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Lesson 1 1:05-2:09

A. Universally-Designed Lesson Plan

Day 1: Introduction to memoir writing Question(s) to consider: Why write a memoir?

o "Why a memoir? It means the world becomes yours. If you don't do it, it drifts away and takes a whole piece of yourself with it, like an amputation..." –Ted Hughes (English poet and children’s writer)

o "Most of the basic material a writer works with is acquired before the age of fifteen." –Willa Cather (American novelist)

Questions for Memoirists (provide copies to everyone):o What are my earliest memories? o What are the most important things that have happened in my

life so far?o What have I seen that I can't forget?o What's an incident that shows what my family and I are like?o What's an incident that shows what my friends and I are like?o .....that shows what my pet(s) and I are like?o What's something that happened to me at school that I'll always

remember?o .....that happened at home that I'll always remember?o What are aspects of my culture that make me who I am?o What's an incident that changed how I think or feel about

something?o What's a time or place that I was perfectly happy?o What's a time or place when it felt as if my heart were breaking?o Can I remember a time I learned to do something, or did something

for the first time?

Writer’s Notebook: Begin brainstorming and responding to some of the questions above (provide student choice; encourage students to focus on those that spark their interests).

B. What actually happened…? What did you change and why?

My student teacher began class with a review of using text-based evidence when writing reading responses. She read a Scholastic article with the class called, “Hey you! Wake up!” They did not finish the warm-up until 1:25. Due to this, writing workshop time felt limited on day one. After introducing memoir writing, I decided to expose students to some humorous excerpts from Knucklehead by Jon Sceiszka (“Sorry Mom,” “Schooling,” and “Brother-sitting”). The addition

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of these stories helped liven up the lesson and preview for students that memoir writing does not have to be serious.

Initially, I forgot to emphasize to students that they could choose which memoirist questions to respond to, depending on what sparked their interests. So the end of my lesson required some clarification; consequently, we engaged in a lot of talking and thinking out loud.

C. Documentation/analysis of student engagement, struggles, and learning:

After Mrs. J transitions the lesson to me, most students await my introduction to the unit with their heads raised. I ask, “Who knows what a memoir is? One student, J.E., wonders aloud, “Is it like 50 Shades of Gray or something?” I redirect attention from him to other guesses. After a few more responses, K.W. asks if it has something to do with a memory. “BINGO,” I say.

Looking around the room, students are attentively listening. I ask them to get out their interactive notebooks and allow students who need to retrieve them from their lockers to do so. Using my SMARTboard, I project the quotes (previewed above) on the screen to build student understanding of the purpose of memoir writing. The quotes are from different authors. I spend more time on the second quote, which I explain relates directly to them: “Most of the basic material a writer works with is acquired before the age of fifteen.” We explore the meaning of the quote, and I look for interpretations: “What do you think acquire means in this quote?” E.X. responds, “Acquire means to get.” Through discussion, students begin to realize that their life experiences to date can become fuel for their writing. M.B. shares an early memory of a personal interaction he had with pro baseball player, Chipper Jones. The class and I are impressed, and we discuss how you can “explode” a moment like that in your memoir. At this point, I start to see the wheels turning…I further explain that a memoir tells more than something happy, sad, or unusual but creates an impression.

Before transitioning into writing time, I read three short examples from Knucklehead. Looking around the room, I note that all students are looking up except E.B. and C.H., both of whom have their heads down. While reading the passages, we talk about how memoirs are told in first person, using the pronouns I and me. Students chuckle aloud at the humorous parts, and at this point, they seem to grasp that a memoir focuses on a specific frame of time/memory.

I pass out the “Questions for Memoirists,” and students begin answering them in their interactive notebook. I try to emphasize that the purpose of these questions are to brainstorm possible topics; there is no pressure to settle on a topic today. Meanwhile, I check in with E.B. and C.H. E.B. reports that he is fine, but C.H. says that he feels sick (a sore throat), so I excuse him to the nurse’s office. *Caleb misses the next day of class.

K.G. asks, “Can you explain the question, ‘What is your earliest memory?’” Another student wants clarification on the “culture question.” I notice several students stop writing to hear my response. Others also voice confusion over my use of the word “incident” in the questions. I supply examples from my own life to show them how I would answer various questions. This seems to help.

I note that the students have a general behavior pattern of reading the questions, writing, conversing, commenting, and then reapplying their efforts to brainstorming again. To cut down on interruptions, I transition from the front of the room to moving around and talking privately with students. In our individual conversations, I see a wide range of memoir possibilities.

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Topics range from a student learning that her dad is not her biological father (K.W.) to D.T. reflecting on her first trip to Mexico, in which she met her grandparents. The following topics reemerge: broken friendships, best friends, divorce, sports success stories, sibling relationships, special pets, abuse (by a student’s mother, a boy’s father, and by a mother’s boyfriend) and losing loved ones.

Already, I am overwhelmed by how much pain and loss my students have suffered at such a young age. I am equally humbled that, more times than not, they are comfortable enough to share with me. An atmosphere of trust has been built in my classroom from day one. I assure them that I, too, will be talking about some hard memories from my life, including the events leading up to my brother’s death. I’m honest with them that writing about such memories is an emotional process and that it’s ok if they aren’t ready to head down that road yet. I say, “Even now, I cry every time I read my memoir about my brother.” Students seem impressed that I will share this with them. E.X. raises his hand and announces, “I lost my dad last year.” The class is visibly moved by his sharing. Several students murmur, “I’m so sorry.”

Students are taking today’s brainstorming seriously. The tone has been set. At the end of class, I provide about 5 minutes of sharing time. The following students choose to share parts of their brainstorming: B.S., L.B., J.C., K.W., K.G., K.W., M.B., and J.E.

I end class with the following advice/encouragement: “Remember that a meaningful topic will still be interesting and important to you ten years from now. Thank you for your efforts today!”

D. Thoughtful Reflection

o What went well? For whom?

K.G. said, “This is fun!” when I was reading excerpts from Knucklehead. Several of the students laughed during my reading of “Schooling” and “Brother-sitting.” They also seemed inspired by the following quote, "Most of the basic material a writer works with is acquired before the age of fifteen" –Willa Cather (American novelist).

Students appeared eager to start their brainstorming, and several wanted to share at the end of class. I believe this is going to be a very meaningful experience for my writers, and I am celebrating my opportunity to learn new things about their lives!

o Who struggled, why, and what did you do?

Because today was the first day of our unit on memoir writing, students required a high degree of background information about the new subject. I felt challenged to keep students engaged as they came to an understanding of the purpose and attributes of memoir writing.

Otherwise, the main student struggle boiled down to interpreting some of the questions. M.B., J.E., K.W., K.H., B.S., and K.G. all requested clarification regarding what I meant by earliest memories; they also struggled with the terminology of “incident” and wanted examples for the culture question.

o What would you do differently if you taught this lesson again? How will this reflection inform your next lesson?

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I would reword some of the “Questions for Memoirists.” I’m unsure that the students connected with all of the guiding questions or if the questions were fully effective in the brainstorming activity. Some students like H.H. did not write very much. More questions surfaced during this part of the learning than in any other part of my lesson. Either way, tomorrow, I need to check in with H.H. to make sure she is making progress and not feeling stuck.

Next time I teach this lesson, I plan on modeling my answers to some of the posed questions BEFORE turning it over to them. I may also play “Sunday in the South” to illustrate how our identity and memory-making are influenced by our culture.

Lesson 21:05-2:09


Day 2: “What You Know First” mini-lesson (adapted from Deeper Writing and expanded upon)

Question(s) to consider: What is your earliest memory? Who was there? Where did the remembered event occur?

Mini-lesson to review “show, not tell” strategies; students may work independently or in partners.

Example 1 Example 2

“She needed a job. A lot. She was hungry. She was poor. She went in a candy store to get a job” (Anderson, 2011, p. 62).

“Emily Watson peered in through the show window. The afternoon sun made a mirror of the glass, forcing her to shade her eyes to see inside. A long counter ran along one wall. On top were glass cases holding trays of candies—mounds of chocolate balls, butterscotch, peppermint lozenges. Emily’s mouth watered. Halfway along the counter stood a cash register, its gold paint glinting in the sunlight. The lady behind it was plump and motherly. And she was alone. Emily glanced again at the small sign in the window: Help Wanted.

She tugged down her too-short jacket and smoothed her skirt. Then, taking a deep breath, she pushed open the door. The jingle of the bell startled her”—Barbara Greenwod’s Factory Girl (Anderson, 2011, p. 63).

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Compare these two passages. What is the main idea of both passages? Circle which passage is more descriptive. List below the techniques used by the author to show, not just tell.

Main Idea:

Telling Showing

She needs work. “Emily glanced again at the small sign in the window: Help Wanted…Then, taking a

deep breath, she pushed open the door.”

She is hungry. “Emily’s mouth watered.”

She is poor. “She tugged down her too-short jacket and smoothed her skirt.”

She wants to work at a candy store. “A long counter ran along one wall. On top were glass cases holding trays of

candies— mounds of chocolate balls, butterscotch, peppermint lozenges."

Introduce “Noticings Chart for Memoir Writing,” and discuss five parts to reading like a writer:

1. Notice something about the craft of the text [language use, imagery, humor, organization, dialogue, etc.].

2. Talk about it and make a theory about why a writer might use this craft. 3. Give the craft a name.4. Think of other texts you know. Have you seen this craft before?5. Try to picture using this crafting in your own writing.

Mentor text: Read When I Was Young in the Mountains by Cynthia Rylant.o While reading, pause to record noticings. If needed, prompt students with

questions like, “What sensory details are included to help bring the memory alive?”

Transition into focusing on the following craft: strengthening writing with precise, easy to visualize examples using specific nouns (combine narrative teaching text ideas with Jeff Anderson’s specific nouns mini-lesson); reference excerpt from Missing May (also by Cynthia Rylant).

Looking at Cynthia Rylant’s Writing:

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1.) Brief Summary of When I was Young in the Mountains: The narrator reflects on memories of when she was young and lived in the mountains with her grandparents.Insight: Examples and elaboration bring substance to an author’s storytelling.Connection to Students/Writers: Look at how the narrator elaborates on the following memories from when she was little and living in the mountains:

Example 1- “Grandfather came home in the evening covered with the black dust of a coal mine.” Rylant could have stopped there, but she proceeds by elaborating: “Only his lips were clean…”

Example 2- “Grandmother spread the table with hot corn bread, pinto beans and fried okra.” How did her specificity of the food on the table strengthen the memory?

Example 3- “On our way home, we stopped at Mr. Crawford’s for a mound of white butter.” Rylant adds, “Mr. Crawford and Mrs. Crawford looked alike and always smelled of sweet milk.”

Example 4- “Sometimes a black snake came in the yard, and my Grandmother would threaten it with a hoe. If it did not leave, she used the hoe to kill it. Four of us once draped a very long snake, dead of course, across our necks for a photograph.”—What elaboration do you notice here?

2.) Brief Summary of Missing May excerpt: Main character, orphaned Summer, has been passed around from relative to relative, treated “like a homework assignment.” Summer has just come to live with her aunt May and sees May has a lot of stuff…

My eyes went over May’s wildly colorful cabinets, and I was free again. I saw Oreos and Ruffles and big bags of Snickers. Those little cardboard boxes of juice I always had, just once, wanted to try. I saw fat bags of marshmallows and cans of Spaghetti-Os and a little plastic bear full of honey. There were real bottles of Coke looking cold as ice in the refrigerator and a great big half of a watermelon taking up space. And, best of all, a carton of real chocolate milk…I was six years old and I had come home.

What nouns stick with you from the passage above? Close your eyes and listen for nouns as I read the passage again.

Underline examples.

Writer’s Notebook: Today you have two options. You can return to yesterday’s brainstorming and choose one of your responses to elaborate/expand with more detail. Or, you can select a place from your childhood and describe it using some of the crafts we observed today.

o Check-in. Move around the room. Block out time for students to share their writing.


Today’s lesson took longer than I intended. While I felt like our exploration of Cynthia Rylant’s craft was meaningful, students only had 15 minutes of writing workshop, five of which we spent sharing again.

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Anticipating time constraints, I postponed the review of “show, not tell” strategies and went straight into introducing the “Noticings Chart for Memoir Writing.”

I ended up using the desktop camera/projector to read, When I was Young in the Mountains, so that all students easily saw the writing and illustrations.


Students file into class enthusiastically. I briefly stop H.H. in the hallway. She informs me that she does a lot of her brainstorming in her head, not on paper. I prod her to tell me what she is considering writing about currently, and she tells me her brothers. I ask a few more follow-up questions and then dismiss her into the room.

When I walk in, E.B. is sprawled on the floor. He is dramatizing an injury and pretends to cry. I turn this disruption into a teachable moment by announcing that, in a few days, we will be doing Image Theater, in which students will act out memories from their childhood. The class seems excited by this, and I notice that while I’m talking, E.B. quickly finds his seat.

Today, I start class by asking, “What do you think it means to read like a writer?”B.S. responds, “Is it like trying to figure out why authors write what they write?” I am impressed with her insight. I explain that we will be focusing on author’s craft over the next few days. My students require clarification on what “author’s craft” means. R.W. offers, “Craft is how they write.” I expand on this thinking and tie in craft to a term they are more familiar with: style.

After passing out the Noticings Chart, we review the guidelines printed at the top for reading like a writer. I also direct their attention to specific examples of craft: language use, imagery, humor, organization, and dialogue. One student, M.N. raises his hand and volunteers that yesterday’s stories used humor. “Great connection!” I exclaim.

I explain that today we will be reading from When I was Young in the Mountains and analyzing what author Cynthia Rylant does particularly well. I tell them that after each page, we will pause and reflect on her craft—recording any examples we note on our noticings chart. Finally, I emphasize that I want them experimenting with the techniques that we observe in their own writing.

I transition into reading and develop the routine of asking for feedback at the end of every page. K.G. is the first to talk. She notes Rylant’s use of 5 senses to create a picture: “black dust…Only his lips were clean and he used them to kiss the top of my head.” I ask, “Why do you think she described her grandpa that way?” For the most part, my questions are thought-provoking and do not necessarily have a yes or no answer. Rather they are more qualitative and require a degree of personal interpretation. I try not to correct students as they offer answers but instead guide and expand on their thinking.

Our back and forth conversation continues for the next 15 minutes (I quickly realize that I did not account for how long it would take to record observations in my lesson planning).

Students contribute the following examples to our discussion:Noticings: What is the author doing (passage from text)?

Why do I think the author is doing this?

What can I call this crafting technique?

Have I ever seen another example of this

How can I use this craft in my own writing?

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craft?

“Only his lips were clean and he used them to kiss the top of my head.”

She wants us to picture their relationship.

Using imagery/5 senses (sense of sight)

For the most part, students answer yes to this question, but they report never having a name for these methods before.

Several students make the connection that these techniques can make their memoirs more descriptive.“The table top [was

covered] with hot cornbread, pinto beans, and fried okra.”

Again, she wants to create an image in the reader’s mind.

Using specific nouns

“shivering and giggling” She is showing how she felt.

Using strong action verbs

“My grandmother cried.” She is letting the reader know that this was an emotional moment.

Using short sentences for emphasis

“Frogs sing…cowbells ring outside the window”

She wants you to feel like you are there.

Using 5 senses (sense of sound)

"Four of us once draped a very long snake, dead of course, across our necks for a photograph.”

She is adding on to her memory.

Using elaboration

Modified from Katie Wood Ray (1999) Wondrous Words, p. 130

From here, I direct students to safely store these charts in their notebook; I explain that we will refer back to these throughout the unit. Next, I pass out a sheet, which narrows our craft focus to just one technique: strengthening writing with precise, easy to visualize examples using specific nouns. Together we look at examples of how Rylant elaborates on certain memories to bring substance to her storytelling. We also read an excerpt from Missing May, in which I ask students to close their eyes. Some students say they know the story. Several connect with the images and want to make comments. One student in particular says it reminds her of her grandmother’s house.

Realizing that we don’t have much class time left, I invite them to get out their interactive notebooks and to choose one of their responses to elaborate/expand with more detail. Additionally, I recommend the following option, “Consider selecting a place from your

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childhood and describing it using some of the crafts we observed today.” K.W. raises her hand and asks, “Can it be any place?” I clarify that “it should be a special place. A place that is personal to you. Describe the place with specific nouns like we’ve seen today.”

I notice that most of the students are absorbed in their writing, so I do not interrupt. The level of student engagement suggests that students are motivated to apply these new writing strategies. While walking around, I realize that M.N. is just sitting there. He seems tired, but has done a good job staying on-task up until this point. Together, he and I spend some time brainstorming; we talk about how he enjoys working in his dad’s shop on dirt bikes.

Unfortunately, we only have time for a few students to share (all of whom share about a place from their childhood):

N.O. (student with cystic fibrosis):

The moment I walk in, it hits me. It’s too clean; I’m getting a headache, but it’s my home for two weeks. My room is cramped up—no space at all. It’s so small. I feel like I am stuffed in a tiny box made for a hamster. I hear the screaming of a toddler, “Nooo, stop!!”—the needle goes down. The cafeteria food is alright, not the best. When I eat it, all I can taste is the dryness of it…these halls are my playground and the stairs are my jungle gym.

D.D.

The sound of sweet symphoniesThe taste of a mouthpieceThe smell of spit and cork greaseThe feeling of spring loaded keys

Notes are played with determinationSteady breathing and relaxationA slide not comes out

Some high, some shotSome low, some longThey all come together to make a song

M.B.

The dirt, the diamond, the mound. One base after the other. Innings of hard work, knees shaking of exhaustion, head pounding with pressure. The smell of fresh leather, the constant sounds of the game and cheering of the fans. Your teammates chanting: Tick tock, tick tock…BOOM (homerun).

K.W.

Looking around, I see rocks bordering the smooth passageway of water. Everywhere I step, leaves crunch below my feet. I look over to see a pile of clay smashed together, looking as if it was a wall between a fairytale and reality. I grab hold of the big roots from trees on the other

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side and climb up. I look over the wall to find an open sage with a small creek running through the middle. A great view of the stars at night…This is my second home.

K.G.

It’s bright and sunny. The tire swing is swaying in the gentle breeze. The grass is a faded green. All kinds of bugs like Monarch butterflies and ladybugs scour around the trees. The brown and yellow leaves surround me. This is where I found my peace and quiet. Where I don’t have any worries. This is where I found my inner beauty…the inner beauty that makes me who I am.

[Note: Of these students, only M.B. incorporated his brainstorming from today into his final memoir; inspired by my poem, he transformed this into a repeating chorus! More to come later…]


o What went well? For whom? (specific examples from your documentation)?

Throughout the lesson, I presented the class with opportunities for student voice (whether they were contributing ideas to the noticings chart or making personal connections to what I was reading). More importantly, this lesson provided students an opportunity to explore different descriptive methods of writing and to further consider possible topics for their personal memoir. I was VERY impressed with their use of five senses in their writing (as illustrated above in the student examples). Several students, upon hearing classmates share, feverishly returned to their own writing to make changes/add more. E.X. did not want to leave class because he was inspired by a peer to take a new route.


To recap, towards the end of class, I noticed that M.N. was just sitting there. He struggles with focusing, and up until this point, he had done a good job of staying on-task. I realized that he was probably decompressing from the day’s lesson. Together, he and I spent some time brainstorming; we talked about how he enjoys working in his dad’s shop on dirt bikes. He was able to jot down a few ideas before leaving.


Next time I do this unit, students will record noticings on a visible (easy-to-reference) class chart instead of asking students to record individual copies. This would be a huge time-saver! I also feel like there was some repetition in today’s lesson that needs to be cut out before I redeliver this lesson.

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Tomorrow’s plans need to be reevaluated. I’m not sure that students need the “showing, not telling” warm-up (with the factory girl excerpts and t-chart) after today’s lesson. I also make a note to remember to catch C.H. up on what he has missed when he returns to school.

Lesson 31:05-2:09


Days 3: Using “show, not tell” strategies cont’d in your memoirs Question(s) to consider: How does Gary Soto go beyond telling to showing with his

words?

Mentor Text: Read “Seventh Grade” by Gary Soto.o Split focus across two days (with two 10 minute mini-lessons)

1. Replacing “to be verbs” with strong action verbs2. Using figurative language to paint a picture3. Inserting dialogue effectively (optional)

Writer’s Notebook: Experiment with 1 or more of the above “show, not tell” strategies in your own writing. Label which one(s) you use for us to discuss during conferencing time.


Today’s lesson changed dramatically. Before reading “Seventh Grade” by Gary Soto, I recapped with students “showing, not telling” strategies (see worksheet below). Meanwhile, I instructed them to sticky note at least one example of each “showing” method while listening to today’s text.

SHOW ME…DON’T TELL ME!

Definition: This type of writing creates an image in the reader’s mind, instead of telling the reader what to think or believe. Showing allows the reader to follow the author into the moment, to see, feel and experience what the author is writing1.

How to SHOW (not just tell) with your writing:

1. Replace “to be” verbs [am, are, was, were, is, being, been] with strong action verbs.

Telling- Showing-

1 Daily Writing Tips

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http://www.dailywritingtips.com/show-dont-tell/


2. Use specific, precise words; avoid common nouns.

Telling- Showing-

3. Incorporate dialogue—it allows the reader to experience the scene as if he or she is there.

Telling: Showing:

4. Use 5 senses. Telling: Showing:

5. Use figurative language (onomatopoeias, similes, and metaphors).

Telling: Showing:

After finishing the story, I conducted a class vote on whether or not students felt like the story accurately portrayed the life of a seventh grader. 19/23 (83% of students) argued “Yes” Those who voted “No” provided logical justifications such as how Biology, Spanish, and French are only offered at the high school level, not here at EJMS.

Students then returned to their sticky notes and recorded observations next to the telling and showing bullet points. We did NOT split our focus across two days on the strategies outlined above. I felt like students had a decent grasp on “showing, not telling” after seeing their interaction with the text through sticky notes.

During writing workshop, most students changed gears with their brainstorming and reflected on embarrassing moments from their schooling (assumedly due to the content of the story). Again students were absorbed in writing. I feel like more conferencing will happen next week when students finalize their memoir topic. Right now, they are still experimenting and exploring.


Students enter class and appear eager to read the agenda. I tell them that today we will be reading one of my favorite stories by Gary Soto entitled, “Seventh Grade.” We pass out “the big red literature books,” which students seem to have a negative association with (This is the first time we’ve used these books in my class; however, they are standard in the language arts classroom.).

Meanwhile, I pass out a comprehensive worksheet that recaps the “showing, not telling” strategies we’ve started exploring this school year. I ask them to keep track of specific “showing” examples for each strategy, as I read aloud, using sticky notes. Sticky notes are provided to every student.

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Students quickly become invested in the story despite their apprehension about reading from “the big red literature books.” They like hearing me take on different characters’ voices. Throughout the story, various students (K.G., D.T., M.B., B.R., B.S…) can’t help but giggle or blush.

Some are using their sticky notes as I read; others are listening attentively and are not able to multi-task. When I finish reading, I invite students to return to the text and find additional examples of how Gary Soto “shows” with his writing by using strong action verbs; describing with specific, precise nouns; incorporating authentic-sounding dialogue; using five senses; and using figurative language. I realize that not all students are ready to do this independently, so I provide a scaffolding of options: they can work in a small group with me on the floor; they can partner up; or they can work independently.

M.N., C.H., J.Y., B.R., and J.M. join me. Before beginning our hunt, I quickly ask these students to assist me with catching C.H. up on what he missed yesterday. They are eager to be the teacher, and one student grabs her “Noticings Chart,” so that he can copy it. I ask him if he would like to check out Rylant’s When I was Young… and he agrees. I am hopeful that he will read it tonight, and I encourage him to add any additional observations to his own chart.

Together, my group and I record the following examples. I notice that they do not struggle necessarily with finding the “showing” examples but require guidance on deciding how to write them as “telling” sentences:

SHOW ME…DON’T TELL ME!

Definition: This type of writing creates an image in the reader’s mind, instead of telling the reader what to think or believe. Showing allows the reader to follow the author into the moment, to see, feel and experience what the author is writing2.

How to SHOW (not just tell) with your writing:

1. Replace “to be” verbs [am, are, was, were, is, being, been] with strong action verbs.

Telling- The students were restless. Showing- “The principal, Mr. Belton, spoke over the crackling loudspeaker, welcoming

the students to a new year, new experiences, and new friendships. The students squirmed in their chairs and ignored him, they were anxious to go to first period.”

2. Use specific, precise words; avoid common nouns.

Telling- He bought some stuff for lunch. Showing- He bought a tuna casserole with buttered rolls, some fruit cocktail, and milk.”

3. Incorporate dialogue—it allows the reader to experience the scene as if he or she is there.

Telling: Michael and Victor talk about their class schedules. Showing: “What classes are you taking?” Michael said, scowling. “French. How ‘bout

2 Daily Writing Tips

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http://www.dailywritingtips.com/show-dont-tell/


you?” “Spanish. I ain’t so good at it, even if I’m Mexican." “I’m not either, but I’m better at it than math, that’s for sure.”

4. Use 5 senses. Telling: He was nervous. Showing: “A river of nervous sweat ran down his palms.”

5. Use figurative language (onomatopoeias, similes, and metaphors).

Telling: Victor no longer felt embarrassed. Showing: The rosebuds of shame on his face became bouquets of love.

Some, not all, students finish early and are able to write in their interactive notebooks. Today, my student teacher, Mrs. J., takes the reigns with conferencing while I wrap up with my small group. She reports to me that most students changed gears with their brainstorming and reflected on embarrassing moments from their schooling At the end of class, K.H. asks me if I will read what she wrote today. Even though the bell already signaled students to change classes, I make time—seeing excitement spread across her face.

It was a normal Wednesday morning, but I didn’t know what lay in store for the day. I was on the way to school while listening to Country music on my phone. Around 7:55 A.M., we arrived at East Jackson Middle School. I went inside, and I saw a huge crowd of hungry kids coming like a herd of cows pushing their way to the breakfast line. It was chicken biscuit day. I was very glad I wasn’t in that line.

I walked past the huge breakfast line and went to my locker. All of a sudden, a 6 th grader came flying down the hallway and hit me in the head. All I saw was everyone laughing and pointing while laughing at me like there was no tomorrow. My face went from tan to pure apple red. I thought that’s a “great” start to a Wednesday!

I can tell that K.H. enjoyed experimenting with and incorporating figurative language into her writing. I brag on this and ask if she will share it during class tomorrow. We quickly discuss what her focus is and whether or not her morning routine deserves as much focus as the embarrassing incident. I also encourage her to go back and replace some of her weaker verbs, like “saw.”



I believe that yesterday’s activity helped prepare us to read more like writers today. It also didn’t hurt that students were very engaged in the storyline. My enthusiasm transferred to them, and students found themselves empathizing with main character, Victor.

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Giving students options for how to find their “showing” examples also proved beneficial. I did not sense that any students were left flying under the radar.

As evidenced by K.H.’s enthusiasm for her writing at the end of class, my students are starting to feel more successful at writers, one day at a time. I can’t wait to see how their writing identities transform over the next week and a half.


Thankfully, there weren’t many opportunities for students to struggle today. However, as mentioned above, my group did need help with determining how to rephrase the “showing” sentences into “telling” sentences. Changing them into “telling” sentences felt like an unnecessary, extra step (food for thought for next year).

Beyond that, I was approached by a few students seeking confirmation that they had found an example of figurative language. This happened more than once.


Before reteaching this lesson in the future, I need to ensure that my students have a broader understanding of the different types of figurative language. Looking back, I should have dedicated some time to familiarizing students to figurative langue through mentor texts before asking them to identify them in this teaching text. Songs are rich resources for figurative language, and I may choose a few popular titles to showcase similes, metaphors, personification, hyperboles, idioms, etc.

Tomorrow, I need to check in with C.H. to see if he followed through with reading Rylant’s book. I also will need to assess his understanding of the Noticings Chart. Additionally, I plan on giving K.H. the floor to share her writing.

Lessons 4-51:05-2:09 x 2

A. Universally-Designed Lesson plan

Days 4-5: “Selecting a best picture” (adapted from Jeff Anderson’s book, 10 Things Every Writer Needs to Know, 2011, pp. 74-77)

Question(s) to consider: Can you think of a time you wanted to capture like a photograph?

o Play “Photograph” by Nickelback as students enter the room.o Begin class with Image Theater. Instruct students to choose a specific time in their

life, and create an image (without words) to illustrate that time. Model for students first; then call on volunteers.

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Mentor Text: Read “16 Pictures of My Father”. (http://www.chicagoreader.com/chicago/sixteen-pictures-of-my-father/Content?oid=873999)

o Discuss with students how “the power of detail isn’t piling on more and more as much as it is picking the right details…if we are going to paint a picture of a person, we consider things they do, the kinds of things they say, and what others say about them, but readers also long for some clues about the person’s appearance” (Anderson, 2011, p. 74).

o Show students a personal photo (of my brother and me playing pool) to give them insight into the relationship.

o Say, “This is one of many special memories I shared with my brother captured on film. ‘Even when I don’t have the photo with me, I carry it around in my mind’” (Anderson, 2011, p. 74).

"I thought of you with love today, but that is nothing new. I thought about you yesterday and days before that too. I think of you in silence, I often speak your name. All I have are memories and your picture in a frame. Your memory is my keepsake, with which I’ll never part. God has you in his keeping; I have you in my heart." ~Author Unknown

Ask students to go home and look through photos for possible story-starters. Say, “Include a family member on your search/investigation. Remember that memoirs revolve around relationships with family, friends, pets, objects, and places.”

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http://www.chicagoreader.com/chicago/sixteen-pictures-of-my-father/Content?oid=873999

http://www.chicagoreader.com/chicago/sixteen-pictures-of-my-father/Content?oid=873999


o Day 6: Play “Freezeframe,” and offer students the opportunity to share their photos (unless too personal) using the desktop camera.

Writer’s Notebook: Students can use their picture as a brainstorming activator for their writing, similar to what was modeled in the previous day’s mentor text.

o Model example (using picture of Travis and me): Time travel may not be real, but who's to say that a picture can't serve as a powerful time machine. When I look at this picture, I'm transported back to my childhood. Not yet tall enough to play pool on my own, a much younger me watches and learns from my brother. Even back then, I looked up to him.

o Make the point to students that this snippet establishes a focus (relationship between a sister and a brother) with the reader. Where I take it from there is limitless…

o Continue conferencing.


After previewing the “16 Pictures of My Father,” I realized that some of the stories contained mature language and inappropriate content, so I made copies of pictures 1,3,8,13,15,16 to share with the class instead of referring to the link. Otherwise, most of my plans stayed the same.


PART 1:

I inform students, as they walk in, that what we will do today is highly enjoyable, but to hurry and get seated. Prior to starting the lesson, I ask K.H. to share her writing from yesterday. Classmates clap for her when she is done, and my heart is so proud.

I explain that we will start our mini-lesson off with a song called “Photograph” by Nickelback and that they will need to think about the following question as we view/ listen to the music video: “Can you think of a time you wanted to capture something like a photograph?” The song plays for approximately 4 minutes, and students listen attentively. I remark that this is a song about memories: where he lived, went to school, a memory of who he used to be.

I transition from the song into Image Theater. We have done this type of warm-up before, so students are familiar with it. B.R. reminds the class that Image Theater is like charades. I instruct them to think of a vivid memory and try to recreate it through a non-verbal image.

I model first, pretending to be riding a bicycle. B.S. guesses that I’m riding a snow mobile. I realize that I need to emphasize my pedaling more and reenact my image. A few other excited students raise their hands. D.T. makes a correct guess. Following my image, I elaborate about my memory of first riding a bicycle without training wheels, specifically telling them about my first biking accident in which I rode downhill smack into a basketball post. I add that I learned three important things that fateful day: to watch where I was going, to learn how to steer, and to become well-acquainted with using my brakes!

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J.E. volunteers to go next. He proceeds to jog and kick an imaginary ball. K.M. correctly identifies that he is a soccer player kicking the ball for a goal. He elaborates that he has been playing soccer since he was 4. M. B. imitates his first time striking out at bat. Students easily guess he is batting. He clarifies their guesses when he explains that he was striking out for the first time. K.G. takes the front stage next. She appears to be petting something. We find out that she is pretending to pet her dog Koko, who she had to give away last year.

A few more students participate before I realize that we need to move on due to time limitations, so I transition into looking at “[6] Pictures of My Father.” I pass out copies to everyone and ask them to follow along. Before reading, I explain that this author chose to inform readers about her relationship with her father through snapshots/pictures of their lives.

After each photograph, I stop and check for understanding. For example, following picture 5, I ask: “What do you think the check writing tells us about this daughter-father relationship?” E.B. infers, “He is supporting her with money because he is rich.” “This may be true,” I say, “but let’s go a little deeper.” Another student suggests that maybe this is how he shows he cares for her, by providing for her needs. We move on to more pictures. Everyone seems to appreciate how the author ends with a happy flashback, and we discuss that this is a technique they can model in their writing. Before switching gears, I note that the author-if she wanted to- could have “exploded” any one of these snapshots into a memoir. They are all singly significant.

Next, I share a photo from my childhood with a caption attached. I explain that this particular snapshot illustrates how much I looked up to my brother. In the photograph, he is playing pool, and I am watching him intently. I preview for them that pictures like this one serve as time machines…they take you back. I can use this image as a jumpstart for thinking about my brother and what I want to write about him. After sharing this, D.T. raises her hand and says, “Thank you for sharing.” My students really care.

I end part one by telling students that they will be responsible for bringing in photos of their own tomorrow. Everyone is encouraged to take out his/her agenda and to write a reminder. I suggest to students to involve their families in the process. I add, “Find a picture that might be a starting point for your writing or that might complement what you’re writing about. Please know that you won’t be locked into writing about the content of your photo. Think of this assignment as a continuation of your brainstorming.” Feeling curious, I ask students, “How many of you have already told your parents that we are writing memoirs in class?” More than half of the class raises their hands. I feel empowered, and so do the students.[Note: Before C.H. leaves, I ask him about Rylant’s book. He reports having read it with his mom. He seems to have really enjoyed it. Apparently his mother made a lot of connections.]

PART 2:Today, I promise students ample time for writing and conferencing. I quietly play

“Freezeframe” in the background and ask students the significance of the title. J.C. suggests that “it’s when you freeze a photo.” We draw the connection that their pictures are freezing a moment in time.

I learn that 16 students involved their families in choosing their pictures, and two parents even emailed me pictures. Three students do not have a picture and are addressed individually. I do not penalize them. After housekeeping is taken care of, students are given the opportunity to share their photos (if they want) with the whole class under the desktop camera. I go in

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alphabetical order, offering each person a chance to share or say, “Pass.” Several choose to share and most offer explanations with their pictures.

M.B.’s picture is of him decked out in his baseball jersey from last year when they won the championship. [He ends up writing about this.]

L.B. shows a picture of her dad reading to her. [This sparks Logan to write about her dad’s accident and how everyone wondered if he would live through it.]

J.C. passes. J.E. passes. K.G. projects a picture of her and K.C. from a preschool fieldtrip. [She does not pursue

this topic further.] H.H does not have one. K.H. presents a colorful picture from Sea World depicting a killer whale doing a trick.

“Is this a family vacation,” I ask. “Yes,” says Kayla, “Our family vacation.” [K.H. ends up writing about a separate family event: her 10th birthday party.]

J.M. has a picture of his mom and his dad. He explains that the photo was taken before his parents gave him up. “Mom is a drug addict.” I ask J.M. when he last saw her. He elaborates, “I saw mom a year ago on my birthday.” He continues to express how he and his foster family have not heard from her since then. The students then clap for Justin when he is done. They realize— without me saying anything— that what he has shared is very personal. [J.M. uses this photo in his final memoir.]

M.N. does not have one. N.O. passes. B.R. brought a picture of her and her mom. They are hugging. [Their relationship is

highlighted in her final memoir.] B.S. shares a photo of her baby niece, who died shortly after birth. Students are very

respectful of this news. [B.S. uses this as the topic for her memoir.] D.T. shows a picture of her sitting next to a big bunny given to her by her grandpa in

Mexico. [Her memoir talks about meeting her grandpa for the first time in Mexico and then losing him one year later.]

N.V. shows a picture from confirmation Sunday. [She uses this as the basis of her memoir.]

E.X. passes. K.W. passes. J.Y. does not have one.

With some pictures, the students ooohh and ahhh. They obviously enjoy learning more about their peers.

Once everyone has shared, I refer them back to my picture and share my brief reflection. I invite students to also reference yesterday’s mentor text. For the remainder of class, students use their time to work on their memoirs and to conference with me. One student asks, “How long do our memoirs need to be?” D.T. answers the student wisely, “It should be as long as you need to say what you need to say.”

During writing workshop, I remind them to be respectful of their peers and to keep their noise level down. Students are given the option to listen to their iPods. Most students grow quiet and begin to write; some seem to be chomping at the bit to develop their stories.

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I begin the workshop by checking-in with every student to make sure that—at this point in the unit— they have secured a clear direction for their topic. I spend between one to two minutes per student. Some require a few more minutes like M.N., but everyone is able to provide me with a topic.

I then pause to assess the pulse of the room. J.M. has his head in his palm and he is writing. He has the photo of his mom in the frame on his desk. B.S. gets up to sharpen her pencil. I notice that C.H. has not taken a break … He is still writing and finally he looks up and stretches. He glances around the room. K.G. is writing; she sits across from D.T. J.C. is starting off into space. I do not bother him.

The following students request additional conferencing: B.R. notifies me that she is talking about her mom and their relationship. “Like she is

always there for me, and she is my best friend.” I follow-up by asking B.R. if she can think of an activity or tradition the two of them do together that illustrates their close bond (i.e. painting nails, shopping, or just sitting on the couch talking). B.R. tells me that she and her mom always go grocery shopping at Wal*Mart and that her mom often buys her a donut. Satisfied, she decides to go back to her desk to write more.

D.T.: She is debating between to two topics (one is very sad; the other is sunnier). I ask her which one she feels most strongly about. She tells me her grandpa, but she is worried about whether or not this topic will be too hard. I let her know that I will be here for her, and I am in support of either decision. She returns to her seat.

K.C. is thinking about writing about her parents’ divorce. She wants to focus on her dad. It is clear to me that she is close to her dad; however, she does not show that to me in her writing. I ask K.C. for ideas on how she can “show me” with her words. We brainstorm together, and K.C. tells me that they watch football together every weekend. I tell her this is exactly the kind of detail she needs to include.

J.E. still seems uncertain about his topic. Right now, he is writing about his cat. I ask him, “How can I help? What do you want me to look for?” He seeks reassurance that it makes sense and does not jump around. I confirm that it flows and provide some follow-up questions: “How did you get the cat? What circumstances brought her into your life? How long did you have her?” He returns to his area.

I end by conferencing with J.M. He explains that he has never written about this topic before. I proceed to read the following excerpt:

Some people think their life is perfect. My life isn’t so perfect, I’ve been to six houses and most of them I hated. My mom is an alcoholic; she has been that way all of my life. The year was two thousand and twelve. On July 20th, I was sent off to foster care. I talked to my mom about it, but she said, “Take him.” That made me start crying because it felt like she just didn’t care about me anymore. A few months later on my 12th birthday she came to see me. I started running right to her and just left my foster mom at the car. She came with my papa to McDonald’s. We started talking and then we left; they took me home, and I never saw them again. I moved in with my uncle and they never called... It made me so sad. Here I am over a year without talking to my mom or papa, not knowing my dad at all…

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With J.M., I simply say, “Keep writing. Keep adding. I hesitate to interrupt you because you are on a roll!”

Class is over too quickly, and students are disappointed to leave.



It is obvious that students connected with the music and imagery. Days 4 and 5 offered students with a wide range of participation options. They appeared more energized and interested. For the most part, students LOVED doing Image Theater and sharing their photos. They also appreciated every time I shared a personal connection. At the end of class, M.B., K.G., J.E., D.T., and K.W. were visibly bummed that class was over. They wanted to keep writing.


Three students were not able to supply pictures. However, all three students knew where they wanted to take their writing, so I did not push the matter. I knew that bringing in a picture may present a hurdle for some students. K.W. started crying at the end of class, and I reassured her that this was nothing to be ashamed of. I emphasized once more that writing memoirs can bring out very difficult emotions.


Next time I teach this unit, I want to involve families from the very beginning by sending home an informational letter. I think this would set the right tone and communicate to students just how invested I am in the process.

Beyond that, there aren’t many changes I would make to days 4 and 5. Perhaps during the music video, I could ask students to look for specific details. Some students could pick out lyrics they heard that created a mental image or helped them understand the song’s purpose. Next week, I must be diligent about protecting writing and conferencing time.

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Brooke’s Teaching Journals · Web viewShe read a Scholastic article with the class...

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