Entry 6

Dear Dr. Jones,

I am enjoying this class so far! I didn’t realize how in need of writing instruction I was until I began reading Tompkins (2012). Even prior to that, our reading of Tierney and Pearson (1983) illuminated reading and writing as parallel processes; many of my initial thoughts surrounding these processes were challenged from this first reading. Tomkins (2012) is enjoyable to read, and illuminates what I already knew about writing, but needed to explicitly read and reflect upon. The class is not what I expected, in that it allows flexibility and independence in completing certain tasks. This is a new approach, so I have been doing my best to ensure I am on track each week with my projects. The tables/ “status of the class” documents have been a helpful tool in this adjustment. 

I really like the reading and writing blog style. I have always found journal/reflection tasks helpful to unpack my readings and the blog format is a fun twist on that, while also giving me ideas for classroom instruction. The literacy program has really emphasized the value of technology and preparing our students to be literate across all modalities, which is why this is a great design to consider implementing in a future classroom. Beyond the reading and writing blogs, we have been introduced to a number of instructional strategies and have engaged and practiced them for our own writing. I wrote about this briefly in my previous blog post, but actually engaging in the strategy is extremely beneficial. We practiced the card strategy, which was introduced alongside the puzzle pieces strategy in Kucer and Rhodes (1986). I feel like these have shown me how collaborative the brainstorming and writing process in general can be. We also read about the question card strategy, which takes writing conferences to the next step, allowing the writer to take responsibility for their writing. Exploring various mentor texts while reading Tompkins (2012), as well as specific articles, has been extremely significant in helping me envision the classroom library I want. Additionally, I have an array of resources I can refer back to when instructing. 

I am beginning my actual draft today for the Genre Pieces Project, and this has me nervous if I’m honest! It is nerve wracking to engage in these writing tasks, which are so different from the type of writing I have been doing in college. I don’t feel there are additional supports that could be provided at this time. I am looking forward to conferencing with my writing group to support me through this process. I am also looking forward to watching the first Genre Expert group present to get an additional sample of what that can look like, as I continue moving forward with that project. 

Sincerely,

Elise Coon

References

Kucer, S. B. & Rhodes, L. K. (1986).  Counterpart strategies:  Fine tuning language with 

            language.  The Reading Teacher, 40(2),186-193.

Tierney, R. & Pearson, P. D. (1983).  Toward a composing model of reading.  Language Arts, 

            60(5), 568-580.

Entry 5

Kucer and Rhodes (1986) introduce a unique writing strategy called the “Card Strategy” (p. 189), which I read about this past week and engaged in during our session 6 class. This strategy is intended to help one to “focus on chunks of meaning” (p. 189). When I started this process I had a solidified topic idea in mind, I was interested in focusing on The Guilt of Relaxing. I had a general idea of which direction to take this, but my brainstorming had primarily been mental, envisioned, not laid out. I had engaged in a few practices through our class- free writes and the brainstorming table from week 5. All of these strategies helped me generate ideas and see some direction in which this topic could go.

The most significant difference between any prior brainstorming and the card strategy is the active involvement it requires. What do I mean by this? I think about the movement of ideas, the flexibility and thinking aloud that myself and my partner Lauren demonstrated through this activity. I began with a topic idea, I then created index cards that represented all of the major ideas that are related to this topic. I had a total of 19 major ideas! I selected 11 of the 19 ideas and worked to arrange them, this represents step 5 in the process. By moving around these idea cards, I was able to manipulate and rearrange the direction this topic could go. I recognized significant subtopics, and important connections between subsets of ideas. For example, 3 of my cards were “Why do we feel guilt?”, “family”, and “society”. Lauren and I were able to independently recognize the connection between those ideas. We were able to connect the cards “stress”, “college student”, and “adulthood” as well. This active process helped illustrate connections between ideas, or “chunks of meaning” as Kucer and Rhodes (1986) state (p.189). The flexibility and variety of approaches I could take made this brainstorming session a unique way to organize my thoughts, and then reorganize. 

This approach was also different because it involved someone else's input. At this stage in the process, I had only just solidified my idea, so my writing group had yet to meet and discuss this particular topic in such an interactive manner. As Lauren moved around my cards, she was able to interact with my thoughts and organize them in a meaningful arrangement to her. 

I would use this card strategy in my classroom, and for my own writing for the Genre Pieces Project. I appreciate the interactive component, the message it sends that there are a “variety of possible idea organizations” (Kucer and Rhodes, 1986, p. 191) and that it can lead to new discoveries and meaning chunks. Engaging in this process myself was a powerful way to reinforce what I gathered from the article itself. 

Reference

Kucer, S. B. & Rhodes, L. K. (1986).  Counterpart strategies:  Fine tuning language  with language.                              The Reading Teacher, 40(2),186-193.

Entry 4

For this open entry, I wanted to revisit a reading from our first week of class. The article is Toward a Composing Model of Reading by Tierney and Pearson. This reading provided me with an entirely new insight on reading, and how we engage in many of the same processes of writing while we read (planning, drafting, aligning, revising, and monitoring) (1983). I feel that this article was extremely important for me to read, and then revisit and reflect upon, because it helped me take a step back and reflect on my own reading processes. 

I think I have neglected the planning stage while reading. I think about how many chapters and articles I explore for each class, and through this busy routine of reading to check things off and complete the accompanying assignments, I feel I've neglected the important step of thinking and exploring the features of the piece before I read it. When I first reread this piece, I was unsure what planning would even look like for readers. Or maybe it happens naturally, and I am just unaware I am engaging in this “planning”? Tierney and Pearson (1983) state, “Planning involves two complimentary processes: goal-setting and knowledge mobilization” (p. 569) But what does this mean? Well, in terms of goals the authors go on to describe how readers' goals can be procedural, gaining a sense of the topic. They can be substantive, finding out the relationship that exists, as well as intentional, what is the author trying to say? This was an important aspect to grasp, because identifying your reading goals can make the reading process more meaningful, and perhaps the process more productive. I want to engage in that practice before my readings, I want to take a moment to plan and prepare, to increase my productivity. Another great point stated by Tierney and Pearson (1983), “goals may emerge, be discovered, or change” (p. 569). This is not set in stone, but it is a way to pause and put a bit of thought into the reading process, to effectively compose meaning. 

I want to emphasize this aspect of the reading process to my (future) students. I think about the fact that students may not be sure why they are reading, and not identifying the purposes and goals for their reading can make it feel unimportant or less engaging. Right? Being aware of this makes it seem possible and easy to embed some goal setting in the classroom. Independent reading time is for pleasure, did you choose this book because the topic is interesting to you? Because you want to learn more about this topic? Asking these questions may impact the books students select. Before engaging in a group read aloud, I can guide students through this planning process by describing our task or goal/purpose for this book and read aloud experience. This is important because, “the goals that readers and writers set have a symbiotic relationship with the knowledge they mobilize, and together they influence what is produced or understood in a text” (Tierney and Pearson, 1983, p. 570). Maybe this seems simple, but I have still been thinking about it since week 1. I focused pretty heavily on the planning stage, but I was in awe of the application of all stages for writing and reading in this article. 

References

Tierney, R. & Pearson, P. D. (1983).  Toward a composing model of reading.  Language Arts, 

    60(5), 568-580.

Entry 3

I envision myself teaching young writers, at the primary level. Although I am currently working with students in small groups and 1:1, I have been able to visualize myself teaching the writer's craft as whole/small group lessons. Perhaps this is because I know I want to begin my career as a general education teacher? I am just beginning to work with a student for reading and writing at the elementary level (grade 4) and am excited to apply my learning to students at such different levels and reading/writing abilities. I know this will be a valuable experience. I feel like I have learned a lot from the readings this week, and that these authors were successful in highlighting the value of mentor texts and how they can be utilized to teach students the tools and strategies that writers use, how they impact the readers' experiences, and how they can be applied to students' own writing. I can see how important this practice is, and how beneficial it is incorporating mentor texts into reading and writing instruction.

As part of my reflection, I want to address the six traits that Tompkins (2012) outlines. I have been aware of these traits in a general sense, but don't feel I knew they existed as "the six traits". These are described when introducing the concept of the writer's craft, illustrating what writers do in their work and how it impacts readers; these are the tools and techniques applied to their writing. The six traits are ideas, organization, voice, word choice, sentence fluency, conventions and presentation. I really appreciated how Tompkins (2012) connected this to the writer's workshop design, outlined specifically on page 78. I can see myself teaching aspects of the writer's craft via mini lessons and want to establish the link between reading and writing. I will continue to revisit this chapter in Tompkins (2012), because there are a lot of details included for each specific trait, and re-reading will support me in internalizing these writing qualities and incorporating the recommendations and example mentor texts into my own teaching. The term link was referenced frequently across our readings for session 4, to illustrate how these traits can be taught throughout the day in various activities, to deepen students' knowledge and provide opportunities for them to apply what they are learning. Rickards and Hawes (2006) state, “The link between reading and writing makes for powerful connections between reading comprehension and writing processes and products” (p. 372). I can see myself introducing a specific trait/ technique through a mentor text, engaging students in discussion, examination and then application via their own writing tasks. Mentor tasks are an engaging and exciting avenue to experience the writer's craft. 

A powerful theme that I have recognized this semester is how important it is to instill the perspective that we are all readers and writers and have something amazing to contribute. Mackay, Ricks and Young (2017) stated that, “Teachers help students develop “the eyes of a writer” by pointing out ways authors use various writing techniques to achieve their purposes. They help students envision using these techniques in their own writing” (p. 177). This quote really stood out to me and is the outcome I want to achieve in my classroom. I think of these readings as guides and can honestly envision myself applying some variation of all of these lessons. I found myself most drawn to the lessons outlined in the reading by Mackay et. al (2017), I appreciated the emphasis on high-quality, award-winning books.

I am eager to learn more about the link between these traits/qualities and specific instruction of genres. I can imagine that there is a significant instructional connection among the two.

References

MacKay, K.L., Ricks, P.H., & Young, T.A. (2017).  Supporting young writers with award-winning 

books.  The Reading Teacher, 71(2), 177-187.

Rickards, D. & Hawes, S. (2006).  Connecting reading and writing through author’s craft. The 

Reading Teacher, 60(4), 370-373.

Entry 2

As I began the process of reflecting on my past experiences writing in my own education, I noticed that I was struggling to recall specifics surrounding my K-12 instruction. I find this interesting, because I know much of what I have learned is reflected in my writing today. I don’t specifically remember the design of a writer's workshop, as illustrated in this week's texts. However, as I dig deep, I can remember aspects of the workshop design. I remember the drafting and revising stages were emphasized heavily. All of my writing, even in high school, remained on paper, whereas now I type basically everything, so this process looked a bit different. I remember inserting, removing and rephrasing my writing using symbols, similar to the proofreading symbols that Tompkins (2012) notes on page 5 in chapter 1. The writing process looked a lot messier, compared to ease of revising and editing on a computer. I think there is beauty in that, in the scribbles, and crossing out that is seen when editing writing. I can see how the stages of the writing process helped me learn the value of slowing down. The idea that a piece of writing can always be improved was drilled into my brain, and as I read Tompkins (2012) and Calkins and Ehrenworth (2016), I can see how writers' workshops are based on this principle. As I read through my writing assignments today, I am always seeking to improve my writing, and I can attribute this to my early education. 

In 5th grade, I remember for the poetry unit we constructed a variety of poems, based on our own topics. I have always been intimidated by poetry, but the component of choice made this writing more enjoyable. Calkins and Ehrenworth (2016) describe how teachers can instill the “opportunity to write something meaningful to the individual…[because] choice continues to matter” (p. 9). This idea of choice has been taught throughout my education programs, both in undergraduate courses and graduate courses. I can remember how I appreciated it then as a student, and I still appreciate it now as both a graduate student and teacher. For the poetry unit, we wrote final versions of our poems and drew pictures to decorate our pieces. Our teacher created poetry books that we could take home. This was a way to publish our work, and share the final outcome, first with our class, and then with our families. Publishing our poems was a way for the class to, “focus...on celebrating completed writing projects” (Tompkins, 2012, p. 19). 

Sharing writing and utilizing writing tools like checklists are aspects of the writing process that I have seen a lot in classrooms during my Clinical Assistant placement. Students will be given a broad topic, that they can take in whichever direction they'd like. This instills that principle of choice, while still offering some guidance. I have just begun pushing into a 1st grade classroom at my placement and noticed that they have a writing workshop in the mornings. I am curious to observe their workshop and recognized it on their schedule immediately after reading our texts. I think the writing workshop design is very present in schools and is a valuable way to prepare and guide students in becoming skilled writers. 

Reference

Calkins, L. & Ehrenworth, M. (2016).  Growing extraordinary writers:  Leadership decisions to 

raise the level of writing across a school and a district.  The Reading Teacher, 70(1), 7-

18.