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提升学生英语写作水平的30个方法,
One student describes her personality as sometimes 'caustic,' illustrating the word with a photograph of a burning car in a war zone. Her caption explains that she understands the hurt her 'burning' sarcastic remarks can generate.
SIMMONS, EILEEN. 2002. "Visualizing Vocabulary." The Quarterly (24) 3.
6. Help students analyze text by asking them to imagine dialogue between authors.
John Levine, a teacher-consultant with the Bay Area Writing Project (California), helps his college freshmen integrate the ideas of several writers into a single analytical essay by asking them to create a dialogue among those writers.
He tells his students, for instance, "imagine you are the moderator of a panel discussion on the topic these writers are discussing. Consider the three writers and construct a dialogue among the four 'voices' (the three essayists plus you)."
Levine tells students to format the dialogue as though it were a script. The essay follows from this preparation.
LEVINE, JOHN. 2002. "Talking Texts: Writing Dialogue in the College Composition Classroom." The Quarterly (24) 2.
7. Spotlight language and use group brainstorming to help students create poetry.
The following is a group poem created by second grade students of Michelle Fleer, a teacher-consultant with the Dakota Writing Project (South Dakota).
Underwater
Crabs crawl patiently along the ocean floor
searching for prey.
Fish soundlessly weave their way through
slippery seaweed
Whales whisper to others as they slide
through the salty water.
And silent waves wash into a dark cave
where an octopus is sleeping.
Fleer helped her students get started by finding a familiar topic. (In this case her students had been studying sea life.) She asked them to brainstorm language related to the sea, allowing them time to list appropriate nouns, verbs, and adjectives. The students then used these words to create phrases and used the phrases to produce the poem itself.
As a group, students put together words in ways Fleer didn't believe many of them could have done if they were working on their own, and after creating several group poems, some students felt confident enough to work alone.
FLEER, MICHELLE. 2002. "Beyond 'Pink is a Rose.'" The Quarterly (24) 4.
8. Ask students to reflect on and write about their writing.
Douglas James Joyce, a teacher-consultant with the Denver Writing Project, makes use of what he calls "metawriting" in his college writing classes. He sees metawriting (writing about writing) as a way to help students reduce errors in their academic prose.
Joyce explains one metawriting strategy: After reading each essay, he selects one error that occurs frequently in a student's work and points out each instance in which the error is made. He instructs the student to write a one page essay, comparing and contrasting three sources that provide guidance on the established use of that particular convention, making sure a variety of sources are available.
"I want the student to dig into the topic as deeply as necessary, to come away with a thorough understanding of the how and why of the usage, and to understand any debate that may surround the particular usage."
JOYCE, DOUGLAS JAMES. 2002. "On the Use of Metawriting to Learn Grammar and Mechanics." The Quarterly (24) 4.
9. Ease into writing workshops by presenting yourself as a model.
Glorianne Bradshaw, a teacher-consultant with the Red River Valley Writing Project (North Dakota), decided to make use of experiences from her own life when teaching her first-graders how to write.
For example, on an overhead transparency she shows a sketch of herself stirring cookie batter while on vacation. She writes the phrase 'made cookies' under the sketch. Then she asks students to help her write a sentence about this. She writes the words who, where, and when. Using these words as prompts, she and the students construct the sentence, "I made cookies in the kitchen in the morning."
Next, each student returns to the sketch he or she has made of a summer vacation activity and, with her help, answers the same questions answered for Bradshaw's drawing. Then she asks them, "Tell me more. Do the cookies have chocolate chips? Does the pizza have pepperoni?" These facts lead to other sentences.
Rather than taking away creativity, Bradshaw believes this kind of structure gives students a helpful format for creativity.
BRADSHAW, GLORIANNE. 2001. "Back to Square One: What to do When Writing Workshop Just Doesn't Work." The Quarterly (23) 1.
10. Get students to focus on their writing by holding off on grading.
Stephanie Wilder found that the grades she gave her high school students were getting in the way of their progress. The weaker students stopped trying. Other students relied on grades as the only standard by which they judged their own work.
"I decided to postpone my grading until the portfolios, which contained a selection of student work, were complete," Wilder says. She continued to comment on papers, encourage revision, and urge students to meet with her for conferences. But she waited to grade the papers.
It took a while for students to stop leafing to the ends of their papers in search of a grade, and there was some grumbling from students who had always received excellent grades. But she believes that because she was less quick to judge their work, students were better able to evaluate their efforts themselves.
WILDER, STEPHANIE. 1997. "Pruning Too Early: The Thorny Issue of Grading Student Writing." The Quarterly (19) 4.
11. Use casual talk about students' lives to generate writing.
Erin (Pirnot) Ciccone, teacher-consultant with the Pennsylvania Writing and Literature Project, found a way to make more productive the "Monday morning gab fest" she used as a warm-up with her fifth grade students. She conceived of "Headline News." As students entered the classroom on Monday mornings, they wrote personal headlines about their weekends and posted them on the bulletin board. A headline might read "Fifth-Grader Stranded at Movie Theatre" or "Girl Takes on Responsibility as Mother's Helper."
After the headlines had been posted, students had a chance to guess the stories behind them. The writers then told the stories behind their headlines. As each student had only three minutes to talk, they needed to make decisions about what was important and to clarify details as they proceeded. They began to rely on suspense and "purposeful ambiguity" to hold listeners' interest.
On Tuesday, students committed their stories to writing. Because of the "Headline News" experience, Ciccone's students have been able to generate writing that is focused, detailed, and well ordered.
CICCONE, ERIN (PIRNOT). 2001. "A Place for Talk in Writers' Workshop." The Quarterly (23) 4.
12. Give students a chance to write to an audience for real purpose.
Patricia A. Slagle, high school teacher and teacher-consultant with the Louisville Writing Project (Kentucky), understands the difference between writing for a hypothetical purpose and writing to an audience for real purpose. She illustrates the difference by contrasting two assignments.
She began with: "Imagine you are the drama critic for your local newspaper. Write a review of an imaginary production of the play we have just finished studying in class." This prompt asks students to assume the contrived role of a professional writer and drama critic. They must adapt to a voice that is not theirs and pretend to have knowledge they do not have.
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