creative writing in the early childhood classroom workshop by

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LIBBY HERRON EMAIL: [email protected] GLADWYNE MONTESSORI SCHOOL WWW.GLADWYNE.ORG MARCH 13, 2015 Creative Writing in the Early Childhood Classroom

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Page 1: Creative Writing in the Early Childhood Classroom Workshop by

L I B B Y H E R R O N

E M A I L : L H E R R O N @ G L A D W Y N E . O R G

G L A D W Y N E M O N T E S S O R I S C H O O L

W W W . G L A D W Y N E . O R G

M A R C H 1 3 , 2 0 1 5

Creative Writing in the Early Childhood Classroom

Page 2: Creative Writing in the Early Childhood Classroom Workshop by

Map for a Journey

Storytelling

Read Alouds

What are Mentor Texts?

Picture Book Analysis

Composing with Illustration

Learning to use marks to make meaning

Examples of Writer’s Craft

Writer’s Workshop

Take Aways

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Drawing is Writing

The importance of drawing and illustration as a way of making meaning for beginning writers.

Primary Sources:

Horn & Giacobbe, Talking, Drawing, Writing (2007)

Katie Wood Ray, Already Ready (with Matt Glover) (2008), About the Authors (with Lisa Cleaveland) (2004) , and In Pictures and in Words (2010)

Olshansky, The Power of Pictures (2007)

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Primary Sources

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Beginnings

“Writing may actually be a better way

to lead children’s literacy development

than reading… a blank page presents children

with an invitation (to make meaning), while

reading presents them with an expectation

(to figure out someone else’s meaning).”

- Ray and Glover, Already Ready, p.13

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Montessori Continuum : Developmental Writing

Writing viewed as an extension of oral language Primary focus was on “preparation for writing” Practical life work: small motor skill

development Sandpaper letters: sensorial formation of

letters Moveable alphabet: construction of words Metal inset work Handwriting practice

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Storytelling

“We all have stories to tell about what we know

and the most engaging stories are often about

ordinary, everyday things… the “small moment”

stories. “We constantly tell stories about

ourselves to others and to ourselves, and the

stories shape who we think we are”.

- Johnston (2004)

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What Stories Can You Tell?

Stories from your own life, family routines

Themes: holidays, seasons, family pets, animal stories

Songs, poems, fingerplays can all be dramatized… and elaborated upon

Folktales make particularly good models for storytelling because of their obvious beginning-middle-end structure, clear characters, simple settings and well-defined problems and solutions.

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Tools to Develop Your Story

Five main tools of the storyteller’s trade are:

(1) dynamic settings

(2) vivid characters

(3) plot strategies

(4) a backstory

(5) lots of details

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Creating Stories

Focus on short, concise event rather than entire day

Manufacture stories in the classroom: spill a large workbasket or a water bucket, pop balloons or blow bubbles

Whole class storytelling: a shared experience, such as field trips, fire drills, an assembly; circle storytelling

Oral Mentor Texts (Dierking and Jones, 2014) suggest creating a new class story every month, using it as a foundation for scaffolding writing skills

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How to Teach Storytelling

“Tell us a story about something you know”.

Focus on important details, descriptive word choices

Encourage students to use prompts that support sequencing: “first…then…next…after…finally”

Elaborate the story by including dialogue

Later: Tell the students a story; then lead them through process of altering the story by changing one or more elements.

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Read Alouds

Mem Fox, author of Stellaluna, Possum Magic

and Koala Lou, says:

“From my own experience I realize that the

literature I heard, rather than read, as a child

resonates again and again in my memory

whenever I sit down to write.”

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Read Alouds

Reading aloud well is like playing music.

Each author’s text contains signals that indicate the intentions of the author, similar to signals provided by composers for musicians:

punctuation

shifts in font, bold print

underlining and italics, size of print

syllable, word and sentence lengths

line breaks, white space

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Favorite Read Alouds

“Fizzelly sizzelly

Wappity bappity

Lumpety bumpety

Clinkety clankety

Bing bang pop!”

“Welcome to the green house,

Welcome to the hot house.

Welcome to the land of the warm,

wet days.”

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More Read Alouds

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Things to Consider When Selecting a Read Aloud

Does it:

Have potential to excite, move, entice and delight

Highlight the music of our language

Offer opportunities to model fluent reading, phrasing and well-crafted writing

Contribute to an author study: examine the work of a particular author or illustrator, finding patterns across books, which students can discover/ imitate

Connect to an aspect of your curriculum

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Qualities of a Good Read Aloud

Tone - the feel of the piece…is it light, informal, deep, dark or formal? like the hues of a color, is it rich and robust, or soft and subtle?

Mood – the emotional climate of the piece…is it sad or depressed, hopeful, wishful, excited, eager or nostalgic? Does the reader allow extra silent space to let a new idea resonate?

Intensity – is it powerful and bold, or tender and quiet? Does the energy build and wane? does it begin full and slowly dwindle? Attend to shifts in volume and the power of the reader’s voice.

Pacing - the heartbeat of the text, a rhythm that creates the flow of the language.

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How to Read Aloud

Set the stage to maximize the effect; eliminate distractions. Sit quietly for a minute before commencing Introduce the read-aloud experience: state your purpose [say…”I selected this text for

read aloud today because…”] make connections between other books and authors,

topics and the interests of your students. introduce essential vocabulary beforehand draw attention to special features [picture walk for

non-fiction books: maps, graphs, captions, labels, fonts]

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What is a Mentor Text?

A mentor text is a familiar picture book used by the teacher to lift the student’s level of drawing/writing

Introduced first as a read aloud: hear and appreciate the story, characters, rhythm, illustrations and words

Teacher leads children in noticing, reflecting and

thinking about an illustrator’s/author’s moves

Idea mentor texts: unique ideas

Structure mentor texts: story patterns; format

Craft mentor texts: well-crafted illustration or

writing styles

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Mentor Texts

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Picture Books

In a picture book, the story depends on the interaction between the written text and the image, where both have been created with a conscious aesthetic intention. The synergy created when text and art come together in a picture book reveals some new entity that is more than a sum of its parts. The words and pictures never tell exactly the same story; it is this dissonance that catches the reader’s attention.

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Elements of Visual Grammar

Elements of visual grammar interact in picture books to determine how things are represented or depicted in an image, not what is represented:

Symmetry – words and pictures are on equal footing,

Complementary – each provides information

Enhancement – each extends the meaning of the other

Counterpoint – words and pictures tell different stories

Contradiction – beyond different narratives, the words and pictures seem to assert the opposite of each other

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Post-modern Picture Books

Computer manipulated photographs and hand drawn sketches juxtapose real and invented space

Self-referential text refers to the images and text free from the constraints of a familiar story

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Non-Fiction Picture Books

Visual features (elements of overall design and illustration) have special comprehension function to help readers link information-containing text parts

Introduces non-fiction text features to young writers

Allow children to bring natural interests to their writing, ability to choose topics/genres is critical

Develop language of science beyond learning specific vocabulary

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Great Non-fiction Mentor Texts

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Composing with Illustration

“What if children are introduced to key qualities of good writing in the context of illustrations? What if children gain lots and lots of experience planning, drafting, revising and editing content in the process of composing illustrations for their books?”

“The purpose of thinking aloud about possibilities is simply to show the children how everything they notice about illustrations can easily become something they might imagine creating themselves.”

- Katie Wood Ray (2010)

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Illustration Techniques

In Pictures and In Words, Katie Wood Ray describes fifty (50) techniques that demonstrate “good writing”.

“Something to notice” (Names the technique)

Illustrative example (how it looks in a picture book)

Technique Discussion (thinking about what to do)

In a Teacher’s Voice (making it part of your repertoire)

Writing Connection (Decisions illustrators make are often based on the same understandings writers use)

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Examples of Illustration Techniques

Crafting the background; manipulating point of view

Using scenes showing the passage of time or movement through different places

Crafting physical details of characters, including details of expression and gesture

Creating the illusion of motion with detail

Using details of light/weather show passage of time

Using graphic features to show information

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Illustration Techniques

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Illustration Techniques

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Illustration Workshop

Horn/Giacobbe: teach students how to observe carefully; focus on craft of drawing, especially people, their actions and physical features

Talking, drawing and writing are three aspects of “symbol weaving”

What children learn to do in one mode sets stage for/supports learning how to do it in others

Drawing makes it possible for young children to tell a deeper, more involved story than they can with text

Acknowledge drawing is core element of composing

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Linear vs. Non-Linear processes

Reading and writing processes are linear in nature:

Readers sound out individual letters/letter blends and combine them to read words; they piece together words to read sentences and string together sentences to read paragraphs.

By contrast, reading pictures or creating art is a non-linear activity: Readers take in the whole image before the eye wanders to the picture’s various parts to digest their full meaning and contribution to the whole. In creating a picture, the artist often envisions the whole image before creating various parts.

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Illustration Techniques

Olshansky:

Crayon resist painting

Collage created out of hand-painted textured papers

Brainstorming process: bridge between picture and written word

“Reading the Pictures”

Students who made pictures first made greatest advances: more imaginative stories with richer detail

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Mentor Text: Illustration

Crayon resist drawing

Models “interesting groundlines”, natural settings

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Crayon Resist

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Crayon Resist

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Collage

Technique: Eric Carle -

inspired Painted Paper

@deepspacesparkle.com

Creating a portfolio of hand-painted papers for constructing a story

Students able to rehearse, draft and revise their stories by moving cut/torn shapes around on each page before gluing

Creates problem solving opportunities

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Brainstorming Process

Students:

Study picture carefully for detail and description

Write descriptive words in columns (choose one)

(1) identify four important things (nouns)

(2) brainstorm adjectives (“describing words”:

five senses)

(3) brainstorm verbs (“doing/action words”)

Compose story using words

“transmediation”: Recasting meaning from one sign system (visual image) to another (written word)

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Olshansky: Brainstorming Sheet

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Brainstorming Example

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Brainstorming Example

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Brainstorming Sheet

Images available online

@ Olshansky, brainstorming sheet

Customize: 5 senses

Time of day, weather, setting

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Learning to Use Marks to Make Meaning

Initial awareness: letters in their own name

New insight: there are just a few letters, not an endless number

Very important: Understanding that print is mapped onto oral language must be explicitly demonstrated:

Sandpaper letters

Moveable alphabet

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Experimenting with writing tools

Figures are open

Handedness often not established

NEFEC REACH Workshop Series Website; www.2.nefec.org>REACH project >emergent writing >ppt

Emergent Writing: Developmental Continuum

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“Discovers” a familiar object in random marks

Tries to recreate object with deliberate strokes

Begins to name objects on page

“drawings”

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Include deliberate marks and patterns begin to appear

Discern difference between drawing and writing

Child understands print conveys meaning

“controlled scribbles”

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Pays more attention to details

Writing discernible from drawing

Letter characteristics with lines and curves

Linear patterns, sometimes cursive

”mock letters”

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Letters appear in repeating patterns

Letters do not represent sounds

No spacing between words

Often copies words from other texts

“letter strings”

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Initial sounds appear first; final sounds next, then medial ones

Becoming aware of:

* concept of word

* print conventions

Letters have extra lines or may be reversed

Invented Spelling

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Invented Spelling

“When encouraged to invent spellings as

best they can, children will pull from thousands

of words they know orally to help the compose

their texts, and many of the words they’ll use

are the ones they wouldn’t recognize yet if

they encountered them spelled conventionally

while reading.”

- Katie Wood Ray, Already Ready

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Writer’s Craft

When we read like a writer, we focus less on

what the writer is trying to say and

more on how the writer is saying it .

By thinking about the reasons authors make

decisions about words, images, alliteration, repeated

words and phrases, and illustrations, the use of

details, and the intentions behind them, we begin

to discover the ways we might use the same crafting

techniques in our own writing.

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Reading like a Writer

In her book, Wondrous Words (1999), Katie Wood Ray lists five steps to reading like a writer:

Notice something about the craft of the text.

Talk about it and make a theory about why a writer might use this craft.

Give the craft a name.

Think of other texts/authors you know. Have you seen this craft before?

Try to envision using this crafting in your own writing.

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Reading Like a Writer

“ The ability to read as a writer and understand

all texts as being the product of another

writer’s decision making is one of the most

important habits of mind teachers can help

students develop.”

-Katie Wood Ray

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Notice and Name the Craft

Connection: why are you teaching this lesson?

Teach: describe how it looks or sounds

Engage: provide practice time, using a well-known text

Link: how could child use this in his own writing?

Name book /author

Notice it Name it How is it done?

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Craft Techniques

Writer’s craft techniques that emergent writers could use:

Power of Three: three words used in a row for emphasis Onomatopoeia: sound words Repetition: repeating a word or phrase Big and Bold: text written in bold/ capital letters/ fonts Stretching out the print Hyphenated adjectives [made up words] White space –from Annemarie Johnson

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Writers’ Craft Techniques

Repetition

Print manipulations: capital letters, italics

Environmental print in illustrations

Sensory detail “orange smell, squash and pumpkin smell”

“trees are spreading their arms like dancers”

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Writer’s Craft Techniques

Onomatopoeia, sound effects

Print manipulation

Sequence, small moment

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Writer’s Craft in Class

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The Writing Process

Discovered children write more on unassigned topics

Not necessary to wait until children can read

By using simple prewriting frameworks, teacher modeling and illustration, even the youngest students can write

Supports NAEYC core principles (2009) of persistence, initiative, flexibility and attention.

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Journal entries: Last Year

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Writer’s Workshop: Early Childhood

Horn and Giacobbe:

Beginning weeks of school:

Teachers tell/model ordinary, everyday stories

Next, prompt children to tell their own stories about something they know

“Small moment” story zooms in on one moment, is a true story, lots of details, has beginning, middle, end

Ability to compose full, detailed stories has everything to do with having learned how to tell a story orally

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Writer’s Block

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Importance of Writing Routine

One-on-one, think /talk through their story and help them visualize what story will look like on paper

Do not suggest topics

Expectation: continue work on pieces the next day

The more detail in their storytelling, the more detail in their drawings and the words in their stories

Story forgotten w/o some teacher-written prompt

Thinking, Talking, Drawing, Writing

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Drawings

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Labeling

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Adding Details

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Both Writing and Storytelling

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Writing the Talk on Paper

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Writing in “Booklets”

Picture books are a familiar format

Booklets: pages of copy paper stapled together/cover

Logical structure for organizing story elements: one part of a story on each page > one sentence per page

Format encourages revision: manipulate the parts

Project-based learning: children develop and expand their own interests

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“New Shoes”

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“My Lost Puppy”

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Booklet: “My Lost Puppy” (p.2)

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“My Lost Puppy” (p.3)

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“My Lost Puppy” (p.4)

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A Flip Book

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Minilessons

(1) writing process: planning how to draw a story, finding new ideas, making sure the story makes sense, beginning, middle and endings

(2) craft: drawing lessons, creating dialogue, settings, using describing words and action words

(3) conventions: leaving spaces between words, where to put words on a page, what is a sentence

(4) *organization: keeping work in writing folders, how to add pages, materials, checklists

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Writing Center

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Architecture of a Minilesson

Connection to previous story, background info

Teaching point: name the point, “noticings”

Demonstrate with only one example (from another student’s work or mentor text)

Active engagement- try it right away: quick and small

Link: restate, rename what was taught: “you could try this, don’t forget to”

Group lessons by topic: ways to bring characters to life, vivid descriptions, actions, dialogue, etc.

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Revising, Editing and Assessment

Even for stories that are only illustrations, composing involves revising by (1)adding information (2) clarifying, (3) changing focus

Children need to see creation process happening: teacher models think alouds to transfer learning to their own piece

Develop habit of reading their words aloud.

Random, short, “one topic” conferences

Assessment: Cumulative writing records>Horn/Giacobbe

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Writing Sample

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Assessment Process

Look, name and record each

child’s work on regular basis Document progress Guides instruction Generate useful lessons Informs our teaching

Completed assessment form from Horn & Giacobbe (2007)

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Assessment Guidelines

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Modeled Writing Shared Writing

Teacher models all writing and thinking

Uses “think alouds”

Children learn writing skills by

watching others construct text

in meaningful writing activities.

(Fox and Saracho, 1990)

Teacher and children compose a message together while teacher writes on large surface

Provide opportunities to learn about concepts of print

Study printed texts

Lesson Formats

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Shared Writing

In addition to daily writers workshop:

Takes kids through entire process: from gathering ideas to drafting to revising an entire piece

Teacher coaches, restating and scaffolding language

Each child writes their own version of a shared story

Model qualities of good writing: voice, meaning, organization/structure, genre, details, conventions

Don’t over-focus on conventions, spelling or mechanics

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Teacher Support

Routine of writing daily in class

Importance of conferring: ask each child to tell you about their drawings/read their writing to you

Accept a child’s writing errors as opportunities

Focus on the process of drawing or writing – not the finished product

Scaffold instruction by modeling; taking children’s dictation; guiding children’s efforts; providing opportunities for children to write independently

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Take-Aways

Understand/encourage image-making as a beginning step to composition

Teach children “how to read like writers”

Don’t rush students away from drawing, into words

Stamina: return to work to add, enhance, refine

Separate spelling/mechanics from creative process

Writing teaches students critical thinking and organizational skills . It should become an important part of our Montessori curriculum from the very beginning years.

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Art and the Craft of Writing

“What if children are introduced to key qualities of good writing in the context of illustrations? What if children gain lots and lots of experience planning, drafting, revising and editing content in the process of composing illustrations for their books?” - Katie Wood Ray

In Pictures and in Words

-

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Recommended Support Materials

Realia, Making Language Real, available from primaryconcepts.com

Cultural storytelling kits: German (Hansel and Gretel & Rapunzel); African (The Girl who Loved Danger) available from montessori-n-such.com

Classic storybooks with storytelling props (Stone Soup, The Mitten, Gingerbread Boy, etc.), available from primaryconcepts.com

Story sequencing card activities, available from lakeshorelearning.com, among others

Cause and Effect story cards, available from Toys for Life (Nienhuis)

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Picture Book Mentor Text Suggestions

Burningham, Come out of the Water, Shirley

Cooper, Beach; Farm; Train

dePaola, Strega Nona, Christmas stories

Frazee, Roller Coaster (small moment, details)

Graham, How to Heal a Broken Wing (perspective)

Hanlon, Ralph Tells a Story (where to get ideas)

Palantini, Piggie Pie (word choice)

Root, The Rattletrap Car (onomatopoeia)

Rylant, The Relatives Came, The Great Gracie Case, In November, Scarecrow (sequencing, point of view)

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Picture Book Mentor Text Suggestions

Shannon, How I Became a Pirate, etc. (contrast story with events in illustrations)

Taylor, Coyote Places the Stars, Secrets of the Stone

(illustrations)

Van Allsburg, Garden of Abdul Gasazi, Jumanji

Wiesner, The Three Pigs (post-modern)

Willems, Knuffle Bunny ; Elephant and Piggie series

Yolen, Owl Moon, Welcome to the Green House, Welcome to the Sea if Sand (word choice)

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Non-Fiction Mentor Text Suggestions

Aston, A Seed is Sleepy, An Egg is Quiet, etc.

Davies, Bat Loves the Night, One Tiny Turtle, etc.

Franco, Birdsongs

Gibbons, Bats

Horowitz, Crab Moon

Jenkins, Hottest, Coldest, Highest, Deepest, Looking Down, Living Color, etc.

Munro, The Inside-Outside Book of Paris

Sidman, Butterfly Eyes and other Secrets of the Meadow

Yolen, Welcome to the Green House; Welcome to the Sea of Sand (word choice)

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Research Bibliography

Beginnings Ray and Glover, Already Ready (2008) Storytelling Dierking and Jones, Oral Mentor Texts (2014) Horn and Giacobbe, Talking, Drawing, Writing (2007) Moore, E, A mini crash course on oral storytelling, Two

Writing Teachers blog, 4/06/14 Montessori Schonfeld, J., “We are all authors!” Montessori Life (1996) Read Alouds Laminack, L, Unwrapping the Read Aloud: Making every

read aloud intentional and instructional (2009)

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Research Bibliography

Picture Books Serafini, F., Reading the visual: an introduction to teaching

multimodal literacy (2013) Wolfenbarger, C. and Sipe, L., A unique visual and literary art form:

Recent research on picture books, http://repositoryupenn.edu/gse_pubs/32 (2007)

Illustrations Olshansky, C., The power of pictures (2007) Ray, K., In pictures and in words: teaching the qualities of good

writing through illustration study (2010) Mentor Texts and the Craft of Writing Johnson, Annemarie,” Mentor Texts: Using children’s literature and

modeling to improve student writing, grades 3 and up”, available at www.Teacher2TeacherHelp.com

Wonderteacher.com blog

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Research Bibliography

Preschool Writing Schickedanz, J. and Casbergue, R., Writing in Preschool (2004) www.2.nefec.org>REACH project >emergent writing >ppt

Writers Workshop Avery, C., …And with a light touch, (2002) Giacobbe, M., Talking, drawing, writing (2007) Hubbard, B and Moore, E. Blog: Two Writing Teachers Johnston, P., Choice words (2004) Landa, M, Listening to Young Writers (2005) Larremore, “Chalk Talk”, in prekandksharing.blogspot.teaching children to draw,

4.29.12 Ray, K. and Cleaveland, L., About the Authors (2004) Ray, K. and Glover, Already Ready, (2008) Schrecengost, M., Writing Wizardry (2013)

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Other Reference Sources

Other reference materials [ focus more on specific mini lessons, teaching mechanics and conventions, and traditional writer’s workshop for early writers]

Bergen, R., Teaching writing in Kindergarten (2008) Dierking, C. and Jones, S, Growing up Writing (2013) Freeman, M., Teaching the youngest writers: a practical

guide ( 2003) Johnson, B., Never too early to write (2013) Parsons, S., First grade writers (2005) Rog, L., Marvelous minilessons for teaching beginning

writing K-3 (2007)