Writing Tips for Teachers

Obituary

2017-05-10T08:48:00.001-07:00

Donovan R. Walling, born January 9, 1948, in Kansas City, Missouri, died May 5, 2017. He was the son of Donovan Ernest and Dorothy (nee Goyette) Walling. A lifelong educator, Walling taught school in Wisconsin and Germany, was a curriculum administrator in Wisconsin and Indiana, and served as director of publications for the education association Phi Delta Kappa, retiring in 2006. He continued to work as a writer and editorial consultant in retirement, and was a senior consultant for the Center for Civic Education. Walling was the author or editor of numerous books in education and also wrote fiction and poetry. He was preceded in death by his wife Diana (nee Eveland) in 1991. He is survived by his husband Sam Troxal; his children, Katherine, Donovan David, and Alexander; and several grandchildren.

In light of Donovan’s lifelong commitment to education, his family requests memorial contributions be made to the Walling-Troxal Endowed Scholarship Fund at First United Church. A celebration of his life will be held Saturday, June 16 at 7pm at First United Church, 2420 E Third Street in Bloomington, Indiana.

Temporary Suspension

2011-09-05T04:35:00.001-07:00

I have suspended work on this blog, at least for the time being, in order to devote more time to other writing. Please take a look at my other blog, Arts in View, at http://artsinview.blogspot.com/.

Tip #20 - Don’t Dangle That Modifier

2011-02-04T00:49:00.000-08:00

“Dangling modifier” sounds tricky, but most errors of this type are easy to spot with a little practice and equally easy to fix. They are the kind of phrase that makes you stumble over the logic of a sentence. Example:

Having spent a week in Las Vegas, my suitcase was missing.

Really? Your suitcase spent a week in Las Vegas? Where were you? Clearly the writer meant to say that the suitcase owner spent the week in Las Vegas. So a fix is fairly easy:

Having spent a week in Las Vegas, I found that my suitcase was missing.

After I spent a week in Las Vegas, my suitcase was missing.

Dangling modifiers can evoke accidentally humorous images:

Running to catch the bus, my hat blew into the gutter.
While taking a test, the fire alarm rang.

To avoid running hats and test-taking fire alarms, rephrase:

As I ran to catch the bus, my hat blew into the gutter.
While we were taking a test, the fire alarm rang.

Running to catch the bus, I lost my hat when it blew into the gutter.
While taking a test, we were interrupted when the fire alarm rang.

Modifying phrases at the beginning of a sentence attach themselves to the first available noun, so the trick is to be certain that it’s the right noun. Don’t just let the modifier “dangle.”

Tip #19 - Writing in the Moment

2011-02-01T13:06:00.000-08:00

Just as there are teachable moments, so too there are writable moments. Today, looking out at a freezing rain that was coating the branches of a maple tree, I began thinking about how productive it can be when teachers help students capture interesting moments in writing—even if it means setting aside a well-planned lesson.

What a powerful writing motivator an interesting event can be! Some years ago, the first snowfall of the season caused my newly arrived students from Southeast Asia to rush to the classroom windows in wonder. They’d never seen snow. And what a perfect time that was to teach snow-related vocabulary.

An unexpected visitor, the appearance of a rainbow or a hot air balloon, anything out of the ordinary—all are fodder for writing:

What ideas arise?
What senses are activated?
What emotions awaken?

Classroom journals, rather than formal papers, are an apt vehicle for capturing written impressions formed “in the moment.” Students can read their journal entries aloud in small groups or for the whole class. A collage of short passages written on various sizes and colors of paper will make an attractive, eye-catching bulletin board display, whether it’s in an elementary or a high school classroom.

It’s good to remember that the act of sharing writing is, in itself, a powerful teaching strategy. Students learn from one another about words, phrasing, and ideas.

Tip #18 - “To Exist or Not to Exist”

2011-01-11T01:38:00.000-08:00

“Supercalifragilisticexpialidocious.” Yes, we all can hum the tune and sing the first line. And it does sound atrocious. Moreover, it’s not very useful. Writing well and writing with big, important-sounding words are not the same.

Imagine the loss of power if Shakespeare had made Hamlet utter, “To exist or not to exist,” rather than “to be or not to be.” What is the question? Is bigger really better? The answer often is (or should be) “no.”

Students can become enamored of big words because such words seem important or grown-up sounding, and some forms of vocabulary study encourage this problem. Effective writing calls for choosing words not because they sound important but because they convey meaning simply, directly, and accurately. Help students think about this idea by pointing out alternatives.

Instead of accommodation, use room, hotel, or some other, more accurate noun.
Why use component when part is just as descriptive? Or utilize when use means the same?
Facilitate is rarely better than simply help or promote.

“Educationeze” is prone to encourage teachers themselves to use big words, which spreads like a virus to students. Remember when everything was a paradigm? In most cases the writers really meant simply model.

Good writing is a complex mix of words, phrases, and sentences. There’s no one formula. But using big words for their bigness alone undermines effective style. William Strunk, Jr., and E.B. White in their classic, The Elements of Style, said it best: “Avoid fancy words.”

Thank You!

2010-11-11T05:10:00.000-08:00

I'm posting special thanks to those who participated in my workshop, "Using Writing to Increase Content Understanding in Non-Language Arts Classes," at the recent National Middle School Association conference in Baltimore. The mix of participants—classroom teachers, curriculum supervisors, literacy coaches, and administrators—was refreshing, and active interaction made the workshop a joy to conduct. Thanks, too, to those of you who took time to comment, whether in person or by email.

The workshop was based, in part, on my book, Writing for Understanding (at right). So anyone who wasn't able to get to NMSA can find what they need in that publication. Now, please consider giving me some feedback on this blog—and sign in to become a follower.

Tip #17 - Writing to Be Heard

2010-11-01T07:31:00.000-07:00

Consider asking students to write a five-minute audio newscast. Why? Not only will they practice writing skills, they’ll also be tapping into current events, building content understanding, and gaining immediate feedback on their writing when other students listen to their broadcast.

Teams of two or three reporters/writers can compose and record their newscast, which also builds teamwork and collaboration skills. And because this type of writing mimics radio news, which can't use visuals, students get to work on their descriptive skills, too.

Want to ramp up this idea? Then ask students to work in groups of two or three to write a radio sketch—a kind of mini-play script. Encourage students to:

Base the three- to five-minute sketch on a favorite short story scene or a historical incident.
Think about not only dialogue but also sounds and background music.
Practice/rehearse a few times until they are comfortable with their work.
Record their sketch.

Share the students’ recordings and discuss how doing the project changed what and how they learned.

The recordings don’t have to be sophisticated to be effective. If you need audio sketch or drama examples, check out Internet Archive’s Audio Archive. The site is a treasure trove, especially for old-radio buffs.

Tip #16 - Listen—and Hear

2010-09-18T07:24:00.000-07:00

Today’s students often are called “screenagers” because their lives are dominated by looking at screens, from the gigantic (think three-story IMAX) to the minuscule (on a mobile phone). Their sensory input is overwhelmingly visual, though an audio undercurrent often forms the backbeat. Even before modern culture became overwhelmed by electronic screens, vision was dominant among our human senses.

Visual dominance is evidenced in common language: “I see” (I understand), “I’ll see you to the door” (walk with you), “We’ll see” (maybe), and so forth. Consequently, when students are asked to write descriptions, their compositions usually are filled with visual imagery and little attention is paid to the other senses. In life, all of the senses work together, but even the next most prominent, hearing, can be neglected.

To awaken students to the auditory sense—that backbeat so often taken for granted—try this:

Ask students to take out a sheet of paper and a pen or pencil.
Next ask them to close their eyes and simply listen.
Begin by guiding their hearing: “What sounds come from nearby?” “What sounds rise from beneath you, behind you, above you, to one side or the other?” “What sounds come from a distance?” “Are the sounds loud or soft, mellow or sharp?”
Then let silence settle in the classroom so that students can listen. Stretch this for two to five minutes, depending on the group.
Finally, ask students to open their eyes and write down as many auditory impressions as they can remember.

This exercise is a good stand-alone to create greater awareness of sensory input that can be translated into richer written descriptions, or students might immediately follow this experience by writing a “sounds of our classroom” composition that they can share.

Tip #15 - Anthologize!

2010-09-06T13:49:00.000-07:00

Two responses to writing energize writers: getting read and getting published. Why should this be any different for students? In Tip #13, I wrote about teaching young writers to be mindful of their audience of readers—and about the importance of teachers ensuring that students’ writing gets read.

Publication is another way to validate students’ writing efforts, and classroom publications are not very difficult or time-consuming to produce. This is particularly true if students use a common word-processing program for the final copy of their manuscripts. That way, much of the publication work can be accomplished electronically. Compositions also can be shared electronically or, more traditionally, printed out and distributed or posted. For example, a dedicated bulletin board might be reserved for a rotating selection of students’ compositions that are posted for their classmates to read. Teachers might even consider providing a pad of sticky notes so that readers can post comments on their favorites. (Be sure to discuss how to give appropriate, positive feedback.)

Another class publication project is the anthology. Let’s say the assignment is an essay or a story about an animal that students have owned, admired, or come into contact with in some way. After writing, a team of student editors can organize the resulting compositions into several thematic anthologies, such as “Pets I Have Loved,” “Wild Things,” and so forth. Each anthology might include six to ten compositions, printed out and staple-bound, with covers designed by the students, too.

Sharing these anthologies within the class is one approach. But they also can be taken home to parents, placed in the school library, or even distributed on a wider scale. Such publications, whether naïve or sophisticated—depending on students’ ages and abilities—help to encourage students’ writing efforts and to make school writing more authentic.

Tip #14 - Old Theme, New Twist

2010-09-03T06:05:00.000-07:00

Take the cliché out of the old “what I did last summer” theme by introducing students to the haiku form of poetry. Haikus work with every age group, and they offer a great way to introduce students to poetry—even those for whom the mere mention of poetry elicits a groan.

Imagine this assignment: Capture a memorable event from your summer vacation in the form of a haiku—a succinct seventeen syllables. For example:

new blue bicycle

swerve into the gravel turn

red bloody elbow

Or how about:

faces on Rushmore
sunlit granite shows each man’s
determination

Haikus originated in Japan. Traditionally, a haiku has seventeen on, or sounds. In English these are usually translated as syllables and configured in three lines of five, seven, and five syllables, as in the examples above. But there’s also room for variation and innovation.

One of the most famous Japanese haiku writers was Matsuo Bashō, who lived in the 1600s. His poems often are given as examples, such as:

all day in grey rain
hollyhocks follow the sun's

invisible road

For more about haikus in English, check out the Haiku Society of America website.

Tip #13 - Start the Year: Write

2010-08-05T06:16:00.000-07:00

Setting expectations from the start of the school year is vitally important for long-term progress and success in reaching learning goals. One key expectation that teachers can set from the start is that writing should be written to be read.

We all jot notes for ourselves. Often these jottings would seem cryptic to another reader. That’s because we “fill in the blanks” in the writing itself. After all, we know what we mean. It’s in our head, at least for the time being. But if you’ve ever run across a note from a few weeks or months earlier, after the memory has faded, you understand just how cryptic such jottings can be.

Writing for others — a mindfulness of audience — is a learned skill. And it’s one that teachers need to emphasize if they are to teach students to write well in academic and future workplace settings. Creating a mindfulness of audience requires ensuring that students have an audience for their work. This means that sharing writing is a key component of successful teaching.

Whenever students write, be certain to build in time and opportunity for students to share their writing with one another. Initially, this may mean asking students to read aloud what they have written for their classmates to hear. This strategy is particularly important for beginning writers who can “fill in the blanks” in their less-than-complete prose.

As student writers gain confidence in writing, their compositions can be shared in print, one student reading another’s paper, for example, or posting or projecting a composition for group reading.

The key point is that when students develop a mindfulness that others must read and understand what they write, then students better refine their writing so that it most clearly conveys their ideas. By ensuring that student writing is read, teachers encourage this mindfulness of audience.

Tip #12 - Summer Writing

2010-05-08T03:21:00.000-07:00

Summer reading expectations and assignments probably go back to the dawn of books in schools—or so it seems. But summer writing tends to be an afterthought, often along the lines of the cliché topic: What did you do last summer?

Teachers who want to ramp up the writing experience and keep students thinking about writing during the summer school recess can choose a number of strategies. Some are simple suggestions for students and parents; others hinge on coordinating with students’ future teachers. Here are a few sample ideas or assignments for students:

Keep a summer reading journal, jotting down information about what you read, whether that reading is purely independent or suggested by your teacher.
If you travel, keep a travel journal that records what you see and do on vacation.
Keep a camp diary if you go to camp—and write letters, text messages, or emails home.
Write a job report if you take a summer job and create an updated resume when the summer job is over.
Create a blog and write about things that interest you and your friends, such as summer festivals.
Write a skit or play to perform with friends or at a family reunion.
Work toward a writing goal during the summer, such as to write a short story or a series of poems or song lyrics.

The key to successful summer writing is to keep the projects focused and fun. Such writing needs to be fulfilling in itself, rather than merely an obligation.

Tip #11 - Teach Dialogue Writing for Fun and Motivation

2010-03-02T15:20:00.000-08:00

Isn’t dialogue just for fiction? You might think so because it features strongly in stories and, of course, in scripts. However, dialogue often is a feature of nonfiction writing. For example, not all scripts are fiction. Consider scripts for historical reenactments or documentary narrations.

Dialogues are useful for deepening students’ content knowledge. Let’s say that students are studying the pros and cons of banning smoking in public places — a real-world debate in many communities. How might two individuals on opposite sides of this debate conduct a rational discussion? Ask students to write the dialogue.

Or take another example, this one set in history. It is 1804, and Meriwether Lewis and William Clark are about to set out on their epic trek to the Pacific Ocean. Ask students to write a dialogue between the two explorers discussing various routes, the supplies they will need, or the dangers they anticipate.

To create a successful dialogue, students need to know their material (or do additional reading or research) and then be able to voice the ideas that logically might come from each party in the dialogue. Some students are good at mentally “hearing” the voices of their pair and setting down those voice on paper or on a computer screen. Other students benefit from working with a partner. In paired dialogue writing, each of the partners takes on a role. Then, in essence, they act out their characters and write down the dialogue that results.

One key thing to remember about writing dialogues is that the results won’t — and shouldn’t — look like formal English. Few people speak consistently in complete sentences or avoid contractions. Dialogues need to sound like real people speaking. The best way to check not only for correct content but also for natural speech is to ask students, singly or in pairs, to read their finished dialogues. This process works much like reader’s theater.

Most students find writing dialogues interesting and fun. The writing gets easier with practice, and students’ understanding of content is increasingly enriched over time.

Tip #10 - Stuck at the Start? Try Free Writing

2010-01-19T10:22:00.000-08:00

Students (and writers of all ages and experience) often have a hard time getting started. They sit and stare at the blank page or screen, and the words won’t come. What to do?

A strategy that has been around at least since the mid-1970s, but often is underused, is called free writing. It also is called “stream-of-consciousness writing” because it involves simply writing whatever comes to mind without regard to sense, sentence structure, spelling, grammar, and so forth. The idea is to free the writer’s thinking by pushing aside the conscious blockage of the mind, which can be caused by anxiety, apathy, uncertainty, or other emotional or intellectual impediments. Blunting the influence of these impediments by free writing allows the subconscious to spur creativity. Eventually a cogent idea will emerge that can be shaped and set into prose, poetry, dialogue, or some other desired form.

To use free writing, ask students to write continuously for one to five minutes. Ask them to turn off conscious thinking and write whatever pops into their heads, even nonsense. The idea is to keep writing for the set time. After the free-writing period, ask students to turn their attention to responding to the question or prompt that embodies the actual assignment or project.

Spontaneous writing can be difficult. Yet it often is required, for example, in testing situations. Students need to be able to read a question or writing prompt and set immediately to work producing a coherent, organized, well-developed response in order to do well on an essay test. A way to build skill in spontaneous writing is to practice. One element of practice, certainly at the beginning, may be free writing. It’s a handy starter. Once students develop a capacity for fluent spontaneity, free writing can be dispensed with; however, it is always a useful fallback technique whenever students get stuck at the beginning of a writing assignment.

Tip #9 - Comma Rules, Part Two

2010-01-06T11:42:00.000-08:00

Following are a couple more simple comma rules that students need to master.

#1 - Serial words are set off with commas. For example, commas separate multiple adjectives before a noun, but a comma is not used between the final adjective and the noun.

John was a tall, slender, athletic boy.

NOT John was a tall, slender, athletic, boy.

On the other hand, when the serial adjectives compose a series using the word and, the comma is included before (not after) and. For example:

John was tall, slender, and athletic.

This also is true for series of phrases. For example:

Betty was in charge of sweeping the floor, setting up the chairs, and arranging the refreshments.

The final comma in these instances is called a serial comma. Most standard American English writing calls for its use. However, it is omitted in journalistic writing. And the British tend to leave it out altogether.

#2 - In compound sentences a comma is placed before the conjunction (and, nor, but, yet, for, so). Examples:

We wanted to go swimming, but the rain made it impossible.

COMMA - “BUT”

Elaine had seen the movie, yet she could not remember the plot.

COMMA - “YET”

This rule is similar to the rule of separating independent and dependent clauses in a complex sentence with a comma (see Tip #8).

For most writing tasks the rules in this tip and the previous one will help students avoid common errors in using commas. There are a couple more rules, and there are nuances that may be applied to these four. But these rules cover the basics for most descriptive and expository writing.

Tip #8 - Comma Rules, Part One

2010-01-06T11:13:00.000-08:00

Unless they come at the beginning of a sentence, after an introductory phrase or clause, or precede a concluding phrase or clause, commas usually come in pairs. In the previous sentence, for example, they surround the phrase “after an introductory phrase or clause,” which explains “at the beginning of a sentence.” In both preceding sentences a comma also is used between clauses. So here are a couple of rules:

#1 - One comma separates independent and dependent clauses in the same sentence. Examples:

John took a taxi, as it was too far to walk comfortably to the museum.

INDEPENDENT CLAUSE - COMMA - DEPENDENT CLAUSE.

If rain is forecast, please take your umbrella.

DEPENDENT CLAUSE - COMMA - INDEPENDENT CLAUSE.

#2 - Use commas in pairs to set off nonessential phrases, clauses, appositives, interjections, direct address, and so on as needed, except when they begin or end the sentence. Examples:

John, would you set the clock for me?

DIRECT ADDRESS - COMMA - INDEPENDENT CLAUSE.

She knew, for example, how to tie her shoelaces.
“FOR EXAMPLE” INTERRUPTS AND IS SET OFF WITH COMMAS.

Are there exceptions? Of course. After all, this is English, and what would our language be without exceptions to every rule? For instance, most modern writing avoids the comma following a short introductory prepositional phrase: “In January we will go skiing” rather than “In January, we will go skiing.” The latter form would have been more common, if not indeed required, fifty years ago. If the introductory phrase is long or might confuse the reader, however, the comma should be used.

Note in Rule #2 above the word nonessential. Essential clauses are not set off with commas. For example: “The woman who is wearing a red hat is my aunt.” Without the clause “who is wearing a red hat” the reader wouldn’t know which woman is the writer’s aunt.

Tip #7 - Sensory Reportage

2009-11-24T20:12:00.000-08:00

All writing, to some extent, involves translation of observations or ideas into words set into sentences and paragraphs. Writing prompts that call for “sensory reportage” recognize that individual students process ideas in different ways. Three of these ways are the visual, the auditory, and the kinesthetic.

Let’s say that the topic for a writing exercise is camping. One way to acknowledge that some students may be visual learners, others auditory learners, and still others kinesthetic learners is to develop a selection of prompts that allow students to choose. For example:

Design a campsite layout. Draw the layout and then write a description. (Visual)
Create a key to birdsongs or calls. Try to imitate the sounds and then write a description. (Auditory)
Roll and store a sleeping bag. Experiment with a sleeping bag to discover how best to roll it and then write a description. (Kinesthetic)

Each of these prompts requires the student to make a translation — that is, to translate a visual design, birdcalls, or a physical activity (rolling a sleeping bag) into words. For this assignment the translation is a description. For others the required writing might entail explication or analysis.

Like any sort of translation, part of the process will entail identifying words to use. Translating from a visual, auditory, or kinesthetic plan, observation, or experience will involve a prewriting process of gathering words to use, in this case, descriptive words — strong verbs, adjective, adverbs, and so on. This process can be compared to a chef preparing to cook. Having decided on the meal, the chef must gather the ingredients before preparing the dishes.

Sensory reportage is a strategy that helps make students aware of language and how writers translate ideas into words.

Tip #6 - The Case of Pronouns

2009-11-18T06:32:00.000-08:00

Do you notice students mixing up pronoun cases, for example, writing, “Me and her went to the mall,” when the correct use would be, “She and I went to the mall”? It’s a common problem. But helping students understand and use the correct pronoun case is an easy fix.

Instead of teaching with the case labels — nominative, objective — use natural language. This strategy first involves separating the pronouns and then trying out the sentences that result:

Is “Me went to the mall” correct?
Is “Her went to the mall” correct?

Students easily recognize that both are incorrect uses of me and her. The corrected sentences are, “I went to the mall” and “She went to the mall.” Together therefore the compound subject would be, “She and I went to the mall.”

The same strategy holds for the objective case. Is “Dad bought ice cream for him and I” correct?

“Dad bought ice cream for him” is okay.
“Dad bought ice cream for I” isn’t.

Most students will readily make the correction: “Dad bought ice cream for him and me.”

Separating compound subjects and objects helps students hear incorrect pronoun cases and make corrections using natural language.

Incidentally, it’s also standard usage to put the other person first in a compound subject or a compound object: “She and I” rather than “I and she”; “him and me” rather than “me and him.”

With a little practice, most students can apply these pronoun fixes with little or no teacher prompting.

Tip #5 - Easy Apostrophes

2009-11-13T09:36:00.000-08:00

A frequent question from teachers is, How do I teach students the basics about using apostrophes? Let’s keep it easy.

“Its” or “it’s”? Some students find them endlessly confusing. So one easy answer is that personal pronouns never use apostrophes to indicate possession. Examples: “That hat is hers” (not her’s). “The apple is noted for its red color” (not it’s). Nouns, on the other hand, do take apostrophes to show possession. Examples: “That is Joan’s hat” or “The dog’s collar is missing.”

Another common use of apostrophes is to indicate that letters are missing, as in contractions: “isn’t” for “is not” or “I’m” for “I am.” Formal writing, such as reports, still tends not to include contractions. They are present in most other writing, but overuse should be avoided. It’s hard to justify “should’nt’ve” for “should not have,” for instance.

Help students keep in mind that English is a living language and therefore periodically changes. These changes can be a fascinating study in themselves. For example, the word bus, the vehicle, began in the 1800s as omnibus. In the early twentieth century, as buses became more widely used (and motorized), the word was briefly seen in publications as ’bus, with the apostrophe standing in for the missing omni. Later, common use of the word led to dropping the apostrophe.

Another example of such “evolution” is the word email. This shorthand for “electronic mail” started as E-mail, but rapidly was reduced to lower case e-mail. Some publications still retain the hyphen, but many have made the transition to the unhyphenated form.

Eras also used to be written using an apostrophe: 1890’s or 1950’s. Today, however, that apostrophe is seldom used. Eras are written as 1890s or 1950s. Other plurals involving letters and numbers still use the apostrophe. Examples: “The sum of those numbers contains three 7’s” or “Little Tom knows his ABC’s.”

To sum up, three easy, basic rules can help you teach correct apostrophe use:

Don’t use apostrophes to show possession with personal pronouns, but do use apostrophes to show possession with nouns.
Use apostrophes to stand in for missing letters in contractions, but stick to common contractions and don’t overuse apostrophes.
Be aware that language changes over time, which can alter the correct use of apostrophes and other punctuation marks.

Tip #4 - Teach Spell Check

2009-11-09T05:09:00.000-08:00

Students (and adult writers as well) often think that running a software spell-check program, such as the one that comes with Microsoft Word, is the same as proofreading for spelling. But spell check has limitations that students need to keep in mind to use it effectively.

Spell check works best for catching typos, words students may know how to spell but incorrectly keyed. A “suggested corrections” feature may give them possible alternatives and thus allow them to spot the correct spelling and fix their work with a click of the mouse. The implication, however, is clear: Students need to be able to recognize correct spellings, which means that you still need to teach spelling. Software cannot substitute for basic spelling instruction.

Spell-check software also is no substitute for careful proofreading. Keep in mind that spell check won’t catch typos that actually are words. For example, if a student types “fox” instead of “fix,” spell check won’t flag it because fox is a real word.

An extension of this issue applies to homophones (words that sound alike but are spelled differently). For instance, if a student means “their” but types “there” or “they’re,” the spell-check software won’t catch it. This software limitation argues for giving special emphasis to teaching homophones and alerting students to pay particular attention to “to-too-two” types of usage.

The bottom line: Teach spelling — but also teach students how and when best to use spell check. Software is not yet sophisticated enough to replace careful proofreading for spelling and other aspects of composition. But it can be a valuable aid, in part because it also helps students and teachers pinpoint topics for additional teaching and learning.

Tip #3 - Daily Writing

2009-11-04T06:27:00.000-08:00

“Daily?!” Before you groan, let me explain. Writing is an instructional strategy for learning content and developing composition skills. It’s most effective when students write often. Daily writing fills this need and it’s easy to implement. Once a pattern of practice is established, daily writing also is easy to maintain.

Begin each class period by having students respond to a question posted in a standard place in the classroom. The question can be a lesson starter or a discussion starter, but it should require higher-level thinking, not merely recall. Establish a routine that students come into the classroom, quietly take their seats, take out their journals, and write a short (3-5 sentences) response to the posted question. They write independently, settling in and getting focused for the lesson to come, while you take care of your own routines such as taking attendance. Take only about five minutes for this part.

Then the first whole-class activity will be a brief discussion about what the students have written. Don’t use daily writing only for getting students settled (though it also works well for this purpose). Use it to initiate the day’s lesson:

Review a previous lesson before continuing on the same topic.
Activate prior knowledge before starting a new topic.
Arouse interest or curiosity about the day’s lesson content.

By asking a few students to share what they have written, you are teaching all of them 1) that writing is part of learning, 2) that such writing assignments are integral to the lesson and not merely busy work, and 3) that what students write is valued.

Using students’ daily writing in this way also will give you an informal way to check for understanding (formative assessment) and thus gauge how best to proceed with instruction.

Tip #2 - Use Wait Time

2009-10-28T10:31:00.000-07:00

Remember the advice about asking questions during a class discussion: Wait a bit for the answers. Silence may seem uncomfortable, but students need time to think and frame their responses. The same is true for writing assignments. When you want students to think critically and creatively, give them time to process their ideas.

Often, especially with longer writing projects, it’s a good idea to get students started in class and then turn to something else, some other activity. The in-class writing time allows students to ask questions or seek clarification. Going on to other things then lets them process subconsciously before taking up the writing task again, either in class or on their own.

Some people write in one long burst of creativity, but many writers find that alternating writing with other activities (including sleep) actually helps them be more focused and creative when they do write.

Writing does not necessarily stop when students are not scratching with pen on paper or tapping computer keys. The subconscious mind is an idea factory, processing raw material and resolving dilemmas. Many writers “write” in their heads, and then when they get back to the keyboard those newly processed ideas flow more readily.

The same “wait” advice applies when you ask students to edit or proofread their own work. But it works a little differently. In this case, the down time provides a more objective perspective. Reflect on this: When you try to edit or proofread a piece that you’ve just written, your mind fills in the blanks that occur on the page. By taking a break and coming back to the work later, you return to it with “new eyes.” The same is true for your students. After some wait time, reading and editing as “naïve readers” helps students to see and correct problems in their own writing.

Using wait time is a helpful strategy for clarifying both writing and editing.

Tip #1 - Beginning, Middle, Ending

2009-10-25T16:41:00.000-07:00

Many students are inclined to start writing in response to a question or an assignment without thinking much about the final structure of the total composition. Consequently, the response can be meandering or incomplete.

Teachers can help students to think intentionally about the structure of a response by asking them to consider beginning, middle, and ending —whether they are writing an answer to a discussion question, a letter, a report, or some other type of composition. Here are some thinking prompts:

Beginning. What is your topic? What will you tell your reader? How will you draw the reader in? A good beginning sets a course. There’s an adage worth remembering that says: Tell the reader what you’re going to tell him, then tell him, and then tell him what you’ve told him.

Middle. What points amplify your topic? Whether the middle is a couple of sentences, a paragraph, or several pages, it should be guided by the course set in the beginning. Beware of tangents that take the reader in unpredictable or unproductive directions. Details and examples are hallmarks of well-developed middle sections of any composition.

Ending. What key points need to be summarized? The ending is a vantage point for looking back over the course on which you have taken your reader. Review the course, draw conclusions, and sum up.

Writing is like baking a cake. Assemble the ingredients, make the batter, bake the cake. Leave out any step and you’ll get a mess rather than a delicious dessert.