Lesson Plans For Making The Transition To Cursive · By using this one track muscle pattern cursive movements ... All twenty- six lowercase ... 226 Lesson Plans For Making The Transition

Research-Based InstructionFor Integration and Application of

Fluent Cursive Handwriting Patterns

We Write To Readfrom

Peterson Directed Handwriting

Lesson Plans ForMaking The Transition To Cursive

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . 224A Design for Fluency . . . . . . . . . . . . . . . . . . . 225General Instructions . . . . . . . . . . . . . . . . . . . . 225Exaggerations . . . . . . . . . . . . . . . . . . . . . . . . . 226Writing Position - A Major Objective . . . . . . . . 228Pencil Position . . . . . . . . . . . . . . . . . . . . . . . . . 229Posture - Body/Desk Position . . . . . . . . . . . . . . 229What Is Legibility . . . . . . . . . . . . . . . . . . . . . . . 230Self-evaluation . . . . . . . . . . . . . . . . . . . . . . . . . 230Classroom Organization And Preparation . . . . 231Continuing Printwriting Skills . . . . . . . . . . . . . 231Teaching Numerals . . . . . . . . . . . . . . . . . . . . . 232Our Pupil Books Are Unique . . . . . . . . . . . . . . 233Teaching Method - Regular Lesson Procedure 234

Unit One Lesson Plans (Weeks 1-6) . . . . . . . . 235Unit One Model Test . . . . . . . . . . . . . . . . . . . . 241Unit Two Lesson Plans (Weeks 7-12) . . . . . . . . 242Unit Two Model Test . . . . . . . . . . . . . . . . . . . . 245Unit Three Lesson Plans (Weeks 13-18) . . . . . 246Unit Three Model Test . . . . . . . . . . . . . . . . . . . 248Unit Four Lesson Plans (Weeks 19-24) . . . . . 249Unit Four Model Test . . . . . . . . . . . . . . . . . . . 251Unit Five Lesson Plans (Weeks 25-30) . . . . . 252Unit Five Model Test . . . . . . . . . . . . . . . . . . . . . 254Grade Three Samples . . . . . . . . . . . . . . . . . . . . . . . 257

Table Of Contents

224 Lesson Plans For Making The Transition To Cursive

Introduction

What’s In A Name?Peterson Directed Handwriting has been serving schoolssince 1908. Three generations of the Peterson family havemade unparalleled contributions to the development of in-structional methods that make a real difference in helpingteachers of symbolic language skills. Peterson handwritingspecialists are actively involved in teaching handwriting.The methods, devices, and materials of instruction and learn-ing we promulgate have been thoroughly tested, revised, andimproved in the classroom.

Research Based InstructionThe Peterson organization has always been recognized forscientific analysis of the physical/process skill needs ofchildren as they learn to write. And most recently, with thecooperation of computer scientists and brain function spe-cialists, totally objective data has been gathered using cut-ting-edge technology - an electronic digitizing handwritingtablet that records ten handwriting movement functions at therate of 1000 points per second.

Monumental ResearchThe type of data that helps scientists around the world to learnmore about human motor control systems and helps toprovide answers to problems associated with disease andbrain damage..... now, has revealed important corollariesthat are very important in learning symbolic language(including READING SKILLS). In short, handwritingprocess instruction would be important for children evenif written work would all be produced on a word proces-sor!

All Symbolic Language Is LearnedAdults have become so automatic when they read and writethat they forget that READING and WRITING are artificiallanguage. Over the world there are a multiplicity of symboliclanguage systems. Our written language must travel fromleft-to-right... and, because of human physiology, the way achild produces the symbols of language is urgent. That iswhy Peterson methods are so very unique, compared totypical handwriting activity books.

Simplicity and EasePeterson methods are easy to teach and learn. Since hand-writing is a psychomotor skill you will note that lesson plansalways focus on “how” to write. The sequence of instructionis based on motor control science.

The difference offered by the Peterson Method is quitesimple. We teach the forms as patterns of movement -including "how to move." No other approach addresses theissue of movement dynamics. It is the key to enabling fluentapplication as related language skills improve. Please do nothave pupils trace models with the pencil!

Isn’t It Ironic?The “computer excuse” for de-emphasizing handwritinginstruction has been proven wrong - by the computer!

In fact, your computer offers you an opportunity to take themethods course you probably never were offered while incollege. Our Information Directory offers a long list ofpresentations that amount to a methods course on line.

Invest a couple of hours to work through each of the presen-tations available. You will be rewarded with some surprisinginformation that will probably change the way you designand conduct many learning experiences.

http://www.peterson-handwriting.comSelect <Information Directory>

You will also find that our Resource Library offers a wealthof information in a series of PDF documents.

Select <Resource Library>

We are available to you for questions via telephone. Our tollfree number allows you call for support from your school. Ifyou can phone from a station near a computer, we can usuallyuse the internet to good advantage during the conversation.We are here to help. Perhaps you would simply like to learnhow to use our web site for lessons with your class, or maybeyou would like to discuss ideas for solving a particularproblem for one of your students.

800-541-6328

We Write To Read, Grade Three 225

General Instructions

Cursive DevelopmentThe We Write To Read series provides for a unique cursive readiness instructional program at the second level. Therefore,if your third grade pupils used the Peterson program in second grade they have learned several basic facts about cursive and,in varying degrees based on individual abilities, certain cursive writing skills.

If you have pupils who did not attend your school last year it is probable that they had no teacher direction in cursive readiness.However, you can be sure that most pupils have experimented with "curvy writing" for at least a year. Incidentally, non-directed experience of this kind will make it necessary to over-teach basic physical position skills as this school year begins.In addition, those who have not had the benefits of readiness instruction will need to learn the facts about cursive development.This handbook provides you with the information needed to treat the needs of all of your students.

Lowercase letters will be introduced in a sequence of instruc-tion that is based on learning very simple muscle movements.This process has been thoroughly verified in the computer-assisted research plus our unparalleled teaching experience.Analysis of the cursive letterforms reveal some interestingfacts.

First, cursive writing is designed to “fit” the human body.Lowercase letters are formed by three simple strokes:

ROCKER-ROCK RAINBOW-ROLLER SLANTS thatmake the tops of letters lean to the right

For ease and simplicity of muscle movement the formationprocess slides to the right and immediately slants back tothe left. This pulsating coordinated movement creates a onetrack muscle pattern: Motor Control specialists call it"ballistic" movement.

Sharp Top Loop Top Round Top Roll Top

By using this one track muscle pattern cursive movementsare actually easier than the multi-part patterns used forprinting. Whoever invented the cursive alphabet must haveknown a great deal about human musculature.

Second, cursive letters are engineered to join. All twenty-six lowercase letters can be learned in a time-efficient mannerby focusing on both the formation of the tops of letters andhow the joining of letters can be controlled.

A Design For FluencyThe Lowercase Cursive Alphabet

A Scientific Sequence Of InstructionThe teaching plan of units one and two of this handbook istherefore based on the following letterform sequence:

Sharp top letters that join to other letters from the baseline:

Loop top letters that join to other letters from the baseline:

Round top letters that join to other letters from the baseline:

Sharp and loop top letters that use a round top second stroke andalso join to other letters from the baseline:

Roll top letters with sharp top second strokes that join from thebaseline:


Note: The eighteen letters just illustrated are shown withoutending strokes throughout the teacher handbook. This doesnot suggest that ending strokes in cursive are not important.Ending strokes for words are wonderful. They are naturalnonvisual spacing strokes for good spacing of words insentences. But the overriding need for muscle control mustbe developed from the very beginning. You will note that themodels for pupils and the daily lesson plans continuallypropose a special process we call “cursive printing.” Theseparation of cursive letters within a word is one of the majornew methods of instruction that has been verified by thecomputer-assisted research.

Tarzan Letters (Above-line Joiners)The next four letters are developed using the same basicstrokes for form, however their joining patterns are quitedifferent from the eighteen letters above. Because of theswinging rocker at the so-called end of each letter the con-necting stroke must be above the baseline. The high swingjoining stroke can distort letters that are connected to thesefour letters:

Submarine Letters (Below-line Joiners)The forms of the last four letters are developed using the samebasic strokes, but again the joining pattern is unique. Joiningletters from a submarine letter requires the child to startjoining from the bottom of the tail. This extra distancerequires longer joiners.

Special Form Characteristics

Most commercially prepared cursive alphabets show lower-case letters a, c, d, g, o, and q with a left-curve downstroke asa beginning stroke. Peterson approaches the introduction ofthese six letters differently - not to be different - rather to helpchildren learn how letters join and to take advantage of therhythmic, out-right, back-left production pattern . On the“develop” pages in the pupil book, letterforms are introducedwith joining strokes as beginning strokes. Bystarting all twenty-six lowercase letters on thebaseline the child learns:

1. Simplified formation skills2. Logical joining patterns3. Better lateral movement4. Consistent rhythm and control

Exaggerations1. The lowercase letter c is developed from the base of an iand the top is hooked. Rather than introducing the curveddownstroke adults usually develop, the c is shown with aregular slant and no curve at the baseline. Research hasindicated that this presentation helps pupils retain legibility.

2. The lowercase p is developed with a fairly tall sharp top,followed by a retraced tail that rolls up to the “pie” round top.Legibility research prompted the exaggeration.

3. Baseline control pauses appear to many adults as thebiggest exaggeration of them all! In fact this “pause beforejoining” technique is completely child-oriented.

Just a short few years ago most written curriculum guidelinessuggested that third grade pupils should receive thirty min-utes of directed handwriting practice a day (150 minutes perweek). In those days a teacher could be moderately success-ful in helping pupils learn to flow rightward like a skilledadult. Adults often write complete words with no obviouspauses within the word. The control pause technique makesteaching more time-efficient....and helps pupils develop bet-ter motor patterns.

Once the teacher feels confident about using Peterson meth-ods and procedures the practice sessions will be very produc-tive in less than half of the time the traditional methods wouldtake. Baseline control devices and techniques like “cursiveprinting” are also keys to helping pupils carry over goodhandwriting into the daily work of other subject areas.


Considering Developmental Growth

Additionally, there is strong indication that the laterality ofthe cursive patterns contribute to improved left-to-right track-ing for reading when the dynamics of movement are part ofthe instruction. This is still another reason to continue thegross motor training. It also reflects on the need to directpractice sessions rather than have pupils spend time withtrace and copy activities that can actually block the integra-tion of dynamic information.

Our initial focus will be to teach the patterns for the letterswith a new and challenging size objective. The challenge isto maintain rhythmic movement and build control mecha-nisms for the process. Tall letter parts will now be one spacetall and vowel sized parts will be half of a space.

This proportion is used for two reasons. It is an accommoda-tion to commonly available materials - particularly practicepaper. It is also suggested by the fact that this age group isbetter able to handle the concept of "half as tall" than theconcept of "thirds."

While we feel that it would be best to begin with the adultproportion, the availability of paper which provides appro-priate ruling is very limited. You can find a compositionpaper that provides a vowel guideline at one third of thespace, but the writing space is three eighths of an inch. Giventhe cost of this paper and the fact that the pupils will struggleto manage the size even when drawing, we suggest that youuse the widely available and inexpensive paper that is ruledwith one half inch between lines on pages that are 8.5 incheswide by 7 inches tall. School supply houses describe it as: 8.5x 7 inches, ruled at 0.5 in., the long way. Later on you willwant to go to three eighths-inch ruling. But, for the initial unitat least, the extra height provided by 0.5 inch spaces willallow more gross motor involvement making it a little easierfor your pupils to keep the rhythm.

If you have the Peterson computer font you can easily createpaper with the size guide at one third of the space and makethe space as tall as you wish. Starting your students with theadult proportion is easy. You can decrease the writing size inincrements as skills improve and also individualize to accom-modate those who need a little more time before the demandsfor adult size are imposed.

Please keep in mind that students mature physically at differ-ent rates. In the majority of our schools formal training oninstruments like the clarinet seldom begins prior to gradefour. The majority of your grade three pupils have not yetmatured into fine motor control to the extent that will allowsuccess with the movement patterns necessary with theseinstruments.

In order to make a transition to using cursive for daily workwe must help the student develop control of movementpatterns that will produce the symbols at a more practicalsize. We are actually initiating fine motor training that willhelp to develop these skills. However, it is important toremember that the gross-motor activities that are part of theregular lesson procedure are a key step in the process.

Modern research gives every indication that the gross infor-mation is shared readily. There is no indication that finepatterns do the same. It means that continued efforts with thegross patterning are important to developing the fine motorskills.

There is also considerable evidence that the efforts expendedto develop and improve skill with control of these relativelysimple movement patterns will have a positive effect onstudent abilities with other, more complex, fine motor learn-ing - keyboarding and clarinets for example.

36 We Write To Read

Self-Help For Control (Skill # 6)Learning the correct control pause will help you to learn the correct rhythm for the letter. This is the secret youneed to find the path to fluency. Control pauses are easy to learn because all letters stop before the joining stroke.

18 Lowercase letters join from the baseline.

Practice Cursive Printing to learn rhythm and control. It helps your muscles learn where to stop.

When your muscles remember to stop in the right place, it will be simple to join all of the letters in in words.


Writing Position Is A Major ObjectiveBecause we will include instruction aimed at developing the use of the fluent type of movement, pupils need to learn positionskills that will allow them to move fluently. Our analysis of the ergonomics and subsequent recommendations are based uponthousands of digital handwriting samples collected in hundreds of classrooms, work places and faculty rooms.

When the writing page is held in "reading position" fluent lateral movement is blocked!

The pupil cannot learn how to move fluently. The pupil cannot learn to use the best muscle groups.

The movement issues are created by the writing hand and arm being positioned beside the image area. The body, alongwith the height of desk surface and chair, control the position of the writing arm. The student must learn to rotate thepaper beneath the writing arm to achieve a position that will allow efficient lateral movement. Please review the PositionSkills section for more information The animated position presentation on our web site will also be helpful.

Right-handed.Hand and arm under the baseline.

Left-handed, Sidestroke.Hand and arm under the baseline

Left-handed, OverhandHand and arm above the top line.

Note wrist is rolled outward.

Our self-adhesive position guides areextremely effective. You can instantlyspot pupils who need a reminder duringany writing activity.


Pencil Position

Posture - Body/Desk Position

Chair back,front legs just under desk.

Lean forward so the armssupport the upper body.

Space between stomach and desk.When the child sits too close to the desk,arms are forced away from the body towardthe sides of the paper.See paper position/arm entry.

Check desk height.The top of the desk should notbe higher than the lower rib.When the desk is high it forcesarms away from the bodytoward the sides of the paper.See paper position/arm entry.

Feet back or flat.

Check eye distance.(11-14 inches)When the head isdown, it usuallyindicates that fingersare too close to thepoint of the pencil.

Posture is important because it helps maintain balance and control. This position skill is for goodhealth as much as it is for good writing!

Forearms on desk

Thumb dominance is responsible for the most common formof writers cramp although you will probably notice the morebizarre, claw type grips first. This thumb-forward grip prob-ably looks much better than those more twisted habits.Actually, the claw type grips are usually corrected moreeasily. They can't move the fingers so they learn arm move-ment. The fingers relax as confidence and coaching take hold.

Youngsters start poor habits early. Thumb dominance is mostoften associated with early experience at too small size. Theyneed to learn how to move the arm. Our large size recommen-dations are aimed at demanding arm movement. When thechild learns to make the moves with the arm fingers can relax.

ThumbBack

ThumbBack

The thumb should be farther away from the pointthan the tip of the pointer finger. The thick,triangular pencils we offer are helpful for devel-oping a more relaxed grip.

Habits are hard to break but our experience andthe research shows that the poor grip is associ-ated with patterns for early drawing movement.A better grip can and will be associated with thepatterns learned during write & say practice offluent movement.


WHAT IS LEGIBILITY?

Legibility is a relative term. We prefer to say that “handwriting must be easy to read.” There are six specific subskills thatcombine to make handwriting easy to read and easy to write.

Use these posters to help pupils understand the legibility subskills:

SELF-EVALUATION

Peterson Handwriting specialists check approximately one-half million handwriting samples each school year. We baseour analyses on the degree to which the children demonstrateprogress with the six legibility subskills discussed through-out the pupil and teacher materials. If children understand thefacts about handwriting skills they will have specific goals toguide practice. Teach your pupils to check their own hand-writing regularly. Have each child check his or her writing inother subjects, even using homework papers!

Display the legibility skill posters on a bulletin board. Be sureeach pupil learns that #1 is the code for letter formation, #2is the code for slant, #3 the code for size, etc. Then havepupils check their own papers (or exchange papers). Exam-ine the paper for each of the skills. If the child thinks he or sheneeds to improve one or more of the skills, place the numberfor that skill at the bottom of the paper.

This process also helps you to determine the level of under-standing each child has developed! When you disagree witha child’s self-evaluation, you now have a diagnostic tool to

Subskill code numbers show Eric needs to improve slant and size.

# 5 Smooth RhythmHold the pencil softly.

Study the beatsfor each letter.

Relax when you write!

# 1 Letter FormationStart letters inthe right place.

Build letters step-by-step.

Make basicstrokescorrectly.

Move in theproper direction.

# 3 SizeStart letters correctlyfor better size.

Study the "tall"and "small" letters.

1

Check your pencil position.

# 6 Line ControlUse lines for control.

Stop on the baseline!

# 4 SpacingSlide between letters.

Hold the paper and pencil correctly.

Add ending strokesto words.

Check joiners!

# 2 DownstrokesSlant back to the left evenly.

Check paper holding,

"Chop" the baseline.

help explain what one needs to do to improve. The pupilbooks include "SELF HELP" pages that help accomplishthe skill objectives.


CLASSROOM ORGANIZATION AND PREPARATION

Eric N.�

Room 22�

Handwriting

Individual Handwriting FoldersWe recommend making a file folder for each child (preferably with pockets for easy storage).Children can keep their handwriting book, practice paper, and a writing class pencil in their foldersto help save time in preparation for lessons. It can also serve as a “progress folder” if you have pupilssave papers for periodic comparison.

Seating ArrangementsPlace desks in frontal position so that pupils have a clear viewof the chalkboard while the teacher is directing lessons or ifpupils must copy assignments from the board. This does notimply the desks must be strictly regimented. Desks may bearranged in many different patterns that allow good visual-ization for the pupils. Left-handed pupils attempting tolearn to use the “sidestroke” technique should sit on theRIGHT SIDE of the room as they face the chalkboard.

PencilsPeterson offers several kinds of grippers for the regular #2pencils. They can help those pupils who need a reminder. Wealso offer special triangular pencils that offer help for pencilholding without a pencil gripper.

Selecting Practice PaperMost school supply houses offer very economical paper thatmeets these recommendations. Peterson Directed Handwrit-ing does not manufacture regular practice paper.

Option #1 - General Practice and Model Test Paper8-1/2 x 7 inch manila paper ruled the longway - with half-inch lines.

Option #2 - Remedial Practice for Reduced SizeIntroduction

Control paper with 1/4" midlines to make vowel-sized lettertops.10 x 8-1/2 inch manila paper ruled the short way - with half-inch top and baselines. Some suppliers also offer this paperwith a skipping line for lower loop letters.

Printwriting is a valuable tool. It is compact and efficient forsuch purposes as labeling, headlining, map and graph work.It is a demanding skill, however. Cursive is far less depen-dent on eye-hand coordination. Begin the year by allowingpupils to continue printwriting in daily work. However, youmust insist on good writing habits. The full transition tocursive may take 12 weeks. We would suggest beginningcursive in spelling classes first, gradually encouraging sus-tained cursive use in other subjects until everyone is familiarwith all lowercase letters. Children may print capitals untilthey have mastered the cursive capitals (Units 3 and 4 of thelesson plans).

Standards are essential. Be sure pupils understand the left-to-right, step-by-step development of printwriting lowercaseletters. Also, show them the no-lift process in making thefollowing letters:

Since printwriting tends to encourage poor pencil position,many pupils will write too small. Stress the importance ofholding the pencil back at least an inch and practice makingvowel-sized small letters one-half space tall. Capitals andthe tall lowercase letters should be made a full space high.

Spacing between words in printwriting depends on eye-handcoordination. Have pupils use the thumb of their paper-holding hand to space between words.

CONTINUING PRINTWRITING SKILLS


Teaching NumeralsSince numerals stand alone, you will find pupils who learnedto make them from visual models with no instruction aboutwhere to start (at the top), or direction of movement (downand left-to-right).

It is highly likely that you will have some students who havenot integrated a production pattern for some numerals. If theymust "think" about the creation of the shape they may wellmiss the concepts you are trying to teach. We highly recom-mend a short patterning session as you begin each math class- even if it is only gross-motor airwriting for a minute or two.

Get "The Numeral Song" from the "Ideas" section of ourResource Library for a fun exercise that also serves toillustrate the existence of good patterns. If they can writelegible numerals as they sing the song, you can be fairly surethat good patterns exist to free the brain for concept learning.

Reviewing Slant PrintPatternsLowercase Basic-Stroke Letterform Groups:

l t i j u

h r n m b p

a d g q f c s o

k v w x y z

Capital Letter Basic-Stroke LetterformGroups:

L T I F E H

P B R D J U

C G S O Q

Y V W X


The picture illustrates how our book and self-adhesive position guide are designed to fit on a standard size school desk. Thiscombination of teaching aids makes training, correlation and learning the physical movement patterns easy and quick.

The WE WRITE TO READ books have other advantages. They are designed for simplicity and ease of use. The instructionalplan makes it possible for children to understand objectives and set goals for improvement.

In addition, because the curriculum is so crowded, we provide lesson plans and skill development processes that are very time-efficient. No arbitrary, time-consuming, irrelevant copybook activities are included in the books. We teach for transfer oflearning by: Developing skill needs, Practicing for muscle training and Applying the skill directly into daily work.

OUR PUPIL BOOKS ARE UNIQUESIMPLE, TIME-EFFICIENT AND SUCCESSFUL SENSORY COMMUNICATION


The Method - Simple, Sound and Successful!

Teacher control and direction of the lesson is the key toteaching rhythmic patterns that will transfer. Imagine you areleading an aerobics exercise group. Everyone in the groupmakes the same move at the same time. In this context itbecomes clear that pupils must know what the moves are andalso the correct sequence. Communication of these cognitivefacts, along with the rhythm of the moves, is easy using theWe Write To Read pupil books and a four-step lessonsequence that is simple and quick.

Chant the Color/Rhythm, chant the Action Words or count!A little rhythm practice each day offers real opportunity todevelop fluent rhythm patterns for good writing - and all othersymbolic language skills.

Explain the reasons why you ask students to practice aspecific way. Also, help students set specific “skill targets”for practice.

A Time Efficient Teaching Method And A Regular Lesson Procedure

The most important factors in teachinghandwriting as a process of language:

1. Concentrate on teaching lowercase letters:a. help students learn the exact starting point and stroke

sequence used for letters.b. show students how the individual strokes of small

letters follow left-to-right sequences in rhythmic"beats."

c. teach precise stopping points in the movement pat-tern for each letter to emphasize the letter rhythm.

2. Build paper placement skill and the related position of thehand, wrist and arm and correlate with classwork.

3. Use large muscle practice (gross motor) and control therhythm process.

4. Use a descriptive “language of movement.”

5. Use “eyes-closed” practice to check muscle patterns.

6. Listen to the voices when you move to the Write & Saystep. At first, you may have trouble getting pupils tochant. Eyes-closed trials often bring it out more quickly.Repeat steps 1, 2 & 3 if you cannot get the voices going.

7. Initial trials will not be as precise as pupils would like.They will need extra coaching and coaxing to buildconfidence in new position skills.

Step 3:

Step 4:

Step 2:

Fingertrace & Say

Step 1:

Airwriting (Action Words)

Illustrate and Describe

Writ

e & Say

8. Please remember that pretty letters are a product. Yourpupils will focus on the product they produce. Ourobjective is to develop a process that will support fluentlanguage tracking! With practice, correct process canbecome both practical and beautiful. The process con-trols the product in applied work.


OBJECTIVES:

1. To develop good physical position skills:

a. Paper and arm placementb. Pencil holdingc. Desk posture

2. To develop an organized movement process that enablesthe pupils to use speed and control:

a. Left-to-right slidingb. Slanting movement consistencyc. Baseline control

3. To develop skill in producing the basic strokes that createlowercase letterforms:

a. Rocker-rock curves for sharp and loop topsb. Rainbow-roller curves for round and roll tops

4. To develop, practice, and apply eighteen lowercase letter-forms with legibility and fluency.

5. To learn and apply cognitive facts about handwriting skillin self-evaluation tasks.

WEEK 1Day One1. Instruct the pupils to write (cursive or print) a beginningof the year sample like the following paragraph:

UNIT ONE LESSON PLANS (WEEKS 1-6)Day TwoDiscuss printwriting. Explain to the pupils that printing wasthe first way people learned to write thousands of years ago.It is a skill that we shall use the rest of our lives.

This year we shall learn cursive handwriting. If you useprintwriting letters properly, cursive will be easy. Wheneveryou printwrite always be sure to make the tops of the letterstrokes first. And remember the stopping places in print,because we use most of the same pauses in cursive! Printwritethe following lowercase letters on the chalkboard.

a c d g h i j l m n o p q t u

These are cursive cousins. They are almost exactly like thecursive letters - except we have to learn how to join themtogether. Tomorrow we’ll learn how to get started the rightway for cursive handwriting.

Day Three1. Use pupil book page 2 to remind pupils about slant (Skill#2). Explain that paper position is very important for cursivebecause all letters slant the same way.

2. Use pupil book page 3 to review paper position, pencilholding, and desk position.

3. Introduce page 4. Explain the basic stroke movementpattern and the importance of paper position so that we canmake the movements with speed and control:

Slide Right Slant Back Stop

4. Write the basic strokes on the chalkboard and have pupilsairwrite with action words; "slide right, slant back, stop." Thefour strokes are visually different but use the same musclepattern.

5. Examine the use of these basic strokes in the color/rhythmletters on page 4, your wall cards or on the back cover. Havepupils find and name letters that use sharp tops, round tops,roll tops and loop tops.

If your district subscribes to the Peterson Service Program,use the special TERM PROGRESS ASSIGNMENT paperthat is provided for this purpose. Otherwise, use regularcomposition paper folded from top to bottom. Write the“pretest” on the upper half of the paper. SAVE THEPAPERS FOR COMPLETION AT THE END OF UNITFIVE (and for periodic comparison of individual progress).

4 We Write To Read

Learn To Use "Action Words" To Help You Move Fluently.

Each Letter is A Pattern! Each Word Is A Pattern!

Fingertrace The Basic Stroke Patterns - Move With Your Voice.Each of the basic strokes has two moves and two action words. Say one word with each movement.

Basic strokes build lowercase letter patterns. Join letter patterns to build words.

Sharp Top Loop Top

Round Top Roll Top

1. Slide Right 2. Slant Back 3. Stop

ÍÅÄÖùÑïë D‰ÄáêÑïë

I áìÅÄÖûë Æ§ÑïÅÄÅîë ‰ÄÖûÅîë

á´è§áôáêÑïë. WÑïë †ßÇòÅÄÇúÇúë

áƒÆ§ÅÄáìáêáôáìÑïë ÑïÅÄáìÇòë ‰îÅÄÖ¥Ï.

I ÇòÅüçƒÑïë áêÅüí áôÖùáƒÆ§Åüé˜åïë.


5. Introduce pupil page 5. Fold the book so that page isvisible. Place the book in correct writing position anddirect the pupils to fingertrace the exercise over and overagain as they describe the movement using the "ActionWords." Ask them if they remember learning the "sharptop."

SLIDING IS THE SECRET!

6. Demonstrate the addition of the slant stroke at the endof the rocker. Then, on the chalkboard, trace the slide andslant movement pattern. As you trace, say “rock-slant.”Direct pupils to repeat the exercise in the air as they chantthe "sharp top" action words.

7. With the book in writing position, fingertrace the largeexercise. As you observe pupil ability to fingertrace withrhythm, direct them to fingertrace the sharp tops on page 5as they chant “sharp top, sharp top,” over and over again.

Sharp tops are very important as we learn cursive letters. Inthe 26 lowercase letters we will find 19 sharp tops!

Days Four and Five1. Introduce pupil page 6.

2. Explain to the pupils that the “ rocker-rock” also helpsus to learn to write another stroke called a loop top.Demonstrate the loop top on the chalkboard. Fingertrace

the loop top on page 6. Emphasize sliding and slanting (witha rhythmic beat).

3. Use regular practice paper. Fold the paper down themiddle. Review the position skill instructions and teachpupils how to make large sharp tops and loop tops on thepaper. Emphasize long sliding beginning strokes and the“one track” movement pattern used to create slant.

4. Self-evaluate using the slant guide on page 2. As pupilscheck their own work, also be sure the slants are straight (notcurved) and that they stop on the baseline. You may need torepeat instruction on the push-pull muscle pattern used tocreate speed with sharp tops and loop tops.

5. To remediate miscues in slant, introduce the concept of“chopping the baseline.” Say “Sharp-chop.” We call thisexaggerated process “handwriting KARATE.” It helps pu-pils to focus on the "target" baseline enhancing the develop-ment of fluency.

WEEK 2

This week four sharp top letters will be introduced andpracticed. If the pupils used our cursive readiness program insecond grade they should remember the letters very well.However, they may not have had any direction in reducingsize.

We do not expect beginning third graders to make thetransition to cursive quickly. It is much more important topace the introduction of the concepts and physical skills in anunhurried manner. Therefore, based on your observations ofpupil performance, feel free to keep practice large, using top,middle, and baselines for size until you believe the pupils canhandle the size reductions.

Usually most pupils will be anxious to use cursive in dailywork. However, it is not uncommon for third grade teachersto wait until after 12 weeks of school before using cursive indaily work.

If pupils exhibit great difficulty with size reductions, try toacquire special control paper that provides a midline forvowel sized letters.

We Write To Read 5

Building Basic Stroke #1 - Sharp TopFold the other pages behind and hold the book in writing position. Fingertrace and say the action words.

1. Slide over to the right as you rock up!

Start

Say "sharp" as you rock and "top" as you slant.

TopSharp

Sharp tops can be tall and small. In second grade we made tall and small sharp tops like these.

Third grade size will let you write much more on each line. Write & Say to practice with rhythm!

3. Stop on the baseline.2. Slant back to the left.

Start

6 We Write To Read

Building Basic Stroke # 2 - Loop TopYou will use loop top basic strokes for many lowercase letters. Like sharp tops they can be tall and small.

1. Rock then loop back before the slant.

Slide over so youcan slant back. Say "loop" as you

rock and "top" asyou slant.

Fingertrace & Say to learn the rhythm, then Write & Say.

Third grade size will let you write more on each line. Write & Say to practice with rhythm!

In second grade we made tall and small Loop Tops like these.

2. Slant straight back to the baseline.


2. Numerical counts for the words (including ending strokes)are:

sit = 3 + finish its = 3 + finishus = 3 + finish suit = 5 + finish

One count for each basic stroke - each slide right/slant back = 1.

Week 3Day One

1. Review the loop top exercise. Introduce lowercase eusing the regular lesson procedures outlined in Week 2. Thee is the same size as the i.

2. Demonstrate words such as elf, let, set, see, fit, using thecursive printing technique. Demonstrate ending strokes onwords.

3. Emphasize baseline joining control.

Day Two1. Use the regular lesson procedure to introduce lowercasel. The l is one full space tall.

2. Demonstrate words using baseline control pauses, such aslet, tell, sell.

3. Demonstrate rhythm by counting for each letter like this:

4. Cursive printing is an excellent technique because it helpsone control form, size, and spacing.

2. Use the regular lesson procedure.

3. Introduce lowercase t. When the t is reduced to applica-tion size it is less than a full space tall.

Day TwoIntroduce lowercase i. When the i is reduced to applicationsize it is no more than 1/2 space tall.

Day ThreeIntroduce lowercase s. The s is the same size as the i. Be surepupils understand the sharp top.

Day FourIntroduce lowercase u. The u is the same size as the i and s,but it has two sharp tops as illustrated in the pupil book.

Day Five1. Review and practice. Use the first two lines of pupil page8. Emphasize the importance of baseline control. Useseparated script (cursive printing) before joining attempts aremade. Point out to the pupils how valuable the ending strokeis when writing words. We don’t have to thumbspacebetween words in cursive!

1 2 3 4 5

Day One1. Introduce pupil page 7. In the first column the assignedletters are presented. Please note the letters are presentedwithout ending strokes. Explain to the pupils that endingstrokes on every letter make joining difficult. Ending strokesare not used inside of words. All of these letters join from thebaseline.

We Write To Read 7

Making Letters - Fingertrace And Say The Action Words For RhythmWeek Two - Sharp Tops Week Three - Loop Tops Week Three - Odd Tops

1. Sharp Top2. Cross

1. Sharp Top2. Dot

1. SharpSlant Curve

1. Sharp Top2. Sharp Top

1. Loop Top

1. Loop Top

1. Loop Tail2. Rock

1. SharpRoof Slant

1. RockHook Slant

Did you call forpizza delivery?

When I takeyour order Imust writeneatly.

Be sure to holdthe book ingood writingposition as youfingertrace!

Feel TheRhythm!

8 We Write To Read

Practice Third Grade SizeWrite & Say on paper. "Cursive print" as shown, then join. Use ending strokes to space sets and words!Sharp Top Letters

Loop Top Letters

Odd Top Letters


4. The numerical counts for the words shown on page 8 are:

let = 4 set = 4 elf = 5 see = 4 fit = 5

5. Continue to emphasize good physical position. Stresslong beginning (and joining) strokes.

Day Four

1. Introduce the lowercase r . Emphasize the little roof intop. Double downstroke letters like r require pauses forclarity. The r is a minimum size letter in reduced size (1/2space).

2. Demonstrate words in cursive printing that use the r .

Numerical counts including rocker endings:

sir = 4 tire = 5fur = 6 rise = 5

Day Five

1. Introduce lowercase c. If children are ready to reduce sizeit is the same size as i, s, u, e and r (one half space).

2. We have exaggerated the development of the c. You canwrite a sharp top in the smaller size and trace to add the hooktop. Make the hook top slant for emphasis.

3. We call r and c “odd tops.” They both require strongteacher direction.

4. The c only has a numerical count of “one” because wedon’t count downstrokes, but there is a definite doubledownstroke rhythm for both of these irregular letters. Usepupil page 8.

Numerical counts for words:(Letter counts + one for the spacing/finish stroke, dots andcrosses are added after the count.)

ice = 4 cute = 6 cutters = 9cut = 5 rice = 5

Day Three

1. Introduce lowercase f. Show pupils that the top of f isexactly the same as l. When developing the form, emphasizethe long slant and the “rocker” upstroke used to form the tail.Even though the f is a tail letter it is still a baseline joiningcontrol letter - quite different from other lower loop letters.The tail goes down halfway into the next space.

2. Demonstrate the rhythm of the f by counting for the tworockers as pictured in the COLOR/RHYTHM model (down-strokes are supposed to become automatic so we do not needto count for them).

3. Demonstrate words using page 8 and others that arefamiliar to pupils such as if, fill, fell, etc. The high frequencyword list provided at the end of the methods sections, will bea quick source of additional words.

5. Introduce pupil pages 20 and 32 to discuss legibilitysubskills, size, and spacing.

20 We Write To Read

Good size comes from sliding -1

Self - Help For Size (Skill #3)

Learn the 18 lowercase letters that are "small" - no taller than one half of the space.

1. Check paper and writing arm position.2. Check pencil grip and writing hand position.3. Check letter rhythms, make sure you pause to control each joiner.4. Check sliding, make sure you are moving to the right and up for good size.

HandwritingHints

These letters have taller sharp tops. These loop tops should be one space tall.

Check your letter tops for size. Cover the bottoms of spelling words and other classwork!

32 We Write To Read

Self-Help For Spacing (Skill #4)Good spacing comes from sliding -

1. Check paper/arm position 3. Pause before joining2. Check pencil grip & wrist 4. Slide to the right

Joiner # 1Rock

Joiner # 2Slide Roll

Joiner # 3Swing

Joiner # 4Sway

Joiner # 5Roll Rock

Joiner # 6Long Roll

Use 1/2" quadruled paper to practice control of joiningwith connect three exercises.

The tops of letters have to be spaced apart. Cover thebottoms of words to check your spacing skill.

Hints


Week 4Day One

1. Introduce the rainbow-roller as demonstrated on pupilpage 9. Follow the regular procedure used to introduce therocker-rock stroke and sharp tops. Continue to stress goodphysical position.

2. Using page 10, introduce the rainbow-retrace combina-tion that creates the Roll Top basic stroke. Explain to thepupils that roll tops begin the letters; a, d, q, g, and o, asshown in color rhythm at the bottom of the page. Practicewriting roll tops with action words.

2. Develop and practice the x. Cross the x with a rocker-rock upstroke.

3. Demonstrate the application of the x in words.

Numerical counts:six = 4 (plus the dot and cross)fix = 5 (plus the dot and cross)exit = 5 (plus the cross, dot, cross)

4. Emphasize that the joining stroke for round tops slides onthe line before rolling up to the round top.

Day Three1. Introduce the n. Show the pupils how the slant print n ischanged into a cursive n by adding the rainbow to the printedletter. Use the regular lesson procedure emphasizing posi-tion, movement, and baseline control.

2. Emphasize sliding the joining strokes along the baselinefor spacing. Use page 12 and self-help page 32 for discus-sion.

3. Pupil page 12 provides practice and apply models.

Day Two1. Introduce the three letters that use only round tops asshown in the first column on pupil page 11. Discuss the factthat the x uses one round top, the n uses two round tops, andthe m uses three round tops.

We Write To Read 9

Building Basic Stroke # 3 - Round TopFold the other pages behind. Hold the book in writing position. Move your arm to "Fingertrace & Say.""Write & Say" the exercise on practice paper.

Roll + Slant = Round Top

1. Use your arm to roll to the right.2. Slant back and stop on the baseline.

Say "round" as you roll and "top" as you slant.

Write & Say with your eyes closed. Do your muscles remember? Do eyes-closed round tops look the same too?Third grade size lets you write more on each line. Write & Say to practice with rhythm.

Remember , to roll sideways you need to use your arm. Good slant means you are using the correct muscles!

These round tops are second grade size. Write & Say until it is easy to make them all look the same.

10 We Write To Read

Can you see the "Roll Top" in these letters?

Building Basic Stroke # 4 - "Roll Top"

Roll right then roll back.Stop on the baseline.

Hold the book in writing position and move your arm as you "Fingertrace & Say."

"Top"

"Roll"

Practice with "Action Words." Say "Roll" as you roll right and " Top" as you roll back.

Do your muscles remember? Do eyes-closed roll tops look the same too?Third grade size lets you write more on each line. Write & Say to practice with rhythm.

These roll tops are second grade size. Write & Say until it is easy to make them all look the same.

12 We Write To Read

Practice And Apply - Round Top And Roll Top LettersTo join round tops and roll tops you will need to use a new joining stroke - "Slide Roll."Practice "cursive print" then pause and join. Use ending strokes to space sets and words.

Combination-Top letters use the rocker to join. Joiners control form, slant, size and spacing.

You also use the "slide-roll" joining stroke for letters that begin with a roll top.

We Write To Read 11

1. Roll Top2. Sharp Top

1. Loop Top2. Round Top

1. Roll Top2. Sharp Tail3. Rock

1. Loop Top2. Round hook

slant

1. Sharp Top2. Round Top


1. Round Top2. Round Top

1. Round Top2. Round Top3. Round Top

1. Round Top2. Cross

GetThe

Beat!

Fingertrace With Action Words To Learn The RhythmWeekFourRound Tops

Week FiveBasic Stroke Combinations

Week SixRoll Tops With Sharp Tops


1. Introduce the Week 5 letters on pupil page 11. Developthe lowercase p.

2. Demonstrate the p as it is applied in words. Numericalcounts (including ending strokes) for the following words:

up = 5 pet = 5put = 6 pin = 6pen = 6 pull = 7

Day Two1. Introduce lowercase h. Review the loop top of the l andone round top of the n. Emphasize the descriptive andnumerical counts for rhythm and control. “Chop” the base-line.

2. Numerical counts for words:

he = 4 her = 5his = 5 the = 5this = 6 then = 7push = 8 them = 8

Day Three1. Introduce the k. The “hook-slant” double downstrokerequires extra emphasis. You can show the pupils how theround top looks like a question mark. Continue to “chop” thebaseline for control.


ski = 5 seek = 6kit = 5 kite = 6kiss = 6 kick = 7knee = 7 hiker = 8

Days Four and Five

1. Review. Continue to practice and apply the legibilitysubskills: FORM, SLANT, SIZE, SPACING, SMOOTH-NESS and LINE CONTROL.

2. Use eyes-closed practice in chalkboard lessons and onunlined paper.

3. Reteach action words for form. Use numerical countingto increase speed. (Note: As an alternative to count, tryhaving students "spell" as they write. Write each letter as yousay it.)

4. Erase the bottoms of cursive words to test visual memoryand understanding.

Day Four1. Introduce the m. Show the relationship to printwriting.Emphasize the number of round tops.

2. At the chalkboard try to write n and m with eyes-closed.Emphasize the verbal descriptions and specific rhythms ofeach letter.

3. Demonstrate the use of m in words using cursive printing.Numerical counts for words (count for letters and endingstrokes - dots and crosses are added after the count):

me = 5 men = 7 mixer = 8 seem = 7 meet = 7 six = 4 mix = 6 mine = 8 nine = 7

Day Five1. Review and self-evaluate.

2. Provide individual help where miscues have been identi-fied.

Week 5

This week the three target letters that are developed usecombinations of the sharp top, loop top, and round top basicletter parts.

Again, all of the letters are engineered to join from thebaseline. They are KARATE letters.

Continue to use the regular lesson procedure outlined at thebeginning of Week 2.

Day One

We Write To Read 11


1. Loop Top2. Round Top

1. Roll Top2. Sharp Tail3. Rock

1. Loop Top2. Round hook

slant

1. Sharp Top2. Round Top


1. Round Top2. Round Top

1. Round Top2. Round Top3. Round Top

1. Round Top2. Cross

GetThe

Beat!

Fingertrace With Action Words To Learn The RhythmWeekFourRound Tops

Week FiveBasic Stroke Combinations

Week SixRoll Tops With Sharp Tops


Week 6

The last three lowercase letters that use the baseline forjoining control are developed this week. The roll top used forthis family is used only five times in the alphabet, but becauseof the frequency of use of a and other “roll top” letters it isvery important for overall legibility.

roll over more

Most miscues with this letterform family occur becausepupils do not roll over far enough to allow the sharp top toclose the letter. The a begins to look like a u and the d beginsto look like a cl combination.

Day One1. Review pupil page 10. On the last line of the page showthe pupils the separated strokes of the three letters assignedfor the week. Turn to pupil page 11 and study the COLOR/RHYTHM models for a, d, q. Demonstrate how these threeletters are related to printwriting.

2. Introduce the development of the a. Be sure to make theletterform large on the chalkboard emphasizing the combina-tion of basic strokes. The joining stroke for the trace topletters is like a regular round top joining stroke. Slide alongthe baseline and roll over on the top.


at = 4 are = 5an = 5 am = 6ran = 6 tan = 6air = 5 care = 6

Day Two

1. Develop lowercase d. Extend the sharp top to almost thetop line when using reduced size. The tops of the t and p arethe same size.

2. Numerical counts:

lid = 5 aid = 6 mad = 8ad = 5 did = 6 deeds = 8red = 5 sad = 6 mud = 8dad = 7 had = 6 said = 7

Days Three, Four and Five1. Develop lowercase q. Explain to the pupils that the tailuses a rocker to get back to the baseline, just like the f. Thisis the last baseline control (karate) letter!


quit = 8 quite = 9 quiet = 9 quick = 10

3. Practice more words with line pauses, page 13.

4. Prepare for the Unit One testing sample as presented onpupil page 14. Please explain to the pupils that the words inthe model can be written in cursive print or joined.

Unit One Model Test

We Write To Read 13

More To Practice Control And RhythmPractice line control pauses using cursive print as shown. When you are sure you are stopping on the baseline,simply pause then join. Can you write the letters as you spell out loud?

NNNNN DDDDD

14 We Write To Read

NNNNN DDDDD

Unit One Model TestShow how well you have learned to cursive print and join with the "baseline-joining" letters.You may use cursive capital letters in your name if you wish.


OBJECTIVES:

1. To continue good physical position development.

2. To develop, practice, and apply the rest of the lowercaseletters:

a. Four above-baseline joining control lettersb. Four below-baseline joining control letters

3. To learn and apply cognitive facts about handwritingskills development for individual progress and improvedwritten communication.

4. To develop fluency and smoothness for better transfer oflearning.

Week 7The first six weeks of instruction developed eighteen letter-forms. The basic stroke/line control characteristics of thoseletters made it possible to accomplish that assignment.

The second unit of instruction includes only eight letters inthe same time allowance. The target letters included in thisunit are presented together because of the unusual joiningstrokes they require in word writing.

Please spend the extra time allowed in order to help pupilsrefine their position skills and their understanding of hand-writing facts.

Day One1. Before opening the books to page 15, demonstrate thecursive word we on the chalkboard (use only a baseline andwrite very large). Explain to the pupils that there are fourletters we need to learn that are different from the 18 letterswe have practiced.

These four letters force us to connect letters up above thebaseline. Because they join to other letters differently it canbe very confusing if we don’t study the letters and learn tomake these special joining strokes. For the next four weekswe’ll practice only two letters a week and we’ll write lots ofwords that use these letters.

Have you ever been to an amusement park? If so, did you everride on the “Jungle Swing”?

“Listen to me - I’m going to write the w on the chalkboard andpretend I’m on that swing -

“Sharp top, sharp top, sharp trace - Whee e e”

UNIT TWO LESSON PLANS (WEEKS 7-12)

2. Discuss the little retraced slant in the third sharp top. Thenhave pupils write the w in the air as they point to the modelyou made on the board. Pause very definitely before youswing the Tarzan ending stroke.

3. Open the books to page 15.

Ask the pupils if they have ever heard of Tarzan and discussother names we could use to describe the four letters on thispage. (Examples: “Swingers,” “Flag Letters,” “TrapezeLetters,” “Circus Letters,” etc.)

4. Fingertrace the w and verbalize the sharp tops. Add“swing” at the end. Be sure everyone learns to stop before theending stroke.

5. Fingertrace the w in joined triplets as illustrated. Countnumerically.

1-2-3 stop, 1-2-3 stop, 1-2-3 stop, finish

Day Two1. Review the air writing and fingertracing of the w. Writethe w on practice paper one space high.

2. Reduce the size to 1/2 of a space. Emphasize the shortslant in the third sharp top.

3. Try to join two w’s together with an exaggerated joiningstroke.

4. Self-evaluate, reteach.

We Write To Read 15

Unit Two - Fingertrace To Learn The Tricky Control PointsThese letters are tricky because they do not end on the line. You must learn to use two new joining strokes!

Swing to join sharp top and loop top letters. Sway to join round top and roll top letters.

1. Round Top2. Sharp Trace

1. Roll Top2. Rock

1. Loop Top2. Sharp Trace

1. Sharp Top2. Sharp Top3. Sharp Trace

Week Seven Week Eight


Day Three1. Write a w on the board. Show pupils how the endingstroke of the w becomes a joining stroke for sharp top letters.

2. Write a w on the board and show how the ending swingconnects to loop top letters.

3. Practice and self-evaluate.

Day Four1. Introduce the lowercase b using the same procedure. Thesharp top of the b is exactly like the last sharp top in the w.

2. Practice connecting strokes tosharp top and loop top letters.

Day Five1. Practice short words that use the high swing joiner.

2. Practice w and b as they join to round tops. The pupilbooks tell pupils to “Sway to round top letters.” Someteachers call it a “dip curve” or a “Tarzan Twist.” Use anydescription that works!

3. Page 15 demonstrates theapplication of both joiningstrokes.

Week 8

1. Use the same procedure and introduce lowercase letters vand o this week. Practice the basic stroke descriptive count- air write - use eyes-closed practice, etc.

2. Practice joining triplets as presented on page 15.

3. Use pupil page 16 for word practice and joining patterns.

Week 91. Pupil page 17 introduces the third special joining strokecontrol family. These letters are not used very frequently andthey are very similar to “root” letters from the first eighteenletters that were introduced in Unit One. However, they are

designed to join to other letters in a unique manner: thejoining stroke actually begins below the line as the rainbowtail rolls up to cross the baseline before moving on to the topof the next letter.

2. The top of the j is exactly like an i. The top of the y is likethe v (with the exception of the extended slant used to gobelow the baseline).

3. Write words on the chalkboard and erase the bottoms.

Can the pupils decode the words? If so, they are demonstrat-ing linguistic skills. The brain must search its visual memorybank to decode the words. Exercises like these are valuablefor correlation in all subject areas. You can help your pupilslearn vocabulary words and establish better visual memory inthe process when you erase the bottoms of letters on a regularbasis.

4. Introduce each letter as previously outlined. Then prac-tice pausing at the bottom of the tail to establish joiningcontrol.

5. When any of the target letters on page 17 join to otherletters the joining stroke is at least twice as long as the joinersfrom the other 22 letters (sometimes 4 times as long - as wheng joins to h). Pencil holding and paper position problems canbe identified immediately when you check papers that usedthe four letters.

6. Introduce the j and y using the regular lesson procedure.

7. Spend the entire week on practicing the two joiningstrokes required (# 5 joiner for sharp tops and loop tops, and# 6 joiner for connecting to round top and roll top letters).

We Write To Read 17

More Tricky Joining PatternsThese letters require longer joiners. Pause at the bottom of the tail then slide to join the next letter.

1. Roll Top2. Sharp Tail3. Join or Finish

Roll

Rock

Roll

Roll Roll

1. Round Top2. Sharp Tail3. Join or Finish

Week Nine1. Round Top

bounce tail2. Join or Finish

1. Sharp Tail2. Join or Finish3. Dot

Week Ten

Twist Joiner Roll Joiner Roll Joiner Roll Joiner

‰üâüâüí á´ç´ç´í


Week 10

1. Continue with lowercase letters z and g. The z has adouble downstroke that may be compared to a “slinky” toygoing down a stairway. The round top slants to the baselineand rolls down into the space below the baseline to form thelower loop. The joining stroke for both letters begins as therainbow rolls up to cross the baseline. Again, the next lettertop determines the movement.

2. The top of the z is like the top of the x, the top of the g islike the top of the a. Demonstrate the difference in the tailsof g and q.

3. Pupil page 18 demonstrates the application of lower loop“submarine” joining strokes.

4. Review, practice, apply and self-evaluate.

Week 11

Day OneReview the line control joining family using self-help pupilpage 36. See the high frequency list for additional words.Cursive print to emphasize rhythms then join.

Day TwoReview the Tarzan family and the submarine family on pupilpage 37. See the high frequency word list on page 51 foradditional words using Tarzan and submarine joiners.

Day ThreeReview the rhythm of all twenty-six letters using pupil page34.

Days Four and FivePupil page 35 demonstrates rhythm counting. Practice eyesclosed.

18 We Write To Read

Practice Joining Tail Letters

Roll then rock for Twist Joiners to sharp tops and loop tops

Roll way over to round tops and roll tops.

Use ending strokes to space your words.

36 We Write To Read





We Write To Read 37

More Joining Control - Eight Tricky LettersControl pauses are not on the baseline with these letters.

Above-line joining strokes make the next letter look different.

Connecting from tail letters takes practice. These joiners are longer. Stop at the tail bottom for control.

34 We Write To Read

Self-Help For Smooth Rhythm (Skill # 5)Lowercase letters do most of our work. Make sure you understand the rhythm facts!

Each basic stroke is a rhythm pattern that moves over to the right and back to the baseline. The movement becomes automaticif you practice to a "beat." Chant the "Action Words" as you practice each group of letters. Your voice will make a rhythm!

10 Lowercase letters use one basic stroke, then pause before joining.

3 Lowercase letters use three basic strokes, then pause before joining.

13 Lowercase letters use two basic strokes, then pause before joining.

We Write To Read 35

HandwritingHints

1. Soft pencil holding 3. Slide - right, slant - left 5. Practice large and small2. Slant your paper 4. Learn control pauses 6. Practice eyes closed

Move the pencil with your voice to write words with rhythm. Practice large and small on unlined paper. Count foreach basic stroke in the letter. Say "space" as you add the ending stroke on each word.

1 2 3 4 5 Space 1 2 3 4 1 2 3 45 Space76 Space5 6

121

Space3

Space2

Space

5-63-41-2

Space

5-63-41-2

5-63-41-25-63-41-21-23-41-2 5-63-45-6

SpaceSpace

3

Space Space


Week 12

Day One

1. Practice the first two lines of words on page 18.2. Can pupils identify the joining control spot for each letterin the words? Discuss the compound curve submarine joiner.

3. Self-evaluate slant and spacing.

Day Two1. Practice the 3rd and 4th lines of words on page 18.

2. Identify joining control spots and discuss the long subma-rine rainbow joiner.

3. Self-evaluate size and smoothness.

Days Three, Four, and Five1. Review basic stroke development. Identify the type ofbasic stroke used for every lowercase letter.

2. Review position and relaxed rhythm.

3. Introduce page 19 for more patterning practice.

4. Introduce pupil page 21 - Unit 2 Model Test.

5. Prepare the model test for analysis.

1

We Write To Read 19

Practice Words That Use All Six Joining StrokesPause then slide the joining stroke to control form, slant, size and spacing.

NNNNN DDDDD

18 We Write To Read

Practice Joining Tail Letters

Roll then rock for Twist Joiners to sharp tops and loop tops

Roll way over to round tops and roll tops.

Use ending strokes to space your words.

We Write To Read 21

Unit Two Model Test

NNNNN DDDDD


UNIT THREE LESSON PLANS (WEEKS 13-18)

3. When you practice ovals be sure pupils hold the pencilway back - at least an inch from the point. Also be sure pupilsroll the arm. Ovals made with pure finger movement are nothelpful. Practice at least two spaces tall for large muscleinvolvement.

Day TwoIntroduce page 22. The capitals for Week 13 are called left-curve downstroke letters. Fingertrace capital A as pupils saythe action words. Show the pupils the narrow turn at thebottom. The sharp top in the A may go all the way up andtouch the beginning stroke or one may leave a little space atthe top. The A is very easy to join because of the naturalcontrol point. Use the regular procedure to introduce themovement patterns.

1. Curve Down2. Sharp Top3. Join or Finish

1. Curve Down2. Rock up3. Finish

CAPITAL LETTER DESIGNCapitals are important because they always announce some-thing (or someone) special. Unfortunately, the uppercasecursive alphabet is relatively difficult. Also, capitals are usedfar less frequently than the lowercase letters. Historically,research shows the capital letters were very ornate, almost anart form. Individuality is best expressed with capitals. Havethe children look at the replicas of the American Colonies’Declaration of Independence and Thomas Jefferson’s hand-writing for the Constitution of The United States.

The designers of the uppercase cursive alphabet attempted tomake the letters “fit” the way the muscles of the arm move.Capitals were originally intended to roll around in ovalfashion, with a great deal of movement. Exactly one-half ofthe capitals begin with an oval beginning stroke that rollscounterclockwise. The other half use a clockwise beginningmovement.

For many years capitals were never joined to small letters,and many teachers at the third grade level continue thattradition. However, many capitals are very easy to join. Inthis series we demonstrate those easy-to-join letters.

OBJECTIVES:

1. To develop, practice and apply the letter formation pat-terns for thirteen capital letters.

2. To identify the difference between capitals that never joinin words and those that are easy to join.

3. To reinforce good physical position skills.

4. To reinforce legibility and fluency subskills.

5. To obtain good transfer of learning in all written commu-nication.

Week 13Day One1. Introduce oval movement. Demonstrate an extremelylarge oval on the chalkboard. Roll around and around withrhythm (counterclockwise). Explain to the pupils that ovalswill help us to understand how the capitals are made.

2. Have pupils make a big oval in the air using good rhythm.Demonstrate how the top of an oval is used to start someletters and how the bottom is used for the beginning stroke ofothers.

Day Three1. Introduce the capital O. The printed O is similar to thecursive form. The ending stroke swings freely. Never jointhis capital letter.

2. Review lowercase letters t, i, s, u.


Day Four1. Develop the movement pattern for theC. Show the pupils that the beginningloop slants down before it hooks around.

2. Fingertrace the COLOR/RHYTHMC as illustrated on page 22. Write the Cin the air as pupils describe the strokes.Use the regular lesson procedure.

3. When practicing on paper always practice large, withrhythm, before reducing the form to application size. The Cis a joinable form, but it is harder to control compared to A.

Day Five1. Review capitals A, O, and C.

2. Review lowercase letters e, l, f, r, c. Practice spacing andslant.

3. Demonstrate the development of the E. Emphasize theway this letter rolls “around and around and around.” Thejoining of this letter is exactly like the C. Practice the E usingthe regular lesson procedure.

4. Practice A, O, C and E in sets of three to compareconsistency of form. Use eyes-closed practice.

Week 14

The three capitals assigned for this week begin with a left-curve downstroke that changes direction at the bottom creat-ing a compound curve.

Day One1. Demonstrate the beginning stroke of capital D. We callthe compound curve a “twist” on page 22 of the pupil book.

2. Then demonstrate the “toe-loop” at the bottom of the D.Show the pupils that it is a compound curve too. The pencilrolls across the stem, then rocks to touch the baseline beforeswinging up to finish the right side of the letter.

3. Use the regular lesson procedure to develop and practiceD. Make the D narrower than an O. This letter never joins.Exaggerate the slant of the beginning stroke if the compoundcurve is difficult for your pupils. Finger movement alone willcreate a vertical twist. We need to involve the arm (large) andwrist (small) to achieve the desired laterality.

Day Two1. Review capital D and lowercase letters p, h, k.

2. Introduce the capital T. Be sure pupils learn to start withthe stem. Use the regular lesson procedure. Show pupils thatthe top of the T rolls around to the right. The loop is theopposite of C and E. Make the top loop begin close to thestem.

Day Three1. Review capital T and introduce the F using the regularlesson procedure.

2. Practice and apply these letters.

3. Review lowercase letters x, n, m.

Days Four and Five1. Practice D, T, and F in sets. Compare and evaluate form,slant, size. Be sure everyone can identify two compoundcurves in each letter. Use pupil page 23.

2. Write words using the target capitals and lowercase lettersp, h, k, x, n, m to practice size and proportion.

1. Slant2. Loop Around3. Join or Finish

1. Twist Down2. Loop Twist3. Rock Swing

start

stop

1. Twist Down2. Rock3. Loop Twist

1. Twist Down2. Rock Hook3. Loop Twist

We Write To Read 23

Write & Say Practice With Capital LettersPractice writing movement. Chant the action words or color rhythm as you move to write each letter.

NNNNN

Pause then slide to join these capital letters!

1. Curve Down 2. Sharp Top 3. Finish 1. Curve Down 2. Rock up 3. Finish

1. Slant 2. Loop Around 3. Finish

1. Twist Down 2. Loop Twist 3. Rock Swing

1. Twist Down 2. Rock Hook 3. Loop Twist

1. Twist Down 2. Rock 3. Loop Twist

1. Slant 2. Loop Around 3. Loop Around 4. Finish


Week 15

The next group of capitals begins with a rocker-rock upstrokethat starts mid-space.

Days One, Two, and Three1. Introduce one letter each day using the regular develop-ment procedure. Use page 24 to develop the stroke-by-strokemovement patterns for each letter. These letters are fun topractice with your eyes closed.

3. Also review lowercase letters a, d, q, and self-evaluateusing pupil pages 2, 20, 32, 34, 35, 36, 37.

Days Four and Five1. Use the P, B, and R in appropriate applied writing selectedfrom names of familiar people, places, and things.

2. Practice on the chalkboard to help identify and remediateindividual needs.

Week 16

The next three letters (L ,S,G) begin with a rocker-rockbeginning stroke, but the top of each letter loops down. TheL uses two compound curves and the tail swings below theline. L is a never-join capital.

Uppercase S uses one compound curve. G has an unusualsharp top. Be sure pupils pause before slanting the right sideof the letter.

Unit Three Model Test, pupil page 27.

24 We Write To Read

Week 15

Upstroke Capitals - Fingertrace With Action Words

1. Rock2. Twist Down3. Loop Twist

1. Rock2. Twist Down3. Rock

1. Rock Loop Rock2. Slant Curve3. Rock

1. Sharp Top2. Trace Around

1. Sharp Top2. Trace Around3. Loop Around4. Rock

1. Sharp Top2. Trace Around3. Loop Slant

Join or Finish

Week 16

We Write To Read 27

Unit Three Testing

Days One, Two and Three1. Introduce one letter a day using the regular developmentallesson procedure. Use pupil page 24.

2. Review lowercase w, b, v and o from pupil pages 15 and16.

Days Four and Five1. Be sure all pupils can identify the starting point for all ofthe rock-up capitals: P, B, R, L , S, G. Play the chalkboardgame, "On The Spot" with several teams. See page 36.

2. Practice and apply the capitals using words from othersubjects.

3. Practice and apply the Tarzan lowercase letters.

Week 17Day One - Day Five1. Review the capitals:

Week 13, pupil pages 22 and 23.Week 14, pupil pages 22 and 23.Week 15, pupil page 24 and 25.Week 16, pupil page 24 and 25.Practice page 26 for slant, size, spacing and control.

Week 18Practice the Unit Three test model on pupil page 27 each day.Prepare a final copy for evaluation.


UNIT FOUR Lesson Plans (Weeks 19-24)

OBJECTIVES:

1. To reinforce physical position skills.

2. To develop, practice and apply the formation patterns ofthe thirteen capital letters that begin with clockwisemovement.

3. To review and improve the use of all lowercase letter-forms and numerals.

4. To improve the daily use of handwriting skills in allsubject areas.

Week 19Day One1. Review position skills. Monitor the use of correct paperplacement in all subjects.

2. Make a giant-sized clockwise movement oval. Practicemaking large ovals in the air with good rhythm. Discuss thechange in the direction of movement.

3. The capital I begins on the baseline and rolls up to the linelike a rainbow.

4. Introduce the I using the regular lesson procedure.Fingertrace the model on pupil page 28. The ending stroke isvery similar to the “smile” used in letters T, B, S, G.

Day Two1. Introduce the J using the regular lesson procedure. Movefrom large size to reduced size gradually to maintain goodposition and relaxation.

2. Emphasize the beginning stroke. The tail is like thelowercase j . The development of the J is illustrated on page28. Use pupil page 28 for the COLOR/RHYTHM model andverbal description.

Day ThreeReview the lowercase vowels i, u, e, a, o. Practice words toemphasize control, spacing, and slant.

Day FourReview capitals I and J. Practice at the chalkboard and onunlined paper, making the forms with eyes closed to helpestablish visual/muscle memory.

Day Five1. During math class review the formation of the numerals.

2. During spelling class ask pupils to write words usingcursive printing. Discuss line (joining) control using pupilpage 36.

28 We Write To Read

Week 19

Unit Four - Fingertrace With Action Words To Learn The RhythmWeek 20

1. Roll Up2. Slant Tail3. Roll to

Finish or Join

1. Roll Up2. Curve Down3. Rock

1. Loop Slant2. Round Top3. Finish or Join

1. Loop Slant2. Round Top3. Round Top4. Finish or Join

1. Loop Slant2. Curve Slant3. Trace Swing

1. Loop Slant2. Twist Down3. Loop Slant4. Finish or Join

36 We Write To Read






Week 20

1. This week develop the capital letters N, M , H, and K .These letters all begin with exactly the same beginning stem.

2. Make an oval-slant exercise like this:

Week 21

1. This week concentrate on capitals X, U, V, Y. The X andU join easily because of the natural control point. Y may alsojoin (creating another Submarine joiner). Capital V is a“never-join” letter.

2. Introduce one letter a day using the regular lesson proce-dure and the COLOR/RHYTHM models on pupil page 30.

3. Begin Capital X with a loop-slant stem, just like an N.Pause at the baseline, join. After the word is finished, crossup through the stem with a rocker-rock!

4. Practice lowercase letters that begin with loop tops: e, l,f, h, k, b.

5. Continue to emphasize position, movement, slant, size,spacing and control.

Week 22

1. Develop letter formation sequences for capitals W, Q, Z.

2. Develop and practice one letter each day. Be sure every-one can discriminate between the stems used for Weeks 20and 21. Work for 100% competency inproducing correct beginning strokes.

3. W and Q are "never join" capitals.Z may join but it is not necessary(the joiner is a difficult one as we havediscovered with other submarine letters).

4. Practice sets of letters, using pupil page 31.

3. Develop and practice one letter each day. Use the COLOR/RHYTHM forms shown on page 28 and the regular proce-dure.

4. Capitals N, M , and K permit easy joining because of theirnatural control point.

5. Emphasize the "twist" curve used for the brown stroke ofK .

Use pupil page 29 for consistency practice.

6. Practice all lowercase letters that begin with sharp tops: t,i, s, u, r , c, p, w, j .

7. Discuss the control pauses that create better joining strokes.

8. Self-evaluate using the self-help pages in the pupil book.

We Write To Read 29

1. Loop Slant 2. Round Top 3. Finish

1. Loop Slant 2. Curve Slant 3. Trace Swing

1. Roll Up 2. Slant Tail 3. Finish

1. Loop Slant 2. Twist Down 3. Loop Slant 4. Finish

Write & Say Practice With Capital LettersPractice writing movement. Chant the action words or color rhythm as you move to write each letter.

1. Roll Up 2. Curve Down 3. Rock

1. Loop Slant 2. Round Top 3. Round Top 4. Finish

Easy Join Letters: Could join but not necessary.

30 We Write To Read

Week 21

More Right Curve Capitals

1. Loop Curve2. Sharp Top3. Roll

1. Loop Curve2. Loop Twist

1. Loop Curve2. Loop Tail3. Finish or

Join

Week 22

1. Loop Slant2. Finish or Join3. Cross

1. Loop Slant2. Sharp Top3. Finish or Join

1. Loop Slant2. Sharp Tail3. Finish or Join

1. Loop Slant2. Twist Up

Smooth Rhythm = Fluency!

GetTheBeat

Never JoinNever Join

Never Join


Week 23

Day OneHave pupils write the uppercase letters in alphabetical order.Ask pupils to use a green marker (or crayon) and color thefirst stroke of all 26 capitals. Evaluate.

Day TwoHave pupils write all 26 lowercase letters. Ask pupils to usetheir red crayons to color the control pause point of all 26letters. Evaluate.

Days Three and Four1. Review pupil pages 28, 29, 30, 31.

2. Illustrate and discuss capitals that never join (V, W, Q).

3. The eleven letters that begin with a right-curve loop aredivided into three subgroups:

Week 24Day One1. Discuss the six legibility subskills:

# 1 Form - pages 7, 11, 15, 17, 22, 24, 28, 30# 2 Slant - page 2# 3 Size - page 20# 4 Spacing - page 32# 5 Rhythm, Smoothness - pages 34, 35# 6 Control - pages 36, 37

2. Using pupil papers from regular daily work, have thestudents review their own work.

Day TwoReview pupil pages 28 and 29. Practice capitals I , J, N andM with eyes closed. Self-evaluate and practice again forclarity.

Day ThreeReview pages 30 and 31. Practice all of the capital letters witheyes closed (except X). Self-evaluate and practice again forclarity.

Days Four and FiveReview the self-help pages for size and spacing. Prepare forthe Unit Four test model as pictured on pupil page 33. Directthe practice and preparation. To avoid time-consuming,laborious drawing; have students say the capital as they writeit and then spell aloud, writing each letter as they chant.

4. Starting points and movement patterns are critical. Young-sters who make miscues should practice extremely large....atthe chalkboard or on unlined paper.

Day Five1. Use pupil page 34. Review the rhythms of lowercaseletters. Practice lowercase letters with numerical counts(don’t use ending strokes for single letter practice).

2. Write these words on the chalkboard and see if pupils cancalculate their number value! Include the ending strokes.

in = 4 the = 5 little = 7

me= 5 hot = 6

Unit Four Model Test

34 We Write To Read

Self-Help For Smooth Rhythm (Skill # 5)Lowercase letters do most of our work. Make sure you understand the rhythm facts!

Each basic stroke is a rhythm pattern that moves over to the right and back to the baseline. The movement becomes automaticif you practice to a "beat." Chant the "Action Words" as you practice each group of letters. Your voice will make a rhythm!

10 Lowercase letters use one basic stroke, then pause before joining.

3 Lowercase letters use three basic strokes, then pause before joining.

13 Lowercase letters use two basic strokes, then pause before joining.

We Write To Read 33

Unit Four Testing


UNIT FIVE LESSON PLANS (WEEKS 25-30)

OBJECTIVES:

1. To develop visual memory, demonstrated by using thecursive alphabet without a model or visual aids.

2. To reinforce the use of good physical position skills.

3. To demonstrate accurate self-evaluation of the other fivelegibility subskills:

- Slant- Size- Spacing- Relaxed Movement/ Rhythm- Line (Joining) Control

4. To demonstrate development of neatness in daily writingrequired in other subjects.

Week 25Day One1. Slant print the following lowercase letterforms on thechalkboard: a, c, d, g, h, i, j , l, m, n, o, p, q, t, u.

2. Ask the pupils to write those letters in cursive.

3. Exchange papers and see if pupils are able to accuratelycheck letterforms and slant. Use pupil page 2 for the slantcheck.

4. If pupils put ending strokes on the a, c, d, h, i, l, m, n, p,t, u, review the baseline control “karate” exercises to be surecontrol patterns are maintained.

Day Two1. Print several spelling words from thecurrent spelling book word list. Askpupils to write the words in cursive.

2. Exchange papers and see if pupils canaccurately evaluate letterforms and size.Use pupil page 20 for the size check.

Day Three1. Use pupil page 13 and have pupilswrite the words on the page in cursiveprinting.

2. Exchange papers and have pupilscheck spacing. Use pupil page 32 forthe spacing check.

Day FourWrite the following words on the chalkboard. Tell the pupilsyou are going to ask them to write quickly and neatly. “WhenI say ‘GO’ start writing. When I say ‘STOP’ lift your pencilin the air even if you are in the middle of a word.”

in me see the his hershe this can that them these

After 45 seconds say “STOP.” Ask pupils to count thenumber of letters they were able to write and write the numberat the place they stopped.

2. Exchange papers. Ask pupils to count the number ofletters again. Then ask pupils to check neatness and the colorof the pencil lines.

3. Ask pupils to stand and “take a bow” for writing neatly ifthey are named by the checker.

4. Ask pupils to stand for a “round of applause” if they wrotesoftly on the paper.

5. Ask pupils who finished at least 30 letters (neatly) to standand receive “three cheers” for good speed.

Day Five1. Without opening the pupil books, ask pupils to write all 18baseline control letters. Check stopping points.

2. Evaluate and review.

3. Write as many words as the pupils can construct usingonly baseline-control letters. Use pupil page 36 for verifica-tion.

Week 26Day One1. Make a left-curve downstroke oval on the chalkboard.Ask pupils to name capital letters that begin at the top andcurve down to the left like the oval. Write them on the boardas you receive correct letters.

2. Review and practice these letters: A, O, C, E, D, T, F(pupil page 22).

Day Two1. Make an oval that rolls around to the left, starting at thebottom. Then make a rocker upstroke as used for the nextcapital letter family. Ask pupils to name these upstrokecapitals: P, B, R, L , S, G (pupil page 24).

1


Day FourUse pupil pages 34 and 35 to help pupilscheck their rhythm and smoothness. Writepart of the daily work assignment again toproduce smoother, softer writing.

Day FiveAsk pupils to write a subject areapaper using cursive printing tocheck control. Use pages 36 and37 in the self-evaluation process.

Week 28Directed LessonsThis week practice each of the 18 lowercase letters that usebaseline control in joined sets of three - pupil pages 8, 12.

Applied Work - Each DayAsk pupils to check one of their own papers to self-evaluateform and one other subskill each day.

Day 1 SlantDay 2 SizeDay 3 SpacingDay 4 Gray linesDay 5 Control

Week 29

Days One and TwoPractice the Tarzan and Submarine joining lowercase lettersin joined sets of three, pupil pages 15 and 17.

Days Three, Four and FiveEach day practice one of the previous Unit Test models byspelling aloud to write each letter as it named. Have pupilsself-evaluate.

Day 3 Unit One (page 14)Day 4 Unit Two (page 21)Day 5 Unit Three (page 27)

Day Three1. Make an oval on the chalkboard that rolls clockwise,starting at the bottom. Then make the left side beginningstroke used for capitals I and J. Can pupils identify these twoletters from visual memory?

2. Review and practice.

Day Four1. Make an oval that rolls clockwise, starting at the top.Then make the loop-slant stem used for N, M , H, K . Askpupils to name the letters that begin exactly this way (pupilpage 28).

2. Then use pupil page 30, make the loop-stem used forcapitals X, U, V, Y and reemphasize the subtle differencebetween this group and the slant group on pupil page 28.

3. Practice.

Day Five1. Using the same oval, also make the loop-curve stem usedfor W, Q, and Z. Again check visual memory and formdetails.

2. Practice and self-evaluate. Use pupil page 38.

Week 27

This week concentrate on a daily handwritinglesson specifically correlated with one of yourdaily subjects. Transfer of learning is neverautomatic. It must always be planned andmonitored.

Day OneHave pupils use page 2 in their pupil books tocheck their own slant. If discrepancies are noted, have pupilsrewrite part of their daily work, again working for self-improvement.

Day TwoHave pupils use page 20 to check their own size. Ifdiscrepancies are noted, have pupils rewrite part oftheir daily work to demonstrate improvement.

Day ThreeUse pupil page 32 for a writing checkup forspacing. Rewrite as needs dictate.

1

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Week 30 - Unit 5 Model Test

This week practice sentence writing and prepare for the lowerhalf of the special TERM PROGRESS paper. At the begin-ning of the school year you had pupils write a “pre test”sample of their writing in September. The Unit Five TestModel is the “post test.”(Use pupil page 39.)

UNIT SIX Lesson Plans (Weeks 31-36)OBJECTIVES:

1. To assess pupil knowledge of handwriting facts.

2. To reinforce physical position skills.

3. To improve daily use of legible, fluent, and neat handwrit-ing in subject area writing.

4. To assess development of the legibility subskills.

Week 31Day One1. Explain to the pupils that knowledge about handwriting isa very important part of becoming a good writer. We have tobe sure we know facts about “how” we write and all of thethings that make handwriting easy to read and write.

2. Give children a piece of paper and have them write a neatheading. Fold the paper in half down the middle and numberthe left side of the paper from 1-8. Number the middle of thepaper along the fold 9-15. Dictate the following test ques-tions:

Part One, True or False (Write the answers on yourpaper.)

1. When we write, our back should rest against the back ofthe chair. (False)

2. When we write we should keep the elbow bone of ourwriting arm just off the lower edge of the desk. (True)

3. Always hold your writing paper straight in front of you.(False)

4. Keep your pointing finger on the sharpened part of yourpencil. (False)

5. If a right-handed person has books on his desk the writingpaper should be on the right side of the desk. (True)

Part Two, (Write the answers on your paper.)

6. There are four basic strokes used to build lowercaseletters. Two of them are round tops. What are the othertwo called? (Sharp and loop tops)

7. In writing capital letters, only four capitals begin on thebaseline. One is the capital S. Name the other threecapitals that begin on the baseline. (G, I , J)

8. When you write small letters only six letters begin withloop tops like the lowercase e. Write the other fivelowercase letters. (l, b, h, k, f)

9. Most capital letters begin on the top line. There are onlyfour letters that begin in the middle of the space and curveup to the top line. Write all four letters. (P, R, B, L )

10. How many small letters begin with a sharp top like an i?Write them. (i, s, u, w, j , t, p - also accept r , c)

11. Write the word mine on your paper. How many tops didyou make to write this word? (Seven tops not includingthe finish stroke)

12 There are four small letters that we call TARZAN lettersbecause they swing above the baseline to join. Can youname all four letters? (w, b, v, o)

13. Write the small letter a. What other small letters start thesame way? (d, g, o, q)

14. How many capitals begin with a compound curvedownstroke?(D, T, F)

15. There are eleven letters in the small letter alphabet thatonly have one top. Can you write at least ten of them?You will get special credit if you can name all eleven!(Don’t count crosses or dots.)(c, e, f, i, j, l, r, s, t, x, z)

We Write To Read 39

Unit 5 Model Test


Day Two1. Use pupil page 5. Review the sharp top basic stroke.

2. Practice the small letters that begin with rocker sharp tops- t, i, s, u, r , c, p, w, j .

3. Focus on the c because of the hook top, the w because ofthe Tarzan joiner, and the j because of the rolling joiner.

Day Three1. Practice pupil page 6 to review the loop top basic stroke.

2. Review and practice the small letters that begin with looptops - e, l, f, h, k, b.

3. Focus on the unusual form details of the f, k, and b.

Day Four1. Use pupil pages 9 and 10 to review and practice therainbow beginning round top and roll top letters: x, n, m, a,d, q, v, o, y, z and g.

2. Focus on the unusual details of q, v, o, y, z and g.

Day FiveIn every subject area that requires written communication askpupils to write using the cursive printing control process. Usepupil pages 36 and 37 as a reference.

Week 32Day One1. Use pupil page 12 and write each word with a numericalcount. Count for each stroke that moves the pencil forward,including the ending strokes (name the dots and crosses).

six = 4 (plus dot, cross) aid = 6 (plus dot)mixer= 8 (plus dot, cross) quit = 8 (plus dot, cross)nine = 7 (plus dot) quick = 10 (plus dot)knee = 7 had = 7push = 8 quiet = 9 (plus dot, cross)hiker = 8 deeds = 8

2. Check for smoothness and line control.

Day Two1. Use pupil page 16 and write each word with numericalcounts.

van = 7 weak = 9 town = 9 (+)brew = 8 out = 6 (+) vain = 8 (dot)was = 7 eve = 5 noon = 9cost = 6 (+) wool = 9bet = 5 (+) wet = 6 (+)ever = 6 cook = 8bad = 7 root = 7 (+)warm = 10 won = 8

2. Check for smoothness and spacing.

Day ThreeWrite the words on page 18 to numerical count. Uponcompletion check for smoothness and slant.

jet (4+) yes (5) zebra (8) year (7)zero (6) give (7+) just (6+) grew (8)zoo (6) yard (8) your (8) goes (7)zone (7) zany (8) gone (8) jam (7+)jar (5+) yet (5+) you (7) zip (5+)get (5+)

Day FourWrite the words on page 19 with count. Check size andspacing.

just (6+) grab (8) glad (8) gray (8)size (5+) green (8) grow (9) job (6+)high (8+) joke (7+) eggs (7) buzz (7)jail (6+) yawn (10) sign (7+) lazy (7)

Day FiveDuring math class review the form and sequences of thenumerals.


Week 331. Each day of the week ask pupils to check their ownhandwriting from regular classwork before they turn it in forteacher review. Ask pupils to rate their own handwriting andgive themselves a handwriting grade for each paper.

2. Select the best papers for bulletin board display.

3. Begin the development of a handwriting project thatpupils can prepare to take home at the end of the year.

4. Each day select a safety rule. Print it on the chalkboardand have pupils write it in cursive. Self-evaluate the hand-writing and prepare a second copy for the project.

My Safety RulesNever talk to strangers. Walk, don’t run.Look both ways before crossing the street.

Fasten your seat belt. Just say “No.”Obey traffic signs. Never play with matches.

Weeks 34-361. Continue to require pupils to evaluate their daily hand-writing in regular classwork assignments.

2. Administer the same handwriting knowledge test fromWeek 31 lesson plan, page 246 (feel free to change variousquestions if desired). Check pupil progress.

3. Prepare a final Model Test sample. Compare with theTerm Progress samples written at the end of unit five. Askstudents to choose the subskill they most improved during theyear and discuss gains in fluency also.

The Term Progress Assignment should be a powerful graphicillustration of progress for anyone to see. Many teachersmake copies of this one-page demonstration to send home.


Great Grade Three Samples


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Lesson Plans For Making The Transition To Cursive · By using this one track muscle pattern cursive movements ... All twenty- six lowercase ... 226 Lesson Plans For Making The Transition