Tag Archive: teaching conventions


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by Vicki Spandel & Jeff Hicks

Conclusions & Conventions

FEATURE 7: Conclusions

In writing, only one thing trumps a good lead, and that is a killer conclusion—Ahab going down with the ship, or Atticus Finch, waiting for Jem to wake up in the morning, or this famous, often quoted one-liner:

“Frankly, my dear, I don’t give a damn.”

Now that’s satisfying—mostly because we’ve waited so long to hear Rhett utter those words. But imagine if Margaret Mitchell, in a moment of insanity, had written, “And then Scarlett woke up—and it was all a dream!” Cancel those movie rights. Hell hath no fury like a reader lacking resolution.

According to the CCSS, endings need to wrap things up without offending readers’ sense of logic. Surprises are fine—but lunacy doesn’t work.

 the tale of despereaux

Happily ever after? Not always . . .

Writers have to use their heads. In The Tale of Despereaux (2003) by Kate DiCamillo, for example, the author addresses the “happily ever after” question head on, assuring us that her ending will not be the ultimate cliché we expect from fables and fairy tales:

And what of Despereaux? Did he live happily ever after? Well, he did not marry the princess, if that’s what you mean by happily ever after. Even in a world as strange as this one, a mouse and a princess cannot marry.

But reader, they can be friends.

And they were. Together they had many adventures. Those adventures, however, are another story, and this story, I’m afraid, must now draw to a close. (267)

 Notice the silver lining amidst all that disappointment. The good, the bad, and . . . well, you know. That’s one kind of ending. What other sorts are there?

  1. Coming full circle—In this sort of ending, the writer finds a way to tie the ending to the beginning. Readers love this. (For a masterful example of this concept, check out Barry Lane’s very funny book The Tortoise and the Hare . . . continued.)
  2. End of the journey—This satisfying sort of conclusion marks the end of a search, the solution to a problem, the solving of a mystery, or something similar. Margaret Mitchell’s fitting ending to her Civil War love story is one example.
  3. The prediction—Forecasting what will (or could) happen can be a powerful way to close an informational piece or argument because readers love looking into the crystal ball.
  4. The solution—The writer poses a problem early on, and then offers one or more solutions, usually wrapping up with the best.
  5. The fitting quotation—A quotation that perfectly encapsulates the writer’s message or argument can provide a highly provocative, memorable ending.
  6. The epilogue—It might be fun to see Scout (from To Kill a Mockingbird), Huckleberry Finn, or Scarlett O’Hara twenty years down the road, embarking on new adventures or (in some cases) suffering the consequences of unfortunate choices.

Deadliest of them all

A good ending follows from and builds upon what has come before—but it does not repeat. The deadliest ending of them all is the one that takes us back over the trail just traveled. You know how it goes. It begins with those dreaded words In conclusion . . . And the author goes on (relentlessly) to list the three main points or arguments just made. Enough! We get it. Formula writers are hard to stop.

Instead of releasing energy like a leaky balloon, informational or argumentative endings should build in momentum until they explode with a mind blowing revelation or irrefutable last line. They should leave us saying, Of course! Why did I not see this before??!!

In “Room 9, Car 1430” (1985), author Ursula K. LeGuin argues that we should love trains more than airplanes because they allow us to travel—well, reflectively. To gaze out the window at beautiful scenery, to ride in comfort with space for our legs and reading materials, to eat at tables with linens and flowers “instead of being strapped into a seat with a plastic latter of stuff slapped down in front of you, like a kid in a high chair.” I’m already convinced, but she’s just getting started . . .

Writing as she crosses the Cascades, LeGuin delineates the advantages of train travel—all the while acknowledging that sometimes (as when heading to a funeral) speed is of the essence. You have to give opposing voices their due. She saves her strongest argument for last, bringing everything together with these spirited lines: “The plane, with its tremendous inefficiency as a passenger vehicle, is the anachronism. It is out of date. An administration seeking a sound economy would (like Japan and most European countries) be refunding its passenger train system, enlarging and improving it. Not wrecking it through underfunding and then, like a spoiled kid with a toy he doesn’t understand, trashing it.”

You feel the energy building in LeGuin’s argument, like a train charging down the track. She can’t inflame us like that and then tack on this limp ending: “So in conclusion then, the three advantages of train travel . . .” That’s how arguments are lost. And this is a writer who has never set out to lose an argument. If formula were a dragon, she would be St. George.

 

More endings to avoid at all costs

One good revision tip is to occasionally begin revising in the middle—instead of automatically starting with the first sentence you write. Revision is hard work, and if you begin to tire halfway through, the ending will always suffer. Begin in the middle, though, and you’ll still have enough steam left at the end to avoid easy-out endings like these:

  • And then I woke up and it was all a dream.
  • There’s more to tell, but that’s all I have time for right now.
  • I hope you enjoyed my story (paper, essay, etc.) and learned a lot.
  • So, cats or dogs—there are good things about both! Which one would YOU choose?
  • More research needs to be done in this vital area.
  • Perhaps the future will reveal answers to these important questions.
  • This remains a source of continual mystery for mankind.

Favorites from literature One of the best ways to learn how to write a good ending is to study what other writers have done. Become a collector and encourage students to do the same. Here are just a handful of my favorites. As you read through them, you might ask yourself what these (or favorites of your own) have in common. Is it something about the writing itself? Or is it the feelings they conjure up within you, the reader?

  • The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.    ~George Orwell, Animal Farm
  • But I reckon I got to light out for the territory ahead of the rest, because Aunt Sally she’s going to adopt me and sivilize me and I can’t stand it. I been there before.      ~Mark Twain, Huckleberry Finn
  • After Seabiscuit was buried, the old owner planted an oak sapling over him. Howard, a vigorously public man, made his last gesture to his horse a private one. He told only his sons the location of the grave and let the oak stand as the only marker. Somewhere in the high country that once was Ridgewood, the tree lives on, watching over the bones of Howard’s beloved Seabiscuit.    ~Laura Hillenbrand, Seabiscuit
  • He had won the victory over himself. He loved Big Brother.      ~George Orwell, 1984
  • However, if we do discover a complete theory, it should in time be understandable in broad principle by everyone, not just a few scientists. Then we shall all, philosophers, scientists, and just ordinary people, be able to take part in the discussion of the question of why it is that we and the universe exist. If we find the answer to that, it would be the ultimate triumph of human reason—for then we would know the mind of God.     ~Stephen Hawking, A Brief History of Time
  •  At the moment, the pig palace stands empty. People ask, “Will you get another pig?” This I don’t know. But one thing I know for sure: a great soul can appear among us at any time, in the form of any creature. I’m keeping my eyes open.     ~Sy Montgomery, The Good, Good Pig
  •  Wilbur never forgot Charlotte. Although he loved her children and grandchildren dearly, none of the new spiders ever quite took her place in his heart. She was in a class by herself. It is not often that someone comes along who is a true friend and a good writer. Charlotte was both.      ~E. B. White, Charlotte’s Web
  •  We can share our advice on how to write well without treating the people in need of it with contempt. We can try to remedy shortcomings in writing without bemoaning the degeneration of the language. And we can remind ourselves of the reasons to strive for good style: to enhance the spread of ideas, to exemplify attention to detail, and to add to the beauty of the world.     ~Steven Pinker, The Sense of Style
  •  And what dance would you do if you were a seahorse? Not just any dance. Heads together, tails entwined, you would dance the tango.     ~Twig C. George, Seahorses
  •  I buried her with her halter and two of the three ribbons she had won. Later that night I went back to her grave—“Ginweed,” I said, “we had a heck of a good time together,” and I walked away from the grassless patch of earth.   ~8th grade student, writing about the 4-H calf he had raised
  •  Fox and I still visit the pond, but it’ll never be like them three years when she was mine.    ~8th grade student, writing about his dog and the pond they both loved

Questions to ask

Following are some questions for writers to ask as they write a conclusion:

  • What’s the most burning question in readers’ minds right now?
  • Is there one significant detail I haven’t shared yet?
  • What’s the irrefutable clincher to this argument?
  • What do readers think will happen—and should that happen, or should I surprise them?
  • What do I want readers to leave thinking about?
  • What do I want readers to believe after reading this?
  • What’s the most obvious ending—and how can I avoid it?
  • Should I have stopped a paragraph—or a whole page—ago?

TEACHING Conclusions

Here are six things you can do to help students write strong endings of their own:

  1. Brainstorm endings to avoid. Then I woke up and it was all a dream seems an obvious cliché to teachers, but students use it all the time. Make a list of “easy out” endings, the ones writers use when they run out of time, energy, or patience. Keep the list posted as a reminder not to get lazy at the end; the conclusion is the writer’s best chance to make a powerful statement.
  2. Collect endings that work. In this post, I’m sharing only a handful. You and your students can collect dozens more. Look beyond books. Good endings come in periodicals, newspapers—even ads. Expand your discussion to talk about TV or film endings, too. (Remember the Breaking Bad finale?) Students who are visual appreciate connecting with endings they can see and hear, not just take in through words.
  3. What makes good endings work? Talk about this with students. Good endings have things in common: They make us (as readers) reflect or remember, suggest new possibilities, strengthen a conclusion the writer hopes we’ve reached (or will reach), give us something to ponder, answer a pressing question, satisfy curiosity, shock or surprise us—and more. Discuss the role of a good ending, and keep this discussion going as you add to your collection of favorites.
  4. Have a bad endings contest. Students love this. Choose a well-known story—it can be anything from a fable or fairy tale to a popular film or television show. Have students rewrite the ending in a way that definitely does NOT work—and talk about why. Maybe the wicked stepmother in “Hansel and Gretel” opens a counseling service. Maybe Walter White pens the pilot for a sitcom.
  5. Revise. Provide students with an unfinished story, informational piece, or argument (just chop off the final paragraph or two—whatever amount of text you think constitutes the ending). You can use anything from a news story to a short story, op ed piece, or essay. Then follow these steps: (1) Provide students with the story/article minus the ending. (2) Discuss expectations—how do they think it will end, might end, should end? (3) Have students write an ending that they believe fits, and finally, (4) Provide the actual ending and do a critique—does it work? Why or why not? How does it compare with what students wrote?
  6. Follow some good advice. Some of the best advice on endings EVER comes from Roy Peter Clark in his excellent (highly recommended!) book Writing Tools (2006, 192). It is, fittingly, the conclusion to his chapter/essay titled “Write toward an ending.” He says, “I end with a warning. Avoid endings that go on and on like a Rachmaninoff concerto or a heavy metal ballad. Don’t bury your ending. Put your hand over the last paragraph. Ask yourself, ‘What would happen if this ended here?’ Move up another paragraph and ask the same question until you find the natural stopping place.”

writing tools

FEATURE 8: Conventions—and Presentation

On 9/16/14 (Stop the Sea of Red Ink!), I wrote extensively about teaching conventions. Check that post for many details on teaching students to be strong editors.

Meanwhile, let’s look briefly at CCSS expectations for conventions, and then close with some ideas for teaching both conventions and presentation.

What does the CCSS demand?

The CCSS expectations relating to conventions are somewhat lacking in detail—presumably to grant teachers freedom to teach conventions as they see fit. Here’s a quick run-down:

  • Correct spelling
  • Correct use of punctuation
  • Correct use of pronouns
  • Correct use of intensive pronouns (myself, herself, etc.)
  • No unnecessary shifts in number or person
  • No vague pronoun references
  • Recognition and avoidance of non-standard usage

At upper levels, especially grades 11 and 12, they add the following:

  • Understanding that usage is a matter of convention, can change over time, and can be contested.
  • Skill in using relevant resources, such as a thesaurus or dictionary.
  • Skill in varying sentence patterns to increase readability and improve style.

Notes on these last three bullets

These last three bullets—those pertaining to upper grade students—are particularly interesting. The first two call for thinking skills and application of those skills, things that can only be measured through elaborately and carefully designed performance assessment. (This has serious, not-to-be-ignored implications for testing.) The third one has nothing to do with conventions—though as I’ll point out, it is vital just the same.

 Bullet 1: I cheered when I read about the understanding of conventional evolution. This, to my mind, is more significant than all the other conventions-related standards combined. It is, however, difficult to imagine how this would be measured—certainly not through multiple choice, fill-in, short answer, or true and false questions: e.g., True or false: Language is evolving.  No—typical assessment strategies won’t work here. We need observation of behavior over time by highly skilled, qualified persons who are sensitive to the ways in which language shifts—and who can recognize the signs of change in writing. Such assessment is not only monumentally difficult, but poses potential hazards for young writers even when well done. What if their writing reflects no homage to recent fluctuations? Does that mean it’s below standard? On the other hand, if a student begins sentences with And, favors fragments, uses double punctuation (?!),or uses words like hashtag, selfie, crowdfunding, and wackadoo, is this a sign he/she is linguistically evolved? And what of the person scoring this student’s work? How does he/she feel about our ever evolving language? Not everyone is a fan of change.

We must be careful to distinguish between standards, those things we have a right to expect and sufficient skill to assess—and goals or wishes, things we hope for, measurable or not. Despite this complex and treacherous web we’ve woven for ourselves, I applaud the CCSS for encouraging students to recognize language as vital and in flux. As Patricia T. O’Conner says in her engaging book Woe Is I, the “quirks, the surprises, the ever-changing nature of English—these are the differences between a living language and a dead one.”

Bullet 2: Again—effective use of resources is an admirable goal, but one difficult to assess with any validity under timed or controlled conditions. Writers who make extensive and efficient use of resources under normal writing conditions may not have the time or opportunity, under the constraints typical of most writing assessments, to show what they can do when unfettered. Nevertheless, quality writing and research demand that students become proficient with a wide range of resources, from print to Internet. This means that use of resources must be taught, even if not assessed.

Bullet 3: Varied sentence patterns: Well—music to my ears. Fans of 6-trait writing will recognize this description as belonging to our old friend Sentence Fluency, aka Trait #5. You might have thought this trait was missing from the CCSS, but it was only hiding out among the conventions. Fluency does indeed enhance both clarity and style—and can surely be assessed, as we have shown for 30 years now. Dust off your old 6-trait writing guide (or better yet, 6th edition of Creating Writers) for numerous ideas on how to teach this important trait.

CW6 Cover

Just how important IS fluency? A study conducted by the Oregon Department of Education in the 1980s showed that in fact, sentence fluency was the most important single indicator of how professional readers would score a paper. Does that surprise you? Well—it surprised me. I would have voted for voice or conventions. But, no. As it turns out, one of the best ways to entertain, educate, or convince readers is to give them sentences that

  • Vary in style
  • Vary in length
  • Begin with meaningful transitional words or phrases
  • Flow smoothly and rhythmically, inviting oral reading

Good to know. (Important to teach.)

The MOST Common Conventional Errors

You cannot teach everything relating to conventions. You couldn’t even if you had years to prepare, so be smart. Focus on the trouble spots. Following are 15 of the most common errors students (and in fact, pretty much all writers) make. If your students can avoid these, they’ll have a distinct advantage in any assessment:

  • Incorrect double pronoun: Example: Did anyone leave their books behind? Instead, write: Did anyone leave his or her books behind? English, unfortunately, has no universal pronoun to replace their—and these days, “his books” is considered sexist. Who knows? Their—once acceptable—may make a comeback, but it’s not there yet, so it’s best avoided as a replacement for “his or her.”
  • Incorrect pronoun as a sentence subject: Example: Me and him have been friends forever. Instead, write: He and I have been friends forever. You wouldn’t say Me has been his friend forever or Him has been my friend forever, so Me and him makes no sense.
  • Use of good instead of well: Example: You did good, kid! Instead, write: You did well. “You did good” is popular usage these days, but it is not standard and is unacceptable in any formal context—such as a CCSS writing assessment.
  • Incorrect use of intensive or reflective pronouns (the “selfie” gang): Such pronouns can be used reflectively: Louise prepared herself for the relatives. Or they can be used intensively: Louise herself finished off the spaghetti. They should not be used to replace other pronouns, such as I or me, in a vain attempt to make a sentence more elegant. Examples: NOT Jack and myself loved the movie, BUT Jack and I loved the movie. NOT It’s a party for Bill and myself, BUT It’s a party for Bill and me.
  • Vague pronoun reference: Example: Just before Wiley pounced on Catfish, he let out a mighty roar. Who let out the mighty roar? Wiley or Catfish? Instead, write one of the following: Just before pouncing on Catfish, Wiley let out a mighty roar. OR, Just before Wiley pounced on him, Catfish let out a mighty roar.
  • Missing commas to set off a nonrestrictive clause: This one befuddles everyone (mostly thanks to excessively formal terminology), but it’s really simple. Instead of “nonrestrictive,” think “nonessential.” In other words, it’s a clause that adds an interesting tidbit of information, but it isn’t necessary to the meaning of the sentence. When that’s the case, it should be set off by commas. Otherwise, it should not. Consider the difference between these two sentences: 1) The firefighter who rescued the child was given a medal. 2) The firefighter, who had just celebrated his thirtieth birthday, was given a medal. The expression who rescued the child is restrictive; it is essential to the full meaning of the sentence because presumably, the rescue was the reason he was awarded the medal. The expression who had just celebrated his thirtieth birthday is incidental, not essential to the meaning of the sentence—but more of an “oh by the way” comment. Therefore, it requires commas. Commas used in this way are a sort of “parentheses light.”
  • Comma splice: A splice puts two things—like strips of film—together. Unfortunately, commas do not perform this task well, and a comma cannot join two sentences (independent clauses). Example: Jim hated dogs they always seemed to bite him. Instead, write: Jim hated dogs; they always seemed to bite him. OR Jim hated dogs. They always seemed to bite him. OR Because they always seemed to bite him, Jim hated dogs.
  • Confusion of it’s and its: Here’s another easy one that pops up all the time. Remember it this way: it’s (with the apostrophe) is a contraction. All the time. No exceptions. It can stand for it is or it has: It’s raining. OR, It’s been days since we talked! Unless you mean “it is” or “it has,” write its: NOT Its too late for apologies, BUT It’s too late for apologies. NOT A turtle never sleeps on it’s back, BUT A turtle never sleeps on its back.
  • Unnecessary or inappropriate shift in tense: Moving suddenly from past to present or the reverse can create confusion for readers. Tenses should remain constant unless there’s a logical reason for the shift. Example: Elaine was watching TV, and suddenly, she starts laughing. Instead, write: Elaine was watching TV, and suddenly, she started laughing. Example: I am running down the path when I spotted a coyote. Instead, write: I am running down the path when I spot a coyote. OR, I was running down the path when I spotted a coyote.
  • Unnecessary or inappropriate shift in person: This often comes from an almost obsessive avoidance of the pronoun “I,” as if it’s rude to refer to one’s own feelings or thoughts, and more polite to shift the attention to you. The resulting sentences, though, can be awkward. Example: I was almost to the finish line when you could feel your legs cramping. Why would I get cramps when YOU are the one running? This makes no sense. Instead, write: I was almost to the finish line when I could feel my legs cramping. Example: We stared at the Eiffel Tower, and you couldn’t help wondering how long it took to build it. Instead, write: We stared at the Eiffel Tower, and we couldn’t help wondering how long it took to build it.
  • Inappropriate tense: For some reason, this error has become widespread in novels. Doesn’t anyone use past perfect anymore? Example: By the time Jill reached the bungee site, Ian jumped. This doesn’t work because Ian has already jumped by the time Jill gets there; one thing happens before the other, and the verb tenses need to show this. Instead, write: By the time Jill reached the bungee site, Ian had jumped. Example: John wanted to put candles on the cake, but Betty ate it. This sounds as if she ate it right in front of him—it’s not likely that’s what the writer means. Instead, write: John wanted to put candles on the cake, but Betty had eaten it. She’s not sadistic; she just has the munchies.
  • Lack of subject-verb agreement: Several things can trigger this mistake. One is beginning a sentence with “There.” Example: There is many reasons I struggle with geography. For some reason, “is” often feels right following “There.” But in this case, the plural “reasons” calls for a plural verb, so write: There are many reasons I struggle with geography. Another culprit is a complex subject. Example: The box of sausages are packed tightly. It’s box, not sausages, that is the sentence subject. Instead, write: The box of sausages is packed tightly. Similarly, compound sentence subjects can cause confusion—especially if they are separated by a few words. Example: The seahorses and the exceptionally intelligent and capricious octopus is the main attraction at the aquarium. Despite the wordiness, the simple subject is still seahorses and octopus, a plural. Instead, write: The seahorses and the exceptionally intelligent and capricious octopus are the main attractions at the aquarium.
  • Wrong verb form following the word “or”: When a subject includes the word “or,” the verb matches the word following “or.” Example: Brussels sprouts or asparagus are on the menu tonight. Instead, write: Brussels sprouts or asparagus is on the menu tonight. Example: Ben or Rudy are scheduled to sing tonight. Since Rudy (the subject following or) is singular, you want to write this instead: Ben or Rudy is scheduled to sing tonight. (By the way, do not look for your grammar checker to catch this one. Most won’t!)
  • Misplaced or dangling modifiers: Misplaced modifiers are great for comic relief, but they can create confusion. Example: We saw the dolphins leaping and diving through our binoculars. How Disney! Instead, write: Through our binoculars, we saw the dolphins leaping and diving. Example: After drifting down for hours, we knew snow would make the drive difficult. Hold on. Is the snow drifting—or are we drifting? Instead, write: After drifting down for hours, the snow would make the drive difficult. OR, After it had been drifting down for hours, we knew snow would make the drive difficult.
  • Confusion of there, they’re, and their: This is an easy mistake to make, even for editors. After all, the words sound identical. The first is an adverb, usually signifying place (There it is!) or existence (There’s an old saying). The second is a contraction, short for they are: They’re here! And the last is a possessive: It’s their idea, not mine.

10 Things You Can Do to Teach Conventions Effectively

  1. Go through your students’ papers quickly, just skimming for recurring errors. Don’t correct anything. Instead, make a list of the 10 to 20 most frequently occurring errors. Then focus on those in your instruction. It’s likely that many of the 15 common errors listed above will appear on your list, too.
  2. Resist the urge to correct students’ writing line by line. It does almost no good whatsoever, and you’ll waste valuable time you could spend hunting through literature for good examples of usage or punctuation to share with students. This doesn’t mean you should ignore errors altogether. Instead . . .
  3. Do any of the following: 1) Pull an occasional example (anonymously, of course) from a student paper and ask the class to describe and correct it. Team editing feels SO much safer and more manageable than individual editing. 2) Within individual student papers, mark no more than one or two errors at a time, thinking of this as coaching more than editing. Most students will not internalize more than one editorial correction at a time anyway, so hard as it may be, put the pen down. And 3) Work on conventions—briefly!—in one-on-one conferences. You might ask a student to edit a sentence or a short paragraph with your assistance and support (NOT watching while you do it—you already know how to edit). Base the length of the task on the student’s skill level, and don’t demand perfection. The goal is improvement, and every error spotted merits approval and applause. Instead of punishing errors, reward editing.
  4. If students plan to publish a piece formally, require editing—but allow help. Students should be able to turn to partners, small groups, resource books and the computer for assistance—along with you, of course! And they should be given time, plenty of it.
  5. To teach punctuation, try removing it from a passage. Ask students to edit the passage, filling in what’s missing. This is much more difficult than you might think—but it forces students to use their understanding of how punctuation works rather than relying on hit-and-miss memorization of rules. Give this one a try yourself (I’ll post the author’s original at the end). Notice that I have provided additional space between lines and have included NO capital letters because that makes it too easy to tell where sentences begin and end. You need to use logic—and (here’s a tip to give students), it’s easier if you read aloud:

within hours the log erupts into flames by the next morning the fire has consumed a couple of acres

of forest then dry winds spring up whipping the flames out of control firefighters can do nothing as they

watch the inferno devours hundreds then thousands of acres the fire rages for days then weeks it reduces

green mountain ridges and valleys to charcoal thick smoke chokes local communities ash falls on cities and

towns a thousand miles away

6. Make sure students join you in the hunt—for errors or for good examples of conventional correctness or change. Discuss them—and sometimes post them for easy reference.

7. Share your own writing and asking for help any time you are working on a piece, no matter how short.

8. Have students routinely edit publications from your school (They’ll find more mistakes than you think).

9. Provide (and asking students to provide) real-world examples of sentences that need editorial help. Here are some I collected just in the last week—and there were many more, but I neglected to write all of them down. All of these are from adult writers and speakers, some of them newscasters or government figures:

  • Me and him haven’t agreed on a single vote.
  • That was Charlie and my’s house for five years. (If you can come up with a way to make this structure more awkward, I’d like to hear it.)
  • I’d do it this way if I was you. (But since I isn’t, I won’t.)
  • Him and myself really loved that film. (So—him loved the film. And yourself loved it, too.)
  • There was way less people at the mall than expected. (Two problems here. Can you spot both?)
  • The team played so good on Sunday!

woe is I   deluxe transitive vampire  eats shoots and leaves

Tip 10:

Have some good resource books at the ready. I particularly like Woe Is I by Patricia T. OConner, an excellent resource on current grammar—highly readable. If you’re looking for a quick guide to grammatical terminology that most definitely won’t put you to sleep, check out The Deluxe Transitive Vampire by Karen Elizabeth Gordon. This is a writer who truly appreciates grammar and has a delightful time teaching it to the rest of us—her book is anything but tedious. Same goes for Lynne Truss’s now classic book on punctuation, Eats, Shoots & Leaves.

Speaking of classics . . . If you’d like a stellar book to use in teaching grammar, usage, and punctuation to students, look no further than Jeff Anderson’s brilliant Mechanically Inclined. Once you begin reading (and using) this book with your students, you’ll wonder how you ever did without it.

mechanically inclined

Presentation

Presentation is the partner of conventions. Basically, it’s packaging—everything from the cover (if a document has one) to the page size, use of color, graphics, inclusion of features like a table of contents or index, choice of fonts, and more.

I don’t advocate scoring or assessing presentation because it’s an element of design. People give awards—like the Caldecott—for artistic achievement, but recognition of that kind of excellence is a special form of assessment that requires a specialist’s eye and background. If you have designed publications yourself, that’s different. But it’s still important to recognize that designing documents in a classroom (or even a state-of-the-art home office) is one heck of a lot different from working at a publishing house with incredible resources at your fingertips.

I do, however, believe in teaching elements of design or presentation because when students take pride in how a document looks, that may spark additional attention to other areas, such as research, wording, or organizational structure. Further, good presentation makes documents easier to read—and readability makes readers feel good.

Word Processing Is Essential

Instruction in presentation works best, of course, if students are word processing documents. If they are hand writing their text, then presentation tends to focus on legibility. Be careful with this. Over-attention to handwriting leaves students with the unfortunate impression that presentation is mostly about neatness, and that’s like thinking that good parenting is mostly about dusting. Handwriting has nothing whatsoever to do with the logical or inventive thinking that marks strong writing. Do I think handwriting should be taught? Yes. Oh yes, I do. I am all for people writing legibly. But pretending that writing legibly is the same as thinking logically is misleading and frankly, irritating.

So let’s begin with a caveat: Everything in this section is intended for computer generated print. It presumes that the writer has control over things like font selection and size or insertion of illustrations.

Here are six very simple things you can teach to dramatically improve presentation. Every one of these can be taught through example—and best of all, you can have students find the examples themselves:

  1.  Encourage paragraphing. I am looking now at a text I like very much, The Ancestor’s Tale by Richard Dawkins. It’s riveting—if you’re into evolution. But the very first time I opened it, I put it right back down, thinking, “Maybe later.” The text is so dense. Tiny letters fill every page. True, there are illustrations, but not enough to give tired reader’s eyes a rest. And margins are minimalized. I understand why. The book runs over 600 pages. Heck, the index alone runs 30. The editor was probably going insane trying to hold it to that length. But I’m reading it a chapter at a time so it doesn’t wear me out—and I find myself longing for white space the way some people crave chocolate. An easy way to create white space is to include more paragraphs—and even create additional space between them. Space is restful. We could use more of it. (Chocolate too. Just saying.)
  2. Help students choose fonts with care. Fonts should be readable. If students want to experiment with fonts, headings or subheadings are a good place to get fancy. Otherwise, stick with plain and simple—and make it large enough for the average person to read without magnification. On the other hand, TOO BIG isn’t good, either. Extremely large print is nearly as difficult to read as small print. The other thing to look out for is the circus effect—more than two fonts on a page. This creates a busy look that might work for a poster or greeting card, but does not create the right impression for a report, editorial, or other serious document. A good way to teach font selection is by having students peruse publications of many kinds and choose their top five fonts. (Not everyone in the class will agree on this, of course.) Then get specific about the qualities that aid readability or visual appeal. Talk about when/why it’s OK to get more creative (e.g., for a picture book cover or birth announcement). Most publications these days identify the fonts used, making this discussion fun and easy.
  3. Teach the art of listing. Lists are very hard to read in paragraph form. See Tim O’Brien’s The Things They Carried, pages 2-3, for an eloquent example of an exception to this rule. Usually, a list is understood and absorbed much more quickly (and thoroughly) if it’s numbered (like the one you’re reading now) or bulleted. Items on a list can be expanded later. For example, a writer might quickly document three consequences of drought in a bulleted list—then go on to expand each of the three. This brings us to another easy-to-teach feature of presentation . . .
  4. Teach subheadings. They’re enormously helpful. If I could give an award for best text feature, I’d give it to the humble sub-head. It’s a form of transition—only compact and enormously revealing. This is what this section is all about, it tells us. What could be more helpful than that? It not only identifies what’s coming up, like a good road sign, but also makes it easy for us, as readers, to go back later and check something or re-read. Sub-heads are usually bold-faced or written in a larger or different font, or sometimes all three. They need to stand out.
  5. Encourage illustrations. Some. In the right spots. Again, ask students to teach themselves how this works by looking at examples. Sometimes a diagram of a shark or map of Central America is just the thing. But too many illustrations quickly turn into clutter. An illustration—by which I mean a drawing, photograph, chart, map, graph, cartoon, or any similar insertion—should be immediately and obviously helpful. It should answer a question (or questions) in the reader’s mind. If it feels more like an assignment—Here, memorize this—it’s overkill, and it’s better to omit it.
  6. Encourage appreciation of great covers. Or other artistic displays, for that matter. You might have a contest in which students nominate and vote for favorite book covers, internal illustrations, newspaper layout designs, brochure designs, posters, print advertisements, or any similar category of your choice.

Here’s the original from that punctuation activity. It’s from Sneed Collard’s wonderful new book, Fire Birds, just released (2015, p. 5). Notice how Collard’s careful use of commas makes this passage easy to read:

Within hours, the log erupts into flames. By the next morning, the fire has consumed a couple of acres of forest. Then dry winds spring up, whipping the flames out of control. Firefighters can do nothing. As they watch, the inferno devours hundreds, then thousands of acres. The fire rages for days, then weeks. It reduces green mountain ridges and valleys to charcoal. Thick smoke chokes local communities. Ash falls on cities and towns a thousand miles away.

Look for a review of Fire Birds later in 2015.

Coming up on Gurus . . .

After the holiday break, I’ll review Tom Newkirk’s new book, Minds Made for Stories, an insightful look at the true nature of narrative, along with Lesley Roessing’s Bridging the Gap, an exploration of using memoir to master Common Core skills while making important links to the six traits. Until then, have a wonderful holiday.

Thank you for stopping by, and as always, we hope you will come often and bring friends. Please remember . . . To book your own writing workshop featuring the 6 traits, Common Core Standards and the latest and greatest in young people’s literature, give us a call: 503-579-3034. Meantime . . . Give every child a voice.

 

Resources

For ready-to-go writing lessons on the topics covered in this and the preceding posts, please check out . . .

  • The Write Traits Classroom Kits ©2010 by Vicki Spandel and Jeff Hicks. These NEW edition kits are closely aligned with the Common Core Standards, and feature ready-to-go lessons that will make teaching both traits and standards-based skills a breeze. The kits are available for grades K through 8. To order or preview copies, please go to the following web address:

http://www.hmheducation.com/write-traits/

Here you can preview the kits (through 13 videos featuring Jeff and Vicki), download a comprehensive brochure, download articles on assessment, writing process or the Common Core, or order grade specific kits (Just go to the Home page, and click on the red order button.) Note: For the closest connection to the Common Core, be sure that your search takes you to the NEW Houghton Mifflin Harcourt home page for the kits, featuring our revised, Common Core aligned 2010 edition.

write_traits_kit_150

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wt10_7     CW6 Cover

Conventions are BIG in the Common Core
Get ready. Conventions receive significant emphasis within the Common Core Standards, and are likely to play a major role in upcoming assessments relating to those standards. Students will not only need to be in conventional control of their own writing, but will also need to be proficient editors of any text we might throw at them. How do we get them there? Order more red pens? Maybe not . . .

Correcting ALL Errors: NOT the Best Choice
Chances are, you can look back on your own experience as a student (particularly if you’re over 30), and recall the old-school approach to “teaching” conventions: elaborate, meticulous red-penning of errors. If you’ve ever been subjected to this approach, you can probably recall how it felt—and how enthusiastic it made you feel about writing. Granted, there are those exceptional students out there who not only take time to correct every single error, but also look up all pertinent rules for future reference—using those well-worn handbooks they keep by their beds. Hm . . . right. Most of us have never met these wonder students, yet their legend lives on. And the red ink keeps flowing. Why? Well, think about it: This was the approach modeled for most of us. Many teachers (even those who question the value of error hunts) simply don’t know what else to do. Unfortunately, despite the incredible amount of time and effort required, line by line correction (unless specifically requested by the writer) almost never pays off. Here’s why:

1. It creates a sense of hopelessness among students who struggle with conventions. Getting this sort of response to one’s writing is like having strangers walk into your house and begin remodeling. What can be perceived as a kind of assault may trigger hurtfulness, resentment, indifference—or alienation. The odds of an over-marked paper surviving a trip past the nearest trash can are small indeed. Of course, if you have a student who is conventionally skilled (a natural born editor), and you mark one kind of error—say, use of quotation marks—that student may actually welcome your suggestions. But the student who struggles with spelling, grammar, capitals, punctuation, and paragraphing cannot possibly absorb the 20 or more “suggestions” his or her paper calls for. A student who feels overwhelmed is likely to think, “I can’t write,” and just give up.

2. It isn’t enough. Correcting is not teaching, and we kid ourselves when we assume it is. Students learn next to nothing from simple, quick corrections that lack any explanation or suggestion of how to approach editing differently next time. “How many times do I need to correct this error?” I hear teachers ask. The answer? Every time it appears—forever. Do you want to sign up for that? If not, be a teacher, not an editor. Writers (even professionals) who are given a choice quickly become dependent on editors, and have little incentive to notice, learn about, or correct mistakes the editor will fix anyway.

3. Once you identify errors, the hard part is done. The ONLY way students become proficient with conventions is by doing their own editing and developing what Jeff and I call “an editor’s eye.” This refers to the ability to spot things like a misspelled word or missing word or letter, misused or omitted punctuation, faulty subject-verb connection, and so forth. Developing such an eye takes a lifetime of practice. That’s why it’s difficult to find any publication (novels, newspapers, textbooks, whatever) that’s error-free. Each time you do the identifying for your students, you rob them of one more opportunity to practice developing that editor’s eye that is critical to conventional proficiency.

4. It’s too time consuming. You don’t have time to be an editor for 30 to 180 students. The time you spend correcting would be much better spent developing editing lessons or searching literature for models you can use to teach excellent use of conventions. And most important of all . . .

5. It doesn’t work. It just doesn’t. In fact, research (See George Hillocks, The Testing Trap, 2002; Hillocks, Research on Written Composition, 1985; Vicki Spandel, Creating Writers 6/e, 2013; Carl Nagin and the National Writing Project, Because Writing Matters, 2003; Jeff Anderson, Mechanically Inclined, 2005) indicates overwhelmingly that students subjected to extensive marking of errors may actually decline in editorial skill. We cannot afford to have that happen.

So—What DOES Work?
Many things. Here we offer just 12 suggestions to help you turn your students into confident, capable editors. (And by the way, no guilt trips allowed. When you stop correcting everything, you are NOT showing that you don’t care about conventions. On the contrary. You are shifting your focus from errors to students. You are showing that churning out perfect copy is a lower priority than coaching your students to become strong, independent editors—like you.)

Suggestion 1
Explore the “why” behind conventions. An easy way to do this is by removing all punctuation and spacing from a piece of text, and ignoring rules of spelling and grammar. See how long it takes your students to decode a piece like this:

wunspOntimwewEhadverfueroolsguverninhoWpeeplroteaNdthesecdmadreddingdfcult

Can you decipher it? Of course. You’re a teacher. You can read anything, right? But imagine if everything you read were written this way. Reading would be quite a chore. The very term “conventions” implies the conventional, traditional, or accepted way of doing things. Good writers break rules all the time. But following most traditions most of the time (e.g., writing left to right, putting spaces between words) makes reading easier. In a very real sense, editing is a courtesy. You make your text comfortable for readers just as you might make your home comfortable for guests.

Suggestion 2
Develop a routine. Editing and writing are related (like swimming and diving), but are NOT the same skill, and teaching one will not necessarily increase proficiency in the other. Instructional time must be devoted to editing per se. But—isn’t it enough to have students edit what they write? No. It sounds like a good plan, but unfortunately, most students don’t write anywhere near enough text to become proficient editors simply by correcting their own work—even if they do so regularly and carefully. In addition, they need daily practice editing text that is not their own. This is important for a couple of reasons: (1) as just noted, it extends editing practice, and (2) we are all much more ruthless when attacking something we ourselves did not write. Remember the words of H. G. Wells, who reminded us that “no passion on earth is equal to the passion to alter someone else’s draft.”

Take advantage of this impulse. Give students “someone else’s draft” to work on (preferably an anonymous someone, not another student from your class). Keep the practice short: about 50-100 words of text (depending on students’ age), not overloaded with errors (See Suggestion 4 for guidelines on this). Create lessons students can finish in ten minutes or less. Double space copy so students have ROOM to edit; or, if possible, put editing lessons right on the computer. And don’t be seduced by those speedy one-sentence “daily” lessons; they’re far too short, and most are irrelevant to students’ current editing needs—which means, in a nutshell, that students will tune out.

Suggestion 3
Identify problems your students are having right now. Why spend time on capitals if everyone has this nailed? Focus on trouble spots. You can identify problems by skimming through a stack of your own students’ papers and creating for yourself a list of 10 (very manageable), 15 (still do-able), or 20 (that’s plenty) of the most frequently recurring errors. Zero in on those.

Note: Andrea Lunsford, Professor of English at Stanford University, has identified the 20 most common kinds of errors in English writing (see Easy Writer, 3rd edition, 2009). Find Lunsford’s book if you can; or look up her list by searching under “20 most common errors in English.” This kind of focused instruction will benefit your students far more than 60 random lessons developed by someone who doesn’t know your students and has never looked at their writing. (Suggestion: If you work with older writers—say, grades 6 and up—share the list itself with them, too.)

Suggestion 4
Develop your own focused editing lessons. That way, you can zero in on one sort of problem at a time—such as subject-verb agreement. Each lesson should include two parts. The first is instruction in the concept: What IS subject-verb agreement, and what does it look like when it’s done right? Provide several examples. The second part involves practice, a chance for students to apply what they’ve just learned in editing faulty text. Such text (again, think 50 to 100 words) should contain at least three (and for older students, as many as ten or more) errors relating to the concept at hand. (The paragraph you just read is 103 words long, not counting this sentence.)

Following direct instruction in the concept, give students a few minutes to edit the faulty text on their own—then a minute or two to check with a partner to see if any errors were missed. At this point, I like to tell students how many errors they are looking for. Students who have found, say, five out of ten have a reason to go back for another look. When everyone has finished (remember, keep the time short), ask students to coach you as you edit the piece on a Smart board or document projector. Provide this kind of practice as often as you can possibly fit it in. You will see a marked difference in students’ editing skills.

Sources for lessons: By the way, ready-to-go editing lessons ARE available (Check the end of this post), or you can write your own—from scratch, or based on newspaper articles, online articles, junk mail, or other everyday print sources.

Question: What happens when students have had practice with ALL the recurring errors you’ve identified for the class? Answer: Create new editing lessons based on additional problems you’ve identified, or lessons that combine several kinds of errors—with two or three of each kind. You might also have students take turns designing editing lessons, and leading the discussion that follows.

Suggestion 5
Pull anonymous problem sentences from students’ current writing. As you review students’ work, pull out a sentence (or more than one) that seems representative of problems several or more students are having. Share these sentences on the board. This is an excellent way to kick off a writing class, and takes about five minutes. (Let students know you plan to do this, so you know they feel comfortable having their writing shared in this way—you need not use names.)

Ask students to confer with partners about what they notice, then coach you as you edit each sentence. Be sure to let them know if they miss anything. As a teacher, I found this strategy extremely effective because—somewhat to my surprise, I confess—students waited eagerly at the beginning of each class to see if their writing would be chosen as an instructional model. I was very concerned about not making anyone feel picked on, but I needn’t have worried. No one to my knowledge ever felt self-conscious in the least. What did happen, however, was a dramatically heightened interest in every lesson because the examples were coming from them. This was perceived as real, immediate, useful information because it was personal—and current.

Suggestion 6
Look to literature. In the 1800s and far into the 1900s for that matter, many teachers began their instruction in conventions by sharing a rule—often stated in language no one could understand. No wonder most rules were never internalized, and those that were, were quickly forgotten. But, we’ve come a long way, baby. We know now that one of the best ways to teach conventions is the same way we teach voice, ideas, fluency, word choice—or any trait: through literary examples.

Here are just a few, and they’re diverse. Normally, when you’re teaching one convention—say the use of semicolons or dashes—you’ll want several examples because there are nuances of usage that rules simply don’t cover. You might collect three sentences containing semicolons, for example. Share them aloud, one at a time, but also write them out. Then discuss them. As you do so, the question to ask students is this: What difference does this [convention] make? Open-ended discussion encourages students to look and listen closely, to do their own inductive reasoning, and to come up with rules or guidelines or possibilities for themselves. (My “what to notice” notes in this section are only for clarification. I don’t share my reason for choosing a particular example at first because I want students to tell me what they notice.)

• If you don’t have a copy of The Wind in the Willows by Kenneth Grahame, consider getting one. Grahame is particularly adept at using conventions with precision, style, grace, and creativity, and you can find an example of just about anything in the world of conventions that you’d like to teach—like semicolons (which can be hard to find in current lit). In this example, Mole (who’s just overturned a boat in the river), is being rescued by Rat, who offers Mole shelter in his home: “It’s very plain and rough, you know—not like Toad’s house at all—but you haven’t seen that yet; still, I can make you comfortable” (Ariel, 1980, p. 15). What to notice: Two distinct clauses are closely aligned, “joining hands” we might say, via the semicolon. Would a period work as well?

• In The Good, Good Pig, author Sy Montgomery uses semicolons in a totally different way [Christopher, by the way, is a pig]: “We lined up to face the camera in ascending seniority: Christopher, age one; me, thirty-three; Liz, sixty; Lorna, ninety-three” (Random House, 2007, p. 64). What to notice: Semicolons provide a nifty way to handle a complex series in which too many commas could create confusion.

• In this passage from Hatchet (20th Anniversary Edition) by Gary Paulsen, the hero Brian (who is beyond hungry), is watching a kingfisher go after a meal. Think about how the ellipses at the very end affect you: “Of course, he thought. There were fish in the lake and they were food. And if a bird could do it . . .” (Simon & Schuster, 2007, p. 108). What to notice: The ellipses give us time to enjoy the same aha moment Brian is experiencing, to fill in the blank, as it were: If a bird can do it . . . maybe I can, too.

• In Mockingbird, author Kathryn Erskine uses conventions in extraordinary ways to show how Caitlin, who has Asperger’s Syndrome, responds to the world: “I don’t like very outgoing. Or efFUSive. Or EXtroverted. Or greGARious. Or any of those words that mean their loudness fills up my ears and hurts and their face and waving arms invade my Personal Space and their constant talking sucks all the air out of the room until I think I’m going to choke” (Philomel, 2010, p. 44). What to notice: Creative use of italics and unexpected capitals helps us get inside Caitlin’s head.

• The humble hyphen is useful in two-part words (like that one) or for splitting multi-syllable words at the end of a line. But perhaps it has more creative uses, as in this passage from Navigating Early by Clare Vanderpool—in which one of the main characters, Jack, is wondering just how strange his new acquaintance Early Auden might be: “Was he straitjacket strange or just go-off-by-yourself-at-recess-and-put-bugs-in-your-nose strange? I knew a kid who used to do that in second grade” (Delacorte, 2013, p. 28). What to notice: Hyphens can help a writer create unique adjectives that put some pretty vivid images in readers’ minds.

You don’t want to do all the digging, of course. After sharing a few examples, have students find their own—and present them to the class. As you collect moments that capture your attention, you’ll discover together that conventions are not all (or even mostly) about rules. They’re tools that allow us to share both message and voice in memorable ways.

Suggestion 7
Give students room to breathe. If we wait—three days seems about ideal—from the time we write a draft until the time we attempt to edit that draft, our ability to spot errors is heightened noticeably. Almost no one (not even skilled, experienced editors) can do his or her best editing immediately after writing. (Writing assessment developers, please take note.) That’s because the message we wanted to put on the paper, meant to put on the paper, is fixed in our minds—and we tend to “read” what’s in our heads, not what found its way to the page. When editing our own work, we also tend to read rapidly, and in so doing, skim right over missing words, misspelled words, faulty punctuation, and the rest. Allowing time between drafts creates perspective so that we see our work more the way an objective, critical reader would see it. We literally create the illusion that it belongs to someone else.

Suggestion 8
Keep it real. Students for whom editing does not come easily may feel very nervous about writing five pages if they anticipate having to edit every line. While I am a huge advocate of making students responsible for their own editing, I also agree that we need to find ways to make the task manageable for students who dread it. After all, we want them to write more, not less.

You can ask a student to edit just the first paragraph or two with extreme diligence—then give more of a once-over to the remainder. (The amount the student edits with close-up care can and should expand with time.) A similar approach is to ask the student to look only for particular kinds of errors—preferably those you have already focused on in your editing lessons (See Suggestions 3, 4, and 5).

Many students benefit from having a teacher mark (with a check, star, etc.) those lines in which errors appear (some teachers use a number to show how many errors a given line contains). No need to mark every line. Use your judgment in determining how much the student can handle—and think about which errors should receive priority.

A conventions conference can be helpful, and it need not take long. Go over one or two errors you think deserve the most attention—perhaps those that come up more than once in the paper. Have the student correct one example as you coach, then attempt to find other similar errors on his or her own.

For students who wrestle with spelling (for many, this is the most significant problem and the source of most errors), provide a mini dictionary on a large Post-It® note, and attach it right to the first page of the rough. As an alternative, keep a running list of frequently misspelled words for your students (not a prescribed list, but one that’s personal for your class), and post it where everyone can see as they write. Add new words as the need arises; remove words students have conquered.

And of course, provide access to dictionaries, thesauruses, and other materials writers and editors use in the real world. Note: Unfortunately, many writing assessments still do not permit such access. Some people, evidence and common sense to the contrary, fear that the mere presence of a dictionary can somehow transform a struggling writer into a best-selling author. If only it were that simple.

Suggestion 9
If technology is available, use it! It’s no secret that revision and editing are far easier and faster when you have access to word processing. A student can create multiple word processed revisions in the time it takes to tediously recopy one draft by hand. Further, the ability to make big and continual changes in a draft (e.g., moving copy, perhaps more than once, deleting or adding text, trying several different leads or endings) means that a word processed document winds up mirroring the writer’s thinking more closely than a handwritten, one-time revision ever could. Technology also allows for last-minute changes (oh—just thought of a different word, got a better title) that someone writing longhand just won’t trouble to make. Comfort with word processing is particularly important given that (based on current best guesses) assessments pertaining to the Common Core writing standards will be administered on computer.

Suggestion 10
Encourage students to edit with their ears, not just their eyes. Do your students read everything they write aloud? If not, this is a good habit to instill—the sooner the better. Reading aloud sloooooooooowwwwwwwws us dooooooooooowwwwwwwwwn, increasing the likelihood we’ll spot problems. It’s also harder to skip right over repeated or missing words (and similar errors) when reading aloud. Further, moments that sound awkward when read aloud will probably slow a silent reader down, too. As students gain sophistication, reading aloud helps them hear places where specific punctuation (e.g., ellipses, dashes), italics, FULL CAPITALS or other conventions of emphasis might bring out the voice in a piece.

Suggestion 11
Get a good handbook. You need an “authority” for your classroom, a book to turn to when you cannot answer that question about commas or citing sources. No one remembers everything. You might consider—

The Write Source College Handbook by Dave Kemper and Patrick Sebranek (other grade-specific handbooks are available from these authors, but I happen to prefer the college edition, even for younger students)
The Chicago Style Manual (the most respected source out there—and most complete by far)
MLA Handbook, 7th edition (some portions are also available online)

Teach students to use whatever resource you settle on, and when a question arises, have one of your students search for the answer, even if this takes a little time. If you have two copies in your classroom, students can do this competitively, which makes the search considerably livelier—and students who help the class in this way are learning a skill they will use for life.
Other resources provide suggestions for writing that go beyond what you’ll find in even the best handbooks—and they’re often entertaining too, so you can choose passages to read aloud. Here are a handful of my favorites (Every single one of these is fun to read):

Room to Write by Bonnie Goldberg
Bird by Bird by Anne Lamott
Words Fail Me AND Woe Is I by Patricia T. O’Conner
Writing Toward Home by Georgia Heard
On Writing Well (30th Anniversary Edition) by William Zinsser
Writing Tools by Roy Peter Clark
Sin and Syntax by Constance Hale
Eats, Shoots & Leaves by Lynne Truss
What a Writer Needs by Ralph Fletcher
A Writer Teaches Writing by Donald Murray
Crafting Authentic Voice by Tom Romano

Suggestion 12
Celebrate! When students do something that is conventionally correct or (better still) creative, celebrate! That’s the ideal time to make a mark on the paper—and share the example with the class, too. Expand everyone’s thinking about what conventions can do and be.

Notice content and voice first. Students are far more excited about tackling editing when they feel certain they have a reader’s attention and have written something worth editing in the first place.

Have students collect examples of conventional creativity. Create a class Podcast featuring these examples, or make a bulletin board display. Help students see how much fun conventions can be.

Look beyond writing. What conventions are important in math, for example? How about music? Physics? Chemistry? Do you have any bilingual students in your class? They may be willing to share conventions from another language and talk about how they differ from those in English.

Celebrate conventional evolution. There’s nothing stagnant about English; it changes hourly! Split infinitives? Commonplace! They actually precede Shakespeare (who is reported to have used a few). Dickens apparently favored sentences that began with “And” or “But” (and I’m happy to know this since I like them, too). Snuck is becoming an accepted form of sneaked (though not in all circles, admittedly). Words like dis, chill, creds, phat, and bling weren’t even words (at least not in the modern sense) until recently, but they’re finding their way into Webster’s. For numerous other examples of English on the move, check out the fascinating Origins of the Specious by Patricia T. O’Conner, a brilliantly researched and very funny book you will enjoy sharing (one selected passage at a time) with your students. Then talk about which conventions will last (Is the semicolon doomed? Are dashes enjoying a renaissance?), and why our amazing language is ever-evolving—and expanding.

Looking for editing lessons?
Check these NEW resources we designed with YOU, the classroom teacher, in mind . . .

Creating Writers, 6th edition, by Vicki Spandel. This newly released edition will help you teach conventions with confidence and flair. It includes numerous lesson ideas, recommended handbooks, and other resources to help you bring conventions and presentation to life in your classroom. Connections to the Common Core Standards included. Find it at http://www.pearsonhighered.com/Spandel6e

The Write Traits Classroom Kits ©2010 by Vicki Spandel and Jeff Hicks. These NEW edition kits are closely aligned with the Common Core Standards, and feature ready-to-go lessons that will make teaching conventions & presentation a breeze. Students love these lessons—you will, too. The kits are available for grades K through 8. To order or preview copies, please go to the following web address:
http://www.hmheducation.com/write-traits/.

Here you can preview the kits (through 13 videos featuring Jeff and Vicki), download a comprehensive brochure, download articles on assessment, writing process or the Common Core, or order grade specific kits (Just go to the Home page, and click on the red order button.) Note: For the closest connection to the Common Core, be sure that your search takes you to the NEW Houghton Mifflin Harcourt home page for the kits, featuring our revised, Common Core aligned 2010 edition.

Coming up on Gurus . . .
Jeff reviews the remarkable historic narrative Bomb, a Newbery Honor book by Steve Sheinkin. Not many informational books can also claim to be thrillers. You won’t want to miss it. Thank you for stopping by, and as always, we hope you will come often and bring friends. Please remember . . . to book your own writing workshop featuring the 6 traits, Common Core Standards, writing process and workshop, and the latest and greatest in young people’s literature, give us a call: 503-579-3034. Meantime . . . Give every child a voice.