Showing posts with label writers notebook. Show all posts
Showing posts with label writers notebook. Show all posts

Tuesday, August 11, 2015

Organization Elevates Process Over Product

The Classroom, by Karen Elizabeth Tornoe
Tara Smith's blog post Creating Classroom Environments: Setting Up For the Middle School Writing Workshop reminded me of the importance of organization in setting up a writer's workshop.

More specifically, the important of maintaining and using three distinct spaces for student writing matters: a writer's notebook, a classroom portfolio, and an online portfolio. In my classroom, there have been years where the writer's notebook also served as the classroom portfolio--thereby only utilizing two spaces. A mistake I learned to grow from.

The consequence of not having such a structure has been that some students have drifted to drafting only online--which is not a bad thing in and off itself. I draft online when I blog. However, that habit has then lessened the impact of the writer's notebook in my classroom. Some students used it well, yes. But too many students drifted away from the notebook and just set to writing online--everything, every stage, by midyear. And once that happens it is a challenge to move students back to the structure.

Smith's blog reinforces the distinction among the three spaces:

  1. The notebook is where ideas play on the page. Students can list, sketch, free write, etc. 
  2. The classroom portfolio is where drafts are roughed out on writing pads and stored.
  3. The online space is where writing is polished and potentially published.

Two of these three spaces contain unfinished writing. This structure elevates process and unfinished writing over final products. As a community of writers, we can't help but be immersed in unfinished writing where conversations never end and possibilities and opportunities for growth always exist.

The finality of an online portfolio or a polished product is something to treat with respect because an emphasis on product can take over the mindsets of our classrooms like weeds in a garden. We can do so much good work, but it can be overrun if we are attentive and if we do not have an organizational structure in place.

As it is true in gardens, implications arise whether we do or do not attend to process.

Five years ago, I left a post-it note on a section about elevating process over product inside my copy of The Essential Don Murray: Lessons from America's Greatest Writing Teacher to remind myself, "Type this up as a reminder to yourself--and see it everyday." 

Murray writes of the implications of teaching process, not product:

  1. The text of the course is the student's own writing. 
  2. The student finds his own subject.
  3. The student uses his own language.
  4. You are not teaching a product, you are teaching a process.
  5. The student is encouraged to attempt any form of writing which may help him discover and communicate what he has to say.
  6. Mechanics come last.
  7. There must be time for the writing process to take place.
  8. Papers are examined to see what other choices the writer might make. He is learning a process. His papers are always unfinished, evolving, until the end of the marking period.
  9. The students are individuals.
  10. There are no rules, no absolutes, just alternatives.
When the structure of the writing classroom falls apart or has never been established in the first place, then it is difficult for the writing teacher to lead his students through the benefits of the ten positive implications of process as defined by Murray.

Setting up the middle school writing classroom takes time and thought--it takes a plan. Many wonderful people have written about how to set up your space: Don Murray, Don Graves, Lucy Calkins, et al. And now another great place to start is with Tara Smith's blog Creating Classroom Environments: Setting Up For the Middle School Writing Workshop

I am wondering if other teachers have also witnessed part of their organizational structure fall apart? or not work for some students? The first few days really set the tone regarding joy and freedom and writing--but even before any of that begins, it is essential that we make time to create a space and an organizational structure in order to best invite and sustain that joy and freedom in writing.

Friday, July 13, 2012

Resource Review: The Craft of Revision

The Craft of RevisionThe Craft of Revision by Donald Morison Murray
My rating: 5 of 5 stars

Murray cautions us:
“Students, first of all, must learn a positive attitude toward revision. The process of revision, for most students, has not been concerned with finding meaning, but it has focused on editing superficial mechanical and grammatical errors to a preconceived and often not clearly understood standard.”

My reaction:
The one word I’m left with is INFORMATION. It seems most of the revision process is rooted in arranging, adding, removing, improving, and making decisions based on the best use of the best information in each moment.  The title could very easily be "The Craft of Writing" because as Murray demonstrates the very act of writing itself is a revision of our thoughts or the seed of an idea.

Format of each chapter:
Murray explains one concept at a time
Organizes chapters in a very specific order / how to write, rewrite, rewrite, rewrite
Most chapters offer exercises and/or examples
Some chapters offer Common Problems and their Solutions
Interviews with different writers at end of each chapter


1. Getting Writing Done—creating a discovery draft
No such thing as writer’s block. Excuse for poor habits.
a. “Writing becomes relatively easy if writing becomes a daily habit.”
i. No truck driver refused to work today because of truck driver’s block
b. Know tomorrow’s tasks today
ii. Know the territory and the task for tomorrow’s writing today


2. Rewrite to Focus

Exercise:
An effective piece of writing says on thing and, before rewriting a draft, you should be able to state it in a single sentence. (Steinbeck did it.)

Exercise:
To discover and state the focus be able to answer the following questions with specific, brief statement: a sentence or less.
a. what is the single dominant meaning
b. what is the central tension within the dominant meaning?
c. What do test readers say is the meaning of the draft?

Exercise:
Frame Your Meaning
a. like framing a picture with a camera
b. draw a box around a part of a picture
c. use the frame like a zoom lens
a. give students same picture with different size frames
b. write a piece on the picture





3. Rewrite to Collect (information)
a. writers write with information
i. words are symbols of information
b. don’t be word-drunk
i. readers hungry for information, images, facts, insights
c. readers read to become an authority
d. concrete, accurate, significant details
i. creates trust
ii. makes writing lively

4. Rewrite for External Order
a. you should have a draft and a bunch of information to work into it
b. now you need to shape everything and take control of it
c. FORM IS MEANING
i. 5 paragraph essay may seem harmless (but it isn’t)
-5 paragraph essays lives only in a school, not real world writing
-suggests that FORM is more important than the content
-suggests that meaning can be changed to fit the form
-there is one right way to tell all stories
-the reader has to be told what the message will be, what the message is, what it means
d. the purpose of the form is to carry meaning to the reader
i. essay? Narrative? Argument? Expository? et al…

5. Rewrite for Internal Order
a. Readers should be able to follow a trail of information
b. Remember a reader is always in control and it is up to you to give them a trail worth following (“a seductive trail”)

Exercise: Answer the reader’s questions
a. all effective writers hear the reader’s questions and answers them immediately
i. How come? How do you know that? Says who? I’d like to know more about that… Why’d she do that? Whoa, back up, I don’t understand…

Exercise: Outline after writing
a. to expose the structure of the draft
b. adapt/redesign the structure

6. Rewrite to Develop
a. an underdeveloped draft is fully developed in a writer’s mind but not on paper
b. stand back and look at it like a reader (hungry for information)
c. look for the signs of an underdeveloped draft:
-it is predictable
-it could have been written by anyone
-there is no individual vision
-the reader learns nothing the reader did not already know
d. develop with information
-reveal with specifics
-write with abundance
e. develop with authority
-convince with authority
-persuade with evidence
f. develop with clarity
-dominant impression-every piece of info supports a single meaning
-the reader should receive information in a natural order
g. develop with context
-address the reader who asks, “So what?”
h. rewriting starts with rereading
-read fragments of your writing
-search for code words or words that have meaning only to you
-read to add snapshots of memories that haunt or move us

Exercise – Emphasize the Significant
a. Arrange and Rearrange paragrahs in a 2-3-1 order
b. moving the most significant information to the edges will clarify the writing

7. Rewrite with Voice
a. lack of voice is most common reason we stop reading
b. signs of a draft without voice:
-no individual human being behind the page
-no intellectual challenge
-no emotional challenge
-no flow
-no magic


8. Rewrite to Edit
a. Twenty ways to “unfinal” a draft
-listen to the draft -cut the end -make new connections
-welcome the unexpected -cut or extend the length -reorder the draft
-expand what works -play with a new focus -change the pace
-tune the music of the draft -reconsider the audience -unbalance the proportions
-start closer to the end -put draft into new context -try a new genre
-add new evidence -look for instructive failure -role play a reader
-use a test reader -observe the draft

b. attitude change…writing is editing…trust your ear more than your eye

Exercise: Interview your draft
a. what is the one thing I wanted to say?
b. What single message does the draft deliver?
c. To whom is the message being sent?
d. Does everything in the draft support or advance the message?
e. Where are the greatest failures in the draft?


9. Rewrite at Work


10. The Craft of Letting Go








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Thursday, September 8, 2011

Stopped in our Tracks--bridging the Writer's Notebook to literature

Now that all students had a writer's notebook we set out to write in it--their first entry was to be written at home: write about three things which stopped you in your tracks.  We wrote to this prompt during one of our classes at our NWP SI and I really liked the results then, so wanted to try it with my students.

When the students arrived with their three thoughtful entries I asked them to read over them and choose one.  Choose the one which matters to you most, for whatever reason.  Start a new entry where you explain why this one is most important to you.  (By the way, I do the assignments as well, and write alongside of the students as they write.  I try to change my seat in the room daily, as I change their seats daily as well).

After ten minutes we paused and I asked them to skip a space and to think (through writing) what the core issue is in what they have been currently writing about.  What is it that matters to them beyond this one incident.  What is truly at the heart of why this one incident matters to them?

As an example I shared this fictional progression which I created:

An event which stopped me in my tracks was my sister borrowed my favorite hooded sweatshirt without asking.  She ruined it--stains were all over it.  And then she tried to fold it and slip it back into my closet without my knowing she ever had it in the first place.


I chose this event as the most important because I had always had a great relationship with my sister.  We were great friends.  But this event altered our friendship--for the first time ever I felt trust issues with my sister.  I began to question and wonder had she done anything similar with me in the past.


At the heart of this incident is the fact that trust is extremely important to me.  It is something I rarely talk about or plan for, but it just is.  And you can't say it, you can't just say you trust someone...you have to show it, do it. Trust is an action way more than it is a spoken word.


So then my students went forward and wrote about what was at the heart of their writing, what truly mattered to them.  After we finished writing, we did a large group share--some shared, not many.  We are still building community.  I didn't press it which worked out fine because I had a concluding mini-lesson to get to with the remaining ten minutes of class:

I just asked all of you to write for a few days about things which matter to you.  At the heart of many pieces of writing is something which mattered to an author.  Whether it is an article in magazine or a YA novel, authors write about things which are important to them.

You all read The Red Badge of Courage for summer reading--take a moment and put aside your struggles or personal opinions about the book.  Take a moment and think with your pen, what do you think was important to Stephen Crane?  Based on the book, what do you think was at the heart of what mattered to him--go deeper than plot.  Go to that place that you just visited yourself...and think about what Crane must have felt or believed deep inside of himself.  Write that.  There is no right or wrong.  I do not know myself...and I will write my own thoughts myself along with you.



With the final five minutes we shared what we thought and called it a day.