Teaching Writing Craft Mindfully

Teaching the craft of writing requires teachers to be explicit in their work with students. Explicit and mindful teaching occurs when teachers are clear about what it is they want children to learn and when  a meaningful, focused program of instruction is provided. 

This means conference notes and conversations, as well as writing samples are integral to the process of knowing what to teach. The instruction provided by the teacher benefits from being informed by such insight. Learning to look below the surface features and errors in the writing piece creates an opportunity to see the potential hidden beneath. Possibilities beyond grammar, punctuation and sentence structure emerge.

When consideration is given to focused learning, student writers receive opportunities to make sense of the learning by creating purposeful connections between lesson purposes, tasks, texts, and lesson reflections. If these aspects of our lesson align, we increase our chances of effecting improved learning outcomes for each writer.

I recall how in consultation with a teacher with whom I was consulting, we undertook a close examination of student writing samples in a Grade 2 class  It almost immediately became apparent the leads used in their writing pieces were lacking freshness and variety. Multiple writers were over relying on time references such as- on the weekend, one day, once upon a time to begin their writing. It turns out 'Once upon a time,' first appeared around 1595. It has had a multitude of outings since then. Little wonder it sounds tired.

These young writers were ripe for exposure to possibility. I explained to them that together we were going to undertake an investigation to see what other mentor authors were doing in their writing leads. -Craft moves we might be able to try, in order to make our own writing, more powerful.  In an effort to increase awareness of the various ways authors begin, a variety of fiction and non-fiction mentor texts were gathered and these curious learners were invited to 'explore' and note the various ways in which authors launched their writing pieces. This was conducted as a partner activity to facilitate talk. When the young text detectives gathered to share, their findings were recorded on an anchor chart and further discussed. The air was now filled with new possibilities.

In the follow up lesson, I consciously honed in on a specific author, Margaret Wild and her poignant book, 'Tanglewood.' The author begins- 'On an island, in the middle of nowhere, there was an island.'(WHERE? WHERE? WHAT?) I gave the craft move that name because it was easy for me and our young writers to recall. Remember, when you identify a writer's use of craft, and it doesn't have a particular name- create one of your own...

I had earlier noted the author using this same craft move, -Where? Where? What? in one of her earlier books, 'Fox.' This move was not accidental.This was a considered crafting of the text.

           Claire Saxby also uses Where? Where? What? in the lead for her nonfiction narrative title, 'Big Red Kangaroo.' Knowing this  provided further options.

I reminded the children to look for further examples as they read. We encouraged them to read like writers.




I demonstrated how I might write in the style of a mentor by modeling Where? Where? What? I then invited the children to assess my effort using the criteria we had identified -Where? Where ? What?

So, how did I go? I asked.

'In the valley, beside a gently flowing stream, stood a small wooden hut.'

Following their re-assuring assessment of my efforts, The children were invited to assist me to co-construct a piece using the same craft move. First, they practiced with a partner, sharing their ideas orally while the partner ticked off the three W's. Then they changed roles.

After participating in this essential practice, we set about writing something together. They gave me:

 'On the beach, beside the pier, a small crab hid under a rock.'

The final stage was to set them free to practice the strategy independently. I invited those who felt they needed more practice to stay on the floor with me while the others set to the task. It wasn't long before I was left by myself, allowing the teacher and me to continue with roving support and notetaking.  

The vast majority of these young writers mastered this craft move during the workshop. Many wanted to continue writing the story they had launched. Some tried the strategy multiple times of their own volition.

We had successfully armed these young writers with a craft strategy they could now apply to the future writing tasks they would be undertaking. It had become something to add to their personal writing armory. 

The strategy stuck! Months later the children were still aware, and still using Where? Where? What? to launch writing pieces. Our mindful teaching had been impactful.

When Teaching Writing Craft It's Therefore Essential To :

Explain to students the purpose of the instruction -and why you have chosen to involve them in such instruction.

Explain the strategy explicitly, specifically saying what it is, and how and when it might be used.

Model the strategy in authentic writing situations, saying when it is most useful or even when it is not applicable.

Think aloud about strategy use as you apply it. Share your process audibly and mindfully.

Consider using the strategy collaboratively with your students before they attempt it independently. Guided practice is valuable in clarifying how and when a craft move is best applied.

Encourage your students to explain to each other how they are processing this new information about writing.

Emphasize that choosing an appropriate strategy is important -and how different strategies may be applied in different situations.

Guide students’ practice of the strategy in small groups and individually, gradually releasing responsibility to them.

We must provide opportunities for students to engage in rich dialogue about the essence of their writing and what they are doing to help improve that writing. Learning floats on a sea of talk.When young writers turn to each other, as experienced writers do, they are beginning to own the workshop time. Their thinking and understanding is driven deeper.

Challenge student writers to relate the use of the focus strategy to their own independent writing with a partner. The more you talk about your actions, the more likely you are to enact them.

Provide many opportunities for students to use the strategy independently.

List the strategy on an anchor chart to serve as a reminder of the increasing knowledge your community of writers are able to apply to their writing projects.

Strategy instruction may be undertaken with the whole class, in small groups or with individuals, but as your students practice the strategies, there is a clear expectation that they transfer them to their own independent writing. Asking questions such as the following will remind your students about the need to transfer new knowledge into action.

'How could you use this strategy in your own writing?'
'How could this to help you with your future writing?'