Pennington Publishing Blog

In my last article, “Using Music to Develop a Creative Writing Culture,” I suggested that music remains the singularly most influential motivator and reflection of youth culture. 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.

As music has always been a social medium, in makes sense to analyze the music business, and songwriting in particular, to see how we might apply some of their lessons to improve student writing.

At the height of the Great Depression in 1931, the recently completed Brill Building at Street in Manhattan opened its doors. The owners were forced “by the deepening Depression to rent space to music publishers, since there were few other takers. The first three, Southern Music, Mills Music and Famous Music were soon joined by others. By 1962 the Brill Building contained 165 music businesses (http://www.rockphiles.com/rp_artist.php?act_id=19).”

“A musician could find a publisher and printer, cut a demo, promote the record, and cut a deal with radio promoters, all within this one building. The creative culture of the independent music companies of Brill Building and the nearby 1650 Broadway came to define the influential “Brill Building Sound” and the style of popular music songwriting and recording created by its writers and producers (http://www.rockphiles.com/rp_artist.php?act_id=19).”

While songwriters such as Carole King, Neil Diamond, Boyce and Hart (writers of The Monkees hits), and Neil Sedaka were cranking out the hits out of the Brill Building community that defined American music in the 1960s, their British counterparts were doing the same thing on Denmark Street in London. On this short, narrow street The Beatles, The Rolling Stones, and Jimi Hendrix all recorded in basement studios. Publishing companies were headquartered on this street.

The Kinks’ Ray Davies writes the following in their 1970 hit, “Denmark Street.”

Down the way from the Tottenham Court Road

Just round the corner from old Soho

There’s a place where the publishers go.

If you don’t know which way to go

Just open your ears and follow your nose

“cos the street is shakin’ from the tapping of toes

You can hear that music play anytime on any day

Every rhythm, every way

In 1972 “Elton John wrote his classic early song Your Song, here. Later, the Sex Pistols lived above number 6 and recorded their first demos there. The street contains London’s largest cluster of music shops. It was also the original home of London’s biggest science fiction and comic store, Forbidden Planet.

Writing Lesson #1

Although writing can be done most anywhere, it certainly makes sense to do so where resources are available and accessible. Both the Brill Building and Denmark Street provided all of the resources necessary to write, record, market, and sell music. A teacher’s classroom can provide the necessary resources for academic writing. Not just dictionaries, thesauruses, and computers… but the human resources as well. The writing expertise of the teacher and the listening ears of fellow student writers make the entire process of composition efficient within the classroom community. In my experience, rarely does the quality of at-home or at-library student writing match the level of in-class composition.

There’s just something about the social nature of composition that motivates creativity. Don Kirshner, 1960s publisher, record producer, and radio/television mogul recognized the fact that massing talent would be beneficial. Kirchner subdivided his Brill Building office space into cubicles and hired eighteen songwriters to crowd into these spaces. He then directed his songwriters to churn out love songs, and occasionally dance and novelty hits, for the teen masses (http://www.rockphiles.com/rp_artist.php?act_id=19).

“Describing conditions in the Brill Building, (Barry) Mann said, Cynthia ( ) and I work in a tiny cubicle, with just a piano and a chair, no window. We’d go in every morning and write songs all day. In the next room Carole (King) and Gerry (Goffin) are doing the same thing, with Neil (Diamond) in the room after that. Sometime when we all get to banging pianos, you can’t tell who’s playing what.’ (http://www.rockphiles.com/rp_artist.php?act_id=19).”

Writing Lesson #2

A productive writing climate can be promoted by establishing a collaborative community of student writers. Allowing students to help each other by “borrowing” ideas, providing immediate feedback (including criticism), and thinking out loud can motivate effort and improve the quality of the product. A community that feels that they are all in the same boat remains task-oriented and maintains motivation. There is a reason that Don Kirshner did not let his songwriters work from their apartments.

The teacher can facilitate this kind of intense writing community, ala Don Kirshner, by establishing a business-like, no-nonsense, and product-driven set of high expectations within the tightly confined community. Kirchner, and good teachers, can choreograph the activities, but the writers are the ones who have to write the hits.

Beyond massing writing resources and developing a collaborative community of writers, there is something to be said for the value of competition and the pressure/adrenaline that it produces. “Carole King described the atmosphere at the Brill Building publishing houses of the period:

“Every day we squeezed into our respective cubby holes with just enough room for a piano a bench, and maybe a chair for the lyricist if you were lucky. You’d sit there and write and you could hear someone in the next cubby hole composing a song exactly like yours. The pressure in the Brill Building was really terrific-because Donny (Kirshner) would play one songwriter against another. He’d say: ‘We need a new smash hit’-and we’d all go back and write a song and the next day we’d each audition of Bobby Vee’s producer (The Sociology of Rock 1978).”

Writing Lesson #3

One of the positive outcomes of developing a productive writing climate is that success breeds success. A healthy competition among student writers can be enormously motivating. Students care about what other students think, no matter what they say. Public sharing of student writing in class, online, in book stores, coffee houses, etc. can inspire quality writing. More gifted students can inhibit some student writers, but the wise teacher can even use these inhibitions to improve writing.

*****

The author’s TEACHING ESSAYS BUNDLE includes the three printable and digital resources students need to master the CCSS W.1 argumentative and W.2 informational/explanatory essays. Each no-prep resource allows students to work at their own paces via mastery learning. How to Teach Essays includes 42 skill-based essay strategy worksheets (fillable PDFs and 62 Google slides), beginning with simple 3-word paragraphs and proceeding step-by-step to complex multi-paragraph essays. One skill builds upon another. The Essay Skills Worksheets include 97 worksheets (printables and 97 Google slides) to help teachers differentiate writing instruction with both remedial and advanced writing skills. The Eight Writing Process Essays (printables and 170 Google slides) each feature an on-demand diagnostic essay assessment, writing prompt with connected reading, brainstorming, graphic organizer, response, revision, and editing activities. Plus, each essay includes a detailed analytical (not holistic) rubric for assessment-based learning.

Get the Writing Process Essay FREE Resource:

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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 28^th Street between 5^th 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.

*****

The author’s TEACHING ESSAYS BUNDLE includes the three printable and digital resources students need to master the CCSS W.1 argumentative and W.2 informational/explanatory essays. Each no-prep resource allows students to work at their own paces via mastery learning. How to Teach Essays includes 42 skill-based essay strategy worksheets (fillable PDFs and 62 Google slides), beginning with simple 3-word paragraphs and proceeding step-by-step to complex multi-paragraph essays. One skill builds upon another. The Essay Skills Worksheets include 97 worksheets (printables and 97 Google slides) to help teachers differentiate writing instruction with both remedial and advanced writing skills. The Eight Writing Process Essays (printables and 170 Google slides) each feature an on-demand diagnostic essay assessment, writing prompt with connected reading, brainstorming, graphic organizer, response, revision, and editing activities. Plus, each essay includes a detailed analytical (not holistic) rubric for assessment-based learning.

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Writing is Like Football

Writing is like football.

Most ELA teachers focus on teaching the W. 1, 2, and 3 standards: the argumentative essay, the informational/explanatory essay, and the narrative. Irrespective of using the writing process, we are content and product-driven.

Of course, football is all about the final product (the big game), as well; however, ask football coaches what they spend their practice time doing. They’ll mention their BIG 3: conditioning, tackle practice, and the omnipresent videotape. Less so the content and product-driven X’s and the O’s on the chalkboard. Perhaps we writing teachers should take a page from our coaches’ playbooks and be a bit more skill-centered. I’m talking about teaching the essay strategies that will prepare students for the big game. In other words, the CCSS W. 4, 5, 6, 7, 8, 9, and 10 standards.

Writing and football are all about skill development.

My first year of teaching was at a small K-8 school in Sutter Creek, California. I began teaching my first seventh-grade ELA class with a scintillating lecture, replete with masterful examples (including my own), on how to teach the five-paragraph essay. The structure, the components, and the unified balance of thought. “Go and do likewise,” I advised.

Of course, you probably already know the results. Most of my students did master the structure and had some sense of what the components were and where they belonged. But that unified balance of thought? I couldn’t understand why they just couldn’t fill in the rest of the blanks. Fortunately, after a few classes with U.C. Davis Area 3 writing mentors (Thank you!), I began to see the value of teaching the part-to-the-whole: the essay strategies, or skills, necessary to make sense of the content and structure.

After a number of years learning how to teach the essay, following are my BIG 3: 1. Eliminate the crutches 2. Teach and help students practice complex sentences. 3. Teach and help students practice grammatical sentence openers.

How to Eliminate “To Be” Verbs

1. Teach and help students eliminate the crutches.

Sometimes removing a writer’s comfort zone is the only strategy that will force the writer to take the necessary risks to learn new tricks of the trade and improve his or her writing craft.

“To-be” Verbs: Restrict students’ usage of is, am, are, was, were, be, being, and been. Nothing forces students to search for concrete nouns and expressive verbs more than this strategy. Nothing makes students alter sentence structure more than this strategy. Nothing teaches students to write in complete sentences more than this strategy. After initial banishment, allow a few of these verbs to trickle into student writing, say one per paragraph. Sometimes the best verb is a “to-be” verb. After all, “To be or not to be. That is the question.” For more, see How to Eliminate To-Be Verbs in Writing.

The Essay Ten Commandments

1^st and 2^nd Person Pronouns: Essays designed to inform or convince are not written as a direct conversation between the writer and the reader. Instead of using the first person point of view I, me, my, mine, myself, we, us, our, ours, or ourselves pronouns or the second person point of view you, your, yours or yourself(ves) pronouns, essays are written in the third person point of view such as in the writing model below. It’s fine to use the third person he, she, it, his, her, its, they, them, their, theirs or themselves pronouns to avoid repeating the same nouns over and over again. Nothing forces students to focus their writing on the subject more than this strategy. Nothing teaches students to rely on objective evidence more than this strategy.

2. Teach and help students practice complex sentences.

Complex Sentences

Some prerequisite direct instruction is required here. Students need to know what an independent clause is. Students need to know what a phrase is. Students need to know what a dependent clause is. Teaching and memorizing the subordinate conjunctions are essentials. See How to Teach Conjunctions for a great memory trick. Students must be able to identify subordinating clauses and create them. Students need to be able to identify complex sentences and use them. Sentence models and analysis works well. I recommend using Sentence Revision, which uses sentence models and requires students to practice sentence combining and sentence manipulation at the sentence level. Using individual student whiteboards for practice and whole class formative assessment works well. You are going to have to differentiate instruction to ensure mastery learning of complex sentences.

How to Teach Complex Sentences with Grammatical Sentence Openers

3. Teach and help students practice grammatical sentence openers.

Students have been trained to write in the subject-verb-complement pattern. Fine. Now we need to revise that writing mindset. We need to teach students that writing style and sentence variety matter. I suggest that you limit your students to composing no more than 50% of their writing in the subject-verb-complement pattern. Teach students to begin their sentences with different grammatical sentence openers. See How to Improve Your Writing Style with Grammatical Sentence Openers for a fine list with examples. Nothing forces students to write with greater sentence variety than this strategy. Nothing integrates grammar instruction into writing better than this strategy.

Look for my next article on the Pennington Publishing Blog on helping students learn how to scrimmage. Focusing on the essay writing strategies at the paragraph level, including structure, style, unity, and evidence will further help students prepare for the “big game.”

Check out this complete writing process essay to see a sample of the resources provided in the TEACHING ESSAYS BUNDLE. The 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:

The TEACHING ESSAYS BUNDLE 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 ESSAYS BUNDLE 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.

TEACHING ESSAYS BUNDLE

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.

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Recently, a New York State elementary test prep site has been generating some buzz regarding its use of the terms fact and opinion. Here is one of the test items that elementary students are to label as fact or opinion. Researchers believe the Pterosaurus flew as fast as 25 miles per hour. The test’s answer may surprise you.*

Read on to learn when to teach, what to teach, and how to teach fact and opinion. Some may quibble a bit with my scope and sequence of instruction, my definitions of key terms, or my language of instruction. But then everyone has his or her own opinion, and furthermore, don’t confuse me with the facts! In fact, even high-ranking government officials seem to believe in “alternative facts.”

Birds and the Bees

Teaching fact and opinion should be a lot like teaching “the birds and the bees.” The content and process should be appropriate to the age level. We don’t need to give all the answers to the seven-year-old’s question: “Where do babies come from?” However, with all-due apologies to stork advocates, we do need to give accurate, albeit incomplete, responses as a foundation to layer-in additional knowledge at the appropriate times.

Importance and Relevance

Helping students understand and apply the differences between fact and opinion is crucial to analytical reading, writing, listening, and speaking. Distinguishing between fact from opinion is key to interpreting information intelligently. It is one of the few “macro” skills that is, indeed, interdisciplinary. It is also a skill that is refined from elementary school up through post-doctoral study. Furthermore, it is a skill of life-long learning and daily use.

What Fact and Opinion is Not

One of the best ways to learn anything well is to learn what it is not. Teachers may cringe a bit over this section or perhaps get a bit defensive because they may have misinformed their students over the years. Don’t fret. Knowledge changes and students are flexible. We’ve all taught that Pluto was our ninth planet for years, until recently.

• Fact is not “something proven true.”
• Fact is not “something accepted as true by most people.”
• Fact is not “truth.”
• Opinion is not “what you like”
• Opinion is not “just what you believe”
• Opinion is not “It’s just your opinion” or “You have your opinion and I have mine”

Teaching Fact and Opinion: When, What (with Exemplars), and How

When? 3^rd – 4^th Grades

What?

• Fact is something said or done. Exemplars: “He said, ‘That wall is an ugly shade of blue.'” (something said) or “He painted the wall blue” (something done)
• Opinion is an informed belief. Exemplar: “Blue is a better color for this wall than green.”

How? Memorize those definitions and exemplars. Identify and judge between fact and opinion from examples. Apply in both narrative and expository writing.

When? 5^th – 6^th Grades

What?

• Fact is something said or done.
• Fact can be used as evidence or can be supported by other evidence. Exemplars: “Walls can be painted in different colors. For example, one wall is blue” or “One wall is blue. This proves that walls can be painted in different colors.”
• By definition, facts cannot be wrong. False Exemplar: “He got his facts about the blue wall all wrong.” Explanation: We really mean that he did not state facts or that he misapplied the use of those facts.
• Opinion is an informed belief.
• Opinion can be used as evidence or can be supported by other evidence. Exemplars: “Two boys in the class are color blind, so blue is a better color for this wall than green” or “Blue is a better color for this wall than green because the chairs in the classroom have blue backs.”
• Opinion is not a preference. Exemplar: “In my opinion, I like blue walls.” Explanation: Liking one color over another states a personal preference, not an opinion.

How? Memorize those definitions and exemplars. Identify and judge among fact, opinion, and preference from examples. Apply fact and opinion as both evidence and as evidentiary support in both narrative and expository writing.

When? 7^th – 8^th Grades

What?

• Fact is something said or done. Fact can be used as evidence or can be supported by other evidence. By definition, facts cannot be wrong.
• Fact is something that could be verifiable in time and space. Exemplar: “The wall was painted blue in 2016.” The fact would certainly be verifiable if the school office files contained a similar shade of blue paint chip, attached to a dated 2016 receipt for blue paint and a painting contractor’s 2016 dated invoice marked ‘Paid in Full.’”
• Fact is not based upon consensus or tradition. False Exemplars: “”It’s an established fact that retired educators living in the town think that the walls of that classroom have always been blue” or “Historians assert and Americans have traditionally held that Pilgrims and Native Americans ate turkey at the first Thanksgiving.” Explanation: The conclusion of experts or a traditional belief, even over long periods of time, does not constitute a fact.
• Fact is not definition. False Exemplars: “It’s a fact that blue is a mix of green and yellow” or “2 +2 = 4 and If A = B and B = C, then A = C.” Definitions simply state that one thing synonymously shares the same essence or characteristics of another thing. Much of math deals with meaningful definitions, called tautologies, not facts, per se.
• Fact is not a scientific theory. False Exemplar: The universe began fifteen billion years ago with the “Big Bang.” Explanation: “Facts and theories are different things, not rungs in a hierarchy of increasing certainty. Facts are the world’s data. Theories are structures of ideas that explain and interpret facts. Facts do not go away when scientists debate rival theories to explain them.” Stephen Jay Gould
• Opinion is an informed belief. Opinion can be used as evidence or can be supported by other evidence. Opinion is not a preference.
• Opinion is an inference (interpretation, judgment, conclusion, or generalization). Check out my Top Ten Inference Categories Exemplar: “Blue is a better color for the classroom walls than red, because blue is a more soothing color.”
• By definition, opinions are arguable, much like persuasive essay thesis statements. Exemplar: “Blue walls are more stylish than white walls.”
• Opinions can be categorized as valid or invalid based upon their evidentiary support. Exemplar: “In a survey of thirty building-design architects, 28 of 30 stated that blue walls were ‘more stylish’ than white walls.” False Exemplar: “I asked the owner of All-Blue Paint Company if blue or white walls were more stylish, and he said ‘blue.’” Explanation: The owner would certainly not be an unbiased source and the survey sample is too small to provide meaningful data.

How? Memorize those definitions and exemplars. Identify and judge among fact, opinion, preference, consensus, tradition, definition, and theories from examples. Identify and judge between valid and invalid opinions. Identify whether facts are verifiable and whether opinions are arguable. Apply fact and opinion as both evidence and as evidentiary support in both narrative and expository writing.

When? 9^th – 10^th Grades

What?

• Fact is something said or done. Fact can be used as evidence or can be supported by other evidence. By definition, facts cannot be wrong. Fact is something that could be verifiable in time and space. Fact is an objective reflection of reality.
• A fact exists independent of our sensory experience. Exemplar: “If a classroom’s walls are blue, then someone must have painted them that color.”
• Fact can be misapplied and manipulated when used out of context or in combination with other irrelevant facts. False Exemplar: “He said, ‘The classroom walls need painting.’”  “The teacher said, “Blue has always been my favorite color.” The contractor painted the her classroom walls blue. Explanation: There is no necessary connection between the three facts. Combining the three possibly unrelated facts leads one to infer that the teacher had input regarding the color selection of her classroom walls.
• Fact is not the same as truth. False Exemplar: “It’s a fact that the classroom walls are blue.” Explanation: This is known as a category error. We can state the fact that the walls were painted blue or the fact that someone said that they are blue, but this is not the same as truth. There is no process of falsification with facts, as there is with truth. For example, we could not say “It’s not a fact that the classroom walls are black.” Similarly, in a criminal court case, if a defendant pleads not-guilty to the charge that he or she murdered someone, the prosecution must falsify this plea and prove the truth of the guilty charge via evidence, such as facts, in order to convict the defendant.
• Opinion is an informed belief. Opinion can be used as evidence or can be supported by other evidence. Opinion is not a preference. Opinion is an inference (interpretation, judgment, conclusion, or generalization). By definition, opinions are arguable, much like persuasive essay thesis statements. Opinions can be categorized as valid or invalid based upon their evidentiary support.
• Opinions are subjective interpretations of reality. Exemplar: “Neon green walls would more likely keep students awake and attentive, rather than soothing blue walls.”
• Opinions can be manipulated and taken out of context. False Exemplar: “He said, ‘Blue walls seem more soothing than red ones.’” “He said, ‘That wall is an ugly shade of brown.'” “He will only be satisfied if we paint his classroom walls blue.” Explanation: Putting together two opinions that are not necessarily related can lead to an invalid inference.

How? Memorize those definitions and exemplars. Identify how facts are objective and opinions are subjective from examples. Identify and judge how facts and opinions may be manipulated, misapplied, and taken out of context. Identify the difference between fact and truth with examples.

When? 11^th – 12^th Grades

What?

• Fact is something said or done. Fact can be used as evidence or can be supported by other evidence. By definition, facts cannot be wrong. Fact is something that could be verifiable in time and space. Fact is an objective reflection of reality. A fact exists independent of our sensory experience.
• Fact is studied in the philosophical discipline of ontology. Exemplar: “Existence is proven by the act of thinking about existence—cogito ergo sum” “I think, therefore I am” Rene Descartes
• Fact is studied in the philosophical discipline of epistemology. Exemplar: “How can I know to what extent the “facts” of scientific observation have been influenced by my biases, the limits of my sensory experiences, and the act of observation in it of itself?”
• A fact is not a claim. False Exemplar: “Blue walls make my students perform better on standardized tests.” Explanation: This is a category error. A claim is an inference, more closely related to an opinion than a fact, yet still different. This claim suggests that there is a causal relationship between wall color and student test performance. Akin to a “green 3,” there is no necessary connection between the two concepts. A positive correlation may, indeed, be found; however, asserting such would still not be factual.
• Fact is not a phenomenological representation of reality. False Exemplar: “The walls appear blue during the day, but have no color at night.” Explanation: Just because the blue color appears to disappear at night due to the absence of light, does not mean that this describes reality. To say that the sun rises in the east and sets in the west describes how things appear from our perspective, not what factually occurs.
• Opinion is an informed belief. Opinion can be used as evidence or can be supported by other evidence. Opinion is not a preference. Opinion is an inference (interpretation, judgment, conclusion, or generalization). By definition, opinions are arguable, much like persuasive essay thesis statements. Opinions can be categorized as valid or invalid based upon their evidentiary support. Opinions are subjective interpretations of reality. Opinions can be manipulated and taken out of context.
• Opinions that appear to differ need not be mutually exclusive. Exemplar: “Teacher A thinks blue walls are better than white walls because blue hides dust and marks while white does not. Teacher B totally disagrees with Teacher A’s rationale but believes that students would much prefer blue over white for their classroom.”

How? Memorize those definitions and exemplars. Identify the difference between factual and phenomenological representations of reality. Identify the relevant study of ontology and epistemology with regard to fact. Identify the difference between facts and claims. Identify and judge from examples how seemingly contradictory opinions need not be mutually exclusive.

*The test answer was “opinion.” Read my article and you will find out why the test-maker was mistaken.

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With the Response to Intervention (RTI) model now being incorporated into many school districts today, it has become increasingly important to help frame the differentiated instruction (DI) discussion in an objective manner that won’t promote narrow agendas and will encourage teachers to experiment with DI in their own classrooms. Before I offer some tips on the dos and don’ts of differentiated instruction, it makes sense to address the key reasons that some teachers resist this educational approach.

Why Some Teachers Resist Differentiated Instruction

1. Some teachers resist implementing DI because they wrongly perceive that managing diverse instructional strategies and on-going assessments would necessitate a veteran superstar teacher with no life outside of the classroom. Some teachers believe that DI requires too much preparation, assessment, correction, and record-keeping. These may have been truisms years ago, but clever teachers have since developed effective short-cuts to planning, assessment, and paper work. DI need not be a cause of teacher “burn-out” and teachers of all ability and experience levels can begin differentiated instruction with proper training and support. Furthermore, DI is not an “all or nothing” proposition, as some would lead us to believe. Most teachers layer in different aspects of DI over time.

2. The increasing emphasis on rigorous standards-based instruction and teaching to high-stakes tests have clearly prevented some teachers from implementing DI. In today’s educational climate, teachers do not want to be accused of “dumbing-down” instruction. However, DI can provide better access to those rigorous standards and greater success on those high-stakes tests, if done right. Differentiated instruction adjusts the focus from teaching to learning. Teachers can help students “catch up” through scaffolded instruction, while the students concurrently “keep up” with rigorous grade-level instruction.

3. Some teachers resist implementing differentiated instruction by attempting to create  homogeneous classes. Early-late reading and math instruction in the elementary grades and tracked ability classes in the secondary schools are designed to provide qualitatively different instruction for different student levels. However, analyzing the data of any subject-specific diagnostic assessment will indicate that students have a wide variety of relative strengths and weaknesses in any subject and that “different student levels” is an arbitrary and unworkable concept. Even within highly-tracked programs, DI is absolutely necessary because each student is unique with different skill sets and learning needs.

*For the complete article on Why Teachers Resist Differentiated Instruction, check out this link.

The Whats of Differentiated Instruction

Don’ts

1. Don’t Trust the Standardized Test Data. The results of standardized tests provide “macro” data that can assess program quality or level of student achievement relative to the composite scores of other students. The data cannot pinpoint the “micro” data of student strengths and weaknesses in the skills and content that teachers need to assess. Even standards-based assessments provide only generic data, not the “nuts and bolts” discreet skills analyses that can effectively inform instruction.

2. Don’t Trust Your Colleagues. Teaching is an independent practice. No matter how many years we have eaten lunch with our teacher peers, no matter how many conferences, department or grade-level meetings we have attended together, no matter how many of the same teaching resources we share, and no matter how specific our scope and sequences of instruction align, we cannot assume that the students of our colleagues have mastered the skills that we need to build upon.

3. Don’t Trust Yourself. Making instructional decisions based upon “what the students know and what they don’t know” requires objective data to inform our judgments. There are just too many variables to trust even the best teacher intuition: family situations, language, culture, school experience, just to name a few. If we are honest, even veteran teachers are frequently fooled by sophisticated student coping mechanisms and cultural stereotypes.

Dos

1. Use relevant and specific diagnostic assessments. Eliminate the trust factor with good diagnosis. Record and analyze the student data to inform direct and differentiated instruction, including what skills and concepts need to be taught, how much time needs to be spent upon instruction, who needs intensive instruction and who needs only review, and who has already mastered the skill or concept. Use whole-class, multiple-choice assessments whenever possible, to minimize assessment and grading times.

2. Develop quick and frequent formative assessments to gauge student mastery of your teaching objectives. Use the data to inform and adapt your instruction accordingly. Learning is the heart and soul of DI, not teaching.

3. Establish and use a collaborative model to determine the whats of instruction. Include students, parents, and teaching colleagues in data analysis. Collaboration is essential to successful implementation of DI and RTI.

The Hows of Differentiated Instruction

Don’ts

1. Just because DI is student-centered, don’t go overboard on adjusting the how of instruction to correspond to student learning preferences. Learning styles, multi-sensory instruction, and multiple intelligences are long-standing educational constructs, but are based upon minimal research. Learning preference inventories do not provide reliable diagnostics about how to differentiate instruction. For example, auditory and visual processing deficits can be diagnosed, but no research has yet demonstrated which instructional strategies work best for these learners.

2. Don’t devolve all decision-making to student choice regarding how they choose to learn. Students don’t know what they don’t know. To devolve the how of instruction to student choice is to abrogate our responsibilities as informed and objective decision-makers. Do we really want to entrust the how of instruction to an eight-year old student and agree that Johnny knows best how to learn his multiplication tables? Do we really want to allow middle schoolers to choose whether they can listen to their iPods® while they silently read their social studies textbooks?

3. Don’t allow the hows of learning to destroy class management or time-on-task instructional efficiency. We should always perform a cost-benefit analysis on how we differentiate instruction. Good teachers weigh the needs of the class and the needs of the individual students, and then make decisions accordingly. Sometimes the optimal instructional methodology needs to be ditched and substituted with another because the students or teacher just can’t handle learning or teaching that way that day.

Dos

1. Consider the needs and differences of the learners. We never want to limit students to our own imaginations. Students do have important insights into their own learning that we need to consider. Teaching students to monitor and experiment with how they learn best is invaluable to their development as life-long learners. This kind of self-reflection can be promoted by teaching metacognitive strategies, such as self-questioning during independent reading or self-assessment on an analytical writing rubric.

2. Model different ways to learn skills and concepts. For example, in composition, some students prefer to draft first and revise thereafter; others prefer to integrate the drafting and revision process. Wouldn’t a teacher-led “think-aloud” that models these two composition processes make sense? Students learn which option or combination thereof works best for them through teacher direction, not from a sink or swim, work-it-out-yourself, trial and error process.

3. Use a variety of instructional methodologies. Effective DI instruction adapts to the needs of the learners. For some skills or concepts, DI involves direct, explicit instruction to pre-teach or re-teach concepts. For others, DI is best accomplished in heterogeneous cooperative groups or homogeneous ability groups. For still others, DI requires individualized instruction, via targeted worksheets and one-on-one review.

At its core, DI is simply good, sound teaching. Some proponents seem to intimate that DI is the ultimate educational panacea. However, no educational approach absolutely ensures student success. Unfortunately, it is all too often the case that you “can lead a horse to water, but you can’t make him drink.” Some students exposed to the best DI will continue to fail. But, directly addressing the individual learning needs of our students, rather than teaching a class as though all individuals in it were basically alike, offers our best chance of success for all.

The writer of this article, Mark Pennington, is an educational author of assessment-based teaching resources in the fields of reading and English-language arts. His comprehensive curricula help teachers differentiate instruction with little additional teacher prep and/or specialized training. Check out the following programs designed to teach both grade-level Standards and help students master those Standards not yet mastered. For the finest in assessment-based instruction…

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The Science of Reading Intervention Program

The Science of Reading Intervention Program: Word Recognition includes explicit, scripted, sounds to print instruction and practice with the 5 Daily Google Slide Activities every grades 4-adult reading intervention student needs: 1. Phonemic Awareness and Morphology 2. Blending, Segmenting, and Spelling 3. Sounds and Spellings (including handwriting) 4. Heart Words Practice 5. Sam and Friends Phonics Books (decodables). Plus, digital and printable sound wall cards, speech articulation songs, sounds to print games, and morphology walls. Print versions are available for all activities. First Half of the Year Program (55 minutes-per-day, 18 weeks)

The Science of Reading Intervention Program: Language Comprehension resources are designed for students who have completed the word recognition program or have demonstrated basic mastery of the alphabetic code and can read with some degree of fluency. The program features the 5 Weekly Language Comprehension Activities: 1. Background Knowledge Mentor Texts 2. Academic Language, Greek and Latin Morphology, Figures of Speech, Connotations, Multiple Meaning Words 3. Syntax in Reading 4. Reading Comprehension Strategies 5. Literacy Knowledge (Narrative and Expository). Second Half of the Year Program (30 minutes-per-day, 18 weeks)

The Science of Reading Intervention Program: Assessment-based Instruction provides diagnostically-based “second chance” instructional resources. The program includes 13 comprehensive assessments and matching instructional resources to fill in the yet-to-be-mastered gaps in phonemic awareness, alphabetic awareness, phonics, fluency (with YouTube modeled readings), Heart Words and Phonics Games, spelling patterns, grammar, usage, and mechanics, syllabication and morphology, executive function shills. Second Half of the Year Program (25 minutes-per-day, 18 weeks)

The Science of Reading Intervention Program BUNDLE  includes all 3 program components for the comprehensive, state-of-the-art (and science) grades 4-adult full-year program. Scripted, easy-to-teach, no prep, no need for time-consuming (albeit valuable) LETRS training or O-G certification… Learn as you teach and get results NOW for your students. Print to speech with plenty of speech to print instructional components.

Click the SCIENCE OF READING INTERVENTION PROGRAM RESOURCES for detailed program description, sample lessons, and video overviews. Click the links to get these ready-to-use resources, developed by a teacher (Mark Pennington, MA reading specialist) for teachers and their students.

Get the SCRIP Comprehension Cues FREE Resource:

Get the Diagnostic ELA and Reading Assessments FREE Resource:

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Remember the elementary school Schoolhouse Rock song, “Conjunction Junction“? Here’s the first verse to refresh your memory.

Conjunction Junction, what’s your function?
Hooking up words and phrases and clauses.
Conjunction Junction, how’s that function?
I got three favorite cars
That get most of my job done.
Conjunction Junction, what’s their function?
I got “and”, “but”, and “or”,
They’ll get you pretty far.

“And”:
That’s an additive, like “this and that”.
“But”:
That’s sort of the opposite,
“Not this but that”.
And then there’s “or”:
O-R, when you have a choice like
“This or that”.
“And”, “but”, and “or”,
Get you pretty far.            by Bob Dorough ©1973 Schoolhouse Rock

Countless students have learned that a conjunction “hooks up words and phrases and clauses” from this elementary song. Although only a few examples are given, the tune and lyric are memorable and many students can identify this part of speech, more so than others, because of this song. Now, of course, the above verse only refers to one of three types of conjunctions—the coordinating conjunction.

Upper elementary, middle school, and high school students will need more examples of all three types of conjunctions to assist in accurate identification, and more importantly, to prompt their use of more sophisticated sentence constructions beyond those at the simple sentence levels. However, teaching the function of the three types of conjunctions with the most common examples in memorable ways certainly makes sense for older students. So, here are the three types of conjunctions, each with 1. Definition 2. Common Conjunctions 3. Example 4. Writing Connection 5. Writing Practice and 6. Memory Trick.

Coordinating Conjunctions

Coordinating Conjunctions

1. Definition: A coordinating conjunction joins words, phrases, or clauses of equal weight or similar grammatical construction.

2. Common Coordinating Conjunctions: for, and, nor, but, or, yet, so

3. Example: Two desserts are fine, but three are better.

4. Writing Connection: Avoid overuse of the conjunction so. Also, do not use the words then and now as coordinating conjunctions. A comma is placed before the conjunction if it joins two or more independent clauses. Teach students that joining two simple related sentences with a comma conjunction forms a more sophisticated compound sentence.

Coordinating Conjunctions

5. Writing Practice: Write cloze sentences with blanks for the coordinating conjunctions, e.g., The food looked good, ______ she was not hungry. Have students compose original sentences for each of the seven common coordinating conjunctions. Have students “book search” for the seven common coordinating conjunctions. Require students to include a certain number of compound sentences in a writing process paper and underline each of the coordinating conjunctions.

6. Memory Trick: Teach the seven common coordinating conjunctions as F.A.N.B.O.Y.S. (for, and, nor, but, or, yet, so). For younger children, the most common should be taught as B.O.A.S. (but, or, and, so)

Correlative Conjunctions

Correlative Conjunctions

1. Definition: A correlative conjunction joins another correlative conjunction as a pair. The paired correlative conjunctions serve as conjunctions to connect two balanced words, phrases, or clauses.

2. Common Correlative Conjunctions: both−and; such−that; whether−or; as−as; not−but; neither−nor; no sooner−than; either−or; as many−as; rather−than

3. Example: Either we work together, or we will fail together.

4. Writing Connection: A comma is placed before the second of the paired conjunctions, if the sentence ends in an independent clause. Teach students that using the correlative conjunctions forms a complex sentence, which is one mark of mature writing.

5. Writing Practice: Write cloze sentences with blanks for the correlative conjunctions, e.g., ______ ______ did the food look good, ______ it ______ tasted great. Have students compose original sentences for each of the common correlative conjunctions. Have students “book search” for the common correlative conjunctions. Require students to include a certain number of correlative conjunctions in a writing process paper.

6. Memory Trick: Teach students to memorize the common correlative conjunctions to the tune of “Twinkle, Twinkle, Little Star.”

Correlative Conjunctions 

Correlative Conjunctions Pennington Publishing

Subordinate Conjunctions

Subordinating Conjunctions

1. Definition: A subordinating conjunction always introduces a dependent clause (a noun and a verb not expressing a complete thought). The subordinating conjunction signals the relationship between the dependent clause and the independent clause (a subject and verb standing alone as a complete thought). A dependent clause is less important than the independent clause and is sometimes called a subordinate clause. It is helpful to remember that sub means under, so that the subordinate clause is subordinate to the independent clause.

2. Common Subordinating Conjunctions: after, although, as, as if, as long as, as much as, as soon as, as though, because, before, despite, even if, even though, how, if, in spite of, in order that, once, since, so that, than, that, though, unless, until, when, whenever, where, wherever, whether, while

3. Example: Although my friends had already seen it, they saw the show a second time.

Subordinate Conjunctions

4. Writing Connection: Adding a subordinating conjunction to one of the clauses can revise a run-on sentence. A comma is placed after the dependent clause, if it begins a sentence. Teach students that using the subordinate conjunction to signal a dependent clause forms a complex sentence, which is important to sentence variety.

5. Writing Practice: Write cloze sentences with blanks to help students practice subordinating  conjunctions, e.g., ______ the food looked good, I ordered it for dinner. Have students compose original sentences for each of the common correlative conjunctions. Have students “book search” for the subordinating conjunctions. Require students to include a certain number of subordinating conjunctions in a writing process paper. Avoid stringing together two or more sentences with dependent clauses.

6. Memory Trick: Use the following memory trick to prompt your use of these subordinating clauses: Bud is wise, but hot! AAA WWW

Subordinating Conjunctions Pennington Publishing

*****Check out the FREE downloads of all these posters after the adverts for the author’s teaching resources.

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Pennington Publishing Grammar Programs

Teaching Grammar, Usage, and Mechanics (Grades 4, 5, 6, 7, 8, and High School) are full-year, traditional, grade-level grammar, usage, and mechanics programs with plenty of remedial practice to help students catch up while they keep up with grade-level standards. Twice-per-week, 30-minute, no prep lessons in print or interactive Google slides with a fun secret agent theme. Simple sentence diagrams, mentor texts, video lessons, sentence dictations. Plenty of practice in the writing context. Includes biweekly tests and a final exam.

Grammar, Usage, and Mechanics Interactive Notebook (Grades 4‒8) is a full-year, no prep interactive notebook without all the mess. Twice-per-week, 30-minute, no prep grammar, usage, and mechanics lessons, formatted in Cornell Notes with cartoon response, writing application, 3D graphic organizers (easy cut and paste foldables), and great resource links. No need to create a teacher INB for student make-up work—it’s done for you! Plus, get remedial worksheets, biweekly tests, and a final exam.

Syntax in Reading and Writing is a function-based, sentence-level syntax program, designed to build reading comprehension and increase writing sophistication. The 18 parts of speech, phrases, and clauses lessons are each leveled from basic (elementary) to advanced (middle and high school) and feature 5 lesson components (10–15 minutes each): 1. Learn It!  2. Identify It!  3. Explain It! (analysis of challenging sentences) 4. Revise It! (kernel sentences, sentence expansion, syntactic manipulation) 5. Create It! (Short writing application with the syntactic focus in different genre).

Get the Diagnostic Grammar, Usage, and Mechanics Assessments, Matrix, and Final Exam FREE Resource:

Want the poster size 11 x 17 Conjunction Posters you see in this article for your classroom? I’ll send the PDFs right away to your email.

Get the Conjunction Posters FREE Resource:

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Rick,

… My point is that teachers need to be the ones making informed choices about how to differentiate instruction, not students. Student choice re: content and process is at best “the blind leading the blind.” I do agree with your practical emphasis on what works, as long as the teacher sets the agenda.

Mark Pennington (February 16th, 2010)

Mark,

I think there’s still room for a student’s sense of what he needs to learn to help teachers orchestrate the learning experience. For example, a student might claim that flash cards don’t really help him learn vocabulary so much as a another strategy does, and he’d like to use this other strategy. He asks the teacher about using this other strategy, and effective teachers usually say, “Let me get out of your way and let you learn.” If we’re not teaching the process itself, it doesn’t matter how students learn it, as long as they learn it well. We don’t want to limit students to our imagination. Students have important insights into their own learning that our curriculum and student overload doesn’t always allow us to see. This does not change the teacher’s agenda, and it would be a mistake to summarily dismiss such input from our thinking as we teach.

Rick Wormeli (February 17th, 2010)

Rick,

As a staff developer and district reading specialist for five years during the 1990s in Elk Grove Unified (the third largest school district in California), I had the opportunity to visit countless elementary classrooms. Student-choice learning including “Learning Centers,” “Free-Choice Fridays,” unsupervised “SSR” (student selected books with no accountability), “Learning Style” assignments in which kinesthetic learners acted out, rather than wrote essays, “Multiple Intelligences Learning” in which students could choose to create a written report, oral report, a song/rap, or create a model (countless sugar cube castles, DNA double helices, dioramas)… I could go on… were prominent features of many classrooms. Not only was a substantial portion of the daily content in the hands of students, teachers also devolved the methods of learning to their students via the “in” educational instructional fad which promoted student-choice learning. Reading test scores hovered in the 40th percentiles for years, especially in the middle and lower SES schools.

Enter a swing in the pedagogical pendulum, away from constructivist student-centered learning to teacher-directed, standards-based learning and away from whole language reading instruction to phonics-based reading instruction. Elk Grove Unified adopted Open Court® Reading—which utilized a scripted instructional block and “workshop” in which reading instruction was differentiated according to formative data. Most teachers, at first, hated the tightly-bound curriculum, and especially the differentiated “workshop.” Learning how to organize and implement differentiated instruction was very challenging. Both teachers and reading specialists experimented and shared successes and failures of their “workshops.” As teacher expertise improved, reading scores jumped within two years to the 60th percentiles and have remained there for a dozen years. Certainly, the change in the what of instruction mattered, but the how of instruction may have mattered more. Most of us credited the teacher-directed differentiated instruction of “workshop” as the key factor in improving student scores across all demographics.

Beyond that eye-opening elementary experience, I’ve taught sixteen years at the middle school level, eight at the high school level, and three at the community college level. From my own teaching experience, and (more specifically) the learning experiences of my students, I’ve gleaned a few more morsels about whether teachers or students should be in charge of the what and how of learning.

A nine-year-old, twelve-year-old, sixteen-year-old, and twenty-year-old all seem to share a few common developmental learning characteristics: First, most would take the path of least resistance to reach their goals. Few are mature enough to include learning skills and concepts as key components of these personal goals. Students want the grades and the related self-satisfaction; they want access to the next class and/or school; they want to keep their parents off of their backs–in other words, they are human. We were once as they are.

Our understanding of the characteristics and proclivities of our students should inform both the what and the how of instruction. Consider this: students don’t know what they don’t know. To devolve the what of instruction to student choice is to abrogate our responsibilities as the informed, objective decision-makers.  Teaching professionals know what our students do and don’t know. Furthermore, to delegate the how of learning to students seems akin to educational malpractice. Do we really want to entrust the how of instruction to an eight-year old student and agree that Johnny knows best how to learn his multiplication tables? Do we really want to allow middle schoolers to choose whether they can listen to their iPods® while they silently read Chapter 24 of their social studies textbooks? Students don’t know how to best learn what they don’t know. How could they? If they did know the how, they would already know the what, especially if what was perceived as relevant to their immediate wants and needs. They don’t. We teachers do best know how they learn. We have the training, results, and informed judgment.

Now, I’m not a stuffy autocrat who says “My way or the highway” and, of course, there is always another imaginative “way to teach this.” Sure, some choice can increase student motivation and “one-size fits all” ways to problem-solve or learn a concept or skill may not get the job done for some students; however, even these choices are most efficiently and effectively teacher-driven and modeled. For example, in composition, some students prefer to draft first and revise thereafter; others prefer to integrate the drafting and revision process. Wouldn’t a teacher-led “think-aloud” modeling these two composition processes make sense? Students learn which option or combination thereof works best for them through teacher direction, not from a sink or swim, work it out yourself, trial and error process. Far from “getting out of the way and letting them learn,” teachers need to actively direct both the what and how of the learning process.

Frankly, I am much more concerned about the what, than the how, in terms of differentiated instruction. If teachers buy-in to assessment-based instruction, based upon diagnostic and formative assessments, the battle is chiefly won and DI (differentiated instruction) is an easy sell. However, most teachers aren’t there yet. There are reasons that teachers resist differentiated instruction, and until teacher buy-in, the how of instruction is a relatively fruitless pursuit. When more teachers get there, we can continue the “skirmishing” re: student choice and the how of effective instruction and learning.

Mark

*****

Teaching Grammar and Mechanics Grades 4, 5, 6, 7, 8, and High School Programs

I’m Mark Pennington, author of the full-year interactive grammar notebooks and the traditional grade-level 4, 5, 6, 7, 8 and high school Teaching Grammar and Mechanics programs. Teaching Grammar and Mechanics includes 56 (64 for high school) interactive language conventions lessons,  designed for twice-per-week direct instruction in the grade-level grammar, usage, and mechanics standards. The scripted lessons (perfect for the grammatically-challenged teacher) are formatted for classroom display. Standards review, definitions and examples, practice and error analysis, simple sentence diagrams, mentor texts with writing applications, and formative assessments are woven into every 25-minute lesson. The program also includes the Diagnostic Grammar, Usage, and Mechanics Assessments with corresponding worksheets to help students catch up, while they keep up with grade-level, standards-aligned instruction.

Grammar/Mechanics, Reading, Spelling/Vocabulary, Study Skills, Writing constructivism, DI, differentiated instruction, differentiated learning, differentiated reading instruction, interactive reading, learning styles, Mark Pennington, multiple intelligences, Open Court, phonics, reading programs, reading workshop, student choice, Teaching the Language Strand, whole language

“Never start a sentence with But.” Countless middle school and high school English-language arts teachers cringe when their students faithfully repeat this elementary school dictum. “Never use I in your five-paragraph essay.” Now university professors similarly cringe and shake their heads at the straight-jacketed rules placed upon their students. However, maybe there is a method to our madness. Perhaps these writing absolutes serve a useful purpose for coaching developing writers. Perhaps the little white lies that we teach our students are actually our tricks of the trade.

Instead of bemoaning past “bad writing instruction,” we should celebrate the fact that our students did remember these rules. After all, writing teachers of all levels are always shocked at how little transfer students make from grade to grade or from course to course. Anything that students retain from previous writing instruction can be used by resourceful teachers as “teachable moments.” Perhaps it’s time that we trust our colleagues that they understand best what works for their students at their age levels.

Teaching all of the seemingly arbitrary rules and enforcing them in student writing practice makes sense. As writers mature, 7-12 English-language arts teachers and university professors can encourage “rule breaking” with sly nods and winks. Without knowing the rules, developing writers cannot make informed choices about which ones to break and when they should break them to serve their writing purposes. In fact, the best writers are rule-breakers. E.B. White revised and updated Strunk’s Bible of writing style, yet he consistently chose to break the rules in his own writing. He knew enough to consciously deviate from the norm.

Writing teachers should worry more when their students unconsciously deviate from the norm. Of course, other forms of prose and poetry have their own stylistic rules to learn and break. But this article will concentrate on those of the essay. So, following is a list of the Teaching Essay Style: 15 Tricks of the Trade.

1. Require students to write in a formal voice. No figures of speech, slang, clichés, abbreviations, flowery language, or contractions. Teach them to dress in a tuxedo or bridesmaid dress when they are in a wedding, not baggy pants or skinny jeans with flip-flops.
2. Teach students to write in third person. It’s not that the I is inappropriate in all essays. The problem is that the use of the I requires a sophisticated rationale and limited usage. For example, qualitative research requires the I; however, quantitative research does not. Let the post-graduate supervising professors teach their students to break this rule. Furthermore, the “no I rule” forces a certain degree of objectivity and requires students to focus on the subject, rather than on the writer. These are the real concerns of K-12 and university professors.
3. Teach students not to use their to reference singular non-gender nouns. Approving such sentences as “The student likes their classes” transfers to other more egregious pronoun reference problems as in “Those desk in the back of our room belong to them guy.” Also, no one likes reading he/she, him or her, s/he or the like. It does make sense to teach students to pluralize when at all possible, but the use of he or she throughout (please don’t alternate!) is no crime.
4. Teach students to vary their sentence structures. “Never more than two simple sentences back-to-back and never follow a complex sentence with another complex sentence” will increase readability. “Have no more than 50% of your sentences follow the subject-verb-complement pattern” helps students focus on sentence variety.”
5. “No more than one to-be verb per paragraph” will force students to avoid passive voice and strengthen nouns and verbs.
6. Require your students to write in complete sentences. “No declarative sentences beginning with but, and, or, so, like, because, how, when, where, or why, unless you finish them” reduces fragments.
7. “No unparallel verb structures” helps eliminate verb tense errors and awkward writing. For example, “Going to the store, to get some gas, and maybe have a cup of coffee are appearing on my agenda for today” can be eliminated with this rule.
8. Require transitions between paragraphs. Sophisticated writers may have no need, but your students do to write coherent essays.
9. Teach your students to choose simple words, not their weekly vocabulary words. Precision is better than pomposity.
10. Demand specificity and do not permit generalizations, except in conclusions.
11. Don’t allow your students to make parenthetical remarks. Most misuse these.
12. Never allow repetition for emphasis. Developing writers do not have the skills to use this rhetorical strategy properly.
13. Never allow double negatives. Students will confuse their readers.
14. Teach students not to over-state evidence and to limit their conclusions.
15. Teach students to place pronoun references close to their subjects to avoid ambiguity and dangling modifiers.

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TEACHING ESSAYS BUNDLE

The author’s TEACHING ESSAYS BUNDLE includes the three printable and digital resources students need to master the CCSS W.1 argumentative and W.2 informational/explanatory essays. Each no-prep resource allows students to work at their own paces via mastery learning. How to Teach Essays includes 42 skill-based essay strategy worksheets (fillable PDFs and 62 Google slides), beginning with simple 3-word paragraphs and proceeding step-by-step to complex multi-paragraph essays. One skill builds upon another. The Essay Skills Worksheets include 97 worksheets (printables and 97 Google slides) to help teachers differentiate writing instruction with both remedial and advanced writing skills. The Eight Writing Process Essays (printables and 170 Google slides) each feature an on-demand diagnostic essay assessment, writing prompt with connected reading, brainstorming, graphic organizer, response, revision, and editing activities. Plus, each essay includes a detailed analytical (not holistic) rubric for assessment-based learning.

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