Archive for the ‘writer’s stylus’ category

A Teacher’s Lessons from Writing, Part 1

January 15th, 2010

I feel like a kid on Christmas Eve. My first book is about to be published, but the printing/binding process is taking longer than I’d like. (Don’t worry, this isn’t really about the book.) This period between final revisions and publication has given me time to reflect on the journey, and, as usual, my thoughts have been exploring connections to teaching. Surprisingly, many principles seem relevant, such as…

Audience matters. Yes, I know this seems obvious, but it wasn’t at first. I started writing shortly after my last stint in graduate school, and I could out APA style the APA itself. I adhered to the style boundaries with such fealty that I was surprised not to be appointed to the committee determining proper citation forms for tweets and wall postings.

So, I anticipated great responses when I distributed early copies of the initial chapters to colleagues. With as much kindness as one can express such sentiment, they basically suggested that unless I intended to submit the work to the Journal of Sky-High Instructional Theory, I had work to do. Constantly reading “the teacher,” who never became a real person with a name, and frequently being interrupted by date and page number citations made reading my early writing laborious.

When it became clear that I was hunting in the wrong forest, I changed from writing to reading. I became a voracious gatherer of books about writing. I’ll save the extensive influence of this self-education for a later post. For now, I’ll just point out that I was of two minds in my writing. I wanted to write for teachers, my colleagues. Publishers would suggest I wanted to write for a “general audience.” However, my actual writing targeted university professors—the individuals who had been my audience and had held my fate in their hands for the past several years. How could I change direction? Several books offered suggestions that are nicely summarized in this passage from Mark Tredinnick:

Good writing is not mannered and stilted—it’s not inflected with overanxious politeness, nor false with bonhomie, nor false with confidence, nor anything faux or excessive…Good writing is calm and cool, and it remembers its manners. Everyone likes to be treated with a relaxed mix of dignity, grace, and respect by someone who knows what he’s talking about but isn’t trying to show it off. That’s the kind of attitude writers want toward their readers.1

After I somewhat ironically checked a dictionary for bonhomie (cheerful friendliness), I realized I needed to find my voice—a way of writing that sounded like me in real-life, not me as a grad student.

This prompted me to reflect on the writing I required of my students. Did I ever allow them to explore and find their voices? Was I offering them only an audience of one—me, their teacher—that would so stilt their writing that it would be of no interest to a “general audience”? If so, was I truly preparing them to influence their world?

Over the last few years, I’ve gotten to lead a course called “Writer’s Stylus” for teachers. The five days of professional development provide a metamorphic experience. Teachers from all disciplines start the week writing like students—that is, they write with “overanxious politeness” and false “bonhomie.” As the week progresses, they begin to find their voices and write with such dignity and grace that they deserve to be read, many for the first time in their lives. If you write regularly, this may not seem that transformational, but trust me, it literally changes lives. While I get excited about what these teachers will do instructionally, I grow even more excited by their personal growth. Finding your voice can truly change an individual’s outlook, confidence, and, yes, life.

So what am I doing with my students? Sure, you can argue that they need to learn to write for the academic world, and I’ll agree. But if that’s all I emphasize, have I equipped them to write for the larger world? Have I enabled them to make history more than a dry recounting of facts? Have I encouraged them to take readers to a volcanic eruption and care about the people affected by it? Have I empowered them to present the structure of mathematics as a dynamic window on the world? Have I helped them write literature and not just write about it?

Audience matters, but it is the writer who must change, must grow, must discover how to communicate as himself. Authenticity is what draws an audience.

Did I master this aspect? I’d never claim that I did. I have hope, but more than that, I have a renewed focus in my teaching: help learners find their voices and equip them to “speak” with “calm and cool,” with “dignity, grace, and respect,” not to show-off, but to confidently impact their world.

1. Tredinnick, M., Writing Well: The Essential Guide (New York, Cambridge University Press, 2008), 184.

Image: ‘in Concert’ http://www.flickr.com/photos/45409431@N00/2459533929

Growing Personally and Professionally Produces Meaningful Results

June 21st, 2009

A few times every year, I get to lead a professional development event known as “Writer’s Stylus.” Each time, including just last week, it proves to be an exciting professional development. We begin the week thinking we already teach writing. We end the week as writers, producing an essay that has undergone multiple waves of revision. We end the week as writing teachers with a vision for developing young writers, not just students with good writing skills. We end the week as different individuals and professionals, and as a different community than when we started.

The week of training illustrates three principles that transfer to any area: personal growth aids professional growth, professional growth often requires re-evaluating long-held beliefs and practices, and when combined, personal and professional growth produce meaningful results.

Personal growth aids professional growth.
“At the beginning of the week, I would never have worded this sentence like this,” the teacher explained. “But by learning how to revise my own writing, I can see the difference structuring it this way and using the stronger verb, ambushed, makes.”

“I needed someone to tell me to make it personal—that it was okay to write in my own voice,” explained another teacher. “That turned what was a very direct and didactic essay into something that makes its points through simply relating my experience.”

For all of us, the first noticeable growth was personal. We learned how to revise our own writing. We examined texts crafted by master writers. We noticed things in good writing that we’d never seen before, and we implemented those ideas into our own drafts. We grew as writers.

Our ideas, first either overwhelming or overly sketchy, developed into clear and clever expressions of ourselves. As a group, we got to know each other through rough drafts, coaching sessions, and moving final versions of our essays. The process of writing created a community of writers.

But we also grew as teachers. Because we knew what characterized and went in to crafting good writing, we recognized the weaknesses of our instructional approaches. We began to identify skills we needed to teach our students, but teaching in new and more effective ways means letting go of less effective habits.

Professional growth often requires re-evaluating long-held beliefs and practices.
Our growth as writers changed how we examined our instruction. In looking through writers’ eyes, we recognized much of what we call writing instruction fails to teach writing at all. We have students do too much drafting and not nearly enough revising. We spend too much time having students mark up pre-printed sentences and not nearly enough time crafting original ones. And we get hung up on students forming diagrams for other people’s sentences to the point that we value a correct diagram over a well-constructed original sentence.

Our old ways of thinking argued with us. What would our teaching friends who love diagramming say if they knew we were not going to overemphasize it? If we spent more time in writing and revising, what would happen to the dozens of practice activities and worksheets our textbooks provided? Would coaching young writers as individuals mean that our classes would cover fewer uses of quotation marks than we had in years past?

We asked these questions, and often we ended up laughing at ourselves. Wait, we kept reminding each other, we’re teaching writing. To learn to write, students must write. They must revise. They most journey through the full process. No one ever expressed themselves clearly and in ways that deserve attention by diagramming or underlining preprinted sentences.

Re-evaluation told us the truth. Yet, even with our new eyes, the results astonished us.

Personal and professional growth produce meaningful results.
“I felt like I was trying to hug an elephant.” We worked all week on the essays, and what started as “hugging an elephant” ended up a piece of writing that would rival anything Erma Bombeck ever wrote. “I called my essay, ‘Lettuce. Rejoice!’” she explained. Then she read, “I relished walking the rows of my neighbor’s garden…”

Look at that. Just look at the verb choice in that first sentence! Relished! Would any other verb have brought gardening and vegetables to mind nearly as well?

Several volunteers shared their revised essays, and the quality of each one surprised and delighted us. From essays on adopting and raising children to those detailing personal mission experiences, the results were meaningful—valued, important, significant—both to the writer as an individual and to us, the community, as writers.

Growth is a beautiful and productive process. We need to seek it for ourselves, both personally and professionally, and we need to let it influence our educational practices. When we do, the results may allow us to stand back an say, “Lettuce. Rejoice!”

Switch to our mobile site