Thoughts about Revision, Editing, and Conferencing - OH MY!

(Thank you, Dr. BadA#@ for your suggestion! Here we go...)

1. In the beginning of the year, I do a mini-unit on how to avoid cliches. I use the example of one of my own high school poems (which was truly, truly atrocious) and we discuss the concept of unoriginal, tired language and how it can be replaced by unique constructions. We make lists in groups of all the cliches we can think of and then, take a word frequently associated with cliche, and breathe new life into it. "Heart," for example is *always* described as broken or shattered or happy or bursting with pride or... the list goes on. Students and I create new expressions to embody these concepts. We also do a "Cliche Wars" assignment where I give students a list of interesting words that are differing parts of speech (silver, highjack, fresh, jingle). They must come up with phrases/images that involve these words. For example, what typically jingles: bells, keys, etc. Some student-generated responses for NEW connections to this word are as follows: new ideas jingle, a child's speech jingles, poems jingle on a page, etc. From there, they create poems involving some of these fresh phrases.

2. I stress the idea that *any topic* can be deserving of poetry. We do a lot of example readings here, because so often, students come in thinking that poetry is only about death, love, nature, or depression (with an emphasis on love and depression). Broadening their scope of what to write about helps a lot.

3. In their beginning of the year "Creative Writing Survival Kit," I give students a list of questions to consider in a peer editing session. The list is as follows:

1. Is the writing free of errors (grammar, punctuation, spelling, usage, etc.)?
2. Does the writer show and not simply tell the reader?
3. Does the writer use specific nouns?
4. Does the writer use vivid action verbs?
5. Does the writer excite the senses? Can you see, hear, feel, taste, smell?
6. Has the writer relied too heavily on adjectives and adverbs?
7. Has the writer been inventive and original with language?
8. Has the writer given sufficient concrete details?
9. Has the writer been accurate?
10. Does the writer give the narrator an original voice?
11. Is the time frame of the story clear?
12. Does the writer create an effective beginning to his/her piece?
13. Has the writer created an engaging title for his/her piece?
14. Is the dialogue believable?
15. Has the writer avoided clichés and trite language?
16. What is the point of the story/poem? Is it clear?
17. How does the ending fit? Does it work?
18. What mood has the writer created?
19. What is the overall tone of the piece?
20. What poetic devices or tools has the writer used to enrich the piece?
21. Is it clear that the writer knows his/her characters/setting/etc.?
22. Did you enjoy reading the piece?
23. Was the writer successful in communicating his/her message?

Obviously, not all of them apply to every piece of writing. Sometimes, I give students four or five numbers to work on with a given rough draft: "Today, as you edit each other's work, please focus on numbers 15, 17, 19, and 22."

4. During a day of peer editing, I make students collect signatures on the bottom of their rough drafts of all the people who looked at their writing. They need a minimum of four signatures. This way, they are not allowed to work with the same two people all the time. They have to move around the room and get other perspectives.

5. We start by "practice critiquing" pieces from old copies of our literary magazine. This way, students can get their feet wet with the process on pieces that they have no personal connection to. From here, it is easier to make the transition into their own writings. I also stress the concept that there really is no such thing as a final draft. Always be open to improving your writing, even if you think it is a finished piece.

6. Also at the beginning of the year, we do exercises with line breaks, where I take published poems and cut them up, without punctuation. In groups, students try to put them back together and add the punctuation they believe the poem requires. We eventually do this with their own writing.

7. Once everyone is comfortable with editing and revision, I ask for volunteers to have their poems critiqued by the class. The author must bring in enough copies for everyone in the class (or I can make copies). We can usually get through two pieces in a class period. The poem is read twice - once in the author's voice and once by someone else. From there, we form break-out groups; discuss, edit, and revise the piece; regroup; provide feedback to the author. The author then gets to take all the copies of his/her writing, complete with all the suggestions made by the class.

8. Before a final draft is due, I usually give my students one or two class days for in-class rough drafting. During these sessions, while everyone is working quietly, I sit at the back table and hold individual conferences with each student. Nine times out of ten, students are very receptive to these suggestions.

9. Our blog is also a great revision tool. Frequently, students will post a draft with one of the following headings: "HELP! Can't think of a title!" "Like the beginning, but it falls apart in the middle - suggestions?" Here, their classmates, students in other classes, other teachers, or creative writing alumni can give them feedback on their work.

I know there are things that we do that I am forgetting, but hopefully, this is a good start. Happy revision!