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Provides practical advice for overcoming common problems associated with teaching writing to students, and offers help in developing vocabulary skills, preparing students for standardized tests, and much more.
Writing is hard work. Teaching it can be even harder. As most teachers know, writer's workshop doesn't always go as planned, and many find there are obstacles that they consistently struggle with. In his role as a literacy coordinator and teacher, Mark Overmeyer has heard the same issues raised again and again by both new and experienced colleagues. When Writing Workshop Isn't Working: Answers to Ten Tough Questions, Grades 2-5 provides practical advice to overcome these common problems and get your writing workshop back on track. Acknowledging the process-based nature of the writing workshop, this book does not offer formulaic, program-based, one-size-fits all answers, but presents multiple suggestions based on what works in real classrooms. The ten key questions this book addresses include: How do I help students who don't know what to write about? How do I help students develop stronger vocabulary and word choice? How do I prepare my students for standardized tests without compromising my writing program? How should I assess student writing? How can I help my students use revision effectively? This book is a handy reference tool for answering specific questions as they pop up during the year. Overmeyer uses student examples throughout to help teachers envision these solutions in their own classes, and he includes an array of classroom-tested ideas for helping primary and intermediate English language learners. There may not be any easy answers to the complexities of writer's workshop, but by identifying and providing advice on the most common stumbling blocks one encounters, When Writing Workshop Isn't Working provides a solid groundwork—freeing up time and creativity for teachers to address the specific needs of their students.
This book explores the effectiveness of the workshop in the Creative Writing classroom, and looks beyond the question of whether or not the workshop works to address the issue of what an altered pedagogical model might look like. In visualising what else is possible in the workshop space, the sixteen chapters collected in ‘Does the Writing Workshop Still Work?’ cover a range of theoretical and pedagogical topics and explore the inner workings and conflicts of the workshop model. The needs of a growing and diverse student population are central to the chapter authors’ consideration of non-normative pedagogies. The book is a must-read for all teachers of Creative Writing, as well as for researchers in Creative Writing Studies.
The Antiracist Writing Workshop is a call to create healthy, sustainable, and empowering artistic communities for a new millennium of writers. Inspired by June Jordan 's 1995 Poetry for the People, here is a blueprint for a 21st-century workshop model that protects and platforms writers of color. Instead of earmarking dusty anthologies, imagine workshop participants Skyping with contemporary writers of difference. Instead of tolerating bigoted criticism, imagine workshop participants moderating their own feedback sessions. Instead of yielding to the red-penned judgement of instructors, imagine workshop participants citing their own text in dialogue. The Antiracist Writing Workshop is essential reading for anyone looking to revolutionize the old workshop model into an enlightened, democratic counterculture.
This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."
This book starts with an inclusive definition of writing and suggests simple ways to introduce students to the purpose of writing. It discusses the key relationship between reading and writing, and the importance of oral language in building strong writers. Based on the work of real K-2 students, the book shows teachers how to interpret student work, identify what they know, and build naturally on the strengths their work displays. it argues for consistent teaching that includes a delicate balance between direct instruction and independent learning. Children will thrive as writers if they experience success. This book offers the tools teachers need to put that success in the hands of every young writer.
"In this resource, you'll find four units of study for each grade level that fit tongue-in-groove alongside each other, each accounting for about five weeks of teaching. Each new unit in the sequence helps students consolidate, use, and build upon what they have already learned. Each of the four units offers a sequenced set of daily sessions that invite students along a path of writing development in one of three genres: narrative, information or explanation, and opinion or argument writing. This is unit 1 of the series is intended for Grade K"--
When writing workshop first blossomed in classrooms, its hallmarks were genuine curiosity, individual choice, quality conversations, and engaging children's literature. A joyous hum of intention, creativity, and craft enlivened the school day. But today's teachers are often faced with a range of obstacles, as new initiatives are embraced, mandates handed down, and scripted programs purchased. Sometimes teachers must sacrifice the original principles of writing workshop and lose that joyous hum. Above and Beyond the Writing Workshop by Shelley Harwayne is filled with original, joyful writing challenges designed to bring back the spirit of the original writing workshop model while encouraging educators to enhance it through invention, innovation, and inspiration. These challenges are meant to generate other lessons and other projects, as teachers come to realize that teaching writing is not only possible but perhaps the most important, relevant, and gratifying part of their instruction. Shelley invites teachers to keep the groundbreaking spirit alive by: taking back their writing workshops finding time for professional conversations trying out new ideas in the company of colleagues encouraging children to be inquisitive, outspoken, and independent reminding children how fascinating the world is helping students delight in figuring out how things work and then teaching others what they have learned offering children an opportunity to think deeply about their passions and giving one another new things to love showing children that high quality writing can and will make a difference in the world. Shelley believes children who write what matters to them - their experiences, their beliefs, their observations - will find their lives enhanced. She seeks to raise activists who, by becoming more aware of the world and asking why things are the way they are, will be empowered to make it better.
Stacey Shubitz and Lynne Dorfman welcome you to experience the writing workshop for the first time or in a new light with Welcome to Writing Workshop: Engaging Today's Students with a Model That Works . Through strategic routines, tips, resources, and short focused video clips, teachers can create the sights and sounds of a thriving writing workshop where:• Both students and teachers are working authors• Students spend most of their time writing—not just learning about it• Student choice is encouraged to help create engaged writers, not compliant ones• Students are part of the formative assessment process• Students will look forward to writing time—not dread it.From explanations of writing process and writing traits to small-group strategy lessons and mini-lessons, this book will provide the know-how to feel confident and comfortable in the teaching of writers.