We are over at the Heinemann PLC Series this week chatting about mentor texts & discovery . Read — and watch — more here!
We are over at the Heinemann PLC Series this week chatting about mentor texts & discovery . Read — and watch — more here!
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 Analysis, I 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?
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.
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.
Hello, friends! Oh, how we have missed you!
Allison and I are still in the midst of finishing our new book on teaching analytical writing, but we couldn’t resist a quick check-in with you to share some of what we have been up to!
Yesterday we had the great fun of doing an hour of virtual professional development via Google Hangout with a department of teachers from Farmington High School who are searching for better, deeper, more meaningful ways to engage their students in writing literary analysis.
We all know that traditional, academic literary analysis — the kind of 5-paragraph themes you and I wrote in high school — don’t really work. Students hate writing them. We hate reading them. At best, students have successfully followed a formula that has allowed them to regurgitate what they have heard and discussed in class. At worst, students limp through the motions, inserting ideas pilfered from Spark Notes and badly-written Internet essays.
So, that doesn’t work. What does?
As in all writing, students’ process and writing products must be authentic if we are going to get buy in and engagement. Here are just three reasons that the literary analysis writing we teach and students create must be authentic: Continue reading
Maybe you’ve got the broad strokes of teaching with mentor texts — show students authentic examples of writing in a genre to guide and inspire their own writing.
But what does this look like in your plan book?
How do you move students from reading like readers to reading like writers?
How do you introduce mentor texts to your students?
And how do you plan for regular bursts of mentor-text-inspired writing and for entire units of writing study centered on mentor texts?
Join us for three-sessions that will help you build a mentor text foundation with your students and use that foundation to grow confident, inspired writers! With your registration, you get access to the recorded sessions for one year — so even if you can’t join us live, you won’t miss a second of the hands-on, mentor-text-centered work and collaborative learning!
Sign up here with Heinemann today! We can’t wait to learn with you & fill your plan book with inspiration for your students.
Years ago, my PLC adopted the “I-Search” paper as a piece of informative writing that now feels like a relic from another age. It was a sort of “meta-writing” wherein the students undertook a research project and then wrote a paper not about the research topic, but about the experience as a writing process.
It was a failure, but at least it had noble intentions: To get students to think about their writing process and roles as authors.
For us, the failure was a blessing in disguise. Once it was clear that the assignment was something of a dumpster fire, we were forced to revisit our entire unit. And from the ashes of the I-Search emerged our favorite writing piece of the year: The Narrative Journalism Experience.
What’s Narrative Journalism?
Many people know the genre as “Longform Journalism”–indeed, your best resource for mentor texts would be the outstandingly curated site www.Longform.org, which compiles the best in the genre and even sorts it by subject matter. Students are more drawn into the genre when I can point them to entire collections of mentor texts thematically sorted around topics like “Imposters” or “Sad Retired Athletes” (the collections get VERY specific!).
image via http://www.longform.org
While styles vary, the core of this type of writing is the conveyance of non-fictional information through a narrative structure–often, the narrative is about the journalist’s experience in investigating the story. In fact, that’s the narrative perspective the students end up adopting when we turn them into amateur journalists later in the unit. More on that below… Continue reading
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.
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”…
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!
Today’s guest post is from Elizabeth Oosterheert (@oosterheerte). Elizabeth currently teaches middle school language arts and directs the 8th Grade Theatre Troupe at Pella Christian Grade School in Pella, Iowa. She enjoys leading sectionals on young adult literature and writing workshop at the Iowa Reading Conference and the Heartland Teacher Convention. Her passions are writing beside students and encouraging students to use their gifts on stage.
“Scientists seem to think there are no living beings up there…just chalk, or fire.”
Reading Rebekah’s post about tiny writing and the necessity of publication for young writers at the end of October inspired me to adapt some of her ideas for my eighth grade writing workshop. My students and I are engaged in a year-long autobiographical writing project that culminates in the publication of a class book featuring student photos and compositions. This year, our autobiography is entitled “Memories and Miracles,” a reference to our 8th Grade Theatre Troupe production of The Secret Garden. The goals of the autobiography are to engage each student in writing that is personally meaningful and fulfilling to him or her, and to encourage student growth as speakers, writers and thinkers as they prepare for the rigor of high school.
The autobiography consists of the following introduction and five chapters:
If you’re anything like me, those few short weeks between fall and winter breaks are nothing short of an anxiety inducing shopping/baking/grading/wrapping/tying-up-loose-ends extravaganza. Each year, the time sandwiched between breaks seems like too little or not quite enough.
But a few years ago, I cooked up a new dish called Food Lit. Food Lit was inspired by the Navajo Kentuckians, one of the best sessions I’ve ever attended at NCTE . To offer you the Happy Meal version of this session, teachers in two regions educated their students on “good food.” Students learned about topics such as food insecurity, obesity rates, and food integrity. Students grew gardens, educated their communities, and even prepared meals with food they harvested. Some even studied food and nature-centric literature like Mark Twain’s “The Bee.”
After attending this session, I began cultivating an inquiry into food in my own classroom and savoring the delicacy of “between breaks” learning.
Food is such an important, driving force in our lives. We share and create some of our most important stories surrounded by food. It comforts us, nourishes us, and heals us. So far, I haven’t met a student who didn’t have one special dish or fond food memory to look back on.
That’s what the food memory narrative is about.
I first ask students to examine these mentor texts:
I remind them that they are reading (and listening) to expand their understanding of “good food” but also to read as writers who are sharing their connections to a special dish.
This year, I asked students to share their mentor text noticings in a Google Form. Here’s some of what they came up with:
What I’ve found is that food is an easy sell with students – it is relatable, its appeal universal, and my students enjoy reflecting on their “memories of meals past.” Here’s an example of how one student made this writing her own:
But the cherry on top? Our Food Lit Family Dinner, the day everyone brings in their favorite, most meaningful dish to share with the class.
Some of the biggest hits this year? Pizelles (or as one student called them: “cookie waffles”), King’s cake (somebody gifted me the baby), “brookies” (a delightful brownie/cookie duo), pepperoni rolls (a unique West Virginia snack and my contribution), tried and true homemade mac and cheese (what’s not to love), and West Indian curry (which you can read about below).
For me, this assignment does at least two things: it encourages a different bite of the narrative apple, and most importantly it continues to build and strengthen classroom culture. And that’s one recipe that can’t go wrong.
What works for you in your classrooms in the weeks between breaks? What activities inspire student writing and build classroom culture? I’d love to hear from you!
As you may have noticed from some previous posts, Rebekah’s “What’s the Worst That Could Happen?” has been fueling a number of experiments in my classes this year. Another risk I decided to take was to replace a long-running historical narrative project with a new study of informational texts. The results of this experiment have reminded me once again of the power of choice: as Tricia wrote recently, students succeed when they can write about what matters to them.
Today’s guest post comes from a California teacher that we met at the Southland Council of Teachers of English Annual Conference in October!
Noël Ingram currently teaches English 10, Cinematic Arts, and Yearbook at Da Vinci Communications in Hawthorne, CA. She conducted her undergraduate studies in English and Psychology at the University of California, Davis, and earned her teaching certification through the LMU|Teach for America Partnership. She believes in the power of stories and values people who speak their truth. Various pathways to Noël’s heart include books, cats, coffee, tea, running, line dancing, and colorful office supplies.Want to connect? firstname.lastname@example.org; http://www.dvcnoel.weebly.com
At my school, projects drive the learning process. Each grade level team collaborates to create project deliverables that are connected. Sometimes, students create one large product at the end, with each class focusing on a particular piece of the final creation. Other times, our team decides on a big driving question and then focuses on answering the question a little different within each of our classes. Regardless of the approach we take, the content that kids learn in each class is essential for them to be successful in their other classes. For example, students may be required to incorporate content from their Chemistry course into the story they are writing in Humanities. The main characters from this story may then form the basis of the app they code in Computer Science. We work through a minimum of two projects a semester and the kids publicly display their work at Exhibition once a semester. I teach 10th grade English and Cinematic Arts in a blocked schedule, and I have the freedom to allocate the time however I choose. I do not divide my time into an “English” block and a “Cinematic Arts” block. Rather, I teach films as “text” and weave in basic film concepts that will assist students in creating their own pieces.
Our last project, “Case Closed,” explored the following driving question: What is evidence and how is it used to make a case?
By the time students come to me, they have a relatively solid understanding that “evidence means quotes”. However, I don’t want my students to think that quotes are the only form of evidence out there. I want them to view their world as brimming with pieces of evidence to analyze including images, films, texts, and behavior.
I want students to see that the themes explored in Hamlet are timeless and very much present today. I want students to make connections between their favorite films and T.V. shows and the literature we read in class.
When we as teachers say “analysis,” most students automatically think of the five-paragraph, literary analysis essay that they have been trained to write since middle school. Unfortunately, I rarely ever see any authentic analysis in these types of essays. Plagiarism runs rampant and much of the essay is simply parroted information from Shmoop, SparkNotes, or other similar sites. This project could not be plagiarized from study sites. Students were required to think deeply about the text and make intertextual thematic connections.
We did a whole-class novel study of Hamlet. We watched the Royal Shakespeare Company’s 2009 TV adaptation of the play in class, pausing often to discuss and analyze key moments.
We begin all genre studies in our workshop the same way: with a genre immersion. I screened our “mentor texts” in-class, while students took notes on their “noticings.” After the first viewing, students discussed at their tables what they noticed and then shared-out whole class. I then shared with them a little bit of context about how the genre of video essay is currently being defined.
I relied heavily on pieces from the YouTube channels Nerdwriter and Every Frame a Painting, intentionally choosing pieces that focused on film concepts we had covered in class to reinforce their cinematic knowledge. I also included a few more experimental forms so that they could see some of the range of the genre. Please note: If you plan to use any of these videos in your own class, please watch them beforehand and decide on the video’s appropriateness according to your unique class community. My students all sign a permission slip that allows me to screen rated R material for curricular purposes.
After making a list of their own noticings, students discussed which features of the genre they thought were the most important. They then shared these features out in a whole-class discussion. I took notes of what students were sharing on a google doc and then used their notes as the basis for the checklist I used to grade their final cuts.
To guide students in the creation process, I had them submit work for four checkpoints. They were allowed to use any video editor they liked and I did not provide any direct instruction in video editing. Most students used either iMovie (as an app on their phones) or WeVideo. We had a little bit of a snafu when our school’s content filter would not allow me to adjust the settings to allow students to have access to YouTube to find video clips. Students then either found their clips at home or used their cell phones to save clips to their Google Drive. There are many browser extensions that students can use to download video clips to use in their projects. Additionally, Subzin is a helpful resource that allows you to search movie quotes. Students would use this to find additional sources of video that they wished to use in their project.
Some topics that students chose to explore included:
Students tended to show clips that were far too long. I believe this came from their personal attachment to the clips they chose. They frequently chose to look at their favorite movies or TV shows and had a difficult time cutting down the length of the clips, instead wanting to show every part of the scene.
Even though I taught a mini lesson on analysis vs. summary and had students analyze a mentor text, indicating which parts of the voice over were analysis and which parts were summary, many students still struggled with this. Next time, I plan to modify this project by requiring students to submit the files of the clips they are using in a separate checkpoint and having students fill out a say/mean/matter chart for their clips prior to working on their script
Students didn’t have as many opportunities for peer feedback as they usually do during a genre study. Next time, I will add in a “rough cut” screening so students can receive ample feedback before submitting their final cut.
Requirement of a Voice Over
Some very effective video essays are created without the use of a voice over. Thus, I told students that they could create their video essays without a voice over, but that they should keep in mind that this is a more challenging option. Unfortunately, the vast majority of students who did not use a voice over in their project made their choice based upon the erroneous belief that it would be “easier,” rather than because it was the best artistic choice for their vision. Students were overwhelmingly unsuccessful at communicating their argument without the use of a voice over.
This is a project that I will use again. The video creation and use of their favorite shows and movies immediately engaged students, while the foundation of our study in video essay mentor texts held students to a high level of rigor. As the deadline loomed nearer, many students approached me to share that they found this project “so much harder than [they] thought it would be.” I responded, “you’re right. This project is really difficult because it’s hard to create beautiful work that people care about. Let’s see how our mentor texts can help us here.”
How do you use film as mentor texts in your classroom? How can you see students using video essays to engage in authentic analysis within your curriculum?