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Demonstrating Writing

RESOURCESd Guidelines for Your

Demonstration Writing,Session 4 8; PDN 4–4

d Connections with WritingTraits 8; PDN 4–6

PLANNINGBefore the Session

d Preview scenes 3–6 of“Demonstrating Writing:Writing Aloud” (DVD 1).

d Review “Connections withWriting Traits,” p. 8 and com-pare this chart with the videodemonstration.

After the Session d Read and prepare to discuss

the professional reading forthe next session.

d Remember to schedule yourprofessional conversationsbetween sessions. See theGetting Started Guide, p. 30.

DEMONSTRATING WRITING1

AGENDA

ATAGLANCE

Professional Reading for Next Session:“Teach Students to Care About Revision”(Writing Essentials excerpt, pp. 156–160, anddownloadable from www.regieroutman.com)

Transforming our Teaching through

Writing for Audience and PurposeS E S S I O N 7

PDN numbers refer to pages in theProfessional Development Notebook.

Engage, Reflect, Assess

Discuss Professional Reading: “Immersion: Reading Aloud to Determine

the Characteristics of a Genre” (included with resources in Session 6), and downloadable

from www.regieroutman.com)

View Video (29 min.)

Demonstrating Writingd Setting the Stage for Writing: Getting Ready to Write

• Setting the Purpose

• Telling the Story

• Narrowing the Topic

• Comparing the Story with the Criteria

d Demonstration Writing: Writing Aloud

• Revising While Writing

• Composing the Ending

• Comparing My Story to the Criteria

d Setting Expectations

• Setting Final Expectations

d Supporting the Not-So-Ready Writer

Achieve a Deeper Understanding

Try It/Apply It in the Classroom

Routman_FG7_Writing.qxd 10/8/07 12:33 PM

SESSION 7 Facilitator’s Guide / Writing for Audience and Purposepage 2

SESSION 7The time segments listed in the agenda are geared for a 90–120-minute session.

1. Engage, Reflect, Assess (10-15 min.)

d Ask: What have you learned about your students?

d Call on volunteers to share how the beginning of the immersion process isgoing. Encourage them to share what they and their students have discoveredso far about their chosen genre, the charts and notes they’ve made, favoritetexts, and so on.

d Have participants, in vertical teams, declare the audience and purpose for thewriting their students will do as well as the chart of genre characteristics theyhave developed.

d Have pairs of teachers take turns telling how they reveal themselves as readersand writers to their students. What’s satisfying about it? What’s difficult?

2. Discuss Professional Reading (10–15 min.)

d Invite participants, in teams, to discuss “Immersion: Reading Aloud toDetermine the Characteristics of a Genre” (included with resources in Session6) and downloadable from the website. Prompt conversation by asking: Whathave you learned about the immersion process?

3. Set Goals (3 min.)

Share what participants may expect from the session:d Understand how and why it is important to set the purpose and audience

before writing.

d Observe a teacher storytelling a significant event in her life with lots of detail,expression, and conversation and use it a as a scaffold for preparing to tell asimilar story yourself in order to prompt student writing.

d Notice how demonstration writing can be used to establish criteria for writinga story.

d Observe a teacher telling and writing a story that is authentic andmeaningful. The purpose of the demonstration is for students to be able towrite with ease, confidence, enjoyment, and complete understanding of whatthey are expected to do.

d Become aware that writers focus first on composing—which includes revisingas they write—and later on editing. (You can’t focus on everything at once).

d Notice that the Six Traits of Writing are all addressed every time we doauthentic writing for a valued purpose and audience. (See “Connections withWriting Traits.”)

AAggeennddaa


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DEMONSTRATING WRITING

3

4. Introduce the Video (2 min.)

d In your own words, set up the learning demonstrated in the video clipbased on your preview, the information in the Deeper Understandingcharts, and the needs of your staff.

d Invite teachers to turn to the session Notecatcher and preview the sceneheadings.

5. View Video and Take Notes (30 min.)

d Ask participants to jot down on the session Notecatcher anything that seemsimportant:

• What did you notice and wonder about?

• What did you observe being taught?

• What were the students able to do?

6. Respond to the Video (5–10 min.)

d Ask participants to share anything that seems important about what theyjust saw.

d Then, in grade-level teams, have them respond to the Discussion Questions.

d Point out how telling the story first is a valuable support for all writers. Askparticipants to think about why the quality of the demonstration willimpact what students will try and be able to do by themselves.

d Compare the video demonstration’s teaching points to “Connections withWriting Traits.”

7. Achieve a Deeper Understanding (15–20 min.)

d With the participants, examine the Deeper Understanding teaching points and use them—and the adjacent questions—to think more deeply abouthow demonstration writing conveys expectations to students.

d With participants, examine “Connection with Writing Traits.” Let themknow that the teaching points on the charts come mostly from the writingdemonstrations they have just seen on the video but also from conferringwith students on their drafts.

d In vertical teams, ask participants to think about and discuss therelationship between whole-part-whole learning and Six Traits. How canthey work together? Is it efficient to teach the traits in isolation?

d Suggest to participants that, in between sessions, they may want to re-viewthe video and make a list of all the teaching points in the demonstrationand see how they are connected to Six Traits. Let participants know thatthe traits are a fine evaluation tool but they are not intended to be awriting program.



8. Try It /Apply It in the Classroom (10–15 min.)

d Ask teachers to set the stage for their students’ writing by selecting ameaningful story to tell from their own lives. Remind them to pick a story thatis near and dear to their heart.

d Remind them to identify the audience and purpose for the writing.

d Invite teachers to prepare their students for writing by telling their genre-specific story with lots of detail, conversation, and expression.

d Before the next session ask teachers to prepare students for writing bydemonstrating, in front of students, a genre-specific piece of writing and to bring that writing to the next session to share and celebrate with teammembers. (See “Guidelines for Your Demonstration Writing,” pp. 8–9, Session 4.)

d Ask teachers, immediately after their demonstration, to have their studentsfollow the same process: select a topic; consider their audience and purpose;tell the story first; write the story, rereading and revising as part of the process;check the writing against established criteria for the genre; and so on. Thisdraft writing is best completed in one or two days so that students will want andhave the energy to revise, edit, confer about, and publish the piece.

d Ask teachers to reflect on what their students did and did not pick up from the teaching demonstration and what additional focus lessons are needed.

d Ask them to bring at least one student writing sample to share.

9. Wrap-Upd Celebrate and highlight learning.

d Ask participants for feedback on the session. (See Session Evaluations in theGetting Started Guide, pp. 49–53.)

d Post the date, time, and place of the next session.

d Ask participants to read for next session (“Teach Students to Care AboutRevision” (Writing Essentials excerpt, pp. 156–160).

d Encourage vertical, grade-level, and/or partner teams to meet weekly inbetween whole group sessions to revisit the videos on the website and theDeeper Understanding charts and/or plan together and try out new learning.Suggest they can jot down their ideas and thinking on their Response Notespage for easy reference later.

d Remind participants to bring any charts, lessons, writing, or student worksamples from Try It/Apply It to the next session.


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5

Setting the Stage forWriting: Getting Ready toWrite

• Setting the Purpose

• Telling the Story

• Narrowing the Topic

• Comparing the Storywith the Criteria

Demonstration Writing:Writing Aloud

• Revising While Writing

• Composing the Ending

• Comparing My Story tothe Criteria

VIDEO SCENES LENGTH NOTES & REFLECTION

NOTECATCHERSESSION 7

7:04 min.

14:58min.



VIDEO SCENES LENGTH NOTES & REFLECTION

NOTECATCHER

Setting Expectations

• Setting Final Expectations (“I did this, I want you todo this . . .”)

Supporting the Not-So-Ready Writer

SESSION 7

4:45 min.

1:55 min.


page

DEMONSTRATION WRITING

7

DISCUSSIONQUESTIONS

d How does telling the story first support writing?

d Why is it important to write and think aloud in front ofstudents versus writing behind the scenes and thenshowing it to them?

d What do you notice about the language of thedemonstration?

SESSION 7



d Write with your audience in mind. d Use literature as a resource.d Pick a meaningful topic so writing is purposeful and enjoyable.

• Select a memory about something that happened in the past.

• Narrow the focus.

• Use list to help plan.d Get ideas from other writers: peers, published authors.

d Tell the story orally before writing it.d Include a beginning (lead) that hooks the reader.d Craft a satisfying ending that ties everything together.

• Reflect on why the memory is important to the writer.d Paragraph

• To group similar ideas/topics.

• To give the eye a break.d Choose an original title that frames the writing for the reader. Include a descriptive setting.

d Reread to be sure sentences flow, sound right, and have a pleasing rhythm.d Vary beginnings of sentences.

d Incorporate meaningful dialogue.d Write with unique style.d Write so it “sounds like you.”d “Show, don’t tell.”

d Use words that convey emotion.d Choose words carefully to express exactly what you want to say.d Add details to breathe life into the text—embellish meaning.

d Reread to decide what to write next. d Reread to make sure text makes sense to the reader.d Reread to make changes:

• attend to word choice (cross out old, write new word above)

• add missing words (use carets ^)

• move sentences (use arrows)

• add more detail (cut & tape strategy)

d Writer has final responsibility of editing for the reader:

• spelling

• punctuation

• capitalization

• grammar

• paragraphing

• legibility

Trait Teaching Points

Ideas/Content

Organization

Sentence Fluency

Voice

Word Choice

Revision

Conventions

CCoonnnneeccttiioonnss wwiitthh WWrriittiinngg TTrraaiittss

Note: The Teaching Points come from the demonstration writing on the videos.


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9

SESS

ION

7:

DE

EP

ER

UN

DE

RST

AN

DIN

G:

DE

MO

NST

RA

TIN

G W

RIT

ING

co

nti

nu

es

De

mo

nst

rati

ng

Wri

tin

g

DDeeee

ppeerr

UUnn

ddeerr

ssttaann

ddiinn

gg

Sett

ing

,No

tes,

and

Exp

licit

Tea

chi

ng P

oin

ts

Ong

oin

g A

sse

ssm

ent

Que

stio

ns/R

efle

ctio

nsLe

arn

ing

Out

co

me

s

The

Wha

t,W

hy,a

nd H

ow o

fTea

chin

gIn

form

ing

Our

Inst

ruct

ion

For

Prof

essi

onal

Con

vers

atio

nsW

hat S

tude

nts K

now

and

Are

Abl

e to

Do

Vide

oSC

ENES

NO

TES:

TEL

LIN

G T

HEN

WR

ITIN

G

We

begi

n w

ith “

I do

it”(p

hase

1 o

f the

Opt

imal

Lea

rnin

g M

odel

).

Telli

ng th

e st

ory

first

hel

ps u

s de

cide

wha

t we

wan

t to

writ

e. I

delib

erat

ely

tell

a st

ory

that

is d

ear t

o m

y he

art,

and

then

I in

ten-

tiona

lly w

rite

with

lots

of d

etai

l and

som

e co

nver

satio

n so

stu

-

dent

s w

ill a

ttem

pt to

do

the

sam

e. T

he q

ualit

y, d

etai

l, an

d

poig

nanc

y of

the

stor

y yo

u te

ll w

ill im

pact

wha

t you

r stu

dent

s ar

e

will

ing

to d

o an

d ris

k in

thei

r ow

n w

ritin

g. T

hen,

whe

n it

is ti

me

for s

tude

nts

to w

rite,

stu

dent

s te

ll th

eir s

torie

s to

eac

h ot

her.

I

ofte

n us

e sc

affo

lded

con

vers

atio

ns (

see

Writ

ing

Esse

ntia

ls, p

. 77)

with

stu

dent

s to

hel

p th

em g

et s

tarte

d to

writ

e (W

ritin

g Es

sent

ials,

pp. 2

20–2

21, d

iscu

ss fr

ontlo

adin

g). T

his

is a

n es

peci

ally

long

dem

onst

ratio

n (p

artly

bec

ause

of o

ur th

ree-

day

time

limit

from

draf

t to

publ

icat

ion)

, but

ther

e is

a b

ig p

ayof

f bec

ause

we

wan

t

to d

emon

stra

te e

very

thin

g w

e w

ant o

ur s

tude

nts

to d

o. If

we

don’

t dem

onst

rate

it, t

hen

it’s n

ot li

kely

to h

appe

n.

TEA

CH

ING

PO

INTS

•Es

tabl

ish

purp

ose

and

audi

ence

.

•Ex

plai

n w

hy it

’s be

nefic

ial t

o te

ll th

e st

ory

befo

re w

ritin

g it.

•Te

ll th

e st

ory

and

embe

llish

it.

•Sp

eak

expr

essi

vely

whe

n yo

u te

ll yo

ur s

tory

.

•Le

t you

rsel

f be

know

n to

you

r stu

dent

s.

•Fi

gure

out

the

deep

er, p

erso

nal m

eani

ng b

ehin

d th

e st

ory.

Keep

in m

ind

wha

t mak

es m

emoi

r a m

emoi

r is

the

writ

er’s

abili

ty to

go

back

and

refle

ct o

n th

e m

eani

ng b

ehin

d th

e st

ory.

•Pe

rhap

s, u

se a

stic

ky n

ote

as a

pre

plan

ning

org

aniz

er fo

r key

poin

ts.

•Us

e th

e te

lling

of t

he s

tory

to h

elp

you

plan

wha

t you

will

writ

e.

The

glob

e ic

on in

dica

tes

that

the

exam

ple

is a

lso

avai

labl

e w

hen

you

visi

t ww

w.re

gier

outm

an.c

om.

•W

hy is

impo

rtant

to te

ll th

e st

ory

befo

re y

ou w

rite

it?

•W

hat i

mpa

ct w

ill it

hav

e on

Eng

lish

lang

uage

lear

ner s

tude

nts

and/

or s

trugg

ling

writ

ers?

•W

hat k

inds

of o

ppor

tuni

ties

can

you

prov

ide

to

your

stu

dent

s so

they

can

hea

r and

say

thei

r

writ

ing

alou

d?

•Tr

y to

pra

ctic

e te

lling

you

r sto

ries

out l

oud

to e

ach

othe

r so

you

know

wha

t you

’re e

xpec

ting

stud

ents

to d

o (c

an b

e an

y ge

nre)

.

•W

hy is

it im

porta

nt fo

r stu

dent

s to

see

the

teac

her

choo

se h

er to

pic

in fr

ont o

f the

m?

See

Writ

ing

Esse

ntia

ls, p

p. 2

5–26

.

•W

hat d

oes

it m

ean

whe

n w

e sa

y as

teac

her,

“I’ve

done

a lo

t of t

hink

ing

abou

t but

not

muc

h w

ritte

n

plan

ning

for m

y st

ory”

?

•H

ow h

as v

oice

bee

n pa

rt of

this

writ

ing

less

on e

ven

thou

gh th

e w

ord

voic

eha

s no

t bee

n m

entio

ned?

(Thi

s is

an

exam

ple

of “

teac

h it

first

, lab

el it

late

r.”)

•H

ow d

o w

e he

lp k

ids

choo

se w

orth

whi

le to

pics

?

See

Writ

ing

Esse

ntia

ls, p

p. 1

77–1

78.

•W

hat d

o yo

u no

tice

abou

t the

use

of d

etai

l in

the

stor

ytel

ling?

•Id

entif

ies

an in

tend

ed

audi

ence

.

•An

ticip

ates

read

er’s

que

stio

ns

and

writ

es b

ased

on

thos

e

ques

tions

.

Setti

ng th

eSt

age

for

Writ

ing:

Getti

ng R

eady

to W

rite

•Se

tting

the

Purp

ose

•Te

lling

the

Stor

y

•N

arro

win

g

the

Topi

c

•Co

mpa

ring

the

Stor

y w

ith

the

Crite

ria

(7:0

4 m

in.)

SESS

ION7

Regi

e te

lls th

e st

uden

ts th

est

ory

of th

e m

emoi

r sh

e w

illw

rite.



SESS

ION

7:

DE

EP

ER

UN

DE

RST

AN

DIN

G:

DE

MO

NST

RA

TIN

G W

RIT

ING

•N

arro

w th

e to

pic:

•D

emon

stra

te z

eroi

ng in

on

the

mom

ent.

•D

emon

stra

te h

ow to

cho

ose

whi

ch s

tory

to w

rite

whe

n yo

u

have

mul

tiple

idea

s. (

I cou

ld w

rite

diffe

rent

sto

ries

abou

t

my

gran

dmot

her,

but I

cho

se th

e on

e ab

out “

bana

na

toas

t.”)

•Re

view

est

ablis

hed

crite

ria b

efor

e w

ritin

g; in

this

cas

e w

e re

fer

to th

e sh

ared

writ

ing

char

t.

•Re

info

rce

that

con

vers

atio

n in

writ

ing

can

be “

mad

e up

” (w

hat

mig

ht h

ave

been

sai

d) b

ut c

onve

y tru

e fe

elin

gs.

•G

ive

a lo

t of r

elev

ant d

etai

l: cr

eate

a “

pict

ure”

for t

he li

sten

er.

NO

TES:

Norm

ally,

suc

h a

long

writ

ing

dem

onst

ratio

n w

ould

be

com

plet

ed

over

two

days

, but

we

had

only

thre

e da

ys to

tal f

rom

sta

rt to

fini

sh

of th

e m

emoi

r writ

ing.

If y

ou g

o on

too

long

, kid

s w

on’t

have

enou

gh ti

me

and

ener

gy to

writ

e. A

lso,

idea

lly, y

ou w

ould

wan

t to

first

spe

nd a

t lea

st a

wee

k or

mor

e on

imm

ersi

on (

see

Sess

ion

6).

In th

is le

sson

, it w

as in

tent

iona

l tha

t the

stu

dent

s’ w

ritin

g no

t

exce

ed tw

o pa

ges

so th

ey w

ould

hav

e th

e tim

e an

d en

ergy

to

inve

st in

cra

fting

and

revi

sing

thei

r writ

ing

as w

ell a

s ed

iting

it.

Whe

n w

orki

ng w

ith y

oung

er s

tude

nts,

onl

y de

mon

stra

te th

e

amou

nt o

f writ

ing

you

expe

ct m

ost o

f the

m to

be

able

to d

o. F

or

exam

ple,

if y

ou e

xpec

t you

r prim

ary

grad

e st

uden

ts to

writ

e

abou

t a h

alf a

pag

e, o

nly

writ

e th

at m

uch

in y

our d

emon

stra

tion.

It is

als

o a

good

idea

to w

rite

on th

e sa

me

kind

of p

aper

you

expe

ct y

our s

tude

nts

to u

se s

o st

uden

ts s

ee h

ow to

use

the

lines

and

spac

es to

aid

lette

r for

mat

ion

and

legi

bilit

y.

Wri

tin

g A

lou

d.

Writ

ing

alou

d al

low

s yo

ur s

tude

nts

to s

ee

you

stru

ggle

with

you

r ide

as, y

our w

ords

, wha

t com

es n

ext,

etc.

I do

n’t s

olic

it th

eir h

elp

beca

use

this

is m

y tim

e to

dem

on-

stra

te a

nd s

how

them

how

. I s

how

stu

dent

s w

hat i

t sou

nds

like

to ta

ke a

“ru

nnin

g st

art”—

that

is, y

ou g

o ba

ck a

nd re

read

in o

rder

to fi

gure

out

wha

t you

wan

t to

say

next

. I a

lso

revi

se

The

Wha

t,W

hy,a

nd H

ow o

fTea

chin

gIn

form

ing

Our

Inst

ruct

ion

For

Prof

essi

onal

Con

vers

atio

nsW

hat S

tude

nts K

now

and

Are

Abl

e to

Do

Vide

oSC

ENES

•N

arro

ws

topi

c w

ith

cont

rolli

ng id

ea.

•Ge

nera

tes

idea

s pr

ior t

o or

gan-

izin

g th

em a

nd a

djus

ts p

rew

rit-

ing

stra

tegi

es a

ccor

ding

ly.

•Se

lect

s de

tails

rele

vant

to th

e

topi

c to

ext

end

and

elab

orat

e

idea

s.

•H

ow c

an y

ou d

emon

stra

te c

onve

rsat

ion

as in

tegr

al

to m

emoi

r?

•W

hy is

it im

porta

nt to

writ

e an

d th

ink

alou

d in

fron

t

of s

tude

nts

vers

us d

oing

the

writ

ing

behi

nd th

e

scen

es a

nd th

en s

how

ing

it to

them

? (S

ee W

ritin

g

Esse

ntia

ls, p

p. 1

57–1

59.)

•D

iscu

ss re

visi

on: w

hen,

whe

re, h

ow?

(See

Writ

ing

Esse

ntia

ls, p

p. 1

56–1

59, 3

21–3

22.)

•W

hat i

s th

e pu

rpos

e an

d va

lue

of re

read

ing

whi

le

writ

ing?

•H

ow w

ill y

ou te

ach

stud

ents

to m

ake

rere

adin

g an

d

revi

sing

par

t of d

raft

writ

ing?

Setti

ng th

eSt

age

for

Writ

ing:

Getti

ngRe

ady

toW

rite

cont

inue

d

Dem

onst

ratio

nW

ritin

g:W

ritin

g Al

oud

•Re

visi

ng

Whi

le W

ritin

g

•Co

mpo

sing

the

Endi

ng

•Co

mpa

ring

My

Stor

y to

the

Crite

ria

(14:

58 m

in.)

DEE

PER

UN

DER

STA

ND

ING

:D

em

on

stra

tin

g W

riti

ng

Sett

ing

,No

tes,

and

Exp

licit

Tea

chi

ng P

oin

ts

Ong

oin

g A

sse

ssm

ent

Que

stio

ns/R

efle

ctio

nsLe

arn

ing

Out

co

me

s

Regi

e “r

evis

es w

hile

writ

ing”

the

mem

oir

abou

t her

gra

nd-

mot

her.


page


11

SESS

ION

7:

DE

EP

ER

UN

DE

RST

AN

DIN

G:

DE

MO

NST

RA

TIN

G W

RIT

ING

co

nti

nu

es

as I

writ

e. W

hen

I rer

ead,

I m

ay c

hang

e a

wor

d, a

dd w

ords

that

I m

ay h

ave

left

out,

cros

s ou

t par

ts th

at d

on’t

soun

d go

od

to m

e or

mak

e se

nse.

In o

ther

wor

ds, r

evis

e as

you

go.

Sho

w

stud

ents

that

revi

sion

is n

ot s

omet

hing

you

do

whe

n yo

u’re

finis

hed

only

with

you

r firs

t dra

ft. It

’s w

hat w

riter

s do

as

they

writ

e an

d re

read

.

Tea

ch

It F

irst

,La

be

l It

Late

r.N

otic

e th

at I

don’

t jus

t add

deta

ils, m

ake

the

piec

e lo

nger

, or s

tick

in a

djec

tives

just

bec

ause

they

're o

n th

e st

anda

rds.

I do

wha

teve

r is

need

ed to

mak

e th

e

writ

ing

clea

r, in

tere

stin

g, a

nd o

rgan

ized

for t

he re

ader

. Lat

er o

n,

whe

n st

uden

ts h

ave

inte

rnal

ized

wha

t we

mea

n by

det

ails

and

so o

n, a

nd b

ecau

se th

ey h

ave

lear

ned

how

to w

rite

effe

ctiv

ely,

I

do n

ame

trans

ition

s, a

djec

tives

, and

det

ails

bec

ause

stu

dent

s

now

und

erst

and

wha

t the

se te

rms

mea

n an

d ho

w to

app

ly th

em.

This

is w

hat w

e m

ean

by “

teac

h it

first

, lab

el it

late

r,” a

nd a

lso

wha

t we

mea

n by

who

le-p

art-w

hole

teac

hing

.

Thin

king

Ab

out

the

Se

ttin

g.

If ki

ds c

an d

escr

ibe

a se

tting

in

writ

ing,

they

can

app

ly th

is k

ind

of d

escr

iptiv

e w

ritin

g to

any

kin

d

of w

ritin

g—na

rrativ

e no

nfic

tion,

for e

xam

ple.

Stu

dent

s do

bes

t if

they

firs

t hav

e to

be

able

to w

rite

abou

t a s

ettin

g th

ey k

now

; the

n

late

r on,

they

can

mak

e up

a s

ettin

g.

Thin

king

Ab

out

the

End

ing

.Kn

owin

g th

at a

dis

tingu

ishi

ng

char

acte

ristic

of m

emoi

r is

a re

flect

ive

endi

ng, I

dem

onst

rate

d

how

to w

rite

and

rew

rite

an e

ndin

g th

at c

onne

cts

the

mem

ory

to

its d

eepe

r mea

ning

in m

y lif

e.

The

Wha

t,W

hy,a

nd H

ow o

fTea

chin

gIn

form

ing

Our

Inst

ruct

ion

For

Prof

essi

onal

Con

vers

atio

nsW

hat S

tude

nts K

now

and

Are

Abl

e to

Do

Vide

oSC

ENES

•W

hat a

re th

e ad

vant

ages

and

dis

adva

ntag

es o

f

labe

ling

ever

ythi

ng y

ou d

emon

stra

te fo

r stu

dent

s?

•W

ill s

tude

nts

get t

he id

ea fr

om y

our j

ust d

oing

it?

Thin

k ab

out t

he ti

me

issu

es in

volv

ed.

•“T

each

it fi

rst;

labe

l it l

ater

.”(S

eeW

ritin

g Es

sent

ials,

p. 1

95.)

•W

hat’s

the

adva

ntag

e fo

r not

def

inin

g w

hat a

set

ting

is b

ut fi

rst s

how

ing

stud

ents

thro

ugh

liter

atur

e or

your

ow

n w

ritin

g?

•W

hat c

hoic

es w

ere

mad

e ab

out h

ow to

end

the

piec

e?

•H

ow d

o w

e te

ach

stud

ents

to c

raft

an e

ndin

g?

•W

hat d

o yo

u no

tice

abou

t the

lang

uage

use

d w

hen

talk

ing

to s

tude

nts?

DEE

PER

UN

DER

STA

ND

ING

:D

em

on

stra

tin

g W

riti

ng

Sett

ing

,No

tes,

and

Exp

licit

Tea

chi

ng P

oin

ts

Ong

oin

g A

sse

ssm

ent

Que

stio

ns/R

efle

ctio

nsLe

arn

ing

Out

co

me

s

Dem

onst

ratio

nW

ritin

g:W

ritin

g Al

oud

cont

inue

d



SESS

ION

7:

DE

EP

ER

UN

DE

RST

AN

DIN

G:

DE

MO

NST

RA

TIN

G W

RIT

ING

TEA

CH

ING

PO

INTS

•Se

t exp

ecta

tions

for w

hat s

tude

nts

will

do.

•Ad

d a

title

or n

ot; d

on’t

wor

ry a

bout

hav

ing

one

at th

e st

art.

•Ta

lk o

ut lo

ud a

nd e

xpla

in th

e th

inki

ng b

ehin

d yo

ur w

ritin

g

deci

sion

s th

roug

hout

the

proc

ess.

•W

e ar

e no

t ask

ing

kids

to h

elp

us d

ecid

e w

hat t

o w

rite

in th

is

stag

e of

the

OLM

(I d

o it.

). W

e ar

e in

cha

rge.

•Re

read

alo

ud a

nd re

vise

whi

le w

ritin

g. T

his

help

s yo

u de

cide

1) w

hat t

o sa

y ne

xt, 2

) ho

w th

e pi

ece

soun

ds, 3

) w

hat’s

mis

sing

, 4)

wha

t par

ts to

cha

nge.

•Sh

ow re

visi

on b

y ad

ding

and

cro

ssin

g ou

t (w

ithou

t

labe

ling

it).

•Us

e co

nver

satio

n in

writ

ing

to h

elp

mov

e th

e st

ory

forw

ard.

•Ad

d de

tails

to m

ake

the

writ

ing

cris

per a

nd c

lear

er fo

r the

read

er.

•D

escr

ibe

the

setti

ng. (

“I ca

n pi

ctur

e it.

”)

•Sh

ow th

e im

porta

nce

of th

inki

ng a

bout

wor

ds in

the

piec

e

(wor

d ch

oice

). F

or e

xam

ple,

the

use

of th

e w

ord

refu

ge.

•Re

ad o

ut lo

ud a

fter c

ompl

etin

g dr

aft—

final

ize

piec

e.

•Sa

ying

the

stor

y ou

t lou

d he

lps

you

refin

e th

e w

ritin

g.

•Is

the

writ

ing

piec

e cl

ear a

nd in

tere

stin

g, o

r are

add

ition

al

chan

ges

need

ed?

•D

emon

stra

te h

ow th

e en

ding

can

pul

l the

pie

ce to

geth

er.

(Writ

ing

an e

ndin

g is

har

d w

ork.

)

•W

rite

a th

ough

tful e

ndin

g, a

refle

ctio

n.

•Re

read

and

revi

se e

ven

afte

r writ

ing

the

endi

ng.

The

Wha

t,W

hy,a

nd H

ow o

fTea

chin

gIn

form

ing

Our

Inst

ruct

ion

For

Prof

essi

onal

Con

vers

atio

nsW

hat S

tude

nts K

now

and

Are

Abl

e to

Do

Vide

oSC

ENES

•Us

e yo

ur re

read

ing

as y

ou

writ

e an

d af

ter y

ou w

rite

to

self-

asse

ss.

•“W

hat I

do

as a

read

er is

rere

ad.I

don’

t kno

w

if I li

ke it

...”

•“W

hen

you

read

it o

ut lo

ud to

your

self,

you

can

see

how

it

soun

ds”

•“C

ould

you

get

a p

ictu

re o

f

wha

t I w

as sa

ying?

”

•Re

read

s w

ork

seve

ral t

imes

and

has

a di

ffere

nt fo

cus

for

each

read

ing—

addi

ng d

etai

ls

for e

labo

ratio

n; d

elet

ing

sen-

tenc

es o

r phr

ases

to a

chie

ve

para

grap

h un

ity; r

eorg

aniz

ing

idea

s fo

r mea

ning

.

•W

hy a

re k

ids

atte

ndin

g to

this

long

dem

onst

ratio

n?

•W

hy m

ight

it b

e im

porta

nt to

not

e th

e tim

e

you

star

t you

r dem

onst

ratio

n w

ritin

g?

DEE

PER

UN

DER

STA

ND

ING

:D

em

on

stra

tin

g W

riti

ng

Sett

ing

,No

tes,

and

Exp

licit

Tea

chi

ng P

oin

ts

Ong

oin

g A

sse

ssm

ent

Que

stio

ns/R

efle

ctio

nsLe

arn

ing

Out

co

me

s

Regi

e’s

dem

onst

ratio

n w

ritin

g.

Dem

onst

ratio

nW

ritin

g:W

ritin

g Al

oud

cont

inue

d


page


13

SESS

ION

7:

DE

EP

ER

UN

DE

RST

AN

DIN

G:

DE

MO

NST

RA

TIN

G W

RIT

ING

Dra

ftin

g.

Afte

r writ

ing

sile

ntly

for 3

0 m

inut

es, a

ll th

e st

uden

ts

com

e cl

ose

to c

ompl

etin

g th

eir f

irst d

raft.

All

the

“fron

tload

ing”

(Writ

ing

Esse

ntia

ls, p

p. 2

20–2

21)

we

have

don

e m

akes

this

pos

-

sibl

e.

TEA

CH

ING

PO

INTS

•As

k st

uden

ts w

hat t

hey

notic

e ab

out w

hat y

ou d

o as

a w

riter

whe

n yo

u w

rite

alou

d an

d th

ink

alou

d in

fron

t of t

hem

.

•Re

min

d st

uden

ts o

f writ

ing

expe

ctat

ions

:

•In

clud

e se

tting

.

•Th

ink

abou

t how

you

r writ

ing

piec

e ca

n im

pact

you

r aud

i-

ence

.

•Tr

y co

nver

satio

n. (

“Get

the

feel

ing

right

.”)

•Re

fer t

o cl

ass

char

t for

wha

t to

incl

ude

(crit

eria

for w

ritin

g).

•Sk

ip li

nes.

•W

rite

on o

nly

one

side

of t

he p

aper

. (Re

ason

is n

ot s

tate

d

on v

ideo

, but

it’s

so c

uttin

g an

d pa

stin

g is

an

optio

n—w

ill

be ta

ught

late

r.)

•D

raft

no m

ore

than

two

page

s (b

ecau

se th

is p

iece

will

be

publ

ishe

d th

is w

eek—

need

s to

be

man

agea

ble)

.

•Re

read

as

you

writ

e—to

mak

e su

re p

iece

mak

es s

ense

,

impr

ove

wor

d ch

oice

, add

inte

rest

, hel

p de

cide

wha

t to

say

next

.

•Cr

oss

out—

so y

our f

irst t

hink

ing

is v

isib

le. (

Don

’t er

ase

chan

ges.

)

•M

ake

sure

stu

dent

s ha

ve a

topi

c be

fore

you

sen

d th

em o

ff to

writ

e.

The

Wha

t,W

hy,a

nd H

ow o

fTea

chin

gIn

form

ing

Our

Inst

ruct

ion

For

Prof

essi

onal

Con

vers

atio

nsW

hat S

tude

nts K

now

and

Are

Abl

e to

Do

Vide

oSC

ENES

Asse

ss: W

hat d

id I

do a

s a

writ

er?

List

stu

dent

s’ re

spon

ses

and

use

them

as

an a

sses

s-

men

t of 1

) w

hat t

hey

are

notic

-

ing

and

lear

ning

, 2)

wha

t you

need

to d

emon

stra

te fu

rther

, and

3) w

hat y

ou n

eed

to h

elp

them

notic

e.

•“W

hy is

skip

ping

lines

whi

le

you’

re w

ritin

g im

porta

nt?”

•“W

hat d

id y

ou n

otic

e? D

id I

just

writ

e do

wn

the

page

?”

•“W

hat d

id I

do w

hile

I w

as

writ

ing?

”

•“W

hy w

as I

rere

adin

g?”

•“H

ow m

any

times

did

you

see

me

rere

ad?”

•“I

was

thin

king:

Did

it so

und

right

? M

ake

sens

e? Is

this

wha

t I w

ant t

o sa

y?”

•W

rites

with

cle

arly

def

ined

voic

e ap

prop

riate

to

audi

ence

.

•W

rites

in a

ppro

pria

te a

nd

cons

iste

nt v

oice

in n

arra

tive

writ

ing.

•Se

lect

s w

ords

for e

ffect

.

•Re

vise

s at

any

stag

e of

the

proc

ess.

•Ed

its a

s ne

eded

at a

ny s

tage

of th

e pr

oces

s.

•W

hat i

s th

e im

pact

of w

ritin

g fo

r gen

uine

pur

pose

and

audi

ence

vs.

lots

of w

ritin

g to

a p

rom

pton

stud

ent a

chie

vem

ent o

n hi

gh-s

take

s te

sts?

(Se

e

rese

arch

in W

ritin

g Es

sent

ials,

p. 2

66.)

•D

iscu

ss th

e di

ffere

nce

betw

een

insp

iratio

n an

d

imita

tion

in s

tude

nt w

ritin

g.

DEE

PER

UN

DER

STA

ND

ING

:D

em

on

stra

tin

g W

riti

ng

Sett

ing

,No

tes,

and

Exp

licit

Tea

chi

ng P

oin

ts

Ong

oin

g A

sse

ssm

ent

Que

stio

ns/R

efle

ctio

nsLe

arn

ing

Out

co

me

s

Setti

ngEx

pect

atio

ns

•Se

tting

Fin

al

Expe

ctat

ions

(“I d

id th

is,

I wan

t you

to d

o th

is.”)

(4:4

5 m

in.)

Regi

e as

ks fo

r a

stud

ent’s

res

pons

e to

“W

hyw

as I

rere

adin

g?”



SESS

ION

7:

DE

EP

ER

UN

DE

RST

AN

DIN

G:

DE

MO

NST

RA

TIN

G W

RIT

ING

NO

TES

Mee

ting

with

relu

ctan

t writ

ers

befo

re th

ey s

it do

wn

to w

rite

on

thei

r ow

n ha

s so

me

adva

ntag

es. F

irst,

it sa

ves

lots

of t

ime

and

frust

ratio

n if

you

ensu

re s

tude

nts

have

thei

r writ

ing

topi

cs a

nd

som

e id

ea o

f wha

t the

y ar

e go

ing

to s

ay. S

econ

d, y

ou o

nly

have

so m

uch

time.

Exp

ect s

tude

nts

to li

sten

to o

ne a

noth

er to

get

idea

s. F

inal

ly, s

hort,

sm

all-g

roup

“ge

tting

sta

rted”

con

fere

nces

prom

ote

succ

ess

and

mea

n le

ss re

teac

hing

and

/or h

avin

g st

u-

dent

s st

art a

gain

. “…

som

etim

es w

e w

aste

d to

o m

uch

time

hav-

ing

long

con

fere

nces

with

stu

dent

s w

ho h

ave

chos

en to

writ

e,

disj

oint

edly,

abo

ut th

ings

not

wor

th re

adin

g ab

out”

(Writ

ing

Esse

ntia

ls, p

. 178

).

TEA

CH

ING

PO

INTS

•Ta

lk w

ith s

tude

nts

to h

elp

them

find

thei

r top

ic, n

arro

w it

, and

refle

ct o

n it.

•As

k qu

estio

ns th

at g

et s

tude

nts

to th

ink

abou

t the

ir to

pic

and

get i

deas

that

they

can

take

bac

k to

thei

r sea

ts.

•W

hat a

re y

ou g

oing

to w

rite

abou

t?

•W

hy is

that

sig

nific

ant?

•W

here

are

you

?

•W

hat a

re y

ou fe

elin

g?

•Pu

t you

rsel

f bac

k in

one

of t

hose

mom

ents

.

•Ta

ke u

s th

ere

. . .

into

that

tim

e w

ith y

ou.

•Re

min

d st

uden

ts o

f crit

eria

for w

ritin

g.

•D

on’t

was

te a

min

ute!

(St

uden

ts h

ave

thirt

y m

inut

es to

dra

ft.)

The

Wha

t,W

hy,a

nd H

ow o

fTea

chin

gIn

form

ing

Our

Inst

ruct

ion

For

Prof

essi

onal

Con

vers

atio

nsW

hat S

tude

nts K

now

and

Are

Abl

e to

Do

Vide

oSC

ENES

•N

arro

ws

topi

c w

ith c

ontro

lling

idea

.

•Se

lect

s de

tails

rele

vant

to th

e

topi

c to

ext

end

and

elab

orat

e

idea

s.

•Us

es p

erso

nal e

xper

ienc

e to

supp

ort o

pini

ons

and

idea

s.

•Va

ries

met

hod

of d

evel

opin

g

char

acte

r in

narra

tives

.

•W

hat d

id y

ou n

otic

e ab

out w

hat w

orke

d (o

r did

n’t

wor

k) fo

r get

ting

relu

ctan

t writ

ers

goin

g?

•W

hy is

it im

porta

nt to

ens

ure

that

eac

h st

uden

t has

a st

ory

in m

ind

befo

re s

endi

ng e

very

one

off t

o w

rite?

•D

iscu

ss s

trate

gies

to h

elp

Engl

ish

lang

uage

lear

ners

and

stru

gglin

g w

riter

s fin

d a

mea

ning

ful t

opic

. (Se

e

Writ

ing

Esse

ntia

ls, p

p. 1

83, 2

76–2

77.)

(Stu

dent

writ

ing

sam

ples

are

incl

uded

in S

essi

on 8

.)

•W

hat d

o yo

u no

tice

abou

t the

four

stu

dent

writ

ing

sam

ples

from

this

less

on?

(Eve

ry s

tude

nt fi

nish

ed in

the

allo

tted

time

of 3

0 m

inut

es. A

ll 28

stu

dent

s w

ere

succ

essf

ul.)

Wha

t con

tribu

ted

to th

at s

ucce

ss?

DEE

PER

UN

DER

STA

ND

ING

:D

em

on

stra

tin

g W

riti

ng

Sett

ing

,No

tes,

and

Exp

licit

Tea

chi

ng P

oin

ts

Ong

oin

g A

sse

ssm

ent

Que

stio

ns/R

efle

ctio

nsLe

arn

ing

Out

co

me

s

Supp

ortin

g th

eNo

t-So-

Read

yW

riter

(1:5

5 m

in.)

Dann

y an

swer

s Re

gie’

squ

estio

n: “

Why

is th

at

sign

ifica

nt?”

Deb

Fow

ler’s

stu

dent

s dr

aftin

g th

eir

mem

oirs

afte

rRe

gie’

s de

mo

writ

ing.


page


15

RESPONSENOTESEngage,Reflect,Assess,

Celebrate!

RESPONSENOTESRESPONSENOTESRESPONSENOTESSESSION 7



RESPONSENOTESSESSION 7

Engage,Reflect,Assess,

Celebrate!


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