Article referenced: “Omission: Choosing what to leave out” by John McPhee. The New Yorker, September 14, 2015. Pages 42-49.


I subscribe to The New Yorker magazine. An actual physical copy of The New Yorker arrives in the mail each week, along with an email reminding me that I also have access to the new issue (and archives) online. I’ve been a subscriber for years, and every week when the new issue arrives, I follow a pretty set routine: I look carefully at the cover to see what current news story, seasonal event, national figure, pop culture icon, or holiday is being satirized, glorified, or honored, before I flip through the magazine, back to front, carefully reading each comic.  Of course, I check out the table of contents for articles of interest. I take the subscription card, which falls out anyway, and use it to bookmark the article I want to read first. It’s a great system, really. But there is a problem. The magazine is a weekly–a new issue comes each and every week. Each issue has multiple articles that tickle my interests and the authors explore their topics in great depth, which means the articles are often long. And did I mention that the magazine comes every week? Add to this the daily life interruptions of work, household chores, raking leaves, and the books I’m trying to finish reading, and what do you get? A backlog of New Yorkers stacked on my desk with subscription card bookmarks holding the places of articles I still want to read.

That is what happened to John McPhee’s wonderful article, “Omission: Choosing what to leave out.” The September 14th issue got put into the stack and had to wait patiently for me to attack my backlog and discover this gem by a writer I’ve been reading for years. He has written books on all sorts of topics, and spent many years writing for Time and The New Yorker. Here are just a few of his book titles:

I can’t believe I nearly let this one stay buried in the stack for so long. If, as author McPhee says in this article, “Writing is selection,” then I want to select a few pieces of Mr. McPhee’s wisdom to share with you. My choices are based on connections to my classroom experience. I want to share what I know to be true from my time working with student writers.

1. “Writing is selection. Just to start a piece of writing you have to choose one word and only one from more than a million in the language.” Being a six traits guy (after all, we are the Six Traits Gurus, not the Succulent Tomatoes Gurus or the Spruce Tree Gurus),  I have always suggested to students that, at it’s core, at it’s simplest and most basic, writing is word choice. I didn’t want my students to be stymied by the blank page (or blinking cursor) to the point where they became burdened or overwhelmed with trying to imagine an entire piece before they’d even started. It’s too easy for many students to let that blank page lead them to believe “I don’t have anything to write about.”

The instructional implications for teachers are many. Students need to have seen (through modeling) and experienced all sorts of pre-writing strategies–drawing, webbing, outlining, word caches, story telling, group writing, etc. Students need to have a toolbox of strategies, and yes, it needs to include both search (narrowing) and research skills to help them with any writing form.

Most students don’t have a million words immediately at their disposal (yet) in their speaking/listening/writing vocabularies. This means that building this vocabulary pool, while they’re in school, is a job that begins on day one. That means books, lots and lots of books, and it means reading and being read to. And it will require lots of conversation, meaningful conversation about the books. And it means noticing, sharing, and archiving (word walls, personal dictionaries, etc.) new and interesting word discoveries, then finding ways to use them in everyday speech.

Knowing they have a toolbox of strategies to dig into and that their vocabularies, their pools of word choices, are growing daily  will give them the confidence to be ready to choose that first word and set their writing in motion.

2. “Now keep going. What is your next word? Your next sentence, paragraph, section, chapter? Your next ball of fact. You select what goes in and you decide what stays out. At base you have only one criterion: If something interests you, it goes in–if not, it stays out. Being able to “keep going” depends a great deal on the pre-writing work done by students, their understanding of the purpose of their writing, and an awareness of their audience for a particular piece.

I do appreciate his criterion, “If something interests you, it goes in…,” but I would add an audience/reader awareness proviso. If it interests you, it goes in, but now you have to write it so it interests your readers. This is where knowing both your purpose and your audience becomes important. If I am an expert on plumbing and I’m writing a technical manual for journeyman plumbers, I know my audience will want all the details I can provide, using all the plumber-ese jargon I know. You’re writing for experienced plumbers–your interests are most likely their interests. But if I’m the same expert, writing a basic plumbing repair/trouble shooting manual for do-it-yourselfers, all that interests me may be way more than what my audience is looking for.


Author Rinker Buck, in his new book, The Oregon Trail: A New American Journey,  devotes more than a chapter delving into covered wagon design, mechanics, and even the physics of load stress. The topic is not only important to a book about pioneers in the 1800’s, it clearly interests the author. And I must say, at least for me, he makes it an incredibly interesting topic to read about. Mr. Buck invited me (the reader) inside his interest, carefully choosing words that informed, entertained, and even motivated me to read on. Wow! Mission accomplished! Here’s a taste:

It was a baby step, and it probably didn’t happen all at once. but, once the bolts or straps connecting the wagon box to the axle were removed, the physics were hugely advantageous. The wagon box now floated free, no longer rigidly bound to the axles…Bump, the harvested corn absorbs the shock. Bump, the cordwood rearranges itself. AT the end of a long day on the wagon seat, a farmer’s butt felt like roadkill. But the running gear and axles were intact. (The Oregon Trail: A New American Journey by Rinker Buck. 2015. New York: Simon & Schuster. Page 69.)

3. “Ideally, a piece of writing should grow to whatever length is sustained by its selected material–that much and no more. How many times have you been asked by a student in your writing classroom, How long does it have be? If you’ve heard it enough times, you probably have an answer ready to go. My answer was a always a question–I don’t know. How long is your idea? I wasn’t ever trying to be being glib or sarcastic. If I answered “500 words,” or “five paragraphs, or “two pages” those limits might not have had any relation to what the student wanted to share about an experience or had uncovered about a topic. I never wanted students to find themselves counting words, pages, or paragraphs to determine the end of their piece. I also know that when you know your students well, it’s important to know when to push particular students beyond their writing comfort zones or minimalist tendencies. So, for some students and for certain types of writing, I would stretch my usual response to the “How long?” question–I don’t know. How long is your idea? And for this piece, I really think that it will take more than five sentences/one paragraph/ one page to share your thinking or all that you know.

Helping students make this stretch, then, means going back to their toolbox of skills and strategies, making sure they know both how to narrow and expand a topic and do the necessary research or reflection to become an “expert” on their chosen topic. That way the amount of “selected material” they amass will be enough to drive their writing to it’s natural wrap-up point.

4. “From the first word of the first sentence in an actual composition, the writer is choosing, selecting, and deciding (most importantly) what to leave out.

“…I scoop up, say, ten times as much stuff as I’ll ultimately use.”

(The underlining is mine, for emphasis.) I suppose that some would say that the process of “deciding what goes into” a piece of writing and “deciding what to leave out” is really the same process–different sides of the same coin, perhaps. I just think it’s important with student writers to make it an extremely thoughtful process, where the writer is fully aware of the criteria filters they’re using as each decision is made. If I want to write about how shark behavior is misunderstood by humans, and I’ve done my research like Mr. McPhee suggests in the article by gathering “say, ten times as much stuff as I’ll ultimately use,” I’m going to have some decisions about which “stuff” makes the final cut. I may even decide that some of my “stuff” needs further exploring before making that decision.With my audience and purpose firmly in mind, I’ll need to do some sorting. Here are a few examples of some of the “shark behavior is misunderstood by humans” stuff I uncovered. See which bits you might keep, toss, or mark for further exploration. What do you think should be your filters–on topic/off topic, common knowledge/”new” information, etc.?

___ Sharks live in the ocean.

___ Sharks have many teeth.

___ In Hawaii, many believe in amakua, ancestors/family members who have died and come back in another form. Sharks are often revered as amakua.

___ Goldfish are believed to have an attention span of about nine seconds.

What could happen to readers if I included too much “common” knowledge, stuff that readers most likely already know?

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Author Barry Lopez, spoke recently at Wordstock, Portland, Oregon’s literary festival. As reported in the November 8, 2015 Oregonian, “He (Lopez) described thinking as he wrote Arctic Dreams that readers didn’t need to be told the region is beautiful–they know that–but that if he could describe precisely what he had seen and felt, ‘put my right hand in the small of that person’s back and show them that,’ then he could open that world to them.” In the classroom, helping students to “describe precisely” (ideas, word choice) what each of them has “seen and felt” (voice) is at the core of effective trait-based writing instruction.


5. A Tower of Giraffes: Animal Bunches by Anna Wright. 2015. Watertown: Charlesbridge. This picture book is not mentioned in The New Yorker article by John McPhee, but I want to mention it now for use in the classroom–any classroom. The book begins by informing readers about collective nouns. A definition is offered–“a term that describes a group of individuals (e.g., troop, gaggle, flock).” What follows is a selection of examples of collective nouns from the animal kingdom–A Herd of Elephants, A Drove of Pigs, etc., accompanied by a 3-4 sentence explanation of the specific collective noun in question and a distinctive, artful illustration.

The book’s format is perfect for imitation–asking students to “research” a favorite animal’s collective noun, “scooping up” more information than what they will need, making decisions about what to keep and what to leave out, before choosing the first word to begin their own writing.

It’s a fantastic book to emphasize and practice, at the student writer level, the wisdom of a professional writer.


Coming up on Gurus . . .


Happy holidays to you and your families! We will be back in January,2016–wow, another year zoomed by! Vicki has been traveling and I’ve been back in the classroom as an occasional substitute teacher, and of course, we’ve been reading, so we’ll have lots to share in the new year. As always, thanks for stopping by, and please continue to let your friends know about us, too. Follow us on Facebook or Twitter–@VickoriaSpandel, @jeffhicks156. And remember . . . to set up your very own writing workshop or a fun classroom demo involving your own students, call us at 503-579-3034. Give every child a voice.