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Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
Writing  J27
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Writing J27


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  • 1. Writing
    Strategies and Theories
  • 2. Centre of Gravity
    What strategies work to develop students’ writing and what theory underpins these ideas?
  • 3. Student Voices
    English Journal 98.5 (2009): 41–42
  • 4. Commonsense Matters (Linda Rief)
    writing is thinking
    there is no one process that defines the way all writers write
    we learn to write by writing (and by reading)
    we have to do a lot of writing to accomplish the best writing (and develop a writing voice)
    writers need, and want, to write for real reasons for a real audience
    lessons of craft and conventions are best taught within the context of a meaningful piece of writing
  • 5. Commonsense Matters (Linda Rief)
    writers need choice, time, and models of good writing
    writers need constructive response while engaged in the process of writing that moves the writing forward and helps the writer grow
    evaluation of writing should highlight the strengths of process, content, and conventions and give the writer the tools and techniques to strengthen the weaknesses
    good writing is not defined by one set of criteria but differs depending on the kind of writing
    writers need places to collect their ideas e.g. writer’s notebooks, working folders, portfolios
    teachers have to know their students well enough to recognize their distinct strengths, interests and needs
  • 6. Ways of Knowing
    declarative: knowing about something, e.g., knowing that paragraphs usually focus on a central idea
    procedural:knowing how to do something, e.g., knowing how to develop a topic focus for a paragraph
    conditional:knowing when to do something, e.g. deciding if the topic sentence should be at the beginning or the end of a paragraph
  • 7. A Place I Remember
    10 minute flow write
  • 8. Smell
    Sensory Wheel
  • 9. Choose a character
    An old woman whose detestable old husband has just died. Do not mention the husband or the death.
    A young boy who has a secret.
    A man or woman who has just fallen in love. Do not mention the loved one.
    An person who has just murdered someone. Do not mention the victim or the murder.
    (Adapted from The Art of Fiction by John Gardner)
  • 10. Begin with the Familiar
    We bring our history of experiences to our learning situations.
    There must be some familiarity for us to begin to understand and make connections in our brains.
    Learning begins when that familiarity is troubled, challenged or revised. (The old adage “make the familiar strange” is a good way of remembering this.)
  • 11. Enabling constraints
    Complex learning events are not prescriptive (that is, don’t dictate what must be done) but are expansive (that is, they indicate what might be done, in part by indicating what must not be done; e.g. rules of hockey, the Ten Commandments)
    Enabling Constraints define a field, narrow the choices but offer wide opportunities for flexible and varied responses. (e.g. choose a character)
  • 12. Non-Enabling
    By the end of this lesson, students will demonstrate their understandings of some of the core elements of a poem by identifying the rhyme structure, the principal figurative devices, and the core themes of “The Rime of the Ancient Mariner.” (too constraining, presumes correct responses and delineated techniques for reaching pre-specified ends)
    Students will write original poems in this lesson. (too open-ended; without more structure students are likely to be frustrated.)
  • 13. why writing practices?
    it is not just to teach you how to write in different ways (although that is important)
    it is not just a recipe book of activities that you can copy in your classroom
  • 14. rather . . .
    writing practices are enabling constraints that you can use to teach your students writing
    writing practices focus on declarative (knowing about), procedural (knowing how) and conditional (knowing when) strategies
  • 15. Other writing practices
    Invisible writing
    Collaborative stories (Exquisite corpse for e.g.)
    Word Collages
    Copying text from favourite writer
    Close reading to study technique that is then copied
    Cut apart revision
    Changing tense, person, genre
    Clustering or mapping
  • 16. Writing Poetry
    Even this morning would be an improvement over the present I was in the garden then surrounded by the hum of bees and the Latin names of flowers watching the early light flash off the slanted windows of the greenhouse and silver the limbs on the rows of dark hemlocks as usual I was thinking about the moments of the past letting my memory rush over them like waterrushing over the stones on the bottom of a stream I was even thinking a little about the future that place where people are doing a dance we cannot imagine a dance whose name we can only guess
  • 17. Nostalgia
    Billy Collins
  • 18. Even this morning would be an improvement over the present.I was in the garden then, surrounded by the hum of beesand the Latin names of flowers, watching the early lightflash off the slanted windows of the greenhouseand silver the limbs on the rows of dark hemlocks.
    As usual, I was thinking about the moments of the past,letting my memory rush over them like waterrushing over the stones on the bottom of a stream.I was even thinking a little about the future, that placewhere people are doing a dance we cannot imagine,a dance whose name we can only guess.
  • 19. A Humument
    Tom Phillips most famous work is A Humument:
    A Treated Victorian Novel. One day, Phillips
    went to a bookseller's with the express intention
    of buying a cheap book to use as the basis of an
    art project. He randomly purchased a novel called
    A Human Document by Victorian author William
    Mallock, and began a long project of creating art
    from its pages. He paints, collages or draws over
    the pages, leaving some of the text peeking
    through in serpentine bubble shapes, creating
    a "found" text with its own story, different from
    the original.
  • 20.
  • 21.
  • 22. For Next Week
    Bring hard copy of the essay: “Mind-Forg’d Manacles”: The Academic Essay
    Bring your writing from tonight and read the piece about Learning Grammar in Context