When I go back through the cards, I’ll often remember other things from more recent reading or thinking and add to them. This is why, if you went through all mine, you’d see different colors of ink on the same card.
Bianca’s (uncomplicated) textual analysis process:
- Read the text carefully and highlight the bits that I think are really interesting and evocative (make me imagine people, places, situations or think about big ideas).
- Under each human experience rubric heading (see table given in class) write one or two things that I found in the text. These become sub-headings under the main rubric headings.
- I then number each thing I’ve found (e.g. ‘1. Striving for authenticity’) and then go through my highlighted bits in the text and put the relevant number beside it. (i.e. the quote(s) I highlighted that best evidences ‘striving for authenticity’).
- I type up the quotes under the headings/sub-headings in a new document. For each quote I try to identify what device is being used by the composer to communicate the idea and add this beside it. This isn’t always something you can put your finger on in the example, like a metaphor or simile, but could be something broader like characterisation, structure, perspective or narrative voice that the example shows.
- For each piece of evidence, I think about why the identified device is effective at making the reader think about the identified idea in the subheading, and why the composer would want me to think about that idea, or feel a particular emotion, or imagine a particular situation etc. This is about the purpose and the effect of the device used to create meaning.
- Once I have all of this information, I start to write. Usually I write in IDEA sentences (it is natural for me now and allows me to say more in less words) but not always, so don’t confine yourself to a formula.
If this world can be saved, it will be by those with imagination, compassion, courage, perseverance and the ability to ignite those qualities in other people, using only the power of words.
a. Our school needs to build our teachers’ capacity to be teachers of writers.We need to complete a whole school language review and develop shared beliefs about teaching writing.
b. We need to find a process of building in sustainability. This means that there needs to be high quality sustained professional learning over time. We need to be assessing, recording and reporting achievement and listening to student voice.
c. We need to give our students time to play with stories, to have time to write and to write for fun.
Networked publics are publics that are restructured by networked technologies. As such, they are simultaneously (1) the space constructed through networked technologies and (2) the imagined community that emerges as a result of the intersection of people, technology, and practice.(Page 8)
In the time before social media we still had networks, they were just different. I wonder if one of the challenges we have is recognising that what we did yesterday is different today.
In regards to reading and writing, I like the way J. Hillis Miller puts it:
As we read we compose, without thinking about it, a kind of running commentary or marginal jotting that adds more words to the words on the page. There is always already writing as the accompaniment to reading.
I agree with you that student write and read today, I sometimes think that one challenge is valuing this.
Inspired by Elmore Leonard's 10 Rules of Writing, our survey of established authors' tips for successful authorship continues, including Joyce Carol Oates, Ian Rankin. Will Self, Zadie Smith, Colm Tóibín. Annie Proulx and Helen Simpson
Writing is not my final answer, it’s my field notes, and reflections. And i guess, at heart, it’s an exploration of one’s own struggle to understand, to make sense of things. And it’s fun.
McKamey argues that the most important skill for a teacher is his or her ability to build trust with a student, which develops when students can sense that the educator is willing to hear their ideas, thoughts, and musings despite their challenges with grammar, low grades, or test scores in previous classes. This doesn’t mean that teachers need to cushion their feedback with fake praise, but it does mean, she thinks, that schools should help teachers develop skills to recognize what all students, including those who might be considered “low achieving,” do in their classrooms—instead of focusing mostly on what they don’t do or know.