Category Archives: Resources for Educators

Advocacy Writing in the High School Classroom

30 Monday Dec 2019

Posted by in Pedagogy, Project-based learning, Resources for Educators, Writing

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In my last post, I talked about revamping a writing unit that I teach with my high school juniors. In the Writer’s Sandbox Unit, we focus on learning how to adapt our writing to different purposes, whether personal, professional, or public. The idea behind this is to get students ready for writing in the adult world, whether it’s writing a memoir to preserve family history, writing an application essay for an educational opportunity, or writing to affect change and impact the world.

That last one is the focus of this post, where I promised to dive deeper into the advocacy piece that I guide my students in creating. If you’re looking for a way to introduce your students to advocacy writing, maybe you’ll benefit from my process and the materials I’ll share.

ESSENTIAL QUESTIONS

I really wanted to teach my students that words are power in the most concrete of ways. I was determined to provide them an opportunity to rehearse a writing practice that will become more and more important in their adult lives as they see the need to stand up for the things that they believe in. The essential questions I wanted to help students answer were these:

  • Why do we need to advocate for things?
  • How do we determine the stakeholders that are impacted by our issue of interest?
  • How do we select a form of communication that will best reach our target audience (the stakeholders)?
  • What strategies do we use to effectively craft a message for a specific purpose?

SELECTING TOPICS

I was very careful in the topic options that I provided to students. I wanted to offer a breadth of choices that would allow every student to find something to invest in, but that would also avoid hot button political issues that can create a tension that eclipses the process of learning. (I’ve found over the years that when students attempt to engage with ultra politically-charged topics, their research is often poor and their argument often ineffective. Also, I find it difficult to evaluate students appropriately in those instances if I interpret their beliefs as hateful.) I also really wanted to emphasize the idea of the advocacy writer not as a complainer, but as a protector. This is the list that resulted from that aim:

What’s something that you want to protect? Pick something from this list. Your choice doesn’t have to be currently at risk, just something that you care about.

*an animal or plant species

*a public space or public access to a space

*a natural area or ecosystem

*a building, landmark, or structure

*an annual event

*an element of infrastructure

CASE STUDY / MENTOR TEXTS

Individual conferencing was a big part of this unit, as students determined what they care about most. From there, we used some advocacy materials surrounding the Mitchell Park Domes in Milwaukee. This unique structure is currently in need of significant public or private funding to continue its existence, so it was the perfect thing to demonstrate how deeply people can care about protecting something, and how complicated the process of convincing others to protect it can be. I pulled some articles and websites advocating for the Domes, and we used them as mentor texts to practice identifying stakeholders and the choices the writers made to cater to them.

PROPOSAL: IDENTIFYING TASK, PURPOSE, and AUDIENCE

Next, after doing some research on their own topics and armed with a little more knowhow, every student created a proposal for their advocacy piece. It fit this format:

I will be creating an advocacy piece around the topic of _________________________ .
The reason I chose this topic is ___________________ . The aim for my piece is ________________. My main audience groups are________________. The form that my piece will take is _____________________________. My rationale for selecting this form, considering my audience, is ___________________ .

CREATING

From there, the messy process of creating began! I provided students with more examples of different advocacy forms, but stressed that ultimately, they would need to determine how to create their piece for maximum effect. Individual conferencing, again, is key here… It created many teachable moments. (Example: How does a poster with a bunch of pictures of tigers and tiger facts actually compel a specific group to donate money toward tiger habitat conservation? It probably won’t. What approach would work better?) By the end of the project, I was really proud seeing my students taking their first baby steps toward important political action, and watching them start to realize that speaking up and paying attention to elements of the world around them–even something as small as an annual city festival or the width of the streets in their neighborhoods–is key to protecting the things that we love.

MORE MATERIALS FROM THE UNIT:

Slides

Advocacy-Writing-in-the-Public-SphereDownload

Handouts

Advocacy Piece HandoutsDownload

Sooner or later, these kids are going to need to defend what they care about. In a world filled with so many voices, I want to teach them how to make sure theirs is heard. <3

Teaching Narrative Threads in Nonlinear Texts: An AP Literature Mini-Project

27 Sunday Jan 2019

Posted by in Literature, Pedagogy, Project-based learning, Resources for Educators, Uncategorized

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Leslie Marmon Silko’s Ceremony is one of my favorite texts to teach in my AP English Literature and Composition class, but it’s also one of the more difficult ones. Like many other masterful contemporary texts that make their way into the literature classroom, like Tim O’Brien’s The Things They Carried or Toni Morrison’s Beloved, this text is not told in a straightforward chronological order. Rather, it’s a complex weaving of many different times in the characters’ lives, stories within stories, and even native legends that all work together to create the sense of the story. Especially for students who are very linear thinkers, this kind of structure can throw them off, so I try to help them along by teaching them terms like nonlinear narrative and narrative thread. 

For the purposes of my class, I define a narrative thread as a storyline that orients the reader through a certain recurring character set, setting, and place in time. I tell them that, unlike linear stories, where the plot gradually unfolds and we get a sense of meaning from what happens and how, a nonlinear narrative enforces thematic ideas across these different narrative threads. Even if we don’t grasp the exact order of events as threads are switching around, what’s more important in this kind of reading is recognizing how certain ideas are emphasized, repeated, and mirrored across the threads. That’s how we make sense of it all. It’s a different kind of story, where you feel your way through in a layering process almost like painting.

They don’t always “get it” right away, though, which is why I have them wrestle with it a bit. When we’re about three quarters through the novel, I have them complete a small group project where I ask them to select a thematic idea and then create a visual product that demonstrates how different narrative threads work together to explore the idea. This year, I got some really stellar ones, and thought I’d share them in case anyone else would like to try this project! Also, please know that the students made these things up entirely on their own. I take no credit for their amazing approaches to the task!

Digital Thread Map

This approach was digital, linking drops of rain to five different narrative threads where the idea of rain and drought correlate with the characters’ feelings of guilt and longing for restoration. Like raindrops pattering down on the earth, the threads don’t need a set pattern to be felt and seen.

Pop-up/Slide-out Symbol Poster

This one was way bigger and more complicated than just this photo shows, packed with important symbols from the novel. Each symbol slides out to show an explanation and moment in the text where the idea of healing is present in different threads, and then back in to create the effect of the overall symbol-spotted poster.

Icon Illustration

This gorgeous illustration took a snake symbol–which correlates with a specific moment in the text–and used it to explore moments that talk about the human relationship with the earth, including accompanying important imagery from the novel. The two snakes represent Tayo (you can even see the little scar from his scalp ceremony) and the Mother Earth Spirit.

Fortune Teller Origami

  • Step 1.
  • Step 2.
  • Step 3.
  • Step 4.

This one completely blew my mind–such a perfect idea to illustrate the oneness of theme across many enfolded elements of a novel. This group chose the thematic idea of belonging, and identified four prominent narrative threads that featured the idea. Once choosing the thread, there are two examples, each one correlating to an important quote from the book. Amazing!

Helping Students Know That Their Stories Do Matter

30 Sunday Sep 2018

Posted by in Pedagogy, Resources for Educators, Writing

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I’ve recently been working with my high school juniors on how to write a personal statement for educational or career-related opportunities. In the next year or so, they will all have to choose a path. That might entail college and scholarship applications. It might involve cover letters for career opportunities. It might mean joining another kind of program or apprenticeship. Regardless of a student’s aspirations, being able to write about one’s self is an important skill to open all kinds of doors. The stories that reveal the qualifications and experience that they bring into potential opportunities are stories they need to be able to tell. So we begin to practice now. And I start seeing a pattern that I often see whenever personal writing pops up in the classroom.

The confident students forge straight ahead, eager to envision their futures and tell the story of their potential. Many others approach with reticence, but slowly work their way through with the help of mentor texts, modeling, and one-on-one instruction. I’m not worried about those kids–they will all be fine. I worry about the ones who freeze–the ones who look at this assignment and refuse to put words to the page. These are the students who say things like, “I can’t do this. I can’t write.” Or “Nothing about my life is interesting.” Or the worst one (which I still get every year): “I really don’t have any positive traits. There’s nothing good about me.”

Moments like this touch something that a standardized test can never measure–the inextricable link between personal writing and self-concept. These are the students who, somewhere along the way, started believing that their stories don’t matter. Maybe it’s because of some aspect of who they are. Maybe it’s because of something they are struggling with. Maybe it’s because they don’t believe that anyone will listen to what they have to say. These students are often evasive or belligerent. But they are so important.

We cannot allow kids like this to give up. We need to show them that someone is listening. Every student’s story matters, and helping them learn to tell it, if you ask me, is possibly the most important aspect of my job as a teacher of writing.

So how do we do this? It’s a problem I’m still working on, one that I certainly haven’t completely solved. However, I’ve got a start, and as I’ve been applying this method this past week, I thought it might be helpful to share. Here are some things that I rely on to lift these students up and show them that their stories matter!

1. Double-check your teaching for culturally responsive practices. Culturally responsive pedagogy is too complex for me to explain in depth here, but it is something that every teacher should be familiar with. At the most basic level, remind yourself that the reason a student may be struggling may have something to do with a lack of inclusion or understanding related to their home culture, language, or socio-economic status. For teaching something like the personal statement, think about the various versions of success that can be presented in the written examples that you provide to them. Are all students presented with an example that they can relate to? Or does a homogenous definition of success end up excluding students of certain backgrounds, sending the message that this kind of writing doesn’t include people who look, speak, or live like they do?

2. Find something in common, and model from there. Talk to your students who won’t write. Divert the conversation away from the writing task and toward what they care about. What do they do with their spare time? Where have they lived? Where do they work? What are they most proud of? Who do they love? I talk with my students about these things, sometimes writing down brief notes on our conversations to hand back to them. Often, that organically provides a starting point–maybe a student suddenly realizes that she emulates her mother’s determination, or that she can really talk to lots of different types of people with ease… those are wonderful, marketable traits that are great to write about. Point that out! Help them see the good that you see. So much the better if you as the teacher can find something similar in your own life and say, “Hey, that’s kind of like me! So here’s how I would set this piece of writing up if I were doing it…” Show them how to put it down, and it quickly becomes less scary.

3. Minimize pressure — Just talk, then just write… Do everything you can in your classroom culture to emphasize that writing is messy, experimental play that can be twisted and flipped and cut and expanded at will. Even something as high stakes as a personal statement starts as a draft. Spend less time saying things that send the message of “You will fail in the future if you don’t do this well.” Spend more time saying, “Write a half of a notebook page about what’s most important in your life. Don’t think about making it good. It’s ok if it’s terrible. It just needs to be on the page.” Initial writing should be able to just blurt out onto a highly destructible piece of paper. Once there’s a draft, that polished essay is within sight. Then it’s time to teach revision!

…But that’s for another post. 🙂  Happy teaching!

P.s. An extra tip from my colleague Mrs. F.  For students who still get stuck on that first line, try giving them a sentence starter to get the pen moving. (Ex. “I feel good when I’m skateboarding because _____.” Sometimes that’s all they need.)

“How to Enjoy Poetry” by James Dickey: Timeless Advice from 1982

31 Tuesday Jul 2018

Posted by in Poetry, Reading, Resources for Educators, Writing

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One of my colleagues was deep-cleaning her room this summer, and left this gem in my mailbox:

It’s a two-page article from 1982, written by the late James Dickey–you may know him as the guy who wrote Deliverance. At the time that this article was printed, he was also the poet-in-residence at the University of South Carolina. While I’m sure that Mrs. F’s motivation for sharing this piece of paper with me was partially the humor of the quaint title and the very pensive portrait of Dickey even so far pre-Instagram, I did take the time to read it seriously, and it is seriously so good!

In the world of Internet everything, sometimes it feels like we’re trying to re-invent all of our material and approaches all the time, but reading “How to Enjoy Poetry” made me remember that such things are not always necessary. Poetry is as eternal as the human experience, and Dickey’s way of explaining it is incredibly accessible and accurate. Before you throw all your paper-based binders away, make sure to mine them for gold!

I’m definitely going to use this piece with my classes this year, and I’ve scanned it into a digital copy so that you can too. I’ll put a link to the .pdf at the end of the post. But first, I want to share some of my favorite moments from the article.

“The sun of poetry is new every day, too, because it is seen in different ways by different people who have lived under it, lived with it, responded to it. Their lives are different from yours, but by means of the special spell that poetry brings to the fact of the sun–everybody’s sun; yours, too–you can come into possession of many suns: as many as men and women have ever been able to imagine. Poetry makes possible the deepest kind of personal possession of the world.”

Find and fall in love with the full article here, and enjoy your own pursuit of the path! How to Enjoy Poetry

5 Reasons to Focus More on Teaching Structure in the Writing Classroom

28 Monday May 2018

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Sweet, sweet structure.

When we talk about writing, it’s easy to think of it in terms of what we’re saying. That’s the most exciting part, right? The stories of our lives, the new discoveries we make in research, the opinions we’re burning to assert… Those are our reasons for writing in the first place. But what about the craft of writing? What about making sure that those messages we so dearly want to get across are actually heard? There’s an answer for this, and it comes from a component of writing that is rarely prioritized in the high school classroom, but I’m going to try to prove here that teaching it well needs to be a bigger deal.

Structure! It’s a word that we don’t typically hear kids use when they talk about their writing, but it’s my new favorite writing focus with my teenage students. 

Before I get into telling you all the great things about teaching student writers about structure, let me clarify what I mean when I use the term, just in case it’s different than the way others may think about it. For me,

STRUCTURE =

*order of information  (There should be reasons why certain pieces are ordered first, before/after other things, or last.)

*overall organizational vision (What sections does this project have? Is it moving in a linear or nonlinear way?)

*where breaks and white space occur (Where are the shifts in topic, tone, or time? What lines or sections need emphasis?)

I started looking more closely at structure this year when I noticed that my students increasingly tend to write in big unorganized blobs of text–no paragraphs, no headings, no discernible order… just one big blob. The case of the missing paragraphs sent me out to teach structure directly, and it resulted in a slew of unintended positive side effects! So in case you’re not convinced yet, read on…

Five Reasons to Focus More on Teaching Structure in the Writing Classroom

  1.  Better close reading skills. When I teach writing, we work with mentor texts quite a bit. The idea is to understand a professional writer’s “moves” so that we might imitate them. But whereas strong imagery or repetition are things that students notice easily, they sometimes need prompting to find structural choices. When intentionally bringing attention to things like paragraph breaks, reasons for segmenting/sectioning writing, and watching for shifts in topic, tone, or time, students get a better sense of the specific impact that structural choices can have on readers. It also makes them more effective analyzers of text overall–they start noticing these moves in other reading contexts, too.

  2. More rigor in creative tasks. I love the freedom of poetry and narrative as much as my students do, but sometimes it leads students to believe that anything creative that they write on the page is beyond evaluation just by virtue of the fact that it’s creative. I recently had a conversation with an advanced student who is working on a poetry collection. She asked, “Since my poems are kind of all just my personal thoughts, is there really any way to tell if they’re good or not?” “Yes,” I told her, because while nobody can tell anyone what to write, there definitely is such a thing as good and bad creative writing. Part of my solution for this student was to examine her structure, because strong creative work uses it very intentionally. I advised her to think about her stanzas–why were they in that order? Why did she shift to a new stanza or a new verse when she did? Why did the stanzas have five lines each? Even young writers who do implement structural moves in their writing sometimes don’t have any actual reasons for them. Working with structure is a great way to challenge students to gain greater control and nuance in their creative writing.

  3. Huge impact on revision quality. Writing in any form can be completely transformed when it is purposefully reordered or even just when paragraph breaks are used well with intention. I try to help my students learn that paragraphs are units of meaning, not length–I still sometimes get students who wonder “how many sentences should be in a paragraph?” Of course, they should be evaluating that themselves, paragraph by paragraph. This is a great time to teach how and why we use breaks to help our audience understand that we are moving–maybe we’re changing the topic. Maybe we’re moving from a present narrative to a past memory that’s connected to that narrative. Maybe we’re isolating a one-line paragraph with white space because that line is really, really important. A structural revision can really transform a draft for the better.

  4. The “organization” category in standardized writing scores. I won’t spend too much time on this one other than to say that the ACT Writing Rubric allots 25% of its scoring to the organization category. Blob writers cannot score well, even if everything else about their writing is on point.

  5. More effective arguments. It’s a pretty simple premise that when you’re trying to convince someone of something, you need a very strong opening point to gain the audience’s consideration, and the strongest possible closing point to seal the deal. Yet, I have many students who organize their argumentative writing simply in the order that they thought of it initially or in the order of the sources that they discovered, with no real thought to why certain pieces are placed where they are. Working with students to strategize about the most convincing order of ideas can be a game changer in the impact of their argumentative writing. It ends up feeling far less like an endless stream of “And you know what else?!” and far more like a cohesive, crafted persuasive piece.

The school year is almost done! Maybe for some of you lucky ducks out there, it’s already done. However, if you’re a writing teacher, take some advice from me and jot the word “STRUCTURE” somewhere in the early September days of your 2018-2019 planner. I think you’ll find that it will make your students’ writing click into place in new, exciting ways.

A Lot to Carry: When Compassion Fatigue is Part of the Job

12 Saturday May 2018

Posted by in Reflections, Resources for Educators, What it is all about

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Have you ever picked up a bag that was far heavier than you thought it would be? Maybe it’s a purse, or a suitcase, or possibly a backpack. There’s that moment of surprise, then you make a closer inspection of the object: What’s in here, bricks?! There’s a physical readjustment. Oh yeah, we think, lift with your legs. And we hoist it up, managing as best as we can.

Teaching is kind of like that sometimes. A lot of our students are carrying heavy things around. Some of those things they put in our arms, and we end up carrying them, too.

Certain privileges land in our laps as educators, and one of them is being witness to the stories of young people. Especially as English teachers, who encourage our students to learn the power of writing about their lives, there are things that come across our desks that can accumulate quickly in emotional weight. Kids might write about trouble with friends, family issues, self-esteem problems, bad memories, mental illness… We forget this, but everything that touches the adult world touches children, too. Young people aren’t too young to have pain, and while most assignments are intentionally skewed to accommodate positive memories, sometimes stories about wounds, whether old or new, need somewhere to go.

It is both a blessing and a burden to be trusted with such stories. On the one hand, you feel grateful that the student would trust you enough to share a difficult memory. On the other hand, the little moments where you say to yourself “I can’t believe a kid had to go through this” can add up quickly and silently. Professionalism demands that we keep these stories confidential (barring, of course, any support that we notify in situations where mandatory reporting or guidance interventions are required). We understand and honor this. We just lay these stories on top of our own.

We might also hear about something that a student has gone through after the fact, getting looped in to a confidential notification so that we can best support and accommodate the student. Especially when such things happen to students that we’ve worked with closely for a long time, knowing that they are hurting can be crushing. We can’t talk about these stories either, because students deserve our confidentiality and discretion. We keep a professional distance and try to keep it about the learning, while trying not to worry too much. But we don’t forget that stuff. We just carry it. Some years give us a lot to carry.

It’s a tough situation to be in. Of course, as teachers, we are more removed from student situations than families are, and sometimes I wonder to myself how much I really have the right to worry or not worry over a particular kid. My professional responsibility is to make sure that students have the environment and tools to learn as best they can. But that doesn’t mean that I don’t lie awake some nights hoping things are going to be ok for one of my students.

Teaching is a career about people, and I wish there was more concrete emotional support–for pre-service teachers all the way up to veterans–for the caretakers themselves. There are plenty of feel-good messages out there, of course, that encourage us to think of the difference that we’re making and to stay positive and grateful. There’s nothing wrong with that, but when it comes to practicing real skills surrounding self-care and managing anxiety, I think people who work in caring professions tend to have deficits. We don’t always understand the extent of the weight we carry, until we find ourselves sick or down in a way that takes a while to come back from. And we don’t always know what techniques work best for us to keep our (emotional and physical) selves healthy enough to keep going. I count myself among this number–I am still learning how to identify how much weight is in my backpack, so to speak, and how I need to tend to myself to make sure I can keep carrying it.

Self care fuels emotional strength! As I’ve found out personally, it also may spur an addiction to bath bombs, so watch out for that one. If you or your students need a little more information about aspects of self-care to help make your backpacks lighter, check out this beginner guide that I created for my homeroom kids (and for me): Self Care. Use/distribute however you like!

At the end of this Teacher Appreciation Week, I have two messages to send:

To students, never doubt that your teachers care about you and worry over you, even if they don’t seem to express it outright.

To teachers, never feel bad about practicing self-care or reaching out for support of your own. Just because your soul can provide for others doesn’t mean it can go forever without being renewed and fed.

 

Scaffolding Synthesis: Smaller Steps Toward Rigorous Writing

11 Sunday Mar 2018

Posted by in Research, Resources for Educators, Writing

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If you teach at the high school level, then you know that teaching synthesis writing is an important part of our jobs right now. Undoubtedly, some of that is motivated by the writing section on the ACT, which is essentially a truncated, 0n-demand synthesis essay. But synthesis writing also represents a skill that should be in every well-educated student’s back pocket. It requires writers to not only present information or have an opinion, but rather to analyze the varied perspectives on an issue, organizing and evaluating them to create a complex argument.

In other words, good synthesis writing involves the kind of rhetoric that we wish most adults out on the internet had at their disposal. Therein lies one of the difficulties of teaching this kind of writing–today’s students really struggle to write about multifaceted topics without oversimplifying. Some simply present their opinion as the only reasonable way to think about something. Others get a little more sophisticated by acknowledging two sides–an extreme pro and an extreme con. But that’s not reality, nor is it good writing. How do we get students to explore sources and really present a whole spectrum ideas about an issue?

I’ve been working to solve this problem for several years now, and each year I add something new to my teaching strategies for synthesis. This year, I was really happy with the results, and wanted to share a couple things I made to help my students learn the smaller skills that are needed to be successful with synthesis–just a couple extra puzzle pieces that can help boost some skills.

SCAFFOLDING TIP #1: Before asking them to write critically, make sure they can read critically.

The presentation below guided some of my pre-teaching about recognizing perspectives within texts–I pulled some articles on current events and we used them to work through the question set on the last slide… first together, then individually. This crucial first step really helped my students start thinking about each of their sources as representing a particular viewpoint, rather than simply viewing all sources as “information.” This lesson also helped equip my students with vocabulary meant for recognizing multiple ways of looking at an issue: “opposing perspective,” “overlapping perspective”, “additional perspective,” etc. Coming to class already having these kinds of reading and thinking skills are not a guarantee, even for upper level high school students. Pre-teaching them (or re-teaching them) made a big difference in the sophistication of my students’ thinking over the whole unit.

 

SCAFFOLDING TIP #2: After modeling how to find sources on a topic, have students draw a spectrum of viewpoints and locate their own.

Once students start getting into their research, I have them create a numbered list of sources they could potentially use in their writing. Then, I show them how to draw a spectrum of views and locate different viewpoints within that continuum. This process really helped them visualize the full conversation surrounding their topics. (And, in some cases where students did not draw anything in the middle, it was an immediate indicator that I needed to provide more remediation before they began writing.) I conferenced with each student on his or her perspective map, and the conversations led naturally into their writing. Below is my example and some student examples.

SCAFFOLDING TIP #3: Focus on assessing writing skills, not quantifying checklists of writing tasks.

As far as grading goes, I created a new rubric to focus on the skills I wanted to see students demonstrate. This scoring guide was helpful to my students while drafting and revising, because it was based on my learning standards for the unit. Instead of superficial conversations like “How long should it be?” or “How many sources should I have?”, the new rubric led to discussions about how to make a position strong or what successful organization looks like. Feel free to modify my rubric (below) for your own classroom!

Communications 3: Synthesis Unit Essay Rubric

____/ 10 Complexity of thought: Writer is able to describe various viewpoints on a topic that extend beyond a mere binary pro/con relationship. The spectrum of views, including mid-point or partially supportive ones, is explored. Writer identifies elements of the topic that make it a complicated one.

____/ 10 Clarity and strength of position: Writer holds a specific, clear viewpoint on the topic, which is well-supported with reasoning. Writer’s convictions are immediately observable and presented with a strong voice.

____/ 10 Perspective-taking ability: Perspectives are presented in an objective way, then reasonably considered and evaluated. Description of opposing viewpoints is measured, with academically appropriate acknowledgement of the influences that create different points of view.

____/ 10 Organization and transitions: Paragraphs are used to signal shift in topic or tone. Overall order of paragraphs follows a logical flow. Successful transitions are used to create a link between ideas as a new paragraph begins. Introduction sets up successful context and thesis statement. Conclusion offers strong, compelling final points.

____/ 10 Working with sources: Sources are introduced effectively, put in context for the reader, and used to provide evidence for various perspectives on the topic. The use of direct quotes and citations is grammatically sound. If bias is present in a source, it is identified. A complete “Works Cited” page accurately records sources used in in the paper.

____/ 10 Use of language: Mechanics, grammar, spelling, capitalization, punctuation are correct. Academic voice is engaging and formal enough to be appropriate for an academic context. (You/your do not appear)

____/ 60 TOTAL

Scoring guide for each standard:

0   Not present / 3   Still emerging / 6   Beginner /

9 Proficient / 10  Exemplary

Found Poetry as a Tool for Engaging with Difficult Text

26 Friday Jan 2018

Posted by in Reading, Resources for Educators, Writing

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Here in Wisconsin, the January weather can be pretty brutal. We all cope in our own ways, but my preferred way is daydreaming about summer as hard as I possibly can! It was in one of these reveries that I found myself thinking back to the day I spent with the UW-Milwaukee Writing Project summer institute, working with the facilitators and teacher consultants in the beautiful setting of the Lynden Sculpture Garden. One of the writing activities we discussed (and tried!) that morning stuck with me and my colleague, Mr. B. We knew we wanted to try it with our high school juniors as an entry approach to a difficult text. A special thank you goes out to Jenny Hussa of the UWMWP 2017 ISI for sharing this found poetry teaching idea with us! Here’s how it went.

The approach is very simple, with several possible variations. The most pared-down version includes these steps:

  1. Tell students that you’ll be reading a text to them, and that you want them to listen for words that seem important, sound distinctive, or just strike them in some way. As you read aloud, the students should jot down a bulleted list of those words and phrases in their notebooks.
  2. In small groups, the students compare their lists. Working together to identify the best (10-ish) words/phrases from their communal pile, they then write these winning words on paper strips. *Teacher note: don’t forget to make these ahead of time!
  3. Still working together, students then organize the words to create a poem that reflects the essence of the text’s message. (We let our students add words where needed.) Then, they make it official by gluing the poem to a sturdy sheet, ready for classroom display.

Since we’re working with high school students, we used our whole class text of The Crucible as the starting point. Miller’s introduction–which provides commentary on the socio-historical context of the play–describes 1692 Puritan culture in Salem, Massachusetts. The nuances of this society are difficult for students to understand, because the norms and beliefs are so radically different from our contemporary America. On top of that, Miller’s words are dense and challenging. It’s prime “tune out” territory, which is the kiss of death when you’re just starting a whole class book and trying to convince teenagers that it’s going to be cool. Found poetry to the rescue!

When working with a text where comprehension is a challenge, it’s important to get students identifying key details and subsequently figuring out the relationships between those details in the author’s argument. This activity achieved both of those things in a way that was creative, collaborative, and engaging.

Check out some of their poems! They use Miller’s language in new ways, all while clearly showing an emerging understanding of the novel’s historic setting through the author’s eyes.

Thoughts on Why We Write

28 Saturday Oct 2017

Posted by in Resources for Educators, Writing

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If you’re not an English teacher, you may not realize that we had a holiday recently: October 20th, which is The National Day on Writing. The celebration, created by the National Council of Teachers of English, is designed to promote writing not just as a literacy component, but as part of life’s essential story-sharing force. In case you missed it, you can catch up quickly just glancing around social media at the #whyiwrite hashtag, now nine years strong.

This year, I spent National Day on Writing Eve in the best possible way: with a colleague and a classroom full of young people who showed up to the inaugural meeting of our sparkly new writing club, The Young Authors. We wanted to create a very simple group for high school students, to honor that work of secret solo writing that so many engage in. What if, we asked, there was a meeting place for all those kids with stories burning inside them? What would happen if we simply provided a place to write together? As it turns out, (and as usual:) if you build it, they will come. In our first and second meeting, we introduced ourselves just by sharing what we typically write in our free time. Out it spilled: “I write poetry…. I’m working on a novel… I’ve been writing songs for the past couple years… I write dark and disturbing fantasy short stories… I don’t know what I write, but I know that I want to!” These kids are authors already, and now that they’ve been assembled together, I can’t wait to see their collective power grow. There’s a unique, quiet magic to a room full of people all scribbling and tapping away, bringing their inner worlds to life while working side by side. It makes me smile to see the people walking down the hallway past our room, peeking in curiously at a whole bunch of teenagers with focused expressions, silently immersed in creative work, while the late afternoon sun streams in and music seeps from the computer speakers. Sometimes I wave at them. They’ll know who we are soon enough.

This is the spirit of the National Day on Writing: the knowledge that more writing–and more support for it–is always a good thing. We are so excited about this new student group for lots of reasons. There are many plans down the road for things like attending writing conferences, creating commemorative mugs (!), and pursuing publication opportunities for these young writers. We want them to know that we are here to value and champion the words that they want to share with the world.

At the first and second meetings, we asked these students to submit a #whyiwrite response, and reading these really sums up everything about why fostering a love for writing in young people is so important. I leave you with a selection of them here.

I write because I am in control of what I create. There are no boundaries and no one can tell me what to write.

I write because it calms me down.

I write because I love playing with words.

I write because it helps me express myself artistically.

I write because it helps me cope with my depression. Writing is escape.

I write because it lets my thoughts and feelings play out on paper.

I write because I love creating new worlds out of nothing but my imagination.

These voices tell us that writing is so much more than whatever happens on a worksheet. Writing helps us connect with our whole selves when we do it right, and helping students get to that point is part of our cause as teachers.

I write because the fins of ideas are not meant to batter against the glass of a sealed jar.

How about you?

Tackling the Classics: Helping Students Adapt to Reading Literature with a Capital L

02 Monday Oct 2017

Posted by in Literature, Pedagogy, Reading, Resources for Educators

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I love it when students share what they read with me. I encourage them to interact with each other (and me!) through Goodreads, where we can share recommendations, reactions, and reviews from our reading lives. Many times, students help me learn about cool new titles that I should add to my classroom library. On the other hand, sometimes they make me shake my head in a very special brand of English teacher sorrow. All I really need to share here is this pair of student Goodreads ratings from last year:

Fifty Shades Darker, 5 out of 5 stars.

Hamlet, 3 out of 5 stars.

Help.

Now, please understand–I am 100% in support of student choice in reading. Our school’s independent reading program, which emphasizes volume and choice has done wonders for the reading culture and ability of our students. And if reading a little bit of what I would generously rate as garbage helps a student become a stronger reader who’s ready for more challenging things than they would be otherwise, I’m all for it!

But… I also have a deep love and respect for classical literature–I am an AP Literature and Composition teacher, after all! When I do teach a full-class text that comes from a more challenging place, I want to give students the best chance to adore it like I do. It’s not easy. Many canonical texts are extremely challenging. They use unfamiliar language structures and words, and abide by different standards for craft. There are old references, and types of humor that aren’t even common anymore. Is reading something like that as enjoyable as reading a fast-paced, on-trend piece of contemporary young adult lit? Maybe not. Or maybe it is just as enjoyable, just in a profoundly different way. Students often don’t understand why we ask them to wade through Shakespeare’s works. It’s our job to help them see that something like Hamlet will not provide the same automatically visceral thrill as something written at their own independent ability level from their own time. But the mental challenge that it presents is absolutely sumptuous–if one knows to be looking for it.

I started this year with a discussion that I think will be really helpful for my literature students in learning to love Literature with a capital L. It’s about reading for different purposes and the different types of enjoyment we can get out of different texts. I’d like to share the notes from our discussion–maybe they’ll help you clarify reading for different purposes with your own students.

Reading for fun and entertainment

*Purpose: evaluating quality and enjoying emotionally

*Focus on plot, always asking “What happens next?”

*We look for thrill, suspense, and surprise, personal connections to characters, and happy or otherwise satisfying endings

*Texts are typically fairly modern and fairly easy to read

*We want to know… was it good? Did you like it? How did it make you feel?

Reading for analysis

*Purpose: exploring and uncovering mentally

*Focus on message, asking “What moves does the author make and why?”

*We look for craft and language choices made by the author, connections to social realities and philosophical questions

*Texts are typically older and fairly difficult to read

*We want to know… what statement does this text make about life’s big questions? What did this text make you think about?

I find it helpful, too, to talk about literature also in terms of fashion–styles that seemed normal in one era seem dated to us now… but that doesn’t mean that they weren’t cutting-edge and boundary-breaking in their own time. The literary fashion of today’s storytelling tells us that predicability is the killer of a good story. Well, tell that to Oedipus Rex. I’ve found that when students learn to judge literary texts with different tools of measurement, the ability to appreciate (and, yes, enjoy!) comes a little more easily.

Happy teaching!

P.s. Here’s a handy-dandy little graphic about the functions of literary reading to help seal the deal.