ECI 520 Teaching Composition 2008
From WolfWikis
"[W]riting instruction has remained at the heart of curricular decisions as to the kind of society we should advocate and the kinds of individuals we should encourage to make up that society. Decisions about writing pedagogy put into material practice our beliefs as to the purpose education should serve in society.” -- Catherine L. Hobbs & James Berlin
This wiki contains ideas, articles, opinions, and other written pieces relating to the ECI 520 course experience, the focus of which is teaching composition effectively.
Topics for Multigenre Research / Writing Project
Theresa -- My topic is Jon Tedone--a victim of teen suicide brought on by clinical depression.
Jasmine -- My topic is The Lost Colony. I have researched theories about what happened to the colonists. I have concentrated a lot of my efforts on the theory that the captain of the ship was hired by the secretary of state to sabotage the expedition to revenge the Queen's relationship with Sir Walter Raleigh.
Judy -- Cram Schools in Taiwan
Lisa -- My topic is the American cockroach, second only to the German cockroach in southeastern U.S. household infestations. Is my disgust for roaches warranted, or is my ignorance breeding fear?
Christine -- My topic is on Puerto Rican migration to the United States, and my father's personal journey.
Multigenre Reading, Writing, and Research: Resources and Examples
University of Miami, OH Multigenre Writing site
Examples of web-based student multigenre research/writing projects
Responding to Student Writing
Some of our ideas for responding effectively to student writing based on the reading for classes 8 & 9:
- Use of Socratic method in conferencing with students (from Urbanski/Theresa)
- Be specific in terms of the feedback you provide to students (Papermarking article/Jasmine)
- Be purposeful in your feedback to students (Christine)
- Conferencing with individual students (Theresa)
- Honesty is key in the feedback you provide to students (Lisa)
- Using questions that let teachers lose or give up control rather than questions teachers take control (from Urbanski, p. 142/Jasmine)
- Encourage students' independence in their writing (Judy)
- Provide response to students from a reader's perspective rather than a teacher's perspective (Theresa)
- Begin by asking the student the key question: "How do you see your paper right now?" Use their response to frame your response as the teacher. See the paper through the student's eyes / perspective. (Jasmine)
- Through our conferences with students, we as teachers help to give students the language to use to talk about their writing in future conferences. (from Atwell / Lisa)
- Color-coding approach--using highlighters to indicate certain areas to focus upon for revision (i.e., organization) (from Urbanski / Theresa)
- Use of fluid revision circles to maximize time and attention given to response on student writing (from Urbanski / Theresa and Jasmine)
- Have a positive mind-set, looking for students' hidden potential (Kirby & Liner / Judy)
- Have students be responders with various strattegies ( Kirby & Liner / Judy)
What Research Has to Say About the Process Approach to Teaching Writing
As discussed in class, we're summarizing each of the chapter subheadings...
1. Introduction
Using the writing process, specifically the writing workshop, with teacher modeling increases positive writing experiences and negates writing apprehension. According to the National Writing Project, writing needs to be taught deliberately, systematically, and extensively in the classroom. -Theresa In fact, Bruno (1983) found that the writing of students taught using the process writing approach was rated superior to that of students using the traditional method (p.280). -Theresa
2. Historical Overview of the Writing Process- Judy
Students are expected to apply the elements of writing process approach validated by the authorities in 1992. According to Bloodgood (2002) and Winterowd & Blum(1994), the basic idea of writing process should be traced back to Greek and Roman era. In professional literature, seven steps for writing process were first mentioned by Day’s (1947). Later on, in the book edited by Cowley (1958), 4 stages of writing process were formed based on the interviews of 16 published authors. In 1970s, a group of teachers in San Francisco Bay Area stated to share their own writing with one another and proposed nontraditional instructional model, also known as “process approach” (Gray, 2000; Wilson, 1994). School systems in each state have mandated “process approach” as the gold standard in K-12 classrooms since 1980s. However, during this period, the application of textbooks tended to instruct students in only how to create a piece of paper instead of going through a recursive process. Rohman’s (1965) model of prewriting, writing and rewriting are still widely accepted by the public. Brozick (1976) concluded that writing process differs based on its various elements, and de Beaugrande (1984), Bridwell (1980) & Witte (1987) also noted that there is no fixed form in writing process. On the other hand, Goldstein and Garr (1996) claim that authors can make a decision in their own writing. Monsenthal, Daniels, and Woodside-Jiron (2000) found out that even those who subscribe to the “recursive idea” have different implementation in their classrooms.
3. Early Studies of the Writing Process- Jasmine'
Early research about the writing process brought about three major ideas concerning writing and criticism about its subjects. The most well-known research came from Janet Emig (1971), Donald Graves (1973) and Peter Elbow (1973) who all argued for writing to be seen as a process not just one step. Janet Emig found that there are two modes of writing: extensive which conveys and message and reflexive which explores feeling. She also found that each of these modes of writing has its own process which is characteristic to its purpose. Donald Graves’ research built on Emig’s findings, continuing with looking at how specific students’ approach to writing through case studies, interviews and writing folder checks. Graves ultimately found that students have quite different approaches to writing based on sometimes unknown or unrecognized variables. Finally, Peter Elbow called for a more extensive, formal process to writing which included a pre-writing stage, not just writing and editing. He also defined writing as a series of problem-solving steps which help the writer to define his feelings or thoughts about a particular subject, instead of a retelling of what the person knew from the beginning. While each of these researchers contributed much to the idea of the writing process, there were still critics who believed that the writing process was only apropos to professional writers, not emerging or beginning writers. Many teachers argued that the process would not work for students who were just learning to read and write. However, many people supported the process approach and research continued, including more genres and more emphasis on pedagogy.
4. Research Studies on the Effectiveness of the Writing Process - Theresa and Christine
Research done on the effectiveness of the writing process has effectively shown the importance of teaching writing as something we do through a series of recursive steps. The National Assessment of Educational Process (NAEP) has shown consistent correlations with teaching the “writing process” and students' increase in writing proficiency on the NAEP writing assessment. Other than the NAEP, researchers have found that "the overall quality of students' texts improved when students internalized specific strategies for prewriting, writing, and revising, employed self-regulation strategies to develop a text, and activated strategies to deal with negative emotions that arise during composition"(Pritchard& Honeycutt2006). Patthey-Chavez et al. (2004) finds that regardless of the method used to teach the writing process, students will respond accordingly. Amongst all data received there still seems to be arguably different points of view as to what the writing process actually entails. There are two main points that researchers make regarding the writing process models. First, some believe in a natural process that does not give extreme attention to planning, revising, and editing (MacAuthor et al., 1996.) Through this process students achieve the writing process through indirect instruction (Graham & Harris, 1997.) Second, researchers on the opposite end see the writing process as a model that is to be taught through direct instruction using a compilation of procedures and activities (Cramer, 2001.)
5. Research on the Impact of the National Writing Project Professional Development Model - Lisa
Empirical study of the National Writing Project’s impact on both teachers and students is challenging because the program changes with communities across space and time. Most studies have focused on teachers rather than students. Results indicate that NWP-trained teachers use a wider variety of activities and spend more time teaching writing than non-trained teachers. Furthermore, Pritchard (1987) found that trained teachers spend significantly less time teaching traditional activities such as spelling and vocabulary. Testimony from trained teachers also indicates that the NWP positively impacts classrooms by increasing teachers’ confidence as writers and enthusiasm for teaching.
Studies of the impact of the NWP on student achievement are scarce for additional reasons, one of which being that researching writing is difficult, especially considering the challenges teachers of writing face. Also, creating control groups for empirical study of NWP’s impact on students is difficult because so many the program’s principles are so prevalent in schools and textbooks. However, two empirical studies (Hawkins & Marshall, 1981; Marshall, 1983; Pritchard, 1987) have evaluated student achievement. After researchers completed an extensive process of evaluating student progress over a period of two years, they found that students of trained teachers consistently achieved a higher mean score. Currently, more studies are underway that focus specifically on student writing performance.
6. Where Do We Go From Here? - Dr. Y
Critics of the process approach see it as sapping the heart and soul of writing. They view it as so ubiquitous that it means almost anything, thus it really means nothing. Proponents, on the other hand, see the process as the only true measure for helping students find the heart and soul of writing. Process writing involves more than just procedural strategies--it is best understood as complex phenomena with multiple strategies addressing stages of writing process, but also strategies to develop schemata (e.g., strategies to help writers understand context, to tap prior knowledge and reading ability, engage in problem-solving, etc.). Strategies occur on both a micro-level (e.g., spelling, transcription, sentence construction) and a macro-level (e.g., organization, conventions, cohesion, audience, genre, topic, etc.).
Best practices in teaching writing address not only improving writing, but also developing "positive dispositions, social behaviors, problem solving, and other skills that have value in and of themselves" (p. 285).
One persisting misconception about the process approach is that it doesn't entail direct instruction.
The process approach provided an instructional alternative at a time when more traditional methods were being challenged (i.e., those grounded in rhetorical theory). As such, its popularity in terms of practice grew more quickly than efforts to conduct research or theorize about it. Some of the theories that have been used to study writing include the following: cognitive process theory (Flower & Hayes, 1981); natural process model (Elbow, 1973; Murray, 1985); and the mental growth model (Moffett, 1981, 1992). These provide a foundation for best practices for the profession, as well as the jumping off point for further research.
One area for further consideration in terms of practice, theory, and research is the writing produced that is multimodal and multimedia in nature and makes use of new and emerging collaborative technologies.
Thematic Categories in Progress...
Effects on Students
In Calkins's two-year case study (1982;1983), she observed the changing process of a child's daily writing behavior. She indicates that when a child internalized the strategies from the writing process, especially the revision part, her writing products can be steadily improved. Her research has greatly influenced the writing process implemented in the elementary grades. -- By Judy Hu
Both Calkins (1982) and Honeycytt (2002) found that students "practiced specific purposes until the processes became automatized during composing." - Jasmine
Students taught using the process approach are likely to engage in more revision than students taught through more traditional methods (Robinson, 1986). - Lisa
It is important to note that, "students respond to the type of feedback they receive, and when they are asked to standardize their writing rather than develop it, that is precisely what they do" (Patthey-Chavez, 2004). -Christine
Teacher's Role
Hillocks (1984) discovered that "the teacher's role in the process model is to facilitate the writing process rather than to provide direct instruction.- Jasmine
However, Honeycutt (2002, Honeycutt & Pritchard, 2005) discovered that the best instruction includes both direct and indirect writing instruction.- Jasmine
Stages in the process approach are recursive rather than linear. - Lisa
Procedural strategies include explicit instruction in self-regulation, searching prior knowledge, goal setting, and other processes. (p.277).-Theresa
Additional Resources
NCTE Beliefs about the Teaching of Writing
What We Know About Writing Workshop
The web below features the initial and follow-up brainstorming we did about writing workshop in classes 6 & 7.
What We Know About the Writing Process
The web below features the initial brainstorming we did about the writing process during class 5 in response to the following prompts: What comes to mind when you think about "the writing process"? What is it? What are your experiences with it--as a student, a writer, a reader, a teacher, etc.?
Archivist: Theresa Alampi, 2-12-08
What Is Composition?: Our Initial Ideas
Theresa - As I read the excerpt from Katie Wood Ray, I found that her two categories of writing blended in well with what we have already discussed in class. I agree that there are two (or three) main types of writing and the important difference is the purpose that the writing stands to serve. However, I did get a little caught up on the whole idea of composition ONLY being required for a certain audience. I believe we write for a specific purpose, but not always with an audience in mind. In other words, "writing to live" can be composition to get ideas and emotions out, and I may have no intention of sharing that with others. In continuing the reading, I was shocked at Ray's comments on writing across the curriculum! This concept has been pushed upon me ever since I began taking methods classes in undergrad. I never thought of writing as a separate content area. Even though I was almost appalled at first, I did begin to see the author's argument. I do agree that writing tends to get pushed aside and that many teachers' excuses (including mine) is that we don't have time. I also agree that students need time to "just write".
Jasmine - When I first started reading, I was a little overwhelmed by Katie Wood Ray's ideas. At my school, we are so dedicated to ideas of writing across the curriculum that at first I was insulted. However, as I continued to read, I understood her point. In many cases we are so focused on writing across the curriculum that we forget to teach writing ourselves. I imagine this could especially be true in the elementary classroom where one teacher is responsible for so much of the students' learning. So, I started to think about how I define writing instruction in my class and whether I am letting students "write to communicate their ideas to others" or just giving them meaningless assignments. Ultimately, as I read I decided that I teach some writing to live and some composition according to Ray's definition. I also decided that I agreed with her for the most part. I agree that students need to feel compelled to write, that when they write with purpose, their writing is always better, and that "writing should be taught as something that enriches a life (as well as maintains it.) However, I would change the definition of composition a bit. To me, composition can be writing to live as well. Sometimes the ideas she presents under writing to live are purposeful and also fall under the category of "writing to get your life done." I think composition is a state of mind, just like being a writer is. If we believe we are composing something worthwhile and meaningful, then we are. Even if that writing is a grocery list.
Judy - I don't completely agree with the definition of composition presented by Katie Wood Ray. To me, composition is simply a synonym of writing, a process that requires several elements to compose a good work. However, she provides a good metaphor for me to define my own composition. She noted "Writing is a kind of like going fishing." In my understanding, the writer= the angler; the writing structure= the fishing tackle; the words and phrases= the bait; the audience= the fish. It requires great patience and passion to be a angler with abundant harvest. He must be the one who can always enjoy the time spent in the process of fishing. With the firm fishing tackle and flavored bait, he can attract the target fish and hook them sucessfully. I agree with what Ray mentioned that how to arouse students' intention to write is something teachers have to think about when designing their writing curriculum. Basically, I believe students' "gift" or "talent" for writing can be developed by teachers. Help them find out their purpose of writing, give them more time to practice writing, provide them more room to create their imagination, and they can enjoy more about writing.
Lisa - As I began to read Katie Wood Ray's definition of composition vs. writing to live, I thought the categories my group came up with in class would neatly fit into one or the other (work/school and functional = writing to live, personal/pleasurable writing = composition). However, according to Ray's definition, diaries, notebooks and journals are considered writing to live because they are written for personal reasons. Composition, on the other hand, would have to take audience into consideration. I don't strongly disagree with this definition but I'm not thoroughly convinced yet, either. I agree that composition will make a reader feel or understand something, and that composition begins with an idea. But I don't see why composition has to arise from a need to get ideas out to others. Can't I compose something using “genre, form, sound and the conventions of my language system” just for myself? Why couldn’t a compiled series of diary entries be considered composition? I guess in my head there’s still a preconceived notion that “writing to live” equates to emotionless writing that we’re not personally invested in, whereas “composition” sounds like there’s some artistic quality to it, even if there is no intended audience.
Christine - My prior notions of composition fell in line with what Katie Wood Ray defined composition to be, although I do have some confusion regarding one aspect. Although the idea of composition holds a particular audience in mind can writing, “composition”, be used solely for the purpose of getting to an end and not necessarily focusing on a specific audience? Often we write for a purpose or as a means to an end and do not necessarily consider an audience (well, sometimes, I don’t necessarily consider an audience). So my question becomes, if “writing as composition is writing that begins with an idea that the author wants to communicate” does it change as composition if there is never an intended audience reached? As I read that was the main question that continued to plague me. I was also very surprised to read that Ray did not fall in line with many curriculum developers on the notion of writing across the curriculum. I got a feeling that Ray didn’t completely oppose the idea of writing across the curriculum, but was concerned with what happens when writing is introduced across the curriculum. It often becomes watered down, and the stress on the “pleasure” of writing is in essence lost. One thing that particularly stood out for me from the reading was Ray’s issue of time. Many teachers have a fear of teaching writing and blame time as the reason that they do not teach it, or teach it well. As educators if we can find a way to become comfortable with writing and teaching it, I believe we will see that manifest into our students and their success with writing.
Processing Calkins: Insights into Writing Development
Note to students: For Class 4, please add a transition/connection statement for your chapter which provides a transition between your chapter and the one that follows (look for connections and points where literacy/writing development is changing).
Ch. 6: The Foundations of Literacy: Writing in the Home, the Nursery School, and the Kindergarten
Ch. 7: Growing Up Writing: Grades K, 1, and 2
Ch 8: In Between: Grades 2 and 3
Ch. 9: Developing Learning Communities in the Upper Elementary Grades
Ch. 10: Teaching Adolescents: Improvisation and Commitment
ESL / ELL Resources
FAQs about NC Standard Course of Study for LEP students
Writing with Wikis
Wiki Resources:
Wikis in Plain English: Wikis In General and In Terms of Pedagogy
What Are Wikis?
Coding Help for the Wiki
General Resources & Links
The Machine Is Us/ing Us Video (from class 2): http://www.youtube.com/watch?v=NLlGopyXT_g
APA Formatting and Style Guide (OWL Lab): http://owl.english.purdue.edu/owl/resource/560/01/
Citation builder NCSU library: http://www.lib.ncsu.edu/lobo2/citationbuilder/citationbuilder.php