Tag Archives: English

Writing Fairy Tales with Third Graders

Posted on by 0 comment
Rapunzel

Fairy Tales. What a cool form to explore with third graders. Magic. Good vs. Evil. A terrible problem that works out in the end. Right up the alley of 8 and 9 year olds who are more than willing to live in secondary worlds. I recently had the chance to open up the idea of writing fairy tales with a third grade class. The class was in the midst of writing various forms of short stories involving a classroom character that they had developed by the name of Kaitlyn Rose Anderson. The teacher wanted to challenge the students to write their own fairy tales involving Kaitlyn Rose, thus transferring what they know about the character into a completely new context – lots of potential for convergent and divergent thinking and writing to happen.

We started our exploration by doing a quick writing warm up: Make a list of names you’d like to be called. Here’s mine:

Frankenleif

The Stitler

Goose

Das Leifster

Foam

Nutty Nut

Longenfreugen

Nipsy

Stinky the Nudge

Partical Man

Pentagon

Limpy

Salty

Nimble Thimble

Of course, some students made a list of a names they don’t want to be called. Always good to break the rules in meaningful ways! Here are a few that made me pause:

Stupid

Unpopular

If that isn’t a window into where the third graders are right now, I don’t know what is!

After we wiggled our elbows for a good three or so minutes, I asked the students to pick their top three names off the list and to share those names with the person next to them. Laughter ensued along with many students saying how much they liked a name that was offered. We were definitely headed in the right direction. Our minds and hands were warmed up, and we had a good laugh. Once students shared their top three names, I mentioned how writers will often make lists of potential names for characters in their stories. I hinted that they may want to use some of these names in the story that we were going to write.

From there, we moved into exploring fairy tales specifically. I asked them what a fairy tale was, and with very little hesitation, hands raised. Through this conversation, we came up with a pretty sophisticated list of fairy tale characteristics.Characteristics of a Fairy Tale

I then asked them to come on over to the rug so that I could read them a fairy tale. They all scrambled over and we strategized together how to sit so that everyone could see – a classic challenge for young kids. Once folks were settled, I asked them to listen closely to the story to see if our list of characteristics stood up and to see if we needed to add anything to the list. I picked up Rumpelstiltskin by Paul O. Zelinsky, showed the front cover, read the acknowledgement, and began the story. The students loved it. I got the sense that several of them had never heard Rumpelstiltskin before. They pleaded with their classmates to not give up what happened next. They identified the king as a bad man but then wondered if the beautiful daughter would be able to change him over time. The room was mixed in terms of whether the daughter should marry the king. The students thought Rumpelstiltskin was pretty scary.

RumpelstiltskinWith a turn of the final page and a show of the back of the book, I then asked them if there was anything that we wanted to add to our list of fairy tale characteristics. The students identified two: The challenge or problem grows, and there is repetition. One student pointed out, “And the repetition can be things that characters say or do.” Good point. I added those two important qualities to the list.

I could tell that the students were itching to get started. Before we could jump to writing our own fairy tales, though, we needed to spend just a few minutes talking about this great classroom character that they had created. I wanted to make sure that she was in the front of their minds as they took on the challenge of writing their own fairy tale. We put the classroom character up on the smartboard, and I asked them to tell me a bit about Kaitlyn Rose Anderson. The students shared particular character traits that stuck out. They talked a bit about the stories that they had already written. I asked them to tell me the names of some of the other characters in those stories. The students mentioned Kaitlyn’s sister. I suggested that they may want to include these characters in the fairy tale. I also suggested that they may want to take a fairy tale that they know and write Kaitlyn into it. I posed the question: What would happen if Kaitlyn was in Rumpelstiltskin? There was a buzz. One student asked, “Can I write the next chapter of Rumpelstiltskin?” I nodded. Another student clapped her hands together, “Can I mash a bunch of fairy tales together and see what happens?” The class loved that idea. And with that, I sent them back to their writing tables.Kaitlyn Rose Anderson

Just before we got started, the teacher piped up, “What other fairy tales do we know?” The group came up with a long list. Fairy tales were definitely in their minds. They were ready to write.

I posed the challenge to them: write a fairy tale that involves Kaitlyn Rose Anderson as a main character in the story. Before I sent them off to their writing spaces, I mentioned that one of the great things about fairy tales is that they kind of supply the opening line for us, so we don’t need to spend a lot of time trying to figure out how to start. I encouraged them to literally take the first line out of Rumpelstiltskin, Cinderella, or Kate and the Beanstalk, and see where the writing takes them.

Once there was a poor X who had a beautiful X.

Long ago, a girl named X lived with her mother in a X.

In a time not too long ago and in a land much like our own, there lived a X and a X.

Students were already scribbling away, so I stepped aside, got out my own pad of paper, and let them write.

At first there was a bit of chatter. Students were looking at each other’s writing, pointing out how to spell a word, asking a question, flipping through the pages of Rumpelstiltskin for inspiration or just to figure out how to spell the name. After a bit, I coached, “Let’s put all of that talking energy down on the paper. Work to answer your questions through the writing. See if you can fill a page.” The room quieted down, and you could practically feel the focus in the room.

About ten minutes in, I broke the silence, and suggested some ways to keep going: “If you are finding yourself thinking a lot instead of writing, take a look over here at our list of fairy tale characteristics.” I pointed to the list.  “They might give you some ideas on where to go next. For example, is your problem growing? Where is the repetition? Do you have a bad character? Another thing to do is to read what you have written. Just by doing that, you will probably find what needs to be written next.” I looked out over the group, “I also like how some of you are going back to your first story and reminding yourself of what you wrote. I can see how that might trigger an idea or two as well.” I clapped my hands, “Alright, back to it. Let’s see if we can write for another five minutes or so.” The students put their heads back down and went back to writing.

Writing Fairy TalesBefore we knew it, the time was up. I needed to leave, and the kids needed to go to lunch. On the way out, I touched base with the teacher, and the plan is to give them a chance to read what they had written so that they can immediately hear the possibility in the writing. Looking beyond that, the students will get a chance to choose one of three drafts of different stories involving Kaitlyn Rose Anderson that they will get the chance to revise, edit, and publish. Not a bad use of an hour of class time if you ask me!

The Tenets of a Writing-Based Curriculum

Posted on by

Alright, so we’ve got the new school year off to a good start. We’re setting the tone, getting to know our students, establishing rituals and routines for meaningful learning. It’s a perfect time to spend a few minutes and remind ourselves of what is at the heart of a meaningful ELA learning environment. Here is a quick guide to what makes a writing-based curriculum tick.

Artifact studyWhat fuels a Writing-Based Curriculum?

  • Identifying a goal/product/performance/culmination that you want to achieve with your students that is connected to the world outside the classroom
  • Figuring out all of the ways that you and your students can be writers to accomplish that end (writing reflectively, analytically, and creatively)
  • Modeling the writing life through the design of the unit and the way you think, talk, and act with your students.

What does the writing life look like in the classroom?

  • Catching thoughts, ideas, questions, solutions, passing fancies down on paper/screen to create a reservoir of potential writing material
  • Reading models to help you think and do your own writing
  • Discussing models to figure out the moves that make the writing work
  • Engaging in idea generating conversations to figure out what you might want to write
  • Writing….a lot!
  • Returning to a piece of writing to elaborate and craft it based on the understanding you’re developing around the moves that make writing strong
  • Sharing works in progress for feedback
  • Putting the writing out into the world for impact
  • Keeping all writing work to be able to access and use at a later date because the writing that happens in class should have multiple lives and serve multiple purposes

What are the kinds of writing that should be happening in a unit?Tzaras Hat

  • Reflective writing: thinking in writing about life and work; post product analysis; question posing; answer seeking
  • Analytic writing: writing about reading; reports; essays; criticism; speeches; technical; informational
  • Creative writing: stories, poems, plays, memoir, blogs, hybrid-texts

What are potential culminations?

  • Performances: plays, public readings, debates, websites, shows, live museums, installations, works of art
  • Publications: books, anthologies, individual pieces, newspaper editorials, letters to officials, websites, blogs
  • Actions: meetings with significant people (physically/virtually), rallies, service

The goal is to design writing environments that don’t look, sound, or feel like school in school. That is the irony. Any way that the writing environment can be connected to the lived practice of writing out in the world beyond the classroom means that there is a greater chance that enduring understandings will be developed and life-long reading, writing, and thinking skills will be enhanced.

The Role of Grading and Feedback in a Writing-Based Classroom

Canon EOS Digital CameraWhen we tune our classrooms to the habits of mind and body of writers, we need to interrogate traditional notions of grading. It quickly becomes obvious that we need to  increase the ways in which students get meaningful feedback on their work. Put simply, our job as teachers is not to use our mental and creative energy grading papers. Our job is to create ways for students to see the impact of their work at multiple stages in its development and to design ways to articulate to students the kind of quality work that is expected. This means being a sleuth of sorts, constantly looking at our students’ writing and finding examples of quality that we can show back to the class. These models of quality work provide a platform for developing a shared sense of what quality writing looks and sounds like. And, of course, this modeling of quality goes beyond writing. Students should understand what a quality discussion sounds like. We need to provide models of what a quality reflection looks like, for example. Basically, any form of work that is going to be expected needs to have models of quality so that students have a sense of the moves they need to make to produce something good. This doesn’t mean that the teacher needs to have these models ahead of time. Sometimes that is a good thing, but it can be just as powerful to pose the challenge of a particular kind of writing, let students take on the challenge, and then look for models of quality writing in the way they approached the challenge. A sense of quality writing is developed over time. It evolves as students practice. The notion that showing students “perfect” writing or other forms of work in the beginning of the process of learning something and expecting students’ understanding of what quality is to come from that initial example is a fallacy. An enduring sense of quality develops by continually looking at models of quality, developing a quality language around them, experimenting in the form of work, and comparing one’s own work to the model of quality. The process is cyclical, mindful, intentional, and ongoing. Focusing on the grading of work takes away from the time to explore what great work looks, sounds, and feels like with our students.

In a writing-based classroom, there are a few carefully chosen times when work is graded in the form of a summative assessment. Limiting grading to a few select products is important because it not only more closely mirrors the way we are evaluated in the “real” world, it is also a proactive way of addressing the ridiculous student loads that teachers have, particularly in middle and high school. In my work, I see a correlation between student load and a teacher resorting to pedagogical choices that are not in the best interest of the students or the teacher, not surprising since it feels easier to do what has been done before. But these uni-directional, static forms of evaluation are not faster or easier, really. And they define a teacher’s work in a narrow and limited way. The narrowness can be stultifying and ultimately contribute to burnout. Instead, a feedback stance, with intentional moments of grading that are both process and product oriented, expands a teacher’s role and perhaps more importantly expands who should be providing feedback on the work (teacher, students, self). This means that the burden of providing the feedback, and maybe even the grading, does not only rest on the shoulders of the teacher. It rests on the class as a whole. This orientation better prepares students for being able to interpret and apply feedback and more honestly assess their own work. It helps to avoid a fixed mindset and learned helplessness which are often the partner of excessive grading environments. In terms of the teacher, a feedback approach, opens up time to live the work alongside the students, making for a more collaborative, responsive, and spontaneous work relationship.

Education is very good at making things unnecessarily complicated. When it comes to designing writing environments with our students, we can keep it really simple. Answer this question: what does it look, sound, and feel like to be a writer out in the world? The answer to that question should guide everything that we do.

Episode #2 – Amy Lafty on Motherhood, Project-Based Learning, Losing Control, Prom, and End of Year Blues

Posted on by

Welcome to the second, leaner episode of The Craft: The Podcast about Teaching, Learning, and School. The obsessive goal of The Craft is to capture teacher stories from all along the spectrum of this beautifully frustrating, transgressive, and elemental practice that is essential to the sustainability of society and the world. That’s right, I said it!

In the first episode, we met David Sokoloff, fourth year high school history teacher extraordinaire, teaching in the Philadelphia School District. In this episode, you get to meet Amy Lafty, six year high school, English teacher, teaching in the Archdiocese of Philadelphia. She is a journey woman, even though she has only been teaching for six years. Her travels through the Archdiocese are interesting, often comical, and illustrative of how many struggle to develop a career in teaching with the unpredictability of working in certain schools.

We get to hear about what it is like to have a young child and teach, something that is not often discussed in circles outside of close friends and family. Amy shares her challenges with being a young mother as well as the strategies that she has developed to make it work for her and her family.

The Craft would not be The Craft without robust discussion of teaching! In the spirit of sharing the work, Amy takes us into the classroom to hear a bit about a cool graphic novel project she did around Paradise Lost. More and more, Amy is turning to project-based learning to generate the kind of energy needed for enduring understandings. In fact, the pictures that you see here are from two of those projects – the graphic novel project around Paradise Lost and the Grecian Urn project inspired by Keats’ Ode on a Grecian Urn. Finally, we also get to hear a bit about her project around Raymond Queneau’s Exercises in Style. If you have never heard of the book, you can check out a sample of it here.photo (3)

All of this talk around designing meaningful projects with students leads us to a wonderful conversation about the importance and difficulty of releasing control as a teacher. Now in her 6th year of teaching, Amy realizes the necessity of letting go of control as a teacher. Easier said than done. She shares with us how challenging that can be with certain groups of students.

Since we are so close to the end of the school year, it seemed appropriate to end the podcast with some thinking on how to make the end of year meaningful, particularly for seniors who often check-out around December! And let’s not even talk about the power of prom to disrupt learning! Amy walks us through that humorous world as well.

Amy shouts out to the Bread Loaf School of English and Arcadia University for helping her become the teacher that she is. You can find information about Bread Loaf here and Arcadia here.

Who will be the next guest on The Craft? Maybe you? Feel free to reach out to me and let me know what you think of the show. Share it with friends and family. Let’s grow this to be an essential part of how we understand what it means to be a teacher in this present moment!

As always, keep learning, keep teaching, keep honing your craft.

 

 

photoA big shout out to Chris Perrin, the DJ behind the music of Perrin & Tonic that is featured on The Craft. Check him out: https://soundcloud.com/perrinntonic

 

What is a Writing-Based Curriculum?

Posted on by

hillman students 2At the core of a writing-based curriculum is a learning environment where students (and teachers) are writing reflectively, creatively, and analytically together.

This writing practice positions students and teachers as readers, writers, and thinkers in the world.

This writing practice also creates a platform from which students and teachers can design projects with real-world implications. The writing is the work of the project. It is the engine from which products and performances are generated. The work of the class is framed around a question like: what are all of the ways we can write reflectively, creatively, and analytically to help us accomplish real world projects?

This means that writing reflectively, creatively, and analytically is the engine for any and all of the work happening within the class. There are no extraneous, peripheral forms of work. No worksheets. No quizzes. Very few, carefully chosen tests. The goal is to limit or eliminate busy work for the student and the teacher and instead to live a writing/reading life together.

Work for both the student and the teacher revolves around:

  • Sharing stages of a project or piece;

  • Providing feedback;

  • Discussing reading; post-product analysis;

  • Strategizing next steps;

  • Incisive mini-lessons that help to push a project or piece forward;

  • Guest-lectures;

  • Intentional fieldtrips;

  • Echoing skills and concepts that are being developed;

  • Spontaneous challenges that help to deepen the learning;

  • Practice in a skill that needs to be developed in order for the students to do an aspect of a project;

  • Conferencing with individuals and small groups.

All of this work is meant to embody the genuine habits of mind and body of writers out in the world and to avoid the dangers of schoolification.IMG_3487

A few thoughts on schoolification

Schoolification is when we take a real-world practice (e.g. writing), and we remove any of the real-worldness out of it. Here are some classic examples:

  • Having students come up with their thesis statement before giving them a chance to figure out what it is that they want to write about through actually writing

  • Making an assignment for writing a poem where most of the line is written for the student, and they just need to complete the line

  • Making students read a book that they don’t like

  • Limiting the writing of a paper to a rough draft and a final draft

  • Providing no time for feedback on in-process writing

  • Providing no feedback on writing before the piece is turned in

  • Making work ‘easy’ so that there is no conflict, no difficulty, no struggle

  • Designing work to only be graded by the teacher

  • Limiting reading to whatever is provided by the school (e.g. textbooks)

  • Having students memorize literary terms

Part of the purpose for a writing-based curriculum is to engage in the real world of work and learning. We want to attempt to make our classes fit seamlessly in that world. And since we are designing ELA classes, and writing should be at the center of ELA, we want to design experiences that position our students and ourselves as writers out in the world doing the real work of writers:

  • Reflecting in writing about their life and their work

  • Reading a heck of a lot and writing about that reading

  • Writing a lot! Everything from a fleeting thought to a fully fleshed-out piece

  • Collecting stuff that can be used as fuel for writing and projects (research on topics, images, other writing, lists, doodles, print material, etc.)

We know from the literature that is out there about the writing craft that writers engage in these four habits of mind and body: they reflect, they write about what they read, they write, and they collect. These four habits feed off of one another, making it possible for writers to create poems, short stories, essays, plays, speeches, etc.

As we developing writing-based curricula, we don’t want to limit our conception of who a writer is to the taken for granted examples: poet, playwright, short story writer, essayist. We should certainly be these kinds of writers in the classroom, but we should be a whole host of other kinds of writers as well:

  • Website developers

  • Novelists

  • Journalists

  • Bloggers

  • Tweeters

  • Editors

  • Hackers

  • Biographers

  • Folklorists

  • Sociologists

  • Memoirists

  • Orators

  • Debaters

  • Urban planners

  • Screenwriters

And in our classes, we need to design ways for these different kinds of writers to reflect, write about what they read, write, and collect in order to generate interesting forms of work in that particular genre.

Redefining the work of the teacher

When teaching revolves around designing learning environments where we are living a writing life with our students, our orientation to the work of teaching changes as well. Our focus in a writing-based curriculum is to create environments where our students and ourselves can be many of the kinds of writers that I list above. This means that we, as teachers, need to develop a sense of and be open to the kinds of work that these kinds of people do. We scour resources to tap into what makes these kinds of writers tick. We look for media that captures these different kinds of writers discussing their craft. We look for anything that can help us embody the practice with our students. We want to become these kinds of writers just as much as we want our students to do the same.

We then think creatively about how the classroom environment encourages these ways of working for ourselves and our students.  In a traditional ELA classroom, teachers grade papers. In a writing-based classroom, teachers focus on designing opportunities for students and themselves to share their work for feedback and then to publish that work out in the world. In a traditional ELA classroom, all of the students are doing the same thing at the same time. In a writing-based classroom students may be doing different things at the same time according to where they are in the project. In a traditional ELA classroom, the teacher is the primary source for feedback and evaluation. In a writing-based classroom, everyone is viewed as a resource for feedback. In a traditional ELA classroom, the only time something is shared is at the end of the process. In a writing-based classroom, work is shared in process to determine next steps and to gauge impact.  In a traditional ELA classroom, the language of learning is predetermined and given to the student. In a writing-based classroom, the language is co-constructed through the work.

In this kind of a classroom, the teacher removes him/herself from the center of the experience and instead becomes a co-reader, writer, and thinker with the students, bringing his/her own work into class for feedback. The teacher is involved in and is as invested in the project that the class is doing at the time. The success of the project is dependent upon the teacher in a fundamentally different way to a traditional ELA classroom. In a writing-based classroom, the teacher spends energy pushing the work outward in the world rather than inward into a grade.

IMG_3482In the next post, I’ll speak to skill development within a writing-based curriculum as well as provide some examples of writing-based curriculum in action.