Chapter 1: Mentors
Fletcher discusses the influence his mentors had on him as a young writer and as a person. How do you see yourself as a writing mentor to your students? How might your students describe you as a writing mentor?
Chapter 2: Freezing to the Face
When we look back at Freire's "Banking Concept of Education," we can see that many writing assignments "Freeze student writers to the Face." What do you seen in Chapter Two that can help students "defrost" their writing? How do you envision this happening in your classroom?
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ReplyDeleteFletcher's notion of "grappling with ghosts" resonates with me, both as a writer and as a teacher of writing. When I work with my students, I often hear echoes of comments that were given to me as a young writer, as if my mother or Mr. Small are speaking through me. While I haven't thought of myself as a mentor -- that implies some level of expertise that I am uncomfortable with -- I do see myself as a guide. I want students to write the papers that they want to write, and I want them to write those well. I try to help them push ideas, and that is more difficult than pushing grammar rules (though eventually, I do that, too). I suppose that my students can find me annoying--they want to know if it's right, if it's "what I wanted" and I don't play that game. Learning to write well takes time, and taking one's time while writing can be very uncomfortable (for all involved).
ReplyDeleteFletcher discusses the influence his mentors had on him as a young writer and as a person. How do you see yourself as a writing mentor to your students? How might your students describe you as a writing mentor?
ReplyDeleteIn the social studies classroom, or more specifically the AP Government & Politics classroom, I get to work with students who a pretty far along the writing continuum when compared with most high schoolers. By the time I get them, as seniors, most of them have taken honors or advanced placement English classes which frees me to focus squarely on the conceptual understandings related to my curriculum. There is new vocabulary to be learned, but beyond that I would not consider myself a writing "mentor" as Fletcher describes it in his book. However, on occasion, I will have a student who struggles to convey his understandings in a coherent paragraph or short essay of the type native to AP free response. He has already demonstrated to me verbally that he understands the concept, but his written explanation is a collection of partial sentences and disjointed argument. In this situation, I will ask the student to see me outside of class and work with him on his writing. I see myself as a writing coach whose focus is on the rules of the "game" (the AP exam) and approaches to scoring well on it. My advice is limited to that scope, and I am honest with the student about that. So, they probably see me not as a writing mentor in the sense that they will become a better writer for the work we do together, but rather that I will lead them to a better score on the exam by helping them to explain what they already know. Next year, in addition to the AP course, I will be teaching an IB history course. The IB programme requires more writing and further development of a solid historical argument. I am hoping that what I learn in this course will prepare me to be a better mentor for those students.
I really liked the comments regarding becoming a mentor to our students writing. I feel that this is key in assisting our students become better writers. I also like how the author gave other examples of mentors such as books and fellow students. This could be a valuable asset for teachers and students alike. Students could gain valuable insight from their teachers and classmates alike.
ReplyDeleteChapter 1: Mentors
ReplyDeleteI see myself as an emerging writing mentor. This year I have focused more on incorporating “mentor texts” into the classroom. I sometimes go to websites like The Writing Fix (http://writingfix.com/) for ideas on what texts to include. In particular, I have used quite a few picture books in the classroom as mentor text. The kids have enjoyed it and I think it has given them an opportunity to peel back layers of writing technique that they might not have been able to identify and isolate otherwise. I’ve also used some other middle-school mentor writing from past classes (no names, of course!) or from other sources (student samples from The Write Source 2000). I’ve tried sharing my own writing, but that seems to fall flat. Unless I am writing about life as a 13 year-old, then they are not interested. (Rightly so, I might add.)
I think that my students would say that I am a cheerleader and a champion of their writing. The challenge is always the sheer number of students (107) and the time (less than 50 minutes a day) in getting to know my students’ strengths and weaknesses. However, I do believe that each child knows what they do well and can see the growth that they have made from beginning to end of the year. I conference with them each marking period to discuss their progress and to talk about where and how they would like to grow.
Chapter 2: Freezing to the Face
I am hoping that as we meet throughout the summer we will discuss all kinds of readers and writers. I say this because while I agree with Fletcher about “remystifying” writing, I also know that many student writers need to know that a blueprint is available. I don’t disagree with the concept of giving children clay and watching them sculpt it into magnificent creations. I just also know that there are learners with certain needs, particularly those needs outlined by an IEP, that require some of that “writing logic” that Fletcher seems to put down. So, how can I free students up or “defrost” them, especially if my students are so used to and, often, legally bound, by supports? I am hoping to explore this and have an answer by summer’s end. In the meantime, I will discuss this topic in a very general way. As Fletcher suggests, connecting the learners with poignant text, offering up general ideas, and allowing for risks all seem like ways to “defrost” the writing.
I envision this happening in my classroom through careful planning, reflection and the implementation of what we learn this summer. Excited to get started!
The line "A writer becomes vulnerable by revealing part of her inner life" resonates with me personally and professionally. Individually, I need to accept that this PAWLP class is a safe environment and not fear judgement from my colleagues as I "peel back this onion I like to call my life." As an educator, I must to provide a safe environment where kids are comfortable enough within our learning community to take risks. We begin each year with the quote "you do not need to be friends, you just need to be friendly." This philosophy takes the initial pressure off of the students to create a fake and superficial environment where they cannot be themselves. They begin to understand that you can respect people without having anything in common with them and by the end of the year, they will actually like one another. This bonding scenario has occurred in all fifteen years that I have taught the Communique program. Once the atmosphere is established, kids are encouraged to open up to one another in a variety of modes across the curriculum. This sharing does not need to be all about written expression. For example, at the end of our daily SSR time, students are asked: "What stood out for you in what you just read?" This sharing builds trust.
ReplyDeleteStudents write everyday, initially responding to "safe topics" and share during their responses during our "Communique business time." This must occur somewhat organically, it cannot be forced, there is no formula, it is all about relationship building. It takes bravery to write from the heart and as soon as a foundation of trust is established, we can intertwine prompts which fall under the category of risky topics. Fletcher describes this type of writing as enabling the writer to take chances at exposing their inner self. Once the writer feels safe, they can dig deep and provide rich writing pieces. Setting up a safe environment where kids are willing to take risks is the key to getting the best out of our student writers.
Chapter 1: Mentors:
ReplyDeleteAs a child, and now an adult, I have had few writing or teaching mentors for that matter. Teachers gave assignments and being a diligent student, I did them. When the writing assignments were returned to me there were red pen corrections on it, but little positive feedback. Because of that, I always thought of myself as a terrible writer and those red pen corrections represented blemishes. As a teenager, blemishes of any kind were mortifying. I was never told that my writing was good or had some merit what so ever. I hated writing because I knew that it would never be what my teacher wanted of me. I was a people-pleaser and my writing didn’t please people. This was how my school career was until the 10th grade. As a sophomore, I had the privilege of having Mr. Gilbert, who actually liked my writing. He told me that I had talent, but all those years of thinking I was a bad writer, convinced me otherwise. It wasn’t until I wrote a paper on “The Lottery” by Shirley Jackson that my perspective changed. The assignment was to change the point of view of the short story. I changed it into the point of view of the mother. I took it up to where she (the mother) was hit with the first rock. When he called me up to the front of the room, I thought I was in trouble. He told me that my assignment was the best he had every received, and if I was interested into going to the Governor School of the Arts over the summer for a writing camp because he wanted to recommend me. I don’t think my feet hit the ground that school year. I guess that topic somehow meant something to me and that’s why I did well or it could have been Mr. Gilbert giving me confidence as a writer.
I am not sure what my students would say about me as a writing/reading mentor. I try to vary my assignments, but that isn’t always possible. I don’t mark up their papers too much and provide positive feedback. I ask the students what they liked about their writing and the areas they feel they could improve upon. My students would say that they are told to do an assignment and they do it. There is very little choice on the type of writing assignment. Now as a teacher, we have parameters we must follow. That dreaded PA Writing Rubric where we have to put our students' writing into boxes: content, organization, conventions, focus, and style. We are instructed to have one persuasive, one compare/contrast, one expository, and only one narrative. They must work on them at school, as to not have the sample tarnished by parents. Don’t get me wrong, within that subject, there is choice on the topic, just not the style of writing. I hate it!! I feel like putting a grade on a students’ hard work is the equivalent of judging them as people, rather than writers. I refuse to do it, that’s why their “grade” is probably inflated. I wish we as teachers were given more flexibility.
I feel like there isn’t enough time in a 42-minute period to really do what I want to do in the classroom. I have to learn to manage my time with them more effectively and have them write about something that is authentic to them. This is why I am taking this class: to become a better writer, therefore, a better teacher of writing. I want to be that mentor- that Mr. Gilbert, who makes a difference in the area of writing. Now don't judge me as a writer on this blog :-)
Chapter 2:
ReplyDeleteOne quote that resonates with me is “Students learn to find out what a teacher expects and writes to those expectations—and the accompanying grades—
instead of internalizing their own high standards of writing.” This is absolutely true. During those revising classes, student’s eyes just say, “Tell me what you want me to write and I’ll write it.”
What I learned from this chapter, that may be helpful in the classroom, is to have the student decide when, where, or if a revision should occur. It never occurred to me that students may feel they are finished, and I am pushing them to give me more when they’ve said enough. I am writing “word choice” on their paper or “use more description” but they may have wanted to use that word, although it wasn’t one I would have chosen. I need to find the balance between helping and “killing” their love of writing.
In the area of mentor texts and authentic writing, I sometimes read children’s books to my student to teach something that pertains to reading. For example, The Three Little Pigs followed by The True Story of the Big Bad Wolf to teach point of view, but that story doesn’t really affect them in a personal way. Perhaps I could read them that for teaching point of view in reading, but then have then write about a time when something they did was misunderstood. I would then write ideas that I come to my mind would be
1. When my niece (who is 5 years younger than me) started a kitchen fire by letting a boiling hot dog boil until there was no water left and it just began to burn. My father punished me because he thought I did it but I didn’t. My niece didn’t tell the truth because she didn’t want to get punished, so for two weeks I wasn’t allowed to watch television and had to do chores for free to pay for the deductible for repairing the damage. Years later, my niece did fess up and tell my father the truth but I could never get that time or money back.
2. Taking a different tone, the time my mother actually sewed my project for Home Economics (which now it’s called FACS) because I was a terrible seamstress and kept bleeding on the material. I then passed it off as my own just to get a good grade. Unfortunately/fortunately it won the price for the best project and I was given an award for it. I am sure they would ask, “What did you do?”
At the writing institute that first day, we were read the book Fortunately/Unfortunately
Mentors
ReplyDeleteGrowing up writing led me to understand that assignments were given and my task was to complete them. How did I learn about writing? I learned when my teacher handed back my draft and pointed out the changes that needed to be made which were indicated by the red pen marks on the paper. Perhaps that is why I cringe everytime I see a red pen. For me it was a map of my mistatkes. Did I have writing mentors growing up? Not so much. There were words that others wrote, and I read. Words were my best mentors.
The art and craft of writing would change for me once I entered education on the other end of the spectrum as a teacher. That for me was the point where I acquired two of my most passionate mentors. Having had the priviledge of working with my second grade team partner, whose greatest advice to me was, write every day and model the good, the best, the bad, and the ugly of the writing process. Let your children see you fail and succeed as a writer because it is the process that helps children grow as writers. I hope that my students would tell you that they have seen all parts of the writing process, successes and failures. In addition, we write often, write together, and write independently. It is not a successful day, if we haven't had time to write in some way, at some point in the day.
Even before publishing her first book, Mentor Texts, I was learning from her. Part of who I am as a teacher, I owe in part to another influential mentor. One of many pearls that she so unselfishly shared, share good writers as often as possible. Show students good writing that they can see, hear,feel and try out. Students in my class would add that we listen to and share writing, both our own and that of authors in a text. Finally, I hope that they would say that I am passionate about learning, striving to do so each day which is apparent as my foibles are ever present. Would I say that I am a mentor? Perhaps a mentor in training is what I would say as I continue to learn and grow.
Chapter 1: Mentors:
ReplyDeleteAs a child, and now an adult, I have had few writing or teaching mentors for that matter. Teachers gave assignments and being a diligent student, I did them. When the writing assignments were returned to me there were red pen corrections on it, but little positive feedback. Because of that, I always thought of myself as a terrible writer and those red pen corrections represented blemishes. As a teenager, blemishes of any kind were mortifying. I was never told that my writing was good or had some merit what so ever. I hated writing because I knew that it would never be what my teacher wanted of me. I was a people-pleaser and my writing didn’t please people. This was how my school career was until the 10th grade. As a sophomore, I had the privilege of having Mr. Gilbert, who actually liked my writing. He told me that I had talent, but all those years of thinking I was a bad writer, convinced me otherwise. It wasn’t until I wrote a paper on “The Lottery” by Shirley Jackson that my perspective changed. The assignment was to change the point of view of the short story. I changed it into the point of view of the mother. I took it up to where she (the mother) was hit with the first rock. When he called me up to the front of the room, I thought I was in trouble. He told me that my assignment was the best he had every received, and if I was interested into going to the Governor School of the Arts over the summer for a writing camp because he wanted to recommend me. I don’t think my feet hit the ground that school year. I guess that topic somehow meant something to me and that’s why I did well or it could have been Mr. Gilbert giving me confidence as a writer.
I am not sure what my students would say about me as a writing/reading mentor. I try to vary my assignments, but that isn’t always possible. I don’t mark up their papers too much and provide positive feedback. I ask the students what they liked about their writing and the areas they feel they could improve upon. My students would say that they are told to do an assignment and they do it. There is very little choice on the type of writing assignment. Now as a teacher, we have parameters we must follow. That dreaded PA Writing Rubric where we have to put our students' writing into boxes: content, organization, conventions, focus, and style. We are instructed to have one persuasive, one compare/contrast, one expository, and only one narrative. They must work on them at school, as to not have the sample tarnished by parents. Don’t get me wrong, within that subject, there is choice on the topic, just not the style of writing. I hate it!! I feel like putting a grade on a students’ hard work is the equivalent of judging them as people, rather than writers. I refuse to do it, that’s why their “grade” is probably inflated. I wish we as teachers were given more flexibility.
I feel like there isn’t enough time in a 42-minute period to really do what I want to do in the classroom. I have to learn to manage my time with them more effectively and have them write about something that is authentic to them. This is why I am taking this class: to become a better writer, therefore, a better teacher of writing. I want to be that mentor- that Mr. Gilbert, who makes a difference in the area of writing. Now don't judge me as a writer on this blog :-)
Chapter 2 Freezing to the Face
ReplyDeleteWhat struck me as I read Fletcher's words were what courage authors have to have when choosing to write the most difficult things to share with their readers, or that which touches them so significantly that they freeze when questioning whether or not to jump in to the story they desire to tell. As mentioned in class, Patricia Polacco is one of my most favorite childrens' authors, and really adult authors too. Why? As she writes, she takes you on the journey with her without getting frozen or stuck in the mud of emotion. Some of her most personal stories to this day, move me to tears each time I read them to a group of children. It is that deeply personal writing that opens a window to whom the author is, but at the same time shows their chops. Again, I will say that it takes great courage to write deeply with your heart on your sleeve. As I begin to contemplate my narritive, I find myself swaying back and forth between what is safe and what will be a journey for the reader, but most especially the writer. My greatest desire it to write from that place, so I guess it is time to stop freezing and dare to dive into the story I want to tell. Chapter two was so relatable to me at this point, that as I read, I felt the agreement with Fletcher's ideas as my head continued to bob up and down at different points in the article. So, time to stop procrastinating and move forward!
Chapter 1 - Mentors
ReplyDeleteThis section on mentors was very powerful. It outlines all of the characteristics and strategies every good mentor should have. It is my goal to incorporate many of these characteristics into my teaching and strategies into my teaching approach. One such strategy good mentors employ is the use of books as learning tools. Fletcher discusses the impact these “mentor texts” can have: “when teachers offer their students powerful models-sometimes called “mentor texts” – we bring a new voice of authority in the classroom, giving the students another source from which to learn. Providing students with a creditable source from which to learn is valuable in giving the students ownership of their learning, while at the same time validating the teacher.
Chapter 2 – Freezing to the Face
Here, Fletcher discusses how writers often times get stuck, and consequently look for formulaic ways out. Fletcher then goes on to suggest that writing is about discovery. The writer can gain direction about the topic of their writing by simply writing. While I believe this is true for creative writing, it is hard for me to see how this would apply to writing for instance in the expository mode. I think it would be difficult for me to tell my students to discover the direction of their writing if I just told them to write. (I’m sure this is where Fletcher would interject that we need to encourage students as risk takers in their writing.) How would they be able to organize the large amounts of information they researched, if not for some kind of template or guidelines? Maybe my reluctance in buying in to this idea (in expository writing at least) has to do with my own need for order and control. Maybe, I am not giving my students enough credit. I think one thing that is safe to say is that one size does not fit all when it comes to helping students to become better writers. To this end, I can see a small group of my students accepting that its okay to start writing without a formula, and to discover their direction as they write. I believe the vast majority of students however; still need guidance in the form of a graphic organizer, outline or template.
Freezing to the face as I write my narrative for this course: struggling to write something authentic without getting too personal. I'm experiencing this anxiety as an adult, so I can only imagine how difficult it will be for my middle-school students. Good writing isn't always safe. I've read high school journals that revealed much more information than I knew what to do with, but I knew they were raw and real, and that the student felt safe sharing with me. Apparently I had established a modem of confidentiality that made them comfortable enough to share. Now that I'm aware of that, I hope to create the same sort of safety for my middle-schoolers. Perhaps just reassuring them that I will be the only one who will ever read their work if that's what makes them feel comfortable. Or we could begin by sharing our stories anonymously. In April of this school year I assigned "I Am" poems but had them type the poem. I made a copy of each poem sans the student's name. We then did a gallery walk around the room, reading each of the poems and commenting facebook-style with "likes". When we were finished I took a chance and asked who wanted to share. I was shocked when the entire class raised their hands. I think the private read-through and the positive anonymous likes from their peers allowed them to "reach to the next higher place" by sharing aloud.
ReplyDeleteChap. 2
ReplyDeleteHelping students defrost their writing....My writng workshop has to be a place where there is trust. If students feel safe they will take risks with their writing. They won't be afraid to take the next step. I'll give them the time and opportunities to set up their wirter's notebooks/journals in a way that makes sense for them. A way that will encourage them to write every chance they get---and give them more chances to write! I always "helped" them set up their journals with Seed Ideas/Character Words/Setting Words, etc. This set up works for me,but not all students think of writing that way. I would spend more time (similar to what we did the first day of class) looking at journal options, idea generators, etc. I think this approach will help students see possibilities for stories and see their journal as a safe place to create stories and take their ideas to the next level.
Chapter 1- Mentors
ReplyDeleteI cannot remember any school initiated mentors for writing, either human or in text form. I do remember, like several of you, being given an assignment to do, doing it, and waiting to read the comments afterwards. (I had a tendency to mix my metaphors.) I remember grammar instruction, but little instruction on how to craft a piece. In high school, I would do the assignment, then take it to my father to review. Invariably, his response was, do it again, you can do better than this. In college, I had English bright and early each day at 8 o'clock and every Monday an essay was due. Of course, since English was my favorite subject, I procrastinated until 11 P.M. the night before and could be found typing until the wee hours.
Looking at my "writing life," I actually discovered that I found my own mentors for writing. In fourth and fifth grade I loved Nancy Drew mysteries. I owned 27, and I read them over and over. I even tried writing my own versions of the mysteries. It reminds me of walking through MMA and watching art students copy the works of the masters and of Van Gogh painting the sunflowers over and over again. You need to dissect masterful pieces to see what makes them work, and try it for yourself.
My next mentor turned out to be the Mailbox Magazine. As a new teacher, I read each issue cover to cover in order to find good ideas for teaching. I read so many of them, that when the editors called for free-lance writers, I decided to apply. It turns out that I am a bit of a chameleon (see, I'm mixing the metaphors again)and had "absorbed" their style to the point they wanted me to write for the magazine. For the past 13-ish years, I have been churning out ideas for teachers in their particular style.
Returning to the point of this missive, do I think I am a mentor, yes. I show the kids my process from idea lists and scribbles to the messed-up, crossed-out multiple drafts, to the final product in a glossy magazine complete with gorgeous illustrations provided by the team of graphic artists. (They especially love this because they learn early in the year that I am not particularly artistic.) I've been stuck enough and had enough successes that I can share these with the children. I think, like Fletcher says, that the mentor needs to show the kids that he/she is down there with them in the trenches, can understand their frustrations, and loves them enough to encourage them to allow their voices to be heard. A mentor should also, I believe, show the kids that writing is another way to play as well as a way for them to be heard. Love the child and celebrate the successes.
Will I ever learn to keep my metaphors straight? In the words of the title of a book I love, maybe, maybe not...
Chapter 2- Freezing to the Face
ReplyDeleteIn a couple of teacher in-services over the years, the facilitators had us try to read with a new alphabet, or do math problems with a different number system. The point was to remind us to think about and have empathy for children learning new/difficult skills. This training is coming in handy because I am one of those learners trying to tackle something difficult. Your comments are wonderful and helped me see the chapter in a different way than I did after my first reading.
Yes, writing is so much more than completing an assignment or copying a form. It is a form of expression, a way of being understood and learning to understand yourself. Yes, we need to teach the children to respond as they need to respond to requirements set by schools and employers, but we must also teach them that writing is so much more than that. Great writing may or may not fit into a five paragraph essay. The point about being careful with praise is so very true at the elementary level. These little people still want to please, and they are looking for cues from us to see if they are doing it the way you (the teacher) think is good. Yes, they must learn to develop an internal sense of what, for them, is good writing. As teachers, we are merely the stepping stones providing a support, but also a foothold from which the children can spring to their own understanding.
This is where your help has been invaluable. When starting a piece, I have the kids think about what they want to say and the impact they want to have on the reader. We then think about the audience, and how best to get our ideas across to them. This chapter's point about writing being an exploration worried me. Fletcher talked about possibly not ending up where you thought you were going. I need to work with this and figure out how to express it to 9-year-olds. The quote in the book, "(experiences)...all of which were still too recent to afford me the benefit of any real perspective or reflective wisdom," stood out. I think, as a teacher, I need to be careful of the nature of my assignments so that I do not ask them to do a task that they do not have the experience to reflect upon thereby frustrating them.
This post definitely did not go where I intended it to go.
I often model writing in the classroom; working on the same assignment the kids are doing in order for them to see the process, gain ideas and see what my expectations are for a final product. But from my interpretation of Fletcher’s first chapter suggests, I realize that I have to be careful about what I lead the students to believe is “good” writing and “bad” writing. There’s definitely a balancing act that I must do if I am going to take on the role of “mentor” in the classroom.
ReplyDeleteThe takeaway:
Build on strengths – find the positive in the piece and encourage that development but don’t let them believe that is the only way to success.
Encourage risk-taking – don’t try to mold students into one type of writer or to believe that there is only my way of writing to be successful.
Introduce students to mentor texts – if I want students to be great writers I should allow them to see what that means. Whether is picking out lines or paragraphs from books that I enjoy or classic pieces of literature. Students need to be exposed.
Have a positive attitude – writing is a process; focus on seeing what is going well.