17. AUDIENCE AWARENESS FOR ARGUMENTATION
Audience awareness is a crucial strategy for writing and speeches, especially in argumentation and debate. Writers need to learn to analyze their expected audience and employ the techniques and evidence that will appeal to the specific audiences they are addressing.
This is a short activity I used with writers. I also was able to tape some commercials for like products that were tailored to different audience, such as a commercial for visiting Boston for tourists highlighting the famous tourist sites and a 1-800 phone number versus a commercial for Philadelphia for locals featuring the Academy of Music and mid-week deals on restaurants and a local area code phone number for information. I also employed a commercial for coffee aimed at tea drinkers (a Queen Elizabeth look-alike and a grandfather clock chiming High Tea time) and a commercial for milk aimed at teens. Students analyzed the arguments and how they would appeal to and persuade the targeted audiences.
Audience awareness is a crucial strategy for writing and speeches, especially in argumentation and debate. Writers need to learn to analyze their expected audience and employ the techniques and evidence that will appeal to the specific audiences they are addressing.
This is a short activity I used with writers. I also was able to tape some commercials for like products that were tailored to different audience, such as a commercial for visiting Boston for tourists highlighting the famous tourist sites and a 1-800 phone number versus a commercial for Philadelphia for locals featuring the Academy of Music and mid-week deals on restaurants and a local area code phone number for information. I also employed a commercial for coffee aimed at tea drinkers (a Queen Elizabeth look-alike and a grandfather clock chiming High Tea time) and a commercial for milk aimed at teens. Students analyzed the arguments and how they would appeal to and persuade the targeted audiences.
16. THE BASIC ELEMENTS OF ARGUMENT WRITING, explained
For students, I compare the WARRANT as when requesting a search warrant, it is the reason given to the judge to allow someone to collect evidence to support law enforcement's claim.
15. THE SIX TRAITS OF WRITING
The traits provide the common vocabulary that writers use as they work to create interesting and well-written texts. Teaching through the 6 traits of writing provides focus lessons to help writers draft, revise, and edit their writings.
Each Trait Quality (and sub-qualities) provide individual lessons. As I wrote in my blog "The Steps & Strategies of Teaching a Writing," I teach one lesson (one element) for each writing domain or trait for each writing as students draft (Ideas), revise multiple times (Organization; 1 Style element), and finally edit (Conventions) before writing final publication (see Step #8). Teach step-by-step through the writing process.
What are the TRAITS?
1. IDEAS are the main message, the content of the piece, the main theme, together with all the supporting details that enrich and develop that theme.
Trait Qualities:
Trait Qualities:
leads, introductions, and conclusions
transitions – words, phrases, sentences
pacing
patterns/structures:
3. VOICE is the writer's personal tone and "flavor," the sense that a real person is speaking to us and cares about the message.
Trait Qualities:
Trait Qualities:
Trait Qualities:
6. CONVENTIONS Trait is the mechanical correctness of the piece – accomplished through editing.
Conventions is the only trait with specific grade-level accommodations, and expectations should be based on grade level to include only those skills that have been taught.
Trait Qualities:
The traits provide the common vocabulary that writers use as they work to create interesting and well-written texts. Teaching through the 6 traits of writing provides focus lessons to help writers draft, revise, and edit their writings.
Each Trait Quality (and sub-qualities) provide individual lessons. As I wrote in my blog "The Steps & Strategies of Teaching a Writing," I teach one lesson (one element) for each writing domain or trait for each writing as students draft (Ideas), revise multiple times (Organization; 1 Style element), and finally edit (Conventions) before writing final publication (see Step #8). Teach step-by-step through the writing process.
What are the TRAITS?
1. IDEAS are the main message, the content of the piece, the main theme, together with all the supporting details that enrich and develop that theme.
Trait Qualities:
- topic - main idea
- focus
- development
- details: quantity, quality, variety, accuracy, currency, reliability
Trait Qualities:
leads, introductions, and conclusions
transitions – words, phrases, sentences
pacing
patterns/structures:
- chronological or sequence
- description: spatial or importance
- compare/contrast
- problem/solution – question/answer
- cause/effect
3. VOICE is the writer's personal tone and "flavor," the sense that a real person is speaking to us and cares about the message.
Trait Qualities:
- tone
- conveying purpose
- connection with audience
- taking risks
- point of view
- dialogue
Trait Qualities:
- striking words and phrase
- strong verbs
- descriptive adjectives (sparingly)
- specific and accurate words, i.e., proper nouns
- words that deepen meaning and make pictures
- disciplinary words
- lack of redundancy, wordiness, vagueness, clichés
- use modifiers sparingly – show, don’t tell about
Trait Qualities:
- Well-built sentences
- Variation in sentence types – simple, compound, complex, compound-complex,
- Variation in sentence lengths – compound subjects, compound predicates, phrases, clauses
- Variations in sentence beginnings
- Smooth and rhythmic “flow”
- Purposeful rule breaking for effect, i.e., fragments
6. CONVENTIONS Trait is the mechanical correctness of the piece – accomplished through editing.
Conventions is the only trait with specific grade-level accommodations, and expectations should be based on grade level to include only those skills that have been taught.
Trait Qualities:
- Punctuation
- Capitalization
- Spelling (proofreading)
- Applying grammar and usage rules
Use MENTOR TEXTS: especially picture books and poetry, novel excerpts, nonfiction excerpts, and articles. Read multiple mentor texts to see how trait is handled, reading like a writer. Read for clues about the writer’s craft; every reading becomes a writing lesson. These are samples of picture books (above) and poems (below) that I have found effective for teaching a specific trait or, in some cases, multiple trait lessons.
My advice is to read through picture books (and poetry) and ask yourself
My advice is to read through picture books (and poetry) and ask yourself
- What do I notice about the writing
- What makes this writing work
- What makes this writing effective
14. A COLLABORATIVE WRITING PROJECT THAT INCLUDES NARRATIVE, INFORMATIVE, AND PERSUASIVE WRITING
The Town Project combines narrative, informative, and persuasive (argument) writing, as well as collaboration, critical thinking, and interdisciplinary skills [and is the project my former students always mention when we reconnect]
1. In small groups students collaboratively design a town with residential, commercial, and industrial areas and government agencies. (science/math/social studies/critical thinking)
2. Groups write short histories and descriptions of their towns (informative writing)
3. Groups create commercials or ads for their businesses (persuasive/argument writing)
4. Groups populate their towns brainstorming some of the residents
5. Individually, group members choose a citizen and write a short story featuring the character (narrative writing)
See more details and expanded activities for the Town Project, such as script writing to turn one of the Town's stories into a radio show, and meeting speaking standards, in No More "Us" and "Them": Classroom Lessons & Activities to Promote Peer Respect
The Town Project combines narrative, informative, and persuasive (argument) writing, as well as collaboration, critical thinking, and interdisciplinary skills [and is the project my former students always mention when we reconnect]
1. In small groups students collaboratively design a town with residential, commercial, and industrial areas and government agencies. (science/math/social studies/critical thinking)
2. Groups write short histories and descriptions of their towns (informative writing)
3. Groups create commercials or ads for their businesses (persuasive/argument writing)
4. Groups populate their towns brainstorming some of the residents
5. Individually, group members choose a citizen and write a short story featuring the character (narrative writing)
See more details and expanded activities for the Town Project, such as script writing to turn one of the Town's stories into a radio show, and meeting speaking standards, in No More "Us" and "Them": Classroom Lessons & Activities to Promote Peer Respect
The students who crated CATMiDoL Island decided to combine their initials and then make their town an island in the shape of a cat's head. Listening to their brainstorming and decisions was fascinating. The right ear houses the fishing docks, as fishing and canning are the Town's industry; the left ear is the airport. They decided that the business district shouldn't take up the valuable beach property that could be used as for tourists, and they kept the tourists (and the wealthier homeowners in Residential Areas II and III) away from the smells of the fishing docks and the cannery. Lots of critical thinking and negotiating was going on. They decided that instead of one person writing the town description, they each would write about a section of their Town, and then they each wrote a short story about a Town citizen.
The history of Sewaulf Park is another Town described in No More "Us" and "Them."
The history of Sewaulf Park is another Town described in No More "Us" and "Them."
13. BRAINSTORMING SETTINGS FOR NARRATIVE WRITING
In keeping with "writing what we know," writers can brainstorm and gather ideas from places they have experienced to create settings and even plot ideas for narrative writings: fictional stories, personal narratives, memoirs, and descriptive writing (and, in some cases, informative writing) using a chart such as this. Writers can add to the chart throughout the year as ideas surface from texts read and class/group discussions about readings and other writings.
In keeping with "writing what we know," writers can brainstorm and gather ideas from places they have experienced to create settings and even plot ideas for narrative writings: fictional stories, personal narratives, memoirs, and descriptive writing (and, in some cases, informative writing) using a chart such as this. Writers can add to the chart throughout the year as ideas surface from texts read and class/group discussions about readings and other writings.
12. WRITING FOR AN AUTHENTIC AUDIENCE
When writers write for an authentic audience, I find that they tend to write better, research more, and acknowledge the importance of editing.
Suggestion: Follow the Steps for Informative Writing in Writing Strategies #6 and 7. Publishing is the final step to a formal writing. And see my Research Strategy #2 for examples of writing Informative Texts as picture books.
When choosing a format, students analyze mentor textss, not only for amount and type of content, but for format features such as font size, visuals—photos or drawings and percentage in relation to text; diagrams and charts; use of color; placement of facts; headings and subheadings; technical language; in brochures, # of columns; text structure; etc.
If they are writing for a younger audience (picture books), they need to think about word choice and vocabulary. If they are writing for an audience who is unfamiliar with topic, they need to make decisions about what explanations may be necessary.
Where I Get My Mentor Texts:
I gather brochures when at museums, historic venues, hotels, and even doctor offices and have found nutrition and exercise brochures at my gym.
I have employed pamphlets and instruction manuals from my purchased products and those I read when beginning a new sport.
News articles and topical journals and magazines such as Sports Illustrated and Tennis are easy to find.
Sleeping Bear Press has ABC books, as do other publishers.
I have used George Washington's Teeth as an example of an informative picture book and as a narrative informational poem.
I gathered commercial scripts from Garrison Keillor's Prairie Home Companion website, but students could viewcommercials and read ads from a variety of places to see how information is woven in.
Suggestion: Follow the Steps for Informative Writing in Writing Strategies #6 and 7. Publishing is the final step to a formal writing. And see my Research Strategy #2 for examples of writing Informative Texts as picture books.
When choosing a format, students analyze mentor textss, not only for amount and type of content, but for format features such as font size, visuals—photos or drawings and percentage in relation to text; diagrams and charts; use of color; placement of facts; headings and subheadings; technical language; in brochures, # of columns; text structure; etc.
If they are writing for a younger audience (picture books), they need to think about word choice and vocabulary. If they are writing for an audience who is unfamiliar with topic, they need to make decisions about what explanations may be necessary.
Where I Get My Mentor Texts:
I gather brochures when at museums, historic venues, hotels, and even doctor offices and have found nutrition and exercise brochures at my gym.
I have employed pamphlets and instruction manuals from my purchased products and those I read when beginning a new sport.
News articles and topical journals and magazines such as Sports Illustrated and Tennis are easy to find.
Sleeping Bear Press has ABC books, as do other publishers.
I have used George Washington's Teeth as an example of an informative picture book and as a narrative informational poem.
I gathered commercial scripts from Garrison Keillor's Prairie Home Companion website, but students could viewcommercials and read ads from a variety of places to see how information is woven in.
11. A GETTING-TO-KNOW-YOU "WRITING" ACTIVITY
This was my activity to help students (and teachers) to not only learn each others' names but to get to know each other (from No More "Us" & "Them": Classroom Lessons and Activities to Promote Peer Respect (review by writing expert Vicki Spandel)
Step 1: Brainstorm categories, i.e., favorite foods, books, sports, hobbies, pets, places, family, mementos,...
Step 2: Each student lists things they like in each category, something that tells about THEM.
Step 3: Students rough-sketch their letters—capital or small or mixture—into images that tell about them and their lives.
Step 4: They fold cardstock into a long tent, and draw letters and color.
Step 5: Students meet in small groups and, looking at each sign, discuss what they are learning about each other and what they all have in common.
For ELA classes, this activity also introduces the writing process: brainstorming, organizing, drafting, revising and editing.
After everyone knows each other, the signs can be kept in the classroom and brought out when substitutes or speakers are visiting the classroom. [Idea: In distance learning, could the camera focus on the name plate for those who wish not to appear on camera?]
What do you learn about me from my name sign above? [I love tennis, schools attended and taught, my husband who runs with our 2 Aussies, I golf, the 3 books I wrote (at the time of the sign); I am a pescatarian.]
Note: An Informational writing-research assignment, my Names Project, is also included in No More "Us" and "Them." Students enjoyed researching their names and writing about them in different formats.
Step 1: Brainstorm categories, i.e., favorite foods, books, sports, hobbies, pets, places, family, mementos,...
Step 2: Each student lists things they like in each category, something that tells about THEM.
Step 3: Students rough-sketch their letters—capital or small or mixture—into images that tell about them and their lives.
Step 4: They fold cardstock into a long tent, and draw letters and color.
Step 5: Students meet in small groups and, looking at each sign, discuss what they are learning about each other and what they all have in common.
For ELA classes, this activity also introduces the writing process: brainstorming, organizing, drafting, revising and editing.
After everyone knows each other, the signs can be kept in the classroom and brought out when substitutes or speakers are visiting the classroom. [Idea: In distance learning, could the camera focus on the name plate for those who wish not to appear on camera?]
What do you learn about me from my name sign above? [I love tennis, schools attended and taught, my husband who runs with our 2 Aussies, I golf, the 3 books I wrote (at the time of the sign); I am a pescatarian.]
Note: An Informational writing-research assignment, my Names Project, is also included in No More "Us" and "Them." Students enjoyed researching their names and writing about them in different formats.
10. PEER REVIEW FOR REVISING A WRITING
An effective strategy for helping writers to revise their writings is feedback that "praises, prods, and polishes" by peer review. I have found the optimal number in a peer review group to be three—in each round is a writer and two reviewers—because the writer is not overwhelmed by too many suggestions.
An effective strategy for helping writers to revise their writings is feedback that "praises, prods, and polishes" by peer review. I have found the optimal number in a peer review group to be three—in each round is a writer and two reviewers—because the writer is not overwhelmed by too many suggestions.
Forming Peer Review (or "Peer Response") Groups:
I allowed my students to choose their groups for narrative and memoir writing which may be personal. For informative and argument writing I might form the groups, choosing students whose strengths and weakness as writers balance each other. By the time of the year that students are writing independent self-selected pieces (see my chart in Strategy #8 below), the peer review strategy has become so ingrained that a student might just ask, during Writing Workshop Independent Writing time, if there are two other students who are at the appropriate place in their writing process who can join for a peer review session.
I allowed my students to choose their groups for narrative and memoir writing which may be personal. For informative and argument writing I might form the groups, choosing students whose strengths and weakness as writers balance each other. By the time of the year that students are writing independent self-selected pieces (see my chart in Strategy #8 below), the peer review strategy has become so ingrained that a student might just ask, during Writing Workshop Independent Writing time, if there are two other students who are at the appropriate place in their writing process who can join for a peer review session.
Tips for Successful Reviews:
I have had students of all ages, from elementary to college writers, volunteer that peer review—done in this matter—was helpful and did not feel like they or their writing was being criticized. They especially liked that the writer could choose to use the suggestions or not but found that they usually did.
- Make sure that the peer writers review in the listed order.
- Praising what the writer does well is important because it leads to writers doing more of whatever worked well (and knowing what not to delete or change when revising)
- The writer does not respond to the reviewers. In Step #2 the reviewer is merely giving insight into how a reader may react. The writer simply notes the two readers' (listeners') comments and then can decide if they want to employ those suggestions or not. It is still the writer's writing.
- When introducing peer review, the teacher can read a short draft and fishbowl with two colleagues or two students. It is only necessary to show them responding to the teacher's writing; it is not necessary—for demonstration purposes—to read and respond to all three writings.
- During Student Peer Review, everyone takes a turn reading their writing and giving responses.
- Make sure reviews are specific:
- I liked your use of the senses when you wrote how the backyard in your new house, not only looked, but smelled "like cut grass" and sounded "like the birds constantly chirping at each other".
- As a reader I would like to know if this was the first time you had a big yard.
- I would suggest that you try moving your first paragraph further down in the writing because it would be interesting to see the yard before the reader hears about the neighborhood kids playing games. It would set the scene.
I have had students of all ages, from elementary to college writers, volunteer that peer review—done in this matter—was helpful and did not feel like they or their writing was being criticized. They especially liked that the writer could choose to use the suggestions or not but found that they usually did.
9. TEACHING VOICE IN WRITING
VOICE: one trait that elevates writing—and my strategy for teaching it.
VOICE: one trait that elevates writing—and my strategy for teaching it.
When writers share their drafts, they hear the different voices and can discuss how the audience, the format, and the writers' diverse perspectives and purposes influenced voice.
Rockwell, Norman. "Cheerleaders (Losing the Game)." Saturday Evening Post cover, Feb 16, 1952
Rockwell, Norman. "Cheerleaders (Losing the Game)." Saturday Evening Post cover, Feb 16, 1952
8. WRITING THROUGH THE YEAR
Teaching through the Gradual Release of Responsibility Model, moving from what writers know and/or what is familiar to what is new or more complex. This is how I scaffolded WRITING THROUGH THE YEAR.
Teaching through the Gradual Release of Responsibility Model, moving from what writers know and/or what is familiar to what is new or more complex. This is how I scaffolded WRITING THROUGH THE YEAR.
Free Writes (see Writing Strategy #1) were held every day (or teachers with shorter class periods can alternate days with Vocabulary), and Test Writing format (On-Demand Writing) was taught/reviewed one Friday/month (my Test Prep Days).
Daily Reader Response Writing a/k/a Writing to Learn was taught within Reading lessons, scaffolded through the year (see "The Importance of Reader Response").
Modes or types of writing were taught in order of complexity: Narrative > Memoir or Narrative Nonfiction > Informative Writing, adding Research > Opinion or Argument Writing, depending on the grade level. Within each mode of writing, Writing Workshop Focus Lessons are employed to teach the use of Trait or Domain qualities for that mode (i.e., Informative writing leads), and different formats can be taught within each mode, such as essays, stories, graphics, and a variety of types of poetry, all of which build the writer's toolbox. For an example with Informative Writing, see Writing Strategies #6-7.
At the end of the year (the last 4-9 weeks), writers were given the choice of topic, mode, and/or format in order to have a chance to use the tools to build writings. An analogy: first we teach builders how to use a saw and let them practice; then we teach them how to use a screwdriver and let them practice, and so on. Then they may decide for a project whether to use a saw or screwdriver or both. At some point we need to give them the independence to plan an entire building project and to select which tools they feel will be most effective and useful for that project—and at what point.
Note: Writings can be short and not all writings need to need to be taken to final publication.
Daily Reader Response Writing a/k/a Writing to Learn was taught within Reading lessons, scaffolded through the year (see "The Importance of Reader Response").
Modes or types of writing were taught in order of complexity: Narrative > Memoir or Narrative Nonfiction > Informative Writing, adding Research > Opinion or Argument Writing, depending on the grade level. Within each mode of writing, Writing Workshop Focus Lessons are employed to teach the use of Trait or Domain qualities for that mode (i.e., Informative writing leads), and different formats can be taught within each mode, such as essays, stories, graphics, and a variety of types of poetry, all of which build the writer's toolbox. For an example with Informative Writing, see Writing Strategies #6-7.
At the end of the year (the last 4-9 weeks), writers were given the choice of topic, mode, and/or format in order to have a chance to use the tools to build writings. An analogy: first we teach builders how to use a saw and let them practice; then we teach them how to use a screwdriver and let them practice, and so on. Then they may decide for a project whether to use a saw or screwdriver or both. At some point we need to give them the independence to plan an entire building project and to select which tools they feel will be most effective and useful for that project—and at what point.
Note: Writings can be short and not all writings need to need to be taken to final publication.
7. INFORMATIVE WRITING: From Draft to Publication & Assessment
Part 2 shares the last 4 steps and strategies for INFORMATIVE WRITING.
(For Steps 1-6, see Writing Strategy #6)
7. Students use their brainstorming and prewriting activities to DRAFT an informative essay.
8. For the REVISION and EDITING steps, the teacher chooses one lesson from each Domain or Writing Trait for a daily FOCUS LESSON.
10. Last, the teacher designs a RUBRIC that would equally ASSESS writings in any format, assessing only what was taught for that writing.
(For Steps 1-6, see Writing Strategy #6)
7. Students use their brainstorming and prewriting activities to DRAFT an informative essay.
8. For the REVISION and EDITING steps, the teacher chooses one lesson from each Domain or Writing Trait for a daily FOCUS LESSON.
- Lessons on IDEAS can be taught during prewriting;
- ORGANIZATION qualities that focus on the actual order or pacing of the writing can also provide a focus lesson during prewriting as writers organize their brainstorming.
- Other ORGANIZATION lessons, such as leads,conclusions, and transitions, can be taught in a revision lesson.
- One STYLE lesson, either WORD CHOICE, SENTENCE FLUENCY, or VOICE, is taught as a revision lesson.
- A CONVENTION lesson is taught during the editing stage.
10. Last, the teacher designs a RUBRIC that would equally ASSESS writings in any format, assessing only what was taught for that writing.
Typical State Standards to be met by Informative Writing and the domain lessons that address those standards:
Watch for my upcoming December BLOG on the "Steps & Strategies for Teaching Writing" in which I will take readers through a piece of writing through the writing process from mentor text to final publication, applicable to all writings.
6. INFORMATIVE WRITING: PREWRITING STEPS & STRATEGIES
These are my first 6 steps and strategies for INFORMATIVE WRITING. I have found that the more time spent prewriting, the easier and more organized is the writing (and the faster the writing and revision go). I agree wholeheartedly (and my classroom experiences bear out) with writing expert Donald Graves. “Donald Graves discovered that the best writers rehearsed what they were going to write before they began."— Donald M. Murray, Pulitzer prize-winning journalist, in Writing to Deadline.
My first steps are for each student to brainstorm and discover a topic in which they have an interest and some prior knowledge or experience. generate as much content from what they already know, and use research techniques to verify and add to that knowledge. I then use each informative writing (which can be of any length and published in any format) to teach new writing and research skills, adding throughout the year.
My first steps are for each student to brainstorm and discover a topic in which they have an interest and some prior knowledge or experience. generate as much content from what they already know, and use research techniques to verify and add to that knowledge. I then use each informative writing (which can be of any length and published in any format) to teach new writing and research skills, adding throughout the year.
My next Writing Strategy post will add the next steps, beginning with Step #7 RAFT—determining the ROLE (or stance) of the writer, the target AUDIENCE, the FORMAT of the final piece, and the TOPIC of the writing which is many cases has been narrowed or expanded—moving to DRAFTing.
Watch for my next BLOG on the "Steps & Strategies for Teaching Writing" in which I will take readers through a piece of writing through the writing process from mentor text to final publication, applicable to all writings.
Watch for my next BLOG on the "Steps & Strategies for Teaching Writing" in which I will take readers through a piece of writing through the writing process from mentor text to final publication, applicable to all writings.
5. THE CLASS "WE ARE" POEM
- As an Identity poem, students write an I Am poem using the form to assist them with the format, including details and images and whatever poetic devices they have learned. Students may change verbs to one(s) they find more appropriate to describe themselves.
- Writers then each choose their favorite line of their poems and mark with an asterisk.
- Students stand in a circle around the room and, beginning with "We are Mr/Ms _______'s ____ period Language Arts class," each student then reads their favorite line. Verbs can be repeated by multiple class members.
- The class together ends with "I am an ____ grade student of _________ School."
4. WRITING A COLLABORATIVE STORY: A (Visual) Reading-Writing-Speaking Activity
- Divide students into groups of three.
- Each group chooses a picture.
- Writing Groups are to collaboratively draft a short story (characters, plot/problem, setting) with dialogue. Note: It is difficult NOT to create a story with a Rockwell picture or a Teenie Harris photograph (even for teacher-writers; see photo below).
- Each group can then present their story in Readers' Theater format with a narrator
Benefits of COLLABORATIVE WRITING:
- Group work provides instant and increased feedback and a sense of audience - elements often missing from the writing experience.
- The reactions of their peers help student writers understand they are writing for a community of readers.
- The activity reflects real-world writing situations where professionals often collaborate on presentations, reports, and projects.
3. USING TRANSITION WORDS & PHRASES
In small groups, students write a Transition Story, all groups beginning with the same sentence and using a list of transition words. They can write multiple sentences between the transitions.
This activity has writers not just learning the effectiveness of transitions but using them for organization in writing).
At different grade levels, include different transitions or transitional phrases (and a more sophisticated starter).
In small groups, students write a Transition Story, all groups beginning with the same sentence and using a list of transition words. They can write multiple sentences between the transitions.
This activity has writers not just learning the effectiveness of transitions but using them for organization in writing).
At different grade levels, include different transitions or transitional phrases (and a more sophisticated starter).
2. INTRODUCING ARGUMENT WRITING
I introduced my ARGUMENT WRITING unit with reading the picture books Hey, Little Ant and I Wanna Iguana.
Students analyzed each of the arguments to identify and evaluate the effectiveness of
1) the claims
2) the counterclaims
3) the evidence (some of which was in the illustrations)
4) the warrants (a general principle that explains why the evidence is relevant to the claim)
or, if missing, students can design warrants to fit the claims and evidence
5) the order of the arguments
6) and to identify ethos, logos, and pathos (especially in Hey, Little Ant).
Teachers can start with #1, 2, and 3 and then add elements to analyze for each argument writing
Students analyzed each of the arguments to identify and evaluate the effectiveness of
1) the claims
2) the counterclaims
3) the evidence (some of which was in the illustrations)
4) the warrants (a general principle that explains why the evidence is relevant to the claim)
or, if missing, students can design warrants to fit the claims and evidence
5) the order of the arguments
6) and to identify ethos, logos, and pathos (especially in Hey, Little Ant).
Teachers can start with #1, 2, and 3 and then add elements to analyze for each argument writing
1. FREE WRITING:
One of the most important activities we did every day at the beginning of class for 6-8 minutes (and 2 minute sharing).
ADVANTAGES:
Free Writing was not graded; writers were given points for just writing—freely.
One of the most important activities we did every day at the beginning of class for 6-8 minutes (and 2 minute sharing).
ADVANTAGES:
- Student writing became more fluent.
- Writers were less intimidated by a blank sheet or a test prompt.
- Writers were introduced to new formats as students and teachers share their free writings.
- Writers always had seeds for writings in their free write notebooks.
Free Writing was not graded; writers were given points for just writing—freely.
