I found Tyre's (2012) statement, "Students’ inability to translate thoughts into coherent, well-argued sentences, paragraphs, and essays was severely impeding intellectual growth in many subjects. Consistently, one of the largest differences between failing and successful students was that only the latter could express their thoughts on the page" extremely eyeopening (p. 1). I greatly value and appreciate the passion that DeAngelis had for her school. She recognized the problem, but rather than let the problem defeat everyone involved, she initiated a solution for the school- improving the students' writing. It is rare to find people who genuinely want to find solutions to their problems and see others around them succeed. The New Dorp's Writing Revolution definitely challenged everyone involved. I, too, agree that students need to be taught the basics of grammar and writing conventions in order to strengthen their writing skills. While some students will naturally "catch" writing skills along the way, other students must be taught the skills that will make them successful writers and communicators of ideas.
The response I read to the Writing Revolution was A Passionate, Unapologetic Plea for Creative Writing in Schools by Rebecca Wallace-Seagall was a passionate piece about keeping creative narratives, fiction writing, and memoirs a part of the students' writing program. I especially loved the summarizing sentence at the beginning of the piece in which Wallace-Seagall (2012) states, "Some fiction and memoir programs are a waste of classroom time. Others sharpen students' thinking and provide them with unmatched insight. Good teachers know the difference" (p. 1). Good teachers are the balance or equalizing factor in this equation! I have learned from my mentor teacher this year that there are no two classes or no two students who are exactly the same. Teaching is all about molding your lessons and instruction to best meet the needs of your students. When great teachers truly know their students, those teachers know what type of instruction will boost the students to the next level and challenge them. The Writing Revolution article did not go into detail about the type of writing instruction that the students received in their language arts classes. Perhaps there was an opportunity for the students in New Dorp to write creatively and expressively while working on academic writing.
I believe that there is a balance to find when considering what the students need to become successful both in school and after school. My desire is to know my students well enough to find that balance quickly and implement it smoothly. Writing is indeed a powerful tool that can take you anywhere!
Tyre, P. (2012, October). The Writing Revolution. The Atlantic. Retrieved November 12, 2012, from
http://www.theatlantic.com/magazine/archive/2012/10/the-writing-revolution/309090/3/
Wallace-Segall, R. (2012, October, 4). A Passionate, Unapologetic Plea for Creative Writing in Schools. The
Atlantic. Retrieved November 12, 2012, from http://www.theatlantic.com/national/archive/2012/10/a-
passionate-unapologetic-plea-for-creative-writing-in-schools/263212/
Monday, November 12, 2012
Monday, November 5, 2012
Digital Literacy Brings Change
I learned much while reading about the various youth organizations and programs that are incorporating digital literacy to bring change to their community. I love what the Digital Youth Network through their efforts- "students are developing new technological skills and transforming the way they see themselves. They now see themselves as producers of media (articles, games, videos, etc.) rather than as the often-caricatured passive teenage media consumer." It is wonderful for students to learn that they can move past their role as passive media consumer and assume an active voice in the digital media.
Mr. Rivera's fourth grade class proves what a group of students can accomplish through the impact of digital literacy and media. I was pleasantly surprised to see the amount of thought, research, planning, and executing that these ELLs produced through their service learning project. The students used various digital media sites that allowed them to create their own emails, set up a blog, take a poll, and create their own podcast to advocate for water conservation and raise awareness about water pollution.
This school year I am student teaching in a fourth grade class. After reading and watching the video of Mr. Rivera's fourth grade class' project, I hope that I will have an opportunity to use digital media in a similar way this year. I will keep my eyes open for the possibilities as the school year progresses.
http://digitalis.nwp.org/collection/digital-tools-change
http://digitalis.nwp.org/resource/366
Mr. Rivera's fourth grade class proves what a group of students can accomplish through the impact of digital literacy and media. I was pleasantly surprised to see the amount of thought, research, planning, and executing that these ELLs produced through their service learning project. The students used various digital media sites that allowed them to create their own emails, set up a blog, take a poll, and create their own podcast to advocate for water conservation and raise awareness about water pollution.
This school year I am student teaching in a fourth grade class. After reading and watching the video of Mr. Rivera's fourth grade class' project, I hope that I will have an opportunity to use digital media in a similar way this year. I will keep my eyes open for the possibilities as the school year progresses.
http://digitalis.nwp.org/collection/digital-tools-change
http://digitalis.nwp.org/resource/366
Monday, October 29, 2012
How to Best Reach All Students...
Dudley-Marling (2009) begins chapter five by stating, "The mark of skilled writers lies in varying what they say and how they say it- selecting the appropriate genre features- according to the social situation (purpose, audience, social context) (pg. 65). I want my students to be capable of varying their work to this degree. It is so crucial for students to learn that we write with different styles for different audiences and different purposes.
I appreciate that Dudley-Martin advocates for teachers to include multiple and varied genres. Some students will make a connection with narratives while others will connect with digital literacy. I understand the importance of introducing multiple genres for my students to explore. It is beneficial to push all students to try writing in different genres until they find that connection.
In my field placement class, my mentor teacher encourages the students to try out most genres. One of the struggling writers wrote an action-packed narrative, and the mentor teacher suggested that he take that story transform it into a comic. She pointed out that all of his dialogue and action verbs would be better suited in this particular genre. Since the class has yet to study comics as a genre, the teacher pointed out some excellent mentor texts that were in the classroom library. I am looking forward to find out more about his story transformation.
As Dudley-Marling (2009) points out, "...deliberately reading a wide rage of genres to students encourages them to broaden the purposes and audiences for their writing, and it provides data for children about how different genres work" (p. 68). Varying the daily read-alouds exposes the students to more genres while allowing them to experience genres that they may have never experienced before. Reading and writing are truly interconnected!
In chapter six, I learned about the multiple dimensions of writers- "a composer of ideas, and editor who understands structures and conventions, and an author who understands that her writing has power" (Dudley-Marling, 2009, pg. 89). I love thinking of the individual student writer as having multiple dimensions in their writing.
Chapter seven provided multiple ways to engage students in improving spelling and conventions. In my previous teaching experience, I placed far too much value on correct grammar conventions. I am finding out that I did not give my students choice and ownership over their writing. Dudley-Marling's (2009) statement, "Students tend to drop the meaning and personal investment attached to the act of writing when the point of writing becomes achieving the highest possible score" made a huge impact on me (pg. 110). I do not want to be the teacher that causes students to lose their personal investment in writing. I am determined to become the best possible teacher for my students.
I am learning more each time that I teach and conference with the students in the writing workshop environment. I will apply these readings to make my teaching more effective and my writing conferences more helpful for the students.
Dudley-Marling, C., & Paugh, P. C. (2009).A classroom teacher's guide to
struggling writers: how to provide differentiated support and ongoing
assessment. Portsmouth, NH: Heinemann.
I appreciate that Dudley-Martin advocates for teachers to include multiple and varied genres. Some students will make a connection with narratives while others will connect with digital literacy. I understand the importance of introducing multiple genres for my students to explore. It is beneficial to push all students to try writing in different genres until they find that connection.
In my field placement class, my mentor teacher encourages the students to try out most genres. One of the struggling writers wrote an action-packed narrative, and the mentor teacher suggested that he take that story transform it into a comic. She pointed out that all of his dialogue and action verbs would be better suited in this particular genre. Since the class has yet to study comics as a genre, the teacher pointed out some excellent mentor texts that were in the classroom library. I am looking forward to find out more about his story transformation.
As Dudley-Marling (2009) points out, "...deliberately reading a wide rage of genres to students encourages them to broaden the purposes and audiences for their writing, and it provides data for children about how different genres work" (p. 68). Varying the daily read-alouds exposes the students to more genres while allowing them to experience genres that they may have never experienced before. Reading and writing are truly interconnected!
In chapter six, I learned about the multiple dimensions of writers- "a composer of ideas, and editor who understands structures and conventions, and an author who understands that her writing has power" (Dudley-Marling, 2009, pg. 89). I love thinking of the individual student writer as having multiple dimensions in their writing.
Chapter seven provided multiple ways to engage students in improving spelling and conventions. In my previous teaching experience, I placed far too much value on correct grammar conventions. I am finding out that I did not give my students choice and ownership over their writing. Dudley-Marling's (2009) statement, "Students tend to drop the meaning and personal investment attached to the act of writing when the point of writing becomes achieving the highest possible score" made a huge impact on me (pg. 110). I do not want to be the teacher that causes students to lose their personal investment in writing. I am determined to become the best possible teacher for my students.
I am learning more each time that I teach and conference with the students in the writing workshop environment. I will apply these readings to make my teaching more effective and my writing conferences more helpful for the students.
Dudley-Marling, C., & Paugh, P. C. (2009).A classroom teacher's guide to
struggling writers: how to provide differentiated support and ongoing
assessment. Portsmouth, NH: Heinemann.
Monday, October 22, 2012
Writing Workshop is the Answer!
Before reading A Classroom Teacher's Guide to Struggling Writers: How to Provide Differentiated Support and Ongoing Assessment, I expected to find secrets and strategies that would be new to me. It surprised me to find out that I already knew the answer to helping struggling writers. Dudley-Marling & Paugh (2009) point out the answer when they state
Writing workshop, with its emphasis on whole-class minilessons, independent writing time,
and writing conferences, provides instructional spaces for teachers to assess the needs of
individual students and provide frequent, intensive, explicit, and individualized support and
direction as needed (p. 3).
While I am still learning much about using a writing workshop format for the writing instruction time, I understand how this time can be extremely beneficial for struggling writers. Teachers are able to provide more direct, individual writing instruction during one-on-one writing conferences. One of my fears of teaching is not having enough time to make sure that every student is successful in my class. It is promising to know that there will be time during the day to give assistance to those who need it the most.
I highlighted the sentence "Teachers who do not write themselves may have difficulty appreciating the struggles of novice writers" (Dudley-Marling & Paugh, 2009, p. 11). The more classroom experience that I have, the more I am appreciating the importance of this sentence. As I continue to grow and develop as a writer, I can encourage and instruct my students in a more authentic manner. I hope that they will be motivated to write as they see me write alongside them.
A question that I have from chapter two is how does "the immediate social possibilities of writing often motivate struggling and reluctant writers"? (Dudley-Marling & Paugh, 2009, p. 14). When I think about writing, I do not associate it with social possibilities. I do, however, like the idea of students collaborating on stories. I just do not think that all struggling students will benefit from the social aspect/collaborating in their writing. I guess that is why the writing workshop is not a formula to figure out, but a continuous learning experience for both the teacher and the students.
I experience the writing workshop every Tuesday and Thursday in my field placement class. While there are so many wonderful aspects of this writing environment, I do wish that there was more organization for the students. There is only one table set up in the back of the room for the students to use. Most students write from their desks or from sitting on the floor in various places around the room. There is not a centralized location for students to obtain materials. If a student needs a clipboard and lined paper, he must obtain these supplies from two opposite sides of the classroom. I am learning the importance of organization and space in the writing workshop.
I also completely agree when Dudley-Marling & Paugh (2009) state, "To help struggling writers become aware of the hard work of writing, teachers can model their own writing processes during minilessons" (p. 35). I did exactly this during my minilesson last week with the fourth graders I was teaching. They responded well to seeing my writing process and quickly caught my (intentional) punctuation mistakes. When the students see their teacher in the writer role, they are more likely to respond positively when it is time for a writing conference.
Something new that I learned from this week's reading was the "written conversation" activity. What a wonderful way to model proper conventions and help the student with ideas in a different format. I may try this activity the next time I have a writing conference with a student.
Dudley-Marling, C., & Paugh, P. C. (2009).A classroom teacher's guide to
struggling writers: how to provide differentiated support and ongoing
assessment. Portsmouth, NH: Heinemann.
Writing workshop, with its emphasis on whole-class minilessons, independent writing time,
and writing conferences, provides instructional spaces for teachers to assess the needs of
individual students and provide frequent, intensive, explicit, and individualized support and
direction as needed (p. 3).
While I am still learning much about using a writing workshop format for the writing instruction time, I understand how this time can be extremely beneficial for struggling writers. Teachers are able to provide more direct, individual writing instruction during one-on-one writing conferences. One of my fears of teaching is not having enough time to make sure that every student is successful in my class. It is promising to know that there will be time during the day to give assistance to those who need it the most.
I highlighted the sentence "Teachers who do not write themselves may have difficulty appreciating the struggles of novice writers" (Dudley-Marling & Paugh, 2009, p. 11). The more classroom experience that I have, the more I am appreciating the importance of this sentence. As I continue to grow and develop as a writer, I can encourage and instruct my students in a more authentic manner. I hope that they will be motivated to write as they see me write alongside them.
A question that I have from chapter two is how does "the immediate social possibilities of writing often motivate struggling and reluctant writers"? (Dudley-Marling & Paugh, 2009, p. 14). When I think about writing, I do not associate it with social possibilities. I do, however, like the idea of students collaborating on stories. I just do not think that all struggling students will benefit from the social aspect/collaborating in their writing. I guess that is why the writing workshop is not a formula to figure out, but a continuous learning experience for both the teacher and the students.
I experience the writing workshop every Tuesday and Thursday in my field placement class. While there are so many wonderful aspects of this writing environment, I do wish that there was more organization for the students. There is only one table set up in the back of the room for the students to use. Most students write from their desks or from sitting on the floor in various places around the room. There is not a centralized location for students to obtain materials. If a student needs a clipboard and lined paper, he must obtain these supplies from two opposite sides of the classroom. I am learning the importance of organization and space in the writing workshop.
I also completely agree when Dudley-Marling & Paugh (2009) state, "To help struggling writers become aware of the hard work of writing, teachers can model their own writing processes during minilessons" (p. 35). I did exactly this during my minilesson last week with the fourth graders I was teaching. They responded well to seeing my writing process and quickly caught my (intentional) punctuation mistakes. When the students see their teacher in the writer role, they are more likely to respond positively when it is time for a writing conference.
Something new that I learned from this week's reading was the "written conversation" activity. What a wonderful way to model proper conventions and help the student with ideas in a different format. I may try this activity the next time I have a writing conference with a student.
Dudley-Marling, C., & Paugh, P. C. (2009).A classroom teacher's guide to
struggling writers: how to provide differentiated support and ongoing
assessment. Portsmouth, NH: Heinemann.
Monday, October 1, 2012
Understanding Ourselves and Our Students
I love how chapter nine of Ladybugs, Tornadoes, and Swirling Galaxies begins by describing how the teachers "surround [them]selves with content" (Buhrow & Garcia, 2006, p. 124). The thought of having a huge, hanging orca in the cafeteria or a life-sized giraffe on the classroom wall makes me happy. I also believe the point that Buhrow & Garica (2006) make when they state, "by submersing ourselves in the content the level of comprehension goes up. The more we see, the more we understand" (p. 124). Not only is this true of students, but it is also true of myself. I understand more by doing and seeing it for myself. I ,too, believe "the idea of linking everything together is a powerful tool, because it keeps us thinking about our curriculum, our kids' needs, and our delivery of material" (Buhrow & Garcia, 2006, p. 126).
When the authors discussed the fact that ELLs need images along with new words, I could visualize how important this is for the ELLs and for the teacher to incorporate into each day. Having ongoing word walls are an excellent way to boost students' comprehension and language development while they take ownership of their new knowledge at the same time. It is important to remember as Buhrow & Garcia (2006) point out, "Because all vocabulary has a symbolic representation, comprehension is made easier" (p. 134).
The focus of my Middle School Curriculum class this semester is differentiation. We spent weeks developing our own definitions of differentiation, and we are continuing to learn throughout the semester how to make sure that differentiation is naturally incorporated into every lesson that we teach. I enjoyed the statement made by Buhrow & Garica (2006): "no matter where a child is when he or she arrives in the classroom, it is our job to take him or her as far as possible and tap into that child's wealth of knowledge" (p. 140). This statement applies to every teacher in every classroom and in every situation. If the classroom is an ELL one, a special education one, an inclusion one, or a gifted one, each teacher should make sure that each and every student exceeds and is successful.
Buhrow, Garcia, A. U. (2006). Ladybugs, tornadoes, and swirling galaxies:
English language learners discover their world through inquiry. Portland,
ME: Stenhouse Publishers.
English language learners discover their world through inquiry. Portland,
ME: Stenhouse Publishers.
Monday, September 24, 2012
It's a long journey that requires patience!
As I learned in previous chapters of Ladybugs, tornadoes, and swirling galaxies, "the first step in nonfiction writing is to get students talking about their world and reading and writing their world" (Buhrow & Garcia, 2006, p. 72). If the first step includes exploring their worlds in more detail, the second step flows naturally from the first- having the students read more nonfiction books that interest them.
During my time here at UGA, some of my classes focused on an inquiry-based approach of teaching and learning. While many native English students may be new to this inquiry-based approach, our ELL students will need much direction from us as they begin reading, learning, and writing. How can I accomplish such an enormous task? Buhrow & Garcia (2006) state, "We do this through think-alouds. We talk, talk, and talk out loud, saying everything we are thinking. We try to be specific and and include even the most mundane thoughts we might be having to make it clear we are grappling with our own ideas" (p. 72). When the students are able to see the teacher model the thinking process in front of them, the students will have a clearer understanding of how to guide their thinking during inquiry.
I never realized that note-taking could take so many varied forms. From the traditional writing down of facts to drawing a pictorial representation of a text/picture, the form that a student may choose for note-taking can be as unique as the student. I like the idea of keeping a classroom note-taking sheet posted as an example for the students. As Buhrow & Garcia (2006) point out, "Each column of the note-taking sheet is labeled with the language forms we are practicing, such as "I wonder _____" and "I learned_____"..."Connections"..."My Schema"..."Wow!"..."My New Schema"..."and one more for "More Questions" to show that note-taking is an ongoing process" (p. 73). It is important to take time with the students and make sure that they learn the valuable skill of note-taking. When students learn to write down their own thinking and ideas, they will become more skilled at the inquiry process.
I LOVE using multi-colored sticky notes for varying purposes around the classroom. The authors mention the use of sticky notes throughout these four chapters. When illustrating how one student takes notes, Buhrow & Garcia state, "She grabs some pink sticky notes and writes, "I learned." On yellow sticky notes she writes, "I wonder," and on green sticky notes she writes "Wow!" (p. 95). The students may use the sticky notes for taking notes of their own, for leaving comments about other students' work, to write notes to the teacher/principal, to create anchor charts around the room, or for other purposes. It seems that the possibilities are endless. I will definitely purchase a stock pile of multi-colored sticky notes before I begin teaching full time next year.
Buhrow & Garcia (2006) describe the ELL writer's workshop by stating, "this is all natural. The kids are everywhere, spread out with their work, engaged in their thinking, working at their own pace. We move around the room conferring with kids, helping them move from one step to the next" (p. 83"). Not only does this paint an accurate picture of what the workshop environment encompasses, but it also spells out the roles of both student and teacher. The students are engaged with their thinking and working while the teacher moves about, confers, and assists the student sin moving from one step to the next. No two students will be at exactly the same place at exactly the same time. This frightens me somewhat, but I would rather experience the writing workshop environment than a traditional classroom setting.
Mind maps are a wonderful way to summarize a unit as the students complete that unit or perhaps to use as a form of assessment. Once the mind maps are created, they can be displayed around the classroom for future reference.
When someone mentioned the word publishing, my mind immediately thought of a work published in a book or on an online website. In my mind publishing was official and often times included in a book that people could purchase. Now, my thoughts are not the same. Publishing can mean so much more than the traditional meaning of the word. Students can publish their work in a variety of formats. Those formats may include printing out a story or research from the computer, making a book from construction paper, creating a chart, writing a poem, making a poster, or other such possibilities. As long as the student has access to a wide variety of supplies, the end result of their publishing will be creative and unique to the individual student. Buhrow & Garcia (2006) also mention the importance of publication when they state, "seeing their work in print and in finished form helps children take ownership of their writing...putting their work out there helps the students build confidence and pride in their writing" (p. 107). These are important aspects that I want to make sure my students have- ownership, confidence, and pride in the work.
It's a long journey, but I will make it if I have enough patience!
Buhrow, B., & Garcia, A. U. (2006). Ladybugs, tornadoes, and swirling galaxies:
English language learners discover their world through inquiry. Portland,
ME: Stenhouse Publishers.
During my time here at UGA, some of my classes focused on an inquiry-based approach of teaching and learning. While many native English students may be new to this inquiry-based approach, our ELL students will need much direction from us as they begin reading, learning, and writing. How can I accomplish such an enormous task? Buhrow & Garcia (2006) state, "We do this through think-alouds. We talk, talk, and talk out loud, saying everything we are thinking. We try to be specific and and include even the most mundane thoughts we might be having to make it clear we are grappling with our own ideas" (p. 72). When the students are able to see the teacher model the thinking process in front of them, the students will have a clearer understanding of how to guide their thinking during inquiry.
I never realized that note-taking could take so many varied forms. From the traditional writing down of facts to drawing a pictorial representation of a text/picture, the form that a student may choose for note-taking can be as unique as the student. I like the idea of keeping a classroom note-taking sheet posted as an example for the students. As Buhrow & Garcia (2006) point out, "Each column of the note-taking sheet is labeled with the language forms we are practicing, such as "I wonder _____" and "I learned_____"..."Connections"..."My Schema"..."Wow!"..."My New Schema"..."and one more for "More Questions" to show that note-taking is an ongoing process" (p. 73). It is important to take time with the students and make sure that they learn the valuable skill of note-taking. When students learn to write down their own thinking and ideas, they will become more skilled at the inquiry process.
I LOVE using multi-colored sticky notes for varying purposes around the classroom. The authors mention the use of sticky notes throughout these four chapters. When illustrating how one student takes notes, Buhrow & Garcia state, "She grabs some pink sticky notes and writes, "I learned." On yellow sticky notes she writes, "I wonder," and on green sticky notes she writes "Wow!" (p. 95). The students may use the sticky notes for taking notes of their own, for leaving comments about other students' work, to write notes to the teacher/principal, to create anchor charts around the room, or for other purposes. It seems that the possibilities are endless. I will definitely purchase a stock pile of multi-colored sticky notes before I begin teaching full time next year.
Buhrow & Garcia (2006) describe the ELL writer's workshop by stating, "this is all natural. The kids are everywhere, spread out with their work, engaged in their thinking, working at their own pace. We move around the room conferring with kids, helping them move from one step to the next" (p. 83"). Not only does this paint an accurate picture of what the workshop environment encompasses, but it also spells out the roles of both student and teacher. The students are engaged with their thinking and working while the teacher moves about, confers, and assists the student sin moving from one step to the next. No two students will be at exactly the same place at exactly the same time. This frightens me somewhat, but I would rather experience the writing workshop environment than a traditional classroom setting.
Mind maps are a wonderful way to summarize a unit as the students complete that unit or perhaps to use as a form of assessment. Once the mind maps are created, they can be displayed around the classroom for future reference.
When someone mentioned the word publishing, my mind immediately thought of a work published in a book or on an online website. In my mind publishing was official and often times included in a book that people could purchase. Now, my thoughts are not the same. Publishing can mean so much more than the traditional meaning of the word. Students can publish their work in a variety of formats. Those formats may include printing out a story or research from the computer, making a book from construction paper, creating a chart, writing a poem, making a poster, or other such possibilities. As long as the student has access to a wide variety of supplies, the end result of their publishing will be creative and unique to the individual student. Buhrow & Garcia (2006) also mention the importance of publication when they state, "seeing their work in print and in finished form helps children take ownership of their writing...putting their work out there helps the students build confidence and pride in their writing" (p. 107). These are important aspects that I want to make sure my students have- ownership, confidence, and pride in the work.
It's a long journey, but I will make it if I have enough patience!
Buhrow, B., & Garcia, A. U. (2006). Ladybugs, tornadoes, and swirling galaxies:
English language learners discover their world through inquiry. Portland,
ME: Stenhouse Publishers.
Monday, September 17, 2012
"An environment where print is valued and used by everyone"
While reading through the first four chapters of Ladybugs, Tornadoes, and Swirling Galaxies: English Language Learners Discover Their World Through Inquiry, I found myself constantly thinking of how to incorporate the ideas of Buhrow and Garcia into a middle school writing workshop. I found many connections in the first chapter about how to create an effective, welcoming environment for my future students.
As Buhrow & Garcia (2006) point out, "We want our classroom spaces to reflect more of a cozy, laid-back environment than a classroom that lacks the natural ambience creativity fosters" (p. 11). I believe in establishing a classroom environment in which students will love returning to each day. There should be comfortable seating, many places to work or read quietly, an area for conferences, and an area for the entire class to meet as a whole group. I also strongly believe that "kids are no different from adults in that they are able to think better in an environment they find comfortable" (Buhrow & Garcia, 2006, p. 13). I understand that my students will be more free to think, read, write, learn, and grow throughout the year if I provide them with an environment that embodies comfort and stimulates growth.
Other valuable ideas that I took away from chapter one are having "portable little desks" for students who write best away from the traditional desk, allowing students the option to work outside (when possible and accessible), have a classroom tour on the first day of school, using multi-colored sticky notes more, utilizing pens more than pencils, and creating a news board for students to post stories that are exciting to them. By incorporating these elements into my future classroom, I will create a more positive classroom for my students.
I love the statement from Buhrow & Garcia (2006) that "our goal is to make an academic environment where all inquires are valued and kids have the dispositions or the attitude and inclination to work independently" (p. 24). I envision a classroom where all of my students will feel free to make inquiries, respect the thoughts and opinions of others, and keep positive attitudes that will not interrupt the learning process.
The interactive writing is a genius idea! Having the students write to the teacher in an easily accessible classroom area and having the teacher write back not only communicates the importance of what students have to say, but it also communicates that the teacher places value and time on what students write. As Buhrow & Garcia (2006) state, "We use sticky notes to write back and forth, creating a fluid message board that we also use to track language and writing development" (p. 54). This is a great way to keep track of students' writing and evaluate the development over the course of the school year. I will definitely incorporate this idea in some way in my future classroom.
After reading these chapters, I have a greater appreciation and understanding of modeling how to think out loud, giving students time to think before responding, finding a signal (such as the thumbs), making eye contact, and keeping anchor charts for references. Establishing routines, signals, and classroom procedures are crucial for ELL students. While I have thought often of having students with special needs and how to differentiate my instruction for those students, I have never given much thought to having ELL students in my future classroom. I am thankful for being exposed to this book which is opening my mind to other exciting experiences I will face in the future.
Buhrow, B., & Garcia, A. U. (2006). Ladybugs, tornadoes, and swirling galaxies:
English language learners discover their world through inquiry. Portland,
ME: Stenhouse Publishers.
As Buhrow & Garcia (2006) point out, "We want our classroom spaces to reflect more of a cozy, laid-back environment than a classroom that lacks the natural ambience creativity fosters" (p. 11). I believe in establishing a classroom environment in which students will love returning to each day. There should be comfortable seating, many places to work or read quietly, an area for conferences, and an area for the entire class to meet as a whole group. I also strongly believe that "kids are no different from adults in that they are able to think better in an environment they find comfortable" (Buhrow & Garcia, 2006, p. 13). I understand that my students will be more free to think, read, write, learn, and grow throughout the year if I provide them with an environment that embodies comfort and stimulates growth.
Other valuable ideas that I took away from chapter one are having "portable little desks" for students who write best away from the traditional desk, allowing students the option to work outside (when possible and accessible), have a classroom tour on the first day of school, using multi-colored sticky notes more, utilizing pens more than pencils, and creating a news board for students to post stories that are exciting to them. By incorporating these elements into my future classroom, I will create a more positive classroom for my students.
I love the statement from Buhrow & Garcia (2006) that "our goal is to make an academic environment where all inquires are valued and kids have the dispositions or the attitude and inclination to work independently" (p. 24). I envision a classroom where all of my students will feel free to make inquiries, respect the thoughts and opinions of others, and keep positive attitudes that will not interrupt the learning process.
The interactive writing is a genius idea! Having the students write to the teacher in an easily accessible classroom area and having the teacher write back not only communicates the importance of what students have to say, but it also communicates that the teacher places value and time on what students write. As Buhrow & Garcia (2006) state, "We use sticky notes to write back and forth, creating a fluid message board that we also use to track language and writing development" (p. 54). This is a great way to keep track of students' writing and evaluate the development over the course of the school year. I will definitely incorporate this idea in some way in my future classroom.
After reading these chapters, I have a greater appreciation and understanding of modeling how to think out loud, giving students time to think before responding, finding a signal (such as the thumbs), making eye contact, and keeping anchor charts for references. Establishing routines, signals, and classroom procedures are crucial for ELL students. While I have thought often of having students with special needs and how to differentiate my instruction for those students, I have never given much thought to having ELL students in my future classroom. I am thankful for being exposed to this book which is opening my mind to other exciting experiences I will face in the future.
Buhrow, B., & Garcia, A. U. (2006). Ladybugs, tornadoes, and swirling galaxies:
English language learners discover their world through inquiry. Portland,
ME: Stenhouse Publishers.
Monday, September 10, 2012
"Energy for their work..."
After reading all four assigned chapters, there is one statement that resonated with me in a powerful way. Wood (2001) states, "I want to leave students with an energy for their work after a conference, and I watch for signs of that in my teaching" (p. 171). This is one of my goals for my future writing workshop. Not only do I want students to feel energized after a conference, but I also want my students to walk into the classroom with energy for their writing. I want my students have energy in their writing every step of the journey- from collecting ideas in their writer's notebooks to publication.
There are many valuable lessons I learned while reading chapter 14. I believe in the importance of the teacher being out among the students. No matter the subject or classroom, students respond in a more positive manner when the teacher is not sitting behind a desk but is out among the students. As Wood (2001) points out, "Students know that we are serious about their work when we are out there with them while they are doing it" (p. 157).
I found the concept of conferring not about helping, but about teaching to be intriguing. "Although we will "help" many writers in conferences, the purpose of a conference is not to help. The purpose is to teach, and everyone needs teaching (whether they need help or not)" (Wood, 2001, p. 157). I often wondered how a conference would take place if a student was not in need of any help from me. Now I know that there will be other areas to discuss and work on with the student who seems to have it all together. It is comforting (and at times frightening) to realize that we will never know it all. There are always areas in our chosen fields and areas of interest where we can grow and expand our knowledge. Just as this is true for me, it is also true for my students.
Learning about the four parts of a writing conference inspire me to maintain a organized workshop in the future. By following the four parts, I can not only remain organized, but I will also have an orderly record-keeping system for the future. It is also quite the relief to know that I do not have to go into my first year of teaching a writing workshop with all the answers or teaching experience. Wood (2001) explains, "When we first start teaching writing, we have only a few things in our fist; it's a very small fist, so we teach the same things over and over, all around the room. And we must know that that's OK!" (p. 164). Those words, coming from an expert, relieve stress and bring comfort.
After reading the chapter on assessment and evaluation, I still find myself questioning how to effectively and accurately evaluate students when most schools place so much emphasis on student testing and scores. Even though Wood (2001) provides excellent suggestions, such as "...the rubrics that I've seen and used for evaluation is a combination of a score and a narrative that explains why the student has evaluated herself in this way in relation to whatever is being evaluated" (p. 221), I still feel that self-evaluation from the students would not be as accurate as I would want. I foresee students evaluating themselves either too high or too low, and I will spend far too much time going back to reevaluate their work. I want to establish an effective system of assessment and evaluation at the beginning of the year. I hope that after this semester is over, I will have more direction and insight about how to establish this system in my future class.
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
There are many valuable lessons I learned while reading chapter 14. I believe in the importance of the teacher being out among the students. No matter the subject or classroom, students respond in a more positive manner when the teacher is not sitting behind a desk but is out among the students. As Wood (2001) points out, "Students know that we are serious about their work when we are out there with them while they are doing it" (p. 157).
I found the concept of conferring not about helping, but about teaching to be intriguing. "Although we will "help" many writers in conferences, the purpose of a conference is not to help. The purpose is to teach, and everyone needs teaching (whether they need help or not)" (Wood, 2001, p. 157). I often wondered how a conference would take place if a student was not in need of any help from me. Now I know that there will be other areas to discuss and work on with the student who seems to have it all together. It is comforting (and at times frightening) to realize that we will never know it all. There are always areas in our chosen fields and areas of interest where we can grow and expand our knowledge. Just as this is true for me, it is also true for my students.
Learning about the four parts of a writing conference inspire me to maintain a organized workshop in the future. By following the four parts, I can not only remain organized, but I will also have an orderly record-keeping system for the future. It is also quite the relief to know that I do not have to go into my first year of teaching a writing workshop with all the answers or teaching experience. Wood (2001) explains, "When we first start teaching writing, we have only a few things in our fist; it's a very small fist, so we teach the same things over and over, all around the room. And we must know that that's OK!" (p. 164). Those words, coming from an expert, relieve stress and bring comfort.
After reading the chapter on assessment and evaluation, I still find myself questioning how to effectively and accurately evaluate students when most schools place so much emphasis on student testing and scores. Even though Wood (2001) provides excellent suggestions, such as "...the rubrics that I've seen and used for evaluation is a combination of a score and a narrative that explains why the student has evaluated herself in this way in relation to whatever is being evaluated" (p. 221), I still feel that self-evaluation from the students would not be as accurate as I would want. I foresee students evaluating themselves either too high or too low, and I will spend far too much time going back to reevaluate their work. I want to establish an effective system of assessment and evaluation at the beginning of the year. I hope that after this semester is over, I will have more direction and insight about how to establish this system in my future class.
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
Monday, September 3, 2012
Teaching Students How to Write- Not What to Write
I love the personal focus lesson that Wood includes in chapter 13 about using entries from the writer's notebook to find material for poems. After reading her ideas and example, I feel that I could model this lesson and teach other students how to find material for poems in their notebooks. I am excited about the idea of using my own writing with the students. As Wood (2001) points out, "the teaching of writing is very powerful when students see their teacher as both a writing mentor and a fellow writer, not as the 'person who is going to tell us everything now'" (p. 145-146).
It is crucial for students to see us as writers and mentors who do not talk down to them, but who treats them as fellow writers. I can imagine a wonderful writing workshop taking place in my future classroom filled with writers who are excited about writing. Even though I am excited about embracing the writing workshop, there is as aspect of it that concerns me.
I am worried about how the first few days or the first week of the workshop will take place. How will I introduce the writing workshop to students who have never been a part of a workshop class? How will I effectively explain the process and procedures to them when it will be so new to me? I know from reading The Writing Workshop how important the introduction and first week of "management and routine" lessons will be for the students. It would be great to learn more, read more, and hear more about how other successful teachers prepared for that all-important first week in the workshop.
Wood writes in chapter 12 how important it is for us to take the time to know our students and their interests. Wood (2001) also says that, "we will want to start with studies that build the most essential concepts necessary for their learning throughout the year: how writers gather ideas from the world, and how to read like writers" (p. 134). These are concepts that I could introduce to my students early on as we are getting to know each other more.
I also appreciate Wood's suggestion of "getting behind the energy" of the students' interests. Possibly one of my favorite suggestions from Wood (2001) is "whatever you absolutely love in writing, whatever you are best at, should become a unit of study in your classroom for the rest of your career" (p. 133). This makes me feel more at ease when thinking about planning units of study and focus lessons. I know that I can teach what I love. Even when selecting narrative, picture book mentor texts for this week, I choose two that are focused on mechanics (punctuation in particular).
The more that I read and learn, the more confident I am in becoming a writing workshop teacher.
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
It is crucial for students to see us as writers and mentors who do not talk down to them, but who treats them as fellow writers. I can imagine a wonderful writing workshop taking place in my future classroom filled with writers who are excited about writing. Even though I am excited about embracing the writing workshop, there is as aspect of it that concerns me.
I am worried about how the first few days or the first week of the workshop will take place. How will I introduce the writing workshop to students who have never been a part of a workshop class? How will I effectively explain the process and procedures to them when it will be so new to me? I know from reading The Writing Workshop how important the introduction and first week of "management and routine" lessons will be for the students. It would be great to learn more, read more, and hear more about how other successful teachers prepared for that all-important first week in the workshop.
Wood writes in chapter 12 how important it is for us to take the time to know our students and their interests. Wood (2001) also says that, "we will want to start with studies that build the most essential concepts necessary for their learning throughout the year: how writers gather ideas from the world, and how to read like writers" (p. 134). These are concepts that I could introduce to my students early on as we are getting to know each other more.
I also appreciate Wood's suggestion of "getting behind the energy" of the students' interests. Possibly one of my favorite suggestions from Wood (2001) is "whatever you absolutely love in writing, whatever you are best at, should become a unit of study in your classroom for the rest of your career" (p. 133). This makes me feel more at ease when thinking about planning units of study and focus lessons. I know that I can teach what I love. Even when selecting narrative, picture book mentor texts for this week, I choose two that are focused on mechanics (punctuation in particular).
The more that I read and learn, the more confident I am in becoming a writing workshop teacher.
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
Monday, August 27, 2012
Doing what writers do...That's what the workshop is all about!
I absolutely love Wood's comparison of the writing workshop to lunchtime. It would never occur to me to compare these two different times, but the comparison fits perfectly. Just as every student knows exactly what to do during lunchtime, every one of our students should also know exactly what to do during workshop time. I can visualize the routine and familiarity taking place within the classroom. As Wood & Laminack (2001) point out, "the most important thing is that students understand the writing workshop as a block of time governed by rituals and routines" (p. 54).
These chapters on setting up the workshop were extremely beneficial for me. While I have taken a writing workshop class before, we never learned about the structure or components of the workshop. I learned that it is a time when the teacher gives a mini-lesson, the students write independently, and the teacher conducts individual conferences with the students. I appreciate that in Wood & Laminack's book, they dive into the very heart of the workshop and provide the details necessary for me to learn more about this style of teaching.
So, how do I encourage all of my students as they engage in writing? How do I lead them to the place where they "fill up independent writing time with purposeful writing work"? (Wood & Laminack, 2001, p. 61) The guiding questions that Wood & Laminack (2001) provide are a wonderful resource that we should share with our students:
Who are the audiences I might write for?
What passions are in my life that I might purse with writing?
What genres would I like to try?
What stories do I need to tell?
What causes could I address with writing?
What have I never done as a writer that I'd like to try?
Where would I like to try to get my writing published?
What occasions are in my life this year that I might serve with writing?
If considered thoughtfully, these questions could provide a student with a year's worth of writing ideas and possibilities.
I also enjoyed the suggestions that students use their writing notebooks to collect ideas and write down things that intrigue them on a daily basis. There are countless times when ideas come to me or something "magical" occurs and I forget to write those moments down. If I begin the habit of always having a notebook with me, then those magical moments and ideas will never be lost again. I will make sure that this becomes one of my habits now, and I can later instill this habit within my students.
While I consider myself more of a reader than a writer, it never occurred to me that I could use reading as writer's work. As Byars (1991) states, "The words of other writers teach me and refresh me and inspire me" (p. 64). I will now read with new perspective and with a new "writer's" lens. I am a lover of words; I am also a writer. I love how Wood & Laminack (2001) express the work of writers when they state, "Writer's notice, collect, savor, share, and work with words in the ways artists work with color, musicians with sound, and dancers with movement" (p. 64). This is a quote that I want to remember and place on the wall of my future classroom! It is truly inspirational.
Chapter seven is particularly beneficial for me as I begin to think about teaching in my own classroom next year. I want to make sure to have a solid structure in place that will manage any distractions before the distractions become behavioral issues. An important tip to point out is, "...we aim for a strong presence in the room that lets students know we are in there working right alongside of them and that we expect them to take their work seriously. We must be strict about this" (Wood & Laminack, 2001, p. 75). I learned from previous teaching experiences that students are more well behaved when I am removed from the teacher's desk and circulating among them. Just the presence of the teacher close by can make a huge difference in the classroom environment.
One point that disturbed me while reading this week was chapter eight: "Understanding that slightly out-of-hand feeling." Because I have OCPD, I function best when there is order and a defined structure/routine. I went into this chapter thinking that the overall classroom environment may feel out-of-hand, and that idea frightened me. Once I understood that it is not the behavior that will feel out-of-hand, but it is the work that the writers are doing that will feel out of my control, I felt more at ease. The last quote of this chapter provides great encouragement for soon-to-be teachers, "Teaching writing is so challenging, but so worth it. Those kinds of rewards don't come packaged in a writing workshop kit. They are priceless" (Wood & Laminack, 2001, p. 92). I look forward to work that is challenging, but rewards that are priceless. As each week passes, I feel more prepared to become an effective writing workshop teacher. I look forward to learning and growing as the semester continues!
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
These chapters on setting up the workshop were extremely beneficial for me. While I have taken a writing workshop class before, we never learned about the structure or components of the workshop. I learned that it is a time when the teacher gives a mini-lesson, the students write independently, and the teacher conducts individual conferences with the students. I appreciate that in Wood & Laminack's book, they dive into the very heart of the workshop and provide the details necessary for me to learn more about this style of teaching.
So, how do I encourage all of my students as they engage in writing? How do I lead them to the place where they "fill up independent writing time with purposeful writing work"? (Wood & Laminack, 2001, p. 61) The guiding questions that Wood & Laminack (2001) provide are a wonderful resource that we should share with our students:
Who are the audiences I might write for?
What passions are in my life that I might purse with writing?
What genres would I like to try?
What stories do I need to tell?
What causes could I address with writing?
What have I never done as a writer that I'd like to try?
Where would I like to try to get my writing published?
What occasions are in my life this year that I might serve with writing?
If considered thoughtfully, these questions could provide a student with a year's worth of writing ideas and possibilities.
I also enjoyed the suggestions that students use their writing notebooks to collect ideas and write down things that intrigue them on a daily basis. There are countless times when ideas come to me or something "magical" occurs and I forget to write those moments down. If I begin the habit of always having a notebook with me, then those magical moments and ideas will never be lost again. I will make sure that this becomes one of my habits now, and I can later instill this habit within my students.
While I consider myself more of a reader than a writer, it never occurred to me that I could use reading as writer's work. As Byars (1991) states, "The words of other writers teach me and refresh me and inspire me" (p. 64). I will now read with new perspective and with a new "writer's" lens. I am a lover of words; I am also a writer. I love how Wood & Laminack (2001) express the work of writers when they state, "Writer's notice, collect, savor, share, and work with words in the ways artists work with color, musicians with sound, and dancers with movement" (p. 64). This is a quote that I want to remember and place on the wall of my future classroom! It is truly inspirational.
Chapter seven is particularly beneficial for me as I begin to think about teaching in my own classroom next year. I want to make sure to have a solid structure in place that will manage any distractions before the distractions become behavioral issues. An important tip to point out is, "...we aim for a strong presence in the room that lets students know we are in there working right alongside of them and that we expect them to take their work seriously. We must be strict about this" (Wood & Laminack, 2001, p. 75). I learned from previous teaching experiences that students are more well behaved when I am removed from the teacher's desk and circulating among them. Just the presence of the teacher close by can make a huge difference in the classroom environment.
One point that disturbed me while reading this week was chapter eight: "Understanding that slightly out-of-hand feeling." Because I have OCPD, I function best when there is order and a defined structure/routine. I went into this chapter thinking that the overall classroom environment may feel out-of-hand, and that idea frightened me. Once I understood that it is not the behavior that will feel out-of-hand, but it is the work that the writers are doing that will feel out of my control, I felt more at ease. The last quote of this chapter provides great encouragement for soon-to-be teachers, "Teaching writing is so challenging, but so worth it. Those kinds of rewards don't come packaged in a writing workshop kit. They are priceless" (Wood & Laminack, 2001, p. 92). I look forward to work that is challenging, but rewards that are priceless. As each week passes, I feel more prepared to become an effective writing workshop teacher. I look forward to learning and growing as the semester continues!
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
Saturday, August 18, 2012
Writing Under the Influence of Love
After reading the first four chapters in The Writing Workshop: Working through the Hard Parts (And They're All Hard Parts), I feel as if I were sitting down in a personal setting with the authors. The book is such a great, practical read that is easy to comprehend and follow. I love it so far! I thought I would never enjoy a writing workshop book as much as I love Nancie Atwell's In the Middle, but I stand corrected. I found myself highlighting MUCH, laughing some, agreeing often, and wanting to discuss my reading with whoever was around me at the time.
While reading chapter one, I discovered that I have never thought of students using the writing process versus doing the writing process. I always thought it is important for students to learn the writing process, but now I understand the value of the writing process as a tool. As Wood & Laminack (2001) state, "[Teachers] see the writing process as a tool they can give their students to use when rocking the world, not just as something to learn to do" (p. 4).
My favorite aspect of chapter one is the section that addresses the need for a writer to fall in love. Wood & Laminack (2001) quote, "And, most important, a writer needs to fall in love. I'm constantly falling in love- with colors, with flowers, with wings, with bubbles, with mud, with goofy baby smiles...When you're writing under the influence of love, there's a power that will weave your words into magic..." (p. 6). Wow! From an early age, I loved writing, but I now realize that I need to fall in love with each day and take time to genuinely reflect on everything around me.
I desperately want the students in my future classroom to write about what they fall in love with and to "ache with caring" when they are writing. I realize now that this will come when I "provide them with time: time to investigate, time to read, time to think time to talk, time to write" (Wood & Laminack, 2001, p. 7).
A wonderful statement that stuck with me from chapter two is, "Writing is something you do, not something you know. Students need time to just write so they can gain experience as writers" (p. 25). The twelfth grade student that I homeschool is extremely against writing. She claims to "not know how to write" and says that she "can't write well". I cannot wait to share what I am learning with her. Writing is not something that you must learn how to do- it is something that you do. It is something that is personal and meaningful to the writer.
I particularly enjoyed the ideas Wood & Laminack presented in chapter three concerning words we associate with our identities. I found that I, too, label myself as a reader, but I never called myself a writer (even though I writer often in journals). I am an avid reader and wish that there were such a job as professional reader, but I will now make sure to classify myself as a writer.
Wood & Laminack (2001) state, "Watching, noticing, and thinking deeply will help them be better writers, but it will also help them be better scientists, sociologists, historians, mathematicians, and on and on. Watching noticing and listening- reading the world- is what smart people do" (p. 35). It is exciting to know that what I will teach my students in my writing workshop class will prepare them for their futures. My students will become more intelligent, more thoughtful, and more engaged in their worlds as a result of writing. How exciting! I also greatly appreciated reading that students who are nurtured in a writing workshop will not easily lose what they learn. It sticks with them over time.
After reading chapter four, I long to be the writing teacher version of the dance teacher in the dance studio. I want my students to view me as one who can guide and instruct them in writing. I want them to view me as a real-life writer alongside them. I want us writing together as we journey through the school year. I want my classroom to be comfortable, inviting, organized, and a place where writing flows. There are so many ideas in this textbook that will guide me to that place. I am ready to fill my "purple notebook" and discover my own "laundromat people" that will give inspiration.
I could write on and on about the first four chapters. I am thrilled to learn more and to write more during this Writing Pedagogy class. I am looking forward to the required reading books to arrive in the mail.
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
While reading chapter one, I discovered that I have never thought of students using the writing process versus doing the writing process. I always thought it is important for students to learn the writing process, but now I understand the value of the writing process as a tool. As Wood & Laminack (2001) state, "[Teachers] see the writing process as a tool they can give their students to use when rocking the world, not just as something to learn to do" (p. 4).
My favorite aspect of chapter one is the section that addresses the need for a writer to fall in love. Wood & Laminack (2001) quote, "And, most important, a writer needs to fall in love. I'm constantly falling in love- with colors, with flowers, with wings, with bubbles, with mud, with goofy baby smiles...When you're writing under the influence of love, there's a power that will weave your words into magic..." (p. 6). Wow! From an early age, I loved writing, but I now realize that I need to fall in love with each day and take time to genuinely reflect on everything around me.
I desperately want the students in my future classroom to write about what they fall in love with and to "ache with caring" when they are writing. I realize now that this will come when I "provide them with time: time to investigate, time to read, time to think time to talk, time to write" (Wood & Laminack, 2001, p. 7).
A wonderful statement that stuck with me from chapter two is, "Writing is something you do, not something you know. Students need time to just write so they can gain experience as writers" (p. 25). The twelfth grade student that I homeschool is extremely against writing. She claims to "not know how to write" and says that she "can't write well". I cannot wait to share what I am learning with her. Writing is not something that you must learn how to do- it is something that you do. It is something that is personal and meaningful to the writer.
I particularly enjoyed the ideas Wood & Laminack presented in chapter three concerning words we associate with our identities. I found that I, too, label myself as a reader, but I never called myself a writer (even though I writer often in journals). I am an avid reader and wish that there were such a job as professional reader, but I will now make sure to classify myself as a writer.
Wood & Laminack (2001) state, "Watching, noticing, and thinking deeply will help them be better writers, but it will also help them be better scientists, sociologists, historians, mathematicians, and on and on. Watching noticing and listening- reading the world- is what smart people do" (p. 35). It is exciting to know that what I will teach my students in my writing workshop class will prepare them for their futures. My students will become more intelligent, more thoughtful, and more engaged in their worlds as a result of writing. How exciting! I also greatly appreciated reading that students who are nurtured in a writing workshop will not easily lose what they learn. It sticks with them over time.
After reading chapter four, I long to be the writing teacher version of the dance teacher in the dance studio. I want my students to view me as one who can guide and instruct them in writing. I want them to view me as a real-life writer alongside them. I want us writing together as we journey through the school year. I want my classroom to be comfortable, inviting, organized, and a place where writing flows. There are so many ideas in this textbook that will guide me to that place. I am ready to fill my "purple notebook" and discover my own "laundromat people" that will give inspiration.
I could write on and on about the first four chapters. I am thrilled to learn more and to write more during this Writing Pedagogy class. I am looking forward to the required reading books to arrive in the mail.
Ray, K. W., & Laminack, L. L. (2001). The writing workshop: working through
the hard parts (and they're all hard parts). Urbana, IL: National Council
of Teachers of English.
Subscribe to:
Comments (Atom)