Cowles Cowles | My Absolutely Crummy First Draft:Shirley The Trials and Triumphs of Motivating the Adolescent Writer page 74 My Absolutely Crummy First Draft: The Trials and Triumphs of Motivating the Adolescent Writer I f only I had a penny for every time I heard, “It’s not very good,” or “I really don’t like writing.” It has been a journey, to say the least. Sometimes it felt as though I were moving uphill in a pushcart from the 1850s, old and rickety with rusted out wheel spokes and warped wooden planks buckled from sitting still in the intense summer heat. But as my students and I trudged up that twisted dirt road together, along the way our experiences often included listening to the sweet song of a chickadee, gazing up at a cloud formation or brushing our fingertips over tall wheat undulating in the breeze. Working with gifted young adolescent readers and writers in a weekly pullout program is both a challenge and a joy. Their energy, combined with imagination, candor, and spontaneity makes for an interesting concoction of discourse, and ultimately, if mixed well and simmered long enough, a recipe for success with the writing process that yields lifelong readers, and courageous writers. So just how does an educator motivate her middle level students to write, regardless of their academic abilities? How do you teach writing? What is the perfect recipe for success and how can we get our students to understand writing is thinking and writing matters? How can you discover your students’ talents and interests in an effort for them to develop a sense of self as they progress academically? In public middle schools today, there is significant emphasis on establishing student engagement, discourse, and connec- tions. I believe creative writing is one tool an educator can use to begin to develop positive relationships with their students and, at the same time, produce resilient writers. Establishing a foundation around the origins of writing, embracing one’s own voice, and emphasizing that revision is the key to good writing, are cornerstones to building a community of writers. The first piece of writing I share with my young adolescents is a simple letter, “I care about you, you are important to me, and I want you to succeed. Now, you might say, These students don’t need motivation! They’re gifted! Yes, they are bright and do well academically. However, there are, hidden among them, twice exceptional students, perfectionists, introverts, students experiencing social and emotional difficulties, and underachievers. Creative writing exercises encourage critical thinking and motivation in students, even the ones who are hesitant to try. Where Did Writing Come From? In an attempt to build a community of writers and frame middle level students’ beliefs around writing and the writing process, I introduce students to the question of where writing originated, from early man painting pictures on cave walls to hieroglyphics to cuneiforms and papermaking, from Chinese calligraphy (Fisher, 1978) to the Book of Kells to the invention of the printing press and the discovery of the Rosetta Stone. These historical introductions, examinations of secondary sources, and even writing our own calligraphy (Figure 1) allow students to build background knowledge and begin to see the sequence of development from pictograms to graphology to modern language. Copyright © 2015 by the National Council of Teachers of English. All rights reserved. Voices from the Middle, Volume 23 Number 2, December 2015 o74-80-Dec15-VM.indd 74 10/30/15 8:36 AM Cowles | My Absolutely Crummy First Draft: The Trials and Triumphs of Motivating the Adolescent Writer page Got Voice? Figure 1. Student calligraphy Figure 2. Newspaper found poem 75 With the historical perspective in place, students begin to germinate from researchers who have investigated word origins and languages to practitioners beginning to take ownership of their own word choice and voice development. By generating their own favorite word jars (Allen, 1999) and lists, creating poetry using cut-up words from actual poems, along with crafting a newspaper found poem where the focus is solely on selective word choice (Dunning & Stafford, 1992), students morph chosen words into short phrases and the elements of poetry (Figure 2). During monthly library visits students are encouraged to utilize small sticky notes to identify words of interest from their independent reading books and then use them in their own speaking and writing (Figure 3). The beauty then, of a single word, has been transferred into the writer’s own vocabulary or incorporated into an original piece of writing that empowers the writer to take their skill to greater heights. Figure 3. Sticky-note words—swath/acquiescing/usurp/ azure/upheaval/fealty Voices from the Middle, Volume 23 Number 2, December 2015 o74-80-Dec15-VM.indd 75 10/30/15 8:36 AM Cowles | My Absolutely Crummy First Draft: The Trials and Triumphs of Motivating the Adolescent Writer page 76 Young adolescents love giving “voice” to an inanimate object from our artifact bag that contains objects such as a Ping-Pong ball, chopsticks, a rock, or duct tape. Young emerging writers They select an object along with an emotion become very adept at writing card (caring, sarcastic, what they see, but often they frightened, courageous) and write a short piece overlook what they hear. giving the object that particular voice. Imagine what a creative middle school writer can come up with while matching chopsticks and the word frightened! Paul Fleischman’s “My House of Voices” (2003) is an excellent springboard for students to use as a mentor text for essay writing and voice development. Young emerging writers become very adept at writing what they see, but often they overlook what they hear. In this essay, writers are focusing on the sounds that surround them each day. They are forced to move from a visual landscape to an auditory backdrop, choosing specific words that impact our behaviors, emotions, and personalities through sound. A unit on humor enlightens students to the difficult job of writing something to get a laugh. Not an easy task. By mimicking Nancy’s Letters from a Nut (1997), students practice a humorous voice by crafting a letter to a company executive or describing an awkward social situation, including hyperbole (Figure 4). Selecting a visual image with no text, students must prove the theory that a picture tells a thousand words by crafting a 1,000-word narrative. Research is conducted around their image and great leads from popular young adult fiction are examined (Figure 5). Holocaust themes and historical background knowledge is integrated into a poetry writing assignment entitled Paper-Bag Poetry. Based on excerpts from Ruth Minsky Sender’s The Cage (1986), middle level students write a thematic poem inspired by the memoir and transfer their words onto an actual brown paper bag (Figure 6). Words have now become recognizable, decipherable, and hopefully, interesting to young writers. All of these writing exercises include creative thinking, interdisciplinary-based thematic knowledge, and research. While making the writing real and meaningful and allowing student’s choice and the opportunity to be creative, the outcome of their writing is nothing short of rewarding. In fact, it is aiding in defining who they are as young writers. Lioness: In the pride, do most of the hunting together spend 16-20 hrs of sleeping every day roar can be heard from 8 km away have amazing night vision can live more than 20 years in captivity weigh about 280 lbs Peaceful body language: head nuzzling, licking Vocalization— purrs, meows, hissing, snarls The only kind of big cat that lives in groups “I understand I should have been flattered, but being a goody goody in first grade meant boys had cooties and should not be within 30 feet of any girl.” Her eyes lock onto mine, their intelligent gleam dulled by the dusty window. What the heck was a lioness doing in the back of my car? I glance around, not exactly sure what I’m looking for. A zookeeper? Animal control? The rest of the pride, perhaps? I take a deep breath and turn my gaze back at the huge cat, who’s apparently situated her den in the backseat. I must be dreaming. Figure 4. Awkward social situation—Hyperbole Figure 5. Narrative research and lead paragraph “All the trees in a hundred mile radius must have toppled down to the ground with the racket I was making.” Voices from the Middle, Volume 23 Number 2, December 2015 o74-80-Dec15-VM.indd 76 10/30/15 8:36 AM Cowles | My Absolutely Crummy First Draft: The Trials and Triumphs of Motivating the Adolescent Writer page 77 them, and embrace them. They must become eager to tackle the revision process. The essential question, What is writing? (Atwell, 2002), is explored followed by the design of our own classroom posters. We then expand While making the writing our discussion around real and meaningful and the query, What if no one could write? and take the allowing student’s choice writer’s oath promising and the opportunity to be to write as often and as much as I can, respect my creative, the outcome of writing self, and nurture their writing is nothing the writing of others. At age twelve, identi- short of rewarding. In fact, ty is an important theme. it is aiding in defining who Students construct a “Who Am I” poem emu- they are as young writers. lating the style of Diana Chang’s “Saying Yes,” Victor Hernandez Cruz’s “Side 32,” and Emily Dickinson’s “I Am Nobody” (Schumacher, Francis, Ofner, & Christian, 2006). Writers are then invited to read their poems aloud and, instead of verbal feedback, receive a valentine from each class member written on a sticky note that includes specific, positive comments (Figure 8). This form of nonverbal feedback boosts adolescent writers’ confidence and interest in continuing to improve their writing and to share it with others. In fact, many of Figure 6. Paper-bag poetry RE/VISION: The Key to Good Writing “It’s not very good.” There it is again, rearing its ugly head! “Well, of course not, it’s your . . . crummy first draft!” I reply. “Mine’s terrible,” counters a student. “Horrible,” “Sloppy,” “Not very good.” Clearly, writing creatively is not the all-encompassing answer to producing motivated young adolescent writers. Taking ownership of and embracing the revision process allows writing to become part of their fiber as developing writers. They must see the results, appreciate “Voice is the way you express yourself through your writing. Your ‘voice’ is unique to you—no-one else perceives the world just as you do. (So, it’s special, ha-ha. Your voice is you.) As you strengthen your voice, you strengthen your writing . . . and yourself.” “VOICE in writing is the author’s unique personality shining through a piece. VOICE is what differentiates an author’s style from that of others. VOICE is the author’s personal touch and flare to their piece. VOICE is the author speaking directly to the reader’s mind.” Figure 7. Student definitions of voice Voices from the Middle, Volume 23 Number 2, December 2015 o74-80-Dec15-VM.indd 77 10/30/15 8:36 AM Cowles | My Absolutely Crummy First Draft: The Trials and Triumphs of Motivating the Adolescent Writer page 78 these final drafts are submitted for publication to a larger audience in our schoolwide literary magazine, Equus. Our prose writing includes a personal reflective letter addressed to an author of an illustrated picturebook, The time spent (sometimes poem, or piece of fica class session of 45 min- tion. This letter is meant to correspond with the utes) on a handful of stu- author about how their dents’ opening lines, lead work changed the reader’s view of the world or sentences, or poetic verse, themselves. It also gives analyzing and synthesizing, students material to enter in Letters about Literaexamining word choice, ture, a national writing eliminating wimpy verbs competition sponsored in association with Affiliand replacing them with ate State Centers for the vivid ones is priceless. Book under the Center for the Book in the Library of Congress. Who takes the time to write a letter? We do. Because writing matters. Students take risks by sharing an emotional journey, a connection made with a character or interest shared with an author. Like bungee jumping, mountain climbing, or riding an intimidating wave, taking a risk in one’s writing is equally as scary, especially for a twelve-year-old developing writer. There is never any pressure for a student to share their letters with the class (or any other piece of writing, for that matter), unless, of course, they are seeking constructive criticism. Through valentines or sharing a first line for revision on the whiteboard (Figure 9), students begin to see the value in revising one’s written work, and once one brave soul shares, they all want to jump on the bandwagon. It allows them a second chance at making the writing stronger by looking at it through a new lens, hearing a different view point, and solidifying that every word counts. Our mantra: RE/VISION is the key to good writing! Just like the artist, musician, and athlete must practice relentlessly to gain mastery in their disciplines, so must the young adolescent writer. By breaking down the word—re/vision—students discuss the meaning of the prefix and then further elaborate on the word vision. The time spent (sometimes a class session of 45 minutes) on a handful of students’ opening lines, lead sentences, or poetic verse, analyzing and synthesizing, examining word choice, eliminating wimpy verbs and replacing them with vivid ones is priceless. Figure 8. Identity poem model (Cowles) first draft & student response valentines Voices from the Middle, Volume 23 Number 2, December 2015 o74-80-Dec15-VM.indd 78 10/30/15 8:36 AM Cowles | My Absolutely Crummy First Draft: The Trials and Triumphs of Motivating the Adolescent Writer page “Wonder made me feel more human.” “Wonder made me feel more human like.” “Wonder made me feel more like a caring and kind human being.” “Every page, every word made me feel like I couldn’t stop reading.” “From the first page to the last, your words made me feel one with the book.” Figure 9. First line revisions for Letters about Literature So we understand where writing came from and what it is. We have taken the writer’s oath and recognize re/vision is the key to good writing. We know that writing is thinking and it is hard work. Now we ask, Why do we write? (Figure 10). This framework of knowledge around the writing process leads students to a better understanding of voice and its power behind the written word. The definition of voice, while it varies even among the experts, sets the stage for middle level students’ thinking around writing on a deeper level and begins to create a sense of ownership around the writing. Adolescent writers now have a personal stake in this thing we call writing, and they truly want it to be the best it can be. 79 search, inquiry, and development of my own personal writing has been invaluable on both a professional and personal level. And finally, be a writer with your young adolescents. When students see you writing right along with them, you be- As a 2012 participant of the come part of their writers’ group. When they Connecticut Writing Projhear you taking a risk to ect, the knowledge gained share your crummy first draft, you show your around adolescent writing struggles as a writer and research, inquiry, and develyour insecurities with sharing what might not opment of my own personal be your best work. But writing has been invaluable in the long run, that uphill journey moves from on both a professional and one of isolation to one personal level. of a cohesive community sharing the challenges of the writing process, learning to replace those old rusty spokes with brilliant wheels of steel and those warped wooden planks with dazzling hard wood that can stand the test of time. Who knows, you might even hear a student say, “You know what? I actually like writing!” Be a Writer Middle school educators of English language arts can benefit by investigating writing classes offered within their state. In Connecticut, The Mark Twain House in Hartford offers many excellent short-term writing classes to enhance writing talent. An exploration of your state’s National Writing Project (NWP) will greatly enrich your writing instruction, regardless of your discipline and level of instruction. As a 2012 participant of the Connecticut Writing Project, the knowledge gained around adolescent writing re- Figure 10. “Why We Write” poster responses Voices from the Middle, Volume 23 Number 2, December 2015 o74-80-Dec15-VM.indd 79 10/30/15 8:36 AM Cowles | My Absolutely Crummy First Draft: The Trials and Triumphs of Motivating the Adolescent Writer page 80 References Allen, J. (1999). Appendix E. In Words, words, words: Teaching vocabulary in grades 4-12 (p. 146). York, ME: Stenhouse. Atwell, N. (2002). Lesson 8-What is writing. In Lessons that change writers. Portsmouth, NH: Firsthand/ Heinemann. Dunning, S., & Stafford, W. (1992). Found and headline poems. In Getting the knack: 20 poetry writ- ing exercises 20 (pp. 3–23). Urbana, IL: National Council of Teachers of English. Fisher, L. E. (1978). Alphabet art: Thirteen ABCs from around the world. New York, NY: Four Winds Press. Fleischman, P. (2003). “My House of Voices.” Retrieved April, 2014, from http://www.paul fleischman.net/bio.htm#voices Nancy, T. L. (1997). Letters from a nut. New York, NY: Avon Books. Shirley Cowles is a language arts Challenge Resource teacher at Sage Park Middle School in Windsor, Connecticut, and an NCTE member since 2004. Connections from readwritethink “My House of Voices” was used in the article to teach about voice. A further use of Paul Fleischman’s essay is described in this resource from ReadWriteThink.org. http://bit.ly/1djscbu Lisa Storm Fink www.ReadWriteThink.org Voices from the Middle, Volume 23 Number 2, December 2015 o74-80-Dec15-VM.indd 80 10/30/15 8:36 AM
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