2 -Lifting Level Narrative Writing Studying Craft

We encourage our students to “write from the heart,” to write about what really matters to them.  We send them off and anxiously wait for these powerful pieces to emerge.  Yet, so often when they return to share their work, it lacks detail, excitement and often is more of a retelling of events strung together with little emotional investment.  Katie Wood Ray (1999) reflects on this common situation, “Facing enough writers like Kyle finally made me realize something very difficult and important as a teacher:  The ideas behind my students’ topics were often way better than much of the actual writing they ever did about these topics.  Quite simple – it’s hard to admit – but there for me to face.  How much power could my students’ writing have to help them make waves or build bridges in the world if I only helped them to find good topics?  Didn’t I also have a responsibility to help them write about these topics well, to do these huge, important life topics justice with good writing?” (p. 9)

The resounding answer to Katie’s question is YES; yes we need to teach students strategies to bring meaning to these heartfelt topics!  But, also accompanied with that yes is the wondering of how?  How do we help writers bring their stories alive?  How do we help them create meaning that sticks and stirs emotions in others?  How do we bring justice to what matters?  How do we help them to do work like professional writers? 

Over and over again we hear published authors claim that their number one teacher is books, so much of what they’ve learned they’ve learned from studying text.   Likewise, the best teacher for our students may be books and learning how to study Writer’s Craft.  Students will always have access to books, not always access to teachers.  Writers study craft – a particular way of doing something, and in this context the knowledge a writer has about HOW to do something with words and structure.    Young writers should learn to do the sophisticated work of separating what something is about from how it is written.  Our students are accustomed to reading a text to determine WHAT it is about, but not as accustomed to revisiting the same text to learn HOW it was written and learning from those discoveries. 

The overarching goal of this unit is to teach students how to gather a repertoire of craft possibilities that will help them write well.  This is often called “reading like a writer.”  First, they read like a reader – gaining meaning and discussing text.  Then, they reread and revisit that same text but through “writerly eyes.”  This involves reading with a sense of possibility, a sense of “What do I see here that might work for me in my writing?”  Books now serve as a mentor or model for students as they write.  It is critical students see themselves as writers and, therefore, adopt a writer’s perspective.  Teachers can scaffold students in this shift in thinking through questioning, modeling and inquiry. 

Many techniques are incorporated in these lessons to guide students in learning how to lead “writerly” lives, not only for this unit but for the rest of their writing lives.  First and foremost, students will study mentor authors and mentor text.  Webster’s dictionary defines a mentor as “a close, trusted, and experienced counselor or guide.”  This perfectly describes the relationship we want students to have with selected authors and texts.  Students will look closely at the work of one published writer, letting that work function as a mentor or guide.   In turn, they will also engage in text inquiry of chosen books to gather more and more writing tools to add to their writing toolboxes.  They will view these books through the lens, “What did the author do that I could try?” Students learn to stand on the shoulders of those that have gone before them.

Studying craft is seen as a lifelong strategy – students learn how to apprentice themselves to authors and text, in order to write for various purposes and in different modes and genres.   Our students’ best mentors are writers and the text they create.  This unit guides young writers on this journey of leading a “writerly”life!

While the information contained here is not related to Unit Level Standards, important information related to UDL is included for your reference.

What is Universal Design for Learning (UDL)?

UDL is a research-based framework that focuses on proactive design and delivery of curriculum, instruction and assessment. UDL provides opportunities for every student to learn and show what they know, with high expectations for all learners.

Each student learns in a unique manner so a one-size-fits-all approach is not effective. UDL principles create options for how instruction is presented, how students express their ideas, and how teachers can engage students in their learning. (NY DOE)

© CAST, 2013

UDL
Universal Design for Learning

1. How do writers study and learn from authors they admire?
2. How do writers lead a "writerly" life?
3. How do writers gather and incorporate a variety of crafting techniques?
4. How do writers apply the writing process?
5. How do writers prepare for publication?
6. How do writers self-reflect on their experiences and growth in writing and as writers?

Concept I: Writers study and learn from authors they admire (Sessions 1-4 could be done during reading time instead)

Session 1 Writers explore a mentor text looking for interesting decisions an author made.

Session 2 Writers are people, exploring an author’s personal life and background (this lesson and others like it may be done

in reading time instead)

Session 3 Writers are people, exploring an author’s personal life and background (this lesson and others like it may be done

in reading time instead)

Session 4 Writers intentionally make choices when they write.

Session 11 Writers find writing mentors in all authors.

Concept II: Writers lead a writerly life

Session 5 Writers live a writerly type of life: Tiny Topic Notepads.

Additional lessons will be done in reading time to address this concept.

Concept III : Writers gather and incorporate a variety of crafting techniques

Session 8 Writers study the work of a mentor to see HOW the author made his or her story into a wonderful one! – Focus on developing a craft chart. Session 9 Writers study the work of a mentor to see HOW the author made his or her story into a wonderful one! – Focus on writing-in-the-air ‘and trying it!

Session 10 Writers use a storyteller’s voice through dialogue to bring a moment alive.

Session 12 Writers study a crafting technique to try in their own writing - focus on punctuation.

Session 13 Writers study a crafting technique to try in their own writing - focus on similes or other crafting technique.

Session 14 Writers study a crafting technique to try in their own writing – focus on adjectives, adverbs or both.

Session 15 Writers vary sentence structure to bring style to their writing (challenging lesson – replace if necessary).

Concept IV Writers apply the writing process

Session 6 Writers elect a tiny topic and rehearse their story ideas.

Session 7 Writers sketch and write a discovery draft.

Sessions 17-19 Writers edit so readers can read their texts smoothly.

Concept V: Writers prepare for publication

Session 16 Writers work with partners to add finishing touches to their final pieces.

Session 20 Writers work on putting finishing touches on their books and creating About the Author blurbs.

Session 21 Writers celebrate by sharing their published picture books with an audience.

Concept VI: Writers self-reflect on their experiences and growth in writing and as writers

Session 22 UNIT WRAP UP: Writers self-reflect on their experiences and growth in writing and as writers