Thursday, July 9, 2009

Because Writing Matters--Review and Discussion Questions

To be honest, I got roped into reading this one. There was a kerfluffle having to do with two different workshops my writing project site was hosting this summer. One was an online book discussion group and one was based on the NWP publication Because Writing Matters. In the turn of events the book discussion group wound up reading this also.


I started the book with a great deal of reluctance. I expected it to be dry and dense. It was neither. The NWP and Carl Nagin did an excellent job of making the case for why there should be writing at all grade levels and in across the curriculum. He used case studies of real teachers and schools that used writing to improve their students academic achievement. Often these improvements were was about as subtle as news coverage of Michael Jackson’s funeral.

To help make the case to administrators and central office personnel, he focused some chapters on what they, by virtue of their jobs and the current political climate, must focus on: test scores. He also made sure that all the facts in the book were products of and backed up by research--not just the anecdotal evidence of a few classrooms. This is also mandatory today, as it should be. If teachers don’t use research to inform their instruction, they are doomed to Santayana’s vicious circle.

In reading the book I was reminded of practices that I need to promote more in my classroom and was constantly stopping the reading to either make notes about changes to my classroom site (or just going ahead and making the changes I wanted to see in my online world).

While the information here is nothing that an NWP member would not expect, it is still an excellent summation of the current research as well as a powerful argument for the need to make the teaching of writing all-pervasive in our schools, at all levels.

It would make excellent reading for staff development, especially via the format of professional reading groups. And, with that in mind, I would like to offer some of the pre-reading, reading, and post-reading questions that we developed in my book study group.


PREREADING QUESTIONS

1. Describe your view of the teacher's role in the teaching of writing.

2. Describe your view of the student's role in the teaching of writing.

3. Describe your view of the administrator’s role in the teaching of writing.

4. How would you rate the importance of writing in education in general, and your subject in particular?

(These would also make excellent post-reading questions. The participants could compare their original answers with those they hold after reading the book.)


QUESTIONS AFTER READING THE INTRODUCTION

1. Should there be a required course for all teachers on writing pedagogy?

2. How could it be "sold" to the students as being important in their particular discipline?

3. Should there be a stronger composition requirement for Language Arts majors? It seems that the stereotype of an English teacher has been someone who loves the literature so much they want to re-experience it and share it with others. Would a stronger writing component, maybe requiring courses in writing from the English department as well as literature, help?

4. What book on writing pedagogy has most influenced your instruction of writing in the classroom? I would be interested in more than the title and author, but also in the hows and whys of this book's importance to you. For the purposes of the question limit yourself to one (or at most two) books.

QUESTIONS AFTER READING CHAPTER ONE

1. If writing is a subject that can never truly be completely mastered, what should our goals as writing instructors be?

2. How do you deal with the ambiguity in writing instruction--the idea that there is no guaranteed formula for success every paper? How do you get students to deal with it without becoming so frustrated they quit writing?

3. How can we teach, maybe just can we teach, students to write “powerful, memorable, provocative, [and/] or moving” papers?

4. How would your faculty respond to a mandatory inservice (or series of inservices) on writing pedagogy? Can you think of any ways to promote more of a “buy in” by faculty members who are not specifically responsible for writing scores?

5. What are your assumptions about writing?


QUESTIONS AFTER READING CHAPTER TWO

1. Were you taught writing as a process or as a product? How did this influence your development as a writer?

2. How do you see the reading-writing connection as it relates to what you reach? How can you use this connection to improve your teaching?

3. Can technology improve the teaching of writing in your classroom? If so, how--if not, why not?

4. How can we help students who lack knowledge of “Standard English” to become better at that without making them so frustrated with writing that they rebel?


QUESTIONS AFTER READING CHAPTER THREE

1. Think of a writing assignment that you gave that maybe didn't go as well as you had hoped. Using the information in this chapter, what could you do to improve that lesson before you teach it again?

2. If you don’t have any lessons that include a writing component, pick a lesson that you could use writing with. How would you include writing in teaching that lesson?


QUESTIONS AFTER READING CHAPTER FOUR

1. How do we get our fellow teachers to buy into ongoing professional development on writing? What objections could you foresee to such a professional development plan? How can these objections be overcome?

2. How can school districts make it easier for teachers to do this kind of professional development? I know they could just order us to, but that produces attendance--not results. What can administrators and central office personnel do to help create acceptance of professional development for writing?

QUESTIONS AFTER READING CHAPTER FIVE

1. What is the impact of mandatory writing assessments in your classroom? In your school? In your district?

2. Beyond essay questions and research papers, how can you use writing in your classroom to assess student progress in your subject area?

3. How useful are rubrics? Should they be absolute or more flexible?

4. Should holistic assessments be more focused on content or correctness?


QUESTIONS AFTER READING CHAPTER SIX

1. What do you think about the concept of assigning writing vs teaching writing? Do you find the criteria valid? Using these criteria, which would you say you do in your classroom?

2. What lessons do you draw from the two case studies? Do you think they could (or should) be adapted for your school?

3. How can we get administrators and central office personnel to understand the importance of teaching writing across the curriculum at all grade levels?

POST READING QUESTIONS

These questions were posed on pages three and four of the book. They are good questions to keep in mind as you read and make excellent post reading discussion questions.


Why does writing matter?
What does research say about the teaching of writing?
What do we mean by “writing processes"?
What are some features of an effective writing classroom?
How can writing be used to develop critical thinking?
How does writing fit into learning across the disciplines?
What kind of professional development prepares teachers to teach and use writing?
What does a school wide writing program look like?
What are fair ways to assess writing?

Monday, July 6, 2009

Writer's Book of Wisdom--Review

Every summer I go on a reading orgy. I read lots of books that are what I call brain candy. They are quick, fun, and not in any way taxing on my brain. I tend to read of lot of  urban fantasy--fantasy novels set in the contemporary world.  

But, eventually, I start to think that, for some reason, I really ought to read some professional books. I love to read books about writing. I can read books on pedagogy and theory, but I am frankly not as patient with them. I like to get to the nuts and the bolts. So, after reading ten or twelve fantasies (and some graphic novels, too--almost forgot those), I pulled out a book I purchased in May with a birthday book card I received and began to read it.

And a few days ago I finished reading The Writer’s Book of Wisdom: 101 Rules for Mastering Your Craft by Steven Taylor Goldsberry. It is set up as a list of rules. The author himself acknowledges at the end that some of the “rules” contradict each other. That is okay. Different people need different guidance. There is something in here for just about everyone. With each rule lasting only a page or two long, the book reads quickly. That is, if all you do is read it.


It is intended to be more than a quick read. It is intended to be inspirational--get the reader energized to trade reading for writing. As I usually find in these books it tends to slant heavily to narrative fiction. That is somewhat useful to me professionally, as I need to teach narrative writing. It is not as useful to me as a writer. I tend to write poetry and nonfiction. There were some ideas that I found useful for those genres as well.

Some of the rules are gems that I am going to use with my writing classes next year. They will be easy to build mini-lessons around. For instance, in discussion of dialogue, Goldsberry breaks that topic into three of his rules. It reminded me that, as a teacher I need to break down the processes more for my students. It also, by its very structure, exhibits and promotes the idea of strategic writing. Have a plan going in. Know what you want to accomplish. Think of your audience to help figure out the best way to accomplish the goal you set yourself.

I am working on getting a list of nonfiction writing titles together for inclusion in a classroom library. While I would not put this book in the same league as Writing Down the Bones or Writing Toward Home, it is in some ways more accessible to beginning writers, I think. It is informative, interesting, casual in tone, and well worth the time.

©2009-Art Belliveau

Thursday, June 18, 2009

Hemingway Stole a Urinal

I haven't posted here for a while.  Since this poem is about Hemingway, and I am an English teacher, I think  I can justify posting this here.  It comes from a story I heard when I was recently in Key West.  It is purportedly true.  


Hemingway Stole a Urinal


Hemingway stole a urinal,
That’s how the story goes.
Hemingway stole a urinal,
While helping move Sloppy Joe’s.

Joe decided to move his bar,
To save a buck a month in rent.
He figured a way to make the move,
Without costing him one red cent.

He closed the bar at two o’clock
(That’s early for Key West)
And offered free booze to everyone
Who honored one request:

Help him move all his stuff,
Half a block to the new location,
And he would make sure that all who helped
Would be rewarded with inebriation.

And so the patrons of the bar,
Picked up every table and chair,
And balanced their drinks as they moved the stuff,
Through the humid Florida air.

In order to get another free drink
They had to back for another load,
And carry it down half a block
To the new site across the road.

Joe opened the bar at nine the next morn
And kept his business in the groove.
But there was at least one accoutrement
That didn’t make the move.

Young Ernest went into the john
To recycle some of Joe’s beer.
And as he stood there he was struck by an urge
To make the urinal disappear.

After all it was only fair,
Reasoned his semi-pickled brain,
After all he’d paid for that urinal
With all the profits he’d sent down the drain.

And he reached out a drunken hand
And tore it from the wall.
Then he left the party
And headed home with his haul.

He put in the from yard
Not caring if he appeared the fool.
And also would get back at his wife,
For secretly putting in a pool.

She tried to to make him take it out,
But she never won that fight.
And so she tried to dress it up,
With a fountain and tiles bright.

And that stolen urinal
Still sits there to this day.
And that’s the tale of the urinal
Stolen by Ernest Hemingway.

©2009-Art Belliveau

Wednesday, May 6, 2009

For Louise M. Rosenblatt

For Louise M. Rosenblatt

Together in class
We read a story

It is the same story
Printed in every copy
Of every book
In the classroom

Yet—and this is what
I love about reading—

It is a slightly different tale
Inside every head

As the words on the page
Collide and combine
With the life experience
Of each person
Reading the story



©2009-Art Belliveau

Friday, May 1, 2009

So Much for Planning

So Much for Planning

I was going to give a test today
On Greek and Latin roots
I was going to ask for final drafts
Of my students’ movie reviews
I was going to accomplish things
But my plans, reality outstrips
All my plans are junked today
Because of five field trips
This class now is half empty
The next two look much the same
But I’ll just bend like a reed in the wind
I know how to play the game
Those here today will have the chance
To make up work they’ve missed
Or maybe even to get ahead
With me here to assist
The end of the year is coming fast
(It’s in three weeks—right to the day)
And here we are just kicking back
Another wasted day

©2009-Art Belliveau

Monday, April 27, 2009

The Home Stretch

The Home Stretch

Looking at the calander.
Looking at the clock.
Looking out the window.
Looking down the block.

Waiting for the summer.
Waiting for the end.
Waiting for the last school day.
It’s right around the bend.

Less than four weeks left now.
It’s shorter every day.
The students are excited--
Ready to leave without delay.

The students all are restless.
That you can’t ignore.
They are ready for vacation--
We teachers are ready more!

©2009-Art Belliveau

Thursday, April 23, 2009

Talking

as the other students in the class
chat in quiet amiability while
working on their writing project
these young ladies just sat and talked
their volume rising slowly
almost imperceptibly
but steadily nonetheless

if they are going to refuse to work
why can't they at least do it quietly
like the ones who sleep so soundly
through the class every single day

but no
they insist on sitting there
publicly emoting to each other
the dramas of their lives
and their day at school

(and
to be honest
some of them do indeed
live through a great deal of real drama
too much to contend with
at their young age)

i wrestle with myself
as i observe them
heat slowly rising
in my face
in lockstep with
their increasing volume

i could do something
proactive
to make them quiet down
i could get up
and just sit near them
make them nervous
tenth graders detest
a teacher's propinquity

but my stomach is roiling
and jumping inside me
feels like i've been
repeatedly gut-punched
should have stayed home
but felt obligated
to come and teach them

most students are working
or at least appearing to
knowing that negative attention
lowers their grades
just these four loud talkers
inconsiderately interfering
with everyone's thought processes

so i reach to my left
and grab for the stack
of preprinted forms
ones i have prepared for
just such an occasion
and fill out detentions
for my chatty friends

see you all soon

©2009-Art Belliveau