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not the same old, same old

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Title: not the same old, same old


1
not the same old, same old
  • rethinking writing style in the composition
    classroom

2
introduction
  • Questions about the teaching and learning of
    writing..  --How do people learn to write?
  •        --What is the most effective way to teach
    writing?
  •        --How do the processes of expert writers
    differ from the
  • processes of novice writers?
  •        --What do people write, for whom, and to
    what end?
  •        --How do we recognize good writing?
  •        --What effects does writing have on
    thinking?
  •        --If we are all individuals, why must we
    all write the same
  • way? 

3
introduction
  • Place of narrative in writing...
  •            --We learn in the form of stories. 
    Stories fit all ages, places, times, and
    circumstances.  Children are natural
    storytellers.  Combining children's natural
    storytelling abilities with quality multicultural
    literature enlarges and enriches students'
    language skills and appreciation of cultural
    differences.  Storytelling enables children's
    creativity, language enrichment, and
    experimentation. 
  • --When children share stories about their
    home/family lives, it helps others learn about
    them, strengthening social ties.  This also
    connects curriculum to students' lives, showing
    that educational experiences are meaningful and
    relevant. 

4
example story
  • Once upon a time, ________ insert name of big,
    brawny, manly man hero here went on an
    adventure.
  • Event A occurred.
  • Event B occurred.
  • Event C occurred.
  • In conclusion, ________ got the girl/won the
    prize/etc and he lived happily ever after.

5
example essay
  • Introduction with explicit thesis.
  • Body paragraph with reasons, explanations.
  • Body paragraph with reasons, explanations.
  • Body paragraph with reasons, explanations.
  • Conclusion with summary of main points and
    restated thesis.

6
traditional writing style
  •  only one correct way to write
  •        beginning, middle, end
  •        linear, predetermined manner
  •        explicit thesis
  •        clearly-defined thesis, topic-driven
    paragraphs, review of main points
  •        moves from page to page, chapter to
    chapter
  •        goes towards an end where the plot is
    finally resolved
  •        scientific, logical, objective
  •        proposes an argument, presents the facts,
    interprets those facts
  •        writer is disconnected from the material
  •        writer never uses the words "feel" or "I
    think"
  •        dominated by males, English-speakers,
    power, politics
  •         silences voices of "others" 

7
traditional writing process
  • linear    
  • prewrite, rough draft, edit, revise, final draft,
    publish

8
non-traditional writing style
  • expressive   
  • flows
  • fragmentary
  • indirection
  • circuitness
  • recursive
  •   unclear transitions
  •     focus on themes
  •     implicit thesis
  •     deferred closure
  •     spirals of storytelling meaning
  •     process of writing
  •     qualification
  • figurative language

9
non-traditional writing style, cont.
  •   reflects on the author's marginal experiences
  •     challenges stereotypes
  •     explains oneself
  •     makes the invisible visible
  •     contributes a voice
  •     writing as a learned form of art
  •     private experiences and emotions
  •     emphasizes and engages reader/audience
  •     leads to a transactional experience
  •     community of readers makes communicates the
    meaning behind the work, makes connections
    between ideas and understands context
  •     makes BOTH reader writer discover/explore/po
    nder/ personalize/raise questions
  •     used by females, but by any 'outsider', be it
    by gender,class,culture 

10
non-traditional writing process
  • Cyclical
  •  inspire, explore, incubate, illuminate
  • compose, reformulate, edit, share

11
task
  • Create a reflective portfolio to show your
    progress throughout the course how your views
    (self,writing,society) have changed
  •   --No single voice can represent an entire
    culture or ethnicity. 
  •        --Students will produce better writing
    simply because they are
  • not  struggling to fit a formulaic
    model.
  •        --Use writing as a tool for thinking.
  •        --Write about your experiences because
    self-discovery is
  • enlightening in positive, therapeutic ways.

12
task components
  • introductory autobiography
  • -- 11 pieces exploring self others
  • -- 6 pieces discovering non-traditional writing
    styles
  • -- final reflective autobiography

13
task overview
  • Each entry should include evidence of all parts
    of the writing/thinking process. Include a
    reflective statement at the end of each piece
    showing what you learned about the topic, the
    writing style/type, and yourself.
  • beginnings endings
  • stories of self others
  • im just expressin my style

14
assessment
  • Your reflective portfolio should include
  • -- introductory autobiography
  • -- 11 pieces exploring self others
  • -- 6 pieces discovering non-traditional writing
    styles
  • -- final reflective autobiography (counts as 2)
  • Each of the 20 pieces will be graded as its own
    homework assignment, but then will be included in
    a final portfolio grade based on a rubric.

15
assessment rubric
  • Each of the ten categories is rated on a scale of
  • needs improvement, satisfactory, exceeds
    expectations
  • Shows evidence of use of cyclical writing process
  • Includes reflective statement
  • Focuses on the topic
  • Focuses on the writing style/type
  • Is developed and descriptive
  • Includes pieces of YOU your LIFE
  • Uses writing conventions well
  • Uses creativity imagination
  • Shows movement from a traditional style to a
    non-traditional style
  • Final reflective autobiography is written in a
    totally non-traditional style, employing at least
    five of the characteristics of such style

16
conclusion
  • People are individuals with their own quirks,
    their own stories to tell, and their own way of
    expressing those experiences.
  • We cannot expect them all to fit their unique
    lives into one cookie-cutter format. Various
    writing styles must be used and accepted.
  • However, we cannot make the non-traditional style
    the new standard. We have to continue to value
    differences, while still having standards to
    reach.
  • Writing in a style that shows who you are is a
    way to reflect on your life and shape your
    identity, as well as a way to connect with others
    and learn from their stories. We may all be
    different, but we are all still connected.

17
beginnings endings
  • introductory autobiography write at the
    beginning of unit/course
  • final reflective autobiography write at the end
    of unit/course

18
introductory autobiography
  • Write the story of your life. However, write it
    from the perspective of someone/something that is
    not you ex. your shoe, your little brother,
    your car, your worst enemy. Dont just list the
    events in your life explain them. Remember,
    this is just an introductory activity to get you
    thinking about your life and get you used to
    sharing your experiences.

19
final reflective autobiography
  • Write the story of your life using aspects of
    non-traditional writing styles. Include at least
    two of the experiences mentioned used in the
    exercises about self others. Include at least
    two experiences you used in the exercises about
    style. Include at least two experiences you have
    not written about yet.
  • vignette
  • written in a circular writing style that begins
    and ends at the same point
  • use of imagery and figurative language
  • lack of traditional summative ending
  • lack of conjunctive adverb transitions use of
    fragmentary writing

20
stories of self others
  • i wanna talk about me
  • how embarrassing
  • hot spot
  • gossip
  • annoying repetition
  • e-m-o-t-i-o-n
  • the ties that bind
  • those who dont
  • crossing the abyss
  • opposites attract
  • ego trippin

21
i wanna talk about me
  • My Name
  • http//www.humboldt.edu/engl406/2002a/myname.html
  • I Wanna Talk About Me
  • http//www.lyricsondemand.com/t/tobykeithlyrics/iw
    annatalkaboutmelyrics.html
  • The vignette and the song both deal with the
    self, the individual, what makes one who one
    really is, ones identity.
  • Write a poem that focuses on your identity and
    your name, tying the two together.

22
how embarrassing!
  • Pulitzer prize winning poet Henry Taylor suggests
    this exercise for loosening yourself "Remember
    how it feels to suddenly think of one of the most
    embarrassing moments in your life how it
    surfaces without being invited and makes your
    skin crawl, and you may have to pull over on the
    shoulder for a second and compose yourself, but
    you mash the thing back down into the
    subconscious where it belongs, and get on with
    the day. Okay. This time, write it down. Make
    sure you linger lovingly over the painful
    details."
  • http//www.cortlandreview.com/features/99/readings
    /

23
hot spot
  • Novelist and short story writer Merrill Joan
    Gerber suggests inspiring your story by thinking
    of a "hot spot," something that happened in the
    past that still compels your attention, something
    that attracts your thoughts over and over, an
    incident, a fright, an argument, an insult, some
    mystery in a relationship that hasn't been solved
    or is still exciting over time.
  • http//www.its.caltech.edu/mjgerber/lostairman.ht
    ml
  • http//www.cco.caltech.edu/mjgerber/oldmother.htm
    l

24
gossip
  • A loosening exercise used by novelist Nora Okja
    Keller (Comfort Woman) with her students is to
    begin with a family story, or some gossip you
    have heard. Write another version of it, from
    behind the scenes. Or write out a dream you had,
    then pare it down and shape it.
  • http//www.penguinputnam.com/nf/Book/BookDisplay/0
    ,,0_0142001961,00.html?symEXC

25
opposites attract
  • Write something almost diametrically opposed to
    what you've been comfortable writing up to now.
    "The idea," says Chitra Banerjee Divakaruni,
    author of Sister of My Heart and Mistress of
    Spices, "is not necessarily, don't write what you
    know, but try to look at it from a whole other
    angle. Write about someone who is absolutely not
    yourself."
  • http//www.chitradivakaruni.com/books/mistress_of_
    spices/excerpt/
  • http//www.chitradivakaruni.com/books/sister_of_my
    _heart/excerpt/

26
annoying repetition
  • Memoirist and fiction writer Bernard Cooper finds
    this one useful Write down the story you've been
    telling people over and over, a story that
    irritates or amuses or has gotten into your craw
    in some way, a story that is so strange or so
    outrageous that you have to keep telling it to
    kind of corroborate what's happening with
    yourself. Such an exercise tends to get you
    writing very loosely and quickly.
  • http//www.kcrw.org/dialabook/Guess_Again.htm

27
e-m-o-t-i-o-n
  • Rage, fury, and revenge are huge emotions you can
    use to loosen up your writing, according to
    novelist Margot Livesey (Criminals). Write a
    character description (or a poem) from the point
    of view of one character detesting another.
  • http//www.henryholt.com/holt/banishingveronaexcer
    pt.htm

28
the ties that bind
  • An anthology edited by Nikki Giovanni, Grand
    Mothers contains short stories, poems, and
    memories of grandmothers by people of various
    ages, genders, geographic locations, ethnic and
    cultural backgrounds.
  • Read  A Conspiracy of Grace by Ethel Morgan
    Smith and Roofwalker  by Susan Power.
  • Discuss... How did the writer develop and present
    her characters in such away that the reader had a
    vested interest in their well-being?  Did the
    characters seem to be three dimensional (real)?
    Why?
  • Write...  about the things and people closest to
    you. Select someone in your family that you want
    to write about.   Select a memory and use it to
    write a short story about the family member you
    had selected.
  • http//www.da.wvu.edu/archives/003011/news/003011,
    01,02.html

29
those who dont
  • Sandra Cisneros book The House on Mango Street
    is a collection of short stories about growing up
    female, Hispanic, in the Hispanic quarter of
    Chicago in a house on Mango Street.  It is also
    about the neighborhood -- the people who inhabit
    it -- their hopes, dreams, heartaches,
    disappointments and lives.
  • In "those who don't" Cisneros considers the way
    her neighborhood appears outsiders as opposed to
    its inhabitants
  • Discuss appearances, formulating assumptions, and
    walking a mile in another person's shoes. Discuss
    making judgments based on personal values and
    experiences as opposed to considering another
    perspective.
  • Read Nikki Giovannis "Nikki Rosa" to reinforce
    these themes.
  • Write about being in an unfamiliar place or
    situation (i.e. a strange neighborhood in a
    strange city meeting new people) and how you
    reacted to it. Describe how your neighborhood
    feels to you and how it would appear to an
    outsider (perhaps someone from another part of
    town, an different city, an other country, or
    even another planet).
  • http//wonders.eburg.wednet.edu/Morgan/ThoseWhoDon
    t.htm

30
crossing the abyss
  • From editor Ray Gonzalez's Dancing River
    Contemporary Latino Fiction, Nonfiction, and
    Poetry , read  Kitchens by Aurora Levins
    Morales.   Explore her status as an immigrant as
    Morales recalls the cooking lesson she received
    in her mothers kitchen. In so doing she
    discusses the dishes they cooked and the methods
    of preparation that they applied.
  • Read a poem by Juan Felipe Herrera, Notes on
    Other Chicana Chicano Inventions.
  • Read "Ending Poem Rosario Morales and Aurora
    Levins Morales, in which the poets compare the
    ways they are alike with the ways they are
    different.  Write a poem in which you discuss the
    similarities and differences you have with
    another person. 
  • http//english.cla.umn.edu/creativewriting/disloca
    te/fall04/Herrera_interview.html

31
ego trippin
  • Define the term "ego trippin'".
  • Read Nikki Giovannis poem Ego Trippin, in
    which Giovanni gives Africa a feminine persona, a
    voice and an extremely well developed ego. 
    Discuss the images she has presented in this
    piece and the manner in which she has transformed
    the continent of Africa into a woman with
    extraordinary powers. I
  • Write an Ego Trippin poem about yourself.  You
    may claim any super-human traits or powers that
    you desire.
  • http//www.math.buffalo.edu/sww/poetry/giovanni_n
    ikki.htmlego20tripping

32
im just expressin my style
  • vignettes
  • this is the song that never ends
  • reader as worker
  • circles, cycles, spirals, oh my!
  • paint me a picture
  • language is like blood

33
paint me a picture
  • Paint a picture with words.
  • Let the reader see what you write.
  • Write an imagery poem by using the website
  • http//www.bsu.edu/web/kmewers/docs/imagery.html

34
language is like blood
  • Play with language, figurative language, that
    is. 
  • Write a figurative language poem using metaphors,
    similes, and personification with the website 
  • http//www.bsu.edu/web/kmewers/docs/figurative20l
    anguage.html

35
reader as worker
  • The reader actually has to work to figure out the
    meanings and to connect ideas, at least according
    to many Asian and feminist authors.
  • Transitions are not as important as they are in
    traditional Western writing. Ideas are
    fragmentary.
  • Write a short story about an experience you had
    when you felt as if you didnt fit it. Jump from
    emotions and images, but the theme behind it all
    should be one, large, interconnected idea.
  • http//www.nyu.edu/clubs/generasian/fall03/Feature
    s/story.htm

36
this is the song that never ends
  • Realism
  • Many writings in the feminist vein do not attempt
    to have a neat tidy conclusion.
  • They recognize that life goes on, even after the
    story is supposedly finished.
  • Everything we do feeds into something else.
  • This shows the inherent need for self-growth and
    self-discovery.
  • It leaves room for the reader to make meaning
    to create interpretations.
  • Write a short story about an obstacle that had to
    be overcome. However, do not end it in a
    tried--true fashion. Leave it open, yet not
    unfinished.
  • http//www.english.vt.edu/kagraham/childlit/reali
    sm.htm
  • http//oblog.typepad.com/oblog/files/endings.doc
     

37
vignette
  • sketch or essay or brief narrative characterized
    by great precision and delicate accuracy of
    composition -- a separate whole or a portion of a
    larger work. 
  • Write a vignette in which you recapture a moment
    of time. Use the website to help
  • http//www.rbc.edu/Syllabus/EFloyd/Eng102vignette.
    html

38
circles, cycles, spirals oh my!
  • Pantoum
  • Write a pantoum.
  • rhymes with zoom
  • a spiral form of writing
  • even with repeated lines, new meaning is created
  •     --verse form composed of stanzas of four
    lines
  •     --the second and fourth lines are repeated as
    the first and third lines in the following
    stanzas
  •     --the first line in the poem becomes the last
    line in the final stanza
  •     --the third line in the poem becomes the
    second line in the final stanza
  • http//dragonnet.hkis.edu.hk/ms/grade_8/grade_8_20
    03_4/Poetry/pantoum20examples.htm

39
circles, cycles, spirals oh my! cont.
  • A kiss hello...a wave good-bye...an airplane
    fading in the sky.
  • Our lives are marked by beginnings and endings.
    In the things we do every day, we look for
    starting and ending points. We hold those images'
    sight, smell, taste, and feel. It's no wonder,
    then, that writers take such care to develop
    strong introductions that grab readers and
    conclusions that leave them feeling satisfied.
  • The best leads and endings don't just happen
    they are crafted. This can be a painstaking
    process that, as any experienced writer knows,
    becomes somewhat easier with practice.
  • http//teacher.scholastic.com/lessonrepro/lessonpl
    ans/instructor/power.htm

40
circles, cycles, spirals oh my! - cont.
  • Much good fiction is written in a circular style.
  • The Bone People by Keri Hulme is a wonderful
    example of this cyclical nature.
  • http//www.postcolonialweb.org/nz/kerihulme/kh13.h
    tml
  • http//communication.students.rmit.edu.au/media/cl
    are_oataway/BonePeople.html

41
circles, cycles, spirals oh my! -- cont.
  • Once a first draft is completed, a circular
    lead/close is easy to create. Look at your
    endings and try to begin with those closing
    words as well. This type of lead brings the
    pieces full circle. It's a tidy way to begin and
    end.
  • Ex. Eric Carle, The Grouchy Ladybug
  • http//www.readinglady.com/wr/Fluent_Lessons/fluen
    t_lessons.html

42
circles, cycles, spirals oh my! -- cont.
  • Circular writing is when a writer's introduction
    and conclusion solidly connect.  The end comes
    back to the beginning somehow.  Writers can write
    in circles by simply repeating the same sentence
    at the beginning and the end.  Or--better
    yet--they can remind the reader how the starting
    and stopping point of their writing are connected
    with one word or phrase that's repeated.  Linking
    an introduction to a conclusion is an effective
    skill writers might think about when thinking
    about the organization of their writing, and it's
    good to practice once in a while.
  • Think of a funny scene or experience. Use the
    same word or phrase to begin and end the story.
  •  http//www.writingfix.com/leftbrain/start_and_end
    _with_phrase.htm

43
circles, cycles, spirals oh my! -- cont.
  • Unwinding a circular plot
  • Circular stories follow a round patternthey
    begin and end in the same. Like the cycle of
    seasons or the life cycle, circular stories
    follow a predictable series of events that
    returns to the starting point.
  • Ex. If you give a mouse a cookie or Louise
    Erdrichs Native American novels poems
  • Follow the instructions on the website to create
    your own circular story
  • http//www.readwritethink.org/lessons/lesson_view.
    asp?id292

44
references
  • Aronson, D. (2005).  Isabel Allende Loves the
    Writing Process.  The Council Chronicle, 9, 6. 
  • Jenkins, R.Y. (1993).  The Intersection of Gender
    and Culture in the Teaching of Writing.  College
    Teaching, 41, 19-24. 
  • Luna, C. (1993).  Story, Voice, and Culture The
    Politics of Narrative in Multicultural
    Education.          Working Papers in
    Educational Linguistics, 9 (1), 127-142. 
  • Perry, S. (1999). Writing in Flow Keys to
    Enhanced Creativity. Writers Digest Books.
  • Reid, G. (2004).  Non-linear narrative and
    EFL/ESL Projects for Creative Writing.  The
    Onestop Magazine.
  • Satie, S. (2001).  Pre-Creating the HyperNews
    Classroom Community (Not) Speaking, (Not)
    Writing the Subtext. Annual Meeting of the
    Conference on College Composition and
    Communication, 3-8. 
  • St. Amour, M.J. (2003).  Connecting Children's
    Stories to Children's Literature Meeting
    Diversity Needs.          Early Childhood
    Education Journal, 31 (1), 47-51. 
  • Stewart, J. Rhythm Science.  Critical Studies in
    Improvisation.
  • Surfus, B. L.  (1994).  Autobiography and the
    Ascent of Multiculturalism A Negotiation. 
    Viewpoints, 120, 2-5. 
  • Tohe, L. (1993).  A Native American's Perspective
    on the Writing Classroom.              Annual
    Meeting of the Conference on College Composition
    and Communication, 2-9. 

45
credits
  • http//www.learnnc.org/lessons/SharonMackenzie3262
    003584
  • http//www.cortlandreview.com/features/99/readings
    /
  • http//www.its.caltech.edu/mjgerber/lostairman.ht
    ml
  • http//www.cco.caltech.edu/mjgerber/oldmother.htm
    l
  • http//www.penguinputnam.com/nf/Book/BookDisplay/0
    ,,0_0142001961,00.html?symEXC
  • http//www.chitradivakaruni.com/books/mistress_of_
    spices/excerpt/
  • http//www.chitradivakaruni.com/books/sister_of_my
    _heart/excerpt/
  • http//www.kcrw.org/dialabook/Guess_Again.htm
  • http//www.henryholt.com/holt/banishingveronaexcer
    pt.htm
  • http//www.da.wvu.edu/archives/003011/news/003011,
    01,02.html
  • http//wonders.eburg.wednet.edu/Morgan/ThoseWhoDon
    t.htm
  • http//english.cla.umn.edu/creativewriting/disloca
    te/fall04/Herrera_interview.html
  • http//www.math.buffalo.edu/sww/poetry/giovanni_n
    ikki.htmlego20tripping
  • http//www.nyu.edu/clubs/generasian/fall03/Feature
    s/story.htm

46
credits
  • http//teacher.scholastic.com/lessonrepro/lessonpl
    ans/instructor/power.htm
  • http//www.postcolonialweb.org/nz/kerihulme/kh13.h
    tml
  • http//communication.students.rmit.edu.au/media/cl
    are_oataway/BonePeople.html
  • http//www.readinglady.com/wr/Fluent_Lessons/fluen
    t_lessons.html
  •  http//www.writingfix.com/leftbrain/start_and_end
    _with_phrase.htm
  • http//www.readwritethink.org/lessons/lesson_view.
    asp?id292
  • http//www.bsu.edu/web/kmewers/docs/imagery.html
  • http//www.bsu.edu/web/kmewers/docs/figurative20l
    anguage.html
  • http//www.english.vt.edu/kagraham/childlit/reali
    sm.htm
  • http//oblog.typepad.com/oblog/files/endings.doc
     
  • http//www.rbc.edu/Syllabus/EFloyd/Eng102vignette.
    html
  • http//dragonnet.hkis.edu.hk/ms/grade_8/grade_8_20
    03_4/Poetry/pantoum20examples.htm
  • http//www.humboldt.edu/engl406/2002a/myname.html
  • http//www.lyricsondemand.com/t/tobykeithlyrics/iw
    annatalkaboutmelyrics.html
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