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Knowledge of Language | Anchor Standards for Language

Writing Openers to Teach Knowledge of Language

Writing Openers Language Application

Tucked away in the often-overlooked recesses of the Common Core State Standards, the Anchor Standards for Language includes a practical, if somewhat ambiguous Standard: Knowledge of Language L.3. Over the past decade, I’ve noted with interest that the educational community has cherry-picked certain Standards and ignored others.

As an author of numerous ELA curricula, I assumed that the initial focus (rightfully so) of district curriculum implementation would be the reading, writing, and math Standards. In my field, I decided to write in anticipation of the next focus area. I assumed that, for ELA, it would center on the Anchor Standards for Language. These Language Standards were quite revolutionary in some circles because the Common Core authors emphasized the direct instruction of grammar, usage, and mechanics. Furthermore, the authors provocatively addressed the issue of non-Standard English and seemed to swing the pendulum toward a traditional grammar approach. Think rules, correct and incorrect usage, and application.

Over the next two years I poured hours into the development of comprehensive grades 4, 5, 6, 7, 8, and high school programs to teach all of the Standards in the Language Strand. My Teaching the Language Strand title was ill-chosen. Much to my chagrin, ELA teachers rarely got past the Reading and Writing Standards. I moved the title to the subtitle position and re-named the series Grammar, Mechanics, Spelling, and Vocabulary (Teaching the Language Strand). The longest title in the history of educational publishing. Subsequently, I broke the comprehensive program into affordable grade-level slices and achieved more sales: Teaching Grammar and MechanicsWriting Openers Language Application, Differentiated Spelling Instruction, and the Common Core Vocabulary Toolkit.

Even within the largely ignored Anchor Standards for Language, one Standard, in particular, has received scant recognition:

The Hidden Gem: Knowledge of Language Standard L.3

CCSS.ELA-LITERACY.CCRA.L.3
Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.
 …
The key word in the Knowledge of Language Standard is apply. The somewhat ambiguous term, language, refers to the other five Standards in the Language Strand which encompass grammar, usage, mechanics, spelling, and vocabulary. The purpose of this practical Standard is to help students more fully comprehend how language impacts reading and informs writing and apply this knowledge. The slice of my Grammar, Mechanics, Spelling, and Vocabulary (Teaching the Language Strand) series, which aligns to the Knowledge of Language Standards L.3 is Writing Openers Language Application.
Writing Openers Language Application (Grades 4, 5, 6, 7, and 8) provides 56 whole-class, twice-per-week “quick writes,” designed to help students learn, practice, and apply grade-level grammar, usage, mechanics, sentence structure, and sentence variety Standards. The Common Core authors are certainly right that grammar should not be taught solely in isolation. Grammatical instruction needs to be taught in the reading and writing contexts and applied in spoken and written language.

The grade-level Writing Openers programs align to the Anchor Standards for Language:

Each of the 56 lessons takes about 5­-10 minutes to complete. Lessons are derived from the Conventions of Standard English (L. 1, 2), Knowledge and Use of Language Standards (L. 3), and the Language Progressive Skills found in the Common Core State Standards Language Strand. The lessons help students “Use knowledge of language and its conventions when writing, speaking, reading, or listening” (Common Core Language Strand Knowledge of Language). In other words, lots of practice in sentence revision, sentence combination, and identification of and application of grammar.

The lessons are formatted for classroom display and interactive instruction. The teacher reads and explains the Lesson Focus and Example(s) while students follow along on their own accompanying worksheet. Next, the students annotate the Lesson Focus and summarize the Key Idea(s). Afterwards, the students complete the Practice Section (sentence combining, sentence revisions). Finally, students complete the My Own Sentence writing task. The My Own Sentence serves as the formative assessment to determine whether students have mastered the Lesson Focus.

Plus, get 13 sentence structure worksheets with answers. Worksheets include simple subjects, compound subjects, simple predicates, compound predicates, simple sentences, compound sentences, complex sentences, compound-complex sentences, identifying sentence fragments, revising sentence fragments, identifying sentence run-ons, revising sentence run-ons, and identifying parallelism.

FREE SAMPLE LESSONS TO TEST-DRIVE THE PROGRAMS

Preview the Writing Openers Language Application (Grade 4) Lessons HERE.

Preview the Writing Openers Language Application (Grade 5) Lessons HERE.

Preview the Writing Openers Language Application (Grade 6) Lessons HERE.

Preview the Writing Openers Language Application (Grade 7) Lessons HERE.

Preview the Writing Openers Language Application (Grade 8) Lessons HERE.

Writing Openers Language Application (Grades 4, 5, 6, 7, and 8) is one instructional component of the Grammar, Mechanics, Spelling, and Vocabulary grade-level BUNDLES.

*****

Grammar, Mechanics, Spelling, and Vocabulary (Teaching the Language Strand)

Grammar, Mechanics, Spelling, and Vocabulary (Teaching the Language Strand) Grades 4, 5, 6, 7, 8 Programs

I’m Mark Pennington, author of the value-priced Grammar, Mechanics, Spelling, and Vocabulary (Teaching the Language Strand) grades 4, 5, 6, 7, and 8 BUNDLES? These grade-level programs include both teacher’s guide and student workbooks and are designed to help you teach all the Common Core Anchor Standards for Language. In addition to the Teaching Grammar and Mechanics program, each BUNDLE provides weekly spelling pattern tests and accompanying spelling sort worksheets (L.2), 56 language application opener worksheets (L.3), and 56 vocabulary worksheets with multiple-meaning words, Greek and Latin word parts, figures of speech, word relationships with context clue practice, connotations, and four square academic language practice (L.4, 5, and 6). Comprehensive biweekly unit tests measure recognition, understanding, and application of the grammar, mechanics, and vocabulary components.

The program also has the resources to meet the needs of diverse learners. Diagnostic grammar, usage, mechanics, and spelling assessments provide the data to enable teachers to individualize instruction with targeted worksheets. Each remedial worksheet (over 200 per program) includes independent practice and a brief formative assessment.

Check out the brief introductory video and enter DISCOUNT CODE 3716 at check-out for 10% off this value-priced program. We do sell print versions of the teacher’s guide and student workbooks. Contact mark@penningtonpublishing.com for pricing. Read what teachers are saying about this comprehensive program:

The most comprehensive and easy to teach grammar, mechanics, spelling, and vocabulary program. I’m teaching all of the grade-level standards and remediating previous grade-level standards. The no-prep and minimal correction design of this program really respects a teacher’s time. At last, I’m teaching an integrated program–not a hodgepodge collection of DOL grammar, spelling and vocabulary lists, and assorted worksheets. I see measurable progress with both my grade-level and intervention students. BTW… I love the scripted lessons!

─Julie Villenueve

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Writer’s Handbook | The Pennington Manual of Style

Lately, I’ve received more than my fair share of compliments about my writing. Yesterday, I posted a brief comment on a teacher’s post on the seller’s forum on Teachers Pay Teachers. The author of the post labeled my response as “eloquent.”

Now, I read enough to know that I’m a decent, but not great, writer. However, this is the first time I’ve been accused of being eloquent. My take is that educators have been so acclimated to Facebook, Twitter, and texting writing style, that heretofore normal discourse would, indeed, seem eloquent.

e-Comments for Essay Writing Rules and Style

Essay Writing Rules and Style e-Comments

Fortunately, I’ve noticed a new and developing interest in writing style and I don’t think it’s a nostalgic homage to Strunk and White’s The Elements of StyleIndeed, our collective writing craft has diminished over the years, but when I see twenty-something teachers driving a return to grammar handbooks and style manuals I see more than a glimpse of hope. The bright and talented ELA teachers who have recently joined our English staff at the middle school I recently left are looking for a rule of thumb. That search can be frustrating.

Recently, I got tired of answering questions and talking about the serial comma. I decided to take the lazy approach and write the definitive article in favor of retaining the traditional Oxford comma for this, that, and various reasons. My thought was that in the future I will be able to respond to any discourse on this subject with a simple link. In doing a bit of research for the article I looked at various style guides: Modern Language Association, Turabian, Chicago, Associated Press, American Psychological Association, the U.S. Government Publishing Office Style Manual, and the go-to web resources of the Purdue Writing Lab (OWL) and Grammar GirlSuch discrepancies and no unanimity! And not just regarding the serial comma. No wonder teachers want a simple and workable set of writing rules.

But which writing rules? Newer ELA teachers are pragmatists. Unlike boomers, they like rules; they want to make sense out of ambiguity. Newer ELA teachers tend to prioritize writing issues. They choose their battles. It reminds me of the writing research at the beginning of my teaching career regarding status errors.

Hairston (1981) suggests that certain errors are perceived as higher status than others. Hairston found that these errors were seen to be more egregious by most teachers: nonstandard verb forms, lack of subject-verb agreement, double negatives, objective pronoun as subject. Other errors are perceived as low status and may not warrant marking: unnecessary or inaccurate modifiers, use of a singular verb with data, use of a colon after a linking verb.

Specifically, teachers wishing to return to some common ground of teaching writing focus on these categories:

  • Essay Organization and Development (Introduction, Body, and Conclusion)
  • Coherence
  • Word Choice
  • Sentence Variety
  • Writing Style
  • Format and Citations
  • Parts of Speech
  • Grammatical Forms
  • Usage
  • Sentence Structure
  • Types of Sentences
  • Mechanics
  • Conventional Spelling Rules.

As the author of the Teaching Essay Strategies program, I decided to include a writer’s handbook within the program: The Pennington Manual of Style. The goal was to create a student-centered handbook which identifies writing problems with clear examples and to provide the applicable solutions. Take a look at a sample preview of the manual including the e-comments on Essay Writing Rules and Style. If interested, navigate back to the following product description:

The Pennington Manual of Style (eBook) sold on its own and also as a slice of the Teaching Essay Strategies program has been designed to serve as a writer’s reference guide for both students and teachers.

The Pennington Manual of Style provides concise definitions, explanations, and clear examples to help developing writers learn what is good writing and why it is good writing. Students also learn what is wrong, why it is wrong, and how to fix errors. The manual is organized as follows: Essay Organization and Development (Introduction, Body, and Conclusion), Coherence, Word Choice, Sentence Variety, Writing Style, Format and Citations, Parts of Speech, Grammatical Forms, Usage, Sentence Structure, Types of Sentences, Mechanics, and Conventional Spelling Rules.

For teachers, this guide provides a common language of writing instruction and discourse to use when students submit essays online. The Pennington Manual of Style enables teachers to download the entire comment bank of 438 Essay e-Comments into the Autocorrect function of Microsoft Word®. Then, teachers type in the assigned alphanumeric code and the entire formatted writing comment appears in a comment bubble where desired on the student’s essay. Teachers can save time, yet do a more thorough job of essay response. It’s simple to add in personalized comments.

Using Google docs? Simply batch download your students’ essays into Microsoft Word®. Then open up the essays as Microsoft Word® documents and make your e-Comments. You can then upload them back as Google docs, share the Word® documents in a dropbox, email, or network folder… or print. Quite easy!

Using Essay e-Comments Makes Sense     

Essay Response: The Pennington Manual of Style

The Pennington Manual of Style

*Manually responding to essays in red ink can be time-consuming and frustrating. Teachers find themselves using the same comments over and over again, while most students barely glance at their final grade or rubric score and maybe skim the comments before cramming their papers into the depths of their backpacks. Using the computer to respond to student writing solves these problems.

*Having students submit their essays on the computer allows the teacher to insert comprehensive and prescriptive comments in half the time. Students can be held accountable to respond to these comments through revisions and edits.

*Using the 438 e-comments enhances the interactive writing process. The teacher-student interaction changes from static summative evaluation to dynamic formative assessment. This is not an “automatic” grading program. Teachers choose which comments to insert, according to the needs of their students.

*Teachers can edit the 438 e-comments and add in their own personalized comments with text or audio files. Imagine… inserting a quick audio comment to summarize relative strengths and weaknesses of the paper. Unlike other e-grading programs, teachers can save their custom comments.

*Teachers can link to resource sites to provide additional practice or reference.

*Teachers can require their students to address each comment by using Microsoft Word® “Track Changes.” Students then re-submit revisions and edits for peer and/or teacher review. Just like real professional writers do with their editors!

*Students can use the Essay e-Comments and add their own for peer response.

*Essay e-Comments can be added onto all teacher and student computers at school and at home, enhancing the social nature of writing response.

The Pennington Manual of Style is included in the comprehensive Teaching Essay Strategiesprogram. Purchase includes the download (into Microsoft Word for any Windows Version) and the teacher short-cuts.

For example, the teacher types “e29” and this comment is inserted into the margin of the student’s essay submission:

e29 Get more specific. The support evidence is too general. Add more specific evidence by including Fact, Example, Statistic, Comparison, Quote from an Authority, Logic, Experience, or Counter-Argument/Refutation. FE SCALE CR

For more examples, check out The Pennington Manual of Style on the author’s website.

Pennington Publishing's Teaching Essay Strategies

Teaching Essay Strategies

Check out this complete writing process essay to see a sample of the resources provided in Teaching Essay StrategiesThe download includes writing prompt, paired reading resource, brainstorm activity, prewriting graphic organizer, rough draft directions, response-editing activity, and analytical rubric.

Get the Writing Process Essay FREE Resource:

Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum, Teaching Essay Strategies

Find 8 complete writing process essays (4 argumentative and 4 informational-explanatory) with accompanying readings, 42 sequenced writing strategy worksheets, 64 sentence revision lessons, additional remedial worksheets, writing fluency and skill lessons, posters, and editing resources in Teaching Essay Strategies. Also get The Pennington Manual of Style e-comments download of 438 writing comments to improve written response and student revisions.

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Teaching Essay Strategies

Teaching Essay Strategies

The Teaching Essay Strategies Program

Teaching Essay Strategies

Pennington Publishing’s Teaching Essay Strategies is the comprehensive curriculum designed to help teachers teach the essay components of the Common Core Anchor Standards for Writing. This step-by-step program provides all of the resources for upper elementary, middle school, and high school teachers to teach both the writing process essays and the accompanying writing strategies. The program includes the following resources:

Eight Writing Process Essays

The program includes the writing prompts, resource texts, graphic organizers, response, revision, and editing resources to teach eight Writing Process Essays. The first four essays are in the informative/explanatory genre (Common Core Writing Standard 2.0). The last four essays are in the argumentative/persuasive writing genre (Common Core Writing Standard 1.0). Accompanying resource texts include both literary and informational forms, as prescribed by the Common Core Reading Standards.

Diagnostic Assessment and Differentiated Instruction

This essay curriculum is built upon comprehensive assessment. Each of the eight Writing Process Essays begins with an on-demand diagnostic assessment. Teachers grade this writing task according to relative strengths and weaknesses on an analytical rubric.

Teachers differentiate writing instruction according to this diagnostic data with mini-lessons and targeted worksheets. Remedial resources include lessons in subject-predicate, sentence structure, sentence fragments and run-ons, essay structure, paragraph organization, types of evidence, transitions, essay genre, writing direction words, proofreading, introduction strategies, and conclusion strategies. Advanced resources include lessons in fallacious reasoning, logic, coherence, unity, sentence variety, parallelism, grammatical sentence openers, and writing style.

Formative and Summative Assessment with Essay e-Comments

Teaching Essay Strategies provides the tools for interactive formative assessment. This program includes a downloadable essay e-comments bank of 438 comprehensive and prescriptive writing comments. Teachers who have their students submit their essays electronically can insert these comments into a student’s essay with a click of the mouse. The essay e-comments cut writing response and grading time in half and give students all the tools they need to revise and edit effectively.

Comments cover writing evidence, coherence, essay organization, sentence structure, writing style, grammar, usage, mechanics, and spelling—all with concise definitions and examples. Teachers can also add in content links and their own personalized comments with text or audio files. Students revise and edit with Microsoft Word “Track Changes,” then re-submit revisions and edits for peer and/or teacher review. Just like professional writers do with their editors! Teachers enter the results of their formative and summative assessments on the analytical rubric. Works on all Windows versions.

Essay Strategy Worksheets

To master the essay strategies detailed in Common Core Writing Standards 4.0, 5.0, and 6.0, students complete 42 Essay Strategy Worksheets. Students move from simple three-word paragraphs to complex multi-paragraph Common Core Writing Standard 1.0 and 2.0 essays, using a time-tested numerical hierarchy for essay organization. This “coding” takes the mystery out of how to organize and compose coherent and unified essays. Students learn and apply the essay writing rules, essay structure, introduction strategies, evidence and argument, conclusion strategies, and all of the common grammatical sentence models in the context of authentic writing practice.

Writing Openers and Quick Writes

Teaching Essay Strategies includes a full year of Sentence Revision (sentence combining, sentence manipulation, and grammatical sentence models), Writing StyleOpeners, and Rhetorical Stance Quick Writes to help students practice writing dexterity and writing fluency (Common Core Writing Standard 10.0). These 10-minute “openers” require no advance preparation and no teacher correction.

Writing Posters

Get 59 pages of colorful writing posters to serve as anchor charts to teach and reinforce the key instructional components of the program including Essay Direction Words, Essay Rules, Introduction Strategies,Types of Evidence, Conclusion Strategies, Writing Style, Essay Numerical Hierarchy, Limit Using “to–be” Verbs, First and Second Person Pronouns, Transitions, and Editing Marks.

How much class time does it take per week?

The complete Teaching Essay Strategies program takes 70 minutes per week of class time. The resources in this book are user-friendly. Absolutely no prep time is required to teach this curriculum.

is a comprehensive curriculum designed to help teachers teach the essay components of the Common Core Writing Standards. This step-by-step program provides all of the resources for upper elementary, middle school, and high school teachers to teach both the writing process essays and the accompanying writing strategies.

The Teaching Essay Strategies program includes the following resources:

Eight Writing Process Essays

The program includes the writing prompts, resource texts, graphic organizers, response, revision, and editing resources to teach eight Writing Process Essays. The first four essays are in the informative/explanatory genre (Common Core Writing Standard 2.0). The last four essays are in the argumentative/persuasive writing genre (Common Core Writing Standard 1.0). Accompanying resource texts include both literary and informational forms, as prescribed by the Common Core Reading Standards.

Diagnostic Assessment and Differentiated Instruction

This essay curriculum is built upon comprehensive assessment. Each of the eight Writing Process Essays begins with an on-demand diagnostic assessment. Teachers grade this writing task according to relative strengths and weaknesses on an analytical rubric.

Teachers differentiate writing instruction according to this diagnostic data with mini-lessons and targeted worksheets. Remedial resources include lessons in subject-predicate, sentence structure, sentence fragments and run-ons, essay structure, paragraph organization, types of evidence, transitions, essay genre, writing direction words, proofreading, introduction strategies, and conclusion strategies. Advanced resources include lessons in fallacious reasoning, logic, coherence, unity, sentence variety, parallelism, grammatical sentence openers, and writing style.

Formative and Summative Assessment with Essay e-Comments

Teaching Essay Strategies provides the tools for interactive formative assessment. This program includes a downloadable essay e-comments bank of 438 comprehensive and prescriptive writing comments. Teachers who have their students submit their essays electronically can insert these comments into a student’s essay with a click of the mouse. The essay e-comments cut writing response and grading time in half and give students all the tools they need to revise and edit effectively.

Comments cover writing evidence, coherence, essay organization, sentence structure, writing style, grammar, usage, mechanics, and spelling—all with concise definitions and examples. Teachers can also add in content links and their own personalized comments with text or audio files. Students revise and edit with Microsoft Word “Track Changes,” then re-submit revisions and edits for peer and/or teacher review. Just like professional writers do with their editors! Teachers enter the results of their formative and summative assessments on the analytical rubric. Works on all Windows versions.

Essay Strategy Worksheets

To master the essay strategies detailed in Common Core Writing Standards 4.0, 5.0, and 6.0, students complete 42 Essay Strategy Worksheets. Students move from simple three-word paragraphs to complex multi-paragraph Common Core Writing Standard 1.0 and 2.0 essays, using a time-tested numerical hierarchy for essay organization. This “coding” takes the mystery out of how to organize and compose coherent and unified essays. Students learn and apply the essay writing rules, essay structure, introduction strategies, evidence and argument, conclusion strategies, and all of the common grammatical sentence models in the context of authentic writing practice.

Writing Openers and Quick Writes

Teaching Essay Strategies includes a full year of Sentence Revision (sentence combining, sentence manipulation, and grammatical sentence models), Writing StyleOpeners, and Rhetorical Stance Quick Writes to help students practice writing dexterity and writing fluency (Common Core Writing Standard 10.0). These 10-minute “openers” require no advance preparation and no teacher correction.

Writing Posters

Get 59 pages of colorful writing posters to serve as anchor charts to teach and reinforce the key instructional components of the program including Essay Direction Words, Essay Rules, Introduction Strategies,Types of Evidence, Conclusion Strategies, Writing Style, Essay Numerical Hierarchy, Limit Using “to–be” Verbs, First and Second Person Pronouns, Transitions, and Editing Marks.

How much class time does it take per week?

The complete Teaching Essay Strategies program takes 70 minutes per week of class time. The resources in this book are user-friendly. Absolutely no prep time is required to teach this curriculum.

Writing Openers Language Application

Writing Openers Language Application (Grades 4, 5, 6, 7, and 8) provides 56 whole-class, twice-per-week “quick writes,” designed to help students learn, practice, and apply grade-level grammar, usage, mechanics, sentence structure, and sentence variety Standards. The Common Core authors are certainly right that grammar should not be taught solely in isolation. Grammatical instruction needs to be taught in the reading and writing contexts and applied in spoken and written language.

Each of the 56 lessons takes about 5­-10 minutes to complete. Lessons are derived from the Conventions of Standard English (L. 1, 2), Knowledge and Use of Language Standards (L. 3), and the Language Progressive Skills found in the Common Core State Standards Language Strand. The lessons help students “Use knowledge of language and its conventions when writing, speaking, reading, or listening” (Common Core Language Strand Knowledge of Language). In other words, lots of practice in sentence revision, sentence combination, and identification of and application of grammar.

The lessons are formatted for classroom display and interactive instruction. The teacher reads and explains the Lesson Focus and Example(s) while students follow along on their own accompanying worksheet. Next, the students annotate the Lesson Focus and summarize the Key Idea(s). Afterwards, the students complete the Practice Section (sentence combining, sentence revisions). Finally, students complete the My Own Sentence writing task. The My Own Sentence serves as the formative assessment to determine whether students have mastered the Lesson Focus.

Check out this complete writing process essay to see a sample of the resources provided in Teaching Essay StrategiesThe download includes writing prompt, paired reading resource, brainstorm activity, prewriting graphic organizer, rough draft directions, response-editing activity, and analytical rubric.

Get the Writing Process Essay FREE Resource:

Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum, Teaching Essay Strategies

Find 8 complete writing process essays (4 argumentative and 4 informational-explanatory) with accompanying readings, 42 sequenced writing strategy worksheets, 64 sentence revision lessons, additional remedial worksheets, writing fluency and skill lessons, posters, and editing resources in Teaching Essay Strategies. Also get The Pennington Manual of Style e-comments download of 438 writing comments to improve written response and student revisions.

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Writing Literacy Centers

Writing Literacy Centers

Writing Academic Literacy Centers

As most teachers have now adjusted their writing instruction and practice into the narrowed focus of the Common Core State Standards (more research and essays and less stories and creative writing), I see a renewed interest in developing the skill sets of student writers.

Teachers have, understandably, focused on the first three Common Core Writing Standards: 1. The argumentative (essay) 2. The informational/explanatory (essay or report) 3. The narrative (story). Most teachers have had professional development in these three genre and teach all three at some time within each school year.

Additionally, most teachers are now implementing Writing Standards W.6, 7, 8, and 9 by using technology for short or extended research writing projects.

However, teachers are less familiar with the other three writing standards and few are well-acquainted with the relevant language standard. Teachers usually refer to these standards as writing skills or strategies. Typically, teachers have taught these tools in isolation as writing openers/worksheets or in the writing context as mini-lessons/editing. These skills or strategies are ideally suited to literacy center (station) lessons.

Following are the often-neglected writing and language standards:

Production and Distribution of Writing:

CCSS.ELA-LITERACY.CCRA.W.4
Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

CCSS.ELA-LITERACY.CCRA.W.5
Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.

Range of Writing:

CCSS.ELA-LITERACY.CCRA.W.10
Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Language

CCSS.ELA-LITERACY.CCRA.L.3
Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Teachers have used three research-based strategies to teach these writing skills or strategies: 1. Frequent, short, and focused writing practice 2. Sentence revisions 3. Literary response

How to Teach to These Standards

Fortunately, #s 2 and 3 are best accomplished by #1.

Sentence Revision (called by many other names) includes quick, focused instruction and repetitive practice in precise word choice, sentence structure (grammar, usage, and syntax), and sentence variety (varied grammatical forms, sentence combining, sentence length, parallelism, etc.)

Literary Response includes learning from accomplished writers. Teachers have used both expository and narrative mentor texts for years to model how writers communicate artfully and memorably. Typically, students respond to mentor texts in different rhetorical modes (rhetorical stance: voice, audience, purpose, and form) to develop their own writing style.

If you glance back at the often-neglected writing and language standards above, you’ll see how sentence revision and literary response activities address the components of these standards and can be taught and practiced in frequent, short, and focused writing practice.

One great way to teach sentence revision and literary response writing skills is in literacy centers (stations). The social nature of collaborative writing is especially conducive to literacy centers.

 

The author of this post, Mark Pennington, provides grades 4-8 teachers with grade-level sentence revision resources and literary response resources in two instructional formats: twice-per-week writing openers (or writers workshop mini-lessons) and literacy centers.

Both sentence revision and literary response lessons are provided in Teaching Essay Strategies, the Writing Academic Literacy Center Grades 4, 5, 6, 7, and 8and in the Academic Literacy Center Grades 4, 5, 6, 7, and 8 BUNDLE.

Get the Writing Academic Literacy Center Sample Lessons FREE Resource:

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How to Teach Writing Skills

Writing is Taught and Caught

Writing Skills: Taught and Caught

Now that teachers have had plenty of professional development in how to write arguments (CCSS.ELA-LITERACY.CCRA.W.1) and informative/explanatory texts (CCSS.ELA-LITERACY.CCRA.W.2), teachers are looking at their students’ essays or narratives (CCSS.ELA-LITERACY.CCRA.W.3) with a collective sigh. Students just cannot write.

Students seem to understand the content, they know the demands and constraints of the writing genre, they can dissect a writing prompt, they know the writing process… but the words they use, the sentences they construct, and the intangible feeling our student writers convey simply do not engage their readers (teachers especially).

The Problem

Many teachers are not equipping their students with the tools they need in their tool belts. Or, just as bad, teachers introduce the tools, but don’t provide the practice students need to master the tools.

The Solution

Two time-proven solutions to these problems take little time, but do necessitate some instruction and practice: sentence revisions and literary response. Writing teachers (and writing research) have found these tools to be especially helpful for developing writers.

By sentence revision, I mean the word choice and structure of our language (the grammar, usage, and syntax). It’s the how something is written (and re-written). Think sentence variety, sentence combining, grammar and proper usage in the writing context. The skills of sentence revision are primarily taught.

By literary response, I mean writing style: primarily the style of literary mentors, who not only have something to say, but know how to say it in both expository and narrative writing. Think mentor texts and rhetorical stance (voice, audience, purpose, and form). The skills of writing style are primarily caught.

Fortunately, the Common Core authors do acknowledge the importance of teaching both sentence revisions and literary response in both the Anchor Standards for Writing and the Anchor Standards for Language (highlighting my own):

Writing Anchor Standards

CCSS.ELA-LITERACY.CCRA.W.10
Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Language Anchor Standards

CCSS.ELA-LITERACY.CCRA.L.3
Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Suggestions

Keep your focus on both the content and process of writing. Maintain a balance of extended writing process assignments (especially essays and stories) and short, say twice-per-week writing skill development, especially using sentence revisions and literary response activities.

The author of this post, Mark Pennington, provides grades 4-8 teachers with grade-level sentence revision resources and literary response resources in two instructional formats: twice-per-week writing openers (or writers workshop mini-lessons) and literacy centers.

Both sentence revision and literary response lessons are provided in Teaching Essay Strategies, the Writing Academic Literacy Center Grades 4, 5, 6, 7, and 8 and in the Academic Literacy Center Grades 4, 5, 6, 7, and 8 BUNDLE.

Pennington Publishing's Teaching Essay Strategies

Teaching Essay Strategies

Academic Literacy Centers BUNDLES

Academic Literacy Centers Grades 4-8 BUNDLES

Check out this FREE writing skills resource to see a sample of the resources provided in Teaching Essay Strategies

Teaching Essay Strategies is a comprehensive curriculum designed to help teachers teach the essay components of the Common Core Writing Standards.

This step-by-step program provides all of the resources for upper elementary, middle school, and high school teachers to teach both the writing process essays and the accompanying writing strategies.

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How to Grade Writing

How can we effectively assess student writing? Should we grade upon effort, completion, standards, achievement, or improvement? Is our primary task to respond or to grade?

Here’s my take. We should grade based upon how well students have met our instructional objectives. Because each writer is at a different place, we begin at that place and evaluate the degree to which the student has learned and applied that learning, in terms of effort and achievement. But, our primary task is informed response based upon effective assessment. That’s how to grade writing.

For example, here may be an effective procedure for a writing task as it winds its way through the Writing Process: Read more…

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20 Tips to Teach Writing through Music

There is no doubt that popular music transcends arbitrary barriers of age, culture, and language. My students and I share the same passion, although not the same music. Music speaks to their generation just as must as it has to mine. In fact, most students probably listen to more music than I did growing up. As a result, students have internalized the structure, syntax, and rules of music far more than that of any writing genre. This prior knowledge is simply too valuable for the writing teacher to ignore. Analyzing the songwriting composition process will enable students to apply the relevant strategies to their own writing of narratives, poetry, essays, and reports (and maybe even songs).

As an amateur songwriter and English-language arts teacher, my experience in learning the craft of songwriting has constantly informed my writing instruction. Here are 20 tips I’ve picked up over the years about how to apply the techniques of songwriting to writing in any genre.

Background: Paying Your Dues

1. Experience Matters

You don’t have to become a heroin addict to play the blues. However, knowing that blues usually follows a twelve-bar (measure) pattern provides an important foundation for a songwriter. Knowing the different blues genre of Chicago Blues, Delta Blues, and Texas Blues will help the songwriter follow the rules and stylistic features of the chosen genre.

Prior knowledge in writing content, genre, and style informs composition. For students lacking this experience, it is essential to “frontload” as much as possible to provide an equal playing field and give these writers what they need to be successful in a given writing task.

2. Reading to Write

Bob Dylan (Zimmerman) graduated from high school in a small town in Minnesota and moved to Greenwich Village. During his apprenticeship, Dylan played clubs and learned a catalog of folk and blues songs; however, he spent much much of his time reading everything that he could lay his hands on. In his autobiography, Chronicles Volume One, Dylan comments on his reading: “I was looking for the part of my education that I never got (p. 36).” His body of work shows the impact of this reading on his music.

 

Dr. Kate Kinsella of San Francisco State University summarizes the reading-writing connection research as follows:Reading widely and regularly contributes to the development of writing ability. Good writers were read to as children. Increasing reading frequency has a stronger influence on improving writing than does solely increasing writing frequency. Developmental writers must see and analyze multiple effective examples of the various kinds of writing they are being asked to produce (as well as ineffective examples); they cannot, for example, be expected to write successful expository essays if they are primarily reading narrative texts.

Teaching the reading-writing connection will help your students significantly improve both their reading and writing.

3. Learning the Tools

You’ve got to learn the tools to practice the craft. Not every instrument is conducive to songwriting. It’s hard to play the trombone and sing at the same time. Tools are the means to an end and are self-limiting. Having written songs with the guitar for years, I know that there are limitations to the instrument. Learning piano has expanded my songwriting potential. Some tools fit some genre and some don’t.

Teachers generally do a fine job of teaching the structure and identifying characteristics of the various writing genre. Teachers generally do a poor job of teaching writing strategies, sentence structure, grammar, usage, and style.

4. Learning Writing by Writing

Burt Bacharach: “Music breeds its own inspiration. You can only do it by doing it. You may not feel like it, but you push yourself. It’s a work process. Or just improvise. Something will come (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

It’s simplistic, but true: you get better at something by practicing it. And this includes writing. Practice needs to be regular with both subjective and objective feedback. Writing fluency comes from daily writing practice, not from occasional on-demand writing assignments.

Brainstorming and Prewriting

5. Content is Writing

A songwriter with nothing to say cannot write a song. Even the most simplistic love song says something. What the songs says must ring true, even if it is completely fictional. Successful songwriters study the content of songs, newspapers, poetry, literature, and life. Paul Simon: “It’s very helpful to start with something that’s true. If you start with something that’s false, you’re always covering your tracks. Something simple and true, that has a lot of possibilities, is a nice way to begin (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

Studying literature, history, and science is all writing instruction. A student with nothing to say cannot write a poem, an essay, or a story.

6. Location Matters

Jimmy Buffet: “You know, as a writer, I’m more of a listener than a writer, cuz if I hear something I will write it down. And you find as a writer there are certain spots on the planet where you write better than others, and I believe in that. And New Orleans is one of them (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

The collaborative classroom can be ideal for creating a productive writing climate. All of the resources are there: computers, dictionaries, thesauri, the writing teacher, the peers. Rarely do students compose as well at home as they do in the classroom. The classroom can be optimally suited to the social nature of the writing process.

7. Emotional Connections

Bono: “You can have 1000 ideas, but unless you capture an emotion, it’s an essay (http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=464409330&blogId=481041893).” Sting: “Songwriting is a kind of therapy for both the writer and the listener if you choose to use it that way. When you see that stuff help other people that’s great and wonderful confirmation that you’re doing the right thing (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

All too often, students mimic their teachers in order to please us and demonstrate that they have harvested our pearls of wisdom. Students often have little understanding of audience and even less passionate commitment to their writing subject. Developing the emotional connection to their writing in an authentic voice is key to connected and committed writing.

8. Titles and Hooks

Most all songwriters begin their songs with a catchy or meaningful title-one that provokes curiosity. A writer on a songwriting blog comments, “After you answer the question, ‘What is the title of my song going to be?’, your next job is to think about hooks. Here you need to decide what the central point of your song is and create song hooks around this thought. Briefly, a hook is anything that will help the listener remember the song. With many songs, it’s the melody, the chorus or even some of the lyrics. It might even a be a sound effect added to make the song more interesting (http://hubpages.com/hub/How-To-Write-A-Song-Title).”

Teach how songwriting titles and hooks capture the essence of the writing topic and thesis statement. Every stream flows from the one source. Good writing is essentially deductive in both narrative and expository forms.

9. Self-Questioning

Many songwriters flesh out the lyrics by asking questions of their song title. After coming up with the title “I Won’t Back Down,” Tom Petty could have posed the following questions to develop his lyrics: Why won’t I back down? What’s happened in the past to make me have this attitude? Are there exceptions?

Student writers can use the process of self-questioning during brainstorming. Using the topic or thesis as a prompt, students look at the direction of their essay from a variety of points of view. Using the conflict as a prompt, students look at the direction of their narrative from the major and minor characters’ perspectives.

Drafting

10. Structural Foundations

Songs follow well-established organizational patterns. Verses (same melody, different words), choruses (same melody and words), perhaps a bridge (a different melody and lyric), and perhaps a pre-chorus (a short section at the end of a verse leading into the chorus) are the songwriters’ foundational structures. Robbie Robertson: “It would be nice to abandon the verse-chorus-bridge structure completely, and make it so none of these things are definable…Make up new names for them. Instead of a bridge, you can call it a highway, or an overpass…Music should never be harmless (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

Similarly, narratives follow the elements of plot and essays have introductions, body paragraphs, and conclusions. All good writing has structure. Even most all poetry follows prescribed structures.

11. Flexibility

Some songwriters write the lyrics first, then follow with the melody. I tend to write both lyrics and melody together, though I have completed songs in many different ways.

Beware of straight-jacketing students with the components of the writing process. Some students prefer to spent significant amounts of time pre-writing; others would rather jump right in and draft. Some students revise and edit as they draft; others like to do multiple drafts and/or edit at the end. Word processing enables many options.

12. The Rules Do and Don’t Apply

The Beatles’ “A Day in the Life” follows the structure of many pop songs; however, it breaks every rule of chord progressions. “Each verse sung by Lennon follows the same basic layout, but each has a different way of ending. The first verse, which is twenty measures, ends with a repetition of the F major chord progression before returning to the home key. The second verse, two measures shorter than the first, ends on the C major chord rather than repeating the F major progression. The third verse is the same as the second, except that there is one more measure (to accommodate the ‘I’d love to’), and the verse does not return to the home key. Instead it leads to a bridge, a 24-measure long glissando-like crescendo starting from low E to an E several octaves higher. Random cymbal crashes are interspersed near the end to ‘challenge your sense of meter’ (http://en.wikipedia.org/wiki/A_Day_in_the_Life).” Paul McCartney instructed the accompanying orchestra musicians to play notes beyond the range of their instruments to intentionally break the rules.

Each writing genre has its own rules. A Shakespearian Sonnet has its own rhyming pattern, a persuasive essay has a counterargument, and a story must resolve its conflict. However, knowing and applying the rules permits intentional deviations for special effect.

13. Mimickery

Songwriters advise aspiring musicians to study the techniques of those they admire and emulate their styles. Because everyone has his own unique voice and experiences, no two compositions will be the same. Chord progressions are not copyrighted. The chords for “Louie, Louie,” “Wild Thing,” “I Like it Like That” and hundreds of other hits are all the same.

Some English-language arts teachers believe that discovering one’s voice is the result of a self-guided journey. I would argue that for students to develop voice, they need to practice voice in specific teacher-directed writing assignments. It is not plagiarism to mimic the writing style of good authors. Additionally, teachers need to help students practice different voices for different purposes.

14. Time to Percolate

Carole King: “If you are sitting down and you feel that you want to write andnothing is coming, you get up and do something else. Then you come back again and try it again. But you do it in a relaxed manner. Trust that it will be there. If it ever was once and you’ve ever done it once, it will be back. It always comes back and the only thing that is a problem is when you get in your own way worrying about it (http://www.buffalostate.edu/library/rooftop/past/docs/2008-10-15_Songwriters_on_Songwriting_excerpts.pdf).”

Neil Young: “I don’t force it. If you don’t have an idea and you don’t hear anything going over and over in your head, don’t sit down and try to write a song. You know, go mow the lawn…My songs speak for themselves (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

We live in the real world. Our students do as well. The SAT 1® allots 25 minutes for an essay that counts 240 points out of the 800 overall writing score. College professors give timed essays. Bosses want that report due by 3:00 p.m. or else. We need to equip our students to face these time constraints in their writing. Certainly, some on-demand writing practice makes sense, but the best practice to develop writing fluency remains untimed, day to day writing practice in a variety of writing genre. Good teachers provide time for writing reflection and revision. Good teachers allow students to face writer’s block and practice problem-solving.

15. Let the Writing Write

John Lennon: “Song writing is about getting the demon out of me. It’s like being possessed. You try to go to sleep, but the song won’t let you. So you have to get up and make it into something and then you’re allowed to sleep. It’s always in the middle of the night, or you’re half-awake or tired, when your critical faculties are switched off. So letting go is what the whole game is. Every time you try to put your finger on it, it slips away. You turn on the lights and the cockroaches run away. You can never grasp them (http://home.att.net/~midnightflyer/jl.html).”

Good writing instruction provides students with enough practice so that a degree of automaticity has been achieved. Writing fluency is familiarity with the structures, rules, and patterns of writing. Writing fluency is the conversation between author and the writing. Writing fluency does not mean effortless writing; sometimes content knowledge and writing dexterity can challenge the writer as much as would sheer ignorance.

Revision and Editing

16. Read the Writing

Tom Petty: “You’re dealing in magic–it’s this intangible thing that has to happen. And to seek it out too much might not be a good idea. Because, you know, it’s very shy, too. But once you’ve got the essence of them, you can work songs and improve them. You see if there’s a better word, or a better change (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

“I edit as I go. Especially when I go to commit it to paper… I edit as I am committing it to paper. I like to see the words before me and I go, “Yeah, that’s it.” They appear before me and they fit. I don’t usually take large parts out. If I get stuck early in a song, I take it as a sign that I might be writing the chorus and don’t know it. Sometimes,you gotta step back a little bit and take a look at what you’re doing.” — John Prine, quoted by Paul Zollo in “Legends: John Prine,” (American Songwriter, Jan / Feb 2010).

Revision is the hard work of writing. It involves a conversation with the text and audience to ensure coherency. It appropriates everything in the writer’s tool kit. It also necessarily reaches out to others for feedback. Frequently teachers expect that inexperienced writers will be able to revise with little guidance. Simply modeling how to add, delete, substitute, and rearrange a paragraph does not mean that a student will be apply to apply these skills to her draft. Young writers need objective and subjective feedback from both teacher and their peers. Writers conferences and response groups at all stages of the writing process will provide the feedback necessary for revision.

17. Grunt Work

Neil Diamond: “Performing is the easiest part of what I do, and songwriting is the hardest.” George Gershwin: “Out of my entire annual output of songs, perhaps two, or at the most three, came as a result of inspiration. We can never rely on inspiration. When we most want it, it does not come (https://isound.com/artist_blog/quotes_from_the_best_songwriters).”

Writing inspiration is an unfaithful friend. Mature writers certainly welcome her visit, but the more we depend upon her, the less gets done. Much of any writing is simply grunt work. The more experience and tools that a writer has acquired, the more choices are afforded to the decision-making process. The grunt work of word choice, transitions, examples, and more are the last few puzzle pieces that just don’t seem to fit. I, personally, take more satisfaction out of placing these puzzle pieces (even if I have to shave off the edges to make them fit) than the ones that come without effort. Still, no writer is completely satisfied with his own writing. Indeed, few writers ever revisit their own works after publication.

18. Collaborative Competition

One of the reasons that John Lennon and Paul McCartney enjoyed such a fruitful songwriting collaboration was because John was right-handed and Paul was left-handed. Thus, both songwriters could sit facing one another, eye to eye, without the guitars banging up against each other.

Teachers can do much to establish a collaborative writing culture. The Web 2.0 culture provides both vulnerability and anonymity that writing teachers can use to motivate students in their writing. Most all writing is a social venture and teachers can appropriately guide this experience in and out of the classroom. Online postings afford students the opportunity of time and reflective thought through the students’ own self-regulated filters. Students can choose what to and what not to share. However, in-class face-to-face time is necessary to provide the unfiltered audience and conversations that balance the ones on the web. Teachers control the climate of in-class writing and can model and sometimes referee the collaborative efforts.

19. Publish to Write

Hearing the final audio guides the songwriting process, but the studio experience and interaction of the musicians can certainly change the composition. Keith Richards of The Rolling Stones says that he never finishes a song before entering the studio, in order to allow some room for creativity in the recording process. There are also happy accidents. John Lennon accidentally left his volume turned up on his guitar and leaned it against his amplifier while tape was rolling. The screeching feedback began and Lennon kept the mistake as the introduction to the Beatles Number One Hit: “I Feel Fine.” This was the first time that feedback was incorporated into a song.

Teachers need to let students in on one of the secrets of successful writers: writing rarely turns out precisely as planned. The variables of the publication process often determine the end results. Some things are simply beyond the writer’s control. Constraints of time, mistakes, and misunderstandings contribute to the final writing product. Students will be frustrated at times by their published work, or by fellow students’ responses, or by the teacher’s grade and comments. Writing is about as subjective as we get in academia, despite our analytical rubrics and our objective pretenses.

20. Writing for a Pay-off

Paul McCartney: “Somebody said to me, But the Beatles were anti-materialistic. That’s a huge myth. John and I literally used to sit down and say, Now, let’s write a swimming pool.

Our students frequently write only to please an audience of one (their teacher), and the resulting pay-off is simply a grade. Hardly motivating and largely perceived as being irrelevant to their lives. No wonder there is often little authentic voice, creativity, or passionate commitment in our students’ writing. The solution is to make the pay-off a motivator for student effort. Survey students to find what publishing ends would motivate their best efforts. Online postings, video reads, peer reviews to name a few.

Check out this complete writing process essay to see a sample of the resources provided in Teaching Essay StrategiesThe download includes writing prompt, paired reading resource, brainstorm activity, prewriting graphic organizer, rough draft directions, response-editing activity, and analytical rubric.

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Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum, Teaching Essay Strategies

Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum,Teaching Essay Strategies.

Pennington Publishing's Teaching Essay Strategies

Teaching Essay Strategies

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Using Music to Develop a Creative Writing Culture

I am a dinosaur. I have to face the fact that I am culturally irrelevant to my students. My English-language arts colleagues are all young twenty-somethings. They do all of the student clubs, sports, and activities such as the overnight bus trip to Disneyland. They even do yard duty/campus supervision when they don’t have to. But, I’ve got one thing that they don’t have yet-reflective experience.

As I reflect back on my experience as a junior high and high school student, one creative medium was singularly influential and remains so for my students today-music. Music inspired me. Music made me dream big dreams. Music made me want to write.

Now, music didn’t make me want to write the way that Mr. Devlin, my junior high English teacher, wanted me to write. And music didn’t inspire me to write the stupid five-paragraph essays that Ms. Carruthers, my senior Advanced English teacher, assigned each week. Music made me want to write like John and Paul, Mick and Keith, and Bob Dylan. Somehow, my English-language arts teachers just did not tap into that motivating influence.

Now we did analyze a few songs in class. I remember Mr. Devlin helping us to interpret the Beatles’ “Revolution.” I ate it up, but there was no follow-through. It was a one-time experience, and then back to the literary anthology. No connection to our own writing as students. Our art teacher was very cool. She played our records while we worked with paint and clay. I discovered The Doors in her class. But, the music was background and its creative potential was not instructionally connected to our paper mache Christmas angels.

Music is just as influential on today’s students as it was for me. Ask students how much they listen to music today. It’s certainly more than they spend reading or writing. And they listen to music while they are on Facebook®. That’s a powerful combination. It seems to me that we can apply a few lessons from how our students combine music and social networking to how we should teach them to write.

Music has always been a social medium. Let’s do a bit of reflective thinking about the music business, and songwriting in particular, to see how we might apply some of this to improve student writing.

Toward the end of the Nineteenth Century musical tastes were changing from minstrel shows to vaudeville. The economic up-tick following the terrible recession of 1873 put more money in the hands of more Americans. Recently freed slaves migrated north into already-crowed cities. Increasing immigration added wealth to the expanding economy and consumers enjoyed some of the trickle-down benefits of the Gilded Age, including more leisure time and a bit more discretionary money.

A number of music publishers set up shop in the same district of Manhattan along 28th Street between 5th Avenue and Broadway to take advantage of the economic boom and sell music to the popular vaudeville shows and sheet music to consumers to play on their parlor pianos. This neighborhood became known as “Tin Pan Alley,” probably due to “the cacophony of the many pianos being pounded in publisher’s demo rooms… characterized as sounding as though hundreds of people were pounding on tin pans (Wikipedia).”

“Song composers were hire under contract giving the publisher exclusive rights to popular composer’s works. The market was surveyed to determine what style of song was selling best and then the composers were directed to compose in that style. Once written, a song was actually tested with both performers and listeners to determine which would be published and which would go to the trash bin. All of a sudden it seemed that music was becoming an industry more than an art. Once a song was published, songpluggers (performers who worked in music shops playing the latest releases) were hired and performers were persuaded to play the new songs in their acts to give the music exposure to the public (Wikipedia).”

Writing Lesson #1

Publishing was the motivator for songwriting in Tin Pan Alley. This was, indeed, writing for a purpose. The profit-motive and pay-off were paramount; art was a by-product of that end. In contrast, our students are frequently only required to write to please an audience of one, that is their teacher, and the resulting pay-off is simply a grade. Hardly motivating and largely perceived as being irrelevant to their lives. No wonder there is little authentic voice, creativity, or passionate commitment in our students’ writing. The solution is to make the pay-off a motivator for student effort. Survey students to find what publishing ends would motivate their best efforts. Online postings, video reads, peer reviews to name a few.

Writing Lesson #2

Encourage mimicry of author’s styles. Just as vaudevillian composers were directed to compose in popular styles, help students to do the same. Help students identify components of popular author’s styles, including those of musical composers. Yes, hip hop is music. Don’t fret about lack of originality. One’s writing voice is an amalgam of one’s reading experiences and other voices.

Writing Lesson #3

Have students serve as song pluggers and performers for each other. We create a writing culture when peers begin responding to each other’s work. Students care more about their peers’ responses than those of their teacher. Teach constructive criticism: the “I like way you did ______, but you might try ______” needs both modeling and practice. Trust-building activities are a must. Allow students some degree of choice with whom they will work. After all, students don’t “friend” everyone on Facebook®. Try directed and undirected response groups, but don’t relegate these to the end of the writing process. Response groups work well after both prewriting and drafting. Don’t use student response solely as editing assistance. The more students perceive writing as a collaborative and social art, the more commitment and investment in their own writing will result.

Read a related article on Using Music to Develop a Productive Writing Climate.

Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum,Teaching Essay Strategies

Pennington Publishing's Teaching Essay Strategies

Teaching Essay Strategies

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