NaNoWriMo Nostalgia: NaNoWriMo, my students, and my historical nonfiction project thingy

You gotta start somewhere.

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My students work on their individual writing projects after school during our version of NaNoWriMo.

Note: I published this post about a year ago when I first attempted an after-school NaNoWriMo program. This year, I have recently moved and am now teaching high school. I hope to eventually host a similar after-school NaNoWriMo program in my new district, but for now, I’ll just look back fondly on last year’s endeavor.


 

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? 

I would love to try NaNoWriMo with my new high school students eventually, but first things first. This year definitely presents a learning curve for me with adjusting to older, more reserved older students.

Headline poetry for high school students

Abi B., junior

Watch older students create stunning expressions from everyday language

This year, for the first three days of school, I again indulged in headline poetry with my students. It was a new activity for my new high school students and I was glad for that. (I’ve introduced headline poetry to middle schoolers in the past. Click here and here for two posts on that.)

To start the activity,  I simply held up and read aloud a few laminated poems created by former students. After reading, I asked, “What did you notice?” Students tended to mention the unusual word choices, strange phrasing, unexpected metaphors, and other observations. They also mentioned the poems’ originality and freshness.

I also read this excerpt of a poem written by award-winning poet Naomi Shihab Nye. The poem is called “A Valentine for Ernest Mann.” Here’s the excerpt:

So I’ll tell a secret instead:
poems hide. In the bottoms of our shoes,
they are sleeping. They are the shadows
drifting across our ceilings the moment 
before we wake up. What we have to do
is live in a way that lets us find them.

-excerpt from “Valentine for Ernest Mann” by Naomi Shihab Nye (1952)

Seth C., junior

I read this poem excerpt to illustrate how headline poetry (and found poetry in general) is built on the notion that poetry is hiding all around us in the language we find in our everyday lives. Signs, posters, bumper stickers, magazines, mail… these provide the words that can create powerful poems.

Headline poetry means kids are moving around, cutting, gluing, talking, and sometimes pausing to read an article or two here and there.
Ella  D., junior

Many students visited while they cut out words, and that was fine with me. On the other hand, many other students worked quietly… especially as they entered the arranging phase where they sorted words, and then positioned twenty to thirty of them into intriguing lines and phrases to create stunning experiments in language.

Since I asked students to make sure their poem was “about” something (it’s not just random words), many students spent a lot of time thinking about the words they had selected. I asked them to take it slow, and allow a theme to surface as they arranged and rearranged their cut-outs into a poem of at least ten lines.

Angelina C., junior

And then some students were impatient or just didn’t seem to think anything meaningful could come from this form of writing. However, as they continued to work, they usually discovered a theme emerging.

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Here are some signs I post around the room when we work on headline poetry.

Overall, it was again the perfect activity for reluctant writers and enthusiastic ones alike to kick off the year.

Here are the steps we took to create our back-to-school headline poems:

  1. Get an envelope and put your name on it. Keep your cuttings in it.
  2. Select some newspapers and magazines, leaf through them, and cut out interesting words and phrases from headlines. It is best to collect somewhere between 75 and 100 words and phrases from different sections of newspapers and magazines to gather a range of vocabulary, as well as selections of nouns, verbs, adjectives, and adverbs.
  3. Scatter the words and phrases on a table and look for themes, synonyms, rhyming words, etc.
  4. Arrange and rearrange the words and phrases on a page and read them aloud to check for fluency and impression. Because there is a visual quality to headline poetry, the placement of text can contribute to the presentation of ideas and meaning.
  5. Create a poem that consists of at least ten lines.
  6. Yes, you may create one word with individual letters, but remember: this is a form of found poetry.
  7. When the desired order and placement of text is achieved, glue the words onto a blank sheet of construction paper.
  8. Reflect. When you are totally finished with your poem, write a paragraph to explain the impetus for your poem. What ideas did you decide you were trying to convey with it? How did you choose this theme/subject matter/topic? Did you change your mind as you worked? What words or phrases especially helped you shape the meaning of your poem?
I asked students to choose their favorite poem in each class by putting  a check mark on a sticky note attached to the poems. The three poems with the most votes were posted in the hallway.

Try these bonus tips to get even more out of this activity:

  • Use as many different types of magazines as possible. Collect a wide selection that might include Vogue, Motor Trend, Better Homes and Gardens, Wired, Forbes, People, Elle, Architectural Digest, and Gourmet. A variety of subject matter will yield a better mix of words.
  • Provide 11- x 17-inch paper. Bigger paper allows more freedom with layout.
  • You will likely have a student ask if a line can be made with one word. Take the opportunity to talk with your student about why he thinks the word will be more powerful on its own. If allowing that word to stand on its own adds to the meaning of the poem, fine. If he’s just trying to race through the project, then nope.
Sam F., junior

Two more tips:

  • Encourage students to play with the layout. The examples here show poems that occupied the entire sheet of paper. I did have one student who arrange dtheir poem in one corner of the page. I found that one particularly striking. You can see it on the far right in the picture below.
  • Invariably, a student will ask if they can create a word out of individual letters. I allow kids to do that once; however, it does defeat the spontaneous nature of headline poetry, which is a form of found poetry. It’s not really found poetry if you can make any word you want, right?!

If you haven’t tried headline poetry yet, make a note on your calendar to try it soon. It’s a non-intimidating way to jump into writing, and for many students, that’s a definite necessity. Use this handout from NCTE for more guidance and resources.


Thanks for reading again this week! I meant to post this sooner (as in right after we created these poems), but the year took off and I’m only getting to it now. Leave a note or comment about your experiences with headline poetry. What could I be doing differently or better? Got any other ideas? Click like if you enjoyed this post and follow my blog to stay in touch. 

Use this movie clip to teach high school writers how to “explode a moment”

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Plus, here’s a free slow-motion video site to give students more practice

For some reason, young writers seem to want to write as little as possible when describing a scene. I read descriptions as sparse as this example: I shot the ball and it went in and everybody freaked out. However, when kids see the effectiveness of exploding a moment, they’ll surprise themselves with how much description they can generate.

About a year ago, I wrote this post about a mini-lesson where my students watched a slow-motion video clip from writer and author Barry Lane’s YouTube channel. We watched the clip in five- to ten-second second segments. Following each segment, I would pause the video and the kids would write down what they saw. In effect, they were exploding a moment. The video was of a boy who looks about ten years old hitting a baseball. The idea is that the boy hits a home run, which causes the crowd to go wild.

If you’re unfamiliar with “exploding a moment”…

Exploding a moment is one of Lane’s signature revision strategies. When writers explode moments, they do what movie directors do to indicate a film’s pivotal moment: they show the moment in slow motion to indicate its importance. When a moment in a narrative holds the same importance, exploding that moment  across a page or two can do the same thing. If students take an important moment from their narratives and envision it happening in slow motion, and then write what they see, they’ll inevitably “paint” a much more detailed rendering of the moment than they would otherwise. 

This year, I wanted to try this same Barry Lane idea with high school students.

This year, I wanted to try this same Barry Lane idea with my students at the high school where I now teach; however, I thought the ten-year-old’s baseball video might seem too much like middle school material.

So, I tried to remember movies that I’ve seen that include slow-motion moments. One of those I remembered also just happened to be baseball-themed: The Natural.

If you watch this YouTube video clip and watch it from :40 to 1:20 in eight- to ten-second chunks, you’ll provide your students a similar moment to explode that is a little more “grown up.”

Here’s that clip from The Natural, which only a couple of my students (out of about 90) had seen.

Before playing The Natural clip, I asked students to imagine that they were Roy Hobbs, the player at bat (played by Robert Redford), and I also suggested that they write their explosion in first-person point-of-view. I thought this would make their writing more immediate. Also, when it came time to share, it might be helpful if we all focused on the same character’s perspective in the video.

Playing the movie clip, pausing, asking students to write what they saw, and then also having a few of them share their “explosions” took about thirty minutes or so. (With some classes it took less time because —at least at my school— many of these older students are reluctant to share their writing. Right now, many of my high school students don’t care to share their writing, which is a real change from middle school where kids can’t share enough!)

Here’s one student’s exploded moment:

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Here’s another example from one of my high school students:

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Finally, here’s a copy of my handwritten explosion that I shared here and there during my classes to either encourage sharing or just to help students see what exploding a moment might look like.

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Here’s that free slow-mo video site…

I’ve also thought about finding more short video or movie clips to play during the year so kids can continue to practice this technique more. Videvo.net has a huge supply of short, slow-motion video clips of everything from runners in a marathon to a candle flame.

Many are free to view and some are only available for purchase with an account. Here’s a link to a free clip of that candle flame.

https://www.videvo.net/video/candle-flame-in-slow-motion/2683/

I haven’t used any of these yet, but I think an occasional one might make a good bell-ringer activity while also keeping the explode a moment technique fresh in students’ minds.

And no, it might not seem that a candle flame would be a pivotal moment in a narrative… but it could be.

Imagine if you had a character making an important life decision while watching a candle flicker. For example, I can picture the character watching the flame, pondering her choice of whether to marry her boyfriend. As she examines the flame, she might see connections to their relationship. For instance, she might see that the flame bends and sways in the breeze, much like their relationship has had to bend and sway to accommodate their individual needs and goals. Anyway, you get the idea.


Thanks for reading again this week! Feel free to click “like” if you found this post helpful, and leave a comment as well. Also, follow my blog to stay in touch.

Focus Your Binoculars and Zoom In

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Photo by Chase Clark on Unsplash

I created a mini-lesson that uses a technique from Barry Lane and a handout from TpT

Because it seems my high school students would benefit from learning some revision strategies, I decided to do a search on Teachers Pay Teachers for any revision handouts featuring the work of Barry Lane. I found this one (it’s FREE from Texas ELAR Coach) entitled Writing Strategy: Adding Detail by Zooming In with Barry Lane’s Binoculars. Lane’s technique of “focusing the binoculars” allows readers to see better, clearer pictures in our stories.

When you download the page, you’ll see that the page’s title is “Focusing the Binoculars.” However, I decided to write “Zooming In…” at the top of my handout since I’ve often seen these two terms used interchangeably in some of Lane’s materials. In addition, when I talk in class, I often use both terms. To avoid confusion, I wanted to make sure that both terms appeared on the page.

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Find this handout at this TpT page: Texas ELAR Coach

The handout features this example of a fuzzy sentence: The lady looked kind of funny. In class, we talked about how that sentence doesn’t paint a clear picture. It’s a good example of vague language that accomplishes nothing. For example…

  • What does “kind of funny” look like?
  • Does funny mean humorous?
  • Does it mean weird?

Below the fuzzy sentence are two sentences that paint a vivid picture of the funny-looking lady. It gives a crystal clear description that provides a “mind movie” to the reader. We discussed how much more vivid the zoomed-in sentence is. We can picture the woman, her hat, her pale skin, her bobbing head, the way she looks like a black lid.

Mr. Lane’s handout makes an obvious point: when you imagine that you’re looking through binoculars at an object, person, or landscape—or anything, really— in your story, and then adjust those binoculars, and describe what you see, your readers will be able to visualize your writing so much more clearly. Writing we can see in our mind while we read creates memorable writing.

On the handout, there are four further examples of zooming in.  I decided to write each of these on an index card and then I made some more cards so kids could get with a partner, pick a card, and then zoom in.

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I made these cards. Four of them feature fuzzy sentences from the handout and I created a few more so I would have enough for class.

Kids moved around the room to find partners and to write their sentences. I asked them to write their fuzzy sentence at the top of a sheet of notebook paper, and then add two to three more “zoomed in” sentences. After about five minutes of work, we went around the room and listened to each pair’s attempt at using their narrative binoculars.

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This photo shows some of the “zooming in” my high school students tried last week. They wrote the fuzzy sentence first and then “zoomed in” for two to three more sentences.

Even though I had asked students to read their fuzzy sentences first, I also reminded them that if they “zoom in” well, the fuzzy sentence is unnecessary. This activity illustrates how the fuzzy sentence tells while the “zoomed in” sentences show

Following our share time, I wrapped up the mini-lesson by reminding students to use this technique in the computer lab (where we were going next) where they were to continue revising their memoirs.

Side note:  Because I thought my students might confuse ‘zooming in’ with “exploding a moment,” a technique we had explored a few days before,  I reminded them that writers “explode a moment” when they want to fully develop the most suspenseful, climactic part of their narratives.

On the other hand, writers can focus the binoculars and “zoom in” at anytime during a story.  “Zoomed in” detail makes the difference between vivid and dull writing. It’s especially useful for grounding dialogue… adding scene-setting imagery and details to conversations to develop characters or set a scene. Without this grounding, dialogue can feel like mere isolated lines of speech devoid of life.

After returning the conversation to zooming in, several students skimmed through their drafts looking for places where they could focus their binoculars and describe a person, object, or landscape more acutely.

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This activity lasted for about twenty minutes. It was just enough time to explore the concept sufficiently, yet also leave enough time for students to immediately practice it in the computer lab, which is where we spent the remainder of the class period.

Since I had requested that their next draft be 750 words,  most students recognized the lesson’s usefulness in helping them to increase their word count.

I felt this lesson resonated with my students. There was real purpose in it and they were able to immediately implement it.


Thanks for reading again this week! Feel free to click like and leave a comment or question. And if you have any ideas to share, please do! If you’d rather contact me directly by email, please contact me at marilynyung@gmail.com. Have a great week! 

Acknowledgement: Thanks to author Barry Lane and Texas ELAR Coach at Teachers Pay Teachers for the use of their fantastic materials.

 

 

I teach kids it’s okay to be rejected

Rejection proves that my students are indeed writers

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Here’s a picture of my students posing with their first rejection letters from a youth writing contest. They thought it was funny that I wanted their picture. I just wanted them to know that a rejection letter proves that they are indeed writers.

I teach kids it’s okay to be rejected.
I teach them it’s okay to fail and
That it’s good to receive a rejection letter because
That’s what writers do: They get turned down.

I teach kids it’s okay to be rejected.
I teach them to risk it all and
Write it down now because
That’s what writers do: they deal in danger.

I teach kids it’s okay to be rejected.
I teach them to give themselves permission
To write a junky, uninspired first draft because
That’s what writers do: they don’t wait for inspiration.

I teach kids it’s okay to be rejected.
I teach them their words must work hard,
That lazy words aren’t worth their time because
That’s what writers do: they crave precision.

I teach kids it’s okay to be rejected.
I teach them to write, to rewrite, try once more
Only to receive this message yet again:
“Best of luck in your creative endeavors.”

And then I photograph my kids,
My fiery bunch of seventh-graders,
Clutching their “Best of luck” letters because
That’s what I do: I create writers.


Thanks for reading! I’m a big advocate of encouraging students to enter any and all writing contests I can get my hands on. Click here for my favorite contest of the year, the Daughters of the American Revolution American History Essay Contest. See my Student Writing Contests page for the entire list of contest I use.

Next year, I’ll be moving to a new school district where I’ll be teaching high school students. There are even more contests for older students than younger ones, so follow my blog to learn about those opportunities!

 

My attempt at teaching kids how to add narration into their dialogue

Here’s a mini-lesson I created a few months ago

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Photo: Unsplash

Kids love to write dialogue, but it often ends up being just a series of spoken words… a lengthy showcase of spoken words followed by any one of the following: he said, she said, he replied, she stated.

This year, in my AOW and EOW assignments, I would occasionally ask students to start their responses with dialogue. I did this to encourage (or force, I guess, since it was required in the assignment) students to add narrative elements to their writing. Sure, it’s easy to just respond to a prompt with “The central idea of this article was…”. However, another level of complexity is added if one must start with dialogue. When one adds dialogue to the standard response, a story is automatically brought into the mix.

Once the students became accustomed to using dialogue in their responses (in effect, they’re blending genres, aren’t they?!), I noticed that the dialogue lacked narration… the additional information writers build into their dialogue to show setting, personality traits, reveal motivation, or other important details.

To show students what I was talking about when I asked them to add narration to their dialogue, I took two excerpts from two novels from my bookshelves, A River Runs Through It by Norman Maclean and A Separate Peace by John Knowles. For each novel, I found a short excerpt and typed it verbatim into a Word document as published. Then I took those same excerpts and removed the narration. Here’s a photo of the handout I made for this activity:

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The handout above (sorry about the quality of the picture, by the way), contains excerpts from the two novels. I chose dialogue that possessed descriptive narration. 

Here is a picture of the back side of the above sheet:

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This back side of the handout shows the two excerpts with the narration removed.

I read aloud each passage from the novels, starting with the excerpt WITHOUT narration, and then followed with reading the respective excerpt WITH the narration. Then I asked:

  • What do you notice?
  • What do we learn when we have the narration added to the dialogue?
  • What did the reader miss out on by not having the extra information that the narration provides?
  • What else does the narration accomplish?

We basically just discuss the narration’s effect on the text. It’s a good way for kids to readily experience the benefits of narration and how it can help their dialogue work harder for them.

At the beginning of class, I put the following quote on the Smartboard from WritersDigest.com to prep them for our mini-lesson. Here’s that quote, which they copy into cursive on a sheet of paper and then turn in for points.

Conversations should never take place in a vacuum. The narration needs to firmly ground your reader in time and space…Narration anchors the reader and creates the atmosphere of the setting and the specific circumstance of the scene.—Helga Schier, PhD., Writer’s Digest

Here’s how I would change this mini-lesson for next time:

The handout needs to have one novel’s excerpts on each side. As we went over the handout, the kids were flipping the paper back and forth from the excerpt without narration and then to the one with narration on the back. It would have been more effective to have the “without narration” excerpt for one of the novels on the top half of the page followed by the “with narration” excerpt below it. Seeing the before and after versions would have helped students more easily see the difference the narration makes.

I felt like the kids understood more about narration after this mini-lesson, but it’s a topic that definitely needs another go-over because I didn’t see many practice it in their assignments. No doubt this skill should be worked on with some in-class writing assignments so kids can apply it when I’m around to help or offer support.

A few kids (the stronger writers) did add some narration, but even some of those merely added lazy adjectives or adverbs to their dialogue, a la the following example:

“No, I don’t think you understand,” Mom stated urgently.

Not quite what I had in mind!

So obviously, narration in dialogue is a work in progress and like everything else that I teach, it takes repetition and practice.


Thanks for reading again this week!  Have a great June… what I call the Saturday night of the summer for teachers! Let me know your thoughts on this post and follow my blog for more middle and high school ELA teaching stories.

My Attempt at a STEM-Themed Activity: Exploring Coffee Lids

This project was a long time in the making… brewing, I mean

 

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A student writing about her coffee lid, which you can see in the paper bag.

 

This week, I’m posting several photos from a lesson and activity that’s been in the works for a few months, if not for a year. About a year ago, I found an article online on MentalFloss called “9 Facts about Coffee Lids You Didn’t Know You Needed.” The article featured a new book called Coffee Lids by architects Louise Harpman and Scott Specht. The book is a showcase and discussion on the design and evolution of the coffee cup lid. The book includes photographs of more than 150 coffee cup lids and includes commentary on the history of this ubiquitous example of how “form follows function” even in the most mundane of objects.

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Last year, I created an AOW (Article of the Week) assignment based on the “9 Facts” article to introduce the coffee cup lid from a engineering and design standpoint.

It never worked out to assign the AOW last year, but I kept it in mind for this year and finally, with only two weeks to go until school’s out, I finally assigned the AOW assignment plus an additional activity where students could hone their descriptive writing skills.

The first requirement for this project was to collect as many different styles of coffee lids as I could find. I ended up with about 28 different styles. (Most of them were included in the book, by the way.) A handful of students and parents contributed some of the lids. I collected the rest from coffee shops, restaurants, gas stations, and from friends. I started collecting in January and by mid-April, I had enough to do the activity.

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I collected about 28 different styles of coffee cup lids.

About two weeks ago, 8th-graders read and responded to the AOW. This assignment basically formed the introduction to the activity that they completed last week. That activity? To write a descriptive paragraph(s) about one of the lids, which would be written so descriptively that a reader could match the text to the lid without either being labeled.

I took my two classes of my 8th-graders to the gym and to the safe room to write their descriptions last Thursday. They spent about half of the 50-minute class period handwriting their descriptions on notebook paper, and then the other half back in my classroom typing up their descriptions and printing them out.

Leaving my classroom to write their descriptions was beneficial because the gym and safe room are big enough that kids could space out and open their brown bag that contained their coffee lid. (The gym actually worked best, since kids could REALLY space out from each other.) The lid had a sticker on the bottom that students would use to match up to the cup’s descriptive paragraph.

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Students read the descriptive paragraphs and then attempt to find the lid described. The lids were set out on some desks just out of view to the right in the photo above. There were too many lids for them to match up, so next time I’ll have each section match up their respective descriptions and lids.

Overall, the activity didn’t work as well as I hoped it would. On Friday, when kids matched up the lids to the descriptions, there was just too much matching to be done. The descriptions were simply not detailed or precise enough so the lid descriptions could be distinguished from each other. As a result, students gave up after matching up about six lids to their descriptions. Maybe next time, I should create a sheet that they fill out instead of having them write lid numbers on Post-It notes attached to each description.

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I numbered each lid and then put it in a paper bag before passing out one to each student. They wrote their paragraphs and titled them with “Lid 7”, for example.

Oh, well. At least I have two ways to improve this activity for next time: 1) provide more detailed descriptions by requiring students to add precise measurements to their descriptions, and 2) have students match up fewer lids to their descriptions. I have 24 total eighth-graders and it was just too difficult and time-consuming to match up all 24 lids to their descriptions.  Next time, I’ll have each class of twelve match up only their lids.

Here’s a photo of the AOW that was assigned first:

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This is page 1 of the 4-page handout.
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This is page 3 of the 4-page handout.

Here’s the handout I created for the descriptive paragraph activity:

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This was my first attempt at an assignment sheet for the activity. The sheet includes instructions plus an example that I wrote at the bottom. I decided that students didn’t need to use the MLA formatting in the upper-left corner.

I definitely liked this activity for its STEM focus. It encouraged my students to think more deeply about the design and engineering of a common object that they’ve never given serious consideration to. Concepts such as froth accommodation, olfactory satisfaction, and slosh reduction, which were first introduced in the AOW, revealed to them how much design and innovation goes into throw-away items, while also providing some unusual domain-specific Tier 3 words to talk about!

It was fun to see them studying closely all the different kinds of coffee lids, really noticing the minuscule details of each and then transferring those details into their writing. For this first attempt at this project, maybe that’s enough.

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Getting out of the classroom, especially during spring testing, was beneficial on its own. Here, one student studies her lid while it’s in the bag, so no one else can see it.

 

Thanks for reading! I wrote this post quickly. If something is confusing, please let me know. Also… I realize some of the photos didn’t transfer well. Please let me know if you have questions and I’ll be happy to help. Also, feel free to comment with your thoughts or ideas on this activity. I like to try to incorporate STEM topics into Language Arts. What have been your experiences with STEM activities?