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Outline

Title
Abstract
FAQs
Figures
Discussion
Boundaries and Limitations
Implications
Conclusion: What's at Stake?
Background
Methods
Dramatic Question
Data Collection and Analysis
Discussion and Conclusion
Methodology
Participants
Data Sources
Data Analysis
Findings
Discussion and Implications
Designing and Launching
Conclusion
References

Teaching/Writing -- Winter/Spring 2013 (Full Issue)

Profile image of Jonathan BushJonathan Bush

2013

Abstract

Call for Submissions 100 2 These authors are represented in two of the required texts for the course, The Norton Book of Composition Studies, and A Guide to Composition Pedagogies. sional writing majors to each group of middle school writers (an initial set, a set after switching groups, and a final set tallied by clickers); we also draw on anecdotal evidence from class discussions of these scores (and the similarities and differences among them). Third, we analyze the actual feedback the groups posted to the wiki for each student writer. Throughout our analysis, we include excerpts from the reflections composed by the college students at the end of the process. In addition, one middle school student's writing, in particular, serves as a provocative point of intersection across the stages of this process. Reframing Responses to Student Writing Paper Jellyfish and Raisin-y Babies: Initial Perceptions of Student Submissions Ted was surprised by the remarkable quality of the writing from the Pennsylvania students. Students submitted detective fiction, dream sequences, fantasy and futuristic fiction, as well as sophisticated memoirs. For example, one student, Grace, from whose text we have permission to quote, submitted a memoir about adjusting to moving and to changes in her family. Her text demonstrates originality and humor as well as trust in her readers. Everyone loved [baby brother]. When we brought him home from the hospital a bunch of people came to see the bright blue eyed baby boy with a crop of pale blond hair and my exhausted mother. Ignoring me in the process, naturally. Just like people always had since they had brought [younger sister] home from the hospital when she was a baby. I didn't care for hospitals. That's where all the babies came from. Some babies were cute and very pretty to look at and adore, like dolls. Others had red, raisin-y, faces and cried too much. They smelled especially undesirable when they needed changing. I never quite understood why my mother loved babies so much. Still don't. She also demonstrated excellent control of syntax in constructing a sophisticated authorial voice: "Later, when I got to Pennsylvania it was still hot but there it was very humid. Sticky hot. Hard-to-breathe-in my-chest hot. Help me, the sun is beating down on me to kill me hot." Most of the texts from this group revealed students who seemed to enjoy writing and who were writing to engage and entertain their readers, not just to earn the approval of a teacher. One student created adult characters of all of the other students in the group and wrote a fictional story of a class reunion gone awry. Another piece ended with a sophisticated reprisal of a beautifully described image from an arts festival of handcrafted jellyfish with candles inside floating up into an evening sky. As one college student would later write in a reflection on the experience, Some of [the students' stories]...I could never think of even if I tried. [One] boy wrote a science fiction short story in which he made up words and mentioned hilarious details that made me chuckle. One writer played well with dialogue and demonstrated its importance in storytelling in general. Another writer used absolutely stunning imagery and captured a scene that I can picture looking at through a photograph from a polaroid camera. In all, Pennsylvania demonstrated some excellent storytelling. The overall quality of the student writing would, we hoped, reframe teacher candidates' idea of what eighth grade writers are capable of, and encourage them to respond to these students as "real writers." NCTE PROMISING YOUNG WRITERS PROGRAM HOLISTIC WRITING EVALUATION SCALE Submissions that receive a 3, 2, or 1 should meet a certain level of effectiveness with regard to organization, content, style, usage, and writing process. Submissions that do not meet this level should receive a 0. 3 Submissions scored as a 3 tend to employ an organizational framework that is especially effective for the topic/genre. The content is particularly effective throughout the piece because of its substance, specificity, or illustrative quality. The work is vivid and precise, with distinguishing characteristics that give the writing an identity of its own within the conventions of the genre/medium, though it may contain an occasional flaw. The work is polished and impressive for the eighth grade. 2 Submissions scored as a 2 are organized effectively for the topic/genre. The content is effective throughout the piece, though the paper may lack the substance, specificity, or illustrative quality of a 3. The stylistic/surface features of the genre/medium are consistently under control, despite occasional lapses. The potential in the writing is realized, though not to the degree that further revision would allow. 1 Submissions scored as a 1 show evidence of the writer's attempt at organization. Content, though effective, tends to be less consistent or less substantive, specific, and illustrative than that found in papers scored as a 3 or 2. The writer generally observes the stylistic conventions of genre/medium but unevenness suggests that the writer is not yet in full command of his/her voice. Some errors are usually present, but they aren't severe enough to interfere significantly with the reader's experience. The potential in the writing is evident, but the work would clearly benefit from further revision.

FAQs

sparkles

AI

What principles support effective writing teacher education practices?add

Research emphasizes collaborative approaches that bridge K-12 and college contexts, enhancing teacher training, as outlined by Justin Young in his 2013 work on Common Core implications.

How does audience understanding influence student writers' development?add

Ives and Crandall’s findings suggest that understanding audience helps students tailor their narratives, significantly enhancing engagement and effectiveness in their writing.

What are the key obstacles faced when integrating multimodal assignments?add

Laverick's research highlights tech familiarity gaps and fears of overloading curriculum as primary barriers to implementing multimodal projects in ESL contexts.

How do teacher perceptions shape their writing instruction methodologies?add

Participants in a graduate study noted their past experiences significantly influenced their confidence, shaping instructional practices in writing pedagogy as evidenced by their reflections.

What role do digital storytelling projects play in student voice empowerment?add

The work illustrates that digital storytelling fosters agency among students, enabling them to express complex cultural narratives, thus enhancing both identity and writing skills.

Figures (7)
Note: Scores in bold are those that differed between the two groups, or from first to final ranking. Initial and Final Rankings by the Groups
Note: Scores in bold are those that differed between the two groups, or from first to final ranking. Initial and Final Rankings by the Groups
able 1: Instructor Perceptions of the College Readiness of First-Year Composition Students
able 1: Instructor Perceptions of the College Readiness of First-Year Composition Students
Researchers (Dreon, et al. 2011; Kajder 2004; Ohler, December 2005/January 2006) have written extensively about the process of making movies with students, largely drawn from the work of Joe Lambert (2009) and the Center for Digital Storytelling (2011). Bull and Kajder (2004) and Robin (2008) delineate the Seven Elements [more recently called the “Seven Steps,” by Lambert (2009, xiii)] that include:
Researchers (Dreon, et al. 2011; Kajder 2004; Ohler, December 2005/January 2006) have written extensively about the process of making movies with students, largely drawn from the work of Joe Lambert (2009) and the Center for Digital Storytelling (2011). Bull and Kajder (2004) and Robin (2008) delineate the Seven Elements [more recently called the “Seven Steps,” by Lambert (2009, xiii)] that include:
When you are finished completing the chart, choose one of the events to write about in detail. Write 1-2 pages ona separate sheet of paper. Be prepared to read your favorite paragraph to your partner. Fill out the Topic Graph to the best of your ability. In each block, use short phrases or trigger words that come to mind when you think of the particular event. Under mood and color, just put the first word that comes to mind.
When you are finished completing the chart, choose one of the events to write about in detail. Write 1-2 pages ona separate sheet of paper. Be prepared to read your favorite paragraph to your partner. Fill out the Topic Graph to the best of your ability. In each block, use short phrases or trigger words that come to mind when you think of the particular event. Under mood and color, just put the first word that comes to mind.
Table | Participant Information (All names are pseudonyms)
Table | Participant Information (All names are pseudonyms)
Authors may expect that the lead editor assigned to their submission will guide them in shaping the piece rhetorically, will help to ensure that all necessary content has been included, and will verify that links are working and active. We’ve found it delightful to work with authors whether they wear one or more of the hats of teacher, professor, or parent, and it is our hope that this article will further widen the net of contributing authors for Writers Who Care. Authors retain copyright to their work, and, in fact, the Commission encourages authors to consider their posts as single entries into extended conversations on their topics. We hope that authors will revise and expand their work and resubmi it to other publications that contribute to public discourse about writing in schools. Authors are required to secure necessary permissions to post student work, images of students, or school and teacher names; submission of the manuscript indicates the author has secured these permissions.
Authors may expect that the lead editor assigned to their submission will guide them in shaping the piece rhetorically, will help to ensure that all necessary content has been included, and will verify that links are working and active. We’ve found it delightful to work with authors whether they wear one or more of the hats of teacher, professor, or parent, and it is our hope that this article will further widen the net of contributing authors for Writers Who Care. Authors retain copyright to their work, and, in fact, the Commission encourages authors to consider their posts as single entries into extended conversations on their topics. We hope that authors will revise and expand their work and resubmi it to other publications that contribute to public discourse about writing in schools. Authors are required to secure necessary permissions to post student work, images of students, or school and teacher names; submission of the manuscript indicates the author has secured these permissions.

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