S.O.S!

As the culminating event of my self-assessment, I am responsible for organizing a day of writing workshops for high school students. As of right now, the event is scheduled for Thursday, May 1, 2008. It will be a five-hour day, beginning at 9am and ending at 2pm. I am going to send out invitations to each high school in my county (there are ten of them) and invite each one to bring between five and ten students.

Soooo, here is where you (hopefully) come in.

I need your ideas and feedback!

What types of workshops should be offered?
Should the registration fee be per student or per school? How much should I charge?
What information is essential on the application? (I have some thoughts in mind as to what the application should look like, but I feel like I am missing something.)
How do I keep the invitation from becoming another piece of unwanted teacher junk mail?
Etc.?

I have never done this before, so I am very nervous. I want it to be a fantastic experience - not only for the students, but for the accompanying teachers as well. I know that planning a field trip is a lot of work and stress; there is nothing worse than going through all those steps only to learn that the event you are attending has been poorly planned and organized.

Any insight and information you could offer - regardless of how seemingly simple or obvious - would be *greatly* appreciated.

Thank you in advance for your anticipated assistance. I hope you are all enjoying a happy and healthy holiday season.

Next topic: What does a midterm exam look like in creative writing?

Blogging in the Creative Writing Classroom: the Student Perspective

Here are some thoughts gathered from my students on the world of blogging in the context of creative writing:

Pros
*able to see others' rough drafts
*good way to keep in touch out of school - bring creative writing class home
*allows us to read work from other classes - see what other students do with given assignments
*avenue for constructive feedback
*non-judgemental forum
*readers can see the structure of a work on the page (cannot happen if the piece is simply heard)
*gives quiet and/or shy students a different way to participate and be engaged in class
*blogs can be accessed from any computer with the Internet
*provides an opportunity for students to drive instruction (for example: On Tuesday, Gymnast5492 will post a writing prompt that everyone will use as a rough draft topic, etc.)
*involvement of creative writing alumni/Calliope members
*posting assignments online = saving paper = saving trees
*students can stay up-to-date with class assignments even if they are absent/on vacation/dismissed early/etc.

Cons
*no performance element
*computer problems can limit access
*some people aren't comfortable with technology
*less personal than a one-on-one critique

Implementation and Extension
*post a minimum of one blog entry (rough drafts, favorite poems, favorite poetic song lyrics, thoughts relevant to class) per week/post two comments on others' work per week
*if available, one lab day per week to explore blog sites
*"mentoring" between creative writing and cw workshop students?
*connection to fourth grade pen pals?
*connection to Friends of the Library (open mic facilitators) and other community outlets?
*your post(s) may inspire others - possibility of forming important connections via the written word

Next post topic: Help! I am trying to plan a workshop for high school writers and I need your ideas, expertise, and assistance! :)

Blogging in the Creative Writing Classroom

Okay, so this is a concept that is incredibly new to me. I am sure many of you know much more about the world of "THE BLOG" than I do, so please feel free to share your thoughts and comments. With that said...

A "BLOG" is a shortened form of the term "WEBLOG" - an online space to post your thoughts, ideas, and in this case, poetry, rough drafts, and class assignments. This year, our creative writing program is exploring how blogs can be used as part of our class experience.

During our October 8th in-service, a member of my department (the only male in a sea of fourteen women, God bless him...) facilitated a session about PhotoStory, Audacity, de.lici.ous, and (drumroll, please) blogging. He promised that our blogs could be up and running in a matter of moments and, miraculously, he was not exaggerating! You could see the collective wheel of our departmental mind turning, and thinking, "How can we use this in our classrooms? How can we use this in our classrooms?" Noah had his blog up on the screen as an example. Wow: he was posting assignments, YouTube videos, related music, and reminders. Also on his page were his students' blog pages, where they could not only post responses to questions, writing prompts, etc., but could also comment on one another's work! "This is incredibly cool," I thought. "I need to use this in creative writing."

And thus was formed: The Creative Writing/Creative Writing Workshop Blog (of Wonders)!

It could not have been easier to set up:

Step One: Go to http://www.blogger.com/.

Step Two: Click on the big orange arrow that says, "CREATE YOUR BLOG NOW."

Step Three: Create an account.

Step Four: Follow the rest of the prompts to create your blog (name your blog, create an address, create a user name, choose a template, etc.).

Step Five: Guide your students through this same process. Be sure that they do not use their first or last names, information about where they live/go to school, etc.

Step Six: (Optional: Performing this step will make it so that you will receive a copy of each student posting in your e-mail inbox.) Have your students go to SETTINGS. Go to E-MAIL. In the first box (BLOG SEND ADDRESS), have them type in YOUR e-mail address. Save changes.

Step Seven: Make a list of students' display names and URL addresses.

Step Eight: From your blog page (your DASHBOARD), click on LAYOUT > ADD A PAGE ELEMENT > ADD LINK LIST.

Step Nine: Add each student's blogspot.com address (NEW SITE URL) and display name (NEW SITE NAME). After each one, click ADD LINK. Save changes.

Step Ten: Eat a sandwich while basking in the glory of your new teaching tool.

(See? I didn't even NEED ten steps! It's that easy!)

From this point, I made a hard copy list of all student display names and first names for each section {for example: Pd. 5 - Hello There (Jayme); Pd. 7 - Joker_Rose (Mike); Pd. 8 - Broadway (Cody)} and distributed it to all bloggers (I have about fifty).

And now, we were up and running and ready to go! Students were very excited about this process. Many of them had personal blogs anyway, so they were familiar with the workings. Those students served as helpers to others who needed some assistance.

Right now, students are responsible for one new blog post each week and two comments on others' postings (I made a chart for them to keep track of everything). Ninety-five percent of students are going above and beyond this requirement; they love it!

Here are some additional thoughts/(potential) answers to (possible) frequently asked questions:

*Students may post rough drafts of poetry/prose pieces, poetic song lyrics (with commentary), poems by other authors (with commentary), meaningful quotes (with commentary), a cool writing prompt that they want others to try, and any other material that is relevant to creative writing class. They may also personalize their pages as they wish, with quotes, graphics, etc.
*Students may leave each other comments/feedback/constructive criticism/suggestions on rough draft postings and other related material.
*Prior to our first posts, I had a candid conversation with all students about appropriateness, sensitivity, and the like. Since these ideals have been established from Day One, they all "got it." I have not had ANY issues thus far with inappropriate or cruel remarks.
*I have also not censored them too much in terms of their display names or their postings. I want them to feel comfortable using this space; I want it to be THEIRS, and I want them to know that I trust them to do the right thing. For the very most part, they have risen to this occasion with a tremendous amount of thoughtfulness and maturity.
*I have also extended a section of our blog page to creative writing alumni and/or Calliope (literary magazine) members. This way, they can stay connected to the world of creative writing even though they are not still members of the class. At this point, I have a Rutgers student, a community college student, a current junior, and others staying connected to our program through the blog.
*On my blog page, I post assignments, reminders, upcoming events (coffeehouses, writing contests, etc.), and thoughts for my students to consider. If anyone is absent or on a family vacation during school, no problem: check the blog. If parents want to stay informed, no problem: check the blog. It really is an incredible resource for staying connected.

Whew. I am exhausted from writing all of this down. I think I need a sandwich. ;)

Next Posting: Student Thoughts/Feedback on Blogging in the Creative Writing Classroom

Great Teaching Resources

Here is a list of texts I have used to help guide my creative writing classes. I hope you find some of them to be of assistance in your own classrooms!

The Complete Idiot's Guide to Creative Writing (Second Edition) by Laurie E. Rozakis, Ph.D. - includes tips, techniques, and exercies for writing short stories, non-fiction, scripts, screenplays, essays, fantasy, memoir, poetry, articles, and more.

Discovering Voice (and Voice Lessons) by Nancy Dean - contains high-quality exercises that teach diction, detail, figurative language, imagery, syntax, and tone.

The Creative Writing Guide by Candace Schaefer and Rick Diamond - includes great exercises in each section: "Writing to Warm Up," "Writing for Ideas and Practice," "Writing on Your Own," and "Writing to Revise."

The Writer's Block by Jason Rekulak - contains "786 ideas to jump-start your imagination"

Now Write! Fiction Writing Exercises from Today's Best Writers and Teachers edited by Sherry Ellis - ideas, prompts, and exercises from over 80 authors and educators

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The following portion of the list is comprised of NCTE (National Council of Teachers of English) publications. I *love* all of these texts and have used them extensively with much success.

Risking Intensity: Reading and Writing Poetry with High School Students by Judith Rowe Michaels

Studying Poetry: Activities, Resources, and Texts by Brian Moon

Wordplaygrounds: Reading, Writing, and Performing Poetry in the English Classroom by John S. O'Connor

Teaching Poetry in High School by Albert B. Somers

Getting the Knack: 20 Poetry Writing Exercises by Stephen Dunning and William Stafford

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Do you have any favorite classroom resources? Any titles to share? Fill me in!

Next blog topic: Blogging in the Creative Writing Classroom

Two Sample Assignments

At the end of each year, I give my students the opportunity to offer me feedback on their favorite class assignments and projects. Here are a two assignments that have frequently made their lists:

1. Poetry Survey - Before our semester of poetry, I have students ask thirty people their opinions on the subject (What is your opinion on poetry? Do you have any favorite poems or poets?). Students are encouraged to ask peers, family, teachers, cafeteria workers, janitors, administrators, coaches, strangers from the grocery store, bank clerks, and anyone else they wish to approach (within reason, of course - safety first, always first... :). Responses are gathered onto posters and posters are discussed and displayed in class. I like this activity for a couple reasons:
a) It usually shows that many individuals have a very limited or stereotypical perception of poetry - "Poetry has to rhyme," "Poetry is just for emo kids," "I only write poetry when I am in a bad mood," etc. **From this jumping off point, we get to spark a great conversation about why so many people shy away fromt this art form, why it is misunderstood, and, more significantly, why it is so unique and important.
b) Many of the surveys reference the same few poets: Shakespeare, Silverstein, Poe, and Frost. Every now and then, Emily Dickinson makes an appearance. Every once in a blue moon, Walt Whitman shows up. **From this jumping off point, I get to show students that there are SO MANY amazing poets out there that go beyond these few highly anthologized writers. We read everything from Lucille Clifton to Taylor Mali and everything in between.

2. Perspective Poetry - Using Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" as an example piece, I have students create their own "________ Ways of Looking at _________" poem. Past subjects have included the following: "Ten Ways of Seeing Red," "Seven Ways of Looking at a Piece of Paper," "Thirteen Ways of Looking at Hands," "Five Ways of Gazing Upon a Shadow," and "Five Ways of Looking at a Chalkboard." Students may choose to do one poem that uses "Thirteen Ways" or two poems that add up to thirteen ("Five Ways of Looking at X" and "Eight Ways of Looking at Y").

What are your tried and true assignments, the ones that students always remember?

More to come!

Student Population

Creative Writing is open to all students in grades 9-12. Creative Writing Workshop, the second year of the course, is open to any student who was successful in Creative Writing and wishes to deepen his/her relationship with writing. While they are academic electives, they are also open to all ability levels (Special Education, General, College Prep. B, College Prep. A, Honors, and AP). I usually have most of these levels represented in each class, and I wouldn't have it any other way.

I am also amazed at the diversity of students on another, less school-sanctioned level: the class attracts track runners, student council representatives, football players, community service enthusiasts, artists, actors, the technologically inclined, the technologically dis-inclined, class presidents, students who exist under the radar of popularity, academic whizzes, awful spellers, and everyone in between. I think this diversity speaks to an important idea: contrary to popular belief, kids like to write. In a high school where they could opt to take any number of interesting electives, so many of them choose to explore the written word.

I few years ago, I had a student for two years in a row (when she was a freshman and a sophomore). The first year, I caught her cheating at least three times. The second year, though the cheating stopped, she consistently earned Ds in my American Literature class. She rarely completed homework, was an atrocious speller, and was much more concerned with improving her skills as an athlete than as a student. She was a relatively constant source of frustration for me. Imagine my surprise when, before her senior year, her name showed up on my Creative Writing roster. Throughout our time together in this forum, she emerged in a way that I never would have imagined, developing into one of the best student writers I have ever had - in terms of growth, openness, and sensitivity (all qualities that, from my perspective, matter most). Below are some lines from two of her poems, published in our literary magazine:

...Acoustic chords strum in darkness,
friendships glide to love,
Autumn's poetry ends in stillness,
and the deep sea gathers stars in its waves...

***************************

I am from the front door swinging open:
two steps - a leap,
and little legs off racing
through early-morning dew.

I am from sopping wet:
from shoes and blue jeans left outside
to dry on the deck...
Those frogs didn't stand a chance...

I am from weeping willows -
the enchanted forest of my backyard
where the trees were warped, silent sentinels...
hiding secrets of childhood...

***************************

I think this student made me realize - as so many before her had and so many after her will - that our students are never just one thing, that they are never just the first layer that we happen to notice, that they embody such great possibility. Sometimes, they just need the proper environment in which to tap into it. I think that creative writing allows students from all different backgrounds, students will all different ability levels (academic, social, and otherwise), to explore their own voices and those of others in a way that heightens their sensitivity to and their awareness of the worlds around them and within them.

Which students are involved in your creative writing program? Is it open to everyone? Is there a wide variety of participants?

Assessment

FAQ: How do you "grade" poems and short stories from writers who have such divergent ability levels?

My response: First of all, I try very hard to steer my class mentality away from a reliance on the almighty and ever-powerful GRADE. In the adult world, we are not given As and Bs and Cs; our motivation to do our jobs well must come from within. Similarly, a young person's desire to grow in his/her writing and be an engaged member of a creative writing class should not (cannot?) come merely from a "good grade." Soo, are you ready for a very controversial statement? Here it comes...

I do not "grade" my students' work.

There. I said it. Now, before you start to jump to a million crazy conclusions about me and my abilities as an educator, please allow me to explain.

When students hand in final drafts, I write a copious amount of comments and suggestions on their work. I give them positive feedback, but also, provide a critical response: how can they bring the reader closer, are they using effective diction, have they titled their work, is their work rich in imagery and detail, etc. Students never find an "A" or a "D" on their writing, but they do find a wealth of input. This, to me, is much more meaningful for all parties involved.

Obviously, I keep track of who is handing in what: if Joan has not handed in the last two assignments, my gradebook clearly reflects this fact. Similarly, if Tom has handed in the last five final drafts, typed, and neatly organized, that is recorded also.

Prior to progress reports (about three weeks into each marking period), I have each student in my class complete a self-assessment. The actual format I use for Creative Writing is as follows:

Completion of in-class work ______/100

Completion of homework (journals, rough drafts, add’l assignments) ______/100

Final drafts handed in (on time) /quality of final drafts (typed, neatly organized) ______/100

On-task/appropriate classroom behavior ______/100

Respectful attitude to peers and teacher ______/100

Productivity in a pair/group ______/100

Overall participation (reading, discussion, peer review, etc.) ______/100

Effort and accountability ______/100

Overall quality of classroom performance______/100

Willingness to grow ______/100

Your total points ______/1000

(I also include a section for students to offer additional comments or input relevant to their classroom performance.)

Students assess themselves on the above criteria, which speak not only to the work they hand in, but their presence in a writing environment: are they being productive in a group setting? Are they being respectful of their peers? Are they participating in a variety of ways?

Nine times out of ten, students are *incredibly* honest and accurate in their evaluations. Ultimately, I have the final say regarding the averages, but I rarely come up with figures that differ greatly from their own thoughts on the subject.

Before marking period averages are due, I go back into my computer gradebook and make any necessary changes and updates.

So far, this system has worked very well and, I believe, has encouraged my students to focus more on their entire classroom presence and their intrinsic motivation to do well.

How do you assess your students' work? I am interested in your feedback!

Stay tuned for my next topic: Which students take Creative Writing?

Establishing trust and community

There I am: grade ten, sitting near the back of the English classroom, conscientious to a fault, but deathly afraid of participation. Don't call on me. Don't call on me. Please don't call on me. Yes, I know the answer, but I spent half my life stuttering, and maybe today will be the day I am suddenly in the fifth grade again. Yes, I know the answer, but what if my voice cracks? What if everybody laughs? What if Scott Obnoxious on the other side of the room rolls his eyes? What if... and the list goes on. I spent so much time worrying about being called on that I am sure I missed out on so much. My fear made it hard for me to really be present to my teacher, my peers, myself as a learner.

There I am again: grade eleven, called to the front of the classroom to read my poem, face burning, hands sweating. My poem was about the boy I thought I was in love with, the boy who broke my heart, fill-in-the-rest-of-the-cliche-here. Yes, it was a truly awful poem, but that's not the point. The point was that the thought of reading my poem to classmates I didn't trust destroyed my confidence, made me want to be absent that day, made me want to visit the nurse, the bathroom, the stairwell - anywhere.

Here I am, once more - present day: I never want my students to wish themselves out of my classroom.

So, what to do?

Here are ten thoughts (in no particular order) on establishing trust and community in a creative writing environment that I have successfully used:

1. Find out from students what is important to them in a classroom environment. I make my students create individual lists of "Essential Qualities for a Happy and Successful Creative Writing Classroom." Unique responses (because they ALL say coffee and donuts on Fridays :) are recorded and shared so that everyone knows what is important to everyone else. Some sample responses are as follows: no checking the clock when someone is reading, give non-verbal feedback to a reader (eye contact, nodding, etc.), offer constructive feedback (not just "I liked it," "I didn't get it" - be specific!), whatever is said in Room 215 stays in Room 215 and will not make its way to the cafeteria or the bus stop, be respectful of others' differences (find something to value in each classmate). Consistently enforce the ideals that are important to each individual class; encourage your students to do the same within their peer groups.

2. We spend the first full class period passing notes. They may fold the notes, make them into chinese footballs, toss them across the rows, hand deliver them, but they may not speak. Their writing must focus on the task of getting to know people as individuals, must go beyond, "Hey, what's up?". (Students who return after graduation frequently reference this activity as a favorite from high school.)

3. Every now and then, we spend a class period sharing meaningful conversation with one another. Everyone writes a thought-provoking, but accessible question, such as, "What is one simple thing you think people should do to better the world?", "Aside from a parent, what adult has helped to shape you into the person you are today?", "Name something that most people don't know about you." Responses are shared within the circle, but students are given the opportunity to "pass" if they are not comfortable offering their responses. Nine times out of then, everyone speaks. This activity promotes connection and breaks down barriers within the class.

4. Show your students that you are not above doing your own assignments. When I ask my students to write a poem, I write that poem, too. During a reading opportunity, I read my work, too. Ask for their suggestions on your writing; validate their offerings. If you are asking them to take risks, to share themselves, I think it is pretty critical that you are willing to do the same.

5. Create a relaxed, comfortable environment in which to share work. In my classroom, I made a carpeted corner full of artwork, stocked bookshelves, a couple eccentric knick knacks from my grandfather's basement, a stereo, two stools, and a guitar. Students are invited to add their own personal touches to the area: bring in photos, a book to donate, a cool poster, a quote, etc. Reading days are not JUST for our most current project. They may read a journal entry from last month, a poem written in study hall, a favorite poem by a published author, etc. They may also read each other's work. Every now and then, a shy student has a bold friend who will give voice to that shy student's work - empowering for both parties involved. They may read from their seats in the circle, or they may come to the center of the area and read from one of the stools, or they may stand. I don't establish requirements for this aspect in an effort to make everyone comfortable. We gather in that corner, and, I swear, magic happens. I don't have to call on anyone. Most everyone genuinely wants to read.

6. I do require that everyone come to the corner with his or her notebook and something to write with. As others are reading, everyone else is actively listening, jotting down notes, recording observations. This way, when a reader finishes, we have comments and feedback to share with him/her - not just sporadic applause or dead air.

7. Model sensitive behavior. Model sensitive behavior. Model sensitive behavior. Model sensitive behavior.

8. Evil Teacher Trick #32: For a cooperative assignment, allow students to create their own groups. (Naturally, they will gravitate to those with whom they are most comfortable.) Once groups are established, inform students that those are the only students in the class that they are NOT allowed to work with today - MIX IT UP, MOVE AROUND THE ROOM, TAKE A CHANCE!

9. Have students call on one another, as opposed to keeping that role all to yourself. Example: I call on Alex to read her response. After she does so, she gets to choose the next reader. She chooses Jim, who doesn't usually say much, but Jim reads today because Alex asked him to. OR, Jim passes, and chooses someone else, and that is okay, too. Frequently, vocal students will call on those students who are more reserved - and about whom everyone is curious. I think it makes both parties feel good about themselves: the vocal student is bringing someone else into the conversation; the reserved student knows that he/she is an important member of the class that others want to hear from.

10. Statistically, more people fear public speaking than death. Using this fact as a jumping off point, promote an open discourse about that sense of fear that frequently accompanies reading and participation. If we know why we are afraid, we can work to alleviate those fears through our actions.

That's all for now! :) Have you tried any similar approaches in your classroom? What are the concepts that you stress to your students? Let me know! If you try any of my suggestions, please keep me posted as to how it goes! Stay tuned for our next topic: ASSESSMENT.

How I Got Here

Hi, everybody! This is my first blog entry, and, for some reason, I am feeling vaguely nervous. I suppose the prospect of a hundred English teachers reading this entry is a little intimidating. :) ANYway, I started working here at High Point in 2000. During my second year, I was put in the driver's seat of our creative writing program. The veteran teacher who was responsible for teaching the class was retiring, and it was given over to "the new kid." I was extremely nervous about it: How do I grade poetry? How do I even teach it? What authors should I focus on? Should I focus on authors at all, or should I focus more on student-generated writing? What about the semester of prose? Yikes! I was really at a loss. I had never been much of a writer myself (usually only for school projects); I had never even taken a poetry class in college. What was I going to do? (The back-to-school dreams this year were some of the worst I have ever experienced. :)

My first year teaching the class, I was blessed with eighteen of the most wonderful young people a teacher could ask for. They were sensitive, open-minded, patient, interested, quirky, and incredibly talented. Over the course of 180 days, we learned the ropes together. I learned to stretch. I learned to think *way* outside of the box. When I gave an assignment, I would try it myself. When I asked them to read what they had written, I would read what I had written also. I went to the Warren County Poetry Festival. The year after that, I went to the Dodge Poetry Festival. I purchased a ton of books, by authors I had never heard of (who would eventually become trusted friends): Grace Paley, Naomi Shihab Nye, Hafiz, Rumi, Lucille Clifton, Pablo Neruda, and the list goes on.

Now, we average between fifty and sixty students in our creative writing program, which contains both first (creative writing) and second level (creative writing workshop) courses. Many of these students fuel our literary magazine staff and help to facilitate open mic nights and poetry readings, both in school and around the county. I am very proud of my students for embracing the written word and sharing their passion with me and with their peers.

How about you? How did you become a creative writing teacher? Tell me your stories!

Thanks for reading! My next blog topic will be establishing a sense of community in the writing classroom. Stay tuned...