertoire: Translanguaging as a decolonizing project. RELC Journal, 53(2), 313–324. https://doi.org/10.1177/0033688222109284

Chapter 2

Purposes, Possibilities, and Goals for the Writing Studio

“I dwell in possibilities.” Teacher J has this title of an EmilyDickinson (1951) poem posted near their teacher’s space. Completed by a calligraphist several years ago, the words are surrounded by endless circles overlapping, bleeding into one another, bold in orange and then softening to an almost imperceptible halo of pinks. It is a mantra of Teacher J’s: dwell in possibilities of what might be, could be, is but is not seen. Learning and teaching as possibilities open worlds, create visions – keep Teacher J from falling into dogma or despair. As a writer and as a teacher of writing, Teacher J conceives of writing as possibility: everything they read, live, engage with, are possibilities for writing topics, the act of writing is possibility (who knows what might unfold?), sharing writing provides possibilities in relationships, growing identity, understanding the writing-self. And so, when Teacher J considers purposes and goals for writing, Teacher J is also thinking about “possibilities.” How can Teacher J expand the vision of what writers do and what writing can do for writers during each Writing Studio? How might this “new” writing strategy be used to create different possibilities and purposes for young writers? Where are the possibilities in children, curriculum, required assessments, and mandates that Teacher J may at frst resist, or dread, or even fear? How can Teacher J see what appears not to be there? Dwelling in possibilities is a powerful place to live. Aldea is 5 years old and busy and likes soccer balls and bubbles and hide-and-seek and helping her abuela cook and practicing traditional dance steps with her older cousin and is in motion (phew!) all the time, sometimes talking in Quechua and then in Spanish and then trying out English. Ask her about her writing, and she proudly points to a colorful self-portrait on the refrigerator and will show you how she has written her name underneath (the A is the only recognizable letter followed by a string of marks she formed on the page): “This is me!” It is her frst autobiography. Roger, a third grader, is showing his friends his writing about how snakes shed their skin. Roger has a pet snake, so he and his mom keep a snake journal at home, and when his own snake began to shed, they documented the process. His mom helped him with an Internet search to learn how to care for his snake. The librarian at his school suggested a good book with lots of pictures. Roger views himself as an expert on snakes. He has designed his piece to look like a page from the Internet with headings, DOI: 10.4324/9781003409243-4

28

Introduction to the Writing Studio

pictures, and a small graph. Roger wants his writing to be read by his classmates, many of whom speak Ukrainian, so his teacher has asked one of the English Language Development teachers to translate his informational text. He hopes to publish the piece on his classroom’s website. (The library media specialist at his school has promised to help him with this!) Roger believes his piece will be informative to others who want to own snakes as pets. Writing makes Roger an expert, and from this identity, he writes to inform others. Prior to Grade 5, Sebas, a multilingual learner, was considered a resistant reader and writer. The only books he had truly enjoyed reading were Jeff Kinney’s (2007) Diary of a Wimpy Kid series, told through diary entries. What Sebas truly loves is all things military, which is reinforced by his grandpa’s service in the Army. Not long after his grandpa was deployed for a year-long tour of duty in Iraq, Sebas began requesting that his mom read him war stories – lots of them, especially graphic novels about battles. His mom cannot begin to count the number of times she read Sebas the graphic novel The Battle of Iwo Jima: Guerilla Warfare in the Pacifc (Hama, 2007). During this time, Sebas had to be coaxed and cajoled to write almost anything and then produced only the required bare minimum in school. At other times, he would choose to be sent to the offce or miss recess just to avoid writing. But then, something happened: Sebas came alive during a fction-writing unit in May of his Grade 5 school year. Sebas wrote a multi-paged story about a fctional character, Andrew Pettison, Ace Platoon Sergeant of the 501st Airborne, deployed to Afghanistan to get revenge after the 9/11 attacks. (See Figure 2.1.) There’s lots of action, dialogue, and details building to the climax of the story. Sebas’ story is told through a series of diary entries, similar to the structure of the Diary of a Wimpy Kid series. When asked, “How did you do this? How did you accomplish all this writing?” Sebas replied, “That’s what happens when you read a lot of books.”

Figure 2.1 “Middle East Revenge” by Sebas

MIDDLE EAST REVENGE MONDAY

SEPT 16th

2001

ANDREW PETTISON ACE PLATOON SERGEANT 501st AIRBORN We were just stunned when we heard of the plane crashing in the Twin Towers and the president just declared war on Iraq and sending us out tomorrow. Boy am I glad we get to show not to mess with us again! We get ready to move out in about six weeks. It’s so busy here at the base, everybody keeps coming and going. We plan to move out with our drill sergeant and hit the air in about two weeks. THURSDAY

DEC 15TH

2001

We were being shot at, half our planes gone, and the drill sergeant says the chant, “WHO DO THE LADIES LOVE THE MOST?” he says, and we all reply, “AIRBORNE!”, drill sergeant continues, “WHO DOES THE ARMY TRUST THE MOST?”, “AIRBORNE!”, “WHO DOES THE TALIBAN FEAR THE MOST?”, “AIRBORNE! YEAH!” And we all jump from the plane and pulled our chutes and laid down covering fire for our planes to get out of there.

Purposes, Possibilities, and Goals for the Writing Studio

FRIDAY

DEC 16TH

29

2001

We are in our “STRYKER” and had about zero combat ever since we got here. There’s a rumor going around that we scared the Taliban so much, their afraid of fighting us cause they know they would lose. Well, nothing exciting happened to us today. SUNDAY

DEC 18TH

2001

Everybody was nervous and I was a little homesick and nervous. Then they had their RPG ready and aiming right at us. BOOOOOM!!!! They took our escort jeep out and we unloaded all our ammunition on them. There must’ve been at least fifty or sixty of them, but we just kept on shooting at anything that moves. My squad silenced probably about two or three RPG nests and our convoy lost one Stryker and two jeeps. They retreated after about twenty minutes of return fire. MONDAY

FEB 1ST

2002

Well after what happened last month, I’m scared to take any more lives. But when I get this feeling I remember my dad, killed in action in Afghanistan during Operation Desert Storm. This makes me mad and want to take REVENGE and destroy their makeshift empire here and liberate all the helpless little souls and bring peace and order to their home so they can once again look up and smile. Today we took a convoy to look for IED’s and see if we can chase the Taliban out of the city. We were looking but not hard enough and my jeep was blown sky high and landed right on its back. We were able to walk away safely and we were unharmed, with the exception of our gunner. He got a minor concussion and broke both his legs. Other than that he’s fine. TEUSDAY

FEB 2ND

2002

Today we were ordered back to the Main Base and I was so happy and relieved, I literally jumped out of the tank and ran to the chopper that came to pick us up. It felt so good to get back to where it’s mostly safe and lots of men and women who had also been ordered back, I was finally not alone and I felt so alive. We all went back to our barracks and felt safe and we all fell asleep fast. WENSDAY

FEB 3RD

2002

We woke up to the sound of alarms blaring all around and we all suddenly got up and dressed as fast as we could, went to the armory and grab our guns and we ran outside to people shouting orders and I asked one of the drill sergeant and they said “Were under attack!” All we did was stand motionless and saw the huge mass of Taliban soldiers charging the base. We stared shooting and we took down the first wave, but they kept coming, wave after wave, but then we heard it, “budabuddabudda” The sound of the chopper mini-gun was warming, relieving even. The Taliban men were falling over each other as if they were all tripping down a mountain. THURSDAY

FEB 4TH

2002

The fighting lasted about 23 hours and they eventually gave up, so we celebrated with champagne and a nice bath to get the smell of blood and dirt from my body and after, I would

30

Introduction to the Writing Studio

Figure 2.1 Continued head back to the barracks. We were going to try tank exercises and some free firing a couple of shells. MONDAY

FEB 30TH

2002

We were going to the Black Hawk that would take us back to Kabul. The staff sergeant assigned us city patrol (which by the way is so boring) and head out at 0600 hours. We were going to take the south entrance and the other halve took the north entrance. It was market day for the rest of Kabul’s inhabitants, it was crowded like sardines. We couldn’t move, it was like one big mall but outside. Our convoy was stuck so we set out on foot and when we got to the market, all the merchants started to look at us suspiciously and also the civilians. Than the merchants started to close up their caravans, and I felt a shearing pain in my shoulder and all the windows opened and started to open fire on us. We all took cover and returned fire but they didn’t run. The jeep explodes right behind me and kills Jek and Brock. Then we were ordered back to base and we basically ran. But when we got back to base, nothing could have prepared us for what lay ahead. FRIDAY

MARCH 20TH

2002

The base was no more alive than Latin itself. NO SURVIVERS . . . THURSDAY

MARCH 16

2002

We were picked at base alpha and we were granted free flight back home, so this is the last you’ll hear from me for a while. We’re boarding now and the rest of the platoon is splitting up for a while. So until we’re shipped out again goodbye. Aldea, Roger, and Sebas are learning what writers do and what writing can do for them. They are learning about the possibilities inherent in becoming-writer. As teachers of writing, we want to expand the possibilities of what writers do and what writing can do for children. Often as teachers we backwards plan – we begin with the end in mind – examining the Common Core State Standards (CCSS) (or your state’s content standards) to frame the purposes and possibilities for designing writing curriculum (or modifying adopted writing curriculum).

Introduction to the Common Core State Standards If there is one thing Teacher J knows, it is the importance of critically deconstructing, questioning, and seeking multiple perspectives as she learns about district, state, and federal mandates. It is not enough to simply listen to what others have to say, to attend district professional development workshops or publishing company seminars, or take carte blanche the content of your professors’ lectures (or what we write here!). All teachers own this responsibility for thinking hard, and this is particularly important regarding the CCSS. Calkins et al. (2012) write of the CCSS, It is safe to say that across the entire history of American education, no single document will have played a more infuential role over what is taught in our schools. The

Purposes, Possibilities, and Goals for the Writing Studio

31

standards are already affecting what is published, mandated, and tested in schools – and also what is marginalized and neglected. Any educator who wants to play a role in shaping what happens in schools, therefore, needs a deep understanding of these standards (p. 1). Developing a “deep understanding” of the CCSS (or the English Language Arts standards adopted by your state) begins with a close reading of them. If you have not yet independently read the CCSS, we encourage you to take a break now and read for yourself what the CCSS have to say. This will provide a backdrop for the next section of this text. In this text, our goal is to present a reading of the CCSS illustrating how they can be used to provide purposes, possibilities, and goals for elementary writers. In the interest of full disclosure, we are skeptical of the CCSS. To be more concise, we are not concerned with the College and Career Readiness Anchor Standards so much as other areas connected with the CCSS. We are concerned about the testing associated with the CCSS (e.g., Smarter Balanced Assessment Consortium, 2023), the amount of instructional time children lose through test preparation and taking tests, how the assessments are conducted in English, not allowing multilingual learners to demonstrate their progress towards standards, and how these types of high-stakes test results are used to sort and label children, often furthering racial and socioeconomic disparities. We are also concerned with the amount of money that is funneled into purchasing curricula and professional development that claim to be aligned to standards. We are also reminded that all standards are a set of (often) arbitrary outcomes for children to demonstrate by the end of a particular grade level. And just like we don’t expect all children to be 4 ft. tall on the last day of kindergarten, we can’t expect all children to meet every standard on the last day of kindergarten. There are so many variables at play – age at the start of kindergarten (some start at the day after they turn 5, and others start at 6.5 years), access to preschool (no access to 3+ years of preschool), language alignment between home and school, disabilities, interrupted formal education – add other factors you’ve experienced or seen at play. Despite our concerns, the CCSS are most likely used in a state where you are or will be teaching writing. To that end, we want to highlight the empowering pieces of the CCSS to focus our discussion on how they can be used to create possibilities, purposes, and goals for writing instruction. If you are teaching in a setting where the CCSS are not used, then we hope you can still use this section as an illustration of how you can read and use your stateadopted standards as possibilities. The CCSS describe a “vision of what it means to be a literate person in the twenty-frst century” (NGA Center for Best Practices & CCSSO, 2010a, p. 3). They argue that students who have met the CCSS will demonstrate the “cogent reasoning and use of evidence that is essential to both private deliberation and responsible citizenship in a democratic republic” (NGA Center for Best Practices & CCSSO, 2010a, p. 3). Let’s keep this vision: as teachers of writing, we are fostering writers who will be able to engage, debate, move our democracy by understanding what writing can do for themselves and for others, by knowing and being able to use the power of words to shape decisions and choices in personal and public life. Let us also focus on the power and responsibility given to teachers by the CCSS (NGA Center for Best Practices & CCSSO, 2010a): By emphasizing required achievements, the Standards leave room for teachers, curriculum developers, and states to determine how those goals should be reached and

32

Introduction to the Writing Studio

what additional topics should be addressed. Thus, the Standards do not mandate such things as a particular writing process or the full range of metacognitive strategies that students may need to monitor and direct their thinking and learning. Teachers are thus free to provide students with whatever tools and knowledge their professional judgment and experience identify as most helpful for meeting the goals set out in the Standards [emphasis added] (p. 4). This commitment to teacher prerogative is further supported in the stated limitations of the CCSS: “The Standards defne what all students are expected to know and be able to do, not how teachers should teach [emphasis added]” (2010a, p. 6). Furthermore, the CCSS are clear that while the Standards focus on what is most essential, they do not describe all that can or should be taught. A great deal is left to the discretion of teachers and curriculum developers. The aim of the Standards is to articulate the fundamentals, not to set out an exhaustive list or a set of restrictions that limits what can be taught beyond what is specifed herein (2010a, p. 6). Furthermore, the CCSS support an integrated approach to literacy, calling for profciency, complexity, and integration across curricular disciplines. Writing is not relegated to only the language arts but a necessary component of all discipline areas: writing is to be done all day long in all disciplines. The CCSS acknowledge limitations: they do not describe advanced work for students, intervention models, or how to support multilingual learners and students in need of academic supports (NGA Center for Best Practices & CCSSO, 2010a, p. 6). But they do give teachers, parents, and community members the authority to question practices that deny a rich literacy education to all children and to use our professional knowledge to ensure that all children are given authentic purposes to write and to envision possibilities of what writing can do for them as citizens of a democratic republic. This, combined with the CCSS’s support of critical and creative thinking and problem solving, as well as adequate time for writing process, allows us to use the CCSS to imagine writing instruction where elementary writers have and learn to exercise choice; are permitted to experiment as writers; develop their writing practice, process, and craft; collaborate as they most certainly will in a future workplace; and assume responsibility and ownership for their work. From this broad framework, then, let’s dive into the CCSS Writing and Language standards and how we can leverage them in our teaching for purpose, possibilities, and goals.

Writing and Language CCSS Standards: Purposes, Possibilities, and Goals The CCSS Writing and Language Standards provide teachers with purposes and possibilities to set goals for their writing units and individual writers. The CCSS College and Career Readiness Anchor Standards provide the overarching broad standards for each strand: Reading, Writing, Speaking and Listening, and Language, and the CCSS grade-specifc standards defne what students should understand and be able to do at the end of each grade.

Purposes, Possibilities, and Goals for the Writing Studio

33

Table 2.1 Writing CCSS Anchor Standards

Writing CCSS: Anchor Standards (NGA Center for Best Practices & CCSSO, 2010a, p. 18) Text Types & Purposes* 1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and suffcient evidence. 2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. Production and Distribution of Writing 4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. 5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. 6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others. Research to Build and Present Knowledge 7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation. 8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism. 9. Draw evidence from literary or informational texts to support analysis, refection, and research. Range of Writing 10. Write routinely over extended time frames (time for research, refection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences. *These broad types of writing include many subgenres.

Writing CCSS Anchor Standards Writing Anchor Standard 10 Range of Writing Let’s begin this work with the College and Career Readiness Writing Anchor Standard 10 Range of Writing, which is the heart of the Writing Studio – this is what writers do! This standard guides each day in the Writing Studio and allows teachers the latitude to develop possibilities, purposes, and goals that are culturally sustaining and socially and emotionally enriching for each unique student-writer.

Writing Anchor Standards 1–3: Text Types and Purposes Writing Anchor Standards 1–3 address text types and purposes for writing. The text types of the CCSS are arguments, referred to as opinions for Grades K through 5; informative/explanatory;

34

Introduction to the Writing Studio

and narratives. Text types are broad categories in and of themselves that do not defne what a writer will do or the kind of writing decisions that must be made. Take note of the asterisk inserted after the “CCSS Writing Text Types & Purposes” heading, which indicates, “These broad types of writing include many subgenres” (NGA Center for Best Practices & CCSSO, 2010a, p. 18).

Text types are defned as follows (NGA Center for Best Practices & CCSSO, 2010b, p. 23): Narrative writing conveys experience, either real or imaginary, and uses time as its deep structure. It can be used for many purposes, such as to inform, instruct, persuade, or entertain. Informational/explanatory writing conveys information accurately. This kind of writing services one or more closely related purposes: to increase readers’ knowledge of a subject, to help readers better understand a procedure or process, or to provide readers with an enhanced comprehension of a concept. Argument writing is used to change the reader’s point of view, to bring about some action on the reader’s part, or to ask the reader to accept the writer’s explanation or evaluation of a concept, issue or problem.

The CCSS honor the nuances and complexities of each text type. Why is this so important? The CCSS provide teachers of writing the text type, where writers must demonstrate competence, but as teachers, we are given the authority to fnd possibilities in the many and varied text types and genres. The CCSS are not prescriptive – they are descriptive. It would be wrong to plan the Writing Studio by privileging traditional kinds of school writing alone: the fve-paragraph essay, the report, the letter arguing for more of anything in the lunchroom! Teachers may encourage and use the storytelling traditions of a variety of cultures, teach the many ways cultures “give directions,” and value the use of various forms of art as a way of communicating. Equally wrong would be to declare a unit “informative writing” and not allow writers to choose and use whatever genre or mixed genres to convey their ideas through their writing. A child might tell their personal story through the wisdom of a myth or representative art using all of the languages available to them. Remember also that the CCSS do not purport to cover everything. A text box in the CCSS English Language Arts Appendix A reads, “The narrative category does not include all of the possible forms of creative writing such as many types of poetry. The Standards leave the inclusion and evaluation of other such forms to teacher discretion [emphasis added]” (NGA Center for Best Practices & CCSSO, 2010b, p. 23). Besides text types and genres, the College and Career Readiness Anchor Standards for Writing honor the work of real writers, providing direction for establishing possibilities, purposes, and goals for our writers.

Purposes, Possibilities, and Goals for the Writing Studio

35

Writing Anchor Standards 4–6: Production and Distribution of Writing Writing Anchor Standards 4–6 address the production and distribution of writing, speaking to the process of writing: “planning, revising, editing, rewriting, or trying a new approach” (NGA Center for Best Practices & CCSSO, 2010a, p. 18) – the stuff of playing and working with language to get our writing to a place where it “works” in order to communicate our intentions to others. There is also language about organization, writing design and collaboration, and the development of style – all choices we make as writers based on the purposes and goals of our writing.

Writing Anchor Standards 7–9: Research to Build and Present Knowledge Writing Anchor Standards 7–9 describe the writer as a researcher – drawing from experiences, multiple print and digital sources, searching for relevant and credible information. The teacher can read this standard as an invitation and possibility for students to research cultural ways of being and doing. Each source presents more possibilities for writers to dive into focused questions important to them, expanding the way they both describe and see their worlds. Table 2.2 Language CCSS Anchor Standards

Language CCSS Anchor Standards (NGA Center for Best Practices & CCSSO, 2010a, p. 25) Conventions of Standard English 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. 2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. Knowledge of Language 3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. Vocabulary Acquisition and Use 4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate. 5. Demonstrate understanding of fgurative language, word relationships, and nuances in word meanings. 6. Acquire and use accurately a range of general academic and domain-specifc words and phrases suffcient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.

36

Introduction to the Writing Studio

Language CCSS Anchor Standards The CCSS Language Standards provide yet another way to provide possibility, purpose, and goals for writers. Language standards remind us of the importance of language – how our word choice and use of conventions allow our readers to make sense of our writing. The CCSS NGA Center for Best Practices & CCSSO, (2010a), state students must gain control over many conventions of standard English grammar, usage, and mechanics as well as learn other ways to use language to convey meaning effectively. They must also be able to determine or clarify the meaning of gradeappropriate words encountered through listening, reading, and media use; come to appreciate that words have nonliteral meanings, shadings of meaning, and relationships to other words; and expand their vocabulary in the course of studying content. The inclusion of Language standards in their own strand should not be taken as an indication that skills related to conventions, effective language use, and vocabulary are unimportant to reading, writing, speaking, and listening; indeed, they are inseparable from such contexts (p. 25). As teachers, we have agency to view the Language CCSS Anchor Standards through a culturally sustaining pedagogical lens considering the conventions of “standard English grammar,” also referred to as Dominant American English (DAE), as well as the conventions of nondominant dialects and languages. “Encouraging linguistic plurality moves teachers from subtracting to sustaining nondominant dialects and languages” (Opatz & Nelson, 2022, p. 342). When teachers encourage, sustain, and develop students’ full linguistic repertoires, it provides new possibilities, purposes, and goals to ensure all students will have the opportunity to fourish. As teachers, we can create mentor texts and use published texts as mentors to show the marvelous ways authors use words and conventions to set a tone, generate excitement, and express information in DAE and nondominant dialects and languages. Together, the CCSS writing and language standards support writing practice, process, and craft, the authentic work of writers in composing meaning. They open up purposes, possibilities, and goals for writing when we read them descriptively and use them in fostering writing instruction that prepares writers to powerfully engage as global citizens.

English Language Proficiency Standards: Purposes, Possibilities, and Goals Each fall, Teacher J receives a report with data about their multilingual students’ English Language Profciency Assessment (English Language Profciency Assessment for the 21st Century, 2023) test results indicating students’ English language profciency levels in reading, writing, speaking, and listening. Teacher J asks, “What does one do with a spreadsheet flled with numbers and labels like, 1/Beginning, 2/Early Intermediate, 3/Intermediate, 4/ Early Advanced, 5/Advanced? How might I use this data to create purposes, possibilities, and goals for my writers?”

Purposes, Possibilities, and Goals for the Writing Studio

37

Table 2.3 English Language Proficiency Standards

English Language Proficiency Standards (CCSSO, 2014, p. 4) 1. Construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing 2. Participate in grade-appropriate oral and written exchanges of information, ideas, and analyses, responding to peer, audience, or reader comments and questions 3. Speak and write about grade-appropriate complex literary and informational texts and topics 4. Construct grade-appropriate oral and written claims and support them with reasoning and evidence 5. Conduct research and evaluate and communicate fndings to answer questions or solve problems 6. Analyze and critique the arguments of others orally and in writing 7. Adapt language choices to purpose, task, and audience when speaking and writing 8. Determine the meaning of words and phrases in oral presentations and literary and informational text 9. Create clear and coherent grade-appropriate speech and text 10. Make accurate use of standard English to communicate in grade appropriate speech and writing

Teacher J uses their students’ ELPA21 (English Language Profciency Assessment for the 21st Century, 2023) data to leverage the ten English Language Profciency Standards for their specifc group of multilingual students. Teacher J knows that the ELP standards show teachers that every student, no matter where they are in their development of learning English, can develop competence in the practices associated with the CCSS Writing and Language standards (and all content standards). Each of the ten ELP standards tells Teacher J what their multilingual students’ language use might look like at each of the fve ELP levels, 1/ Beginning, 2/Early Intermediate, 3/Intermediate, 4/Early Advanced, 5/Advanced, as they progress toward independent participation in our classroom (CCSSO, 2014, p. 1). What Teacher J does, and what all teachers can do, is look at students’ data and note the range and number of students at each English language profciency level. As we design our writing units and lessons, we can leverage the ELP standards to help us discern what might be a reasonable expectation for our students. See Table 2.3. For example, a Grade 2 student at an ELP level 2/Early Intermediate in Grade 2 who is working on an opinion piece of writing could be expected to express an opinion about a familiar topic or story (Grade 2 ELP Standard 4 Level 2, p. 61), while a student at an ELP level 3/Intermediate could be expected to express an opinion and give one or more reasons for their opinion about a familiar topic or story (Grade 2 ELP Standard 4 Level 3, p. 61). As teachers of writing, we can also use the ELP Standards “Can do” descriptors to give us a vision for the progression of skills we might expect in our students’ development, to focus our teaching, and to scaffold our students’ writing independence. Knowledge of our students’ ELP levels and the ELP standards also allows us as teachers to consider what language supports our students might need.

38

Introduction to the Writing Studio

Table 2.4 Grade 2 ELP Standard 2 “Can Do” Descriptors for Language Proficiency Levels

Grade 2 ELP Standard 2 “Can Do” Descriptors for Language Proficiency Levels (CCSSO, 2014, p. 61) Grade 2 ELP Standard 4 An ELL can construct grade appropriate oral and written claims and support them with reasoning and evidence.

By the end of each English language profciency level, an ELL can . . . Level 1 • express an opinion about a familiar topic.

Level 2 • express an opinion about a familiar topic or story.

Level 3

Level 4

Level 5

• express an opinion • give one or more reasons for the opinion about a familiar topic or story.

• introduce a topic • express opinions • give several reasons for the opinions about a variety of topics.

• introduce a topic • express opinions • give several reasons for the opinions • provide a concluding statement about a variety of topics.

After reviewing the grade-level CCSS writing and language standards and the ELP standards, Teacher J reviews the spreadsheet of ELPA21 (English Language Profciency Assessment for the 21st Century, 2023) data on students from the previous year’s testing. Now Teacher J is ready to consider how genres and writing traits may focus their purposes, possibilities, and goals for the class, groups of students, and individual students.

Genres: Purposes, Possibilities, and Goals Teacher J has decided to start the year with a narrative writing unit to build classroom community and allow students to write from a place of expertise – their own lives. Teacher J knows that narrative writing is an overarching text type and is now considering which narrative genres to immerse their students in as the year begins to open up purposes, possibilities, and goals for their writers. Lukens (2007) defnes genres as “texts with similar characteristics” (p. 13). There is not a single agreed-on list of genres. Some common genres in children’s literature include realism (e.g., realistic stories, animal realism), historical realism, sports stories, formula fction (e.g., mysteries, thrillers, series books), fantasy (e.g., fantastic stories, high fantasy), science fction, traditional literature (e.g., fables, folktales, myths, legends, hero tales, folk epics), poetry, informational books, biography, and multigenre books (Lukens, 2007). Informational and explanatory writing can also include academic genres such as literary analyses and scientifc reports, as well as functional writing such as manuals, memos, and reports (NGA Center for Best Practices & CCSSO, 2010a, p. 23). As teachers, we can use our knowledge of genre to further explore possibilities within each text type. Genres are fuid categories, and our point here is for you to be able to read books and identify potential categories the books may ft, yet not allow these categories to be

Purposes, Possibilities, and Goals for the Writing Studio

39

static or create barriers for your planning. The goal is to teach through genre to expand purposes, possibilities, purposes, and goals for our writers. Teaching elementary writers the language of text types and genres invites them to participate in the language of the “literacy club” (Smith, 1987), empowering them with words to describe the purpose of their work. As teachers of writing, one way to make text type and genre come alive for children is to specifcally search and gather mentor text sets that represent what you want your children to be immersed in as readers and writers. Children can then use these texts as mentors in their writing. We have found great success with gathering picture books, poetry, and other texts, including multimedia texts, to create sets of books to read, discuss, and use as mentors for writing.

Genre Mentor Text Sets Illustrated Teacher J decides to pull together two text stacks for their narrative writing unit to immerse students in the possibilities of the personal narrative genre. The frst text stack is picture books that tell the story of the immigrant and refugee children’s names and how their names are tied to their identity. The second text stack is personal narrative poetry written in English and Spanish. The frst text stack of personal narrative picture books about children’s names include one story told in frst person from the point of view of a child telling the story of their name, and the others are told in third person point of view. (See Table 2.5.) Thao (Lam, 2021) is told in frst person about the author’s experience of moving to Canada from Vietnam as a young child and the struggles she had in school trying to get her peers to pronounce her name correctly. She tried taking on a new name, Jennifer, and ultimately reclaimed her name, Thao. Alma and How She Got Her Name (Martinez-Neal, 2018) is the story of a father explaining to his daughter the origin of each of her six names, Alma Sofa Esperanza José Pura Candela, after she complained to her father, “My name is so long, Daddy. It never fts” (p. 3). As Alma hears about each ancestor she is named after, she is able to make a personal connection and appreciate each of her six names. My Name Is Sangoel (Williams & Mohammed, 2009) tells the story of a young refugee from Sudan named after his father and grandfather and Dinka ancestors before them. As he transitions to life in the United States, he is frustrated that no one can pronounce his name correctly until he thinks of a clever way to teach his classmates. Khalil’s (2020) picturebook, The Arabic Quilt: An Immigrant Story, tells the story of a Sudanese refugee child’s creative way to teach his classmates and community how to pronounce his name, the name of his father and grandfather. Table 2.5 Personal Narrative Name Stories Mentor Text Stack

Personal Narrative Name Stories Mentor Text Stack Alma and How She Got Her Name (2018) by Juana Martinez-Neal My Name Is Sangoel (2009) by Karen Lynn Williams & Khadra Mohammed Thao (2021) by Thao Lam The Arabic Quilt: An Immigrant Story (2020) by Aya Khalil

40

Introduction to the Writing Studio

The second text stack is poetry anthologies of personal narrative poems told through Spanish and English. (See Table 2.6.) Jorge Argueta’s (2001) A Movie in My Pillow is flled with bilingual poems written in both English and Spanish; some of the English poems include Spanish and Nahuatl for key phrases and words. For example, in Argueta’s poem “Voz hogareña ~ Voice From Home,” he tells the story when he received a tape from his grandma in El Salvador talking and singing to him in Nahuatl and Spanish with a reminder of important words in Nahuatl like “tetl” and “niyollotl.” In “El camión color naranja de Papá ~ My Papa’s Orange Truck,” Argueta tells the story of his papa’s orange truck that is used to collect used cardboard around the city and how he helps his father. Argueta incorporates the Spanish phrase Gracias, mi’jo into the English version of the poem to highlight the language he speaks with his father. Table 2.6 Personal Narrative Poetry with English & Spanish Mentor Text Stack

Personal Narrative Poetry With English & Spanish Mentor Text Stack A Movie in My Pillow ~ Una película en mi almohada (2001) by Jorge Argueta • “El camión color naranja de Papá ~ My Papa’s Orange Truck” • “Voz hogareña ~ Voice From Home” Dreamers (2018) by Yuyi Morales Hip Hop Speaks to Children: A Celebration of Poetry With a Beat (2008) edited by Nikki Giovanni • “Music for Fun and Proft” by Gary Soto They Call Me Güero: A Border Kid’s Poems (2018) by David Bowles • “Our House” • “Birthday Medley”

Dreamers by Yuyi Morales (2018) is a lyrical picture book about Morales’ story of immigrating to the United States with her infant son. The story is written using both English and Spanish. Spanish words – Amor, Adiós Corazón, migrantes, caminantes, soñadores – are used to emphasize critical feelings, identities, and events. “My Music for Fun and Proft” by Gary Soto (2008) is a personal narrative poem written in English with Spanish. Soto’s poem is about his love of music and ability to create his own instruments so he can play music for his family and how his father occasionally pays him to stop playing music. Soto incorporates key Spanish phrases, “!Por favor, cállate!”, and important names, papi, Cholito (his cousin), Chato (his cat) to highlight his identity and culture throughout his poem. David Bowles’ (2018) They Call Me Güero: A Border Kid’s Poems is flled with poems from his life as a Mexican American border kid. Bowles incorporates Spanish in many of his poems, including, “Our House” and “Birthday Medley.” In Bowles’ poem “Our House,” he tells the story of the years it took for his dad to slowly build their family home, “room by room” on the edge of town. Bowles infuses Spanish into his poem with Tío Mike and para hacernos un hogar. The poem “Birthday Medley” is about his brother’s seventh birthday and incorporates Spanish in almost every stanza and line, immersing readers into this important moment in his life. Teaching through genre is empowering when we understand the purposes and possibilities they have in focusing our thinking and teaching for our writers. Teaching elementary

Purposes, Possibilities, and Goals for the Writing Studio

41

writers how genre engages them in embracing what writers can do and what writing can do for them as they choose mentor texts will support their goals for writing. Teacher J will build mentor text sets for each writing unit, keeping each student in mind as the text sets are built. Often Teacher J is swamped with planning all content areas, grading, meetings, and professional development workshops, so Teacher J will reach out to the amazing children’s librarians at the elementary school and the local public library to help with researching and selecting text for their class. Luckily, the public library will allow Teacher J to check out 30+ books at a time because the librarians know Teacher J is a local teacher. Teacher J examines the personal narrative text sets splayed out on the foor. Questions come fooding – “How might I open up more purposes, possibilities, and goals? How might writing traits provide my students with another lens to imagine what they might do as writers?”

Writing Traits: Purposes, Possibilities, and Goals Writers can learn nuanced understandings of genres through writing traits. Writing traits describe qualities of writing based on decades of research (Hillocks, 1986; Coe et al., 2011). Writing traits as defned by Education Northwest (2021) include ideas, organization, voice, word choice, voice, sentence fuency, conventions, presentation. Writing traits are fuid, and they change according to the text type and genres. Writing traits expand possibilities, helping us as writers to know how to write in the genre we are desiring. Writing traits provide us with possibilities for revising writing to support the genre. For example, voice can be conveyed differently in a memoir versus an animal report. Writing traits can further expand possibilities for a writer and help to establish purposes and goals for writing. Although the CCSS Anchor Standards for Writing and Language provide a description of what and how much students should write and the type of language use expected of learners, writing traits focus on the craft of the writer or on how a writer develops their writing. The traits can expand writers’ view of themselves as writers, provide direction for learning, and act as a way for writers to track their writing growth and set goals. Teacher J examines the books in their two narrative mentor text stacks – picture books about the importance of children’s names and personal narrative poetry written in English and Spanish. Teacher J rereads the books to consider how each text could be leveraged to teach writer’s craft through the writing traits. Table 2.7 Writing Traits

Writing Trait

Writing Trait Defined (Culham, 2018)

Writing Trait Question to Guide Writer (Education Northwest, 2021)

Ideas

“The piece’s content; its central message and details that support that message” (p. 19)

How does the writer engage the reader with fresh information or perspective on a focused topic? (p. 2)

Organization

“The internal structure of the piece – the thread of logic, the pattern of meaning”(p. 20)

How does the organizational structure enhance the ideas and make them easier to understand? (p. 4) (Continued)

42

Introduction to the Writing Studio

Table 2.7 (Continued)

Voice

“The tone of the piece – the personal stamp of the writer, which is achieved through a strong understanding of purpose and audience” (p. 21)

How is the voice appropriate to the task, purpose and audience? (p. 6)

Word Choice

“The specifc vocabulary the writer uses to convey meaning and enlighten the reader” (p. 22)

How does the language convey precise and compelling meaning and/or create a vivid picture for the reader? (p. 7)

Sentence Fluency

“The way words and phrases fow through the piece. This is the auditory trait and is therefore ‘read’ with the ear as much as the eye” (p. 23)

How does the writer control sentences so the piece fows smoothly when read aloud? (p. 9)

Conventions

“The mechanical correctness of the piece. Correct use of conventions (spelling, capitalization, punctuation, paragraphing, and grammar and usage) guides the reader through text easily” (p. 24)

How does the text illustrate the writer’s profciency with conventions? (p. 11)

Presentations

“The physical appearance of the piece. A visually appealing text provides a welcome mat, inviting the reader in to enjoy the writing” (p. 25)

How is the piece easy to read, polished in presentation and pleasing to the eye? (p. 13)

Ideas Ideas are “the piece’s content – its central message and details that support that message” (Culham, 2018, p. 19). Ideas grab the reader and produce a reaction. In Aya Khalil’s The Arabic Quilt: An Immigrant Story, Kanzi, an Egyptian-American third grader whose family recently moved to a new town, experiences bullying on her frst day of school when two classmates make fun of Kanzi’s mom speaking in Arabic and referring to her as Habibti, an Arabic term for darling. Kanzi’s teacher fnds ways to incorporate Kanzi’s Egyptian culture and the Arabic language into her lessons – including teaching students that many English words – algebra, coffee, lemon, sugar – originate from Arabic words. Then, Kanzi’s mom volunteers to help the children make a quilt of all their names in Arabic. After an initial protest by a student, the teacher, Mrs. Haugen, explains that “Learning other languages besides the one we grow up with helps make the world a friendlier place. We can speak non-English languages and still be American” (p. 18). The third graders in Mrs. Haugen’s class are excited to see their names written in Arabic on their quilt displayed in the hallway. In fact, the class across the hall is also inspired by the

Purposes, Possibilities, and Goals for the Writing Studio

43

quilt, and they create a class quilt with everyone’s name in Japanese with the help of Kura, a Japanese-American student. The main message of the book to celebrate the layered identities of children and their families is a message that is vital whether or not your classroom represents multiple languages and cultures. All children need, as Rudine Sims Bishop (1990) says, “windows and mirrors” – to see themselves AND to see others in books and stories.

Organization Organization is “the internal structure of a piece – the thread of logic, the pattern of meaning” (Culham, 2018, p. 20). There are almost infnite ways to organize writing. Alma and How She Got Her Name by Juana Martinez-Neal (2018) is organized in a unique way. The picturebook begins with Alma getting frustrated by the length of her long name – Alma Sofa Esperanza José Candela. From here the book is organized by each of her six names. Her father describes a person Alma is named after, followed by Alma connecting to that ancestor’s story and she embracing the name with an I am _ statement. This organizational structure repeats for each of her six names and concludes with Alma declaring, “Alma Sofa Esperanza José Candela! That’s my name, and it fts me just right! I am Alma, and I have a story to tell” (p. 28). Gary Soto’s (2008) poem, “Music for Fun and Proft” is organized into four stanzas. The frst two stanzas declare his love of music and his creativity in making instruments from the objects around him to play songs for his cousin Cholito and cat Chato. His third stanza describes how his music upsets his papi and really upsets his parents when he buys a kazoo. His fourth and fnal stanza describes how he loves creating music for fun and to make money from his parents to get him to stop playing.

Voice Voice is “the tone and tenor of the piece – the personal stamp of the writer, which is achieved through a strong understanding of purpose and audience” (Culham, 2018, p. 21). In many ways, voice is the composite of all the other traits. Listen to this excerpt from Karen Lynn Williams and Khadra Mohammed’s (2009) picture book, My Name Is Sangoel: “Everywhere, people rushed around, speaking English very fast. The stairs in the airport moved, and Mama was afraid to step on them. Doors opened by magic. Bright fashing lights made Sangoel’s eyes burn. He shivered and his head ached” (p. 7). The rhythm of the words, and the imagery of arriving in a chaotic, unknown place all combine to give this piece voice.

Word Choice Word choice is “the specifc vocabulary the writer uses to convey meaning and enlighten the reader” (Culham, 2018, p. 22). Yuyi Morales’ (2018) Dreamers begins: “I dreamed of you, then you appeared. Together we became Amor – Love – Amor. Resplendent life, you and I” (pp. 1–2). The poetic language

44

Introduction to the Writing Studio

draws the reader into the story; we want to know more about this mother and child – their love and the life they created. Morales’ decision to write, “Amor – Love – Amor” in Spanish and English creates deep meaning and emphasizes her deep affection for her child. Her use of the word “resplendent” in the sentence, “Resplendent life, you and I,” adds depth to her story, and for students listening or reading the book this word choice will likely expand their vocabulary and give them a glimpse into life as a language learner – trying to fgure out an unknown word with the context and illustration provided.

Sentence Fluency Sentence fuency is “the way words and phrases fow through the piece. It is the auditory trait because it’s ‘read’ with the ear as much as the eye” (Culham, 2018, p. 23). Alma and How She Got Her Name by Juana Martinez-Neal (2018) is an excellent example of sentence fuency. Let’s take a look at the frst three pages of the picture book: Alma Sofa Esperanza José Pura Candela had a long name – too long, if you asked her. “My name is so long, Daddy. It never fts,” Alma said. “Come here,” he said. “Let me tell you the story of your name. Then you decide if it fts” (pp. 1–3). Martinez-Neal uses varied sentence lengths to develop a rhythm for the reader. After Alma’s daddy describes the origin for each of her six names, she refects on her daddy’s description and then makes a personal connection to each person’s story, followed by the sentence “I am __.” For example, after learning about her great-grandmother Esperanza’s unrealized dream of traveling the world, Alma replies, “‘The world is so big! I want to go see it, Daddy. You and me together.’ I am Esperanza.” (pp. 10–11). The sentence fuency used by the author makes you feel like a young girl is writing the story. The repeating “I am” sentences provide a predictable sentence structure that is infused throughout the book, showing how Alma is embracing the connected identities she has with each member of her family she is named after.

Conventions Conventions are “the mechanical correctness of the piece. Correct use of conventions (spelling, capitalization, punctuation, paragraphing and grammar and usage)” (Culham, 2018, p. 24). The Conventions trait is the one trait for which the Education Northwest makes specifc grade-level recommendations. Conventions in many ways represent cultural norms. As teachers we can honor DAE as well as nondominant dialects and languages through the mentor texts we create and select. Conventions have an impact on readers’ ability to make meaning of texts. For example, authors sometimes include comments in parentheses to indicate a snarky aside the writer is trying to convey to the reader. This is why when teaching multilingual learners, we take care that the cultural clues of such words and the parentheses that enclose them are taught as meaning-making signals to the reader.

Purposes, Possibilities, and Goals for the Writing Studio

45

Thao (Lam, 2021) embeds many varied conventions. She purposefully uses varied font sizes, colored fonts, including her name as though it was written in crayon by a child across two pages, and a scribbled-out letter to emphasize the pronunciation of her name. Thao uses varied punctuation, including ellipses to build anticipation, exclamation marks, periods and question marks to show emotion, and an em dash (—) to emphasize how she felt exasperated by the uniqueness of her name in her classroom. The conventions are used to bring humor and truth to the reader as they wrestle with the importance of one’s name, especially if you are an immigrant in a predominantly white classroom.

Presentation Presentation is “the physical appearance of the piece. A visually appealing text provides a welcome mat. It invites the reader in” (Culham, 2018, p. 24). Presentation speaks of design, of exercising writer’s choice in how a piece of writing is displayed for the reader. Thao (Lam, 2021) has a gorgeous presentation. The illustrations, with a mix of collage and real photographs, bring the story to life. The way the text is displayed across each two-page layout magnifes the meaning. On the pages where she includes the myriad of nicknames and slurs used in lieu of her actual name, the words are crammed across the pages in varied fonts and sizes. Thao embeds a speech bubble in a photograph of her at a young age to emphasize the moment when she decides to change her name to Jennifer. Writing traits do not cover everything a writer does or all that is involved in the act of writing. The traits are constructs to think about writing – they are not defnitive. It would be silly to think otherwise. Nor is it our intention to suggest that there is universal agreement on the writing traits – more than likely this is why no one set of traits can fully describe writing. However, the traits are yet another set of language that allows young writers to become part of the writing club. Listen to these snippets of conversation: Writer to teacher: I asked for a writing conference today because I can’t quite fgure out design. I have all this information and all these pictures. How do I get them on the page to look good? Teacher to writer: I wonder if we might brainstorm other possible word choices for “really awesome”? What other possibilities might there be to give your reader a picture of what it is like to play this video game? Writer to writer: It’s an exclamation mark! It’s a convention! Make him “scream” like this!” Teacher to parent: Lize has excellent ideas. [Reads aloud from child’s writing.] What we are working on now are possible ways Lize can better focus and organize her writing by developing one or two related ideas. Teacher J knows the language of writing traits expands possibilities, purposes, and goals for writers and writing instruction when used judiciously. Writing traits become dangerous if we use them to reduce writing to a quantifable skill and even more dangerous if teachers and administrators see them as a skill only and do not understand the depth and richness embedded in each trait as writing craft. Sometimes, too much time is focused on the traits, as if that is all there is to teach in writing and at the expense of writing itself. Furthermore, the abstractness of the terms can lack meaning, especially for young writers, if they are not approached with

46

Introduction to the Writing Studio

developmental expertise and care. Yet used with a deliberate focus on possibilities, purposes, and goals, writing traits provide language for developing writing practice, process, and craft.

An Illustration: Developing Writing Possibilities, Purposes, and Goals With Sebas We return to Sebas . . . you met him at the beginning of this chapter; take a minute to reread his story “Middle East Revenge” (Figure 2.1). If we apply our knowledge of text type and genre to Sebas’ story about a soldier seeking revenge after the 9/11 attacks, we can work with Sebas to name the text type, narrative, and the genres his story encompasses: realistic fction, historical fction, and war stories. “Middle East Revenge” is an example of realistic fction because it centers on a character, Andrew Pettison, and his desire to stop terrorism in the Middle East. Sebas’ story could also be categorized as historical fction because the fctional character, Andrew Pettison, is placed in the Middle East after the 9/11 attacks. In addition, Sebas’ story is in the genre of war stories because he focuses solely on the military life of Army Airborne Division platoon Sergeant Andrew Pettison’s deployment to Iraq in 2001. If Sebas was our student, we could have a conversation with him about the elements of narrative text type he used in his story. We could also ask if he was trying to persuade his readers. If so, how was he hoping to infuence his readers and what elements of opinion/argument text type did he use in his story? Because Sebas has such a keen interest in military weapons, aircraft, and wars, we can capitalize on his interests and expertise to encourage Sebas to pursue other text types and genres. We can collect additional pieces of writing that represent new genres and modes for him to explore. For example, we can give Sebas several magazine feature articles about war. Sebas could read them, and together we could discuss the following questions: “What do you notice about feature articles? How are feature articles different from your story? What is the purpose of these feature articles? What aspects of the feature articles do you want to try using as a writer?” Directing Sebas toward feature article writing will expand his repertoire of “Text Types and Purposes,” thus supporting his journey toward meeting the CCSS. By introducing a new text type of writing, we provide Sebas another purpose for writing. Such writing provides Sebas with an authentic reason to “Research to Build and Present Knowledge” as he composes this next piece. We can also use our discussions to teach Sebas about writer’s craft as represented by writing traits, and from this discussion, we can set specifc goals for him as a writer. We can compliment Sebas for his engaging ideas and content as well as his vivid word choice in “Middle East Revenge.” Then, we can set goals for Sebas as a writer. One goal might be to develop Sebas’s skills with conventions, specifcally learning how to punctuate dialogue. Another goal might be to develop strategies for organizing his writing. Both goal-areas support Sebas toward his mastery of CCSS “Production and Distribution,” which includes organizational and editing skills. Sebas is a multilingual student – profcient in Spanish and English. We can take the time to ask Sebas about his thinking and how he uses English and Spanish during his writing process. Taken together, we are practicing integrated language arts teaching; combining reading, writing, listening, and speaking; leveraging students’ full linguistic repertoires to create possibilities, purposes, and writing goals for Sebas. Although Sebas has been ascribed labels within medical and school settings – attention defcit and hyperactivity disorder (ADHD)

Purposes, Possibilities, and Goals for the Writing Studio

47

and prior to his ffth-grade fction-writing unit, “noncompliant writer” – these labels faded away during the fction-writing unit. His teacher, Ms. Widmer, provided Sebas with choice to write about a topic of interest and choice in the form of his fction story. Ms. Widmer understands the importance of taking a student where he is and knows she can expand his range of writing in the future if he has just one successful writing experience to build on.

Go to the companion website to watch an interview with Sebas where he discusses the writing practice, process, and craft of his story, “Middle East Revenge.”

Possibilities, Purposes, and Goals in the Writing Studio You may fnd yourself in a school context where standards and/or writing traits are applied in a prescriptive way. If so, then to read and implement them as possibilities is a way to resist and practice subversive teaching. In other schools, this framework of reading the standards and/or traits as possibilities is actively adopted in one form or another, and you will grow many more interpretations and possibilities. In all contexts, listen; observe; inquire how children learn; engage them in writing practice and process; honor multilingual students’ abilities in using all their languages, organizational patterns, and cultural ways of expression; and provide space for students to name and regulate their emotions through the power of writing. We encourage you frst and foremost to grow your own knowledge of writing: know what writing can do for you and for children; know how it works; and develop a deep understanding of the language of CCSS, ELP, or other state-adopted standards, and writing traits. Tweak and twist but re-frame mandates as possibilities and see what you may discover. In Letters to a Young Teacher, Jonathan Kozol (2007) writes: The point is not to lose your job! It is to fnd a way to navigate the contradictions it presents without entirely forfeiting one’s personality or undermining the ideals that make our work with children a ‘vocation’ in the truest sense rather than a slotted role within a spiritless career (p. 203). Dwelling in possibilities is a powerful place to live as a writer and as a teacher of writing. Let us fnd these possibilities, defne them with our young writers, and use them to foster authentic writing, purposes, and writing goals.

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter Defne text types in your own words. How do text types open up possibilities for writers? Be prepared to give an example from your own writing life, the classroom where you may be teaching or assisting, or by imagining a teaching scenario. ♦

Application: Create your own mentor text stack for a text type, genre, and grade of your choice. Two mentor text stacks were described in this chapter – personal

48

Introduction to the Writing Studio

narrative picture books about names and Spanish-English personal narrative poetry. If you would like an additional example, go to the companion website and read “Mentor Text Stack: Graphic Novel Biographies of Social Activities & Teaching Snapshot.” Describe the role of standards in the Writing Studio. How can standards direct us as teachers when designing lessons for the Writing Studio? ♦

Application: Choose one book from your text stack and identify the CCSS Writing and Language standards that align with your text.

Review the writing traits. As a writer, what is one trait you feel is your strength? What is one trait you would like to develop? Using an example from your own writing, provide evidence of a writing trait that is a strength and a writing trait you’d like to develop. ♦

Application: Take the texts from your mentor text stack and decide which texts you would use to teach specifc writing traits. Identify page numbers or excerpts you would use to focus students’ attention towards the writing trait.

Learning with Peers: Discussion Bring the applications you completed to your peer discussion. Compare and contrast your work. What do you now understand about standards, writing traits, and the use of mentor texts that you did not before reading this chapter and completing the application work? What questions do you still have? Discuss these as well.

References Argueta, J. (2001). A movie in my pillow ~ Una película en mi almohada. Children’s Book Press. Bishop, R. S. (1990). Mirrors, windows, and sliding glass doors. Perspectives: Choosing and Using Books for the Classroom, 6(3), ix–xi. Bowles, D. (2018). They call me Güero: A border kid’s poems. Cinco Puntos Press. Calkins, L., Ehrenworth, M., & Lehman, C. (2012). Pathways to the Common Core: Accelerating achievement. Heinemann. Coe, M., Hanita, M., Nishioka, V., & Smiley, R. (2011). An investigation of the impact of the 6+1 Trait Writing model on grade 5 student writing achievement (NCEE 2012–4010). National Center for Education Evaluation and Regional Assistance, Institute of Education Sciences, U.S. Department of Education. Council of Chief State School Offcers. (2014). English language profciency (ELP) standards. CCSSO. https://ccsso.org/resource-library/english-language-profciency-elp-standards Culham, R. (2018). Teach writing well: How to assess writing, invigorate instruction, and rethink revision. Stenhouse. Dickinson, E. (1951). The poems of Emily Dickinson (R. W. Franklin, Ed.). Belknap Press. Education Northwest. (2021). 6+1 Trait© writing rubrics grades 3–12. Retrieved from the Education Northwest website https://educationnorthwest.org/sites/default/fles/resources/traits-rubrics-3-12.pdf English Language Profciency Assessment for the 21st Century. (2023). English language profciency assessment for the 21st century (ELPA21). www.elpa21.org

Purposes, Possibilities, and Goals for the Writing Studio

49

Hama, L. (2007). The battle of Iwo Jima: Guerilla warfare in the Pacifc. Rosen. Hillocks, G. Jr. (1986). Making the writing process work: Strategies for composition and self-regulation (2nd ed.). Brookline Books. Khalil, A. (2020). The Arabic quilt: An immigrant story. Tilbury House Publishers. Kinney, J. (2007). Diary of a wimpy kid. Amulet Books. Kozol, J. (2007). Letters to a young teacher. Crown. Lam, T. (2021). Thao. Owlkids Books. Lukens, R. (2007). A critical handbook of children’s literature (8th ed.). Pearson/Allyn and Bacon. Martinez-Neal, J. (2018). Alma and how she got her name. Candlewick Press. Morales, Y. (2018). Dreamers. Neal Porter Books/Holiday House. National Governors Association Center for Best Practices & Council of Chief State School Offcers. (2010a). Common Core State Standards for English language arts and literacy in history/social studies, science, and technical subjects. Authors. https://learning.ccsso.org/wp-content/ uploads/2022/11/ELA_Standards1.pdf National Governors Association Center for Best Practices & Council of Chief State School Offcers. (2010b). Common core standards for English language arts & literacy in history/social studies, science, and technical subjects. Appendix A: Research supporting key elements of the standards and glossary of terms. Authors. www.thecorestandards.org/assets/Appendix_A.pdf Opatz, M. O., & Nelson, E. T. (2022). Writing the talk: Preparing preservice teachers for critical writing instruction using culturally sustaining pedagogy. In T. S. Hodges (Ed.), Handbook of research on teacher practices for diverse writing instruction (pp. 335–356). IGI Global. https://doi.org/10.4018/978-1-6684-6213-3.ch017 Smarter Balanced Assessment Consortium. (2023). Smarter balanced assessment. www.smarterbalanced.org/ Smith, F. (1987). Joining the literacy club: Further essays into education. Heinemann. Soto, G. (2008). Music for fun and proft. In N. Giovanni (Ed.), Hip hop speaks to children: A celebration of poetry with a beat. Sourcebooks Jabberwocky. Williams, K. L., & Mohammed, K. (2009). My name is Sangoel. Eerdmans Books for Young Readers.

Chapter 3

Organizing the Writing Studio

Teacher J recently hosted a teacher candidate, Lydia, from the local teacher education program. Lydia spent a week observing and interacting with children just after winter break. At the end of this time, Teacher J and Lydia chatted about the experience. Lydia exclaimed, “The amazing thing about your classroom is how everything just happens! I think you have an exceptional group of children. These are not like the children I have seen in other schools. They are so responsible! They actually behave! During writing they write and work pretty much on their own! They even collaborate together. That is just amazing! Kids don’t just do that!” Teacher J was taken aback by Lydia’s words. On one hand, it seemed to be a compliment. On the other hand, did Lydia really think learning and teaching in their classroom “just happened”? Did she truly believe the children in their classroom were extraordinary for “behaving”? “Lydia,” Teacher J said, “may I tell you a story? It comes from the week before the frst day of school when I intentionally organize the classroom for learning. Then, during the frst month of school, I teach expectations and routines and dwell in possibilities. Beginnings matter. Beginnings make October through June productive, enjoyable months of living and learning. Use your imagination with me and allow me to walk you ‘behind the scenes’ of this classroom. Trust me, nothing ‘just happens’.” Veteran teacher of writing Nancie Atwell (1998) tells a story about a time when Donald Graves, a noted professor and teacher of writing, came to visit and observe in her classroom. Here is how she records the conversation: He [Graves] said “You know what makes you such a good writing teacher?” Oh God, I thought. Here it comes: validation from one of the world’s most famous writing teachers. In a split second I fipped through the best possibilities. Was he going to remark on the piercing intelligence of my conferences? My commitment to the kids? My sensitivity to writing language? “What?” I asked. He answered, “You’re so damned organized” (p. 89). DOI: 10.4324/9781003409243-5

Organizing the Writing Studio

51

It turns out that possibilities and purposes don’t just happen. It takes deliberate planning to organize the Writing Studio to be a safe, creative space of learning for all children. Intentional organization, schedules and routines, and teaching these from the beginning of the school year allow children to have ownership, act with agency, and have choice by not only knowing expectations but knowing these expectations have been thoughtfully tailored to their needs. By these actions, children know they matter, they are loved. To this goal, the Writing Studio is organized and planned for Universal Design for Learning (UDL), social emotional learning (SEL), and culturally sustaining pedagogy (CSP) (see Table 3.1). These are constant themes throughout this text. The names of these critical concepts have changed and will change, but the overarching principles of honoring, accepting, and adapting learning for all children remains a constant. These critical concepts are embedded in each of the Writing Studio components. Table 3.1 Universal Design for Learning, Social Emotional Learning, and Culturally Sustaining Pedagogy

Universal Design for Learning

Social Emotional Learning

Culturally Sustaining Pedagogy

“Universal Design for Learning (UDL) Guidelines are a tool used in the implementation of Universal Design for Learning, a framework to improve and optimize teaching and learning for all people based on scientifc insights into how humans learn.” Teachers can follow UDL Guidelines of engagement, representation, and action and expression to “ensure all learners can access and participate in meaningful, challenging learning opportunities” (CAST, 2018).

The Collaborative for Academic, Social, and Emotional Learning (CASEL) defnes social emotional learning as “the process through which all young people and adults acquire and apply the knowledge, skills, and attitudes to develop healthy identities, manage emotions and achieve personal and collective goals, feel and show empathy for others, establish and maintain supportive relationships, and make responsible and caring decisions” (CASEL, 2020, para. 1). The CASEL Framework includes competencies in selfawareness, self-management, social awareness, relationship skills, and responsible decision making.

Learn more about UDL from the Center for Applied Special Technology (CAST): https://udlguidelines. cast.org/

Learn more about social emotional learning from CASEL https://casel.org/ fundamentals-of-sel/

Culturally sustaining pedagogy “requires that our pedagogies be more than responsive of or relevant to the cultural experiences and practices of young people – it requires that they support young people in sustaining the cultural and linguistic competence of their communities while simultaneously offering access to dominant cultural competence. Culturally sustaining pedagogy, then, has as its explicit goal supporting multilingualism and multiculturalism in practice and perspective for students and teachers. That is, culturally sustaining pedagogy seeks to perpetuate and foster – to sustain – linguistic, literate, and cultural pluralism as part of the democratic project of schooling” (Paris, 2012, p. 95).

52

Introduction to the Writing Studio

The Writing Studio Schedule The Writing Studio routine is this: writing mini-lesson, Roll Call to Action, independent and collaborative writing time, and class sharing or closure. Times for each component vary according to grade level and writers’ growing abilities. Sometimes mini-lessons take longer. Sometimes writers need to get to the work of writing sooner. Sometimes sharing becomes a much longer celebration or time to work through writing dilemmas. Teachers maintain this predictable schedule, even while adjusting for the needs of writers. Table 3.2 describes each Writing Studio component and the organizational tools used for each component. Table 3.2 Writing Studio Components and Organizational Tools

Writing Studio Component

Time in Minutes

Definition of Writing Studio Component

Organizational Tools Used During Writing Studio Component

Writing Mini-Lesson

10–20

Teacher-directed lesson focusing on one or two objectives based on ongoing classroom assessment and overall unit goals. The mini-lesson can be many things, including a teacher demonstration, a shared learning activity eliciting and engaging writers, or a writer share or demonstration. The purpose of the mini-lesson is to directly teach writing practice, process, and/or craft to the whole class. As a routine, children come to anticipate the mini-lesson as the beginning of the Writing Studio.

• Anchor Chart • Mentor texts • Writing lesson area (whole class learning) • Daily Writing Folders • Technology: translation apps; projection devices • White boards, easels, and writing pads

Roll Call to Action/ My Writing World

2–5

There are many ways to do Roll Call to Action. The purpose, however, remains the same: writers declare their goal for the individual and collaborative writing time, and the teacher notes these and follows up with writers as necessary. The purpose of this routine is to focus writers and quickly inform the teacher of writers’ progress.

• Roll Call to Action (teacher) or My Writing World (students) • Daily Writing Folder (students)

(Continued)

Organizing the Writing Studio

53

Table 3.2 (Continued)

Writing Studio Component

Time in Minutes

Definition of Writing Studio Component

Organizational Tools Used During Writing Studio Component

Independent and Collaborative Writing Time

30–60

The soul of the Writing Studio: this is the time when writers use various writing practice, process, and craft to develop as writers. Writers work both independently and collaboratively talking, drafting, researching, revising, reading, editing, and sharing their work. The objectives of the mini-lesson can be adapted for individual writers as the teacher is engaged in one-onone student conferencing and small group writing instruction. It is during this time a teacher can specifcally individualize instruction for Individual Educational Programs, various linguistic goals, social-emotional needs, and gifted writers.

• Anchor Charts • Daily Writing Folder • Personal storage space • Classroom library • Book making • Technology: translation apps • Story writing, graphic writing, other technology apps; word processing • Variety of writing/art supplies • Bulletin boards displaying writers’ work

Sharing

5–20

The Writing Studio concludes with sharing, celebrating the work that has been and is being accomplished by writers.

• Writing My World • Anchor Charts

Writing Studio Snapshots The following snapshots of Kindergarten, Grade 3, and Grade 5 Writing Studios illustrate both the components of the Writing Studio and how UDL, SEL, and CSP are woven into them. (Go to the companion website to read a “Preschool Writing Studio Snapshot.”) The Snapshots also demonstrate the instructional focus on writing practice, process, and craft and use standards to guide mini-lessons (Chapter 2). Read with intentionality for UDL, SEL, and CSP concepts in each Snapshot.

Writing Studio Snapshot: Kindergarten Ms. Furgison sings out, “Time for writing, time for writing, come to the rug, come to the rug,” and the kindergarteners jump, dance, and scurry to surround her as she stands by a writing pad mounted on an easel in the rug area. It is September and most of the children

54

Introduction to the Writing Studio

are still learning routines for being a member in the Writing Studio community. Ms. Furgison uses signals and songs to cue the children and remind them of their community agreements. Ms. Furgison begins, “Writers, we have been learning how to s-t-r-e-t-c-h out sounds to write words to go with our drawings.” She begins a quick sketch on the writing chart. A picture emerges of Ms. Furgison slurping an ice cream cone. Ms. Furgison talks as she draws, “This is me, and I am drawing about this weekend when I took my son and we bought ice cream cones!” Children are delighted, and some remember they, too, had ice cream cones on the weekend. Ms. Furgison says, “I want to write, ‘The ice cream cone was delicious!’ Let’s count the number of words in my sentence. Hold out your hands – The – ice-cream-cone-was delicious! Yes, there are six words in my sentence. I’m going to start writing my sentence: The ice cream cone was . . . hmmm, I don’t know how to spell delicious. Can you help me?” The children use their best phonics skills to help Ms. Furgison s-t-r-e-t-c-h out the word. Ms. Furgison thanks the children for their help. “Writers, I challenge you to s-t-r-e-t-c-h out your words to hear and write all the sounds in your words as you write your stories!” Children tell Ms. Furgison what they plan to write about as a “ticket” to receive their Daily Writing Folders. This is a signal to the writers that they may leave the rug area and go to their writing tables. Children who are unsure what they will write about will stay in the carpet area with Ms. Furgison to brainstorm ideas before they head off to write independently or with a friend. This is a way of doing Roll Call to Action at the kindergarten level. This is a routine Ms. Furgison has been deliberately teaching. Skillfully, she differentiates in small ways during this time, sometimes physically pointing a child directly to their seat and at other times offering a word of encouragement, “Remember, you were going to write about trains today,” or reinforcing directions, “You are going to start writing as soon as you fnd your table.” Children do fnd their seats quickly. They select colorful markers situated in the middle of the writing tables with which to write. Paper for writing is already in their writing folders. The mini-lesson lasted just about 5 minutes – perfect timing for this group of writers and their kindergarten attention spans. The mini-lesson length will lengthen as the year progresses and children mature as writers. Children write for approximately 15 minutes. During this time, Ms. Furgison moves around the room, kneeling beside children and providing individualized writing instruction and encouragement. Stephen likes to lay under his table with a clipboard during writing time; he is writing about a new toy, labeling his drawing with words. Madeline writes several sentences, sounding out words well as she describes shopping with her mom. Jabon draws three colorful blocks and announces that they are dragons with the frst two letters of his name on the page. Marcus writes a complete sentence describing a rocket and sounds out the words beautifully – he writes from right to left. Floriana is sounding out, “helado,” weaving Spanish and English words throughout her story. These children represent the range of abilities in Ms. Furgison’s kindergarten classroom. After individual writing time, Ms. Furgison again sings to signal children to gather at the rug. They have learned to bring their writing folder with them. Ms. Furgison says, “Writers, I saw such good writing today. I heard you s-t-r-e-t-c-h-ing out those words and using what you know about letters and sounds to spell important words in your story. Everyone open your writing folder and take a few seconds to look at your good work!” She pauses. “Now close up your folder carefully. This is your beautiful work in the folder, so make sure not to crumple any of your pages. I’ll excuse you by table groups to put away your folders in a way that honors your hard work as writers.” Closure is short at the beginning of the year. Ms. Furgison notes that writing comes just before lunch. Children are hungry and ready to eat and play, so long closures are not

Organizing the Writing Studio

55

appropriate. Later, children will begin to share their writing with one another but most likely as a mini-lesson or during independent writing time to account for the lunch schedule. At the beginning of the year, Ms. Furgison uses this closure to reinforce children’s identities as writers and the routine for care and storage of writing folders. Kindergarten Standards Aligned to Ms. Furgison’s Lesson: Writing CCSS Standard 3: Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened. Language CCSS Standard 2: Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. ELP Standard 3: An ELL can speak and write about grade appropriate complex literary and informational texts and topics.

Writing Studio Snapshot: Grade 3 Ms. Lawrence-Walker claps her hands three times. Her Grade 3 students pause what they are doing and complete the clap routine with her. Then, Ms. Lawrence-Walker fips the “Our Daily Schedule” chart to a bright yellow page with a pencil. This signals it is time for the Writing Studio to begin! Ms. Lawrence-Walker waits until children appear ready to transition; she has moved next to Milton, lightly tapping his desk with her fnger, to reinforce the upcoming transition. Then, she slowly turns her rain-maker, and children begin whispering and moving towards the community rug. There are 26 writers in Ms. Lawrence-Walker’s class, and they speak 12 different home languages; signals and routines ensure all children can act with agency and enjoy a sense of belonging. Ms. Lawrence-Walker sits in a small chair with an easel beside her. She leans forward and waits for children to settle in on the foor, guiding Milton to sit near the front, making sure Lily is given a little extra space on the perimeter of the rug. She makes sure all eager eyes can see her. Ms. Lawrence-Walker holds up the book The Water Walker (Robertson, 2017). There are murmurs among the children; a few call out, “It’s Nokomis!” They recognize the book, as they have read it together multiple times during reading instruction. “Yes,” Ms. Lawrence-Walker says, as she points to the front cover, “It is Nokomis! What do we know about Nokomis?” “Grandmother!” a child calls out and Ms. Lawrence-Walker repeats, “Yes, Nokomis means Grandmother. And Ms. Lawrence-Walker writes, “Nokomis” on the chart paper next to her, along with a quick sketch of Nokomis, mirroring the illustrations in the book. “She is Indian!” a child exclaims. “Indian,” Ms. Lawrence-Walker says, “What are some other words we can use? Do you remember the really big word we learned? In . . . dig.” “Indigenous!” a few children call out. Ms. Lawrence-Walker fips to an earlier chart on the easel used during a reading lesson. Here, there is a list of words children are learning based upon The Water Walker. She points to

56

Introduction to the Writing Studio

“indigenous.” They identify Nokomis as indigenous, meaning “her many great, great, great, great, great [they love saying this!] grandmothers and grandfathers have lived in this place for a long time.” “What else do we know about Nokomis?” Ms. Lawrence-Walker asks. “She loves Nibi!” another child says. Ms. Lawrence-Walker repeats, “Nikomis loves Nibi. What is Nibi?” “Water!” many children say in unison! “Ah! Ms. Lawrence-Walker exclaims, “Nokomis loves water.” Again, she writes, “Loves [with a heart] water [includes simple line-drawing of water] on the chart paper. “About that word, ‘nibi.’ What indigenous group uses that word?” Several children call out, “Ojibwe!” They have been working on pronouncing this “big” word, too. “How do we say ‘water’ in other languages?” Ms. Lawrence-Walker asks. She prompts different children to use their home language expertise to respond. Ms. Lawrence-Walker says, “Joanne Robertson, the writer and author, uses Nokomis’ language even while she is writing in English! This is an excellent writing strategy.” “Now I am going to ask a question. All of you think quietly on your own before saying anything out loud. How do we as readers learn so much about Nokomis in the frst pages of The Water Walker? Ms. Lawrence-Walker slowly turns through the frst pages of the book as she asks this question, making sure children can see the pages. One child bounces up and down with their hand in the air, but Ms. Lawrence-Walker reminds everyone to think silently frst by moving her fnger frst to her head and then to her lips. She pauses a little longer, as she scans the book a bit slower in front of Milton. “Ok,” Ms. Lawrence-Walker says, “Everyone turn to a classroom friend and tell them how you think Joanne Robertson, the writer and author of The Water Walker, lets us know that Nokomis loves water.” The room buzzes with possibilities. The mini-lesson continues as Ms. Lawrence-Walker writes on the chart all the ways the children have learned about Nokomis in the frst pages of the book. Ms. Lawrence-Walker repeats what each child says in a simple full sentence. She often asks different children to repeat what is said and written. In the end, Ms. Lawrence-Walker and the children study their list together: Joanne Robertson tells us about Nokomis: She writes, Nokomis loves Nibi; uses specifc details (like rain or shine); uses her own language [we know she is Ojibwe]; tells what Nokomis does every day [says a prayer to Nibi [How we know water is important to her]; Illustrations show specifc details. “Look at the list we have made, writers! Do you think we can be writers like Joanne Robertson? Our writing goal today is [and Ms. Lawrence-Walker fips to a prepared Anchor Chart on the easel], ‘I can write an introduction to my character like Joanne Robertson!’ Let’s read this together!” And they do! Ms. Lawrence-Walker looks at her Roll Call to Action record from the day before. “All of us are writing about people who make a difference. Some of you are writing about real people, like your grandmothers or dads. Some of you are writing about fctional, or made up, characters. Looks like Sam is writing a story about a superhero. Marta is writing about a cat who

Organizing the Writing Studio

57

paints so humans will treat animals better. I think we can all learn from Joanne Robertson and how she introduces Nokomis. Here is how I am going to introduce my friend, Nona, in my writing. I told you a little about Nona yesterday. Nona is a crosswalk volunteer. She makes sure children are safe when they cross the street.” Ms. Lawrence-Walker turns to yet another prepared chart on the easel. She has written, “Nona loves children. And children love Nona. Nona helps children cross the street in the rain, the snow, the wind, and sun. Nona puts on her safety jacket on school mornings. She takes her crossing fag and walks to the corner.” Ms. Lawrence-Walker encourages her multilingual writers to use words they know in their home languages, along with English. She has underlined the word, “children,” in her own example and stops to ask her multilingual writers, “How would I write or say children in your languages?” “Now, writers,” and Ms. Lawrence-Walker stands, lifting her clipboard into the air, signaling to children that the next step is the Roll Call to Action. “Take a minute to think about what you are going to do during Writing Studio time today.” Ms. Lawrence-Walker points to an Anchor Chart with options for what writers might say: “Write a story. Teacher conference. Friend conference. Start a story.” Each option on the wall chart includes a simple sketch to illustrate its meaning. “And,” Ms. Lawrence-Walker, “Today you might say, ‘Write Character Introduction” and she adds this to the chart, along with a quick sketch. Ms. Lawrence-Walker’s students know this routine. As she calls out each name, students respond. Ms. Lawrence-Walker adds support for those who need it, making sure each writer participates in this transition. When Roll Call to Action is complete, Ms. Lawrence-Walker hands her rain-maker stick to Milton and he slowly begins to move it. Children know this is the signal to return to their tables, open their folders, and begin to write. Ms. Lawrence-Walker moves quickly during the frst minutes of this transition: Milton will need his noise-canceling earbuds; Merri is going to work in the Calming Corner today. Ms. Lawrence-Walker scans the classroom again, making sure all writers are settling into their writing routines. Then, she hands over the Roll Call to Action to the instructional aide, Mr. Muthen, who will conduct one-on-one conferences with writers. Ms. Lawrence-Walker is going to teach writers who are beginning English language learners today. During the Writing Studio time, Ms. Lawrence-Walker and Mr. Muthen made sure children all have a piece of writing to share with a writing friend during the closure. Children write for about 20 minutes. Ms. Lawrence-Walker gives all writers a 5-minute warning by ringing a chime; she makes sure Milton is aware of this change prior to this transition. She will give Milton another transition warning in 2 minutes; Mr. Muthen has given Merri, in the Calming Corner, an additional signal as well. When Ms. Lawrence-Walker hands her rain-maker stick to Milton, children know it is time for closure. They bring their writing as the stick plays out the gentle rain to the common area and take a seat. Ms. Lawrence-Walker takes her seat. She says, “Thank you for being so serious about writing today! You can be proud of your work!” Ms. Lawrence-Walker returns to the chart with the day’s objective, “I can write a character introduction like Joanne Robertson.” “This was our objective for today. Many of you worked on this today. Some of you had other writing goals. Take a minute [and Ms. Lawrence-Walker again points with her fnger to her head and her lips] to think quietly about what you are going to share with your writing

58

Introduction to the Writing Studio

friend.” Then, after a pause, Ms. Lawrence-Walker encourages, “And remember, what do we say to our writing friend when they share their writing?” And the children respond, ‘Thank you for sharing your writing!’ Ms. Lawrence-Walker turns to Mr. Muthen and asks, “May I share my writing with you?” Mr. Muthen replies with a thumbs-up and children know it is their time to share. During this time, Ms. Lawrence-Walker and Mr. Muthen support those who need help sharing their writing; it is important that all writers have their work acknowledged. After about 4 minutes, Ms. Lawrence-Walker returns to the “Our Daily Schedule,” and children know the Writing Studio has ended and another transition is coming their way.

Grade 3 Standards Aligned with Ms. Lawrence-Walker’s Lesson: Writing CCSS Standard 3a: Establish a situation and introduce a narrator and/or characters; organize an event sequence that unfolds naturally. ELP Standard 3: Speak and write about grade-appropriate complex literary topics.

Writing Studio Snapshot: Grade 5 Ms. Martinez’s Grade 5 class is in the middle of an integrated language arts unit focusing on theme. It is mid-November, and today’s mini-lesson connects to the reading lesson, completed earlier in the day on “fnding theme,” to the writing lesson about drafting a storyboard comic with a clear theme. Ms. Martinez has read aloud picture books and has shown short videos to her class, modeling how to identify the theme of a story or video. Her students are sitting in table-pods of four. Anchor Charts for literacy are on one wall of the classroom, including a chart labeled “THEME.” Under it is a subtitle, “Big-World Ideas.” There are sticky notes with children’s handwriting naming a variety of “themes” that they have identifed in books they have been reading. These include: jealousy, bravery, and friendship. Ms. Martinez stands at a document camera and table for today’s lesson. Ms. Martinez starts her writing mini-lesson asking her class, “What are we learning about in reading? It starts with th . . .??” “Theme,” the class replies in unison. “When we look for theme, do we look at small story details or do we look at big ideas that are developed through character and plot?” Ms. Martinez asks. “Big-world ideas,” the children reply. “Right,” Ms. Martinez continues, “We have been reading books and discussing theme. We have watched videos and discussed the theme of the videos. Today we are going to continue working on our comic storyboards related to a theme.” Ms. Martinez fips to a Google slide she has prepared with the day’s objective. “Maya, could you read our goal for Writing Studio today?” Maya reads aloud in both English and Spanish, “I can develop a theme, a big idea, through character and plot in my graphic story. Puedo desarrollar un tema, una idea grande, usando personaje y trama en mi historia gráfca.” “Thank you,” Ms. Martinez says “Theme is such an important concept to writers and readers! Let’s get to work as authors on developing a theme.” She continues,

Organizing the Writing Studio

59

“Everyone wrote the theme of their comic on the back of their comic storyboard. We want to make sure our comic storyboards have a theme, big ideas developed through character and plot. Let’s read through a couple of examples to see if you are on the right track. Okay, on the back of this comic storyboard it says, ‘The little boy who got in trouble by jumping the school fence.’ Is this a theme, or is this a detail from the story? Talk to your neighbor. Yes, Alyssa, what do you and your partner think?” “It is a detail from the story” Alyssa replies. “Take a look at this storyboard. What might the theme of this comic be? Talk in your table groups.” The table groups quickly begin discussing possible themes. “Blue table,” Ms. Martinez says, inviting the children of that group to respond. “Follow the rules at school or at home,” Megan suggests. “Does someone else have another theme idea?” Ms. Martinez asks. “Somebody at the yellow table.” “Maybe like being responsible?” Nick contributes. “Can you explain your thinking?” Ms. Martinez asks, pushing him to expand his answer. “Well, the kids in the comic are not responsible and that gets them into trouble,” Nick answers. “I like your reasoning,” Ms. Martinez says and then selects another writer’s draft comic storyboard and places it on the document camera. “This one says ‘Friendship.’ Is this a theme? Why?” “It is a big-world idea, and the characters are getting to be best friends,” responds Colby. “Yes! Friendship is a big world idea” Ms. Martinez answers. “Please take 20 seconds to look through your writing folder and decide what you will be working on today. When I call out your name, please tell me how you intend to spend your writing time today and move your clothespin on our Roll Call to Action chart. You can respond with one of the following options: (1) revise my theme, (2) read my theme to my writing partner to be sure they agree with me, (3) conference with a teacher, or (4) continue writing and illustrating my comic storyboard.” Ms. Martinez points to a chart with these options listed. “Alyssa?” she asks. “Read my theme to my writing partner,” Alyssa quickly responds, then gets up to move her clothespin. “Zaida?” Ms. Martinez continues. “Revisar mi tema,” Zaida answers. And she continues down the class list. After the Roll Call to Action, writers get right to work, reading their theme and discussing their themes with their writing partners. Soon writers are quietly writing at their desks. They have the option of listening to several music options on headphones, including classical, international selections, and nature sounds. Ms. Martinez makes her way around the room, checking with a couple of her multilingual writers frst to be sure they understand the concept of theme and are able to apply their knowledge to their own comic storyboards. She noted earlier that two of her multilingual writers had incorrectly identifed a detail from their story as a theme. When conferencing, she asks them how they imagine “theme,” how it might be described in Spanish, and asks them to relate to any current book they are reading

60

Introduction to the Writing Studio

in Spanish. Ms. Martinez also checks in with a writer who is on an Individual Educational Program for writing. Aston struggles with organization. The storyboard is particularly helpful for him, and Ms. Martinez has intentionally pre-drawn boxes with sequence words (At the beginning, And then, Next, Finally) on his storyboard. As Ms. Martinez transitions to meet with writers indicating they wanted a writing conference with her during Roll Call to Action, she conducts a visual sweep of the classroom, making sure all writers are engaged. At the conclusion of writing, Ms. Martinez signals writers to gain their attention. The slide with the day’s objective has been displayed during the entire Writing Studio; she reviews this objective again. Prior to this time, she has asked two specifc writers if they will share their comic storyboards. Matías (who is writing in both Spanish and English) and Camila come up to the document camera and share their theme and comic storyboard using a portable microphone. After the two writers share the theme of their comic storyboard with the whole class, Ms. Martinez asks the class to check in with their writing buddy to see if their writing buddy identifed a theme and if the theme matched their buddy’s comic storyboard. “Writers, I am curious about your thinking process for developing theme through character and plot. Would any of you be able to share how you are doing this?” Several students share how they are doing this, again, using the portable microphone, including Marshall, who says, “I am trying to write like the authors of Save Me a Seat. You know, how they showed how embarrassed Ravi was by his actions. It is kind of hard. I am trying to do that, though.” Ms. Martinez replies, “Thanks for reminding us, Marshall, how we can learn from published authors, how they can be our mentors. Using mentors like this is something you have learned to do well! Tomorrow we will continue developing our stories so we can publish them as an iMovie on our iPads.”

Grade 5 Standards Aligned to Ms. Martinez’s Lesson: Writing CCSS Standard 4: With guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. Writing CCSS Standard 6: With some guidance and support from adults, use technology, including the Internet, to produce and publish writing as well as to interact and collaborate with others; demonstrate suffcient command of keyboarding skills to type a minimum of two pages in a single sitting. Writing CCSS Standard 10: Write routinely over extended time frames (time for research, refection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specifc tasks, purposes, and audiences.

Ms. Furgison, Ms. Lawrence-Walker, and Ms. Martinez illustrate each component of the Writing Studio and how the routine is adapted for grade levels and the needs of their specifc writers. These teachers of writing expect writers to be prepared to write and to take

Organizing the Writing Studio

61

responsibility during writing time. They trust them to make choices, and they teach them when they do not know how to do this. They monitor writing progress by documenting, using the data collected from Roll Call to Action and individual conferences to set individual goals for writers and plan future mini-lessons. By making the act of writing the centerpiece of the Writing Studio (not the teacher’s mini-lesson), writers are developing writing practice, process, and craft. While their styles differ, these teachers of writing organize the physical space of the classroom, materials, and supplies deliberately to support writing for all children. All teachers co-create Community Agreements with writers for each component of the Writing Studio and to guide use of physical space and writing tools. “Community agreements allow students to build a set of expectations for themselves, the students who are there every day, and hold each other accountable for those expectations as they get to know each other better” (O’Connor, 2021).

Go to the companion website for an example of “Community Agreements.”

Organizing the Writing Studio: Physical Space Each Writing Studio component requires a certain kind of physical space. During the minilesson, writers will focus on the teacher. Teachers of younger grades usually have children gather on a classroom rug, while older students often remain at table groups or desks. A teacher chair and easel or technologies like tablet, projectors, document cameras, and SmartBoards might be utilized. Many children are engaged by the lights and color created by technologies and they are helpful to their specifc learning needs; others will fnd these distracting or agitating. Adjust as needed. During Independent and Collaborative Writing, teachers and writers will use physical space in different ways. Consider one-on-one teacher–student conferences (see Chapter 7). Where and how will you meet with writers? Teacher–Student Writing Conferences – Possibilities: ♦ ♦ ♦ ♦

A small, lightweight chair, moveable to be side-by-side with a writer Designated space in the classroom, such as a special writer’s chair by teacher’s desk Garden kneeling pad, specifcally for preschool and kindergarten classrooms, to be at a child’s level Or . . . imagine other possibilities

Small group instruction also requires planning and organizing for space (all are arranged so the teacher can look over the small group and see the entire classroom): ♦ Small “kidney-shaped” table ♦ Small rug where writers and teacher can gather ♦ Chairs lined up along a wall that can be easily moved into a circle ♦ Or . . . imagine other possibilities

62

Introduction to the Writing Studio

A small group instruction area can also double as a writers’ collaborative work area. Alternatively, another small table can be designated for this use. However, sometimes writers need to spread out their work. For example, writers may be designing a large persuasive poster, a big book, or a mural for narrative text. Classrooms can be busy, even hectic. Children use Calming Spaces as a place of refuge and quiet. These spaces are used for self-management of emotions and as writing spaces, providing a necessary alternative for children. Possible Items for Calming Spaces: ♦ ♦ ♦ ♦ ♦ ♦

Oversized sand timer Pillows, soft toys, worry-knots Mindfulness cues, “What I can do now” cards, and other self-regulating reminders Calming and inspirational artwork and art supplies such as drawing pads and markers Headphones or earbuds to either cancel all noise or listen to calming music Or . . . imagine other possibilities

Writers use a classroom library during the Writing Studio to fnd ideas and inspiration. Developing and organizing a classroom library of 500–1500 books takes time! The payoff is worth the effort when the writers and readers of the classroom have access to a wide variety of diverse books to read at their reading level and to use as mentor texts for writing. Depending upon the layout of the library, there may be room for a small table, pillows, or other alternative seating for writers to comfortably use this space. Organizing and Maintaining the Classroom Library: ♦ ♦ ♦ ♦ ♦ ♦

Engage your students in helping you organize and maintain the library Consider organizing the library by language, Spanish, Arabic, Mandarin, and so on Consider organizing the library by genre For younger grades, consider organizing by topic: families, animals, and so on Create a “Library Key” so writers can fnd items they need quickly Write community agreements for library use; then, practice and reinforce the community agreements

Likewise, plan for your space as a teacher. Do you need a traditional teacher’s desk? Ms. Furgison does not have a desk in the classroom. She is infuenced by the Reggio Emilia approach to learning, which is based on principles of community and discovery in a rich and supportive environment (Edwards et al., 2010). So rather than using classroom space for a personal desk, she shares a common large table in a teachers’ workroom. Ms. Lawrence-Walker does not have a teacher’s desk. She has a designated closet where she keeps her personal belongings and student records and a small chair she uses to move in close to her students. Ms. Martinez downsized her teacher’s desk. She found corners of the classroom too useful to fll with a large teacher’s desk so has opted for a space-effcient rolling cart for her laptop and essential supplies.

Organizing the Writing Studio

63

Watch a video where Ms. Furgison shares how she creates a classroom environment to support her writers.

The Writing Studio ends daily with sharing. This physical space also needs to be planned. There needs to be room for writers to stand, present, gather, and look at one another’s writing. Younger grades usually return to the same space used for whole-class instruction. If writers stay at tables or desks, a document camera is a benefcial tool to project children’s writing so everyone can see the text. (See Chapter 8 for more on sharing.) Sharing: ♦ ♦ ♦ ♦ ♦ ♦

Have Anchor Charts from the mini-lesson ready to review Arrange the physical space so everyone can be seen and heard Consider the use of a portable microphone Designate a special space, chair, or stool for the author Use a document camera Create Community Agreements to respect and care for the work of writing

Organizing the Writing Studio: Instructional Resources Anchor Charts are tools used to support instruction. Anchor Charts with mini-lesson objectives collected on an easel or kept in a designated computer slide folder can then be reviewed at various times to reinforce learning and to celebrate what writers have learned and can now do. Anchor Charts can also be designed as reminders to writers about various writing practice, process, and craft.

See the companion website for more examples of Snapshot Anchor Charts.

Figure 3.1 Ms. Martinez’s Writing Mini-Lesson Anchor Chart

64

Introduction to the Writing Studio

Word Walls are another useful resource for writers and support writer independence. Word Walls can take many forms: ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

sound wall chart lists of high-frequency words interesting “found” words in alphabetical order commonly misspelled words Spanish-English cognates discipline-specifc theme words, such as “Family Words” or “Balance and Motion” rootwords prefxes and suffxes

Go to the companion website to see “Word Wall Examples.” It is all too easy to tack an inspirational poster on the wall of our classroom, but as with all classroom decisions, what goes on the wall is yet another deliberate and thoughtful choice. It isn’t just about “decorating” the room. Beautifully teacher-constructed bulletin boards, for example, miss the opportunity to broadcast the good work of writers. Items on walls best refect a “studio-like atmosphere” (Graves, 1991, p. 35), with necessary reminders, tools, samples of work, and celebrations of work professionally hanging on classroom walls. Anchor Charts and Word Walls support writers to become independent if writers are taught how and when to reference them. Another important instructional tool is Roll Call to Action or My Writing World. Roll Call to Action is based upon Atwell’s (1998) “Status of the Class.” We like the term “Roll Call to Action,” as it signals to children, “It is time! Get ready to write!” The purpose of the Roll Call to Action or My Writing World is for writers to declare how they will use the individual and collaborative writing time to follow. Return to the Snapshots to see how each of the teachers organized this important transition. Alternatively, My Writing World can be used for the same purpose as Roll Call to Action. My Writing World is a daily log writers complete at the end of the Writing Studio. Writers list the work they have completed, usually at the direction of the teacher, just before share time at the end of the Writing Studio. The next Writing Studio, writers return to My Writing World to determine their writing intentions for the day. The key is making sure that each writer completes the log. Roll Call to Action or My Writing World serves as formative assessment and is further described in Chapter 7. Go to the companion website for “My Writing World” and “Roll Call to Action” templates. The Daily Writing Folder is yet another important instructional tool. It is both an invitation and an announcement of writing expectations. The purpose of the daily folder is to provide tangible evidence of students’ developing writing practice, process, and craft. It also serves to organize the writer for independence and is adapted for grade levels. Teach your writers how to care and organize their folder; this includes occasional culling based upon new writing goals. Options include simple color-coded folders, pocket foldout folders, hanging fles, or digital folders. Included in all Daily Folders are drafts of current writing and various writing supports tailored to writers’ individual needs.

Organizing the Writing Studio

65

Figure 3.2 Ms. Martinez’s Roll Call to Action

All Daily Writing Folders will have students’ current (ongoing) writing. Most likely includes multiple frst drafts. Daily Writing Folder Supports: ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

List: Possible Writing Topics. Where the writer keeps their ideas! Helpful on days when a writer feels stuck “My Writing Goals & Accomplishments.” An individualized goal sheet for each writer. How writing progress is tracked (see Chapter 5) “Spelling Words to Remember.” List of high-frequency spelling words “My Spelling & Grammar Reminders.” Individualized list based upon each writer’s needs “My Writing World.” A daily log of writing activities Peer Conference Checklist Editing Checklist Publishing Checklist (can be specifc to text-types/genres) Anchor Charts – Specifc Anchor Charts from key mini-lessons can be reproduced for the Daily Writing Folder

Go to the companion website to watch a video of a kindergarten teacher, Ms. Furgison, talking about her kindergarten Daily Writing Folder.

Organizing the Writing Studio: Writing Tools When gathering meaningful writing tools, Graves’ (1991) guiding questions “What is this for?” and “How does it enhance the quality of classroom living for learning?” help teachers make wise choices. Writing tools support writers in writing for different purposes and audiences. Supplies also serve to develop writers’ voices by allowing writers to emphasize text in creative ways.

66

Introduction to the Writing Studio

Writing Supplies: ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

♦

Grade-appropriate pencils and pens Colored pencils Highlighters Grade-appropriate lined paper Small booklets Cards and envelopes Sticky notes Spelling aides dictionaries: personalized, standard English, phonics chart, alphabet strips Multilingual supports: lined paper to learn English handwriting (for some); cognate, personalized, and standard English dictionaries; home language dictionaries Dysgraphia supports: slant board, raised paper, highlighted lined paper, pencil grips, word spacers

Bookmaking and art materials are essential to any Writing Studio. Bookmaking at any grade level elevates the fnal product of writing as a book can be shared over and over again with others. Often, young writers begin the writing process through illustration (Ray, 2010). Through bookmaking, young writers identify writing with the books they are learning to read and discover how writing is meaning making. Bookmaking Supplies: ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

Bookbinding supplies (stapler, coil binding machine, and coils) Cardstock for covers (repurposed cereal boxes work, too!) Sharpies, colored pencils, crayons, and markers Stickers Scrapbooking paper Different sizes, textured and colored paper Scissors (grade appropriate) Glue and tape Miscellaneous craft items such as ribbon and stamps

Technology Technology supports many instructional purposes during individual and collaborative writing time. Laptops and tablets allow writers to revise and edit without simply copying text and can be used to create colorful and informative reports that can be uploaded easily to the Internet. In addition, writers learn to use technology to research and fnd information to enhance, support, and develop writing. Technology is constantly changing so keep learning and playing with applications and tools to see what will work for your students! Technology Supports for individual and Collaborative Writing: ♦ ♦

Laptops, tablets Multilingual supports: translation applications and AI

Organizing the Writing Studio ♦ ♦ ♦ ♦ ♦

67

Dysgraphia applications: virtual slate chalkboards, handwriting support Speech-to-text applications Audio recordings for draft writing Drawing and labeling applications Portable microphone

It is easy to collect writing tools; it is usually more challenging to sort and toss. Clutter is not a writing tool. Let instructional purpose and writers’ needs guide you! Success Tips for Writing Tools: ♦ ♦ ♦ ♦ ♦

Know the purpose for each tool chosen Select tools based upon writers’ needs Sort and organize often Create Community Agreements for organizing, sharing, and using tools Actively teach and reinforce Community Agreements and routines for use and care of tools

Organizing the Writing Studio: Some Final Thoughts As a teacher of writing, plan an organizational system that will allow you to keep (and later return) to mini-lessons and Anchor Charts you design, as well as ways to record and keep track of assessment data. Sometimes this is a three-ring notebook or a crate with hanging fle folders. A computer folder also works well and allows a teacher to upload photographs and scan copies of student work. Some fnd a tablet or phone an easy way to access these supports. Being able to quickly access what you need prior to planning can save you muchneeded time! Well-reasoned, predictable schedules and routines; deliberate and meaningful organization of classroom space; and attention to detail in folders, forms, and meaningful tools, all within UDL, SEL, and CSP principles, acknowledge that things infuence who we are and what we can do as writers.

And So It Matters “And so, Lydia,” Teacher J said, “nothing just ‘happens’ in the classroom. Nor are the children in my classroom somehow extraordinary for ‘behaving.’ If there is a magic bullet – and it isn’t very magical; it is mostly hard work – it may be organization: fnding the structures that work for you as a teacher with each new group of children; having a meaningful predictable schedule that allows for exploration, curiosity, and wonder; being deliberate in setting up and maintaining the physical space of the classroom; and taking time to teach expectations and routines. And knowing how to ‘mix things’ up just enough to keep it interesting but not enough to turn things into a circus.” Teacher J sighs. “It is a compliment to the children and me that you see this classroom as being extraordinary. We all work hard to keep it this way. However, I do believe that learning really is a very natural human endeavor – I want to create a classroom atmosphere and space that fosters such learning, instead of getting in the way of that learning.”

68

Introduction to the Writing Studio

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter The following advice from Donald Graves (1991) frames much of this chapter: Classrooms need careful structuring so that children can function more independently. Structure also helps to integrate the enormous range of differences among children in any classroom. Structure and responsibility must be carefully developed throughout the school year: what is possible in January may not be possible in September (p. 44). Based upon your reading of this chapter, how do the components of the Writing Studio and attending to organization of place, time, and routines: ♦ Ensure all students can access and participate in meaningful learning opportunities according to UDL principles? ♦ Support students’ social emotional needs? ♦ Honor students’ cultural and linguistic identities? ♦ Promote independence while growing a community of writers who respect and care for one another? Use illustrations from your current teaching experience or from the teacher Snapshots in this chapter in your response.

Learning with Peers: Discussion Share with others your ideas, dreams, and questions for creating and organizing a community of writers. Be specifc. Share any drawings or notes you have from the chapter. Develop a poster of guiding principles for organizing your classroom.

References Atwell, N. (1998). In the middle: New understandings about writing, reading and learning (2nd ed.). Heinemann. Center for Applied Special Technology (CAST). (2018). Universal Design for Learning guidelines. https://udlguidelines.cast.org/ Collaborative for Academic, Social and Emotional Learning (CASEL). (2020). CASEL framework. https://casel.org/casel-sel-framework-11-2020/ Edwards, C., Gandini, L., & Forman, G. (2010). The hundred languages of children: The Reggio Emilia experience in transformation (3rd ed.). ABC-CLIO. Graves, D. (1991). Build a literate classroom. Heinemann. O’Connor, C. (2021). Using community agreements to start the year strong. www.edutopia.org/ article/using-community-agreements-start-year-strong/ Paris, D. (2012). Culturally sustaining pedagogy: A needed change in stance, terminology, and practice. Educational Researcher, 41(3), 93–97. https://doi.org/10.3102/0013189X12441244 Ray, K. W. (2010). In pictures and in words: Teaching the qualities of good writing through illustration study. Heinemann. Robertson, J. (2017). The water walker. Second Story Press.

Part II

Assessing Writers Determining Strengths, Needs, and Instructional Directions

Figure Part II.1 Who Is This Writer?

DOI: 10.4324/9781003409243-6

Becoming-Writer II

Playing Around with Form – Developing the Idea

When we were last together writing (at the beginning of Part I), you found an idea for a personal narrative, talked it over with a friend, and experimented with getting that idea. Maybe you fnished getting all the thoughts from your head onto paper – maybe you didn’t. If you are stuck, consider this wise advice from poet William Stafford (as cited in Gilfllan et al., 2014), “If you’re writing and you get stuck, lower your standards and keep going.” Either way, before you commit to revising a piece, let’s play with your story a bit more to explore possibilities. The play involves experimenting with form and perspective to see how your personal narrative might sound, how it might look, and how it might work. Remember Donna wants to write about her only pet as an adult, a dog named Morgan. After talking about this idea with Mindy, she realized her story of Morgan, and of adopting him out, was more than just about giving up a pet. Morgan’s story represents a major transition in her life: a time of moving her home from the high desert and rural country to a city where rain prevailed; it is about leaving a teaching position she loved so her spouse could accept a promotion; it is a story of passion, grief, love, anger, adulthood – ah! – the stuff of life and living. After visiting with Mindy, Donna sat down at her computer and pounded out a four-page draft. Then, Donna talked with Mindy again because the writing in front of her was an outpouring of emotion spreading across the page like a Rorschach inkblot. “Now what do I do with this thing?” “Play around with perspective and form,” Mindy advised. “Maybe if you play with perspective and form, you will fnd the focus. Play before you commit to revision.” And so, she did . . .

DOI: 10.4324/9781003409243-7

72

Assessing Writers

Strategies for Writers to Play and Experiment With Writing Remember – this is about play. It is not about “fnishing” a draft or a product. Play to experiment with form and perspective, to further develop your idea; commit later to more serious composing.

Strategy for Playing with Perspective and Form: Wallace Stevens’ Poetry Find and read a copy of Wallace Stevens’ “Thirteen Ways of Looking at a Blackbird” (a quick Internet search will result in several websites with the poem). Allow Stevens’ poem to act as a mentor text for you. What are the different ways you might look at your personal narrative? Play around with different perspectives. You may begin to write short poetry stanzas or try a cluster map of different perspectives or even write possible (if not so great) frst lines.

Modeling: Donna’s 13 Lines About Leaving Morgan ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

We were young The dust engulfs, obscures the view, but it doesn’t mean it is not there . . . “How could you?” The city seduced us . . . And now, you are an adult, Responsibility whispered . . . He runs, those small legs pounding the ground, ears alert, silly dog: when will you learn you are so small? First night apart: where is he sleeping? “Really, I don’t much care. They feed me, too.” If guilt were a tattoo . . . He creeps in close, in the nexus of bent arm and beating heart . . . “And now would you cage another to placate your own needs, wants, desires?” The beagle fnds the scent. It always leads him home. Twice again – he died.

In taking different perspectives, a writer discovers a variety of ways to focus the piece. Perspective taking is a journey in fnding a possible center. Finding a center gives a writer a place to begin and a place from which to travel.

Strategy for Playing with Form: Six-Word Memoirs and Three-Minute Fiction How much can you say in just six words? Check out the Six-Word Memoirs website (SMITH Magazine, 2023); use the memoirs here as your mentor texts and inspiration. Is it possible you might be able to capture the moment, the emotion, the lesson, the action – your personal narrative in just six words? Read and enjoy the many six-word memoirs on the website. Play around with this form. Does it hold possibility for your personal narrative?

Playing Around with Form – Developing the Idea

73

Alternatively, National Public Radio’s weekend edition of All Things Considered (2013) challenges readers in this way: write an original story that can be read in 3 minutes or less. Take a break and listen and read some of the stories that have won this contest. They can also act as mentor texts and inspiration for you. What do you notice about them? How do they work? How many words does it take to create a Three-Minute spoken story? Go ahead: take the challenge. Play with a Six-Word Memoir or Three-Minute personal narrative. How do these forms help you as a writer communicate the essence, the heart, of your personal narrative?

Modeling: Donna Plays with Six-Word Memoirs ♦ ♦ ♦ ♦ ♦ ♦

We gave him up – now what? He runs fast. Can’t catch up. What else did we leave behind? Dust chokes, hides, swirls: still there. It may have turned out differently. A door closes, opens, somebody said.

Strategy for Playing with Form: Write a Letter or a Letter Poem Re-conceptualize your personal narrative as a letter. Whom would you write to about your story? Why? Would you write to share this as a common memory? Would the purpose be to thank someone? Or perhaps the letter would be an apology, a rant, or a rave? Maybe the letter is not to a person but to an object, an animal, the weather, or some other being. Or – change the point of view. Rather than you writing the letter to someone or some other being, maybe another person or being is writing back to you about the event you have chosen. Have fun with this idea – go play!

Modeling: Donna Plays with the Letter Format Dear John & Donna, I didn’t forgive you for a very long time. I mean, really, how could you? We were the best of friends, weren’t we? I slept on the bed with you, stayed by your side when you were sick, bounced all over in the old truck you drove everywhere – even barked to help you get it started. We did everything together. So why were your city jobs all that important . . . Dear Morgan, We are not going to come and see you anymore. It isn’t fair to any of us. You are content, I think. You have open spaces, other dog-friends, and Cathy and Lenny are so good to you. Lenny tells us he has to hold you or you will chase us down the drive – yet again. . . . No more chasing. Please try to forget.

74

Assessing Writers

Making a Writing Decision So, what do you think? Will your personal narrative be a poem? A letter? A more traditional story format? From whose perspective will the story be told? Do any of the alternative formats seem to work for you? The heart of this writing decision is about what you want this writing to frst do for you. The second decision is about audience. How do you want your audience to react? What do you want your audience to hear? What form will best accomplish this? You may need to walk away from experimenting with form and perspective to think about these questions. More than likely you will want to talk with a colleague about your decision. Possibly, you will need to play and experiment more, perhaps even in other ways. There is yet another possibility: in the act of playing and experimenting with perspective and form, you’ve decided you don’t want to live with the topic you have chosen. That’s okay, too. If you fnd yourself unwilling to work anymore with the original topic, go back to the different kinds of quick writing you did in Becoming-Writer: Getting Started. Choose another topic. Find a topic to which you can commit time and energy to revise.

Your Writing Goal: Draft Completion We are asking that by the time you fnish reading Part II, you complete a frst draft of your personal narrative in whatever format you choose. You may end up with more than one completed draft. Not a problem – keep them all. Meanwhile, take a little time now to consider what it was like for you to play and experiment with perspective-taking and writing form.

Metacognition Practice: Writing Practice, Writing Process, Writing Craft Consider the following questions – chat with a friend (or friends) who also completed these writing exercises and compare experiences: ♦ ♦ ♦ ♦

Have you ever done this kind of playing with form and perspective before? If so, describe how you have used a strategy like this and how it worked for you. Why might playing with form and perspective be important for writers? Would it always be important? What might make the difference? Did playing with form and perspective seem interesting, a waste of time, useful, or . . .? Try to describe why. What did you learn from this experience that you want to remember as a teacher of writing?

Modeling: Donna Practices Metacognition for Writing Practice, Writing Process, Writing Craft I have done exercises like this before; however, this time was different. Since I am writing this for a book, I followed the directions for each section a bit more carefully! I actually had

Playing Around with Form – Developing the Idea

75

fun doing these! I wrote straight through all the strategies. I accepted that there is no right or wrong way to do them: It is just play – so I felt like I could be a bit fippant, not so serious with the subject. I wrote fast. In doing this, I came to understand the different ways I might focus my personal narrative. (Actually, I think it is becoming a memoir.) I know I won’t use all of the ideas, but I like how doing the exercises opened up possibilities for me. On the other hand, having all the choices is a bit overwhelming, too. Six words doesn’t seem quite enough; my four-page draft is sappy and goes everywhere. The good thing: I am going to study my frst lines from the “13 Ways of Looking at a Blackbird” and see if I can identify a focus or even if I want to go the route of a poem with different perspectives. I think this tells me I write to discover my writing purpose. As a teacher of writing, what do I want to remember? The exercise of writing through the strategies was helpful and fun for me. I am quite sure that this will not be everyone’s experience. What did I need to make the exercises useful? No pressure to perform; time; a mindset that this was all about play, and if I wrote something less than profound, it didn’t matter (even if I was doing it for a book!); and a willingness to “go for it.” In part, my experience as a writer provided me with the confdence to explore form and perspective. Not all my student-writers will have this background. As a teacher of writing, I want to teach and model that writing can be fun, that “tossing words” on a page is okay, and playing around with form and perspective is just that – play, like fnger painting with words. And – that something can come out of this play, that sometimes our writing brains have ideas just waiting for an excuse to come to the world – we just need access to the opportunity.

Tracking Writing Progress: My Writing World If you are using My Writing World to track your writing practice and progress, remember to complete it now! Table BW II.1 Donna’s My Writing World

Donna’s My Writing World Date

Title/Description

Genre of Writing

Writing Process Status B = Brainstorming D = Draft R = Revise E = Edit PC = Peer Conference

5/23

Played around with form and perspective.

N/A

B

5/24

Returned to the writing exercises I completed and read through them. Also – reread Cisneros. Started writing a draft memoir.

Memoir

D

76

Assessing Writers

As You Are Reading Part II: Assessing Writers: Determining Strengths, Needs, and Instructional Directions . . . ♦

♦

Recall what kind of writing assessments you experienced as a young writer. How do you remember these? Did they support you in your writing practice, process, and craft? Why or why not? Is there anything you wished your teachers would have understood about you as a writer that they didn’t know? Would any of the assessments in these two chapters informed your teachers about your writing self? Please explain.

References All Things Considered. (2013, June 8). Three-minute fction. National Public Radio. http:// fctionwww.npr.org/series/105660765/three-minute-fction Gilfllan, J., Imbriano, R., & Sarson, K. (Producers). (2014, January 16). Discovering William Stafford (Season 15, Episode 8) [TV series episode]. In J. Martin (Executive Producer), Oregon Art Beat. Oregon Public Broadcasting. SMITH Magazine. (2023, August 2). Six-word memoirs. www.sixwordmemoirs.com/

Chapter 4

Getting Started Who Are These Writers? Assessments to Begin Teaching Writing

Teacher J loves how possibility is inherent in assessment. As a teacher of writing, they anticipate how assessment results unfold, how they often surprise, puzzle, or even confound them. Assessments done well, according to Teacher J, are like a narrative, so beginningof-the-year assessments are the first chapter in the developing writing biography of each child in their class. This is why after a recent school district meeting, Teacher J feels as if the word “assessment” is being hijacked, as if its life is being sucked out by the Dementors of a Harry Potter novel. “Something gets lost in all the language,” Teacher J whispers to a colleague, “POWER data, formative, summative, progressive, universal, performance, comprehensive, balanced. All seems like some kind of judgment foisted upon children, comparing them to an unknown and unnamed norm.” Teacher J wearies of the adage “assessment drives instruction,” knowing that children drive instruction, the learning needs and interests of children, and the overarching goal that children become literate, inquiring global citizens. “Assessments are tools to learn about children, research tools that assist in writing their learning biographies. Assessments ought to be about what children can do,” Teacher J insisted during the district meeting. Although it is true that Teacher J is required to do certain assessments, Teacher J’s primary motivation to do assessments doesn’t come from the government or the school district or to make themself look good as a teacher: Teacher J plans assessments to inquire about what each child can do, might do, might become as a writer and to plan and individualize instruction that will open up for each child the power of what writing can do and be for them. Beginnings. We’ve talked about these before. And it is a reason we love teaching: every new school year is a do-over, another beginning, another uncharted journey with a new group of children discovering what becoming-writer means and what writing can do for them. Before writers arrive, we imagine possibilities, purposes, and goals for writers by reviewing standards, text types, genres, and rubrics for evaluating writing. We create a physical inviting environment for growing up: growing up as learners and growing up as writers by carefully arranging our rooms for the Writing Studio, planning routines, and gathering supplies. And then they arrive: all those anxious, excited children, bringing with them the narratives of their homes, their play, and their dreams. How do we get to know these children and their writing lives? Beginning-of-the-year assessments are vital – they provide the data we need to plan and individualize instruction. We can know what a “typical Grade 3 writer” is supposed to do or be able to do according to standard rubrics developed by professionals, but those professionals DOI: 10.4324/9781003409243-8

78

Assessing Writers

have never met the specifc class of children in a contextualized school and district. And these rubrics are useful, but “typical” may not be the writers seated in any given classroom during any given September, in any given place in the U.S. While children as writers are generally and statistically normed, individually these same children haven’t all read the script that defnes them. So as teachers of writing, it is critical that we spend the frst month of school not only teaching children routines, processes, expectations, and responsibilities but also inquiring what makes each child uniquely “them,” writers-in-residence in our specifc classroom. To do so, we borrow strategies from teacher action research because assessment represents an inquiry, a desire to fnd something out, a question we want answered. We speak of triangulating data by collecting observations, artifacts, and interviews (Phillips & Carr, 2014). Triangulating assessment data is like this: we gather data from more than one source in order to gain a better picture of who our students are. This is why not just one assessment will do. Just looking at writing scores from a standardized test will not provide an accurate image from which instruction can be tailored, nor will a review of the previous year’s writing scores even if they are from an “authentic” writing sample. (Consider how much children change over the summer.) No one assessment can provide an accurate portrait of a writer. And so, as teachers of writing, we seek triangulated assessment data, or multiple points of assessment data, that best describe the writer and allow us to then envision purposes, possibilities, and goals for that writer. We fnd four basic assessments useful in beginning the narrative of what will become a chapter in each elementary writer’s writing biography: (1) a writer survey, (2) a grown-up survey, (3) writing observations, and (4) a writing sample (see Table 4.1). Table 4.1 Who Are These Writers? Beginning-of-the-Year Assessments

Who Are These Writers? Beginning-of-the-Year Assessments Assessment

Purpose

Writer Survey

To learn how the child identifes as a writer

Grown-Up Survey

To gain the grown-up’s perspective on their child as a writer

Writing Observations

To gain understanding about the child’s writing practice and process

Writing Sample

To analyze the child’s writing craft

Each of these assessments is described in this chapter, along with ways to manage the assessments. We use data from three Grade 3 students, Daniel, Marc, and Harper, and model how to analyze data generated by each assessment. Then, we will highlight one writer, Daniel, and describe a possible beginning-of-the-year writing plan based upon analysis of the data. We will also model the same process with data from Ayla, a writer in kindergarten. Daniel, Marc, Harper, and Ayla are real writers, and this is their authentic assessment data. It is not that their work is “representative” of all Grade 3 and kindergarten writers. It is simply their writing data from the beginning of their third grade year – it is where they are at this time in their writing lives. And that is what this chapter is about: taking children at the beginning of the year as they enter our classrooms, inquiring about their writing lives and planning instruction based on assessment data, not assuming or insisting they should be at a “normed” level of Grade 3 or kindergarten writing profciency. We have, however,

Assessments to Begin Teaching Writing

79

selected Daniel, Marc, and Harper because they do represent the writing range of development within their particular classroom. This is important for considering whole class instruction, which we do at the end of this chapter. We invite you to read this chapter through the lens of inquiry as the teacher-researcher of writing: how does each assessment add to the individual writer’s biography? Taken together, how do the assessment data answer the questions: Who are these writers? What can they do? What data do I as their writing teacher still need to learn? How do I, as their writing teacher, individualize instruction for them?

Who Are These Writers? Writer Surveys Writer surveys seek the perspective of children in telling their own story about their writing histories. Surveys provide for the teacher of writing a glimpse of how the child sees themself as a writer and “learn more about your students’ funds of knowledge” (Brewer & Núñez, 2022, p. 389). A writer who, for example, keeps coming back to spelling as being the most important aspect of writing perhaps needs to learn that while spelling is an important communication tool, writing is more than just being able to spell correctly. Another writer may bring in their writing folder overfowing with fairy tales, covered with pink stars, rainbows, and unicorns. The teacher of writing certainly knows what this writer can do and the genre they are most profcient and interested in writing! They also know that this writer will need to learn how to write using other text types. The following key questions can be adapted for surveys across grade levels. Time constraints may shorten the list; choose and adapt questions that get to the heart of what you want to learn about writers in your Writing Studios. The purpose of the questions is to inquire about a child’s sense of writer identity: 1. 2. 3. 4. 5. 6. 7. 8. 9.

What is easy about writing? What is hard about writing? What kind of writer are you? Describe a favorite piece of writing that you wrote? Where do you get your ideas for writing? Are you working on a piece of writing? If yes, what is it about? Where do you like to write? What makes someone a writer? Is there anything else I should know as your teacher about you as a writer?

Nuanced responses to Questions 1 through 3 often refect a writer who sees writing as more than a school activity. When a child can proclaim, “I am a fction writer,” then we immediately know the writer has a knowledge of genre and identifes as a writer. We learn from the responses to Questions 4 through 6 whether a writer has had positive writing experiences in the past and how these experiences are infuencing their present sense of self as a writer. The longer the response to Question 5, the more the writer understands that everything in their life is a possible writing topic. A writer’s response to Question 7 provides clues on how as teachers of writing we might best meet writers’ needs in organizing our classrooms; it also informs us whether a child writes outside of school. Again, the more nuanced response to Question 8, the more likely it is a child identifes as a writer. It is the difference between “a writer uses good sentences” and “a writer makes the reader want to keep reading.” We learn

80

Assessing Writers

from the last question how a child identifes with the title of “writer” and how well they can articulate their needs as a writer.

Managing Writer Surveys There are multiple ways to manage this survey. The survey can be handed out to the entire class and time can be allotted for writers to complete it all at the same time. The dilemma here is that writers require differing amounts of time to think and respond to the questions, meaning some writers will fnish early and others may feel rushed. One question a day may be posted for writers to respond to as a journal prompt or for younger grades, children can be gathered at the rug area and a teacher can ask children to answer one to two questions daily until all questions have been asked and data have been collected. The teacher can record responses as they are given using an easel chart, a notebook, or a tablet device or even by audio recording the session and transcribing the information later. If a child does not respond during the whole group session, the teacher can follow up individually. A teacher might also have children complete the survey during a small-group session either orally with the teacher writing down responses or by writing their responses individually. With older children, “clicker” technology may be used. To do this, change the questions so they can be answered with “yes,” “no,” or “maybe” or provide multiple-choice answers. The teacher can read each question aloud and children “click” their answer into the system. Advantages of this are “instant” results that the teacher can then use immediately as a discussion about writing with their students. Disadvantages are in the nature of the response: “yes,” “no,” or “maybe” are not as descriptive. Shorten the list for kindergarten and Grade 1 children and give them the option of drawing or telling their answers. For example, just the questions “Are you a writer?” “What kind of writer are you?” and “What is easy about writing?” can generate insights into a child’s writing identity. Children might also be prompted to draw themselves as a writer and then asked to tell an adult about the drawing. Notes can be taken from these sessions, or they can be audio recorded. We like it best when we are able to ask these questions at any grade level as a one-onone conversation with each writer. Conducting the interviews individually provides a good opportunity to establish the routine and expectation for one-on-one teacher–student conferences. (Teacher–student conferences are described in Chapter 8.) Alternatively, a teacher’s instructional aide or grown-up volunteer might be recruited to complete one-on-one interviews with writers. Keep the writer survey in the Cumulative Writing Folder established for each child. (The Cumulative Writing Folder is described in Chapter 5.)

Interpreting Writer Surveys In reading and interpreting writer surveys, follow these steps: 1. Read all of the survey data. Make notes on a separate document. It is nice to organize the survey assessment data into charts, but it is not necessary. 2. Look through your notes: What strikes you as interesting upon your frst read? What are your hunches? What else do you want to know? 3. Try grouping the surveys into like-categories of writer identity. After doing this once, regroup in another way to gain perspective. Ask yourself, Why these

Assessments to Begin Teaching Writing

81

groupings? What is the common theme? Name the theme or group (and the naming may change). What do these groupings mean to you as a teacher of writing?

How Interpreting Writer Survey Data Might Look (and the Thinking It Inspires) What we fnd interesting in our frst read through of the Grade 3 survey data is how writers are starting to notice and name the importance of writing conventions and structures and are thinking about what this has to do with being a “good writer.” These writers talk about a writer being someone who uses details and a topic sentence and includes a beginning, a middle, and an end to the story. These are all topics stressed in early grades. One writer notes that what makes writing both easy and hard is “spelling and making up the story,” refecting an overall theme among all the surveys of these Grade 3 writers as they learn to merge formal structures of writing with their own writing style. There is a difference between teaching what is “correct writing” to a Grade 3 writer and how a writing convention or structure can be useful in making a piece about a superhero come alive. And so a question that emerges from our reading of these assessment data is, “As writers are learning standard writing conventions are they also learning what these writing conventions can do for them in developing writer’s style and voice? Are they learning how conventions are in the service of meaning making?” We want to learn more about this. Next, we move to reading writer survey data from Daniel, Marc, and Harper.

Daniel’s Survey Daniel answers that he is a “slow writer.” When asked about a favorite piece of writing, his frst response is “I don’t know what it’s called.” He names a topic, “Christmas,” but the lack of enthusiasm and detail in his response may be a signal that this is a piece of writing he remembers completing but that it is not necessarily a favorite. When asked where he gets ideas for writing, he says, “Sometimes books.” We hope this is true; however, there is no evidence that he has used this strategy for fnding writing ideas in his other responses. Daniel simply says, “It is hard to write a lot,” and lists nothing as being easy about writing. We note in the records that Daniel’s English Language Profciency Assessment indicates his writing is at a Level 3 Intermediate. According to the ELPA21 (English Language Profciency Assessment for the 21st Century, 2023), students identifed at this level are “creating words by flling in a missing letter; composing words, phrases, and simple sentences related to prompt; recognizing and using frequently occurring parts of speech; choosing basic words to communicate meaning.” We wonder what Daniel’s experiences have been writing in Spanish or if he has even been given the option to write in Spanish? Does he know he can write in Spanish? How is he using his multilingual abilities to think and process writing? It could be that too much attention to English conventions and structures are getting in the way of Daniel taking writing risks. We wonder what Daniel enjoys reading? If there is a genre he particularly likes, a Spanish and/or bilingual like-mentor text may give him both support for writing conventions, structure, and ideas. We theorize that Daniel needs a writing success; he needs to tap into a writing topic that can engage his interest and passion enough to carry him through completion of the piece.

82

Assessing Writers

Marc’s Survey Marc, in contrast to Daniel, quickly identifes himself as a “fction writer.” Then, with detail, he tells about a favorite story he wrote last year, “Super Donut.” He talks about getting the idea for this story from a video game. This tells us that Marc has a good idea of genre (fction) and text type (Humor/Superhero). However, Marc doesn’t have a current piece of writing he wants to talk about, and he doesn’t write at home. He describes an effective writer in school terms, as one who uses a “topic sentence, facts, details, and a conclusion.” While Marc fnds thinking of stories to write easy, he fnds it hard to make stories longer. We wonder if he has diffculty fnishing a piece of writing. It may be that Marc had enjoyed writing in the past, but perhaps he is fnding requirements for school writing do not necessarily mesh with the kind of writing he enjoys. Maybe Marc needs to see how “facts and details” can make his “Super Donut” story truly funny. Using a superhero story with Marc as a mentor text might support him in seeing this connection. Marc doesn’t mention publishing or sharing his writing with others. We wonder if Marc has had the opportunity to have his peers enjoy his work? How might this develop his writer’s identity?

Harper’s Survey Harper identifes herself as a writer who usually writes fairy tales but sometimes “real stories.” Harper sees herself writing for more than one purpose and is able to distinguish the difference between fction and informational text. She is also learning to name text types within these genres refecting how Harper is an advanced reader. At the end of Grade 2, the educational team at her school recommended her for Talented and Gifted services in reading. Her Personal Education Plan includes “differentiating instruction involving tiers of depth and complexity” in reading instruction (Oregon Department of Education, 2022, p. 6). We see this as an action call for writing instruction as well: Harper is ready to be challenged as a writer, refecting her Personal Education Plan for reading. Harper describes her favorite piece of writing as something completed at the request of her mother, a piece for her scrapbook about the frst day of second grade. This informs us that Harper is supported at home as a writer and has enjoyed positive feedback from sharing her writing with others. Even as Harper identifes a writer as one who “gets to think of stories and how to make them funny,” she also is learning the importance of spelling alongside good ideas. “You have to learn how to write – you have to learn all the letters and the sounds they make, like sh and ph and capitals and vowels.” Harper has a sense of what writing can do for her: “I like to write because you get to write about your own story and its fun.” Writing is a personal adventure for Harper, allowing her to escape into a world of unicorns and fairy tales. In what other ways can Harper learn what writing can do for her? How can differentiating the depth and complexity of Harper’s reading and writing instruction complement one another and further develop Harper’s abilities? As teacher of writing at the beginning of the school year, we read these writers’ surveys and feel a sense of anticipation in introducing children such as Daniel, Marc, and Harper to new genres of writing, exposing them to a wide variety of purposes and possibilities for writing without having them sacrifce their love of unicorns and Super Donuts. These are all places of beginning.

Assessments to Begin Teaching Writing

83

As we read across the entire classroom set of Writer Survey assessment data, we fnd these three writers are representative of three broad groups of writers in this Grade 3 classroom: Hesitant Writers, Willing Writers, and Eager Writers. We theorize that Hesitant Writers need an immediate writing success by tapping into their personal interest and writing strengths. Writers need encouragement to see how the standard writing conventions they are learning can make their own stories more exciting for readers; they may need a bit of direction in fnding meaningful topics. Willing Writers love a good idea and are even willing to try out teacher prompts. We are curious if they have stamina in their writing practice; we will need additional observational data to know this. Eager Writers are ready to have their writing repertoires expanded, to fnd new purposes for writing. Because few of the writers in the entire classroom mentioned publishing their writing or sharing it with others, we theorize that such an experience could provide an early and pivotal experience for these Grade 3 writers. But we want to know more – we can only theorize (not generalize) based on these surveys. So, we turn to grown-up surveys to continue our work as a teacher-researcher, gathering data from multiple sources to better discover the writing biographies of children new to our classroom.

Who Are These Writers? Grown-Up Surveys A grown-up assessment tool is any activity that can bring to the teacher the wealth of home-life knowledge. Grown-ups in writers’ lives (parents, relatives, caregivers, other adults) can provide cultural/home-life context and past stories of learning and articulate dreams and goals they have as a grown-up for their children. Grown-up insight can provide surprises: “Lania had a tough year writing in school last year. She seemed bored with school writing, but she loves writing fantasy stories and uses different iPad apps to publish these at home. I wish you could see what she does at home and with her friends.” Furthermore, grown-up surveys can shape purposes for writing and writing instruction throughout the year: “I want my child to learn to love writing. I would like for him to see writing more as a form of creative self-expression. (Too bad you can’t see him with Legos, though! He is a budding engineer!),” or “My child struggles with being a perfectionist. He doesn’t like revision. He wants to do it ‘right’ the frst time. This is the area where he really needs support.” The grown-up perspective is a critical perspective, and a beginning-of-theyear grown-up survey can be the frst step toward a teacher–grown-up partnership and thus a positive yearlong learning experience for children. The following basic questions can be adapted but represent the essence of a beginningof-the-year grown-up survey: 1. 2. 3. 4. 5.

What have you noticed about your child as a writer? How has your child changed as a writer? Does your child write/draw at home? If so, what do they write/draw? What are your goals/hopes for your child as a writer this year? Is there anything else you would like me to know about your child as a writer/ illustrator?

84

Assessing Writers

Managing Grown-Up Surveys A grown-up survey is often sent home with a letter describing writing instruction in the classroom and inviting grown-ups to partner in this instruction in specifc ways. Here is Teacher J’s letter:

Dear Important Grown-Ups!, We are enjoying great beginnings in the Writing Studio of Room 26 here at Greenwill Elementary School! Here is a list of some of the possible writing topics children generated this frst week of school: ♦ ♦ ♦ ♦ ♦

Super Heroes Rules The Smart Princess and Her New Wand All About Retrievers Why Fishing Is the Best How to Make a Bracelet

Ask your child about their writing ideas from this week! I am enjoying getting to know each writer in the classroom. Will you help me get to know your child as a writer? On the back side of this letter is a short survey. Please complete and return to me in your child’s homework folder. I will use your response to individualize writing instruction for your child. Here is a home writing tip for the week: Find real reasons to write with your child. How about composing a note or email to a family member or friend this week? Look for more tips in our monthly newsletter. The children and I will be writing the newsletter together this next week! Thank you! Teacher J

Surveys often go home with homework or in the school’s weekly communication folder. Check with children daily to collect surveys. Teach the routine of taking home a classroom newsletter with this frst survey. In early grades, take advantage if grown-ups drop off their children at school. Use this opportunity to personally hand the surveys to each writer’s grown-up; give them an opportunity to complete them on the spot by either flling them in or talking through them with you. Call grown-ups as necessary to either encourage them to return the survey or to talk through the survey on the phone. Sometimes, teachers use email or upload surveys to class websites; this can be effective, and it also can limit the distribution to those grown-ups with Internet services. If languages other than English are spoken in homes, make sure to have a quality translation available for grown-ups. (If you must depend on an Internet translation tool, then note this in your documents so that readers will understand possible discrepancies.) Grown-ups need to know that the assessment data they provide are going to be thoughtfully read and used. During the frst grown-up conference, honor grownups, their expertise, and the time they spent completing surveys by referring back to the data

Assessments to Begin Teaching Writing

85

they provided. Discuss the data with them and be able to show how you have used the data in planning instruction for their child. Keep the grown-up survey in the child’s Cumulative Writing Folder (see Chapter 5 for a discussion of the Cumulative Writing Folder).

How Interpreting Grown-Up Survey Data Might Look (and the Thinking It Inspires) Data from grown-up surveys can verify and expand hunches and emerging biographies about writers in our classroom. In the assessment data set we are working with, grown-ups of the Grade 3 children were asked, “Does your child write/draw at home? If so, what do they write/draw?” “What have you noticed about your child as a writer?” and “What are your goals/hopes for your child as a writer this year?” Grown-ups were also given space to write additional questions and comments.

Insights From Daniel’s Grown-Up Survey Daniel’s grown-up chose to respond in Spanish, so we know that Spanish is the language of the home. This is a critical data point. Daniel’s mother notes that Daniel draws and paints at home. We read this a second time (!) and return to Daniel’s survey. He did not mention drawing or painting on the writer’s survey, but if he is doing this at home, then having Daniel draw or paint illustrations frst and write text later could be an excellent writing strategy, particularly as a multilingual learner. We wonder about teaching Daniel how to storyboard. We consider introducing him to the catalog genre, using pictures and short text around a chosen theme. In response to the question, “What are your hopes/goals for your child this year?” Daniel’s mother writes, “I hope it is better than last year.” We want to know more. We need to know more. What happened last year? This data point provides a sense of direction for us: as teachers of writing, we need to visit more with Daniel and his grown-up. We need to understand his story of writing and being a writer in order to best scaffold his learning.

Insights From Marc’s Grown-Up Survey Marc’s grown-up identifes Marc as a writer of fction, and we quickly note in the margins that Marc also identifed himself as a writer of fction. We might infer that Marc does write at home, or at least he shares his fction writing with his grown-ups. Having his family as an audience for his writing is a good place of beginning and is one reason why Marc is confdent as a writer. Marc’s grown-up also notes that Marc enjoys writing and “He can describe step-by-step instructions well.” We fnd this useful. If we want to expand the kind of writing Marc does, then we could capitalize on this strength by introducing Marc to a humorous mentor text like Scaredy Squirrel at the Beach (Watt, 2008). This is one of the books in the Scaredy Squirrel series about a squirrel with outrageous and relatable fears and all the ways he tries to live his life to avoid dealing with his fears. In Scaredy Squirrel at the Beach, he includes step-by-step instructions on “Scaredy Squirrel’s Guide to Building a Safe Beach” to build his own beach and thus avoid “focks of seagulls, tribes of jellyfsh, herds of sea monsters, packs of pirates, tons of falling coconuts, and mobs of lobsters” (pp. 3–4). We also want to ask Marc about what kind of instructions he writes at home: who are they for? Are they funny, serious, a learning tool? We want to know more!

86

Assessing Writers

Insights From Harper’s Grown-Up Survey Harper’s grown-up validates how Harper sees herself as a writer. Her grown-up notes, “Harper likes to write make believe stories, usually about princesses or animals. She spends a lot of time writing or typing these stories up in her room.” Her grown-up also writes, “She uses writing and drawing as her quiet downtime in her room. It seems like something that she enjoys because it is not something we have had to force or prompt her to do.” When we analyzed Harper’s survey, we theorized Harper wrote at home – now we know that Harper not only writes at home but also that she has a sense of what writing can do for her: she can use writing as “quiet downtime.” Writing gives Harper a place to think and fnd herself. Harper’s grown-up notes that it would be good if Harper could develop “precise” sentencing, so we now know that when Harper expresses concern in developing writing conventions and structures; this is something being stressed at home along with support for her make-believe writing. “I want her to continue enjoying her time writing and feel comfortable putting down on paper what she is imagining in her head,” her grown-up writes. “I love her imagination!” It is easy to understand why Harper sees herself as a writer. She is supported at home in her writing efforts, with both an audience and a place to write. As teachers of writing, we want to stay in contact with Harper’s grown-up and partner with them to deepen Harper’s sense of writer identity and her writing craft. We love Harper’s imagination as well: how can we continue to encourage this even as we challenge her into other genres of writing? Perhaps the book Babymouse: Queen of the World! (Holm & Holm, 2005) might bridge Harper’s imagination with personal narrative. Holm & Holm have a whole series of Babymouse graphic novels. They weave together Babymouse’s life and her imaginative dream world that is set apart from the narrative through the visual signal of a pink foreground in the illustrations. There are nuances to this graphic novel that will provide Harper with an opportunity to read with complexity and consider trying to incorporate this form of text complexity into her own writing. As a mentor text, Babymouse: Queen of the World! provides a possible template for how Harper might combine her love of fairytales with a personal narrative integrating a similar text structure in her own writing. Insights provided by grown-ups are meaningful data we need as teachers of writing. When paired with writer survey data, the writing biographies of each child grow deeper. Given this background, we next collect observational data to further inform us as teachers of writing.

Who Are These Writers? Observations Observations of writers at work provide yet another critical perspective of children as writers at the beginning of the year. Some items to observe when children are writing include the following: ♦ ♦ ♦ ♦ ♦ ♦

How do writers get started? Where do writers seem to get stuck? What strategies do writers use for getting out of “stuck” places? How long do writers stay with the writing task? What kinds of writing do writers stay with the longest? Do writers collaborate with others? If so, how? Are writers open to suggestions?

Assessments to Begin Teaching Writing

87

One of the tricks to successful observations is not to jump to conclusions too soon. Sometimes as writers, we may need to think, and thinking may look like being distracted. It could be talking with a friend, fnding a different pencil, staring into space, or even asking for a restroom break. It is one of the reasons why having more than one observation provides better assessment data about the writer. Data over time can affrm what may be “distraction” and what may be “need.” We can also use writer and grown-up survey data to guide some of our observations by taking our early theorizing and forming questions that then guide our observations.

Managing Observations There are several possibilities for collecting observational data. Every teacher needs to experiment and fgure out what works best for them. A chart on a clipboard with each child’s name listed in the left column with several cells to the right allows a teacher to take quick notes as they walk around the classroom over the course of a week. Sticky notes can also be effcient. A teacher can later group sticky note observations for each writer and quickly analyze results. Tablets or phones can be used to record data as well. Some teachers use photography, taking snapshots of children’s writing and then recording notes next to the photos. Important to any observational data is to document the date, time, and context (writing lesson, genre of writing, and any “outside” infuences, such as an upcoming assembly, that may be distracting for writers).

How Interpreting Observational Data Might Look (and the Thinking It Inspires) Observational data are most useful when it is collected on several occasions. This provides depth to the data as there are many factors that can contribute to an “off” day or an energized day of writing. Analyzing several days of observational data gives us a more complete picture of a writer’s practice. Observation data continue to develop the beginning-of-the-year writing biographies of each of the Grade 3 children we are highlighting: Daniel, Marc, and Harper.

Observations of Daniel We begin with Daniel. The writer and the grown-up survey seem to suggest that Daniel is a hesitant writer. We wonder how confdent Daniel will be during independent and collaborative writing time. How does he get started writing? Can he come up with an idea? Observational data show Daniel appears distracted during mini-lessons. We check and fnd his notes from a mini-lesson are incomplete. When it is time to write, Daniel usually sits at his desk. He appears lost. Across observational data, Daniel only begins writing with the teacher’s help. Now we have concerns. His mother indicates there was a struggle last year in writing. And here at the beginning of this year, Daniel is not writing independently. We are reminded again that Daniel’s grown-up informed us Daniel draws and paints at home. Seems like we need to incorporate this as an option for Daniel! Teaching Daniel how to use drawing as a strategy to fnd and develop ideas as well as in the text of fnal writing might be motivating for him. We also need to learn more about Daniel’s experiences writing in Spanish and make sure he has mentor texts showing how he can do this. The more we can

88

Assessing Writers

learn about his language processing and the kinds of strategies he is using as a multilingual learner, the more we can support him. There are other writers in the class who are Spanish speakers; perhaps encouraging them to share their writing ideas in Spanish would validate both the language and their use of it in the Writing Studio.

Observations of Marc Remember Marc’s grown-up (and Marc himself) described Marc as a fction writer. His grown-up also notes his skill at writing step-by-step instructions. This is important because the beginning-of-the-year observations come from a writing unit on personal narratives. How does Marc perform as a writer of personal narrative? Can personal narrative capture his attention and motivate him to write? Across the observational data, we fnd that while Marc is a willing writer; he may see writing as a school activity that just needs to be completed. He copies down everything the teacher says during mini-lessons. He quickly begins writing. What he writes is a direct refection of the teacher’s mini-lesson, but the primary goal seems to be to get the writing done quickly, not particularly thoughtfully. He often asks the teacher for affrmation. He does respond to teaching prompts: is he concerned about being “correct” or because he wants to improve his piece? Would this be different if he were writing fction or some kind of step-by-step instructions?

Observations of Harper Given Harper’s strong sense of writer identity and her grown-up’s description of Harper as a writer, we wonder if Harper fnds writing in the classroom conducive to her needs as a writer? Observational data confrm Harper is an active writer in the classroom, and they give us additional information into her sense of how writing develops: we discover that she is an active collaborator as a writer and that she seeks feedback from others. We observed Harper and her writing buddy sitting knee to knee discussing and revising their writing. They were both using the conference form provided by the teacher. We observed Harper following up on her conference, immediately revising her writing based on the feedback her writing buddy provided. When Harper is writing intensely, she is “in the zone” and appears focused on producing writing that she fnds meaningful. As teachers of writing, we plan to continue to support Harper as a writer, providing her space and agency to name her strengths as both a reader and a writer, and learning from her where she would like to travel next in her writing journey. Observational data as illustrated provide knowledge of how writer’s practice and process and confrm or disaffrm survey data. Based on these observational data, we can further plan purposes, possibilities, and goals for each individual writer. Gathering observational data allows a teacher to slow down and step aside in the busy days of the classroom with the deliberate intent of seeing just what writers are doing and how they approach writing. This deliberate pause in our day as teachers allows us to reframe and redirect writers in meaningful ways.

Who Are These Writers? Writing Samples We deliberately saved analyzing writing samples as the last assessment we add to the emerging biographies of the grade 3 writers. “Why wait?” you may ask. “Why not start with the writing sample?” When reading and analyzing beginning-of-the-year writing samples: context matters. Analyzing writing samples with the writer and the grown-up survey and observational data

Assessments to Begin Teaching Writing

89

provide context for the sample. We have a sense of who the writer may be – we allow the writing itself to speak to this sense and develop it further. Analyzing a single writing sample is useful – we hope to illustrate this – it can also be dangerous. It is still a single writing sample. As with all the beginning-of-the-year assessments, we use writing samples to develop our knowledge of each writer in our classroom with the goal of creating purposes and possibilities, knowing we will continue to learn with and from them throughout the year. It is not our intention to generalize or lock a writer into a box. After all, it is just one writing sample: who knows what the future may bring?

Managing Writing Samples There are many ways to collect an initial writing sample. We fnd the following to be trustworthy guiding principles: ♦ ♦

♦

Collect samples during the frst month of school. The frst two weeks is best! Allow writers choice in a topic and genre. This gives insight into writer’s preference and can be cross-referenced with the writer survey question about current and past writing. Allow time for writing. Use this writing time as an opportunity to collect observational data and to follow up on writer surveys by visiting one-on-one with writers; conversely, conduct writer surveys during this time.

Allow up to two weeks for Grade 3–5 writers to complete a frst writing sample and gather a one-week collection of stories from kindergarten through Grade 2. This provides assessment data to analyze by the end of the frst month of school. We like taking notes on a separate piece of paper for each writing sample. The writing sample is placed in the Cumulative Writing Folder, as a frst writing benchmark, as the purpose of the folder is to demonstrate writing growth over time. (The Cumulative Writing Folder is discussed in Chapter 5.)

How Interpreting Writing Sample Data Might Look (and the Thinking It Inspires) In reading the beginning-of-the-year writing sample, we avoid using standardized rubrics to evaluate students’ writing. Our goal at the beginning of the year is not to fnd out how the writer might measure against other writers of their grade; our goal is to fnd out “Who is this writer?” To this end, we read beginning-of-the-year writing samples with these guiding questions: ♦ ♦ ♦

What does the writer know how to do? Has the writer taken any writing risks: made an interesting writing/drawing attempt, played with structure, words, or ideas? When reading the piece, is there a sense of voice, of the personality or passion of the writer?

In our work as teachers of writing, we place our reading of writing samples within the context of the survey and observational assessment data we have collected. Together, the

90

Assessing Writers

assessment data will show us the variance of writers in the classroom and allow us to consider how we might group for small groups instruction, and mini-lessons the entire class might beneft from learning.

Analyzing Daniel’s Writing Sample Figure 4.1 Daniel’s Writing Sample

When asked about his favorite piece of writing on his writing survey, Daniel named a topic, “Christmas.” For his writing sample, he writes about Halloween. It is still September, so either this must be a holiday that Daniel anticipates or perhaps he knows that writing about holidays is an acceptable school writing topic, just like “Christmas.” We notice that Daniel can identify and use supporting details: he includes four reasons for liking Halloween. He is learning about topic sentences; he added a topic sentence after a conference with his teacher. He is also learning about writing conventions: after a conference with his teacher, he returned to his piece, deleted extra “ands,” and made new complete sentences, with periods. Phonetically, his spelling is accurate. He now needs to learn the nuances of spelling in English, and we still need to visit with him about how as a multilingual he is processing his writing with the use of Spanish and assure him that using Spanish for school writing is acceptable. We do not see evidence that Daniel has risked much; this is a play-it-safe, writefor-school piece with its topic sentence and supporting ideas. We wonder about the part of Daniel’s writing that he erased and why he did this. If we look carefully, we see he actually

Assessments to Begin Teaching Writing

91

drew a picture and then erased it. Didn’t his grown-up say he drew at home? Does Daniel believe that drawing is not acceptable to use as a writer at school? Maybe Daniel needed more time to delve into his topic and fnd its center. Perhaps beneath those erased words is his voice. (We can see he began to write, “I’m going . . .,” and we want to know what he was planning to do.) We have a sense that the real story is somewhere in the erasure. Daniel said he is a slow writer during his survey. Observational data confrm he is a slow starter – often appearing lost at the beginning of the writing period and needing teacher assistance. We wonder, again, how might drawing help him get started as a writer? Perhaps using graphic novel techniques or even a tablet application for comics might be useful to Daniel? A graphic text using Spanish and English would validate his own multilingualism and see that his use of Spanish can be included in “school” writing. We can also share with Daniel how he can use drawing as a frst draft for writing, returning to our earlier ideas that storyboarding may support him as a writer. We come back to the notion that Daniel needs a writing success early on that causes a change in his writing biography trajectory. He does have a sense of writing structure. He can sound out words, and his English will continue to develop with writing practice; we also want to support his Spanish language writing development. He needs time to draw, think, talk with a partner in Spanish, and the opportunity to write in Spanish or English or both. Daniel might also beneft from collaborating with Marc, who could introduce him to graphic writing.

Analyzing Marc’s Writing Sample Figure 4.2 Marc’s Writing Sample

92

Assessing Writers

Marc has two pieces of writing he started. Both are personal narratives. Right away, we notice that in the second piece, Marc tells his story in chronological order using signal words to show a change in time: “The frst thing we did . . .,” “The second thing we did . . .,” and “After . . .” Marc has a sense for order; we remember his grown-up writing that Marc did well with step-by-step instructions. He is transferring his skill of instructional writing to his personal narrative. His sense of writing structure is also evident in his second piece, where he ends the paragraph with a topic sentence – this is a nuanced use of the topic sentence because often Grade 3 writers only begin a paragraph this way. In his shorter frst piece of writing, we notice his word choice: “A tree got split by lightning.” Split works well in this sentence. There is an emerging sense of voice. Voice is faint, yet when Marc describes good times with friends and his dad and ends with “It was the best day ever,” we have no reason to doubt him. In considering Marc’s sense of order and remembering his description of his favorite piece of writing, the Super Hero Donut, we wonder if Marc might beneft from using drawing, too. Storyboarding might appeal to him; he could lay out an entire piece, revising the storyboard prior to writing. This would allow him opportunity to expand his ideas more, a goal his grown-up stated. Marc, in his survey, said it was hard to write longer pieces, but if he had a developed storyboard, he would know where he was going as a writer and provide a scaffold for writing stamina. Using graphic novel techniques might also appeal to Marc. After all, a Super Donut Hero cries for a dialogue bubble accompanied with a “Bam!”

Analyzing Harper’s Writing Sample Figure 4.3 Harper’s Writing Sample

Assessments to Begin Teaching Writing

93

Figure 4.3 (Continued)

Harper’s writing sample is what we might expect based on the other data collected. We know Harper sees herself as a writer. We know from the grown-up survey she writes at home of her own volition and has a wonderful imagination. Harper’s writer survey tells us that she loves to write fairy tales. And so, we are not surprised Harper’s writing sample is a delightful four-page fairy tale. She begins with “Once upon a time,” the trait of a classic fairy tale. She has a strong sense of narrative, with harrowing events coming right after the other: a treasure box, wolves, a dark cave, a boy, a magical fower, and a magical eagle. And amid all the action, she circles back at the end to the treasure box that begins the story. Without a doubt, Harper knows the fairy-tale genre! Her written text is sprinkled with little drawings tucked into the text, with words wrapping the text as might be seen in a picture book. Imaginative details fll the piece: a dog with a fower in his mouth and dramatic pauses, “It was a . . . boy!” There is a kind of rush of detail throughout the story. In the observational data, it appeared that Harper found a “zone” where nothing could distract her from the task at hand. This writing sample appears to be written in such a zone with words tumbling and perhaps Harper’s hand just two steps behind where the ideas in her head were taking her. Harper knows what writing can do for her: she can use writing to “quiet down” in the evenings; she knows that writing can entertain and that stories have confict. This strong sense of writer identity is a foundation for further developing her genre repertoire and writing craft. Her grown-up hoped that Harper might learn more “precise sentencing,” and perhaps this comment is related to the many details and sentences Harper links in the rush of her narrative. For different reasons than Marc and Daniel, Harper might also beneft from storyboarding. She could draw out all of her ideas and then select the events that most make sense to organize and develop in more depth. Harper is a gifted reader; this is clear with her sense of narrative. The same picture books she enjoys could also teach her paragraphing and dialogue writing skills. Clearly, her illustrations inspire her as a writer and her story. How

94

Assessing Writers

can Harper use drawing to select events, slow down the action, and make her stories even more dramatic? Harper is ready to author her own picture book!

Synthesizing the Data: Looking for Patterns to Guide Instruction Who are these writers? What can they do? How do I individualize instruction for them? These inquiry questions drive our desire to gather beginning-of-the-year assessment data. Through writer and grown-up surveys, observational data, and writing samples, we do the work of a teacher-researcher, piecing together data to gain a more complete, if still partial, writing biography of each writer in our classroom. Such data inspire us, move us to action, and allow us to plan writing instruction wisely and thoughtfully. Synthesizing our analysis for each individual writer and creating case studies for them often allows us to see patterns in the data to plan for both whole class and individual instruction as well as for each individual writer. Case Study: Daniel, Grade 3, Table 4.2 is an example of how this can be done. Daniel’s plan is a place of beginning; it is fuid and can and will change as we continue to collect and analyze data and listen deeply to hear him tell his own emerging biography as a writer. These beginning-of-the-year assessments can all be adapted for different grade levels. The process of gathering the data, analyzing across the whole classroom, and then narrowing to the individual is the same. We use our knowledge of writing development, standards, genre, text types, and writing traits to analyze the data as we envision individual instructional plans for each writer based upon what we are learning about them. As illustration of this, see Table 4.3 of a case study designed for Ayla, a kindergarten writer. Her case study is based upon the same beginning-of-the-year assessments described previously, adapted for kindergarten.

Table 4.2 Case Study: Daniel, Grade 3

Daniel Writer Survey

Daniel’s Grown-Up Survey

What kind of writer are you? A slow writer. What is your favorite piece of writing you wrote? I don’t know what it’s called. It was about Christmas. I wrote it last year. Where do you get your ideas for writing? Sometimes books. Are you working on a piece of writing? If yes, what is it about? Yes, it is about Halloween. Where do you like to write? In my desk. Sometimes I write at home. What makes someone a writer? They write a lot. Anything else I should know about you as a writer?

¿Escribe su estudiante en casa? Si sí, ¿qué escribe? Does your child write/draw at home? If so, what do they draw/write? Si. dibuja y pinta./Yes. Draws and paints (or colors) ¿Qué se ha dado cuento de su estudiante como escritor?/What have you noticed about your child as a writer? Buen escritor/Good writer ¿Cuáles son sus metas o esperanzas para su estudiante como escritor este año?/ What are your goals/hopes for your child as a writer this year? Espero que sea mejor que otro año./I hope he is better than last year Otros comentarios/Additional comments or questions. Ojalá sea el mejor/I hope he will be the best.

Assessments to Begin Teaching Writing

Daniel’s Teacher Observational Data 9/16: Daniel doesn’t appear focused during mini-lesson. Looking for something in his desk? Doodling? Seems surprised when the teacher calls his name during Roll Call to Action. Answers with prompting. 5 mins into independent writing time: does not appear to have started writing. 10 mins into writing time; now drawing and erasing on the page. Teacher stops by desk. Conferencing. Teacher leaves. Appears to be writing. Looks like there is a line or two on the page at the end of the writing time.

95

Daniel’s Writing Sample See Figure 4.2

Daniel’s Assessment Summary

Daniel: Next Steps in Teaching

We describe Daniel as a hesitant writer. Our goals for him are to connect with a topic of interest, to allow him time to work out his thoughts, and to produce an expanded piece of writing that he can be proud of and share with others. We propose to do this by asking Daniel more about how as a multilingual he processes, thinks in both Spanish and English and will encourage him to use all of his multilingual strategies, including writing in both Spanish and English. There are other Spanish speakers in the class; they may all beneft from brainstorming together in Spanish. We plan to phone his grown-up and learn more about his artistic abilities and his less than positive experience as a writer last year. We will also ask her about our next plans for instruction, including writing in Spanish and how this might support Daniel’s English. We will introduce storyboarding to him as a strategy for thinking through drawing, planning his writing, and expanding his writing with details. Collaborating with Marc could build enthusiasm for writing. Both boys may fnd graphic novel techniques motivating. In reading, we will introduce the boys to graphic novels of different genres to support their writing; we will provide bilingual and Spanish-only mentor books for Daniel. We will make sure Daniel’s fnal product is published and that he receives positive feedback.

Hold 1–1 conference: How does Daniel use Spanish in thinking and writing? Validate the use of Spanish in writing by sharing like-mentor text. Listen: what is his writing process? Validate his multilingualism. Teach how to use storyboard/drawing as prewriting. Introduce to graphic format. Partner with Marc to search for possibilities/writing ideas in graphic mentor texts. Provide bilingual and Spanish-only mentor texts. Suggest small group discussion with other Spanish speakers, brainstorming ideas in Spanish. Small group instruction with writers interested in graphic format. Use mentor text to demonstrate how words like onomatopoeia and Spanish language phrases add emphasis to text. Teach appropriate punctuation.

96

Assessing Writers

Table 4.3 Case Study: Ayla, Kindergarten

Ayla’s Writer Survey

Ayla’s Grown-up Survey

What is easy about writing? Sounding out words. What is hard about writing? When you don’t know what sound it makes. What kind of writer are you? A lefthand writer. What is your favorite piece of writing you wrote? A story about walking on the seashore. Where do you get your ideas for writing? I get my ideas because I think about it. Are you working on a piece of writing? If yes, what is it about? We have a little picture books and we get to color them in. Where do you write? At my house in the living room. What makes someone a good writer? Practice and practice a lot. Anything else I should know about you as a writer? No response

Does your child write/draw at home? Yes, Ayla both writes and draws daily. What does your child write/draw? Ayla primarily draws pictures for her Mom. She draws people, scenery and whatever else her imagination allows. She often labels her pictures and asks how to spell words she is not sure of. Her new interest is making paper “cards” with her drawings. She usually writes words she knows, and then asks how to spell other words. A common new word she likes to spell is awesomest ☺ and yes, rather than correcting the grammar I spell the word for her. What have you noticed about your child as a writer? Ayla has had an interest in writing at an early age. She frst learned to spell her name at two years old. Her vocabulary, spelling and writing skills increase constantly. She is beginning to understand sentence structures and letter spacing. I work with her on the difference between capital and lowercase letters and how they should appear on paper. What are your goals/hopes for your child as a writer this year? My hope is that she continues to enjoy writing and gain the confdence to do so independently. I would like to see Ayla excel in writing. I would also love to see her begin to write poems. She is very creative and makes up poems daily. It would be neat for her to be able to competently translate her poems to paper. Additional comments or questions? I believe that parents play a very important role in their child’s learning particularly at this young age. I would like to be as involved in her education as I can. It is important to me to be updated on her needs for improvement. Please understand that I am willing to participate in whatever capacity necessary to ensure the success of the student.

Ayla’s Teacher Observational Data 9/20: Ayla was an attentive and interactive listener during modeled writing lessons. She would often use the skills taught that day in her writing during independent time. She was a risk taker when it came to word choice and spelling which often meant she was one of my top writers. She was willing to try and fail. Ayla could write the whole writing period without getting tired or giving up. She was always committed to telling her full story.

Assessments to Begin Teaching Writing

97

Ayla’s Writing Samples Figure 4.4 Ayla’s Writing Samples

Writing Sample 1 Transcription: “I am sorry for disobeying my mommy” written in phonetic spelling. Writing Sample 2 Transcription: “My aunt lives in the mountains” written in phonetic spelling. Table 4.3 (Continued)

98

Assessing Writers

Table 4.3 (Continued)

Ayla’s Assessment Summary

Ayla: Next Steps in Teaching

Kindergarten writers thrive in a rich literate environment where they are encouraged to take risks and discover what writing can do for them. Ayla enjoys this context both at school and at home. Ayla knows what writing can do for her; her memoir is evidence of this. Ayla’s grown-up is already working with her on upper and lower case letters and the spacing of letters – so is her kindergarten teacher. Her risktaking writing unknown words shows evidence of her desire to use a growing vocabulary. A logical next step may be to teach Ayla to say each word slowly to listen for all the sounds in her words in order to communicate better with her audience. This may be frustrating to Ayla because she has something to say (quickly) but if connected with making her story more readable to others, we think she will have a purpose for slowing down and writing more of the sounds she hears in her words. Ayla’s grown-up mentioned poetry. Poetry is a delightful genre for children! Ayla is already producing oral poetry according to her grown-up, so it makes sense to move her towards writing poetry. Immersing Ayla’s in books of poetry with delightful illustrations we think will further engage her intrigue with interesting vocabulary. We also suggest bookmaking for Ayla, using blank paper and different colors of markers, to encourage her to write more than one sentence and give her creative license to design a poetry book like one she may read.

Continue work on upper and lowercase letters and end punctuation – small group instruction. Teach how to slow down and sound out letters; use phonics chart. Analyze if there are certain sounds that are more challenging – small group instruction. Teacher–student writing conference to learn more about her poetry and to possibly make an oral recording of her poetry. Support in writing down oral poetry: • Poetry mentor books • Audio record her oral poetry; provide recording for her to listen to and write from • Suggest poetry bookmaking Small group instruction with poetry mentor books. Whole group mini-lesson on bookmaking.

Assessments to Begin Teaching Writing

99

How Synthesizing the Data and Looking for Patterns to Guide Instruction Might Look (and the Thinking It Inspires) Synthesizing data is to analyze across all the assessment data for similar patterns. We step back, study, consider what we know about Grade 3 writers, multilingual writers, and teaching writing, and we bring this knowledge to the specifc data of writers. We consider the social, emotional, and linguistic strengths of each writer. We contemplate adaptations we might make to the physical environment of the Writing Studio to increase accessibility. We group and regroup writers into tentative categories for instruction based upon the patterns in the data. For example, when we analyzed across the Grade 3 writers’ surveys, we created fuid categories of hesitant, willing, and eager writers. A goal is for all of these writers to meet the Grade 3 standards, but we know that each group of writers will need different kinds of instruction and linguistic and social emotional support. This will, then, guide us in planning whole, small, and individual instruction (see Chapter 7 for individualizing writing instruction through mini-lessons and teacher–student writing conferences; Chapter 8 for more on small group instruction; and Chapters 9 and 10 for planning writing units). As an illustration, Grade 3 CCSS Writing Standard 5 states, “With guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, and editing” (NGA Center for Best Practices & CCSSO, 2010, p.  21). Daniel can be encouraged to use any of the strategies he has as a multilingual learner to meet this standard. Specific bilingual mentor texts will provide him a vision for his writing, and since he is not the only Spanish speaker in this classroom, we can plan small group instruction to this end for them. We suggest Daniel be introduced to storyboarding to hone in on his artist strengths. We also see how Marc and Harper might benefit from storyboarding as well. Since these writers are representative of others in the class, it makes sense to plan a series of whole class mini-lessons on storyboarding; this is a strategy all writers can use to meet the standard: “strengthen writing as needed by planning.” Alternatively, Daniel and Marc may choose to collaborate writing a graphic story; we can plan to combine others in the class for small group instruction in this genre, all in the service of working towards Grade 3 CCSS Writing Standard 5. This is how we use beginning-of-the-year assessments to begin the process of planning for whole, small group, and individual instruction. Our inquiry into what each child can do as a writer leads us to imagine who each child might become as a writer and to plan meaningful and powerful whole, small group, and individualized writing instruction. Embrace assessment as Teacher J does, seeing assessment as possibilities. Allow assessments to surprise, puzzle, and confound you – continue to grow your own ability to design assessments that provide you with the data you need to support each writer’s practice, process, and craft. Invest in the time to collect beginning-of-the-year assessment data. Resist the urge to “just start teaching” and risk making assumptions about children and what needs to be taught based only upon past experience or knowledge. Listen, observe,

100

Assessing Writers

and begin the task of learning from each new group of children as writers – this is what makes the difference that matters; focus on who “these” writers are, the ones currently right in front of you, beginning where they are, and developing next steps to nurture their writing practice, process, and craft.

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter This chapter describes the following beginning-of-the-year assessments: Writer’s Survey; Grown-Up Survey, Observation, and a Writing Sample. ♦ ♦ ♦

Defne each assessment in your own words; State the purpose of each assessment; Describe how you see the assessment providing you with the necessary data needed to begin the Writing Studio; include any adaptation you might make and why you would make these changes.

OR ♦

If you are currently teaching in a classroom, describe what writing assessments are used and compare and contrast them to the assessment described in this chapter.

Learning with Peers: Discussion Following is a case study for Peyton, a Grade 5 writer (Table 4.4). With your peers: ♦

♦

Read through the data provided. Discuss each piece of data, letting these questions guide you: Who is this writer? What can they do? What do I need to know more about? How do I individualize instruction for Peyton? After reading and thinking about the data, write an assessment summary and next steps in teaching. If needed, you can use Ayla and Daniel’s assessment summaries and next steps in teaching as models.

Table 4.4 Case Study: Peyton, Grade 5

Peyton’s Writer Survey What is easy about writing? If you have an idea, then you can write it down. It doesn’t have to be perfect, it’s just your idea. What is hard about writing? Sometimes spelling for some kids. Sometimes getting an idea, for some kids. For me, spelling most of the time and just getting up with an idea. What kind of writer are you? I like to write fction stories. What is your favorite piece of writing you wrote? There is this one story called Bob and Ginger and something like that. It was really long. It was kind of like Jack and Jill at the same time Hansel and Gretel. It was like fairy tales mixed together. I wrote it in 3rd grade.

Assessments to Begin Teaching Writing

Peyton’s Grown-up Survey Does your child write/draw at home? If so, what does your child write/draw? She draws more than she writes. She draws mainly landscape things. She writes for homework, not “just because.” What have you noticed about your child as a writer? She writes very fast, just to get it done. I get the feeling that she does not enjoy writing very much. What are your goals/hopes for your child as a writer this year? Have her slow down, sound out her words and put more description into her writing. Where do you get your ideas for writing? I write a lot about plays because I am in plays. Are you working on a piece of writing? If yes, what is it about? No. Where do you like to write? I like to type and write so mostly at my house. What makes someone a writer? I think they are inspired. Anything else I should know about you as a writer? No response

Peyton’s Teacher Observation Data 9/15 & 16: Both days Payton appeared engaged in the teacher’s mini-lessons on fnding ideas. She was prepared to write and seemed happy to partner with a table mate when asked to do so. The frst day, she started writing immediately. She stopped several times to think, tap her pencil, once pulled out a book (couldn’t see title). For the most part, she wrote the entire time. The second day, she started working on the same draft as the day before, but abandoned this about 4 minutes into the writing time. She spontaneously engaged with a table mate, listening to the other writer’s piece. She did not return to writing; she did take a restroom break and collected materials from the art center to draw.

Peyton’s Writing Sample Figure 4.5 Peyton’s Writing Sample

101

102

Assessing Writers

References Brewer, A., & Núñez, M. D. (2022). Pre-service content area teachers’ perceptions on using writing with CLD students. In T. S. Hodges (Ed.), Handbook of research on teacher practices for diverse writing instruction (pp. 381–398). IGI Global. https://doi.org/10.4018/978-1-66846213-3.ch019 English Language Profciency Assessment for the 21st Century. (2023). English language profciency assessment for the 21st century (ELPA21). www.elpa21.org Holm, J. L., & Holm, M. (2005). Babymouse queen of the world! Random House. National Governors Association Center for Best Practices & Council of Chief State School Offcers. (2010). Common Core State Standards for English language arts and literacy in history/social studies, science, and technical subjects. Authors. https://learning.ccsso.org/wp-content/ uploads/2022/11/ELA_Standards1.pdf Oregon Department of Education. (2022). Instruction for completing Oregon talented and gifted district education plans. Oregon Department of Education. www.oregon.gov/ode/learning-options/TAG/Documents/TAG%20Template%20Instructions%20Companion%20Guide.pdf Phillips, D. K., & Carr, K. (2014). Becoming a teacher of action research: Process, context and selfstudy (3rd ed.). Routledge. Watt, M. (2008). Scaredy Squirrel at the beach. Kids Can Press Ltd.

Chapter 5

Assessments to Inform and Celebrate Writers and Teachers of Writing “New Teacher Accountability Measures Begin” The newspaper headline riles Teacher J. “Teacher accountability” is one of those phrases that push all their buttons. As if teacher accountability was a new thing. As if teachers are not accountable. As if THEY are not accountable. As if “someone” has to force them to be accountable. They are going to need a run, a long run, with hills. As a Teacher, one with a capital T, as NancieAtwell (1998) would say, Teacher J is always already accountable – not to some authority “out there” but as a Teacher, as one who knows their students, who understands their cultural context and social-emotional development and knows how to adapt the classroom and lessons; as a Teacher who mentors, facilitates, and directs learning; as a Professional Educator who is knowledgeable about disciplinary content, human and linguistic development, pedagogy; as to teach, a calling, a way of being. Being accountable is their DNA as a Teacher. As a Teacher of Writing, they are frst accountable to the writers-in-residence in the Writing Studio of their classroom. This means they are accountable to the work of writing – extending the invitation to make meaning, to think deeply, to create in many ways, to communicate widely – to make one’s humanity visible. They are accountable to these writers’ grown-ups, extended families, and community because as writers and global citizens they will write a present and a future in which we are all part. Accountable? Teacher J pounds the table – absolutely, but long before “someone” decided that evidently they were NOT accountable and now need to be “held accountable.” As their feet pound against the pavement, Teacher J breathes deeply and considers “accountability” all over again. Here is what Teacher J knows about accountability: it begins with organized, meaningful, and intentional assessments that matter. Of course, teachers ought to know how, how much, and under what conditions children are learning. Of course, teachers ought to be able to give an accounting of learning progress to the child frst and then everyone else who loves and is interested in that child – and they ought to be able to do this quickly and effciently. “Teaching isn’t teaching without accountability – without valid and reliable assessments that allows me to be accountable,” they gasp aloud on the uphill part of the run. Teachers use their skills of analysis to interpret assessment data and plan accordingly – this is accountability. Teacher J dismisses statements that “teachers are too busy” when it comes to assessments. “Assessments are teaching, so how can they be too busy? It is our job!” They also note that some assessments do distract from DOI: 10.4324/9781003409243-9

104

Assessing Writers

teaching and learning – these are the assessments they resent. Teacher J dismisses the notion that assessments that really “count” are administered through standardized measures and must be graded by someone “outside” as a means of “objectivity.” “Don’t even get me started on that one!” they shout downhill. They recall a quote from author and teacher of writing RegieRoutman (2005) talking about assessment: “There is no shortcut to helping students become effective writers, and there is no program you can buy that will do it for you” (p. 240). “YES!” They puff up another hill. “And furthermore, I don’t want anyone to do it for me. I am the Teacher! And, yes, I am accountable!” Chapter 4 introduced beginning-of-the-year assessments, ways to gather so as teachers of writing we can plan for whole and small group and individualized instruction. In this chapter, we delve into assessments designed to inform and celebrate students’ writing practice, process, and craft throughout the year. We describe formative assessments that allow the teacher of writing to gather data throughout the elements of the Writing Studio and then, based upon this assessment data, adapt planning and teaching as needed for whole and small group and individualized instruction. We also describe how some of these assessments become summative assessments representing each writer’s growth and accomplishments throughout the year. These assessments include Roll Call to Action or My Writing World; Teaching, Conferencing & Planning Notebook; Daily Writing Folders; Cumulative Writing Folders; Self-Assessment; and Writing Samples. Each of these assessments has a specifc purpose and is collected at different times during the year (Table 5.1). Writing assessment generates data that inform the writer, the teacher of writing, grownups, and specialists how a writer is developing practice, process, and craft; the data are also used to celebrate what writers can do. Writing assessment, as an ongoing practice of teaching, is in the service of the developing writer and should not distract from writing, burden the process, or impede the practice. Ask of every writing assessment, “Why am I doing this? Are the results of the assessment worth the time it takes to administer the assessment? Do the results energize and inform conversations about writing practice, process, and craft, providing an occasion to celebrate a writer’s success?” It is our job as teachers of writing to ensure writing assessments result in improved teaching and learning. Using assessments and the data they produce allows the teacher of writing to act as an authoritative teacher-researcher assembling the emerging biography of each writer-inresidence in their classroom. They provide living data over time that can be analyzed and synthesized, resulting in agency for the writer and their teacher.

Table 5.1 Writing Studio Assessments to Inform and Celebrate Writers

Writing Studio Component Writing Mini-Lesson Teacher-directed lesson focusing on one or two objectives based on ongoing classroom assessment and overall unit goals.

Assessment Teaching, Planning & Conferencing Notebook

Assessment Purpose and Frequency Formative: Used to record teacher– student writing conferences, observational data Data inform the design of future whole and small group, and 1–1 instruction. Frequency: Daily

Assessments to Inform and Celebrate Writers

Writing Studio Component

Assessment

105

Assessment Purpose and Frequency

Roll Call to Action or My Writing World A routine to focus writers and scaffold independence during independent and collaborative writing time.

Roll Call to Action or My Writing World

Formative: Used to assess writer’s practice over time. Data inform the teacher of each writer’s writing practice and progress over time. Frequency: Daily

Independent and Collaborative Writing The soul of the Writing Studio: this is the time when writers use various writing practice, process, and craft to develop as writers.

Daily Writing Folder

Formative: A collection of daily writing (including ideas; current and abandoned drafts, all revisions, and writing supports) Data inform teacher, writer, and grownups about writer’s developing practice and process. Frequency: Assessed formally monthly or after each writing unit; informally during 1–1 teacher-student writing conferences

Teaching, Planning & Conferencing Notebook

Used to record teacher–student writing conferences, observational data Data inform the design of future whole and small group, and teacher–student writing conferences. Frequency: Daily

Writing Samples

Formative or Summative: Selected pieces of writing scored using a rubric Data inform teacher, writer, and grownups about writer craft development. Used to design future individual writing goals. Frequency: a minimum of one piece of writing per grading period. Writing sample becomes part of the Cumulative Writing Folder.

Writer’s Self-Assessment

Data provide writer insight to the writer and grown-up; insights inform the teacher in planning for instruction and designing writing goals. Frequency: Every grading period (Grades P–2) or after each fnal piece of writing is completed (Grades 3–5)

Cumulative Writing Folder

Data illustrate progress in writing craft over time and across genres. Frequency: A minimum of one piece per grading period (Continued)

106

Assessing Writers

Table 5.1 (Continued)

Writing Studio Component Sharing The Writing Studio concludes with sharing, celebrating the work that has and is being accomplished by writers.

Assessment Optional: My Writing World

Assessment Purpose and Frequency Some teachers choose to end the Writing Studio by having writers complete “My Writing World.”

Roll Call to Action and My Writing World Roll Call to Action is a procedure we borrow from Nancie Atwell (1998). It is a routine to focus writers and scaffold independence during independent and collaborative writing time. Review Chapter 3 for additional information and templates for Roll Call to Action. The teacher cues writers, “Writers, it is time now to transition to our writing time. Please take a moment to open your Daily Writing Folder, look at your work from yesterday, and determine how you will use your writing time wisely today.” Writers take about 2 to 3 minutes to consider their plan for the day. Writers whom teachers know will require more time to plan or need explicit instruction in fnding a writing task for the day are best cued and prompted prior to the Writing Studio. The teacher then calls the name of each writer and records their plan on a Roll Call to Action chart that is organized to best work for them. In the primary grades, Roll Call to Action can be as simple as “Turn to your writing partner and tell them what you are going to write about today.” The teacher listens in as writers share their plans for writing. The teacher might excuse writers from the carpet area by saying, “Stand up if you shared what you plan to write about today. Go ahead and head to writing. If you do not know what to write about today, please stay on the carpet.” For any writers left in the carpet area, the teacher can help them brainstorm possible writing options. Alternatively, “My Writing World” can be used during closure. (See Chapter 3.) Using either Roll Call to Action or My Writing World scaffolds writers’ independence and decision making by providing time for writers to set a writing goal, or goals, for the day.

Illustrations of Roll Call to Action: How It Works The Roll Call to Action is daily documentation of developing writing practices and writing process. Study a Roll Call to Action example from Grade 5 teacher Mr. Mackie (Table 5.2). Mr. Mackie uses his own shorthand in his note taking. He writes PC for peer conference; TC for teacher–student writing conference; WG for writing group; SB for storyboard; and D1, D2 for frst draft and second draft. This Roll Call to Action was taken during one week of Writing Studio during a nonfction, integrated science writing unit. Children were conducting an inquiry about disappearing songbirds in their community. Prior to this week, Mr. Mackie and his Grade 5 writers inquired into the nature of science writing in a variety of nonfction genres. This is refected in the kinds of writing writers are composing during this week in February: some are writing and designing an informative web page; others are creating picture books using indigenous ways of knowing; some crafting chapter books (including one about songbirds in the writer’s home country, Afghanistan); one writer is creating an educational game board; several are

Table 5.2 Mr. Mackie Grade 5 Roll Call to Action

Roll Call to Action – Grade Five – Mr. Mackie Week: February 12 Focus: Science/Informational Students

M

Tu

W

Th

F

Notes

Research

Research

Research

Org. Chart

Marcos

Graphic Org

Graphic Org

Research w/ Francis

Request TC

Draft 1 Web

Collaborating Francis; Combine Rajesh, Weston, Xavier/WG Web

Lilly

Request TC

Letter Poem D1

PC/Suelita

Research

Letter Poem D2

Find other mentor text WG: Suelita

Alannah

Research

Research

Graphic Org

PC/Joaquim

Storyboard D1

WG: Ada, Yolanda, Hallie, Carmelita: inquiry science explanatory text

Esteban

Research/ Austin

Research/ Austin

Research/Austin

Storyboard D1

Storyboard D2

Collaborating Austin

Jade

Graphic Org

Letter Ed/D1

Letter Ed/D1

PC/Kara

Letter Ed/D2

Earnest! On track!

Caesar

Request TC

Research/ Complete Chart

Request TC

Complete illustrations

D1 Poster

Staying focused Ck w/ELD teacher

Colin

TC – focus

Research/ Complete Chart

Research/ Complete Chart

Complete Chart

D1 Poster

On track! Detailed drawings

Ada

Research

Research

Storyboard D1

Storyboard D2

D1 Chapter Bk

WG: Alannah, Yolanda, Hallie, Carmelita

Gabby

PC/Maddie

Storyboard Maddie/D1

Storyboard Maddie/D1

Request TC

SB/Maddie/D2

Ck: checking for purpose

Xavier

Web D1/ Weston

Web D1/Weston

PC/Rajesh

Request TC

Web D2/Weston & Rajesh

Rajesh now collaborating: Ck sources (Continued)

107

Research

Assessments to Inform and Celebrate Writers

Conner

108

Table 5.2 (Continued)

Students

M

Tu

W

Th

F

Notes

Francis

Research

Graphic Org

Research/Francis Now w/Marcos

D1 Game

D1 Game

Using good model

Yolanda

Research

Research

Storyboard D1

D1 Chapter Bk

D1 Chapter Bk

WG: Ada, Alannah, Hallie, Carmelita

Rajesh

Research

Research

PC/Weston & Xavier

Request TC

Web D2/Weston & Xavier

Joined Weston/Rajesh WG: Web

Hallie

Research/ Bella

Research/Bella

Graphic Org/Bella

D1 Storyboard

D1 Storyboard

1st collab project; WG: Alannah, Ada, Yolanda, Carmelita

Carmelita

Research

Research

Storyboard D1

Storyboard D2

D1 Chapter Bk

WG: Alannah, Ada, Yolanda

Suelita

Research

Ballad D1

PC/Lilly

Ballad D2

TC Requested

WG: Lilly

Enzo

Research/ Joaquin, T.J.

Research/ Joaquin, T.J.

TC Request

D1 Storyboard Joaquin, T.J.

D1 Storyboard Joaquin, T.J.

Should move to D2 – checking for purpose

Joaquin

Research/ Enzo, T.J.

Research/Enzo, T.J.

TC Request

D1 Storyboard Enzo, T.J.

D1 Storyboard Enzo, T.J.

Should move to D2 – checking for purpose

Kara

TC – focus

Write 5 sentences

Find 5 pictures

Find 5 pictures

Match sentences with pictures.

Start new piece? Ck with SPED

T.J.

Research/ Joaquin, Enzo

Research/ Joaquin, Enzo

TC Request

D1 Storyboard Joaquin, Enzo

D1 Storyboard Joaquin, Enzo

Should move to D2 – checking for purpose

Assessing Writers

Roll Call to Action – Grade Five – Mr. Mackie Week: February 12 Focus: Science/Informational

Roll Call to Action – Grade Five – Mr. Mackie Week: February 12 Focus: Science/Informational Students

M

Tu

W

Th

F

Notes

Bella

Research/ Hallie

Research/Hallie

Graphic Org/ Hallie

D1 Storyboard

D1 Storyboard

1st collab project; Should move to D2 on track

Weston

Web D1/ Xavier

Web D2/Xavier

PC/Rajesh

Request TC

Web D2/Xavier & Rajesh

Rajesh now collaborating WG: Web

Maddie

PC/Gabby

Storyboard/ Gabby D1

Storyboard/ Gabby D1

Request TC

Storyboard Gabby D2

Collaborating Gabby – WG: checking for purpose

Austin

Research/ Esteban

Research/ Esteban

Research/Esteban

Storyboard D1

Storyboard D2

Collaborating Esteban – WG: checking for purpose

Assessments to Inform and Celebrate Writers 109

110

Assessing Writers

designing posters suitable for a classroom; and a few passionate writers are drafting letters to either the newspaper or their state senator. One writer requires more structure and is composing with a writing template on the computer. As a daily assessment of writing practice, Mr. Mackie can quickly review the Roll Call to Action and see how writers Marcos and Francis; Xavier, Weston, and Rajesh; and Enzo, Joaquin, and T. J. are developing collaborative practices around web design and writing. This is a particularly good project for collaboration, refecting the work of authentic web developers. Bella and Hallie are also developing collaborative skills. Mr. Mackie notes this is the frst time either writer has worked collaboratively on a project. On the other hand, he notes that Esteban and Austin are once again collaborating, and while they are successful as collaborators, it may be time to challenge them to work on the next piece independently. Mr. Mackie will use this information to adjust their individual writing goals. When Mr. Mackie looks across the weeks of the Roll Call to Action charts he has collected, he can fnd evidence of how writers such as Alannah, Jade, Ada, and Yolanda are developing independence in their writing practice. Yolanda, for example, was hesitant as a writer at the beginning of the year, depending heavily on Ada as a writing partner. But now, she is successfully writing independently. Her development is recorded in the Roll Call to Action charts. Roll Call to Action, over time, also provides evidence of writing risk or of how writers are using a variety of text types and purposes in their writing process. Mr. Mackie can look back, for example, and see, to date, the various kinds of text types and genres any given writer has experimented with and based on this, guide writers to explore other text types and purposes. Furthermore, Roll Call to Action documents the decisions a writer is making regarding research, revisions, and editing needed, given factors such as purpose and length of the piece. Mr. Mackie notes that Lilly, for example, requested a teacher conference on Monday to provide direction in her writing. Following the teacher conference, Lilly drafted a letter poem. Next, she requested a peer conference with Suelita, which prompted Lilly to complete additional research and another cycle of revision. The Roll Call to Action documentation demonstrates how Lilly is developing in her writing process, making wise writing decisions in seeking feedback and using this feedback to further refne her work. Mr. Mackie uses the data from Roll Call to Action on a daily basis to determine with whom he will hold one-on-one writing conferences. Sometimes, such writing conferences are done at the request of writers. However, Mr. Mackie reads across the columns of his Roll Call to Action chart to check his pattern of conferencing and notes anyone he may have overlooked; he then schedules conferences with those writers. He also checks for writers who appear stuck in the process of writing. For example, he knows most writers in his class do not need three days to conduct research on their writing topic. So, when he sees that Esteban and Austin have declared “research” as their intention for a third day in a row, he will check in with them. Colin and Kara require additional scaffolding according to their Individual Educational Plans; the Roll Call to Action chart allows Mr. Mackie to check in and monitor their progress daily. Most of the writers in Mr. Mackie’s class are multilingual learners. However, Caesar is still receiving English language development services, and Xavier, Yolanda, and Rajesh have recently exited this program. He is careful to note their progress and uses the Roll Call to Action to monitor their emerging writing practice and process. Roll Call to Action charts allow Mr. Mackie to continually develop writers’ ability to research and present knowledge. Mr. Mackie also uses the data from Roll Call to Action to plan instruction for the Writing Studio. His planning refects overall goals for writers’ growth in practice, process, and craft as well as writers’ individualized goals; these are aligned with Common Core State Standards. During the week highlighted in the Roll Call to Action chart from February 10, Mr. Mackie

Assessments to Inform and Celebrate Writers

111

conducted mini-lessons and one-on-one teacher conferences. It doesn’t always work out this way, but the week before, Mr. Mackie had modeled, and writers had practiced researching a topic and experimented with the writing genres present in the current week’s Roll Call to Action. Mr. Mackie felt writers needed time to work individually and collaboratively with other writers to compose drafts. This allowed him time to conduct individual conferences with writers to make sure each writer had a writing topic and text type they were satisfed with prior to moving into the next week. The mini-lessons for the week of February 10, then, focused on the research and draft work writers do. By the end of this week, however, Mr. Mackie reviewed the Roll Call to Action chart and based on these data, is making instructional decisions about small group instruction (see Chapter 6 for a description of writing small group instruction). The Roll Call to Action and the My Writing World document writers’ development of writing practices and process, providing ongoing or formative assessment data for the teacher of writing in planning intentional instruction to scaffold writers. The data from these sources are particularly powerful when paired with data generated from the Teaching, Conferencing & Planning Notebook.

Teaching, Conferencing & Planning Notebook The Teaching, Conferencing & Planning Notebook, as an assessment tool, is critical in prompting and documenting writing conversations, adjusting and monitoring individual writer’s goals, and intentional planning of writing instruction. The Teaching, Conferencing & Planning Notebook provides further formative assessment data about how writers are developing in their writing practice, process, and craft. The Teaching, Conferencing & Planning Notebook needs to be portable, as the teacher is most often moving around the classroom conducting mini-lessons, one-on-one conferences, and guided writing instruction with the notebook in hand. To be useful, conference notes must be dated and organized in a way to allow for both quick review and longer analysis. Here are some effective ways of organizing the notebook: (a) Create a 3-ring notebook with a page for each writer. Document the date and topic of teacher–student conferences, include notes for future teaching, include any summary reviews of writing samples and salient observations of children writing. (b) Create a portable chart similar to a weekly Roll Call to Action. Use a clipboard and write quick notes after each conference – later organize these into a notebook. (c) Use sticky notes or address labels and a clipboard; later organize them in a conference notebook. (d) Use tablet technology. This technology will allow for enhancing notes with photographs. For all these organizational methods, allow space for sifting through the data and using these data to plan for future instruction. The teacher and the writer can collaborate in writing the conference notes: “Look here – just three weeks ago you didn’t know how to write dialogue or show how people talk. Yet – look today – you did this on your own! How shall I record this in my notebook?” In this way, the notebook provides opportunities to increase a writer’s sense of agency through celebrating what has been learned.

Illustrations of Teaching, Conferencing & Planning Notebook: How It Works Read the following excerpt from Mr. Mackie’s Teaching, Conferencing & Planning Notebook (Table 5.3).

Lilly

Monday: Lilly requested conference. Found notes on poetry formats (letter, diamond, found, haiku, free verse). Talked through which form would suit purpose best – wants to inform people of the plight of songbirds. (Great to see Lilly thinking about form and purpose together!) Decided on letter – can include more facts, be more convincing. Next step: write as letter and then work into poem. Friday: Lilly reports that Suelita thought she needed to focus on just one bird. Note: Using peer conferencing well. Found interesting facts about Junco. Now turning actual letter into poem form. Instruction: how free verse doesn’t use complete sentences. Modeled. She did line on her own. Ready to go – considering poster as publishing – good she is thinking of this now. Guided writing group with Suelita, Caesar, Colin, and Kara on poster design.

Ceasar

Monday: Caesar requested conference – good decision. Read article in Spanish about cats killing urban birds. He is upset about this. Needs direction. Created graphic organizer for him to organize his thoughts. Wednesday: Caesar requested conference. Needed to determine next step. We discussed his purpose for writing: what does he want to communicate and how? Decided on poster: Save the Songbirds! Has research chart completed. Will create graphic illustrations to go on poster. Writing some dialogue bubbles in Spanish; some in English.

Kara

Monday: Set Kara up on computer with headphones so she can focus. Reading from interactive website on birds. She is engaged. Tuesday: Talked about writing purpose: to inform. Set goal for Kara: Write fve sentences describing fve different birds. Set up template for her to complete on computer with sentences numbered 1–5. Took a bit of prompting but Kara completed four sentences! Note: Bella helped her several times. Wednesday: Helped Kara complete her ffth sentence. Created column on template for Kara to fnd a picture of each bird. Seems to like this task. Note: Xavier helped her with a picture. Thursday: Set up Kara on computer – she is still fnding pictures. Doing well with task. Friday: Had printed and cut out Kara’s sentences & pictures. She wasn’t happy with these being cut up at frst. But once she saw Colin is making his poster, got into the idea of matching sentences with pictures and gluing them on poster board. Pretty good day!

Enzo, TJ, Joaquin

Tuesday: Want to complete a graphic novel type piece about this Super Bird who uses its superpowers to fght back and save the songbirds dying because of evil urban cats. Discussed what science fction writers do. Asked them to make sure they had at least fve solid facts about songbirds to base their fction upon. Discussed how sci f writers do this. Wednesday: Writers requested conference; wanted me to “okay” their facts. They did their research. They are off to storyboarding! Next week: guided writing instruction with Gabby/Maddie, Hallie & Bella; Austin/Esteban. Focus: checking for purpose (Are the pieces informative? Are the facts apparent?)

Assessing Writers

Mr. Mackie’s Teaching, Conferencing & Planning Notebook Week of: February 10

112

Table 5.3 Grade 5 Excerpt from Mr. Mackie’s Teaching, Conferencing & Planning Notebook

Assessments to Inform and Celebrate Writers

113

These conference notes were taken during the same week in February as the provided Roll Call to Action record (see Table 5.2). From the Roll Call to Action, Mr. Mackie can quickly see Lilly’s writing practices for the week and how she is using the writing process. The conference notes further inform these data. Mr. Mackie can return to these notes and analyze how Lilly is also developing writing craft and growing in her independence as a writer. During the Monday conference, Mr. Mackie found Lilly engaged in decision making as a writer: what poetry form would best work for her purpose, to inform people of the plight of many urban songbirds? Mr. Mackie notes Lilly’s thinking as a writer. Learning to connect form with purpose marks a critical point in a writer’s development. On Friday, Mr. Mackie meets with Lilly again. We can infer from his notes that he began by inquiring about her writing practices of the week. Lilly had a peer conference and is following up on the suggestions made by her peer, Suelita. This is documented in the Teaching, Conferencing & Planning Notebook to show Lilly’s progress toward one of her individual writing goals: “I will seek feedback from my writing peers to revise my writing.” Mr. Mackie also records the targeted instruction he taught Lilly on this day, how sentencing is different for free-verse poetry. Once documented, Mr. Mackie can follow up on Lilly’s progress and document her accomplishment of this writing craft. Through this kind of documentation, Mr. Mackie can give an accounting of what he has specifcally taught Lilly and her progress at any time. Conversely, Lilly is accountable for her own learning as she notes this writing accomplishment on her individualized writing goal sheet. A review of both Mr. Mackie’s Roll Call to Action chart and his Teaching, Conferencing & Planning Notebook provide him data necessary for planning instruction not just for Lilly but also for small groups of writers with the same writing needs. For example, a lesson with several writers on poster genre and design is on his radar. Mr. Mackie’s Roll Call to Action and his Teaching, Conferencing & Planning Notebook additionally demonstrate how instruction is differentiated in the Writing Studio. Take a moment to read the excerpts from Mr. Mackie’s notebook for Caesar, a multilingual learner who receives English development assistance, and Kara, who is autistic and receives special education assistance. These can be found in the earlier excerpts from Mr. Mackie’s Teaching, Conferencing & Planning Notebook. Caesar is provided with a Spanish-language text; he has a choice whether to write in Spanish or English and sometimes uses a combination of both. He is hesitant of doing writing “wrong,” and so Mr. Mackie scaffolds his learning with more graphic organizers to boost confdence prior to writing. A poster draws on Caesar’s artistic abilities and, although it still requires the research and summary of research, does not require the amount of writing a letter might. This is a helpful English-language project for Caesar. These instructional decisions, Caesar’s use of English vocabulary and grammar, his risks, his successes, and his development are all documented in the Teaching, Conferencing & Planning notebook. For Kara, writing is a diffcult act, both physically and cognitively. The special educator and Kara’s grown-ups suggest explicitly scaffolding through the use of templates, the use of a computer to mitigate the challenge of handwriting, and the offer of noise-reducing headphones. Mr. Mackie’s conference notebook records data on how this targeted instruction is working for Kara. When Mr. Mackie attends meetings with the specialists of his school and the grown-ups of Caesar and Kara, he will take his Teaching, Conferencing & Planning Notebook with him as evidence and data for discussing the next instructional steps and goals for both children.

114

Assessing Writers

Teaching, Conferencing & Planning Notebook: Young Writers The Teaching, Conferencing & Planning Notebook in the early grades can look many ways but serves the same function as it does in upper grades, documenting writing practices, process, and craft. The most useful assessments in early grades are anecdotal notes gathered through observation and conversation. An early-grade teacher needs to be exceptionally organized and intentional in collecting data that documents writing development. Preschool to Grade 2 teachers fnd that using the same system Mr. Mackie uses works well; however, being attentive to the writing development of young writers is critical.

Illustration of Teaching, Conferencing & Planning Notebook: Grade 1 Teacher Mekla practices careful observations as young writers compose, noting how writers are progressing according to the CCSS Writing Anchor Standards. They keep a template of their Teaching, Conferencing & Planning Notebook on their tablet. When they observe instances or examples of a writer demonstrating knowledge of any of these standards, they quickly enter notes and often snap a photo to include in the documentation. Teacher Mekla makes a point of reviewing their Teaching, Conferencing & Planning Notebook informally on a weekly basis and more purposefully every four weeks when they synthesize data and use it to plan instruction. Table 5.4 is an excerpt from Teacher Mekla’s notebook for writer, Gracie Lee. Meaningful writing assessment informs the teacher in such a way that instruction can be differentiated for all writers. Roll Class to Action combined with the Teaching, Conferencing & Planning Notebook does just this. Focus on the excerpt from Mr. Mackie’s Teaching, Conferencing & Planning Notebook, taken from the collaborative writing team of Enzo, Joaquin, and T. J. Read these and the entries for each of the same writers in Mr. Mackie’s Roll Call to Action (Table 5.2). Combined, what do the data suggest about Enzo’s, Joaquin’s, and T. J.’s evolving writing practice, their use of process, and their writing craft? What do the data suggest is the role of the teacher as they conference with writers and plan for writing instruction?

Daily Writing Folder The writer’s Daily Writing Folder, as the name suggests, is a collection of daily writing, writing notes, scribbles and drawings, lists, and reminders – all of the things writers keep as part of their writing practice. Such a collection also refects the starts and stops and cycles of writing process and growing writer’s craft. Chapter 3 described a number of possible forms that can serve to organize the Daily Writing Folder. Table 5.5 provides an overview of the Daily Writing Folder assessment.

Table 5.4 Grade 1 Excerpt from Teacher Mekla’s Teaching, Conferencing & Planning Notebook for Writer Gracie Lee

 

Text Types & Purposes

Process of Getting Ideas on Paper

Ideas & Content

Conventions: Spelling, Grammar, Punctuation & Handwriting

Identity/View of Self as Writer

Personal narratives to be shared with the teacher and peers

Starts by drawing detailed picture about her story. Then transitions to writing.

Writes about recent events with family • State Fair • Visiting grandparents • Trip to the beach • Babysitting cousins • Soccer game

Handwriting developing Uses spaces between words Capital letters used instead of lowercase, specifcally with B, D, P, W, G Spells a few high-frequency words accurately: the, to, my, and man Spells phonetically for unknown words: satee/Saturday, plce/police, dag/dog, makik/ magic

Knows that writers write about what they know/do in their lives.

Oct

Personal narratives to be shared with the teacher and peers

Is beginning to write frst and doesn’t always include an illustration with her stories. Starts writing immediately because she has ideas about topics she is interested in writing about.

Writes about recent events with family • Pumpkin patch • Visiting great grandmother

Handwriting improving Spaces between words Incorrect use of capital letters less frequent, only with letters G, P Spelling more words conventionally: Yesterday, went, had. Uses the high-frequency word chart in her writing folder. Still uses phonetic spelling with unknown words, hearing more sounds: apolcrip/applecrisp, wadrfol/waterfall, swiming/swimming

Eager to write about personal experiences. Is reluctant to share writing with friends or the whole class because she embarrasses easily and is a bit intimated by the older students in her 1st/2nd blend classroom (Continued)

Assessments to Inform and Celebrate Writers

Sept

115

Text Types & Purposes

Process of Getting Ideas on Paper

Ideas & Content

Conventions: Spelling, Grammar, Punctuation & Handwriting

Identity/View of Self as Writer

Nov

Personal narratives Publishing books from her favorite drafts to share with peers

Writes some stories with illustrations and others without illustrations. Able to read through her story with a checklist to revise and edit her writing.

Writes about recent events with family • Bowling with her family • Playing the game Guess Who? • Playdate with friend

Improved handwriting Spells high-frequency words: and, the, he, went, to my Continues to use the high-frequency word chart in her writing folder Phonetic spelling for unknown words: boling/bowling, ale/alley, trkeyl/turkey. Occasionally adds sounds: babey/baby, taboll/table.

Growing as a writer by adding more details to her stories.

Dec

Personal narratives Writing letters for the school post offce to brother and friends

Has ideas for stories. Writes details including a beginning, middle and end. Writes interesting stories.

Writes about events with family • Birthday Rock climbing • Getting a Christmas tree

Improved handwriting Correctly uses lowercase & uppercase letters Spells high-frequency words: and, the, he, went, to my Phonetic spelling for unknown words: crecmes/Christmas, suneing/something, desuseing/disgusting, which makes her writing diffcult to decipher

Beginning to adopt author’s craft. For example, she used an ellipse to build anticipation in one of her stories.

Assessing Writers

 

116

Table 5.4 (Continued)

Assessments to Inform and Celebrate Writers

117

Table 5.5 Daily Writing Folder Assessment

Writing Goal Guiding Questions for Area Analysis Writing Practice What strategies does the writer use to begin writing? How is the writer sustaining writing over time? Does the time writing refect appropriately writing purpose and audience? Writing Process Is the writer using revision and researching strategies appropriate for writing development area? Is the writer learning to use feedback and give feedback? Writing Craft Is there evidence of growing writer’s craft in revision work?

Possible Evidence Prewriting strategies List of writing ideas Dates on drafts: total time to develop a piece of writing

Draft writing (includes learning to use editing symbols) Peer conferencing log or sheets

Specifc revision samples, for example, mastering end-ofsentence punctuation

To assess for writing practice, analyze the contents of the Daily Writing Folder to gain a picture of how the writer approaches writing (What strategies does the writer use to get started? What specifc strategies are multilingual writers using?), note how the writer is sustaining writing over time (What is left unfnished? What is returned to at a later date? What strategies does the writer use to keep writing?), and check to see how long a writer is spending on each piece of writing (Does the time spent appropriately refect writing purpose?). Writing process is documented by analyzing revisions appropriate to writing development. For example, in a kindergartner’s Daily Writing Folder, look for evidence of a writer adding details to their illustrations and then seeing the development of more words and sentences with less dependence on illustrations. By Grade 3, check for evidence of a writer drafting, rereading and revising content, making editing corrections, and even reorganizing information. By Grade 5, a Daily Writing Folder provides evidence of a deepening understanding of writing process and a more nuanced sense of the kind of process time necessary for different writing purposes. Editing for conventions and grammar will be demonstrated in draft work. Part of developing writing practice and process is valuing feedback from others. Conversely, it is also about learning to give useful feedback to other writers. Peer response forms and notes are kept in the Daily Writing Folder, providing evidence of this part of the writer’s practice. (See Chapter 7 for more on peer conferencing.) Developing writing craft is evidenced in the revision of drafts. Here is an example of how revisions provide data of developing writing craft from a Grade 5 paper: Draft 1: My mom yelled for us to stop Revision 1: My mom yelled “Stop”! Revision 2: Just then, my mom saw us balancing on the edge of the handrail and she yelled, “Stop!” Revision 3: Just then, my mom saw us balancing on the edge of the handrail. Her eyes got the size of a pancake and she yelled, “Stop!”

118

Assessing Writers

The revisions are evidence of this writer developing their writing craft: their ability to use dialogue to enhance their story and their growing control over the punctuation required for dialogue. A fnal paper, alone, will show their fnal use of dialogue, but not the process of becoming-writer. The Daily Writing Folder provides evidence of a writer developing writer identity. Is the child taking risks as a writer? Is there a sense of energy, joy, and active meaning making in the writing? Is the writer developing a widening sense of writing purpose and audience? Analyze the Daily Writing Folder for these data. Identify it, name, and record the data. The Daily Writing Folder acts as formative assessment. This is the kind of data that can be celebrated and can be used to grow a writer’s sense of agency.

Illustration of a Daily Writing Folder: Grade 3 Ms. García Ramírez makes a habit of quickly leafng through each one of her Grade 3 writers’ Daily Writing Folders whenever she conducts a teacher–student writing conference. Writers know she will most likely ask about their folders; they can often be seen doing a quick shuffe of papers prior to her coming to their desk, making sure everything is in order. They know that Ms. García Ramírez is a stickler (as she says) about organizing one’s work. Ms. García Ramírez is clear in her purpose: “Your writing folders tell us about your writing practice, who you are becoming as writers. They are like a self-portrait! Make sure they tell your story well.” When she leafs through the Daily Writing Folder, she is looking for organization, revision work, and risk taking. Often, these are mental notes, but when Ms. García Ramírez sees something, like an attempt at independent poem writing or an obvious move by a writer to research and include new information in a text, she names this to the writer and notes it in her Teaching, Conferencing & Planning Notebook. Ms. García Ramírez keeps an eye on individual writing and spelling goals and purposefully watches for evidence of writer’s progress in these areas. She makes a point of asking a writer about these goals and uses these to prompt teacher–student conferences. Listen in on this conference: Rainia, one of your writing goals is to learn strategies for organizing your writing. How does your work on this piece about how to make cookies show your progress towards this goal? Rainia: I listed out things here [points to paper]. Ms. García Ramírez: Let’s take a look. So these are directions . . . or this is a recipe for making cookies? Rainia: Yes! These are my grandma’s cookies! Ms. García Ramírez: What things are you listing out? Rainia: I listed out the steps for the cookies. See, I numbered them [points to numbering]. Ms. García Ramírez: Yes – that is the way recipes often read and that is a good organizational strategy for a recipe. You have listed in numbered steps how to make your grandma’s cookies. Anything else you may want to add? [Ms. García Ramírez is now tapping her fnger on the goal statement. After “organization,” (in parenthesis) it reads, “clear beginning, middle and end.”] Rainia: Oh! I need a beginning! What can I do for a beginning of a recipe? Ms. García Ramírez:

Assessments to Inform and Celebrate Writers

119

Ms. García Ramírez will follow the same pattern later during an editing conference with Rainia. Then, she will note Rainia’s personalized spelling list along with the class list of “We Can Spell These Words” (high-frequency word list), pointing out any words Rainia has spelled correctly, noting words she needs to “check again,” and fnally determining if there are new words that ought to be added to Rainia’s list. There are no published tests that can provide the ongoing assessment data generated from a Daily Writing Folder. It is tangible evidence of ongoing learning toward targeted writing goals. The Daily Writing Folder communicates expectations, acts as an invitation, and marks progress. For these reasons, the Daily Writing Folder is benefcial during childled grown-up conferences and meetings with specialists. The data allow the teacher and writer to be accountable to authentic writing goals and, therefore, be able to describe learning at any time. Furthermore, it serves to organize future instruction.

Listen to Eva, a Grade 4 writer, share about the stories in her Daily Writing Folder on the companion website. What do you learn about Eva and children as writers when given an opportunity to share their writing?

Cumulative Writing Folder While the Daily Writing Folder is evidence of ongoing learning, the Cumulative Writing Folder is a formal assessment that celebrates, broadcasts, and documents writing growth over time. In this way, the Cumulative Writing Folder serves as a summative assessment of students’ learning throughout the year. While a fnal draft of the writing piece is the highlight of the folder, drafts showing revision, research, editing, and peer/teacher conferencing (how feedback was used) are also included to demonstrate the whole of writing practices and process. In determining what writing ought to be kept in the Cumulative Writing Folder, use required national, state, district, or school benchmarks. It is not necessary to save every piece of writing – it is necessary to be intentional in selecting writing that is evidence of learning that aligns with benchmarks and writing goals. Unlike a one-time writing assessment, the Cumulative Writing Folder is longitudinal documentation of writing development. In the early grades (Preschool–Grade 2), collect daily writing, and at the end of each week or every other week (excluding shortened weeks) ask writers to select the one piece of writing they most want to save in the Cumulative Writing Folder. The actual piece of writing can be physically saved, photographed, scanned, or copied. Photographing writing saves time as a teacher and further celebrates the moment for young children through the act of picture taking. After the photo, children can take their writing home. Early-grade writing may include “transcription notes” completed by the teacher; this will be useful to other grown-ups reading the piece. Having writers determine the writing piece to be documented grows their sense of agency and independence as a decision maker. Teach writers the kinds of pieces to save: “All week, writers, we have been working on including more detail into our drawings to better tell our stories. Look through your Daily Writing Folder and fnd a piece where you have added details in your drawing. Make sure this is a piece you are proud of as a writer. Turn to your neighbor and tell them why you are choosing this piece.”

120

Assessing Writers

Be equally intentional in Grades 3 to 5 in selecting writing pieces for the Cumulative Writing Folder. Again, teach writers how to make good selections. How a writer chooses to broadcast their work is an important decision. Return to the purpose of the Cumulative Writing Folder: it ought to provide evidence of developing writing practices, process, and craft. A guiding principle is to save a piece of writing from each writing unit or specifc time frame. In addition to fnal pieces of writing, other forms of documentation can demonstrate writing development and be included in the Cumulative Writing Folder. Repeating the Writer Survey at the end of the year can be a powerful demonstration of writing growth and sense of self as a writer. Some teachers and writers include lists of writing topics, peer conference notes, and selected anecdotal notes from the Teaching, Conferencing & Planning Notebook and the list of writing and spelling goals – all to provide evidence of writing growth and development in writing practices, process, and craft. Writer’s Self-Assessment (see the following discussion) and writing samples (see the following discussion) are often included in the Cumulative Writing Folder. One last caution: be mindful of where Cumulative Writing Folders are stored. As a special and celebrated folder of the writer’s work and as documentation of writing development, plan for its safekeeping.

Illustration of the Cumulative Writing Folder Jon’s Grade 3 Cumulative Writing Folder contains evidence, by the end of the third quarter grading period, that he is able to write a variety of text types and is learning the purpose for these various text types. Jon has chosen for his folder a variety of pieces: a science report, a poem based on historical research, a superhero story, and a free-verse poem. Jon’s science report about frogs is six pages long and was typed on a computer. It includes pictures found on the Internet and a reference list of sources used. Each page introduces a new topic, with a title, a topic sentence, and supporting facts. For example, the paragraph on “frog appearance” begins with “This is what frogs look like. Frogs have NO NECKS!!!” The enlarged font is evidence of his attention to audience and design. Jon’s report on frogs is evidence of his ability to organize informative writing, to complete and develop writing with research, and to use word processing. A poem about Squanto is additional evidence of how Jon is learning how to research a topic. Stapled behind an illustration of Squanto Jon has drawn is the fnal poem completed on a computer, which includes a drawing from the Internet. All the research and thinking he has completed (concept map, biography timeline, and collected quotes) is also included. This research and revision work is evidence of Jon using writing as a thinking and learning tool. Perhaps Jon’s enthusiasm and his identity as an action writer are best illustrated in “Super Boy and the Curse of the Evil Pancakes!” The story is written in a breathless sort of way: “In a holtel it was 9:30 am when a few evil pancakes broke in the hotel. The few evil panckaes were sealing a lot of money this looks like a job for super boy.” The superhero fghts the pancakes, and arrests another robber along the way, before things become “bad guy free.” Jon’s writing has a lot of voice. You can hear him almost laughing at his own jokes. His voice is also noted in a poem titled “Boo-Boo”; he writes: “I write of/my stuffed animal/Boo-boo/ in a fying tree/that is up in/space/I think of Boo-boo/running for president/and ordering/everyone to eat bananas/and forming a monkey army.” These two pieces are evidence of Jon’s ability to write narrative with imagined events, using descriptive details with a clear sequence of events. He develops character and plot, uses dialogue, and line breaks in his free-verse poetry. Jon’s teacher summarizes his writing progress as seen in Table 5.6.

Assessments to Inform and Celebrate Writers

121

Table 5.6 Summary of Jon’s Cumulative Writing Folder

Cumulative Writing Folder: Jon Grade 3 Month Selected Writing Samples Teacher Notes Oct Frogs Nonfction Science Report Frogs has voice – Jon selected fun facts and organized them well! He also selected great photos that match the text! Nov Squanto Biographical Poem Lots of care selecting facts and organizing them in poem fashion; also careful attention to word choice. Jan Super Boy and the Curse of the Such voice! Excellent beginning, middle, and Evil Pancakes Superhero end: has a climax! April Boo-Boo Free-verse Poem Writing risk here (and imagination) in composing this poem. Different than his other pieces of writing. Cumulative Writing Folder Assessment Summary Jon is becoming a writer with a distinct voice and style. He brings enthusiasm and a sheer sense of fun to his writing that refects his personality. He is selecting appropriate (and fun!) facts for nonfction pieces, attending to word choice, and developing varied organizational schemas for different text types (nonfction; poetry; superhero). He notes in his Self-Assessment that he would like to practice word processing and Internet skills. Next Steps in Teaching: • Introduce Jon to opinion writing; support him in fnding a topic he wants to write about; make sure this is an authentic piece of writing that can be shared with a listening and interested audience. • In teacher–student conference, support him in naming what he learned about layout, selecting photos, and facts in the Frogs report and how to bring this to the opinion piece. Do the same with noting how word choice matters in Squanto and naming how word choice, while different in opinion writing, can be persuasive. Assure him he can practice word processing and Internet skills when composing the opinion piece. • Teach how paragraphing works and why it is important to the reader. Also teach how to punctuate and paragraph dialogue, as Jon likes to write dialogue and is developing his skills in this area. Demonstrate with a mentor text how dialogue looks and works, particularly in an opinion piece. This summary sheet is placed in the front of Jon’s Cumulative Writing Folder. Jon’s teacher or Jon can easily access the folder and give an account to others about his writing progress at any time. Jon’s Cumulative Writing Folder, as a collection of fnal pieces of writing and their associated draft work, illustrates how the Cumulative Writing Folder can provide evidence for analysis of writing accomplishment and future writing instruction.

Writer Self-Assessment Meaningful Writer Self-Assessment is acting on the belief that as a writer, one is always becoming. It is a pause in the action of writing that celebrates and takes note of writing development.

122

Assessing Writers

Writing Self-Assessment done well is a practice in metacognition and gives writers agency as they consider both their accomplishments and future writing goals. It can be done whenever a fnal piece of writing is completed, or it can be strategically positioned throughout the year, for example, at the end of each grading period; prior to grown-up-teacher conferences; at the beginning and at the end of the year only; or three times during the year to provide a pre-, mid-, and post-overview of the writer and their work. Self-Assessments that are overdone tend to lose their importance and too often must be rushed because of a shortage of time. Writer Self-Assessments are often connected to the selection of pieces placed in the Cumulative Writing Folder. Writer Self-Assessments most often are conversations in the early grades (Preschool– Grade 2). Invite young writers to respond to the following type of questions about pieces they select for the Cumulative Writing Folder: ♦ ♦ ♦

Why did you choose this piece? Why do you like it? What kinds of things did you do to check your work? What are one or two things you would like to work on next as a writer?

Record responses in the Teaching, Conferencing & Planning notebook or use sticky notes or mailing labels that will later be placed in the notebook. Conversely, tablet or phone technology makes audio fles easy to create and preserves the actual talk of the writer. If using a tablet as the Teaching, Conferencing & Planning notebook, these audio fles become part of the notebook instantly. Audio fles add an extra level of authenticity for both the writer and the grown-up during conferences. In Grades 3 to 5, partner or teacher–student conversations, rubrics, checklists, letters, audio-recordings, and sticky notes can be used. A simple form can be constructed with all or a selection of the following questions, adjusting for grade level, self-assessment occasion, or specifc groups of writers: ♦ ♦ ♦ ♦

What does this piece tell about you as a writer? What did you do in this piece as a writer that you could not do, or did not do, before? What writing risks in this piece that you would like to share? Or – did you practice any specifc writing craft in this piece? Name them! As you consider your writing, what are one to two things you would like to work on next as a writer?

Writers can complete this Self-Assessment as a questionnaire, or they might annotate their writing by typing comments in their writing or using color-coded sticky notes on printed copies of their writing. Alternatively, writers may use these questions as a prompt and write a letter to their grown-ups, to themselves (“What I want to remember about myself as a writer at this time and place”), or to classmates (the letter is read aloud or could be made public using technology). Rubrics and checklists can also be developed. The Writer SelfAssessment can also be done as a peer activity, with each partner recording their peer’s responses. Writer Self-Assessment prompts can be specifc to text type, writing traits, practice, or process and mirror what a teacher may be using to assess a piece of writing. In selecting the format, keep in mind the purpose: to document writing development and growth, to celebrate progress, and to set future goals. Which format will work best within the context of your Writing Studio? Not every writer needs to use the same format; reduce any barriers by encouraging Writer Self-Assessment completed in a writer’s home language, done with

Assessments to Inform and Celebrate Writers

123

a partner, audio or video recorded, completed pictorially, or by providing guiding questions with a template that can be both read and heard. Teach Writer Self-Assessment as an act of growing self-awareness in recognizing and celebrating writing strengths, what has been learned, and choice in naming their own future writing goals.

Illustration of Self-Assessment Jon’s teacher (see earlier Cumulative Writing Folder discussion) asked writers to self-assess after completing the research writing for their integrated science unit. The questions were deliberately written by Jon’s teacher to gather data for future writing units requiring research and word processing. (See Table 5.7 Jon’s Self-Assessment, “Frogs!”) Take a break from reading and study Jon’s self-assessment found in Table 5.7. How does this Writer Self-Assessment inform you as a teacher? If you were Jon’s teacher, what additional questions might you ask him during a writing conference? How would the responses to these questions further inform you as a teacher?

Table 5.7 Jon’s Self-Assessment, “Frogs!”: Grade 3

Learning Goals for Science Reports I learned how to fnd important facts on the Internet. I found pictures on the Internet for my report that I like.

I organized my piece using a topic sentence and related facts. I used peerconferencing to check my facts. I am learning word processing skills.

Circle the Best Answer and/or Write in the Author’s Personal Note Column Yes!

I did pretty well. I did pretty well.

Yes!

I want to practice this more. I want to practice this more

Yes!

I did pretty well.

I want to practice this more.

Yes!

I did pretty well

I want to practice this more.

Yes!

I did pretty well.

Author’s Personal Note

I really like the pictures I found! It was fun looking for pictures. I want to do more of this!

I want to practice this more

What I like best about my science report is . . . I like the pictures and the facts I found. I like how I designed them on the page. It looks really awesome!

124

Assessing Writers

Writer Self-Assessments require risk and confdence as a writer. We suggest that you conduct a self-assessment of your own writing to “test” out any rubric you create. Make sure as a teacher you have intentionally taught the items to which writers are being asked to selfassess. Self-assessment is a social and emotional competency and a writing practice – teach, reinforce, and allow time for writers to develop their responses. Then writers and teachers of writing will discover potential and possibilities of self-assessments.

Writing Sample While rubrics can be generally defned as any set of criteria specifying expectations for a specifc paper, there are also rubrics designed for the purpose of writing evaluation. For example, the writing traits introduced in Chapter 2 can be evaluated with the Education Northwest (2021a) 6+1 Trait Writing Rubrics Grades K–2 or the Education Northwest (2021b) 6+1 Trait Writing Rubrics Grades 3–12. Smarter Balanced, an assessment consortium, created performance task writing rubrics for Grade 3–5 informational texts, Grade 3–8 narrative texts, and Grade 3–5 opinion texts (Smarter Balanced, 2022a, 2022b, 2022c). For these kinds of rubrics to be valid, grade-level teachers need to read widely and deeply children’s work, collect examples of “anchor” papers to defne the individual traits, and share in the task of evaluating papers for interreliability of fnal scores. Often, the task of determining anchor papers, or examples of each trait and scores for that trait, is done at the national, state, or district level. For example, Smarter Balanced (2022d) provides scored, annotated anchor papers on their website. Routman (2005) writes, I worry that conscientious teachers will spend hours scoring papers against a rubric only to have the writing remain stagnant because they are looking primarily at word choice or skills in isolation, such as spelling or sentence fuency, and not at the big picture, at what the writing is trying to say (p. 242). This is a legitimate concern. Rubrics can be useful and no one rubric can defne and encompass all that writing is or does. When we read a powerful novel or informative piece, we rarely step away and say, “Oh, what amazing use of conventions! I would give this a 5!” We are more likely to say something like “This book is changing my lifestyle. I will make different decisions after reading this book.” It is the totality of writing, the way the work connects with the reader’s personal schema and place in life, the full press of language working its way into the reader’s way of being, the imagery, page design, perhaps the jarring use of conventions, the moment of transaction with the text as reader that defnes the writing. And it is worth noting the obvious: not all writing appeals to all readers, so even the most “standardized” rubric and its anchor pieces refects a subjective view, an opinion about what counts and gets counted as “good writing.” This is not to say a teacher of writing should not use rubrics. Use rubrics – most of you will be required to do so – but keep the focus on the writer, improving writing, and writing instruction. Not every piece of writing needs to be evaluated with a rubric (and you will be exhausted if you try to do this). We recommend that you formally score three or four papers over the course of the school year. It will be most rewarding if this work is done with other grade-level teachers, using the scoring to spur discussion about what writers do, how writing it is made meaningful, and revising writing curriculum and instruction. While writers need to learn the language of writing rubrics, they also should not be so inundated with this

Assessments to Inform and Celebrate Writers

125

language that they cannot conceive of writing beyond the framework of the rubric. If using rubrics, remember to have “kid-friendly” rubrics, especially for younger writers, so children can understand and use them. Finally, remember that offcially writing samples represent one time, one place, and one effort by a writer. Who the writer is and what the writer can do is best determined over time, as is documented in the Daily Writing Folder and the Cumulative Writing Folder. The “offcial” paper is an important piece of the total writing assessment plan – it does not warrant a place of preeminence. Select different text types to score throughout the year. Choose to score a fnal paper the writer has had suffcient time to draft, revise, receive feedback, edit, and fnalize, because this refects the authentic work of writers. After scoring the paper, consider the paper in the context of the Daily Writing Folder and the Cumulative Writing Folder: Is the paper representative of this writer’s abilities and skills? In what ways? How is the paper not representative of the writer’s abilities and skills? Teach writers how to score their own writing as an exercise of self-assessment. You can also use this as a prompt for a teacher–student writing conference. How do the scores refect what the writer can do? How do the scores refect next steps for the writer? Discuss how the paper “fts” with other data generated by formative assessments and the Cumulative Writing Folder. Use the scores to point out how a writer has grown in writing practices, process, and craft and set future writing goals.

An Illustration: Using a Rubric to Score a Writing Sample for a Summative Assessment Emme is an enthusiastic Grade 3 writer. We use a narrative she wrote as a response to a writing prompt given to her by her teacher (Figure 5.1), Ms. Petersen, to illustrate using a rubric to score writing (Table 5.7). Ms. Petersen is required by her district to periodically provide writers with a prompt and to score the writing as formal assessment. For this writing prompt, Ms. Petersen brought a most interesting bulky canvas bag into the classroom and set it on the front table. “What do you think might be in this bag, writers?” she asked. Increasing anticipation, she added, “What was that? Did you see the sack move? What if it did move?” After some discussion about the sack, Ms. Petersen wrote the writing prompt on the board: One day Ms. Petersen put a sack on the desk and it started to move. Writers were given multiple days to compose a draft, revise, edit, and fnalize their stories. We fnd this to be a lively piece of writing. Emme is clearly a reader of fantasy. Her plot sequence includes vocabulary not often used by a third grader, “experaments,” a “crechor from another demention,” and to save the day, the heroes toss the “fu fall” (the kind of creature in the sack) into a “potal”! Vivid details are created through these word choices. Furthermore, Emme is to be commended for her use of active dialogue that drives the story. The sequencing of events are logical: the sack is discovered; there is action to discover what is in the sack, followed by a discussion about the kind of creature it is, and, fnally, getting the creature to that portal so all is well! The ending is clever: “The end enles you think it is ah-ah-ah!” and refects the kind of story that begs a sequel. While Emme’s sentence fuency is somewhat uneven, there are places where she takes writing risk. For example, during one dialogue exchange, a character announces the character is a “fu fa,” and another asks, “A fu fa?” What stands most in the way of the reader is Emme’s use of conventions. There are a number of misspelled words. Most of these are spelled phonetically and can be easily

126

Assessing Writers

decoded, for example, experaments/experiments, crechor/creature, and cinds/kinds. There is no paragraphing, yet the internal structure of the story works. If the dialogue were paragraphed correctly, there would be little need for the reader to slow down. However, because it is not (and because not all dialogue is in quotation marks), it is problematic at times to know who is speaking or when a speaker has changed. Using the Education Northwest (2021b) 6+1 Trait Rubric Grades 3–12, we score Emme’s paper as follows: Ideas (4); Organization (4); Voice (4); Word Choice (4+); Sentence Fluency (3.5); Conventions (2). (See Table 5.8.)

Figure 5.1 Emme’s Writing Sample: Grade 3

Using the Writing Sample for Targeted Writing Instruction With minor revisions Emme’s paper could score 5s in many categories. But raising scores isn’t the point here: this writing sample provides data necessary to revise Emme’s individual writing goals. It provides data about what Emme can do as a writer and directs the next steps of writing instruction for her. Emme can be taught how to paragraph and punctuate dialogue; this becomes an individualized writing goal for her. There are many lively words that can become spelling lessons and individualized goals for Emme. She can be shown how to present the work so a reader can enjoy it more fully; this, too, becomes an individualized writing goal. Following deliberate instruction and practice, we can expect that the next time Emme composes a piece of writing, no matter the context, we will see improvements in these targeted areas.

Assessments to Inform and Celebrate Writers

127

Table 5.8 Emme’s Writing Sample Scores, Grade 3

Trait

Score

Rationale

Ideas

4

Paper attempts showing vs. telling details through active use of dialogue. The end is rushed, “Then some how we got the potal a we togst it in side!” I want to know how that happened! Ideas are fresh and original. The writer seems to be applying knowledge from reading, and is choosing signifcant events to form the basis of the story.

Organization

4

There is a clear beginning, middle, ending to the paper. Sequencing is logical and the pacing effectively entices the reader to read on. There is a clever conclusion, mimicking stories with sequels. While paragraphing is expected towards the end of Grade 3, it is easy to see where the breaks or transitions are in the story.

Voice

4

The writer connects with the audience through dialogue and sequence of plot. The purpose of the writing is refected in content and arrange of ideas. There is risk: the author is the hero of the story!

Word Choice

4+

The writer’s use of vocabulary is memorable, “experaments,” “crechor,” “demention,” and “portal” refect a fantasy reader and give the piece energy, enhancing the plot of the story. The writer is clearly thinking about vocabulary choices, creating new names for beings, a “fu fa”! She uses the colloquial phrase, “What in the world . . .”

Sentence Fluency

3.5

Sentences, while not quite musical, are moving in this direction. Varied sentencing is used. There are missing connectives in the dialogue that makes it somewhat confusing to know who has said what, yet the reader is not necessarily lost. There is a merging sense of cadence in this echo dialogue: “It is a culd a ful fall a fu fa?”

Conventions

2

Spelling errors are common but for the most part are phonetically correct and can be easily decoded. Incorrect paragraphing for dialogue can slow down the reader. Most end and beginning punctuation is correct, including correct use of exclamation and question marks. Moderate editing with teacher’s guidance would correct the later and make the piece very readable.

Presentation

4-

Handwriting is consistent. White space is used well. Title is in larger handwriting. Name and date could be better placed. There is no experimentation with lettering or illustration.

128

Assessing Writers

Find the three additional Grade 3 papers composed by writers from Emme’s class on the companion website. Practice scoring the writing using the Education Northwest (2021) 6+1 Trait Rubric Grades 3–12. Practice writing individualized writing goals and next steps for instruction.

Using Rubrics as Formative Assessment: Providing Feedback to Writers Rubrics can also be effectively used as a formative assessment. One of our favorites is a single-point rubric that is designed to give specifc feedback to a writer. It can even be tailored for specifc groups or individual writers to align with their specifc writing goals. Writers can learn to use this tool as Writer Self-Assessment. In the single-point rubric criteria are described in the middle column, aligning with standards, writing traits as writing goals, and/or other areas in which an individual writer is focusing. On either side of the middle column, there are columns designed to give specifc feedback to the writer about how they are meeting the goals stated in the center and specifc suggestions for improvement.

An Illustration: Using a Rubric as Formative Assessment to Provide Feedback to Alonzo Alonzo is a Grade 5 multilingual writer. He and other writers in his class have been learning to write opinions or arguments. He has exited the English Language Development class with Level 5 Advanced Intermediate abilities. In reading his writing sample (Figure 5.2), we fnd evidence to support this. Alonzo can construct a claim about a variety of topics, introduce the topic, provide logically ordered reasons or facts to support the claim, and provide a concluding statement (CCSSO, 2014, p. 94). Alonzo’s teacher has designed a single-point rubric for the opinion pieces using CCSS language. By doing this, they can give targeted feedback to each writer. Alonzo’s teacher provides writers with this feedback before they complete a fnal paper. This way, the writers can use the feedback to revise their writing. Review Table 5.9 to see how this works. Figure 5.2 Alonzo’s Writing Sample, Grade 5

Assessments to Inform and Celebrate Writers

129

Alonzo’s teacher can use the single-point rubric as a way to provide targeted feedback Alonzo can use as a writer. The rubric can be returned to after the fnal piece is completed and used for either summative assessment by Alonzo’s teacher or Alonzo can use it for Writer Self-Assessment. Rubrics can be powerful tools for learning. Experiment with design, be creative – see what rubrics can do for writers and for you as a teacher of writing!

Table 5.9 Alonzo’s Writing Scored with a Single-Point Rubric With Feedback

Continue to Work on This Standard in This Way . . .

CCSS Standard: Opinion Writing

Wow! You Are Demonstrating This Standard! Here’s How . . .

How about following the Why? with a strong statement then, “here are my reasons.” Can you think of one strong argument that all of your reasons might support? Let’s talk! (And talk with your writing partners, too!)

Introduce topic clearly

Your title and your frst sentence clearly introduce the topic: “I say give the fth grade the iPads Why here are my reasons. I am noticing how you used the strategy of a question to introduce your opinion, “Why.”

How about supporting each reason you give with one fact or additional detail? How about using the phrase, “For example . . .” I think you are up for this challenge!

Provide logically ordered reasons supported by facts and details.

Yes, your reasons are in an order that makes sense. You have a strong sense of organization.

Link opinions and reasons using words and phrases.

You use these words and phrases, “My frst reason; Also; My last reason; and, Now.” These are all effective ways to link your reasons together!

If you had a stronger overall reason in your frst sentence, you might return to it here. Check the minilesson notes on conclusions. Try out one of the strategies for ending STRONG.

Provide a concluding statement related to the opinion.

You do have a concluding sentence and this adds important structure to your piece.

Let’s work on this. Lack of punctuation in the frst sentence could confuse a reader. There are a couple of tricky English sounds in some of the words you are spelling. Let me show you how this works and add “lesson” to your spelling list.

Use conventions to effectively communicate with the reader.

130

Assessing Writers

Synthesizing a Writer’s Progress Data generated from Roll Call to Action; the Daily Writing Folder; the Teaching, Conferencing & Planning Notebook; Writer Self-Assessment; and writing sample(s) work together to celebrate what a writer can do and to plan individualized instructional goals for future writing instruction. Following the assessment plan described in this chapter, teachers like Mr. Mackie (Grade 5) and Ms. García Ramírez (Grade 1) are able to write thoughtful and informative summaries for grown-ups and writers as part of permanent records. By the end of the year Mr. Mackie writes the following about Yolanda: Yolanda is a highly motivated fction writer; her writing is strongly infuenced by the amount of fctional novels she reads. Opinion writing is another strength of Yolanda as she is never unsure of what she believes. She is learning to develop more evidence and examples to back up her opinions. Yolanda’s greatest challenge with writing personal narratives and informative texts was fnding an idea of interest to her. Yolanda thrived when she was able to write collaboratively, especially when she had an opportunity to write with her friends Carmelita and Hallie. Together they were able to write three fctional stories this academic year, one was selected for the school’s literary magazine. Yolanda’s conventions improved greatly throughout the year. She is able to correctly use dialogue, commas, and ellipses. Her spelling of unknown Spanish and English words is improving now that she knows how to access resources such as word processing programs on the computer and an electronic dictionary. Yolanda’s written English grammar is developing alongside her oral English language skills. She is beginning to compare and contrast Spanish grammar and syntax with English grammar and syntax; she is beginning to choose when which language best conveys her thoughts. Ms. García Ramírez writes this about Gracie Lee: Gracie Lee has really blossomed this year. She is focused on learning and works hard. She seems confdent and appears to enjoy writing. She writes on meaningful topics and includes a lot of interesting details. She prefers to write personal narratives about adventures with her family and friends. Her nonfction stories about frogs, sunfowers, and “All About Me” shows Gracie Lee’s ability to write in multiple text types. Gracie Lee also enjoyed sending letters through the school mail system and was highly motivated to write when she received letters from her brother and friends. She uses many high-frequency words and sounds out unknown words, although she frequently misses some of the sounds in words (primarily medial sounds). Occasionally she leaves words out of her stories perhaps because she is writing so fast, she assumes she has already written the words. This combined with leaving sounds out of words can cause her writing to be challenging to read. Her stories are organized with a clear beginning, middle and ending. She revises and edits her writing, especially when she is prompted with a self-assessment checklist. Rereading her own writing will continue to be a huge asset for Gracie Lee’s development as a writer.

Grading and Writing Instruction There are many ways teachers of writing give fnal grades. If you are required to give some kind grade, discuss with others about school and district policies, and, above all, fnd a

Assessments to Inform and Celebrate Writers

131

system that honors the work of writers and aligns with what writers do and need to do. We suggest the following general guidelines for grading. Grade according to three categories: ♦

♦

♦

Writing Practices. Analyze data from Roll Call to Action; Teaching, Conferencing & Planning Notebook; Daily Writing Folder; Self-Assessments for how the writer is selecting for text types, purpose, and audience. Writing Process. Analyze data from Daily Writing Folder; peer conference data – specifc forms and Roll Call to Action; Self-Assessments; Cumulative Writing Folder for how the writer is growing in his or her use of drafting, revising, conferencing, research, editing, and producing fnal work. Writing Craft. Risk – trying out new genres and text types; developing writing traits.

It is the end of the frst quarter of teaching: Teacher J writes the fnal note on the last Cumulative Writing Folder. There is a certain kind of joy a teacher feels when they can see progress, name that progress, and know that children are fnding their writing voices. Teacher J pauses, breathes deeply, takes a refective moment. Teaching is hard work, and today, it is rewarding work.

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter This chapter describes the following writing assessments: Roll Call to Action/My Writing World; Teaching, Conferencing & Planning Notebook; Daily Writing Folder; Cumulative Writing Folder; Self-Assessment; and, Writing Sample. For each of these assessments . . . ♦ ♦ ♦

Defne the assessment in your own words; Briefy describe how the assessment works and its purpose; Discuss your questions, opinions, and/or experiences with the assessment, including how the assessments work together to provide an evolving picture of each writer.

OR ♦

If you are currently teaching in a classroom, describe what writing assessments are used and compare and contrast them to the assessment described in this chapter.

Learning with Peers: Discussion Discuss the following scenario with your peers. In your discussion, intentionally use your growing knowledge of Universal Design for Learning, Social Emotional Learning, and translanguaging (If you need a review of terms, see Chapter 3). Develop a list of actions based upon your discussion. Alternatively, if you are teaching in a classroom and have a current or past scenario involving a writer you would like to revisit through these lenses, describe this to your peers and use it as your discussion prompt. ♦

Anahita, a Grade four recent refugee from Afghanistan, seems to be settling into her new life and classroom well. Anahita speaks Pashto primarily at home; her grandfather speaks a Persian dialect. She also knows some English. She was learning English prior to her family’s evacuation. According to Mr. Milgard’s

132

Assessing Writers

(Anahita’s teacher) Roll Call to Action, Anahita has been working on writing daily, practicing English words with Pashto words. The language support specialist has been pleased with her progress. Two days ago, writers began composing a piece for a required district assessment. Since then, Anahita has kept her head on her desk during the Writing Studio. The frst day, Mr. Milgard thought it best to let her rest – having everything new can be overwhelming, but now after the second day, he is concerned.

References Atwell, N. (1998). In the middle: New understandings about writing, reading, and learning (2nd ed.). Heinemann. Council of Chief State School Offcers. (2014). English language profciency (ELP) standards. CCSSO. https://ccsso.org/resource-library/english-language-profciency-elp-standards Education Northwest. (2021a). 6+1 trait® writing rubric grades K-2. Retrieved June 22, 2023, from https://educationnorthwest.org/sites/default/fles/resources/traits-rubrics-k-2.pdf Education Northwest. (2021b). 6+1 trait® writing rubric grades 3–12. Retrieved June 22, 2023, from https://educationnorthwest.org/sites/default/fles/resources/traits-rubrics-3-12.pdf Routman, R. (2005). Writing essentials: Raising expectations and results while simplifying teaching. Heinemann. Smarter Balanced. (2022a). Informational performance task writing rubric (grades 3–5). Authors. Retrieved June 22, 2023, from https://portal.smarterbalanced.org/library/en/performance-task-writing-rubric-informational.pdf Smarter Balanced. (2022b). Narrative performance task writing rubric (grades 3–5). Authors. Retrieved June 22, 2023, from https://portal.smarterbalanced.org/library/en/performancetask-writing-rubric-narrative.pdf Smarter Balanced. (2022c). Opinion performance task writing rubric (grades 3–5). Authors. Retrieved June 22, 2023, from https://portal.smarterbalanced.org/library/en/performancetask-writing-rubric-opinion.pdf Smarter Balanced. (2022d). Annotated anchors for performance tasks. Smarter Balanced. https:// smarterbalanced.org/our-system/students-and-families/samples/

Part III

The Writing Studio Goes Live

Figure Part III.1 Ms. Coy Teaching a Writing Mini-Lesson

DOI: 10.4324/9781003409243-10

Becoming-Writer III

Engaging in Struggle – Cycles of Revising and Conferring

How are you doing as a writer? When we last gathered, we were playing and experimenting with form and perspective, searching to fnd a topic for a personal narrative. We asked that by the time you fnished reading Part II, you would have a draft, albeit a very rough draft, of a personal narrative in a form you most wanted to pursue. We also hinted that you might have more than one such draft, and we noted this would be absolutely okay. If you have done this, you are at yet another decision point in your writing. You have one or more drafts of personal narrative: Can you commit to a draft? Do you need to change topics? (If so, return to earlier sections of Becoming-Writer and get started now.) If you have more than one draft, which one will you work with through the remainder of the time you are reading Becoming a Teacher of Writing in Elementary Classrooms? Drafting and revising – two different writing practices. Take this advice from William Forrester, a character in the flm Finding Forrester, “Write your frst draft with your heart. Re-write with your head” (Mark et al., 2001). Once you’ve committed to a draft, what’s next? What will you next do as a writer with this piece to move it forward, to make it sound, look, become the story you want to tell? While reading Part III, spend time as a writer working through cycles of revising and conferring with your personal narrative. This means engaging in any or all of the following: ♦ ♦ ♦ ♦ ♦ ♦

Self-conferencing Revising content Revising for writing craft (think writing traits as described in Chapter 2) Conferring with peers Searching for inspiration (or fnding the Muse) Taking a meaningful rest – a.k.a. taking a break from the writing

Strategy for Revising: Self-Conferencing On great days, reading draft writing can be an adrenaline rush: “Yes! This is it!”, and as a writer, you fnd yourself scurrying to keep up with your thoughts, rearrange words, add DOI: 10.4324/9781003409243-11

136

The Writing Studio Goes Live

details. On other days, a stream of doubting, critical voices fll our heads. When this happens, it’s time to stretch, fnd resolve, turn on other music to play, and remind ourselves, “This is my story. No one gets to take this away from me!” To have a conference with yourself is to read your frst draft without making any changes in the text. Just mark up the margins: mark places you like, places you want to return to, add ideas for revisions, think about focus, and ask questions of yourself. We like using track changes on a word processor or adding comments to a draft. Avoid falling in love with a frst draft: it is always already a work in progress!

Modeling: Donna Self-Confers Donna has taken her four-page draft, completed a self-conference, deleted most of the draft, and now has a two-page narrative, along the lines of the Three-Minute Fiction model. Too bad the narrative has no ending. Donna is “stuck.” Very soon, she is going to need a conference with Mindy. Without feedback, her personal narrative, now memoir, is going nowhere. As a writer, she is moving into the revising and conferring cycles, playing, and experimenting with content and language, trying to “make it work.”

Strategy for Revising: Finding Focus Play with the content of the piece. Slow the action down. Replay it in your mind in s-l-o-w motion. Fill in missing pieces. Or reread the piece and ask, “What is most necessary in this piece? What can I live without?” Delete – and save the deletions to another document just in case you decide to return to them.

Strategy for Revising: Peer Conferencing At some point, a writer needs feedback. Once you’ve played with your draft, fnd a friend you believe will give you honest feedback. Honest feedback includes insightful questions, queries about purpose and motives, bluntness with kindness (“This is where the piece didn’t work so well for me . . .”). In the world of writing instruction, we call this a “peer conference.” But strip the title away and buy your friend a drink of choice and ask them to listen hard as you read your piece aloud. Better not to have them read it silently at this point; they may be distracted by typos or disjointed sentences. Have them listen for content, storyline, or dialogue – writing purpose. As the writer, you decide the areas of feedback you most need and focus on the listening ear of your friend. For example, “Does this part make you laugh?” or “I want the reader to feel panic – does it work?” or “What emotion do you sense as you hear this piece?” or “I have two different beginnings. Which one do you like best and why?”

Modeling: Donna and Mindy Peer Conference Okay, Mindy, I am stuck. I’ve deleted most of my original ramble and I now have a more concise draft. First question, I have the same beginning in past and present tense. Could you listen for which one you think works best? Is the narrative more focused now that I’ve deleted most of the draft? Can you tell what the focus is? And the big dilemma: I don’t know how to end it. I am open to ideas! M: Got it. Ready. D:

Engaging in Struggle – Cycles of Revising and Conferring D: M:

D: M: D: M:

D: M:

137

[Reads piece aloud.] Wow. Well, defnitely, if you want your reader to experience that opening with you, choose present tense. I like that line, what was it? “Play at adult.” I get the sense of things moving on, of how important this moment was. This was a long time ago and here you are writing about it. [Mindy and Donna continue talking about different aspects of the piece. The paper is now lying fat between them. Donna points at specifc lines, words. Mindy notes that “salvage” yard might be good play on words; after all, “You are salvaging, or saving Morgan, from this environment when you frst adopt him.”] But what about the ending? Well, what is this piece about? I think you have to know that in order to write the ending – to make it memoir. I don’t know! That is the problem! What is it about? Life works out? Are you writing to absolve yourself from guilt? For redemption? Is it “left, right foot, breathe”? Is it that nothing is left behind, that “behind” is always already our future? Maybe something like the last . . . maybe it is a Barad (2007) thing about past, present, future, never a timeline, always intra-acting? I don’t know. I don’t know either! Write to discover the meaning of your piece!

Strategy for Revising: More Rounds of Revisions In the second, third, and fourth (and so on!) rounds of revision, you may want to focus on specifc kinds of writing craft: language or word choice, beginnings, dialogue, action verbs, nouns, formatting, imagery, descriptive phrases, and endings. The list is long, so take your time. Tackle just a few items each read through. Content revisions take time. Try leaving your draft minimized on your computer and bringing it up throughout the day or night, or across days and nights. Print out a copy of your piece, or take your handwritten piece, and leave it near a place you pass often, like a kitchen table or a hallway entry. Stop for a few minutes now and then read, play, and fddle with the story. Make a date with your draft: court it well during a specifc period. Ask, “What is the story about? What gets to the heart of what I want to say?”

Modeling: Donna and Mindy Confer After More Rounds of Revisions After conferring with Mindy, Donna continued to revise her memoir. She printed it, left it on the dining room table, played with a word here and there, and fnally returned to Mindy for another round of conferring. I think I may know what my memoir is about. That’s what I would like you to listen for today. I have an ending – I keep tweaking it so I really have three possibilities. I’ll read the one I think works best. M: Okay. Ready, friend. Let’s hear it! D: [Reads piece aloud.] D:

138 M: D: M:

M:

D: M:

The Writing Studio Goes Live

I am impressed with how much you have deleted and focused! Was that hard to do? Not after we last talked and I set the piece aside – there were just too many stories there before – I needed to choose one. I do think the imagery of “dust” works. You may be overdoing it – may I look at your piece to make a few suggestions? [Donna and Mindy look through piece together . . . talk. Donna makes changes in the draft . . .] I think I like the third ending option, but I wonder, is the dust refusing to bury or refusing to be buried? Aren’t you the one that won’t bury the dust – or are you saying the dust has its own agency and therefore can’t be buried? Wow, great questions. I am not sure. Maybe I don’t want to be sure. Is it possible to let the reader decide? Could be. See what you think in a day or two . . .

Strategy for Revising: Finding Inspiration from Mentor Texts Sometimes we fnd that a frst draft needs time to sit; other times we fnd we cannot stay away from a frst draft – it draws us in and wants to play – and we cannot ignore it. Other times, we need to fnd inspiration. If you are feeling the latter, return to any of your favorite authors and use their work as mentor texts. Study them as a writer: what can you learn to use in your own writing?

Modeling: Donna Finds Inspiration from Mentor Texts For example, Donna fnds inspiration in any short story by Sandra Cisneros (1983, 1991) as she illustrates flling the “one-inch picture frame” Anne Lamott (1994) writes about in order to get to the heart of the story. Brian Doyle’s Notes on Wonder: One Long River of Song (2019) mentors Donna on the unconventional use of sentences that wrap around an idea or thought and make it live for the reader. Children’s books like My Papi Has a Motorcycle (2019) mentor her in how small details matter, the lively use of languages, and how the organizational structure of a piece can move along . . . on a motorcycle ride! The “Prologue” of Reyna Grande’s The Distance Between Us (2012) is seven paragraphs, most of them just one to three sentences in length, and in that short space, a life is summarized. Do an Internet search for the poet William Carlos Williams. His poem “This Is Just to Say” (1938) is a favorite and good inspiration for writing a short poem letter. Revising and conferring cycles will not be the same for every writer, so “the process” is what you make it. How this process looks is dependent upon several factors, including the following: How willing are you to engage beyond your comfort zone? How much time do you have and are you willing to devote to the process of seeing this draft personal narrative to a fnal product? How important is it to you that you have a fnal product you are proud of, one that you care about and are willing to share with others?

Your Writing Goal: Cycles of Revision and Conferring Your writing goal is to move your personal narrative through cycles of revision and conferring until you believe the content is set, or you are satisfed with your personal

Engaging in Struggle – Cycles of Revising and Conferring

139

narrative, by the time you fnish reading Part III. This writing includes composing a title for your piece.

Metacognition Practice: Writing Practice, Writing Process, Writing Craft Practice metacognition throughout the revising and conferring cycles. Ask yourself, “What makes this diffcult, easy? Why do I want to stop, continue? How am I feeling as a writer at this moment?” When you feel you have the content set and before you move on to Part IV and the last section of Becoming-Writer, refect on the following: ♦ ♦ ♦ ♦

What parts of revising and conferring were diffcult, easy? Describe your response. How is your response unique or different to this writing experience? Did you take any writing risks as you were revising and conferring? Why or why not? Is this typical of you as a writer? Please explain. What did you learn from this experience that you want to remember as a teacher of writing?

If possible, talk about your responses with others who are reading and writing their way through Becoming a Teacher of Writing in Elementary Classrooms. Through sharing your experience, you will begin to gain perspective on how different writers process and engage in writing.

Modeling: Donna Practices Metacognition For me, the most diffcult part was fnding a focus for my memoir. I think that is why it rambled so much at the beginning – it was more than one story. Even after I deleted so much content, it still didn’t have a focus! I had to keep writing, revising, reading to fnd that focus, to discover what the piece was about. I returned to author Brian Doyle (2019) to see how he focuses his memoirs in Notes on Wonder: One Long River of Song. Each of the stories in this book has a theme – that’s the focus. He could have chosen multiple themes, but he settles on one. That’s what I knew I needed to do. The theme of my piece is “transitions.” Once I found this, I could move on with revising. I think I am mostly a writer who writes to make discoveries, so while it doesn’t surprise me that this is what I did with this memoir, it does surprise me how much time and energy was required for such a short piece of writing! The risk to me is always sharing personal writing with others. This still makes my heart rate increase twofold, even when I am sharing my draft work with a good friend like Mindy. Every time I do this kind of sharing, I am reminded of what teachers of writing are asking children to risk, to be vulnerable, when they ask them to read a piece aloud or share with a friend – it just isn’t something to take for granted. Writing is soul-work. This is what I want to remember most from this experience as a teacher of writing: be careful and kind; be aware of the level of emotional entanglement a writer has allowed into the piece; above all, honor and respect the effort a writer has made in committing words to a page, self to a page of writing.

Tracking Writing Progress: My Writing World If you are using My Writing World to track your writing practice and progress, remember to complete it now!

140

The Writing Studio Goes Live

Table BW III.1 Donna’s My Writing World

Donna’s My Writing World Date

Title/Description

Genre of Writing

Writing Process Status B = Brainstorming D = Draft R = Revise E = Edit PC = Peer Conference

5/26–6/1

Worked on draft on and off – 15–30 minutes at a time.

Memoir

D

6/4

Asked Mindy for a conference – felt stuck. She asks such good questions!

Memoir

R

6/5

It is about THEME. Returned to Brian Doyle as my mentor. Reread a couple of my favorites. In each piece, he tells a story for a purpose. I need a theme.

Memoir

R

6/6–7

Worked on draft on and off. Printed out a copy and left it on kitchen table. I read it; mark it; or leave it alone.

Memoir

R

6/20

I think I am almost “there.”

Memoir

R&E

As You Are Reading, Part III The Writing Studio Goes Live . . . ♦ ♦ ♦

Think of yourself as a writer: what writing strategies would help you as you revise your personal narrative? Try them out! Report back to your colleagues. How might your experiences writing your personal narrative become a mentor text for mini-lessons on fnding an idea, drafting, revising, and peer conferencing? How comfortable are you collaborating as a writer? Did you collaborate in any way writing your personal narrative? After reading more about collaboration, what, as a teacher of writing, will you teach about collaboration and why?

References Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press. Cisneros, S. (1983). The house on Mango Street. Vintage Books. Cisneros, S. (1991). Woman hollering creek and other stories. Vintage Books.

Engaging in Struggle – Cycles of Revising and Conferring

141

Doyle, B. (2019). Notes on wonder: One long river of song. Little Brown & Company. Grande, R. (2012). The distance between us. Washington Square Press. Lamott, A. (1994). Bird by bird: Some instructions on writing and life. Random House. Mark, L., Connery, S., Tollefson, R., Rich, M., Van Sant, G., Abraham, F.M., Paquin, A., Busta Rhymes, & Brown, R. (2001). Finding Forrester. Columbia TriStar Home Video. Williams, W. C. (1938). The collected poems of William Carlos Williams: 1909–1939 (Vol. I; W. Litz & C. MacGowan, Eds.). New Directions.

Chapter 6

Writing Studio Whole Group Instruction Through the Writing Mini-Lesson

“Writers of Room 23,” Teacher J smiles as bodies are settling into their chairs, readying for Writing Studio, “are you ready to write?” “Yes.” The reply comes as a chorus from the students. “Excellent!” Teacher J responds. “Today I want to demonstrate a way to revise a poem. Last night I was remembering my recent trip to the Everglades in Florida. You already know how excited I was to see so many new kinds of birds! One of the photos I took was of these Anhinga chicks.” Teacher J places a photo on the document camera. Children giggle and respond. “Oh, they are cute!” “He looks funny!” “It looks like a fuzzball” “It is hard to imagine these little white and yellowish chicks ever turning black and growing to a little over 2.5 feet high, but they do,” Teacher J exclaims and places another photo of a mature Anhinga on the document camera. There is a brief discussion among the children and Teacher J about this. “Well,” says Teacher J, “I composed a poem about these Anhinga chicks last night. This is my first draft. I haven’t read it since last night. I expect it will need some revision.” Teacher J places the following poem on the document camera and reads it aloud: “Anhinga Chick You are naked and helpless without any feathers Yellow and white fluff – a blur of softness You are waiting for your mom and dad: DOI: 10.4324/9781003409243-12

Whole Group Instruction

143

‘Feed me! Feed me!’ you seem to say Very soon you will climb out of this nest and be on your way!” Teacher J continues. “Now I’ve learned this advice from poets, a way to begin revising a poem is to pull out all the unnecessary words like pulling weeds from a garden. Too often, we use too many words in a poem. We have poems weighed down with words! Poems are small snapshots, packed with imagery. That’s the beauty of a poem: you can say so much in such a little space! I think my poem has too many words – it needs a word diet! I am going to read it again and think about what words are not really necessary.” Teacher J reads and thinks aloud, working through the poem. “‘You are naked and helpless without any feathers.’ Mmm . . . I don’t think I need all those words. How about if I cross out ‘You are’ and ‘without any feathers’” They draw a line through these words before they continue reading. “‘Yellow and white fluff – a blur of softness.’ I think I like this line for now. I think I will keep it. ‘You are waiting for your parents:’ That doesn’t sound very poetic to me. I wonder if I could show . . .” “Instead of tell,” a writer cries out! “Yes.” Teacher J smiles. “Show rather than tell. Mmm . . . what do these chicks do when they are hungry?” With animation, Teacher J imitates a chick stretching its neck, and with their hands they form long beaks opening and closing. The children laugh. They continue to revise, “I am going to cross out the line, ‘You are waiting for your parents’ and write, ‘Long beaks open wide, clicking, Feed me! Feed me!’ and I don’t think I need this line, ‘you seem to say.’” This next line seems very wordy. ‘Very soon you will climb out of this nest and be on your way!’ I’d like to end in a different way. Mmm . . . maybe this would be a good place for wonder lines. Remember, we talked about wonder lines when we were writing our Big Questions books?” Teacher J pauses, then thinks aloud. “These chicks are sitting on this nest high in the tree, what a view! And I know that Anhingas sun themselves to dry out their plumage . . . these chicks have yet to fly, but in several weeks . . . mmm . . .” Then they write, “I wonder how the clouds look to you? I wonder how the sun feels upon your wings? I wonder when you will fly?” “Okay,” Teacher J says, “I am going to read this poem again aloud to myself: “Anhinga Chick Naked and helpless Yellow and white fluff – a blur of softness Long beaks open wide, clicking ‘Feed me! Feed me!’ I wonder how the clouds look to you?

144

The Writing Studio Goes Live

I wonder how the sun feels upon your wings? I wonder when you will fly?” “I think I like this better now. I think I am going to put this aside now and let it rest. Maybe I will play with it a bit more this evening. Yes, it needs more work, and I know some of you have ideas, but I am not quite ready for a peer conference. I think I want to sit on this poem for a bit more, okay?” Teacher J continues, “Deleting words that are not absolutely necessary is a good revision strategy when writing poetry. I am going to challenge those of you who have a poem completed to try this strategy today. Be prepared to share your ‘before and after’ lines during our closure to the Writing Studio. “Now, take a minute to open your Daily Writing Folder and make a decision about what you will be working on in the studio today. I’ll start Roll Call for Action in about one minute.” The Writing Studio is arranged with care, folders, supplies, and forms all organized and ready for writers. Beginning-of-the-year assessment data have been analyzed and writing goals drafted; expectations and anticipation hang in the air. We have a framework for staying accountable to our writers and their grown-ups. “Teaching is planned opportunism,” writes Peter Johnston (2012, p.  2), and we are ready for opportunity, for possibilities: the Writing Studio is going live. There’s a lot of action in the Writing Studio as children come together for whole-class writing mini-lessons, to explore possibilities, negotiate challenges, and experience the ups and downs of becoming-writer. In Part III of Becoming a Teacher of Writing in Elementary Classrooms, we explore these dynamics by focusing more closely on illustrating what is taught in the Writing Studio and how it is taught through whole-group writing mini-lessons (Chapter 6); individual and collaborative writing (Chapter 7); and sharing, celebrating, and broadcasting writing (Chapter 8). The writing mini-lesson starts the Writing Studio – writers can depend on this. They anticipate the writing mini-lesson as a time of exploring writing practice, process, and craft. The writing mini-lesson is often a teacher demonstration and can also be an inquiry, shared, or interactive writing experience.

Managing the Writing Mini-Lesson The Writing Studio component writing mini-lesson is called mini-lesson for a reason – it should be a short, focused time of demonstration. A danger of implementation is when the mini-lesson is too long! The mini-lesson is 10 to 20 minutes in length. It should be proportionate to the entire Writing Studio time slot. If there are 60 minutes allotted to the entire studio, then an occasional 20-minute mini-lesson is more acceptable. There will still be 35 minutes for writing time, teacher–student writing conferences, and small group writing instruction, followed by a shortened 5-minute sharing time for closure. However, as the Writing Studio time decreases, so should the mini-lesson time. Kindergarten and Grade 1 writing mini-lessons rarely need to be longer than 5 to 10 minutes. It comes down to this: the writing

Whole Group Instruction

145

mini-lesson supports and scaffolds independent and collaborative writing – it does not distract from it! When we refect on our own teaching and visit with teachers who fnd it diffcult to have time for teacher–student writing conferences or small group writing instruction, we often fnd it is because the mini-lessons at the beginning of the Writing Studio are absorbing too much time. Another critical point: the mini-lesson is not a teacher lecture but a demonstration or a teacher-facilitated inquiry or a time to co-write with students. The teacher, as writer, as curious questioner and inquirer, models writing practice, process, and craft. The minilesson is intentional and focused on standards as no more than two goals or objectives. This means that the topics of mini-lessons are often repeated and cycled throughout the Writing Studio. Because mini-lessons are for whole-class instruction, they refect general writing lessons related to the writing unit at hand. When children are writing about a text type, genre, or topic of their choice, more general mini-lessons about writing practice, process, or craft may be most appropriate based on children’s interests, strengths, and needs, whereas genre-specifc units may include more craft lessons focused on the genre of the unit. Writing mini-lessons may be planned ahead because the teacher of writing anticipates the needs of writers, the models they will require, and the necessary support from which most everyone will beneft. (Instruction is tailored to meet individual needs during the teacher–student writing conference and small group writing instruction – see Chapter 7.) Writing mini-lessons, as with everything in the Writing Studio, are based upon the needs of writers. Therefore, there are occasions when a mini-lesson needs to become a lesson. (Name it as such!) Longer lessons may be necessary, for example, during the beginning inquiry phase of a genre unit or during interactive writing sessions, where teacher and writers compose together. These occasions are far and few between – check yourself – put some barriers around the writing mini-lesson in order to honor and preserve the independent and collaborative writing, teacher–student writing conferences, and small group writing instruction of the Writing Studio.

What to Teach in Your Writing Mini-Lessons Teacher candidates often raise the question of what to teach in a writing mini-lesson. As fuent writers, it is easy for teacher candidates to take for granted what they do as writers: slow down and study your own process for writing; analyze what you do, name it, pass on the writing advice to others! (Note: The Becoming-Writer sections of this book provide opportunities to do this.) Here’s the caveat: whole books are written on these topics! (For some of our favorites, check out “Writing Mini-Lesson Professional Resources” on the companion website.) Our goal here is not so much to introduce what to teach (strategies) as it is to demonstrate how to teach mini-lessons for different purposes. Table 6.1 provides examples of general writing strategies we teach during writing mini-lessons. They are arranged by writing practice, process, and craft, the lines of which are often blurred, so many of the writing strategies can be used across the spectrum of writing practice, process, and craft.

146

The Writing Studio Goes Live

Table 6.1 Examples of General Writing Strategies to Teach in Writing Mini-Lessons

Examples of General Writing Strategies to Teach in Writing Mini-Lessons Writing Practice

Writing Process

Writing Craft

• Why do people write? • How do I decide what environment works best for me to write? • What is working for me in the Writing Studio? • What is making writing easy? • What is making writing hard? • What routines are helping me as a writer? • How can I sustain myself as a writer? • How can I take risks as a writer? • What is working during peer conferencing? What isn’t working? • How do I feel about sharing my work with others?

• How do authors fnd a writing topic? • How do authors plan their writing? • What are the ways authors revise their writing? • How can I best participate in a peer conference? • How can I have a conference with myself? • What are the ways authors edit their writing? • How do authors know when their work is fnished?

• How do authors develop characters? • How/why do authors use text features for informational texts? narrative texts? • How do authors start memoirs? Opinion texts? Informational texts? • What are the ways authors introduce the setting in narrative stories? • What are the ways authors bring closure to their narrative writing? Informational text? opinion texts? • What are the ways authors use dialogue to move the plot along? develop characters? • What reasons and evidence do authors use to support their opinion? • How do authors use metaphors and similes to show emotion? Create imagery?

See the companion website for additional “Writing Strategy Ideas” to teach in writing mini-lessons, including writing strategies in Becoming a Teacher of Writing in Elementary Classrooms.

Whole Group Instruction

147

Choosing Mentor Texts for Writing Mini-Lessons Central to meaningful and intentional writing mini-lessons is choosing meaningful mentor texts. As writers see mentor texts used and modeled, they begin to seek mentor texts independently. A mentor text is any text (billboards, menus, newspapers, webpages, your own personal writing, and children’s writing, as well as published books) that can be used to illustrate, or mentor, the writer in specifc genres and writing practice, process, and craft. Begin the quest for mentor texts by asking of any genre of text you read, “What does this text illustrate to me as a writer?” And when a text pulls you in, perks you up, evokes a strong emotion, be particularly alert: you are probably reading an amazing mentor text! Don’t embark on this quest alone – teach children and their grown-ups to read in this same way. Find mentor texts that serve as windows, mirrors, and sliding glass doors – books that refect children’s lives, books that refect other’s lives, and books that allow us to walk through (sliding glass doors) “in imagination to become a part of whatever world has been created or recreated by the author” (Bishop, 1990, p. ix). Look for mentor texts that are written by authors that are members of the culture group they are writing about to avoid distorted or inaccurate representation (Gultekin & May, 2020). Besides using mentor texts to point out specifc writing craft, teachers can also fnd mentor texts that describe and explain authors’ writing practice and process. For example, look for videos or podcasts of authors being interviewed about their writing practice and process. Read books and author websites to learn more about authors’ writing practice and process. Select excerpts from videos, podcasts, books, and websites for children to discuss and learn from the lives of writers. For example, author Aya Khalil’s (2021) wrote a blog post, “How My Immigrant Experiences Inspire My Book Ideas.”

Visit the companion website for “Resources About Writers’ Process, Practice, and Craft.”

Learn to integrate your reading instruction and Writing Studio. When you read a text for your class, read aloud, and use the same book as a mentor text for your Writing Studio minilesson. (See Chapters 9 and 10 for examples.)

Types of Writing Mini-Lessons Writing mini-lessons can be divided broadly into four categories: demonstration, inquiry, interactive, and shared writing mini-lessons. Read the introductory lines of the following writing mini-lessons for a sense of each category: ♦ ♦ ♦

Writers, today I want to model a strategy writers use to develop their plot. (Demonstration writing mini-lesson) Writers, I have a question for you, how did our read aloud author, Renée Watson, develop her characters through the use of dialogue? (Inquiry writing mini-lesson) Yesterday we studied the verbs authors use in their writing. We looked at how vivid verbs show an author’s voice and excite us as readers. Today, let’s study verbs

148

♦

The Writing Studio Goes Live

together. Let’s write the next paragraph in our fctional narrative and incorporate vivid verbs. (Shared writing mini-lesson) Writers, look at our writing easel. Do you see the photograph from our feld trip to the pond? Today we are going to share the pen and write a caption for our photograph to post on our classroom website. (Interactive writing mini-lesson)

Writing mini-lesson categories are fuid and often overlap; however, they can be useful in planning purposeful writing mini-lessons for the Writing Studio. In the next section, we provide an overview of each writing mini-lesson category, writing mini-lesson strategy ideas, and a possible template for the writing mini-lesson followed by a classroom example. (Visit the companion website to download the writing mini-lesson templates.)

Demonstration Writing Mini-Lessons Demonstration writing mini-lessons provide teachers an opportunity to demonstrate or model a writing practice, process or craft. Most often teachers will use mentor texts written by published authors or children- or teacher-created mentor texts. Other times, teachers might talk through their own writing practice, process, or craft. In addition, teachers can use videos or quotes of authors demonstrating or speaking about their writing practice, process, or craft to give children a vision of what they might try as writers. Table 6.2 provides a few examples of writing strategies teachers might teach in a demonstration writing mini-lesson. Table 6.2 Demonstration Writing Mini-Lesson Strategy Ideas

Demonstration Writing Mini-Lesson Strategy Ideas Writing Practice

Writing Process

Writing Craft

• Teacher models how to set a timer to build stamina and selfmanagement as a writer • Teacher shows a short video clip of authors talking about what routines help them as writers

• Teacher demonstrates how to sketch frst to brainstorm ideas • Teacher models revising a poem to change the perspective of the poem from the teacher to her cat’s perspective • Teacher models how to edit their writing

• Teacher uses a student’s “How-to” book to demonstrate how the student’s use of labels and captions supported the written text • Teacher models writing narrative boxes for her comic strip to show readers about the story’s setting location and time period

A demonstration writing mini-lesson begins with a focus statement letting students know what strategy will be demonstrated; this statement is written on an Anchor Chart in student-friendly language. Then, the teacher uses a mentor text to demonstrate a specifc writing strategy and explains how or why this particular strategy works. Writers are invited to consider trying the strategy with their own writing during independent and collaborative writing time. Before children transition to independent and collaborative writing time, the teacher completes a Roll Call to Action to assess what children plan to accomplish that day.

Whole Group Instruction

149

Read the demonstration mini-lesson template followed by an example of a preschool demonstration mini-lesson.

Demonstration Mini-Lesson Template Content standard/s 1–2 writing objective/s Anchor Chart Formative assessment Focus statement to start the demonstration and introduce the Anchor Chart Teacher demonstration – demonstrate a writing strategy or use a mentor text exemplifying a writing strategy Teacher explanation of how/why the strategy works or why authors use the strategy Invitation to connect and apply strategy during individual or collaborative writing time Roll Call to Action prior to transitioning to independent and collaborative writing

Demonstration Writing Mini-Lesson: Preschool Example Head Start Early Learning Writing 36–48 Months Goals ♦ Engages in writing activities that consist largely of drawing and scribbling ♦ Writing begins to convey meaning ♦ With modeling and support, writes some letter-like forms and letters Writing Mini-Lesson Objective ♦ Learners will be able to convey meaning through drawing and scribbling, including letter-like forms and letters. Anchor Chart ♦ I can draw and write a book about spring. Formative Assessment ♦ Teacher documents writers’ progress in the Teaching, Planning and Conferencing Notebook Focus Statement “Writers, today I’m going to model how authors can make a book with drawings and writing to teach readers about spring. Let’s echo read our Anchor Chart. Repeat after me: I can, (I can), draw and write, (draw and write), a book about spring, (a book about spring).”

150

The Writing Studio Goes Live

Teacher Demonstration “This morning we walked around the class garden and talked about all the signs of spring we were noticing. Turn and talk to your neighbor about something you noticed in the garden.” Formative assessment: Listen to children talking about what signs of spring they noticed in the garden. “Wow! You remembered so much about what we noticed in the garden. Now, I’m going to model how scientists can make a book using drawings and writing to teach readers about spring. First, I’m going to staple together four pieces of paper to make my book. Now, I’m going to start by talking about what I want to draw on each page of my book before I draw and write. We know that ‘talking frst’ helps us plan our ideas before we start. Hmmm, on my frst page, I’m going to draw a daffodil bud that Nicolai noticed this morning. On my next page, I’m going to draw a picture of the yellow and white daffodil Jeane noticed. On my third page I’m going to draw the all-yellow daffodil Amir noticed. On my last page, I’m going to draw the long, green daffodil leaves. After I have my drawings done, I can write on each page to tell my reader about my drawing. Remember you can write like this (models scribbling) or this (letter-like forms or mock letters) or like this (letter strings) in the language you know best to tell about your drawings. I’m going to write ‘daffodil bud’ (dfd bd) under my frst drawing.” Invitation to Connect and Apply the Strategy During Individual or Collaborative Writing “I have books made for each of you to make your own book, or you can make a book with a friend. Your book can be about the signs of spring you noticed in the garden or anything you want to make a book about. Your book can have drawings and writing like my book. Remember, you are an author and authors get to decide what they want to write about and how they want their book to look. We will put all the books about spring in our Science Center book basket for others to read and learn.” Roll Call to Action Prior to Transitioning to Independent and Collaborative Writing “When I hand you your book, tell me one thing you want to draw or write today. If you don’t know what to draw or write in your own book, you can stay with our grown-up helper, Andre, Jeane’s parent, and you can work together to draw and write a book for our Science Center.”

Inquiry Writing Mini-Lessons Inquiry writing mini-lessons provide children with a chance to immerse themselves in mentor texts or conduct interviews to notice and name (Johnston, 2004) writing practice, process, and craft. Most commonly, children immerse themselves in mentor texts written by published authors, peers, or their teachers to notice specifc writing craft. Or children can interview peers, older peers, or grown-ups in their family, school, or community to discover the writing practice and process other authors use. After children immerse themselves in mentor texts or responses from other writers, children can notice patterns or writing strategies that they may want to try as writers. Table 6.3 provides a few examples of inquiry writing mini-lesson strategies for writing practice, process, and craft.

Whole Group Instruction

151

Table 6.3 Inquiry Writing Mini-Lesson Strategy Ideas

Inquiry Writing Mini-Lesson Strategy Ideas Writing Practice

Writing Process

Writing Craft

Children interview people asking them: • what helps them as writers • what challenges them as writers • where they like to write • what writing and illustrating tools they prefer

Children interview people asking them about the strategies they use to: • fnd a topic to write about • plan their writing • revise their writing • edit their writing

Children examine mentor texts to look for how authors: • start their stories • use dialogue • introduce the setting • use text structures

An inquiry writing mini-lesson begins with the teacher asking writers a question to focus their inquiry; the inquiry question is written or projected as an Anchor Chart. Then, the teacher provides mentor texts or asks children to talk with other writers to gather information to dive into the inquiry. Writers can spend their inquiry time working independently or collaboratively. After this, children share what they learned in their inquiry with the class and are invited to consider trying one of the strategies they learned with their own writing during independent and collaborative writing time, if they choose to do so. Before children transition to independent and collaborative writing time, the teacher completes a Roll Call to Action to assess what children plan to accomplish that day. Sometimes inquiry writing mini-lessons at the beginning of a unit may not be mini; they may be longer lessons requiring more of the Writing Studio time. Read the inquiry mini-lesson template followed by an example of a Grade 3 inquiry writing lesson. The inquiry writing lesson example is from the start of a realistic narrative unit and lasts longer than a typical 10–15 minute mini-lesson.

Inquiry Writing Mini-Lesson Template Content standard/s 1–2 writing objective/s Anchor Chart Formative assessment/s Inquiry question/s to focus children’s inquiry Inquiry – time for independent or collaborative inquiry based on inquiry question/s Inquiry share – children share what they learned in their inquiry Invitation to connect and apply inquiry strategies during individual or collaborative writing Roll Call to Action prior to transitioning to independent and collaborative writing

152

The Writing Studio Goes Live

Inquiry Writing Mini-Lesson: Grade 3 Example Grade 3 CCSS Standard ♦ Writing Standard 3. Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. Writing Mini-Lesson Objectives ♦ Writers will read like writers – looking for common elements in a variety of narrative picture books. ♦ Writers will share with peers and the whole class what they are noticing in narrative picture books. Anchor Chart ♦ What do the picture books have in common? Formative Assessments ♦ The teacher will record what students noticed about the picture books in her Teaching, Planning and Conferencing Notebook. ♦ The teacher will create a class Anchor Chart synthesizing children’s inquiry about narrative picture books. Inquiry Questions “Today you are going to read as writers. As you can see, there is a stack of picture books in the center of each table. Some of the picture books are books we have read previously in read alouds and reading groups; others are new. You can read the books by yourself or with a partner. I’ve typed two inquiry questions projected on the whiteboard for you to think about as you read. Read them with me: What you are noticing about the picture books.? What do the picture books have in common?” Inquiry Writers begin reading picture books individually or with a partner as the teacher roams the room checking in with writer-readers – asking writers about what they are noticing and modeling what she is noticing: “I am noticing that both of the books I read have a problem that needs to be solved,” or “I am noticing that the author uses dialogue to have the characters express how they are feeling.” As the teacher checks in with table groups, they write notes in their Teaching, Conferencing & Planning Notebook about what individual children are noticing in their picture books. Inquiry Share “Let’s take a few minutes to share what you are noticing about the picture books with your table group. Start your sentence with ‘I noticed . . .’” while the teacher points to the same sentence stem on the board.

Whole Group Instruction

153

The teacher checks in with table groups listening in to their small group discussions and writing down notes in their Teaching, Conferencing & Planning Notebook about who is sharing, what writers are noticing, which writers are able to build off of peers’ ideas, and which groups worked well together. Then, the teacher gathers the class for a whole-group discussion. The teacher types two headings on the document projected to the large whiteboard: ‘What are you noticing? What do these picture books have in common?’ “Today you read a variety of picture books. I enjoyed hearing all of the great conversations you were having with your partners and table groups. I’d like to have you share what you or your table group members were noticing. I will pull names out of the jar (each child’s name is written on a popsicle stick in the class name jar).” The teacher calls on a variety of writers and types their responses on the computer that is projected on the whiteboard recording what writers were noticing about the picture books. Writers share responses. (Anticipated responses: I noticed the books all tell a story. I noticed the books all have characters. I noticed the characters have strong feelings. I noticed the books all have illustrations that help tell the story. I noticed some of the books are funny. I noticed some of the books are sad. I noticed the author gives a lot of details to describe where the story takes place. I noticed the books all have a problem that needs to be solved. I noticed the problem gets solved. I noticed sometimes the solutions are obvious; other times they were a surprise.) Invitation to Connect and Apply Inquiry Learning During Individual or Collaborative Writing “Wow, we worked together to create this long list of what we are noticing about the picture books at our table and the commonalities they have. We are going to continue to ‘read like writers’ over the next two days as we prepare for a new narrative writing unit. We will continue to notice what authors of narrative stories do when they write. We will use what we are learning and experiment trying to include some of these same elements in our own narrative stories.” Roll Call to Action Prior to Writers Transitioning to Independent and Collaborative Writing “Writers, as we transition to our independent and collaborative writing time, please move your magnet on our Roll Call to Action board indicating what you’ll be working on as a writer today.”

Shared Writing Mini-Lessons Shared writing mini-lessons provide teachers an opportunity to demonstrate or model a writing practice, process or craft based on a shared experience. In shared writing mini-lessons, the teacher “holds the pencil” and is the scribe for the class. Writing from a shared experience is key for shared writing mini-lessons to ensure children can pull from a shared

154

The Writing Studio Goes Live

experience to co-create a text. Shared writing mini-lessons can also be co-authored class stories written over a series of days or even weeks. Table 6.4 provides a few examples of strategies to teach in a shared writing mini-lesson. Table 6.4 Shared Writing Mini-Lesson Strategy Ideas

Shared Writing Mini-Lesson Strategy Ideas Writing Practice

Writing Process

Writing Craft

• Co-create a list of places writers can write during Writing Studio independent and collaborative writing time • Co-create a list of ways to decide what to do when two writers don’t agree when collaborating on a story together

• Co-create an Anchor Chart checklist of what writers can do if they think their story is done • Co-edit the class book about the feld trip to the zoo, demonstrating spelling, punctuation, and grammar

• Develop strong arguments when co-drafting a class letter to grown-ups asking them to sign up for a public library card and the summer reading program • Co-draft three endings to the class fctional narrative about children discovering a new world when they cross the monkey bars at recess

A shared writing mini-lesson generally begins with a focus statement letting students know what will be co-creating; the focus statement is written or projected as an Anchor Chart. Then, the teacher works with children to brainstorm, co-draft, co-revise, or co-edit to teach a specifc writing strategy. Children are invited to consider trying the strategy with their own writing during independent and collaborative writing time, if they choose to do so. Before children transition to independent and collaborative writing time, the teacher completes a Roll Call to Action to assess what children plan to accomplish that day. Read the shared writing mini-lesson template followed by an example of a Grade 5 shared writing mini-lesson.

Shared Writing Mini-Lesson Template Content standard/s 1–2 writing mini-lesson objective/s Anchor Chart Formative assessment Shared experience or story/text selected Focus statement to begin the shared writing mini-lesson Teacher and students co-brainstorm, co-draft, co-revise, co-edit to teach a writing strategy Invitation to connect and apply strategy during individual or collaborative writing Roll Call to Action prior to transitioning to independent and collaborative writing

Whole Group Instruction

155

Shared Writing Mini-Lesson: Grade 5 Example This mini-lesson is adapted from Georgia Heard’s (1999, pp.  82–83) Awakening the Heart: Exploring Poetry in Elementary and Middle School. Grade 5 CCSS Content Standards ♦ Writing Standard 5. With guidance and support, develop and strengthen writing as needed by planning, revising, and editing. ♦ Language Standard 5. Demonstrate understanding of fgurative language, word relationships, and nuances in word meanings. Writing Mini-Lesson Objective ♦ Writers will be able to brainstorm fgurative language to co-compose a class version of “April Rain Song.” Anchor Chart ♦ We can brainstorm poetic words to create sensory images. Formative assessment: ♦ Teacher will take notes in the Teaching, Planning and Conferencing Notebook Shared experience or text selected: ♦ Langston Hughes’ poem “April Rain Song” ( Rampersad & Roessel, 1994). Focus Statement “This month in reading we’ve been focused on the writers from the Harlem Renaissance, and this week we’ve been studying how these authors used fgurative language. Now that we have warmed up by reading some of Hughes’ poetry during independent reading, we are going to practice using fgurative language as poets. Let’s read our Anchor Chart together: We can brainstorm poetic words to create sensory images. I am going to pass out a piece of paper with a poem titled ‘April Rain Song’ by Langston Hughes. I have taken some of Langston Hughes’ words out of the poem and replaced them with blank spaces. Listen as I read the poem pausing at each of the blank spaces.” Teacher Reads the Poem with the Missing Words “In just a few moments, you’ll fnd your writing partner and work together to brainstorm ideas for poetic words to create sensory images. You can write one or more ideas down for each blank space. Turn to your writing partner and repeat the directions.” Formative Assessment: As writing partners brainstorm poetic words, the teacher checks in with partners, beginning with partners that are arguing or appear to be uncertain what to do. Teacher Invites Students to Co-Create a Poem The teacher dims the classroom lights to gain students’ attention and to project the close version of “April Rain Song” from the document camera to the screen. As the teacher reads the poem aloud, they stop at each blank space and pull students’ names written on popsicle sticks from a jar to generate a list of poetic words for each blank space.

156

The Writing Studio Goes Live

As writers’ poetic words are written on the class version of the poem, the teacher asks writers questions to show the metacognitive thinking behind their choices. Questions include: ♦

“Why did you select this word?”

♦ ♦

“What mood does this word convey?” “Why did you put this particular group of words together?”

♦

“How does your word tie in with the words earlier?”

The teacher and the writers work together to co-write the class version of “April Rain Song.” “It is clear as poets you understand the value each word a poet uses in their poem. Let’s read Langston Hughes’ version of ‘April Rain Song’ together and notice the poetic words he selected.” Invitation to Connect and Apply Strategy to Individual or Collaborative Writing “Today as you head to independent and collaborative writing, imagine you are Langston Hughes. One option is to revise one of your poems in your Daily Writing Folder or start a new poem. As a poet, think about each word you select, the mood and feeling it conveys, and how your words work together throughout your entire poem.” Roll Call to Action Prior to Transitioning to Independent and Collaborative Writing “When I call your name, please move your clothespin to indicate what you’ll be accomplishing today as a writer during independent and collaborative writing time.”

Interactive Writing Mini-Lessons Interactive writing mini-lessons provide teachers and children an opportunity to “share the pen” (McCarrier et al., 2000, p. 21) as they co-create a short text to teach a writing strategy. Key to this strategy is co-creating a short text. In an interactive writing mini-lesson, the teacher invites children to “share the pen” to co-compose a text the class is co-creating. As one child is “holding the pen” writing on the co-created text, the teacher can keep the rest of the class engaged by providing children with a whiteboard and marker to write the same short text on their whiteboard. When facilitating an interactive writing mini-lesson with young writers (preschool–kindergarten) teachers often focus on print concepts (e.g., letter-sound correspondence, spaces between words, end punctuation, capitalization, writing left-to-right, return sweep with a new line). One way to engage young writers is having children use their fnger to “write” the letters, words, or punctuation in the air or “write” on the foor with their fnger as their peer “holding the pen” writes on the class text. If the young child “holding the pen” is writing an irregular or “heart” word (e.g., the, said, of) on the class text, the rest of the class might spell the word out loud to help their peer “holding the pen” and to practice spelling the word to learn how to spell the word “by heart.”

Whole Group Instruction

157

When teaching an interactive writing mini-lesson be sure to keep the lesson short which means sometimes you’ll need to “hold the pen” and fll in parts of the co-created text to keep students’ engaged and keep the lesson within the time frame. Table 6.5 provides a few examples of strategies to teach in an interactive writing mini-lesson for writing practice, process and craft. Table 6.5 Interactive Writing Mini-Lesson Strategy Ideas

Interactive Writing Mini-Lesson Strategy Ideas Writing Practice

Writing Process

Writing Craft

• Co-write a list of why people write • Co-write a list of possible guest speakers for the class unit on community members that care for the class

• Co-draft an invitation to the school’s community open house • Co-edit a class story about the time the fre alarm went off twice in one afternoon

• Co-draft dialogue for the class comic strip about the insect feld trip • Co-draft enticing headings about upcoming guest speakers for the class website

An interactive writing mini-lesson generally begins with a focus statement letting students know what they will be co-creating; the focus statement is written or projected as an Anchor Chart. Then, the teacher calls on students to co-create a text together to teach a specifc writing strategy. Throughout the lesson the teacher and children will “share the pen” as they interact with the text they are co-creating. Children are invited to consider trying the strategy in their own writing during independent and collaborative writing time, if they choose to do so. Before children transition to independent and collaborative writing time, the teacher completes a Roll Call to Action to assess what children plan to accomplish that day. Read the interactive writing mini-lesson template followed by an example of a kindergarten interactive writing mini-lesson.

Interactive Mini-Lesson Template Content standard/s 1–2 writing objective/s Anchor Chart Formative assessment Focus statement to begin the interactive writing mini-lesson and introduce the Anchor Chart Teacher and students co-create a text to teach a writing strategy Invitation to connect and apply strategy during individual or collaborative writing Roll Call to Action prior to transitioning to independent and collaborative writing

158

The Writing Studio Goes Live

Interactive Mini-Lesson: Kindergarten Example Kindergarten CCSS Standard ♦ Language Standard 2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. Mini-Lesson Objectives ♦ Writers will be able to write the sounds they hear in words. ♦ Writers will be able to insert spaces between words to distinguish words from each other. Anchor Chart I can . . . ♦ ♦

write the sounds I hear in words put a space between my words

Formative Assessment ♦ During the mini-lesson, the teacher will observe children to see who is participating in the lesson and who understands print concepts taught in the mini-lesson (e.g., where to start writing on a page, letter sounds and names, why we put spaces between words, end punctuation). Teacher documents specifc skills needed for individual children in the Teaching, Planning and Conferencing Notebook to follow-up during small group writing and one-on-one teacher–student writing conferences. Focus Statement “Yesterday I drew a picture about a time I got in trouble as a kid when my family went camping. My frst picture showed the frst thing that happened in my story. Drawing pictures can help writers think about what they are going to say before they write it. Today we are going to write a sentence together to go with my picture. We are going to write the sounds we hear in the words and use spaces between words. Let’s echo read our Anchor Chart: I can, (I can), write the sounds, (write the sounds), I hear, (I hear). I can, (I can), put a space, (put a space), between words, (between words).” Teacher Demonstration “The frst sentence in my story is ‘I went to the campground with my family.’ How many words are in my sentence? Let’s count the words together. Get your fngers ready.” The teacher says each word of the sentence slowly as they and the students put up a fnger for each word. “‘I-went-to-the-campground-with-my-family.’ Eight words.” Formative assessment: Observing which children are able to distinguish the words in the sentence. “Point to where we should start writing on our paper.” Formative assessment: Observing which children point to the top, left of the paper. “Chance, please write down the frst word of our sentence, ‘I’. Everyone write a capital ‘I’ with your fnger in the air.” “What do we need next?” Formative assessment: Listening for which children respond: “Space explorer” (space explorer is a wooden clothespin painted like an astronaut for writers to place on their writing paper after each word to create a space between words). “Yes, we need a space to help our readers know when a new word starts.”

Whole Group Instruction

159

“Let’s practice the reading strategy we’ve been using in our reading groups, rereading. Reread the word Chance wrote and say the next word in our sentence “I .  .  . went. Let’s sound out the beginning of ‘went’: w-w-w.” (Teacher exaggerates her mouth forming the sound /w/). Formative assessment: Observing which children respond with the letter “w” that makes the sound /w/. “Yes, ‘w’ says /w/, ‘w’ is the frst letter in the word ‘went’, spelled: w-e-n-t” Angelica, come write our next word, went, w-e-n-t. ‘Went’ is on our Flash Word List. Let’s look at our Flash Word List and spell ‘went’ out loud together while Angelica writes the word ‘went’ on our paper. W-e-n-t. “Now what do we need?” Formative assessment: Listen for which children respond, “Space explorer.” “Yes, we put spaces between our words so our readers will be able to read the words in our sentence, so our story will make sense.” “I went . . . to . . . Let’s sound out the word ‘to’ together, ‘t-t-o-o.’” Formative assessment: Observing which children are able to sound out the word. “Yes, ‘to’ is spelled, ‘t-o’. Omar, please write the word ‘to, t-o’ while Jacqueline holds our space explorer. Everyone write the word ‘to’ on the carpet with your fnger.” “Let’s reread our sentence and say the next word we need to write, ‘I went to . . .’” Formative assessment: Observe which children respond with the next word in the sentence, “the.” “How do we spell ‘the’?” Formative assessment: Listen for which children start to sing the class “t-h-e” chant they have been practicing in their writing groups. “Uh oh, we have run out of room to keep writing. What do we need to do if we don’t have room?” Formative assessment: Listen for students saying, “Swoop back down,” which the teacher has been modeling in her daily writing demonstration mini-lessons. “Yes, we need to swoop back down. Do we need to start the word ‘the’ with a capital or lower case letter?” Formative assessment: Listen for students saying, “lower case letter.” “Yes, we need a lower case letter because this is the middle of our sentence. We capital letters to start our sentences and for people’s names. Ha, come write the word, ‘the’, while Dexter holds the space explorer. Everyone spell the word ‘the’ together as Ha writes it.” “Let’s reread our writing and tell me which word we are going to write next. “I went to the . . .” Formative assessment: Listen for which children respond, “campground.” “There are a lot of letters in the word campground even though it is only one word. I’m going to write the word, ‘campground’ as I say the word slowly to hear all of the sounds. Let’s count the words on our fngers while we reread the start of our sentence, ‘I went to the campground.’” Formative assessment: Observe which children are able to count the number of words vs. counting syllables. “That is only fve words. My sentence has eight words. Let’s say my sentence again. ‘I went to the campground with my family.’ We need three more words.” “Let’s reread our sentence and remember the next word we need to write. ‘I went to the campground . . .” Formative assessment: Listen for which children say the next word in the sentence, “with.” “I went to the campground with . . .” Kinsey, come up and write ‘with’ while Khaled holds our space explorer. Everyone stand up and spell the word ‘with’ as you write it in the air while Kinsey writes. Formative assessment: Watch children write the word ‘with’ and listen for children spelling the word. “I went to the campground with . . . What’s our last two words?” Formative assessment: Listen for students saying, “my family.” “Yes, ‘my family. I’m going to write our last two words, my is spelled, m-y, spell ‘my’ with me. Let’s listen for the sounds we hear in ‘family’. I’m going to model how writers can pull every sound from a word by saying it slowly.”

160

The Writing Studio Goes Live

Model pulling every sound of ‘family’ by using a hand motion reaching hand from lips out into the air while saying the word slowly, “Fff – aa – mm – iii – lll – yy.” “Reread our sentence with me, ‘I went to the campground with my family.’ What do we need to end our sentence?” Formative assessment: Listen for which children start singing the class ‘period song’, “Per-i-od, at the end of the sentence.” “Yes, everyone make a period in the air while Eli writes a period at the end of our sentence to show readers where to pause.” Formative assessment: Observe which children are making a period in the air. “Writers, this is just the beginning of my story. It is going to take me a lot of days to work on this story. I am going to need to keep this story on the green side of my Daily Writing Folder so I can work on it every day until I fnish my whole story.” [Teacher has taught writers to keep current work on the “green side” of the folder; completed work stays on the “red side” of their Daily Writing Folder.] Invitation to Connect and Apply the Strategy During Individual or Collaborative Writing “Soon you will head to a good place for you to write – the foor with a clipboard, your table or the table by the Writing Studio supplies. You will want to think about your story you started yesterday. Look at the picture you drew and think about what you want to write. Say your sentence out loud and count the number of words in your sentence. As you write your sentence, write all the sounds you hear in your words and use a ‘space explorer’ to help you put spaces between your words to help your readers. You can use our Anchor Chart to remind you.” Roll Call to Action Prior to Transitioning to Independent and Collaborative Writing “Give me a thumbs up when you are ready to get your Daily Writing Folder and start writing the story you started yesterday. Writers with their thumbs up are excused to independent and collaborative writing. If your thumb is not up, get your Daily Writing Folder and join me in the carpet area and we’ll help each other get started. I have pencils in the carpet area.”

Visit the companion website to watch videos of writing mini-lessons.

Planning Writing Mini-Lessons Ahead Nothing “just happens” in the Writing Studio. The primary learning structure for making sure writing practice, process, and craft are taught is through writing mini-lessons. Intentional and well-planned writing mini-lessons are integral to the Writing Studio. Mini-lessons can be planned ahead and then adjusted as the unit goes live and the needs of writers surface. As you embark upon planning for a unit of writing, ask, “Given the writers in my class, what writing practice, process, and/or craft may be new or require reinforcement in this writing unit? What mentor texts will best model the goals of this unit?” Analyze the end goals, and

Whole Group Instruction

161

then create the mini-lessons that will be necessary for writers in the classroom. Writing minilessons can often be adapted for new groups of writers who arrive yearly to your classroom. Save and organize mini-lessons so they can easily be retrieved from year to year. (See Part IV for more on mini-lessons and unit planning.)

Planning for Writing Mini-Lessons Illustrated For example, Mr. Mackie planned a framework for the integrated science, mathematics, reading, and writing unit he planned to teach. As an integrated unit, he planned to teach across these disciplinary areas and connect them through the theme of “Songbirds, Threatened!” Mr. Mackie envisioned this unit as an opportunity for children to practice research skills in fnding out why songbirds’ existence is threatened; reading nonfction reports on songbirds; math skills to interpret graphs, charts, and percentages shown in the research; and, as a writing unit, to teach writers how to craft opinions or pieces that might incite others to action. Mr. Mackie knew this integrated unit would interest his writers, in part because he anticipated some of his writers fnding it diffcult to believe that the primary predator of songbirds is the family cat. He also knew the children would be concerned about songbirds and their declining numbers in their state. He believed the dissonance between a family cat as pet and predator would pose a strong learning possibility as children toggled between reading the research and reconciling this with their own lovable kitties. In planning this integrated unit, Mr. Mackie considers what writing practice, process, and craft writers would need to learn in order to be successful in expressing their opinions about the plight of songbirds. Mr. Mackie listed what writing practice children will need to be able to do in each content area: (1) learn how to read research and fnd information, particularly from Internet sources (reading lessons); (2) have experience collecting feld data through bird watching experiences, tallying, graphing, and charting this data, interpreting data (science and mathematics lessons); (3) inquire about the different genres of scientifc writing met to express an opinion or persuade the reader to action (reading and writing lessons); and (4) learn how to read graphs, charts, and percentages (mathematics lessons). In planning for genres that express an opinion, Mr. Mackie reviewed his Teaching, Conferencing & Planning Notebook and analyzed the varying abilities of writers. He was fairly certain that a collaborative process resulting in a webpage was perfect for some of his writers. Other writers would be more inclined to use story to express an opinion. Because many children were already reading graphic novels, he was confdent the opportunity to use elements of graphic novels would spark interest. Finally, he knew some of his writers resisted writing anything informational. These writers needed to be lured into this circle. Poetry would be perfect, he determined. Designing and creating posters, webpages, and chapter books as end products would ensure an audience greater than the classroom – and a response. For all these writing possibilities, Mr. Mackie knew he would need to demonstrate and teach the need for a piece to be focused, include clear and persuasive facts, and how to apply voice in such a way as to hook a reader. He planned mini-lessons in these areas. Mr. Mackie regularly teaches revision during the Writing Studio, and he anticipated the need to cycle back to this skill again. In particular, he anticipated writers needing mini-lessons on focusing the content, using related facts, and then revising for both factual information and clarity in presenting opinions. More than likely, Mr. Mackie mused, he would also need some mini-lessons on the craft of paragraphing. Most of the writing being done would include several subtopics, and he knew that paragraphing was not a strong suit for many of his writers.

162

The Writing Studio Goes Live

Next, Mr. Mackie planned for specifc mini-lessons focused on design, or how illustrations support text (and text supports illustrations). He envisioned writers designing webpages, posters, and stories as a way to publish their work, so choosing or creating illustrations that supported text was important. He planned writing mini-lessons to address these anticipated design needs. This is the kind of planning Mr. Mackie did prior to his unit “Songbirds, Threatened!” Even as Mr. Mackie planned these mini-lessons, he also left open the possibility that along the way, writers might need mini-lessons he had not yet imagined to support them in their opinion writing. As his “Songbirds, Threatened!” unit went live, he discovered through the use of Roll Call to Action and the Teaching, Conferencing & Planning Notebook that many writers were rushing through their writing in order to continue with publishing. The anticipation of using illustrations, colors, and very cool effects on web pages seduced writers into sacrifcing the writing, becoming sloppy in the selection of facts. When Mr. Mackie saw this, he paused and adapted writing mini-lessons to address this current need. Other more specifc needs for smaller groups of writers, for example, how to storyboard, he addressed through small group writing instruction. Mini-lessons set the tone for the rest of the Writing Studio. By quickly engaging children, gaining their interest and attention, they serve as motivation and instruction. Cultivate your ability as a teacher of writing to deliberately design focused mini-lessons that open possibilities for your young writers. You can teach from published mini-lessons, but do remember: you know your students (not the publisher); be intentional in designing mini-lessons that honor the whole selves of the children in your Writing Studio!

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ♦ ♦

Return to the beginning of this chapter and the Teacher J vignette. What kind of mini-lesson was Teacher J presenting? What is the goal of Teacher J’s mini-lesson? Draft a writing mini-lesson of your choosing to teach writers a specifc writing craft. For a challenge, revise the mini-lesson for two other grade levels.

Learning with Peers: Discussion As a small group, make a list of published titles of children’s literature you are familiar with that you might use for mentor texts: ♦ ♦ ♦

Describe the book to your peers (if they are not familiar with the title); Determine the purpose for using the book (what writing practice, process, or craft might be taught); Discuss what kind of mini-lesson might be most effective given the book and the purpose.

References Bishop, R. S. (1990). Mirrors, windows, and sliding glass doors. Perspectives: Choosing and Using Books for the Classroom, 6(3), ix–xi.

Whole Group Instruction

163

Gultekin, M., & May, L. (2020). Children’s literature as fun-house mirrors, blind spots, and curtains. The Reading Teacher, 73(5), 627–635. https://doi.org/10.1002/trtr.1867 Heard, G. (1999). Awakening the heart: Exploring poetry in elementary and middle school. Heinemann. Johnston, P. H. (2004). Choice words: How our language affects children’s learning. Stenhouse. Johnston, P. H. (2012). Opening minds: Using language to change lives. Stenhouse. Khalil, A. (2021, May 22). How my immigrant experiences inspires my book ideas. Two Writing Teachers. https://twowritingteachers.org/2021/05/22/khalil/ McCarrier, A., Pinnell, G. S., & Fountas, I. C. (2000). Interactive writing: How language and literacy come together, K-2. Heinemann. Rampersad, A., & Roessel, D. (Eds.). (1994). The collected poems of Langston Hughes. Vintage Classics.

Chapter 7

Writing Studio Individual and Collaborative Writing

Teacher J studies the Roll Call to Action chart and simultaneously observes children moving into their “writing poses,” as they like to call them. Writers search through their Daily Writing Folder, rummage to find a pencil, set up a tablet, or move in close with a peer. Teacher J notices Tommy already has a book opened, most likely looking for more space facts, and Jade has snuggled into a corner with his earbuds, writing on a clipboard. It is satisfying to see children settle in, comfortable in the routine of the Writing Studio. Today Teacher J plans to conference with two writers and one group of children writing a story together. Tommy has asked for a “fact check” as he writes a piece about living in space and has asked his fellow writer, Eliza, for help with revision. A group of writers is working on a mystery, and since it is their first collaborative effort, they may need some direction. In addition, Teacher J will quickly check in with Azir, a beginning English language learner, making sure the AI translation is working for him and that he has the art supplies he needs to develop his storyboard. Teacher J noticed yesterday that Kristopher was struggling with the timer on his watch he uses to self-manage; better stop by and make sure the technology is working as it should. This will not take the entire time, and so Teacher J plans to do “drop-in” conferences with writers while circling the room. These drop-in visits will be used to adjust tomorrow’s lesson plans for small group writing instruction. Teacher J grins. Teacher J loves days like these in the Writing Studio when there is a hum, a productive hum, sometimes a little louder, sometimes a strange hush filling the classroom. When Teacher J first started teaching with the Writing Studio, it took awhile to distinguish the sounds of desks, keyboards, pencils scratching, voices rising (was that anger, frustration, excitement, success?) and to know which kinds of sounds required attention. Teacher J finds with each new school year and new mix of children, there is always a period of relearning to listen, to find the particular song of the Writing Studio that is productive and useful. “There is no telling what third graders will say and write,” Teacher J thinks as teacher– student writing conferences get started. Teacher J loves hearing writers’ passionate stories, even their deep sighs of despair as well as their triumphant “Ta-dah!” moments. Teacher J became a teacher because they love kids – they wanted to spend time with children, make the world a little better place one child at a time. During individual teacher–student conferencing and small group instruction, Teacher J gets to know children through their stories and illustrations, learning what motivates them, how and why they “shut down,” and how and why they laugh. This one-on-one time is “teaching with DOI: 10.4324/9781003409243-13

Individual and Collaborative Writing

165

a capital T” (Atwell, 1998, p. 330), individualizing learning for a specific writer, at this time, and in this place. Seeing writing goals met and new goals set. Watching children grow up right in front of them through the words and sentences and paragraphs that become the biographies of their lives. Tommy is holding up the space book for Teacher J to see, pointing to a picture of an orange swirling planet somewhere in the galaxy – it is time to get to work . . . Teaching. In Chapter 6 we looked at writing mini-lessons taught to the whole class, lessons that most writers will beneft from. These writing mini-lessons show how the teacher of writing teaches students through demonstration, inquiry, and shared and interactive writing mini-lessons. In this chapter we look at ways we can individualize and target writing instruction through teacher–student writing conferences and small group writing instruction. These Writing Studio strategies provide optimized teaching and specifc feedback based upon how each child learns and what their social emotional needs are while attending to culturally sustaining practices honoring children’s heritages and languages. Young writers with Individual Education Plans, 504 plans, behavior plans, multilingual learners, Talented and Gifted writers, and every other unique and wonderful need, challenge, and possibility present in the Writing Studio have their own writing goals. The components of the Writing Studio allow one teacher, through intentional teaching of routines (Chapter 3) and purposeful use of assessments (Chapters 4 and 5), to maximize their instructional time with writers. See Table 7.1 illustrating how the Writing Studio Independent and Collaborative component refects the three principles of Universal Design. Table 7.1 Universal Design for Learning Through the Writing Studio’s Individual & Collaborative Writing

UDL Principle

Writing Studio Examples of UDL Principles

Provide multiple means of engagement

• Writers have choice making writing decisions • Writers choose meaningful topics • Writers may work independently, with a partner, in collaborative groups • Writers have 1–1 time with their teacher • Writers engage in small group instruction • Writers have a choice about where in the classroom they will write

Provide multiple means of representation

• Writers have multiple writing tools available and are free to use them (tablets; slanted writing boards; audio recordings; drawing; translation application; bookmaking/storymaking applications, text-to-speech/speech-to-text applications, etc.) • Writers collaborate in writing • Writers have art supplies available • Multilingual writers are encouraged to use their entire linguistic repertoire as writers

Provide multiple means of action and expression

• • • •

Writing practice and process can be tailored for specifc needs Not all writers are required to write on the same topic Due dates can be fexible Sharing writing can take many forms

166

The Writing Studio Goes Live

The Writing Studio is based on the premise that children can and do engage in writing while the teacher of writing moves about the classroom, either facilitating individual conferences or small group writing instruction. Sometimes, teachers feel like this is surely an impossibility: children will not behave without sitting in well-planned groupings without a teacher monitoring movement and carefully dictating their next steps. Yet, is it ever really a possibility that 27 children will all sit quietly, all doing the exact thing, at the exact speed, all writing the same material? If they are learning, what are they learning? Ultimately, we want children to write independently, own their writing practice, be able to engage in writing process, and take risks with writing craft. Young writers will move in and out and around this goal, depending upon the day, the writing task, social interactions with others, their own sense of self, and a myriad of other factors that infuence our readiness to engage in learning. The Writing Studio as a predictable, organized, safe, and yet fexible space embraces growing, changing children as they exercise choice, experiment, and write meaningful stories of their lives.

Becoming-Collaborative Aisha and Marta are bent over a table, drawing a mural together about fall leaves on the white butcher paper spread out in front of them. “It is a story about all the things you can do with leaves,” Marta announces. “We are working together so we can have a really big picture with lots of ideas!” Together the two frst graders illustrate and help one another write sentences to match the many pictures they draw. They are animated and excited about their work! Collaboration among writers creates synergy. Collaboration also enables the teacher of writing to be available for individual teacher–student writing conferences and to teach small writing groups. Teach what collaboration looks and sounds like. Write Community Agreements that establish expectations and structure as needed and plan suitable physical space in the classroom for collaboration (review Chapter 3). As adults we choose to write with others when we have common interests or goals or simply because we like the other person. Although there is a time and a place for a teacher to create collaborative writing groups, such groups usually work better when they are formed organically. Save teacher-created collaborative writing groups for special projects when it is meaningful to arrange the class in this way. Jose and Benjamin, two fourth-grade boys, wrote collaboratively because both are fans of the Chivas Mexican football team. Their teacher noticed that they could talk on and on about the Chivas and suggested that they write an informative piece together. Both boys were “psyched.” Benjamin carries a label from special education, and sometimes his behavior is a barrier to developing friendships, but fnding a common interest with Jose around a football team created a successful partnership that might not have otherwise happened. Both writers challenged one another, and they both grew as writers as a result of this collaboration. Choosing to write with another is a decision writers need to learn how to make and negotiate. It involves all of the CASEL (2021) core social and emotional competencies: selfawareness, self-management, social awareness, relationship skills, and responsible decisionmaking. Observe for collaborators who may become too dependent on one another or unevenly matched collaborations where one writer may be doing most of the work and

Individual and Collaborative Writing

167

cannot seem to renegotiate roles. Know that collaboration, how it looks and how it is valued, varies among families and cultures. As with all things in the Writing Studio, before assuming, listen, observe, collect data; then, teach and intervene as necessary. There are a number of ways to write collaboratively. Here are three ways to begin: ♦

Writers may brainstorm and support one another but write individual pieces; Writers may take turns holding the pencil, crayon, or using the keyboard, writing alternative lines, paragraphs, or even pages; ♦ Writers can each take a different chapter of a longer fction or nonfction work, working both independently and collaboratively. ♦

Even the youngest writers enjoy these collaborative methods. Check in with collaborators: “What collaborative strategies are you using? What else might you try as collaborators?”

Collaboration and Multilingual Learners Since writing is a tool for thinking, and since all students are language learners, the social interaction, the talking/questioning/sharing when fnding an idea, drafting, revising, and editing is critical to writing practice. “Language develops when the language learner focuses on accomplishing something together with others rather than focusing on language itself” (Rigg & Hudelson, 1986, p. 117). Too often emergent multilinguals are conscripted to copying sentences or flling in blanks in sentence frames; this is not the act of thinking/writing/meaning-making. Collaborating with other writers allows emergent multilinguals to engage in authentic writing using all their language repertoires, as well as learning English skills. Working collaboratively on a storyboard, science report, or graphic novel engages multilinguals in authentic oral academic language use. Collaboration between multilingual and monolingual writers can develop appreciation for different linguistic skill sets as writers teach one another.

Collaboration and Technology Teach and use technologies to foster collaboration both in and beyond the classroom. Uppergrade elementary writers can use Google documents (google.com), for example, to compose together, each from their own home or while co-writing in the classroom. Google Draw (google.com) can be a useful tool for planning writing projects and then dividing writing tasks between collaborators. A variety of technologies can increase accessibility, making the act of writing more do-able and allow for collaboration utilizing writers’ strengths across ability levels. There are applications that encourage creative bookmaking and story writing. Some will generate English words or include writing prompts and a variety of writing tools (mixed fonts and colors, photos, drawing tools, etc.). Others translate audio voice to writing. Translation applications for writing in languages other than English eliminate other barriers.

Go to the companion website to watch a video Grade 5 writers collaboratively writing a story.

168

The Writing Studio Goes Live

Collaboration Through Peer Conferencing Gabby and Maddie sit knee to knee in a corner of the Writing Studio. Gabby leans into Maddie and says, Gabby: Maddie: Gabby: Maddie: Gabby:

I like how you say that the Junco doesn’t really stand a chance. I wonder if you could show that more? Like what do you mean? Well, you know, Juncos eat on the ground, right? So, cats just sneak up on them so you . . . Oh, I could write that scene! Yeah, like a movie script!

Gabby and Maddie are peer conferencing, collaborating to support one another as writers. They illustrate the importance of peer conferencing to the Writing Studio. If all writers are dependent on the teacher alone for feedback and writing support, then not only will the teacher be overwhelmed, but the Writing Studio will also not function. For this reason, peer conferencing is central to the Writing Studio. There are three general questions that drive a writer to seek feedback: Does this piece make sense? (content feedback), “I am stuck and I don’t know what to do next. Can you help me?” (process and craft advice), and “Can you help me with spelling?” (editing advice). Brainstorm questions writers might ask in a peer conference about their writing practice, process, and craft and create Anchor Charts as reminders. (See Chapter 3 to review Anchor Charts.) Additionally, teach writers how to respond in a peer conference, frst as the peer and then as the writer. As a peer supporting a writer, model and practice how to summarize what is heard, how to give a specifc compliment, and how to frame a suggestion. These are excellent mini-lesson and small group writing instruction topics. They also serve as attainable individual writing goals. Lessons in peer conferencing are worth repeating throughout the year, making them specifc to genre and choice units. Writers need to know how to accept advice, discuss writing without being defensive, and how to tactfully say, “Thanks for the suggestion. Let me think about what you are telling me.” (See Table 7.2.) Table 7.2 Examples of Peer Conference Prompts

Peer to Writer

Writer to Peer

Could you tell me a little more about your thinking when you write . . . (Seeking clarifcation)

“Let me think about that suggestion.” (Honors peer’s suggestion; provides time for writer to consider the suggestion)

I think what I am hearing is . . . is this correct? (Seeking clarifcation)

Are you suggesting that I . . . (Asking for clarifcation)

I like this place in your writing [select specifc place]. It makes me [think of, react in this way] (Giving specifc praise)

Oh, I like that idea! (Specifc thanks for writing support)

(Continued)

Individual and Collaborative Writing

169

Table 7.2 (Continued)

Peer to Writer

Writer to Peer

I wonder how it might work if you . . . (Giving suggestions)

How would you write this section? OR Could you help me write this? (Seeking additional help)

How did you think to . . . (Inquiry into writer process or craft)

Have you ever used this strategy? Could I see how you did this? (Seeking additional help)

Model and practice peer conferencing often. As children come to know one another and understand one another’s needs, conferencing will improve. As the teacher, ask a writer in advance to peer conference with you in front of the class. Or ask for two volunteers prior to the mini-lesson, a writer and a peer, to sit knee to knee in the center of the other writers and hold their peer conference. When they have fnished, the other writers can name and notice what the writer and peer were doing in the conference that was effective. Write Community Agreements for conferencing with peers and revisit these throughout the year. (See Chapter 3 for Community Agreements.) Include tailored conferencing goals for each writer refecting their strengths as a way to develop their writing practice and process.

Protocol for Peer Conferencing A simple protocol for peer conferencing is as follows: The writer identifes need. The writer states specifcally what they would like the peer to listen for. For example, “Could you listen to see if my writing makes sense?” ♦

♦

♦ ♦

♦

The writer reads the piece aloud – peer listens hard. The writing is read aloud because it has not yet been edited, and editing errors could distract the peer from the content of the writing. The peer summarizes what they hear and shares this with the writer. If the peer summarizes differently than what the writer has intended, it is a good indicator for the writer that the writing may need further focusing and development. The peer gives the writer a compliment. “I like how you wrote, ‘Mad Cat shrieked!’” The writer and the peer discuss the piece. The peer may ask questions such as “I wonder if you could tell me more about this part of your writing?” Or the peer might offer suggestions or further develop the compliment and say, “I wonder if there are other places you could use words like shrieked.” Writer decides on how to follow-up on the peer conference. The writer considers the discussion and suggestions they have had with their peers. Then, they make writing decisions about what to do next as a writer.

170

The Writing Studio Goes Live

Go to the companion website to watch the video, “Peer Writing Conference: Grade 3” with Grade 3 writers Claire and Lauren.

In early grades, narrow the purpose and direct peer conferences by providing a focus: “We have been working on making sure our writing has a beginning, a middle, and an end. Today, when you read your piece with a writing buddy, see if they can hear the beginning, middle, and end of your piece.” With our youngest writers, teach them to notice what they like about a peer’s writing/drawing, for example, “I like how you . . .” Curious young writers enjoy asking questions, “Why did you color this pink?” Encourage questioning. Teach a simple and thoughtful response to one another, “Thank you for listening to my writing.” Some teachers of writing effectively use peer-response groups, strategically placing writers in a group of three to four to regularly provide feedback. Writers may also form their own peer response groups; teachers can guide this choice (and teach about making the choice) so that a response group brings together writers with different kinds of strengths. Peerresponse groups can meet on a regular basis. Provide peer-response groups with specifc feedback and instruction to maximize their effectiveness; additionally, have peer-response groups self-assess and choose their own collaborative goals. A key to success with peerresponse groups is to be fexible in the grouping and to assess their effectiveness through observation, survey, self-assessment, and the Daily Writing Folder.

Becoming-Independent Teach independence and how to make decisions and handle choices in the Writing Studio by reinforcing expectations for writing through Community Agreements (Chapter 3); revise and review as needed throughout the year. Plan a classroom environment that supports independence. Begin by teaching the Writing Studio schedule: mini-lesson, Roll Call to Action, independent and collaborative writing time with teacher–student writing conferences and small group writing instruction, followed by sharing (Chapter 3). Demonstrate and discuss the decisions for each component of the Writing Studio. For example, immediately prior to Roll Call to Action, each writer examines their Daily Writing Folder and determines what they will work on for the day. This is goal setting; writers have choices. They may reread a piece to determine next steps, have a peer conference, complete research, perhaps fnd a quiet space to think about their writing, or begin writing immediately. Design an Anchor Chart as a reminder for writers (Chapter 3). Embrace and explore the motivational aspects of choice and how responsible decisionmaking gives children the opportunity to act with agency. Teach children that writers all have different writing practices, and not all writers will use the same tools or produce the same results; teach them to honor, celebrate, and support their diverse needs within their community of writers. Stay focused on the writer and their potential. Do this by keeping individual writing goals dynamic, achievable, and up to date. When children are given the time and support at their level, they will develop both writing skills and fnd enjoyment in writing (Cardullo & Henderson,

Individual and Collaborative Writing

171

2013) It is particularly important that writers who are multilingual and have Individual Educational Plans continue to have the opportunity to write and receive services in their home language (Olea, 2023). When writing goals are monitored, children know they matter, that they are being cared for. Teach writers to be aware of their needs and learn to state them. For example, “I am being distracted. I need a place where I can focus. Can you help me fnd a place where I could work today?” If you are new to the Writing Studio, it takes some time to learn to listen and observe for the many productive sounds and actions of writers. Sometimes, from across the room, two writers can appear to be off-task. Scout out the situation frst: it may just be an animated conversation about how to spell a word! If you feel like the Writing Studio is edging “out of control,” stop and observe. Learn from children. Collect data. Analyze results: Ask, “What if?” and “What else?” “Do changes need to happen for everyone or just for a few writers?” Children learn independence when they are given opportunity to practice decisionmaking through choice and when they receive feedback on their decision-making. Children (teachers!) make mistakes. This is part of growing up – it is an opportunity for learning, for becoming-independent.

The Teacher–Student Writing Conference: Individualizing Writing Instruction During a teacher–student writing conference, a teacher sits one-on-one with a writer, listening and observing to determine the kind of writing support, instruction, and feedback. Figure 7.1 Ms. Coy and Maddie Having a Teacher–Student Writing Conference

172

The Writing Studio Goes Live

A conference lasts between 2 and 6 minutes. When we query teachers of writing who say they do not have time for individual conferences, we most often fnd teachers are spending too much time with the mini-lesson or each individual conference. There are several time and management tips that can make writing conferences meaningful and doable. Guard writing time in the studio. Hold it sacred. If mini-lessons take up the largest percentage of writing time, there will not be suffcient time for writers to settle into their writing routines or for the teacher to conduct teacher–student conferences. Preschool and kindergarten writers will need 10–15 minutes. Grade 1–2 need 20 to 30 minutes Grade 3–5 writers need a minimum of 30 to 40 minutes a day or individual and collaborative writing time to actually write. Likewise, teachers need at least this much time to conduct individual conferences and small group instruction. Teach writers the purpose and expectations for a teacher–student conference: ♦ ♦ ♦ ♦ ♦

Teacher–student conferences will on average be 2–6 minutes in length. Writers need to understand the why behind this: so everyone can meet with the teacher; The conference is focused writing support for individual writers to receive feedback; Remember peer conferencing also supports writers. (It doesn’t always need to be the teacher!); Writers may request a conference during Roll Call to Action; If a writer discovers a need for a teacher conference during the writing time, they may check with the teacher but not while the teacher is conferencing or conducting a small writing group. If the teacher is engaged with another student, fnd a writing friend.

Teaching writers to be prepared for a teacher–student writing conference by being able to name how and where they need help as a writer: ♦ ♦ ♦ ♦ ♦ ♦

“I would like to conference about my lead.” “I would like feedback about how to include more details.” “I think I might be fnished with my piece, but I am not sure.” “I am having trouble getting started with my writing.” “I am wondering if my piece is really persuasive.” “I am ready for an editing conference.”

Young writers can also learn to name the kind of feedback they might receive from the teacher: ♦

“I’m done. What do I do now?” “I don’t know what to write about.” ♦ “Can I publish this?” ♦ “How do I spell . . .?” ♦

If as a teacher of writing you are fortunate enough to have instructional assistants, specialists, or parent volunteers in your classroom, honor their time and make sure it is used wisely by training them on how to hold effective teacher–student conferences. Grow conferencing abilities by sharing tips and strategies. It is important for these valuable support grownups to know how to make entries in the Teacher Conference and Planning

Individual and Collaborative Writing

173

Notebook, to use the Roll Call to Action as a guide in conferencing. Visit with the support persons about the importance of multilingual learners using their whole repertoire of linguistic abilities. Inform them of writing goals specifc to children’s needs. Having additional grownups in the classroom creates a community for you, the teacher. Nurture these relationships!

Determining Who Needs a Teacher–Student Writing Conference All teacher–student writing conferences are documented both on the Roll Call to Action and in the Teaching, Conferencing & Planning Notebook. Documenting conferences ensures they are equitable and generates data for how writers are moving towards their writing goals (review Chapter 5). These same tools are used to determine who needs a conference (review Chapter 5). A quick check of Roll Call to Action informs the teacher with whom they have or have not most recently visited. Knowledge of each writer also informs the need and frequency for conferencing. For example, one writer may struggle more with informative writing than another writer. Some writers need more frequent encouragement. Monitor writers using specifc writing tools to ensure the tool is still working for them. Data from the Teaching, Conferencing & Planning Notebook inform a teacher when a writer may need a goal conference.

Planning a Teacher–Student Writing Conference The following describes a basic protocol that can be followed for teacher–student conferences; however, this is not a mandate. When in doubt, follow the writer’s need, not the protocol.

Inquire – Listen Hard/Observe The writer reads the piece aloud. It is read aloud so that if there are editing errors, they do not distract the teacher. Likewise, reading writing aloud is useful to a writer; we often hear places where revisions are needed or editing needs to be done. The teacher brings their knowledge and curiosity about each individual writer (culture, linguistic repertoires, sense of writing self) as they listen hard, perhaps taking notes, making sure the writer knows they have the teacher’s full attention. Notice behavior: “fdgeting” could mean nervousness, excitement, lack of confdence, or an uncomfortable chair – all are important to note. If the teacher is initiating the conference, they will often ask, “Where are you as a writer today?” If the writer has initiated the conference, the teacher may ask, “Okay, you’ve requested a conference about your opening line, or lead. What have you tried and what would you like me to listen for as you read aloud?”

Give Back Having listened hard, the teacher of writing now summarizes back to the writer what they heard. “This is what I heard as I listened to your piece. This is about a birthday present you received. You were disappointed when you opened it, but then you received the real gift,

174

The Writing Studio Goes Live

and you were surprised when your mom let a kitty into the room! Am I missing anything?” Allow the writer to give more information as necessary or correct the summary. Follow the summary by asking clarifying questions. “What was the gift you opened? How did you react to that? How was that different from your reaction to the kitty?” Make a point of naming what a writer can do. “I noticed here how you added a phrase to describe your mom talking, ‘Mom winked and said, . . . ’ That is an effective strategy when you add a descriptive word or phrase to describe the speaker of dialogue.” With our youngest writers, summarizing and clarifying are important – and don’t be surprised if the story changes mid-stream or if a child is no longer able to reread their story! So, this is a fower-fairy that is here? Child: Mmm . . . no, it is not a fower-fairy, it is just a fairy that looks like a fower! Mr. Ramos: Oh! I understand now. And is that what you’ve written here? (point to scribbles). Child: No, this says, “The fairy’s name is Lily.” See, it is like the fower! Mr. Ramos: Ah! I am going to write that on this sticky note so I can remember your important writing today! Mr. Ramos:

Giving back is affrmation.

Teach With Intention Having gathered the data from listening, observing, summarizing, clarifying, and asking questions, the teacher is ready to move into teaching. If the writer has initiated the conference, teach in the area of the writer’s stated request. Otherwise, focus on an area that will support the writer’s individual writing goals or develop specifc writing craft as specifed by the text type, “In hearing your action adventure, it seems that as a writer you might be able to use onomatopoeia. These are sound words, or words that represent a sound or noise like bam and pow, which you have already used! Let’s brainstorm some other kinds of sound words that could spice up your writing!”

Next Step Before the teacher leaves the writing conference, they make certain the writer has a next step. Sometimes, this next step is directed by the teacher, “We have brainstormed some possible onomatopoeias you can use in your writing. Your next step is to return to your adventure story and insert these where they make the most sense and where they will add the most value to the story you are telling.” Other times, this is a question to the writer, “What will you do next as a writer now that we are coming to the end of our conference?” Much depends on the writer and the context of the writing. The goal is always writer independence: choose a response that will best support this goal. This same process is followed when writers are working collaboratively. An additional piece is to confrm that each member of the collaborative team knows what they will be doing next.

Individual and Collaborative Writing

175

Teacher–Student Writing Conference Illustrated A transcript of a teacher–student writing conference is included in this section. This conference was held in a Grade 3 classroom. Children were writing descriptive essays based on photographs. The teacher issued a challenge: when writers completed their essays, the essays would be posted on one side of the bulletin board and the photos on the other. The challenge was to see if readers could correctly match the descriptive essay to the photograph. Read the transcript, noting how the teacher moves through the conference, the language they use, and how the writer responds. Javier: Ms. Lawrence-Walker:

Javier: Ms. Lawrence-Walker:

Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier:

Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker:

Javier:

Then, this – then – Okay, hang on. Tell me where you are as a writer with this piece today? We conferenced recently, didn’t we? [She fips through Teaching, Conferencing & Planning Notebook.] Yesterday, I think. Yes, got it. Here are my notes. Looks like we were discussing how to add more description to your essay. So, what’s the purpose of this conference today? To see if I got – I made it better. What would make it better in your opinion? What did we last discuss? Better details. To talk about the green spots in the water. And I did some stuff and I think it is better. [He points to a specifc place in the writing.] Great! Let’s hear what you’ve done. Read just the parts you revised. Oh, “back in the water, I noticed the lake spots that look like giant lily pads.” Oh, and here: “There are also shadows in the water making it look like a darker green. And when I touched the water, it makes me shiver and I breathe and I smell all the trees and water.” Ah – you have used a comparison to make the description more vivid, “the lake spots look like giant lily pads.” How did you think of that? Elena helped me! Elena helped you think of that? I love it when another writer helps me in that way. And, oh, this is the part I just fxed today [points to paper]. What do you mean you fxed that part? What did you do? I moved this down and I wrote this. So, you practiced revision. Will you read it for me? Yeah. “The bushes around the lake seem to be trying to hide behind the trees.” That’s personifcation right there: “the bushes are hiding.” . . . That’s giving the bushes human characteristics! What an effective writing strategy to use when trying to describe something. How did you think to use this? I wrote it down from the mini-lesson. And I just thought, what do those bushes look like they are doing? And I thought they looked like they were hiding, see [points to photograph] under these bigger trees.

176

The Writing Studio Goes Live

Ms. Lawrence-Walker:

Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker:

Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier:

Wow – I am going to write that here in my notebook. You applied what you learned from a mini-lesson to your revisions and used personifcation. What are you doing now? [Javier is drawing an arrow and writing a new sentence.] Um, I am going to add more . . . “like an elephant trying to hide behind a pencil” [Javier writes as he says the words.] [Laughs] Well that is an image! How do you feel about your writing now after you’ve added in that part and revised a little bit? It seems like I made it better. How did you make it better? What word do we use as writers to describe what you have done? [She waits.] Uh . . . I did revision? Yes, you did revision and as your reader, I can tell you this is much more descriptive! What are you thinking you will do next? Yeah, now I need to edit. I wonder if I might make a suggestion before you begin editing? Okay, what? You have made quite a few revisions to your paper, adding in more descriptive details and even personifcation. Writers fnd it useful at this point to pause and read the entire paper through one more time to make sure all the revisions make sense and the paper fows. A good way to do this is to read the whole paper aloud from start to fnish. What if you give this a try? Okay. Do I just read it to myself? You could read it to a peer writer. Are you thinking that would be more useful? Yeah. [He begins looking around the room.] I just fnished a conference with Ashkir. He is at a similar place in his writing. Why don’t you check with him about a peer conference? Okay. I’ll go fnd him!

In the conference, Ms. Lawrence-Walker begins by inquiring about the purpose of the conference; she also checks her Teaching, Conferencing & Planning Notebook. Note how Ms. Lawrence-Walker does not have Javier read the entire piece, just the parts he has revised. This decision focuses the conference, narrows the purpose, and allows the conference to be completed in 4 minutes. Javier reads his revision, and Ms. Lawrence-Walker gives back a summary of what she hears. She names what he has done: “you have used a comparison” and “that is personifcation!” She queries Javier, asking how he thought to use the personifcation, acknowledging his own agency and writing craft. Notice that Ms. LawrenceWalker does more than offer verbal praise; she writes down Javier’s accomplishment, documenting and celebrating how he has used the writing craft of personifcation. Over time, Ms. Lawrence-Walker’s notes will be the data demonstrating his developing skills as a writer. Ms. Lawrence-Walker also gives back to Javier the academic language of writing, repeatedly using the word revision and then insisting that he use the term toward the end of the conference. She does not settle for Javier continuing to say, “I made it better.” Likewise, she

Individual and Collaborative Writing

177

reinforces the defnition of personifcation by not only naming what Javier has done but also by restating the defnition. Finally, analyze how the teaching point evolves. Javier announces he is ready to edit the paper, but Ms. Lawrence-Walker, with a quick glance of the writing, can tell there are a lot of scribbles, erasures, and add-ins. She can be fairly certain that there are missing words or places where Javier may need to add transitions in order for the piece to make sense and fow. Javier needs to slow down his process. The teaching point becomes a revision strategy of reading one’s writing aloud. “What if,” Ms. Lawrence-Walker challenges Javier, “you give this a try?” Javier is willing to do this, in part, because Ms. Lawrence-Walker in this short conference has named what he can do and how he has learned. He is ready to take a risk. In the next transcript, Ms. Lawrence-Walker returns to Javier for another conference on the same paper. Javier has read his paper aloud and revised places that didn’t fow, using the feedback of a peer. Now, he has edited the piece, and he is asking Ms. Lawrence-Walker for a last check prior to typing the fnal on the computer. Read the transcript and identify the fow of the conference, the language Ms. Lawrence-Walker uses, and how this conference develops Javier’s writing practice and craft. Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker:

Javier: Ms. Lawrence-Walker:

Javier: Ms. Lawrence-Walker:

Javier: Ms. Lawrence-Walker: Javier: Ms. Lawrence-Walker:

Javier, you requested an editing conference? Yeah, I need to fx the spelling. Okay – we can work on that. What have you done in preparation for work on spelling? What? Did you read your piece aloud? How did that revision strategy work for you that we discussed yesterday? Yeah – I read it to Ashkir and I fxed some more stuff. Now I need help with the spelling. Okay – happy to hear you tried reading your paper aloud for a fnal revision check and you feel it was successful. What are the spelling questions you have? Ashkir says I spelled forth wrong. Okay. Fourth and forth. These two words are a little tricky because they sound the same but are spelled differently. [Ms. Lawrence-Walker is writing]. They are homonyms. Fourth refers to a number, like fourth grade. [She writes the number 4 next to fourth.] Okay. There is a different type of forth for when we say back and forth. [She sketches two boys tossing a ball back and forth; she labels the drawing, “forth.”] Okay. I’d like you to write these two words and their defnitions on your personal spelling list. Do you have that? [He fnds his list in his Daily Writing Folder.] Yep. Right here. Great. So, write down those words on your spelling list, add the drawings, and then correct them in your paper. And, Javier, be proud of yourself for trying out the read aloud revision strategy and for seeking help in spelling these words. They are tricky ones – you’ve got them now!

178

The Writing Studio Goes Live

[He grins.] Yep, I am almost ready to type up my paper! Ms. Lawrence-Walker: Yes, you are! What are you doing frst? Javier: Spelling list, fx spelling! Javier:

Ms. Lawrence-Walker illustrates the teacher of writing as a teacher-researcher gathering together data about the writers of her classroom through the teacher–student writing conference. She practices engagement; she is a participant in the process. During the teacher– student conference, the teacher of writing is also a visionary, seeing ahead of the writer and imagining the writer’s potential and next steps as a writer.

Visit the companion website to watch teacher–student writing conferences.

Teacher–Student Writing Conference Illustrated: Writing Goal Conference A specialty teacher–student writing goal conference is when a writer’s accomplishments are noted and new or revised writing goals are written. Prior to a writing goal conference, it is a good idea to have writers complete some kind of Writer Self-Assessment. For younger writers, completing the Writer Self-Assessment orally one-on-one and following up immediately with a new or revised writing goal works best. Preschool–Grade 2 writers will have fewer goals then Grade 3–5. Designing writing goals is a critical step in individualizing instructions; writers do not all have the same goals! That said, there will be trends across any group of writers. If a small group of children all seem to be ready for the same goal, then a small group conference makes sense. All goals move writers towards standards; however, the path writers travel to meet those standards will be different. As the teacher, review the Daily Writing and Cumulative Writing Folder for each writer prior to the writing goal teacher–student writing conference (review Chapter 5).

The Writing Goal Conference Illustrated In the following excerpt, Jon, a Grade 3 writer, meets with his teacher for a writing goal conference. (You can review Jon’s Cumulative Writing Folder & Writer Self-Assessment in Chapter 5.) As you read through the excerpt, note how Jon’s teacher directs the conversation, affrming, nudging, and enjoying the conference: Ok, Jon, we are meeting today to celebrate what you are learning as a writer and to set some goals for the upcoming opinion writing we will be doing. I’ve looked over your Cumulative Writing Folder. I also reviewed the Writer Self-Assessment you did after the science report. Wow, I am loving the way you are developing your voice! I hope you are noticing this, too? Jon: Yay, I really liked Super Boy and the Curse of the Evil Pancakes! Did you see that one in here? (Scrambles through folder to find the piece.) It’s pretty fun, I think! Teacher: It is fun! Who knew pancakes could be so evil? Teacher:

Individual and Collaborative Writing

179

Jon laughs with the teacher. So, what are you learning as a writer that you would like to use when you start writing an opinion? Jon: Mmm . . .I am not sure. Maybe I can write about how people should avoid evil pancakes? (laughs!) Teacher: I am sure you will fnd a topic that is fun and lively, Jon. I am looking forward to what you actually decide to write about. Let me point out a few things I noticed and see if you agree. You mentioned in your Self-Assessment you’d like to practice more on the word processor and fnding facts and images on the Internet. Doing this could be helpful for the opinion paper you write – although you may have to search hard for the evil pancake facts! Teacher:

Both teacher and Jon laugh. Yay – that was fun! I like working on the computer. Teacher: OK – let’s make that a writing goal . . . Jon:

Writing goal conferences like these are yet another way for the teacher of writing to better understand a child’s writing practice and process as well as individualize instruction; it is a time for the writer to practice choice. During seasons of writing goal conferences, spend less time (if any) on mini-lessons and encourage choice and collaborative writing to ensure time to meet with all writers.

Trouble-Shooting the Teacher–Student Writing Conference It takes some time and practice to develop the listening and responding skills required for teacher–student writing conferences. If this is a new skill for you, give yourself grace in learning, enjoy the challenge, and allow children to guide you. Here are some basic recommendations that may be helpful: ♦

Practice listening! Sometimes, we are not really listening, we are thinking instead of what we are going to say or teach. This gets in the way of hard listening. Settle in, breathe, focus on the writer, listen. ♦ A 2-minute timer can be a useful tool for setting limits on a conference. It is easy to “reset” the time for additional minutes. Writers need to know you are using a timer to be equitable. Setting a time on a phone or watch also works – just make sure the timer doesn’t become a distraction for you – or the writer! ♦ Focus the conference on writing. It is easy to be distracted and begin visiting with a child about something besides writing. Sometimes, this is necessary. Let the child lead. There are different results when asking, “How are you doing today?” and “How are you doing as a writer today?” ♦ Consider audio-recording your teacher–student conferences. Inform writers you are doing this so you can improve your conferencing abilities – it is good for children to know we as teachers are still learning! Analyze the recording with these questions:

180

The Writing Studio Goes Live

Who is talking the most (teacher or writer)? What is the quality of prompting questions? How is the conference focused? ♦ Be willing to walk away (and come back later): You make suggestions and the writer pushes back. Give some time and space. ♦ The writer is not prepared for the conference: suggest a “next step” and then promise you will return a little later (mark this in the Teacher Conference and Planning Notebook). ♦ The writer is distracted and uninterested in writing. Invite the writer to listen in with you and “help” you conference so they can continue to learn and then return to their writing.

Small Group Writing Instruction Small group writing instruction is focused instruction based on writers’ interests and needs. Like individual writing conferences, small group writing instruction is a Writing Studio component that meets writers where they are and moves them towards independence. Small group writing instruction flls the space between whole-class writing mini-lessons and individual teacher–student writing conferences. Groups are rarely more than fve students; (in early grades, two to three writers), fexible and changing. Small group writing instruction is not ability grouping. Instruction can be in any area of writing practice, process, and craft. Most small group writing instruction is between 10 and 20 minutes. They are a predictable component of the Writing Studio. Writers anticipate this kind of instruction as it is relevant to their needs and wants. Sometimes, writers themselves even organize small group writing instruction!

Determining Small Group Writing Instruction Determine who needs small group writing instruction based upon data gathered from Roll Call to Action and the Teaching, Conferencing & Planning Notebook. A review of Daily Writing Folders and/or samples of children’s writing can also be used to determine writing groups. (Review Chapter 5.) It is common that groupings emerge after several days or a week of individual teacher–student writing conferences. For example, during the frst week of a unit on writing memoirs, most teacher–student writing conferences will focus on fnding a topic and narrowing that topic. These will also be the objective of the mini-lessons. After 2 days, if there are any writers without a topic, it makes sense to group them and to focus on fnding a topic. After 3 to 5 days of teacher– student writing conferences, the teacher can analyze Roll Call to Action and the Teaching, Conferencing & Planning Notebook data and determine how writers may be grouped according to specifc needs. Writers struggling to narrow their topic could be one group; for another group, a lesson on leads; and for a fnal group, a lesson on transition words.

Small Writing Group Illustrated: Mr. Mackie, Grade 5 Recall Mr. Mackie’s “Songbird, Threatened!” project (Chapter 5, “Roll Call to Action,” and Chapter 6, “Planning for Writing Mini-Lessons Illustrated”). At the end of a week of individual conferencing, Mr. Mackie analyzes his Roll Call to Action and plans for small

Individual and Collaborative Writing

181

group instruction. Four writers, Alannah, Yolanda, Carmelita, and Ada, are working on storyboards, planning to do a chapter book. The writers are writing independently, yet all need support in organizing the facts they are collecting for the songbird covered in different chapters. Three partnerships (Joaquim and Enzo; Maddie and Gabby; Austin and Esteban) have lots of ideas, but all need to fnd a focus for their writing. Lilly and Suelita are both using poetry writing to express their concern for the dwindling numbers of songbirds. Both writers will beneft from a focused lesson on how to show rather than tell scientifc facts in poems. Grouping writers will make the most of Mr. Mackie’s time. He will still have time to meet individually in teacher–student writing conferences with writers he has not placed in writing groups during the week. By the following week, it is highly likely that the needs of writers will change and so will the members of the various writing groups. Choice units necessitate different kinds of small group instruction. During a choice unit, writers may write about any topic and in any genre they choose. Mini-lessons tend to be more general to writing practice, process, and craft: how to gauge and use time, review of revision and editing strategies, and how to slow down to check and sound out spelling words. Writing groups most often gather writers choosing the same genre. There may be a mystery, adventure, fantasy, and poetry instructional group. These groups may stay the same throughout the choice unit, allowing the teacher to specifcally support writers according to genre need. Toward the end of a writing unit, a quick review of writing in Daily Writing Folders allows the teacher to group writers according to editing needs. For example, some writers may need extra support with paragraphing, others with slowing down and reading aloud to edit, others with using end punctuation, some hearing more sounds in each word, and others with noun–verb agreement. Specifc writing goals may also be a reason to convene small group writing instruction. Each writer has individual writing goals; however, usually more than one writer has the same goal. There may be several writers, for example, who have as a writing goal, “I will try a new genre of writing.” It would not necessarily be wise to group together all the children who have this goal if they do not share a common interest. But using data from children’s reading logs, a teacher could group writers who are all reading graphic novels, for example, and introduce them to the genre of informative graphic novels. They could discuss informative topics of interest and then think about how they might be presented in the graphic genre.

Mr. Mackie’s Small Group Writing Instruction Lesson Plan Students: Alannah, Yolanda, Carmelita, and Ada Grade 5 Content Standards ♦ Writing CCSS Standard 2 Write informative/explanatory texts to examine a topic and convey ideas and information clearly. ♦ Writing CCSS Standard 2b Develop the topic with facts, defnitions, concrete details, quotations, or other information and examples related to the topic.

182

The Writing Studio Goes Live

Lesson Objective: Writers will practice organizing facts in a way that makes sense to the reader. Materials:Flowers (Burnie, 1992); a copy of one chapter from each writer’s draft work; example of cut apart sentences about a Junco. Lesson Introduction: “Writers, we are meeting today to learn more about how to organize facts in a way that makes sense to the reader. All of you are writing chapter books about songbirds. Each chapter is about a different songbird. It is helpful to a reader, if a book like the ones you are writing, are organized in the same way, using a predictable pattern, so that the content makes sense to your reader. I think this book, Flowers by David Burnie (1992), will be helpful in illustrating this to you. Let’s look at how this book is organized.” Inquiry with Mentor Text: ♦

Read and study Flowers pages 36–37; 46–47; 50–51 with writers. Note how the facts are organized (introductory paragraph, followed by illustrations and short captions or sentences). ♦ Analyze the introductory paragraph closely: topic sentence as a statement or a question followed by key supporting facts and a closure sentence. ♦ Discuss how the writing and layout work together. ♦

Model: “Here are some sentences that might go in a chapter about a Junco. I’ve cut the sentences apart. Experiment with me to put these in an order that will make sense to the reader. Let’s try and use the same pattern as Burnie did.” ♦

Work with writers to arrange sentences. ♦ There is missing information in the example – if writers do not notice this, ask, “Do you think this paragraph needs any additional information or fact?” ♦ Write a sentence strip together that will fll in the missing information (what Juncos eat). Add it to the paragraph. ♦ Glue all sentence strips onto a new piece of paper once the paragraph is organized in a way that makes sense. Practice: “What if you each try this strategy with your own writing? I’ve made copies of one chapter from each of your books. I’ve even cut apart the sentences for you! Don’t worry – this is a copy! I didn’t cut apart your original! Right now, go ahead and play with different ways you might arrange the sentences. Collaborate as needed. Try to use the pattern that Burnie did in Flowers ( 1992). If you fnd a place where you need more information, leave a little extra space, write a new sentence strip, and place it where you think it belongs. When you think your paragraph is better organized with all necessary facts, let me know, and we’ll check your work together.” Guide: Guide each writer as needed with this task. Closure: “Look what you have done with your writing! You have organized facts in a way that will make sense to your readers. You can glue your new paragraph together and then you can try this strategy with your other chapter book pages. Would some of you consider sharing before and after paragraphs during share time today?” Mr. Mackie’s lesson illustrates how this teaching and learning structure supports specifc needs of writers. Not everyone in the class required this lesson. Conversely, if Mr. Mackie were to do this lesson with each individual during a teacher–student conference, it would

Individual and Collaborative Writing

183

require too much time. By grouping these writers together, he is able to provide focused instruction and feedback that is tailored for Alannah, Yolanda, Carmelita, and Ada at this time in their writing. The beauty of the Writing Studio is how a teacher of writing can teach so many writers with different abilities, needs, and interests. This is accomplished through teaching and nurturing individual and collaborative writing and routines. This then frees the teacher of writing to conduct teacher–student conferences and small group writing instruction. Children are challenged and taught based upon where they are as writers. Each writer is accountable to individual goals that are monitored through carefully documented formative assessment data. In this way, the teacher of writing can teach all children well.

Creating Possibilities from Writing Studio Challenges The Writing Studio Live is a place of movement and motion. Challenges arise as a result of children learning, growing up, taking risks, and their changing needs. See these challenges as possibilities for learning. We will address some common challenges and possible ways for strategically thinking about them, but each situation is always unique and requires the teacher to collect data, listen hard, often seek the wisdom of professional colleagues, and then make a strategic intervention.

The Resistant or Reluctant Writer It happens. Sometimes a writer just doesn’t respond, doesn’t want to talk or engage. We all have moments like these. If, however, a writer has a pattern of non-responsiveness, it is worth collecting additional data. Does the child respond the same in other discipline areas? Are they only “shutting down” during writing? Find out more about the child’s writing history. Co-revise individual goals to be attainable. A resistant or reluctant writer is a signal for inquiry. There are so many possible reasons a child might not want to write: the physical act of writing may be diffcult, the writer is a perfectionist, the writer is already convinced they “can’t do it.” These writers need success. Tap into their interests. If the writer speaks a language other than English, encourage them to write in their home frst language; inquire about their multilingual thinking process, their beliefs about English and their home language. Consider technology: what technologies might support and motivate the writer?

Writer Needs Extensive Support Start where the writer is. Find areas where the child does excel, for example, in art or web design or oral storytelling and use this as a starting point. Start small. Set obtainable goals, positioning the writer for immediate success. Focus on the writer’s interests. Meet with the child’s grownups, the special educator, the English-language development teacher, and/or the counselor. Work together as a team to develop a plan for success. Collaborate! You are not alone!

184

The Writing Studio Goes Live

When Children Write Things That Make You Shudder Writers may include violence or profanity in their work or seem to write too many stories about death or even about forms of abuse. This is where the individual and the context are absolutely critical. Writers fnd inspiration from movies, video games, and graphic novels, so topics found in movies, video games, and graphic novels can seem “normal” for children immersed in such media. If writing is particularly graphic, however, about any of these topics, it can be a writer’s call for help. Consult and collaborate with counselors and specialists and grownups when you have concerns.

When Writers Fly Through Work: “I Am Done!” Sometimes, as writers we are inspired, and we do fy through work! This becomes problematic when it is a habit. Writers develop revision abilities over time; by the end of Grade 3, children are growing in this area. Inquire more about a writer who regularly fies through their work: what are the possible reasons? Ask them! Maybe they are a perfectionist, do not know how to revise, do not see the value of revision (it is “good enough”), or just like to “get things done.” Some writers need direct intervention: “On this piece, I am giving you this challenge: revise in three different places to meet your writing goal. How can you make this happen?”

When the Writing Studio Seems Stuck Time to mix it up! Maybe it is time to write shorter pieces or poetry, create a shared experience from which to write, tap into a new genre, write a class play together, create a “challenge” write, go on a real or virtual feld trip, or how about inviting a local writer or illustrator into the classroom?

When You as a Teacher Feel Disengaged Take yourself on a reading/writing retreat! If you have been reading lots of children’s books, try reading a novel or something you enjoy. Writing too many “examples” for use in the Writing Studio? Write something heartfelt for yourself. Take a teaching risk – try out something entirely new. Go on a hike, run, play pickleball – connect with friends. Better yet, do any of the previous while attending a professional conference (in a great location). Can’t afford this? Invite your friends over and watch a webinar together – or a mindless movie. Pull in close and conference with a writer who you know will inspire you. Check children’s individual goal sheets and tally up all the successes. Teaching in the Writing Studio is rewarding, and it can be exhausting. Mix it up for yourself as well. The individual-collaborative component of the Writing Studio is the center of learning. As we teach children routines, develop their decision-making abilities, set individual goals, and meet with individual and small groups on a regular basis, a rhythm will be established. Writers who receive this kind individualized attention know that they matter. The teacher– student relationship is strengthened, and trust grows as the teacher of writing attends to children in this way, acknowledging their strengths and achievements and, in doing so,

Individual and Collaborative Writing

185

affrming their whole selves. These actions are a way of bringing fulfllment to both the teacher and children.

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter This chapter describes the following individual and collaborative components of the Writing Studio: teacher–student writing conferences, peer conferences, and small group writing instruction. For each of these components: ♦

Defne the component in your own words; ♦ Briefy describe how the component works and its purpose; ♦ Discuss your questions, opinions, and/or experiences with each component, including how the components work together to develop collaboration and independence. OR ♦

If you are currently teaching in a classroom, describe what individual and collaborative components are used to teach writing and compare and contrast them to the components described in this chapter.

Learning with Peers: Discussion Discuss the scenario with your peers. ♦

You have a group of fve Grade 5 boys who like one another, play well together, and want to write collaboratively. Normally, you are hesitant to have fve writers in one collaborative group, but the boys were insistent: they wanted to compose a “really cool” adventure story with “lots of pictures and stuff.” But now, one week into the collaboration, the group is falling apart. They want to compose on the computer, but having fve boys sharing one computer isn’t going well, and although there are more computers in the classroom, they are trying to compose as a group. Rarely do all fve boys seem to be doing writing work; at least two or three of them are “off” in the name of “research” or just playing. You have noticed that on occasion this play has been acting out the adventure they are supposed to be writing. The real problem appears to be disagreement about the story plot. They have a hero, but they can’t decide what the exact adventure is. What are some options?

References Atwell, N. (1998). In the middle: New understandings about writing, reading and learning (2nd ed.). Heinemann. Burnie, D. (1992). Flowers. Dorling Kindersley. Cardullo, J., & Henderson, J. (2013). Writing workshop: Literacy for special needs students. Leadership in Focus, 30, 18–20.

186

The Writing Studio Goes Live

Collaborative for Academic, Social and Emotional Learning (CASEL). (2021). Fundamentals of SEL. https://casel.org/fundamentals-of-sel/ Olea, L. L. (2023). What is the best way to help students with learning disabilities in reading when they are learning two languages, Spanish & English? [Unpublished master’s thesis, Western Oregon University]. Rigg, P., & Hudleson, S. (1986). One child doesn’t speak English. Australian Journal of Reading, 9(3), 116–125.

Chapter 8

Sharing, Celebrating, and Broadcasting Writers and Writing Teacher J’s watch silently vibrates, surprised the time has gone so quickly but here it is, time to close the Writing Studio for today. Most children are writing letters to people in their lives that they love, enjoy, want to thank. It’s been a lively day of conferencing in the Writing Studio: Maribel is writing a letter of longing to her Abuela in Honduras; Sara a letter-poem to her dog, Wolf, who died last week; Azir is flling in details on a drawing contrasting Somalian food with “American” food he wants to send to a cousin; Greg, Noah, and Adam have found the writing of a letter to an alien absolutely hilarious. Meanwhile, Rebekah and Molly have continued their work on a piece about why humans should do more to save whales. Others are writing letters of thanks to former teachers, one to a plumber who didn’t charge their family for fxing a leaky pipe, and yet another to their older sister for “fxing my hair.” Teacher J asks Jeff to use the rainmaker to give writers a notice that in a few minutes, it will be time to share writing and close the Writing Studio for the day. This is a routine Teacher J has taught since the beginning of the year. But as a routine, it is not taken for granted, for it is a celebration of learning. And as a celebration, it is also a time of affrming one another and enjoying the company of writing friends. “Writers, what a day it has been in the Writing Studio! You have been writing with your heart, your imaginations, and using so many writing strategies! Since there has been so much writing today, how about if each of you take a minute to decide one thing to share: a line you wrote, a topic you have chosen, a writing decision you made, maybe a writing craft you tried out, and why this is important to you as a writer. After about a minute, you can fnd a writing friend to share your work.” There is a rustling of paper, a kind of quietness, but it doesn’t take long for writers to be ready to share. They anticipate this time of the Writing Studio – they are ready. As writers fnd their friends and begin sharing their work, Teacher J smiles as Chris says, “That part about thanking the alien for bringing slurpies to earth – that is funny! How did you think of that?” And Julian, “Your letter reminds me of how hard it is not to see my Abuela.” Kobin listens closely to Antonio and asks, “That’s cool how you used that Spanish phrase. What does that mean?” Then Teacher J notices Sara, Molly, and Tommy gathering around Azir asking about his drawing. They all laugh, making the most of all their diverse language abilities.

DOI: 10.4324/9781003409243-14

188

The Writing Studio Goes Live

Teacher J loves these third graders, the sounds of their emerging writing selves, the stories they write and are becoming; this, the joy of being, here, in the Writing Studio. Sharing writing – sharing our words, thoughts, ourselves – is a way of owning our stories, of naming our identities. It is a way of authentically learning from feedback as a laugh, a sympathetic nod, a moment of connection. Dyson’s (2020) research demonstrates how through sharing, “teachers learn about their children, and children beneft from the anticipation of an audience for their work, whom they hope will laugh, or feel sympathy, or simply be informed” (p. 125). Enthusiastic teachers, writing friends, and writing collaboratively – these are some of the social dynamics of writing – and it is often what makes writing enjoyable for both teachers and children. It is this social interaction that grows young writers’ sense of self and provides motivation for sustained writing (Zumbruun et al., 2019). Through sharing their writing, children build relationships and classroom community (Brewer & Nùñez, 2022). Sharing one’s writing is an act of vulnerability, especially if children are writing about what is meaningful and important to them. Helen Keller said, “But if I write what my soul thinks, then it will be visible, and the words will be its body” (Anagnos, 1982, p. 229). For the Writing Studio to be a safe place for children to share their writing selves, the teacher of writing must be diligent in learning the culture of each student, honoring linguistic diversity, acknowledging all that each writer can do, while actively teaching and mentoring children’s social and emotional skills. When children know their whole selves are loved and that their stories are valued, when they have choice and ownership of their writing, they will be more motivated to share their writing with others. Antiracist pedagogy teaches us to be acutely aware of the racism with which children of color live and to be active in validating their lived experiences while acknowledging and resisting the racist structures of schooling, including those structures that reduce writing to menial tasks (Bell, 2001; Love, 2019; Harvey-Torres & Valdez, 2021). Sharing is integral to writing practice. As described in Chapter 7, sharing is part of the feedback loop critical to writers through collaborative writing, peer conferencing and the teacher–student writing conference. We need to know if our writing ‘works” and how our audience responds in order to know how to proceed.

Sharing and Social Emotional Learning in the Writing Studio To engage in sharing writing, the exchange of ideas, giving and accepting feedback, and the celebration of one another’s writing strengths requires an awareness of self and how one belongs and interacts with others. The CASEL 5 (2021) broad areas of social emotional learning competencies guide us in teaching writers the enjoyment of sharing in the Writing Studio’s collaborative environment (Table 8.1). As teachers of writing, we can use the CASEL 5 to guide us in teaching about sharing in the Writing Studio. Writers can be frustrated for many reasons. Having a Calming Space and Anchor Charts can also be useful in reminding writers of SEL characteristics and choices. Review Chapter 3 for suggestions on both Calming Spaces and Anchor Charts.

Sharing, Celebrating, and Broadcasting Writers and Writing

189

Table 8.1 CASEL 5 and Sharing in the Writing Studio

CASEL 5 (2021) and Sharing in the Writing Studio Self-Awareness

Writers develop their writing identities based upon their personal, cultural, and linguistic assets. Through choice, they develop their interests and a sense of purpose for writing. Receiving feedback from the teacher and other writers grows this sense of self-awareness.

SelfManagement

Writers learn self-management skills of self-discipline and motivation by choosing writing goals, having agency in planning their time during the Writing Studio. They learn when and how to take writing breaks that best support them, including when and how to share and when to walk away from a collaborative effort. They notice their feelings and learn to name them.

Social Awareness

Through sharing writing, writers grow empathy and compassion for others. They gain others’ perspectives by listening to their stories, opinions, and preferences. They learn to notice others and their needs.

Relationship Skills

Sharing in the Writing Studio provides an optimum opportunity for writers to practice relationship skills: active listening; collaboration; problem-solving; negotiating conficts; learning cultural and social nuances; seeking help, giving help.

Responsible DecisionMaking

Writers have many opportunities to practice responsible decisionmaking such as: determining writing feedback to accept or reject; choosing writing tools, formats, topics, and classroom spaces that best meet their own needs and those of classmates; deciding on writing challenges and goals; evaluating the consequences of actions during sharing opportunities.

Learning how to share involves learning how to use words in ways that honors the whole selves of children and allows writers to feel safe to share. Johnston (2004, 2012) demonstrates how teachers’ words matter, how even one word can make a difference. For example, Johnston (2012) describes the difference between introducing a spelling test and saying, “Let’s see how many words you know,” and “Let’s see how many words you know already” [emphasis added] (p. 2). Notice and naming is a way of inviting children to become aware of possibilities through the use of our words, “Did anyone notice . . . any interesting words? . . . any new punctuation? . . . any words that are a bit alike?” (Johnston, 2004, p. 13). Noticing and naming develops self and social awareness and relationships; it is useful for both teachers and children to learn this way of thinking/talking: of valuing problems and errors as opportunities, the time and effort learning takes, how learning happens, and collaboration. These beliefs can change the way we frame our teaching; they can change the way we use our words. Table 8.2 draws upon Johnston’s work to provide examples of prompts you can use with writers.

190

The Writing Studio Goes Live

Table 8.2 Sample Teacher Prompts

Rather than saying this . . .

Try this . . .

That’s really good work.

Wow, look at those descriptive words you have used! I am going to read those again! How did you learn this?

I am confused about your piece.

Can you tell me more about what’s happening in this paragraph?

I am proud of you for fnishing this draft.

I bet you are proud of yourself for fnishing this draft.

You need to get to work.

Seems like you are unsettled today. What’s up?

This sentence isn’t correct.

Mmm . . . let me read this sentence aloud. What do you hear?

Now, it is time for you to start revising.

What’s your next step as a writer?

Today, you’ll be working with . . .

Have you thought about sharing this with a writing friend? I think (name) would be interested . . .

You used all commas and hardly What do you notice about the punctuation marks you have any periods. This needs to be fxed. used? Teaching children key phrases to use with one another that demonstrate a value for the work of learning and individual ways of being cultivates self-awareness, social awareness, and relationships in the Writing Studio. Actively teach writers to use these kind of sentence stems when sharing and working collaboratively: ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦

I wonder if, how, why . . .? I like how you . . . How did you think to write that? I think I heard you say . . . have I got this correct? How can I help you today as a writer? Can you show me how to . . .? Your writing reminds me . . . What are you going to do next? Have you thought of . . .? Wow – I want to write like that . . .!

Work with writers to develop lists of helpful phrases to use in the Writing Studio. Anchor Charts and personal goals can be made from these lists (review Chapters 3 and 7). Have children notice and name the various ways writers like to work, approach their writing, the tools they use, the languages and dialects they use, and their differing needs for physical space. Make it a practice to encourage writers to talk to one another, not just to the teacher, “How about I give you some time to visit about this. I’ll check in after a bit.” Position writers as the ones who are becoming-expert, with solutions and the ability to problem-solve. Johnston (2012) challenges us when he writes, “the language we choose in our teaching changes the worlds children inhabit now and those they will build in the future” (p. 7). Our

Sharing, Celebrating, and Broadcasting Writers and Writing

191

words refect our own social-political-gendered-cultural selves; thinking about the words we use, then, implies starting the never-ending journey of developing our own self-awareness as teachers.

Sharing Writing Practice, Process, and Craft Sharing about writing practice, process, and craft positions writers as owners and experts of their writing and can occur throughout the Writing Studio both formally and informally. How this looks and sounds is unique to each Writing Studio; ideas for prompts to focus sharing about writing practice, process, and craft are included so you can begin to think about what you will do in your own Writing Studio. Sharing about writing practice is an act of metacognition and supports writers’ understanding of self, their emotions, and their identities while promoting self-effcacy. Sample writing practice prompts are found in Table 8.3.

Table 8.3 Sample Writing Practice Prompts

Sample Writing Practice Prompts • • • • • • • • • • • • • • •

Where I most like to write in the classroom is . . . Writing tools I really like to use include . . . I am learning that (writing tool) is best for . . . and (writing tool) is good for . . . When I most need feedback as a writer . . . The best kind of feedback for me is . . . How I get ideas for writing (genre) . . . How writing (genre) is easy/hard/fun/boring for me . . . What I do when I get stuck . . . On days when I don’t want to write, it is usually because . . . What I like about collaborating with my writing friends . . . When collaboration doesn’t work for me is when . . . What I can do now as a writer now that I couldn’t do at the beginning of this unit . . . What I learned today as a writer . . . The writing risk I took today is . . . I think I need a new writing goal . . .

Writing process requires self-discipline and motivation to move from fnding an idea to a published piece. As writers, there are some times when inspiration comes upon us and we write quickly and powerfully; more often, writing takes time to percolate as an idea, become words on a page that please us until we can say, “This is done!” When writers share about their process, they learn to value the work of writing, “Today, I felt a little discouraged. I just wanted to be fnished with this essay because I am tired of the topic. Then, I realized I just needed to fnd a friend to talk about some ways to make it more interesting” Or, “I was so stuck and then I started looking at my Mom’s quilt and that is how I got this poem!” Possible writing process prompts are provided in Table 8.4.

192

The Writing Studio Goes Live

Table 8.4 Sample Writing Process Prompts

Sample Writing Process Prompts • • • • • • • • • • • • • • • • • •

Here are the three ideas I brainstormed for a (genre) . . . Finding an idea is easy when . . . Finding an idea is hard when . . . Here are two places where I revised for specifc word choice . . . Here is the way I wrote this the frst time . . .; here is how I revised it . . . Here are two different ways I wrote the conclusion . . . I use a (fgure of speech) to revise my paper . . . Revision is easy when . . . Revision is hard when . . . I did this revision today. It doesn’t really work but I learned . . . I feel . . . about my writing right now . . . I met my goal in this way today . . . What works best during our collaboration . . . what I want to work on next time . . . I tried a strategy today when I was stuck and . . . I tried this new writing tool today and . . . I edited my paper in these ways . . . to make it easy for my reader. I am using this editing strategy to . . . I used a (punctuation type) today to add . . . I learned how to spell this word . . . Here are three ideas I have for publishing my paper . . .

Sharing a writer’s craft demonstrates an understanding of authorship. The more children develop as writers, the more they understand writing craft as opportunity, as ways to own and tell their stories. A conversation about writing traits and how published authors are using these in their writing is a very real way for writers to practice the academic language of authors (review Chapter 2 on writing traits and mentor texts). Sample writing craft prompts may sound like those in Table 8.5. Table 8.5 Sample Writing Craft Prompts

Sample Writing Craft Prompts • • • • • • • • •

Here are the details that I think most support my story I am using this organizational plan because it . . . This is one place in my writing that really shows off my voice . . . I used this specifc vocabulary because I wanted the reader to know/feel/ understand . . . Listen to me read this sentence aloud; I like how it sounds like . . . conveys this message . . . make the character seem like . . . I noticed how (name an author) did (name craft) and so I tried it out in this way . . . This is a fun way I learned to use a . . . (name a punctuation mark) This is how I think the revision process and the editing process were different for me in this piece . . . These are the choices I made about the layout for my piece . . . This is why I made these choices . . .

Sharing, Celebrating, and Broadcasting Writers and Writing

193

Scheduled Public Forums for Sharing in the Writing Studio While sharing can and does occur throughout the Writing Studio, sharing during the closure of the Writing Studio is part of the daily routine. Chapter 3 provides suggestions for setting up the classroom environment for closure. Any of the writing practice, process, and craft prompts work well for closure as they celebrate the work of writing. Many teachers plan for this time by asking specifc writers during individual and collaborative writing time to be ready to share, as not all writers will want to share “on the spot.” This mantra is worth repeating: Know your students! Give writers a choice about when to share, prompt and support those who are still gaining the confdence to share, understand cultural nuances, and work with a writer’s strength. For example, a writer who is an emerging English language learner writes their piece in their home language. Use technology to translate the writing. Have the writer read their work to others in their own language and choose a writing friend to read the translated piece in English, if this is the prominent language in the class, so others can hear the writing in both languages. Ask writers what they notice as they listen to the piece of writing in two languages. Mix things up: sometimes individuals will share with the whole group, other times share in small groups or opt for partner sharing. Tracking who does and does not share in the Teaching, Conferencing and Planning Notebook ensures everyone has this opportunity. Allow writers to audio record reading their piece and have the class listen to this recording as an option. Sharing during closure is usually 5–10 minutes in length; however, this, too, can be adapted to meet writers’ needs. Key to closure is to make sure it is meaningful, truly a celebration of writers. Make this a time writers anticipate! More formal celebrations of fnal writing occur often at the end of a particular unit or natural break in the school calendar and are exciting when they involve an audience wider than the children of one classroom. These author celebrations can look, sound, and feel so many different ways! Kindergarten teacher Ms. Coy invites all grown-ups to attend writing celebrations at the end of each writing unit. Children have the option to share their writing with the whole group, in a small group, or just with their grown-ups. Sharing between grade-level classrooms is another way to increase the audience for author celebrations. For preschool and kindergartners, sharing with an older grade buddy can be affrming. For older students, writing stories for younger students that can then be shared can be motivational. Figure 8.1 Nickolas Shares His Writing

There are teachers we know who literally roll out a piece of red butcher paper or carpet remnant as a runway for authors to walk down and then present their writing. Some teachers

194

The Writing Studio Goes Live

use a special author chair or podium, saved only for author celebrations. Others set up a circuit so writers share their piece more than once to smaller groups. Using a communication platform with audio and video allows for grown-ups who cannot physically be present to still join in via the Internet. Special occasions such as a schoolwide evening or weekend event offer yet another way to celebrate authors at a time when more special grown-ups might attend. Collaborate with young writers to determine ways of sharing writing. If closure share is not going well, brainstorm what is not working and solutions as a class. Ask writers about Author Celebrations and how they would most like to have their work as writers honored. Then, let the sharing begin!

Go to the companion website to watch videos of children sharing, celebrating, and broadcasting their writing.

Sharing, Celebrating, and Broadcasting Writers’ Work Through Publication Broadcasting speaks to publishing the fnal work of an author in alternative formats that allow the writing to be enjoyed by a larger audience. There are so many ways to publish writing (more than we can possibly list here); we highlight a few here to get you started in the broadcasting direction! As authors, when we are ready to broadcast our work through publishing, we think more carefully about design decisions that will draw our readers into the text. Claire, a Grade 3 writer, decided she could open a toe gym! She decided to create a commercial for her Toe Gym idea. (See Figure 8.2.) Figure 8.2 Claire’s Toe Gym TV Commercial

Sharing, Celebrating, and Broadcasting Writers and Writing

195

Claire is making a series of what, where, when, and how decisions about broadcasting her work. She has decided what the piece will be – a commercial. Now she has to decide how the commercial should look. She is working with a series of sketches for her piece, but should her fnal work be on a large poster board? Are the illustrations best at the bottom of the page, or might the text wrap around the illustrations? What colors would enhance this commercial? Should certain fonts be larger, smaller? Conversely, Claire could decide to use an application on a tablet to create her commercial; in many applications, she would then have the choice to add music, record her own voice, use a myriad of graphics and maybe even animation! On the top of the paper, Claire indicates this is a TV commercial, so she could opt to video record this commercial either by herself or collaboratively with friends. The idea of writing a commercial is fun – if other writers in Claire class decide they want to write commercials, this could easily blossom into a class book. Alternatively, Claire could decide that she would like to write a series of commercials for a book. The hands-on experience of creating physical books makes them an attractive option. There are many ways to make books, and books can be shared across classrooms and grades, kept in the classroom library, or even digitized and shared online. (See Chapter 3 for more on bookmaking.) Take some time to get lost exploring the Internet for ways to make books! Consider a grown-up event where children and grown-ups write and create books together. This can be particularly affrming for families who speak a language other than English. Elementary teacher Morgan Turley (2023) makes this excellent observation about bookmaking, “You don’t make a book when it’s perfect, You make a book when you’re proud!” (p. 244). Be generous in allowing time for bookmaking. Make bookmaking supplies readily available and allow children to choose when they want to broadcast their writing in this way.

Figure 8.3 Isaac’s Grade 1 To Sobre Mi ~ All-About Me Book

Where Where should a piece of writing be published? For Claire, she must consider where her commercial will gain the most attention. Maybe that large poster will be displayed in the hallway? What if it “pops-up” on her class website? Or if her commercial becomes part of a

196

The Writing Studio Goes Live

larger class book, this larger book might be displayed in the school or classroom library and be made available for checkout to be enjoyed over and over again. Podcasts or videos can be published to class or school websites or educational YouTube Kid channels. When working with an online technology, know district and school policies, secure grown-up permission, and ensure privacy of children. Claire’s teacher could suggest that her commercial join other pieces of writing on a clothesline strung across the classroom as a colorful celebration of writing. Having pre-cut matboards on hand is useful in making writing look professional on bulletin boards. Or a featured Authors’ Corner where one to three writers’ work is rotated and displayed is affrming to children. Add an “About the Author” short narrative and photo to add professionalism to the display. Perhaps a local business would fnd Claire’s commercial a fun addition to their window! Seeking support from local business and service groups is another space for authors to enjoy a wider audience. Posting on bulletin board spaces or having authors’ present at business lunch events or buddy-read their writing at a senior citizen center – all are possibilities! Additionally, there are local service clubs that often sponsor writing contests that can provide another forum for broadcasting writing by children. In addition to local broadcasting options, there are online publishing opportunities. Many of these sites include writing inspiration and resources for both student-writers and teachers of writing. The published student writing on these sites can serve as useful mentor texts. Here are a few options: ♦ ♦ ♦ ♦ ♦ ♦

826 Digital – Includes a resource library and writing gallery and accepts submissions for publication. Six in School – Based upon Six Word Memoirs, this site is specifc to children. Provides resources and guidelines and accepts submissions for publication. Magic Dragon – Highlights work of elementary writers as an online magazine. Both writing and art can be submitted for publication. Hutch: A Creativity Magazine by Kids for Kids – Publishes monthly online editions of writing and artwork by children in Grades 1–8. The Betty Award – A writing contest for children ages 8–12. Cricket Magazine – Multiple writing contests for children. The website publishes guidelines for these contests.

The advantage of local broadcasting and publishing is that every child has a chance to be publicly affrmed. Submitting writing to a writing contest or for online publication opens the risk for rejection. And, yes, this happens to all published authors! (We know!) This can be a healthy risk and learning possibility for understanding situational demands and opportunities (CASEL, 2021); it is important to teach about this risk and why we take the risk as part of the learning and growing process of becoming-author.

When When should a piece be published? Not all pieces of writing will be read at a community writing night, but some will. Is this the piece for this occasion? Would Claire’s commercial be a fun addition to such a night? Sometimes saving fnal pieces for the right audience can make a difference for optimal response. For example, writers in another Grade 3 classroom

Sharing, Celebrating, and Broadcasting Writers and Writing

197

deliberated on what might make their school a better learning and living space. They determined a used bookstore would be perfect, so they wrote letters to the principal and vice principal. Additionally, they carefully constructed a display board to make their argument and presented this during a meeting of the parent council. And, yes, the parent council worked with the children to set up a used bookstore! Sharing, celebrating, and broadcasting writers’ work takes on new meaning when authors have an audience beyond the known walls of the classroom! We risk more in these situations, and “risk allows children to outgrow themselves” (Fletcher, 1993, p. 17), further moving children toward the goal of being independent writers.

And Now – One More Thing – Because It Matters In Part III, “The Writing Studio Goes Live,” we have focused on mini-lessons, developing writer independence through collaboration and teacher–student writing conferences, and ways of sharing and broadcasting writers’ work. We’ve emphasized throughout knowing children and their families; honoring and developing their cultural, linguistic, and social emotional whole selves; and using principles of Universal Design for Learning (2018) so every child’s strengths are utilized in becoming-writer. Some constant themes have been: be organized, collect informative data, analyze data, and then teach. The Writing Studio live, as we are describing it, is a place of movement, of entanglements (Barad, 2008): live bodies living together in social and political constructs, relationalities, and the constant evolution of all that is matter, means all the beings (living and nonliving) are always changing, constantly in motion, intra-acting. It means teaching and learning is unpredictable, always already possibility, impossibility; it means teaching and learning cannot be orchestrated precisely: we just can’t know for certain the outcomes. Even if there is a script (and there is not), the script itself is not static. This is what brings joy, wonder, and surprise – and, yes, frustration, discouragement, and anger, all emotions of teaching. Hear this in a journal entry from Teacher J: Maribel is restless today; she can’t sit, doesn’t listen, keeps bouncing in her chair and thumping her pencil and as the teacher, I am restless, too, and I can’t fnd a rhythm, and why does the offce call on the intercom right in the middle of the studio and disrupt learning? And why am I thinking about dinner tonight and the discussion I really need to have with my partner, and I really need a different chair to move around the classroom with, and Maribel isn’t telling me something, or I am not hearing her, and why is it she reminds me so much of myself? And why does it sometimes feel the document camera’s bright lights make Ritchie go a little crazy, and, oh, only 6 minutes left and we haven’t started share time, and the bouncing ball Jeff is sitting on does seem to be lulling him almost to sleep but is making Kayla spiral into another sphere . . . yet, there is Azir – how does he do it? He is chatting in Somali (and some English) with Antonio, and even using a few new Spanish words he is learning from him . . . so much (sigh) . . . Creating a safe and caring place where young writers can take risks and discover themselves requires that we also take care of ourselves as teachers. Aguilar (2018) writes, “Learn to recognize your emotion as messengers, as potential sources of energy, and as a fact of human existence. This allows you to pause when emotions come barreling in and to understand what they want to tell you” (p. 50). As teachers, we are learning self-awareness,

198

The Writing Studio Goes Live

social awareness, self-management, responsible decision-making, and relationship skills alongside our students. Aguilar advises, “Self-knowledge is critical in times of turmoil and helps us manage the onslaught of emotions that arise during change or when we want to lead change” (p. 42). Additionally, if we are going to be welcoming teachers to all children and their families, we will need to have self-knowledge about how our own whole selves. Again, Aguilar writes, Dominant culture can make it hard for us to know ourselves. We’re constantly seen by others through dominant views about our gender, race, or ethnicity, sexual orientation, ability, and economic class status – and the many places in which these identities intersect. Furthermore, we buy into those views and adopt them as our own (p. 35). Knowing self is a life-long journey, and the pursuit of this, in the midst of the children we teach, entangles and engulfs us and allows us to name and notice our own strengths and fnd fulfllment as a teacher. (You can learn more and study alongside Aguilar by going to her Onward the Book website.) Learning to recognize and accept entanglements known and unknown, the political, social, linguistic, emotional, physical, environmental intra-action of being we have found is what opens our teaching up to possibilities, keeps us engaged, and cultivates anticipation, “Just what will happen next?” and “What if it is . . .” and “Wow, who knew . . .?” These kinds of perspectives honor the complexity of our humanness, our histories and futures and intraactions with all beings. It “explains” a lot of what is not “explainable” in the classroom, all those “variables” for which educational research cannot account. Accept yourself as a teacher with kindness; know that in the midst of careful organization, planning, and teaching, there are entanglements, relationalities, (re)confgurations – and, yes, this signals transformation, learning, for you and young writers, and it is why we are all becoming.

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter ♦

♦

Describe the connections you see between sharing writing and the CASEL 5 SEL framework. How might you actively teach SEL competencies as a teacher of writing? (If you are in a classroom teaching now, explain how this is or isn’t being done.) What are key elements of a successful Author’s Celebration? Why are these elements important?

Learning with Peers: Discussion With peers, describe your experiences with sharing and/or broadcasting your writing publicly, either as a student-teacher in a classroom or from your own experience as a writer. What conditions made this a rewarding or not-so-rewarding experience? What suggestions do you have to make sharing anticipated and affrming?

Sharing, Celebrating, and Broadcasting Writers and Writing

199

References Aguilar, E. (2018). Onward: Cultivating emotional resilience in educators. Jossey-Bass. Anagnos, M. (1982). Helen Keller. Wright & Potter Printing. Barad, K. (2008). Posthumanist performativity: Toward an understanding of how matter comes to matter. In S. Alaimo & S. J. Hekman (Eds.), Material feminisms (pp. 120–154). University Press. bell, h. (2001). All about love: New visions. William Morrow. Brewer, A., & Núñez, M. D. (2022). Pre-service content area teachers’ perceptions on using writing with CLD students. In T. S. Hodges (Ed.), Handbook of research on teacher practices for diverse writing instruction (pp. 381–398). IGI Global. https://doi.org/10.4018/978-1-66846213-3.ch019 Center for Applied Special Technology (CAST). (2018). Universal design for learning guidelines. https://udlguidelines.cast.org/ Collaborative for Academic, Social and Emotional Learning (CASEL). (2021). Fundamentals of SEL. https://casel.org/fundamentals-of-sel/ Dyson, A. H. (2020). “We’re playing sisters, on paper!”: Children composing on graphic playgrounds. Literacy, 54(2), 3–12. https://doi.org/10.1111/lit.12214 Fletcher, R. (1993). What a writer needs. Heinemann. Harvey-Torres, R., & Valdez, C. (2021). Nadie más puede contar tu historia: Rewriting whose stories matter through an antiracist bilingual writer’s workshop. Language Arts, 99(1), 37–47. Johnston, P. H. (2004). Choice words: How our language affects children’s learning. Stenhouse. Johnston, P. H. (2012). Opening minds: Using language to change lives. Stenhouse. Love, B. L. (2019). We want to do more than survive: Abolitionist teaching and the pursuit of educational freedom. Beacon Press. Turley, M. (2023). Authentic writing time through encouraging everyday language on the page. Language Arts, 100(3), 241–244. Zumbruun, S., Marrs, S., Broda, M., Ekholm, E., DeBusk-Lane, M., & Jackson, L. (2019). Toward a more complete understanding of writing enjoyment: A mixed methods study of elementary students. AERA Open, 5(2), 1–16. https://doi.org/10.1177/2332858419850792.

Part IV

Bringing It All Together – Writing Curriculum

Figure Part IV.1 Teachers Collaborating

DOI: 10.4324/9781003409243-15

Becoming-Writer IV

Sharing, Celebrating, and Broadcasting Your Work as Author

How are you doing as a writer? Have you completed your personal narrative? Are you satisfed with the content, the fow? Are you ready to edit and prepare your writing to broadcast to others?

Editing Strategies for Writers More than likely, you have been editing as you have been revising. This is often the case. But once content is set, then the writer turns their attention to careful editing, making sure the writing is ready to share with others. We recommend the same kind of processes as we wrote about in Chapter 7: ♦ ♦

♦ ♦ ♦ ♦

Read your piece aloud, deliberately reading each word. If you have composed on a computer or tablet, is now the time to print a hard copy for editing? Pay attention to conventions (spelling, punctuation, grammar, capitalization). You can play with conventions – but do so intentionally and because the play adds to the overall meaning. For example, incomplete sentences can create tension, action, or a sense of incompleteness. Conventions give a piece both meaning and readability – they matter now, as you ready your piece to broadcast to others. Make corrections as needed in the fnal piece. Anything you are unsure of, mark and bring to a peer-editing conference. Share your paper with a friend. Ask them to give it an editing read. Have them mark your paper using standard editing symbols. Go ahead – make those corrections (note: “corrections” refers to editing, “revision” to content). Set the paper aside. Let it rest. Come back to the paper later (at least 24 hours is our experience) and check it again: Content set? Editing correct? You are ready to make broadcasting decisions!

DOI: 10.4324/9781003409243-16

204

Bringing It All Together – Writing Curriculum

Sometimes, it is hard to ever feel like a piece of writing is “fnished.” There seems to be one more place to “fx,” a word that is wrong, or a writer can feel overwhelmed with a nasty inner voice saying, “Not good enough.” Ignore that voice! Take this advice from author Elizabeth Gilbert (2015): “At some point, you really just have to fnish your work and release it as is – if only so that you can go on to make other things with a glad and determined heart” (p. 169).

Celebrating, Sharing, and Broadcasting Your Work as an Author How will you share your fnal manuscript? We hope you will read aloud and broadcast your work with peers with whom you are reading Becoming a Teacher of Writing in Elementary Classrooms. We encourage you to: ♦ ♦ ♦

experience reading your personal narrative aloud; publish your work in some form of digital or print version for others to read; make certain there is a way for readers to provide you with feedback, either verbal or written.

Modeling: Donna Publishes “Dust” Donna fnished “Dust,” her memoir about Morgan! To read her memoir and hear a recording of Donna reading “Dust,” go to the companion website. We hope you fnd sharing and broadcasting your work and celebrating the writing of peers energizing! When you have fnished this fnal act of broadcasting your work, take time to practice metacognition one last time.

Metacognition Practice: Writing Practice, Writing Process, Writing Craft Consider the following questions, and after doing so independently, discuss your responses with others who have been writing along this same journey: ♦ ♦

♦ ♦

What do you like best about your fnal piece? Describe the experience of reading your piece aloud to others, as well as receiving feedback from others. Return to Chapter 8 and the discussion about social-emotional competencies and sharing. Consider these in light of your own experience of sharing your writing. Describe seeing your piece published in printed or digital form. What have you learned about yourself as a writer from the process of sharing, celebrating, and broadcasting your personal narrative? How does this infuence how you will organize sharing in your own classroom?

Beginnings: Who Am I as a Writer? asked you to respond to this quote: The frst priority is for teachers to be writers themselves. Only in this way do they learn empathy with their pupils, which enables them to give more space to pupils when

Sharing, Celebrating, and Broadcasting Your Work as Author

205

they are writing and respond more appropriately to their work. They are also then able to model writing “live” rather than repeat what has been rehearsed (Horner, 2010, p. 30). Refect back on your entire writing practice, process, and craft, including fnal broadcasting of your work: how has writing your own personal narrative infuenced your becomingteacher of writing?

Modeling: Donna Practices Metacognition The favorite part of my memoir is the imagery of dust and the line, “As if you can ever leave, behind.” I think my memoir speaks to how life evolves, and twists, and turns, and how, even if we think we have “left,” we haven’t entirely; we still carry with us certain memories and emotions that frame who we become, who we are becoming. Honestly, when I frst read the piece aloud to John, my spouse, there were tears. So – making the audio recording was actually quite diffcult. I practiced reading the piece several different ways, and it took more time than I care to admit to fnally say, “good enough.” I publish academic work, but each semester when I teach the language arts methods course at my university and I write personal pieces with the teacher candidates in my course, I fnd myself nervous about drafting and sharing my writing all over again. We all publish together, read our pieces aloud together, and it is a practice I will continue. Each semester, I become a writer and a teacher of writing in varied and rich ways, all over again, through this experience. The most truthful part of the Horner quote for me is how being a writer teaches me empathy as a teacher of writing. As a writer, I name my own uncertainty; I hear that voice saying, “Not good enough”; I can feel the anxious beating of my heart. Yes, this makes me a more empathetic teacher of writing. Such empathy grows my desire to listen more carefully, see possibilities for my students as writers, even when they cannot. I am grateful to be a writer, I am grateful for what writing can do for me. My desire is that my students, and, yes, you, the reader of this book, can say the same thing.

Tracking Writing Progress: My Writing World If you have been tracking your writing practice and progress by using My Writing World, take time to make the fnal entries and then, to analyze the entries. What do you learn about yourself as a writer and your writing practice? Based upon your analysis, what do you want to remember as a teacher of writing?

Modeling: Donna’s Reflection on Her My Writing World When I analyze My Writing World, what immediately jumps out at me is the time it took to complete this short piece! This speaks to me as a teacher of writing about the kind of time young writers also need to fnish writing. Not all writing takes me this long; sometimes, I fnish pieces of writing quickly. It depends on what I am writing and to whom I am writing. As a teacher of writing, it makes me realize that with all the varied abilities of writers in our

206

Bringing It All Together – Writing Curriculum

Table BW IV.1 Donna’s My Writing World

Donna’s My Writing World Date

Title/Description

Genre of Writing

Writing Process Status B = Brainstorming D = Draft R = Revise E = Edit PC = Peer Conference

5/2

“Morgan” Played around with different writing strategies to fnd an idea. I like the heart map, writing from photos (although I got distracted looking at photos). Found writing craft inspiration from Cisneros.

Personal narrative

B

5/15

“Morgan” Returned to Cisneros’ House on Mango Street.

PN

B

5/20

Met with Mindy about Morgan as my writing topic.

PN

B

5/20

After talking with Mindy, I really wanted to start writing. Drafted 4 pages of rambling text about my Morgan memories.

PN

B/D

5/23

Played around with form and perspective.

N/A

B

5/24

Returned to the writing exercises I completed and read through them. Also – reread Cisneros. Started writing a draft memoir.

Memoir

D

5/26–6/1

Worked on draft on and off – 15–30 minutes at a time.

Memoir

D

6/4

Asked Mindy for a conference – felt stuck. She asks such good questions!

Memoir

R

6/5

It is about THEME. Returned to Brian Doyle as my mentor. Reread a couple of my favorites. In each piece, he tells a story for a purpose. I need a theme.

Memoir

R

6/6–7

Worked on draft on and off. Printed out a copy and left it on kitchen table. I read it; mark it; or leave it alone.

Memoir

R

6/20

I think I am almost “there.”

Memoir

R&E

(Continued)

Sharing, Celebrating, and Broadcasting Your Work as Author

207

Table BW IV.1 (Continued)

Donna’s My Writing World 6/22 & 23

Worked on editing but couldn’t help myself – kept revising! UGH!

Memoir

E (some R)

6/24

Read memoir to my spouse, John. We both cried. This is crazy after all these years! Reading aloud – made additional edits and yes a FINAL revision.

Memoir

R, E, and publish!

6/25 & 26

Finally completed recording the piece while reading aloud. This took multiple times. Feeling a sense of accomplishment.

Memoir

Published!

classroom, marching writers through a schedule of Day 1/Find a Topic, Day 2/Revise, Day 3/ Edit, Day 4/Publish will not only greatly frustrate some writers, but it will also teach writers an unrealistic writing practice, particularly if this is the only schedule writers experience. As a teacher of writing, I want to remain fexible in my scheduling, start where each writer is in their writing practice, and see their practice develop based upon their strengths. For some – they will need this structured schedule to begin; for others, a more open schedule will invite them to write; for all, the hope is growth in writing practice, process, and craft.

As You Are Reading Part IV Bringing It All Together: Writing Curriculum . . . ♦ ♦ ♦

In what kind of an integrated unit might your personal narrative be used as a mentor text? Consider what kinds of writing you might do alongside young writers in the integrated unit. What kind of “live writing” would you be modeling? Each of the units has an “end.” How can you differentiate so that all young writers fnish the required writing?

Thanks for joining us in writing while reading Becoming a Teacher of Writing in Elementary Classrooms. Keep writing – keep growing your identity as a writer. See what writing can do for you as a teacher of writing!

References Gilbert, E. (2015). Big magic: Creative living beyond fear. Riverhead Books. Horner, S. (2010). Magic dust that lasts: Writers in schools – sustain the momentum. Arts Council England.

Chapter 9

Planning for a Year Themes to Integrate Writing Across the Curriculum

It is June, and Teacher J and grade-level colleagues are headed to the teacher inservice day to map out writing curriculum for the following school year. Teacher J keeps the big picture in the forefront as the grade-level team approaches this work. Teacher J’s goal is to create conditions so children can become responsible, literate, democratic citizens in our global world. Teacher J knows every group of children is different – different lives, families, interests, and strengths. And because of these differences, Teacher J goes into the yearlong writing curriculum mapping with a more general outlook, bringing knowledge about writing, writing process, Teacher J’s personal value of the power of writing, and beliefs about who writers are and what they can do to think about curriculum possibilities, purposes, and goals. In preparation for their writing curriculum mapping, Teacher J and colleagues gather their curriculum resources, reread their grade-level standards and their current year long curriculum map, as well as their current weekly lesson plans and their Teaching, Conferencing & Planning Notebooks. They also bring with them hours of informal and formal processing of teaching highs and lows completed over lunch, during recess duty, and at their monthly grade-level meetings and staff meetings. This is energizing work. Teacher J loves the thought of new beginnings, of their continual becoming, and children becoming-writers. The scope of this book is on writing, but writing doesn’t ft into a single tidy square box in a lesson plan book. Writing is both a stand-alone content area and a content area within the language arts. Language arts encompass reading, writing, speaking, listening, and language. Additionally, language arts, in general, and writing, in particular, are inherent in all content areas such as science, mathematics, and social studies. There are specifc content ways in which scientists, mathematicians, and social scientists read, write, speak, listen, and use language (Shanahan & Shanahan, 2008). All of the content areas depend on social emotional learning to support the social and emotional process of learning (CASEL, 2022). When planning a yearlong writing curriculum, it is helpful to balance planning for teaching specifc writing practice, process, and craft within the Writing Studio with plans for integrating writing across the content areas of language arts, mathematics, social studies, science, and social emotional. The intent of this chapter is to work alongside Teacher J and their colleagues and illustrate how a yearlong writing curriculum is designed.

DOI: 10.4324/9781003409243-17

Planning for a Year

209

Yearlong Themes to Integrate Learning Creating a cohesive yearlong curriculum can be challenging. One way to connect children’s learning is to create one to three yearlong themes. The key is to select broad, overarching themes that integrate children’s lives and learning and create opportunities for inquiry that can later be adapted to any given group of children’s specifc interests and needs. Examples of themes are interdependence, equity, change, identity, diversity, justice, action, problem solving, relationships, issues, citizenship, and community.

“Change” as a Yearlong Theme As Teacher J and the grade-level team share around a large table, Teacher J refects, “This year we incorporated three themes: community, change, and big questions. I love how children made connections between the themes and how they synthesized concepts from the content areas to our themes. Yet often it just felt like too much – as if we were part of the pervasive problem in education of trying to do too much in too little time. I’m wondering if we might be open to try one yearlong theme? I think we can develop and expand the theme of ‘Change.’ This theme will provide continuity for our year, will connect to the lives of children, and hopefully will guide them to think about big questions.” Teacher J’s colleagues nod in agreement, willing to try something new together. This is one of the many joys of teaching – having colleagues to collaborate, process, plan, and take risks together in developing meaningful learning experiences for children.

Planning With Standards In this chapter, we use the following content standards to guide our curriculum mapping as a means to show how teachers align, integrate, and spiral content standards into yearlong and monthly units: ♦

♦ ♦ ♦ ♦

Common Core State Standards for English Language Arts & Literacy in History/ Social Studies, Science, and Technical Subjects (NGA Center for Best Practices & CCSSO, 2010a) Common Core State Standards for Mathematics (NGA Center for Best Practices & CCSSO, 2010b) New Generation Science Standards (NGSS Lead States, 2013) C3 Framework for Social Studies Standards (National Council for the Social Studies, 2013) Collaborative for Academic, Social, and Emotional Learning Framework (CASEL, 2022)

Regardless of the content area standards you are required to teach toward, the purpose of this chapter is to illustrate how writing can be integrated throughout content areas and taught throughout the day. Elementary teachers rarely teach a single, isolated content area; rather, elementary teachers are immersed in the planning, teaching, and assessing of all content areas. When one reads through all of the standards for each content area, it is clear that there aren’t enough hours in the day, days in a week, weeks in a school year to teach all of the content areas in isolation. The key is integration.

210

Bringing It All Together – Writing Curriculum

“Change”: Yearlong Integrated Units for Grade 3 As Teacher J and grade-level colleagues examine the language arts, mathematics, science, social emotional, and social studies standards, they think about how they ft together, what has worked in the past, and what they want to teach in the upcoming year. Teacher J knows that teaching an inch deep and a mile wide leaves children exhausted without much opportunity to process, think deeply, and make connections. This is especially true for children who are English learners or those with Individualized Education Plans (IEPs) and 504 plans. Because of this, Teacher J and colleagues create integrated units that vary in length from 3 to 6 weeks to provide time and space to dive deeply into integrated language arts, mathematics, science, social emotional, and social studies learning. Teacher J knows that teaching topics that interest and engage children is key to everyone’s sense of well-being and contributes to the energy of learning. Teacher J and colleagues begin by listing integrated units that have engaged children as well as themselves in past years. They consider new ideas and how these new ideas support the yearlong theme of Change. They discuss how some units will be integrated language arts units and other units will integrate language arts with one or more additional content areas: mathematics, science, social emotional, and social studies. Their brainstorming results in 11 integrated units, each with an inquiry question connecting back to the yearlong theme of “Change.” Then, they go through each of the units and identify the text type and genres for each integrated unit. Next, Teacher J and colleagues identify the content area standards that will be integrated into their units. They cut and paste the various content area standards addressed in each unit, ensuring children will have access to discover and learn all the Grade 3 standards. Their initial planning can be seen in Table 9.1. The content areas in Table 9.1 use the following abbreviations: “LA” for Language Arts, “Math” for Mathematics, “Sci” for Science, “SEL” for Social Emotional Learning, and “SS” for Social Studies. These abbreviations are continued throughout this chapter.

Table 9.1 Grade 3 Yearlong Integrated Units on Change

Month September

Integrated Unit

Integrated Inquiry Question

Content Areas

Text Types

Genres

LA, SS

Choice

All

Classroom Citizenship

How has the role of citizens in the classroom changed since Grade 2? What do these changes mean for the citizens of our current classroom?

LA, SS, SEL

Informational

Classroom contract

October

Climate Change

How is climate change affecting our lives?

LA, Math, Sci, SEL, SS

Opinion

Persuasive letters Informative text responses

November

Memoir Reading & Writing

How does narrative reading and writing change for authors depending on purpose and audience?

LA, SEL

Narrative

Memoir: poetry and picture book

December

Interdependence

How are living beings connected, and how do we affect change on one another?

LA, Sci, SS

Informational

Informative poetry

January

Author Study

How can an author study change my writing practice, process, and craft?

LA

Choice Author

Any

February & March

Investigations

How do investigations change society?

LA, Math, Sci, SS

Informational

Science tri-fold display of an inquiry project

April

Our Community Over Time

How has our community changed over time?

LA, SS

Narrative

Historical fction picture book or short story or photo essay

May

Decision Making

How does decision making change depending on context?

LA, Math, Sci, SEL, SS

Opinion

Graphic novel or essay

June

Life Cycles

How do life cycles change?

LA, Sci

Informational

Multimedia slides

Choice Reading & Writing

How have I changed as a reader and writer this year?

LA, SEL

Choice

Any

211

How have I changed as a reader and writer over the summer?

Planning for a Year

Identity

212

Bringing It All Together – Writing Curriculum

Writing All Day Long, All Yearlong Based on this initial planning, Teacher J and colleagues further develop each of the 11 integrated units using the yearlong theme, “Change.” This kind of planning requires conceptual thinking with attention to specifc content area standards. Teacher J’s thinking is outlined in the monthly unit descriptions that follow.

September Integrated Units: Classroom Citizenship & Identity The “Classroom Citizenship” unit facilitates children getting to know each other and focuses on developing a cohesive classroom community. Integrated curriculum inquiry questions include “How has the role of citizens in the classroom changed since Grade 2?” and “What do these changes mean for the citizens of our current classroom?” The “Identity” unit provides children time to explore their reading and writing identities through free choice of reading and writing text types and genres of their choosing. During this unit, students develop self-awareness, one of the social emotional competencies. It also allows teachers time to conduct beginning-of-the-year assessments (see Chapter 4) and to notice specifc writing interests, strengths, and challenges. An integrated curriculum inquiry question includes “How have I changed as a reader and writer over the summer?” Table 9.2 September Integrated Units: Classroom Citizenship & Identity

September Integrated Units: Classroom Citizenship & Identity Integrated inquiry questions: • How has the role of citizens in the classroom changed since Grade 2? What do these changes mean for the citizens of our current classroom? • How have I changed as a reader and writer over the summer? Writing in the Writing Studio and Content Areas: ELA, SS, SEL

Reading Instruction That Supports the Writing Studio

During the Writing Studio children complete the beginning-of-the-year writing assessments while exploring their writing identities through writing in any text type and genre of their choice. The sharing time of the Writing Studio provides an important opportunity for children to learn more about each other, take risks, develop trust, and build community. Children write during social studies, brainstorming, writing, revising, and editing their Classroom Bill of Rights and Constitution. They also write short opinions in reading instruction, describing which books and authors they enjoy and why.

During reading instruction, children are provided opportunities to read in a variety of genres as they explore their reading identities. The reading instruction supports the work of the Writing Studio through mini-lessons on “Reading Like a Writer” and fnding mentor authors.

October Integrated Unit: Climate Change “Climate Change” is an integrated language arts, mathematics, science, social studies, and social emotional unit focusing on the interaction of population, agriculture, industry,

Planning for a Year

213

geography, weather, and climate. Its integrated curriculum inquiry question is, “How is climate change affecting our lives?” Table 9.3 October Integrated Unit: Climate Change

October Integrated Unit: Climate Change Integrated inquiry question: • How is climate change affecting our lives? Writing in the Writing Studio and Content Areas: Math, Sci, SS, SEL

Reading Instruction That Supports the Writing Studio

During the Writing Studio, children explore the text type of opinion writing. Children write persuasive letters related to climate change. In mathematics, children learn how to read charts and graphs. Children write responses to science and social studies text readings read during reading instruction to make caring and constructive choices about personal behavior and social interactions and responsible decision-making in the classroom setting.

In reading instruction, the teacher models and provides guided instruction on the author’s craft and use of writing traits used in informative and opinion writing with mathematics, science and social studies texts such as weather and climate change essays, reports, newscasts, charts, and graphs.

November Integrated Unit: Memoir Reading and Writing “Narrative Reading and Writing” is an integrated language arts unit investigating writing practice, process, and craft of narrative writing, specifcally memoirs. Its integrated curriculum inquiry question is, “How does narrative reading and writing change for authors depending on the purpose and the audience?” Table 9.4 November Integrated Unit: Memoir Reading & Writing

November Integrated Unit: Memoir Reading & Writing Integrated inquiry question: • How does narrative reading and writing change for authors depending on purpose and audience? Writing in the Writing Studio and Content Areas: LA & SEL

Reading Instruction That Supports the Writing Studio

In the Writing Studio, children dive into the text type of narrative writing through writing memoirs in multiple genres: poetry and picture books. The focus is developing writing practices, process, and craft as memoir writers while developing students’ selfawareness as writers.

Reading instruction also focuses on the genre of memoirs, one of the genres used in narrative text types. Children are immersed in and are guided through discussions about authors’ craft of memoir writing. Children use the authors and texts from Reading instruction as mentor texts for their memoir writing in the Writing Studio.

214

Bringing It All Together – Writing Curriculum

December Integrated Unit: Interdependence “Interdependence” is an integrated language arts and science unit investigating connections within ecosystems. Its integrated curriculum inquiry questions are, “How are living beings connected?” and “How do we affect change on one another?” Table 9.5 December Integrated Unit: Interdependence

December Integrated Unit: Interdependence Integrated inquiry questions: • How are living beings connected? How do we affect change on one another? Writing in the Writing Studio and Content Areas: ELA, Sci, & SEL

Reading Instruction That Supports the Writing Studio

In the Writing Studio, children investigate the writing practice, process, and craft of informational poetry related to ecosystems. In science, children participate in experiments, watch videos, and read texts to build their knowledge of ecosystems as a means to research a topic, write informative poetry during Writing Studio, reinforce responsible decision-making.

In reading instruction, children read informative poetry and investigate the author’s craft and writing traits seen in informative poetry mentor texts.

January: Author Study “Author Study” is an integrated language arts unit where children investigate and inquire about a selected author. Its integrated curriculum inquiry question is, “How can an author study change my writing practice, process, and craft?” Table 9.6 January Integrated Unit: Author Study

January Integrated Unit: Author Study Integrated inquiry question: • How can an author study change my writing practice, process, and craft? Writing in the Writing Studio and Content Area: ELA

Reading Instruction That Supports the Writing Studio

In the Writing Studio, children experiment with being mentored by an author, incorporating the author’s practice or process or craft in their own writing. Broadcasting fnal work is a speaking and audience-response project that aligns with Speaking and Listening standards.

In reading instruction, children read books by varied authors and identify an author they fnd interesting. Children read like writers, identifying writing practice, process, and craft of a single author to use as a mentor during Writing Studio. Literature discussion groups are specifcally directed toward meeting Speaking and Listening standards.

Planning for a Year

215

February and March Integrated Unit: Investigations The “Investigations” unit integrates language arts, social studies, science, and mathematics. Children read, write, and formally present on an investigation of their choice. Science and social studies blocks are combined with Reading and Writing Studios. The integrated curriculum inquiry question for the unit is, “How do investigations change society?” Table 9.7 February and March Integrated Unit: Investigations

February and March Integrated Unit: Investigations Integrated inquiry question: • How do investigations change society? Writing in the Writing Studio and Content Areas: ELA, SS, Sci

Reading Instruction That Supports the Writing Studio

In the Writing Studio, children learn to write like scientists by writing questions, hypotheses, experiment steps, results, and discussion about their social studies/science investigation. During science and social studies, children create and enact experiments to serve as the content for their writing. Children orally present experiments working toward Speaking and Listening standards.

In reading instruction, children read and discuss scientifc texts: experiments and science fair trifolds.

April Integrated Unit: Our Community Through Time “Our Community Through Time” is an integrated language arts and social studies unit investigating the historical changes within the community. Its integrated curriculum inquiry question is, “How has our community changed over time?” Table 9.8 April Integrated Unit: Our Community Over Time

April Integrated Unit: Our Community Over Time Integrated inquiry question: • How has our community changed over time? Writing in the Writing Studio and Content Areas: LA & SS

Reading Instruction That Supports the Writing Studio

In the Writing Studio, children learn the practices, process, and craft of historical fction short stories, picture books, and photo essays. During social studies, children listen to guest speakers, attend feld trips, read texts, and watch videos about the historical changes in their community. Children use the content of their learning in social studies as inspiration for their historical fction stories in Writing Studio.

In reading instruction, children read and discuss historical fction texts.

216

Bringing It All Together – Writing Curriculum

May Integrated Unit: Decision Making “Decision Making” is an integrated language arts, social studies, and science unit investigating interactions of people and objects. Its integrated curriculum inquiry question is, “How does decision-making change depending upon context?” Table 9.9 May Integrated Unit: Decision Making

May Integrated Unit: Decision Making Integrated inquiry question: • How does decision making change depending on context? Writing in the Writing Studio and Content Areas: ELA, Sci, SS, SEL

Reading Instruction That Supports the Writing Studio

In the Writing Studio, children build on their knowledge of opinion writing to draft, revise, edit, and publish opinion essays and/or graphic novels on a topic of their choice. In science, children learn about cause and effect of forces and interactions. In social studies, children learn about decision making related to the economy and government, furthering their understanding of responsible decision-making. The information learned during social studies and science is what drives the content of children’s opinion essays and/or graphic novels in the Writing Studio.

In reading instruction, children read and discuss opinion essays and graphic novels.

June Integrated Units: Life Cycle and Choice Reading & Writing “Life Cycle” is an integrated language arts and science unit exploring the role of inheritance and variation of traits within the life cycle. Its integrated curriculum inquiry question is, “How do life cycles change?” Table 9.10 June Integrated Units: Life Cycles and Choice Reading & Writing

June Integrated Units: Life Cycles and Choice Reading & Writing Integrated inquiry questions: • How do life cycles change? • How have I changed as a reader and writer this year? Writing in the Writing Studio and Content Areas: ELA, Sci, SEL

Reading Instruction That Supports the Writing Studio (Continued)

Planning for a Year

217

Table 9.10 (Continued)

June Integrated Units: Life Cycles and Choice Reading & Writing During science, children write about life cycles of insects and animals through creating multimedia slides, including diagrams with captions. In the Writing Studio, children are provided time to expand their writing identities through writing in any text type and genre of their choice. This investigation builds their self-awareness.

During reading instruction, children are provided the opportunity to read and view a variety of informational multimedia to be immersed in the genre in order to create their own multimedia slides with diagrams and captions about the life cycles of insects. During reading instruction, as students think about how they’ve changed as readers and writers, they continue to read in a variety of genres to expand their reading identities. Reading instruction supports the work of the Writing Studio through mini-lessons on “Reading like a Writer” and fnding mentor authors.

The “Choice Reading and Writing” unit provides children time to expand their reading and writing identities through free choice of reading texts and writing in any text type and genre of their choosing. The integrated curriculum inquiry question for the unit is, “How have I changed as a reader and writer this year?” The Grade 3 team’s yearlong writing curriculum map and the detailed monthly integrated units are a place to start as you think about designing curriculum for your current placement or your future class. Yearlong writing curriculum maps will differ from grade to grade depending on children’s skills, interests, and previous writing experiences as well as the length of the school day and the standards to which you are teaching. Next, we will describe ways to adapt writing curriculum for young writers.

Adapting Writing Instruction for Young Writers There are some important aspects to remember when planning yearlong writing curriculum for the early grades, particularly with preschool and kindergarten writers. James Britton (1970) famously remarked, “Writing foats on the sea of talk” (p. 164). Key to young writers’ development is providing them with ample opportunities to talk with peers and adults so they can develop their oral and written language. “Children discover things to write about by talking – and writing (and listening to the writing of others) elicits more stories” (Newkirk & Kittle, 2013, p. 101). For example, a read aloud or shared reading poem or song can build children’s academic language and vocabulary about a topic, which in turn gives children more to talk about with their peers and write about in Writing Studio. For young multilingual writers, it is useful to build intentional time for students to use their full language repertoires through “authentic, explicit writing instruction that fosters social interaction among the teacher and his or her students” (Schulz, 2009, p. 60). Adapting your writing curriculum to include a stronger focus on illustrating is one way to develop stamina in young writers. “Honoring illustrations as emergent writing actively supports children’s writing identities” (Trujillo & Emerson, 2020, p. 635). Allowing for more time and focus on illustrating is also a beneft for multilingual learners (Pilonieta et al., 2014).

218

Bringing It All Together – Writing Curriculum

Illustrating allows the young writer to tell a story even when they don’t have the oral or written language to write or letter – sound correspondence to express their ideas. It is also vital to allow young writers choice in text types and genre, as well as topics. This will support children in developing their identities as writers. The teacher may focus minilessons on a specifc text type and genre of writing but allow children to decide if they want to try the writing practice, process, and craft their teacher modeled during writing mini-lessons, writing conferences, or their small writing group. Know that young children, like all writers, write to make meaning of their world. Immerse the children in varied and rich texts of all kinds; facilitate shared and interactive writing mini-lessons. For example, teachers of young children can explicitly point out how an author uses captions or labels to highlight important information, or teachers can prompt children to notice how the illustrator used specifc types of details in an illustration or how an author chose a specifc word to describe a concept or character. Often, time is a factor for all teachers, especially in half-day preschool and kindergarten classrooms. It is essential in this situation to integrate writing throughout the day in order to provide children with the necessary time to develop as writers. There are many simple integration strategies: children can write on their individual whiteboards as the teacher models how to sketch a person or how to add a label to a drawing; children can participate in an interactive writing lesson, sharing the pen with the teacher, to record the labels on a classroom jobs chart; when children fnish reading a book in their reading group or listening to a read aloud, they can use a combination of illustrations and words or scribbles to write about the book: their favorite character, something they learned, how the story reminded them of their own life. Children can write lists spurred by the focus of their classroom’s dramatic play area (e.g., grocery list for the grocery store, supplies needed for the fre station, jobs at the post offce). Now let’s take a look at the “Life Cycle” integrated language arts and science unit from Teacher J’s Grade 3 classroom and imagine how it might be adapted for a preschool or a kindergarten classroom.

Illustration: Integrated “Life Cycle” Unit for Preschool and Kindergarten The “Life Cycle” unit from the yearlong theme of “Change” adapted for preschool and kindergarten children integrates language arts and science to investigate the life cycle of frogs. This adaptation takes into consideration young children’s writing and social emotional development and provides opportunities to explore and wonder collaboratively.

Writing in the Writing Studio During Writing Studio, children can write about their feld trip to the local pond. In a preschool classroom, after ample opportunity to talk about the feld trip incorporating all of the children’s languages, the class may orally contribute to a class book about the feld trip as the teacher acts as the scribe. Or the preschool teacher might pull small groups of children to the carpet area to co-create a story as they co-illustrate and co-write using scribbles, letter-like forms, strings of random letters, and phonetic approximated spellings, honoring all stages of writing development. In a kindergarten classroom, children may be ready to write individually or write with a peer using a combination of drawing, dictating, and writing to compose their story about the class feld trip. The Writing Studio might include a variety of mini-lessons on writing practice, process, and craft to support children’s writing about the class feld trip. For example, the teacher might model retelling the sequence of events of the feld trip, or the teacher might model sketching pictures from the feld, two ways writers can brainstorm before drafting their story. A kindergarten

Planning for a Year

219

teacher might teach a writing mini-lesson, facilitate a small writing group, or conduct a teacher– student writing conference to model language standards such as hearing sounds in words, using spaces, capital letters to begin a sentence, and end-of-sentence punctuation, depending on the needs of the children or group of children. After independent writing time, children can share their writing, illustrations, and next steps with their table groups or a writing partner.

Writing in the Content Area: Science During science stations, children rotate through stations throughout the unit to learn about frogs and their life cycle to provide language and concepts to write about during Writing Studio. Stations provide young children with the ability to practice self-management, one of the social emotional competencies (CASEL, 2022), as they take initiative interacting with peers and taking turns without direct teacher guidance and practicing routines for transitioning between stations. One station includes an opportunity for children to observe the frog eggs in the class aquarium that were brought from their feld trip to the local pond. While observing the tadpoles, preschool children are encouraged to draw and write, using any form of writing, their observations in the class science notebook, noting how the frogs change throughout their life cycle. Kindergarten children are encouraged to use a combination of drawing, dictating, and writing to record their observations of the life cycle of frogs in their individual science notebooks. The teacher can model how to draw frogs at each stage of the life cycle, further developing students’ skills as illustrators. Students have access to key vocabulary on the Life Cycle Word Wall to scaffold their spelling. Kindergarteners can use their observations from their science notebooks to write informational books about frogs and their life cycle.

Reading Instruction That Supports the Writing Studio During read-aloud and shared reading, the teacher and children are reading books and singing chants and songs about frogs. These texts provide additional academic and content language and concepts for children to write about in Writing Studio. In preschool classrooms, the classroom dramatic play area might be transformed into a pond where children can pretend to be frogs using the science vocabulary from their feld trip, read alouds, poems, and songs as they interact with peers in their “pond.” In kindergarten classrooms during reading instruction when the teacher reads aloud books and poems and sings chants and songs, the teacher uses interactive writing to cowrite facts they are learning about frogs on a class chart to enhance and reinforce children’s academic language and vocabulary about frogs and life cycles, as well as text features such as labels, diagrams, and captions. Children are also given opportunities to sketch and write down facts they are learning from their reading instruction texts in their individual science notebooks to use during Writing Studio.

“Design Curriculum? I Am Given Curriculum!” Many school districts adopt writing curriculum. The curriculum comes packaged in bright colors, often with several spiral-bound binders and boxes and boxes of “resources.” Where to begin in evaluating and making teaching choices? How does a teacher incorporate this sea of curriculum into the Writing Studio?

220

Bringing It All Together – Writing Curriculum

The companion website includes a “Writing Curriculum Evaluation Tool” for adapting writing curriculum for the specifc interests, strengths, and needs of writers in your Writing Studio. We encourage you to try out the tool to evaluate the writing curriculum used in your placement. Chapter 10 describes the framing and focusing decisions you can make as a teacher either creating or adapting existing curriculum to meet the interests, strengths, and needs of your writers.

The Curriculum Map as a Living Document A yearlong curriculum map is a blueprint for the year. Once the school year has begun and the beginning-of-the-year assessments are completed, the curriculum map will be adjusted for whole-class and individual needs. Chapter 4 describes beginning-of-the-year assessments and provides examples of how to analyze and use these assessments. Chapter 5 describes assessments to inform and celebrate writers throughout the year; these, too, will result in adapting your writing curriculum as you analyze the data generated through their intentional use. Key to knowing when and how to adapt curriculum is to keep the focus on writers and their interests, strengths, and needs. Children as writers drive writing instruction, and if you have organized teaching and learning in such a way that you can hear them, you will know when and how to make adjustments.

Other “Bumps in the Night” and Reasons for Adapting Curriculum Let’s be honest. Starting a unit is the easy part. Bad weather cancels school some days, children are absent, new children transfer into the classroom, unexpected events occur – the school maintenance crew replaces playground equipment right outside your classroom window or maybe a pandemic shifts your teaching online. Additionally, a writer or a group of writers does not fnish their writing for one of your units. Or you fnd you simply lack the interest for the letter-writing unit this year. Sometimes, pieces of writing stay buried in students’ Daily Writing Folders. Then there are pieces of writing started and abandoned in October only to be picked up and completed in April. Remind yourself that teaching and learning, as writing, is a process. Each “bump in the night” is an opportunity: frame it as such. Whatever decision you make in adapting your curriculum, it is both/and, not either/or. Embrace the unexpected: neither our lives nor our curriculum is a predetermined script. Possibilities abound.

Becoming-Teachers of Writing: Applying Key Concepts from the Chapter Pause to consider more deeply the yearlong curriculum map in Table 9.1 and the detailed descriptions of each of the yearlong monthly integrated units. ♦ ♦

What are ways children are provided choice and agency as writers in the monthly integrated units? What are the ways the integrated units can support culturally sustaining practices (e.g., affrming students’ interests, language/s, and culture; variety of ways to

Planning for a Year

♦

221

represent their writing/knowledge)? If needed, review the defnition of culturally sustaining practices in Chapter 3. How does the life cycle of frogs integrated unit refect what we know about young writers’ language and writing development? If needed, review the preschool and kindergarten writer development description in Chapter 1.

Learning with Peers: Discussion Discuss how yearlong and monthly unit plans provide children an opportunity to: ♦ ♦ ♦ ♦

learn content knowledge and skills: mathematics, science, social studies, reading, writing, language; develop social emotional competencies: self-awareness, self-management, social awareness, relationship skills, responsible decision-making (CASEL, 2022); experience universally designed learning: multiple means of engagement, representation, action and expression (CAST, 2018); and affrm cultural and language assets.

References Britton, J. (1970). Language and learning. University of Miami Press. Center for Applied Special Technology (CAST). (2018). Universal design for learning guidelines. https://udlguidelines.cast.org/ Collaborative for Academic, Social, and Emotional Learning (CASEL). (2022). An introduction to social emotional learning workbook. Authors. National Council for the Social Studies. (2013). The college, career, and civic life (C3) framework for social studies state standards: guidance for enhancing the rigor of K-12 civics, economics, geography, and history. Author. www.socialstudies.org/standards/c3 National Governors Association (NGA) Center for Best Practices & Council of Chief State School Offcers (CCSSO). (2010a). Common Core State Standards for English language arts and literacy in history/social studies, science, and technical subjects. Authors. https://learning. ccsso.org/wp-content/uploads/2022/11/ELA_Standards1.pdf National Governors Association (NGA) Center for Best Practices & Council of Chief State School Offcers (CCSSO). (2010b). Common core standards for mathematics. Authors. https:// learning.ccsso.org/wp-content/uploads/2022/11/ADA-Compliant-Math-Standards.pdf Newkirk, T., & Kittle, P. (Eds.). (2013). Children want to write: Donald Graves and the revolution in children’s writing. Heinemann. NGSS Lead States. (2013). Next generation science standards: For states, by states. The National Academies Press. www.nextgenscience.org/ Pilonieta, P., Shue, P. L., & Kissel, B. (2014). Reading books, writing books: Reading and writing come together in a dual language classroom. YC Young Children, 69(3), 14–21. www. proquest.com/scholarly-journals/reading-books-writing-come-together-dual-language/ docview/1621405803/se-2 Schulz, M. M. (2009). Effective writing assessment and instruction for young English language learners. Early Childhood Education Journal, 37(1), 57–62. https://doi.org/10.1007/ s10643-009-0317-0 Shanahan, T., & Shanahan, C. (2008). Teaching disciplinary literacy to adolescents: Rethinking content-area literacy. Harvard Educational Review, 78(1), 40–59. Trujillo, A. R., & Emerson, A. M. (2020). Scaffolding compositions by valuing illustrations in preschool. The Reading Teacher, 74(5), 635–638. https://doi.org/10.1002/trtr

Chapter 10

Planning & Living an Integrated Language Arts Writing Unit It is early March, and Teacher J noticed how much this class of fifth graders love to read magazines – National Geographic Kids, Sports Illustrated for Kids, BMXplus!, anything they can get their hands on from the school library. Even Zane, who rarely reads for pleasure, seems to consume any magazine with a video game review! A colleague commented, “The children in my class rarely even say, ‘I would like to write more fiction,’ let alone something like informative text. They say something more specific, like ‘I want to write sci-fi’ or ‘I am going to write a story like Hena Kahn’.” “Genre.” Teacher J nods in reply. “It is all about genre.” This is what got Teacher J thinking even more about the writers in this year’s class and their love of magazine articles . . . why not introduce the varied genres of magazines? Why not weave a district mandate with children’s interest? True, Teacher J’s curriculum map for April did not include magazine writing, but this is an opportunity too good to miss. Besides, already on the curriculum map is the plan to end the year with all the Grade 5 writers in the elementary school producing a magazine on “space” for an integrated science and language arts unit. A choice magazine unit will position writers perfectly for this grand finale! Truthfully, Teacher J has never taught a writing unit on magazine articles. Teacher J knows it will be messy, it will take time to plan, and yet it will bring a new energy to try something new and teach a genre Teacher J and children enjoy as readers. Teacher J imagines the faces of children when they hear they get to read and write magazine articles. Teacher J can almost hear Zane saying, “I get to read these video reviews for real?” “Yes,” Teacher J thinks, “this is going to be good.”

Teacher J does not have a commercially published magazine article unit to pull off the shelf of their school’s curriculum library. Nor does Teacher J have a list of lesson plans with predetermined lesson objectives that will be delivered in a scripted, artifcial way devoid of the contextual knowledge Teacher J has learned about this unique Grade 5 class of individuals. DOI: 10.4324/9781003409243-18

Planning & Living an Integrated Language Arts Writing Unit

223

Rather, Teacher J knows the interests and abilities of the children in this class based on the ongoing data collected; Teacher J knows the Grade 5 standards and the required statewide assessments Grade 5 children must take in May. This, along with Teacher J’s identity as a teacher of writing, knowledge of writing as a socially situated act, understanding of children’s development as writers, and Teacher J’s experience as a writer, provides solid footing to develop and design an integrated unit of study. This is the ultimate work of the teacherresearcher, the deliberate piecing together of curriculum to move children closer toward writer independence. In this fnal chapter, we travel along with Teacher J through the decisions of planning and living an integrated language arts unit, providing questions to structure unit planning that allow for possibility. In doing so, we will apply, and ask you to apply, key concepts of the Writing Studio presented throughout this book. Throughout this chapter, look for opportunities to interact with the text; be prepared by opening a document or grabbing a piece of paper and jot down your ideas to share in discussion with peers.

Framing Decisions When we discuss unit planning, we use the term framing decisions. Framing decisions guide us as teachers in developing a framework for describing the unit we want to teach. These are planning decisions that work to frame the unit, literally: these decisions “frame” our thinking. Framing decisions include connecting interests and abilities of writers with standards, immersing in the genre to clarify the unit, planning for writing practice, planning for writing process, planning for writing craft, and deciding how much choice writers will have in the unit.

Framing Decisions: Connect the Interest and Abilities of Writers with Standards In the opening scenario, Teacher J illustrates the critical framing step of connecting the interests and abilities of the writers in Teacher J’s classroom with the grade-level content area standards to develop the unit goals. When planning units, teachers start by considering the writing abilities of children in their classroom based upon analysis of beginning-of-the-year assessments that give us information about each of our writer’s development, their strengths, and their needs (Chapter 4). We take children wherever they are along the broad continuum of development, and we begin our teaching from these multiple points. (Chapter 1.) Teacher J has 26 writers. Of these 26 children, 4 need support in reading and receive services with the Reading specialist. Four are multilingual learners, and of these, one is still receiving English language services. The others have just recently exited the English language development program and continue to require additional English-language scaffolding. Three of these multilingual learners are frst-language Spanish speakers; the fourth is a frst-language Somali speaker. Teacher J’s school has a “pull-in” model for English language development services, meaning all multilingual learners stay in Teacher J’s class during reading instruction and Writing Studio and receive additional services with a specialist who collaborates with Teacher J. In addition, Teacher J has one child on a 504 plan diagnosed with ADHD. Jeff has diffculty focusing, along with two students who require behavioral support

224

Bringing It All Together – Writing Curriculum

and two students on behavior plans, Kayla and Kristopher. Sara and Molly are above grade level in reading and writing and need to be challenged appropriately. The remaining children fall loosely into the expected continuum of writing abilities for Grade 5, depending on the day and the writing task. In addition to collecting data and documenting reading and writing development, Teacher J has been observing and noting how these Grade 5 children are growing and maturing through assessments that inform and celebrate writers (review Chapter 5). Now, in March, they are preadolescents, longing for independence. They also have such varied interests – Minecraft, llamas (yes, llamas!), swimming, coding, origami, cooking, skateboarding. This is further evidence of why the magazine writing unit is a good ft: magazine reading is so “adult-like,” students can write about any topic of their choosing, and article writing can be differentiated for various reading and writing abilities. As described in Chapter 2, teachers can read standards as possibility. Teachers need to know their grade level content standards and the difference between text types and genres so they can use this knowledge to make critical connections for children during Writing Studio (and reading instruction). Your district may provide you with a curriculum map indicating which content standards need to be taught each month, or you might be provided a published curriculum aligned with your state’s content standards. Either way, as teachers, we can read these as possibilities and adapt curriculum to any particular group of children. Teacher J’s district curriculum map states that in April, the following Grade 5 Writing and Language CCSS Standards must be taught: ♦

Writing Standard 2 Writing informative/explanatory texts to examine a topic and convey ideas and information clearly. ♦ Writing Standard 5 With guidance and support, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. ♦ Writing Standard 6 With guidance and support, use technology, including the internet, to produce and publish writing as well as to interact and collaborate with others. ♦ Language Standard 2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. Teacher J has a deep knowledge of the standards and their intended purposes and is reminded that “The Standards defne what all students are expected to know and be able to do, not how teachers should teach” (NGA Center for Best Practices & CCSSO, 2010, p. 6). Teacher J understands that an engaging magazine article unit can be leveraged to teach the required district content standards for April.

Pause now and think about the children in Teacher J’s class. Recall what you have learned about the Writing Studio. Why might a magazine article unit be a good ft for Teacher J’s diverse group of writers?

Planning & Living an Integrated Language Arts Writing Unit

225

Framing Decisions: Genre Immersion to Clarify the Unit How do we get started planning a unit? We begin planning by immersing ourselves in the genre, as appropriate for the grade level you are teaching. This is exactly what you will have the writers in your Writing Studio do. Read authentic texts that will interest your writers. Read widely to dive into each writer’s craft of the genre and the ways writing traits are embodied in their texts. Search for texts in languages children and their families speak and read. Search for texts that can be accessed digitally to allow for text-to-speech and other assistive technology support. Make use of school and public library services, frequent used-books stores, and fnd useful online sellers of used print: collect texts of all kinds for possible use in teaching integrated language arts units. Teacher J, for example, heads to the library to fnd engaging children’s magazines based on the interests and languages of children in their class. The magazines must be written well, with engaging text layouts and photographs. A quick fip through the magazines quickly informs Teacher J which titles are too commercial flled with advertisements disguised as articles. Teacher J isn’t interested in reading magazines created for school use, printed on cheap paper, four pages in length with embedded multiple-choice comprehension questions. Teacher J checks out a large stack of magazines, confdent these will capture students’ interests: New Moon, National Geographic for Kids, Odyssey, Muse, Ranger Rick, Little Player, and Ask, to name a few. Teacher J studies these magazines, searching for text types and genres unique to magazine writing, discovering specifc writing craft embedded within the genres exemplifying writing traits Teacher J will highlight in the unit. Table 10.1 details the results of Teacher J’s inquiry. In this table, Teacher J has named the genre, text type, and purpose of articles most prevalent in the magazines and notes the specifc writer’s craft a journalist would use in writing such an article. This will provide the foundation for lesson planning and assessment.

Table 10.1 Magazine Article Genre, Text Type, Purpose, and Writing Craft

Magazine Article Genre

Magazine Article Text Type & Purpose

Magazine Article Writing Craft

Top 5/Top 10

Opinion: Tells you the best places or products (e.g., vacation spots, video games, books)

Written as a numbered list, sometimes with accompanying short paragraphs for each item. Photographs of some or all of the items.

Review

Opinion: Positive and/ or negative aspects about an item (e.g., video games, books, places).

One or more items are reviewed. Facts and/or opinions provided for the item reviewed. Photograph of the item is included.

How To Make/ How To Do

Explanatory: Teach you how to make something (e.g., a craft, recipe) or how to do something (e.g., play a game, spy on your friends).

Step-by-step list of instructions, often with accompanying photographs or graphics. Sometimes includes a simple introduction or conclusion. (Continued)

226

Bringing It All Together – Writing Curriculum

Table 10.1 (Continued)

Magazine Article Genre

Magazine Article Text Type & Purpose

Magazine Article Writing Craft

All About

Informational: Inform the reader about a topic (e.g., animal, region of the world, music).

One or more paragraphs about the topic. Often includes an introduction and conclusion.

Advice

Opinion: Give the reader advice on a submitted question.

Written on topics of interest to children about questions they are concerned with. Often includes the question written in by a reader with a response from the advice columnist.

Debate

Provide two sides or perspectives on an issue.

Written by one or two writers offering different perspectives on an issue relevant to children, sometimes structured with yes/no or pro/con.

Framing Decision: Planning for Writing Practice Ask of the unit you are planning, “What writing practice are associated with this particular genre? What are the writing practices of professional authors writing in this genre? How does this relate to the writers in my grade level?” Recall that we have defned writing practice as developing writing habits and routines that support the writing life. Every writer develops a practice that includes favorite writing tools, writing spaces, and writing process and craft that support the creative and technical processes of writing. Writing practice is the journey of coming to know one’s self as a writer.

What will Teacher J need to consider in scaffolding the writing practice of Grade 5 writers in their classroom? Recall that Teacher J is teaching this unit in April, to build on the writing practice children have been developing throughout the year. Draft a list of possible writing practices you think Teacher J will need to teach. Then compare your list to the one that Teacher J develops in the following discussion.

Teacher J determines that for the magazine writing unit, students will focus on the following writing practice: ♦

Read magazines as a writer to discover writing ideas ♦ Read as a writer to learn the writing craft of magazine-article genres ♦ Use time wisely – avoid rushing through the writing to design ♦ Learn basic article design layout as required by genre

Planning & Living an Integrated Language Arts Writing Unit

227

Framing Decision: Planning for Writing Process Ask of the unit you are planning, “What writing process is associated with this particular genre? Given the specifc writing practice writers in your Writing Studio have and are developing, where should the focus be for this unit?” Recall that we defned writing process as the thinking and talking and drafting and revising and editing and producing that goes into creating meaning through words. Writing processes are not linear, are context dependent, and vary given the writer and the complexity of the writing task. Writing practice is through and with writing process. Table 10.2 shows how Teacher J determines the writing process focus for the magazine writing unit. Table 10.2 Focus on Writing Process: Teacher J’s Magazine Writing Unit

Writing Process

Rationale

Selecting a complementary topic and genre

The unit is a perfect time to practice this writing decision. Example: if a writer wants to write about llamas, does she choose an “All About” genre to describe llamas or an “Advice column” in response to an imagined and specifc reader’s question, or perhaps she specifcally wants to list the steps for shearing a llama?

Drafting under the infuence of a mentor magazine article

A mentor article can guide writers in structure and style. A mentor article is an authentic “template,” and because this is a new kind of writing, it will support all writers’ abilities.

Revising for specifc magazine writing craft

Again, because this is a new unit, writers will beneft from a specifc craft checklist to guide their revisions.

Editing with precision. Broadcasting on class website

Editing for magazine articles must be precise: the audience is the entire subscription base! Final articles will be broadcast on the class website, simulating magazine publishing. This is an authentic reason to edit well.

In the magazine article unit, how can Teacher J teach about writing process: brainstorming, drafting, revising, and editing? There are multiple ways to approach the writing process for a unit; compare your thinking with Teacher J’s (Table 10.2).

Framing Decision: Planning for Writing Craft Ask of the unit you are planning, “What writing craft is associated with this particular genre? How does this relate to the writers in my grade level?” Recall that we defned writing craft as the artistry and technical skills a writer uses to create and convey meaning to specifc audiences. As a writer learns to use writing craft, they better use writing process to create and refne their work and their writing practice deepens. Table 10.3 shows how Teacher J determines the writing practice for the magazine writing unit.

228

Bringing It All Together – Writing Curriculum

Table 10.3 Focus on Writing Craft: Teacher J’s Magazine Writing Unit

Writing Craft

Teacher J’s Thinking

Organizational nuances of the genre

Most magazine articles all have a beginning, a middle, and an end. This unit will reinforce previous learning in this area. However, the beginning, middle, and end look different in an advice column versus a “how-to-do” piece. The unit will provide an opportunity for writers to examine and practice nuanced beginning, middle, and endings.

Specialized vocabulary

Because design is important to magazine writing, I will introduce specialized vocabulary used in journalism: layout, white space, teaser, pull quote, and justifcation. Introduce this vocabulary during this unit to build a foundation for our upcoming integrated language arts and science space unit. During this last unit, writers will actually be designing a magazine and will put these terms to use. The focus in this unit is for writers to hear the words in the context of the magazine discussions.

Genre design as it relates to the writing; writing as it relates to genre design

Writing is adapted and supported by the genre’s text features and layout: headings, subheadings, and use of pictures and illustration. How text wraps around images is important to the meaning of the piece.

How will Teacher J determine the specifc writing craft to focus on during this magazine writing unit? There are many options, more than Teacher J can adequately teach in one unit. Consider Teacher J’s Grade 5 writers and the magazine genre and brainstorm possibilities. Compare your thinking with that of Teacher J’s (Table 10.3).

Framing Decision: Writers’ Choice There is one more teaching decision you must make before further focusing the writing unit you are designing. How much choice will writers have in choosing a topic and/or genre? Remember the vital role of choice for Universal Design for Learning and social emotional learning competencies. Here are some possibilities: writers may have a choice of the topic but not the genre. Or writers may choose the genre and their topic. Or a topic may be narrowed and parameters more limited if it is integrated into a discipline area. In making this decision, review the data: What will develop writer independence? How much choice was provided in previous units? Is it important to be consistent or to mix things up? What will promote learning in the Writing Studio? Teacher J, for example, could choose any of the following for the magazine-article writing unit: ♦

All writers will write how-to articles (same genre) about a topic of their choice. ♦ Writers may choose any magazine genre and topic.

Planning & Living an Integrated Language Arts Writing Unit

229

♦

Writers may choose any magazine genre and topic based upon an inquiry of narrowed possibilities. ♦ Writers may choose a genre for a themed magazine Our Community. However, all topics will be generated from predetermined categories about the community: people, business, recreation, and history. How much choice writers will have infuences the unit goal and individual writing goals. It also infuences management of the unit. For example, if Teacher J chooses the frst option, all writers writing how-to articles, their planning and teaching will be more streamlined. Allowing choice, on the other hand, will allow writers to practice specifc kinds of writing decisions, exercise the independence their preadolescent selves long for, and play toward their varied interests. Teacher J notes that according to the curriculum map, the last unit of the school year is an integrated language arts and science unit; the entire Grade 5 teaching team plans for writers to produce a magazine on space systems. Having experts in various genres of magazine writing prior to this unit would be advantageous. For these reasons, Teacher J chooses the third option: writers may choose any magazine genre and topic based on an inquiry of narrowed possibilities.

Focusing Decisions When planning a writing unit, focusing decisions narrow the unit into teachable actions through a succession of decisions: determining the unit goal, drafting the fnal assessment to refect the unit goal; creating a unit outline; considering and planning for integration, differentiation, and individual writer goals; and drafting weekly plans.

Focusing Decision: The Unit Goal Once you have immersed yourself in the genre you choose to teach; considered the writing practice, process, and craft on which you will focus based on the strengths, needs, and interests of writers in your Writing Studio, including standards they must reach; and determined the how much choice writers will be given in the unit, you are ready to compose a unit goal. Think of a unit goal as a vision statement. It ought to serve as a kind of guiding light when you begin the more detailed work of planning weekly goals, mini-lessons, writing groups, and teacher–student writing conferences. There are multiple possibilities for a unit goal. As with all composing, draft; let the goal sit; revise; play with the wording, being mindful of the nuance of words; talk it over with colleagues; and write again. A unit goal ought to be carefully crafted. Teacher J, after multiple attempts, tentatively writes the following goal statement: Writers will apply their knowledge of writing practices, process, and craft of magazine articles by writing an article in a genre and topic of their choice.

Based on the writers in Teacher J’s class, the genre immersion chart (Table 10.1); Teacher J’s identifed writing practices, process, and craft (Tables 10.2 and 10.3); and the choice writers will be given for the unit, draft a possible unit goal for the magazine unit. Compare the goal you draft with Teacher J’s unit goal.

230

Bringing It All Together – Writing Curriculum

Focusing Decision: Final Assessment How will you know if writers have met the unit goal? What possible criteria and assessment tool will you use? Assessment criteria must align with the unit goal and the specifc writing practice, process, and craft that the unit supports. Recall in Chapter 5 our discussion of assessment practices. Meaningful assessments serve and promote learning; they do not get in the way of learning. Assessments ought to not only inform the teacher and the writer if they met a unit goal but also how they met the goal in order to be useful to future instruction. In Chapter 5 we described writing assessments that inform writing instruction and learning throughout the Writing Studio. We discussed the role of individual writing goals and the Cumulative Writing Folder and Writer Self-Assessment and suggested that fnal pieces of writing from any writing unit are a possible entry into the Cumulative Writing Folder. When designing unit assessments, keep in mind how the unit assessment will support individualized learning goals and provide evidence of writer development toward those goals. Plan for Writer Self-Assessment and how the assessment tool will contribute to the Cumulative Writing Folder. Teacher J designed a magazine article assessment tool that serves as a checklist for writers as they write and gives writers a clear picture of the end goal of the writing unit. Sentence frames are included to scaffold students’ self-assessment narrative to guide them to refect on the standards addressed in the unit. The checklist also acts as a tool for writer self-assessment and teacher assessment (see Table 10.4).

Table 10.4 Teacher J’s Magazine Article Assessment

Student Self-Assessment Checklist

Student Self-Assessment Narrative

Ideas & Content Main ideas are interesting and ft article topic and genre. Supporting details support the main ideas and ft the article topic and genre.

I am proud of the way my main ideas and supporting details are written because . . .

Organization Article fows smoothly for the reader and aligns with the genre. Introduction makes the reader want to keep reading. Conclusion wraps up the article for the reader.

My magazine article is organized because . . .

Word Choice Interesting words related to the topic.

The most interesting words I used were . . .

Teacher Assessment Narrative

(Continued)

Planning & Living an Integrated Language Arts Writing Unit

231

Table 10.4 (Continued)

Student Self-Assessment Checklist Edited with precision for conventions Spelling Punctuation Capitalization Grammar

Student Self-Assessment Narrative

Teacher Assessment Narrative

Review your individual goals for writing conventions. How does your magazine article show that you are working toward your goals? One (or more) writing craft I tried is . . .

What I notice you did as a writer that I haven’t seen you do before . . .

When I write a magazine article for the Space unit, I might try . . .

When you write a magazine article for the Space unit, I wonder if . . .

Study Teacher J’s Magazine Article Assessment tool (Table 10.4). What do you notice about this tool? How will it work? What does it do? Review Teacher J’s analysis of magazine genres (Table 10.1); Teacher J’s thinking work about writing practice, process, and craft; and their unit goal: How will the Magazine Article Assessment tool (Table 10.4) serve writers and Teacher J?

Focusing Decision: How Much Time Should Be Allotted to the Unit? Having determined the unit goal and the fnal assessment, you have a vision for the end of the unit. You can imagine the writers in your Writing Studio accomplishing specifc writing practice, process, and craft. A fnal decision to be made before outlining the unit is to determine the amount of time you will allot to the writing unit and how it may integrate with other disciplines. Make this decision by considering writers’ strengths, needs, and the standards in your district’s language arts curriculum map and other content standards and curriculum maps (see Chapter 9). Also consider the amount of time daily allotted to the Writing Studio. Teacher J allots 70 minutes a day for this purpose. Teacher J had not planned to teach a unit on magazine writing at the beginning of the year, but based on the school district’s new focus on “informative writing” and the interests of writers in Teacher J’s Writing Studio, it made sense to adapt the curriculum map. The

232

Bringing It All Together – Writing Curriculum

original plan was a 5-week unit on report writing. Teacher J decides to maintain the 5-week time slot but convert it to the magazine writing unit.

Focusing Decision: The Unit Outline Once you have made decisions regarding the writing practice, process, and craft you will teach through the writing unit; composed the writing unit goal and unit assessment; and determined the length of time available to devote to your unit, you are ready to begin a unit outline. You do this based on your experience as a writer and as a teacher of writing, on your understanding of the writers in your class, on the required standards and individualized writing goals toward which writers are working, and by applying the knowledge of the genre you are teaching. This, too, like all writing that is thinking, is a process of starts and stops and cycles. Use a calendar format and plan out weekly goals that serve as a scaffold toward moving writers toward the end goal. Keep in mind the varied levels of writers’ development (see Chapter 1). What is realistic for the writers of your Writing Studio? Don’t just act on hunches; review data from your Teaching, Conferencing & Planning Notebook (see Chapter 5) or, if it is the beginning of the year, review these related assessments (see Chapter 4). If necessary, revise the unit goal and related assessment tools. At all times, focus on the writers in your Writing Studio and their writing strengths and needs.

Focusing Decision: Consider Integration Reading and writing clearly complement one another, so as you begin to plan your writing unit, pause, and consider how specifc reading instruction might support the writing you are going to ask your writers to compose. How might integration deepen language arts instruction (Chapter 9)? In reviewing Teacher J’s unit planning thus far, it is clear that writers frst need to be readers of magazine genres in order to become writers of this genre. It makes sense, then, for the writing unit to be introduced during reading instruction. This is a typical pattern of integrated language arts planning: immersion in the genre, followed by writing. This means that a new genre is often introduced in reading instruction while writers are still completing a different genre of writing in the Writing Studio. Then, the focus of the new genre moves into the Writing Studio, even as reading instruction begins to focus on other genres, reading skills, or content areas. This continuous cycle supports the complementary nature of reading and writing. Teacher J uses this cycle in planning for the magazine unit. In Weeks 1 and 2, children begin reading magazines and exploring the genres of magazines in reading while completing their memoir writing unit in the Writing Studio. By Week 3, magazine article genre is the focus of both reading instruction and the Writing Studio. However, in Week 4, reading instruction shifts to students reading science texts in preparation for the next integrated language arts and science space unit, and in Week 4, children as writers focus on applying their knowledge from Weeks 1–4 reading instruction to writing their own magazine articles. Then, in Week 5, students complete their magazine articles and share and broadcast their writing. See Table 10.5 for Teacher J’s Magazine Article 5-Week Unit Plan Overview. The shaded areas in Table 10.5 indicate the magazine article unit.

Table 10.5 Teacher J’s Magazine Article 5-Week Unit Plan Overview

Magazine Article Unit Goal: Writers will apply their knowledge of writing practice, process, and craft of magazine articles to write an article in a genre and topic of their choice. Reading

Writing Studio

Week 2 Reading Goal: Continued exploration of magazine articles. Reading mini-lessons: • Model reading articles and identifying the different genres of magazine articles. • Model reading magazine articles and flling out the Magazine Article Genres Chart. • Reading groups: Self-selected groups by children’s interest in magazine genre. Focus on noticing genre, purpose, and craft of magazine articles.

Week 2 Writing Studio Goal: Edit and broadcast memoirs.

Week 3 Reading Goal: Continued exploration and search for a mentor article. Reading mini-lessons: • Add information to the Magazine Article Genres Chart. • Model fnding a mentor magazine article that will connect with the topic. Reading groups: Groups determined by common reading strategy needed by children. Focus will vary based on each group’s needs.

Week 3 Writing Studio Goal: Identify a topic and genre, and draft under the infuence of a mentor article. Writing mini-lessons: • Model brainstorming a list of topics for magazine articles. • Model selecting a topic. • Model selecting a genre well suited for the topic. • Introduce the Magazine Assessment. • Model planning the presentation/layout of the article using a mentor article and selected journalist vocabulary. • Model writing multiple introductions. Writing groups: Determined by common needs and progress towards mini-lesson goals.

233

Week 1 Writing Studio Goal: Revise memoir writing.

Planning & Living an Integrated Language Arts Writing Unit

Week 1Reading Goal: Immerse children in reading magazine articles. Reading mini-lessons • Determining important information. Reading groups: Self-selected groups by children’s interest in magazine article topic. Focus on determining important information.

234

Table 10.5 (Continued)

Reading

Writing Studio

Week 4 Reading Goal: Immerse children in Space unit texts.

Week 4 Writing Studio Goal: Draft and revise under the infuence of a mentor article. Writing mini-lessons: • Model how to research to fnd more information on a topic. • Model writing main ideas that are interesting and ft the topic and genre. • Model writing supporting details to support my main ideas that ft my topic and genre. • Model organizing main ideas and details to fow smoothly for readers and align with genre. • Model writing multiple conclusion options. Writing groups: Determined by magazine genre writers selected.

Week 5Reading Goal: Continued exploration of Space texts.

Week 5 Writing Goal: Revise, edit, publish, and broadcast magazine articles. Writing mini-lessons: • Model having a conference with yourself. • Model having a peer conference. • Model editing with precision for conventions (spelling, punctuation, capitalization, grammar). • Model creating a published copy of an article. • Model self-assessing article. Writing groups: Determined by common needs and progress towards mini-lesson.

Bringing It All Together – Writing Curriculum

Magazine Article Unit Goal: Writers will apply their knowledge of writing practice, process, and craft of magazine articles to write an article in a genre and topic of their choice.

Planning & Living an Integrated Language Arts Writing Unit

235

Review Teacher J’s Magazine Article 5-Week Unit Plan in Table 10.5. What do you notice about this outline? How does it inform your future integrated language arts planning? ReviewChapter 5and the assessments of the Writing Studio (Roll Call to Action and My Writing World; Daily Writing Folder; and the Teaching, Conferencing & Planning Notebook): How do you envision these assessment tools being used in Teacher J’s outline?

Focusing Decisions: Planning for Differentiation With Universal Design for Learning Having outlined the integrated unit, pause now, and anticipate ways you may need to provide additional supports while reducing barriers for all students, with particular attention to the specifc learning strengths and needs of the children in your classroom. Designing learning to be accessible and challenging for all students with the goal to support specifc learner needs is referred to as UDL. As teachers plan with learner variability in mind, they can consider key tenets of UDL (Meyer et al., 2014): how learners will engage with the lessons (options for recruiting interest, sustaining effort and persistence, and self-regulation), how information will be presented to learners (options for perception, language and symbols, and comprehension), and how learners will be expected to act strategically and express themselves (options for physical action, expression and communication, executive functions). UDL aligns well with SEL competencies: self-awareness, self-management, responsible decision making, relationship skills, and social awareness. Together, UDL and SEL help frame ways to consider the strengths and needs of children in your classroom. Teachers are responsible for designing both the classroom environment (see Chapter 3) and designing instruction to support all learners, particularly learners with specifc learning needs. Anticipate and plan how you will design your learning universally allowing for all students to have access to differentiation. Collaborate with specialists in your school in doing so. Consider multilingual learners who are receiving English language development services: what specifc strengths and needs do they have? Consider their entire linguistic repertoire. And remember in considering this question that there are multiple stages of English language development, so tailor the instruction toward the specifc needs and levels of the English learners in your class. Consider children with IEPs and children with ADHD on 504 educational plans or children with behavior plans. Often children will be receiving services from multiple specialists, for example, multilingual children who are on an IEP. What are these children’s strengths and needs? Perhaps the child might be best served with special education services taught in their home language, or, if the special education specialists are monolingual, translanguaging is a way to tap into students’ multilingual skills (Cioè-Peña, 2015, 2020). Do you have children who are identifed as talented and gifted (TAG)? Again, what are their strengths and needs?

Review the description of the children in Teacher J’s class found at the beginning of this chapter. Make a list of questions refecting additional information you would need to know in order to differentiate the magazine writing unit for them.

236

Bringing It All Together – Writing Curriculum

Teacher J anticipates the needs of the children in the class by adding to the unit outline some strategies designed for specifc children and some strategies that will be available to all children. Antonio, Julian, Maribel, Early Intermediate English Learners. First Language: Spanish ♦

Provide Spanish-language magazines as an option available for students. ♦ Request assistance from English language development specialist to facilitate writing groups as needed. ♦ Encourage children to use their full linguistic repertoire – write in Spanish or English or a combination of both. ♦ Analyze writing for any patterns that may represent a need for specifc language instruction. Azir, Beginning English Learner. First Language: Somali ♦ ♦ ♦ ♦ ♦

Use a magazine article template with a bank of images and key terms in English and Somali that refect a topic Azir is familiar with and interested in as a writer. Use assistive technology to help with translating vocabulary and texts. Ask English language development specialist to conduct teacher–student reading and writing conferences. Analyze writing for any patterns that may represent a need for specifc language instruction. Diffcult to fnd children’s magazines in Somali. Phone mother to see about possible texts.

Jeff, 504 Plan, ADHD ♦

Jeff loves reading magazine articles! His love of the genre will help him focus. ♦ Jeff’s grown-up recently suggested the option of an exercise ball as a chair for Jeff. He will be trying this out during reading instruction and Writing Studio. Molly and Sara, Talented and Gifted Writers ♦

More complex magazine article mentor texts available to inspire more nuanced writing incorporating multiple text features. ♦ Suggest girls write individually and then collaborate on a second article, using a different genre or design. Kayla and Kristopher, Behavior Plans ♦

Prior to transitioning to Writing Studio, the entire class joins in a breathing exercise. Although this is an emotional regulation strategy provided to all students, it is built into the schedule specifcally to meet Kayla’s and Kristopher’s behavioral support needs. ♦ Kristopher has a timer on his watch he sets at the beginning of independent writing to build his stamina as a writer to build and develop his self-management skills. ♦ The Calming Corner is available to all students and is tailored specifcally to address behavioral support needed for Kayla and Kristopher. Kayla frequently uses the tent where she can take a moment to sit in a dark space with her headphones on to reduce sensory distractions. Kristopher prefers the various fdgets and the sensory wall where he can let out energy.

Planning & Living an Integrated Language Arts Writing Unit

237

Focusing Decision: Individualizing Writer’s Goals In the Writing Studio, every writer is really on their own individual learning plan. This is made possible since every child has their individualized writing goals (see Chapter 5). However, as discussed in Chapter 5, while some children require specialized differentiation, most of the writers in any given classroom will have similar writing goals based on their writing development (see Chapter 1). These more general goals can be adjusted based on each writer’s strengths and needs. Whenever you are beginning a new unit and ending another, it is a good time to revisit individual writer goals and revise as needed. This is best illustrated with a review of Teacher J’s Magazine Article Writing Assessment (Table 10.4) and a closer look at one writer’s individual goals. Review Teacher J’s Magazine Writing Assessment and notice how the checklist/assessment items were designed so they can be individualized for each writer. All writers have the same focused unit goals: ideas and content, organization, word choice, and editing with precision. All writers have versions of these goals as their individual goals. For example, Alejandra’s individual writing goal sheet includes the following four writing goals: ♦

I will revise my writing by developing my ideas with additional details and supporting ideas. ♦ I will take writing risks by exploring different ways to conclude my writing. ♦ I will double-check the spelling of words that are plural. ♦ I will learn different ways to format my writing, including attention to headings and subheadings, which will make my writing easier for the reader to understand. At the end of the magazine article writing unit, Alejandra and Teacher J will be able to revisit these goals with new data specifc to magazine writing. For example, if Alejandra chooses to write a how-to article, she will need to focus on several main points and supporting details. Alejandra has a pattern of losing writing stamina toward the end of a piece. Teacher J plans to teach writers different strategies for writing magazine article conclusions during the magazine article writing unit. Alejandra will have ample opportunity and time to work toward her second goal. In this unit, Teacher J plans for all writers to focus their editing skills on conventions, to make sure their work is ready for a wide audience. Alejandra is learning the different rules for making words plural; there should be evidence in her fnal writing that perhaps she has even mastered this goal and is ready for a new spelling focus. Finally, Alejandra has been experimenting with headings and subheadings as meaningful signposts for readers of her work; this also is helping her better organize her writing. All the magazine genres have specifc kinds of headings and subheadings and have additional design considerations that will provide opportunity to show mastery of this writing goal.

Focusing Decisions: Weekly Planning Once you have outlined the unit, you are ready to design weekly lesson plans. These are outlines and possibilities, not directives. Using your unit outline, break the weeks into smaller units and plan according to the predictable schedule of the Writing Studio: writing minilesson, Roll Call to Action, independent and collaborative writing, and sharing. (Chapters 6, 7, and 8.) It is possible that, after drafting weekly plans, you may discover you cannot teach as much as you thought possible when you initially outlined the unit and designed the fnal

238

Bringing It All Together – Writing Curriculum

assessment. If this occurs, return to both, and adjust as necessary. This may result in revising the unit goal as well. Teacher J’s Magazine Article Unit Week 1–5 Plans are detailed in Tables 10.6, 10.7, 10.8, 10.9, and 10.10.

Study Teacher J’s weekly lesson plans. How do they focus on writers’ interests, strengths, and needs? How do they align with the unit goal? How do they support the Writing and Language CCSS standards? What else do you notice about their weekly plans?

Table 10.6 Teacher J’s Magazine Article Unit Week 1 Plans

Reading Week 1 Reading Goal: Immerse children in reading magazine articles. Read aloud mini-lesson focus: Determining important information Reading groups determined by children’s interest in topic: 1. Kayla, Julia, Kylar, Rebekah, Sara, and Manuel: How to Make an Animated Movie, How To article 2. Adam, Ian, Tyler, and Jennifer: Buyer’s Guide, Review article 3. Alejandra, Antonio, Chris, David, and Kristopher: Travel, All About article 4. Jeff, Julian, Noah, Molly, and Isaac: Animal Singers, Top 6 article 5. Azir, James, Jason, Zane, and Maribel: Music & Emotion, All About article Reading group focus: Determining important information Mon

Read aloud: Soda, All-About article Reading groups: 1 & 2 Reading conferences: Adam & Jeff

Tues

Read aloud: Letters to the Editor, Opinion article Reading groups: 3 & 4 Reading conferences: Noah & Maribel

Wed

Read aloud: DIY CSI Lifting Prints & DIY CSI Ink Chromatography, How-To article Reading groups: 1 & 5 Reading conferences: Zane & Antonio

Thurs

Read aloud: DIY CSI Shoe Prints, How-To article Reading groups: 2 & 3 Reading conferences: Manual & Julian

Fri

Read aloud: Ancient Birds, All-About article Reading groups: 4 & 5 Reading conferences: Jennifer & Kobin

Writing Studio Week 1 Writing Goal: Revise memoir writing.

Table 10.7 Teacher J’s Magazine Article Unit Week 2 Plans

Mon

Read aloud: Defend yourself, How-To article Reading group: 1 Reading conferences: Azir, Alejandra, Chris & Jeff

Tues

Read aloud: Malala Yousafzai, All about article Reading group: 2 Reading conferences: David, Greg, Ian, and Jeff

Wed

Read aloud: Cool inventions, Top 3 article Reading group: 3 Reading conferences: Isaac, James, Jason, and Jeff

Thurs

Read aloud: Cell phone, Debate article Reading group: 4 Reading conferences: Julia, Kayla, Kyler, and Jeff

Fri

Read aloud mini-lesson: Top 5 Open Water Moments, Top 5 article Reading group: 5 Reading conferences: Molly, Rebekah, Sara, Tyler, and Jeff

Writing Studio Week 2 Writing Goal: Edit & broadcast memoirs.

Planning & Living an Integrated Language Arts Writing Unit

Reading Week 2 Reading Goal: Continued exploration of magazine articles Read aloud mini-lesson focus: Magazine Article Genre Chart Reading groups determined by children’s interest in magazine genre, one group based on students’ interest in reading a magazine article in Spanish 1. How To (Spanish), Brazaletes de amistad: Adam, Manuel, Julian, Maribel, Zane 2. How To, Make comics: Antonio, Noah, Molly, Sara, Kayla, Tyler 3. Review, skateboard product reviews: Azir, Alejandra, David, Greg, Jason, Kobin 4. Debate, purpose of sports: Jeff, Jennifer, Julia, Kristopher, Rebekah 5. All About, illustrator, Hatem Aly: Chris, Ian, Isaac, James Reading group focus: Noticing and naming writing genre, purpose and craft of magazine article

239

240

Table 10.8 Teacher J’s Magazine Article Unit Week 3 Plans

Writing Studio Week 3 Writing Goal: Identify a topic and genre, and draft under the infuence of a mentor article. Writing group focus: Determined by common needs within genre groups and progress toward daily writing mini-lesson goals. Analyze data from Roll Call to Action, Teaching, Conferencing & Planning Notebook to form groups. Teacher–student writing conference focus: Individual needs and progress toward daily writing mini-lesson goals.

Mon

Read aloud: GMO, Debate article Reading conferences: Antonio, David, Isaac, Manuel, Julia, Tyler

Writing mini-lesson: Model brainstorming a list of topics for magazine articles. Writing group: Created based on Roll Call to Action. Writing group focus: Creating a list of possible topics or writing group’s needs. Writing conferences: No individual writing conferences; only groups. Sharing: Possible topics writers are exploring

Tues

Read aloud: GMO, Debate article Reading conferences: Zane, Rebekah, Noah, Kobin, James, Alejandra

Writing mini-lesson: Model selecting a topic from my brainstormed list. Writing group: Created based on Roll Call to Action. Writing group focus: Selecting a topic and magazine genre or writing group’s needs. Writing conferences: Sharing: Genre/topic connections.

Bringing It All Together – Writing Curriculum

Reading Week 3 Reading Goal: Continued exploration and search for a mentor article. Read aloud mini-lesson focus: Magazine Article Genre Chart Guided reading groups determined by strategy need. • Read a challenging article in Spanish: Adam, Maribel, Zane • Identify writer’s craft in article: Jeff, Chris, David, Kayla • Determine important information: Manuel & Julian Reading group focus: Noticing and naming writing genre, purpose, and craft of magazine article. Select a mentor article.

Read aloud: Sumo wrestlers, All About article Reading conferences: Azir, Chris, Jeff, Julian, Kayla, Maribel

Writing mini-lesson: Model selecting a genre well suited for my topic. Writing group: Created based on Roll Call to Action. Writing group focus: Selecting a genre well suited for topic or writing group’s needs. Writing conferences: Sharing: Genre/topic connections.

Thurs

Read aloud: Sumo wrestlers, All About article Reading group: 1 Reading conferences: Aaron, Gavin, Ian, Sara

Writing mini-lesson: Introduce the Magazine Article Assessment and model using my mentor article as a guide to plan the layout/presentation of my article. Writing group: 1 Created based on Roll Call to Action. Writing group focus: Plan layout/presentation on paper. Writing group: 2 Created based on Roll Call to Action. Focus: Plan layout/presentation with ShowMe application. Writing conferences: Based on Roll Call to Action. Sharing: Select writers based upon writing conferences.

Fri

Read aloud: Gaming tricks, Top 5 article Reading groups: 2 & 3 Reading conferences: Kristopher & Jason

Writing mini-lesson: Model writing multiple introductions to my article. Use mentor texts that use different craft for introductions (e.g., question, dialogue, description). Writing groups: Meet with children in their genre groups. Writing group focus: Introductions for genre. Sharing: Select writers based upon writing conferences.

Planning & Living an Integrated Language Arts Writing Unit

Wed

241

242

Bringing It All Together – Writing Curriculum

Table 10.9 Teacher J’s Magazine Article Unit Week 4 Plans

Writing Studio Week 4 Writing Goal: Draft and revise under the infuence of a mentor article. Writing groups determined by the genre children selected: 1. Advice: Julia 2. How-To Do: Alejandra, Antonio, Zane 3. How-To Make: Jeff, Kayla, Maribel 4. Top 3/5/10: Adam, Greg, Isaac, Kobin, Kristopher, Tyler 5. All About: Chris, David, James, Jennifer, Rebekah 6. Review: Ian, Jason, Julian, Noah 7. Debate: Sara, Molly Writing focus: Common needs within genre groups or progress toward daily writing mini-lesson goals. Writing conference focus: Individual needs or progress toward daily writing mini-lesson goals. Mon

Writing mini-lesson: Model how to research to fnd more information on my topic, Top 5 Family Hikes. Read and take notes from three sources: blog, travel guidebook, local paper. Writing groups: All About, Top 3/5/10, Review Writing conferences: Ian, Jeff, Kyler Sharing: How and why writers made information choices

Tues

Writing mini-lesson: Model writing my article so my main ideas are interesting and ft my topic and genre. Writing groups: How To Do, How To Make, Debate Writing conferences: Julia, Molly, Rebekah, Sara Sharing: Select writers based upon writing conferences.

Wed

Writing mini-lesson: Model writing supporting details to support my main ideas that ft my topic and genre. Writing groups: Based on Roll Call to Action Writing conferences: Based on Roll Call to Action Sharing: How and why writers chose supporting details

Thurs

Writing mini-lesson: Model organizing my main ideas and details so my article fows smoothly for readers and align with my genre. Writing groups: Based on Roll Call to Action Writing conferences: Based on Roll Call to Action Sharing: How writers fgured out a writing problem

Fri

Writing mini-lesson: Model writing multiple introductions to my article. Use mentor texts that use different craft for introductions (e.g., summarize most important information, ask a question, evoke a feeling, give a command). Writing group: Review article (Julian & Noah) Writing conferences: Based on Roll Call to Action Sharing: Creative introductions.

Planning & Living an Integrated Language Arts Writing Unit

243

Table 10.10 Teacher J’s Magazine Article Unit Week 5 Plans

Writing Studio Week 5 Goal: Revise, edit, publish, and broadcast magazine articles. Writing group focus: Common needs within genre groups, progress toward daily writing mini-lesson goals. Writing conference focus: Individual needs, progress toward daily writing mini-lesson goals. Mon

Writing mini-lesson: Model having a conference with myself Writing group 1: Julia, Kristopher, Molly, Sara, Focus: Feedback from Teacher J Writing conferences: Based on Roll Call to Action Sharing: Strategies writers used for having a self-conference

Tues

Writing mini-lesson: Model having a peer conference Writing group: Based on Roll Call to Action Writing conferences: Based on Roll Call to Action Sharing: What writers learned from a peer conference or new strategies for making peer conference more effective

Wed

Writing mini-lesson: Model editing with precision for conventions Writing group: Based on Roll Call to Action Writing conferences: Based on Roll Call to Action Sharing: Editing challenges and how writers overcame them

Thurs

Writing mini-lesson: Model making design choices for fnal publication Writing group: Based on Roll Call to Action Writing conferences: Based on Roll Call to Action Sharing: Cool design choices

Fri

Writing mini-lesson: Model self-assessing my article Writing group: Based on Roll Call to Action Writing conferences: Based on Roll Call to Action Sharing: Writers share what they did as writers in the magazine writing unit that they hadn’t done before

Contingency Plans Writers may need extra time to publish their work. If needed, merge reading instruction and Writing Studio on the last day. Not all writers will fnish at the same time. Options for early fnishers: • Volunteer as a peer editing coach • Volunteer as a computer coach for design or uploading work to web • Independently or collaboratively read magazine articles of choice

244

Bringing It All Together – Writing Curriculum

Decisions Once the Writing Studio Is Live Once you are living the unit plan you have developed, you will make a series of decisions based on data you collected in the Reading and Writing Studios. These are decisions made live, in action, while teaching. You will be living the rhythm of the studio: the teacher collects data via the Roll Call for Action, My Writing World, and the Teaching, Conferencing & Planning Notebook; the teacher analyzes the data; based on the data, the teacher adjusts and individualizes instructions. To gain a sense of the rhythm of the Writing Studio and the kinds of decisions made during the teaching of a writing unit, review Table 10.8 and then read and analyze Teacher J’s refective analysis written at the end of Week 3 of the magazine writing unit.

Teacher J’s Week 3 Reflective Analysis Writing Mini-Lessons After two weeks of immersing themselves in reading magazine articles, the class is excited that they are FINALLY going to be able to write their very own magazine articles. The mini-lessons were kept short on Monday, Tuesday, and Wednesday, which allowed me to have more time for writing groups and writing conferences. Sara, Molly, Ian, and Kobin could hardly contain themselves as I modeled brainstorming my list of topics to write about; they wanted to get started on their own lists immediately! Thursday’s mini-lesson took longer than I planned. I shared the Magazine Article Assessment so the children could clearly see the writing goals for their magazine article. I also modeled drafting my article’s layout/presentation using my mentor article while deliberately using some of the vocabulary of journalists: white space, justifcation, and pull quote. During partner discussion, it was evident children had a clear sense of how to plan the layout/presentation of their article. It would have been a more effcient use of time during Friday’s mini-lesson if I had read the three mentor articles showing different ways magazine-article authors write introductions during reading instruction.

Writing Groups Meeting in writing groups by common needs based on the daily writing mini-lesson goals worked well this week. Monday, Julian, Maribel, Greg, and Jeff all asked during the Roll Call to Action for help brainstorming a list of interesting topics to write magazine articles about. We spent a few minutes orally brainstorming ideas and thumbing through some magazines for ideas. Once writers had some ideas, they began writing their lists furiously. Tuesday, I facilitated a writing group with Azir, Noah, Antonio, and Adam to help them select an interesting topic from their brainstormed list. It was a lively discussion with children’s voices layering over each other’s as they tried to convince one another which topics they found most interesting. It was encouraging to hear Azir actively engaged in the conversation with his emerging English interspersed with Somali. Wednesday, I had the children that weren’t sure what genre they wanted to use in writing their magazine article stay in the carpet area after the mini-lesson. Together we spent a few minutes discussing genre options for Antonio. This helped the group as a whole have a better understanding of the thinking behind determining which genre to select and that several genres can work for a single topic. For example, Antonio’s idea about kickball could be a how-to article on learning to play kickball or an all-about article discussing the origins of the game and versions of the game. He could write a

Planning & Living an Integrated Language Arts Writing Unit

245

Review article about the best and worst parts about playing kickball or even a debate article, writing from two perspectives of why children should be allowed or not be allowed to play kickball at school. I framed these choices as “writer decisions.” By the end of Writing Studio on Wednesday, everyone had a topic to write about and a genre that aligned with their topic – whew! Thursday, I facilitated two writing groups. One group was for children wanting help planning their article’s layout/presentation on paper. The other group was for children who wanted a quick tutorial on how to use an iPad application to plan their layout/presentation. Luckily, Sara had used the application previously and was able to help her peers when I transitioned to a writing conference. Friday, I asked writers to sit at tables by genre. I was able to meet with fve of the seven genre groups (All About, Top 3/5/10, How To Do, How To Make, and Review) for short, guided writing conversations about how the leads of their genre mentor texts. These genre-based discussions helped writers discover a variety of possible lead options. After reading through the writers’ Daily Writing Folder after school on Friday, I noted six children (Ian, Jeff, Kristopher, Molly, Rebekah, and Sara) didn’t have any introductions written. I reminded Kristopher to set the timer on his watch at the beginning of independent writing time so he could manage his time and offered stopwatches to any other student interested in this strategy. Ian and Rebekah took stopwatches. All of these students are still working on various layout/presentation ideas on their tablets. I will need to check in with these writers early next week to make sure they have some possible introductions written and are progressing in writing their magazine articles.

Writing Conferences I conducted writing conferences on Monday, Tuesday, Wednesday, and Thursday. I checked in briefy with Jeff on Tuesday, Wednesday, and Thursday to see if the strategies we were trying out (standing when needed and sitting on a yoga ball) were helping him stay on task. He said he really liked being able to sit on the yoga ball and write in the back carpet area where it is quieter. We are making progress! On Wednesday, Julia requested a writing conference because she was ready to start writing her Advice column and wanted permission to talk with a few children in the class to “write in” with issues at school for her to respond to in her column. I met with Azir on Thursday after his writing group lesson to provide him with a how-to-make article template to guide his layout planning.

Sharing Monday, I had Maribel and Julian share their brainstormed list with the class. They rarely volunteer to share, and I knew they both had generated a solid list of topics during our writing group lesson. On Tuesday and Wednesday after a quick Roll Call to Action at the end of independent and collaborative writing time, all the children shared their topic and genre. On Thursday, Sara and Molly volunteered to share how they were collaborating to design the layout/presentation for their debate article on whether we should keep animals in zoos. Friday, I asked the children in the all-about genre to share their introductions: Chris, David, James, Jennifer, and Rebekah.

What can you notice about Teacher J’s refective analysis? If you were Teacher J, what decisions would you make about the next instructional week of the magazine unit? Would you adjust or adapt any mini-lesson plans? (Review Table 10.9.) What writing mini-lessons, small group instruction, and teacher–student conferencing plans might you make?

246

Bringing It All Together – Writing Curriculum

Designing and living a writing unit specifcally created for the writers in your Writing Studio can be one of the most satisfying aspects of teaching. There is no set formula to planning and teaching writing, but the guiding principles of unit planning and teaching described in Becoming a Teacher of Writing in Elementary Classrooms can be adjusted and adapted to support the learning of diverse children in many contexts and introduce them to all that writing can do for them.

[Always] Becoming a Teacher of Writing – An Open Invitation Throughout this book, we have attempted to illustrate the Writing Studio as a place where writers engage in meaningful writing practice, process, and craft, as an act of writing our lives into existence (again), of becoming-writer. Natalie Goldberg (1986) says it best: “Writers live twice” (p. 48). We live life, and then we write our life. Writing, as a beautiful human endeavor, is possibility. The possibility to write our lives, to story our experiences, in whatever way we choose. As writers, our voices, our selves tumble, now sweep, then cry and laugh, argue and protest, fall silent, only to rise again and embrace an uncertain future across the pages, behind the commas, around the semi-colons, defying a period that can end, proclaiming, “Here! I Am Here! I matter.” As teachers of writing, we have the extraordinary opportunity to open up this writer’s life to children, as a gift, as a way of living. And so, the invitation remains open: Welcome to the journey of becoming-writer, even as you continue living and writing your own story of becoming-teacher of writing: May you never arrive, may you know joy in the practice, gratefulness in the process, wonder in craft, and generosity in sharing.

References Cioè-Peña, M. (2015). Translanguaging within the monolingual special education classroom. Theory, Research, and Action in Urban Education, 4(1). Cioè-Peña, M. (2020). Bilingualism for students with disabilities, defcit or advantage?: Perspectives of Latinx mothers. Bilingual Research Journal, 43(3), 253–266. https://doi.org/10. 1080/15235882.2020.1799884 Goldberg, N. (1986). Writing down the bones: Freeing the writer within. Shambhala. Meyer, A., Rose, D. H., & Gordon, D. (2014). Universal design for learning: Theory and practice. CAST. National Governors Association Center for Best Practices & Council of Chief State School Offcers. (2010). Common Core State Standards for English language arts and literacy in history/social studies, science, and technical subjects. Authors. https://learning.ccsso.org/wp-content/ uploads/2022/11/ELA_Standards1.pdf

Index agency 36, 51, 55, 88, 104, 111, 118, 119, 122, 170, 176, 189 Aguilar, E. 197–8 Argueta, J. 40, 40 Ascenzi-Moreno, L. & Espinosa, C. 19 assessment see Cumulative Writing Folder; Daily Writing Folder; formative; grown-up surveys; My Writing World; observations; Roll Call to Action; rubrics; student writing samples; summative; Teaching, Conferencing & Planning Notebook; writer self-assessment; writer surveys Atwell, N. 6, 15, 23, 24, 50, 64, 103, 106, 165 becoming-collaborative 166–7 becoming-independent 170–1 Becoming-teachers of writing: applying key concepts from the chapter 24, 47–8, 68, 100, 131, 162, 185, 198, 220–1 Becoming-Writer celebrating, sharing & broadcasting your work 203–7 Becoming-Writer strategies for editing your work 203–4 Becoming-Writer strategies for fnding an idea 3–11 Becoming-Writer strategies for playing with form and developing an idea 72–6 Becoming-Writer strategies for revising and conferring 135–41 beginning-of-the-year assessments 78, 78–100; see grown-up surveys; observations; student writing samples; and writer surveys Bowles, D. 40, 40 C., F. 19 C3 Framework for Social Studies Standards 209 case studies see synthesizing data Center for Applied Special Technology (CAST) 51; see also Universal Design for Learning celebrating; and sharing choice 32, 35, 45, 47, 51, 89, 123, 165, 170–1, 179, 181, 189, 193, 211, 212, 215, 216–7, 218, 227, 228–9, 229, 233–4

collaborative writing: 52–3, 105, 165, 166; collaboration and multilingual learners 167; collaboration and technology 167; collaboration through peer conferencing 168–9 Collaborative for Academic, Social, and Emotional Learning (CASEL); see also social emotional learning Common Core State Standards for English Language Arts and Literacy in History/ Social Studies, Science, and Technical Subjects (CCSS) 30–6; CCSS Writing Anchor Standards 33; CCSS Language Anchor Standards 35 Culham, R. 41, 42, 43, 44, 45 Culturally Sustaining Pedagogy 51, 62–4, 63, 65, 65–7, 165, 220; see Writing Studio snapshots; and integrated language arts units Cumulative Writing Folder 80, 85, 89, 105, 119–25, 131, 178, 230; Grade 3 illustrated 120–1, 121 curriculum design: adapting curriculum 220; curriculum map as a living document 220; evaluating 220; monthly unit plans 211, 212–7; planning for multilingual learners 235; planning with standards 209; yearlong writing curriculum themes 208–17; see focusing decisions; framing decisions; and integrated language arts units Daily Writing Folder: 52–3, 64–5, 105, 114–8, 117, 180; Grade 3 illustration 118–9; Kindergarten illustrated 54 demonstration writing mini-lesson 148; example 149–50; strategy ideas 148; template 149 Dyson, A. H. 13, 14, 16, 188 Education Northwest 6+1® trait writing rubrics grades 41, 41–2, 44, 126, 128; see also writing traits English Language Profciency Standards 18–9, 36–7, 37, 38 English Language Profciency Assessment for the 21st Century (ELPA21) 37–8, 81

248

Index

focusing decisions 229; consider integration 232; fnal assessment 230; individualizing writer’s goals 237; planning for differentiation with Universal Design for Learning 235; time allotted to the unit 231, unit goal 229; unit outline 232; weekly planning 237; see multilingual learners formative assessment 64, 104, 111, 118, 125, 128; illustrated 149–50, 152, 155, 158–60, 183 framing decisions 223; connect interest and abilities of writers with standards 223; genre immersion 225; planning for writing craft 227; planning for writing practices 226; planning for writing process 227; planning for writing craft 184; writer choice 237 García, O. & Kleifgen, J. 16, 19 genre 33–4, 38; genre in Grade 3 integrated units 210, 211, 212–7; genre in Grade 5 integrated units 222–3, 232, 233–4; genre in preschool and kindergarten integrated unit 218–9; see also mentor text; and mentor text sets Graves, D. 3, 15, 50, 64, 65, 68 grown-up surveys 83–5; Grade 3 illustration 85–6 integrated language arts units 209; Grade 5 unit, Songbirds: Threatened! 161–2; Grade 3 yearlong integrated units 210–2; Grade 5 magazine article unit 223, 232, 233–4; preschool and kindergarten integrated “life cycle” unit 218–9 inquiry writing mini-lesson 150–1; example 152–3; strategy ideas 151; template 151 interactive writing mini-lesson 156–7; example 158–60; strategy ideas 157; template 157 Johnston, P. 23, 144, 150, 189, 190, 190 Khalil, A. 39, 39, 42, 147 Lam, T. 39, 39, 45 Lamott, A. 8, 138 Learning with Peers 25, 48, 68, 100–1, 131–2, 162, 185, 198, 221 Martinez-Neal, J. 39, 39, 43, 44 mentor text 39, 147; becoming-writer 72–3, 138; choosing mentor texts 147; mentor text inquiry lesson 142–6; see mentor text sets mentor text sets 39–41; see also Bowles, D.; Lam, T.; Martinez-Neal, J.; Morales, Y.; Soto, G.; Williams, A.L. & Mohammed, K.; and Khalil, A. metacognition practice 9, 74, 139, 204

mini-lesson 52; choosing mentor texts 147; examples 146; managing 144–5; what to teach 145–6; see also demonstration writing mini-lesson; interactive writing mini-lesson; inquiry writing mini-lesson; shared writing mini-lesson; and Writing Studio snapshots Morales, Y. 40, 40, 43–4 multilingual writers 14, 31, 47; conventions 44, 51, 165, 183, 217; development 18–20; illustrated 20, 28, 36–7, 46–7, 57–8, 58–60, 81, 85, 86–7, 90–1, 94–5, 99, 110–3, 128–9; planning for 223, 235–6; supports 66; see also collaboration and multilingual learners; culturally sustaining practices; translanguaging; and Writing Studio snapshots My Writing World 52, 64, 105–6, 106; BecomingWriter 10, 75, 139–40, 205–7 New Generation Science Standards 209 observations 78, 78, 86–7; illustrated 50–1, 87–8 organizing the Writing Studio: instructional resources 63–5; physical space 61–3; technology 66–7; writing tools 65–6 peer conferencing 136, 146, 168–70 Pinnell, G., and Fountas, I. 17, 21, 22 reading instruction that supports the Writing Studio 212, 213, 214, 215, 216, 219 Roll Call to Action 52, 61, 64, 65, 105, 106; illustrated 53–4, 56–7, 59–60, 95, 106–11, 113, 148, 150, 153, 156, 160 rubrics 77–8, 124–5, illustrated 125–30; see also Education Northwest 6+1 trait writing rubrics; and Smarter Balanced Consortium performance task writing rubrics shared writing mini-lesson 153–4; example 155–6; strategy ideas 154; template 154 sharing 188, 193–4; celebrating and broadcasting 194–7; sharing and social emotional learning 188, 189; public forums 193–4; publication 194–6; sample writing practice prompts 191; sample writing process prompts 192; teacher prompts 190; writing practice, process, craft 191–2 small group instruction 180; determining who and when 180, illustrated 180–3, organizing 61–2 Smarter Balanced Assessment Consortium performance task writing rubrics 124 Social Emotional Learning 51; standards 189; see integrated language arts units; sharing and social emotional learning

Index Soto, G. 40, 40, 43 standards see C3 Framework for Social Studies Standards; Collaborative for Academic, Social and Emotional Learning; Common Core State Standards for English Language Arts and Literacy in History/Social Studies, Science, and Technical Subjects (CCSS); New Generation Science Standards student writing samples 88–90; illustrated: preschool Claire 17; kindergarten Ayla 97; kindergarten Maddie 18; multilingual Grade 1 Isaac 195; multilingual kindergarten Ivan 20; Grade 3: Daniel 90; Grade 3 Emme 126; Grade 3 Harper 92–3; Grade 3: Marc 91; Grade 3 Morgan 21; Grade 5 Alonzo 128; Grade 5 Nickolas 22; Grade 5 Peyton 101; Grade 5 Sebas 28–30 summative assessment 104, 119; illustrated 125, 129 synthesizing data 94, 99; case study Grade 3 Daniel 94–5; case study Grade 5 Peyton 100–1; case study kindergarten Ayla 96–8 teacher-student writing conference 51–2, 104–5, 171–3; determining who needs a conference 173; illustrated 175–8; planning 173–4; trouble-shooting 179–80; writing goal 178–9 Teaching, Conferencing & Planning Notebook 111; illustrated Grade 1 114; 115–6; illustrated Grade 5 111–3; young writers 114 text types 33, 33–4 trait rubrics see Education Northwest 6+1® trait writing rubrics and Smarter Balanced Consortium performance task writing rubrics traits see writing traits translanguaging 19–20; see also AscenziMoreno, L. & Espinosa, C.; C.,F.; García, O. & Kleifgen, J.; Velasco, P. & García, O.; Wei, L. & García, O. unit planning see curriculum design; and integrated language arts units Universal Design for Learning 51; planning for integrated unit 228, 235; writing studio examples 165; see Center for Applied Special Technology (CAST)

249

Velasco, P. & García, O. 19 Wei, L. & García, O. 19 whole class instruction see demonstration writing mini-lessons; inquiry writing mini-lessons; interactive writing minilessons; shared writing mini-lessons Williams, W.C. 138 Williams, K.L. & Mohammed, K. 39, 43, 43 writing conferences see teacher-student writing conference; and peer conferencing writing craft 15; assessment 78, 104–5; planning for 148, 151, 154, 157; writing strategy ideas 146 writer development 16; Grade 3 20–1; Grade 5 22–3; preschool and kindergarten 16–8; see multilingual writers writer self-assessment 121–4; preschool– Grade 2 questions 122; Grades 3–5 questions 122; illustrated, Grade 3 123 writer surveys 78, 79–81, 104–6; illustrated Grade 3 81–3 writing practice 15; assessment 78, 104–5; planning for 148, 151, 154, 157; writing strategy ideas 146 writing process 15; assessment 78, 104–5; planning for 148, 151, 154, 157 writing strategy ideas 146 writing samples see student writing samples writing strategies 146; see also Becoming-Writer celebrating, sharing & broadcasting your work; Becoming-Writer strategies for editing your work; Becoming-Writer strategies fnding an idea; BecomingWriter strategies for playing with form and developing an idea; Becoming-Writer strategies for revising and conferring Writing Studio schedule 52–3 Writing Studio snapshots: kindergarten 53–5, Grade 3 55–8; Grade 5 58–61 writing traits 41, 41–2; conventions 44–5; ideas 42–3; organization 43; presentation 45; sentence fuency 44; voice 43; word choice 43–4; see also Khalil, A.; Lam, T.; Martinez-Neal, J.; Morales, Y.; Soto, G.; Williams, and K.L. & Mohammed, K.