A Lesson on Beautiful Sentences

A Lesson on Beautiful Sentences

There is so much ugliness in the world. Enough to last us all for a good long while. As I was adjusting my classes this week, I thought, why not beauty?

My AP students have been fixated on the weird and wonderful language in Kurt Vonnegut’s Slaughterhouse Five. And frankly, I’m not over it, have never been over it, will never be over it. Each year, I teach this novel and find some new, exciting sentence I get all shivery and weird over. Each year, my students and I tag the quotable, the tattoo-able, and the indelible.

After some student requests for mini lessons that “focus on beautiful language,” I decided that there was no better moment than the present.

So, here’s what we did…

First, I asked students: What makes a sentence beautiful?

I gave them a few minutes of notebook time to write down their thoughts. After our routine writing, turn and talk, and share out, I asked students to post their best responses on the board. Here’s what they said makes sentences beautiful…

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Next, I asked them to go digging.

I gave students 5-6 minutes to thumb through the text for examples of “beautiful language,” and then write down a few examples. We then went around the room, student to student reading aloud our beautiful sentences.

Here are some some very recognizable, albeit beautiful examples, that emerged in class:

  • “All time is all time.”
  • “And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.”
  • “Everything was beautiful and nothing hurt.”
  • “But she did look back, and I love her for that, because it was so human.”
  • “The queer earth was a mosaic of sleepers who nestled like spoons.”
  • “He has always pressed it, and he always will. We always let him and we always will let him. The moment is structured that way.”
  • “The creatures can see where each star has been and where it is going, so that the heavens are filled with rarefied, luminous spaghetti.”

After that, we read like readers and then read like writers.

Some guiding questions that helped:

  • What do you notice?
  • What feeling, idea, or event is the sentence conveying?
  • How does the writer do it?
  • Is there anything significant about connotation?
  • Are literary or rhetorical devices present?
  • Is there repetition?
  • What is special, exciting, powerful, or summoning about this sentence?

Then, we built our list of mentor text “noticings.”

From students of Room 729…

 

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Finally, we did some writing of our own.

I write about this often, but this is the beauty of literature as mentor texts. You read the literature, you practice close reading, you read like a writer, and you try your hand at crafting your own beautiful sentences by making concious choices. I tell my students over and again that this is how we become more mature, sophisticated, and intentional writers.

For this portion of this activity, I gave students a series of abstract words and asked them to conjure up a sentence or two that somehow conveyed the feeling or idea of the word. As always, I asked my students to let the mentors be their guide and to use their list of “noticings” to inspire their work.

With this scaffolding and rule of thumb in mind, we wrote about WARMTH, about HOPE, about DESPAIR, about SATISFACTION, and about INEVITABILITY.

Here are a few beautiful sentences written by a few of my very lovely students (who I am grateful to for allowing me to share here):

For Warmth by Jillian C: Warmth is something that cannot always be found under blankets, or in front of heaters, or between the arms of another. Sometimes it cannot be sold or borrowed or stolen. So ignite.

For Hope by Madison B: The potential was proven when all at once, humanity became whole.

For Despair by Sydney B: At night she navigated the den that was her mind; the wolves would arrive soon. It’s a pack mentality.

Reflections on the lesson:

– I happen to be teaching Slaughterhouse Five now, but this activity can be done with any text anywhere. There’s something fun and interesting about that for me. I suspect there’s beautiful language in unsuspecting places, and if we can get students to notice that and pay attention, that’s a win for the good guys.

– Although “beautiful” is a subjective term (in the eye of the beholder and all that), this lesson forces students’ hands in categorizing and articulating beauty in language, a frequent sentiment in AP Literature.

– This lesson hit the head and the heart. One of my favorite, favorite lines from Slaughterhouse Five that I find particularly moving, especially now, says…

“What we love in our books are the depths of many marvelous moments seen all at once…they produce an image of life that is beautiful and surprising and deep.”

– Kurt Vonnegut

Ain’t that the stuff?

How do you celebrate and call attention to beautiful language in your classroom? I’d love to find out. 

Leave a comment below, find me on Twitter @karlahilliard, or connect with us on Facebook!
-Karla

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Preparing Mini-Lessons that are Intentional

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Recently I attended my oldest daughter’s back-to-school orientation in her third grade classroom. It was a typical night of excited cafeteria room chatter, squeaky new sneakers, and the exchange of adorable little kid hugs between reunited playground friends. The loudspeaker chimed in and out, prompting us to move from one location to the next, and parents shuffled around their forms and folders and PTA fundraising packets. Beginnings are beautiful. But they can be messy.

They can be stressful and overwhelming and exhausting.

But not if you have a plan.

A few other observations I made that night at intermediate school orientation had to do with my daughter’s incredible teacher, Mrs. Bowman. Mrs. Bowman is a teacher’s teacher — the kind who, if you’re in education and you’re sitting in her classroom, makes you want to be a better teacher. Besides the fact that she’s so obviously on the side of her students and passionate about their learning, and looking beyond her adorably and thoughtfully arranged and decorated classroom, what I saw was nuts and bolts organization and intention.

There was a book basket “book shopping” center, writer’s workshop table, and student conference space; there were comfy chairs, work-stations, folders, calendars, Class Dojo accounts, iPads, and adorable multi-colored paper-clips mounted to the walls ready for student work. And my personal favorite, a space on her board entitled, “We will do…How to do…How to succeed” for daily agendas, goals, and self reflection.

Mrs. Bowman has a plan. She doesn’t just anticipate her students’ needs, she prepares for them.

It gets me thinking. When we prepare a new writing study, this is what we should do — prepare for our students’ needs. We should think through each step and prepare our lessons and to joyfully and intentionally meet our students where they are in order to help them achieve as much as they can.

One way to do this is through mini-lessons that scaffold to the overarching goal of your writing study.

Here are some guiding questions that may help you plan and prepare for your writing unit and evaluate where some gaps might need filled in or extra practice might be required:

When taking stock of your writing study…

  • Did you begin with the end in mind? What is the overarching goal?
  • What is the final product? How will you know when a student is successful?
  • What are the critical skills students need in order to be successful in the writing study?
  • What will students need to know in order to successfully create the final product?
  • What will students need to do in order to successfully create the final product?
  • What kind of classroom atmosphere would be ideal in order for students to be productive?
  • Are there opportunities for collaboration?
  • Are there opportunities for modeling?
  • Are there opportunities for reflection and self assessment?
  • What do you want the students to get out of this experience? What do you hope they take away?

I’ve found that if I invest the time up front in asking and answering these questions myself, I have a deeper understanding of not only what I’m asking students to do, but where and when to schedule mini lessons based the task and overarching goal. For example, if you know that you want your students to have a strong introduction devoid of the classic, “Have you ever” questions, then you might want to spend some time in class analyzing and evaluating what makes an effective introduction, modeling how you might approach introducing a topic, and giving students low-stakes writing opportunities to practice and share. You can include plenty of mentor texts along the the way to guide your discussions and writing.

But of course, the greatest variable is our students — their strengths, weaknesses, and greatest needs. And if we can be intentional in preparing for them, I think we’re one step closer to moving our young writers.

How do you decide which mini-lessons to include in your writing study? What questions do you ask in preparing a writing study?

Leave a comment below, find me on Twitter @karlahilliard, or connect with us on Facebook!
-Karla

 

Ask Moving Writers: Generating Ideas or Narrowing Them Down

AMW Karla

Dear Trish,

I’m sure we’ve all been on both sides of this problem at some time or another. I know I sure have! And as an adult writer who’s been practicing for many more years than the young writers in my classroom, it’s easier for me to diagnose and treat my writing ailments. Although there’s no cure for idea deficit or idea overload, there are a few remedies I might prescribe.

Our first patient is the “I don’t know what to write” student who hems and haws with a topic and doesn’t know what to say or how. This particular writing problem sometimes gets me talking to myself. I confess that I’ve mistaken these indecisive writers as behavior problems, or worse, plain old lazy. The truth is, most of the time, this type of student truly does require guidance. And before I offer a few strategies to cultivate ideas, there are three checks that I use to test the vital signs of my assignment:

  • Does this assignment offer students choice?
  • Can all students find something relevant or relatable to discuss?
  • Is what I’m asking students to do achievable?

This is important because if a student is too confined, he or she may come up short on ideas. If they can’t relate to the assignment or find some glimmer of inspiration, back to the drylands. And if what I’m asking students to do is too far outside their ability levels, it may cause unnecessary stress and confusion. Trust me, I’ve been guilty on all counts and it was crippling to my students.

Now that that’s out of the way, here are a few fixes for the out-of-ideas student:

Talk. The is the best way I’ve found to help students generate ideas. My classes love activities like Philosophical Chairs and Socratic seminar to explore and define their ideas. I wonder if some of the problem with brainstorming and prewriting is students aren’t sure of what their ideas even are — where they stand on particular issues and what experiences they have to support their thinking. Talk is a simple remedy to cure the no-ideas blues.

Inspire. The longer I teach, the more I realize I’m in the inspiration business. There’s nothing quite like inspired student writing. As we age and mature, we seek our harness our own inspiration, but students need our help. Maybe it’s a walk outside on a beautiful day, maybe it’s a thought provoking story or image, maybe it’s a compelling question or quote, maybe it’s a unique and engaging short film. Whatever it is, I believe the more we create inspiration, the more ideas our students will generate ideas and feel moved to write.

List. Of all the Notebook Time ideas out there (like these, these, and this), my absolute favorite for the struggling writer is the simplest of them all. The small but mighty list. Whether it’s an idea web, an alphabetized list (like this Alpha Boxes assignment I love), or a trusty Top 10, this old school intervention strategy can, at the very least, help our struggling writers put black on white and begin to orient themselves to the landscape of their thoughts. And listing can help ideas take off, which of course, may lead to a side-effect…

On to our next patient — the overwhelmed-by-ideas, “how do I choose just one?” student who may need to play some elaborate game of idea darts to narrow down the choices.

When discussing the creative process, Stephen King said, “If they’re bad ideas, they go away on their own.”

I love this frame when I talk to students who are unsure about which topic to choose for their writing. For my students who have lots and lots of “good” ideas, the trick is helping them find the great idea.

I like to ask students to sit with their ideas for a while before officially claiming a topic, with the hope that the less-great ideas will have gone home for the night. We talk about the ideas that stick as their “shower ideas” — or the ideas that come back to them over and over at random and unobvious times. I don’t want these creative kids, or any kids, getting locked into an idea that doesn’t excite them.

So it becomes a matter of design, where the product is intentional, thought out, and effective. The advantage for the “too many ideas” writers is they have the opportunity to create a smart design.

Here is a series of questions for your inspired writers that may help them land on a single topic or focus:

  • Which ideas excite me the most? (Choose 3-5)
  • What do I find most compelling about them?
  • What experiences, observations, or knowledge do I have that supports these ideas?
  • Which idea could I tell the best story about?
  • Which topic do I know the most about?
  • Which topic do I find most interesting, problematic, or provocative?
  • Which of these best supports the assignment and prompt?

A few doses of these homemade writing remedies typically do the trick. After your students have found their great idea, have them free write a page or so and call you in the morning.

What strategies do YOU have to help students generate ideas or narrow them down? I’d love to hear from you!

Leave a comment below, find me on Twitter @karlahilliard, or connect with us on Facebook!
-Karla

Best of the 2016-2017 School Year: Ten Ideas for Notebook Time

This post by Karla is kind of like a really great Oprah episode in which everyone walks away with an amazing goody bag. YOU WIN A PRIZE! YOU WIN A PRIZE! EVERYBODY WINS A PRIZE! Yep, everybody’s walking away with ten amazing notebook time invitations that you can use with your students in the first weeks of school. It doesn’t get much better than this.

10 Notebook Time Ideas (1)

Recently, my seniors competed in a state-wide writing competition, and to aid in inspiration and help launch their writing process, I presented students with unique and exciting, low stakes writing opportunities. After reading my students’ writing contest pieces, I was reminded once again of the importance of time spent journaling—of the freedom and release of a writer’s notebook.

Before we get to it, if you haven’t already checked out Tricia Ebarvia’s recent post on her three go-to writer’s notebook prompts, you should definitely do that now.

No, no…now! It’s that good. In her post, Tricia shares not only her favorite strategies to get students writing, but a thoughtfully curated list of resources as well.

The Moving Writers gang has published a wealth of notebook time ideas, of which I find ever inspiring. Check out more Notebook Time posts here.

So in the spirit of throwing my notebook time hat in the ring, here are 10 novel and inviting prompts that can get your students writing. Sure, most of these strategies are high on the fun-factor, but all of them should help your students find a seed of an idea that they could nurture into a mature and developed composition. Continue reading

How To Reflect: 5 Ways to Encourage Reflection in Your Classroom

How to Reflect

Today is an important day, a day all teachers cherish. Graduation. How remarkable to be able to share in this milestone year after year, class after class. What a privilege to take some small part in the upbringing and education of so many wonderful young people moving up and onto the next steps of their lives.

Every year this time, I’m verklempt by the flood of students parading in and out of my room in their caps and gowns, their hugs and photos, their thank yous and goodbyes. It reminds me of a line from one of my favorite poems I teach, “Blackberry Picking” by Seamus Heaney, “Each year I hoped they’d keep, knew they would not.” And recently when tearfully thanking my students for sharing in great literature like this with me, one student jokingly promised to not turn bitter and rot like the molded over blackberries in the poem.

It gets me thinking. More accurately, it gets me reflecting—seeing the image of the year thrown back at me without being absorbed by it. Not yet anyway. That will happen in the fall when the yellow school buses pull up and a new year begins.

But for now, I’m reflecting on this year—what went well, what went not so well, where I succeeded, where I failed, how I helped and how I hindered. I reflect on another year’s experience of teaching because reflection is a powerful opportunity to learn and grow, both personally and professionally.

The same, of course, is true for our students.

I love creating opportunities for my students to reflect. I see on their faces the deep introspection that is the turning over of your own thoughts. It’s the class-magic equivalent of a room of silent readers all digging into a good book. But this time, instead of books, it’s their brains. And over the years I’ve noticed that reflection creates sound writing. Speaking of magic, there’s something about making sense of your own thoughts, feelings, and ideas that sparks creativity and, as we like to say around here, moves the writer.

Here are some ways you can encourage reflection in your classroom:

  1. Letter Writing

This is by far my favorite reflective activity. Aside from the beauty and nostalgia of a handwritten letter, the form lends itself to contemplation and introspection. It’s something I’ve only happened upon in my classroom. In letter writing, the task is clear—address a specific person and relay information in your own unique and authentic voice. Plus Letters of Note would sure make for some great mentor texts.

Here are two of my favorite letter writing activities:

The first is an assignment created by my teaching mentor Kevin Mooney, called Hello, It’s Me. The task is to write a letter to someone who you think needs it. There are a few stipulations, and that’s what yields considered writing. They are as follows:

  • The letter should be to someone real, living and available.
  • The letter should say what you haven’t had the presence of mind, the guts, the opportunity or the time to say.
  • The letter should be genuine, heartfelt, and brave.
  • The letter should represent your full effort to balance the scales, pay the debt, mend the fence or rightly honor the achievements.
  • The letter should be written to someone who you would send the letter to. And, I would suggest and prefer, it should be written to someone you think might appreciate or need or require a letter like this most.

My next favorite letter writing assignment is the Literature Letter to Your Teacher. My only requirements were that students read, enjoy, appreciate, and savor an assigned poem; to talk about it with their friends;  examine the writer’s craft, structure, literary elements; and then write a letter to me reflecting on it.

The poem was Wild Geese by Mary Oliver in case you’re wondering. And a poem like this certainly begs reflection and elegant prose.

The letter form was perfect for exploring the concepts of the poem. Students were freed from “academic style writing” and free to use their own voices. Here is one of my favorite letters:

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  1. Prove You’ve Been Here (an end-of-course reflection)

Here’s a fun little thought experiment. Give your students this prompt: It’s graduation day and the principal says, “Nope, you’re not walking today. You don’t have your English credit.” You stand there, clad in cap and gown, and you have to defend you did indeed earn an English credit this year. Your task is to prove you’ve been here.

Students have a lot of fun with this, and this playful prompt allows them to really explore what they have learned and achieved throughout the year. And while you’ll probably get a lot of genuine and heartfelt “thank yous” along the way, you’ll also get some surprising reflections from students you may not anticipate. Here was a student response that humbled me and made my heart swell.

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I do love playful writing, but beginning and ending the year with meaningful reflection is meaningful to students. Check out Liz Matheny’s post using the beautiful E.B. White essay “Once More to the Lake” as a way to open or close your year with reflective writing.

  1. SketchNotes

It’s no secret that visual arts is one of my tricks of the English classroom trade. This year, after my students studied Slaughterhouse Five and before assigning their Narrative of Learning essay, I asked my students to use SketchNotes as a means of reflection and a way to “brain dump.”

The meditative quality of sketching and coloring made this reflection style both unique and worthwhile. This particular form worked as scaffolding to my students’ end of novel essays, but in the meantime, it helped them continue to uncover ideas about the text and see connections they perhaps didn’t before. SketchNotes proved to be an effective form of pre-writing and reflection.

IMG_0438 Continue reading

The Wonder of Whipstitch: Poetry as Literary Analysis

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We are delighted to share a guest post today from middle school teacher Elizabeth Oosterheert. You might remember her from a post earlier this year! You can connect with her on Twitter @oosterheerte. 

Ah, spring. It’s that vibrant time when my “garden” of students begins to blossom beautifully, and the seeds planted earlier in the year stretch toward the sun as students gain a stronger sense of voice and begin to take more ownership of their writing. That’s the sweetness of seasons changing.

Another end of the year splendor is celebrating National Poetry Month in April, and flowing into May with more reasons than ever to incorporate poetry into my writing workshop. After reading Karla Hilliard’s post earlier this year about whipstitch poetry, and Rebekah’s challenge to strive for authenticity in literary analysis, I began to wonder what it would look like to use whipstitch poetry as a whimsical frame for everything from character study to thinking about more abstract concepts like theme and mood.

When I first explored this idea, my students were reading in coming of age book clubs that we called Voyages. As Karla suggested in her post, I began my workshop one day by inviting students to make a list of objects or natural forces  they noticed in the books they were reading. We visited Randi Ward’s website and read examples of whipstitch poems, carefully examining the way that she used word choice, brevity, line breaks, and breathtaking photography to enhance her poetry. We discussed how vital the right image can be to inspiring excellent writing.

After using Ward’s poems as mentor texts, my students experimented with writing whipstitch poetry as an analytical response to their book club reading.

Tessa, one of my eighth grade writers, composed these poems after reading the novel Orbiting Jupiter, by Gary D. Schmidt. Her poems invite readers to consider the natural forces at work in the story such as the ice that eventually leads to a character’s death, and also to think about Joseph, the protagonist, and his search for his daughter, Jupiter.

Orbiting Jupiter Whipstitch PoemsScreen Shot 2017-05-13 at 11.15.50 PM

  1. Ice

I am the ice

I climb with the cold

And fall with the heat

Do you not think I feel you Joseph?

I try to warn you with splinters on my surface            

But you go too far

I fall, taking you with me

You escape the cold waters the first time

But your life seeps from you the second

You sink to the bone chilling cold beneath

I am the ice

 

  1. Jupiter

I’m looking for you Jupiter

Gazing at the planet in the sky

Every night, gazing

I am alone with Silence

I let it have my heart

But I can’t make it breathe

Yet it grows, it grows big around me

But I am growing too

  1. Will.Find.You.

 

  1. Rosie

Warped stall doors creak

Bright motes of dust swirl between sinking beams

Streaking the spindly hay string loft

Careful hands squeeze and release my udder

Creating a steady stream of milk

The circular rubbing of the coarse hide on my rump

Makes my backside waggle

I moo a sigh of contentment

Chiming a melody with the steady thumping of milk

I love you, Joseph.

 

  1. Church Bell

Snowballs explode against my sturdy frame             

Joseph seems to find it fun to strike me with snowballs

I scream loudly, clanging my tongue against my exterior

But no matter how hard I try, he doesn’t stop.

He shows up every day after school, tackling me

with an onslaught of snowballs.

Later, we read Salt to the Sea, by Ruta Sepetys, as a whole class text and the “banner” story in our study of World War II.   An exemplary novel for examining characterization and voice,  Sepetys’ haunting tale is told from the perspectives of four young refugees trying to escape the relentlessly advancing Russian army.

Working with coauthors, students were invited to compose whipstitch poems that explored characters’ motivations, fears, and questions. They were also encouraged to create their own artwork to accompany their poetry, or to import images that enhanced their message.

We shared our work in the context of a class poetry reading, and discussed what we had learned about characterization and other elements in the novel through the lens of whipstitch poetry.

Salt to the Sea Whipstitch

By Kayla, Maria, and Grant

 

Screen Shot 2017-05-13 at 11.15.13 PM.pngEmilia—- Maria

I walk through the snow.

With every step I take my feet sink beneath the coldness.

I had nowhere to go, I could only follow.

Florian, he is much like August, my knight.

I carry him inside me wherever I go.

I look up to the nests in the trees.

Beautiful baby birds soon flying free.

No one is free.

No one is safe.

Shame is a hunter.

 

Eva—- Maria

Sorry, but it’s true, we are nearly gone.

War is destroying everything around it.

No one is safe.

Soon we will all vanish, whether we are killed

or we starve.

The only thing we are fed is lies.

These people all around me have no hope.

Those who do soon will be swallowed by

the grave they dug for themselves.

 

Wandering Boy—- Grant

I follow life, just wandering

Wandering away from pain

Wandering toward freedom

Wandering home.

 

One-eared Bunny—- Kayla

One hope lost

A new one found.

Like everyone in my sad story

I am just looking for someone to love me.

 

Joana—- Kayla

Everyone seems to forget-

War does not justify inhumanity.

Currently,  to conclude our study of World War II, my students and I have been reading the young adult adaptation of Laura Hillenbrand’s Unbroken, and we’ve chosen to revisit whipstitch one more time, but broaden the ways that we employ it as an analytical tool.

Today, my students received this invitation to engage with our shared text using a poetic lens:

Screen Shot 2017-05-13 at 11.14.02 PMWhat would it look like to frame the events in Unbroken as whipstitch reflections?

You might use whipstitch poetry to:

  • Analyze decisions and the resulting actions/consequences
  • Compose an apology from one character to another
  • Capture one event from the book, such as one day on the raft, or one day in a japanese pow camp.
  • Reflect on a word that has special meaning in the story such as: glory, courage, determination, champion, villain, faith, etc.
  • Ask questions
  • Emphasize an important conversation (what is being said, and what is implied, but left unspoken?)
  • Focus on a definition
  • Express a big idea

 

Your Invitation:

 

  • Choose a theme you’ve noticed in unbroken, and frame a series of four whipstitch poems around your big idea.
  • Example: “a moment of pain is worth a lifetime of glory.” If you choose these words spoken by pete zamperini, your four poems could be about the following topics: Pete’s influence in Louie’s life, the determination that louie shows while training for the olympics, a reflection on louie’s time on the raft, or a day in louie’s struggle against the bird.
  • You may work individually or collaboratively on your poems.

 

 

The final weeks of school are a perfect “garden” for growing student writers, an opportunity to engage students by using poetry to celebrate language and promote authentic analysis in your classroom. My students also enjoy writing narrative poetry and poetry in two or more voices.  How do you use poetry with your students? What are your favorite poems?

Connect with me on Twitter @oosterheerte, or email me at oosterheerte@pellachristian.net to share your ideas!

Poetry Mentor Text: “Raised by Women”

Poetry Mentor Text-

I love the excitement of a great lesson. The kind of lesson that leaves you slack-jawed and all, “why haven’t I read this/thought of this/done this before?” The kind you know you will immediately take back with confidence to your classroom and to your students because it’s that engaging, that well-designed, that…good.

Recently, I presented at National Writing Project at West Virginia University at their Teachers as Leaders and Writers conference, and while I was thrilled to be there presenting, I was equally excited to be in sessions, learning alongside fellow WV teachers and pre-service teachers at my alma mater. Besides being a sucker for nostalgia, I enjoy being in the student’s seat—to engage with instructors and classmates, to catch my breath from the marathon of the school year. 

The first session that caught my eye was entitled “Writing Poetry in the High School Classroom”, with poet and WVU English teacher Amy Alvarez. My brain went ding! and I found a lucky seat in her session that morning.

In the spirit of great lessons and the ending of National Poetry Month, here is the relevant and thought-provoking activity that Amy, being inspired by Linda Christensen’s lesson and her book Teaching for Joy and Justice, shared with us that day, and how I ended up adapting it to my classroom.

Grab a journal. Talk about being “raised.” Questions you might ask include: What does it mean to “be raised”?  Who were you raised by? What did these individuals, places, or groups contribute, say, or do that helped to “raise” you?

Listen to “Raised by Women” by Affrilachian poet, Kelly Norman Ellis.

Annotate and analyze the poem, paying particular attention to imagery, verbs, and categories.

Share out literary “notices” (like the speaker is powerful and independent and pointing to specific supporting evidence from the poem) and then mentor text “notices” (like the poet uses repetition at the beginning of each stanza).

Make a list of mentor text “noticings” to guide the assignment and writing.

Continue reading

10 Ideas for Notebook Time

 

10 Notebook Time Ideas (1)

Recently, my seniors competed in a state-wide writing competition, and to aid in inspiration and help launch their writing process, I presented students with unique and exciting, low stakes writing opportunities. After reading my students’ writing contest pieces, I was reminded once again of the importance of time spent journaling—of the freedom and release of a writer’s notebook.

Before we get to it, if you haven’t already checked out Tricia Ebarvia’s recent post on her three go-to writer’s notebook prompts, you should definitely do that now.

No, no…now! It’s that good. In her post, Tricia shares not only her favorite strategies to get students writing, but a thoughtfully curated list of resources as well.

The Moving Writers gang has published a wealth of notebook time ideas, of which I find ever inspiring. Check out more Notebook Time posts here.

So in the spirit of throwing my notebook time hat in the ring, here are 10 novel and inviting prompts that can get your students writing. Sure, most of these strategies are high on the fun-factor, but all of them should help your students find a seed of an idea that they could nurture into a mature and developed composition.

1. Page Number Game

Have students grab any book in the room and ask them to turn to a random page you choose. Ask students to write down the first sentence on a notecard. Collect their notecards, and then have students choose a new card. After students draw their new card, have them use the book sentence to begin their writing.

It never gets old watching students’ surprise and delight when reading their starter sentences and learning what they are to do with them. They enjoy the novelty and challenge, and I enjoy watching them work through their approach. Check out my student Katie U.’s example below with a special twist of an ending sentence:

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A disease ravished her. I saw it first in her eyes, the former light in them dulling away. Then it was her body, crumbling and falling and contorting itself into nothing. Then it was her voice, from soft to screams, laughter to sobbing. Finally, it was her mind. Her beautiful mind. Instead of her mind thinking through books and adventures and fresh brwed morning coffee and happiness, it became mad with fantasies of demons surrounding her, psychos waiting in her shower, all food poioned. My mother was gone. I knew she wasn’t going to come back. My last words to her were, “I hate you.” I shouldn’t have said them. 

 

2. Writing With Images 

Imagery sparks creativity, discussion, and writing. Susan Barber is a wizard at Using Art to Teach Critical Thinking, and this thinking and analysis lends itself perfectly to notebook time.

Also, check out The New York Times Picture Prompts for a wealth of interesting and vetted images, complete with prompts.  

3. First & Last Word

Choose two words—they could be words you love (“cellar door” anyone?), words you loathe, words you happen upon, or words you choose on a whim—and have students begin and end their notebook time with these two words.

As in life, the challenge is finding a way from point A to point B, the first word to the last word.

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4 Ideas: Using Mentor Texts for Literary Analysis

Using mentors to teach literary analysis makes sense. Beginning in elementary school, students are engaged in some form of literary analysis. In fact, my second grade daughter, works out her analytical muscles on the regular. Her (amazing) teacher provides her students with plenty of scaffolding and sentence starters. She coaches them with exercises like I See, I Think, I Wonder to encourage their young minds to break down a text’s or image’s complexities into parts for closer inspection. By the time students make it to high school, and in my case, into my AP Literature classroom, they are no strangers to literary analysis.

The majority of students have an essay structure that has worked for them. Most understand that they must provide their readers with a claim or assertion, followed by textual evidence, and polished off with their own commentary about the relevance of their chosen evidence in support of their claims. This they get.

What students sometimes don’t get is that their writing, yes even literary analysis, should be thoughtful, mature, and effective in exploring their ideas, how it should be narrated in a voice that is authentic to who they are as writers, and how it should be constructed in a way that supports their insights about the text at hand. 

Endlessly inspired by Rebekah’s original post entitled Thinking About Mentor Texts for Literary AnalysisI have indeed spent some time thinking about mentors for literary analysis – what they can be, how they can shape student writing, and how we might best use them in our classrooms.

Below are some mentors that can help move our young writers towards more authentic and sophisticated literary analysis. What all of these have in common? Clear, insightful claims, sophisticated style, depth of thought, and insightful explorations of a “text.”

For each of these mentors, I would first have students read or view as readers – or what I like to call “people in the world,” and then as writers, answering the question, What do you notice? How are these texts constructed and put together? What are the writers’ moves?

1. “Melissa McCarthy’s Sean Spicer Impression is an Instant SNL Classic” from Vulture.com

What if students created titles that embed a claim to guide their analysis?

For this particular article, the title makes a powerful claim. My friend Brian Sztabnik @TalksWithTeachers talks about thesis statements as a “promise the writer makes to the reader.” I might ask students how this article fulfills the promise that Melissa McCarthy’s Sean Spicer impression is indeed an instant SNL classic. I might have students dig up evidence by color coding, annotation stations, or outlining. There are plenty of activities to build in to uncover this writer’s approach to analysis, to say nothing of how plain old hilarious this sketch is.

After students have taken apart this article to examine its parts, students could then embark on their own reading, analyzing, and writing.

Students might experiment with a poem or prose passage by framing it with a similar title, like “Why Sylvia Plath’s “Daddy” is the Ultimate “Daddy Issues” Poem or “Why Raymond Carver’s “Cathedral” is About the Blind Leading the Blind.” I wonder if this frame might help students deepen their insights and focus their ideas. This mentor shows that a clear focus is vital for effectively exploring your insights and ideas about a text. 

2. “Hopper’s Nighthawks: Look Through the Window” from YouTuber Nerdwriter1

What if students created their own video narrating their analysis of a text, image, or painting?

This short video is a literary analysis exemplar, no anchor papers needed. As a whole, the speaker’s commentary is intelligent and insightful, and its message clear, concise, and elegantly delivered. What more could we want from our young writers?

I might have students use this video as a mentor for producing and creating their own Nerdwriter video. My friend @mszilligen suggests two additional Nerdwriter videos How Louis C.K. Tells  a Joke and How Bon Iver Creates a Mood to create a solid mentor text cluster. I’d love to see students chose their own “text” to analyse and use apps like iMovie or Do Ink to create a video that explore the depths of the work they chose.

I’m betting that if students were challenged to use their own voices, their focus would shift to the precision and clarity of their writing. There’s something about hearing your own voice that forces you to assess and reflect on how articulate you are and how clearly you can express your ideas.(If you don’t believe me, just ask my Voxer friends about my frequent ramblings…trust me, I’ve assessed and reflected!) This mentor shows how precision and clarity are synonymous with effective writing. 

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Poetry Moves the Writer

Last week, I learned what it means to “move the writer.”

My AP Literature students are in the middle of a heavy duty poetry study, and I’ve tried to honor their requests for what activities might best help them tackle Poetry-with-a-capital-P. So far, students have studied plenty of classics and rites of passage poems, they’ve tackled the sometimes scary “exam poems”, accounted for their no-fail poetry analysis strategies, shared their thoughts, ideas, and interpretations with their classmates, read and enjoyed a few “non-depressing poems”, and even “played” with the poetry for a day or two, too.

But one request I see over and over in my AP Lit class has nothing to do with close reading or analysis. Many students seem to have a deeply rooted desire to express themselves, to explore language in new ways, to write creatively. I figure there is almost no better way for students to consider the intentional choices writers make in crafting poetry than to become poets themselves.

The mentor text we studied: Whipstitches by Randi Ward 

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image via madhat-press.com

I began this activity with an “in house” field trip. I asked students to grab a journal and take a stroll around the school, noticing ordinary objects that could be a source of great inspiration. We spent 10-15 minutes wandering, journaling, and contemplating.

When we returned to class, I passed out a selection of 12 “whipstitches” as the class has so fondly come to call these wonderful little poems.

And here are more selections from Ward’s web site you don’t want to miss: http://randiward.com/work

After reading as readers, all 12 aloud — in 12 different student voices, one for each poem, which was downright chill-inducing, we then read the poems as writers. What I found surprised me. For as many times as we’ve gone to the “read as readers then as writers” well, and given the various activities and protocols I’ve built to guide students in and out of text analysis and writers’ moves, I discovered with my students that poetry is the sweet spot in the middle — the genre that seamlessly blends reading as readers and reading as writers.

As students applied their poetry analysis strategies and began internalizing and making sense of the work, they shared out their “notices” on the board. I began the list with “Writers of “whipstitches”…

Here’s what they said and what also became our co-constructed guidelines for their own “whipstitches” poetry assignment:

Writers of “whipstitches”…

  • Use simple words that contain deep meaning
  • Create poems that are short, concise, and concentrated
  • Know the themes and ideas they want to explore
  • Are sometimes ambiguous
  • Use figurative language
  • Create feeling and trigger emotions or memories
  • Use only 1 sentence or question for their poems
  • Break or stop lines intentionally for “flow”, emphasis, tone, or rhythm
  • Present work in an intentional and cohesive way (if you get a closer look at Ward’s book, each page is uniquely crafted with a backdrop of what looks like pressings of straw)

Building this list lead to insightful conversations about meaning and craft. I asked students to write six of their own “whipstitches,” borrowing from the writer’s moves, and to present their work in a creative and cohesive way. They had creative control, but all parts needed to work together. Once we’d identified this criteria, students got to work.

And there was an energy in the room that only real thinking can create. It had little to do with my teaching. I simply created an experience for my students. It had everything to do with poetry and art — how it unifies us and inspires us and moves us in ineffable ways. Ways that moved my young writers to make poetry.

Here is some of the work they created, and I am grateful to Mya J., Anayla D., Sydney S., Danielle K., Jessica H., Malerie W., Katie U., Amy F., Hannah B., and Eric J., Hailey M., and David C. for allowing me to share it here.

*To learn more about Whipstitches and poet Randi Ward, make sure to visit her web site or send her an email. After contacting her to ask permission to use her work in this post, she said she’d love to hear from other teachers!

What texts move your students to write? What writing assignments or activities inspire your students? I’d love to hear from you! 

Leave a comment below, find me on Twitter @karlahilliard, or connect with us on Facebook!

-Karla