Living Life Twice

When we read our written words aloud and listen closely to them with focused intent,  we begin to appreciate their true impact on a reader's ears -someone more than likely reading those words for the very first  time.  We learn about our writing with unparalleled efficiency simply by feeling the shape and sound of our words and sentences as they tumble from our mouth and are received by our ears. If we are listening closely, we instantly discover what needs to be done in order to move our words onto the next stage of development. For this reason, I have long been an advocate for encouraging student writers to develop the practice of reading their words aloud before approaching a fellow writer and asking them to read what has been written.  This action of reading your words aloud before sharing is both informative (for the writer) and respectful (for the prospective reader). I was taught this valuable action many years ago by the late Australian author, Morris Lurie. ...

Available research data shows children provided with opportunities to write every day begin to compose even when they are not actually writing. In other words, they begin to think about their writing beyond the confines of the classroom.  There is  immense satisfaction gained from hearing students, who upon entering the classroom first thing in the morning announce ‘ I know what I’m going to write about today ’ They indicate clearly that they understand the power of writing. They think as writers do. Unless students have this daily opportunity to write they will not develop the ability to think through their writing. They will not fully understand the process of writing. Donald Greaves suggested that young writers require a minimum of four days per week to write for their own purposes. This, he believed assisted the ‘learning to think’ process to develop. It is therefore important to approach the teaching of writing from the position that students will be provi...

We know inexperienced writers make errors. We also know experienced writers make mistakes. Learning cannot take place without some level of error occurring. The challenge is, how do we equip our student writers to identify errors so they can effect the changes necessary to improve the quality of their writing pieces? Children do not become better writers by writing less, and this is the possible negative outcome from an over emphasis on correction. Correction is beneficial when students see the need for it. When they have an authentic purpose for the writing they are doing, they engage in the process with purpose and a desire to make the writing they share, work for the reader. They begin to respect their readers and understand their needs. This awareness of audience is a vital consideration. The pen that makes the corrections must be in the hand of the writer, not the teacher. When the teacher assumes the total responsibility for correcting errors related to spelling, punctuat...

A recent conversation with a group of teachers about correcting errors in writing set me to thinking about the ways we approach this often vexed issue. We know inexperienced writers make errors. We also know experienced writers make mistakes. Learning cannot take place without some level of error. One of the greatest issues a developing writer can face is to be inhibited from responding, for fear of being wrong. When a young writer tackles an unfamiliar word in their writing and spells it correctly they confirm their existing beliefs concerning that word. If they happen to get it ‘wrong’ then they learn something just as important. They learn that they must modify their belief about that word. The writer learns by testing their existing belief. This is the kind of healthy risk taking we must encourage in our classrooms. Writers should not be afraid to tackle new words. I recall with glowing pride as a Grade 1 writer tackled the word  aquarium  in her writin...

A conversation with a group of teachers yesterday about correcting errors in writing has had me thinking today. We know inexperienced writers make errors. We also know experienced writers make mistakes. Learning cannot take place without some level of error. One of the greatest issues a developing writer can face is to be inhibited from responding, for fear of being wrong. When a young writer tackles an unfamiliar word in their writing and spells it correctly they confirm their existing beliefs concerning that word. If they happen to get it ‘wrong’ then they learn something just as important. They learn that they must modify their belief about that word. The writer learns by testing their existing belief. This is the kind of healthy risk taking we must encourage in our classrooms. Writers should not be afraid to tackle new words. I recall with glowing pride as a Grade 1 writer tackled the word  aquarium  in her writing, because ‘fish tank’ just wouldn’t do. We...

If parents don’t understand why you’re not marking up mistakes on a piece of writing or’ correcting’ writer’s notebook entries with relentless zeal, then consider this drastic action. Take a child’s painting and cover it in transparent plastic or laminate. Then, start marking all over it, crossing things out, redrawing other parts, putting notes and comments on it. Parents will most likely find such action discomforting. They might even gasp in horror. Then ask, why should we do this to a student’s writing? Afterall, both are artistic creations –works of art. Inexperienced writers make errors. So do experienced writers. Learning cannot take place without some level of error. One of the greatest issues a developing writer can face in the process of becoming a competent writer is to be inhibited from responding, for fear of being wrong. When a young writer tackles an unfamiliar word in their writing and spells it correctly they confirm their existing beliefs concerning ...