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15 April 2014 ProQuest

Table of contents

1. Structure and freedom: Achieving a balanced writing curriculum................................................................. 1

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Document 1 of 1 Structure and freedom: Achieving a balanced writing curriculum Author: Casey, Mara; Hemenway, Stephen I ProQuest document link Abstract: An elementary inservice writing consultant and a third-grade teacher designed a writing program forthe teacher's third-grade classroom. The results were so rewarding that the writing consultant decided toconduct a longitudinal study of these third graders by following them through high school, interviewing themagain in sixth, eighth, tenth and twelfth grades. The findings revealed some important steps all teachers musttake to achieve a balance between structure and curriculum. Full text: The contradiction of working with elementary teachers as an inservice writing consultant without everhaving been an elementary teacher began to gnaw at me.1 I needed to find out how much writing and revisingkids would do in a language arts program "based on what writers do and need" (Atwell 327), the kind ofprogram I was always urging on the teachers in my courses. Nina, a former student in one of my inservices atthe Linden School, readily accepted my offer to volunteer in her third grade classroom; she was glad to have anextra pair of hands so that she could devote more curricular time to writing.2 The results were so rewarding thatI decided to conduct a longitudinal study of these third graders by following them through high school,interviewing them again in sixth, eighth, tenth, and twelfth grades. The findings in my research were startlingand revealed some important steps all teachers must take to achieve a balance between structure and freedomin the writing curriculum. The result will be more dynamic writers excited about their abilities to blend expositionand imagination for more creative communication. The writing program Nina and I designed, based on the work of Donald Murray and Donald Graves, madeseveral assumptions about children and writing, none of which was new or original to us: Children can write, but they must first learn to be careful observers of their surroundings. Writers should choose their own subjects. Teachers should model the writing process by writing along with their students and showing that writing isrevision. Teachers should establish a regular time for writing and support it by providing real audiences and purposes forwriters and opportunities for lots of writing and publication. When children enjoy writing and discover they have something to say to a real audience, their skills willimprove. Since, as Seidman says, little research on American schooling had been based on the perspectives of studentsand teachers (4), I asked the children and their teachers the same questions every two years: What is writing like to you? What do you think writing is like to your teachers (students)? What do good writers do when they write? What do you do when you write? What kind of a teacher do you need (do your students need) to be a good writer? Having decided on our program's goals, Nina and I agreed that I'd come to her classroom two days a week,from September to January, and that we'd publish a class book of the children's writing-- planned, designed,and put together by the children, with our help-at the end of the project. We planned together every week; onTuesdays I worked with small groups of kids, while Nina worked on math with other groups; on Fridays weworked together, taking turns teaching minilessons to the whole class; modeling writing; leading small and largegroup brainstorming, discussion, writing, and feedback sessions; and helping individual writers. In January, thebook was finally published, immediately read aloud to the principal, placed in the school library, and sent home

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to every family. I wanted to know how these third graders had interpreted the hard work of the past sixteenweeks. What did all of this writing, revising, and being published for the first time mean to kids who had donelittle writing in second grade and complained so bitterly in September that their hands hurt and that writing wasboring? Did they like writing now and think of themselves as writers? Taking three or four fidgety kids at a timeinto the school library, I sat with them on the floor, turned on the tape recorder, and asked my first question:What is writing like to you? Although we have rarely been trained to do it, our job as teachers is "to insure that the voices of childrenbecome embodied in the ways in which we teach" (Taylor 49). For this reason, this essay foregrounds the voiceof Page, one of Nina's students, as I tried to understand the changes in her writing behavior by seeing how shehad interpreted her experiences with writing and its teaching in late elementary school, junior high, and highschool. Understanding how students define their classroom situation is the "only way one can make sense oftheir actions" (Delamont 74). The Third Grade Interview Page was passionate about writing. "I can do writing good,- she said confidently. "But sometimes it's boring, likecombing your hair." She hated combing her long, snarly blonde hair, but "then I keep on combing it, and that'slike revising it more and more times. Then, once I'm done combing my hair, or once I'm done writing my story,it's fun, and I feel proud of myself, and I get a lot of compliments." The other children made equally charming similes. Marshall said writing was like playing baseball; Isabella saidit was like learning to walk when you're a baby; Alice said it was like cleaning your room, when you want it to beclean, but you don't want to do it. All these comparisons showed the children's love/hate relationship withwriting, combined with the firm belief that they were teaching themselves to write by trial, error, hard work, andpersistence. "I like being in my writing group, because you get more attention on your story," Page continued,leafing through the six drafts she had written about her cat, Tigger, for the class book. "If the class was alltogether, instead of in small groups, the teacher would be rushing around, trying to help everybody, and oneperson wouldn't get attention, or the other person wouldn't. There'd be too many questions. You'd beconfused."3 From interviewing Page and her classmates, I learned that most of the third graders now thought of themselvesas writers. Remarkably, they, like the children in the profiles collected by Sally Hudson-- Ross, Linda MillerCleary, and me, supported the expert advice of Donald Murray, Donald Graves, Nancie Atwell, and Linda Rief(xi): they understood that writing well was difficult, but possible, if they kept at it, took risks, tolerated mistakes,and were given real audiences, sufficient chunks of time, topic choice, teacher support, high but reachableteacher expectations, feedback from many readers, and opportunities to revise and publish. In this classroom,writing was hard work while they were doing it, but fun and well worth the effort when they were finished. I neverdoubted that children with such personal understandings about the writing process would continue to producegood, thoughtful, carefully revised writing throughout their school careers. I looked forward to the subsequentinterviews. The Sixth Grade Interview I was excited to see Page and her classmates again after a gap of three years, during which I had moved fromthe northeast to California. Arriving early at Linden School on a June morning, I set up my tape recorder in astorage room and waited for the children. When Page arrived with a current writing sample, she rathersheepishly handed me a voiceless, unrevised, and formulaic essay on starvation in Africa, a topic she admittedknowing little about. "This is so dull," she said, giggling. "I would have written about ten more pages if I hadknown more about the subject."

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According to Delamont, students "find out what they are supposed to be doing and how little they can get awaywith" (82). Page's reply to my question-"Why didn't you research the topic?"showed that she knew what shecould get away with: "We're not supposed to research it. We-e-11, she didn't tell us to research it. Maybe Ishould have," she reflected, as if this possibility had suddenly occurred to her. "So when it came time to hand itin, I just turned this one in. I was so bored of doing it." Several more interviews like Page's that day revealedwhat I had never expected to find: my former third graders who once wrote to please themselves were nowchurning out lifeless, largely unrevised writing to please their apparently easily-pleased teacher. This discoverywas disappointing, but what really amazed me was that the children knew that their writing wasn't good, knewexactly why it wasn't good, but were doing it anyway. Why were students losing their motivation for writing at such a young age? I knew that this often happened tostudents in high school, when, according to Linda Miller Cleary, Tom Newkirk, and Tom Romano, they have fewopportunities to write anything but formulaic exposition because "many teachers view nonexpository writing asfrivolous and softheaded" (Romano 3). But what had happened to these once promising students by the timethey had reached sixth grade at Linden School? According to Page, narrative and expressive writing were largely prohibited because the five paragraph essaydominated the sixth grade writing curriculum. Page's teacher felt pressured to prepare the students for what shehad heard writing was going to be like in junior high. When she had taught fifth grade, this teacher let thestudents write journals and fiction, but now she felt that she must eliminate fiction: "A boy in my class last yearcame over from the junior high and said, `If you teach anything, make sure they know how to write a fiveparagraph essay on a book they read, because we do it every week, and you get Fs if you don't do it right."'

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This teacher had another reason for avoiding fiction: her belief that teaching it was completely different fromteaching essays. "As a writing teacher, I have a very hard time helping them with intent and narrowing theirfocus in fiction," she admitted. "In fiction they tend to ramble on, and it's harder for me to zero in on what it isthat would make it more successful. And as a group they tend to say, `That was good,' or `That was bad,' or`We liked that,' or We didn't,' and not be able to help as much with fiction." In this classroom the students lostthe holistic understanding of writing they had developed in third grade, even though they were then doingnarrative and descriptive writing for the class book and research-based essays in science and social studies.Now Page and her classmates shared their teacher's binary thinking about two completely different kinds ofwriting-"creative" and assignments (essays). You write fiction just to please yourself, the children told me.Anything goes, because writers are in complete control-free to express their own ideas and feelings, withabsolutely no rules to follow. As Page explained, "It doesn't take that much energy to write when you don't havean assignment. You can just let your mind go free. You just let your imagination go wild. There's no right way towrite any kind of story." The students wanted to write nothing but fiction, not only because it was forbidden, butalso because they longed to express their own ideas and feelings. In third grade all writing was hard work toPage, like combing her long, snarly hair, but now she thought that writing fiction was easy, like modern art. "Akid could just go up to a piece of paper and draw something so simple. And it could be beautiful and get sold formillions of dollars." Page's notion that there were no standards in writing fiction reflected her teacher's difficultyin evaluating it. Not surprisingly, given the perceived oppositions in the writing curriculum, the sixth graders definedassignments as reductively as they did fiction: essays were written to please the teacher, reflecting theteacher's ideas, never the student's; they were always dull, boring, factual, voiceless, and composed in amechanical, rule-bound, and entirely different way from fiction. Essays made her writing feel dull, Page said,because "they don't let kids think about what they want to write about and give them the chance to do it by

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themselves." Given her simplistic definition of essays, I was not surprised that Page thought of writing as similarto working on a factory production line: "It goes through so many steps. Like thinking and jotting things down.First draft. Go through it to see if that's the way you like your writing to be. Second draft. Third draft. Proofreadit." Page's writing had obviously been getting more and more mechanical, passing through predictable stages ina boring process to turn out piecework on demand. According to Cusick, research shows that students "develop a reasonable way of constructing their behaviorbased on their perceptions of their situation" (205). Perceiving the binary oppositions in this curriculum with itsinjunction against fiction and believing that essays could not express her own thoughts and feelings, Pageadopted two opposed writing processes, one for fiction at home and one for essays at school. She loved writingat home because she could give herself the right amount of time: "At home I do as many drafts as I need." Itwas worth the effort, since she was able to express her own ideas. But it was different in school. "In sixth grade drafts and drafts and drafts aren't required," Page explained. "Youdon't have time to revise, and the subjects are boring. When we revise, you read it over and correct run-onsentences or bad English." Now just smoothing over the top layer, instead of combing and combing until she gotthe snarls out of her thinking, Page had become an alienated factory worker in her school writing, writing in away she knew could not produce good writing and doing as little as she could get away with. Hard work wasn'trequired. "My writing group doesn't make any suggestions, and my teacher always writes good comments,"Page noted. It was disconcerting to see that, although Page knew how to evaluate her own writing, this selfknowledge hadnot made her a better school writer, despite Rief's and Atwell's assertions that the better students become atevaluating their own writing, the better their writing becomes. "I did better writing in third grade than I do nowbecause of all the revising we did," Page admitted. "It made you think about what you were writing. We wentover our drafts for the class book about sixteen times. It made the story good at the end, like you could publishthis now." She continued, sounding like a writing consultant, as she told me what she needed from her teacherin order to write well: "If you really want to do good writing, you have to concentrate and think about it. You haveto work on one subject for a long time. And the teacher has to keep the idea going that you should do drafts anddrafts and drafts." Listening to Page talk so matter-ot-factly about the better writing she did in third grade, I finally realized that thepersonal understandings of the writing process constructed by all of us in Nina's third grade classroom had notbeen-and never could be-sufficient to make these students continue to put that personal knowledge intopractice in their school-sponsored writing, although, like Page, many were still acting on that knowledge in thedrafts they did on their own at home. I suddenly saw how naive and egocentric I had been to think that I hadtaught the children so well in third grade that they would continue to put the same effort and care into theirschool writing, unless their subsequent teachers continued to provide them with what they, along with Atwell,know all writers need-"plenty of time to write and plenty of opportunities for choice, response, and publication"(20). "The reality is that much as you'd like to create self-reliant kids, kids who are self-directed and self-motivated,"Nina observed when I told her that our kids were no longer writing according to what they knew about thewriting process, "they won't do things that are hard by themselves [in school], unless you give them that time.And so by not giving them that time, in a sense what you're saying is you're not valuing writing as a process."None of us knew then that third grade would be the last year this group of students as a whole would have thatconsistent time, support, and ownership for their school writing, although some were lucky enough to get it, hereand there, from individual teachers during the rest of their public school careers. The Eighth Grade Interview As soon as I turned on the tape recorder, Page told me what I didn't want to hear. "I used to really like English,writing in journals and stuff, but I don't like writing anymore,- she lamented. "Everything's so fined up in the

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junior high, kinda like a checkerboard," she said, echoing the factory assembly line comparison she had used insixth grade. "She gives you an assignment, you hand it in, and you get it back. No one ever talks about it.Groups that give constructive criticism would help. If you talk about it, then you understand what you can do tomake it more what you want it to be." The eighth graders exchanged and graded each other's papers according to guidelines on the board, Pagesaid. "If you're working with similes and metaphors, you have to make sure they have the requirements. if theyhave all the words, you give them ten points." But, the alienated factory worker admitted, "When I do it, I don'treally read it; I just kinda glance over it and give them a good grade. I don't think kids really take it seriously." When we had last met, Page had two writing processes, one for home and one for school. Now she told me thatshe was still doing as many drafts as she needed at home, but that her English teacher didn't require drafts ofthe mostly assigned topics, based on the thematic unit they were doing. "She has a lot of grammar. I can't standgrammar," Page asserted, grumbling that the teacher only corrected her spelling, punctuation, and grammar,but didn't write any comments on her essays. Working hard didn't make sense to her in this classroom. In Linden School her writing was not graded, but now in the academically competitive world of the junior highschool, grades were a dilemma for Page. "All teachers have different styles of how they want to have you write,"she complained. Like Sizer, who asserts that learning requires a "climate in which a student knows that he canask any question with the assurance that a well-known adult will attend to it" (94), Page wished that herteachers would "make you feel as if you could talk to them, and you didn't have to just do the assignment andjust hope you got a good grade on it. You could talk to them and ask them for help and stuff." Last year inseventh grade her English teacher was "not as much into just grading and telling people what's right andwrong," Page explained. "She'd listen to you. If she said something, and you didn't agree, you knew youwouldn't feel bad saying something." Another problem for Page was that junior high teachers "often construct a role that is less personal and moreguarded" (Finders 29). Page knew almost nothing about any of her teachers. Understanding that learningrequires a strong relationship between teacher and student, she said that she liked Linden School so muchbetter because it was "more hands on and you got to know your teachers." She still remembered that in thirdgrade "we sat in the corner and had to do drafts and drafts and drafts, until it was perfect." Good writers do that,she insisted, admitting to no longer practicing what she preached since it was not required in eighth grade. The Tenth Grade Interview By tenth grade the girl who once loved writing and considered herself a good writer told me she had become abad writer who "can't really do it very well, according to teachers and stuff." She seemed even more worriedabout grades than she was in eighth grade, "too much of a perfectionist," according to her present Englishteacher. "I'm continually telling her, 'Page, just put it down. just get something down, and we'll take it fromthere,"' he reported. "She's one of the last to begin because she's getting the perfect idea. She's one of the lastto finish in class and needs more time at home and a great deal of individual attention in the computer lab,constantly asking `Can you help me here? What do you think about this"' Page agreed that she was a perfectionist. "I like to have it right the first time, so when I go back, all I have to dois fix maybe a few sentences and not change around whole paragraphs." She had forgotten that good writingrequires combing and combing until she got the knots out of her thoughts. Telling me that she liked elementaryschool much better than junior high, Page wished that teachers understood that kids need freedom ofexpression. They should make the students feel as if it's okay to write all the things that you want to write andnot feel as if I might not get a great grade on this because I'm not doing what I think the teacher's gonna like.But that doesn't seem to happen because every teacher is different. Because each teacher is different, Page said that her problem was figuring out what her English teacher wantedher to write and feeling she must choose between writing what she wanted to write, enjoying writing it, andgetting a bad grade; or writing what the teacher wanted, hating writing it, and getting a good grade. "I don't know

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what kind of style to use. It's like you have to write almost in their style of writing for them to like it. You have toconform almost to the way they write, or otherwise you're gonna get like B minuses, instead of As."Compounding the dilemma for her was that "you get a new teacher every year, so their style of writing changes.It's a problem that you don't have English teachers for four years." Complaining that she felt restricted becausea lot of high school writing is so structured, Page claimed that it was easier to write in social studies because it'sfactual. In English, she said, "It's not fun. I don't like it because he makes you think there's only one place to putyour thesis sentence and one right way to read the books we have to write about. And you're like, `Oh, but itwas so good the way I read it.'" Discouraged about her writing, Page longed to express her own thoughts andfeelings. "I like using writing more as a form of expression than the way they have us do it now. They cut thatoff, and it's almost a shame because it's part of the development of people, just developing in your own way andnot having it so structured." She understood that "what matters most in our classrooms, despite what testdesigners might advocate, is the quality of subjective experiences students achieve with reading and writing"(Romano 195). Page's proposed solution to her dilemma involved a balance between the anarchy of complete freedom, herdefinition of fiction, and the paralysis of mindless structure, her definition of essays: "I wish they could have auniversal format that would be structured enough, but still give you the freedom to express yourself. Then youstill can get out what you want to say and still think that you're gonna do all right on it." Like Peter Elbow, Pagewanted to "resist attempts at priority or hegemony by either side" (192). The Twelfth Grade Interview At the end of high school, Page still yearned for a balance between a writing program that was "bothunstructured and analytical," although she hadn't experienced a curriculum like this since seventh grade. Shestill wanted to write with passion, and to have writing experiences that "evolve into optimal psychologicalexperiences" (Romano 195). She knew this could not happen in a program where formulaic expository writinghad a "stranglehold" that "tyrannized students and narrowly defined the nature of acceptable academic writing"(Romano 3). Page wished that she could tell teachers what she knew about writing. "Teachers should get experience fromeverywhere, listen to how your students respond to what they're writing about, and incorporate the free type ofwriting," she said, describing the kind of teacher she needed to become a good writer. Even here, Page tried toreconcile binary oppositions: I need a combination between Miss Celio and Miss Burns, our student teacher at the beginning of the year.She's really earthy, really free-flowing. We did freewrites at the most random times. We did meditations in class.We did really unstructured writing. She helps you develop yourself out of writing. And she's into interactions withyour peers, the opinions of the class and stuff. If there was a tiny point in the book that had to do with racism,she wanted to know what the class thought, and we'd have a debate. Miss Bums was the opposite of Miss Celio, who's really structured, who teaches you your writing skills, whoteaches you your grammar, who gives you vocab lists every single week with thirty thousand words on them.She was really hard. You had to produce essays in two days in the writing lab, and they had to be like threepage essays. I love Miss Celio. Everybody hated her, but I loved her. If there was someone who could includeall of that type of teaching in the curriculum, I'd be all set. Conclusion

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This is not the usual story of school failure linked to poverty, high dropout rates, and lowest scores onstandardized tests. Most of these students-all white, middle class kids in an academically-oriented suburbanschool district known for its excellence and high rate of college attendance-wrote well enough to succeed, oftenin honors English classes. Rather, this is a story about waste and loss of student motivation and enthusiasm forwriting; waste and loss of voice, style, ownership, pride, and engagement; lost opportunities to continue to writewith passion, as Tom Romano would put it; and lost opportunities for subsequent teachers to build on thepleasure and personal satisfaction the students had discovered in primary school writing. And because, asDenny Taylor argues, students' personal understandings of literacy are "both socially constructed andindividually situated in the practical accomplishments of their everyday lives" (49), each of the students copedwith these losses in his or her own way. This essay shows how Page coped with the dilemma of writingcurricula that contradicted her personal understanding of how to produce good writing and forced her, shethought, to choose between what she perceived as binary oppositions. Neither a modern art studio nor a factory production line, the writing classroom created by Page's ideal teacherwould provide time, support, and real audiences for writing; it would unite both fiction and nonfiction, processand product, content and form, and freedom and discipline; it would include talk about writing, global revision,opportunities for feedback and publication, and high, but realistic, teacher expectations. In this classroom bothteacher and students would understand that all worthwhile expository prose involves creativity and expressivewriting, just as narrative and expressive writing require thought, structure, and attention to grammar, spelling,and mechanics. As Romano reminds us, "discourse that renders [experience] can be analytic and logical, too,just as expository essays can" (4). Postscript: Page Responds I was washing my hair this morning, thinking about my response to Mara's article and being part of herlongitudinal study. Recalling the interpretation I had in third grade about what writing was like to me-- like

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combing my long, snarly blonde hair-1 realized not much had changed, except that I had discoveredconditioner. Ironically, I was just then rinsing the conditioner through my hair. As part of Mara and Nina's writing program, I learned four fundamental steps to being a good writer:brainstorming, discussion, writing/revision, and feedback. They required time and effort from both student andteacher. There was motivation through the teacher's encouragement of our writing and the prospects ofpublishing the result. There was plenty of time allocated to the writing process and freedom to choose what towrite about. After third grade I was never required to use these steps again. I agree with Delamont that students figure outwhat they are supposed to be doing and how little they can get away with. I discovered how to do just enough toget decent grades. I learned short cuts; I never did many drafts. I had discovered conditioner. It helped with thesnarls and certainly didn't take as much effort. I didn't have to comb and comb and comb, the conditionerallowed me to brush right through. All the combing I did used to get me compliments. I don't get many compliments anymore. My hair never lookedas nice as when I combed by hand, over and over, and my writing never turned out as nice either. I struggled tofind the motivation or desire to write something I was proud of. I was frustrated with being assigned suchstructured topics, with little freedom to express my views or feelings. I was writing to please the teacher, nolonger to please myself. I still knew what it took to be a good writer, but because the process we learned from Mara and Nina was nolonger required, there was little motivation to go through it on our own. Had the lessons learned in third gradebeen reiterated throughout my schooling, I would have had a more successful academic career and they wouldbe part of the way I write today. Sidebar Call for 2002 Orbis Pictus Nominations Sidebar The National Council of Teachers of English announces a call for nominations for the 2002 Orbis Pictus Awardfor Outstanding Nonfiction for Children. To recommend an outstanding children's nonfiction book published in2001, please send a letter to one of the Orbis Pictus Committee Co-Chairs: Karen P. Smith, 89 N. Broadway,Unit #117, White Plains, NY 10603, or Richard Kerper, Elem. Ed. Dept., Millersville University, PO. Box 1002,Millersville, PA 175510302. Please include the author's name, book title, publisher, copyright date, and a shortdescription of what you liked about the book. Nominations for the 2002 Orbis Pictus Award must be received byNovember 30, 2001. Further information can be found at www ncte.org. Footnote Notes Footnote 1. It seems odd that a coauthored article is written in first person. We have wrestled with the problem of point ofview and decided to use first person because we are presenting the story of Mara's research on Page and herclassmates, though Steve did extensive work on each draft of the manuscript. 2. Mara thanks all students, teachers, parents, and district administrators who cooperated so generously in herresearch, as well as the following colleagues for their encouragement and support: Linda Miller Cleary, CharlesCooper, Lela DeToye, Dan Donlan, John Hollowell, Sally Hudson-Ross, Ken Kantor, Dan Kirby, Dawn Latta,Bob Land, John Mayher, Tom McCracken, Judy Miller, Meridith Nickamp, Sue Ruskin-Mayher, Dan Sheridan,Barbara Tomlinson, and Driek Zirinsky. 3. Here Page may seem to be contracting her stated desire to work in groups and her constant need for strokesfrom the teacher. Another interpretation is that she is saying kids cannot think for themselves when they haveno choice over the topic and form of their writing. References

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Works Cited Atwell, Nancie. In the Middle: New Understandings about Writing, Reading, and Learning. 2nd ed. Portsmouth,NH: Boynton/Cook, 1998. Cleary, Linda Miller. From the Other Side of the Desk: Students Speak Out about Writing. Portsmouth, NH:Boynton/Cook, 1991. I Think I Know What My Teachers Want NoV: Gender and Writing Motivation." English Journal 85.1(1996),.50-57. Cusick, Philip A. Inside High School: The Student's World. New York: Holt, 1973. Delamont, Sara. Interaction in the Classroom. London: Methuen, 1976. References Elbow, Peter. "The Uses of Binary Thinking: Exploring Seven Productive Oppositions." Taking Stock: TheWriting Process Movement in the '90s. Eds. Lad Tobin and Thomas Newkirk. Portsmouth, NH: Boynton/Cook,1994.179-202. Finders, Margaret J. just Girls: Hidden Literacies and Life in junior High. New York: Teachers College Press,1997. Graves, Donald H. Writing: Teachers and Children at Work. Portsmouth, NH: Heinemann, 1983. Hudson-Ross, Sally, Linda Miller Cleary, and Mara Casey, eds. Children's Voices: Children Talk about Literacy. Portsmouth, NH: Heinemann, 1993. Murray, Donald M. A Writer Teaches Writing. 2nd ed. Boston: Houghton Mifflin, 1985. The Craft of Revision. Fort Worth: Holt, 1991. Newkirk, Thomas. More than Stories: The Range of Children'sWriting. Portsmouth, NH: Heinemann, 1989. Rief, Linda. Seeking Diversity: Language Arts with Adolescents. Portsmouth, NH: Heinemann, 1992. Romano,Tom. Writing with Passion: Life Stories, Multiple Genres. Portsmouth, NH: Heinemann, 1995. Seidman, LE. Interviewing as Qualitative Research: A Guide forResearchers in Education and the Social Sciences. New York: Teachers College Press, 1991. Sizer, Theodore R. Horace's Hope: What Works for the American High School. Boston: Houghton Mifflin, 1996. Taylor, Denny. From the Child's Point of View. Portsmouth, NH: Heinemann, 1993. AuthorAffiliation MARA CASEY teaches at Long Beach City College, California. STEPHEN I. HEMENWAY teaches at HopeCollege, Holland, Michigan. Subject: Writing; Teaching; Students; Curricula; Publication title: English Journal,   High school edition Volume: 90 Issue: 6 Pages: 68-75 Number of pages: 8 Publication year: 2001 Publication date: Jul 2001 Year: 2001 Publisher: National Council of Teachers of English Conference on College Composition and Communication Place of publication: Urbana

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Country of publication: United States Publication subject: Education ISSN: 00138274 CODEN: ENGJBP Source type: Scholarly Journals Language of publication: English Document type: Feature ProQuest document ID: 237287068 Document URL:http://search.proquest.com.ezaccess.library.uitm.edu.my/docview/237287068?accountid=42518 Copyright: Copyright National Council of Teachers of English Conference on College Composition andCommunication Jul 2001 Last updated: 2010-06-11 Database: Arts & Humanities Full Text

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