Thursday, August 7, 2014

Day 7: Amy W.


And So It Begins
The smell of salsa tickles my nose. I breathe in deep and take in the inviting scent. “Did you make homemade salsa?” I ask the other Amy. “No. It’s salmon bruschetta.” My lack of food knowledge reminds me that I’ll probably never write food reviews. My stomach growls, forsaking the hearty breakfast I recently devoured. I wonder how I’ll be able to focus on taking notes when all I can think about are the spice muffins on the table behind me.
“Did anyone else have trouble finding a parking spot?” Kim asks, a welcome distraction from what I thought would become a soliloquy on food. I find her question humorous. For the last six days I have walked through barren parking lots to get to class, yet the streets are packed with cars. It seems we all had the same idea: avoid buying a parking permit when you can park on the street for free.

Harmonious Heather Hums a Happy Tune

Heather reminded us that “yesterday was damn good.” And it was. I went home and wrote for hours. Words poured out of me and I felt free. Liberated. I fell in love with writing all over again. 
Heather sang, as I expected she would. “She’s got a way about her…” I wanted to laugh, but so much of what she does reminds me of myself. I’m the girl who makes up songs about what I’m buying at the grocery store or the type of shampoo I’m using. I often change the lyrics of well-known songs to fit whatever situation I find myself in. I should’ve pursued a career in advertising or, specifically, jingle writing. 

As for the singing, the secondary teachers (minus Nancy who left the dark side for the musical paradise) sat back and observed while the elementary/middle teachers joined Heather in full force, and harmony. I pondered the silence and smirks coming from my corner of the classroom: Are we a reflection of the students we teach? Has their cynicism and apathy infiltrated us? What is holding us back from letting our voices ring?

We reviewed “ARMS” and the other Amy secretly suggested that my high school students would probably come up with their own motions (think the Beverly Hillbillies “California Howdy!”) or other inappropriate gestures of which I’m not privy to knowing or understanding. I’ve always been a bit naive.

Heather continued to lead the sing-along blog and passionately belted out the words, “Clap along if you feel like a room without a roof.” 

A room without a roof? Really? To cynical me, a room without a roof is a problem. Why is there no roof? Did a tornado occur? Was there water damage? Did the builder run out of money? Something must be wrong! But to Nancy (you might remember her as the only secondary teacher who joined the sing-along) a room without a roof represents opportunity. I envy her positive view.
The shruti box made an appearance and I wanted to give up writing and teaching for music. How have I gone my entire life without hearing this instrument? Would anyone notice if I left to go home and play my guitar? Do I have the courage?

Think (and Listen) Outside the Box

Listen!
Hear a perspective other than your own

A series of thought-provoking questions
That led to discussion and an awareness of
The difference between
Concrete thinkers and abstract thinkers
Literal thinkers and imaginative thinkers
Critical thinkers and creative thinkers

Different perspectives are a yes! Don’t shut people down! Hear what others have to say!

Which is stronger: a judgment or an idea?
Which is more alive: a comment or a camera?
Which is faster: a pencil or a telephone?

Think outside the box! Put ideas together that don’t belong! Get your brains a’flowin’!

Lions and Tigers and… Courage?

Following Jeanne’s thought-provoking (and fun) warm up, Margaret took the reins with a lesson on Writing to Define. Some words of wisdom that were shared from the collective group:
·         “What’s funny? What’s valuable? It depends on how you define value.”
·         “The concept of courage… comes up a lot throughout literature.”
·         “If you’re going to argue something, you need to understand your terms.”
·         “The ability to write good definitions is important and leads to more complex writing.”
·         “Define and defend!”
·         “Many concepts we study in English apply to life.”

The Word de Jour was: COURAGE.

Is it weird/immature/whatever that the first thing I thought of when contemplating courage was the Cowardly Lion from The Wizard of Oz? 

As a group, we dissected the validity of Superman’s courageousness—whether he is or isn’t based on his expected and accepted role in society. After a riveting discussion, Margaret put us in partners and said we were going to do skits. My heart soared. I was over the moon until I realized what she really meant was we were going to read a few scenarios and create working definitions of courage based on them. This was challenging, but provoked more great discussion – and was a great follow-up to Jeanne’s encouraging us to “listen to other perspectives” since not all of us agreed.
Nearing the end of partner work, it was brought up that students process things differently, so it’s good to let them process verbally before writing. Conversation should be an integral part of our classrooms. Authority is what we want our kids to have in their writing and they gain that when they take ownership. 

The entire group reconvened and continued to discuss what it meant to have courage. At that time I started to check out. My eyes were heavy. My brain felt foggy. My head was throbbing, a sure sign I needed more coffee. Do I have the “courage” to up and leave and walk to Starbucks? Some would say there is risk involved; others would say I am irresponsible.

While I felt out of place and as if I was the worst student the OWP had ever seen, I realized that some days are “off” days. As teachers, we need to remember that our students are human. They bring baggage to school with them. It’s our job to provide a safe, nurturing place for them. It’s also our job to give them the tools they need to push through the tough times, to not give up. We have to do the same. 

And Then I Wrote a Poem (you’re welcome, Amy S):

COFFEE
OR
UNDERLYING
RAGE
AND
GRIM
EXPECTATIONS

Experimenting with something like, but not quite, a Free Write

John cracks his neck which produces a painful noise. Amy and I cringe. Nancy thinks I’m drinking wine out of a wine bottle and for a moment I wish I was. Not because I need it, but because something is holding me back today. It would only take a few sips to experience sweet liberation. We learn that John makes his own wine. No one is surprised. 

Andra listens to NPR. John probably had his own radio show at some point. After all, he’s done everything else.
Carrie speaks a truth I’ve been dying to address: “We are too afraid to have discussions about core values.” She is right. So often we avoid uncomfortable or controversial topics because we don’t want to offend or we don’t know how to facilitate such thinking. But this is the good stuff! We should be able to talk about our core values. Our students should be allowed to express themselves in a safe environment where they won’t be judged. Are we too idealistic to think that this could happen? Are we afraid? 

Right before lunch begins I am finally able to log on to Moodle, which John probably invented.

And We’re Back

Andra kicks us off with a rundown of Demonstration Lessons and reminds us this is a workshop, therefore we’re in workshop mode. We don’t have to be perfect. Focus on the rationale, but don’t spend too much time. Look through the standards. Think about the procedure as if you were in class, and obviously, don’t forget your closure. Think of it as a second draft. Lessons that move us forward. Process writing. Authentic writing. Elements of choice. Are we allowing students to do authentic writing and push their thinking forward? 

Amy S. addressed her concerns about teaching to multiple audiences (teachers at different grade levels). Andra quelled her fears by reminding her that during the lesson she should “pop out” of teacher mode to break the lesson down for teacher colleagues. As an audience, it’s our job to think about how the lesson is applicable to our grade levels. “Get your best practice out there!”  THEN… “How can we take the show on the road?” Reflection comes later. Feedback is important. 

We were given much needed (and appreciated) time to work on our demo lessons and/or catch up on reading. We were all grateful and able to breathe sighs of relief. 

I Remember the Time…

I remember the time that Sasha, John, Amy S., and Jeanne wrote amazing narratives that entertained, stumped, confused, inspired, and left us wondering: Would we drag a dead guy out of a bathroom?
The audience scratched their heads in confusion and asked for extra time to make their decision. No one wanted to be wrong. 

Although Amy's was the truest, Jeanne received the most votes. We're all winners?

The End is Drawing Nigh

By the end of the day our conversations are winding down. Maybe we’ve all hit the three o’clock wall. I pack up my computer, notebook, and pencils, and put my water bottle in my purse. I look around the room, grateful for the 11 other people who’ve set aside three weeks of their summer to take part in this experience. Our lives are forever changed. We will carry with us wherever we go the lessons we’re learning about teaching and writing. 

I take one last glance at the muffins left on the table, thankful for my willpower and ability to abstain this time (although I will later devour orange chicken from the mall because who wants to cook when you can write?!) Walking through the empty parking lot, I take in the beauty of the trees, the hills, and the deer, and I am thankful I didn’t buy a parking permit because I may have missed out on a seemingly small detail that could lead to my next story or poem. 

Wednesday, August 6, 2014

Day 6: Heather

Tuesday, August 5th, 2014

Following Mark Twain's advice to substitute the word "very" for damn, as he suggests in our "quote of the day", today was damn good and damn productive!

Nestled between Margaret's request for T-shirt quote candidates and a reminder about the "OWP Literacy Leadership Institute's" overall requirements; Nancy presented yesterday's happenings in her usual elegant and amusing style...such a way with words... "She's got a way about her!" Nancy reminded us of key points from the "genre" lesson including a chart outline. She concluded with "Writing is messy and
learning the writing process is pretty dang helpful!"

Also during our morning, we were reminded to turn in our revised narrative and to continue working on an informational, argument and prose piece through the duration of the institute. When Amy W. inquired about length, Andra answered, "Say what you need to say". This seemed to be a theme of the day, as we continued to ask ourselves, "Does it work?" about a piece of writing. If it does, it's finished.

Carrie, with her wonderful way of tuning in to what kids really need, began her warmup with the rationale of students needing to learn how to think more logically. More specifically, her activity aimed to "teach students to write a coherent, logical paragraph that expresses a claim using relevant data, and then to be able to interpret that data." Carrie's way of illustrating how we can "Teach our children well" included a charting
exercise of our favorite activities. With a partner, we wrote verbs on post-it notes describing things we enjoy doing and placed them in the appropriate categories on an outline that Carrie had prepared. We then came up with a title as a group based on the activity ("Our Class Interests") and discussed "what trends we saw" at Carrie's prompting. We noticed we are a musical, earthy bunch as many of us chose musical or outdoor activities.
A couple of good points were brought to our attention. For example, Amy S. : "The same person sometimes posted multiple times in one category" (skews mathematical results) and Jeanne brought up that our "favorite activities" are often weather related so the trends and findings could be different throughout the year...."Seasons change and so do I...you need not ask me why". Cindy added "It's great that students are asked to look at evidence based on what the class as a whole feels (not just inferring) and John remarked that it "offers kids a way to play with data."
Carrie reminded us that it's important to try things ourselves as teachers before asking our students to do it. This is, understandably an important and recurring theme, as we are learning to write more and better ourselves so we can improve our teaching of it.

The baton was then passed to Andra who led us into a time for working on an informational piece. "Help, I need somebody!" Many of us were not feeling ready for this at first, but with a couple of examples and more information, the peaceful refrain of "the answer my friend is blowin' in the wind" began to weave itself into the room and we soon settled in to write, our questions replaced by taps on keyboards and ink on paper.

The break was filled with conversation and snacking...enjoying the cheese and shootin' the breeze....


Back to work! Andra channeled Richard Simmons and had us up on our feet to tackle revising! After journaling our personal reflections and experiences with revising, we got a real workout through practicing specific revising strategies. Afterall, "There's no great writing, only great re-writing"-Justice Brandeis. Andra had "all the right moves" as we danced through Add, Remove, Move, Substitute. Some of the key points of these strategies are re-reading to see if we need to add any more supporting details, remove unnecessary information that the reader already knows, and looking at possible substitutions (i.e. moving "chunks" or paragraphs into a different order). Cutting these "chunks" into separate pieces and taping them in various ways helped us play with new possibilities for order. "Shake it up...ooh hoo. Chunk it up!" Andra reminded us that writing is like soccer in that we don't usually just kick the ball as hard as we can. We get the ball to its goal with smaller moves..." we need to think of this as we work our way to our conclusion with supporting details that work.

Continuing our journey of embellishment and refining, Andra treated us to a colorful exploration of verbs. With wonderful examples such as "spits out sparks" and "saw is bitter-tooth after tooth" from Andrew Clements' "Workshop" book; we went on to replace passive verbs like "is" and "was" with more exciting, active ones. We also had fun filling in the blanks of sentences such as "The light ____________ in the window." Though some of us chose verbs like "winked" or "flickered" for this, all lights were on, ready to absorb more...."This little light of mine, I'm gonna let it shine!"

After getting a helpful handout on "managing writing/workshop load", we launched into discussion about our upcoming demo. lessons. Margaret reminded us of some of the key concepts including: *is adaptable across contexts (grade levels, etc..) *includes opps. for us to "do"/write *allow time for responses and feedback *has ties to common core standards *90 minutes at most
Margaret also reminded us that we don't have to "reinvent the wheel". We can borrow ideas from other lessons and revise. Before lunch we also had the opportunity to talk with a partner about our ideas for our
lessons, which was very helpful and rich. "I get by with a little help from my friends!"

Many stayed in the classroom during lunch and the room was buzzing with good-natured comaraderie and enthusiasm as many chatted and ate together. Wisdom from Don Murray in chapter 10 page 103: "...Many teachers complain that their students can't write sentences. Too early. Following form, forgetting meaning." He went on to provide a rationale for poetry, that the "chunks" (there's that word again!) are often chalkful of meaning and can bring about the real essence of what wants to be conveyed without being overly concerned about grammar....poetry as "premature births" but births and alive. This was later elaborated on beautifully through our guest presenter Rick Taylor's demo lesson:

"Using Expository Writing to Teach Poetry" As was brought up earlier in the day, it's important for teachers to know how to do what they are asking students to. Rick compared this to being a music teacher. To teach music, one must be a musician of
some kind, and this is the same with writing. Rick shared that he loves teaching poetry because "everything you need is right there." He elaborated with "Poets write about everything, including insights about life" and that poetry is expository in nature as they are still explaining an idea, only in a poetic fashion. Rick went on to show us examples of gorgeous, inspiring poems and showed how each could be broken into essay or expository writing parts (intro., body, conclusion). Even just by putting the print on the page differently, the poem could easily be interpreted as a different genre. Kim asked, "Do you ever try it the other way around...turn an essay into a poem?" Rick insightfully pointed out that not knowing where to start is one of the scariest aspects of teaching writing. One activity he led us through was to look at a beginning line of a poem and write from it as a prompt such as: "There's just no accounting for happiness"... "First when there's nothing but a slow, glowing dream..." And from this simple exercise, we created wonderful pieces today. "What a feelin'! being's believin'!" Amy S. likened happiness to the Lochness monster: "....only allowed ephemeral glances at its head or arching back". John even offered a bilingual example: "De gustabus non disputendum est" meaning "There's no accounting for taste. What people like should not be disputed."
Heather's began with "Happiness is marked by moments. Joy is a state of being", followed by figurative language. We continued to be creative and "Happy!" through a similar process with a quote on "Kindness" -also extracted from a full poem. The writing this time was preceded by a partner discussion on the topic of kindness. Rick brought up that it's easier to get kids or anyone to write if it's a topic they understand and are interested in. He shared another strategy of inspiring kids to write consisting of "quick word associations"-with the teacher or student saying a word and taking turns saying whatever other words came to mind... "No wrong answers", quick and fun, popcorn style. Rick went on to say that this exercise could easily be turned into a lesson on phrases; for example, when the students question why the teacher has more words or longer answers.
Before Rick goes off to the "Marakesh Express", drinking tea in the medina and writing to his heart's content: he'll continue to inspire us here in the Rogue Valley with teachings that embody the words he left us with today: " We're not able to touch the web without affecting everything else", further driving home the point that was brought up with Anne's lesson the day before regarding the interconnectedness of different genres. Afterall, everything is connected in some way. From the words of Star Hawk, "We are the flow. We are the ebb. We are the weavers. We are the web."

Our day ended with a guessing who's "I remember a time" essay was the real one. To some, the subject matter may have been "very superstitious" as the narratives included an owl falling out of a tree. "Who hoo is it?!" Carrie? Nancy? Heather? Though the real story was Heather's, Nancy eeked out with the most votes. Some of the factors noted regarding what makes a believable story were having specific details and a story
that made sense. Others mentioned that their ability to relate to the subject matter or not knowing what something in the story was like a "shruti box" can also influence their choice. For example, being able to relate to something might make it seem more believable to that person and something unknown may bring up thoughts that the person made it up just to sound fancy or believable.

Off to another great day with our fearless leaders Margaret and Andra! "They work hard hard for their money...oh hard for their money..."

Tuesday, August 5, 2014

Day 5: Nancy

Day 5

If our end of the day debriefing session accurately summed up the day, Monday, August 4th was a day of gratitude, connection, disconnection, and reconnection.

After the first week of blissful narrative writing and the occasional allusion to those standards – the Common Core ones; have you heard of them? – we made a shift to a new rhetorical mode of writing for week two: informative. What do I mean by rhetorical mode? Read on, dear reader, to connect rhetorical mode with its definition, to disconnect genre from everything you used to think and teach about it, to reconnect with the wonderful subject of English and your desire to write, and to calm yourself with a little gratitude for heuristics.

Humor in Writing that Aims to Inform?

After short check-ins, as per routine, the blog is read aloud to begin the day; however, Cindy’s blog boldly goes where no OWP blog has gone before with its Star Trek references. She keeps the class in perpetual giggles.  Her log was voted by Andra as “most entertaining,” and Margaret takes the opportunity to pull a wonderful teacher move by asking us to consider whether this is informational writing or not. Of course she won’t tell us the answer right then; we must ponder this question for the next couple of hours before we get to the answer via Dr. Beaufort’s lesson (I’ll tell you now, though): yes, it is informative. One might be skeptical of those who would add humor to any writing that attempts to inform, but such a skeptic would be distracting himself/herself/xeself from the main purpose of the piece. It is possible that some people were shocked to discover that informative writing can be fun, creative, and silly.

The Calming Effect of Gratitude

With Sasha’s gratitude Journal writing warmup, we learned that, “Gratitude has a powerful psychological effect on the body,” and that “Feeling thankful and appreciative...releases dopamine.” Energy, attentiveness, and readiness to learn are among the listed benefits that we felt when she led us through a breathing exercise, helped us focus on the last time we said thank you, and then gave us the following writing options:

• create an acrostic poem using the name of someone you’re grateful for, 
• list the top 10 things you are grateful for, 
• write a thank-you note

I wrote a thank you note, and my favorite line follows: Thank you for the wonderful gifts you have given me – the camping gear, the best dress I own, the Christmas ornaments that will follow me wherever I go, the cat books I love to catch my nose in.

Other people shared their gratitude for (apologies for the incomplete list):

Sasha: music 
Kim: a genuine Jalin (please help me with the spelling!) hug
Cindy: the opportunity to interact with young people
Jeanne: cherry tomatoes and hummingbirds
Carrie: night cycles and light seasons
Andra: the opportunity to work here and work with Margaret
Margaret: offered help, even when it doesn’t help 

Doesn’t simply reading the list make you feel a little calmer? Sasha emphasized the idea that waiting to celebrate and appreciate until the end of something (a school year or a summer camp, for example), is an uneccessary wait! Why not improve the health of your students and build community right now? (Disambiguation: the previous sentence is a rhetorical question, which expects no answer, because it is assumed that everyone can see it needs no answer; we all value health and community.)

* Housekeeping note: the warmups should be 15 minutes, and everyone should post his/her warmup on Moodle!

Morning Lesson: Teaching Genres
The Process of Rewiring the Teaching Brain, or Disconnecting and Reconnecting Genre and Mode

At 9:40am, on a Monday morning, mind you, Dr. Anne Beaufort swooped down on an unsuspecting class of OWP writers, and realigned our heads. During her two minute introductory bio, she explained what called her to return to teaching while working in the corporate world – she saw very smart people who could not write a business report. This prompted research to determine what we are missing in terms of writing instruction. She asked herself the question, “Shouldn’t it be about more than passing our courses?”
As the most fundamental method for understanding how to compose a piece of text, she asked us to focus on genre.

We defined it as:
category
classification
“kind of”
purpose
changing channels (thanks for the laugh eliciting line, Carrie!)

If we want our students to begin to understand genre, we can easily ask them to name genres of music and film (and literature).

Why does genre matter? To illustrate why it matters, Dr. Beaufort gets us giggling again with a dirty trick. The poem she presents and has us analyze, beginning with the line, “No man’s perfect,” is actually Virgo’s horoscope. We conclude that apparently genre does matter, since when we read it as a horoscope, it actually makes sense (we do not debate whether horoscope writing is good writing or not).


Genre knowledge is affecting us all the time, and so we brainstorm genres we write in:

Genres we write
Genres students write

Book review
parent letters
journal
rubric
ethnography
tv script - comedy
professional email
personal email
grocery lists
comic strip
facebook posts
text messages (social media)

Book review
parent letter
journal
Stories
summaries
essays
rap
email
poetry
love letters
facebook posts 
notes


Dr. Beaufort explained our goal as using genre as a frame for understanding, dissecting, and analyzing different types of writing tasks. The issue is transferring what students learned to real life. Genre helps us figure out a new writing task.

What is the difference between genre and rhetorical modes? Here’s the definition you’ve been waiting for!
Rhetorical modes are language tools we use. The modes are what we use IN genres (see the picture of the diagram below).

Examples of rhetorical modes:
narrative           argument
exposition        classification
description       cause/effect

Postcard writing is an example of a genre of writing (it’s possible to write in narrative, informative and descriptive rhetorical modes on a postcard, by the way), and so we dove into a wonderful lesson on postcard writing in order to better understand genre. Here’s the table we filled in together after writing our own postcards and analyzing the postcards she brought for us to use for our research:




Genre 1 - postcard
What we noticed about postcards after reading the ones handed to us
Purpose/Audience
what they know
our connection
who else will see it
(it’s public, so Amy writes in code)
  • (early ones are check-ins “I’m thinking of you” vs. mid era ones that were filled with information, vs. later ones, which explain places and travels more
  • Sense of obligation (maintenance of the relationship)
  • Keep in touch - “wish you were here”
Content
relation to image
thank you/ blessing
brief “you have to find the soul of wit” - John (who picked a dirty postcard)
simple 
location and weather
list
• last letter received (or length of time since last correspondence)
  • health
  • sights seen
  • documentation
Structure
Stop before long sticker that will cover the bottom
  • fragments 
  • brief
  • non sequential sentences (subject jumps)
  • use all available space
  • no room for paragraphs
Linguistic features
formal vs. informal
style: 
  • intimate, formal tone
  • begin sentences with verbs
  • abbreviation


She brings us through a few key points, including the idea that postcard writing is a “received form” – none of us made up the postcard genre writing. As we dig for historical clues, we note that using the title Mr, Ms, Mrs, or Miss shows a formality and respect (time stamp), and perhaps is an indication of social status. We also note that the patriarchy is not hidden in older postcards: Mr. and Mrs. (man’s name).

Be Grateful for Heuristics, Despite the Intimidating Name 

The problem with writing assignments is that when we tell students to “write an essay,” we are giving a confusing assignment. When we use heuristics, we have a tool for discovering what the genre is, and how to write it. Hmm, this could be helpful for students, I suppose.
Heuristic - a device or a tool that helps you understand something.

With our heuristic, we must consider these fundamental elements:
*Audience
*Purpose
*What is the established structure?
*What do I need to pay attention to in terms of language?

Review with a better understanding of genre

Heather brought up an interesting overlap in narrative and expository. We can inform and narrate at the same time. We determine that the testing is what is making us break into these categories. Outside of school, it is highly unlikely that a student will be asked to “please write an argument.” 
With an explosion of warmth, we all connect with the joyful throwing out of these restrictive categories. “How many stories are for persuasive purposes?” 
“Yes!”
“Of course!”
“mmHmm”

By showing students how things are not so easily categorized, we’re showing students how to understand writing. Why do we keep teaching in these categories? Because textbooks are there, they want to make money. Even if we don’t use the label, the way we teach categorizes. 

Resources: Writing Outside Your Comfort Zone. Check out page 65 and 66 for The Unfamiliar Genre Project. Andra shows us Exploding Ants to help us see how younger students can do research and understand genre, and reminds us that The Jolly Postman is a wonderful book for showing the different genres of writing.

Using What We Learned
Because she seems to enjoy best practices, Margaret has us brainstorm the concepts we might consider when writing in the informative mode, and genres we might use to write about the writing process, before we do our own prewriting for an informational piece. (Our brainstorming is shown below.)

  • What concepts might we consider when writing in the informative mode?
    What are some genres we might write for about the writing process? 
    (Consider audience and purpose)

    • integrate genres (subjects)
    • interdisciplinary
    • mindfulness
    • audience
    • point of view/voice
    • modeling/mentor texts
    • process
    • journal article
    • school board presentation
    • teacher blog
    • poem
    • administrator letter
    • parent letter (audience has switched to parents)
    • powerpoint for students or colleagues
    • student handout
    • poster for students
    • rationale
    • rubric that reflects process
    • letter to students about how we approach process in this class


Book Groups, Response Groups, and Narratives, oh my!

While the morning was packed with mind-whirling information and a general sense of what. did. we. just. learn?, the afternoon passed with relative ease, as we discussed the highlights of our book group books, moved into our response groups to practice good teacher conferencing skills and to gather feedback on whatever piece (either of our two narratives, the new informational piece we just drafted, or an informational piece we brought with us), and then settled in for the fun part...
Becoming human lie detectors!
Actually, it was much more positive than that; we looked for elements of writing that made a narrative piece believable. Of the three writers who had time to share their narratives, all had very believable elements, and the group was split when attempting to determine the true story.
These are some of the reasons we determined that these individual pieces were believable:

Amy W: Good natural dialogue sounds like her. Humor (drinking wine and being 30 years old, learning to ride a bike). “I’m a teacher.” (True details, but also tone of voice.) Her excitement to read it and emotion in it was convincing. She asked herself if this happened, what would it look like and sound like? Since she wants to be a scriptwriter, her brilliance in dialogue makes sense (cue collective “Ooohh” from group).

Cindy: (The real story.) Details of colors and events. (Series of events.) There was an exactness. Places were named (but not distractingly so). 

Kim: “6 in her fears, 16 in her determination” – great line! Kim got emotionally involved in the story (accessed a real emotion), which was convincing. She grounded it in something she could relate to.

We all wanted to hear more narratives, but the clock was relentless in its ticking, so we moved into debriefing, which began with the realization that we are nearly halfway through the writing camp already. 
Debrief:
What are you taking away from this, and what are your questions and concerns? Do we have uncertainty and anxiety?
Amy: How do we approach apathy? How do we make kids want to do work even if it’s not a summative assessment? Take away: I want to work on making the correlation between narrative and expository. 
John: Postcard activity will go well with a primary source examination. Take away: writing. I haven’t done it for a while.
Amy: Anne eliminated the distance between writing and teaching writing for Amy. More concrete time for writing and demo lesson development would be great – hurray! We will do that tomorrow morning (August 5).
Heather: I understand genres and modes more. Feedback on my narrative was helpful. (Third person in a row to use the term “disconnect.”) She referenced Murray’s idea that we write for ourselves. (At this point we started losing people due to the inflexibility of time.)
Sasha: I’m still absorbing a lot of new information. Watching master teachers do their perfected lessons, and then thinking of how my lesson can compare with that is anxiety inducing.
Kim: Perhaps I’m already teaching genre! How nice is that? Writing Essentials is a great book! But how do I also teach what my school requires me to teach?
Cindy: I’m excited to use the heuristic and primary source documents in my teaching! How do I help students help each other?
Jeanne:  What is this portfolio I keep hearing about? What is expected?
Carrie: I did the writing project 24 years ago, and it’s been a lonely road. It is nice to hear contemporaries admit mistakes/fears. Writing is a messy process, and we don’t always validate it.

The day ended with a resounding agreement that writing is messy, that borders and classifications are drawn sometimes to the detriment of teaching and writing, and a general validation that learning and teaching about the writing process is immensely helpful to us all!



Saturday, August 2, 2014

Day 4: Cindy

Writing:  The acquisition of authorship.  These are the voyages of the starship Muse. Its lifelong mission:  to explore strange new words [ not a typo], to seek out new texts and new topics, to boldly lead where emerging writers will seek to follow.  

Ensign’s Blog, Stardate -309579.1    On our fourth day of word crafting, Jeanne utilized the time warp feature and transported us to Wednesday with the first of the participant-generated blog posts.  This accomplished both the important mapping of the previous day’s lessons and a creative yet precise application of the multi-genre approach. Sensors revealed no unusual activity. 

On reentry, Amy proceeded to our warm-up. The atmosphere of poetry can present some learners with shortness of breath.  Her warm-up was a structured activity to ease whatever anxieties the crew might have possessed. Amy’s suggestions to generate responses to the stems “They tell me to be...; I tell them I’m...” occupied the crew in quiet contemplation.  Her examples of the stems, paired with explanatory phrases, were ample enough to get our ink phasers primed and set to stun.  Following time for each member to generate some satisfactory completions, all stood and shared a favorite, round robin style.  Not only did this generate a larger poem--a model that could be used by each member in subsequent missions--but also served to remind the crew they share some similar thoughts.   First Officer Margaret captured the potential of the stems to lead to further explanation and the possibilities of discussing parts of speech.
They tell me to be a freighter,
To increase my capacity to haul, [to]pull, [to]carry, [to]deliver. (Look at those infinitives.......)
I tell them I am a sailboat
Dancing nimbly on the waves, cresting and ducking,
Feeling the breeze
Connecting far corners of the world  (and present participles!)

-309579.16  Having beamed aboard earlier, Clancy Rone (new captain of the Starship John Muir), proceeded with the possibilities and benefits of exploring poetry. Navigation Officer Andra read a transmission from the Edutopia Quadrant on 5 reasons we should use poetry in schools.  http://www.edutopia.org/blog/five-reasons-poetry-needed-schools-elena-aguilar?page=1&utm_medi=&quicktabs_edutopia_blogs_sidebar_popular_list=2

The first exercise, appropriate with different layers of scaffolding for most school lifeforms, was a columnar simile/metaphor generator.  Using our manual replicators, we all successfully created and filled in our columns.  By mixing and matching, we were able to first generate similes, and then metaphors. Our products ran the gamut from profound to ridiculous. Sasha managed to maintain the integrity of the neutral zone when John challenged her metaphor: “Happiness is an ivory-colored baby bottle”  with “Happiness is a taupe gun.”  (Post-entry note:  We have since learned that John has the potential to display a “shitty attitude”. Perhaps best to advise the captain to avoid taupe John’s quarters. Best to err on the side of ecru.)

Having made much use of the replicators, Captain Clancy dispensed many materials on poetry.  From the Common Core galaxy to the Poetry Out Loud nebula, the crew was transported on a trek from fanciful (find and “use poems you love”[Clancy] for models, or close reading, for playing with and discovering) to practical (Appendix B of the 7th grade [and others] CCSS is a list of really fine exemplars to use for close reading).  Though traveling at warp now, the crew kept up.

Due to a distortion in space-time, I didn't receive as much chance as I'd wish to mull over, practice, and reflect on the materials Captain Clancy gave us; however, experiencing the effects of it herself, she did highlight and explain portions of the folder.  These may be re-accessed through the Moodle interface.  

-309578.25  The crew reconvened on the bridge after enjoying extended lunch leave. Some made use of the time for personal rejuvenation or terrestrial discoveries.  Others met with their away teams, the response groups who accompany and shield our fragile products, for feedback and suggestions about various narratives or poems.  

Now approaching the Grammar Delta, the crew eagerly attended to the screen to engage the world of  Contextless Grammar Practice--am alien landscape to some, but oh, so familiar to others.  Starfleet must be pleased with First Officer Margaret's succinct yet thorough review of studies that warned the crew not to be led astray by the race of isolated practice.  Studies hearkening back all the way to stardate -361000 (1962).    For those unfamiliar with the Appositive, a discovery mission was launched wherein members, utilizing the safety of the buddy system, began identifying traits that could help us recognize it.  
First Officer Margaret, whose inclination is to arm with information as much as phasers, suggested these resources:
More study results on the Moodle site

Image Grammar : Using Grammatical Structures to Teach Writing by Harry Nolan


Breaking the Rules: Liberating Writers Through Innovative Grammar Instruction by Edgar H. Schuster

Crew members added:
The Giggly Guide to Grammar  by Cathy Campbell, Ann Dumaresq and Michael Burke
Phunny Stuph:  Proofreading Exercises with a Sense of Humor  by M.S. Samston


Here’s a list of identifiers for appositives:
  • nouns or noun phrases
  • a cause for a pause for more information or an example (of the preceeding noun)
  • restates or clarifies something about the noun in a different way
  • separated from the noun by comma/s
  • not necessary for the sentence to make sense
Further revelations were shared as the ship, being in proximity, made a journey to explore the potential for appositives to add authority or attitude. The fine nuances in language offered rich fodder for us to discern what appositives contributed to the implied intent of the authors.  (It was here that crewman John shared with us his encounter with “shitty attitude.” Thankfully, decontamination appears to have been effective.)

Crew members, who were now primed for stimulation, crafted sentences for the vehicular red shoe that appeared on the screen.  Both attitude and authority were in evidence as we attended to details:  70’s fashions, Sturgis, and more.

Bearing in mind the mandate of the Prime Directive, I will seek to continually remind myself not to interfere in the details of the lives of writers’ products, but to let their journeys of self-discovery emerge.   I must carefully and contextually offer them their own prime directives:
  • What grammar choices are available?
  • What effect will they have on this piece?
As the mission for the day began to come to a close, Navigation Officer Andra, having made use of the replicator, dispensed some nourishing tidbits of personal narratives. She gave the crew time to savor the promise of these pieces (buddy system again), then invited group sharing.  I learned a valuable lesson:  those indicators of “good” writing, the elements we see that suggest quality, vary from person to person.  Where Kim and I saw richness in detail that indicated “good narrative” in “The Hit” and promising hints trends in the other two, many of our fellow crewmates expressed that the voice of “Scary Encounter” advanced it to the most compelling.  

Our discovery mission led to this list, a product which should be referenced, rather than regarded as rigid.  (Sorry for the little diversion to the Enhancement Zone’s Alliteration Cluster.) Depending on audience and purpose, narratives may
*offer rich details, including sensory--with the added caveat that the details CONTRIBUTE MEANINGFULLY
  • *strategic dialogue
  • *the order makes sense, even when not chronological
  • *emotionally charged--an element of tension
  • *connecting phrases, transitions, help guide the reader
  • *the reader has a personal investment
    • compelling lead or opening
    • satisfying conclusion
    • addresses the “So What” factor--why should I care?
    • connecting with the reader in a way that may look beyond and not be overly conclusive
    • a universal tie-in (some element we can relate to?)
Our officers suggested that this kind of journey of discovery is helpful before the first draft and/or prior to revision.  Models like these may be low-threat ways to implement the Prime Directive:  classes can collectively critique and contribute* to rubrics that lead students to personal treks in pursuit of elements that matter to them at the time, which address the purpose or audience, or for their developmental readiness to apply those elements. (*Captain! The engines are straining to escape the gravitational pull of that Alliteration Cluster! They can't take another pass! Watch where you're going!)   
First Officer Margaret presented us with “Three Rhetorical Modes of the CCSS”--a summarization of writing standards for 11th grade.

Primed now for encounters with my crewmates’ landing parties, I was transported, as if by holodeck,to:
  • an acreage outside Klamath Falls, where Kim,a young girl at the time, gained stature within the confines of her servant’s quarters when her grandmother redeemed herself with a simple act of awareness
  • an ethereal consideration of women who touch Carrie’s life through a narrative rich in language craft “never appears fat, just full” and “fragrance of adoration”
  • a pilgrimage of thanks led by Sasha
Ensign’s Postscript, Stardate -309585.07   My apologies to the crew.  The manual override on my tricorder means that I am unable to adequately translate all the data presented and shared.  The mind trips I was taking with some of the crew led me to rely on my memory for content at the end of the day.  I didn’t record enough details to help me summarize.  My apologies to John and Heather for neglecting the content of your sharing.  Anyone wishing to modify this post, for accuracy or omissions, is invited to do so. 

Furthermore, my apologies to any true Trekkers who recognize the many errors in Starfleet Protocol and series details.