USING WRITERS’
WORKSHOP TO
STRENGTHEN WRITING
SKILLS & ENHANCE
READING
COMPREHENSION
GRADES 5 – 8
W O R K S H O P FA C I L I TAT O R
DR. DEA CONRAD-CURRY
YO U R PA R T N E R I N E D U C AT I O N
TODAY’S GOALS
• Practice organizational strategies for implementation
of successful writing workshops
 Materials
 Time
 Space
• Consider customization of assessment rubrics
according to local and CCSS expectations
• Identify a text exemplar as a “kick-off” for the writing
workshop
• Determine three topics for upcoming mini-lessons
© 2012-2013 PARTNER IN EDUCATION
2
LAUNCHING THE WRITING
WORKSHOP
N AR R AT IV E
W R IT IN G: U N IT 1
Staging The Writing Workshop
• Create a Space; Developing Habits
• Physical: writing station, desk pods,
• Writing: tools, storage, placement
• Time: organizing limited time for effective use
• Generate Ideas
•
•
•
•
Productive thinking
Get a picture in my head
Using pictures
Tell before I write
• Invite to write
• Drafting
• Revising
• Editing
•
Showcase & Share
• Student reads their writing to whole group
• Partners read their writing to one another
• Teacher showcases specific aspect of student work
© 2012-2013 Partner in Education
4
CREATE A SPACE: THE WRITING CENTER
WRITING SUPPLIES
•Writer’s Notebooks
•In progress folders
 Drafting
 Revising
•Cumulative folders
 Exemplary work for
passing on from year to
year
REVISION/EDIT SUPPLIES
•Dictionaries
•Thesaurus
•MLA , APA, or other style
manuals
•Grammar & usage guides
•Other….
•Supply paper
•Date stamps
•Writing utensils
© 2012-2013 PARTNER IN EDUCATION
5
COMPONENTS OF THE WRITING WORSKHOP
FIFTH
SIXTH
SEVENTH
EIGHTH
5–7
minutes
5–7
minutes
5–7
minutes
5–7
minutes
20 minutes
20 minutes
20 minutes
20 minutes
READ ALOUD
MINI-LESSON
INDEPENDENT
WRITING
SHARING
Three days a week, teacher conducts individual
conferences; two days each week, teacher leads
guided writing sessions.
5 minutes
5 minutes
5 minutes
5 minutes
© 2012-2013 PARTNER IN EDUCATION
6
© 2012-2013 PARTNER IN EDUCATION
7
GENERATE & REHEARSE IDEAS
 Think of a teacher who mattered to you, then, in your
writer’s notebook, list clear, small moments you
remember with him or her. Choose one small moment to
sketch and then write the accompanying story.
 Think of a place that mattered to you, then, in your
writer’s notebook, list clear, small moments you
remember there. Choose one to sketch and then write
the accompanying story.
 Notice an object, and let that object spark a memory. In
your writer’s notebook, write the story of that one time.
© 2012-2013 PARTNER IN EDUCATION
8
GENERATE & REHEARSE IDEAS
Small Moments: Personal Narrative
 Think of teaching moments you have had this year
 In your composition book, turn to a fresh page; date
the top of the page; turn the book sideways and
generate a timeline from the beginning of school
thinking back on each week
 Review the timeline and think of which event would
make the best story
 Picture the moment in your head
 Tell it to a partner
© 2012-2013 PARTNER IN EDUCATION
9
INVITE TO WRITE
Begin writing the story of a memorable teaching moment
from this year. Do your best to describe the event so that
the reader will be able to see in their head just what you
described to your partner. Use your best writing so that
others will be able to read your words and follow the
rules of grammar and spelling to your best ability. We will
revise and edit, so there will be time to correct and fix-up
your draft. I will give you 20 minutes to get started.
© 2012-2013 PARTNER IN EDUCATION
10
Showcase & Share
 Orchestrate student response
 Choose an aspect from the writing you want students to share,
i.e. their most descriptive sentence
 Allow time for them to choose their sentence
 Use a baton or some other means to indicate whose turn it is to
share
 After several share, ask students to turn to their partner and
share their sentence
 Ask students to reflect with one another about a
specific aspect of today’s writing
• Incorporating the minilesson
• Developing dialogue
• How they plan to end their story
 Ask a student to read their work aloud; provide time
for students to comment on the work
– P: Praise
– Q: Question
– P: Polish
 You select a student’s work to read aloud and direct
descriptive feedback from students
© 2012-2013 Partner in Education
11
IMPORTANCE OF VISUALIZATION
N A R R AT I V E T E X T
I N F O R M AT I O N A L T E X T
•Allows for meaning making
between the author and the
reader
•Identity and extend
patterns
•Work through process
relationships
•Formulate cause and
effect relationships
•Anticipate and prepare for
hands-on activity
•Distinguish components of
part and whole
•Engages reader in the text
as the words become a
motion picture of the mind
•Personalize text meaning
Source: Miller, Cathy Puett. (2004). Opening the door: Teaching students to use
visualization to improve comprehension. Education World. Retrieved 5 May 2008.
http://www.educationworld.com/a_curr/profdev/profdev094.shtml
© 2012-2013 PARTNER IN EDUCATION
12
Three Stages of Visualization
Realizing—Understanding—Applying
Realizing
1. Realize that visualization helps writers use prior knowledge to link
to readers.
2. Realize that writers use his/her imagination to visualize and then
makes an effort to communicate these images to readers.
Understanding
3. Understand that throughout the writing process, writers consider
how readers will visualize.
4. Understand that words connect the emotion, senses, and
experiences of writers to readers.
Applying
5. Applying visualization promotes using text (reader) as a catalyst to
build new thinking and ideas (writer).
6. Applying visualization brings together writer’s purpose with the
intended audience, readers.
© 2012-2013 Partner in Education
13
Types of Visualization
• Sensory visualization or imaging
– Typically related to descriptive narrative text
• Fiction
• Nonfiction
• Concept visualization
– Relationships between ideas or events
•
•
•
•
In time
In space
Comparisons
How something is accomplished
– Geometric manipulation
© 2012-2013 Partner in Education
14
Productive Thinking: 3-Part Activity
Step 1
In my Head
•
Generate a list of as
many ideas pertaining to
a prompt—no idea is a
bad idea
•
Aim for 12- 15 ideas
as students become
more proficient with the
process
•
Keep in mind some
topics may limit or
extend the possibilities
•
Set a time limit for
the thought process—1
minute to 1 ½ minutes
Step 2
With a Partner
•
Turn to a neighbor
& share ideas
•
Since the goal is 1215, steal good ideas
from your partner’s list
•
Continue to
come up with more
ideas, even those that
were not on the original
lists
•
Set a time limit for
the sharing process: 2
minutes
© 2012-2013 Partner in Education
Step 3
Whole Class
•
Designate the
spokesperson of the
partner (or threesome)
•
Each group chooses
through consensus one
idea to share with the
entire class
•
Shared idea should
show the best thinking:
uniqueness counts
•
Continue to steal
ideas as groups share,
always aiming to
lengthen the list
15
How are photographers & writers alike?
Using an image to tell a story
Look at an image. Imagine what is outside of the
printed margins.
• What is to the left or right of the image?
• What is above the image?
• What is going on in the atmosphere?
• What causes the image to be shown as it is?
• Describe what you see in your mind’s eye. Tell the
story the
• photographer captured in your own words
– Do we all see the same thing?
– Are there similarities about what we see?
– Why?
© 2012-2013 Partner in Education
16
COMMON CORE STATE
STANDARDS & ASSESSMENT
WRITING AND THE WRITING
PROCESS
• A S S E S S I N G N O T O N LY T H E
WRITTEN PRODUCT BUT
ALSO THE WRITING PROCESS
• I N C O R P O R AT I N G D I S T R I C T
L E V E L E X P E C T AT I O N S I N T O
CCSS
Source: Lucy Calkins Resources for Teaching Writing CD.
18
Source: State of Delaware Department of Education. Assessment Tools.
http://www.doe.k12.de.us/aab/English_Language_Arts/ela_assessment_tools.shtml
19
Source: State of Delaware Department of Education. Assessment Tools.
http://www.doe.k12.de.us/aab/English_Language_Arts/ela_assessment_tools.shtml
20
Source: State of Delaware Department of Education. Assessment Tools.
http://www.doe.k12.de.us/aab/English_Language_Arts/ela_assessment_tools.shtml
21
Source: State of Delaware Department of Education. Assessment Tools.
http://www.doe.k12.de.us/aab/English_Language_Arts/ela_assessment_tools.shtml
22
TEXT TYPES & PURPOSES: NARRATIVE
GRADE K
3. Use a combination of drawing,
dictating, and writing to narrate a
single event or several loosely linked
events, tell about the events in the
order in which they occurred, and
provide a reaction to what happened.
GRADE 3
GRADE 1
3. Write narratives in which they
recount two or more appropriately
sequenced events, include some
details regarding what happened, use
temporal words to signal event order,
and provide some sense of closure.
GRADE 4
GRADE 2
3. Write narratives in which they
recount a well elaborated event or
short sequence of events, include
details to describe actions, thoughts,
and feelings, use temporal words to
signal event order, and provide a
sense of closure.
GRADE 5
3. Write narratives to develop real or imagined experiences or events using effective technique, descriptive details,
and clear event sequences.
a. Establish a situation and introduce a
narrator and/or characters;
organize an event sequence that
unfolds naturally.
b. Use dialogue and descriptions of
actions, thoughts, and feelings to
develop experiences and events or
show the response of characters to
situations.
c. Use temporal words and phrases to
signal event order.
d. Provide a sense of closure.
a. Orient the reader by establishing a
situation and introducing a narrator
and/or characters; organize an
event sequence that unfolds
naturally.
b. Use dialogue and description to
develop experiences and events or
show responses of characters to
situations.
c. Use a variety of transitional words
and phrases to manage sequence
of events.
d. Use concrete words, phrases, &
sensory details to convey
experiences & events precisely.
e. Provide conclusion that follows from
narrated experiences or events.
a. Orient the reader by establishing a
situation and introducing a narrator
and/or characters; organize an
event sequence that unfolds
naturally.
b. Use narrative techniques, such as
dialogue, description, and pacing,
to develop experiences and events
or show responses of characters to
situations.
c. Use a variety of transitional words,
phrases, and clauses to manage
the sequence of events.
d. Use concrete words, phrases and
sensory details to convey
experiences & events precisely.
e. Provide conclusion that follows from
the narrated experiences or events.
23
TEXT TYPES & PURPOSES: ELA NARRATIVE
GRADE 6
GRADE 7
GRADE 8
3. Write narratives to develop real or imagined experiences or events using effective technique,
relevant descriptive details, and well-structured event sequences.
a. Engage and orient the reader
by establishing a context and
introducing a narrator and/or
characters; organize an
event sequence that unfolds
naturally and logically.
b. Use narrative techniques
(e.g. dialogue, pacing,
description) to develop
experiences, events, and/or
characters.
c. Use a variety of transition
words, phrases, and clauses
to convey sequence and
signal shifts from one time
frame or setting to another.
d. Use precise words , phrases,
& relevant descriptive details,
sensory language to convey
experiences and events.
e. Provide a conclusion that
follows from the narrated
experiences or events.
a. Engage and orient the reader by
establishing a context and point of
view and introducing a narrator
and/or characters; organize an
event sequence that unfolds
naturally and logically.
b. Use narrative techniques, such as
dialogue, pacing, and description,
to develop experiences, events,
and/or characters.
c. Use a variety of transition words,
phrases, and clauses to convey
sequence and signal shifts from
one time frame or setting to
another.
d. Use precise words & phrases,
relevant descriptive details &
sensory language to capture
action & convey experiences and
events.
e. Provide a conclusion that follows
from and reflects on the narrated
experiences or events.
a. Engage and orient the reader by
establishing a context and point of
view and introducing a narrator
and/or characters; organize an
event sequence that unfolds
naturally and logically.
b. Use narrative techniques, such as
dialogue, pacing, description, and
reflection, to develop experiences,
events, and/or characters.
c. Use a variety of transition words,
phrases, and clauses to convey
sequence, signal shifts from one
time frame or setting to another, and
show the relationships among
experiences and events.
d. Use precise words and phrases,
relevant descriptive details, and
sensory language to capture the
action and convey experiences and
events.
e. Provide a conclusion that follows
from and reflects on the narrated
experiences or events.
24
LANGUAGE STANDARDS
CONVENTIONS OF STANDARD ENGLISH
GRADE 3
GRADE 4
GRADE 5
1. Demonstrate command of the
conventions of standard English
grammar and usage when writing or
speaking.
a. Explain the function of nouns,
pronouns, verbs, adjectives, and
adverbs in general and their
functions in particular sentences.
b. Form and use regular and irregular
plural nouns.
c. Use abstract nouns (e.g.,
childhood).
d. Form and use regular and irregular
verbs.
e. Form and use the simple (e.g., I
walked; I walk; I will walk) verb
tenses.
f. Ensure subject-verb and pronounantecedent agreement.*
g. Form and use comparative and
superlative adjectives and adverbs,
and choose between them
depending on what is to be
modified.
h. Use coordinating and
subordinating conjunctions.
i. Produce simple, compound, and
complex sentences.
1. Demonstrate command of the
conventions of standard English
grammar and usage when writing or
speaking.
a. Use relative pronouns (who,
whose, whom, which, that) and
relative adverbs (where, when,
why).
b. Form and use the progressive
(e.g., I was walking; I am walking; I
will be walking) verb tenses.
c. Use modal auxiliaries (e.g., can,
may, must) to convey various
conditions.
d. Order adjectives within sentences
according to conventional patterns
(e.g., a small red bag rather than a
red small bag).
e. Form and use prepositional
phrases.
f. Produce complete sentences,
recognizing and correcting
inappropriate fragments and runons.*
g. Correctly use frequently confused
words (e.g., to, too, two; there,
their).*
1. Demonstrate command of the
conventions of standard English
grammar and usage when writing
or speaking.
a. Explain the function of
conjunctions, prepositions, and
interjections in general and their
function in particular sentences.
b. Form and use the perfect (e.g., I
had walked; I have walked; I will
have walked) verb tenses.
c. Use verb tense to convey various
times, sequences, states, and
conditions.
d. Recognize and correct
inappropriate shifts in verb tense.*
e. Use correlative conjunctions (e.g.,
either/or, neither/nor).
25
LANGUAGE STANDARDS
CONVENTIONS OF STANDARD ENGLISH
GRADE 6
GRADE 7
GRADE 8
1. Demonstrate command of the
conventions of standard English
grammar and usage when writing or
speaking.
a. Ensure that pronouns are in the
proper case (subjective,
objective, possessive).
b. Use intensive pronouns (e.g.,
myself, ourselves).
c. Recognize and correct
inappropriate shifts in pronoun
number and person.*
d. Recognize and correct vague
pronouns (i.e., ones with unclear
or ambiguous antecedents).*
e. Recognize variations from
standard English in their own and
others’ writing and speaking, and
identify and use strategies to
improve expression in
conventional language.*
1. Demonstrate command of the
conventions of standard English
grammar and usage when writing or
speaking.
a. Explain the function of phrases
and clauses in general and their
function in specific sentences.
b. Choose among simple,
compound, complex, and
compound-complex sentences to
signal differing relationships
among ideas.
c. Place phrases and clauses
within a sentence, recognizing
and correcting misplaced and
dangling modifiers.*
1. Demonstrate command of the
conventions of standard English
grammar and usage when writing
or speaking.
a. Explain the function of verbals
(gerunds, participles, infinitives)
in general and their function in
particular sentences.
b. Form and use verbs in the
active and passive voice.
c. Form and use verbs in the
indicative, imperative,
interrogative, conditional, and
subjunctive mood.
d. Recognize and correct
inappropriate shifts in verb voice
and mood.*
26
Source: Lucy Calkins Resources for Teaching Writing CD. Grades 3-5.
27
PREPARING A
MINILESSON
• TA P P I N G I N TO A T E X T
EXEMPLAR
• SOURCES FOR CCSS
EXEMPLARS
• ALIGNING INSTRUCTION
TO WRITING WORKSHOP
CCSS, & 6-TRAITS
SKILLS ASSOCIATED WITH 6-TRAITS:
ORGANIZATION
1)
2)
3)
4)
5)
6)
7)
using a strong lead or hook
using a variety of transition words correctly
paragraphing correctly
pacing the writing
sequencing events/ideas logically
concluding the writing in a satisfying way
titling the writing interestingly and so that the title
stands for the whole idea
© 2012-2013 PARTNER IN EDUCATION
29
Qualities of Good
Personal Narrative Writing
 Write a little seed story; don’t write all about a giant
watermelon topic (Ideas).
 Zoom in; tell the most important parts of the story
(Organization).
 Include true, exact details from the movie you have
in your mind (Word Choice & Voice).
 Begin with a strong lead – maybe setting, action,
dialogue, or a combination to create mood
(Organization).
 Make a strong ending – maybe use action,
dialogue, images, whole-story reminders to make a
lasting impression (Organization) .
 Relive the episode as you write it (Word Choice,
Ideas, Voice).
© 2012-2013 Partner in Education
30
Cisneros, Sandra. “Eleven.” Woman Hollering Creek and Other Stories.
New York: Random House, 1991. (1991)
What they don’t understand about birthdays and what they never tell you is that when you’re eleven,
you’re also ten, and nine, and eight, and seven, and six, and five, and four, and three, and two, and one.
And when you wake up on your eleventh birthday you expect to feel eleven, but you don’t. You open
your eyes and everything’s just like yesterday, only it’s today. And you don’t feel eleven at all. You feel
like you’re still ten. And you are — underneath the year that makes you eleven.
Like some days you might say something stupid, and that’s the part of you that’s still ten. Or maybe
some days you might need to sit on your mama’s lap because you’re scared, and that’s the part of you
that’s five.
And maybe one day when you’re all grown up maybe you will need to cry like if you’re three, and that’s
okay. That’s what I tell Mama when she’s sad and needs to cry. Maybe she’s feeling three.
Because the way you grow old is kind of like an onion or like the rings inside a tree trunk or like my little
wooden dolls that fit one inside the other, each year inside the next one. That’s how being eleven years
old is.
You don’t feel eleven. Not right away. It takes a few days, weeks even, sometimes even months before
you say Eleven when they ask you. And you don’t feel smart eleven, not until you’re almost twelve.
That’s the way it is.
Only today I wish I didn't have only eleven years rattling inside me like pennies in a tin Band-Aid box.
Today I wish I was one hundred and two instead of eleven because if I was one hundred and two I'd
have known what to say when Mrs. Price put the red sweater on my desk. I would've known how to tell
her it wasn't mine instead of just sitting there with that look on my face and nothing coming out of my
mouth.
"Whose is this?" Mrs. Price says, and she holds the red sweater up in the air for all the class to see.
"Whose? It's been sitting in the coatroom for a month.“
31
Source: Common Core State Standards, Appendix B. (2010). Text Exemplars Grades 6-8. p. 81.
"Not mine," says everybody, "Not me."
"It has to belong to somebody," Mrs. Price keeps saying, but nobody can remember. It's an ugly
sweater with red plastic buttons and a collar and sleeves all stretched out like you could use it for a
jump rope. It's maybe a thousand years old and even if it belonged to me I wouldn't say so.
Maybe because I'm skinny, maybe because she doesn't like me, that stupid Sylvia Saldivar says, "I
think it belongs to Rachel." An ugly sweater like that all raggedy and old, but Mrs. Price believes her.
Mrs. Price takes the sweater and puts it right on my desk, but when I open my mouth nothing comes
out.
"That's not, I don't, you're not . . . Not mine." I finally say in a little voice that was maybe me when I
was four.
"Of course it's yours," Mrs. Price says. "I remember you wearing it once." Because she's older and the
teacher, she's right and I'm not.
Not mine, not mine, not mine, but Mrs. Price is already turning to page thirty-two, and math problem
number four. I don't know why but all of a sudden I'm feeling sick inside, like the part of me that's three
wants to come out of my eyes, only I squeeze them shut tight and bite down on my teeth real hard and
try to remember today I am eleven, eleven. Mama is making a cake for me for tonight, and when Papa
comes home everybody will sing Happy birthday, happy birthday to you.
But when the sick feeling goes away and I open my eyes, the red sweater's still sitting there like a big
red mountain. I move the red sweater to the corner of my desk with my ruler. I move my pencil and
books and eraser as far from it as possible. I even move my chair a little to the right. Not mine, not
mine, not mine.
In my head I'm thinking how long till lunchtime, how long till I can take the red sweater and throw it
over the schoolyard fence, or leave it hanging on a parking meter, or bunch it up into a little ball and
toss it in the alley. Except when math period ends Mrs. Price says loud and in front of everybody,
"Now, Rachel, that's enough," because she sees I've shoved the red sweater to the tippy-tip corner of
my desk and it's hanging all over the edge like a waterfall, but I don't care.
32
"Rachel," Mrs. Price says. She says it like she's getting mad. "You put that sweater on right now and
no more nonsense."
"But it's not—"
"Now!" Mrs. Price says.
This is when I wish I wasn't eleven because all the years inside of me—ten, nine, eight, seven, six,
five, four, three, two, and one—are pushing at the back of my eyes when I put one arm through one
sleeve of the sweater that smells like cottage cheese, and then the other arm through the other and
stand there with my arms apart like if the sweater hurts me and it does, all itchy and full of germs that
aren't even mine.
That's when everything I've been holding in since this morning, since when Mrs. Price put the sweater
on my desk, finally lets go, and all of a sudden I'm crying in front of everybody. I wish I was invisible
but I'm not. I'm eleven and it's my birthday today and I'm crying like I'm three in front of everybody. I
put my head down on the desk and bury my face in my stupid clown-sweater arms. My face all hot and
spit coming out of my mouth because I can't stop the little animal noises from coming out of me until
there aren't any more tears left in my eyes, and it's just my body shaking like when you have the
hiccups, and my whole head hurts like when you drink milk too fast.
But the worst part is right before the bell rings for lunch. That stupid Phyllis Lopez, who is even
dumber than Sylvia Saldivar, says she remembers the red sweater is hers! I take it off right away and
give it to her, only Mrs. Price pretends like everything's okay.
Today I'm eleven. There's a cake Mama's making for tonight and when Papa comes home from work
we'll eat it. There'll be candles and presents and everybody will sing Happy birthday, happy birthday to
you, Rachel, only it's too late. I'm eleven today.
I'm eleven, ten, nine, eight, seven, six, five, four, three, two, and one, but I wish I was one hundred and
two. I wish I was anything but eleven, because I want today to be far away already, far away like a
runaway balloon, like a tiny o in the sky, so tiny tiny you have to close your eyes to see it.
33
Name _____________________________ Text Title ______________________________
Sentence #
1st four words
Verb
© 2012-2013 Partner in Education
# of words
34
NAME _______________________ TEXT _________________ PAGE __________ DATE __________
The Precise Nature of Language
Directions: Place two words that are opposites at the top and bottom of the continuum. Along the continuum line, write
words that better describe each point along the way. The first one is done for you.
Happy
__________
__________
__________
__________
__________
__________
joyful
blissful
sunny
cheerful
pleased
content
blue
cheerless
glum
heartsick
Sad
© 2012-2013 Partner in Education
35
Understanding the Precise Nature of
Language
Fear
 There many different words that express the
distance between two emotions. Enter today’s date
into your writing notebook and copy the continuum on
the left beneath the date. On the continuum, place as
many words on that continuum to describe varying
degrees of bravery.
 Now choose one of those words that reminds you of an
experience you have had or can imagine.
 Beneath the continuum, begin writing about your
experience without using the word you chose. Use
sentences that will help the reader picture what you
want them to see or feel.
 Trade writing notebooks with a peer. Read one
another’s sentences and try to match the situation
you described with a word written on your continuum.
Valor
 Discuss and compare your thinking. Reflect on your
conversation.
© 2012-2013 Partner in Education
36
WORKSHOP EVALUATION:
WHAT AREAS OF THE
TEACHING PERFORMANCE
RUBRIC HAVE I LEARNED
MORE ABOUT…
A B O U T W H AT D O I N E E D
M O R E I N F O R M AT I O N
AND IDEAS?
Writing Workshop Professional Development Continuum
Novice
Developing/Intermediate
Master/Advanced
Writing workshop is held at least four times
a week.
A mini-lesson should be taught every day.
Writing workshop is held at least four times
a week.
A mini-lesson should be taught every day.
Writing workshop is held at least four times
a week.
A mini-lesson should be taught every day.
During every workshop students write 30
minutes.
During every workshop students write for at During every workshop students write for at
least 30-40 minutes.
least 30-40 minutes.
Each student has a writing partner Students have frequent
and have frequent opportunities for opportunities for partner talk during
classroom shares.
mini-lessons, mid-workshop
interruptions and classroom
shares.
Writing partners draw on a growing
repertoire of “Ways Partners Can
Help Each Other.” Talk is aimed to
reintroduce the writer to vital
questions, ‘What is this piece really
about?’ and ‘What do you want
your reader to feel?’
The volume of writing in writer’s
Teachers and students will monitor Teachers and students will monitor
notebooks increases steadily over and track pages produced per unit. and track pages produced per unit.
time. Teacher will monitor and
Entries are labeled and dated
Students set goals for themselves
track pages produced per unit.
every day.
around volume.
Entries and labeled and dated
every day.
Students produce at least one
Students engage in on-demand
Students engage in on-demand
published piece per unit. Unit of
writing, a formal published piece, writing, revision of the on-demand,
Study lasts 4-5 weeks.*
and a post-unit on-demand. Unit unit publication, a second essay,
of study lasts 5 weeks.*
and possibly a final on-demand.
Unit of study lasts 6 weeks.*
Planning should be done in a
Students frequently refer to
Students use writer’s notebooks to
writer’s notebook and application previously written entries to build mine for new ideas, self-assess,
of mini-lessons are evident.
upon their writing repertoire or to
and set goals. Notebook should
inform their work. Notebook
contain a range of applied
should contain a range of applied strategies across genres.
38
Beginner/Novice
Students write at least one elaborated
entry a day or a series of short entries.
There should not be days in writing
workshop when writers produce
nothing but a list of topics.
Developing/Intermediate
Students write at least one
elaborated entry a day such as
writing long on a topic, a series
of entries, or intentional strategy
work.
Master/Advanced
Students write at least one
elaborated entry a day such as
writing long on a topic, a series
of entries, or intentional strategy
work.
Teacher administers on-demand
Teachers use on-demands to
assessment before a unit to determine determine collective strengths
collective strengths and weaknesses. and weaknesses and have
students self-assess and revise.
Teachers use on-demands to
establish predictable problems
and design small group
experiences within the unit.
Teaching points from the mini-lessons There are 4-5 charts posted at
are complied onto charts and posted in any one time as a way for the
the classroom.
teacher to keep previous
teaching at play within the
classroom.
There are 4-5 charts posted at
any one time as a way for the
teacher to keep previous
teaching at play within the
classroom.
Teacher will model the writing process Teachers work on their own
and utilize mentor texts in every unit. writing across the sequence of
the unit, writing a few lines, not
much more within a mini-lesson.
Teachers work on their own
writing across the sequence of
the unit, and write a collective
class piece with students.
Teacher generally holds a few
conferences with students within one
day’s workshop, studying the writer’s
work over time to notice how the writer
is progressing.
Teacher has a deep repertoire of
strategies to respond to student
needs during the writing
conference, to shape midworkshop interruptions, and
looks for patterns across the
class to design small group
experiences
39
Teacher generally begins the
writing conference by learning
what the writer has been working
on as a writer, how the writer has
been changing, what the writer
has tried to do, and what
strategies the writer has used.
Descargar

Visualizing to Enrich Comprehension and Retention