LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 2 Reading Like a Writer: Narrative Template
developed by the Louisville Writing Project Module title: Reading Like a Writer Module description (overview): This prototype is designed to be used alone or in conjunction with an another template task whenever a major goal is for students to analyze a text in order to identify elements of craft/style, and structure so that they can use those elements to develop their own writing.
The module is intended to be used across grade levels and content areas. Reading and writing is integrated, with an emphasis on using models that can be Enjoyed and discussed by student readers; Used to teach developmentally appropriate reading skills; Analyzed to reveal craft elements and organizational patterns that our student writers will emulate; and Revisited as students develop multiple drafts of a narrative, providing inspiration as students revise, edit, and publish their pieces.
[Insert essential question.] After reading and analyzing selected mentor texts including [models of narratives about real or imagined events / literary or personal writing], write a [narrative or substitute] about a real or imagined event that demonstrates control of [one or more elements of craft and/or structure identified in the mentor text(s)]. Strive to achieve the quality of the mentor text(s) while developing an original piece. L2; Write a reflective paragraph to accompany your narrative in which you describe your efforts to emulate the craft and/or structure of the mentor text; L3: Write an additional paragraph in which you evaluate your efforts using the rubric provided and identify your next steps as a writer. Teaching task: Sample essential questions:
How can we identify and approximate in our own writing the effective elements of craft and structure that we notice in the works we are reading? How do authors use dialogue to move the plot? How do authors use imagery to develop theme? How do authors develop character?
After reading and analyzing selected mentor texts including [models of narratives about real or imagined events / literary or personal writing], write a narrative (e.g., a personal narrative, memoir, short story, narrative poem, dramatic scene, one-act play, personal essay, or narrative article) about a real or imagined event that demonstrates control of one or more elements of craft and/or structure identified in the mentor text(s). Strive to achieve the quality of the mentor text(s) while developing an original piece. L2: Write a reflective paragraph to accompany your narrative in which you describe your efforts to emulate the craft and/or structure of the mentor text; L3: LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 3 Write an additional paragraph in which you evaluate your efforts using the rubric provided and identify your next steps as a writer. Grade(s)/Level: All Discipline: (e.g., ELA, science, history, other?) ELA, with applications to other disciplines Course: -- Author(s): Louisville Writing Project Student samples Party With a Peacock, Breaking Teeth, Cheater, Chaos, Beast of the Pond, Chicken: The Story of a Painful Encounter, and Grapes were provided by students of Sabrina Back, NBCT, Morgan County Middle School, West Liberty, KY. Contact info: sabrina.back@morgan.kyschools.us
Contact information: jean.wolph@louisville.edu
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 4
Section 1: What Task?
TEACHING TASK Teaching task: How can we identify and approximate in our own writing the effective elements of craft and structure that we notice in the works we are reading? After reading and analyzing selected mentor texts including [models of narratives about real or imagined events / literary or personal writing], write a narrative (e.g., a personal narrative, memoir, short story, narrative poem, dramatic scene, one-act play, personal essay, or narrative article) about a real or imagined event that demonstrates control of one or more elements of craft and/or structure identified in the mentor text(s). Strive to achieve the quality of the mentor text(s) while developing an original piece. L2: Write a reflective paragraph to accompany your narrative in which you describe your efforts to emulate the craft and/or structure of the mentor text; L3: Write an additional paragraph in which you evaluate your efforts using the rubric provided and identify your next steps as a writer. Reading texts: The reading-writing connection is especially efficient and effective when the readings for a module are selected both for their content and for their value as writing models. Assemble purposeful collections of mentor texts touchstone textsthat illustrate the concepts, craft elements, or structures that you hope students will learn to approximate in their own writing. For each lesson, select an appropriate mentor text, based on the craft and/or structure you wish to teach. Copy or type the text (or a representative excerpt) as a script.
Background to share with students: Mentor texts are studied by writers who then emulate elements of craft and structure in order to improve their own writing. What we can see and appreciate in a mentor text becomes an element we can talk about and practice as writers. Another term for such a model text is touchstone, a metaphor inspired by Californias Gold Rush days. The story goes that prospectors devised a way to test the rocks they mined or panned at the site so that they wouldnt have to make the long trek to the assay office and possibly come back to find someone had discovered their secret location. Legend has it that they held what was called a touchstone against the sample to see whether it was real gold or fools gold. In the same way, we can hold our drafts against the touchstone to see whether we have met the mark, or whether we need to continue polishing our pieces.
In reading like writers, we can learn to analyze texts so that we understand effective strategies for communicating with an audience. This analysis involves (1) noticing or identifying words, phrases, and passages of text that appeal to the readers ear, intellect, or imagination; (2) naming the purpose or effect of the element of craft or structure; (3) analyzing to determine the role of the part to the whole, e.g., how the choices an author makes with words, phrases, and passages can change the mood, tone, style, perspective, or overall effect of the piece; (4) approximating the authors techniques in our own writing; (5) seeking and responding to feedback, accepting focused response and acting on suggestions to improve our writing; and (6) reflecting and assessing our efforts by comparing our attempts with the work of the mentor author, then setting an agenda for continued revision and development.
Reading like a writer is appropriate in a variety of situations. This module is the first in a series of 6 variations.
Extension (optional):
CONTENT STANDARDS FROM STATE OR DISTRICT
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 5 Standards source: (Your Common Core grade-level reading, writing, and language standards should be inserted here.) NUMBER CONTENT STANDARDS
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 6 COMMON CORE STATE STANDARDS READING STANDARDS FOR NARRATIVE Built In Reading Standards When Appropriate Reading 4 - Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. 1 - Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 5- Analyze the structure of texts, including how specific sentences, paragraphs and larger portions of the text (e.g. a section, chapter, scene or stanza) relate to each other and the whole). 2- Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. 6 - Assess how point of view or purpose shapes the content and style of a text. 3 - Analyze how and why individuals, events, and ideas develop and interact over the course of a text. 10 - Read and comprehend complex literary and informational texts independently and proficiently. 7- Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words.
9 - Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.
WRITING STANDARDS FOR NARRATIVE Built In Writing Standards When Appropriate Writing Standards 3- Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. 6- Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others. 4- Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
5- Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.
9- Draw evidence from literary or informational texts to support analysis, reflection, and research.
10- Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audience.
LANGUAGE STANDARDS 3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening. 1- Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 7 5. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. 2- Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Section 2: What Skills?
SKILL DEFINITION SKILLS CLUSTER 1: READING FOR ENJOYMENT READ Reading and enjoying the text. ECHO Repeating the words, phrases, and lines of text that we especially appreciate. SKILLS CLUSTER 2: NOTICING AND NAMING NOTICE Identifying elements we like (images, dialogue, plot events, characters, sequencing that enhances suspense, or authorly moves such as withholding information or planting clues, foreshadowing events to come, etc.) . NAME Categorizing these elements of craft and structure, using literary terms (if known) or giving the elements our own names. SKILLS CLUSTER 3: ANALYZING ANALYZE Discussing the function these elements of craft and structure are playing in the text. CONTEXTUALIZE Imagining opportunities and ways to use the element or structure. SKILLS CLUSTER 4: APPROXIMATING AND RECALIBRATING APPROXIMATE Duplicating the effect in ones own writing. REVIEW Re-reading and studying the mentor text(s). CONFER Receiving and providing feedback on writers attempts to emulate craft and/or structure. REWRITE Revising, based on feedback from peers and teacher. EDIT Polishing the final draft. PUBLISH Sharing the final draft with an audience. SKILLS CLUSTER 5: REFLECTING COMPARE Comparing model and final draft. EVALUATE Analyze draft using scoring rubric. SET GOAL(S) Identifying next steps as a writer.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Section 3: What Instruction?
PACING SKILL AND DEFINITION PRODUCT AND PROMPT SCORING (PRODUCT MEETS EXPECTATIONS IF IT) INSTRUCTIONAL STRATEGIES SKILLS CLUSTER 1: READING FOR ENJOYMENT Days 1-2 1-2 class periods, depending on length of text selected READ: Reading and enjoying the text.
ECHO: Repeating the words, phrases, and lines of text that we especially appreciate. Notebook Entry: As you listen, use your writers notebook to jot down words or phrases that appeal to your ear or imagination.
Class chart. No scoring.
No scoring. Read and enjoy the text as a class. This may seem obvious, always to read for enjoyment first, but it is crucial that the text be one that students appreciate in order for them to be motivated to emulate it. Consider this almost as a performance of the texta fluent, practiced reading is essential. Read a second time, asking students to jot down favorite words and phrases.
Invite students to call out the words and lines that are still ringing in their ears after the text has been read. Chart these (What We Liked). SKILLS CLUSTER 2: NOTICING AND NAMING
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Continued (Days 1-2) NOTICE: Identifying elements we like (plot events, characters, sequencing that provided suspense, create images, or represent authorly moves such as withholding information or planting clues, foreshadowing events to come, etc.)
NAME: Categorizing these elements of craft and structure, using literary terms (if known) or giving the elements our own names. Class chart
Transcript: Highlight your copy or transcript of the text to identify examples of the element being discussed. No scoring
Exceeds: Identifies most or all examples of the selected craft or structural element and/or notices patterns in the use of the element. Meets: Identifies several examples of the selected craft or structural element in the selected text. Not yet: Some or all of the examples selected are random pieces of text with no discernable connection to the craft or structural element being studied. Continue charting as you discuss the story. What did we like? Specific plot events? Specific characters? The ending? Add these elements to the original chart. Ask students to point out specific words and lines that they liked. These are often representative of the craft elements or structural decisions that you will have them study and emulate later, as readers naturally gravitate to a well-turned phrase or a powerful image. Next consider the text as a piece of literaturewhat did we like? What lines do we still remember, what sequencing heightened suspense, what helped characters come alive (etc.)? Select a specific focus for analysis, such as description. On copies or transcripts of the text, have students highlight words and phrases that create images (metaphors, similes, personifications, strong verbs, etc.). Or focus even more narrowly, such as on verbs alone. From the highlighted transcripts, share responses and chart them as a class. If we know the literary terms, we can use that language. If not, we can give the elements our own names, or, if appropriate for the age level of the students, the teacher can introduce the terms. Begin to create a class anchor chart (see teacher resources) that will serve as a reminder of the craft students have noticed and will attempt to emulate in their drafts. Students can keep these notes in a writing binder, along with other craft lesson notes, or paste them into a Craft section of their writers notebooks for future reference. (Days 3+) NOTICE: Identifying elements we like (plot events, characters, sequencing that provided suspense, create images, or represent authorly moves such as withholding information or planting clues, foreshadowing events to come, etc.)
NAME: Categorizing these elements of craft and structure, using literary terms (if known) or giving the elements our own names. Class chart
Transcript: Highlight your copy or transcript of the text to identify examples of the element being discussed. No scoring
Exceeds: Identifies most or all examples of the selected craft or structural element and/or notices patterns in the use of the element. Meets: Identifies several examples of the selected craft or structural element in the selected text. Not yet: Some or all of the examples selected are random pieces of text with no discernable connection to the craft or structural element being studied. On another day, select another focus, such as authorly moves (e.g., withholding information or planting clues, foreshadowing events to come, etc.). Have students use a second color to highlight examples of this element. If appropriate, analyze the content that different authors present in texts on similar topics or themes. Repeat the charting and highlighting, as described above. SKILLS CLUSTER 3: ANALYZING CONTEXTUALIZE Imagining opportunities and ways to use the element or structure.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Continued (Days 1-2) ANALYZE: Discussing the function these elements of craft and structure are playing in the text. CONTEXTUALIZE: Imagining opportunities and ways to use the element or structure. Notebook entry: Write an entry in your notebook in which you explore the effect(s) this element of craft had on you as a reader. Explore how you think the writer accomplished this effect.
Statement of Intent: Write an intention statement, identifying how you could use this craft in a piece you are writing now, on a piece you have written, and/or on a piece you could write. Exceeds: Identifies multiple effects and traces the moves the author made in order to create those effects. Meets: Identifies an effect of the craft or structural element and connects the effect to a choice made by the author. Not yet: May be able to identify an effect of the craft or structural element but unable to connect that effect to a choice made by the author.
Exceeds: Identifies multiple ways to apply the craft or structural element. Meets: Identifies at least one way to use the element. Not yet: Unable to find a way to use the element.
Have students write about and then discuss the function these charted (in activities above) words/phrases are playing in the text. As a group, come to consensus about the purpose of the craft or structural element. Sample questions: What do metaphors do for us as readers? What does foreshadowing accomplish in a story? How do we come to know this character? Why did we have an emotional reaction to this scene? etc.
Have students compose intention statements in the craft section of their notebooks (I could use this strategy in my piece about Grandma or I could write a piece about our camping trip and build suspense the way _____ (author) did or I want to revise my memoir to try a chain of metaphors). SKILLS CLUSTER 4: APPROXIMATING AND RECALIBRATING Days 3-5, in the context of a writing cycle in which students are drafting a narrative. OR this work could be folded into the initial 2 days as a try-it invitation if there is not a specific piece in progress. APPROXIMATE: Duplicating the effect in ones own writing. Draft or Notebook Entry: Select one of the identified elements and try to duplicate the effect in your own writing.
Exceeds: Incorporates the element in ways that enhance the text and demonstrate understanding and control of the element. Meets: Appropriately incorporates the element into one or more lines of text. Not yet: Misapplies the strategy or unable to apply the element. Teacher modeling of the process can streamline every element of writing instruction. The teacher should have a draft in progress as well. An alternate strategy is to try an example as a class. Ideally, students have a draft in progress and will then turn to that draft to try at least one of the elements they have noticed in the mentor text. Otherwise, students can create an entry in their Writers Notebooks to experiment with the craft element. Teacher mini-conferences can be helpful as students work. Circulate to monitor how students are doing in trying one or more craft elements.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Days 3-5, in the context of developing a narrative. REVIEW: Re-reading and studying the mentor text(s). Draft or Notebook Entry: Select one or more additional elements and try to duplicate the effects in your own writing.
Exceeds: Incorporates an additional element in ways that enhance the text and demonstrate understanding and control of the element. Meets: Appropriately incorporates a second element into one or more lines of text. Not yet: Misapplies or is unable to apply the element. When students are drafting, re-read and study the text(s) to re- emphasize the element the class is attempting to emulate, and then for varying purposes (revisit the text for another craft/structural element or see other Read-Like-a-Writer templates), selecting strategies to meet the needs of the students and to meet your instructional goals. Have students continue to try the strategies in their own writing, as described earlier. Days 6-7 CONFER: Receiving and providing feedback on writers attempts to emulate craft and/or structure. Conference Questions(s): Prepare for feedback by forming a question about your draft. If your question does not relate to the craft or structural element under study, add these questions: In what ways did I hit the mark (match the model)? How could I use this craft element more effectively?
Conference Notes: Record comments from peers and teacher related to your use of the element/structure and to any other questions you raised about your draft. Exceeds: All of meets, plus identifies one or more concerns the writer has about the draft and frames questions that will elicit specific feedback. Meets: Prepares for feedback by using or adapting these questions: In what ways did I hit the mark (match the model)? How could I use this craft element more effectively? Not yet: Fails to focus on questions that will elicit specific feedback.
Exceeds: All of meets, plus records specific ideas for consideration. Meets: Notes summarize suggestions. Not yet: Notes are incomplete or not attempted. Have students participate in a small group conference or writing response group. Each student will read his/her piece, asking for specific feedback: In what ways did I hit the mark (match the model)? How could I use this craft element more effectively? Norms for working in groups, especially in peer response groups, need to be established beforehand. Groups of 3 are optimal, but if there are extra students, put them in pairs rather than groups of 4 so that each students work receives ample attention.
Teacher modeling of the process can streamline every element of writing instruction. The teacher should have a draft in progress as well. At this point, the teacher can model the process of asking and receiving feedback.
The writer leads the discussion of his/her piece, asking questions similar to the two provided. Then the writer takes notes and the peer responders reply OR the peer responders jot their ideas on Post-its that they give to the writer. The process continues until each member has had a turn. Days 8-9 REWRITE: Revising, based on feedback from peers and teacher. Draft: Revise your draft in progress. Exceeds: All of meets, plus revisions demonstrate control of the new craft/structural elements. Meets: Revisions demonstrate the influence of feedback and of the study of the mentor text. Not yet: Not attempted or revisions make the narrative weaker rather than stronger. Students continue refining their narratives, inspired by the specific feedback from both peers and teacher. It is helpful to have the mentor text at hand. Remind students that they are not copying the text, but rather attempting to apply the strategy in the context their own different story.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Days 10-11 EDIT: Polishing the final draft. Draft: Edit your draft in progress. Exceeds: All of meets, plus corrections demonstrate attention to and emulation of mechanical elements of the mentor text. Meets: Edited draft shows identification and correction of most or all mechanical errors. Not yet: Not attempted or editing ignores grade-level expectations for correctness and/or spell-checking introduces new errors. Keeping in mind grade-level expectations for correctness, students will review and edit their narratives. A specific editing conference and/or peer editing activities will aid this process. The mentor text can also be used to examine the ways authors use punctuation and syntax, for example, so that students again use a model to inform changes they make in their own drafts Day 12 PUBLISH: Sharing the final draft with an audience. Completed draft: Share your narrative with your intended audience. Exceeds: Seeks multiple audiences for the narrative. Meets: Shares final piece with an audience. Not yet: Narrative not completed and/or does not share with an audience. While there are multiple ways to publish writing (authors chair, class anthology, gallery walk with pieces on display, mailing to an audience, open mic, submission to a publication, etc.), the importance of celebrating the work cannot be emphasized enough. The motivation students have for the process of writing is largely driven by the realness and satisfaction of delivering it to its intended audience. SKILLS CLUSTER 5: REFLECTING Days 13-14 COMPARE Highlighted final draft: Compare the model and your final draft. Highlight words, phrases, and sentences that demonstrate your attempts to use the elements of craft and/or structure in your own work. Exceeds: All of meets, plus demonstrates sophistication and control in the use of the elements that have been studied. Meets: Demonstrates specific attempts to incorporate one or more elements of the featured craft and/or structure. Not yet: Unable to identify any examples of using the featured craft or structure. The teacher can model the process with his/her own writing, assessing his/her efforts and setting a goal for further work. Then direct students to do the following: 1. Compare your attempt to employ elements of craft and/or structure to those of the mentor author. Highlight the parts that show your efforts in trying these elements.
EVALUATE Highlighted rubric: Compare your final draft with the descriptions on the rubric. Highlight the scoring rubric descriptors that match your assessment of your efforts.
2. Compare your efforts to the language on our scoring guide. Highlight descriptions that match your assessment of your work. Determine if your work is Advanced, Meets Expectations, or Not Yet.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 SET GOAL(S) Reflection: After reviewing your narrative, the mentor text(s), and rubric, identify your next steps as a writer. 3. Using the evidence (your text, mentor text, scoring guide), set a goal for your next writing project.
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
MATERIALS, REFERENCES, AND SUPPORTS FOR TEACHERS FOR STUDENTS Anchor charts Eleven by Sandra Cisneros The Southpaw by Judith Viorst The Fan Club by Rona Maynard, published in Jeff Wilhelms text Action Strategies for Deepening Comprehension Terror In Fourth Grade, Draft 2, available in Vicki Spandels text Creating Writers, 3 rd edition. The Escape by J.B. Stamper, available in Janet Allens Read Aloud Anthology, published by Scholastic A Mouthful by Paul Jennings, available in Janet Allens Read Aloud Anthology, published by Scholastic
For students who wanted additional narrative models written by students, I provided access to the Kentucky Marker Papers, a compendium of student work of various genres, accessible at: http://education.ky.gov/curriculum/ela/pages/the-kentucky-marker-papers-(p-12).aspx
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Section 4: What Results?
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011
CLASSROOM ASSESSMENT TASK (OPTIONAL: MAY BE USED AS PRE-TEST OR POST-TEST) Classroom assessment task After reading [and analyzing the model(s) provided], write an [essay] that relates [the elements of craft and/or structure that contribute to its effectiveness as a piece]. OR After writing, revising, and editing a narrative that relates a story using one or more elements of craft and/or structure inspired by a mentor text, write a reflection describing your intentions and assessing your efforts in using the craft and/or structural element(s)]. Background to share with students (optional): Mentor texts are studied by writers who then emulate elements of craft and structure in order to improve their own writing. What we can see and appreciate in a mentor text becomes an element we can talk about and practice as writers.
In reading like writers, we can learn to analyze texts so that we understand effective strategies for communicating with an audience. This analysis involves (1) noticing or identifying words, phrases, and passages of text that appeal to the readers ear, intellect, or imagination; (2) naming the purpose or effect of the element of craft or structure; (3) analyzing to determine the role of the part to the whole, e.g., how the choices an author makes with words, phrases, and passages can change the mood, tone, style, perspective, or overall effect of the piece; (4) approximating the authors techniques in our own writing; (5) seeking and responding to feedback, accepting focused response and acting on suggestions to improve our writing; and (6) reflecting and assessing our efforts by comparing our attempts with the work of the mentor author, then setting an agenda for continued revision and development.
Reading texts: Eleven by Sandra Cisneros The Southpaw by Judith Viorst The Fan Club by Rona Maynard, published in Jeff Wilhelms text Action Strategies for Deepening Comprehension Terror In Fourth Grade, Draft 2, available in Vicki Spandels text Creating Writers, 3 rd edition. The Escape by J.B. Stamper, available in Janet Allens Read Aloud Anthology, published by Scholastic A Mouthful by Paul Jennings, available in Janet Allens Read Aloud Anthology, published by Scholastic
INFORMATIONAL OR EXPLANATORY CLASSROOM ASSESSMENT RUBRIC [As of August 2011, this rubric is under construction]
LDC Informational or Explanatory Module Template | Literacy Design Collaborative, September 2011 Teacher Work Section Here are added thoughts about teaching this module.
When using mentor texts coupled with the Read Like a Writer strategy, it is important for the teacher to be well aware of why he/she chose the selected texts. While each text might serve a few purposes during the Notice and Name phase, it is beneficial to include a variety of short stories that provide strong examples of craft for students to emulate. For example, in the materials sections I have included a text entitled Terror In Fourth Grade because it provides a fast-paced plot and includes well- developed imagery told in a humorous tone. The story The Fan Club provides examples of flashback, symbolism, and irony. The Escape provides multiple examples of foreshadowing and suspense. It is critical for teachers to identify these elements and guide students in their noticings of craft. If a student voices that he/she likes a line, the teacher should follow through by asking why the line or the event resonated, or how it contributed to the development of the story. Many of the sixth graders I teach can lift lines of text they like as we read, but sometimes struggle with the analysis part. If a student doesnt fully analyze, he/she will never be able to successfully emulate craft in his/her own work. The student work I have included demonstrates students attempts to approximate craft. Sometimes these approximations are interwoven in the story, at other times, not so much. This is the case with my two samples that are Level One on the rubric. The students attempted to follow a narrative structure and did use some descriptive elements, but failure to identify a strong controlling idea limited the development of the pieces. In addition, student samples provide rich territory for identifying potential mini-lessons, as is the case with sample two. It is evident this student needs further instruction with sentence structure and dialoguing. By contrast, the student sample entitled Grapes provides evidence of a student author well aware of craft. He uses flashback and foreshadowing successfully throughout the narrative, and incorporates the metaphor of grapes to provide the reader with examples of his grandmothers actions. Equally important in bringing students to an awareness of an authors craft is making them aware of the steps of Reading Like a Writer. As we cycled through the six texts listed in the appendix, students became methodical about the steps of noticing, naming, analyzing, approximating, and obtaining feedback. This was especially beneficial to less adept writers. As student writings approached the recursive phase, during peer time I would hear them using the language we had learned in analyzing the works of peers. Moreover, students seemed proud to be using authorly moves and more confident to approximate writing samples with each story we read.
Appendix The attached materials support teaching this module. Eleven by Sandra Cisneros The Southpaw by Judith Viorst The Fan Club by Rona Maynard, published in Jeff Wilhelms text Action Strategies for Deepening Comprehension Terror In Fourth Grade, Draft 2, available in Vicki Spandels text Creating Writers, 3 rd edition. The Escape by J.B. Stamper, available in Janet Allens Read Aloud Anthology, published by Scholastic A Mouthful by Paul Jennings, available in Janet Allens Read Aloud Anthology, published by Scholastic