Download - Creating Writers
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Creating WritersThinking about curriculum, instruction, and assessment
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OUTCOMES▪ Teachers will consider the relationship between writing,
creativity, and learning▪ They will assess the quality of their writing curricula,
instructional practices, and assessments and determine their needs
▪ They will investigate a variety of materials and resources that support the best practices that might help them address their needs
▪ They will use what is learned from this work to enrich their writing curricula, instructional practices, and/or unit assessments
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Getting writing right:what does this even look like?
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Thinking about WRITING CURRICULA
ALIGNMENTREPRESENTATIO
N
CULTURE
SUSTAINABILITY
• STANDARDS MATTER, BUT WHAT IS YOUR GREATER VISION?
• WHO DOES YOUR WORK EFFECT THE MOST? ARE YOU ACCESSING THEIR VOICES AS YOU PLAN?
• WHAT MATTERS?• HOW CAN YOU ENSURE THAT
YOU BUILD SOMETHING THAT LASTS BEYOND THIS YEAR?
• WHAT VALUES, BEHAVIORS, SOCIAL SKILLS, HABITS, DISPOSITIONS DO YOU HOPE TO CULTIVATE?
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Thinking about WRITING INSTRUCTION
• Most writing workshop days look a little like this:
•Mini-lessons (5-15 minutes)• Independent Writing (20-30 minutes)•Conferring (during independent writing)•Celebration (5-10 minutes)
• TOTAL WRITING WORKSHOP TIME: 30-55 minutes
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▪ Are BRIEF▪ Arm writers with one SPECIFIC and PRACTICAL strategy that helps
them establish routines, develop craft, process, or dispositions▪ Make wide and varied use of rich, interesting mentor texts ▪ Uncover pathways for learners to “write like” these beloved authors▪ Enable learners to see the teacher as a writer, view their works in
progress, and listen to their very real stories of struggle and triumph over writing challenges
▪ Often result in the creation of anchor charts, which contain the learning of the lesson over time
▪ Are often designed in response to needs that emerge from student writing as they draft and confer with teachers
GREAT MINI-LESSONS
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Assessment:From the Latin verb assidere, meaning “to sit beside.”
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THINKING ABOUT ASSESSMENT TYPES AND PURPOSES
Assessment FOR Learning▪ Drafts of written works across
different modes/genres▪ Notebook tinkering▪ Reflections on learning, growth,
problems confronted and solved, dispositions
▪ Drafting, feedback, revision, editing, and publishing skills
▪ Digital writing and learning skills
Assessment OF Learning▪ Final copies of written works
across different modes/genres▪ Culminating tasks—final
revisions▪ Timed, on-demand writing
tasks▪ Benchmarks▪ NYS Assessments
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WHAT MATTERS MOST WHEN IT COMES TO IMPROVING WRITING PERFORMANCE?
▪ Clear targets: standards/craft/process/dispositions▪ Multiple models and mentor texts that define
quality▪ Practice▪ Immediate, criteria-specific feedback that aligns
to target▪ Strategy coaching, aligned to target▪ Multiple revisions
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shaping Your Writing Framework and nurturing your Professional Practice
• Curriculum • Instruction
• Assessment• Professional Inquiry• Reflection
CraftProcess
Dispositions
Mini-LessonWriting
ConferringCelebration
PurposeDefinition of QualityFeedback
Multiple Models
ReflectionRevision
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Assessing Needs and Strategic Planning
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What is good writing? What does it mean to become
a writer?
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How does learning happen?
Photo by Silvia Tolisano
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What I’m learning…..WE ACT AND WRITE WITH COURAGE
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WE SEEK UNDERSTANDING BEFORE DOING
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WE PERSEVERE
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WE COLLABORATE
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WE SHARE OUR EXPERTISE
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WE GIVE OF OURSELVES AND ACT WITH KINDNESS
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WE REFLECT ON WHERE WE’VE BEEN, WHERE WE ARE GOING, AND HOW WE PLAN TO GET THERE
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WE KNOW THAT WRITING IS OFTEN A SLOW PROCESS
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WE TRY TO DEVELOP BETTER AND BETTER AND BETTER STRATEGIES FOR IMPROVING OUR OWN WORK AND HELPING OTHERS
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But what about performance?
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http://www.flickr.com/photos/sean002/2510540027/
TAKING A TEST
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BECOMING A WRITER
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Which would YOU choose?http://www.flickr.com/photos/somemixedstuff/2403249501/
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WHICH
DO YOU
CHOOSE?
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THE MOST IMPORTANT
WRITINGINSTRUMEN
TTO
PUTIN
THEIRHANDS?
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BALANCE
BUILDSBETTERWRITER
S
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Community Fellows Strive to Embody Certain
Dispositions
• Courage and Initiative
• Understanding
• Perseverance
• Reflection
• Expertise
• Cooperation and Collaboration
Which Support the
Writer's Process
• Prewriting
• Drafting
• Peer-Review
• Editing
• Revising
• Publishing
Allowing for the Development of
Writer's Craft
• Compelling Ideas
• Engaging Voice
• Effective Word Choice
• Clear Organization
• Fluent Sentences
• Proper Use of Conventions
Writer’s Work
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THE WRITING PROCESS
PrewritingDrafting
Peer-ReviewEditing
Publication
Which parts of the process show up most
in your classroom? Least?
Writing is a Process
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Considering MODES and PURPOSECOMMON TEXT TYPES
(MODES)
Narrative TextInformational Text
Persuasive TextClaims
Procedural TextPoetic
FunctionalHybrid
COMMON PURPOSES FOR WRITING
To EntertainTo Inform
To DescribeTo Advocate
To ThinkTo Connect/Collaborate
To Build Collective Intelligence
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PREWRITING
Strategies for Support:
PromptsArtifactsPicturesMusicVideo
MovementEquations
RAFTSConversation
Web Tools
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Traits to Focus on During Pre-Writing:
IDEASVOICE
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▪ Invite or inspire pre-writing activities.
▪ Come from our experiences, our connections, and our previous understandings.
▪ May be generated from artifacts, photographs, movement, music, conversation, guided brainstorming and more…..
▪ Require good writers to select appropriate MODES and to define their PURPOSES.
▪ Move readers from general to more refined topics.
▪ Inspire careful observation.
▪ Require independent use of higher level thought.
IDEAS
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VOICE▪ The “sound” of the writer or the speaker.
▪ Tone that is appropriate to the task.
▪ Commitment to the piece—involvement.
▪ Attention to the topic.
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Voice▪ Requires that writers shift the way they speak in response to MODE and
PURPOSE.
▪ Invites diversity and complexity.
▪ Built when students take RISKS.
▪ Thrives in a comfortable atmosphere.
▪ Suffers when we overemphasize formulaic processes or models.
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Drafting
▪ The importance of understanding MODES and the
power of MENTOR TEXT.
▪ Approaching topics from varied
angles.
▪ Writing beside them.
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Traits to Focus On As We Draft
IDEAS
VOICE
ORGANIZATION
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Organization“Organization is what you do
before you do something so that when you do it it’s not all mixed up.”
Winnie the Pooh
http://blog.wired.com/geekdad/books/index.html
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Organization▪ Requires that writers develop an INVITING lead for that provokes
questioning and curiosity.
▪ Inspires a body of work that attends to these questions and curiosities in a logical manner.
▪ Relies upon smooth transitions and the articulation of turning points and resolutions.
▪ Requires a conclusion that satisfies the questions and curiosities provoked by the lead and may inspire new ones. It does not, however, introduce new information.
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ORGANIZATIONWHAT IT IS….
A lead that “hooks” reader and provokes questions.
A core that provides details in a logical manner and transitions between them smoothly.
An ending that satisfies the questions raised within the work.
HOW WE SUPPORT IT…
Models and mentor texts
Story boards
Graphic organizers
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Exploring mentor texts
leads
endings
in-betweens
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Beyond Peer-Conferencing:
Peer Review
ProcessesModeling With Fishbowl
Coaching With Push/PauseAssessmentEvaluation
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Traits to Focus On During Peer-Review
IDEAS
VOICE
ORGANIZATION
WORD CHOICE
SENTENCE FLUENCY
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WORD CHOICE
“The race in writing is not to the swift, but to the original.”
----William Zinsser
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Word Choice▪ Original words
▪ Precise words
▪ Engaging words
▪ Varied words
▪ Attention to dialect and formality
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Sentence fluency▪ Fluent sentences appeal to the ear and the
eye.
▪ They vary in length and structure.
▪ They convey character, emotion, and reveal voice.
▪ Rhythm, rhyme, and repetition of vowel and consonant sounds effect fluency.
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EDITING
How are YOU strong as an
editor?
Differentiating the peer-editing
process.
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Traits to Focus On As We Edit IDEAS
VOICE
ORGANIZATION
WORD CHOICE
SENTENCE FLUENCY
CONVENTIONS
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CONVENTIONS: THE LAST CONVERSATION
▪ Attending to conventions happens at the END of the writing process.
▪ Effective writers understand why editing is necessary. Strong writers know that editing isn’t merely about “fixing up” writing.
▪ Edits are intentional, effective, and do not strip the work of voice, ideas, or fluency. They BUILD it.
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PUBLISHING
What does this mean to you?
How is the definition shifting?
What opportunities are available?
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Approaching InstructionTeach Craft Inside the Process: One at a Time
– Activate Background Knowledge Artifacts, Music, Video, Movement, Manipulatives
– Define the Trait– Model With Mentor Text– Anchor With Rubric– Provide Guided Practice– Formatively Assess/Reteach
Fold Into the Process
Link Back to the Dispositions
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Find the Assessment
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ReferencesGray, Theresa (2006). Slideshare. Writing Frameworks. Retrieved January 21,
2009 from: http://www.slideshare.net/TGray/writing-frameworks
Martin-Kniep, Giselle O. Communities That Lead, Learn, and Last: Building and Sustaining Educational Expertise. California: Jossey-Bass, 2008.
National Board for Professional Teacher Standards. “What Teachers Should Know and Be Able to Do: The Five Core Propositions.” Retrieved Aug. 21, 2008 from http://www.nbpts.org/the_standards/the_five_core_propositions
Stockman, Angela (2008-2013). WNY Young Writers’ Summer Studio. Presented at 3062 Delaware Avenue, Kenmore NY 14217.