Curriculum for College for Youth, Morningside College
Developed by Dr. Sean Meehan, English Department, Morningside College
December 28, 2005
Course Title:
The Writer’s Experience: A Workshop
Course Area:
A creative writing workshop for academically talented middle school students (current 5th-7th grade), focusing on several experiential aspects for developing interest, skills, and creativity as a writer.
Key Activities:
Following a workshop model for teaching writing, the most significant aspect of the two weeks will be the experience of working first-hand, from direct experience, on writing. Key activities will include keeping a writer’s notebook during the course, reading and responding to short readings by published writers (including students), developing ideas and revising drafts for several short pieces of writing, using technology for both word processing and editing of finished work, one-on-one conferencing with the teacher regarding work in progress, peer reading and response to other students’ writing, reading and presenting work to the class, working on a final publication and using technology to help edit an on-line journal of the writing from the course.
Introduction/Course Description:
Good writers learn from the experience of their writing. This writing workshop develops the writer’s skills and imagination in three aspects of writing from experience: writing about personal history, writing and observing the environment, writing about images. The focus is hands-on writing and communication: working from journal writing to composing to publication in a range of genres (autobiography, poetry, essay). In addition to frequent conferences with the teacher and readings before the class, students will help edit and publish an online magazine of their writing.
Course Objectives:
The overall purpose of the workshop is for students to experience, first-hand, writing as a process in which a writer calls upon literacy skills, critical thinking, creativity, technology, personal knowledge and communication with others to develop the art of the written word. This purpose directly supports and is informed by both the mission of College for Youth (to challenge, excite, and stretch the minds of young learners) and the four skill sets: critical analytical thinking (reading of other’s work, revision of one’s own writing); effective communication (presentation and publication of one’s writing); working in teams (peer revision groups); using technology (drafting and publication of writing on computer and in digital format).
Every middle school student has had the experience of writing in school. Much of that experience is limited, is shaped by large class sizes, lack of technology, limited contact with teachers and peers, limited focus on developing personal experience. This course addresses those limitations in giving students an opportunity to experience writing more thoughtfully, intensively, and creatively than their previous experience has allowed. The objective is to make the experience of writing more engaging—understanding that engagement, particularly personal engagement at this level, is an important foundation for learning. This additional objective is informed by standards for teaching writing and language arts developed by NCTE, specifically the following:
4. Students
adjust their use of spoken, written, and visual language (e.g., conventions,
style, vocabulary) to communicate effectively with a variety of audiences and
for different purposes.
5. Students employ a wide range of strategies as they write
and use different writing process elements appropriately to communicate with
different audiences for a variety of purposes.
11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).
[standards located at http://www.ncte.org/about/over/standards/110846.htm]
Research and Resources:
Principles of the workshop approach and use of a writer’s notebook (or journal) are presented in Kirby et al., Inside Out: Strategies for Teaching Writing (Heinemann, 2004) and Natalie Goldberg, Writing Down the Bones: Freeing the Writer Within (Shambhala, 1986).
For additional material, including web resources and ideas for exercises, consult the curriculum resource developed by NCTE: http://www.readwritethink.org/lessons/index.asp
Materials:
1]A spiral notebook (can be 70 sheet size; suggest we might provide a notebook with Morningside logo on it, if possible)
2]ample pens and pencils available in classroom
3]a short packet of excerpts/readings that will be photocopied and provided to students (around 20 pages x 15 copies). This packet should be left in the classroom, can be taken home at the end of the course.
4]Hold class in ICN room to have use of computers during the course. As part of this technology feature of the course, we will need to have printing available for final drafts of work [approximately 200 pages of printing for the course]
5]Technology help for the instructor in setting up a folder and site on the College network, for storing student files (work in progress) and for publishing a final magazine of the work to the College for Youth web site. [something to be worked out with assistance from Educational Technology Coordinator, perhaps also work-study position in Publications office]
Suggested Course Evaluation:
In keeping with the focus on self-reflection and evaluation used in the workshop, I suggest that students respond to the following questions (narrative form) to provide feedback on the course to the teacher and the program. This evaluation can be done the final day.
[1]Reflect on what you experienced as a writer in the course and ways that you have developed as a writer. What things do you think you have learned about writing and about yourself as a writer?
[2]Evaluate the final piece of writing you are publishing in the course magazine: what strengths do you feel it reflects about your writing? Which aspects of the course and the workshops do you feel best helped you to develop those strengths?
[3]Like you, Dr. Meehan is a writer, and this summer course is a piece of writing that he is still working on. With that in mind, help him identify one or two aspects of the course that you feel are very strong, that he should continue next time; and one or two aspects of the course that he should revise and change. What changes do you recommend?
Daily schedule/topics for 10-day course:
[1]Day One: Getting Started as a Writer
Morning [9.30-11.45]
Lesson #1: Starting with the notebook
As first exercise for getting to know students—and get them to know the workshop focus of the class, provide notebook to each student, have them put name in it, and start with 5 minute reflection (page one, dated): all the different memories/experiences they have with writing. They can list, write in sentence form, draw a map or timeline, whatever works: earliest memory of writing, best experiences, worst experiences, favorite writers, kinds of writing.
Discuss experiences and memories of writing while introducing names (each student to discuss one experience of their choice). Teacher will share a memory/experience.
Principles for the workshop: [have students write into their notebooks—a kind of writer’s bill or rights]
Everyone who writes is a writer: thus we are all writers
Writers learn to write (and develop as writers) by writing: thus writers learn from the experiences (good and bad) of their writing
Writers keep track of their experiences—with the world, with ideas, with their own writing: thus the importance of the writer’s notebook or journal
Writers develop their writing over time, in a process of exploring and composing and revising, working individually and with other writers: thus the workshop
Writers communicate through their writing and seek audiences for their work: thus the importance of publication
Workshop #1: Delving into a Writing Memory
[Follow up to the discussion]
[definition: delve—to dig]
Pick one of the memories or experiences from your list and focus on it, delve into it, begin to flesh it out what the experience was (all details you can remember) and what it means to you now (as a writer). What does this experience, good or bad, tell you about writing? How does it influence your view of yourself as a writer?
a)15 minute writing period: emphasize that this is free-writing, exploratory. Students should not stop to edit, make corrections, or stop much to think. When stuck, try to keep pen moving (write what first comes to mind, let that lead). Point is to get students comfortable with writing for extended periods—suggest they find a comfortable spot in the room.
b)As follow-up discussion (and wrap-up of the workshop): 5-10 minute discussion of what they have been writing, reflections on what their experiences as writers has taught them about writing. List ideas and reflections on board (to keep visible during class) and/or write down in notebook—definitions/experiences you can add to and get back to at the end of the course.
[5 minute water/bathroom/stretch break about 1 hour in]
Lesson #2: Composting
Read Natalie Goldberg’s chapter, “Composting”
Brief discussion [5 minutes] of what a compost is and the ways her metaphor of composting and digging compares to writing—connect to their own experience. What does metaphor mean? What does composting in writing mean?
[definition: metaphor—an idea or image used to represent or compare to something else that is different from it]
Workshop #2: Composting, continued.
A series of 5-10 minute sessions of notebook writing, further exploring, composting, and shaping the initial writing from the first workshop (memories and experiences they have had with writing). Each session begins with a prompt and can be wrapped-up with a brief discussion (getting students comfortable talking about and sharing their writing)
Prompt 1: Identify a strong sentence/thread from the previous writing you did; circle it. Take that sentence and re-write it on a new page: start there and write more about the experience/memory; delve further into it.
Prompt 2: Write about the same experience/memory, but from the perspective (and in the voice) of someone else connected to it: a teacher, parent, friend—someone in the picture other than you. How do they view it?
Prompt 3: Create a class poem: “The Definition of Writing” Take one sentence from each student and list in lines on board. With student suggestions, revise and further shape those lines into a poem.
Discussion: what makes a poem a poem?
Focus: how we can evoke and convey our experiences and ‘definitions’ of writing, beyond just listing them.
Prompt 4: [if time] Select and Shape 10-15 lines or phrases from your notebook into a poem titled “My Definition of Writing”
Afternoon [12.45-3.00]
Check for Understanding/Review:
What are our principles of writing?
What does composting mean with reference to writing?
Lesson #3: Autobiography—where we begin.
Reading: Frederick Douglass, Narrative of the Life. Read opening paragraphs
Discussion [10 minutes]: Explanation of genre definitions: autobiography; slave narrative (a popular form of the genre from 19th century). How does Douglass begin his autobiography? What does he do with it as a writer?
Workshop #3: Beginning autobiography, continued.
(a)15-20 minutes continuous writing. Begin to sketch out and compose the opening paragraphs of your autobiography. Where do you begin? What do you include? What do you emphasize as a writer?
(b)follow-up discussion [15 minutes]: in groups of 3, each student will read from their autobiographical openings (after introducing themselves); students listening will suggest an interesting phrase or sentence that they would recommend the writer might pick out and delve into.
[5 minute water/bathroom/stretch break about 1 hour in]
Writing/Conference Time
Final hour of day used for individual conference time with students (to discuss work in progress, respond to questions) while students work individually on a given assignment.
Assignment options: (1) Continue work on opening section of autobiography by delving into a strong sentence/thread or write from perspective of someone else; (2) turn/shape lines you have in your notebook into a poem titled “My Life as a Writer” (3)Explore another memory/experience you have had with writing.
For conference purposes: teacher should keep a notebook with a page for each student, to record notes from discussions. In the workshop approach, this provides another important check for understanding.
Take-home assignment: Bring notebook home and
decorate it as desired, make it yours. Make note of something that catches your
eye or somehow stands out to you—or something that you would like to start
writing about, for whatever reason.
[2]Day Two: Narrating Experience
Morning [9.30-11.45]
Lesson #1: Show and Tell
Read the Goldberg chapter, “Don’t Tell, but Show.”
Focus: moving from initial focus in day 1 on getting material and memories into notebook and starting to shape to experience with narrating a particular experience, and not just telling but showing the experience.
Discussion 5-10 minutes (and check for understanding/review): what does Douglass do to show, not just tell us information? [go back to previous reading]. Which sentences stand out as good examples of showing. [one point to make: the way he discusses mother, tells us basic information, but shows/establishes the psychology and emotional world of the slave, kept in the dark]
Workshop #1: Show and Tell, continued.
Prompt 1 [10 minutes notebook writing]: Go back to any of your initial writings in the notebook, select 3 or 4 lines or sentences or descriptions that tell the reader information. Re-write (and add to each example) to show the reader.
Discuss and list examples on the board from their writing. What are ways that a writer can show and not just tell? Discuss imagery, sensory detail: sound, smell, feel, color, emotion.
Prompt 2 (can also do this together on the board if desired): Develop a list of useful “show” vocabulary: verbs, nouns, adjectives, adverbs that they are starting to use that show or evoke or convey.
[break]
Lesson #2: Showing your age
Read “Eleven” together (have students read a paragraph or two each aloud).
Discuss: what does Cisneros do to show us and not just tell us the meaning of being eleven and how Rachel feels about the birthday? Each student should identify one sentence or line that seems effective.
Workshop #2: Showing, continued.
Notebook writing [20 min. continuous] Write about a particular birthday or age you remember. Why do you remember it? In narrating the experience, work on showing, not just telling the reader why this birthday is significant, why memorable.
Peer reading and discussion [15 min.]: Using the groups from yesterday, each student will read from their notebook (the birthday memory). Students will listen for good examples of showing, and report back at least one that stands out to them.
Afternoon [12.45-3.00]
Lesson #3: Autobiography assignment.
First publication: The assignment is to select an autobiographical experience or memory from the notebook thus far, something the writer wants to explore further and develop for publication. Possible topics: a particular birthday you remember; a memorable experience you have had with writing; something about your origins, your family (the beginning of your autobiography)—anything else from your experience you are inspired to dig into. The key will be to delve and to show the experience, what it means to you. The final version (poetry or prose) will be typed up and presented to the class tomorrow; students might also select this for publication in the magazine at the end of the course.
Workshop #3: Composting/Drafting
Step 1: Go back into notebook with the assignment in mind and compost. Re-read, locate interesting moments and memories, begin to add to them in the notebook, use free-writing techniques—working towards a decision about what your focus will be. [10 minutes; teacher can circulate and visit briefly with students to guide them]
Step 2: Read a model for inspiration. Read “Word Daughter,” an example of a student’s published work about experiences with writing. In your notebook, identify strong lines from the poem that stand out, places where the writer is showing not just telling. [10 minutes, including discussion]. What does the writer do that seems effective?
[break]
Workshop/Conferencing: Autobiography
[the final 90 minutes of the day]
Students work individually on assignment while I conference.
Options to guide work: (1) more composting: use notebook writing to search for a focus (2)drafting: expand your focus, delve, work on showing and telling (3)reading: go back to readings we have done; read additional model in packet [“At the Door” or “The Book of Memory”], then respond in your notebook with ideas you might model and experiment with.
For conference: 5 minutes with each student. Ask what they have decided to focus on, what part of the process they are working on right now, where they want to go with this—what they want to evoke and show the reader, problems and questions they are encountering so far with the writing.
Take home: Continue to think about your focus, add any ideas to your notebook or draft as they come to you.
[3]Day Three: Publication: Autobiography
Morning [9.30-11.45]
Lesson #1: Revision
Discuss and define revision: a chance to see the work again, expand, change, continue writing, reading (not just edit or correct what your have already written—which comes at the very end). One key to do with first revision: find a place to go further, dig even deeper into the experience.
Workshop #1: Drafting/Revision
Step 1: transcribe the draft you have thus far (from notebook) to computer document. Help students set up the word document and save to course folder, etc.
[about 20 minutes]
Step 2: Peer reading
Each student will read the draft in progress of another. Focus will be on identifying 2 things only (no editing or correcting): (1) a particular line or image in the draft that stands out or seems strong (2) a place where you would like to see the writer go further: either because it is interesting and you want more, or because it is not clear or doesn’t show as much you want to see.
Reader will make comments on draft [show students the comment function; also make sure the document is saved as a draft—not the original]
Peer readers will then follow up with a brief discussion about their suggestions. Can ask additional questions.
Step 3: Further Drafting
Students return to computer for drafting and revision.
Teacher circulate and conference with as many as possible.
Afternoon [12.45-3.00]
Workshop #2: Editing/Printing
[Check for understanding/review: what does revision mean, what does a writer do when he/she revises?]
Define and briefly discuss editing, in contrast to revision: the final stage of the process when we clean up our writing for public presentation, focus on correcting the areas that could create confusion for a reader/listener (spelling, incomplete or confusing sentences/phrases, punctuation). However, some ‘errors’ might be effective if writer is aware of them and chooses them for a purpose. For example: having an incomplete sentence for effect. Example from “At the Door”: “Because I’ve learned of devastating human frailty by watching it take its toll and claim its prize.”
Step 1: Editing
Peer edit. Back to the pairs from the morning. This time the reader will read through the entire draft and identify (using the yellow highlight function) words, phrases, sentences where they are confused and think the writer should consider. Then follow up in discussion with the writer.
Step 2: Final edit.
Writer does a final edit. Suggest at least 2 readings. One going through sentence by sentence (or line by line), focusing on overall sense. Second, going line by line backwards.
Then print. [note: if printing is not possible at this point, students can read from the computer]
Reading and Response:
Gathering in a circle (depending on set up in room, might be better to go to a different location for the reading, possibly outside or in library), each student will read from their piece.
Follow-up to reading [depending on time]
Students read one piece by another writer and complete a reader-response sheet.
Ideally, teacher will collect the pieces and provide an overall comment (along the lines of the reader response) and give back to student next day. This is not grading the piece; it is to give it a response (reporting back on where they are showing) and ideas for future work, if they decide to return to the piece at the end.
[4]Day Four: Observing Experience
Morning [9.30-11.45]
Lesson #1: Listening
[definition: observation—the action of following a rule or practice; respectful attention or regard]
Focus: using the notebook/journal, in the model of Henry David Thoreau, to observe and record our experience—and build upon it as writers.
Read excerpt from Thoreau’s Journals (p. 34-35) that focuses on sound.
Discussion [10 minutes]: what observation means; what are the ways you observe, pay attention? What sounds and smells are part of your experience?
Why do you think listening to sounds is important to Thoreau or more generally, to the writer?
Bio on Thoreau: kept journal every day for almost 30 years; around 1 million words.
Workshop #1: Listening
Step 1: Students will find a spot on campus (outside) to sit down alone for 15 minutes of notebook writing. For the first five minutes, student will close eyes and listen. Then 10 minutes writing, will observe and make note of what they hear/smell—not what they see. Begin to describe the place as though to someone who cannot see. Take as many notes as possible—each student will report back and we will try to determine where on campus they are located.
Then return to class (teacher will circulate and collect students as needed).
[break]
Step 2: Back in classroom
Students read excerpts from their observations, without telling us where they were.
Rest of class listens for the sounds and smells. Indicates where the observation is strong (begin list on board of strong observation words used by students). Guess where the writer was located on campus, or what they are observing.
Afternoon [12.45-3.00]
Lesson #2: Looking Farther and Nearer
Read Thoreau’s passage from “Brute Neighbors” in Walden on the ant battle.
Focus for discussion: notice how attentive he is to what he sees, looking both farther and closer. Not taking for granted what he sees, looking deeper into it.
Which sentences/words stand out to you as a place where Thoreau is observing what he sees?
[check for understanding/review: Where in this excerpt do you think Thoreau is effectively listening?]
Workshop #2: Looking Again
Step 1: Return to the site you observed in the morning. This time, focus on your vision, looking into what you see (just as Thoreau does). First 5 minutes: pay attention to what you see and touch (exclude sound and smell). Then 10 minutes writing in your notebook: observe and make note of what you observe. Begin to describe the site as though to a reader who can only see and touch, but has not sense of smell or hearing.
Once again, teacher circulates campus and collects students. Return to classroom.
[break]
Step 2:
Students read from their notebooks. Rest of class will listen for the observation (of sight and touch). Keep track of words that are effective for such observation. Continue to guess the location.
Writing/Conferencing
While students work in notebooks, teacher continues conferencing. In addition to focus on new writing, teacher will follow-up on the first piece.
Guide for notebook writing: compost and explore ideas for a piece (that we will start to draft next class) that will focus on your observation of a particular site or location. Can expand upon the writing started today, or explore a new site you would like to observe in your writing.
Day Five: Describing Experience
Morning [9.30-11.45]
Workshop #1: Composting/Drafting 2nd piece.
2nd publication assignment: A piece of writing (poetry or prose) in which you observe and describe your experience at a particular site or location of your choice. A key in your observation and description will be in conveying and showing to the reader what is significant about this place, not merely telling them what or where it is.
Step #1: Write in notebooks for 20 minutes. Some or all may need to start with composting/free-writing, then move on to delving into a focus.
Follow-up to writing [5-10 minutes]: Have students share ideas, passages from writing. Begin discussion of what the writer wants to convey about the site and the observation.
Lesson #1: A model of observation.
Read silently “Living Like Weasels” by Annie Dillard. Make note in your notebook of at least 2 places where you see the writer effectively observing. Also, reflect on this question after reading: what do you think the writer wants to convey/show us through her observation of this particular encounter she has?
[break]
Lesson #2: Observing, again.
Re-read “Living Like Weasels” as a group (each student one paragraph).
Discuss: (1) sentences where the writer is observing—how the observing is described (2) what we think the writer wants to convey to us in this observation
(3) [check for understanding/review] how does Dillard compare in her observation to Thoreau—what does she do that might compare or contrast with Thoreau?
Workshop #2: Drafting
Begin or continue drafting from the first workshop, focusing on describing your observation, shaping the observation to convey a significance you want the reader to understand about the place. [20-25 minutes]
Afternoon [12.45-3.00]
Drafting:
Step #1: Compose initial draft on computer.
Step #2: Initial Revision: rereading and notebook
[15 minutes]
Writer working individually, identify a particular example in either Thoreau or Dillard that you think is strong and will use as a model for your observation. Take a section from your draft and revise it in your notebook: experiment with adding to it, as though Thoreau or Dillard were writing it. Try to make it sound/feel/look like their writing does.
Step #3: Continue drafting and revision.
Work towards a full draft while teacher conferences.
Day Six: Publication: Observation
Morning [9.30-11.45]
Lesson #1: Revision—Being concrete and specific
Just as we need to be attentive and observant to our experience, as writers we need to pay attention to our words and make sure that our language is focused and specific, not vague or lazy. Read Natalie Goldberg, “Be Specific.”
Discussion:
(1)Make this list of sentences more specific and attentive:
I am looking at a blue sky.
The grass is green.
The tree is tall.
The ground is wet.
(2)check for understanding: identify an example from Dillard’s essay where you think she was being specific.
Workshop #1: Specific revision
Step #1: Peer read
Exchange drafts with a peer (reading and responding directly on computer—saved as a draft), reader will identify at least one place (more if possible) where the writer is being specific and effective in his/her observation [highlight in blue] and one or more places where the reader feels the writer could be more specific and should revise [highlighted in yellow]
Step #2: Writer continues revision and drafting [20 minutes]
[break]
Workshop #2: Finish drafting and revision
While teacher conferences, students will finish the draft and revision.
Options for writers: continue to draft and revise on their own; do an additional peer read with another; read the student pieces by Brittany Cavallaro as a model for observing and describing experience.
Afternoon [12.45-3.00]
Workshop #3: Final edit and printing
Working with a peer, do a final edit of the piece, using techniques from the last editing workshops. Print the piece
Reading: Observation
Gather in circle and read. Ask students to listen for the observation. After each piece is read, listeners will volunteer a specific sight, sound, smell or feel that the piece evokes.
Reading response:
Exchange the printed piece with another writer and complete the reader response sheet.
Teacher response: once again, respond to the pieces and return as soon as possible, focusing on one place where the observation is strong and one place where the writer could go further with the piece, if they select it for the final publication.
Take-home: bring in a photographic image from home with you
in it, something of interest to you.
Day Seven: Responding to Images
Morning [9.30-11.45]
Lesson #1: Imagining a memory
Read the chapter “Father Holding Baby” from Lawrence Sutin’s A Postcard Memoir.
Focus: Sutin responds to images from postcards and uses them to imagine and develop his own experience, a blend of memory and imagination.
Workshop #1: Imagining a memory.
Respond to the image from the Collected Visions site (similar to Sutin, invites people to select an image and write from it). Write from, off, into it (not about it) for 10-15 minutes in notebook. See where it takes you.
Read from essay submitted to site for this image (copy in course pack):
http://cvisions.cat.nyu.edu/museum/childhood/america.html
[break]
Workshop #2: Re-imagining your memory
Using the photograph from home [for students who did not bring one, they need to select from memory a photograph that is at home], experiment writing from the image and into it. In other words, not just what the photo is about; what you can imagine from the photograph.
Step #1: [10 minutes] Write down and observe all details that are in the photo, and all the details you can remember from the moment the photograph is taken. What is going on that day? What is going on that is not in the photo? What is not going on?
Step #2: [20 minutes] Expand on the writing by approaching the image from another angle: another person in the image (other than yourself), or a stranger who might look at the image (imagine it has been posted on the Collected Visions site). What do they see? How do they view things? What would they say?
As a way to prepare for this, students will briefly exchange photos with a peer: peer will write for 5 minutes into and off the photo (all that they see/imagine) on a separate sheet of paper, share this with writer.
Writer will then write for 15 minutes, imagining another perspective to their picture.
Afternoon [12.45-3.00]
Lesson #2: Assignment—third publication piece: Imagining Experience
Assignment: A piece (poetry, autobiography, short story) that develops from an image. Can be written directly about an image (for example, your photograph) or more loosely imagined from an image. Focus will be on developing the image and imagination in your writing.
Check for understanding/review: [15 minutes]
What can we do as writers when we write into or from images (not just about them)? What are the ways we can imagine experience from an image?
Discus ideas and share writing from the morning workshop.
Workshop #3: Fall of Icarus
Show image: Bruegel’s “Landscape with the Fall of Icarus”
http://grammar.ccc.commnet.edu/grammar/images/icarus_big.jpg
Step #1: 10 minute writing/response to image in notebook: Write into what you see. How would you begin to craft a version of this fable in either poetry or prose?
Discuss responses—how do you imagine the story? What do you focus on?
Step #2: Read WC Willimas’ version.
How does he imagine it in his writing?
[break]
Composting/Drafting/Conferencing
Final hour of afternoon for composting and beginning to draft for the 3rd piece, while teacher conferences.
As a starting point, have all students take the first 10 minutes for composting: go back into journal and the previous workshop explorations and dig for a focus. After that, student who are ready can begin drafting, others might need to revisit one of the workshop techniques and continue to compost.
Day Eight: Imagining Experience
Morning [9.30-11.45]
Workshop #1: Drafting
Step #1: Begin to compose and expand draft on computer. [30 minutes, more as needed]
Step# 2: Initial revision.
For writers finished with a full draft of the piece, begin initial revision (otherwise, continue drafting).
Revision strategy: go back to the main points of focus from the first two publications, showing experience and observing experience closely. Identify a part of the draft to work on one or both of these. In addition, for those far enough along, the writer can use the strategy of modeling from a published writer: go back to a piece from the course reading that they can learn from and borrow for this piece, experiment in notebook or on draft. A new model from a student publication is “To Die a Hero.”
Afternoon [12.45-3.00]
Workshop #2: Go further.
Read Natalie Goldberg’s “Go Further”
Focus for revision: identifying a place to go further.
Step #1: Peer reading.
Peer will read and respond, identifying a place or two where they think the writer can go further. Explain why they think this part of the draft needs to go further. Make comments directly on draft.
Step #2: Revision and continued Drafting.
Conference while students continue work on a further draft.
Note: the workshops at this point are set up for larger blocks of time to allow for more individualized work and pacing—and to allow the teacher more time to work individually with writers. At this point students should be prepared to handle this.
Final discussion and check for understanding:
Wrap-up the day’s drafting and revision with a brief
discussion of where the students are in their work. How does a writer go further
with a draft? Have students share ideas and strategies that they have used
today.
Day Nine: Publication: Imaging
Morning [9.30-11.45]
Workshop #1: Final edit and printing
Working with a peer, do a final edit of the piece, using techniques from the last editing workshops. Print the piece.
Reading: Imagining Experience
Gather in circle and read. Ask students to listen for the image and the imagining—how the writer works from or into the image. After each piece is read, the writer will briefly discuss what the image was that they began with and one thing they did during the composting or revision process that they believe was important for their writing.
Reading response:
Exchange the printed piece with another writer and complete the reader response sheet
[if time, can do a second reading response]
Afternoon [12.45-3.00]
Assignment: Final Publication
For publication in the online magazine that we will edit and publish, each writer will further revise and develop one of the three pieces they have worked on during the course. The point is to select a piece that they are most interested in and that they want to develop—to represent their writing experience from the past two weeks.
Workshop: Starting the final publication
Step #1: composting/rereading
Go back to your three pieces, to the reader responses, explore ways you might develop each of them, decide on the piece and begin to compost ideas for revision. [15 minutes]
Step #2: Revision and new drafting [remainder of afternoon]
Students work on final piece while teacher conferences.
Strategy for revision: Save the draft as a new file, take one entire section of the draft, a part that you are interested in changing or adding to, and write a completely new version of it—see what it looks like.
The point is to move beyond thinking about changing a few words—treat the piece much as we played with the images, imagine what it would look like from a different perspective. If it turns out that this new version doesn’t work, then you can still go back to the original
Day Ten: Final publication
Morning [9.30-11.45]
Workshop: Final Revision
Step #1: Reading of work in progress.
As a new revision strategy, each writer will read from their work in progress (or a substantial section of it). Writer will preface their reading by giving a brief progress report—what they have been working on in the revision, what they want help with—framed in at least one question they want us to answer. After each piece, listeners will offer suggestions and respond to the question.
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Step #2: Final draft
Writers will complete final draft—working individually and with peers as desired.
Afternoon [12.45-3.00]
Final Workshop: Editing the Magazine
Positions for the Magazine
Publisher: the teacher
Webmaster: work-study help from Publications office (I hope!), to help coordinate and troubleshoot during this final afternoon session.
Student positions: a managing editor and one or more assistant editors; a copy editor and one or more assistants; a layout editor and assistant; a photo editor
Working in editing groups, students will help teacher and webmaster prepare a final edit of the pieces and publish them to the web (or get them as close as possible, with publication to the web happening soon after the course ends, as needed).
This will be a work in progress, and experimental in the first year. The point is to give students hands-on experience with publishing work in an online magazine format.
Reader Response Sheet
Reader’s Name:
1]Identify one part of this piece (could be a particular sentence or image or line or even a word) that most stands out to you, that you feel is strong and effective. Describe for the writer why you feel this part of the writing is strong, why it caught your attention, what you like about it.
2]If the writer decides to revise this piece for the final publication, where would you suggest he or she go further? Suggest a place that the writer can focus on for revision, and explain why you as a reader want the writer to do more with this part of the piece.
