Outlines have a time and place; a personal essay isn’t one of them.

One of my students is learning that “Discovery is the thing.”

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This book contains nuggets of writing wisdom that make great mini-lessons in my Writer’s Workshop sessions. Another one to be discussed in another post: the importance of being specific.

Last week, I wrote about Writer’s Workshop and how I am really enjoying it this fall in my middle school language arts classes. I have a few books that I pull ideas from to use for mini-lessons before the kids transition to working on their writing projects.

One of those books is Bill Roorbach’s Writing Life Stories. It’s a book I ordered a year or so ago for ideas on memoir and biographical writing. I have found several eye-opening sections in the book that I have shared with my students. One of these points we’ve discussed is the value of digression in writing. To digress, Roorbach recommends writing without a plan, of allowing your writing to reveal your thinking on a topic.

In class, we read this excerpt:

“Part of what’s in your head is going to be stories, and when you start telling stories from your life, your life itself becomes evidence. The personal essayist examines the evidence until it’s plain to both reader and writer just what’s evident. Abandon the outline, all ye who enter here! Discovery is the thing. Too firm a plan, and you miss the digression that takes you where you didn’t know you wanted to go.”

Writing Life Stories by Bill Roorbach with Kristen Keckler, PhD; Ch. 1

Kids usually breathe a sigh of relief when they find out they don’t have to use an outline. And when we read this in class, I clarify that there are indeed times when an outline will help them. For example, outlines are useful when their writing is an assemblage of pertinent facts and details that need organizing or when they’re having trouble getting started.

However, for some types of writing, outlines may actually hinder the thought process that writing spurs. That’s what Roorbach is getting at. Following an outline may constrain a writer’s thinking and inadvertently cause her to shut down her analysis of a life situation or recollection of a life event.

One of the projects on our Writer’s Workshop assignment list is a memoir or personal narrative essay. I have one student in particular (I’ll call her Camille) who I can tell is learning how the act of writing is helping her to define and refine her thinking and stance on a very controversial topic.

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To observe Camille intentionally and willingly struggle through her draft means she is growing as a writer, thinker, and learner.

She’s been working on her essay for a few days now, and I can tell as she works alone at a table in the back of the room, she is muddling through her ideas. She is starting and stopping, backing up again, and then restarting a sputtering paragraph to finally blaze through it as she clarifies and discovers how she feels on her topic.

She told me on Friday at the end of class, “It’s so hard to write about this because I have to think about every possible perspective and there are so many ways to look at it.” It’s obvious that Camille is learning that “writing is thinking.”

For me, this is one of the most difficult things about writing: giving myself the time to discover my own thinking. Most of the time, I want to get the piece done. I don’t want to spend the time lost in thought and unsure of how I feel. I want to say what I know and move on.

Those hours of mental wandering used to feel like torture to me (and still do, at times), but I’m learning to accept that this is writing. I must allow myself to not know where a piece is going and to just write, knowing that clarity in some measure will result… eventually.

Seeing Camille learn this writing truth and find that “discovery is the thing” is a huge personal accomplishment for me as a writing teacher. To observe Camille intentionally and willingly struggle through her draft means she is growing as a writer, thinker, and learner. Understanding that “writing is thinking” will serve her well as she continues into high school and beyond.


Thanks for reading! There are other similar viewpoints to Roorbach’s on outlines and other forms of prewriting. I’ll discuss another teacher/author’s ideas on this topic in an upcoming post. Click like if you found this interesting and follow me to get that upcoming post. 

Here’s what Writer’s Workshop looks like in my middle school classroom

I’m so glad I didn’t give up on what is now one of my favorite activities

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Since I began teaching seven years ago, I’ve learned that sometimes it may be necessary to try a new technique, a new curriculum unit, or simply a new idea more than once in order to fairly assess its effectiveness.

Usually, the first time I try anything, it fizzles. At the conclusion of the semester, when students were turning in their final drafts of their projects, I was glad Writer’s Workshop (WW) was finally over. I didn’t like the unstructured nature of class time that the workshop encouraged. Perhaps my classroom management skills weren’t up to par, or perhaps I’ve just relaxed a little. Perhaps it’s a bit of both, but the less structured nature doesn’t concern me like it used to because…

I’m sold on Writer’s Workshop now.

Besides, my WW is fairly structured in its procedure to begin with. That built-in structure requires that kids stay on task. If I had decided to give up on WW after my first attempt, or even the second, I would have missed out on an activity that some students say is their favorite. Many students seem to like coming into class, having a short lesson, and then being able to work at their own pace on the projects of their choosing.

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Zoom in to see the Writer’s Workshop project list for 7th graders. Students choose eight projects from the list of twelve. The procedure for each assignment is on the back.  This entire procedure is based on one by K-12 teacher Corbett Harrison.

Writer’s Workshop puts these two things front and center: student choice and the writing process. Here’s what it looks like in my classroom: Every student gets a project sheet that lists about twelve possible writing projects. The list includes a mix of discourses: narrative, informational, argument, and poetry.  I usually don’t specify how many of each discourse they must do, since there’s enough of a mix to guarantee they’ll write a variety.  Kids must complete eight projects of their choice in a given time period. This fall, we started Writer’s Workshop on November 1, and their final portfolios are due Dec. 14. Here’s the rest of the basic procedure:

  • On day one of WW, as a class, we discuss the entire project list. Some of the assignments are new and don’t require that we go over them, but I introduce a few new projects each time, so we make sure to briefly discuss those. I pass out an assignment sheet to each student and we talk through each assignment, brainstorm some ideas, and talk about other details such as that assignment’s word count requirement.
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These two racks hold all the paperwork for Writer’s Workshop. On the left are the 7th and 8th grade project lists and responder sheets. On the right are the folders that contain the individual assignment sheets for each project, as well as mentor texts, and contest guidelines, if applicable.
  • After discussing each assignment, I gather up the project sheets and put them in a manila folder labelled with the project name in a rack on a book shelf at the front of the classroom for kids to reference later when they need them. (By the way, the procedures for WW are listed on the back of each project assignment sheet.)
  • Writers choose a project, read through the project’s assignment sheet, and then brainstorm, and write a first draft. The first drafts can be handwritten or typed at this point; eventually, they’ll need to be typed.
  • After completing a first draft, writers must find a classmate to be their reviewer, who will provide feedback and suggestions for revisions. This is done by attaching a narrative, informative, argument, or poetry responder sheet to the first draft. (The responder sheets are also kept in labeled manila folders in a rack next to the assignment project sheets at the front of the room.)
  • The reviewer then must answer in writing four questions listed on the responder sheet. The reviewer writes their answers on the back of the responder sheet on the lines provided. One thing I learned after my first WW attempt: If I don’t provide lines on the back of the page, students won’t write their answers down. They’ll simply jot a few very brief notes, or just tell the writer, “It was great. You don’t need to change anything. The lines on the back of the responder sheet holds students accountable to be more thorough with their feedback. I check these first draft sheets and talk with students who aren’t doing their fair share of feedback.
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Zoom in to read this responder sheet for an argument assignment. There is one of these sheets for poetry, informative, and narrative assignments, as well. Students must answer at least four questions about a classmate’s first draft on the backs of these sheets. Writers make changes to their first draft based on the answers their reviewer provides. After making their changes, writers staple their first draft and the responder sheet to their second draft and place it in my WW box for my feedback.
  • After providing their feedback, the reviewer gives the first draft and responder sheet back to the writer, who makes revisions, edits, and any other changes suggested. This creates a second draft, which the writer then places (with the first draft and responder sheet) in my second draft box. I do set a deadline for students to turn in their second drafts. At this point, that second draft deadline is one week before final portfolios are due. (I may need to reset that deadline to an earlier date.)
  • I read the second draft and fill out my own responder sheet, which has my suggestions and notes for the student. I ask that students give me a few days to return their second drafts to them.
  • After I return the second draft to the writer, they generate a third and final draft, referring to my ideas, revisions and edits that I suggest. While I don’t have time to mark every issue I notice on a paper, I do make sure that students understand what I do mark. I’ll usually talk with students when I hand their second draft back to them. This is always a good time to get in some one-on-one conferencing with each student, which, by the way, I am doing now on my phone with the help of Google Forms.  (I’ll explain this new experiment from Two Writing Teachers in a future post after I become more accustomed to it.)
  • After completing their final draft, students compile all three drafts, responder sheets, and any prewriting or brainstorming and staple their “latest greatest” final draft on top. They then keep these finished projects in a two-pocket folder in a file cabinet in my room. On December 14, these folders will be turned in. And yes, I get it, that’s a lot of work being turned in at once; however, I’ve already seen every assignment in the folders (if students put their second drafts in the box). It’s basically a matter of verifying that students used the writing process to complete the assignments.
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You’ll need to zoom in to see what’s inside my memoir assignment folder. This folder contains the instructions for the memoir, three student-written mentor texts, and two handouts with memoir topic ideas. Students use any or all of these as they need them. 

only aspect of WW I’d like to change for next time would be a more direct way for students to publish their work. Right now, I plan to post articles and stories and poetry in the hallway or in my room. Next semester, if all goes well, I will be having students choose which of their projects they would like to publish online in their Kidblog portfolio. (Again, that’s another future post.) Having an audience and a readership is crucial for motivating kids to write; I know this from my own writing experience on this blog and on Medium.com.

Here’s where I give credit where credit is due:

My Writer’s Workshop format is based on one designed and used by Corbett Harrison, a K-16 teacher with an EXTREMELY comprehensive website I located on the internet. Search his site (and its associated Northern Nevada Writing Project and WritingFix websites) for all kinds of ELA materials and ideas. (In fact, block out an hour or two if you intend to look at his site. It’s chock full of ideas and resources.)  In the past, I’ve also had success with his creative approach to vocabulary instruction that provides as much choice and accountability as his WW.

Harrison offers a free 18-page PDF that explains how he facilitates WW in his middle school classroom. This PDF also includes the responder sheets and my second draft responder sheet.  I can’t recommend Harrison’s plans enough. If you haven’t tried WW in your classes, his would be a good place to start. The plans have definitely worked for me by providing me a template to tweak here and there over the past couple of years. I’m so glad I didn’t give up on this solid, necessary, tried-and-true activity in my middle school ELA classroom.


Thanks for stopping by! Click like and follow this blog for more posts about middle school ELA. Also, feel free to leave a comment about how you approach Writer’s Workshop in your classroom. 

I’m still using and really, really liking Planbook

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This is my desk one morning in early November. As you can see, I am very paper-based.

Here’s my follow-up post about my online lesson planning

I’m still using Planbook! Every day, I can enter my lesson plans for the next day, the next week, the next month, and even the next year. If I like how I did something, I just copy it into the future and voila! it’s done. (Click here for my earlier post written the first day I started using Planbook.)

I’m following a year-long plan that I have outlined in my spiral planner that I keep on my desk on top of another binder where I keep printed copies of my Planbook plans. As you can see, I’m a very paper-based person.

So even switching to entering my lesson plans online was a huge step; however, it’s going well. I like how I can skip around to the next week quickly, or bounce back to the previous week or month to see exactly what I did during each class.

In addition, the search function is priceless. For example, I can enter “run-on sentences” into the search bar and a list of lessons pop up that show me exactly when run-on sentences were taught or discussed. In the past, I had to manually page through my binder and search.

Planbook’s $15 annual subscription fee is worth it. Before jumping into the subscription, however, I investigated Planboard, another online lesson planning tool. (Planboard is free of charge, by the way.) To set up Planboard, it required several details about times of classes, duration of terms, and other aspects of scheduling. At the time, I wasn’t able to devote that much thought to it, so I reverted back to Planbook because it is so straightforward and simple to begin. I bet no more than five minutes passed between when I initially logged in to when I began entering plans.

So, bottom line: Planbook is working. Planbook is simple. If you haven’t started using an online lesson planning tool, I would definitely recommend Planbook. It has completely changed the way I plan lessons.


Thanks for stopping by! How do you plan your lessons? Planbook? Planboard? Do you use good ol’ binders? Comment away with your experiences with lesson planning. See you next week.

NaNoWriMo, my students, and my historical nonfiction project thingy

You gotta start somewhere.

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Photo: Pexels

I’m finally doing NaNoWriMo with my students. Well, sort of.

All during November, about fifteen students ranging from fifth- through eighth-grade arrive in my room after school and write for forty-five minutes. I only know a little about what they’re writing. That’s because I’m busy working, too, on my own project… what I call my “historical memoir project thing.” Yes, you heard right. I’m doing NaNoWriMo and I’m not even writing a novel. Oh, well. You gotta start somewhere.

No, the NaNoWriMo in my classroom is not a full-blown NaNoWriMo experience. I don’t have the official posters, or the workbooks, or the full curriculum. But we’re still having a good time getting together after school and just writing.

From some conversations I’ve overheard around my classroom, I know some kids are writing fantasy stories. Some are writing sci-fi. One kid is writing about a worm. Regardless, each student is writing for themselves and that’s the key.

In case you’re unfamiliar with NaNoWriMo, it stands for National Novel Writing Month, when writers around the country write a first draft of a 50,000-word novel. There’s a youth version of this challenge, where students set personal goals to accomplish the first drafts of their own novels, and that’s what we are attempting in my classroom every day after school all November long.

I’ve thought about doing NaNoWriMo for a few years, and finally, last summer, I decided I would stop waiting to do it “right” and, in a nod to Nike, “just do it.” So, in June, I tested the idea with my students with a teaser post on my private class Instagram. Several were interested, including some recently graduated students who were disappointed that I hadn’t tried it when they were in middle school.

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Jump forward to last Monday, Nov. 5, the first day on my calendar that we could meet. At the end of the day, when I was tired and definitely ready to lay out my plans for Tuesday and head for home, I asked myself Why did I ever decide to do this?!

However, now with that first week behind me, I’m so glad I “just did it” because my lame version of NaNoWriMo is already illuminating two truths that are easy to forget:

  1. It’s amazing how dedicated kids can be when they’re personally motivated. The mood in my classroom during NaNoWriMo is quite different from my regular classroom, which always contains a few students with little desire to pursue writing. They distract others. They sharpen their pencils four times an hour. They need drinks and bathroom breaks. But after school during NaNoWriMo, it’s a different world. These kids are choosing to write, imagine, create, produce, and they go at it earnestly and with enthusiasm.
  2. Some kids have writing lives outside of school. It’s gratifying to know that there are several students who are writing on their own, at home in notebooks, and online. They “own” these works… no teacher has asked them to outline their ideas, no teacher has asked them to turn in a synopsis or a summary.

Plus, these kids are excited to get to work. I’m amazed that—after eight hours of classes, mind you— my NaNoWriMo kids willingly (with smiles on their faces!) walk into my room with their coats and binders, drop them into a chair, get a laptop from the computer cart, sit down, and write. And think. And quietly chat with others at their table.

It’s a social get-together, after all. I bring snacks of some kind on Mondays, but for the rest of the week, the kids bring their own if they need to. Some bring an orange, some a small bag of chips or crackers, but most don’t bring food.

What they do bring is their imaginations, their productivity, and their determination to get something down on paper. I’ve made sure to tell them that NANOWRIMO is the time to shut off their “inner editor” and just get words on the page. Revision can happen later.

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At the end of the hour, we fill out our word-count goal chart.  On this chart, we’ve each listed our names with our word-count goal for the month at the far right. If a student reaches their word-count goal for the day (the monthly goal divided by the number of days in the month), they put an X on the chart in that day’s column.

We’ve kept our goals reasonable. Next year, we may be more ambitious. This is not a real NaNoWriMo after all. However, it’s a start. We each have a word-count goal. We each have a project to work on and the dedicated time to work on it.

Who would have thought that I would have accomplished real progress on my “historical memoir project thing” in just forty-five minutes a day… at the end of a busy school day… with twelve to fifteen middle schoolers in the same room?


Thanks for reading! Have you ever tried NaNoWriMo? How was your experience? Did you participate with your students or was it just a personal challenge? Leave a comment to share and stay tuned for next week’s post.

My one and only complaint with the Missouri Learning Standards

They just seem a little vague.

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Photo: Pexels

Last week, one of my students came across the term “hyperbole” on a vocabulary assignment. “What does hyperbole mean?” he asked.

Wow, I thought. Five years ago, my students knew that term. Why? Because I taught it to them, along with other common figurative language techniques. Why? Because they were specifically listed in the standards, which at the time were known as Grade-Level Expectations (GLEs) and were in place when I began teaching in 2011.

But hyperbole isn’t even mentioned today in the Missouri Learning Standards (MLS), the educational standards adopted by Missouri legislators in 2016 and modeled on the Common Core State Standards (CCSS).  Also not mentioned are these: simile, metaphor, alliteration, personification, onomatopoeia, and oxymoron.

And this illustrates my one and only complaint with the MLS for English Language Arts: They just seem a little vague, when compared to the old GLEs, which were clear, specific, and practically a checklist even, of the techniques and academic language terms Missouri kids were expected to know. Heck, I even remember printing out the figurative language section of the GLEs for each grade that I taught (6th, 7th, and 8th), and crossing off each device as I covered it in my classes.

In general, I’m a fan of the Missouri Learning Standards, and their progenitor, the Common Core. I can support the various standards and the modifications made.

Yes, at first, I questioned the subjugation of grammar, mechanics, and conventions (known as language standards) under various subsections of the writing standards; however, as a teacher in my third year of implementation of the MLS, I have reconciled what some may perceive as a dismissal of grammar with what I believe is a more authentic approach that 1) stresses an initial emphasis in the writing process on ideas, and 2) leaves the grammar checks and editing for later. In the words of the late writing instructor Gary Provost, “Good grammar does not guarantee good writing any more than a good referee guarantees a good basketball game.”

Still, my support for this aspect of the MLS is tempered by a desire for greater specificity within those standards, especially when those specifics include literary techniques that I know my students will be expected to know during standardized testing in the spring.

In effect, the CCSS and MLS have left it up to the educators to pinpoint the devices they will teach. And, yes, it’s excellent that educators are allowed the freedom to teach the devices they choose, but how am I supposed to help my students do well on a standardized test (that ultimately determines federal funding of my school district, by the way) if I am unaware of the items to be tested?

So, even though I support the CCSS and the MLS, holes do exist in them. I’ve attended standard setting meetings with other educators where we’ve pored over the standards line by line.  And true, one could say the standards reflect overall what educators have deemed necessary; however, those needs do not always match up with the tests that students undergo every spring.

To remedy that, my ideal standards would be a melding of the old GLEs into the MLS that would precisely include the specific skills, techniques, and terminology that students need to know not only to express themselves accurately but also to successfully complete a standardized test.


Thanks for reading my blog again this week! I’m sharing this activity below from Education.com even though I’m receiving no compensation for doing so. This puzzle, which you could use as a bell-ringer, exit ticket or simply as a discussion starter, will help your students learn the seven most common figurative language techniques: simile, hyperbole, alliteration, metaphor, personification, onomatopoeia, and oxymoron.

Click here for puzzle PDF: figurativelanguage_crossword_boat (1)

Click here for puzzle key PDF: figurativelanguage_crossword_boat_answers (1) (1)

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This figurative language crossword puzzle is perfect for students who are working toward more colorful and interesting writing assignments! Be sure to check out more reading and writing activities at Education.com!

A Poetry Project that Draws Connections Between the Fires at Triangle Waist Co. and World Trade Center

The Essential Questions: How can history inform public policy? How do people prevent past tragedies from reoccurring?

 

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My 8th-graders evaluate poetry projects on the final day to choose the six projects that most effectively met the criteria of the assignment.

Based on those essential questions (developed with help from our school’s art teacher, Joan Edgmon, by the way), I’m sure that some may think I’ve forgotten that I teach Language Arts. They may even wonder if I’m actually a history teacher in disguise. But to that, I would answer:  Actually, I just see value in using historical events for writing topics because they…

  • 1) teach kids about the world and broadens their background knowledge.
  • 2) provide relevancy to writing and connect school with the outside world.
  • 3) reveal to kids that remembering past tragedies can help prevent their reoccurrence.

Connecting the Triangle Waist Co. fire, the most tragic industrial workplace fire in U.S. history until the World Trade Center (WTC)  fires on Sept. 11, is one study we delved into again this fall like we do every year in my 8th-grade classes. However, this year, I designed this poetry project to help students creatively explore the connections between these two events. In the past, I’ve assigned a written essay to explore these connections, but this year, with the DAR American History Essay Contest right around the corner, I wanted to give the kids more variety with a non-essay genre: free verse poetry.

Read this post to get some background on my Triangle Fire & World Trade Center unit. In short, skyscraper building codes that had been developed in response to the 1911 Triangle Fire were relaxed during the early design of the World Trade Center towers in the 1960s. These building code changes (including a reduction in the required numbers of emergency stairwells, permission to cluster elevators in central areas, and the absence of brick masonry requirements, plus others) likely contributed to the death toll on Sept. 11, 2001. 

The rest of today’s post focuses on this culminating free verse poetry project I tried for the first time with students this year. The results were not perfect; I already know a few things I need to change for next year. However, I was pleased with the thinking my students engaged in, and I was also pleased with the creativity they showed in producing the visual elements of this assignment.

Here were the requirements for the poetry project:

Triangle Fire and World Trade Center Fires

POETRY PROJECT

  1. Write a free verse (non-rhyming) poem about the Triangle Fire.
  2. Write a free verse (non-rhyming) poem about the WTC fires.
  3. Juxtapose the two poems on construction paper or some other paper.
  4. Include a “gallery label.” See below for details.

Requirements for the project:

  • Each poem should be at least ten lines long.
  • Each poem should give this information: date, number of deaths, causes of death, lessons learned (Triangle reforms & WTC recommendations)
  • Each poem’s shape or appearance should remind us of the specific building the fire occurred in. Ideas: line for each floor? Arrange the lines to represent flames?
  • Each poem should also mention a lesson learned from the fire. What positive element can you add? The reforms made as a result of the fires?
  • The poems should “allude” to each other. There are a few ways one could do this…
    •  Have your Triangle poem mention somehow the World Trade Center or vice versa.
    • Make both poems share a line, i.e. the same line appears in both poems.
    • Make both poems share a line, i.e. the same line literally connects the two poems.
  • Write a gallery label that will appear alongside your juxtaposed poems.
  • The gallery card needs to explain the two fires, relate how your poems address the two fires. You may want to also explain: how the two fires are connected historically, what we can learn from the tragedies to ensure that history does not repeat itself in this way again.
  • Get creative! Need art supplies? Let me know what I need to bring.

I passed out a handout that listed all the requirements at the beginning of the project. Then we decided that when we finished it would be fun to post all the completed projects in my room in “gallery walk style” so students could vote on the top six, which would then be posted in the hallway. The gallery walk took nearly a full class period because they were so interested in doing a good job. I changed the selection of poems to post in the hallway by removing one that, while being in the students’ top six, didn’t express any lessons learned from the tragedies. Plus, I included a couple more projects that showed strong effort.

Here are some of the most effective projects. Even though the poems were the most important part of this assignment, the visual elements also had a job to do, which was to convey meaning to the poetry. Some of the photos have been cropped so the poetry can be more easily read.

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One thing I know I’ll change for next year is to require that no airplanes appear in the projects. While I’m glad that students understand what ultimately caused the disaster that took so many lives, the unit was intended to focus on how builders and developers literally forgot many of the fire-prevention lessons learned from Triangle Fire.

Finally, it’s always good to focus on the Essential Questions: How can history inform public policy? How do people prevent past tragedies from reoccurring?


Thanks for reading! Feel free to leave a comment if I’ve left out some key point— or if you spot a typo! I wrote this up fairly quickly over the weekend, and feel like there’s got to be a grammar issue or two somewhere in here. I’ll update this post as I think of other ideas or tips to include. Have a great week! 

Click here for a post about my 9/11 resources.

Click here for my main Triangle Fire unit.

Click here about a field trip we took this fall to remember 9/11.

 

His Google Doc will “disappear”

There’s a long list of middle school distractions to get through before Eric’s story will be finished.

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Photo: Asier Astorkiza on Unsplash

Don’t buy a house in Oklahoma.

That was the first line of an essay resting on the screen of a laptop checked out to Eric, a seventh-grader in my middle school language arts classes. It stopped me in my tracks.

I whispered, “Why shouldn’t I buy a house in Oklahoma?” He proceeded to tell me, but I stopped him. “No, you gotta write that down,” I said urgently. “It’s a great opening sentence. Go!”

But he didn’t. He gave me a blank look and just sat there. I walked to the next desk to give him a minute to think. I glanced back. He was making faces at Amanda in the next row over.

Time for my little black chair, I thought. So I retrieved the chair from my closet that fits ever so nicely between the rows of desks in my classroom. It allows me to maneuver right down into the trenches alongside my students. I sat down next to Eric.

“How can I help you get started?” As I sat down, I untangled my lanyard again from my chunky stone necklace.

“I dunno,” he mumbled through auburn bangs. I stood there, thinking of an approach to take with Eric, whom educators would call a “hesitant” or “struggling” writer. He tossed his head back, his long bangs surging like a wave and then falling again to conceal freckles dotting a fair complexion.

I stared at him while he searched his binder for a pencil he wouldn’t need. I know this kid has writing talent, I thought, or he wouldn’t have no naturally jotted out that first stunner of a lead sentence. If he only had confidence in his words.

I lifted Erick’s laptop from the desk, thinking I would type as he spoke his story. And, true, maybe I should have waited a bit before doing that, but I did it anyway. As a writer, I know how important it is to strike while the fire is hot and with a line like Don’t buy a house in Oklahoma, I knew Erick had to explore it. Pronto.

I adjusted the screen. “Tell me why I shouldn’t buy house in Oklahoma.” He began to talk, and I started to type.

And then the bell rang.

The following day, we picked up where we had left off. I sat back down with him and we continued. Eric dictated for about thirty minutes, telling me the story of the tornado and the havoc it had wrought: broken windows, lost belongings, damaged cars, angry parents, minor injuries. Eager to be finished, he rattled off a makeshift ending. “There. That’s all I got,” he reported, glancing up at the clock. “Time to pack up.”

“Not so fast,” I said. “Grab this off the printer, please.” I formatted the story and pressed print so he could see on paper just how much he had produced in less than one class period. He—or we, I guess—had completed a first draft. It was the most writing he had produced in my class all year.

Eric stared at the three pages of double-spaced twelve-point Times New Roman he had created, scanning the paragraphs to the end.

“You spelled Choctaw wrong,” he said.

I smiled. “Well, circle it, Mr. Man, and we’ll fix it tomorrow. By the way, that’s an awesome story.”

Over the next few days and weeks, his narrative went no further than that first draft. Thanks to standardized testing, some end-of-the-year field trips, and the arrival of summer break, his first draft of the essay or story or whatever it will be, was put on hold again.

But not for much longer.

In a couple of weeks, Eric and I will resurrect his draft from Google Docs and see if we can find a direction for it. (He has no idea I’ve been thinking about it now and then over the past several months.)  There will be time in our class schedule to develop, revise, and otherwise polish that first draft into a piece he can submit to a publisher or a contest, or at least post to his blog.

I have no illusions. It won’t be easy to get that tornado piece finished, but eventually, he’ll arrive at a final draft and turn it in. As his teacher, I absolutely must believe that he’ll feel a sense of accomplishment, whether he’ll admit it, or even recognize it as such. An added bonus: he should gain some confidence in his words as well.

But I’m getting ahead of myself. We have a long list of middle school distractions to get through before then. Eric will be bored. He’ll need a drink. His Google Doc will “disappear.” He’ll ask me thirty times, “Is it good yet?” And then, there’s Amanda.


*The names were changed for this essay.

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