Powerful Writing Structures : Brain Pocket Strategies for Supporting a Year-Long Writing Program [1 ed.] 9781551389431, 9781551383446

Citation preview

To Richard, Spencer, and Oliver — always and with love

© 2020 Pembroke Publishers 538 Hood Road Markham, Ontario, Canada L3R 3K9 www.pembrokepublishers.com All rights reserved. No part of this publication may be reproduced in any form or by any means electronic or mechanical, including photocopy, scanning, recording, or any information, storage or retrieval system, without permission in writing from the publisher. Excerpts from this publication may be reproduced under licence from Access Copyright, or with the express written permission of Pembroke Publishers Limited, or as permitted by law. Every effort has been made to contact copyright holders for permission to reproduce borrowed material. The publishers apologize for any such omissions and will be pleased to rectify them in subsequent reprints of the book.

Library and Archives Canada Cataloguing in Publication Title: Powerful writing structures : brain pocket strategies for supporting a year-long writing program / Adrienne Gear. Names: Gear, Adrienne, author. Identifiers: Canadiana (print) 20190153458 | Canadiana (ebook) 20190153504 | ISBN 9781551383446 (softcover) | ISBN 9781551389431 (PDF) Subjects: LCSH: Language arts (Elementary) | LCSH: English language—Rhetoric— Study and teaching (Elementary) Classification: LCC LB1576 .G43 2019 | DDC 372.62/3—dc23 Editor: Kat Mototsune Cover Design: John Zehethofer Typesetting: Jay Tee Graphics Ltd. Printed and bound in Canada 987654321

Contents

Preface 6 Introduction 7   1: A Balanced Writing Program 9 Writing Structures and Brain Pockets 9 Introducing Brain Pocket Writing 11 Elements of a Balanced Writing Program 13 Formative Writing Assessment and Responsive Teaching 14 Writing Joy 14 Writing Goals 15 Writing Routine  16 Mini Lessons 17 Word Work 17 Independent Writing 18 Anchor Books and Mentor Texts 19 Writing Conferences 19 Implementing Weekly Practice Writes 21 Introductory Lesson 22 The Importance of Planning 22 Draft Day 23 Revising and Editing 24   2: Memory Pocket Writing: Personal Narrative 37 Walking Stories 37 Walking Story Topics and Anchor Books 38 Mini Lessons for Walking Stories 39 Word Choice: Triple-Scoop Words 40 Interesting Details 41 Organization Drawers 45 Sensory Details 46 Similes 48 Personification 50 Event Stories 57 Introductory Lessons 58 Deconstructing Event Stories 58 Planning Event Stories 58 Mini Lessons for Event Stories 60

Transition Words 60 Stretching the Moment 62 Effective Event Story Endings 63   3: Fact Pocket Writing: Nonfiction  67 Introducing Nonfiction Writing 69 Text Structures 69 Text Features 71 Descriptive Writing 76 Introductory Lesson 77 Mini Lessons for Description 78 Dash Facts Research 78 Putting the Facts Together 80 Hook Your Reader with a Great Beginning 81 Find Your Voice 82 Too Much Icing 83 Effective Endings for Description 83 Descriptive Writing in the Content Areas 85 Instructional Writing 95 Introductory Lesson: What? What? How? 96 Mini Lessons for Instruction 97 The SAD Formula 97 Text Features for Instruction 98 How-To Tips 99 Expert Writing 99 Instructional Writing in the Content Areas 101 How to Be an Animal 101 How to Be People 103 Indigenous Ways of Knowing 104 Persuasive Writing 114 Introductory Lesson: What? Why? Why? Why? What Was That Again? 115 Mini Lessons for Persuasion 116 The Language of Persuasion 116 Planning 117 Effective Introductions: The Top of the Diamond 119 Focusing on the Why 121 Effective Endings: The Bottom of the Diamond 122 Persuasion in the Content Areas 124 Catalogues 124 Bubblegum Letters 124 Famous People Persuasion 124 Everyday Inventions 125 Comparison Writing 134 Introductory Lesson 134 Mini Lessons for Comparison 136 The Language of Comparison 136 Independent Practice 137 Comparison in the Content Areas 138

Comparing Animals in Science 139 Comparing Early Humans/Civilizations in Social Studies 139 Explanatory Writing 145 Introductory Lesson 145 Mini Lessons for Explanation Writing 147 Modeling Explanatory Writing 147 Flow Charts and Diagrams 147 Explanation Writing in the Content Areas 148 Biography Writing 154 Introductory Lesson: Who? What? Where? When? How? Wow! 155 Mini Lessons for Biography Writing 156 Time Lines 156 Past Mini Lessons 156 Biography of a Classmate 156 Biography in the Content Areas 157 Change Agents 159 Author Biographies 161   4: Imagination Pocket Writing: Story Writing 168 Introductory Lesson 169 Mini Lessons for Story Writing 170 What’s the Problem? 170 Character Development 172 Planning the Plot 173 The Story-Writing Process 174

Final Thoughts 189 Acknowledgments 189



Professional Resources 191

Index 193

Preface

I had originally planned on doing a second edition of Writing Power; however, my thinking around effective writing instruction and assessment has evolved so much I felt it would work better as a new book that combines both Writing Power and Nonfiction Writing Power, and goes beyond both.

It was never my intention to write books for teachers. I am in my “happy place,” not in front of a computer, writing, but in front of a class of children, teaching. But as it turns out, I have written a new book for teachers every couple of years. The writing of these books has given me an opportunity to develop my thinking in many different corners of literacy and to share what I’ve learned in the classroom with other teachers. It also turns out I love teaching teachers as much as I love teaching students. For me, they go hand in hand: I could not stand in a room full of teachers, telling them how to teach children, had I not been doing it myself. Lessons taught become lessons shared. My years of teaching students how to read, write, think, find their voice, find their passion, and find literacy joy with a blank piece of paper and a pencil or a book has organically transformed into writing and presenting to teachers all over the world. While many teachers tell me they feel lucky being at one of my workshops, I truly believe I am the lucky one. I get to do what I love and then share that with others. It’s been two years since my last book and, like clockwork, that urge to write and share my lessons, stories, charts, quotes, and anchor books is taking up expensive real estate in my brain! Pam Alyn says, “Reading is like breathing in, writing is like breathing out.” And now the time has come to breathe out and begin writing again. While many of the key ideas here are similar to those in my other books about teaching writing, what I hope to achieve with this book is a way to help teachers introduce different writing forms and structures into an effective year-long writing program. Just as we introduce our students to a wide range of reading genres within our school year—from fiction to nonfiction, from mystery to adventure— we need to do the same in our writing programs. The challenge teachers face has always been how to fit it all in. How do we help our students develop into confident, competent writers while, at the same time, teaching them to write in different forms for different purposes, all in the very short span of 10 months? I hope this book will show you how! So sit back, put on your seat belt, and get ready for the crazy ride through a year-long writing program! There will be some preparation for your journey, which involves setting up and launching your writing program. Once your writing routine is set, the journey proceeds with three major stops at three major writing structures, along with several short scenic tours through different mini lessons and anchor books. It’s a journey that I hope is easy to follow, full of joy, and one you and your students will enjoy taking as much as I have. — Adrienne Gear

6  Preface

Introduction

Teaching writing is hard. I hear that a lot from teachers, literacy coaches, and coordinators I work with. And my response is always, “Yes, it is.” And while I could quickly list a dozen things that make teaching writing hard (not enough time, different levels of interest and ability, choosing writing topics, choosing lessons, editing, conferencing, etc.), in my experience the hardest part about teaching writing is not knowing from one lesson to the next what we are teaching or, more importantly, why we are teaching it. I call it “cherry-picking” teaching: the random grab of a shiny object (otherwise known as an isolated writing lesson) because it looks fun or we found it on Pinterest. It’s the cute, glittery, one-off piece of writing glued onto a turkey, a haunted house, or a Valentine’s heart. I was a master cherry-picker when I first started teaching and, back in the day, the orchard was much smaller with not nearly as many trees to pick from as there are now. The internet and social media have expanded the orchard dramatically, making all those cherries so much more accessible. But while cherry-picking teaching might fill a Thursday afternoon or a bulletin board, it does little to help us reach our ultimate goal: to help our students leave our classrooms better writers than when they walked in. And in addition to improving writing skills, we want to increase writing joy. “I love writing” is the probably the best thing I will ever hear a student say to me, equal only to “I love reading.” So how do we shift from being cherry-picking writing teachers to being effective, responsive, purposeful writing teachers? How do we fit it all in and teach writing skills, writing structures, and writing joy in three hours or less per week? How do we ensure that the lessons we teach are, in fact, building competency and confidence in writing for all our students? Just as a hockey player doesn’t get better at hockey just by skating around the ice with a stick and a puck, you don’t get better at writing by simply writing. Students do not become better writers by being assigned glittery writing projects for a bulletin board; they do not become better writers by writing about their weekend in their journals; they do not become better writers by writing a story without knowing the structure. Don’t get me wrong—I believe students should have many opportunities for exploring writing in their own time, on their own topics, with the tool of their choice, in the medium of their choice. But the only way we can truly ensure our students become more confident and competent writers is to teach them the skills, the structures, the language, and the beauty of effective writing. We need to teach them the different structures of personal narrative, nonfiction, and story; teach them the skills of voice, word choice, sensory imagery, similes, organization; teach them to appreciate the beauty by noticing and listening to great writing mentors. And most importantly, we need to provide regular opportunities for our students to practice their writing skills. “That’s hard!” you say. Introduction 7

“Oh, but it can be a little easier,” I reply, “if you use Brain Pockets.” I developed the concept of Brain Pockets several years ago to help students identify places in their brain that help them make connections while they read. I have since used the idea for teaching writing. Brain pockets are the places in our brain that store our thoughts and ideas: one pocket stores our memories, one stores information, and the third stores our imagination. We use our brain pockets for both reading and writing: when we read, we use our brain pockets to help us construct meaning; when we write, we use our brain pockets to help us find ideas for writing. The more I thought about and talked about the Brain Pockets concept with students, the more I realized that the three brain pockets also represent the three major structures or forms of writing: we write personal narrative writing by accessing our memory pocket; we write nonfiction by accessing our fact pocket; we access our imagination pocket when we write stories. (Poetry is accessed through all three pockets as we can write poems from memories, facts, or imagination.) Like many of you, in my school district teachers are required to teach students different writing forms, so I thought using Brain Pockets would be an effective way to organize my writing program, as well as to weave a little metacognition into the picture. In this book, I will outline the key elements of a balanced writing program and how to get started with an effective process-based writing routine that includes weekly practice writes, writing goals, and writing conferences. I will help you to organize your year-long writing program around three major text structures: personal narrative writing, nonfiction writing, and story writing. Within each of these structures, you will find an extensive collection of mini lessons and anchor books. If you follow a three-term school year, you can focus on one structure per term to ensure that students have learned all three by the time the school year is finished. What is important is that you provide not just one, but many opportunities for your students to learn and practice the structure. As with anything we learn, we can’t just do it once and expect to master it. A child can’t learn to ride a bicycle if you just show them once and send them on their way. We need to run beside them, giving them tips and encouragement. And while you run alongside your students, I will be running alongside you, giving you tips and encouragement!

8  Introduction

1  A Balanced Writing Program

Writing Structures and Brain Pockets It’s hard to bake cookies without a recipe. You can guess how much flour and baking soda to add, how hot the oven should be, and how long to bake them, but without knowing the exact formula, it is unlikely your cookies will turn out. They might resemble cookies, and you may have included high-quality chocolate chips and expensive butter, but they likely won’t look very appealing or taste very good. It’s the same with writing: if you don’t have the recipe and know the formula, it is likely your writing won’t turn out. You may have included some great words, some impressive literary techniques, and your capitals and periods, but the writing falls flat. You get where I’m going. Without knowing the recipe, it’s hard to bake; without knowing the text structure, it’s hard to write. Text structure is the key to successful writing. It’s the keys to the car, the frame to the house, the combination to the safe, the recipe for the cookies. Every piece of writing, whether a persuasive letter, a story, or a comparative essay, has its own unique structure. Without knowing what that structure is, writing a successful piece is as about as likely as baking delicious and beautiful cookies without a recipe. (Okay, enough with the cookie analogy!) Often, I hear friends with children in middle and high school saying their kids are “stuck” in their English homework because they don’t know how to write their essay, story, or report. And the most likely reason they are stuck is not that they have nothing to say, but is instead that they don’t know how to organize their thoughts. In a school year, students are expected to be able to write a wide range of different writing forms—from persuasive to narrative, from report to comparative. But how many of us are actually teaching our students explicitly about the importance of knowing the text structure for each of these forms? When you know the structure, frame, or skeleton of a piece of writing, it helps you organize your ideas and then the “filling in” becomes much easier. We write differently for different purposes. In a balanced writing program, students are exposed to a variety of different writing forms throughout the year. Explicit instruction in the structure, language, and traits of that particular writing structure is provided and students are given many opportunities to practice. Among the different structures children need to be comfortable writing in elementary school are personal narrative or personal recount (there are two substructures within this category), nonfiction writing (there are several substructures within this category, including description, instruction, and persuasion), and story writing (one main structure). Each is unique, with its own form, language, and writing techniques. These different forms of writing are not intended to be taught in a single one-off writing lesson, but rather are taught, modeled, and practiced with many different topics over several months.

Writing Structures and Brain Pockets 9

For more on Making Connections, see Reading Power (2nd edition).

Brain Pocket Writing has become my way of helping students understand different types of writing, and I thought it would be a useful way of organizing my year-long writing program. Based on the three Brain Pockets—Memory, Fact, and Imagination—I developed a plan to focus on one form of writing per term. The order you teach them is entirely up to you, however, there are reasons behind my choices. I like to start my year focusing on Memory Pocket Writing (personal narrative) because it allows me to get to know my students through their writing. Also, because it is a relatively easy structure, it allows me to introduce a variety of literary devices (word choice, similes, sensory details) through mini lessons. As well, the anchor books I use for Memory Pocket Writing also work well for teaching students the Power of Making Connections, with which I like to start my year. Fact Pocket (Nonfiction) Writing has several different structures, including description, instruction, persuasion, comparison, explanation, and biography, and each one can be easily linked to your content areas. I recommend that teachers choose only two nonfiction structures per school year so that students can get lots of opportunities to practice and to link this form of writing to a content area you are working on. I like to introduce Story Writing, the most challenging type of writing to teach and master, towards the end of the school year, after students have developed sound writing skills and techniques, and when they are ready for the challenge of new literary elements, including character development and plot development.

Personal Narrative

Nonfiction

Story Writing

Poetry

Brain Pocket

Memory Pocket

Fact Pocket

Imagination Pocket

Any

Structures

Walking Stories: topic/detail/detail /detail

Descriptive Instruction Persuasion Comparison Explanation Biography

Climbing Stories: setting/character/ problem/solution/ ending

Free verse Acrostic List Cinquain Limerick Concrete Sonnet

• • • • • •

• character development • dialogue • transitions • plot development

• simile/metaphor/ personification • word choice • using the senses

Event Stories: beginning/middle/ end Suggested Writing Techniques

• • • • •

Language Features

• transition words • word choice

interesting details word choice hook sentence endings using the senses

10  A Balanced Writing Program

organization text features transitions effective openings effective endings voice

• transition words • interesting fact phrases • comparative words • persuasive words • instruction words • tips

• rhyme • transition words • sensory description • repetition • voice • rhythm

Poetry Although poetry lessons are not included in this book, poetry can be written about anything: memories, facts, and imaginative things. I make a point of weaving poetry lessons into all three Brain Pocket structures.

Teachers either love teaching poetry or they don’t; they either avoid it and “run out of time” or make it a staple throughout their school year. For me, poetry is reading, writing, speaking, and celebrating language. There is no better way to teach structure, language, and writer’s craft than through poetry. I encourage you to find ways to weave poetry throughout your yearly writing program and to share the joy of poetic language with your students. I will often use an anchor text to teach a specific poetic structure or literary technique. Whenever you share an anchor poem, I recommend writing it out on chart paper so that students can see the form of the poem and, as well, visibly identify features, such as rhyming words or repeating words or phrases. It is important to introduce poetry to your students and discuss the key features of this type of writing. After reading aloud several poems, brainstorm some of the key features of poetry and create an anchor chart.

Poetry… •  Can be about anything •  Is usually written in shorter lines •  Has a unique form and shape •  Includes at least one of the 3 R’s: rhyme, repetition, rhythm •  Often ends with a surprise •  Has a title •  May be serious or humorous •  Can express important personal feelings

Introducing Brain Pocket Writing Brain Pockets originated from a student in my class many years ago. I admit that when this student raised his hand, I avoided eye contact. His ideas were filled with imagination and creativity, but often not connected to what we were learning about. I wanted to find a way to gently guide his thinking, while not squashing his creativity, and so I developed Brain Pockets as a way of redirecting his thinking.

If you use the Daily 5, or some version of it, Brain Pocket Writing works fits nicely into the Work on Writing stage.

I explained to him that our brains hold our thoughts and ideas in three different “pockets”: one pocket stores our experiences and memories; another holds facts and information; and the third holds our imagination. Depending on what Writing Structures and Brain Pockets 11

For more on Independent Writing, see page 18.

we are reading or learning, we can find thoughts in our brain pockets to help us understand and make connections. If reading a story about friendship, we might visit our memory pocket; if reading about volcanoes, we would go into our fact pocket. I told him that I noticed that he seemed to be spending a lot of time focusing on his imagination pocket, which was obviously very full of amazing imaginary thoughts. I pointed out to him that sometimes he needed to visit his other pockets! A few days later, he told me, “Ms Gear, you know that imagination pocket place? I think I live there.” Since then, I have used Brain Pockets not only for teaching reading and making connections, but also when I teach writing as Independent Writing. At the beginning of the school year, I provide students with a blank Brain Pockets page (see page 31) and invite them to record different ideas from their three brain pockets that they could possibly use as a writing topic.

Anchor Books for Introducing Brain Pocket Writing Hanlon, Abby. Ralph Tells a Story (memory pocket) Bram, Elizabeth. Rufus the Writer (memory pocket) Lehrhaupt, Adam. Idea Jar (imagination pocket)

McNaughton, Colin. Once Upon an Ordinary School Day (imagination pocket) Stead, Phillip C. Ideas are All Around (all pockets)

Introductory Lesson

Jessica Suurallik, teacher from Rutland Elementary School in Kelowna (SD 23) developed an amazing lesson when she introduced brain pockets to her class. She created actual pockets with folded chart paper, placed small cards with topics into each of the pockets, and provided excellent prompts: I remember when… (Memory), I can tell you about… (Fact), Once there was… (Imagination).

• Ask students, “Where do writers get their ideas for writing?” • Tell them that our brains are powerful places in our body that store all our thinking. Explain that our brain stores our thoughts in three big pockets: Memory Pocket, Fact Pocket, and Imagination Pocket. • Draw and label the brain pockets; see page 11. • Explain that writers use their brain pockets to help them find ideas for writing. Depending on what they are going to write about, they might visit different pockets. • Give examples of what you might have stored in your different pockets: I have lots of camping stories in my memory pocket, so I’m going to add camping to my memory pocket. I know a lot of facts about gorillas, so I will put gorillas in my Fact pocket. I was imagining one day about a penguin who plays hockey so I will put Penguin Goalie in my imagination pocket. S a m pl e o f M o d e l i n g B r a i n P o c k e ts

Memory Pocket     Fact Pocket    Imagination

12  A Balanced Writing Program

• Explain that not every thought in our brain pockets will get turned into writing, but that it’s helpful to think about different ideas that you could write about. • Pass out the blank Brain Pocket handout (page 31). Invite students to use them to make their own personal Brain Pockets and draw and label ideas in each pocket. Once complete, the brain pocket ideas can be glued into a lined or half-lined notebook. Instead of weekly journal writing, your students can do brain pocket writing in their Brain Pocket Notebook. Encourage them to look over ideas from their Brain Pocket plan and choose one pocket they would like to write from that day. Making the shift from journal writing to brain pocket writing has made a huge difference to my students’ free writing. It is far more focused, interesting, and enjoyable to read. Grade 1: Fact Pocket Writing (left) Grade 2: Memory Pocket Writing (right)

Elements of a Balanced Writing Program Reflect and refine are two of my favorite “teacher words.” I often invite teachers at workshops to take time to reflect on their current practice, to think about what is working well and what may need a little tweaking or refinement. It’s not about changing everything, but recognizing that there is always room for a little tuneup. A balanced writing program consists of a variety of elements, from explicit instruction to independent free-choice writing; from word work to writers workshop. While there is no one perfect writing program, there are some components I believe support an effective one. I encourage you to reflect on your own practice and think about one or two elements you could refine or add to your current writing program: • Formative Assessment to inform teaching practice • Writing Joy: a positive attitude towards writing • Writing Goals • Writing Routine: weekly practice writes with a focus on process • Mini Lessons: explicit instruction with regular teacher modeling in writing structure, language, and writer’s craft Elements of a Balanced Writing Program 13

• Word Work • Independent Writing • Anchor Books/Mentor Texts to use as models for language, structure, and techniques • Writing Conferences: regular one-on-one meetings with students to discuss their writing and to develop personalized writing goals Formative Writing Assessment and Responsive Teaching “I don’t know how you can teach kids until you know what they know.” — “The Sisters” Gail Boushey and Joan Moser

Ongoing assessment of your students’ writing is important for helping them focus on specific writing skills they need to work on. While I believe the most value we can provide happens during individual conferences (see page 19), using a basic rubric for different writing structures can also help track your students’ progress. See rubrics for different forms of writing on pages 38, 69, and 169.

Teaching writing looks easy on Pinterest. So many shiny objects to choose from, some with glitter, others with fancy borders and sparkles. But the problem with Pinterest is that it promotes isolated writing lessons that might look fantastic when complete but that aren’t helping students, over time, develop their writing skills by doing them. So how do you know what lessons to teach? Be responsive. Look up! Look up to see where your students are as writers and discover their strengths and stretches. Find the gaps! Fill the gaps! The most effective writing teachers teach lessons their students need, not ones they find on Pinterest. I believe the most important first step in developing an effective writing program is formative assessment: assessment to inform our practice; assessment that leads to responsive teaching. This is usually done in the form of a writing sample from each student at the beginning and end of each school year. The purpose of the fall assessment is to see how well the students are doing; I like to think that the purpose of the spring assessment is to see how well I did! I am not a fan of “cold writes,” but like to have a writing sample done in the context of a regular writing lesson, beginning with a read-aloud and allowing time for students a chance to brainstorm, plan, and discuss their ideas prior to writing. The only difference from a regular lesson is that there is no modeling of the writing by the teacher, and that students are given a limited time to write and only a few minutes at the end to read over their writing and make any changes they wish to make. Once the writing samples have been assessed (by using a criteria-referenced performance standard rubric provided by your school district, region, province, or state), the information you have gathered can be analyzed and next steps can be planned. Look for trends in your class and ask yourself: Collectively, what are they doing well? What do they need to learn through whole-class instruction? Your students will show you what they need through their writing. Look for small groups of students who might need support with certain skills. You can use the Assessment Summary Sheet on page 26 to help you track your students’ assessment results as well as to help you analyze, look for trends and needs in your current class, and help you plan your next steps. Through this process, your students’ writing will tell you what they need support with. Writing Joy

“Teaching writing is a matter of faith. We demonstrate that faith when we listen well, when we refer to our students as writers, when we expect them to love writing and pour their heart and soul into it.” — Lucy Calkins

14  A Balanced Writing Program

One of my very first writing lessons at the beginning of the year is meant to establish why it is important to learn to write well and to promote writing joy! • Ask students “Who likes writing?” Survey a quick show of hands. • Extend the conversation by asking anyone who said no to explain why. Invite them to discuss with a partner. Most often you will get answers like these: it’s boring; I don’t have anything to write about; not good at it.

• Now ask students what the difference is between having to do something and getting to do something: “have to” is something you don’t want to do; “get to” is something you do want to do. • Invite students to discuss in partners and try to give examples: e.g., “I have to clean my room”; “I get to play with my friends.” • While they are discussing, write on the whiteboard or chart stand: This year, you don’t have to write… Invite students to read the sentence and ask, “What do you think?” (Be prepared for cheering and fist pumps!) • Tell them that the sentence isn’t quite finished and add You get to write. Invite students to discuss what they think that means. • Explain that one of your goals this year is that everyone in the class not only learns to become better writers, but also grows to love writing. You don’t want to hear anyone in the class saying, “Ahh… do we have to write?” You want everyone to say, “Yeah! We GET to write!!!” • Tell students that you love to write and you want all your students to love writing too. Writing Goals “Don’t write for the market, write for your readers. It’s not about writing a best seller, it’s about sharing something that can touch hearts and shift minds.” — Bryana Beecham

• Show a picture of a party invitation or ask students if they have ever been invited to a birthday or a special event where they had to bring a gift. • Describe going to a store to pick out the perfect gift for your friend, then taking it home and wrapping it up in special paper. Invite students to think about the excited feeling they have when they give that gift to their friend, and the anticipation of watching their friend opening the gift, knowing what it is and that they picked it out especially. • Explain: When you write this year, I want you to feel the same way as when you give a special gift to your friend. When we write, we are actually “gifting” our reader with a gift of words and ideas. And just like we make sure that the gift we give our friends is special and wrapped up in nice paper with a bow, writers always want to make sure that their writing is special and wrapped up with a bow. Nobody gives their friend a broken, used toy wrapped in an old paper bag. So as writers, we don’t want to be giving our readers “broken toys” to read. We want to always make sure that our writing is the very best gift we can give our reader!

• Explain that, in order to make sure we are gifting our readers with our very best writing, we need to focus on two writing goals: 1) Making the writing interesting for my reader; 2) Making the writing clear for my reader. • Discuss the common idea in both goals: the reader. The reader is the most important part of your writing.

• Create a class anchor chart of the two goals written at the top. • Begin with goal #1: Make Writing Interesting for My Reader. Tell students that the bottom line is if your writing is boring, your reader will be bored. Explain that there are many things a writer can do to make their writing interesting. Begin listing: interesting details, triple-scoop words, similes, good hooks, etc. • Move to goal #2: Make Writing Clear for My Reader. Explain that if the present you give your friend is too complicated or hard to figure out, they likely Elements of a Balanced Writing Program 15

won’t want to play with it. Similarly, if writing is too confusing or hard to read, a reader likely won’t want to or be able to read it. Explain that to make ­writing clear you need to focus on spacing, spelling, punctuation, etc. Create a list under that goal. • Depending on the grade, students can create their own Goal Chart to include or glue inside in their writing folders to keep track of the lessons as they learn them. M y W r i t i n g G o a ls

To make sure my writing is INTERESTING for my reader

To make sure my writing is CLEAR for my reader

• • • • • • • •

• Spacing • Spelling: No-Excuse Words (page 17); GUM It strategy (page 18) • Punctuation • Organization (page 45) • Stay on target

Interesting details (page 41) Triple-Scoop words (page 40) Similes (page 48) A great beginning (pages 81, 119) A great ending (pages 63, 83, 122) Using the senses (page 46) Voice (page 82) Nonfiction text features (page 71)

Writing Routine

See page 21 for Implementing Weekly Practice Writes.

16  A Balanced Writing Program

One of the most important aspects of an effective writing program is establishing a writing routine. Students work better when they know what is expected of them; I teach better when I know what I’m doing! My weekly writing routine is based on three stages of the writing process: Plan, Draft, Revise. Each week, over the course of three writing blocks in my timetable, the students spend time working on a short practice write, focusing on one stage of the writing process per day. This way, when students see Writing Power or Writing Workshop on their agenda, they know exactly what is expected of them each day. New writing skills are introduced or reinforced through weekly mini lessons and students are encouraged to apply the new skill or technique to their weekly practice writes. By the end of the week, my students will have completed a revised practice write. Practice writes are just that—practice. Classrooms that provide children with regular opportunities to express themselves on paper without feeling too constrained by correct spelling and proper handwriting help children understand that writing has real purpose (Graves 1983; Sulzby 1985; Dyson 1988). I encourage students to try their best, but not to worry or focus too much on conventions or spelling during this stage of the writing process. They will have time to edit later; the important part about drafting is getting their ideas down. While I encourage students to finish their practice writes, not all will finish every piece, and that’s okay. There will be another practice write next week. I never send the practice writing home as homework. Students publish only one practice write per term and the rest are kept as practice writes in their writing folders. Here is an example of a weekly writing routine schedule. Part-time teachers or those who may not be able to fit this schedule into a single week can spread it over two weeks.

Monday Plan

Tuesday Draft

Wednesday Optional

Thursday Revise

Friday Optional

Students make a writing plan based on a topic you introduce

Students use their plan and begin writing their draft

Continue writing if not finished

Students share writing, then revise and edit

Students share their practice write with a partner or whole class

Mini Lessons Lessons are short or mini because students don’t become better writers in the course of the lesson. They improve after the lesson when they attempt the skill in an authentic piece of writing.

A mini lesson is a period of direct, explicit instruction, and an essential part of any writing program. Mini lessons or micro-teaching was invented in the mid-1960s at Stanford University by Dwight W. Allen and popularized by Lucy Calkins and others involved in the Reading and Writing Project at Columbia University in New York City. Because there are so many aspects of writing that young writers need to learn, from conventions to word choice to engaging opening sentences, breaking down these strategies into small, manageable mini lessons and focusing on only one objective at a time can help your students not feel so overwhelmed when they begin writing. I usually teach a mini lesson on Tuesday just prior to students starting their draft, so it is fresh in their mind as they begin to write. If I teach a mini lesson on similes, for example, students will work on using similes in their practice writes. Mini lessons are not introduced every week; instead, we spend several weeks focusing on one technique before moving to another. Mini lessons are a wonderful opportunity for teachers to incorporate shared writing, an instructional approach of teaching writing through writing. Teachers demonstrate writing skills and the composing process through a write-aloud approach, writing in front of the students while talking through the process. When students see us writing and hear us talking through the process, they become more engaged and motivated to want to write more, write better, and write independently. Word Work I am not a huge fan of weekly spelling lists. Back when I was a beginning teacher, I loved the weekly routine and daily exercises associated with weekly spelling, but over the years I have come to realize that memorizing a list of ten random spelling words does little to help a student really know how to spell, and rarely do these correctly spelled words transfer over into writing. I believe that students should learn a variety of sound-out and stretch-out strategies to use when they are writing words they don’t know how to spell. At the same time, I also believe that there are some high-frequency sight words that they should be consistently spelling correctly in their writing. No-Excuse WORDS

I created the No-Excuse Lists (see pages 27–30) as a way of providing students with a list of high-frequency sight words they should be spelling correctly. These accumulative lists, based on the Dolch Word List, include the most frequently used words in children’s writing for each grade. Early primary teachers can use Elements of a Balanced Writing Program 17

this list as the base words for their Word Wall. Each student can be given a copy of the list to be included in their writing folder. I like to have students glue the list onto the front of one of the pockets in the writing folder so that it’s visible for them when they write, and they will have “no excuse” to ever spell the word was as w-u-z again! GUM It Str ategy G U M i t An c h o r C h a r t

GUM It! • Give it a try: encourage students to stretch out the word and use their “sound printing” • Underline it: students mark word so they can come back to the word during editing • Move on: so they can focus on their ideas and not their spelling.

While a No-Excuse list helps with high-frequency words, students are going to be faced with numerous unknown words while they are writing. From what I know, most students’ go-to strategy for spelling a word is putting their hand out and asking their teacher. (Some may even follow you around the room!) In my experience, if you spell out one word for one student once, you are doomed for the rest of the school year. If you don’t want to spend every moment during writing workshop spelling out words for your students, you need to be clear with them at beginning of the year that you will not be spelling out words for them during writing time. Depending on your grade level, you will likely already be teaching and practicing sound-out or stretch-out strategies, but I recommend introducing your students to the GUM It strategy (see anchor chart, left). Students can GUM It when they come to a word they want to write but don’t know how to spell. Quite frankly, it has saved me from ever having to spell out a word for a student again! I highly recommend sharing this strategy and posting it in your classroom. Remind students that it is a practice write and it does not need to be perfect. If you teach emergent writers, it is important to be explicit about what Give it a try looks like. I usually introduce students to different options for giving it a try: 1. Clap it: clap out the syllables 2. Stretch it: stretch out the word slowly 3. Sound it: say each sound in isolation 4. Write it: use “sound printing” to write each sound Independent Writing An effective writing program should include a balance of guided instruction with time for unstructured, independent writing. While weekly practice writes make up about 70% of my class writing time, there are other times during the week when I want my students to write freely, choosing their own topics and forms and working without structure or support. For many teachers, including myself, free writing has always meant journal writing. I used to love journal writing when I was a beginning teacher. I loved the quiet; I loved that I didn’t really have to teach; and I loved that I could sit at my desk and take a short, much-needed break. But let’s face it, I would rather do just about anything than read through page after page of boring journal entries about My Weekend: On Friday I went to McDonalds. On Saturday I went to the park. On Sunday I went swimming with my Mom. I love my Mom. My mom is beautiful. My Mom is cuddly. I love to cuddle my stuffy. Here’s what I believe to be true about journal writing: it can be counterproductive. Most journal entries are a boring list of events that may or may not be connected. All the writing craft lessons you have taught seem to fly out the window during journal writing. I do value the freedom of journals, but have developed a version of journal writing that I find lends itself to more interesting and productive writing: Brain Pocket Writing (see pages 11–13).

18  A Balanced Writing Program

Smokin’ Pencils

When a colleague heard about Smokin’ Pencils, he surprised us all one day by, on hearing the music prompt, running into the room with a fire extinguisher, shouting, “Is this room on fire?! There is smoke coming out into the hallway!” The students were thrilled.

Smokin’ Pencils is a version of free writing that my students love! I adopted the idea from what I had seen a teacher do many years ago. The idea is that during Smokin’ Pencil time, students are writing with such speed and intensity that they don’t have time to lift their pencil off the paper—the friction can result in their pencil starting to smoke! What makes it exciting is that my students never know when we will be doing Smokin’ Pencils. At any point in the day, I blast the theme music from the movie The Good, the Bad, and the Ugly. When students hear this, they know it’s time to make their pencils start smokin’! I give them a few minutes to take out their notebook (I like to use the back of their Brain Pocket Writing notebook for this) and when the music stops, they need to start writing as fast as they can and try not to lift their pencils off the page. My only rule is no scribbling. I usually walk around the room, sniffing, commenting on which students are starting to smell like smoke. The actual quality of writing during this independent writing time is not of the highest calibre, but students love Smokin’ Pencil time, and therefore write! Anchor Books and Mentor Texts

“I have learned to trust in the power of wonderful mentor texts—fiction, nonfiction books, magazine articles, and student pieces—to provide exposure to literary language, form, and craft.” — Linda Hoyt

In the book lists presented in this book, suggested books labeled with a P are intended for early primary students; all other books listed can be used for both primary and intermediate students. As with any resource, it is always recommended that you preview before sharing with your students.

Anyone who knows me knows how much I love books. Not just a little. I’m talking heart-stopping, book-sniffing, would-sleep-over-in-a-bookstore-if-I-could, fill-my-soul book joy. I have always believed that authentic children’s literature is the single most important tool for your teaching practice. Books stimulate rich discussions, spark our imaginations, help us connect to each other and the world, stretch our thinking, and touch our souls. Books are also the anchor to many of my writing lessons for the simple reason that they serve as examples and exemplars of good writing for my student writers. Becoming a better writer begins with reading well-written books and learning from what their authors do successfully. When we share good books regularly, we expose our students to topics, literary language, form, and craft. When we look at examples of good writing, especially when that writing is published work done by professional writers, students learn to aspire to create effective pieces of their own. I often stop reading to point out a great word, a particularly lovely sentence, or an effective description. You will find many recommendations of books to use for the lessons throughout this book. Writing Conferences

“Teach the writer, not the writing.” — Lucy Calkins

Many of us have experienced sitting up late at night with a class set of writing to mark, working our way through the pile, bleary-eyed, hoping we are getting close to the bottom. The goal of this process is to get a mark and record it in our mark book. But while we may have marked a single piece of writing by each student, have we really assessed each writer? How much does a single piece of writing tell us about our students as writers? I see a big difference between marking an isolated piece of writing and assessing a writer. From the other side, when a student brings a single piece of writing they are working on to our desk, we may be coaching them through that piece of writing, but we are not providing the valuable insight they need to improve their overall writing skills. I believe we can find time to coach students on specific pieces of writing while circulating the room during writing time and by conferencing one-on-one at a specific time.

Elements of a Balanced Writing Program 19

C o a c h i n g v s C o nf e r e n c i n g

COACHING

CONFERENCING

Focus is on the WRITING Specific comments, tips, advice

Focus is on the WRITER Strengths, struggles, and goals

The most effective conference focuses on the writer, not the writing. It is important, therefore, that prior to the conference we have with an individual student, that we get to know that student as a writer. I don’t believe we can get to know our students as writers by marking whole-class sets of writing pieces. We best get to know a student as a writer when we read through several pieces of writing by the same individual. That is how we start noticing a pattern of their strengths and stretches, and are able to share those insights with them. Changing the way I assess my students’ weekly writing has greatly increased the effectiveness of my conferences. Rather than marking an entire class set of writing… I try to meet with each student twice per term, for an average of six conferences per student per year. I will meet with an individual student more frequently if I notice they are really struggling with many aspects of writing.

20  A Balanced Writing Program

• Each week, collect the writing folders of four students. Also collect students’ Brain Pocket Writing notebook, if they have them. • Read though all writing pieces in the folder. Do not edit or mark, but write a response or comment at the end of the writing. This is also helpful to indicate which pieces of writing you have already read the next time you collect that student’s folder. • Take notes on what the student is doing well and what they need to work on. You will usually begin to notice a pattern of strengths and struggles emerging when you are reading several pieces in a row. • Post the names of the four students on the board, indicating that at some point during the week you will be calling on them individually to have a conference with you. • Conferences usually take up to 10 minutes, so I like to make sure that the rest of the class is actively engaged in an independent activity. During the conference, I post a sign on my desk that says Meeting in Progress. Please do not disturb. My rule is that, unless you are barfing or bleeding, nobody should be interrupting a writing conference! • The student brings their writing folder to the conference. Invite them to choose a piece to read aloud to you. Since you have already read all the pieces, you can just listen. • Thank the student for reading. Provide feedback of things you noticed, beginning with positives and then pointing out one area you feel they could be working on. (I often tell the students I took their folders home and took notes on them!) • End the conference by filling out one row in the Student Writing Goals template (see page 32) to record strengths and a goal you would like the student to work on. • Both you and the student initial the boxes to sign off on this goal. This paper is stored inside the student’s folder. Regularly encourage students to revisit this paper and remind themselves of their writing goal.

Implementing Weekly Practice Writes

“The writing-process approach to teaching first emphasizes what children know, then the conventions that will help them share their meaning with others in the class” (Graves, 1985).

As a beginning teacher (way, way back!) I often didn’t know from one week to the next which writing lesson I would be teaching. Once I decided, students wrote rough copies, I marked them, they did a good copy and sometimes drew a picture. Topics were often connected to seasons or celebrations; writing projects could take one week or up to one month. Thankfully, we are no longer doing the one-off writing lessons anymore. Donald Graves, known as the pioneer of Writer’s Workshop, helped shift teachers from a product-based to a process-based approach to writing. He first introduced the different stages of the writing process in 1985. Graves strongly believed that students can become better writers when they learn the process of writing: pre-writing, drafting, revising, editing, and then publishing. Weekly Practice Writes

See page 16 for more on Weekly Practice Writes.

When I first began using Writing Workshop in my classroom many years ago, I loved the idea of having my students working independently on topics of their choice while I circulated with my clipboard trying to conference with every child every day. (Actually, if I’m being honest, just thinking about it makes me sweat!) In reality, I found it extremely challenging to manage having all my students writing on different topics at different stages of the writing process all at the same time. So over the years, I have adapted Writing Workshop to be more manageable and more structured. Our Weekly Practice Writes focus on three stages of the writing process (Plan–Draft–Revise) rather than six; instead of everyone working on different stages of the writing process at the same time (sweating again!), students are working on the same stage at the same time; and instead of students choosing their own topics, students are writing on the same topic. Student Writing Folders

For storing and organizing students’ weekly practice writes, I have tried many different things, including writer’s notebooks, duotangs, and large three-pocket folders. I have found two-pocket folders work the best for me because of the ease of removing single pages for conferencing and sharing. One side is for storing weekly writing plans and the other is for practice writes. I usually have my students glue their Writing Goals chart on the back of the folder and a Writing Workshop or Writing Power cover on the front. The appropriate No-Excuse Words list (see pages 27–30) and the 3-2-1 Check It! List (see lesson page 24) can also be glued onto the inside pockets. Samples of Writing Goals chart for back of folder (below) and of an open Practice Writes folder (right)

Implementing Weekly Practice Writes 21

Weekly Writing Schedule

Once per term I invite students to choose one of their practice writes to publish. They read and edit the piece one more time. I take the pieces home to type and edit, then print out two copies: one for the student to take home and the other to add to a class book. When I bring the published pieces back to school, we have a publishing party, where we toast our accomplishment with sparkling apple juice in plastic wine cups! Once students publish a piece, they can take home the remaining practice writes and plans, clearing their folder for the next term.

See page 17 for an outline of my weekly writing routine plan. Please note that the days of the week are not important—what is important is that each stage is done on a different day. If you feel that it is too difficult to fit it into one week, given your particular timetable, then it is possible to spread out these three lessons over two weeks. I spend time at the beginning of the school year establishing the routine and my expectations around each stage. Similar to setting up The Daily Five, establishing these routines takes time, front-end loading, explaining, and modeling, but it’s definitely worth the effort! Once students know what is expected of them, the lessons run smoothly and I do not sweat nearly as much as I used to. Introductory Lesson • Create an anchor chart showing the Plan–Draft–Revise routine. • Explain to students that this year one of your goals is to help every student become better at writing. Tell students that the best way to get better at anything is to practice! • Explain that each week you will be working on weekly practice writes. These practice writes have three stages: planning, drafting and revising. Real writers don’t just get an idea and start writing and then—ta-da!—they are finished and their story magically turns into a published book! Writers go through many different stages when they write. They start with an idea and that idea might swirl around in their head for a while. After that, they might start to make a plan by putting some of their ideas on paper. Once their ideas are sorted out, they may share or discuss their ideas with someone else. Sharing ideas out loud actually helps make our ideas more clear. After that, the writer is ready to start writing. The first copy of a piece of writing is called a draft. After the draft is finished, writers will always go back to make changes and fix mistakes. They often ask other people to read it over to see what they think. After a lot of fixing up, their story gets published.

Talking about the process of writing, that is, using metacognitive strategies, has been shown to benefit students’ writing composition. (Fisher, Jones and Myhill, 2010)

• Explain that you will be helping them become better writers by giving them practice every week to write. Refer to the chart on page 16 and explain that Monday will be planning day, Tuesday is when they start writing or drafting their story, and Thursday is fix-it-up day when they edit and revise. • Explain that these are called practice writes because they won’t be publishing or posting them; therefore, they don’t have to be perfect. The Importance of Planning I like to spend time talking to students about the importance of planning before our first practice write by introducing and modeling different ways writers plan. While there are many planning templates, I like to introduce three: Picture Plan, Web Plan, List Plan (see pages 33–35). All are great options, depending on what kind of thinker you are. Some people think in pictures, some think in webs, some think in lists. (I am a web thinker!) • Begin the lesson: Before a writer sits down to write, they need to answer two important questions: “What am I going to write about?” and “How am I going to write about that?” If

22  A Balanced Writing Program

a writer tries to answer those two questions while they are writing, it can become overwhelming. So good writers, before they start writing, often make a plan. This plan helps them answer the first question: What am I going to write about? A plan is important because it is where all your ideas get sorted out before you begin to write. If you just pick up a pencil and start writing without a plan, you might fill a page or two or three, but your ideas might be very mixed up. Emergent writers, with all that they are trying to focus on, sometimes have difficulty transferring their plan into a piece of writing. For younger writers, you may use the Picture Plan Plus template on page 36. Students can do their picture plan on Planning Day and their writing beside their pictures on Draft Day.

• Explain that when you plan, you first think of your topic, then a good way to proceed is to think of four big ideas connected to your topic that you think your readers would like to know. These big ideas can be drawn, written in the bubbles of the web, or written in the boxes in the list. Then details can be added as branches of the web or lines beside the boxes. I like to model all three planning options during the first month and have students practice each of them. From that point, I leave copies of each of the planning pages out for students to choose from. Draft Day Draft Day is the day when students use their plan from the previous day and begin to write. There are a few important pre-writing activities that happen prior to the actual writing, so I recommend blocking off one hour: 10 minutes for partner share, 25 minutes for mini lesson and shared writing, and 25 minutes for in-class writing time. Par tner Share

Oral language has a significant impact on the writing process. Rehearsing sentence structures and vocabulary orally can be used to help shape written sentences. Oral rehearsal also gives students the opportunity to justify their own thinking (Alexander, 2008). When a child talks through their story prior to writing, it is like a rehearsal for writing, helping them to construct their ideas more clearly and make changes as they talk. This gathering and storytelling is invaluable to students’ writing. Draft Day always begins with students sharing their plan with two different partners: pointing and talking a partner through it, and then repeating with someone else. I like to schedule this writing time immediately after a transition, so when students come in from recess, lunch, or another class, they know to Find your plan; Find a partner. Mini Lesson

After sharing time, I gather students together for our weekly mini lesson. I always like to reference our Writing Goals chart (see page 16) and establish which goal we will be focusing on this week: interesting or clear. Modeling and shared writing is an essential part of this time. I consider this the time in my week when I am actually teaching writing; i.e., focusing my mini lesson on a specific writing feature or function. I often talk through my writing as I’m modeling and then together we set a goal for using this new idea or technique in students’ practice write. And then… it’s time to write! In the Zone

In-the-Zone writing—where the only thing that should be moving is your pencil!

When I begin writing, I need silence. When I have long periods of sustained quiet, I find myself “getting in the zone” and can write for extended periods. I introduce the idea of In-the-Zone writing to my students during the first weeks Implementing Weekly Practice Writes 23

of school while establishing our weekly writing routine. Immediately after my mini lesson on Draft Day, I give students about three minutes to transition to their desk, take out their writing plan and their writing paper or notebook, and get settled. Once everyone is ready, we “get in the writing zone” in a very quiet classroom. At the beginning of the school year, our In-the-Zone writing is not very long— maybe three minutes. But over the course of the year, I extend it a little each week. You might reach a maximum of only 10 minutes; I had a Grade 2 class once who could write for 25 minutes in total silence by the end of the school year! Once Inthe-Zone writing is finished, we usually take a body break—pencils down, shake out our hands, walk around our desks—and then continue writing, but I don’t insist on absolute silence after that. Revising and Editing Back in the day, I used a popular editing strategy called COPS that focused on Capitals, Organization, Punctuation, and Spelling. I loved this approach as a beginning teacher; I realize now that it focused on only one side of our writing goal chart—making writing clear. This would be the editing side of things. But what about revision? If we look at the root of the word revision, we see the word vision—the writer’s vision. I believe that this is where the real work lies, reworking your writing to make it better.

For years, I confused the words revision and editing, and often used them interchangeable when talking to students. After writing several books, I have come to realize just how different, yet equally important in the writing process, these two functions are. In my early years of teaching, I tried, rather unsuccessfully, to teach my students the importance, value, and process of revising and editing their writing. But the bottom line is that this stage of the writing process is hard; most children put in the minimal amount of effort or they lie and say “I’m done” when, in fact, they are not. I developed the 3-2-1 Check it! strategy to combine editing and revision steps. The important thing to remember about revising and editing is that these students are 7 or 9 or 11 years old and they shouldn’t be expected to correct every mistake. And because we are not publishing these practice writes, as long as they make an attempt to revise and edit, I am fine with that. 3-2-1 Check It

Ask three, then me! is a great strategy for kids to use to search for the correct spelling of a word. They need to ask three friends first before coming to ask me. One of those “friends” can be a dictionary.

24  A Balanced Writing Program

• Explain that one of the most important steps of the writing process is when a writer revisits their writing and works on trying to make it better by making changes, adding, deleting, correcting, rewriting. This is called revising and editing. Tell them that good writers don’t just fix the punctuation and spelling; they also need to go back and try to make the writing sound better. • Show them the 3-2-1 Check It chart. Explain that they will be learning to use the list to help them with revising and editing. • Explain that 3 Convention Corrections means they need to try to fix three spelling, punctuation, or spelling errors. Remind them that if they have any GUM It words underlined, they could try to find the correct spelling of them. • Explain that 2 Word Wind-Ups means they need to try to make some changes or adjustments to individual words, like adding a word they forgot (teach them how to insert a word above the line with a caret), crossing out a word, or making a word better (a triple-scoop word; see page 40). • The 1 Sentence Shake-Up means to look for one sentence they think could be better. I usually model a few examples of sentence edits when I introduce the checklist. I explain that they don’t have to fix every sentence, but to choose one they think could be better. I model how to circle or underline the sentence and rewrite it either below the existing text or at the bottom of the page. • Pass out mini 3-2-1 Check It lists to each student to keep in or glue onto their writing folder.

“The beautiful part of writing is that you don’t have to get it right the first time, unlike, say, a brain surgeon.” — Robert Cormier

One thing to note here, when students use erasers to revise and edit, it’s difficult to actually see what changes they have made in their writing. I have a class set of green pencil crayons that I keep in a box labeled Editing Pencils that my students use for 3-2-1 Check It. This makes their edits more visible as I can really see the changes they are making. S a m pl e 3 – 2 – 1 C h e c k It An c h o r C h a r t

3-2-1 Check It! 3  Convention Corrections: spelling, punctuation, spacing 2 Word Wind-Ups: add, erase, replace 1  Sentence Shake-Up: add, erase, replace to make your sentence sound better

Implementing Weekly Practice Writes 25

Assessment Summary Sheet Teacher: Student

Mark/ Grade

Strengths

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

26 

Division: Areas of Concern

Goals/Focus for Instruction

No-Excuse Words: Grade 1 a

for

on

am

he

she

and

I

that

are

in

the

at

is

to

be

it

was

can

of

you

No-Excuse Words: Grade 2 a

from

no

this

all

had

not

to

am

have

of

was

and

he

on

we

are

her

one

were

as

his

or

what

at

I

she

where

be

it

that

when

can

is

the

with

for

in

they

you

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 27

No-Excuse Words: Grade 3 a

for

on

this

about

have

one

to

all

had

or

up

am

he

other

was

an

her

out

we

and

his

said

were

are

how

she

what

as

I

so

when

at

if

some

which

be

in

that

why

but

is

the

will

can

it

their

with

could

many

them

would

do

not

there

you

each

of

these

your

every

off

they

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

28 

No-Excuse Words: Grade 4 a

had

of

time

about

has

one

to

after

have

only

two

all

he

or

up

an

her

other

very

and

him

people

was

as

his

said

water

at

how

school

we

be

I

see

wear

because

if

she

were

been

in

so

what

can

into

some

where

could

it

than

when

did

just

that

which

do

know

the

who

down

little

their

will

each

many

them

with

find

more

there

words

first

most

these

would

for

not

they

you

from

now

this

your

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 29

No-Excuse Words: Grades 5–7 a

first

now

think

about

for

number

this

after

from

of

through

again

great

off

time

all

had

on

to

also

has

one

too

an

have

only

two

and

he

or

up

another

her

other

very

any

here

our

was

are

him

out

water

around

his

people

we

as

hour

place

wear

at

how

play

were

away

I

right

what

be

if

said

when

because

in

school

where

been

into

see

which

but

is

she

who

came

it

so

why

can

just

some

will

could

knew

tell

with

did

know

them

words

different

little

that

would

do

many

the

write

does

more

their

you

down

most

them

your

each

much

there

even

new

these

find

not

they

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

30 

Name: Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

Brain Pockets

Imagination Pocket Fact Pocket Memory Pocket

 31

Student Writing Goals Name:

Grade:

My teacher and I chose the following goals for me to work on: Date

Goal

Initials Teacher/Student

Strengths: Goal:

Strengths: Goal:

Strengths: Goal:

Strengths: Goal:

Strengths: Goal:

Strengths: Goal:

Please keep this in your Writing Folder! Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

32 

Achieved

Picture Plan Name:

1 2 3 4

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 33

Web Plan Name:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

34 

List Plan Name:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 35

Picture Plan Plus Name:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

36 

2  Memory Pocket Writing: Personal Narrative

Walking Stories

I begin with walking stories and spend about six weeks focusing on them before I transition into teaching event stories, which requires a new set of specific writing techniques.

Personal narratives or personal recounts are writing based on the writer’s own personal experiences, memories, and feelings, the contents of what I refer to as our memory pocket. Because writers use ideas from their own lives, as opposed to researching facts or developing characters and plots, I find personal narrative the simplest structure to teach. It also allows maximum time to front-load key writing routines and techniques that will carry students throughout the year. This is why I like to begin the school year with this type of writing. I spend the first term of school teaching a focus on personal narrative practices and the mini lessons connected to this style of writing. I find that the topics and anchor books I use to teach personal narrative are often the same ones I would be using to get to know students at the beginning of the year, such as stories about family, friendships, school, and feelings. If you are using Reading Power, these anchor books also work well for teaching the power of making connections. Under the broad umbrella of personal narrative, I have discovered two substructures: walking stories describe a personal topic (me, my friend, my pet, my culture, my school, etc.) and event stories are about a personal event with a beginning, middle, and end (my field trip to the pumpkin patch, going skating, my birthday party, etc.). W a l k i n g S t o r i e s a t a Gl a n c e

Walking Story Mini Lessons • Word Choice: Triple-Scoop Words (page 40) • Interesting Details (page 41) • Organization Drawers (page 45) • Sensory Detail (page 46) • Similes (page 48) • Personification (page 50)

A Walking Story…

A Walking Story does NOT…

• stars you! • comes from your memory pocket • is all about a person, place, or thing that you know a lot about • uses lots of interesting and visual words • sometimes has anchor lines (repeating words or phrases)

• contain a problem • show time passing with a beginning, middle, and end • use move-along or transition words • include imaginary characters

Walking Story Anchor Books Browne, Anthony. My Dad Carlson, Nancy. I Like Me! (P) Clark, Emma Chichester. I Love You, Blue Kangaroo! (P) Curtis, Jamie Lee. My Brave Year of Firsts Heide, Florence Parry. Some Things Are Scary Henkes, Kevin. My Garden

Parr, Todd. It’s Okay to Make Mistakes (or any Todd Parr book) (P) Reid, Barbara. The Party Rylant, Cynthia. Birthday Presents Rylant, Cynthia. When I Was Young in the Mountains Shannon, David. No, David! Shannon, David. Too Many Toys! Walking Stories 37

ASSESSMENT

This rubric can be used for both walking and event stories. It is not based on a specific grade, but focuses on the overall skills I look at when assessing personal narratives. You will need to make adjustments to the expectations for your students’ particular grade level. Personal Narrative Assessment Rubric Description

Approaching

Meaning

Writing makes sense: easy to follow; centred around a main idea; based on personal experiences; stays on topic

Style

Writing is engaging: evidence of writing techniques, including word choice, details, voice, imagery

Form

Writing is organized: sentences are grouped (paragraphing); evidence of transition words; clear beginning-middleend (where applicable)

Conventions

Writing is clear: accurate spelling of highfrequency words; evidence of appropriate punctuation and spacing

Developing

Applying

Extending

Walking Story Topics and Anchor Books The topics children can write about when it comes to walking stories are endless—their memory pockets are jam-packed with stories about themselves, their family, friends, their favorite toy, a special place, a special grown-up. We never run out of memory-pocket topics! When students focus on walking stories, they are writing about a topic from their memory pocket, sharing interesting details with their readers about that topic. When choosing topics for weekly practice walking-story writes, I like to choose topics around anchor books that I share with the students. These books anchor my lessons; they provide me with topics and themes for discussing and connecting, and inspire great writing. The suggested anchor books are organized by Walking Story topic. You can use them for your weekly practice writes to share with students as a way of introducing the topic and stimulating brainstorming and discussions prior to writing. Anchor Books: Walking Stories Celebrate Me!

Carlson, Nancy. I Like Me! (P) Ewald, Wendy. The Best Part of Me Miller, Pat Zietlow. Remarkably You (P) Nyong’o, Lupita. Sulwe

38  Memory Pocket Writing: Personal Narrative

Muhammad, Ibtihaj. The Proudest Blue: A Story of Hijab and Family Myers, Walter Dean. Looking Like Me

My Name

Alexie, Sherman. Thunderboy Jr. Choi, Yangsook. The Name Jar Henkes, Kevin. Chrysanthemum Martinez-Neal, Juana. Alma and How She Got Her Name Feelings

Cain, Janan. The Way I Feel Hoffman, Mary. The Great Big Book of Feelings Miller, Pat Zietlow. When You Are Brave Parr, Todd. The Feelings Book (P) Poulin, Andrée. When You’re Scared Worries

Black, Michael Ian. I’m Worried Browne, Anthony. What If…? Henkes, Kevin. Wemberly Worried Parr, Todd. The Don’t Worry Book (P) Friendship and Friendship Challenges

Brown, Peter. You Will Be My Friend Fergus, Maureen. Buddy and Earl (P) Ferry, Beth. Stick and Stone Fitzpatrick, Marie Louise. The New Kid (P) Henkes, Kevin. Chester’s Way McBratney, Sam. I’m Sorry (P) O’Neill, Alexis. The Worst Best Friend Rodman, Mary Ann. My Best Friend Rosenthal, Amy Krouse. Friendshape

Juster, Norton. The Hello, Goodbye Window Liu, Sylvia. A Morning with Grandpa McLeod, Elaine. Lessons from Mother Earth Ryder, Joanne. My Mother’s Voice; also My Father’s Hands Verplancke, Klaas. Applesauce My Family Is Special

Hoffman, Mary. The Great Big Book of Families O’Leary, Sara. A Family Is a Family Is a Family Parr, Todd. The Family Book (P) My Favorite Season

Gray, Heidi Pross. Autumn Is Here!; also Winter Is Here!, Spring Is Here!, Summer Is Here! Iwamura, Kazuo. Good-bye, Winter! Hello, Spring! Pak, Kenard. Goodbye Autumn, Hello Winter; also Goodbye Summer, Hello Autumn Favorite Toys

Caudill, Rebecca. The Best Loved Doll Clark, Emma Chichester. I Love You, Blue Kangaroo! (P) Cousins, Lucy. Maisy’s Favorite Toys (P) Shannon, David. Too Many Toys My Special Place

Croza, Laurel. I Know Here Gilmore, Rachna. Island Morning Juster, Norton. The Hello, Goodbye Window Larsen, Andrew. See You Next Year Maclear, Kyo. The Specific Ocean

A Special Grown-up

My Imaginary Place

Browne, Anthony. My Dad; also My Mum Gritz, Ona. Tangerines and Tea, My Grandparents and Me

Henkes, Kevin. My Garden Thomson, Sarah L. Imagine a Place Van Deusen, Chris. If I Built a House

Mini Lessons for Walking Stories Because of the simple, linear structure of walking stories, teaching them first leaves space for me to focus on mini lessons on several key writing techniques that enhance the quality of personal narrative stories, as well as that of other structures. Depending on what class trends I notice early in the school year and what gaps I see in my students’ writing, I choose a lesson to focus on. I don’t teach all these mini lessons in a row. Using the Plan–Draft–Revise weekly practice writes, students quickly get into the flow of our writing routine. Usually I teach one technique or craft on Draft Day (see page 17 for weekly schedule), and then students practice applying it to their practice writes for several weeks. As often as I can, I use anchor books to introduce and model a specific technique.

Walking Stories 39

Word Choice: Triple-Scoop Words The simple fact is that interesting words make interesting writing. Many of us could quickly rattle off the most cringe-worthy, overused, and boring words we encounter in children’s writing: good, nice, fun, bad, mad, sad, stuff, for a start. I use a lot of analogies when I teach, and triple-scoop words is my reference to word choice. Some other terms I have heard teachers use are “million-dollar words” or “juicy words.” What you call word choice is not important; what is important is that you are encouraging students to expand their vocabulary and take risks in their word choice so that their writing is more interesting to read. Anchor Books: Word Choice Banks, Kate. Max’s Words Bryant, Jen. The Right Word: Roget and His Thesaurus Hutchings, Jessica Lee. Delores Thesaurus O’Connor, Jane. Fancy Nancy (P) Reynolds, Peter H. The Word Collector

Rowe, Chelsea H. Ebenezer Has a Word for Everything Schotter, Roni. The Boy Who Loved Words Van Slyke, Rebecca. Lexie the Word Wrangler Wimmer, Sonja. The Word Collector

• Begin the lesson: Writers, today we are going to focus on an important thing a writer can do to make sure their writing is interesting—choosing interesting words to include in their writing. If a writer uses boring words, their story will probably be boring, and their reader might just fall asleep! (Feel free to add snoring sound effects here) Principal Sue Stevenson gives each class in her school a single-scoop word written on a paper cut into the shape of a cone. She challenges each class in her school to come up with as many triple-scoop words as they can for their word and displays these in the hall of the school. This challenge could also be done in a class, with cones being given out to small groups of students.

• Invite students to visualize going to an ice-cream shop and lining up to buy an ice-cream cone. While they wait, they look through the glass case at the buckets to choose what flavors of ice cream to order. Tell them that they really want to order the triple-scoop in a waffle cone, but when they go to order their cone, their mom or dad orders them a kiddie cone. So instead of bubblegum, cotton candy, and sticky chewy chocolate, they get a half a lump of ice cream in a yellow Styrofoam cone. They say thank you but, inside, they were secretly wishing for that triple-scooper! • Tell students that you have been talking about ice cream, but really you were talking about their writing. Explain that sometimes when you read their writing, you are wishing for some triple-scoop words, but all you get is “little lumps” of words that are not very interesting! • Brainstorm some single-scoop words: good, nice, fun, bad, sad, mad, stuff, big, small. List them on one side of a T-chart. • Invite students to think of some triple-scoop words that can be used instead of the words listed. Divide the class into small groups and give each group one of the single-scoop words. Invite them to try to come up with triple-scoop words for that word. • Results can be made into a class anchor chart or a Triple-Scoop Word Challenge, or students can work on their own Triple-Scoop list. See page 52 for the Triple-Scoop Word Chart template; see page 53 for a template for early primary students.

40  Memory Pocket Writing: Personal Narrative

T r i pl e - S c o o p W o r d s S a m pl e

• Read a few of the anchor books on page 40 over the next few weeks. • Set a goal: Writers, for the next few weeks, I would really like to see you trying to include at least three triple-scoop words in your practice write.

big

humungous, gigantic, enormous

good

amazing, fantastic, outstanding

sad

upset, depressed, devastated

Grade 1, Practice write using triplescoop words

Interesting Details “You need to add more details to your sentence.” How many times have we said that to our students? Too many to count! And what I have found is that, if we don’t explicitly show writers what an interesting detail looks like, they make their sentences longer, but the sentences are still boring! I have found that this lesson, which gives students specific words to use when adding details, is foolproof. • Begin the lesson: Writers, today we are going to focus on a way we can work on our Writing Goal #1: making our writing interesting for our readers.

• Explain that you would like to share some of your writing with them and discuss whether they think it is interesting. Have these sentences already written on the whiteboard or chart stand. Read them out loud: I like snow. I like books. I like red licorice.

• Ask students what they think of the writing. (boring!) Why? (repetitive, no details, no triple-scoop words) • Tell them that you are going to show them how to turn these boring sentences into interesting ones. • Invite students to write three boring sentences about things they like. (food, people, sports, activities, animals, etc.)

Walking Stories 41

I like ___________________ I like ___________________ I like ___________________ With younger students, I refer to this as “robot writing” and read it aloud in in my “robot voice”—flat tone with no expression or intonation.

• Invite students to read their sentences to a partner in a really boring voice. • Model how, while they were writing, you added some interesting details to your sentences: I like snow because it’s fun. I like books because they’re awesome. I like red licorice because it’s good.

• Ask students if they think your details make your sentences more interesting. (No) Why not? (Because the writing does not give the reader anything to think about.) • Explain that when you add details, you need to use a linking word to join the fact with the detail. Ask them what linking word you used. (because) Explain that the word because is a good word to use for answering questions or explaining something, but not a good choice for adding details. • Model again, asking the students if these are more interesting sentences: I like snow. When it snows, I always do a snow dance in the kitchen. I like books. Sometimes, I sniff new books in the bookstore. I like red licorice. Once, I ate a whole bag in the movie theatre.

• Discuss what happens in our brains when we read these sentences. (we visualize, connect, wonder) Explain that good writing activates the reader’s thinking and gives their brains something to do, and that is what makes the writing more interesting. • Show students “magic” words that help make sentences more interesting: Once (one time) If When Sometimes

• Remind students that the detail you add must connect to the fact. Show examples and discuss: I like my friend Jessica. Once upon a time, a dragon broke the castle. (detail doesn’t match the fact) I like my friend Jessica. Sometimes my brother pinches me. (detail doesn’t match) I like my friend Jessica. Sometimes Jessica tells funny jokes to make me laugh. (Great!)

• Invite the students to practice making their boring sentences more interesting by using the magic words once, if, when, and sometimes. • Have students share their interesting sentences with a partner: e.g., I like hockey. One time, I scored the winning goal and got the MVP award. • Set a goal: 42  Memory Pocket Writing: Personal Narrative

Writers, for the next few weeks, I would like you to really try to use at least three different magical detail words in your weekly practice write. Five-Finger Mini Lesson for Early and Emergent Writers

The magical detail words may be challenging for beginning writers, so I have adapted a lesson from Lori Jamison Rog that has been successful in many classrooms. Grade 2: Sample writing using Five Finger Planner

• Write this “story” on the whiteboard or chart stand: I have a cat. The end.

• Tell students, “Writers, I wrote a story and I’d like to share it with you.” Read the “story.” • Ask students what they think about your story. (it’s too short, boring, no details) • Ask them what is missing. (Interesting details!; e.g., name of the cat, color, what the cat likes to do) • Tell students you would like to show them a way to add interesting details to your story. • Hold up your hand, one finger at a time, beginning with pointer finger and ending with your thumb. Say: “Topic, Detail, Detail, One time, Feeling.” Repeat this, holding up a finger with each word. • Explain that this can help you add to your cat story. Model: Topic: I have a cat named Sumo. Detail: Sumo is black with white paws and a pink nose. Detail: Sumo likes to drink coffee. One time: One time, Sumo fell in the bathtub! Feeling: I love my cat Sumo.

• Read the story again and ask students if it is more interesting. • Practice the Five Finger Planner orally. Invite students to hold up their hand and think about Topic/Detail/Detail/One time/Feeling they can write about. Invite them to share their story with a partner before beginning their writing. STICKY DOT/STOP SIGN Mini Lesson for Early and Emergent Writers

Another lesson adapted from Lori Jamieson Rog is designed to help beginning writers add details as well as to introduce the concept of punctuation, specifically periods between sentences. • Begin the lesson: Writers, I’ve been thinking I’d like to write a story about something that happened to me. I’m going to write a memory story.

• Model this “story” on the whiteboard or chart stand: Yesterday I went to the park. The end.

• Prompt students to read the story and ask them what they think of it. (short, not interesting, no details) Ask, “What else would you like to know?” Invite students to ask you questions. (who did you go with?; what did you do there?; etc.) Walking Stories 43

• Introduce the strategy: Oh, so I need to add more details to my story to make it more interesting. Today we are going to write “sticky dot” details. I’m going to put three sticky dots on my hand. These are going to show me where to add details to my story.

• Model the strategy: Yesterday I went to the park with my dad.

• Say, “Now I need to add a detail.” (place sticky dot on writing) I went on the swings. (place sticky dot on writing) My dad pushed me really high, up to the sky. (place sticky dot on writing) I was a little scared.

• Talk about the feeling word you added: When writers add a feeling, it helps their reader make a connection. If your reader makes connections to your writing, it makes it more interesting for them. This lesson also works well when teaching Event Stories to help with transitions (see page 60); sticky dots can be placed after each transition.

• Invite students to write about something from their memory pocket that they did recently at home, at school, at a community centre, at a restaurant, etc. Ask them to think of three sticky-dot details they would like to add. Encourage them to include one feeling detail. • Before students begin writing, invite them to share their sticky-dot details with a partner. • Pass out sticky dots (three per student) and ask students to place them onto the top of their hand. Remind them to stick their sticky dots onto their paper after every detail. • The next week, you can repeat the sticky-dot lesson without actually using the sticky dots. Explain that writers don’t always carry around sticky dots, so they make a little dot with their pencil instead. It’s called a period. If you are able to use your model writing from the previous lesson, remove sticky dots and draw in periods. • Explain that this dot is like a mini Stop sign and it helps readers know where one idea (sentence) stops and another starts. Remind them that sticky dots are round, so we need to make sure we are leaving a round space after the period before we start our next idea. • Set a goal: Writers, this week, try to add a little Stop sign period to show your reader that one idea has stopped and anther one is going to start.

44  Memory Pocket Writing: Personal Narrative

Organization Drawers Focusing on writing techniques to help make writing interesting can help to improve the quality of your students’ writing; however, it is important to balance your lessons to include ways to support Writing Goal #2: making writing more clear for your reader. Otherwise it’s a little like a polishing a beautiful car that has no engine. • Begin the lesson: Writers, today we are going to focus on a way we can work on our Writing Goal #2: making sure writing is clear for your reader. Remember, if your writing is mixed up, then your reader will get mixed up!

• Explain that you will be showing them a way to group their ideas together to help their writing be more organized. • Draw a chest of drawers on the board, whiteboard, or chart stand. Ask students to visualize their drawers in their bedroom • Ask “What is this piece of furniture meant for?” (to keep clothes organized) “How does it help keep the clothes organized?” (the drawers help to group all the same types of clothes together) Imagine if there were no drawers to separate your clothes. Everything would be mixed up in one big box. Confusing to find what you need!

• Invite students to visualize their chest of drawers in their bedroom. Describe yours as an example: I have socks in my top drawer. They are different colors and different sizes, but the important thing is that they are all socks in the same place.

• Tell students to visualize closing their top drawer and opening the next one. What’s inside that one? Maybe it’s your underwear drawer. (prepare for giggles) They might be different colors but they are all underwear grouped in the same drawer.

• Continue “looking in your drawers” with the class. • Explain that, just like real drawers help us organize our clothes, as writers, invisible drawers help us organize our writing. • Model by drawing a large chest of drawers on the whiteboard or chart stand. Let’s say I want to write a walking story about my dog. (write My Dog on the top of the chest of drawers) After deciding my topic, I am going to think about what I want to put in each of my drawers. I have four drawers, so I need four big ideas, one for each of my drawers. What big ideas do I think my readers would like to know about my dog? Walking Stories 45

  In the first drawer I think I will write my dog’s name and what she looks like: size, color, type of dog, fur. So I’m going to write Appearance on this drawer.

• Continue modeling what you would put in each of the other drawers. (food, personality, what you love about your dog) My Dog Appearance Food Personality Love

• Explain that once we decide what we are going to put in each drawer, the next step is to fill your drawers. (This always makes me chuckle to say!) • Ask students how many socks they have in their sock drawer. (lots!) Ask them if all their socks look the same? (no) Remind them that the socks might be different, but they are all socks, so they all need to stay together in one drawer. Explain it’s the same with writing: Whatever is going into this top drawer must be about what my dog looks like— four or five different sentences, but they are all this top drawer because they are all about my dog’s appearance.

• Model filling your drawers with ideas for each drawer. I continue to use this drawer analogy when I am giving feedback to students about their writing. For example: “It looks like you only have one sock in that drawer” (if the student has included only one sentence about their big idea); “I think that sock is in the wrong drawer” (if the student has included a sentence in the wrong paragraph); “I think that sock is in the wrong ROOM!” (if the sentence is not connected to the topic at all).

Appearance

big golden doodle, reddish-brown fur, long legs, triangle ears

Food

raw diet, carrots, apples, blueberries, bone for treat

Personality

friendly, cuddly, energetic, affectionate, clumsy

Love

affectionate and loves everyone, like a member of the family

• Pass out the Let’s Get Organized template (page 55). Invite students to use it as a planning page for their next practice write. • For more advanced writers, I later introduce the idea of topic sentences. I refer to them as a handle sentence: the sentence that pulls open the drawer and tells the reader what they are going to find in that drawer. The handle sentence must contain the word that tells the reader what’s inside that drawer. Sensory Detail I like to introduce sensory detail while focusing on Walking Stories. While relatively simple for students to apply, sensory detail can really help elevate the quality of a piece of writing.

46  Memory Pocket Writing: Personal Narrative

Anchor Books: Sensory Detail Covell, David. Running Wild Ferry, Beth. The Scarecrow Hesse, Karen. Come On, Rain! Hughes, Alison. The Silence Slips In Hunter, Anne. Cricket Song Isadora, Rachel. I Hear a Pickle: And Smell, See, Touch, & Taste It, Too! (P) Juster, Norton. The Hello, Goodbye Window

Lebeuf, Darren. My Forest Is Green Muñoz Ryan, Pam. Hello Ocean Pilkey, Dav. The Paperboy Posada, Mia. Summer Green to Autumn Gold Rylant, Cynthia. Snow Wagner Lloyd, Megan. Finding Wild Yolen, Jane. Owl Moon

• Begin the lesson: Writers, one of the ways we can make our writing more interesting is by using sensory words when we are describing something. We don’t want to just describe what something looks like, we want to include all of our senses. When we do this, we activate our readers’ thinking by inviting them to visualize.

• Brainstorm the five senses (sight, smell, sound, taste, touch). Explain that writers use an extra sense—feelings or emotions—when they write. • Choose one of the senses. Ask students what words a writer might use to describe taste. (sweet, sour, delicious, tangy, spicy, crunchy) Ask how a writer might describe sound. (loud, soft, whisper, crash, squeak, bang) • Create an anchor chart for each sense, inviting students to help with the lists of words. • Extension: Pass the Senses. For this game, prepare six chart papers with a heading of one of the six senses at the top of each. Divide the class into groups and give each group a chart. Give students one minute to record as many words as they can for their sense. After one minute, the papers are rotated. The challenge is to not repeat, so students need to read the previous words before adding new ones. • Choose one of the anchor books to read that day, or more throughout the week. Explain that the writer of the book is very good at using sensory words. Invite students to listen for examples from the different senses. • Discuss different examples of each of the six senses (including feelings) that were used in the story. Tell students that sensory words make writing more interesting. • Write the word apple on the whiteboard or chart stand. Explain that you have two different pieces of writing about an apple that you are going to read out loud and then you will discuss them. • Read apple samples: Apples Apples grow on trees. They are round and sometimes they are green or red or yellow. They usually have a stem and sometimes a leaf. When they get brown bruises on them, they go a bit mushy. Apples can be made into apple pie, apple sauce, apple juice and apple cider. There are different kinds of apples, like Granny Smith and McIntosh. Some apples are sweet and some are kind of sour and not so crispy. Apples are good for your body and your teeth. If you cut an apple in half you will see some seeds and a core. Walking Stories 47

The Apple I cup my hands around the sides of the apple and feel the roundness of smooth, cold skin. The flecks of yellow in the redness are like streaks of sunlight. There are tiny smears of brown and green dancing on one side: I see autumn. I breathe in the apple—cool, crisp and fresh. I hesitate to take a bite, not wanting to break the silence of the skin. I press my teeth into side of the apple. The crunching sound and sweet taste mix together in my ears and my mouth. The crunchy white flesh mixes with the shiny red skin as they dance through my teeth and over my tongue. I taste autumn. The hole in my apple that my teeth made looks like a mouth telling me to take another bite. And so I do.

• Ask students which sample they liked better. (second one) Why? (more sensory words, more visualizing) • Explain that for the next few practice writes you would like students to try to focus on using sensory words. • Brainstorm a list of topics that might work well for sensory writing for students to choose from. Topics that work well for sensory writing are: weather (snow, rain, hot day), seasons (fall, winter, spring, summer), people (my baby sister, my grandma), places (the beach, the forest, the playground, a restaurant), food (apple, orange, pizza, ice cream cone). • Before writing, have students brainstorm sensory words connected to their topic using the Six Senses Planning template on page 56. Similes One of the most successful and seemingly simple ways to raise the quality of students’ writing is to introduce them to the technique of writing descriptions using similes. Be warned: once they catch on, there is no stopping them! Anchor Books: Similes Bender, Rebecca, How Do You Feel? Browne, Anthony. My Dad Browne, Anthony. My Mum Cabrera, Cozbi A. My Hair Is a Garden Fox, Mem. Night Noises Hall, Michael. My Heart Is Like a Zoo McLachlan, Patricia. All the Places to Love Piven, Hanoch. My Best Friend Is As Sharp as a Pencil

Piven, Hanoch. My Dog Is as Smelly As Dirty Socks Stewart, Melissa. Seashells More Than a Home Rylant, Cynthia. Snow Verplancke, Klaas. Applesauce Willis, Jeanne. Mole’s Sunrise Wood, Audrey. Quick as a Cricket (P) Yolen, Jane. Owl Moon

• Begin the lesson: Writers, today I am going to show you a simple writing technique you can use to make your writing more interesting. This is something that grown-up writers use, but I think you are ready to do some grown-up writing!

• Model some examples of similes on the board/whiteboard/overhead: He crept into the room as quiet as a mouse. The cloud was fluffy like cotton candy. 48  Memory Pocket Writing: Personal Narrative

He was as angry as a grizzly bear. The snowflake sparkled like millions of tiny diamonds. Her skin was as soft as velvet.

• Ask students what the sentences have in common. • Explain to students this writing technique is often used by writers to make their writing more interesting: This technique is called simile, and it is a way of describing by comparing two things that aren’t really alike. Similes connect these two things with the word “as” or the word “like.” Similes can help readers make connections and visualize.

• Continue the lesson: There are some similes that are well-known or common, but have been overused. (you might introduce the term cliché) Wise as an owl Busy as a bee As cold as ice

• Explain that, because these similes are very common, we don’t want to use them in our writing. We want to use more interesting and creative similes • Practice creating a simile with the class by asking them to think of a time when they felt really, really cold. Have them create a simile from that; e.g., as cold as my finger tips on a ski lift; as cold as a snowman’s cheeks. • Remind students that, when you create a simile, the two things you are comparing are different but share something in common. Discuss with students why the examples below don’t really work. (Because the adjective or describing word does not really match the noun) As crunchy as a volcano. Friendly like a mushroom.

As silly as a spider. Crazy like peanut butter.

• Pass out the Simile and You Will See! sheet from page 54. Encourage students to create original and surprising similes that nobody has thought of before. The chart has two spaces beside each prompt: one for a common cliché and one for their original. Left: Grade 4: Simile and You Will See! Right: Grade 3: Practice write using similes

Walking Stories 49

• Extension: Once students are familiar with similes, invite them to listen for them when you are reading aloud. Primary students can give a “thumbs up” whenever they hear a simile being read. Personification To transfer human characteristics to something nonhuman or to represent something abstract in a human form sounds sophisticated and perhaps too challenging for younger writers. However, there are so many great examples of personification in children’s books, even young students will soon be able to identify the technique, as well as to experiment with it in their writing. Anchor Books: Personification Bhadra, Sangeeta. Sam’s Pet Temper Calabrese, Keith. Lena’s Shoes Are Nervous Daywalt, Drew. The Day the Crayons Quit Glass, Eleri. Red Shoes Greig, Louise. The Night Box Reid, Barbara. Picture the Sky

Rex, Adam. School’s First Day of School Rosenthal, Amy Krouse. Exclamation Mark Sidman, Joyce. Red Sings from the Treetops Snicket, Lemony. The Dark Yamada, Kobi. What Do You Do with a Chance? Yarlett, Emma. Orion and the Dark

• Write the word personification on the board. Explain that the writing technique you will be focusing on is called “personification.” Tell students it is something writers do to make their writing more interesting (refer to Goal #1). • Ask students if they can identify a smaller word within the word on the board that might help them figure out the meaning. (many will find small words like son, cat, and on) Underline or circle person. Explain that the word person is a good way to remember this technique. Personification is when writers write about an object as if it were a person— in other words, they add human qualities to an inanimate (not human) object. What do you think human qualities might be? What makes a human different from a rock, for example? (movement/action, thoughts and feelings, voice) Creating inanimate objects that are able to think, feel, and act the same as a human can be a helpful way to make your writing more interesting.

• Model a few examples and discuss the use of personification: The flowers begged for water. The wind screamed as it raced around the house. Lightning danced across the sky. The sun warmly greeted the children “good morning”. The vines wove their thin fingers around the tree trunk The wind whispered softly in the night. The stars winked at me.

50  Memory Pocket Writing: Personal Narrative

• Share one of the anchor books and discuss the author’s use of personification in the story. What was the non-human object? What human characteristics did the author add? • Have students make a T-chart and list several inanimate objects on one side. Objects in nature work the best: e.g., snowflakes, stars, cloud, leaf, ocean, grass, etc. On the other side, students list action words (verbs)—anything a human can do with their hands, feet, and mouth (jump, scratch, whisper). • When both sides of the chart are complete, model how to match up a word from one side with any word on the other. Encourage students to create unique and unusual images, avoiding ones that they may have already heard before: e.g., the leaves whispered has already been said; the leaves tiptoed is new. • Remind students that it’s not as important to find matches for all their words as to create 3 to 5 really effective, unique ones. • Invite students to choose two or three of their best matches and expand them into a sentence. Model how to expand by adding an adverb (to indicate how) and a noun (to indicate where). Example: frost tiptoe becomes The frost tiptoes quietly across the frozen grass. S a m pl e P e r s o n i f i c a t i o n M a t c h

Object in Nature

Actions of your hands, feet, or mouth

leaf

clap

snowflake

tickle

tree

tiptoe

cloud

stomp

raindrop

whisper

mountain

hum

river

laugh

Walking Stories 51

Triple-Scoop Word Chart Name:

Single Scoop hot

Triple Scoop sweltering, melting, scorching, roasting

cold wet fun nice bad tired hungry sad happy mad pretty big small said nice scared

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

52 

Triple-Scoop Word Chart: Primary Name:

nice

big

bad

fun

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 53

Simile and You Will See!

Original

As cold as…

ice

monkey bars in winter

Hot like…

the sun

As brave as…

a lion

As slow as…

a turtle

As white as…

snow

As quiet as…

a mouse

As black as…

night

As funny as a…

clown

As annoying as…

a mosquito

Boring like…

a sloth

As busy as…

a bee

Soft like…

a kitten

As wise as…

an owl

Quick like…

a bunny

54 

Familiar

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

Name:

Let’s Get Organized Name:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 55

Six Senses Planning Name: What I see…

What I hear…

What I taste…

What I smell…

What I feel (touch)…

What I feel (emotion)…

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

56 



Event Stories

Story writing is, in my opinion and experience, the most challenging and complex text structure for young writers. It requires front-loading of mini lessons, so before jumping directly into story writing, I like to scaffold the complexity of story writing with what I have termed event stories. Event stories are still under the umbrella of personal narratives and, like walking stories, use our memory pocket as a source for ideas. They are, however, a step up in complexity from walking stories because they focus on a personal event with a beginning, middle, and end. I consider and use event stories as the bridge from simple to complex story writing. The most important writing skill I want students to learn and practice with event stories is how to use transitions, or move-along words. Knowing how to use transition words is an essential component of story writing. If students have already been introduced to and have had practice with transition words, then teaching story writing becomes easier. Besides teaching transition words, there are additional mini lessons connected to this structure. I usually spend the entire first term is focusing on personal narratives, but spend less time on event stories than I do on walking stories. E v e nt S t o r i e s a t a Gl a n c e

Event Story Mini Lessons • Transition Words (page 60) • Stretching the Moment (page 62) • Effective Event Story Endings (page 63)

An Event Story…

An Event Story does NOT…

• stars YOU (and people you know) • comes from your memory pocket • is all about an event that you have experienced • has a beginning, middle, and end • has move-along words (transitions) • uses lots of triple-scoop, interesting, and visual words

• contain a problem • include imaginary characters

Anchor Books: Event Stories Cornwall, Gaia. Jabari Jumps Dotlich, Rebecca Kai. One Day, The End Frazee, Marla. Roller Coaster Keats, Ezra Jack. The Snowy Day



Parker, Danny. Molly and Mae Pilkey, Dav. The Paperboy Reid, Barbara. Perfect Snow Viorst, Judith. Sunday Morning

Event Stories 57

Assessment

The rubric on page 38 can be used for both walking and event stories. It is not based on a specific grade, but focuses on overall skills I look for when assessing personal narratives. You will need to make adjustments to the expectations for your students’ particular grade level.

Introductory Lessons Deconstructing Event Stories Before having your students begin writing an event story, I recommend reading and deconstructing one or two of the suggested anchor books so that students can begin to recognize the form, as well as the transition words.

This two- or three-part lesson introduces students to the concept of using their memory pocket to retell a personal event in sequence. • Begin the lesson: Writers, today we are going to learn about a different kind of memory pocket story called an event story. We have been writing walking stories that come from our memory pockets and focus on describing a topic, like a person, place, or thing. Event stories also come from our memory pockets, but they tell about an event that has happened to us. They don’t have to be big events; in fact, sometimes they can be small moments. Walking stories give details all about one topic; event stories give details about an event and have a beginning, a middle, and an end.

• Choose one of the suggested anchor books. Read it aloud, asking students to pay attention to the sequence of events, specifically the beginning and ending. • As a class, deconstruct the story by plotting the events on an Event Story Planner on page 65. With early primary students, I suggest using the four-box Event Story Planner: Primary on page 66. • Discuss the importance of movement in this type of story and identify the beginning, middle, and ending. • Using the gradual release approach, read a second book the next day and have students try to sequence the events: first orally with a partner; and then using one of the templates, drawing pictures, writing, or both. Planning Event Stories • Remind students they are learning about event stories. Ask, “What is an event story?” (comes from memory pocket; describes an event that happened to us; has a beginning, middle, and end) • Begin the lesson: Today we are going to learn to write our own event story. The events don’t have to be big, like a trip to Disneyland. The events we are going to write about are small events that mostly begin and end in one day, like going skating or a class field trip.

• Invite students to help brainstorm a class list of events that they have experienced. If your class has recently had a shared experience, such as a field trip or school celebration, it is a good one to use for your first event story, as all students can contribute their ideas to the lesson. 58  Memory Pocket Writing: Personal Narrative

• Remind them that the event should begin and end within the same day. Some event story ideas: •  Sleepover at Grandma’s •  Class field trip •  When I lost my tooth •  Dim Sum with my family •  My sixth birthday party

One Day, The End by Rebecca Kai Dotlich is an excellent anchor book for discussing the importance of the middle of the story. It’s one of my favorites for this lesson!

•  Eating at a restaurant •  When I broke my arm •  Snow day! •  My first goal in soccer •  Grocery shopping with Dad

• Invite students to choose an event from their memory pocket to write about. • Pass out the Event Story Planner on page 65 or the Event Story Planner: Primary on page 66 and explain that students are going to use the organizer to plan their event story. Model with your own six- or four-box organizer. • Focus on the beginning and ending first. Ask students to think about how their event started and how it ended. Model writing on your own boxes. Explain that the first box should include a what and a where. Students can include pictures in their boxes. I went to my cousin’s house for a sleepover. My mom picked me up.

I used to model writing using topics related to my own grown-up life but, over the years, I came to realize that my students didn’t really connect to stories about getting a flat tire or losing my keys, I now model with topics kids can relate to, like sleeping over at my cousin’s house (which I haven’t done in more than 30 years!).

• Read aloud your beginning and ending. I went to my cousin’s for a sleepover. / My mom picked me up. Discuss how funny it would be if writers just wrote the beginning and ending of their story. • Invite students to share the beginning and ending of their event story with a partner. Ask some students to share with the class. • Discuss fact that event stories don’t have just a beginning and ending. It’s what happens in between that makes the story interesting. • Tell students to visualize their event in order, focusing on everything that happened in between when it started and when it ended. Model yours as an example: When I got to my cousin’s house, we first had dinner. Then we played in her room. After that we watched the movie Frozen and ate popcorn. Her cat started eating the popcorn. Then we played flashlight tag in bed. In the morning, we had blueberry pancakes and then my mom picked me up.

• Invite students to share their details of their event with a partner. • Explain that there may have been many things that happened in their event, but that they have only four (or two) boxes to fill in, so they need to choose the most important things that happened. • Model by filling in your boxes. Write aloud, explaining that you are not writing in full sentences, but just recording one event in each box.



Event Stories 59

1

2

3

I went to my cousin’s for a sleepover.

We ate dinner.

We watched Frozen and ate popcorn.

4

5

6

We played flashlight tag in bed.

We ate pancakes for breakfast.

My mom picked me up.

Mini Lessons for Event Stories Transition Words Transition words are used to indicate time passing in personal-narrative event stories, and to help indicate beginning, middle, and end. Anchor Books: Transition Words Carlson, Nancy. Loudmouth George and the 6th-Grade Bully Frazee, Marla. Roller Coaster Gantos, Jack. Rotten Ralph

Henkes, Kevin. Lilly’s Purple Plastic Purse Mora, Oge. Saturday Viorst, Judith. Sunday Morning

• Remind students you are learning to write event stories, retelling an event that happened to us. • Invite students to point-and-talk their event story boxes with a partner. • Tell students that you used your event plan and wrote an event story. You used the ideas from each box and added details. Share your sample with the students: Sleepover with My Cousin I went to my cousin’s house for a sleepover. It was really fun. First, we ate dinner. Then we watched Frozen and ate popcorn. Then her cat tried to eat some popcorn. Then it was bedtime. Then we played flashlight tag in her bedroom. Then we went to sleep. Then we woke up. Then we had blueberry pancakes for breakfast. Then my mom came to pick us up. It was so fun. The End.

• Ask students what they think about the story. (boring; sentences are short; sounds like a list; uses the word then too much) • Ask students why you used the word then in your story. (to move from one activity to another) • Explain that event stories move along from one event to the next, like a movie moves from one scene to the next scene. Writers need to include move-along

60  Memory Pocket Writing: Personal Narrative

words to help the story move along from one moment to the next. Another name for move-along words is transition words. • Explain that the word then is a great move-along word, but that you can’t just use the same word over and over or the story will be boring. • Brainstorm a list of transition words to keep in your classroom. Draw attention to the fact that every transition word is followed by a comma in a story. Move-Along Words for Event Stories •  On Saturday (or any day of the week), •  Then, •  Later, •  Later on, •  Last week (last Tuesday, last year, last summer, etc.), •  The next day, •  Afterwards, •  Before that, •  Soon, •  Meanwhile, •  Just then,

I don’t usually include the transition words Suddenly or All of a sudden when I’m teaching event stories because those words often indicate the onset of a problem. I like to save the problem–solution structure for when I teach story writing.

• Model, adding a transition word to each box in your six-box plan. Remind students that the transition word has to make sense in the story; i.e., you wouldn’t choose the next day if it didn’t happen the next day. 1

2

3

Last Friday,

First,

After dinner,

I went to my cousin’s for a sleepover.

We ate dinner.

We watched Frozen and ate popcorn.

4

5

6

Then,

The next day,

After breakfast,

We played flashlight tag in bed.

We ate pancakes for breakfast.

Mom picked me up.

• Invite students to add their transition words, using a different color pencil or circling the word once they have added it. Grade 2: Event Story plan with transitions



Event Stories 61

• While they are doing this, write or display this sample on the board: I went to my cousin’s house for a sleepover. It was really fun. We ate dinner. And then we watched Frozen and ate popcorn. Frozen is my favorite movie of all time. It’s about this girl Anna, who is really brave. She is trying to find her sister Elsa, because Elsa has made the winter stay forever in Arendelle. So Anna goes to look for her with this Mountain guy Kristoff and his reindeer, and then this funny snowman named Olaf comes with them and then…

Depending on time, you could continue the lesson or finish the following day.

• Read you story aloud and ask the students what they think. (started out being about sleepover but got stuck in one of the boxes and went off topic) • Explain to students that it’s important to stay on topic and to not add too many details to any one of the boxes. • Tell students they are going to be writing their event story using their plan. Explain that they will be trying to include one transition sentence and one or two interesting details for each box. • Model an example from your own plan. First we ate dinner.

Ask, “What two details could I add?” (what you ate, how you liked it) My aunt made butter chicken—my favorite. I had two bowls!

• Share the final sample with students, drawing attention to the transition phrases and interesting details. My First Sleepover I went to my cousin’s house for a first sleepover. I had the best time ever! When I got there, we ate dinner. My auntie made my favorite butter chicken. I had two bowls—YUM! After dinner, we ate popcorn and watched Frozen in her downstairs basement. My baby cousin spilled the popcorn and their cat Kit Kat started eating the popcorn! While we watched the movie, we sang all the songs as loud as we could. After the movie, …

• Students begin to write their own Event Stories, using their plan. Stretching the Moment Anchor Books: Stretching the Moment Beard, Darleen Bailey. Twister Brinckloe, Julie. Fireflies Butenas, Jennifer. A Moment in Time Carlson, Nancy. Sometimes You Barf

Cornwall, Gaia. Jabari Jumps Frazee, Marla. Roller Coaster Pilkey, Dav. The Paperboy Rylant, Cynthia. The Relatives Came

• Begin the lesson: Writers, today I want to talk about stretching out small moments in your event story so that your readers can visualize your experience clearly. 62  Memory Pocket Writing: Personal Narrative

• Read this sample to the class: This summer, I went to the PNE. It was fun. I went on the roller coaster and it was scary! I went on the Ferris wheel. I went on the Death Drop and then I went on the bumper cars with my brother. After that, I had mini donuts and blue candy floss. Then we went on the spinning teacups and I felt SICK!

• Ask students what they think about this writing. Explain, When I read this, I noticed that the writer listed many things that they did at the PNE but didn’t give too many details, so it sounds like a list of moments. Sometimes, if we focus on one moment, we can really stretch it out and help our readers visualize. I’d like to share a book where the writer chose one small moment and stretched it out by adding interesting details.

• Read the anchor book Roller Coaster by Marla Frazee. (See list on page 62 for other suggested anchor books.) • Discuss how the author stretched out the moment on the roller coaster by writing about what happened before, during, and after the ride. • Discuss how the author uses a lot of feeling details, sound words, and interesting sentence starters to start her sentences • Talk about how the author “showed” the feeling of being scared rather than “telling” by writing the word: “Some people screamed. Some people didn’t make a sound. Some people didn’t open their eyes.” • Practice showing instead of telling with different emotions: sad, excited, embarrassed, etc. Ask students, “Instead of writing ‘He was sad’, how could we show sadness?” (Tears left salty tracks down his dirty cheeks.) • Brainstorm a list of events that would work well for stretching small moments: •  Amusement-park ride •  Family eating at a restaurant •  Going on a water slide •  Throwing up •  Getting a cavity filled •  Getting a haircut

•  Scoring a goal in soccer or   hockey •  Jumping off a diving board •  First airplane ride •  School performance •  First time riding bike without   help

• Pass out the Event Story Planner on page 65. By this time, students will be familiar with this plan and will be able to complete the boxes relatively quickly. Once students have completed the planner, tell them to look over the four middle boxes and select one they think would be a good one to stretch out. • Depending on time, students can either write the complete event story or just focus on the box they selected and work on stretching it out. Effective Event Story Endings One of the challenges for young writers is knowing how to end a piece of writing. They often just stop, leaving the reader confused and looking for the next page, or they use a cliché ending, such as “And it was just a dream” or “Stay tuned for part two.” Narratives end differently when compared to other types of writing, so it’s important students learn the basic formula.

Event Stories 63

• Write the words stop and end on the board or whiteboard. Ask students to discuss with a partner what they think the difference is between a story that “stops” and a story that “ends.” (writing that stops may not be finished; writing that ends is definitely finished) Writers, I’m noticing that sometimes you stop your writing but do not end your writing. It’s important to make sure your reader knows you are finished and that the story is over. Otherwise, they might wonder, “Is this it?” or “Is there more?”

• Tell students that there is a simple writing trick to end an event story that not many people know about. Write equation on the board: Topic + Feeling = Ending

Explain that this is the secret formula for ending an event story. • Share some examples: Event: Sleepover with my cousin Possible ending sentences: That was the best sleepover ever! Sleepovers with my cousin are the best! I can’t wait until my next sleepover!

• Discuss how, in every example, you included the event and a feeling about it. • Point out that, if the event wasn’t a positive experience or you didn’t enjoy it, the feeling would be different: Event: rollercoaster ride Possible ending sentences: I will NEVER ride the rollercoaster again! That was the scariest rollercoaster ride I have ever been on! Rollercoasters are definitely NOT for me!

• Invite students to choose an event story that they have already started or finished. Ask them to look at the last sentence they wrote and encourage them to try the secret formula ending.

64  Memory Pocket Writing: Personal Narrative

1 2 3

4 5 6 Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

Event Story Planner

Name:

 65

Event Story Planner: Primary Date: 1

2

4

5

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

66 

3  Fact Pocket Writing: Nonfiction

The world of nonfiction writing is huge. It is compiled of a wide variety of different text structures to share different kinds of information for various purposes. Whether you are writing a persuasive letter, instructions, or a descriptive report, each form has a specific purpose, unique form or text structure, and particular language features associated with it. Most elementary teachers are familiar with descriptive report writing and, while this type of writing is important, children need exposure to and practice in other forms during their elementary years. In Tony Stead’s book, Is That A Fact? (2001), he outlines the different forms of nonfiction children should be learning and practicing in school, including Description, Instruction, Persuasion, Explanation, Biography. In my book Nonfiction Writing Power (Pembroke 2014), I added Comparison writing, as students are often asked to compare and contrast subjects in upper grades. N o nf i c t i o n W r i t i n g F o r m s a n d P u r p o s e s

Structure

Type of Writing

Purpose

Description

All-About writing

To give the reader the facts and information about a single topic

Instruction

How-To writing

To give the reader the step-by-step instructions on how to achieve a specific task or goal

Persuasion

Make-Me writing

To influence or change the reader’s thoughts or actions

Comparison

Same–Different writing To describe to the reader similarities (compare) and differences (contrast) between two or more things

Explanation

How? Why? writing

To explain to the reader how or why something happens, usually in nature

Biography

Who’s That? writing

To summarize, in sequence, the main events in a person’s life

As I outlined in Nonfiction Writing Power, the intention is not for one teacher to teach all six forms of nonfiction writing in a single school year, but ideally to teach two forms per grade. I suggest that a school plan is developed whereby each grade would focus on two different structures and link the structure to a content area you are focusing on. This way, by the time students are moving on to middle or high school, they would have at least some exposure and practice  67

in a variety of different structures. In teaching nonfiction writing, I spend time supporting students through several practice writes with non-research topics so that they become familiar with the language and structure. Once students have had practice, I look for ways to link the writing form to a content area that we are focusing on in social studies or science. This usually requires additional lessons and practice in research and note-taking, but the application of writing after the research is complete is much easier because students are already familiar with the writing form. I recommend spending four to six weeks on a specific nonfiction form as each requires its own mini lessons and because, depending on the topic, students might need to spend time researching and gathering information for their writing. S a m pl e S c h o o l P l a n f o r T e a c h i n g N o nf i c t i o n F o r m s

Grade  Nonfiction Form

Possible Links to Content

K

Instruction Description

Social Studies: How to dress in _______ (Season) Science: Describe an insect

1

Instruction Comparison

Social Studies: How to help in your community Science: Compare living and nonliving things

2

Persuasion

Social Studies: Persuasive letter to support a school event Science: Explain the water cycle

Explanation 

Biography

Social Studies: How to have a Smudging Ceremony (Potlatch, Sharing Circle) Science: The life of a famous scientist or inventor

4

Explanation Comparison

Social Studies: Explain the impact of colonization Science: Comparing two biomes

5

Comparison

Social Studies: Compare two different regions in Canada Science: Which extreme weather is the most dangerous? (persuasion in first person)

3

Instruction

Persuasion You will find more detailed lessons in all six nonfiction forms in my book Nonfiction Writing Power (Pembroke, 2014).

6

Biography Explanation

Social Studies: Biography of a change agent Science: Explain basic function of one body system

7

Comparison

Social Studies: Compare early humans, ancient civilizations, or ancient inventions Science: Persuasive letter about a social issue; e.g., climate change, poverty, homelessness

Persuasion

NONFIC TION WRITING ASSESSMENT

The rubric on page 69 can be used to assess any of the nonfiction forms. While it is not text-structure specific, it does assess whether a student has communicated the information clearly and demonstrates a basic understanding of nonfiction text structure and language.

68  Fact Pocket Writing: Nonfiction

Nonfiction Assessment Rubric Description

Approaching

Meaning

Writing communicates information clearly: topic is clear; easy to follow; centred around a main idea or purpose; provides accurate information with supporting details and examples.

Style

Writing is engaging: evidence of writing techniques, including clear beginning and ending; interesting details; effective word choice; variety of sentence length.

Form

Writing is organized: effective use of structure; information is organized and grouped clearly; effective use of transition words; includes relevant text features where applicable.

Language

Writing is effective: effective use of language features specific to text structure.

Conventions

Writing is clear: accurate spelling of highfrequency words; evidence of appropriate punctuation and spacing.

Developing

Applying

Extending

Introducing Nonfiction Writing You will find specific rubrics for each nonfiction text structure in my book Nonfiction Writing Power (Pembroke, 2018).

Before launching into one of the nonfiction forms, I like to do a lesson introducing students to nonfiction text structure and a lesson on text features. Both lessons help students learn important key elements of all nonfiction texts and what makes information writing different from narrative and story writing. Text Structures Prior to this lesson, visit your school or local library and gather several examples of each of the different nonfiction writing forms, along with picture book, a chapter book, and a novel.

Depending on the grade you teach and how many books you have for the lesson, try mixing up the different types of texts and divide the books among groups of students to sort. Groups should be able to name and explain their categories.

• Description: “all-about” books describing animals, insects, countries, seasons, etc. • Instruction: “how-to” books about cooking, drawing, crafts, sports, etc. • Persuasion: persuasive books, brochures, catalogues. Some fiction titles will work for this as well; e.g., I Wanna Iguana by Karen Orloff or Earrings! by Judith Viorst • Comparison: nonfiction books comparing subjects. The Who Would Win? series by Jerry Pallotta is a popular example. • Explanation: books explaining scientific phenomenon, usually with “How” or “Why” in the title; e.g., the I Wonder Why? series by Kingfisher • Biography: book about a famous person (explorer, scientist, athlete, entertainer, etc.) Introducing Nonfiction Writing 69

• Begin the lesson: Writers, today I would like to explore some different types of writing with you. I have gathered books from our library that I would like to share with you. If you have introduced walking and event stories to your students, you could be more explicit about the breakdown of fiction books to include examples of those forms.

• Hold up the fiction books. Ask students what is different about the three books. (different stories; different sizes; hardcover vs. soft cover; picture book, chapter book, novel; some have pictures, some don’t; etc.) • Explain that even though the books are different in many ways, they have something in common. Ask students what they think is the same about these books. (all fiction; all have characters, setting, problem, solution, ending) Depending on the grade, you may need to prompt a little for these answers. • Tell students that fiction books, while they tell different stories, share a similar inner structure or skeleton. Writers know that, if they are going to write a story, they need to use the story structure, in which a character in a setting has a problem and the problem gets solved. • I like to explain text structure by using the analogy of building a house. When you build a house, you don’t start by buying the furniture or putting up the artwork. You begin with the frame, the structure that holds the entire house together. Once the frame is secure, then the walls, furniture, and paintings have a place to go. Writers are like builders—they need to start with a solid frame or else their writing will fall apart. • Hold up the description books. Ask students what is similar (all information books, nonfiction) and different about them. (different information; e.g., one is about bears, one is about trains, and one is about Japan) • Explain that these books tell the reader all about a topic. They are called description books and they have their own special structure or frame. Start an anchor chart to list the different structures. F i c t i o n / N o nf i c t i o n An c h o r C h a r t

Magazines like the Owl group— Chirp, Chickadee, and OWL—are great resources for teaching text structure. They often include a wide variety of text structures, including cartoons, recipes, crafts, nonfiction descriptions, poems, and scientific explanations. Invite children to use sticky notes to identify the different structures they find.

Fiction

Nonfiction

Characters Setting Problem Solution Beginning–Middle–End

Description Instruction Persuasion Comparison Explanation Biography

• Hold up the instruction books. Ask students what is different about them. ­(different information; e.g., one is about making cookies, one is about making crafts, one is about playing hockey). Ask students what is the same about them. (all how-to books) • Explain that these books tell the reader how to do something or make something. They are called instruction books and they have a different structure or skeleton. Add this word to the anchor chart. • Continue holding up different groups of books and discussing their structure and purpose. Persuasion: information books stating an opinion or point of view that try to convince the reader

70  Fact Pocket Writing: Nonfiction

Comparison: information books comparing two or more topics, how they are the same and how they are different Explanation: information books explaining how or why something happens, usually something in science and nature: e.g., How do clouds form? Why are some eggs brown and some blue? Biography: information books that tell about the lives of important or famous persons

• End the lesson by reflecting on the fact that fiction writing has one main structure for telling stories, but that nonfiction writing has many different structures, depending on what information is being shared. Knowing the structure before you start to write helps writers to organize their ideas and makes the writing clearer. • Use the Nonfiction Text Structures template on page 74 and invite students to use visuals of book covers with titles showing each of the different text structures. Grade 5: Nonfiction text structures

Text Features

There are several guided reading series that provide sets of paired fiction and nonfiction books. I use the Take Two Books by the Wright Group (McGraw Hill) because the leveled nonfiction books are filled with text features.

One of the most significant differences between fiction and nonfiction texts can be seen when you open up the books and compare them visually. Fiction books have text with or without illustrations; nonfiction texts represent and present information in different ways through a variety of text features. Nonfiction features are an essential part of information texts and are included to help readers better locate, navigate, access, and ultimately understand the information. As writers of nonfiction, students need to understand the purpose of text features and know how to create them as a way of representing information more clearly to their readers. Prior to the lesson, pair up several sets of fiction and nonfiction books from the library: e.g., The Very Busy Spider by Eric Carle and a nonfiction book about spiders; Owl Babies by Martin Waddell and a nonfiction book about owls; Bringing in the New Year by Grace Lin and nonfiction book about Chinese New Year.

Introducing Nonfiction Writing 71

• Begin the lesson: Writers, today we are going to continue exploring fiction and nonfiction books together. Yesterday we talked about different nonfiction text structures. (you may wish to review them) Today we are going to talk about text features.

• Hold up two books on the same topic, one fiction and one nonfiction. (I like Make Way for Ducklings by Robert McCloskey and Watch Me Grow: Ducklings from DK Publishing.) Ask students how the two books are the same. (both about ducks; both have titles, pictures) Ask students how the two books are different. (photographs vs. illustrations; fiction vs. nonfiction; story vs. information; titles are different) • Open the books to the middle and show the inside of the books. Ask the same two questions: How are they the same? How are they different? Ask students what they notice about the way the books look on the inside. (fiction: same size text and illustrations on every page; nonfiction: many different visuals on the page, different size fonts, words are in different places, etc.) Depending on the books you have and the grade you teach, you may have students start to identify some of the different features; e.g., map, chart, fact box, Venn diagram, etc. • Continue the lesson: Now we understand that fiction and nonfiction books are about different things, and we are noticing that they also look very different. We’ve noticed that pages of fiction books have words or words and pictures, but pages of nonfiction books have many different things on the pages—maps, charts, headings, fact boxes. These are called nonfiction text features and they are a very important part of nonfiction writing.

Seymour Simon is the author of more than 200 science books for children and, while his books include amazing facts and photographs, he does not use any text features. If you want to find something in one of his books, you basically need to read every page! I like to use his books when I am teaching text features to highlight how difficult it is to read information without any features to help readers locate and navigate. Depending on what grade you teach, you can have your students “help Seymour Simon” by creating text features for his early reader books. More detailed lessons on using text features can be found in Nonfiction Writing Power (Gear, 2014).

72  Fact Pocket Writing: Nonfiction

• Pass out paired picture books (one fiction and one nonfiction on the same topic) to pairs of students and invite them to look through the books side-byside, noticing similarities and differences, and paying special attention to different text features • Come together as a class to create an anchor chart listing the nonfiction features that students have identified, along with their purpose. N o nf i c t i o n F e a tu r e An c h o r C h a r t

Feature

Purpose

Map

To show location: e.g., animal habitat, bodies of water

Web

To list connected items; e.g., list of food an animal eats

Diagrams and labels

To describe features of something; e.g., parts of a shark

Venn diagram

To compare two things; e.g., wasps and bees

Fact box

To highlight interesting facts

Flowchart

To show how things work together; e.g., life cycle, water cycle

Linear chart

To sort details; e.g., facts about different species

Labels/Captions

To explain a diagram or a picture

Timeline

To sequence events or dates

Headings

To help organize information

• Once you have created the anchor chart, ask students the all-important question: Why? Why do nonfiction texts have all these text features and fiction texts don’t? • Show students the two samples in Which Is Easier to Read? on page 75; if possible, project them one at a time onto an interactive whiteboard or screen. Ask students which one is easier to read. (Venn) Why? (fewer words; facts are sorted; information is clearer) • Explain that nonfiction writers use text features to make information easier for their readers to access. Explain that students will be learning to use text features in their fact-pocket writing to help their readers access facts more quickly and easily. Lesson Ex tension

• Create Nonfiction Feature Dictionaries with your class. Fold three pieces of white legal paper in half and staple in the centre. Students can choose six different nonfiction text features to draw, color and label in these blank mini books. Left: One teacher created a wall chart showing examples of different text features. Students could add to the chart if they found examples in magazines, newspapers or flyers. Right: Grade 3: pages from Nonfiction Feature Dictionary

Introducing Nonfiction Writing 73

Nonfiction Text Structures Name: Description

Instruction

Persuasion

Comparison

Explanation

Biography

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

74 

Which is Easier to Read?

Cats and Bunnies Cats and bunnies have many similarities and differences. Both are mammals that are covered in fur. Both also have whiskers and a tail, and are similar in size. People enjoy having both cats and bunnies as pets. They are relatively clean animals and come in a variety of colors.   When comparing differences in appearance, you would notice the different ears and tail. Cats have long thin tails, while bunnies have short fluffy tails. Cats also have short triangle ears, while bunnies have long floppy ears. Cats make sounds like purring, meowing or howling sounds, while bunnies don’t make any sound at all. Cats also like to eat mice, but bunnies eat vegetables, such as carrots and lettuce. Cats have sharp claws and sharp teeth, but bunnies have long, square teeth. Cats are a symbol of Halloween and bunnies are a symbol of Easter.

Cat Long Tail Triangle Ears Sharp pointy teeth Meows and howls Walks and stretches Symbol of Halloween

Both Mammals Fur Whiskers Pets Symbols

Bunny Small fluffy tail Long floppy ears Long flat teeth Wiggles nose Hops Symbol of Easter

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 75



Descriptive Writing

Descriptive writing, or “all-about” writing, is used when we want to share information about a specific topic. It is probably the most common form of nonfiction writing taught in elementary school because it is one of the easiest forms of writing to teach and for students to succeed in writing. It is also one that easily lends itself to research, so it can be linked to your content areas. Many teachers will likely be familiar with descriptive reports about animals, insects, cultural celebrations, or countries. Back in the day, arctic animal research reports were my go-to nonfiction writing focus every year. My students chose an arctic animal, researched the five oh-so familiar headings (Appearance, Habitat, Food, Life Cycle, Interesting Facts), and wrote a rather dull descriptive report about their animal, which they read aloud while holding up their illustrated poster. The reports were handed in and I spent the next few weeks reading twenty-seven reports about lemmings and arctic foxes. And if I’m being honest, while the facts might have been interesting, the writing was not! Looking back, I realize that the reports were boring because I hadn’t taught my students interesting ways to write their reports. All my instruction had been focused on researching and note-taking skills. When you think about it, it doesn’t really matter how many interesting facts you can write about a lemming—if the writing is disorganized and boring, a reader will not want to read it. Now, I try to spend as much instructional time focusing on descriptive writing skills as on researching skills. D e s c r i pt i v e W r i t i n g a t a Gl a n c e

Description Mini Lessons • Dash Facts Research (page 78) • Putting the Facts Together (page 80) • Hook Your Reader with a Great Beginning (page 81) • Find Your Voice (page 82) • Too Much Icing (page 83) • Effective Endings for Description (page 83)

76  Fact Pocket Writing: Nonfiction

Descriptive Writing …

Descriptive Writing does NOT…

• comes from your fact pocket and other resources (books, websites, magazines) • includes facts about a single topic • describes what the topic is, what it has, and what it does • includes text features, such as headings, fact boxes, and labeled diagrams • uses interesting, triple-scoop words

• • • •

have imaginary characters have move-along or transition words include “talking” include you

Anchor Books: Description Davies, Nicola. Surprising Sharks Gravel, Elise. Disgusting Critters (series) Jenkins, Martin. Chameleons Are Cool

Jenkins, Martin. The Emperor’s Egg Jenkins, Steve. Creature Features

Introductory Lesson • Choose a variety of descriptive nonfiction books from the school library on a variety of different topics; e.g., animals, insects, countries, cultures, etc. • Show the covers to the students and discuss. Ask students to discuss what type of books these are. (information books, nonfiction, facts, etc.) • Explain that the books are all written with the purpose of giving readers information and true facts about a topic (e.g., one about owls, one about spiders, one about Africa). Explain: These books are all about different topics, but they have something in common. We call these books description books or all-about books because they tell all about one topic.

• Share this sample with the students. Ask them to think about whether they think it’s all-about writing describing a topic. Dogs I love dogs. They are the cutest animals in the world. Some people are afraid of dogs but not me! I have a dog named Ronnie. She is my best friend. She is soft and fluffy and smells like pinecones. She lies on my bed at night and I read her stories. One time, she chewed my stuffed teddy and I cried, but only for a little bit.   “Don’t eat my toys!” I said to Ronnie.   “Woof!” said Ronnie. That means “Okay, I won’t.”

• Discuss how, while the writing is about dogs, it is not nonfiction writing because it’s not sharing facts with the reader. It is from the writer’s memory pocket, has dialogue, and the writer put themself into the writing using “I.” • Share the next example: Dogs Introduction: Dogs are mammals that are found all over the world. Many people like to have dogs for pets, but some dogs are wild, too. There are many different kinds of dog breeds. including Labradors, Poodles, German Shepherds, and Beagles. Appearance: Dogs come in many different colors, shapes, and sizes. Some dogs have long fur and some have short fur. All dogs have four paws, ears, and wet noses. Most dogs have tails, but tails can be long or short, fluffy or smooth.

Descriptive Writing 77

• Discuss how this sample is nonfiction description because the writer is telling true facts all about dogs. Also, it has headings, and includes a text feature (labeled diagram). • Explain that, when a writer is going to write an all-about book, they first choose a topic and then think, “What would my reader want to know about this topic?” • Model for students: For example, if I want to write all about bears, I might want to include what they look like, what they eat, where they live, and who their enemies are. If I’m writing about Lunar New Year, I might want to include what it is, what special foods are served, what special clothes are worn, and what the special activities are done. That’s a lot of whats!

• Tell students that sometimes writers use facts from their fact pockets when they are writing, but often they need to search for more facts from other places, such as like books, magazines, and websites, to make sure their facts are accurate. • Explain that during the next few weeks, students will be learning how to write descriptions and sharing all-about facts on different topics.

Mini Lessons for Description Dash Facts Research Topics for descriptive reports can be inspired by an inquiry connected to your current content areas or based on students’ interests. Once students have decided on a topic they would like to write about, they likely won’t have an adequate supply of accurate facts stored in their brain’s fact pocket (although some may claim they do!) and will need to conduct some research. Too often, however, we assume students know how to research and take notes. Those who haven’t learned often default to the copy–paste strategy: copying complete sentences, rather than recording main ideas and key words. Modeling how to locate and record dash facts is an essential lesson that will serve students well, not only for descriptive writing, but for other forms of nonfiction writing as well. • Begin the lesson: Writers, today we are going to learn how to add more facts to our fact pocket so that we can write all about our topic.

• Write the word research on the board. Ask students what they think the word means. • Circle the word search inside the word. Explain that an important step in writing information is searching for facts on the topic that you can include in your writing. You may have facts about your topic stored in your fact pocket, but often you will need to gather more information about it. • Discuss where writers can look to find more facts about a topic. (internet, books, magazines, videos, ask an expert, etc.)

78  Fact Pocket Writing: Nonfiction

• Explain that when you search for facts in other books or on websites, it’s important not to copy whole sentences, but only borrow important words and phrases. • Tell students you are going to teach them how to write dash facts. • Create a Dash Fact chart (see below) on a white board or chart stand. Explain that you are going to use the chart to help you help you record your dash facts. (If you have taught the Organization Drawers lesson on page 45, explain that you have four drawers and you need to find dash facts for each of your drawers.) • Tell students you will be writing about an animal called a lemming. Explain that you don’t have many facts in your fact pocket about lemmings, so you need to do some research. Ask them what big ideas you should try to find out about lemmings that your reader might want to know. (what the animal looks like, where it lives, what it eats, interesting facts) Write the big idea headings in the boxes on the left side of the chart. Big Ideas

Dash Facts

1. Appearance 2. Habitat 3. Diet 4. Interesting Facts

• If you have a book about lemmings, you can use that. If not, show and/or read the following passage. Invite students to listen for new facts as you read. I usually read the entire passage through one time and then break it down into chunks. Lemmings

If possible, show a photo or project an image of a lemming on the interactive whiteboard while you are reading the passage.

A lemming is a small rodent that lives in or near the Arctic tundra. There are about 30 different species of lemmings living in and underneath snowpack. A lemming’s  lifespan  is relatively short:  one year in the wild is average. Lemmings are small, weighing an average of 80 grams, and are about 12 centimetres  long. Their bodies are stout, and their arms, legs, and tails are short. Lemmings have long claws on their forefeet and long sharp teeth, like beavers, for gnawing roots. Lemmings have thick, coarse fur that helps them endure the long, cold winter. Their coats come in different colors, depending on species, but most are brown or gray. Lemmings do not hibernate through the harsh northern winter. They remain active, finding food by burrowing through the snow and eating grass they have stored. Lemmings are herbivores. Their diet consists primarily of moss and grass, but they may also eat some berries, bulbs, and lichens. Lemmings can swim, but many drown during migration when they cross large bodies of water.

• Remind students that you can’t copy all the information but that you are going to be recording one or two dash facts for each big idea. Reread the first sentence. Ask students what facts are most important in that sentence. (rodent, Arctic tundra) Descriptive Writing 79

Grade 2: Dash Facts

• Ask students where those two dash facts should go. Explain that the first word is about what the lemming looks like and the other is where the lemming lives. Record the dash facts onto the chart in the correct row. Big Idea

Dash Facts

1. Appearance

• rodent

2. Habitat

• Arctic tundra

3. Diet 4. Interesting Facts

• Continue working through the information one sentence at a time, inviting students to help you identify the dash facts and decide where to record them on the chart. Depending on your grade, this activity could be done as a whole class or in groups, with each group focusing on facts for one section. If you teach younger students, you may want to share only a portion of this passage, or choose a simpler one. • Once the facts have been recorded, reflect on the process. Remind students that when we are writing information, writers search for facts about their topic in books and websites. Emphasize that it’s important not to copy whole sentences, but to record important information as dash facts. • Pass out the Dash Facts template on page 88 and allow the class time to collect dash facts on their topic. Topics may be connected to students’ interests or to a particular content area. Depending on the grade, you may wish to reduce the number of Big Ideas on the page. Dash Facts Ex tension

If we don’t teach our students craft lessons, their writing will flatline. These mini lessons will help your students transform even the most boring robot writing into fancy, grown-up writing!

Students sometimes struggle in distinguishing between main ideas and details when searching for dash facts. Use the Fact or Detail: Cut and Sort template on page 89 to provide practice. Students can work in pairs or groups to decide if the fact is a main idea or a detail. Putting the Facts Together After students have collected their dash facts, they are ready to use those facts to write their descriptive reports. But left to their own devices, students will often resort to writing a list of rather boring, repetitive sentences, one for each fact they have collected; i.e., A lemming has …. A lemming can…. A lemming is… It is important to model not only how to expand their dash facts into sentences, but also how to make those sentences interesting and engaging. • Have the following written on a chart stand or whiteboard: A lemming is a rodent. A lemming is small. A lemming has sharp teeth. A lemming has a thick coat.

• Explain to students that the next step in writing a nonfiction description is to use their dash facts to write sentences all about their topic. Remind them that one of their writing goals is to make writing interesting for their readers. 80  Fact Pocket Writing: Nonfiction

• Tell students that you have done some writing from your dash facts about the lemming. Read the example aloud and ask if they think the writing is interesting. (No—repetitive, short sentences; no interesting details) • Explain that writers who are writing all about a topic and describing that topic have the important job of sharing a lot of information to their readers. But if the writing is boring and the facts are simply listed one after another, the reader will not want to keep reading. • Explain that instead of writing one sentence for every fact, they can combine two or three facts into one sentence. • Invite students to take the first three sentences (A lemming is a rodent. A lemming is small. A lemming has thick, grey fur.) and combine them into one sentence: A lemming is a small rodent with thick, grey fur. • Practice with a few other sentences. Early Primary Adaption

Students in Kindergarten and beginning Grade 1 who might not yet be writing complete sentences can use the All About template on page 90 to record their researched dash facts about a living thing (animal, insect, fish, bird, reptile, etc.) Hook Your Reader with a Great Beginning An c h o r C h a r t : H o o k Y o u r Reader

Hook Your Reader with… • • • • • •

A sound effect A visual image An interesting fact A question Your writer’s voice A quote or stat

In Nonfiction Matters, Stephanie Harvey encourages us to think of writers as fisherman: “They cast out their first line of words in the hopes of hooking the reader in and reeling him into the text” (1998: 150). But unless we teach children tips for reeling in their readers, we are often faced with an endless stream of Hello, my name is _______ and today I’m going to tell you about sharks. Yawn. • Begin the lesson: Writers, today we are going to go fishing for some great opening sentences!

• Copy the Hook Your Reader opening sentences on page 91, cut out the sentence strips, and attach a paper clip to each. Scatter the strips on the floor or in a box. For those who, like me, like to go the extra mile to make your lessons memorable, bring in a child’s fishing rod, or make one out of a ruler, string, and magnet. • Explain that one of the most important sentences a writer writes is the first one. Writers have one chance to “hook” their reader with an interesting sentence. If your first sentence is dull or boring, your reader may not want to keep reading. First impressions count! • Invite one student to “go fishing” for a sentence. Once they “catch” the sentence, ask them to read it out loud to the class. The class then decides if this is a good hook or if the sentence needs to be tossed back. Discuss why or why not the sentence was a good hook. • Continue inviting students to fish, displaying the sentences in either the Keeper column or the Toss Back column. • Once all the sentences have been sorted, read out the Keeper sentences, asking students to think about what special trick the writer used to hook their reader. Discuss. • Record the ideas and create an anchor chart. • Invite students to practice writing an opening sentence using one of the hooks from the anchor chart. Descriptive Writing 81

Find Your Voice There is a misconception that Writer’s Voice is a literary technique exclusive to personal narrative and story writing. I prefer introducing Writer’s Voice in nonfiction writing, as I find it easier for students to see the impact of voice on information than on narrative. • Begin the lesson: Writers, today we are going to focus on making our information writing more interesting.

• Explain that you will be sharing two samples of writing with them. Tell them that, while you read aloud the passages, you would like them to think about which one is more interesting. Tell them that both are about Emperor penguins but that they are written in two different writing styles. • Read the examples out. If possible, project them on a screen while you are reading aloud.

See the list of Anchor Books on page 77 for description authors who write with voice.

Example 1

Example 2

After the female Emperor penguin lays her egg, she heads off to the sea. Female Emperor penguins spend most of their winter finding food to store as fat. Male Emperor penguins take the role of taking care of the egg. They protect the egg from the wind and cold by sitting on it for approximately two months.

But very soon afterward [after a female Emperor penguin lays her egg], she turned around and waddled off to the sea. That’s where female Emperor penguins spend most of the winter—swimming about, getting as fat as they can, eating as much as they can and generally having a very nice time…! Which leaves the father penguin stuck on the ice with his egg.… And what better way to [stop the egg from getting cold] than to rest it on your feet and tuck it right up under your tummy? Which is just what the father penguin does. And that’s where he stays for two whole months, until his egg is ready to hatch. Can you imagine it? Standing around in the freezing cold with an egg on your feet for two whole months? (from The Emperor’s Egg by Martin Jenkins)

• Invite students to discuss with a partner which example they thought was more interesting and why. • Explain that the first piece was a writer sharing facts about an Emperor penguin; the second was also sharing facts, but included something extra to make the writing more interesting. The something extra is called voice. • Tell students that when a writer includes voice, they are sharing facts but also reacting to those facts: Fact–React. When a writer also includes their thoughts and opinions about the facts, it sounds as if they are talking directly to the reader. 82  Fact Pocket Writing: Nonfiction

Once students understand voice, there’s a tendency for them to get carried away with their reactions, resulting in a stand-up comedy routine rather than fact writing. Remind students that the purpose of the writing is to share facts, so that should be the most important thing. I usually give them the 3-to-1 ratio to help them: for every three facts, include one reaction.

• Ask students to find an example in the second piece where the author wrote a fact and then added their reaction. (Can you imagine it? Standing in the freezing cold with an egg on your feet for two whole months?) • Record the passage on a Fact–React Chart: Fact

React

An emperor penguin stands on the egg for two months.

Can you imagine standing on an egg in the freezing cold for two months?!

• Pass out the Finding Your Voice lesson on page 92. Invite students to record facts on the left side of the sheet and then react to the fact on the right side. • Invite students to share their Fact–React sheets with a partner Too Much Icing Let’s be honest. Sometimes students get carried away with one particular technique and, while impressive at first, overused writing techniques can quickly lose their appeal. I use the metaphor too much icing to help them understand the concept of too much of a good thing. • Tell students you wrote a description that you would like to share with them. Read the following passage to out loud: Did you know that a lynx has a dense, silvery-brown coat? Did you know that in the summer, the coat turns reddish brown? Did you know a lynx has 28 teeth? Did you know that lynx eat rabbits, birds, chickens, deer, and snowshoe hare? Did you know that lynx sometimes sleep in caves and they live alone most of the year? Did you know lynx can swim?

S a m pl e F a n c y F a c t S t a r t e r s An c h o r C h a r t

Fancy Fact Starters Did you know…? Amazingly,… You might be shocked to learn that… Would you believe…? It’s hard to believe, but… One fascinating thing about ___________ is… An interesting thing about ___________ is… You’d be surprised to know that…

• Ask students to discuss what they liked and didn’t like about the writing. (interesting facts, but too repetitive) • Project three cupcakes on the interactive whiteboard or screen: one with no icing, one with a small amount of icing, and one with triple icing. Explain that, if you were going to choose a cupcake to buy, you would probably choose the one with extra icing because you love icing. Describe how, when you first start to eat the cupcake, the icing is delicious, mouth-watering, buttery, delightful, but that after you are about halfway through, you start feeling a bit sick. There is just too much icing on the cupcake and you can’t finish it. • Explain that, sometimes, writers use one writing technique over and over. At first the reader thinks, “Hey, this is writing is pretty fancy!” But after a while, it starts to become boring. The writer has too much icing. (And the reader might start to feel sick!) • Refer to the lynx sample and explain that “Did you know…?” is an interesting way to start a fact sentence, but if it is overused, the writing becomes boring. • Create a Fancy Fact Starter anchor chart (see sample in margin) and share with students. Encourage them to use a variety of Fancy Fact Starters. Effective Endings for Description Teachers often cringe when they read Thank you for reading my report about… at the end of a descriptive report. And while we may chuckle because we know Descriptive Writing 83

that no published nonfiction book ever concludes with Thank you for reading my book about… or I hope you enjoyed my book about ______, unless we give students alternatives, they will continue to thank us and we will continue to cringe! I usually teach this mini lesson when students are coming close to finishing their descriptive reports. • Begin the lesson: Writers, as some of you are coming close to finishing your descriptive reports, today I would like to talk to you about endings.

• Explain to students that there is a difference between writing that ends and writing that stops. As writers, it is important that we make sure our readers know that the piece of writing is finished. Remind them of the formula for a good ending: Topic + Feeling = Ending. • Tell students you are going to share some ending sentences with them. Invite them to discuss whether or not they think the sentences are effective and why. • Project the list of ending sentences from descriptive reports about dogs. If possible, review one at a time so that students can decide and discuss each one as you go. This chart is for your reference; show only the sample sentence and then invite students to discuss effectiveness of each.

84  Fact Pocket Writing: Nonfiction

Example of Closing Sentence (record and share)

Effective or not? (discuss)

Why? (discuss)

Woof! Woof! That’s all folks! Dogs need to be brushed regularly. The End.

no

Humorous but not appropriate for random fact thrown in at the end. Misuse of “The End” for information writing.

Thank you for reading my writing about dogs.

no

Never thank your reader!

Best of all, dogs are one of the most loyal pets ever.

yes

Sounds like an ending.

I’d like to tell you more about dogs but I ran out of paper.

no

Should not use “I” and no excuses!

Thnx 4

no

No texting or emojis!

I hope you enjoyed my writing about dogs.

no

I didn’t enjoy it!

As you can see, dogs make great pets!

yes

Sounds like an ending

by! TTFN!

Eff e c t i v e Cl o s i n g P h r a s e s An c h o r C h a r t

Effective Closing Phrases All in all, In conclusion, In summary, Lastly, Best of all, Ultimately, As you can see, Finally, Over all, All things considered,

• After reviewing the different examples, reflect on the fact that there were only two sentences that felt as if they were ending sentences. Discuss why. (they followed the “formula”) • Explain that the last sentence in descriptive writing includes three important things: closing phrase, topic, and feeling or opinion. • Write one of the examples on the board. Help identify the three parts: Best of all, (closing phrase) dogs (topic) are the one of the most loyal pets ever.

• Explain that there are a variety of closing phrases writers might use. Share the Effective Closing Phrases anchor chart. Point out that all closing phrases are followed by a comma. • Remind students the importance of finishing their description with a sentence that signals to the reader that the writing is ending. Remember the formula: Closing Phrase + Topic + Feeling or Opinion = Ending • Encourage students to use the formula when they are ending their descriptive reports. Credit Your Source “So-and-so is copying me!” I can’t count the number of times I have heard a student say this. In spite of the whining tone, I can empathize. As a published writer, it’s upsetting how often others seem take license to use copyrighted material. I can’t tell you how many times I am told that teachers have purchased Reading Power lessons from Teachers Pay Teachers—lessons I created that someone else posts and charges money for! (I do not even go on the site anymore, I get so upset!) So it is a priority to ensure even our youngest writers learn to credit their sources. It is not just about tell them the copyright rule but, explaining the reason. Using the “They’re copying me!” connection will help your students understand the reason why we don’t copy. Use the Source Your Resource template on page 93 to help them learn to credit their sources.

Descriptive Writing in the Content Areas Descriptive report writing should not be restricted to animal reports; it can be linked to almost any content area you are focusing on. There is a wide range of interesting topics connected to science and social studies that lend themselves well to descriptive report writing. Allow several weeks for students to plan, research, and present their information in a variety of media, including mini books, posters, or web pages. Have student use dash facts (see page 78) to research and take notes on their topic, and encourage them to use text features when sharing their information. Science Topics

Creature Features by Steve Jenkins is an excellent anchor for focusing on interesting animal features.

• Plants/Trees: appearance, location, life cycle, needs, varieties • Animals/Insects/Reptiles… appearance, habitat, behavior, food, enemies • Animal Features: tails, wings, feet, etc. • Planets: location in solar system, temperature, size, features, evolution

Descriptive Writing 85

• Seasons: weather, earth’s rotation, changes to plants and animals • Habitats/Ecosystems: location, plant growth, animal life, land features Social Studies Topics

• Country (any): location, weather, land, people, food, government, culture • Peoples (Indigenous, Ancient Civilizations; Pioneers, Explorers): description, clothing, homes, lifestyle, tools, diet, culture, beliefs • Transportation: origin, appearance, purpose, varieties, special features • Famous Landmarks/Structures: location, origin, architecture, architect, special features • Celebrations: origin, activities, time of year, food, clothing • Houses: origin, inhabitants, location, structure, materials, features Canadian Animal Posters

Combining fact finding with nonfiction features is a great way for students to show their learning in different ways. In the Grades 2–3 classes of Jeanette Mumford and Mary Cottrell at J.W. Sexsmith School in Vancouver, students chose and researched a Canadian animal. They were then invited to “show what you know” about their animal using text features rather than descriptive sentences.

This Grade 2 sample of nonfiction descriptive report writing includes text features, a “hook” beginning sentence, and a simile.

86  Fact Pocket Writing: Nonfiction

ABC Books

While there are many animal alphabet books that can be used for anchor or mentor texts, a few more clever ones might to inspire your older students to add a twist to their alphabet books; for example, A Isn’t for Fox: An Isn’t Alphabet by Wendy Ulmer and Q is for Duck by Mary Elting and Michael Folsom.

Having students create alphabet books connected to content-area topics gives them a simple format that lends itself to research and interesting descriptive writing. This idea can be adapted for a range of grade levels and can vary from using a single word to creating longer descriptive sentences to represent each letter of the alphabet. Text features and visuals can be added to each page.

MyVocabulary.com at https://myvocabulary.com/ is an excellent source for word lists connected to a wide range of topics.

ABC books can be created individually, in small groups, or with individual students focusing on one letter each and their work combined into a class alphabet book. Use the Alphabet Book Planning template on page 94 to help students organize as they research words connected to their topic.

Topic: Explorers A for Astrolabe: Astrolabes helped explorers navigate by measuring the position of the sun and stars. B for Buckets C for Compass D for Decks E for Encounter

Descriptive Writing 87

Dash Facts Name:

Facts About Big Idea

Dash Facts Details

1

2

3

4

5

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

88 

Fact or Detail: Cut and Sort Fall Is Awesome! raking leaves

gets dark earlier

Thanksgiving

cool, crisp air

back to school

sweaters

Halloween

warmer clothes

changes in nature

activities in fall

playing soccer

Remembrance Day

hats and gloves

boots

warm coats

special celebrations

leaves change color

jumping in leaves

activities in fall

frosty mornings

patient

light brown skin

why I like Sam

trade hockey cards

smart

brown curly hair

MineCraft

kind

playing tag

never laughs at me

talk about anything

what Sam looks like

brown eyes

things we like to do together

freckles

shares his lunch with me

personality

he tells funny jokes

soccer on the same team

sometimes shy

excitement

Christmas trees

presents under the tree

lights on the houses

Christmas activities

Christmas pudding

shopping

parties with family

stockings on the fireplace

singing Christmas carols

sitting on Santa’s lap

shortbread

wreaths on the door

Christmas feelings

Christmas food

love in my heart

decorations

candy cane

joy

Christmas concerts

My Best Friend Sam

Christmas

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 89

All About Name: . have . They also have . can and they can . Did you know ?

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

90 

Hook Your Reader Sharks are ocean animals. They swim in warm waters and they have sharp teeth and sometimes can kill people. Sharks are interesting and now I am going to tell you about them. Hello. My name is Kelly and this is my report about sharks. Ahhhh! A shark! Swim for your life! I chose to write my report on sharks because I think sharks are great. Some are big and some are small. Some are dangerous and some are not. Did you know some sharks give birth to live babies and some lay eggs? Wiggle your ear. Now wiggle the end of your nose. They move right? That’s because they are made of cartilage, not bones. Did you know that sharks do not have one single bone in their bodies? Their skeleton is made up entirely of cartilage, just like your ears and nose. Weird, eh? That’s just one of the amazing shark facts you will be learning about today! What if you were swimming in the warm blue sea and suddenly you saw a shark swimming towards you. Your dream has become a nightmare. What will you do? Imagine standing at one end of a football field. Now someone is standing at the other end of the football field and they are talking to you. Do you think you could hear them? Well, a shark can hear a fish moving in the water not just one but FIVE football fields away! There are many different kinds of sharks in the world and I’m going to tell you about them now.

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 91

Finding Your Voice Name: Read the paragraph about chameleons. As you read, pay attention to your thoughts and reactions and record them on the Fact–React chart. Share the facts and your reactions with your partner. Chameleons are a kind of lizard. They have bumpy skin and bulgy eyes, and their mouths turn down at the corners. Some chameleons change color when they’re angry, hot, cold, or sick. Other chameleons don’t change color at all. Chameleons move slowly along branches, using their pincer-shaped feet for holding on. Unlike humans, chameleons can move each eye separately and in different directions in their sockets. They have long tongues that they use to catch insects. Fact

React

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

92 

Source Your Resource Name: Book , Author’s last name Author’s first name Title of book Place of Publication     Publisher          Publication Date Book , Author’s last name Author’s first name Title of book Place of Publication     Publisher          Publication Date Website , Author’s last name Author’s first name Title of the article (in quotation marks) URL or http//: address

Date or download date

Website , Author’s last name Author’s first name Title of the article (in quotation marks) URL or http//: address

Date or download date

Other:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 93

Alphabet Book Planning Name: Letter

Word

Sentence or Fact

A B C D E F G H I J K L M N O P R S T U V W X Y Z Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

94 



Instructional Writing

Instructional texts are everywhere: they are the recipe books when we are cooking, the guide books when we are on vacation, the instructions when we are playing a game, the manuals when we are fixing our bike or putting together a piece of furniture; they are the survival guides when we are hiking or traveling, the step-by-steps when we are learning how to draw, paint, or do a craft. Instructional texts are practical, useful, and purposeful. We read instructional texts far more frequently than we are likely aware. The structure of this form of writing is relatively distinct and simple to recognize. It is also one that establishes a strong connection between writer and reader, as the reader feels that writer is speaking directly to them, telling them exactly what to do. So writers of instructional text must be, above all else, clear! Once students become familiar with instructional writing, the possibilities of incorporating it creatively into your content areas is endless. Inst r u c t i o n a l W r i t i n g a t a Gl a n c e

Instruction Mini Lessons • The SAD Formula (page 97) • Text Features for Instruction (page 98) • How-To Tips (page 99) • Expert Writing (page 99)

Instructional Writing …

Instruction Writing Does NOT…

• Comes from your fact pocket and other resources (books, websites, magazines) • Tells the reader how to achieve a particular goal • Has text features, such as headings, fact boxes, labeled diagram • Follows the What–What–How structure • Includes sequence or transition words

• have imaginary characters • have “talking” • include you

Anchor Books: Instructional Writing Brown, Lisa. How To Be Carlson, Nancy. How to Lose All Your Friends Cottage Door Press. How To…Tie Your Shoes Derby, Cindy. How to Walk an Ant Huget, Jennifer LaRue. How to Clean Your Room in 10 Easy Steps Janeczko, Paul B. The Proper Way to Meet a Hedgehog Knowles, Laura. How to Be a Butterfly

Martel, Jane G. Smashed Potatoes McCarthy, Meghan. Astronaut Handbook Milgrim, David. Eddie Gets Ready for School Pearson, Susan. How to Teach a Slug to Read Pilutti, Deb. Ten Rules of Being a Superhero Schertle, Alice. All You Need for a Snowman Watt, Mélanie. Scaredy Squirrel (any book)

Instructional Writing 95

Introductory Lesson: What? What? How? Introducing this form of writing with a little fun is a great way of “hooking” students, while emphasizing the importance of clarity. This introductory lesson is one that always generates a lot of laughter and a bit of mess (bring a towel!) To help make this lesson more successful, try not to provide very much instruction about instruction prior to the activity!

• Begin the lesson: Writers, today we are going to start investigating a new form of nonfiction writing. We will start by doing a little activity that will help you understand the structure of this type of writing. I want you to imagine that an alien has arrived on earth to learn some daily routines of earthlings. The alien is visiting our class to find out how humans brush their teeth. On this piece of paper, I would like you to write all the information this alien will need to brush its teeth

• Pass out paper and allow time for students to write. While they are writing, walk around and take note of students who have not provided clear instructions—these samples are the ones you will be using. • Collect the papers. Read over the students’ writing to confirm two or three examples that you know are least helpful. • Later that day or the next day, gather students together and explain that you have selected one or two of the papers to read out loud and follow the instructions. • Remind students that you are an alien and you have no idea how to brush your teeth. • Using a cup of water, a toothbrush, and toothpaste (floss optional), begin to follow the instructions exactly as written. For example, if student wrote put toothpaste on toothbrush, put the whole tube on top of the brush; if they wrote brush up and down, wave your arm up and down while holding the toothbrush. Feel free to get a little silly when interpreting the instructions! Imagine how easy it would be to misinterpret instructions like these, written by a Grade 3 student: For those who may not be up for the physical demonstration, you can show your students the Exact Instructions Challenge, a hilarious YouTube video of a dad trying to make a peanut butter and jelly sandwich using instructions his children wrote: https://youtu.be/cDA3_5982h8 (Thanks for sharing, Kim Wedman!)

96  Fact Pocket Writing: Nonfiction

How to Brush Your Teeth •  Take a toothbrush and put the toothpaste on top. •  Put it on one side of your mouth and move your arm up and down. •  Get the ones at the back and spit. •  Go up and down on the other side and spit again. •  Rinse your teeth and if you want you can floss.

• When students begin to laugh and shout “No!” you can reply, “But that’s what it says to do!” • After the demonstration, reflect on the lesson. Explain that this form of nonfiction writing is called instruction. • Ask students what would be the purpose of writing instructions for someone to read. (to tell the reader how to achieve a goal or complete a task) • Brainstorm different kinds of instructions the students might be familiar with: how to play a game, how to do a puzzle, how to fix a bike, how to cook, how to draw a cartoon, how to build something. • Explain that there are three important parts to any kind of instruction. The three important parts to writing instructions are: What? What? and How?

What is the task? What materials do you need? How do you do it?

• Using the What?–What?–How? structure, model with the class how to improve on the instructions they wrote for brushing teeth. Optional activity: Have students rewrite their tooth-brushing instructions to follow the structure using the How To template (page 106). What? How to brush your teeth What? Toothbrush, toothpaste, water

Water Toothpaste

Toothbrush

How? Step 1: Squeeze a small amount of toothpaste onto the toothbrush. Step 2: Wet the toothbrush with water. Step 3: Put the toothbrush in your mouth. Step 4: Move the brush up and down along your top teeth. Step 5: Repeat for your bottom teeth. Step 6: Spit toothpaste into the sink. Step 7: Rinse your mouth with water. Step 8: Smile!

Mini Lessons for Instruction The SAD Formula As with all writing forms, the important features of instructional text are language and sentence structure. Often students will try to use personal pronouns when writing instructions; e.g., First, you need to…. Helping them understand the proper sentence structure can lead to more successful writing. • Begin the lesson: Writers, today I’d like to spend some time today looking at some important features of instructional writing. Every form of writing has a few key features that make it differ from other forms of writing. We learned yesterday that the structure of instruction follows the What?–What?–How? structure. (Review what this means) We are going to spend time focusing specificly on the How? part of instructional writing.

• Write the acronym SAD on the chart stand. Explain that, when writing intructions, their job is to help their reader by providing very clear steps. (Remind students about what happened with the toothpaste instructions!) Tell them that the SAD formula can help make our writing clear: Instructional Writing 97

Sequence Word Action Word Detail

• Tell students that the first word they need to write when writing instructions is a sequence word. Explain that a sequence word (or transition word) is important because it tells the reader the order they need to do things; e.g, first, next, then, finally. • The next word is the action word (verb), that tells the reader what action they need to take. Explain that action words are often connected to the task. Brainstorm a few examples: How to Play Soccer action words: kick, run, pass How to Make Pancakes action words: mix, pour, flip How to Do a Craft action words: cut, fold, glue How to Get to the Store action words: walk, turn, stop Smashed Potatoes by Jane G. Martel is a hilarious collection of recipes written by children who have not yet learned the SAD formula. I like to share these with students to emphasize the importance of clarity in instructional writing.

• The last part of the SAD formula is D for detail. Explain that the reader needs to know specfic details pertaining to the specific action. A reader would not know what to do if you just wrote “kick.” You would need to include details, such as kick the ball with the side of your foot or glue the small paper to the back of the large paper. • Remind students that when they are writing instructions, it is important to remember the SAD formula. If you don’t use the SAD formula, your reader will be SAD because they won’t know what to do! • Pass out the What? What? How? template on pages 107–108; note that it is a two-page handout that can be copied back to back or side by side. Invite students to choose their own topic for writing instructions on a simple task, such as how to blow a bubblegum bubble or how to tie your shoe, using the SAD formula. Text Features for Instruction

I like to share a few pages the Scaredy Squirrel books as examples of using text features with instructions. Even though these books are considered fiction, author Mélanie Watt uses many text features to show how Scaredy Squirrel makes plans to overcome his many phobias!

Text features enhance many forms of information writing, and instructions are no exception. (See lesson on text features on page 71). When I’m flipping through recipe books in a book store, I am more drawn to the ones that show photographs of the finished product, labels, and charts. Putting together Lego structures for my two boys would have been next to impossible if it weren’t for those clearly labeled, numbered graphics. The best way to teach this lesson is to show students a variety of different instructional manuals to flip through. Your school library will likely have a section of How To books about drawing, cooking, crafting, taking care of pets, etc. • Pass out How To books you have gathered from the library. I usually have students do this in pairs. • Give students time to look through the books, paying attention to the text features they notice being used. • Ask, “What text features do you notice?” (illustrations, photographs, label diagrams, tip boxes, captions, maps) • Discuss how text features help a reader who is following instructions? (help make the process easier and clearer)

98  Fact Pocket Writing: Nonfiction

• Read Eddie Gets Ready for School by David Milgrim or All You Need for a Snowman by Alice Schertle. Invite students to write instructions (use either the How To template on page 106 or the What? What? How? template on pages 107–108) on how they get ready for school or how to make a snowman. Early primary and emergent writers can use the How To for Early Primary template on page 109. • Encourage students to include text features, along with using the What?– What?–How? structure and the SAD formula, to make their writing more clear for their readers. How-To Tips Along with visuals, I always appreciate a few good tips when following instructions.

S a m pl e T i p W o r d s An c h o r Chart

Tip Words • Always… • Never… • Try to… • Remember to… • Don’t… • Be careful to/not to…

• Ask students if they have ever watched a YouTube video that gives instructions. Brainstorm different ones they may have watched. (how to move up a level in a video game; how to do a skateboard trick; how to do a magic trick) • Ask them why these videos are helpful. (visual; step by step; the person demonstrating is an expert so knows all the little tricks and tips for success) • Explain that tips for the reader are an added feature that make instructions more helpful and more personal. It’s like the writer is there to give you personal advice to help you be successful. • Ask students what might be some good tips for brushing your teeth. (always brush twice a day; try to brush for three minutes; don’t swallow the toothpaste) • Brainstorm tips for other tasks, such as riding a bicycle or building a snowman. • Explain that there are some important tip words writers use when writing instructions. Invite the students to help create an anchor chart. • Brainstorm some instructional topics and invite students to practice coming up with tips for the task and using tip words; for example, Tips for playing soccer Tips for making smoothies Tips for blowing bubbles with bubblegum Tips for brushing your teeth Tips for riding a bike Tips for carving a pumpkin

Expert Writing Children are good at many different things, from playing video games to making slime. Giving them the freedom to write about something that they are an expert in provides them with a chance to show off their skills and can boost their confidence. One student I taught chose “How to Drive Mrs. Hewitt Crazy” for his expert writing. Mrs. Hewitt was his teacher!

• Discuss the word expert. Brainstorm famous people and what they might be experts in; e.g., Arianna Grande is an expert singer; Messi is an expert soccer player; the Cake Boss is an expert baker. • Invite students to think about something they are an expert in to write instructions for; see charts on pages 100–101 for ideas. Explain that they will likely need to visit their fact pockets to find something they know how to do really well. • Encourage students to choose a small task that doesn’t have too many steps. For example, a student might be an expert in playing hockey but writing How to Play Hockey would require a huge number of steps. Invite them to choose a small task, such as How to Pass the Puck or How to Score a Goal. Instructional Writing 99

• Have students practice talking through the What?–What?–How? sequence with a partner before they begin to write. Encourage partners to ask for clarity if any steps aren’t clear. • Students can use the How To template (page 106), What? What? How? template (pages 107–108), or How To for Early Primary template (page 109) for their expert writing. Grade 1: Expert writing samples

Exper t Topics and Anchor Books

Linking instructional writing with cooking in your classroom is a great way for early primary students to experience first hand the importance of step-by-step instructions, sequence words, and the language of cooking, as this Kindergarten sample shows.

100  Fact Pocket Writing: Nonfiction

Here are suggestions for manageable tasks students can choose from for their expert writing, along with anchor books. Remind students that, in order to be considered an expert in something, they have to have done it more than once. You may wish to have them practice several pieces of expert writing on different topics. Instructions for making or creating something

Anchor Books

• • • • • •

Schertle, Alice. All You Need to Make a Snowman Any cookbook, craft book or drawing book

How to make a snowman How to make an origami crane How to draw a cat (or any animal) How to make a smoothie How to make a sandwich How to make chocolate milk

Instructions on mastering a skill

Anchor Books

• • • • •

Clibbon, Lucy & Meg. Imagine You’re a… series (includes Pirate, Mermaid, Astronaut, Wizard, Ballerina ) Cottage Door Press. How To… Tie Your Shoes

How to get ready for school How to make your bed How to be a superhero How to be a pirate How to ride a bike

.

• • • • • • • •

How to get dressed for hockey How to blow a bubblegum bubble How to drink from the water fountain How to dive into a pool How to tie your shoes How to brush your teeth How to prepare for Lunar New Year How to dress up on Halloween as a _________________

Huget, Jennifer LaRue. How to Clean Your Room in 10 Easy Steps Milgrim, David. Eddie Gets Ready for School Pearson, Susan. How to Teach a Slug to Read Pilutti, Deb. Ten Rules of Being a Superhero Raschka, Chris. Everyone Can Learn to Ride a Bicycle Winstanley, Nicola. How to Give Your Cat a Bath in Five Easy Steps

Instructions on Taking Care of Yourself, Others, or the World

Anchor Books

• • • • • • •

Carlson, Nancy. How to Lose All Your Friends Ritchie, Scot. The No-Plastic Challenge! A First Book of Reducing Waste Ritchie, Scot. See How We Move!: A First Book of Health and Well-Being Ritchie, Scot. See What We Eat!: A First Book of Healthy Eating Walsh, Melanie. My Green Day Walsh, Melanie. Ten Things I Can Do To Help My World

How to brush your teeth How to be healthy How be a good friend How to take care of your pet How to help your school How to help your community How to be green

Instructional Writing in the Content Areas Once your students have had an opportunity to practice the structure and language of instructional writing with topics that don’t require research, there are endless creative ways to integrate instructional writing structures into your content areas. Students will need to research their topics (see lesson on page 78) to fill their fact pockets and turn this information into instructions. Here are some examples of different ways to integrate instructional writing into content. How to Be an Animal For a creative change from descriptive report writing, I sometimes like to use instructional writing structures when my students are researching animals or insects. Students will still need to research their animal (insect, bird, reptile) using the How to Be an Animal template on page 110, but will use their facts to write instructions rather than descriptions.

Instructional Writing 101

Anchor Books: How to Be an Animal Allen, Judy. Are You A Ladybug? (The Backyard Books series) Grade 4: How to Be sample

Brown, Lisa. How to Be Knowles, Laura. How to Be a Butterfly

• Share one of the anchor books with the class and discuss how the writer uses instructions to share facts about the animal or insect. • Write the following facts on the board or whiteboard: Racoons find their home in the forest and near a water supply. They live and sleep in dens. Raccoon predators include cougars, bobcats, coyotes, and large owls.

• Explain to students that you have written some facts about racoons on the board. These facts are written in descriptive, all-about form. Tell them that you want to show them how to take these desciptive facts about racoons and turn them into how-to instructions on how to be a racoon. • Write the heading How to Be a Racoon on the board. Remind the students of the SAD formula (see page 97) and ask them what sequence word you should start with. (First) Read the first sentence aloud and ask students to find the action word (verb) in the sentence. (find) Add the verb to the sequence word: First, find… • Remind students that you now need to add a detail because your reader will be wondering, Find what? Complete the sentence: First, find your home in a forest near water. • Continue practicing with the other two sentences: Next, sleep in dens. Beware of cougars, bobcats, coyotes, and large owls. • Remind students that, because they are including a lot of facts, sometimes sequence words for every sentence aren’t necessary. Remind them of the lesson on tip words (see page 99). Encourage them to replace some sequence words (first, next, after that, etc.) with tip words (always, try to, be careful not to, remember to, etc.). Adaption for K–1 Students

Elzmari Bedford from St. Agustine School in Vancouver adapted this lesson for her Kindergarten class by providing them with a frame for their “How To” animal writing. See the How To Be an Animal: Primary template on page 111. Kindergarten: How to Be an Animal sample

102  Fact Pocket Writing: Nonfiction

How to Be People There are many opportunities in elementary school to learn about people: famous people (past and present), historical figures, people in our community, people from different cultures and civilizations. Learning about who these people were, what they did, how they behaved, how they dressed, the impact they had on the world. etc. lends itself well to instructional writing. As with any content-area writing, students will need to research key information about a person or people first. For those wishing to provide a little more structure, use the How to Dress template on pages 112–113. Anchor Books: How to Be People Claybourne, Anna. Knight Survival Guide Clibbon, Lucy & Meg. Imagine You’re A… series (includes Pirate, Wizard, Astronaut, Mermaid)

Hawes, Alison. A Roman Soldier’s Handbook McCarthy, Meghan. Astronaut Handbook

• Share one or more of the anchor books with the class and ask them what they notice. Discuss how the writer is sharing facts and information but, rather than writing in an all-about, descriptive structure, they are writing in a how-to structure. • Using the same format as the preceding lesson (see page 101), model how to turn all-about writing into how-to writing using the SAD formula. The How to Be series by sisters Lucy and Meg Clibbon—which includes Wizard, Princess, Pirate, etc.—has inspired many creative instructional writing lessons with younger students.

Facts about Jacques Cartier:

G r a d e 1: H o w t o B e a s a m pl e

Instructions: How to Be Jacques Cartier

Jacques Cartier was a famous French explorer who discovered the part of Canada now known as Quebec. Jacques Cartier was born on December 31, 1491, in SaintMalo, Brittany, France. In 1534, he was sent by the King of France to the New World in search of riches and a new route to Asia in 1534. He explored the St. Lawrence River and laid claim to lands that would become Canada.

Be born in France in 1491. Obey your king and go exploring in 1534. Look for riches and a new route to Asia. Explore the St. Lawrence River and claim land. Become famous so kids can write about you later. Topic Suggestions

Here are some examples of different people/peoples your students could research and write instructions for, depending on what content area you are studying with your class. Social Studies How to be a Canadian (or any other culture from past or present) How to Celebrate ________ (cultural celebration) How to be a Fireman (or any community occupation) How to be a Mother/Younger Brother/any member of the family Instructional Writing 103

See page 159 for more on Change Agents.

How to be a Pioneer How to be a Fur Trader How to be an Explorer (Jacques Cartier, Samuel de Champlain, Christopher Columbus, Ernest Shackleton) How to be an Egyptian Queen/an Egyptian slave How to be an Egyptian God or Goddess/Roman God or Goddess How to be a Prime Minister/President How to be a Neanderthal/a Viking/an Early Human How to be a Roman Gladiator How to Make a … (ancient artifact: e.g., pyramid, mummy, sphinx, papyrus paper, totem pole, button blanket, bentwood box, etc. How to be a Change Agent (Malala Yousafzai, Gandhi, Martin Luther King Jr., Terry Fox, Greta Thunberg, Simon Jackson)

Grade 7: How to Be an Egyptian God

Science How to be Thomas Edison/Ben Franklin/Alexander Graham Bell (or any famous inventor) How to be a logger/fisherman/miner (or any occupation related to natural resources) Indigenous Ways of Knowing Inviting an elder, Indigenous parent, Indigenous consultant, or support worker from your district to come and share their knowledge of a particular aritfact, ceremony, or tradition can be a great learning expereince for your students, as well as an opportunity for them to practice instructional writing. Topic Suggestions

How to have a Smudging Ceremony How to have a Potlatch How to make a Totem Pole How to have a Sharing Circle How to make and use a Medicine Pouch How to pick berries

104  Fact Pocket Writing: Nonfiction

Anchor Books: Indigenous Ways of Knowing Huff, Tim J. The Honour Drum Inhabit Education. Berry Picking in the Fall (English/ Inuktitut)

Larsen-Jonasson, Theresa “Corky”. The Sharing Circle Meuse, Theresa. The Sharing Circle: Stories about First Nations Culture

Grade 4: How-to sample with Indigenous content

Instructional Writing 105

How To Name: What you will need:

Steps: 1.

2.

3.

4.

5.

6.

Tip:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

106 

What? What? How? page 1 Name: WHAT is the task? WHAT you will need:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 107

What? What? How? page 2 HOW steps 1

2

3

4

5

6

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

108 

How To: Early Primary Name: How to First…

Next…

Then…

Finally…

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 109

How to Be an Animal Planning Page Name: How to be a/an Appearance

Habitat

Food

Enemies

Behavior

Special Characteristics

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

110 

How to Be an Animal: Primary Name: How to Be a

Live Eat Have (special behavior) Beware of Be

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 111

How to Dress page 1 Name: How To Dress Like a Equipment and Accessories

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

112 

How to Dress page 2 What you will need:

Steps:

Tips:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 113



Persuasive Writing

Children learn to persuade at a very early age. In fact, they experience the power of persuasion long before we teach it to them. From before they can speak, they learn they can use their vocal chords or physical force to persuade their parents to pass them their smart phone or let them sit in the driver’s seat of the car. All their lives, they are bombarded with persuasive advertising that tries to convince them they need the latest and greatest remote control car, video game, or fashion doll. As they get older and begin to form their own opinions and ideas, they learn to persuade others to read a certain book, play a certain video game, or listen to a particular pop artist. And they have inspirational role models, such as Malala Yousafzai and Greta Thunberg, who demonstrate how the voice of one can persuade many. Our job, as I see it, is to give this type of communication a name and provide students with the structure and language that will enhance what and how they communicate using their persuasive voice. Above all other forms of writing, mastering the power of persuasion will provide students with important tools for real-life experiences, such as applying for university or a job, participating in a debate, asking for a raise, and using the power of their words to influence others and change the world. P e r su a s i v e W r i t i n g a t a Gl a n c e

Persuasive Writing … Persuasive Mini Lessons • The Language of Persuasion (page 116) • Planning: The Sandwich (page 117); The Diamond (page 119) • Effective Introductions (page 119) • Focusing on the Why (page 121) • Effective Endings: The TSN Technique (page 122); Wrap-Up Formula (page 123)

Persuasive Writing DOES NOT…

• Comes from your fact pocket and other • have imaginary characters resources (books, websites, magazines) • have “talking” dialogue • Is sharing an opinion or point of view • include you • Is attempting to encourage, persuade, or convince the reader in some way • Follows the What?–Why?–Why?–Why?– What Was That Again? structure • Uses transition words and persuasive language

Anchor Books: Persuasion Barton, Bethany. I’m Trying to Love Spiders Bastedo, Jamie. Free as the Wind: Saving the Horses of Sable Island Child, Lauren. I Want a Pet Child, Lauren. I Will Never, Not Ever, Eat a Tomato

114  Fact Pocket Writing: Nonfiction

Cronin, Doreen. Click, Clack, Moo: Cows That Type Layne, Steven L. My Brother Dan’s Delicious Orloff, Karen Kaufman. I Wanna Iguana Viorst, Judith. Earrings! Winter, Jeanette. Our House Is on Fire

Introductory Lesson: What? Why? Why? Why? What Was That Again? As with the other forms of nonfiction writing, I spend several lessons introducing the structure and key language features for this form and then provide opportunities for students to practice the form with non–research-based topics. Once students have learned and had practice with the structure and language, there are many ways to link this writing form to content areas. Inspiring students to use their persuasive voice to influence change is an effective way to model this writing form. Show video clips of young people like Gretta Thunberg and Autumn Peltier to illustrate how powerful a persuasive voice can be to influence change. Whether we agree with these people or not, there is no doubting their conviction.

Depending on the grade you teach, these prompts could be used for writing a single persuasive paragraph, or each prompt could be developed into its own paragraph.

• Ask students if they have ever tried to convince their parents to do something. Brainstorm some examples. (buy something: smart phone, new video game, puppy; allow something: stay up later, more allowance, sleepover, more screentime) • Ask students what happens if their parents say no. Do they say, “Okay. Thanks anyway.” Or do they work on trying to convince them? How? (give reasons why) I enjoy having students model their version of the persuasive “Pulleeeeeeeezzzz.” • Explain that what they are doing is practicing a skill called the power of persuasion. Persuasion is the ability to influence or change someone else’s thoughts or actions. Explain that being able to change the way people think or act with our words is an important and powerful skill to have. Learning to persuade effectively is a skill that grown-ups use all the time: when they apply for jobs, apply for university, make a complaint, run for prime minister, or give a speech. • Tell students that for the next few weeks they are going to be learning and practicing persuasive writing. As with any form of writing, structure and language are the keys to success: Not being familiar with the structure and language is like being given a brand new car but no key. You might have all these great opinions you want to share, but can’t get started because you don’t have the key!

• Explain that, as with all nonfiction writing forms, knowing the structure or skeleton is very important for the writer. Following this structure will help make their writing clear and easy to follow. • Outline the structure for persuasive writing: What? Why? Why? Why? What Was That Again? Have students repeat this a few times with you while you list the words on the board and explain what each means: What? State your belief, opinion, position, or point of view Why? Reason 1 to support or back up your opinion Why? Reason 2 to support or back up your opinion Why? Reason 3 to support or back up your opinion What was that again? Restate your belief, opinion, or point of view

• Ask students why they think there are three reasons and not just one. (because in order to convince someone, you need more than one reason) • Write aloud, modeling the structure with a topic students can connect to. Invite students to help you with the supporting reasons. What? Dogs are the best pets. Why? Dogs are great companions Why? Dogs protect the house Why? Service dogs can help people with disabilities What was that again? Dogs are amazing and you should get one.

• Create and display a Persuasive Writing anchor chart. Persuasive Writing 115

P e r su a s i v e W r i t i n g An c h o r C h a r t

Persuasive SOS (Secrets of Success) • Use the What?–Why?–Why?–Why?–What Was That Again?   structure. • Clearly state your belief, opinion, or position. • Include an effective start to hook your reader. • Use transition words or phrases between paragraphs. • Use persuasive language. • Include three clear reasons and examples. • Include a clear ending (Sports Highlights or Wrap-Up Formula).

Mini Lessons for Persuasion The Language of Persuasion Persuasive writing is a form of nonfiction writing that encourages careful word choice, the development of logical arguments, and a cohesive summary. In no other writing form is language more important. Giving students the words to persuade, transition, and summarize can be the key to their success for writing in this form. • Remind students that they are learning the features of persuasive writing. Tell them that, as well as following the structure, it is also important that they learn key words used in this type of writing. These words will help their writing be both more interesting and more organized; refer to the My Writing Goals chart on page 16. • Explain that there are three types of words used in persuasive writing: persuasive words, transition words, and descriptive words: persuasive words are words help the writer convince their reader; transition words help the writer move from one paragraph to the next; descriptive words help the writer add details to support their opinion. • You can use a chart to introduce the various language features of persuasive writing. Note that the chart on page 117 reflects both positive and negative persuasion. • I often tell students that persuasive writing is a little like bragging. You want to make whatever it is you are talking about sound so amazing that your reader will be persuaded. It’s also the writer’s chance to load up on triple-scoop words (see lesson on page 40). Explain that the triple-scoop words you choose are often connected to the topic you are writing about. • Discuss positive persuasion vs negative persuasion. Model a few examples or invite students to help you: You need to visit this place: beautiful, spectacular, amazing, peaceful You need to buy this toy: long-lasting, durable, safe You should NOT see this movie: boring, confusing, poor acting You should NOT eat at this restaurant: dirty, disgusting food, horrible service

116  Fact Pocket Writing: Nonfiction

P e r su a s i v e L a n g u a g e W r i t i n g F e a tu r e s

Persuasive Words

Transition Words

Positive Persuasion

Negative Persuasion

should need must absolutely strongly believe strongly  recommend definitely certainly of course absolutely without a doubt imperative

Firstly, To begin with, The first reason is

amazing outstanding unbelievable adorable exciting undeniable marvelous beautiful delicious fabulous fantastic effective magnificent superb guaranteed proven delighted sensational

horrible terrible disgusting awful devastating grotesque unsightly ugly disastrous disturbing offensive loathsome horrifying revolting dreaded vile unreliable repulsive appalling

Additionally, Another reason   why is Secondly, Next, Also, In addition, Lastly, Yet another reason   why is In the same way, Pursuing this  further, One last reason   why is Also, Thirdly, In conclusion, To sum it up, To summarize, In the final analysis, You can see why, Finally, To wrap it all up, Therefore,

• Give students opportunities to practice persuasive writing using non–researchbased topics. A variety of planning templates can be found on pages 128–131. Remind students of the Persuasive SOS anchor chart (see page 116). Planning The Sandwich

For Beginning Writers

Before launching into persuasive writing lessons with your class, it is important to spend some time focusing on the key features of this form of writing. Depending on your grade level, you might want to introduce these lessons over a few literacy blocks. • Remind students that every form of writing has a unique structure that distinguishes it from other forms of writing:

Persuasive Writing 117

We learned yesterday that the structure of persuasion follows the What?–Why?– Why?–Why?–What Was That Again? pattern. Today we are going to focus on the persuasive sandwich plan.

I have seen a similar plan explained using a hamburger. Both work equally well!

• Explain that one of the most important things a writer needs to do when writing a persuasive piece is to make a plan. Planning helps the writer organize their thinking before starting to write. • Explain that they are going to learn the sandwich plan for persuasive writing: Persuasive writing is a bit like making a sandwich. First, you have to start with the bread—the bread is what. (Draw a sideview of a piece of bread on the board.) Now I need to add some filling to my sandwich, so I think I will add some lettuce first. (Draw a sideview of a piece of lettuce on top of the bread; label it if you like.) This is my first why, or reason to back up my argument. Now, I’m not sure about you, but I don’t think I’d find a lettuce sandwich very tasty; in fact, it would probably taste pretty bland. So I need to add another filling, like some cheese.

I use the sandwich analogy when conferencing with students. After reading their writing, I might say, “Oh, you have too much lettuce but no meat,” or “You forgot your bottom slice of bread,” and they know exactly what that means. I also refer to transition words as mayonnaise words, because they help your sandwich stick together!

(Add a layer of cheese to visual) This is your second reason why. Cheese and lettuce taste better than just lettuce, but I really think I’d like some ham too. (Add ham to visual) This is my third reason why. Now my sandwich is much tastier because I have three fillings instead of just one. But there is a slight problem. What’s missing from my sandwich? (top slice of bread) If I don’t have a top to my sandwich, it’s going to fall apart. That’s why I always need to add the top piece of bread. (Add piece of bread to the visual.) And this is when I restate or tell my reader again what my opinion is.

• Use the sandwich plan to write aloud a simple persuasive topic: Let’s imagine that I really, really wanted to get a kitten and I’m trying to persuade my parents to buy me one. I’m going to show you how the sandwich plan might work.

• Invite the students to help as you build the sandwich on the whiteboard or interactive whiteboard: Bread = What it is my opinion? I really want a kitten Lettuce = Reason 1: Cats are cute.

118  Fact Pocket Writing: Nonfiction

Grade 2: Persuasion practice write

• Ask if students think that one reason is enough. (No: time to add some cheese!) Cheese = Reason 2: Cats are small pets.

• Ask students if they think two reasons are enough? (No: time to add some ham!) Ham = Reason 3: Cats are easy to care for.

• Ask students if they think the sandwich needs anything else? (Yes: the other slice of bread!) Bread = Restate opinion: Cats are the greatest pets in the world to own so I think you should get me one.

• Using the sandwich plan, students can practice writing a persuasive piece about something they would really like to have. It can be written in the form of a letter to their parents, teacher, principal or coach, asking them for something. • Discuss the difference between an reasonable and an unreasonable request; e.g., a kitten, a new video game, a sleep-over vs. a million dollars; a Lamborghini; to live on Mars. The Diamond

For Middle-Grade writers

Those of you teaching middle-grade students might be required to teach more complex expository essay structures. For those students, instead of the sandwich plan, you could use to the Diamond Plan. While detailed, this plan can really help students learn to develop a well-written persuasive essay. You will find a complete visual of the diamond on page 130. When introducing it to students, I break it down into sections. • Remind students that they are learning a form of writing called persuasion. Review the purpose of this form of writing. (to state your opinion or belief in an attempt to influence or change a reader’s thoughts or actions) • Draw a diamond on the board and explain that you are going to show them a way of organizing their writing that will help it sparkle like a diamond. • Split the diamond in half and separate the two triangles. • Explain that the middle is the main body of the writing, and the top and bottom triangles represent the opening and closing paragraphs. (See Effective Introductions below and Effective Endings on page 122.) • Tell students that you are going to focus on one section at a time and will be giving them some SOS (Secrets of Success). You may need to break this into several lessons. Effective Introductions: The Top of the Diamond • Discuss what a first impression is. How do you make a good first impression when you meet someone? Why are first impressions important? • Explain that first impressions are just as important in writing as they are in person, especially when you are writing a persuasive piece. • Remind students that “we write to invite.”

Persuasive Writing 119

When you begin your writing, make a conscious effort to invite your reader in. You want your reader to think “Now this person is clever, welcoming, and interesting. I want to read more of this!” The goal is to create a stylish, memorable, and effective introduction.

While traditionally we teach students to begin a persuasive essay with a thesis statement, ending the paragraph with it can actually be more effective.

• Draw a triangle on the board and explain that there are three parts to an effective introduction: the hook, the bridge, and the thesis. Explain what each section is in more detail: This triangle is the top of the diamond that helps you plan your persuasive ­writing. (indicate the top point of the triangle)

Hook

This is the hook, an attention-grabbing strategy that engages the reader.

Bridge

(indicate the middle of the triangle)

Thesis

This is the bridge. (indicate the bottom of the triangle) This is your thesis statement. It contains your subject and an opinion. It is the argument that the essay will explain and prove. Remind students that all hooks need to be connected to their topic.

• Introduce the hook: The hook is the first sentence your reader is going to read. It’s what grabs their attention. There are different ways you can hook your reader, but no matter which technique you use, be original, take a risk. Boring writing is predictable writing. Do something different—be creative or even a little weird!   To hook your reader, you can start with • • • • • • • •

a sound effect a question a surprising fact a visual image someone speaking your writer’s voice talking directly to your reader a quote or statistic a personal connection

• Pass out the What’s the Hook? samples on page 127 and have students identify the hook strategy used and the thesis for each passage. • Move on to the bridge: The bridge is a group of sentences that smoothly shift the focus of writing from the hook to the main topic of the essay. It should be one to three sentences connected to the topic that lead to the main opinion statement.

120  Fact Pocket Writing: Nonfiction

• Conclude by discussing the thesis statement: The thesis is the main point of your writing. It is usually one sentence and is in the form of a statement, not a question. It is the where you clearly state your goal or what you want your reader to know, believe, or understand. The thesis usually appears at the end of your introduction.

• Using the the What’s the Hook? samples on page 127, invite students to use highlighters or colored pencils to identify the hook, bridge, and thesis in each example. This could also be projected and done as a whole-class activity. • You may want to have students practice writing an introductary paragraph. Provide students with a list of possible thesis statements and invite them to choose one and practice writing an engaging, memorable introduction using the Hook/Bridge/Thesis. While most of these topics would require research for the essay as a whole, the students are writing only the introductory paragraph, not the entire essay.

Sample Thesis Statements: • Video  games help students because they teach problem-solving skills and improve hand-eye coordination. • Video games hurt students because they decrease an individual’s attention span and damage eyesight. • Schools should increase the length of recess in each school day because physical activity helps our brains work more effectively. • Schools should decrease the length of recess in each school day because playground issues, such as bullying, are more likely to occur when children are unsupervised for long periods of time. • Zoos are inhumane and should be banned by the government. • Zoos give animals safe homes and protect endangered species. • Professional athletes deserve high salaries because they generate money for the cities and organizations in which they play. • Professional athletes do not deserve the high salaries they earn because they do not contribute to society in a meaningful way.

Focusing on the Why Building an effective argument is crucial for persuasive writing. Students need practice in identifying reasons and providing specific examples to strengthen their argument. I like to use a box of Smarties chocolates for this lesson. You will need three to five boxes, depending on how many students you have. • Remind students of the What?–Why?–Why?–Why?–What Was That Again? structure for persuasive writing. • Explain that you are going to focus on the Why?s, or the main body of the persuasive piece. This is the likely the most important part because it is when a writer needs to develop a convincing argument to support their opinion or belief. • Pass out four to six Smarties candies to each student. (You can prep this using small paper muffin cups.) • Tell them you love Mars bars (or any chocolate bar you like). It’s the only chocolate you ever eat. Tell them their challenge is to persuade you that Smarties are better than Mars and are, in fact, the best chocolate ever. • Invite them to study the Smarties carefully and think about the Why: Why are Smarties better than other chocolates? What makes them unique? They are Persuasive Writing 121

welcome to eat the candies but encourage them write their thoughts while they are eating. • Have students find a partner to share and discuss their observations and reasons. • Come together as a class and explain that for every reason why, they need to provide evidence or examples to support the argument. Model an example: If I say one reason Smarties are the best chocolate is because of the taste, I would need to give examples about the taste—crunchy coating outside, sweet milk chocolate inside—to support my reason.

• Record reasons and examples on a chart, inviting students to add their ideas: S m a r t i e s P e r su a s i o n C h a r t S a m pl e

Opinion: Smarties are the best chocolate Why?

Examples

Great taste

Crunchy coating outside, sweet milk chocolate inside

Easy to eat

Small, not messy, easy to save for later

Useful

Great for decorating, for learning colors, for sorting, for sharing

Ex tension

This lesson can be extended into The Great Chocolate Challenge. I group students (groups of five work best) and give each group a different chocolate bar. As a group, students write and present a commercial to persuade us that their chocolate bar is the best. I encourage each student to write one paragraph: the opening, one of three reasons, or the conclusion. Students in the winning group get to enjoy their own chocolate bar, while the other groups share one between them. Make sure to check for allergies before doing this lesson! Effective Endings: The Bottom of the Diamond I hope you enjoyed my writing about zoos. (Cringe!) In my years of teaching, I have read dozens of closing paragraphs that either thank me for reading or hope that I have enjoyed reading the writing. And while we cringe when we read essays that end in this snooze-worthy way, unless we provide students with a more effective alternative, we can’t really expect much more. The TSN Technique

For Intermediate Students

• Remind students that we are learning how to write strong persuasive arguments. Just like we want the opening paragraph to leave a powerful first impression, writers need to also make sure that the closing paragraph leaves a lasting impression. You want to go out with a bang, finish on top, have the last hurrah! You want your reader to remember your writing. Today we are going to learn how to write an effective conclusion using the TSN technique.

122  Fact Pocket Writing: Nonfiction

Thesis

Summary Now What?

• Draw triangle with the point on the bottom and divide it into three sections labeled Thesis, Summary, and Now What? • Explain each section and model an example. T = THESIS: Restate your opinion in a different way from how you started. Begin with a closing phrase. Ultimately, animals deserve to be living in their own environment and not forced to stay locked away in a zoo. S = SUMMARY: Review the three reasons you have outlined in your main body. Do not introduce any new points. Be brief. Zoos are small; animals become dependent on their keepers; zoos are often not clean so animals get sick and diseases. N = NOW WHAT?: A call to action, a hope for the future, or both. Hope for the future: We can only hope that our provincial government will recognize the tragedy of keeping animals locked up and ban all zoos in our province. Call to action: We have all seen the terrible conditions of animals in zoos, so why keep visiting them? Stop visiting zoos now!

The sports fans in your class might make instant connections to The Sports Network when you write TSN on the board. It might even help them remember how to write a concluding paragraph! (Thanks to Phillipa Kedgley for the great acronym idea!)

• Put it together and you get the TSN conclusion paragraph in all its amazingness! Ultimately, animals deserve to be living in their own environment and not forced to stay locked away in a zoo. Zoos are small, animals become dependent on their keepers, and zoos are often not clean, so animals get sick and diseases. We can only hope that our provincial government will recognize the tragedy of keeping animals locked up and ban all zoos in our province. We have all seen the terrible conditions of animals in zoos, so why keep visiting them? Stop visiting zoos now! Wrap-Up Formula

For younger students

• Explain that it’s important for a reader to know your writing is ending, and that your last sentence should remind them what your opinion is. • Focus on how not to write an effective conclusion by showing them unfavorable ending sentences and discussing why or why not they are leaving a very good lasting impression. • Woof! Woof! That’s all folks! (No! It’s funny, but not the right tone for information writing.) • I hope you enjoyed my writing about dogs. (No! What if I didn’t enjoy it?) • Best of all, dogs are loyal pets. (Yes! It signals the reader that this is the final statement.) • I could tell you lots more but I ran out of paper. (No! Don’t give excuses.) • Dogs need to be brushed regularly. The End (No! Do not throw random facts in at the end.) • Thank you for reading my writing about dogs! (No! Don’t thank the reader.) • As you can see, dogs make the greatest pets. (Yes! It signals the reader that this is the end.) • And all the dogs lived happily ever after. (No! Don’t use a story ending for nonfiction writing.) Persuasive Writing 123

Eff e c t i v e Cl o s i n g An c h o r Chart

Phrases to Wrap It Up All in all, Ultimately, In conclusion, In summary, Lastly, Best of all, As you can see, Finally, Over all, All things considered,

• Explain that the two sentences that were appropriate endings actually follow the secret formula: Closing Phrase + Topic + Feeling or Opinion. Model with one of the sentences: Effective closing sentence includes Closing phrase + topic + feeling or opinion As you can see, dogs are the greatest pets on earth.

• Introduce a variety of closing phrases to your students by creating an anchor chart. A simple list of closing phrases can elevate the quality of your students’ writing. It is surprising how impressive it is when a Grade 2 student ends their piece of writing with “All things considered….”!

Persuasion in the Content Areas Once students have had an opportunity to learn and practice the structure and language of persuasion using non–research-based topics, there are endless ways to use persuasive writing in your content areas. Below are some examples for different grade levels and topics in both science and social studies. Catalogues

Mélanie Watt’s “Have I Got a Book For You!” is an excellent anchor book for this lesson, filled with humor and persuasive “sales” techniques.

Catalogues are a simple way to integrate persuasive writing into content areas. Students write to “sell” products, integrating factual information they have researched into persuasive descriptions. Selling pieces can be done individually, or individual students can focus on one product and their writing can be combined into a class catalogue. Examples of persuasive catalogue or brochure topics: • Indigenous or Ancient Clothing • Indigenous or Ancient Artifacts • Indigenous or Ancient Inventions • Country, Region, State, or Province Bubblegum Letters Pop! The Invention of Bubble Gum by Meghan McCarthy is an entertaining and engaging book filled with fun facts about the history of the invention of Double Bubble gum. The book inspires children to make and chew their own gum and includes a receipe for making it. The only problem? Gum is not allowed in school (or so you could claim). This leads to the need to write a letter to the principal to ask permission to break the school rule for one day. Students can include facts about bubblegum and how to make it in the letters. Famous People Persuasion

See pages 154–158 for more on biography writing.

124  Fact Pocket Writing: Nonfiction

Often students are asked to write about someone they consider a hero. This is a perfect opportunity for students to research an important person and apply their knowledge of persuasive writing to convince their reader why this person was the best in their field, had the greatest impact on the world, and why. The writing could include a short biography about the person and what they did. Subjects are endless, allowing easy links to content areas and giving students freedom to

choose someone who sparks their interest. Students can use the The Greatest __________ Planning Page on page 132 to organize their facts. Famous Explorers: Jacques Cartier, Jacques Cousteau, Ernest Shackleton, Christopher Columbus, John Cabot, Francis Drake Famous Inventors (and their inventions): Benjamin Franklin (electricity), Alexander Graham Bell (telephone), James Watt (steam engine), Louis Braille (writing system for the blind), Thomas Edison (lightbulb), Galileo (telescope), Johann Gutenburg (printing press), Elisha Otis (the elevator), Henry Ford (car), the Wright Brothers (airplane), Bill Gates (Graphical User Interface) Famous Women: Emmeline Pankhurst, Florence Nightingale, Rosa Parks, Viola Desmond, Marie Curie, Coco Channel, Mother Teresa, Anne Frank, J.K. Rowling, Malala Yousafzai Superhero Writing

For younger students

You can never go wrong when you start a writing lesson with, “Today we are going to write about superheroes!” Researching famous people can be challenging for younger writers, but most have overflowing fact pockets when it comes to famous Marvel and DC Superheroes. Some research will likely be required, but researching a favorite superhero will not feel like work for most students. Students should have no trouble trying to persuade their reader why their superhero is the best. And it’s safe to say that the anchor books you bring into class will create quite a superhero stir! Since it would be easy for younger writers to get carried away describing the many amazing features and heroic achievements of their superhero, they may need a few gentle reminders that the purpose of the writing is to persuade readers that their hero is the greatest. Students can use The Greatest __________ Planning Page on page 132 to help them organize their facts before they write.

Anchor Books: Superheroes Catalanotto, Peter. Question Boy Meets Little Miss Know-It-All Davis, Jacky. The Amazing Adventures of Bumblebee Boy

Davis, Jacky. Ladybug Girl Graham, Bob. Max Pilutti, Deb. Ten Rules of Being a Superhero

Everyday Inventions Learning about inventions, planned or accidental, can be linked to many big ideas from your science content and can potentially inspire some young inventors in your class. From bubblegum to ramen, students can explore everyday inventions and decide which was the most important and why. Using anchor books is a great way to get students excited about some of these inventions; they also provide interesting background information students will need to include. After reading aloud many of these anchor books over several days, I invite students to choose the one everyday invention they think is the greatest and why. Their persuasive writing should include some factual information about the invention, as well as their reasons why they think the world would be lost without it! Students can use the The Greatest Invention Planning Page on page 133.

Persuasive Writing 125

Anchor Books: Modern Inventions Barton, Chris. Whoosh! Lonnie Johnson’s Super-Soaking Stream of Inventions Biebow, Natascha. The Crayon Man: The True Story of the Invention of Crayola Crayons Ford, Gilbert. The Marvelous Thing that Came from a Spring: The Accidential Invention of the Toy that Swept the Nation Gibbs Davis, Kathryn. Mr. Ferris and His Wheel Hill, Laban Carrick. When the Beat Was Born: DJ Kool Herc and the Creation of Hip Hop McCarthy, Meghan. Pop! The Invention of Bubble Gum McCarthy, Meghan. Earmuffs for Everyone: How Chester Greenwood Became Known as the Inventor of Earmuffs

126  Fact Pocket Writing: Nonfiction

Miller, Pat. The Hole Story of the Doughnut Renaud, Anne. Mr. Crum’s Potato Predicament Renaud, Anne. The Boy Who Invented the Popsicle Stone, Tanya Lee. Pass Go and Collect $200: The Real Story of How Monopoly Was Invented Wang, Andrea. Magic Ramen: The Story of Momofuku Ando Wishinsky, Frieda. How to Become an Accidental Genius Wittenstein, Barry. The Boo-Boos That Changed the World: A True Story About an Accidental Invention (Really!)

What’s the Hook? Name: Using 3 different highlighters or felt pens, identify the HOOK, BRIDGE, and THESIS in each opening paragraph.

School on Saturday? NEVER! “Brrrrrring! Brrrrrrrring!” Your alarm is going – time for school! But wait! It’s Saturday. There is no school on Saturday… back to sleep I go. But suddenly… I hear my mother’s footsteps coming down the hall towards my room. Panic sets in! Saturday school is here! We all know that Saturdays are meant for sleeping in, for hot pancake breakfasts with your family and a rousing game of basketball with friends. But the pleasure and relaxation of Saturdays is scheduled to vanish next year when the school board their initiates “Saturday School” policy. While I enjoy the learning environment of school Monday to Friday, I argue that schools should absolutely not be open on Saturdays. Hook strategy used: Thesis:

Down with Posters by Mr. Neil I despise glitter. It’s tacky and invasive and once a bedazzled project enters the classroom, the insidious sparkles lodge in every nook and cranny. Months later, I look like Lady Gaga or the Sugar Plum Fairy after I accidently wipe my face and spread a layer of unwanted pixie dust over my cheek. I ban the stuff! We’ve all seen effective projects carried out using this medium: engaging posters depicting a recommended book, a family tree or a famous explorer. I argue, however, that the work becomes less sophisticated and less effective when sprinkled with tacky purple and pink sparkles. I argue that students’ work becomes more effective and sophisticated when they learn to use presentation tech tools such as Prezzi, Sliderocket, Instagram and Google Drive presentations. Hook strategy used: Thesis: Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 127

Persuasive Writing Planning Sheet Name: Introduction State your opinion:

Three main points:

Point 1:

Point 2:

Point 3:

Details/Reasons

Details/Reasons

Details/Reasons

•

•

•

•

•

•

•

•

•

Conclusion Restate your opinion:

Restate your reasons and leave the reader thinking

3.

128 

2.

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

1.

The Persuasive Sandwich Plan Name: State your opinion:

Reason 1:

Reason 2:

Reason 3:

Restate your opinion:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 129

The Persuasive Diamond Plan Hook Paragraph 1 Hook Bridge Thesis

Attentiongrabbing; Engages the reader

Bridge A group of sentences that smoothly shifts the focus of writing from the Hook to the Thesis

Thesis Subject + Opinion or Argument

Paragraph 2: Supporting Fact #1 with examples Paragraph 3: Supporting Fact #2 with examples Paragraph 4: Supporting Fact #3 with examples

Thesis Concluding phrase; Restate thesis

Summary Briefly review your three supporting facts

Now What

Paragraph 5: TSN

Hope for future; Call to action

Thesis Summary Call to Action

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

130 

Primary Persuasive Planning Page Name: What?

Why?

Why?

Why?

What was that again?

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 131

The Greatest

Planning Page

Name:

: The Greatest Name:

Family, Early Life:

   Born:    Died: WHAT did they do?

WHY is this person/invention the greatest? 1.

HOW did they do it? 2.

3.

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

132 

The Greatest Invention Planning Page Name:

: The Greatest Invention Ever! Who? What? Where? When? How?

WHY is this invention the greatest? 1.

2.

3.

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 133



Comparison Writing

Students in higher grades are expected to be able to write a wide variety of different structures. No longer is the five-paragraph expository essay adequate to get a student through Provincial or State exams. Students are being asked to write in more complex forms, including compare-and-contrast. Introducing this form and the language associated with it to younger students can be the first steps toward ensuring their success down the road. As with the other nonfiction forms, opportunities to practice comparison writing on non–research-based topics will allow students to become familiar with comparative language and structure before you link the writing to your content areas. While comparing animals is a good starting point for comparative writing that incorporates research, there are many other social studies and science topics that lend themselves well to writing comparisons and comparative language. C o m p a r i s o n W r i t i n g a t a Gl a n c e

Comparison Writing… Comparison Mini Lessons • The Language of Comparison (page 136) • Independent Practice (page 137)

Comparison Writing does NOT…

• comes from your fact pocket and other • have imaginary characters resources (books, websites, • have “talking” dialogue magazines) • include you • describes how two or more things are the same and how they are different • uses a Both–Same–Different–End structure and comparative language

Anchor Books: Comparison Cummins, Julie. Country Kid, City Kid Diehl, Judy. What’s the Difference? Ten Animal Look-Alikes Gall, Chris. Dog vs. Cat Hillman, Ben. How Fast Is It?: also How Big Is It?; How Strong Is It?

Kates, Bobbi. We’re Different, We’re the Same Kostecki-Shaw, Jenny Sue. Same, Same but Different Pallotta, Jerry. Who Would Win? series Strack, Emma. What’s the Difference? 40+ Pairs of the Seemingly Similar Thomas, Isabel. Animals Head to Head series

Introductory Lesson Instead of bringing in an apple and an orange, you can project images of them onto the screen.

134  Fact Pocket Writing: Nonfiction

• Place an apple and an orange side-by-side. Ask students what the objects are. (apple, orange, both fruit)

• Ask students to discuss with a partner how the two objects are the same. Allow time for discussion. (both fruit, grow on trees, have seeds, are round, are healthy to eat, can be made into juice) • Invite students to discuss how the two objects are different. (color: oranges come in one color/apples many, oranges are same color inside but apples are different; texture: apples are crunchy/oranges juicy, etc.) • Introduce the concept of comparing: Sometimes a writer chooses to write about one topic. We call this descriptive writing. But other times, a writer might want to write about two topics and describe how they are the same (compare them) and how they are different (contrast them). This type of writing is called comparison, because the writer is comparing two or more things.

• Explain that writers can compare two objects, two people, two ideas. Brainstorm comparative topics: cats and dogs, iPhones and Androids, XBox and PlayStation, horses and unicorns. • Remind students that all writing has a structure that a writer uses to help organize their ideas. One of the challenges in writing comparisons is writing about two things at the same time. Switching back and forth between similarities and differences can be very confusing for you and your reader. Here is the frame or structure for comparison writing that will help you organize your ideas without getting mixed up: Both–Same–Different–End. We start by introducing both topics; then focus on how they are similar; then write about how they are different; then end with a short summary. Following this structure can help us sort our ideas, stay organized, and help our reader not become confused.

• Model this structure by comparing the apple and the orange. Invite the students to help you. Both Introduce both topics

Apples and oranges are healthy fruit that most people enjoy for snacks or with a meal.

Same How are they similar?

Both fruit; both grow on trees; both can be made into juice; both have seeds; both can be sweet or sour; both healthy for you

Different How are they different?

Apples: hard; different-colored skins; have a stem; black seeds; inside is a different color from outside; you can eat the peel; you can turn into pies and sauce Oranges: softer; all of them are orange; no stem; white seeds; same color outside and inside; juicy sections; you can’t eat the peel, no stem; you can’t make pie; grown in warmer places

Comparison Writing 135

End What general statement could you make about both topics?

Both healthy fruit that people enjoy eating as part of a meal or as a snack on its own; their differences make for variety in eating.

• If you have taught the Organization Drawers lesson for organization (page 45), you can use same analogy for comparison writing. Each drawer can be developed into a paragraph. • For primary students, I simplify the structure: I strongly recommend the engaging Who Would Win? series by Jerry Pallotta as anchor books for teaching compare and contrast. The author creates an epic battle between two similar animals, comparing fun facts about life span, food, hunting style, and size of claws and skulls. Highly entertaining and very popular with students!

Both: 1 sentence introducing both topics Same: 2 or 3 examples of similarities Different: 2 or 3 examples of differences Sum it up: 1 sentence summarizing key points.

• Tell students you will be learning and practicing writing comparisons over the next few weeks. • Share several of the recommended anchor books during the next few lessons so that students can begin to become familiar with the structure and language of comparisons.

Mini Lessons for Comparison The Language of Comparison The language of comparison is essential to a successful piece of comparative writing because it helps the writer organize ideas and the reader navigate through the information. Of all the language associated with nonfiction text structures, the language features of comparison are likely the most significant in elevating the quality and sophistication of the writing. • Remind students that you are learning about comparison writing. Revisit the Both–Same–Different–End structure. • Explain that, with every kind of writing, there are a few important words that writers need to learn and that you will be learning some of the special comparative words. I like to tell my students: “You can take your writing from fluffy to fancy with just a few words!” • Invite students to find a partner. Pass out a blank Venn diagram (see page 141) to each pair. Explain that the Venn is a great tool to organize ideas for comparing two topics: differences go on the outside; similarities in the middle. • Write Cats and Dogs on the board. Ask students to add facts to their Venn diagram comparing cats and dogs: similarities in the centre and differences on the outside. Remind them to think of behavior as well as appearance. Give students about 10 minutes to work on this. • Once students have finished, invite them to share their Venn diagrams with another pair and discuss. Walk around the room and listen in on their conversations. • Come together as a class and continue the lesson:

136  Fact Pocket Writing: Nonfiction

While you were talking with your partners, I was listening to the ways you were discussing similarities and differences. I was listening particularly to the words you were using. I heard the word “both” a lot when you were discussing similarities; “They both have four paws,” or “They’re both pets.”

• Make a T-chart on the whiteboard or chart stand with Similarities on one side and Differences on the other. Add the word both under Similarities. • Continue the lesson: When you were discussing differences, I heard the word “but” a lot. (This will likely cause a few giggles if you teach younger students!) “A dog barks but a cat meows,” or “A dog likes swimming, but cats don’t.”

• Add the word but to the chart under Differences. Writers, the words both and but are good words to use when you are comparing, but if we keep using these same words over and over, our writing will start to sound repetitive and boring. I am going to introduce you to some but-replacement words (more giggles!) that will help make our writing much more interesting. From fluffy to fancy with just a few words! Co m par i s o n W r i t i n g An c h o r C h a r t

Comparison Writing… • Includes a title • Clearly states two subjects you are comparing • Follows the Both– Same–Different–End structure • Uses but-replacement words • Ends with a summary of main points

• Add words to the anchor chart, giving examples as you add them. Instead of writing They’re both pets, you could write Dogs can be pets as well as cats. Rather than using but, you could say “A dog barks; on the other hand, a cat meows.” Similarities

Differences

both also and as well as too similarly like

but whereas however on the other hand in contrast on the contrary while yet -er than

• Invite students to take turns using comparison words with their partners while they talk through their Venn diagram. • Review the goals for comparison writing and create an anchor chart for future reference. Independent Practice What’s the Difference?: 40+ Pairs of the Seemingly Similar by Emma Strack is packed with comparative examples students could choose from for their practice writes.

For independent practice, I like to provide students with a list of comparative topics that do not require additional research. Once they become familiar with the writing structure and language of comparisons using their fact pockets, you can follow up with a research-based writing piece connected to a unit in science or social studies.

Comparison Writing 137

• Here are suggestions for topics that require little or no research and rely mostly on students’ fact pockets. Students can choose one of these or think of their own: •  apples and oranges (or any fruit or vegetable) •  cats and rabbits (or any two pets they are very familiar with) •  whales and fish •  summer and winter (or any two seasons) •  football and baseball (or any two similar sports) •  private and public school •  kids and grownups •  iPhone and Android •  XBox and PlayStation •  Minecraft and Fortnite Whales and Fish Venn Sample WHALES

    FISH BOTH

live      lay eggs   have hair in water scales      have   live birth have fins can   breathe air      breathe swim      water

• Once students have selected a topic, pass out the Venn Diagram (page 141); encourage them to use it to record their facts and use it as a planning page. Templates on page 142 (intermediate) and 143 (primary) can also be used for helping students plan and/or write their comparisons. • There are several mini lessons you can introduce or revisit when your students are practicing writing comparative writing: Hook Your Reader with a Great Beginning (page 81), Triple-Scoop Words (page 40), Interesting Details (page 41), Text Features (page 71), and Organization Drawers (page 45). • Effective compare-and-contrast writing goes beyond a simple listing of similarities and differences to make a meaningful statement about a larger topic. When teaching comparisons with older students, I invite them to look at the Venn they’ve made and ask: What strikes you as significant? What do these similarities and differences say about the topic? This insight can help them to write a more effective ending.

Comparison Writing in the Content Areas Of all the nonfiction structures, I find that linking content with comparative writing has the widest variety of options in both science and social studies. Like the other nonfiction forms, students will need to spend time researching their topics and completing a Venn diagram plan (see page 136) before they start writing. Regardless of what subject you are covering, you will likely find an opportunity for some comparative writing: The examples of comparisons in the content area listed here require some form of research.

138  Fact Pocket Writing: Nonfiction

• comparing different ecosystems (tundra and forest) • weather (hurricanes and tornados) • habitats (forest and jungle) • planets (Mars and Jupiter) • bodies of water (lake and pond) • Indigenous groups (Haida, Métis) • countries (Japan and Canada) • Early Humans (Homo Erectus and Cro-Magnon) • schools (past and present) • body systems (digestion and respiratory).

Comparing Animals in Science Students choose two seemingly similar animals to compare. Encourage students to focus on more than just what they look like; they could include habitat, special behaviors, diet, etc. The Animal Comparison template on page 144 can be used for gathering research about both animals. Students are encouraged to include text features (see page 71) and the language of comparison (see page 136) when writing about their two animals. Examples of seemingly similar animals: • wasp and bee • slug and snail • dolphin and whale • alligator and crocodile • coyote and wolf • butterfly and moth • hamster and gerbil The language of comparison can also be used in science when comparing different species of animals or plants, as in the Grade 5 sample here.

Comparing Early Humans/Civilizations in Social Studies Part of the Grade 7 Social Studies curriculum in BC is learning about the development of Early Humans. After learning the timeline of early human development, students chose two stages of human development to compare. They focus on things such as appearance, diet, clothing, and survival skills.

Comparison Writing 139

140  Fact Pocket Writing: Nonfiction

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 141

Venn Diagram for Comparing

Name: and

Comparison Planning Page Name: BOTH:

SAME: How are

and

and

the same?

Examples:

DIFFERENT: How are Big Idea:

and

different?

and

different?

(feature)

Examples:

DIFFERENT: How are Big Idea:

(feature)

Examples:

END: Summary of similarities and differences

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

142 

Comparison Planning Page: Primary Name: Both

Same

Different

End

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 143

Animal Comparison Name: Animal 1: Description What does your animal look like? Size? Shape? Color? Fur? Scales? Skin? Behavior What can your animal do? Swim? Run? Fly? Habitat Where does your animal live? Water? Land? Cave? Underground? Food What does your animal eat? Hunt?

Enemies Which animals hunt or kill your animal?

Babies/Life Cycle

Other interesting facts

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

144 

Animal 2:



Explanatory Writing

The purpose of explanatory writing is to give an account of how or why things happen or occur, most often in the natural world. That’s why this form of writing lends itself well to linking with science content. While likely the least common form of writing used in elementary school, explanatory writing can be introduced early to prepare students for more complex cause-and-effect writing they will be expected to use in higher grades. As with the other nonfiction writing forms, explanation has a distinct structure and language associated with it, and using them can support the flow of writing. Because explanation often describes a series of events, sequencing words and labeled diagrams are particularly important features to focus on. Expl a n a t o r y W r i t i n g a t a Gl a n c e

Explanatory Writing… Explanatory Writing Mini-Lessons • Transition Words (page 60) • Modeling Explanatory Writing (page 147) • Flow Charts and Diagrams (page 147)

Explanatory Writing does NOT…

• comes from your fact pocket and • contain imaginary characters other resources (e.g., books, websites, • include talking or dialogue magazines) • include you • explains how or why something happens • is often connected to science and nature • usually contains visual flow charts and diagrams

Anchor Books: Explanatory Writing Daynes, Katie. How Do Flowers Grow? Ganeri, Anita. I Wonder Why the Sea is Salty: And Other Questions about the Oceans Jacobs, Pat. I Wonder Why Penguins Can’t Fly: And Other Questions about Polar Lands McDonald, Jill. Hello, World! How Do Apples Grow?

Raab, Brigitte. Where Does Pepper Come From? And Other Fun Facts Ripley, Catherine. Why? The Best Ever Question and Answer Book about Nature, Science and the World Around You; also How? The Most Awesome Question and Answer Book about Nature, Animals, People, Places—and YOU!

Introductory Lesson Most children have made popcorn, eaten popcorn, made crafts with popcorn— but how many can explain how that little, hard, yellow kernel magically transforms into a fluffy white ball of deliciousness? For this lesson, you will need Explanatory Writing 145

enough unpopped kernels and popcorn pieces for a few for each student. Use paper muffin cups to avoid spillage. • Pass unpopped kernels of corn to students. Ask what they are. If possible, show or project a photo of a corn husk or corn field to give some context for where the kernels come from. (Some may not have made the connection!) • Ask students to discuss with a partner how the kernels becomes popcorn. Many will respond, “Put it in the microwave.” Ask them for more specifics: How does the kernel become a piece of popcorn? What happens to the kernels? • Pass a few pieces of popped corn to each student and ask students to look carefully at them. See if they notice any connection between the kernel and the popcorn (the kernel shell is still there, but it is broken, inside out) • Tell students that when a writer is telling how or why something happens, they are explaining it. Explaining is different from giving instructions (e.g. how to make popcorn) because you are not telling your reader how to do something but explaining why or how something happens (e.g., how does popcorn pop?). • Show a few of the anchor books and read out the titles. Note that most have “How” or “Why” in the title. Note that the books are most often connected to nature. Tell students that these books explain how or why things happen. Read a short sample from one of the books. • Tell students that there is a special structure writers use when they are explaining how or why something happens. • Create an anchor chart (see below) with the structure listed. Students will likely be familiar with the sequencing or transition words if you have taught instruction writing, but the cause–effect vocabulary will need to be highlighted. Expl a n a t i o n W r i t i n g An c h o r C h a r t

Explanation Structure

Catherine Ripley is my go-to author when it comes to scientific explanations. Her engaging, simple, question–answer format lends itself well to reading aloud short passages that can easily be used for modeling explanatory writing. I highly recommend Why?: The Best Ever Question and Answer Book about Nature, Science and the World and How?: The Most Awesome Question and Answer Book about Nature, Animals, People, Places—and You! if you plan to teach explanation writing.

146  Fact Pocket Writing: Nonfiction

Title: usually a question Definition/Statement: connected to what you are explaining; to give the reader some facts for their fact pocket Explanation Sequence: details about the process in clear events or steps using the language of explanation: •  Sequencing/Transition words: First, then, next, finally •  Cause–Effect words: when, because, as, since, therefore, then, causes, as a result Summary: answers the question

• I use the book Why Does Popcorn Pop? and Other Kitchen Questions by Catherine Ripley for this lesson, as it has short explanations of the hows and whys of everyday things, including popcorn. Or you can do a quick internet search of how popcorn pops and share the results with students. • After reading or sharing the information about popcorn, model the explanation writing structure, writing aloud as you go. Invite students to help you as you write.

Structure

Explanation

Title

How Does Popcorn Pop?

Definition/ Statement

Popcorn is a type of corn that people enjoy snacking on. It begins as a kernel with a hard, strong hull and expands into delicious white puffs when heated.

Explanation Sequence

When a popcorn kernel is heated, the moisture inside the kernel expands. This causes pressure to build up inside the hard shell. When the pressure is high enough, the kernel explodes, breaking the outer shell and turning it inside out. Then the starch inside the shell explodes and forms a soft white substance called popcorn.

Summary

Corn kernels need heat and moisture to make popcorn. Without both of these elements working together, the kernels would not pop.

Diagram

Mini Lessons for Explanation Writing Modeling Explanatory Writing Here are a few places you can find amazing scientific explanation videos available online. Just search: •  Steve Spangler Sick Science •  MinuteEarth •  Science Bob •  Science for Kids •  Sid the Science Kid •  How Stuff Works On YouTube: •  SportsScience •  Tell Me Why science videos •  It’s Okay to Be Smart

Because the topics used for explanation rely heavily on scientific research, it is difficult to have students do independent practice writing on topics without background knowledge or acquired facts. Therefore, I do several whole-class models, working through the facts together with students.

If your class has not learned about or had practice in the using text features in nonfiction writing (see page XX), I recommend going over some general points about purpose and application.

Flow Charts and Diagrams

• Because this writing structure is often linked to scientific explanation, model with a topic you may already be studying in science. • Find a picture book to read aloud, then together, so you can follow the structure and write the explanation as a class. • Students can use Explanation Flow Chart 1 or 2 (pages 150 and 151) or the Cycle Flow Chart on page 152 to record the sequence of steps as you read aloud. • Students can use the Explanation Structure template on page 153 for their explanatory writing.

• Because explanatory writing often focuses on a sequence of events, it is important to introduce flow charts as a way of supporting and enhancing writing. • Display a selection of different flow charts and diagrams. Explain that flow charts can be linear or circular, depending on the topic. Point out that flow charts and diagrams should be labeled. Explanatory Writing 147

• Invite students to help you illustrate the stages of a flower growing. Using the Flow Chart 1 template on page 150, draw aloud, including the sequencing/ transition words and diagrams that you label.

Explanation Writing in Content Areas As mentioned earlier, there is no end to the ways explanation writing can be linked to your content areas. Students can use the planning template on page 153 to gather facts and organize the structure of their explanation writing. Flow Charts (pages 150–152) can be used for the drawing the sequence of events pertaining to their topic. Explanation Sample Title

How Does Snow Form?

Definition/ Statement about the topic

When snow falls in winter, most of us are too busy sledding, scraping, or slipping to think too much about it. But just how do those beautiful flakes of white form?

Explanation sequence

When it rains, the rain makes puddles on the ground. Then the sun comes out and puddles rise into the air as steam. As the steam rises, it mixes with dust, forming clouds in the sky. Eventually, the clouds become very full of moisture. When the clouds get too full to hold all the water, they burst and rain begins to fall. If the temperature outside is below freezing, the raindrops freeze and form snowflakes.

Summary/ Interesting fact

Whether you love it or hate it, if you live in a cold climate, you will no doubt experience a few months of the white stuff!

Diagram

148  Fact Pocket Writing: Nonfiction

This list suggests science topics and possible questions to explore and explain in writing. • Body Systems: How does the digestion system work? How does the respiratory system work? • Water: How does the water cycle work? Why is the ocean salty but lakes aren’t? • Weather: How do tornadoes form? How do rainbows form? • Ecosystems: How does a particular ecosystem work? • Insects: How does a spider spin a web? How does a butterfly develop? • Food chains: How do food chains work? Why are food chains important? • Environment: Why are the polar ice caps melting? Why is the Earth getting hotter? • Geography: How are mountains (or any landform) formed? Why is the Earth’s land eroding? • Energy: How is thermal energy produced? • Space: Why is there no gravity on the moon? How can we see stars? • Plants: How do flowers grow? Why do leaves turn color in the fall?

Explanatory Writing 149

Explanation Flow Chart 1 Name:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

150 

Name:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

Explanation Flow Chart 2

 151

Cycle Flow Chart

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

152 

Explanation Structure Name: Title Definition/ Statement about the topic

Explanation sequence

First,

Then,

Afterwards,

Finally,

Summary/ interesting fact

Diagram

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 153



Biography Writing

The world of nonfiction picture books for children has transformed dramatically since the days when sets of World Book and Encyclopedia Britannica filled the nonfiction section of school libraries. I can still remember the heavy, burgundy covers and the smell of those onion-skin pages—the mysteries of the world revealed in alphabetical order. One of the most significant additions to amazing nonfiction for children are the hundreds of picture-book biographies that tell the extraordinary lives of extraordinary people. Everyone from inventors, to scientists and activists, to athletes and politicians—we learn more and more about people who have changed and inspired us, others, or the world. Never before have there been so many amazing books about amazing people! This form of writing, sometimes known as nonfiction narrative, is the form that I find most interesting: stories left behind by people and events, preserved in print. We have an undeniable curiosity about the lives of the fascinating people who make up the tapestry of our past. Biographies tell the true tales of ordinary people who become extraordinary through their actions. They describe the main events of a person’s life in sequential order, often highlighting an accomplishment or achievement, or the impact the person might have had on the world. B i o g r a p h y W r i t i n g a t a Gl a n c e

Biography Mini Lessons • Timelines (page 152) • Nonfiction Text Features (page 71) • Hook Your Reader with a Great Beginning (page 81) • Interesting Details (page 41) • Organization Drawers (page 45) • Triple-Scoop Words (page 40) • Effective Endings (page 122)

Biography Writing…

Biography Writing does NOT…

• comes from your fact pocket and other resources; e.g., books, websites, magazines • sequences the main events of a person’s life • follows the Who?–What?–Where?– When?–How?–Wow! structure • highlights how that person changed, influenced, or inspired others or the world • is written in third person, past tense

• have imaginary characters • use talking/dialogue • include you

Anchor Books: Biography Series Capstone Paperback. First Biographies Children’s Press. Rookie Biography series Grosset and Dunlap. Who Was/Is…

154  Fact Pocket Writing: Nonfiction

Scholastic Canada. Biographies: include Canadian inventors, explorers, heroes, pioneers, artists, and stars

Introductory Lesson: Who? What? Where? When? How? Wow! • Visit the library and stock up on a wide variety of picture-book biographies. Leave them out in your classroom and try to schedule daily read-alouds to share short excerpts from these collections so that students are exposed to and become familiar with the structure and language of a biography. • Explain that students will be learning a new form of nonfiction writing called biography. Show a number of the biography book covers and ask students what they have in common. (all are about famous people) • Explain: Biographies are usually written about a famous person who is either alive or has already died. A biography is a type of nonfiction writing because the writer is telling true facts about a person’s life. If a writer is telling the story of his or her own life, it is called an autobiography or a memoir.

• Discuss what makes people famous (they do something significant or influential). Discuss different types of famous people and what they are known for. (artists, athletes, singers, actors, writers, politicians, scientists, inventors, activists, etc.) Invite students to list with a partner famous people they may know. • Ask students what important information might be included in a biography. (name, nationality, date of birth, family, school, influences, significant skill or achievement, etc.) • Explain that most biographies are written in a sequence, beginning with childhood and early life. Discuss that, while it’s not possible to include everything, biographies often focus on or highlight significant events in the person’s life. • Explain that the structure of a biography sounds like this: Who? What? Where? When? How? Wow! • Invite students to help you create an anchor chart by filling in the details. Explain that the word subject refers to the person you are writing about. B i o g r a p h y An c h o r C h a r t

Biography Who? full name of the subject and subject’s family members What? description of accomplishments, jobs, significant events. Where? birthplace; where subject lived, went to school, traveled When? dates of birth, death; when subject attended schools; accomplishments in chronological order How? the subject’s impact on the world Wow! interesting, surprising facts to wow the reader

• Tell students that, over the next few weeks, they will be learning how to write a biography.

Biography Writing 155

Mini Lessons for Biography Writing Time Lines

Grade 7: time line sample

• Explain to students that one of the ways a writer can organize the events in their subject’s life is by making a time line. A time line can help with the whats and whens by identifying significant events in a person’s life in the order they happened, and by tracking them by specific dates. • Draw a basic time line on the whiteboard or chart stand. Model with your own life, beginning with the year you were born and recording several significant events and corresponding dates. Significant events you might include: date of birth, year you started school, year you went on a special holiday, year of a special event or award, year you moved into a new house, etc. • Using the Timeline Planning Sheet on page 162 and the Timeline template on page 163, invite students to develop a timeline of their own. If they are unsure of any dates, encourage them to ask their parents at home.

Past Mini Lessons Biography writing lends itself well to many of the mini lessons in this book. These writing techniques enhance both the style and form of the writing, enabling the writer to engage the reader in a more interesting an effective way. If you have focused on other writing structures from this book, your students have already learned them and therefore may require only a review. These writing techniques can be introduced as mini lessons during your focus on this writing form: • Nonfiction Text Features (see lesson on page 71) • Hook Your Reader with a Great Beginning (see page 81) • Interesting Details (see lesson on page 41) • Organization Drawers (see page 45) • Triple-Scoop words (see page 40) • Effective Endings (see page 122) Biography of a Classmate • Remind students that biography is a form of writing that tells the story of someone’s life. Explain that they will be working on writing a biography of a classmate. • Tell students that before a writer can begin to write about someone’s life, they need to do some research about them. If the person is still alive, they might ask them directly. If the person has died, then they would likely need to research,

156  Fact Pocket Writing: Nonfiction

read, and ask other people who knew the person. Because they will be writing about a classmate, they will be able to ask their subject questions directly. • Ask students what questions they might want to ask their subject. Revisit the anchor chart and review the Who?–What?–Where?–When?–How?–Wow! structure. Record some ideas: •  Full name of the person •  Date and place of birth •  Family •  School •  Hobbies •  Personal preferences (likes and dislikes) •  Accomplishments, awards •  Hopes and dreams

Model interviewing a student in the class and recording dash facts, not full sentences, on the planner. See Dash Facts Research lesson on page 78.

• Have the names of all students in a hat—and include yours. Pull names out of the hat in pairs to determine partners. Or you might have students choose their own partners. • Pass out copies of the Biography of a Classmate template on page 154. Explain that they will need to spend time gathering information about their subject and recording facts on this planner. • Model with your student partner how to interview and record dash facts on the sheet. • If your students have made a personal timeline (see page 156), they can share this with their partner as additional information they can use in writing the biography. • Once students have completed interviewing their partner and completing the Biography Planner, they will be ready to write. Discuss and review the key elements of a biography: A good biography: • includes an interesting opening • states the person’s full name • is written in third person (he/she, not I), past tense • includes interesting facts and information • has clear sections with headings • includes visuals, text features, and a timeline

• Remind students that one of their writing goals is to make sure their writing is interesting. Write two introductory sentences on the board and read them aloud: 1.  This is a biography of Olivia Jeffery. Now I’m going to tell you about her. 2.  Gymnastics, soccer, dance, and cooking. What do these things have in common? Well, they are just some of the amazing talents of eleven-year-old Olivia Jeffery!

• Ask students which sentence is more interesting and why. (Second sentence is more interesting because it asks a question, has voice, and uses triple-scoop words)

Biography Writing 157

• Remind students that biographies should be written in third person; i.e., should not have the word “I” in them. • Remind students of their writing goals of interesting and clear. Explain the importance of organizing their information using headings or paragraph breaks and of focusing on sequencing events in the order that they occurred. • Remind students of ways to make their writing interesting, including the use of triple-scoop words and the inclusion of interesting details. • Encourage students to include visuals and text features in their biography. Examples of possible text features: •  Map showing place of subject’s birth •  Labeled diagram of subject’s family •  Flag of family origin •  Timeline •  Fact box •  Venn diagram (comparing you and your subject) •  Chart of subject’s hobbies or interests

Biography in the Content Areas Encourage students to add the words “for kids” after the name of their subject when doing an internet search: e.g., “Albert Einstein for kids” instead of just the name. These sites are often at a more accessible reading level than the sites that come up from a general search.

Once your students have had practice writing a biography about a classmate, they will be ready to move on to researching a famous person. While there are many benefits to allowing students to choose a person they are most interested in or passionate about as their subject, I like to connect biography writing to a content area we are already focusing on. All of these subjects require gathering facts, dates, and information from books, websites, and other sources. I encourage you to connect with your school and community library to source picturebook biographies to share with students during this time, so that students can hear examples of different biography writing styles. Students can use a Biography of a Famous Person template (Intermediate on page 165; Primary on page 166) to help them organize their research. Encourage students to use dash facts (see lesson page 78) and not write in complete sentences when recording their facts. S u g g e st e d B i o g r a p h i e s f o r S tu d e nts t o W r i t e

Every year, the editors of TIME magazine put out a list of the 100 most influential people from that year, organized by categories: pioneers, artists, leaders, icons, and titans. It’s well worth sharing with your class and includes links to information about the people on the list.

158  Fact Pocket Writing: Nonfiction

Science Topics

Social Studies Topics

Biography of a famous • scientist • biologist • botanist • mathematician • astronomer • architect • inventor • astronaut • animal conservationist • climate activist

Family: biography of a family member Explorers: biography of a famous explorer Government: biography of a famous political leader, past or present Ancient Civilization: biography of an ancient warrior, political figure, citizen Gold Rush: biography of a famous person from the time period War: biography of a famous leader from any war Human Rights: biography of someone who fought for the rights of women, children, or any marginalized people

Indigenous Peoples: biography of an Indigenous leader Pioneers: biography of a person who is paving the way for others Arts: biography of a famous artist, musician, actor, or writer

Change Agents Say Something! by Peter H. Reynolds was the inspiration behind an exploration of real-life change agents. The book is an empowering story about finding your voice and using it to make the world a better place. It focuses on encouraging young people to speak up for change and shares different ways to “say something.” While we may not all have the courage and confidence of Greta Thunberg, Reynolds shows readers that they can “say something” in other ways—through kindness, creativity, and love. • After reading Say Something! with students, share examples of Change Agent mentors, youth who have demonstrated agency and courage to “say something” to promote change. You may choose a few of these examples or share them all over a few days. • Greta Thunberg: Swedish teen giving who has raised awareness and inspired millions around the world to stand up for climate change. Video clip: https:// www.theguardian.com/environment/2019/jan/25/our-house-is-on-firegreta-thunberg16-urges-leaders-to-act-on-climate • William Kamkwamba: a young teen builds a windmill out of junk scraps to save his Malawi village from a drought (now a Netflix movie). Tedtalks clip: https://www.ted.com/talks/william_kamkwamba_how_i_harnessed_the_wind? language=en • Emma Stevens: Grade 9 girl from Cape Breton who, along with her music teacher, rewrote and recorded the Beatles song “Blackbird” in her Indigenous language to raise awareness about language revitalization. Video: https:// youtu.be/99-LoEkAA3w • Lucas Beauregard: a young boy who, along with hundreds of other school children, wrote letters to Prime Minister John Diefenbaker in 1956, begging him to stop the slaughter of horses on Sable Island off the coast of Nova Scotia. Video: https://youtu.be/4yI_bMXlwzc • Malala Yousafzai: education activist from Pakistan who fought for the right for girls to attend school. Video: https://youtu.be/NIqOhxQ0-H8

Michele Woitzik from Senpaqcin International Baccalaureate School in Oliver, BC, shared this lesson and book list with me. I, along with many teachers and students have since been inspired by this lesson! Thank you!

• After sharing the videos, choose one of the change agents. Using the Champion for Change template on page 167), invite students to help you complete the planner. • After modeling with one of the change agents, invite students (individually or with a partner) to choose one of the change agent picture-book biographies. • After reading their book, students can use the Champion for Change template to record facts about their particular change agent. Encourage students to check the back of the book for notes that can include additional information, such as date of birth, place of birth, family, etc. Students can then use all the information they have collected to write a Champion for Change biography about their change agent. Biography Writing 159

Anchor Books: Change Agents Alabed, Bana. Dear World: A Syrian Girl’s Story of War and Plea for Peace Bastedo, Jamie. Free as The Wind: Saving the Horses of Sable Island Bryant, Jen. Six Dots: A Story of Young Louis Braille Cho, Tina. Rice From Heaven: The Secret Mission to Feed North Koreans Engle, Margarita. Drum Dream Girl: How One Girl’s Courage Changed Music Guglielmo, Aimee and Jacqueline Tourville. How to Build a Hug: Temple Grandin and Her Amazing Squeeze Machine Herthel, Jessica and Jazz Jennings. I Am Jazz Hood, Susan. Ada’s Violin: The Story of the Recycled Orchestra of Paraguay Isabella, Jude. The Red Bicycle: The Extraordinary Story of One Ordinary Bicycle Kamkwamba, William. The Boy Who Harnessed the Wind Kinew, Wab. Go Show the World: A Celebration of Indigenous Heroes Kostecki-Shaw, Jenny Sue. Luna and Me: The True Story of a Girl who Lived in a Tree to Save a Forest Levinson, Cynthia. The Youngest Marcher: The Story of Audrey Faye Hendricks, a Young Civil Rights Activist Milway, Katie Smith. The Banana-Leaf Ball: How Play Can Change the World

Oliver, Carmen. A Voice for the Spirit Bears: How One Boy Inspired Millions to Save a Rare Animal Paul, Miranda. One Plastic Bag: Isatou Ceesay and the Recycling Women of the Gambia Reynolds, Peter H. Say Something! Shoveller, Herb. Ryan and Jimmy and the Well in Africa that Brought them Together Stevenson, Robin. Kid Activists Suneby, Elizabeth. Razia’s Ray of Hope: One Girl’s Dream of an Education Thompson, Laurie Ann. Be a Changemaker: How to Start Something that Matters Thompson, Laurie Ann. Emmanuel’s Dream: The True Story of Emmanuel Ofosu Yeboah Tonatiuh, Duncan. Separate Is Never Equal: Sylvia Mendez and Her Family’s Fight for Desegregation Verde, Susan. The Water Princess Williams, Mary. Brothers in Hope: The Story of the Lost Boys of Sudan Wilson, Janet. Severn and the Day She Silenced the World Winter, Jeanette. Malala, a Brave Girl from Pakistan/Iqbal, a Brave Boy from Pakistan: Two Stories of Bravery Winter, Jeanette. Our House is on Fire: Greta Thunburg’s Call to Save Our Planet Winter, Jeanette. Wangari’s Trees of Peace: A True Story from Africa

More Changemakers

Donna Boardman, Teacher Librarian at Mackenzie Elementary School in Vancouver provides her students with a list of youth who “said something” to promote change. Students are invited to choose one of these change agents to research, write about, and share with the class. Because many students (and teachers) may not have much background on many of these changemakers, these is some excitement and anticipation as they discover who these inspiring young people are and how are they changing the world. Louis Braille Emma Gonzalez Malala Yousafzai Craig Kielburger Shannen Koostachin Iqbal Masih Claudette Colvin Jazz Jennings Bana Al-Abed Anoyara Khatun Nkosi Johnson Thandiwe Chama 160  Fact Pocket Writing: Nonfiction

Xiuhtezcatl Martinez Anne Frank Alex Scott Mikaila Ulmer Sylvia Mendez Ann Makosinski Simon Jackson Katie Stagliano Cassandra Lin Easton LaChappelle Boyan Slat Ryan Hreljac

Yash Gupta Jack Andraka Autumn Peltier Mary Grace Henry Maya Penn Julia Bluhm Shania Pruden Hanna Alper Tina Yeonju Oh Vishal Vijay & Ishan Vijay Abhayjeet Singh Sachal Greta Thunberg

Author Biographies In addition to providing students an opportunity to learn and write about the life of an author, author biographies provide many benefits. As they are exposed to a lot of books by the same author, students can build critical thinking skills, learn to compare themes, analyze text and illustrations, and make connections between an author’s life and his/her work. The authors can also become “writing mentors” for students as they read and study their work. I recommend these authors for an author study because of their larger body of work. Reading through many books by the same person will lead students to begin to notice patterns and trends in subject, writing style, and illustrations. I encourage you to explore nonfiction authors as subjects of your student author biographies, as well as fiction. Fiction Authors Eric Carle Todd Parr Jez Alborough Robert Munsch Kate DiCamillo David Shannon Mo Willems Dr. Seuss Kevin Henkes Oliver Jeffers

Nonfiction Authors Nicola Davies Elise Gravel Martin Jenkins Steve Jenkins Seymour Simon Meghan McCarthy Denise Fleming Christy Hale Jeanette Winter

Students can either research their own favorite author or, as a class, you can focus on one specific author and spend time exploring and sharing their collection of books over several weeks. Information about the author can be gathered and recorded and used for writing their biographies, including the following: Author’s Name: Date of Birth: Location of Birth: Early Life: Family: Interesting Facts: Inspiration: Writes about: Reading their books, I thought about: I noticed: I liked: I learned:

Biography Writing 161

Timeline Planning Sheet Name: Subject’s Name: Date:

Event:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

162 

Timeline Name Timeline Title:

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 163

Biography of Classmate Name:                   Biography of

Full name: Place of birth:                   Date of birth: Family

School (name of school, grade, favorite subjects, teachers)

Hobbies/Interests/Favorite things

Interesting WOW facts (achievements, trips, awards, skills)

Hopes and Dreams

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

164 

Biography of a Famous Person Name:

Biography of

Full name: Place of birth: Date of birth:                 Date of death: Famous for

Family

Early life/childhood/school

Interests/hobbies

Accomplishment (what? why? when? how?)

Interesting WOW facts

Impact on the world

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 165

Biography of a Famous Person: Primary Name:              Biography of Introduction                  was born in (name)             in            . (country) (year) Family lived with .. Early childhood/school When            was young, liked        and didn’t like            . Accomplishments/Achievements is famous because he/she                    . How this person had impact on the world Because of                   , now we                        . Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

166 

Champion for Change Name: WHO is the champion for change?

WHERE and WHEN were they born?

WHEN did this take place?

WHAT was the problem or issue?

HOW did they help to solve the problem or make a change? What ACTION did they take?

ADDITIONAL FACTS:

HOW did this action change or have impact on the community or the world?

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 167

4  Imagination Pocket Writing: Story Writing

I like to focus on story writing later in the school year, after students have gained some confidence as writers, understand the concept of text structure, and have a few writing techniques under their belts.

It is a misconception that story writing is easy and best taught in primary grades. It is, in fact, the most complex structure to teach and to write. We may write letters, lists, and instructions daily, but how many of us woke up this morning and wrote a story? Children love the idea of using their imagination to write their own story and often begin with the best of intentions but, if left to their own devices, fizzle out quickly when they realize they don’t know how to solve their problem or end their story. Remember, there is a huge difference between having students “do” story writing and teaching story writing! Story writing, taught well, can take several weeks and requires a number of specific mini lessons, including those on character development, plot development, and dialogue. Young writers need to be supported through learning this very complex writing structure with guidance, lessons, tips, and encouragement. My advice when teaching story writing is go slow. I recommend spending a significant amount of time on the planning portion. It is a good idea to teach the story in stages, focusing on planning or one feature or technique; students add to their story as the lessons progress. S t o r y W r i t i n g a t a Gl a n c e

Story Writing Mini Lessons • What’s the Problem? (page 170) • Character Development (page 172) • Planning the Plot (page 173) • The Story-Writing Process: Story Hook (page 174); Pacing (page 175); Fleshing Out the Character (page 176); Introducing the Problem (page 177); Solving the Problem (page 178); Satisfying Ending (page 178)

Story Writing …

Story Writing Does NOT…

• • • • • •

• give facts about a topic • describe one thing • focus on real people, places, things, or events

comes from your imagination pocket has characters and a setting has a beginning, middle, and end includes a problem and a solution includes dialogue “moves along” and uses transition words

STORY WRITING ASSESSMENT

The rubric on the next page highlights the general areas of story writing you would be assessing. Depending on your grade level, you can adapt and make appropriate changes to fit your students’ writing development.

168  Imagination Pocket Writing: Story Writing

Story Writing Assessment Rubric Description

Approaching

Meaning

Story is original: creative; interesting details; sense of individuality; makes logical sense.

Style

Story is engaging: interesting details; effective word choice; variety of sentence length.

Form

Story is organized: develops logically; clear beginning–middle–end sequence; problem developed through action; ending makes sense.

Language

Story language: evidence of story-telling language; use of transition words, dialogue.

Conventions

Story is clear: accurate spelling of highfrequency words; errors do not interfere with meaning; evidence of appropriate punctuation and spacing.

Developing

Applying

Extending

Introductory Lesson Anchor Books: Story Writing Auch, Mary Jane and Herm. The Plot Chickens Hills, Tad. Rocket Writes a Story Lester, Helen. Author: A True Story

Lloyd-Jones, Sally. Look! I Wrote a Book! (And You Can, Too!) Spinelli, Eileen. The Best Story Tokuda-Hall, Maggie. Also An Octopus

Before launching into story-writing lessons, I share a few anchor books from the list above to introduce students to the act of story writing and to inspire them to write their own story. I read one or two and discuss story features that have been introduced. What do we learn about story writing? What does it take to be good story writer? It’s important to familiarize students with conventional story structure and key features by deconstructing stories. I spend several lessons reading stories to students, familiarizing them with story structure and getting them ready to identify key elements, such as character, setting, problem, solution, and ending. Using the gradual release model, we deconstruct one book together, then students work through the same process on their own. • Tell students that they will soon be starting to write their own stories. Explain that, like every kind of writing, stories have their own unique structure or frame. Story writers need to understand the structure before they can start writing.

Introductory Lesson 169

• Explain that, for the next few lessons, they will be learning about story structure and parts of a story from real authors. • Read one of the anchor books below. • Help students identify the key story elements: characters, setting; beginning, middle, end; problem and solution; characters talking to each other (dialogue); things happening, story moving along (plot); sometimes the story has a moral or lesson. • Create a class anchor chart listing the key features of a story • Use the Story Structure template (page 182) or the Story Structure: Primary template (page 183) to model deconstructing the story. Depending on your grade level, you can invite students to choose their own story to read, deconstruct, and record on their own (see sample on page 171). Anchor Books: Story Elements Bottner, Barbara. Bootsie Barker Bites Bourgeois, Paulette. Franklin in the Dark Cannon, Janell. Verdi Carle, Eric. A House for Hermit Crab Henkes, Kevin. Lilly’s Purple Plastic Purse Jenkins, Steve. Esther the Wonder Pig John, Jory. The Bad Seed

Mackintosh, David. Marshall Armstrong Is New to Our School Miyakoshi, Akiko. The Storm Slobodkina, Esphyr. Caps for Sale Various authors. Goldilocks and the Three Bears Various authors. Little Red Riding Hood

Mini Lessons for Story Writing What’s the Problem? One of the most difficult things for children to develop in a story is the problem– solution element. Often the problems they come up with are so complicated (The Storm Troopers are stuck on Trogedon without their leader and it is set to explode in three days!), they are next to impossible to solve. Limiting students to small problems might help, but breaking the problem–solution flow into smaller steps helps beginning story writers succeed. I like to use the Somebody/Wanted/But/ So/Then frame as a way of helping students see a story flow in a more manageable way. S o m e b o d y / W a nt e d / B ut / S o / T h e n An c h o r C h a r t

• Remind students that you have been learning about the elements of story. Review: characters, setting, beginning–middle–end, problem, solution. • Explain that, in every story, the main character experiences a problem and then the problem gets solved at the end. Explain to students that the problem– solution part of a story is the most important but often the most challenging part for a writer. • Explain that most often the problem in a story is that the character wants something but someone or something is trying to stop them from getting it. The solution is when the character ends up achieving their goal. So instead of thinking problem–solution, we can think, “Somebody wants something, but someone or something is trying to stop them, then in the end the character gets what they want.” This structures is known as Somebody/Wanted/But/So/Then. • Show and explain the anchor chart to the left.

170  Imagination Pocket Writing: Story Writing

• Spend the next few lessons identifying the problem–solution structure of picture book stories. Fairy tales work particularly well, as they follow a conventional story line. • Invite students to work independently using a picture book of their choice and either the What’s the Problem? template (page 184) or What’s the Problem?: Primary template (page 185). S o m e b o d y / W a nt e d / B ut / S o T h e n S AM P L E

Title

Setting

Somebody

Wanted…

But…

So/Then…

Little Red Riding Hood

Woods

Little Red Riding Hood

to bring food to her sick grandma

the wolf was trying to stop her

the huntsman came to rescue Little Red Riding Hood

Goldilocks and the Three Bears

Woods

Goldilocks

to hang out in the bears’ house

she started making a mess and breaking things

the bears came home and scared Goldilocks away

The Three Little Pigs

Small houses in the woods

three little pigs

to live in a house

the Big Bad Wolf kept blowing their houses down

the third pig built a brick house the Big Bad Wolf could not blow down

Left: Grade 1: Deconstructing LIttle Red Riding Hood to identify story elements; see page 169 Right: Grade 3: What’s the Problem? for Goldilocks and the Three Bears

Indigenous Ex tension

If you want to include Indigenous content in this lesson, it is interesting to compare Indigenous stories with traditional fairy tales. In traditional fairy tales, the main character experiences the problem and an outside person comes to the rescue; in traditional Indigenous tales, it is often the community that experiences the problem and the main character is the one who helps to solve the problem.

Mini Lessons for Story Writing 171

Grade 3: Deconstructing Eagle Boy: A Pacific Northwest Native Tale by Richard Lee Vaughan

Character Development Knowing in advance who your character is and what they want or desire is the key to writing an effective story. It is important that students have a clear picture of their character before they begin writing their story.

I try to dissuade students from choosing well-known characters for their stories. I explain that someone else has already created them and that using the same character is a little bit like copying. That being said, if a child wants to write a story about Batman or My Little Pony during Brain Pocket independent writing (see page 11), I certainly won’t stop them.

• Remind students you are working on story writing. Explain that before writers begin writing, they spend time thinking and planning. One of the first things they need to decide is who their story is going to be about; that is, who their main character is. • Explain that, because a lot of ideas for stories come from our imagination pocket, we can create imaginary characters for our stories. Brainstorm some imaginary characters that students are familiar with from books: Harry Potter, Charlie (and the Chocolate Factory), Percy Jackson, the Big Bad Wolf, Winnie the Pooh, Curious George, Baby Mouse, Captain Underpants, etc. Explain that story writers sometimes develop human characters; other times, main characters might be animals, insects, or aliens. • Tell students that today they are going to be developing their main character for their story. Explain that when they are thinking about their character, they should consider these things: Who is your character and what is their name? Is your character a human? An animal? An imaginary creature or person? What does your character look like? How does your character act; i.e., personality? What special features or skills does your character have? What does your character want; what is their goal? (e.g., a hug, a pet, a friend, to score a goal in hockey, to bring light to the sky, to find their way home)

• Read a character description from a book or novel. Discuss how the author gives details about the character. I recommend Marshall Armstrong Is New 172  Imagination Pocket Writing: Story Writing

to Our School by David Mackintosh or the description of Willie Wonka from Charlie and the Chocolate Factory by Roald Dahl. • Invite students to describe their character to a partner. Encourage students to ask each other questions about their characters: What do they look like? What is their personality like? • Pass out the Character Development template on page 186. Students work to complete their sheet with writing and an illustration. Point-form writing is encouraged! Grade 3: Character development sample

Planning the Plot Planning out the beginning, middle, and end of a story before beginning writing is essential! If students know what is going to happen to their character before they begin writing, there is a far greater chance of successful completion of the story. Otherwise, prepare yourself for frequent “I’m stuck” conversations. I like to use the same template the students used for deconstructing stories (see page 169) for planning out their story because they are already familiar with it. • Invite students to share their character development plan with a partner. Encourage them to discuss their character using the Somebody/Wanted/But/ So Then format. This will ensure they have a clear picture not only of their character but also of the story itself. • Pass out the Story Planning: Primary template on page 187 or one of the Story Structure organizers on pages 182 and 183. Explain that students will be creating a plan or story map of their story before they begin writing. Explain that often ­writers use a frame to plan out their stories so that they know exactly what will happen. • Remind students that they have already created their character so they can use the ideas from their character plan for the story map. • Explain that the setting of a story (box #1 on their plan) is usually connected to the character in some way. For example, if their character is a penguin, the setting would likely be Antarctica; if their character is a butterfly, the setting would likely be a garden. • For the problem–solution part of the story, remind them that problems can either be solved by the character themself (like the pigs in The Three Little Pigs) or by an outside character (like the huntsman in Little Red Riding Hood). • Provide time for students to complete their plan. While they are working on their plan, I like to circulate and confer with each student, asking, “Tell me about your story.” It’s far easier to make changes to a story while still in the planning stage than to try to rewrite it! Mini Lessons for Story Writing 173

The Story-Writing Process You might prefer to have the students write their story on rough copy paper and then rewrite in their story booklets.

Even with a well-established plan, story writing is challenging for young writers if you tell them “And now it’s time to write your story! Good luck!” I recommend working through the story writing process slowly, one page or section at a time. This can take several lessons but will meet with far greater success than the approach I used to take. I like to give students a story booklet that is already folded and stapled with a cover and 6–8 lined pages, including boxes for illustrations; see page template on pages 188. After each mini lesson, students write one or two pages to add to their story, focusing on the specific lesson taught. Some may feel this is too controlled and limits children’s imaginative ideas but, after years of “doing story writing” without actually teaching story writing, and feeling discouraged at how poorly the stories turned out, I believe slow and steady breeds success! Story Hook

S t o r y H o o k s An c h o r Chart

Effective Story Hooks • • • • • •

Surprising fact Visual description Who–What–Where Question Dialogue Sound effect

The most effective way to teach young writers how to begin their story is to have them learn from great writers. For this lesson, I usually bring several different anchor books (see page 170), read aloud the opening line from each, and discuss what technique the writer used. • Write Once upon a time… on the board or chart stand. Ask students what connection they make to those words. (the beginning of a story) • Explain that, while we are all know these words are often used to start a story or fairy tale, there are other more interesting ways a writer can begin a story. One of the most important things we can do as writers is to make a great first impression by writing a first sentence that hooks our readers. This is especially true when we are writing a story. We want our readers to get hooked right away and for them to want to keep reading. Today we are going to learn some tips and tricks from real authors! Let’s see how some of these writers begin their stories.

• One at a time, read the first sentence from each of the books. Ask your students to listen carefully to what the writer is doing in the sentence. Title

Author

First Sentence

Hook Technique

Charlotte’s Web

E.B. White

“Where’s Papa going with that ax?”

Dialogue, question

The Hungry Caterpillar

Eric Carle

In the light of the moon, a little egg lay on a leaf.

Visual, who–what–where

Imogene’s Antlers

David Small

On Thursday, when Imogene woke up, she found she had grown antlers.

Who–what–where, surprising fact

Madeline

Ludwig Bemelmans

In an old house in Paris, that was covered with vines, lived 12 little girls, in two straight lines.

Visual, who–what–where

174  Imagination Pocket Writing: Story Writing

The Little Engine That Could

Watty Piper

Puff, puff, chugga-chugga! Puff, puff, chugga-chugga!

Sound effect

Fly Away Home

Eve Bunting

My dad and I live in an airport.

Surprising fact, who–what–where

Henny

Elizabeth Rose Stanton

Henny was not a typical chicken. Henny was born with arms.

Surprising fact, visual

Grade 4: Story hook including Who– What–Where

• Begin to make an anchor chart of Story Hooks (see page 174). • Invite students to experiment with some of the hook techniques for their own story on a separate piece of paper. • Once they have two or three different sentences written, invite them to ask a partner which one is their best hook. Remind them to save their hook sentence for the start of their story. Pacing

One thing I’ve noticed about children writing stories is that they tend to spill the beans too quickly. Before you get to the second page, they have already told you the entire story! An important writing tip I like to give young writers is to not give too much away too quickly. This way, it leaves the reader wondering and wanting more. • Begin the lesson: Have you ever read a book and just wanted to keep on reading to find out what happens? Some of the best writers I know don’t tell the reader everything at the beginning of the story. If they did, you wouldn’t need to keep reading! Today, as we begin our writing, I don’t want you giving away too much of your story to your reader too quickly. On the first page, you want to hook your reader, then introduce the setting and character with a few details—nothing more!

• Explain to students that they will be beginning their stories with their hook sentence (see lesson on page 174) and a brief introduction of the setting and character. Remind them that the most important thing is to not give away too much about the what is going to happen so that the reader wants to keep reading. • Do a write-aloud, modeling your writing while explaining things as you write. Hook: Who–What–Where In the middle of a small, cool pond (introduce the setting) lived a frog named Fergus. (introduce the character) There were other frogs living in the pond but Fergus spent most of his life floating alone on his lily pad, far away from the other frogs. (visual details, don’t give too much away)

• Ask students what they are wondering about the story so far. (Why did Fergus live alone and away from the other frogs?) Explain that you left that out on purpose so that the reader would wonder about a few things and want to keep reading to find out. Mini Lessons for Story Writing 175

• Invite students to write their first page of their story booklet. Encourage them •  to use a hook (see Hook anchor chart on page 174) •  to introduce the character and the setting with some details •  to tell a little but don’t give away everything •  to leave their readers wondering! Fleshing Out the Char acter

The next lesson focuses on writing details about the character. I also like to introduce dialogue at this point so that students can experiment with having characters talk in their story. • Remind students that they will be continuing their story by telling their reader more details about their character: what they look like, how they act, and what they want. • Encourage students to revisit their character template or their story plan to remind them of their character’s appearance and special features. • Model writing by continuing your story. Talk aloud as you write or, if you prefer not trying to write and talk at the same time, have the writing already done so you can read aloud and explain. On the outside, Fergus looked any other frog. His green skin was bumpy and warty like tree bark. (details about appearance, simile) His feet were sticky and webbed and he could jump very high from one lily pad to the next. (more details, triple-scoop words) But on the inside, Fergus was not like other frogs. While other frogs said, “Ribbet! Ribbet!” Fergus said, “Meow.” (unique characteristic) The other frogs teased Fergus and shouted mean things across the pond. “Fergus, the feline frog!” they cried. “Meow,” replied Fergus. (dialogue) The other frogs never invited Fergus over to their lily pads to play and Fergus was lonely. (what Fergus wants: frog friends)

• Ask students if they noticed any of the characters talking. Explain that, in story writing, it makes the story more interesting if sometimes the characters speak. • Explain that writers can show characters talking by adding quotation marks around the sentences they are speaking. When two characters are speaking to each other, it’s called dialogue. • Tell students there are some important rules they need to learn for including dialogue. Dialogue Rules •  PBQ: Punctuation Before Quotation: The quotation mark is always the first and last thing you add. Any punctuation should come before the quotation mark, not after. “Meow,” Fergus replied. •  Start talking with a capital: Capitalize the first letter of spoken dialogue. Fergus said, “Meow.” 176  Imagination Pocket Writing: Story Writing

• Invite students to continue writing about their character on the next page of their story booklet. Remind them of the things they should be working on adding to their story: •  Describe your character’s appearance, personality, special skills •  Try to include interesting details and 1 or 2 similes •  Explain what the character’s goal is or what they want •  Try to include some dialogue (characters talking)

• Once the first two or three pages are finished, students can share what they have written so far with a partner. Introducing the Problem

Introducing the problem is a critical point in story writing. It’s the writer’s job to build up the problem with action, transitions, and dialogue, driving the story to its climax. This is not an easy task, even for the most experienced writers. I like to take the students through this section slowly, focusing on several key mini lessons.

I’m a sucker for corny rhymes and acronyms to help students remember certain aspects of writing. For this important problem introduction, I teach them S-S-T! What will my problem be?

S t o r y T r a ns i t i o n An c h o r Chart

Story Transitions help your story Move Along! • • • • • • • • • • •

One day, The next day, Later on, Later that day, Meanwhile, After that, In the morning, Soon after, Afterwards, When summer came Suddenly *

• Remind students that they are working on developing their story and have just completed introducing their character, telling their readers some things but not giving away everything. • Explain that the next part of the story is when they will be introducing the problem. It’s also the part of the story when the action begins. (You might ask them if they have every heard a movie director shout, “Aaaaaaaand... ACTION!”) • Explain that there are some important things to include when introducing the problem: S = Stretch; S = Signal; T = Transitions • Stretch the Action: Include details describing what the characters are doing, thinking, and saying (dialogue) before the problem happens. • Signal: Use a signal word or phrase to let readers know that a problem is coming. • Transitions: Use move-along words.

• Remind students that stories don’t always happen in one place at one time. Stories move along from one scene to the next, like movies. In order to help a story move along, writers use move-along or transition words. (See lesson on page 60.) • Create an anchor chart with some story transition words: • Explain that the word Suddenly is a special transition word that we call a signal word because it often signals or warns the reader that the problem is just about to happen. • Remind students that dialogue is an important part of this section as well, because readers need to know what the characters are doing and saying, as that helps to create the action. Model your writing: On sunny afternoons, the frogs played hop-tag on their lily pads. They hopped from pad to pad, trying to tag each other. “Ribbet! Ribbet! Ribbet!” the frogs croaked with glee. Fergus was never invited to join them. He sat on his pad and watched. Mini Lessons for Story Writing 177

“Meow,” he said quietly, wishing he could play, too. (Setting the scene: What is happening before the problem? What are the characters doing, saying, and feeling?) One day, (transition) while Fergus sat watching the frogs play, he noticed a large bird perched on a branch just above the pond. The bird was also watching the frogs. The bird followed the frogs with her eyes as they hopped across the pads. Maybe the bird wants to play, too, Fergus thought. (Stretching out the action, character’s feelings) Suddenly, (signal word) Fergus noticed her wings opening wide and realized that the bird didn’t want to play with the frogs, she wanted to eat them! The bird swooped down, heading straight for the frogs! (End with the problem; create a suspenseful moment!)

• Write aloud, discussing the techniques you used and why you used them. Remind students they are not solving the problem right now, only building up to it. They want to leave the reader wondering what happens next! • Invite students to begin the next pages of their story, working on stretching the action and describing what the characters are doing, saying, and thinking leading up to the problem. • Students can share their new pages with a partner. Invite some to read out to the class or a small group. Solving the Problem

This is the part in the story-writing process that is most challenging, which is why it’s important for students to have figured out the solution during the planning stage. • Tell students that today they will be writing how the problem in their story gets solved. Writers, once we reveal the problem, our reader really wants to know what happens. So we need to try to solve the problem quickly. If your character is going to solve the problem, how will they do it? If an outside character is going to solve the problem, how will they do it?

• Encourage students to read through their writing from the preceding day so they know exactly where they ended the action. • Write aloud, modeling the solution to your story. When the frogs saw the bird, they began to hop up and down on their pads. “Ribbet! Ribbet” Ribbet”! Fergus saw the bird and hopped up and down on his pad “Meow! Meow! Meow!” he cried. As you all know, birds are afraid of cats. And when that bird heard Fergus cry “Meow,” it flew away as fast as it could! Fergus had saved the frogs.

• Students can continue their story by writing to solve the problem on page 5 of their story booklet. SATISFYING ENDING

• Congratulate your students on all the hard work they have done on their stories. Tell them they are almost finished and that today will be the last day of writing. 178  Imagination Pocket Writing: Story Writing

The ending of a story is when the author leaves us with something to think about, such as a lesson or a moral, a look into the future, or sometimes a little surprise or something to wonder about. Writers don’t often write “The moral of the story is…” but leave the reader to infer what the lesson is. A good writer wants their reader to keep thinking, even when the story ends.

• Brainstorm and list some look-to-the future phrases: From then on… Ever since that day… After that day…. Every year after that…

• Write-aloud by modeling and/or reading and talking through your ending. The frogs felt sorry that they had been so mean to Fergus. (lesson or moral) They invited him onto their lily pad and he taught them all how to meow. From then on, (look to the future) the frogs meowed whenever they saw a bird! And they always included Fergus in Lily Pad Tag. And when Fergus’s cousin came to visit, they included him too. “Mooooooo!” (surprise ending)

• Allow time for students to complete their stories on page 6 of their story booklet, as well as finishing their illustrations. • Students can create an About the Author section (see sample below) for the last page of their book or the back cover. For full authenticity, invite students to create a copyright page, publishing company name, and a bar code. About the Author Rachel McAllister is a student at Sexsmith Elementary School in Vancouver, Canada. She lives with her Mom, Dad, baby sister and their dog, Coffee. Rachel likes to skate, ride her bike and tap dance. She loves unicorns and her favorite pizza is barbeque chicken with hot peppers.   This is her first book.

While teaching the story-writing process might seem long and drawn-out, in my years of trying to teach story-writing I’ve found the slow and steady approach to be the most successful. Students are extremely proud of their stories and enjoy sharing them with each other, their buddies, and their parents. Take the time to have a Publishing Party, complete with sparkling apple juice in plastic wine cups! Indigenous Focus

If you wish to weave Indigenous beliefs and ways of knowing into story writing, spend time deconstructing several traditional Indigenous tales, if possible from your own region. Draw students’ attention to the fact that, in many of these traditional tales, the problem is one facing a community rather than a problem facing an individual, as is often seen in fairy tales. Also, the main character in Indigenous tales is often connected to a spirit animal and is the one who solves Mini Lessons for Story Writing 179

the community problem. Again, try to use the animals connected to the your indigenous land. Incorporating these ideas can simplify story writing: students choose a spirit animal as their main character, set their story in an Indigenous community, and choose a community problem connected to nature, such as low food supply, the sun has disappeared, a forest fire, etc. For an Indigenous story to use for modeling, try “The Fierce Friendly Bear.” The Fierce, Friendly Bear by A. Gear Opening: Opening phrase; Introduce character and setting, including 2 details and 2 triple-scoop words   Once there was a gigantic bear who lived in the cool forest beside the Coast Salish sea. In the forest, there was a village of friendly people. Character Development: Character appearance with simile, personality, special behavior or skills   The bear was strong and brave. His thick, black fur shone in the sunlight. He had sharp teeth and claws. When he growled, the pine trees shook and the waves crashed. He was a fierce bear on the outside but had a soft, kind heart on the inside. Introduction of Problem: Slowly, stretch it out; Transitions and dialogue. What are the characters doing, saying, thinking? In the springtime, the villagers prepare food for the winter. They hunt and fish for many weeks. Then, they dry the food on large food racks.   One day, the villagers noticed that food was missing from the racks.   “Who is stealing our food?” the Chief asked.   “It must be the bear,” the villagers said.   The next day, more food was missing.   “That bear must be stopped!” everyone cried.   Bear felt sad. He had a ferocious growl but he was not a thief. The next day, more food was missing.   “That bear!” the villagers cried. Solution: Action, how character saves the day; Include transition words and action   Later that day, Bear made a plan. He climbed up a tree near the food rack and waited. After a few hours, he fell asleep. Suddenly, he heard a noise that woke him up! He looked down and saw a wolf lurking around the food racks. Bear opened his mouth and let out a tremendous ROAR! The ground shook! The trees trembled! Wolf howled with fear and ran away into the woods.

180  Imagination Pocket Writing: Story Writing

Ending: Wrap it up; Hope for/look to the future; Lesson/moral   When the villagers heard the growl and howl, they came running to the food rack. They saw the wolf running into the woods and the bear in the tree.   “My people,” said the Chief, “we were wrong. The bear has saved our food!   The villagers made a special totem pole to honor the bear. Every year after that, they celebrated Bear Day and invited Bear to their feast. The End Adaption for Early Primary

To modify this process for emergent writers, I spend time deconstructing fairy tales and familiar stories. Students can record the key elements of setting, character, beginning–middle–end on either the What’s the Problem?: Primary (page 185) or the Story Structure: Primary on page 183. These templates could then be used by students to create their own simple stories by retelling familiar fairy tales in their own words. Younger writers can develop their own characters on the organizer on page 186 and plot their story on the Story Planning: Primary template on page 187, but might use their planner to tell their story orally, rather than write it. I like to enlarge the story plan on page 183 and have students develop their story directly on this page. Younger students can use the completed templates to “tell” their stories to partners, buddies, or parents.

Mini Lessons for Story Writing 181

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

182 

Story Structure Name: Title:                          Author: Character Details (appearance, personality, special skills)

Goal: What does your character want? Setting:

Main Character:

Problem: What/who is stopping your character from achieving goal?

Solution: Who or what helps character achieve goal? How?

Ending: How does the story end?

Setting

Beginning Middle End Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 183

Story Structure: Primary

Name:

Characters

What’s the Problem? Name: Title: But Who/what is stopping the main character from getting what they want?

So What happens to help the character achieve their goal?

Then How does the story end?

184 

Wanted What does the main character want?

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

Somebody Who is the main character?

What’s the Problem?: Primary Name: Title: Somebody,

Wanted,

But,

So then,

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 185

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

186 

Character Development Name: Appearance

Special Features/Skills

Personality

What character wants/Goal

Character’s name:

Title:

Beginning Middle

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

 187

Story Planning: Primary

Name:

Author: End

188 

Pembroke Publishers ©2020 Powerful Writing Structures by Adrienne Gear ISBN 978-1-55138-344-6

Story Booklet Spread

Final Thoughts

As educators, we need to take ownership of our teaching, to reflect and refine our practice, to make changes when we feel things aren’t working for us or our students. If our writing program is lacking structure, intention, purpose, and joy, then we can change it! If we spend too much time looking around for shiny new activities, we might actually miss the students directly in front of us. Let’s ask ourselves: What are their strengths as writers? What are their writing struggles? Wherever they are at this moment, what can I do to help them move forward? I will never tell you that teaching writing is easy, but I will tell you it’s worth it. Witnessing your students develop into more confident and competent writers because of what you have taught them makes it worth it. Listening to them proudly read aloud something they have written makes it worth it. Hearing a cheer when you say, “It’s time for writing” makes it worth it. Remember—students don’t get better at writing by just writing: they need us to teach them. Having a consistent writing routine, consistent writing goals, focused explicit mini lessons, and many opportunities to practice writing without the pressure of publishing will provide the support students need for a successful start to their writing journey. Teaching structure and language can help students organize their ideas in a simple format, making the writing process more managable for them. We know that proficent writing skills will help students succeed both inside and outside the classroom. But as well as success, we want our students to experience writing joy in our classrooms, the “We get to write today!” feeling. We have the power to make a difference in the writing lives of our students. I hope this book has provided you with some insight and inspiration to make your teaching journey just a little easier. My good friend Lisa Wilson has nicknamed me “Tips” because I always like to share teaching tips at my workshops. And so I leave you with these final tips on teaching writing: Be responsive. Be intentional. Be explicit. Be consistent. Be creative. And, above all, be joyful.

Acknowledgments Most people who write do so as their profession. I write off the side of plate—in airports, on planes, in the back of a car, and in my home when I should be doing other things. Many people, including me sometimes, wonder how I manage. But to write is to free my brain of thoughts and allow space for other things— things like breathing, reading, hiking, laughing, relaxing, and remembering where I put my keys. There are many people who support me while I try to write off the side of my plate, and to them I am eternally grateful. To my friends, some of whom are teachers, others not, who cheer me on and forgive me when I don’t answer my Acknowledgments 189

phone or meet them for a walk, a talk, a coffee, or a beer: Cheryl Burian, Kathleen Keeler, Kimberly Matterson, Donna Boardman, Sue Stevenson, Heather Barry, Kimberly Stacey, Katie McCormack, Amy Wou, Laura Grills, Krista Forbes, and Alyson Zwack. Enormous gratitude always to my friend and my person, Cheryl Burian. Thank you for your early-morning and late-night encouraging texts, for always believing that this book, like all the others, would get finished, and loving me regardless. You are a master teacher and a master friend. Special thanks to my two literacy soul sisters from SD 23, Donna Kozak and Lisa Wilson (Fika and Surpa) for believing that teacher education doesn’t end when university does, for allowing me to be part of the amazing learning journey with you that led me to writing this book, and for promoting “The Nelson Paper.” And to my sisters Alison Gear and Janet Gear, for leading the way and showing me what wisdom, courage, strength, and love looks like. I am truly blessed to love what I do, to walk through the doors of a school every week knowing I belong there. I am forever grateful to the staff and students at J.W. Sexsmith in Vancouver, my teaching home for the past ten years, for allowing me into their classrooms and their hearts and letting me be “just Adrienne” two days a week. While the staff and students are too many to name, I would like to acknowledge Kimberly Matterson, Jeanette Mumford, Mary Cottrell, Duncan Kay, Dave Biln, Dani Conrad, Wendy Hugli, Leslie Woolridge, Margo McGarry, Leslie Martin, Jan Overall, Carole Murray, Katie Keo, Sarah Hummerston, Amber Leeper, Shannon Boylan, and Jeanette Owen. Thank you for being the most amazing colleagues and friends I have had the privilege to work with. Several teacher friends kindly contributed student samples and lesson ideas. My thanks to Cheryl Burian, Maria Maragos, Mary Cottrell, Jeanette ­Mumford, Duncan Kay, Dani Conrad, Elzmari Bedford, Donna Boardman, Parvina ­Panghali, Michele Woitzik, Stephanie Yorath, Andrea Page, Stella Araujo, Mark Fischer, and Vicki Harris. To my Pembroke publishing family—Mary Macchiusi, Claudia Connolly, and the amazing staff—a huge thank you for your support and patience! And to Kat, my amazing editor, for always nudging me to be better because she knows I can be and for always helping me find the thread. I am grateful to the publishers and book stores supporting my passion for bringing the best of children’s literature (“Gear Picks”) into schools, classrooms, and the hands and hearts of our students. Thank you to Kidsbooks (Phyllis Simon, Susan McGuigan, Leslie Buffam, and staff) and United Library Services (Ria Bleumer, Elizabeth Graves, Nadia Fortune, and staff). And finally, my three boys—Richard, Spencer, and Oliver. You see me at my writing worst and love me to my writing best. You pick up the pieces I sometimes leave behind along the way and help me find my keys, my phone charger, and my memory when I lose them. My love for the three of you has no edges.

190  Final Thoughts

Professional Resources

Alexander, R. (2008) Towards Dialogic Teaching: Rethinking Classroom Talk. 4th ed. York, UK: Dialogos. Cullham, Ruth (2014) The Writing Thief: Using Mentor Texts to Teach the Craft of Writing. Portland, ME: Stenhouse. Culham, Ruth (2003) 6 + 1 Traits of Writing: The Complete Guide: Grades 3 and Up. Markham, ON: Scholastic. Calkins, Lucy and Oxenhorn, Abby (2003) Small Moments: Personal Narrative Writing. Portsmouth, NH: Heinemann. Dorfman, Lynne R., Cappelli, Rose (2017) Mentor Texts, 2nd Edition: Teaching Writing Through Children’s Literature, K–6. Portland, ME: Stenhouse. Dyson, Anne Haas (1983) “The Role of Oral Language in Early Writing Processes” in Research in the Teaching of English, Vol. 17, No. 1 (Feb), pp. 1–30. Fisher, R., Jones, S.J. , Larkin, S. and Myhill, D. (2010) Using Talk to Support Writing. London, UK: Sage Publications. Fletcher, Ralph and Portalupi, JoAnn (2009) Craft Lessons, 2nd Edition: Teaching Writing K–8. Portland, ME: Stenhouse. Fletcher, Ralph and Portalupi, JoAnn (2001) Nonfiction Craft Lessons: Teaching Information Writing K–8. Portland, ME: Stenhouse. Fletcher, Ralph (2005) A Writing Kind of Day: Poems for Young Poets. New York, NY: WordSong. Gallagher, Kelly (2011) Write Like This: Teaching Real-world Writing through Modeling & Mentor Texts. Portland, ME: Stenhouse. Gear, Adrienne (2014) Nonfiction Writing Power: Teaching Information Writing with Intent and Purpose. Markham, ON: Pembroke. Gear, Adrienne (2011) Writing Power: Engaging Thinking through Writing. Markham, ON: Pembroke. Glover, Matt. (2019) Craft and Process Studies: Units That Provide Writers with Choice of Genre. Portsmouth, NH: Heinemann. Harvey, Stephanie. Nonfiction Matters. Portland, ME: Stenhouse. Hoyt, Linda and Boswell, Kelly (2012) Crafting Nonfiction Intermediate: Lessons on Writing Process, Traits, and Craft (grades 3–5). Portsmouth, NH: Heinemann. Hoyt, Linda (2018) Crafting Nonfiction Primary: Lessons on Writing Process, Traits, and Craft. Portsmouth, NH: Heinemann. Hoyt, Linda (2017) Conventions and Craft Grades K–5: Teachers Guide edition. New York, NY: Scholastic Professional Learning. Mraz, Kristine, et al. (2016) Purposeful Play: A Teacher’s Guide to Igniting Deep and Joyful Learning Across the Day. Portsmouth, NH: Heinemann.

Professional Resources 191

Rog, Lori Jamison (2015) Marvelous Minilessons for Teaching Nonfiction Writing, K–3. Markham, ON: Pembroke. Rog, Lori Jamison (2018) Marvelous Minilessons for Teaching Intermediate Writing Grades 3–8. Markham, ON: Pembroke. Serravallo, Jennifer (2017) The Writing Strategies Book: Your Everything Guide to Developing Skilled Writers. Portsmouth, NH: Heinemann. Shubitz, Stacey (2016) Craft Moves: Lesson Sets for Teaching Writing with Mentor Texts. Portland, ME: Stenhouse. Stead, Tony (2000) Is That a Fact? Teaching Nonfiction Writing, K–3. Portland, ME: Stenhouse. Links “Dolch Word List by Grade” Dolch Word http://www.dolchword.net/dolchword-list-frequency-grade.html “Moving from Drawing to Writing” This Reading Mama https:// thisreadingmama.com/from-drawing-to-writing/?ck_subscriber_id= 376395305 “Strategy Guide” ReadWriteThink http://www.readwritethink.org/professionaldevelopment/strategy-guides/shared-writing-30686.html

192  Professional Resources

Index

3-2-1 Check It, 24–25 ABC books, 87 All About, 90 Alphabet Book Planning, 94 anchor books balanced writing program, 19 biography writing, 154, 160 comparison writing, 134 descriptive writing, 77 event stories, 57, 60, 62 explanatory writing, 145 instructional writing, 95, 100–101, 102, 103–104, 105 persuasive writing, 114, 125, 126 story writing, 168–169 walking stories, 37, 38–39, 40, 47, 49, 50 Animal Comparison, 144 animals comparison writing, 139 descriptive writing, 86 instructional writing, 101–102 Assessment Summary Sheet, 26 authors, 161 balanced writing program anchor books, 19 elements, 13–14 formative writing assessment, 14 independent writing, 18–19 mentor texts, 19 mini lessons, 17 responsive teaching, 14 word work, 17–18 writing conferences, 19–20 writing goals, 15–16 writing joy, 14–15 writing routine, 16–17 Biography of a Famous Person Primary, 166 template, 165

Biography of Classmate, 164 biography writing anchor books, 154, 160 author biographies, 161 change agents, 159–160 classmates, 156–158 described, 154 introductory lesson, 155 mini lessons, 156–158 past lessons, 156 science, 158–159 social studies, 158–159 timelines, 156 Brain Pockets / Brain Pocket Writing anchor books, 12 described, 8 introducing, 11–13 introductory lesson, 12–13 template, 31 writing structure, 9–13 bubblegum letters, 124 catalogues, 124 Champion for Change, 167 change agents, 159–160 character development described, 172–173, 176–177 template, 184 “cherry-picking” teaching, 7 closing phrases, 85 coaching, 20 Comparison Planning Page Primary, 143 template, 142 comparison writing anchor books, 134 animals, 139 described, 134 early humans/civilizations, 139–140 independent practice, 137–138 Index 193

introductory lesson, 134–136 language, 136–137 mini lessons, 136–138 science, 139 social studies, 139–140 structure, 135–136 topics, 138 crediting sources, 85 Cycle Flow Chart, 152 dash facts described, 78–80 template, 88 descriptive writing ABC books, 87 anchor books, 77 Canadian animal posters, 86 crediting sources, 85 dash facts research, 78–80 described, 76 effective endings, 83–85 great beginning, 81–83 introductory lesson, 77–78 mini lessons, 78–85 putting facts together, 80–81 science, 85–86 social studies, 86 “too much icing”, 83 diamond plan, 119 Draft Day In the Zone, 23–24 mini lesson, 23 partner share, 23 editing, 24–25 endings descriptive writing, 83–85 persuasive writing, 122–124 story writing, 178–179 event stories anchor books, 57, 60, 62 assessment rubric, 38, 58 deconstructing, 58 described, 37, 57 effective event story endings, 63–64 introductory lessons, 58–60 mini lessons, 60–64 planning, 58–60 stretching the moment, 62–63 transition words, 60–62

194  Index

Event Story Planner Primary, 66 template, 65 expert writing, 99–101 Explanation Flow Chart, 150–151 Explanation Structure, 153 explanatory writing anchor books, 145 described, 145 flow charts and diagrams, 147–148 introductory lesson, 145–147 mini lessons, 147–148 modeling, 147 sample, 149 structure, 146, 147 topics, 148 Fact or Detail: Cut and Sort, 89 Fact Pockets biography writing, 154–167 comparison writing, 134–144 described, 10, 67 descriptive writing, 76–94 explanatory writing, 145–153 instructional writing, 95–113 nonfiction writing, 67–75 persuasive writing, 114–133 facts dash facts, 78–80 putting facts together, 80–81 fancy fact starters, 83 Finding Your Voice, 92 flow charts and diagrams, 147–148 formative writing assessment, 14 great beginnings, 81–83 The Greatest Invention Planning Page, 133 The Greatest Planning Page, 132 GUM It strategy, 18 handle sentence, 46 Hook Your Reader, 91 hooking readers, 81–83, 174–175 How To Early Primary, 109 template, 106 How to Be an Animal Planning Page, 110 Primary, 111 How to Dress, 112–113

Imagination Pockets described, 10 story writing, 168–181 In the Zone, 23–24 independent practice, 137–138 independent writing, 18–19 Indigenous culture story writing, 171–172, 179–181 ways of knowing, 104–105 instructional writing anchor books, 95, 100–101, 102, 103–104, 105 animals, 101–102 described, 95 expert writing, 99–101 Indigenous ways of knowing, 104–105 introductory lesson, 96–97 mini lessons, 97–101 people, 103 SAD formula, 97–98 text features, 98–99 tips, 99 interesting details described, 41–43 five-finger mini lesson, 43 sticky dot/stop sign mini lesson, 43–44 introductions descriptive writing, 81–83 persuasive writing, 119–121 inventions, 125–126 Let’s Get Organized, 55 List Plan, 35 Memory Pockets assessment rubric, 38 described, 10 event stories, 57–66 walking stories, 37–56 mentor texts, 19 micro-teaching, 17 mini lessons balanced writing program, 17 biography writing, 156–158 comparison writing, 136–138 descriptive writing, 78–85 event stories, 60–64 explanatory writing, 147–148 instructional writing, 97–101 story writing, 170–181 walking stories, 39–51

No-Excuse lists, 17–18 No-Excuse Words Grade 1, 27 Grade 2, 27 Grade 3, 28 Grade 4, 29 Grades 5–7, 30 Nonfiction Text Structures, 74 nonfiction writing anchor chart, 70, 72 assessment rubric, 68–69 biography writing, 154–167 comparison writing, 134–144 described, 67–68 descriptive writing, 76–94 explanatory writing, 145–153 forms and purposes, 67 instructional writing, 95–113 introducing, 69–73 nonfiction writing, 67–75 persuasive writing, 114–133 sample school plan, 68 text features, 71–73 text structures, 69–71 organization drawer, 45–46 partner share, 23 Pass the Senses, 47 people famous, 124–125 how to be, 103–104 personal narrative assessment rubric, 38 described, 37 event stories, 57–66 walking stories, 37–56 personification, 50–51 The Persuasive Diamond Plan, 130 The Persuasive Sandwich Plan, 129 persuasive writing anchor books, 114, 125, 126 bubblegum letters, 124 catalogues, 124 described, 114 diamond plan, 119 effective endings, 122–124 effective introductions, 119–121 everyday inventions, 125–126 famous people, 124–125

Index 195

features, 117 focusing on why, 121–122 introductory lesson, 115 language, 116–117 mini lessons, 116–124 positive versus negative, 116–117 sandwich plan, 117–119 secrets of success, 116 TSN technique, 122–123 wrap-up formula, 123–124 Persuasive Writing Planning Sheet, 128 Picture Plan, 33 Picture Plan Plus, 36 plot, 173 poetry, 10, 11 Primary Persuasive Planning Page, 131 Primary Story Planning , 187

introductory lesson, 169–170 mini lessons, 170–181 plot planning, 173 process, 174–181 “what’s the problem?”, 170–171 story-writing process character development, 176–177 early primary adaption, 181 ending, 178–179 hook, 174–175 Indigenous focus, 179–181 pacing, 175–176 problem introduction, 177–178 problem solving, 178 stretching the moment, 62–63 Student Writing Goals, 32 superhero writing, 125

responsive teaching, 14 revising, 24–25

text features fiction versus nonfiction, 71–73 instructional writing, 98–99 text structures, 69–71 Timeline template, 163 Timeline Planning Sheet, 162 timelines, 156 tip words, 99 “too much icing”, 83 transition words, 60–62, 117, 177 Triple-Scoop Word Chart Primary, 53 template, 52 triple–scoop words, 40–41 TSN technique, 122–123

SAD formula, 97–98 sandwich plan, 117–119 science biography writing, 158–159 comparison writing, 139 descriptive writing, 85–86 instructional writing, 104 sensory detail, 46–48 Simile and You Will See!, 54 similes, 48–50 single-scoop words, 40 Six Senses Planning, 56 Smokin’ Pencils, 19 social studies biography writing, 158–159 comparison writing, 139–140 descriptive writing, 86 instructional writing, 103–104 Somebody/Wanted/But/So/Then, 183 Source Your Resource, 93 Story Booklet Spread, 188 story structure, 170–172 Story Structure Primary , 183 template, 182 story writing anchor books, 169, 170 assessment rubric, 169 character development, 172–173 described, 168 196  Index

Venn Diagram for Comparing, 141 walking stories anchor books, 37, 38–39, 40, 47, 49, 50 assessment rubric, 38 described, 37 interesting details, 41–44 mini lessons, 39–51 organization drawers, 45–46 personification, 50–51 sensory detail, 46–48 similes, 48–50 word choice: triple-scoop words, 40–41 Web Plan, 34 Weekly Practice Writes described, 21 Draft Day, 23–24

editing, 24–25 implementing, 21–25 introductory lesson, 22 planning, 22–23 revising, 24–25 What? What? How, 107–108 What’s the Hook?, 127 What’s the Problem? Primary , 185 template , 184 Which Is Easier to Read?, 75 word choice, 40–41

word work, 17–18 wrap-up formula, 123–124 writer’s voice, 82–83 writing conferences, 19–20 writing goals, 15–16 writing joy, 14–15 writing routine, 16–17 writing structures Brain Pockets, 9–13 described, 9–10 writing workshop, 21

Index 197

Gear

Powerful Writing Structures

This timely book uses thinking structures to deepen student writing. Powerful Writing Structures revolves around “brain pockets” to help students become familiar with the qualities of different writing forms. They learn to access memory pockets for personal narrative writing, fact pockets for writing nonfiction, and imagination pockets for story writing. The thinking strategies in this practical resource focus on using structural aspects of writing forms to inspire and inform students learning to write. Detailed lesson plans revolve around anchor books and include sample student work from real classrooms, book lists, and assessment rubrics. Based on extensive classroom testing, this comprehensive approach to developing a balanced year-long writing program includes tips for implementing weekly writing practice and for using different forms of writing in the content areas. This valuable resource shows teachers how to set up an effective writing program that focuses on process rather than product. The book includes: •  Lessons to introduce different forms of writing, including six types of nonfiction, personal narrative, and story •  Mini lessons on writing structure, language, and writer’s craft so that students can carry skills forward into writing practice •  Book lists of the best children’s books to anchor, support, and extend lessons •  Student examples that illustrate how strategies work in real classrooms From writing goals to writing joy, Powerful Writing Structures helps teachers guide students through the skills, the structures, the language, and the beauty of effective writing.

Pembroke

Front Cover Photos: Dan Carstens (background), Rob Lewine (inset) / Getty Images

Ian Sheh

Adrienne Gear has been teaching in Vancouver for more than twentyfive years. She remains grounded in classrooms and provides workshops, demonstration lessons, and leadership training to teachers throughout North America. Her international experience includes speaking in the U.S., U.K., Australia, and Sweden. Passionate about literacy and learning, Adrienne is the author of the popular ‘POWER’ series on reading and writing instruction. Adrienne lives in Vancouver with her husband and two sons.

A D R I E N N E

G E A R

Powerful Writing Structures Brain Pocket Strategies for Supporting a Year-Long Writing Program.