Demo Lesson
This was the first lesson that I ever taught in front of a class. I expected it to be grueling, but it was actually a lot of fun! It allowed me to see that I am going to enjoy what I do! What a relief! ; )
Some of the reading elements are missing below. If you would like to see the entire lesson, please open the attached PDF at the bottom of the page.
Cheers!
SI Demonstration Lesson
Title
The Act of Writing
Author
Ben Horjus
Grade Band
K-13 (with modifications)
Estimated Lesson Time
I am not certain, but I would guess between two to four 50-minute class periods—can be a stand-alone segment, or be part of a writing/composition curriculum (it was designed with PNW’s introductory composition class in mind). This is my first time teaching, so we will see how it turns out!
Overview
This lesson is a combination of four mini-lessons on the act of writing meant to: (1) help students see the importance of writing, (2) assist beginning writers or non-writers in the process of getting started on the first stages of writing, (3) show ways to conquer writer’s block, and (4) provide focused yet free-flowing ways to practice and hone writing skills. I developed this lesson from a document that I am crafting entitled “The Act of Writing,” which I intend to give my introductory composition students as an aid to assist them in the writing process. There are four primary sections of this lesson: (1) The Power of Writing, (2) Silence the Voices and Just Write, (3) Developing Your Identity, and (4) Revision as a Form of Discovery / Rhetorical Problem-Finding. Each section builds off of the previous section, first giving students a fuller sense of why they should write, then dealing with their fears and getting them to practice, then helping them to internalize their identity as writers, and finally showing them how revision is a learning process that comes from discovering new skills.
From Theory to Practice
Often times writing is unappreciated and undervalued in the classroom. Students see it as a means to an end, just a scribing skill that writes down thoughts already produced through pure mental strain. This instrumental view can disrupt the amazing learning potentials that come from collecting ideas and clarifying thinking through writing. It can also serve to create process tyrannies where teachers lead students through rigidly separated stages of the writing process in order to fall in line with the expected mechanical version of how writing “should” be done. One way to prevent or correct this process tyranny is to show students the power of writing, and to win them over “to enjoying and valuing writing and reading” (Walshe, 1987).
According to Anne Lamott, all writing must begin somewhere (1994). This often results in a terrible first effort that can leave many feeling like they are not skilled enough to be writers. But this is totally normal. Writers need to learn how to conquer their fears, quiet the voices in their heads, and just write. It is not possible to work with what is not written. Lamott suggests starting by getting everything down on paper, then revising it for a fix-up draft, then revising again for a dental draft where every tooth is checked (1994). Writing is revision, and this revision process is often stifled most by the writer himself/herself. Not only should writers stop listening to the voices in their heads, they should also learn to silence them as well (Lamott, 1994).
Identity is another issue for students. It is true that one needs to write in order to take on the title of writer, but it is also important for students to see themselves as writers (or potential writers) if writing is to continue in a powerful, non-mechanical way. Donald Murray states: “Attitude precedes and predetermines skill” (1982). Attitude is the prerequisite for skills. If a student does not want to learn, or does not see the value in what he or she is learning, then that student most likely not come away from a writing class changed. It is therefore imperative for writing instructors to create positive environments where students are able to build up their processes and identity, and begin to see themselves as writers partaking in the normal writing process (Murray, 1982).
The metaphor of discovery in writing has been used by many people, such as Donald Murray, who claims that language is an exploratory tool to see beyond what we know (1982). Others, like Linda Flower and John R. Hayes, claim that meaning in writing is made through rhetorical problems analysis, not discovered (1980). On the surface, these two viewpoints seem to clash, but upon further investigation we can see an overlap of agreement. Writers discover new meaning beyond what they know not by haphazardly stumbling upon it in the dark, but rather through meticulously building their rhetorical skills. They discover meaning that they themselves create through the hard work of revision. It is therefore paramount that writers remain open to exploration without knowing what they will find, all the while thinking hard, building rhetorical skills, and attempting to create their own inspirations (Murray, 1982) (Flower and Hayes, 1980).
References
Flower, Linda and Hayes, John R. “The Cognition of Discovery: Defining a Rhetorical Problem,” College Composition and Communication. Urbana, IL: National Council of Teachers of English, February 1980.
Lamott, Anne. Bird by Bird: Some Instructions on Writing and Life. New York: Pantheon Books, 1994.
Moffett, J. and Wagner, B.J. Student-Centered Language Arts. Portsmouth, NH: Boynton/Cook, 1992.
Murray, Donad. “Internal Revision: A Process of Discovery.” Learning by Teaching. Upper Montclair, NJ: Boynton/Cook, 1982.
Walshe, R.D. “The Learning Power of Writing.” The English Journal, Vol. 76, No. 6. Urbana, IL: National Council of Teachers of English, 1987.
Student Objectives
Students will:
-Watch an educational video
-Partake in reading, writing, and critical thinking activities
-Share/discuss their ideas and writing with peers
-Think like a writer as they began to walk through the act of writing
-Learn the power of writing
-Conquer their fears and self-doubts
-Begin to act like a writer
-Develop their writing voice and confidence
-Learn about healthy perceptions of the writing process and rhetorical problems
Resources for the Lesson
-YouTube video “The Power of Words” by Andrea Gardner
-Excerpts from “The Learning Power of Writing” by R.D. Walshe
-Copy of the chapter “Shitty First Drafts” in Anne Lamott’s Bird by Bird
-Examples of “Silencing the Voices”
-Excerpt from my “The Act of Writing Paper” on developing identity
-Excerpts from “Internal Revision: A Process of Discovery” by Donald Murray
-Excerpt from “The Cognition of Discovery: Defining a Rhetorical Problem” by Flower
-Example Haiku
Instructional Plan [OUTLINE]
Introduction
Explain 4 points of focus and 4 goals for accomplishment
Then begin to move through the act of writing process
The Power of Writing
Watch video – The Power of Words by Andrea Gardner
i. Take an agreed upon period of time to write down how this video showed writing as powerful
ii. Ask if any students would like to share their writing
iii. Discuss what was shared
Read Walshe excerpt on the power of writing
i. Split into groups of two
ii. Pick one of the inventions that Walshe mentions and take an agreed upon amount of time to come up with a few reasons why it would never have been made without writing
iii. Ask for volunteers to share and discuss their answers with the class
Read other Walshe excerpt on the necessity of writing in order to become a better writer
Silence the Voices and Just Write
Read excerpt from Lamott’s Bird by Bird
i. Activity – Silence the Voices
1. Writers need to write in order to become better writers, but often times their own heads, or the critical voices of others, get in the way
2. Brainstorm with the class about fears, forces, or foes that prevent writers from writing
3. Share 3 creative writing pieces about silencing the voices
4. Have your students pick a voice that most hinders them, and take an agreed upon amount of time to have them write a silencing tale. These tales can take any form that they want
5. When the time is up, ask if anyone would like to share
Developing Your Identity
Read excerpt from my “Act of Writing” paper and excerpt from Donald Murray on developing attitudes
Activity: Build up our identity
i. Discuss traits that are necessary for the writing process. Write them on the board.
ii. Have the students pick one that represents them most and write for a few minutes about how beneficial that is, how they developed it, and how it could make them a great writer. (Students are free to use examples that aren’t written on the board.)
iii. Emphasize that they should be as narcissistic as possible. Narcissism is normally a bad thing, but for this assignment it is necessary.
iv. Tell the students to keep these writings next to them for use later on
Revising as a Form of Discovery / Rhetorical Problem Finding
Read Flower and Murray excerpts on discovery / problem-finding
Many people think that these two views conflict. Analyze with the class how they can complement one another.
i. We discover new meaning by analyzing situations and seeing new ways to string them together
ii. We discover meaning that we ourselves create through the hard work of revision
Now, have your students go back to their narcissistic free-writes. It is time to find a rhetorical problem, and then discover a solution through revision.
i. Advise the students that they will be adapting their narcissistic free writes in order to make them (1) comprehensible and (2) interesting to someone else
ii. They will do this by writing an instructional haiku poem that explains to someone else how they can grow in that student’s chosen narcissistic skill
iii. This will get them to the heart of rhetoric, forcing them to analyze their work in a new way and discover new meaning that they create
iv. Read example haiku, and then have students write for an agreed upon time
v. Ask if any students would like to share their haiku
vi. If particularly talkative, students may want to converse about how the process of creating meaning, discovering that meaning, or augmenting their identity further by allowing them to “teach” another something about writing
That’s IT!
Pluses and Wishes
Other Resources
Student-Centered Language Arts, K-12 by James Moffett and Betty Jane Wagner has some other great options for turning free-writes into rhetorical problems and then re-writing them for an audience. It incorporates dramatic monologue, interior monologue, stream-of-consciousness writing, and reflective poetry in much the same way that I incorporated free-writing and Haiku. It also offers suggested reading materials to use with each one as examples for your class.
Web Resources
YouTube is a good place to find videos that showcase the power of language. These videos could be analyzed in the same way that we analyzed “The Power of Words” by Andrea Gardner.
Google images also presents a good resource for visual learners who would like to see the alignment and structure of Haiku, and get further inspiration (possibly even ideas for Haiku illustration/decoration).
Teacher Assessment/Reflection
This is the first lesson that I have ever created, so I am not yet sure how well it will work. Based upon theory and research, and possibly the right amount of charisma, it seems to have a good chance of success. Most of the activities are not from lesson plans that I found, but from criticisms and academic essays; so, though I cherry-picked many little snippets from teaching texts here and there, I do not have any concrete evidence from past teachers of the effectiveness of this lesson plan either. However, based on the needs that are presented in American schools along with societal influences and normal, documented psychological responses to writing in the classroom, I am very positive about the success of this lesson (barring some minor tweaks, of course). It provides renewed appreciation for words, an opportunity to hilariously (hopefully) deal with fear, encouragement to just start writing, a method for developing a writer’s identity, a process for making writing exciting through discovery, and the knowledge of rhetorical skills that can be built upon to increase the student’s skill level. It also has a decent blend of media, reading, writing, and discussion. This lesson has a very thorough, well-rounded approach to the needs of a developing writer, and any writer for that matter. I would love to do this lesson in class, so I hope that it seems as successful to others as it does to me.
State (Indiana) E/LA Standards Covered (8th grade)
Covered Standards:
8.3.1 Structural Features of Literature
8.3.8 Contrast Points of View
8.3.9 Analyzed Relevance of Setting
8.4.1 Organization and Focus
8.4.7 Evaluation and Revision
8.4.8 Edit and Proofread
8.4.9 Revise for Word Choice, Organization, Pt of View
8.5.6 Write Using Precise Word Choices
8.5.7 Write for Different Purposes/Audiences
8.6.1 Sentence Structure
8.6.4 Grammar
8.6.5 Punctuation
8.6.6 Capitalization
8.6.7 Spelling
Common Core Standards (8th Grade)
Writing:
W.8.3 Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.
W.8.4 Produce Clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
W.8.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed.
W.8.10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.
Language:
L.8.2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.
Speaking and Listening:
SL.8.1 Engage effectively in a range of collaborative discussions (1 on 1, in groups, teacher led) with diverse partners on grade 8 topics, texts, and issues, building on others’ ideas and expressing their own clearly.
Reading Literature:
RL.8.1 Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.
RL.8.2 Determine a theme or central idea of a text and analyze its development over the course of the text, including its relationship to the characters, setting, and plot; provide an objective summary of the text.
RL.8.3 Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision.
RL.8.4 Determine the meaning of words and phrases as they are used in a text, including, figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including analogies or allusions to other texts.
RL.8.10 By the end of the year, read and comprehend literature, including stories, dramas, and poems, at the high end of grades 6-8 text complexity band independently and proficiently.
The Act and Power of Writing
“How important was and is this invention (of writing)? ‘Recorded history,’ says Robert Claiborne, ‘begins with the birth of writing; in most societies, so do science and philosophic thought’ (19); and the orientalist, Robert D. Biggs, adds emphatically, ‘Among all the revolutionary creations of man, writing ranks as the supreme intellectual achievement’ (cited in Claiborne 6). Which puts in interesting perspective, surely, creations such as the steam engine, the internal combustion motor, the computer, and space vehicles.
The question we need to ask of history is: What exactly was the nature of the change that writing brought into human affairs?
Writing took humanity's thinking-languaging competence and put at its disposal a technology which enabled thought to operate much more deeply than it normally does during conversation or inward reflection. This opened new vistas for learning.”
- R. D. Walshe
“The Craft, that is, the striving for quality which develops in this atmosphere, does so on the foundation of frequent writing itself, writing everyday and perhaps several times a day, so long as it doesn't become oppressive. Such regular writing looks after the principle that, fundamentally, we learn-to-write-by-writing, developing this aspect of our thinking/languaging/learning competence by using it.”
- R. D. Walshe
Silencing the Voices - Ben Horjus
Demo 1
Over-analyzation, I see you as a snake, coiling around and around and around my mind, twisting my focus back upon work I’ve already completed, making me dizzy with anxious thoughts about work not yet done, spinning me from an “Is this good enough?” to an “Are they going to like it?” to a judgmental “I could do better!” and onto an “I simply don’t know enough yet.” I have tried to take cognitive countermeasures – to grab my mind and force it with all my strength in the opposite direction of your topsy-turvy knots. Yet, you are a sly snake, and instead of untying my brain, you simply slither in the other direction, retying me up like a Hapkido master, using my own force against me. So now, because I cannot outsmart you, strong-arm you, or destroy you, I am simply going to leave you. And what’s more, I’m not going to tell you how; I’m just going to slip away, just going to ACT, leaving you to entangle yourself. You see, your snarly supinator, I now know about your “Inactivity Clause,” how you do your best constriction to an immobile head. So, this thinker is going rogue—he’s going ACTIVE. Chase after me if you’d like. Try to wreathe and writhe and weave me up anew. I’ll just follow up one action with another, leaving no time for you. Eventually, you’ll become ensnared with your own over-analyzation, asking yourself questions like “Why do I bother chasing him anymore?” and “Is anything I do of consequence?” How’s that for a taste of your own medicine?
Demo 2
Over-analyzation keeps me from writing. I’d like to blast it off of my brain with a sonic wave-blasting gun like Spider-Man blasts off the alien symbiote suit, and then destroy it with high heat and sound waves.
Demo 3
One fine Wednesday morning, Ben couldn’t stop over-analyzing a demonstration that he had to give in front of his NWIWP SI class. He walked up to the blackboard and grabbed a piece of chalk, but found that his hand would not obey his head… He was unable to write on the board! Seeing Ben’s peril, all of his friends jumped up and ran to his aid, shoving pencils and rulers and pretzel sticks in his ears to try and reach his brain. But to no avail! Finally, a stroke of genius hit Tim, and he dripped a dot of glue onto the tip of a pipe-cleaner, lowering it slowly into Ben’s right, upward-facing ear. Stick! He snagged something! The rest of Ben’s classmates quickly linked arms with Tim as he pulled on the pipe-cleaner, and began an intense tug-o-war with whatever was lodged inside Ben’s head. Sweat glistened, muscles strained, mouths grunted, and sneakers squeaked against the tile floor, until POP! Out of Ben’s ear flew an exact replica of himself, only thinner and paler, with a sinister look in his eyes. Greg immediately sent him reeling to the floor with a chest slap, while Theresa ran to alert the campus police. The authorities soon arrived and arrested the evil, eardrum clinger, charging him 20 years imprisonment for first-degree body invasion. At last, the whole class sat back in their seats and let out a collective sigh of relief as Ben, chalk in hand, began forming letters on the blackboard.
Developing Your Identity
“It seems strange to be on the celebrated end of this day, as if I'm an impostor gallivanting around in father's clothes. If I'm not careful, the townsfolk will discover my lie and run me out with torches and pitchforks.
The truth of the statement, "I'm a father," is recognized immediately. The emotion is also felt immediately. But the permanent identity shift, or rather identity augmentation, takes a while to set in. Changing one's mental representation of self is slow work. Most days, I simply feel like a glorified baby-sitter. When people congratulate me on being a father, I generally look at them with shock and amazement, as if I am hearing news for the first time. "Really? I am? You don't say!" Perhaps others are faster than I at adding layers to their self-image. Perhaps not. Who knows?
This made me think of the profound importance of mindset in the writing process. It is true that one needs to write in order to take on the title of writer, but I think that it is also important for students to see themselves as writers (or potential writers) if writing is to continue in a powerful, non-mechanical way. I will become a better father as time progresses and I have more opportunities to practice and live as a father, but only if I internalize my title and allow its significance to push me beyond rote obligation. I believe that in this respect writing is analogous to parenthood.”
- Ben Horjus
“Attitude precedes and predetermines skill. Too often we attempt to teach skills and fail because we have not taught the attitudes which make skill logical and obvious.”
- Donald Murray (pg. 80)
Discovery / Problem-Finding
Murray 74 1st, 2nd, 3rd paragraph
Page 73 and 74 of Flower
Haiku
My narcissistic free write was on having an analytical mind. So, my haiku might be something like:
Think logically
Never rush to conclusions
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