I set my summer professional goal to ramp up writing instruction. It’s an area in which I feel a level of competence and confidence, but I am always looking for ways to improve. I asked Twitter for suggestions. I’m embedding the tweet here so you can follow the suggestions if you like.
Best professional learning books with ideas for teaching writing to high school students? #nctechat#engchat
Later, this tweet also crossed my timeline, so I’m embedding it, too:
Hi @ncte !! 😃 I’m looking for recs on a similar mentor/companion text like How To Read Literature Like a Professor, but for *writing* 📝 Hoping to use with my 11th grade Lit & Comp classes 👍🏻 Any ideas?! #nctevillagepic.twitter.com/hAeUukhJBn
Maggie’s question is really what I was trying to ask in a way: I am looking for something that goes beyond theory and offers concrete ideas for exercises to try. I don’t need to give the book to students, but I do want takeaways I can actually use.
I did, however, get a lot of great suggestions, and I will read through some of the selections and post thoughts here on the blog from time to time. I won’t devote a blog post to each book I read. I might read a few of them and then write a blog post with quick thoughts and takeaways from each book.
It took me many years of teaching, but I ultimately developed this philosophy a few years ago. In fact, I have been known to say the first two sentences of Kelly’s tweet, word for word, especially to parents on Back to School Night, mostly when I explain my revision policy. However, I admit that thinking of papers as “best drafts” was new language for me. I have started using it with my students this year. In fact, yesterday, I told my AP Lit students I have been wrestling with a piece of writing for months now, and I am really frustrated with it. Honestly, I knew some of the changes we had implemented in writing instruction in our department were bearing fruit when their response was to offer to workshop it for me. I nearly cried.
Maybe I will take them up on it. Meeting their writing needs is more important to me, though.
Let’s just say it’s a very important piece of writing. I worked on it today a little bit, and I am much happier with it, but I shared with my students that I was particularly bothered by too many instances of passive voice—ironically, something I just taught to my freshman students in the last couple of weeks. I found about seven examples of passive voice in my two-page essay.
Writing is hard. I really care about this piece of writing. Striking the right chord with its intended audience is critical. I typed a sentence. I erased it. I typed a new sentence. I erased it. I growled in exasperation. My husband, who is busily writing articles for Maxim online about six feet away from me asked me what was wrong. I said, “I can’t write.”
He did what husbands do—especially, I think, writer husbands—and he offered to help me. I was so angry at myself that I probably didn’t respond. I can’t recall what I said if I did. But I did something I am always telling students to do when they can’t start. I began in a different place. I rewrote a passage that came toward the middle of my third draft. Then I filled in a bit at the end. Then I went back to the beginning again. I scanned my third draft, looking for anything I might be leaving out. I thought a great deal about active voice. I researched a little bit online. I added more to my draft.
I am a lot happier with the fourth draft. I wonder how long that feeling will last? In any case, it’s important that English teachers regularly engage in this process they ask students to do. It’s difficult work, lest we forget how hard it is, and if we are to instruct others how to do it, it’s important that we do it, too.
My thinking about the topic, which happens to be assessment, has changed so much over time. I know many people don’t agree with me about this, but I don’t average grades when students revise. I replace the grade with what the student earns on the new draft. I am not even sure that Kelly Gallagher is advocating a total grade replacement when he talks about all writing being eligible for revision. My only stipulation is that students revise within a week of receiving my feedback so I don’t go crazy trying to keep up with work—it’s not fair to me to wait until the last day before a grading period ends, for example. My students revise like mad. A few elect not to do so, but they know the policy, and they are making that choice.
I care a great deal that students’ writing improves—much more so than maintaining a hard line about a grade. I don’t really even like grades, as regular visitors to this blog will know. Some students will demonstrate mastery of a concept the first time they attempt to show what they know. Others will take a few tries. If the end product is similar, why shouldn’t the grade be similar? I understand the argument that we should reward the student who does it right the first time with a higher grade. I suppose I disagree on the grounds that sometimes it took me a long time to understand a concept, but once I did, my understanding was as deep and profound as the person who got it on the first try. In fact, my determination in trying to learn it is worth something.
At some point, this piece of writing I am laboring over will be due. It will have to be a final draft, too, because of the nature of the work. I’ll work like mad to make sure it’s my best draft. One thing is certain: working on it multiple times has already yielded much better work than I did on my first draft.
You can learn interesting things in some unlikely places. I had the great fortune to be able to see U2’s Joshua Tree concert in June, and shortly after I attended the concert, I came across the interview (embedded below) on their website. If you are a U2 fan like me, you might want to listen to the whole thing, especially because I think much of what Bono says in the interview applies to learning in general and to writing in particular. He cringes about a few word choices he has used in the past, and he also says it “wigs [him] out” to listen to his singing on the album, so he hasn’t really listened to it. Of course, he had to listen to it in order to prepare for the tour, particularly because some of the songs are rarely performed, and “Red Hill Mining Town” had never been performed live before.
One thing Bono said at about 10:20 into the video has had me thinking ever since I saw this interview for the first time over a month ago. He remarks that he feels he didn’t get to finish the songs on Joshua Tree even though the band made “finishing” the songs a priority for that album. The incredulous interviewer asks which songs Bono didn’t get to finish. Bono says “Where the Streets Have No Name.” If you are a U2 fan, or even if you can’t stand them, you know that song. It’s one of their most popular, most enduring songs. I still hear it all the time when I go out places, like restaurants. Bono’s bandmates laugh at Zane Lowe’s incredulous response to Bono’s answer. Bono explains that he feels that “lyrically, it was just a sketch.” He imagines the song is an invocation, he is asking “do you want to go to that other place,” a place of “imagination” and “soul.” Over time, he has added this invitation into the lyrics when he performs the song, and he feels the “hairs on the back of [his] neck go up,” which I interpret him to mean that he feels the lyric is more finished with this line than it was as he recorded it.
Zane Lowe asks, “But how can you ask a question of an audience with a complete thought?”
Bono’s reaction to that question is what I found most intriguing about this entire interview.
Bono: Okay. Interesting. That’s interesting that you should say that..
Zane Lowe: Aren’t you waiting for us to answer the question for you?
Bono: Yeah, but what it is, and I shouldn’t really say this, but just as a… you develop vanity as a songwriter.
The Edge: He’s very hard on himself. Very hard on himself.
Bono: No, but you’ve got vanity as a songwriter, [and] I’m sure it’s the same for drums, the same for [unintelligible]. And it’s just, I knew I could write that better… Anyway, I think what you just said something really important there, and incomplete thoughts are generous because they allow the listener to finish them.
I would argue that the fact that Bono, and really the group as a whole, are hard on themselves and on each other is what makes them a band that has endured and has remained popular with many people over the years. What I mean by that is they are critical friends and help each other get better because it will help the team get better. Part of that means being honest about what is working and what is not.
I am considering using part of this video as a mentor text for thinking about writing this year because what Bono has to say about incomplete thoughts being generous made me think about what poetry does for us that other forms of writing do not do. I also really enjoy hearing someone who has been so successful in so many ways express how he feels he could have done better. One statement I make a lot when discussing writing is that it is never done; it’s just due. If we are writing a newspaper article, a statement of purpose, an educational philosophy, or an essay for school, or any kind of writing we imagine, if it’s writing meant for an audience, at some point, it’s due. We need to let it go and say it’s ready, even if we might tweak it ad infinitum.
It’s an important message for writers to hear, I think, that good writers, successful writers, struggle with the craft and wish they could do better. Bono, for example, disparages his rhyme of “hide with inside.” Honestly, that’s one of my favorite parts of the lyric. One of the reasons this interview struck me, and particularly the parts I quoted above, is that we sometimes dismiss writing because we did it, not realizing that others might respond to it in an entirely different way. Sometimes, we might not be the best judges of what works and doesn’t work in our own writing. All the more reason to give writers an audience—to offer them our incomplete thoughts and allow others to finish them.
I have been trying a new technique to keep myself organized this year. On September 14, on a whim, I divided my journal page for that day down the middle and wrote “Stuff I Did” on the left side and “Stuff to Do” on the right. I hadn’t done it before. In fact, I’d been using the journal mainly to meditate on the day—when I remembered to do it, which was not very often.
Something about making that list of all the things I had accomplished that day made me feel like I had been more productive. What I liked about having the “Stuff to Do” list is that it enabled me to keep things going for long-term projects or for incomplete work. I might have “grade essays” on there for a few days until they’re done, but having to keep writing it again on “Stuff to Do” makes me want to get it moved over to “Stuff I Did.”
I have played with the idea of doing a bullet journal. I’m drawn to the organization. Then again, this weird little system of mine works, so it may be self-defeating to tweak it. I find I enjoy the time I set aside to take stock of the day. Sometimes I write things down as I do them. Sometimes I wait until the end of the day. I do find I am working my way through my to-do lists more quickly, and the “Stuff to Do” list gives me a place to start the next day. I start the day’s list by looking back at the previous few days’ lists to see what needs doing and what I am going to continue to move over to today’s “Stuff to Do” list because it’s not going to happen today.
I also use the journal to take notes in meetings that are likely to involve tasks to do. For example, if I’m in a department chairs’ meeting or meeting with my Dean of Faculty, I will probably have new items to add to my “Stuff to Do” lists.
So that’s your peek into my journal. I have a separate Moleskine cahier notebook for taking notes and writing ideas.
And speaking of writing, I’m trying NaNoWriMo again this year. I didn’t do too badly for the first day. My goal was 1,667 words, and I wrote 1,793. I have a fun idea, but it was hard to write myself into the story today. I am learning that I have become a much more fluent writer over the years. When I first started participating in NaNoWriMo, meeting the word count was hard and often took hours. Now, I can generally do it fairly quickly, especially if I turn off my internal editor and let the ideas flow. I have been blogging for a long time—and I don’t blog as much as I used to—so I’m not sure why I’ve been more fluent the last few years I’ve participated. I can’t chalk it up to blogging, which is one way I’ve traditionally worked on my writing. I’m not handwriting my NaNo novel, but I am handwriting a lot of other things more often. I wonder if that’s it. I won’t complain in any case. The big task I need to put on my “Stuff to Do” list is picking up one of my previous NaNo novels and revising it so I can do something with it.
Slice of Life is a weekly writing challenge hosted by Two Writing Teachers. Visit their blog for more information about the challenge and for advice and ideas about how to participate.
I participated in NaNoWriMo this year. I have participated in the past, and I have the start of three books I’d really like to return to one day as a result. I have only “won” one other time, however. This year, I decided I wanted to have a lot of fun, so I took a leaf out of Rainbow Rowell’s book and wrote a Harry Potter fanfic. A lot of people might consider writing fanfiction a waste of time, but the fact is that I did write over 50,000 words, and I had fun. Penny Kittle says in Book Love, “We all need more fun with writing. I’m serious about this. Play leads to good writing, and good writing begets better writing” (73). This advice came to me at a crucial point in the writing of my NaNoWriMo novel: the point at which was starting to feel like a dork for writing a fanfic. When I came across those three sentences, it was like receiving permission to be a dork, and in fact, to celebrate it because it would make me a better writer if I played a bit more. And it has. It seems like meeting a 1,000-2,000 word count goal is not the challenge it used to be. Some days, I could, in fact, knock out 2,000 words in a couple of hours. One mad day, I wrote 10,000 words.
So I am writing my Slice of Life post today about how happy I am that I won NaNoWriMo. I made myself write every single day, even when I didn’t feel like it. I made myself go over the required 1,667 words whenever it was feasible so I could have insurance for days when meeting that minimum was not going to happen. That turned out to be the best strategy because I went to NCTE so far ahead that I could get away writing very little those four days I was gone. But I still wrote every day.
I have no idea where my story is going, and at this point, crazy things are happening that I didn’t anticipate. It’s more or less like being possessed and just recording whatever it is that the characters do. And I have to admit that at first (until I started feeling bad), I was extremely excited, and what I was writing was good. Later, I started to feel less good about it, but it was okay because it was a fanfic, so a “shitty first draft” was permitted. What I learned from this experience is that I need to give myself permission to write shitty first drafts every time. I teach my students about the importance of process, but the truth about my own writing is that I want it to be perfect the first time. And that’s not how writing works, and I know it.
Slice of Life is a weekly writing challenge hosted by Two Writing Teachers. Visit their blog for more information about the challenge and for advice and ideas about how to participate.
My American literature students had writing workshop today. We read an excerpt from Michel-Guillaume Jean Crèvecoeur’s Letters from an American Farmer, which I like to read with students because it is the genesis of two tenacious ideas Americans have about themselves: 1) that our country is a great “melting pot,” and 2) that we are somehow a new people (the concept of the “new Adam”) and unique in the world (precursors to American exceptionalism). Crèvecoeur defines an American in the selection we read, and I asked students to write a compare/contrast essay in which they define what they think an American is and see how it aligns or doesn’t with Crèvecoeur’s definition. Students brought drafts to class today to be workshopped.
I have one class that is a bit smaller, and I would characterize the students as lacking in confidence. They can be reluctant to speak up in class discussion sometimes because they second-guess themselves or are afraid of being “wrong.” I have been working on building their confidence, and one of the most surprising methods I’ve tried has been writing workshop. One might think it would be dangerous to try writing workshop in such a class because students who are usually reluctant to participate in class discussions would be doubly reluctant when their own writing is on display. In fact, I have found the opposite to be the case.
We had a student’s paper on the screen today in class. The student said he wanted help with organization, sentence structure, and his introduction. We did some work on the introduction, and by the end of it, it was working well. It also offered an opportunity to clarify some language and to talk a bit about integrating quotes. We took some time to notice and discuss what was working well in the piece. We worked on the sentence structure. One of the students in this class has emerged as a really strong editor. She had some great ideas for alternate word choices and ways to revise sentences to include some more variety. She is particularly astute at holding what the writer has asked for help with in her mind as she makes suggestions. I have noticed many students tend to make comments about whatever they notice, but this girl is a particularly focused editor. I commended her in front of her peers today, and she smiled shyly and said, “I like doing this [editing and revising].” Students who are generally quiet during regular class discussion are more animated in writing workshop.
Another thing I noticed about the student writer was that he had a hunch about some of the issues in his essay. One example he shared went something like “I don’t like that sentence.” I asked him why. He said “I feel like there is something wrong with ‘this.'” Another student said, “Yeah, ‘this’ can be a lot of things.” I said they had zeroed in on a common problem in writing called an unclear pronoun reference, and we spent some time tweaking the sentence until the student decided to add the word “thought”—”this thought”—to clarify what he meant. I bet he and his peers will remember the unclear pronoun reference and look out for it in their writing. I think teachers sometimes think that students don’t believe there are issues with their writing, but it was clear to me today that the student recognized an issue but wasn’t sure how to resolve it, which is where his peers came in.
I think writing workshop is going to be crucial in helping these students develop confidence in English class. I find it interesting that in contrast, my other American literature class, which is usually much more active in class discussion, was a bit quiet and reticent in writing workshop today. While they may have some confidence in discussing ideas in literature, perhaps they are not quite there when it comes to writing.
The smaller class has already asked for a second day of writing workshop. I will offer it to my larger class, and I’ll be interested to see what they want to do. I would like to push them a bit harder with workshop, but I also recognize that they are not comfortable with it yet. I am feeling the tension between helping them build confidence and pushing them into that zone of proximal development.
My favorite quote from a student in that larger class today: “Man, you know a lot about citations. And stuff.”
My goal for the end of the year is for them to say that about themselves.
I haven’t taught King Learin a few years, but my AP students are reading it alongside Jane Smiley’s modern adaptation, A Thousand Acres. I so enjoyed returning to this play, which is one of my favorites. As students read, they are creating character maps with the twinned characters in each work, detailing which characters are allied with Lear (or at least have his best interests at heart), and which ones are his enemies. At the end of the play, students will create a literary reduction.
A quick Google search of the term “literary reduction” doesn’t yield fruitful results. I learned about reductions from my Dean of Faculty, Cindy Sabik, who has used them in her own English classes. Essentially, students create graphic representations of what they have learned. Using a standard 8½ x 11-inch sheet of paper, students distill the essence of the work by organizing quotes, ideas, images, and connections from a work of literature. My students are working in groups focusing on four different themes in the play. They will create reductions based on these themes, so as they read, they are looking for quotes that connect to their themes.
Look what I received in the mail today:
I’m so excited for this book. I absolutely loved James Shapiro’s other books A Year in the Life of William Shakespeare: 1599 and Contested Will: Who Wrote Shakespeare?, and given that I am currently teaching Lear and have often taught Macbeth, I expect I will learn a great deal from this book. Actually, I’ve just read the first chapter, and the first thing I wanted to do was go back in time and do Monday’s class over again. Ah well, I can still share what I’ve learned with my students tomorrow. Shakespeare is a deep well, and even when I think I know just about everything, I plumb a little deeper and uncover something new. The Year of Lear: Shakespeare in 1606 looks like a great addition to my learning library.
Later this week, I will be presenting on writing workshop in my classes at OESIS (Online Education Symposia for Independent Schools) in Boston. Here is my presentation (for the curious). I want to share one interesting finding. My students use Google Docs to write, and I selected an assignment from the end of last year at random from which to draw some data. I selected an assignment from the end of the year because at that stage, students were acclimated to the workshop process. Students wrote an analysis of Macbeth. I examined how many edits they made to their essays. Keeping in mind that not every single edit is a substantial change, each edit does represent a different time that students opened the document and made some changes. Google Docs saves work every few seconds, but that does not mean a new version is created every few seconds. If you do want to see these more detailed revisions, you can click the button that says “Show more detailed revisions.” Students must stop working and return to the document after some time has passed for it to count as a new version. With that caveat in mind, here are some figures:
Students made an average of 8.79 edits on this one assignment.
One student made only two edits, but I suspect he wrote his essay in Word and pasted it later.
One student made 19 edits.
All of the students who made 12 or more edits are currently taking AP-level classes. They were not in an Honors class last year.
Even if each edit was not substantial, I admit I was blown away by these numbers. It’s entirely possible students were making the same number of edits before I introduced writing workshop / in-depth critique to my classes (but I doubt it). It’s also possible that when students use Word, they make just as many changes, but I can’t see them because there is no revision history available for me to see. This kind of data is just one more reason, in my mind, to use Google Docs.
Just as an experiment, I decided to take a closer look at the student who made 19 edits. His last edit was insertion of a citation and a few word choice tweaks. The previous edit included removing a block quote and adding the evidence to a different part of the essay (and integrating it more tightly), deleting a sentence, lots of word choice tweaks, and reworking his conclusion. The edit previous to this one included the addition of three sentences and the deletion of two others. The previous edit included quite a lot of revision of the first page of the essay—lots of additions and deletions. The previous edit was minor, including only a sentence and a few punctuation marks. Over time, it’s interesting to see the way the essay took final shape.
In our last department meeting, we were discussing writing and the ways in which our school has embraced writing workshop, and one department member shared that he feels that students seem to understand how to revise and edit better than they had in the past. In addition, bringing writing in to the peer editing club has carried a bit of a stigma in the past, but now, he added, it’s just something that you do to improve your work. I couldn’t be happier that the work we are doing is bearing such fruit. When you treat students like writers, including emphasizing the process and teaching them to edit, they become better writers.
I will admit that I went into the workshop with a fair amount of hubris. I thought to myself, I’ve been teaching English for sixteen years. I know a lot about these kinds of projects. I’m a technology integrator. I know iMovie pretty well. I’d go so far as to consider myself an expert in comparison with many teachers—though I’d not go so far as to say I know everything there is to know about it, I can do pretty much everything I might want to do for school purposes. I didn’t really expect to learn very much from this workshop, but I was glad I would have the opportunity to visit my grandparents, who live in the Denver area.
On the first day of the workshop, we engaged in probably the most powerful part of the entire experience (for me), which was a story circle. We were advised to come with a draft of a script, but I tried to sit down and write one, and I found I couldn’t figure out what to say. As it turned out, very few of the participants were prepared with a script. In story circle, we each had twelve minutes to talk about our story, answer questions, ask questions, and obtain feedback from the facilitators and other participants. I think the reason it was such a powerful experience is because it was such a bonding moment. Several of us cried as we reached the heart of what it was we wanted to say, and the facilitators were excellent at provoking us to really think about what story we wanted to tell.
I started my spiel with the idea that I wasn’t going to cry at all. I told everyone I was visiting my grandparents. My grandfather is a WWII vet, and I decided I would make a digital story about his experiences in WWII. He has some really interesting stories about being inducted into the Navy, joining the Seabees, breaking his glasses and running afoul of postal censors when he wrote home asking for his parents to send him two pairs to replace the broken ones, coming up with a secret code so he could communicate with his mother, and contracting meningitis and causing the Army’s 7th Division to fall under quarantine and have their Christmas leave canceled. A couple of years ago, he was able to travel to Washington, DC on an Honor Flight to see the nation’s capital, specifically the World War II Memorial. He enjoyed the trip a great deal. So, I said to the story circle, that’s what I want to tell a story about.
The facilitator looked at me, a pointed expression on her face, and she asked me, “Dana, how is this story about you?” I was startled by the question, but I thought for a minute, and then, naturally, I burst into tears. It was about me because of everything my grandparents had done for me. It was about me because they are elderly, and I don’t know how much time I have left. It was about me because I will be devastated when they are gone.
With this much-needed clarity, I began to write my script. I was having trouble paring it down to the 300-word suggested limit. I thought I might be able to do 500 words, but 300 was too little to say everything I thought I needed to say. I decided I would just rebel and make a longer video, and I set to work with that script. The facilitator helped me record my voiceover. I interviewed my grandfather, who spoke for an hour about his experiences, and I selected the parts I would use in the story. I scanned lots of pictures my grandparents had around the house.
When I began stitching together the different pieces, I accidentally deleted a whole segment in which my grandfather goes into some detail about having meningitis during the war. After I listened to the video, though, I realized I didn’t exactly need the clip, so I let it go, and I actually managed to get the video at the upper time limit. I never thought I’d do that. It has taken me a couple of weeks’ worth of soul-searching and wrestling to decide whether or not to share the story I created.
The experience of making the video convinced me to pull digital storytelling into my own curriculum. One natural place I could see it falling is in my American Studies in Literature course. I had already decided to incorporate This American Life into my American literature curriculum, as I see media like podcasts and videos as the new “wave” of writing/storytelling. Well, maybe not so new anymore, but you know how it is in education. Near the end of the year, I plan to explore the theme of the journey. I did not select a large number of works because I knew I wanted to do a culminating project of some kind. The journey, can, of course, be a physical journey. It can also be an inward journey, a self-discovery. Like my video was, after a fashion. Here is another example from the Denver director of the Center for Digital Storytelling:
It really impacted me when I watched it. Obviously, I would not ask students to tell stories that they are not ready to tell, but I think this could be one of the most powerful experiences for my students:
We all have stories, and think about how important it is for us to tell them. Think about how interesting your average episode of This American Life and The Moth is. Think about how entertaining it is to read, say, David Sedaris.
We often ask students to read the stories of others, but we don’t ask them to tell their own. We ask them to analyze the stories of others.
Digital storytelling is a new way of sharing narrative. In the past, we listened to storytellers. Then we read. I think this might be the next thing. Not that we stopped listing to people tell stories or that will will stop reading. But this adds a new dimension to storytelling.
The “writing” aspect of this project is some of the hardest writing I have ever done. I can see people challenging the idea that this is writing, but drafting the whole story was an extremely challenging and rewarding process.
Here is more of Daniel Weinshenker on storytelling:
One aspect of the process that I will definitely borrow is the story circle. It fits hand-in-glove with the kind of writing workshop I have been doing in my classes.
In the end, I even learned some useful technical tricks that made my video better (and here I thought I was an expert!).
Years ago, I was in Coleman Barks’s last poetry class at the University of Georgia. The final project we did in his class was to bring our own poetry to class and share it. Dr. Barks anthologized it. He told us explicitly that after we studied the great 20th century American poets, we were now among them, the next generation if you will. And I believed it. I want to give that gift to my own students.
If you have a chance to take one of the Center for Digital Storytelling workshops, don’t hesitate. They do excellent work. Next to Folger Teaching Shakespeare PD, it’s the best PD I’ve ever had in my life.
No one expects a batter to hit a home run on the first try. In fact, even experienced hitters rarely accomplish this feat. Batters strike out more often than they hit, especially at the professional level. We expect it, and we don’t consider it failure because at that level, hitting the ball is difficult.
How often do we give students one chance to learn, though? Lately, I’ve heard educators beginning to say we need to reassess failure. Some even say it should stand for “first attempt in learning.” One of the things I have come to value as a student myself, both in my master’s program and in online courses I’ve taken through Coursera, is the opportunity to retake quizzes and revise work. Whether or not you want to allow revisions largely depends on your purpose for assessment. If you just want to gauge whether or not students did a reading assignment, perhaps not, but if you want to see what students have learned, then why wouldn’t you?
One of our math teachers allows students to revise their tests. Students grade their own tests and know how they have done before he does. He explains the process in this presentation:
Instead of crumpling their tests and shoving them into the deepest recesses of their backpacks, or worse—throwing them away—students are actually learning from tests. What a concept! Using assessments to learn instead of playing gotcha!
In an English class, this sort of revision can be fairly common—the writing process is designed to teach students that one-and-done drafts don’t really exist. However, grading all these drafts takes time, so not all teachers truly teach the process. I found some success in placing the emphasis on the process through writing workshop this year, and what I found is that students revised even after work had been graded, sometimes continuing to revise for weeks or months (no, not every student). Student writing also improved.
We have created a school culture in which students must do well on their first attempt or risk bad grades, but we complain that students only care about grades and not about their learning. The only way to help students care more about their learning is to allow them to fail. If their first attempt in learning isn’t successful, they need to try again. Otherwise, they receive the message that only the first try counts, and they absolutely must not fail on the first attempt.
I struggle with this idea myself. It’s not easy to make the kind of time we need to make in order to help students truly learn. But if that is the goal, then we need to design lessons that will help students learn, and we need to allow students to struggle a bit with the learning. I don’t think it’s a coincidence that right about the time when grades start really mattering, students seem to lose their curiosity. They are not interested in exploring; they want to know the answer. The stakes are too high. There isn’t time to try and try again.
Perhaps there isn’t time on every single assignment, but teachers need to give students opportunities to revise, to try again… to learn. Otherwise, I’m not sure what we’re all doing in school.