#3TTWorkshop–Individualizing our Students’ Study of Vocabulary

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Students in Jackie’s class write their vocabulary words on the board.

Three educators. Three states. Three demographics. All practicing Readers and Writers Workshop in our Secondary Classrooms. Read more about us here.

We are the Modern PLC, and every Wednesday and Thursday, we share our behind-the-scenes collaboration as we talk about the most urgent moving parts of our classroom pedagogy.

Today is the second and last installment of this week’s conversation between Jackie and Shana on vocabulary instruction.  Please join the conversation in the comments!

What are your best vocabulary activities?

Shana: For me, best practices surrounding vocabulary all happen in the writer’s notebook.  Curating a personal dictionary in that particular section, sharing those words with friends, and doing fun, in-class follow-up activities with those words seem to work best to get my kids authentically reading to find new or interesting words in their books.  We do things like write a poem using ten of our words, create a pass-it-along story in which your sentence has to contain a word used contextually, or create an illustration of a particular word and hang it up.  The more play there is involved in our study of words, the more my students actually begin to pay attention to vocabulary in both their reading and writing.

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A list of vocabulary words students found in their independent reading books.

Jackie:  For the past couple of years I have wanted to integrate vocabulary instruction into my curriculum, but it wasn’t until this year that I moved forward with the process of carving out a specific section of students’ writer’s notebooks.  As Linda Rief says in Inside the Writers Readers Notebook, “We also need to ask them to pay attention to words in their own reading and their own listening, to notice words that they don’t quite have a grip on as writers and speakers but which they come across fairly often” (Rief 23).  As Linda Rief suggests, my students collect four words from their independent reading book or whole class reads per week.  They record these words as well as the parts of speech, synonyms, and the sentence in which they found the word under a separate dictionary section in their Writer’s Notebook.  

At the beginning of the year I was worried about summative assessments and meeting the needs of my students through our new competency-based grading system.  I “assessed” my students on their vocabulary by having them first memorize the words and then complete whatever the task-at-hand was for that day.  I’ll admit that a quarter into the school year I have already abandoned this method after growing frustrated with the results.  Naturally, students chose easier words when there were higher stakes assessments at hand.  They sacrificed learning for grades and in turn, asked fewer questions, instead focusing more on grades and less on word acquisition.

This is where you helped me most, Shana.  After tossing aside the summative assessments, I had students compile a dictionary of their words on the board, and we spent 15 minutes simply playing with the words and writing stories and poetry.  These biweekly activities breathed life into an otherwise stressful vocabulary lesson.  Soon my students were asking questions about how to use the words through context clues, and I was giving minilessons on integrating words into sentences based on the parts of speech.  For the first time, students began playing with vocabulary instead of trying to find shortcuts around the system.
Do you use independent vocabulary instruction? What activities do you use to help familiarize students with new vocabulary?

#3TTWorkshop–Teaching Vocabulary Through Independent Exploration

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Students in Jackie’s classroom write vocabulary words on the board.

Three educators. Three states. Three demographics. All practicing Readers and Writers Workshop here.

We are the Modern PLC, and every Wednesday, we share our behind-the-scenes collaboration as we talk about the most urgent moving parts of our classroom pedagogy.  This week’s conversation between Jackie and Shana explores the value of shifting away from the more traditional modes of rote memorization and more toward wordplay.

1. Why do you integrate vocabulary study into your classroom, and how do you approach it?

Jackie:  This is my first year integrating vocabulary into my freshman classes.  Previously I had taken a traditional approach, relying on the Oxford-Sadler books in my junior/senior Advanced Composition classes.  The problem was that by the end of the year, many of my students would forget the twenty or so words we had memorized every other week.  I knew something had to change, so I returned to the words of my mentors, Penny Kittle and Linda Rief, to gain a better understanding of how they approached vocabulary.  Now instead of having my students memorize lists of prescribed vocabulary, they find four words per week and store them in the dictionary section of their writer’s notebooks.

Shana: I love the study of words, so one of the things I always find myself noticing about an author is the type of vocabulary he or she employs.  Diction makes up a great deal of a writer’s style, so I think it’s important to study it.  I am fortunately not required to adhere to a certain program or set list of words, so I tend to approach the study of vocabulary more along the lines of noticing words that are in our reading and writing.  I don’t have a formula or routine for vocabulary study, although as a general rule I try to set aside mini-lesson or quick-write time about every two weeks.

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Ryan’s words for this week include “nebulous,” “jettison,” “inchoate,” “unnerving”, and “aphorism,” all of which he found from his independent reading book Little Brother by Cory Doctorow.

2. What is the inherent value of vocabulary study?

Shana: Something I’ve been thinking a lot about is the inherent value of vocabulary study.  Vocabulary acquisition is just one little piece of the puzzle that makes up literacy, but it seems to get so much attention from the powers that be.  For example, last year our school had two schoolwide goals–one of them was “vocabulary.”  What does that even mean?  Do we want our teachers teaching more “vocabulary words?”  Do we want our students memorizing more “vocabulary words?”  What is the difference between academic and non-”academic vocabulary?”  I’m just not sure that vocabulary acquisition is as big a piece of the literacy puzzle as our testing/curriculum planners believe.

Jackie: I agree wholeheartedly with you, Shana.  I am not required to teach vocabulary, but every year I tell my students that reading helps build one’s vocabulary.  The more I thought about it though, the more I wondered how these skills translated, how my students would develop their own lexicons if they never actually stopped to think about the words they were reading.

Unlike your school, though, my school’s major initiative has been towards Common Core-based instruction.  Fortunately, part of the College and Career Readiness Anchor Standards for Language requires students to “also have extensive vocabularies, built through reading and study, enabling them to comprehend complex texts and engage in purposeful writing about and conversations around content.”  I believe vocabulary study shouldn’t be about isolated memorization; instead, it should allow students the freedom for wordplay.  When students are given the freedom to not only pick their own vocabulary words but also share them with their peers, they are more likely to explore definitions, find connections, and play with usage.  I receive more questions about context clues, Latin roots, and parts of speech during bi-weekly vocab lessons than I have at any other point in my career.

Grateful November and a give-a-way for you

Sometimes thank you has to be enough.

Last evening I joined in #poetrychat and learned from 28 teachers from various parts of the U.S. and Canada about how to more effectively teach grammar by using poetry. Chats like this inspire me, and I want to be a better teacher. Tomorrow I will share this poem with my students as we begin argumentative writing:  The Joy of Writing by Wislawa Szymborska, my new-found favorite poet.

Thanks to all of you who’ve joined in our monthly chats about poetry. I am a better poet, and poetry teacher, than I was last May when TTT started hosting the monthly poetry chat.

Also, I am a better teacher because of you, the readers of this blog. I teach with more intention because I know I will write about the lessons, activities, books, and other resources I use with my students.

Audience matters to every writer, and I consider it a gift that my audience is also my muse. Thank you for your questions that inspire such deep thinking and so many posts.

May November bring a sense of gratitude and rich blessings in the lives of each of our readers. Thank you for your confidence in us as we share the experiences, lessons, and activities from our workshop classrooms.

So what’s the give-a-way already?

Shana, Jackie, and I met online last week to talk about our goals for this blog and how we can support you more fully. We might be able to help more if you give us some direction. So —

We know it’s not much, but it will buy a few books: We’re giving away one $25 Amazon gift card.

Just complete the short 3-5 minute survey, and you’ll be entered automatically. We’ll choose a winner randomly on November 10 and let the winner know via Twitter or email.

 

 

 

3 Lessons from Running a Spooky 5K

spooktacular runSaturday was the one-year anniversary of the race that changed my perspective about running — the “Spook-tacular 5K.”

I’d trained for about three months, getting up early for interval training before the hot TX sun demanded I go right back inside. Then at dusk going out again to run-a-little-walk-a-lot while my stamina claimed some courage.

Volunteers dressed up as ghouls and witches jumped from behind trees and fences along the pathway. Zombies roamed and groaned their way against the grain of runners. It was all fun and games until I lost sight of my daughter.

That’s when it got spooky. I could not see my daughter Jenna, my running partner who kept me from giving up.

Jenna’s a lot younger than me, so it’s no wonder she didn’t want to hang back and shuffle along. I even told her to run ahead.

But then the doubt started. What if I want to stop? Jenna won’t be here to tell me to power up. How will I keep going if Jenna’s not here to talk me through the sameness of a 3.1 mile jog? You know you hate running, why do you even try?

Two years before I’d tried to become a runner, but I could not make myself enjoy it. Jenna and I’d run one race back then, and I’d stationed myself behind an 70 year old man who ran with a walker. Really he ran with a nurse, but still, and there I was pacing myself behind him. He ran slowly, steady and sure, never stopping to catch a breath or break stride. A vacuum cleaner ate my lungs, but I kept moving. By the end, I thought my rubber legs would kill me.

Obviously, they didn’t.

Now, here I was in much better shape. Jenna and I worked out hard, and I knew I could run this whole race without stopping. I just needed to prove to myself that I could.

So I ran. I steadied my breathing, and I refused to stop. Booing ghosts and all.

I got about a hundred yards from the finish line, and I could hear “Monster Mash” blaring from the pavilion. I knew I’d almost made it when about eight little stick-figure-girls cut a corner and raced past me from behind.

Little cheaters.

I’d run the whole race, slow but steady, and these little adolescents with their long legs and glow sticks ran just long enough to “glisten” as they crossed the finish line right in front of me.

I crossed the finish line complaining. I didn’t even notice my time or relish the fun of finishing. I let them steal that from me.

And I learned some lessons that night:

1) I am stronger than I think I am.

2) I can do hard things, even by myself.

3) I shouldn’t let anyone at anytime steal my celebrations or my joy.

So what does this have to do with teaching? with readers and writers workshop and sharing what I know works? with conferring with my readers and teaching kids to write? with facing a room full of teens each day who need all the skill I’ve got?

Yeah, if you’re reading this post, I know you get it.

We train and practice and learn. We keep talking about books and conferring with our kids. We find joy when they light up about a book — or finally finish one. We focus on the skills we know our students need. We stay positive and hold fast to our pedagogy. We know workshop works. We revision our classrooms to meet the needs of our students — every single day. . . and sometimes every class period.

We keep moving, so our readers and writers will keep moving, too.

©Amy Rasmussen, 2011 – 2015

Mini-Lesson Monday: Learning Concrete Details with Independent Reading

More than any other writing, I love reading my students’ narratives. We start the year with narrative for many reasons, but my favorite is that I get to know my students faster than I can get to know them during one-on-one reading conferences or during group activities and discussions.

Here’s a short list of what I’ve learned from student stories just this week:

  • several of my male students wish they had a father who showed interest in their lives
  • a few of my girls live with their fathers because of their mothers’ poor choices
  • several boys and girls journeyed long and far, walking miles through jungles, so their families could escape oppression, rape, and murder
  • many of my teenagers have experienced heartache because of love interests, friends, and family members
  • a few are still grieving the loss of grandparents, aunts, uncles, and friends who died from suicide
  • at least one young woman still holds anger toward her mom because of the way she handled a brother’s addiction and abuse

Personal and powerful, all of these stories matter. My goal as a writing teacher is to help my writers harness the words so emotion reigns in the heart of the reader. The problem?

Abstract language.

Objectives — Using the language of the Depth of Knowledge Levels: Show understanding of the terms abstract vs. concrete; in your independent reading books, identify concrete details and figurative language; analyze the effectiveness of the author’s language; revise your writing to include fresh concrete details and figurative language as you create a text that evokes powerful emotions.


Lesson
— Before the mini-lesson, students have already drafted a few pieces, narratives or poems. I abstractconcreteusually do the mini-lesson after silent reading time, but for this lesson I begin before because I want to give students a specific purpose for reading.

First, I write on the board ABSTRACT and CONCRETE and we review what these terms mean when it comes to writing. I try to use only abstract words as they begin to discuss this with me.

“Awesome, you might get it,”

“Wonderful, I think you know what I mean,”

“Hey, that’s pretty good…”

Eventually, they will pick up on what I’m doing, and we make a list of abstract words. Then I give each table-group a word and challenge them to come up with a concrete description that shows us that abstract word. They get 1-2 minutes, and then we share out as I write the concrete details on the board. We discuss the difference in how an author can create emotion.

Next, I ask students to pay attention to the concrete details in the book they are reading, and I give them each a sticky note. “As you read today find at least one sentence where the author does something really clever with concrete details and/or figurative language,” I say.

Students read for 15 minutes, pen in hand, paying particular attention to the author’s craft. When time is up, I ask students to share their sentence in small groups and to analyze the effectiveness of the author’s word choice.

AllieTate“Think about what he’s trying to do there. Why did he mention the color of the sweater, or the smell of the breeze?” If they feel like the author’s accomplished creating emotion, they put the sticky on the board (or as in the photo here –poster).

Students need to not only recognize the details and know that they create some kind of imagery, they need to think about how effective the word choice is for what the author is doing at that moment in the story. If I can get them to start thinking about this, I can get them to begin making purposeful choices in their own writing.

Next, I ask students to search their own writing for concrete details that create images and to add a lot more. “Where can you add a phrase or line similar to what you found in the book you are reading? Is there somewhere you can add color or shape or texture?”

And we revise.

Follow-Up — When students immediately apply learning we’ve practiced using their personal reading materials, they begin to see the connections between becoming active readers and purposeful writers. This is the kind of lesson I do again and again with a different literary or grammar skills students to master. Next up:  subordinating conjunctions.

A few lines from students’ published narratives:

“Each body turned to watch as the green army, blurry, entered the gate. The ground only knew sadness and the sky transformed into a dark night, roaming like a lion.” –Tha Sung

“My first impression when I met Lucila:  petite, chunky, short red-velvet hair, wearing a sweater that covered her sins, mysterious face with a sealed silent mouth.” –Karina Rangel

“My brothers slept like angels with devilish grins.” –Geovanni Medina

#FridayReads: Hot Non-fiction for High School Readers

I still have non-readers. We are ending the ninth week of school, and usually by this time each fall, my Hold Outs experience a shift. They start reading. I haven’t pinpointed exact reasons for the resistance this year — I think I’m doing as many book talks, conferring sessions, and cheerleading-moments-about-books that I have in the past, but something is up with a good number of my students.. They just do not want to read.

I asked Bryan about his reading yesterday. He said, “I only read when I have to.”

“What can I do to help you want to read?” I asked.

“I don’t know.”

This is where it gets tough. I get to be a magician and a mind reader.

Or, I just need to know books and keep talking about them. I just need to keep encouraging my students to read and surround them with books they will find interesting.

A few weeks ago, Jackie wrote Top Books for Reluctant High School Readers, and I remembered Ready Player One, Gone Girl, and Perks of Being a Wallflower. I need to book talk those!

About two months ago, I wrote about the novels-in-verse I got for my classroom. Many of my students who had never read a book have read two, three, and four of those titles now.

I know many boys will read non-fiction when they won’t read “make believe.” Seems it’s time for an infusion of hot non-fiction books that might add some intrigue to my classroom bookshelves. I need books that students like Bryan will want to read.teen_school_boys_reading

I posed this question to my writing partners:

What are the hottest non-fiction titles in your classroom library?

Here’s our master list:

Jackie’s List

Ghost Soldiers by Hampton Sides

I’m Staying with my Boys by Jim Proser

Jarhead by Anthony Swofford

The Glass Castle by Jeannette Walls

Half-Broke Horses by Jeannette Walls

Sickened: The True Story of a Lost Childhood by Julie Gregory

The Devil’s Highway by Luis Alberto Urrea

Hellhound on His Trail by Hampton Sides

Kick Me by Paul Feig

Shana’s List

Pretty Little Killers by Daleen Berry (two girls murdered their best friend at the other high school in our county…kids cannot put this book down)

Columbine by Dave Cullen

Zeitoun by Dave Eggers

Five Days at Memorial by Sheri Fink (about Katrina; pairs well with Zeitoun)

Missoula by Jon Krakauer

…anything by the great sportswriter John Feinstein (The Punch, Next Man Up, A Season on the Brink)

Stiff by Mary Roach

Smoke Gets in Your Eyes by Caitlin Doughty (similar to Stiff; about working in a crematory)

…my War shelf, featuring Lone Survivor, American Sniper, Redeployment, or any other autobiography of a soldier

Erika’s List

Lucky by Alice Sebold (account of her rape and healing)

The Prisoner’s Wife &  Something Like Beautiful: One Single Mother’s Story  both by asha bandele

No Choirboy: Murder, Violence, and Teenagers on Death Row by Susan Kuklin

Inside: Life Behind Bars in America by Michael G. Santos

Orange is the New Black: My Year in a Woman’s Prison by Piper Kerman

Yummy by G.Neri (graphic novel based on a true story)

Shaq Talks Back by Shaquille O’Neal

Raising My Rainbow by Lori Duron

I Am Malala by Malala Yousafzai (Adult and YA)

A Child Called It, The Lost Boy, The Privilege of Youth, A Man Named Dave by Dave Pelzer (four part series, but each piece can be read independently)

Enrique’s Journey: The Story of a Boy’s Dangerous Journey to Reunite with his Mother  by Sonia Nazario

The Pact: Three Young Men Make a Promise & The Bond by Sampson Davis and George Jenkins

Destined to Witness: Growing up Black in Nazi Germany by Hans J. Massaquoi

Girlbomb: A Halfway Homeless Memoir & Have You Found Her by Janice Erlbaum

Amy’s List

A Stolen Life by Jaycee Dugard

Little Princes by Conor Grennan

Letters to My Young Brother by Harper Hill

The Sociopath Next Door by Martha Stout

Heaven is For Real by Todd Burpo

American Sniper by Chris Kyle

Just Mercy by Bryan Stevenson

The Glass Castle by Jeannette Walls

David and Goliath by Malcolm Gladwell

Exactly as I Am by Shaun Robinson

The Good Soldiers by David Finkel

Enrique’s Journey: The Story of a Boy’s Dangerous Journey to Reunite with his Mother  by Sonia Nazario

Life without Limits by Nick Vujicic

Do you know of any titles we left out?

©Amy Rasmussen, 2011 – 2015

Fitting Self-Assessments into Competency Based Grading

fotolia-33988899-xs-photogalleryThis year my school shifted to competency based grading.  For those unfamiliar with this, grading is centered on students’ mastery of the Common Core competencies.  While I have found it differs from state to state, our school has integrated competency based grading by requiring all classes to follow a grading percentage of 80 percent summative assessments and 20 percent formative assessments.  In addition, students are allowed to retake summative assessments as many times as they would like assuming they initially approached the assessments having prepared with good effort.

For me, as an English teacher, this process of retakes and revisions isn’t new.  That being said, the idea of 80 percent of my students’ grades being summative assessments is most certainly a shift.  In the past, while their final product has always served as a large portion of their grade (over 50 percent), it hasn’t counted quite as much as it does now.

I value formative assessments; I cherish the time my students spend cracking apart texts, mimicking authors’ craft, and simply reading.  For many of us, high school was a formative experience.  The time we spent exploring who we were paid off long term, yet competency-based grading values the final product more than the process.

To a degree, I take fault with this.  I understand that once students enter the workplace they are assessed based on their final products.  In the same breath, I also believe that high school must provide a platform for students to explore their interests in a safe and supportive environment that values process.  My life has largely looked like the reverse of my gradebook—80 percent of my time is spent reading, writing, brainstorming, drafting, discussing, and working, while maybe 20 percent of it is actually publishing, sharing, or posting my work.  I learned this process in high school.

Because summative assessments count for so much this year, I hate (even more than usual) applying a specific number to my students’ work.  In turn, to compensate for this competency based grading, I ask my students to assess themselves.

Every time my students hand in a paper or summative assessment like a notebook check, they grade themselves, writing a brief “metacognition analysis” in which they explain their writing, thought process, and reasoning.  In turn, instead of being blind sided by my grades, they have a say in how and even whether or not they met the competencies of the assignment.  Typically, they’re spot on with their grading.

FullSizeRenderNicole wrote, “I think my essay deserves that grade because I worked really hard on it.  I ended up printing it 4 times because every time I printed it I would self edit and have someone else edit it so that it came out just how I wanted it.  Just like always, I put a lot of my personality and voice into this piece.  I wanted people to laugh when they read it.  I added lots of detail about tiny situations and background.”

Ryan, had a similar assessment, “I think I did well with my development of ideas/organization and cohesion, and my ending.  I was proud of all of my writing because I thought it was one of the best things I’ve written.”

Ultimately students are also willing to honestly discuss their shortcomings.  Maddie targeted areas she hoped to improve in future pieces: “I feel I did well but could’ve been better.  I struggled with creating sensory details, but I feel I wrote this piece pretty well.  I would like to try and make this story more vivid, putting the reader in my position.” 

While I’m still addressing these changes and gauging my own understanding of competency based grading, self-assessments are the single most important change I’ve made in my classroom this year.  After I’m done reading rubrics, circling boxes, and checking off competencies, their voice is the resounding voice I hear.

Do you have competency based grading in your school?  Have you shifted to the 80:20 grading system? What changes have you made to better meet the needs of your students?

Mini-Lesson Monday: Imitating Poetry

Reading more poetry with my students has been a goal of mine these past few years, and it’s been a goal I feel has been readily achieved with ideas like creating Heart Books or reading novels in verse.

But writing poetry–well, that’s a different story.

Students who aren’t accustomed to writing poetry need a scaffold before they can leap into free verse composition without a topic, genre, or form prompt.  For this scaffold, I use imitation.

Objectives — Using the language of the Depth of Knowledge Levels:  Identify patterns of language, structure, and punctuation in a given poem; Modify the style of the given poem to suit your purpose; Create a poem in the style of a given poem.

41KeFnbnPfL._SX330_BO1,204,203,200_Lesson — Before the mini-lesson, I will have already booktalked two of Mary Oliver’s books–A Poetry Handbook and Dog Songs, which is always a favorite with my students.  As the mini-lesson begins, I’ll read to them from Oliver’s chapter on imitation.

“You would learn very little in this world if you were not allowed to imitate,” Oliver begins. “Before we can be poets, we must practice; imitation is a very good way of investigating the real thing.”

“I have some poems here today for us to imitate and investigate,” I follow up.  I pass out the following options, lately garnered from my incredible poetry seminar with Mary Ann Samyn:

“Read over these quickly, and choose one you’d like to imitate.  Then open to a fresh page in your notebook.”

“I’m going to write with you, and I’m going to choose ‘A Display of Mackerel,'” I say.  “It seems long, but look how short the lines and stanzas are.”  I put my chosen poem under the document camera.  “Now, this poem is about a display of fish, and I want to imitate it and write about a display of something.  There’s a pretty big display of colorful objects in my room…” I trail off.

“Your library!” Nathan helpfully supplies.

“Yep,” I agree.  “I’m going to imitate this poem and write about my bookshelf.  I’m just going to change a few words per line, but I’m going to keep all the punctuation and the numbers of words the same.  It’s so easy to write poetry this way.”

On the document camera, I begin my imitation next to Doty’s original:

They lie in parallel rows,                   They rest in slumped rows,

on ice, head to tail,                           on shelves, spine to spine,

each a foot of luminosity                   each a sheaf of wisdom

“See how easy that is?  I keep Doty’s structure, punctuation, and even some of his words.  I just change a few to make the poem about my display of books, rather than his display of mackerel.  Now you take a few minutes to give this a start.”

We set about writing together.

After 10-15 minutes, we each have a full imitation poem.  We break into small groups, working with others who imitated our same poem.  We read our poems aloud.  Feedback is given on what we notice–similarities to and diversions from the original, and the effects of both.

Follow-Up — We’ll practice imitation a few more times before we leap into writing poetry independently.  When we do, I’ll ask, as always, that my students create a small anthology of their work on that genre–some samples of their early forays into poetry through imitation, as well as a few examples of their own independent attempts.  I’ll definitely include my “A Display of Books” in my own anthology, as I find it a lovely description of my library that I’d like to preserve.

My Imitation Poem: “A Display of Books”
by Shana Karnes & Mark Doty

They rest in slumped rows,
on shelves, spine to spine,
each a sheaf of wisdom

creased with cracked spines,
which divide the plots’
most gripping sections

like bands of color
in a double rainbow.
Vibrant, luminous

prismatics: think indigo,
the wildly rainbowed
spectrum of a springtime rain,

think sun spearing through clouds.
Wonder, and wonder,
and all of them in every way

unique from one another
–everything about them
a onetime blend of letters. Thus,

they’re all creative expressions
of a million different souls,
each a tenuous effort

of the soul’s footprint,
writer’s essence. As if,
after a lifetime of drafting

at this printing, the author’s
taken irreversible steps,
each as permanent

in its inked completion
as the one next door
Suppose we were shoulder-to-shoulder,

like these, the same but different
from our universe
of neighbors—would you want

to be yourself only,
unduplicatable, doomed
to be in print? They’d prefer,

plainly, to be award winners,
forever honored. Even now
they seem to be straining

forward, heedless of their lifelessness.
They don’t care they’re ink
and simple paper,

just as, presumably,
they didn’t care that they were imagined:
all, all for all,

the rainbowed shelf
and its acres of brilliant words,
in which no verb is singular,

or every one is. How eager they seem,
even on shelves, to be different, selfish,
which is the price of publication.

#FridayReads: Learning to WRITE WHAT MATTERS with Tom Romano

IMG_9890With the release of his newest book, Write What Matters, this year marks the tenth year I’ve been reading and writing beside the words of Tom Romano.  If you’ve not discovered his wisdom on injecting writing voice into student work, his guidance about writing to discover, or his brilliance in coining multigenre…you’re missing out.

This summer, at the UNH Literacy Institutes, Tom Newkirk talked at length about the guts it took for Tom Romano to publish Clearing the Way in 1987–the first “teacher book” of its kind.  Guided by the research of Donald Graves and his contemporaries, Romano explains the text’s origins to his reader:

“This book is born out of my own struggles to write well and fourteen years of working hard with teenage writers.  Both the writing and the working have been worth it.  They are fine passions.

Thus began my pedagogical education–I read Clearing the Way in my very first English methods course in 2005.  Chapters like “The Crucial Role of Conferencing,” “A Creative Current,” and “Literary Warnings” showed me the possibilities if I created a classroom full of passion and verve and real writers.

IMG_9889Next I happened upon Crafting Authentic Voice, in Romano’s own writing methods class at Miami University in 2007.  A quote from page five of this book hangs prominently in my classroom to this day: “Voice is the writer’s presence on the page, the writer’s DNA.”  I point to those words when I endeavor to help students develop voice.  Chapters like “Enter Craft,” “The Five-Paragraph-You-Know-What,” and “Imitation” have guided my teaching of writing, and I see in those topics the work of Katie Wood Ray, Penny Kittle, and Georgia Heard.

Blending Genre, Altering Style I read in my Master’s level writing methods course, again with Romano himself.  This book helped me flesh out the nuts and bolts of teaching multigenre, which remains to this day both the most effective, enriching work I do with my students, and their very favorite thing.  Reading and writing about chapters like “The Many Ways of Poems,” “Genres Answered,” and the practical “Evaluation and Grading” led me to present with Romano on the many possibilities offered by multigenre at NCTE13.

I’d been teaching five years and was already living in West Virginia when I read Fearless Writing, seeking more guidance about teaching writing.  Practical chapters like “Easing into Poetry Through Imitation,” “Crafting Narrative,” and “Self-Assessment: Raising the Blinds” pushed me to take my teaching of many genres to new heights, with wonderful student results.

Last year, thrashing in the throes of a difficult PhD program, I sought wisdom from Romano in Zigzag, where his chapter “Meltdown” showed me empathy, peace, and guidance.  “I’d never been more at peace with a big decision,” Romano writes of leaving his own doctoral program.  I did the same, and I’m at peace too.

Now, as I prepare to welcome my first child into the world, I’m contemplating where my career will take me.  I’ve long known I don’t want to try to sustain my level of involvement with teaching high schoolers while trying to be a mom.  But I don’t want to leave the amazing, sustaining, nurturing community of teachers and writers and thinkers I engage with here at TTT, or at NCTE, or on Twitter.  I don’t want to leave my tribe, as Penny Kittle says.

Screen Shot 2015-10-23 at 5.34.59 AMAnd, again, Romano is here to guide me through my next steps–Write What Matters: For Yourself, For Others is lately ordered from Amazon and on its way to me.  I know that chapters like “Trust the Gush,” “Risk and All,” and “Who Are You to Presume to Write?” will guide me as I wonder about my future teacher-writer identity.  I know that this book is what I need right now:

Many want to write. But sometimes they lose heart. They are cowed in the face of so many fine writers of fiction, memoir, poetry, columns, and creative nonfiction. Their confidence wanes. If you want to write, but are hesitant, let Tom Romano lift your confidence. In Write What Matters you will find discussions of writing processes that make sense, demonstrations of effective strategies to try, advice about developing productive habits to get your writing done, and examples of illuminating writing from fearless writers, both professional and novice. Your voice, your vision, your way with words matter. They are tied to your identity. You know that you are more alive when you put words on paper. Accept that you not only want to write. You need to write. Write What Matters will help you learn to dwell in your written words and craft them into writing worth reading by others.

Pick up Write What Matters, or any of Tom’s many other works of wisdom and power.  Let Tom Romano lift your confidence–in your writing, your teaching, and your passion.  His words, and he, have been my single most reliable, important mentors as I seek to be a teacher of writing, a teacher-writer, and a plain old Saturday-morning-notebook-storyteller.

Sharing Student Work — Making a Pledge to Do More

For some time now I’ve thought I needed to do more. I ask my students to write a lot. I ask them to take ownership of their process, practice their craft, take risks. I hope they will care about their audience, but unless it’s a post on their blogs (and sometimes even then) I don’t think they consider much about their readers.

My colleagues here at Three Teachers Talk and I had the idea a few years ago to publish student work on this site regularly. We planned it all out. We’d hope for student volunteers that might want to produce something like a mini-Nerdy Book Club but with student readers and student writers. Then I did a little research:

I found sites like Young Writers SocietyTeen Ink, Figment, Teen Lit, and of course, NaNoWriMo that publish the work of young writers and allow them to join online writing communities and learn about competitions, awards, scholarship, and more. This list of 40 of the Best Sites for Young Writers has even more resources.

I still want to do more, but what I need to do is introduce my writers to site like these and extend the invitation that they explore, discover, and get involved. I know a few will. Maybe many will.

In the meantime, here’s a sampling of the writing I’ve read this week. Not because I like the topic — it horrifies me on many levels — but because this writer shows heart, I want to share her work.  Read it. You’ll see why I know I need to do more to help my students write for audiences that will appreciate their craft.

Bruised-Knees by Alexia Alexander

It was a breaking point.

By the time my spoon scraped the bottom of the bowl, my face was wet with tears. I was sick, in part from eating, and in part from everything else. I had to cry quietly; I suffered silently in order to avoid questions, sometimes, even hidden behind smiles and laughter. The chocolate and caramel ice cream weighed my stomach down. I felt 200 lbs of milk, sugar, grief, loneliness, depression, cocoa, corn syrup, and artificial flavors. My entire 500 caloric intake itched in my throat. I felt heavy now. I felt worthless now. I felt defeated now. I ran as quickly up the stairs as I could, but voices, almost as loud as the screaming downstairs, followed me.

Why’d you eat that ice cream? You’ve already had enough. You’re just going to GAIN weight if you eat something like that. You can’t you even starve yourself right,” I told myself.

Staying up late reading about it, I prepared myself for chaos. Although I laid under two blankets and behind a locked door, I found little comfort. In fact, I hadn’t even kept the monsters out; they began to creep inside of my head. I spent the nights crying, reading pro-anamia blogs, drowning my ears out in Maria Mena, and looking up the most fabulous ways to destroy myself, self-esteem first.

Now getting a chance to test my research, I rushed to the bathroom, still crying. I looked at myself in the mirror; I cried even more. I was sobbing and choking, sounding like that one kid in elementary that always forgot his inhaler on mile-day. I dropped to my knees, as if I were about to pray, but I couldn’t remember what people were supposed to say to a divinity.I gripped the sides of bleach-white seats, as if my faith would be found there, and hung over the porcelain throne, like a sea-sick passenger. The bathroom became dizzy in my eyes, and the pink walls were a blur mixed in the leopard print bathroom curtain. The white tiles painted my knees black and blue and staring at them made the wave of sickness more intense. In the reflection of the toilet-bowl-water, I even looked green and sickly, but I can’t say my self-perception was quite accurate in those days.

I had screenshotted instructions on my cracked iPod screen on how to do it. I looked up everything. I needed all the how-to’s before I went through with anything. I knew I could use a toothbrush or two fingers. I knew I could make markers in my stomach. I knew how many seconds it would take. I knew that it would sting. I knew the long-term damage the acid could do to my teeth. I knew how deadly it was. I knew how sick I was.

But I continued, another event to add to my list of “First-Times.”

Slowly shoving a finger in between my lips, I danced it around trying to find the spot. I felt the tickling as I touched the dangling piece of skin. I added a finger, this time gagging slightly, but knowing no matter hard I cried, I couldn’t take my hand out. I gagged again,  bringing up the bile taste in my throat. I couldn’t choke. I had to keep going. I gagged another time, body split over the toilet as I heaved.

I had found the food that comes up almost as easily as it goes down. The ice cream coated my throat, for a second time, and it still felt cold. It masked the normal taste of vomit, gladly, and I finally felt lighter;I equated that to feeling better and didn’t think twice about why I was still crying.

Maybe you can be lovely now. See, you’re already feeling better,”  said the demons in my head, who told me things like this frequently. I tried to ignore them, but sometimes my own silent voice felt like a scream between my ears. I cried myself to sleep that night, still trying to convince myself I had done well.

I wish I had known then what I really was trying to rid myself of. I wish somewhere on that ground I really had some holy revelation, but wisdom like self-love and perseverance can only be taught from low moments like those. It took years to find what really weighed me down, more than food or fat. It took years to love myself and my body. It took years to get over the urge to skip a meal, and the shame after eating. It took years to face the demons and shut them up. But each moment that buckled me to my knees gave me strength, and brought me closer to where I am now. Moments I’d rather forget, have to remain real, so  I always remember my growth, and never repeat the past.

 

©Amy Rasmussen, 2011 – 2015