Prewriting Strategies for Mainstream

CALI.FTORNIASTATN UNIVAR$ITY SAN MARCOS

PROJSCTSIGNATITREPAGB

PROJECTSUBMITTEDIN PARTTAL FULLFILLMENT OFTIIE KEQUTREMENTSFORT}IB DEGREE

MASTER OF ARTS

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EDUCA

PROJECTTITLE PrewritingStategies for Mainstrearn EnglishLeirnrers

AUTHOR:Elizabeth Bas,sett

DEFENSE: May 3,2012 DATEOF SUCCtsSSFUL

TI{E PROJECT IIAS tsI,XNACCNPTtsDBY THNPROJECTCOMMITTEEIN PARTIAI, I.:ULI,FII.,[,MENT FOR THE DEGREB OFOFTI{E RNQUIREMENTS MASTER OF *nTS

Dr. Annefte Daoud PROJACTCOMhdITTRACIIAIR

Dr. Erika Daniels PROJECTCOMMIT'TIiEMEMBER

PROJECTCOMMITTEE MAMBER SI$NATURE

I r Slgl lALz

DAr$l7-

DATE

Prewriting Strategies for Mainstream English Learners

Prewriting Strategies for Mainstream

English Learners

by

Elizabeth Bassett

A Project Paper

Submitted in Partial Fulfillment of the

Requirements for the

Master of Arts Degree

in

Education

California State University San Marcos

Spring, 2012

ii Prewriting Strategies for Mainstream English Learners

Project Abstract

This project is a curriculum designed for mainstream English learners in an eighth

grade Language Arts classroom. This project was designed to address the lack of

resources there are to assist English learners in their prewriting. The curriculum focuses

on the positive effects of using multiple intelligence activities to assist various types of

learners including English learners. It also reveals the importance of providing students

with ample opportunities to prepare for the drafting process. Research has shown that

engaging students in prewriting activities before they write a draft will help improve the

overall quality of their writing (Graham & Perin, 2007). The methodology for this project

details literature selection, curriculum, design, and assessment. The curriculum includes

various lessons for six units spread across an entire year. The lessons are created on using

various modes of intelligences that relies on visual, auditory, and kinesthetic learning

styles. Each prewriting activity is graded using a rubric or checklist and is given to

students with the prewriting assignment instructions. The curriculum can positively

influence students because it will provide them with alternative ways of learning new

writing strategies. The activities can make a difference for a variety of leaners as it will

give them unconventional ways of prewriting that suits their way of learning and better

prepare them for the drafting process.

Keywords: prewriting, English learners, multiple intelligences: kinesthetic, visual,

and auditory activities, and middle school,

Prewriting Strategies for Mainstream English Learners iii

Acknowledgments

I would like to thank my chair, Dr. Annette Daoud, for providing me with

guidance through the whole process. She offered me her time, resources, and feedback

that I could always count on. I greatly appreciate her dedication to helping graduate

students. Thank you to my committee member, Dr. Erika Daniels, for her encouragement

and for providing direction and thoughtful advice. She has an array of knowledge

working with English learners at a middle school level that showed to be a valuable

resource.

I want to thank my husband for supporting me and constantly providing me with

encouragement and praise. I would also like to thank my parents for always believing in

me and instilling in me a love for education and helping others succeed. Lastly, I would

like to thank Andy and Karen Malkin for enabling me to achieve this monumental

accomplishment.

Prewriting Strategies for Mainstream English Learners iv

TABLE OF CONTENTS

……………………………………………………………………………….Page

PROJECT ABSTRACT……………………………..……………………………ii

Acknowledgements.................................................................................................iii

Chapter I: Introduction…………………………..………………………………1

Statement of the Problem…………………………..……………………………3

Purpose of the Project………………..……………………………………….…4

Methodology…………………………………………..…….……...………......…7

Literature Review…………………………………………………………….......5

Significance of the Project.......................................................................................7

Summary...................................................................................................................9

Definition of Terms.................................................................................................11

Chapter II: Literature Review................................................................................... 13

Theme 1: Second Language Acquisition................................................................. 15

Theme 2: Graphic Organizers and Technology ..................................................... 17

Theme 3: Manipulatives and Movement ................................................................. 22

Theme 4: Visualization & Free Writing.............................................................…...24

Connections to Literature ........................................................................................28

Chapter III: Methodology .......................................................................................... 30

Design ..................................................................................................................... 31

Participants and Setting.......................................................................................... 32

Instruments.............................................................................................................. 34

v Prewriting Strategies for Mainstream English Learners

Project Procedures ................................................................................................ 36

Summary ................................................................................................................. 39

Chapter IV: Project Presentation ................................................................................ 41

Curriculum Calendar.............................................................................................. 44

Project (Units, Lessons, Workshops, Resource Handbook…) ............................... 46

Chapter V: Recommendations....................................................................................99

Lessons Learned ................................................................................................... 100

Project Implementation Plans ............................................................................. 102

Educational Implications/Recommendations ....................................................... 103

Limitations ............................................................................................................ 104

Future Research or Project Directions ................................................................ 105

Conclusions/Summary .......................................................................................... 106

References…………….…………………………………………………………......…… 108

Appendix..................................................................................................................... 112

Prewriting Strategies for Mainstream English Learners

Chapter One

Introduction

Rosa, an eighth grader and English learner, sat there with pencil in hand staring at

the pre-made graphic organizer that had been assigned for the current writing project.

Students were given the remainder of the period, which consisted of thirty- minutes, to

begin the prewriting process and as the period ended, Rosa still sat there with a blank

organizer. With the sound of the bell, I went and sat next to her in the empty classroom. I

knew she knew the material and wasn’t quite sure why the graphic organizer was still

blank. I began asking her why she hasn’t written anything down and she replied “I don’t

know how to get started.” She got up and I started asking her questions about the story

we were reading. She began to move. For some reason, with this movement, her ideas

were able to form and she shared with me some of the answers that were to be placed on

the organizer. It was clear that she knew where to start but not with a premade organizer.

What challenged her was the approach to getting her ideas flowing. The language was a

little barrier that she constantly tries to overcome but the organizer was a roadblock that

needed to be removed. This organizer prevented her from starting the writing process.

Writing is a complicated process that allows a writer to express their knowledge

and understanding of a particular subject. This process can be a difficult one when a

writer struggles to express their ideas and develop them into written words. Many of

today’s middle school classrooms consist of English Learners (ELs) who have become

proficient in understanding the English language but grapple with composing a piece of

2 Prewriting Strategies for Mainstream English Learners

grade level writing. Much of the time, their greatest challenge is getting started,

producing ideas, and developing them in order to produce a written product. Often times,

ELs lack the proper tools and skills in order to be successful writers in English.

Even though many ELs in southern California come from similar ethnic

backgrounds, mainly Hispanic with their home language being Spanish, each student’s

learning style varies. A person’s ability to understand a concept depends on how the

information in taught. For me as a teacher, it is imperative that students receive

information that best suits their form of intelligence. Activities need to be centered on the

seven different intelligences in order for students to be successful (Gardner, 1983). In

order to increase achievement and produce success in writing, there needs to be an

assortment of activities in order to produce the best results (Delaney & Shafer, 2007).

Research has shown that writing is a process (Ray, 2001). In order for students to

be successful in their writing, they must participate in several stages of writing before

completing a finished product. The writer’s workshop is an excellent way for students to

improve their writing. Each writer’s workshop period begins with a mini lesson on the

concept or topic students will be practicing. For example, students would be introduced

on how to use a graphic organizer and the benefits that comes with this prewriting tool.

Following the mini lesson, students receive approximately 20-40 minutes to write

whether it is completing a graphic organizer, writing a portion of a draft, or editing a

completed portion of one’s writing. The last step of the workshop is the “sharing” period

where students are partnered with another student to exchange papers and read what each

has written. Students are able to get immediate feedback on the work they have just done.


The writer’s workshop is an opportunity for students to prewrite, organize, write,

revise, and edit. The first stage, prewriting, must offer students multiple activities that are

grounded in the multiple intelligences in order for students to generate and organize their

thoughts.

Statement of Problem

An obstacle that emerges, however, is finding alternative practices that teachers

can use to explain to ELs how to prewrite. Data gathered from the Stanford Achievement

Test, Version 9 (STAT 9), a national, norm referenced test, shows that there is “a

persistent gap in test scores” by ELs compared with native English speakers (Glass,

2003). For ELs, the difficulty occurs when students are to transfer their experiences and

ideas into writing in a second language. What becomes challenging for ELs, is to find

ways to express their ideas into words (Mora-Flores, 2008). Additionally, at the middle

school level, there is an assumption that students already have the skills to write and there

is a limited amount of teaching how to write. Because of this, there are few ways that

teachers can offer help to students who struggle in getting their ideas onto paper. What is

commonly practiced today by many teachers is the use of premade graphic organizers;

these graphic organizers are simply outlines in which students are to fill in with their own

knowledge on a particular subject. But when those are taught, distributed, and fail to help

students overcome mental roadblocks, there are no other resources available that can help

struggling students persevere through their writing obstacles. It is imperative that

resources are available for teachers and students because writing is a common way of

evaluating a student’s knowledge of a particular concept or subject. In order for students


to improve their writing skills, a variety of activities need to be provided for students so

that they can successfully complete a writing task. A majority of students who struggle to

produce proficient writing are the many ELs who in order to succeed, need to receive

explicit and thorough instruction for each step of the writing process before any

independent practice begins. An essential component of the writing process is the

prewriting stage; during this step, students are taught how create and develop their ideas

through activities that rely on a variety of intelligences. During the prewriting stage,

students not only begin to generate ideas but they learn how to develop their ideas which

in turn become the main points of the writing assignment. In order to teach a variety of

learners, a multitude of activities need to occur so that each student with their distinct

learning style can successfully complete the prewriting process. For ELs especially,

Mora-Flores (2008) states that they need to have opportunities to try out their English in a

low risk setting such as talking with a partner, moving around, or using technology.

Purpose of Project

The intention behind creating a curriculum centered on prewriting activities is to

answer the question of how do educators improve the quality of writing produced by

mainstream English learners. The focus is to narrow in on prewriting because so many

students struggle with generating ideas which immediately create significant roadblocks

that many students struggle to overcome. The goal of this project is to answer the

following questions: what prewriting activities will improve the writing of English

learners in language arts classrooms. What will these activities look like? How can

educators create activities that are geared towards a variety of learning styles? From the


developed curriculum in chapter four, answers will be provided on how educators can

make the prewriting process not only easier but enjoyable. This project is designed to

make writing more accessible to English learners and to provide a path that will lead

them to a successful end product.

A curriculum will be developed that will span over the course of 20 weeks that

focuses on prewriting strategies for ELs. Three units will be covered during that 20 week

span and with each unit, students will be taught six prewriting strategies that use various

intelligences.

Significance of Project

This project can improve education because it will give students a multitude of

resources that they can use in order to be successful in beginning a writing task. Rather

than finding difficulty and frustration in generating a piece of writing they can be

equipped on ways to overcome their mental roadblocks. ELs have not completely

developed their English language proficiency and often struggle in understanding and

expressing information. It is imperative that a curriculum is offered where content is

presented in ways that is less language dependent (Carrier, 2005). Developing a

curriculum that uses multiple modes of teaching including the use of manipulatives,

movement, demonstrations, and multimedia will offer ELs a way to improve their

prewriting and writing skills.

Preview of Literature

The literature review will examine the difficulties of language acquisition

students’ face as English learners and the challenges of learning that second language.


Additionally, the literature will review the research conducted on the use of

manipulatives and movement, implementation of graphic organizers, and the importance

of visualization, journal and free writing.

So many children learn best when they are moving or using their hands and

working with materials. A leading researcher who has studied the benefits of using

manipulatives during the writing process is Linda Hecker (1997). Hecker reveals in her

findings that students who are able to move around and use toys and manipulatives to

generate ideas often avoid roadblocks. Such manipulatives might include building blocks,

legos, or brainstorming cubes.

Along with manipulatives, using movement during the prewriting stage has been

proven to be successful in a study completed by Stephenson and Hochstetler in 2002.

They found that using movement in order for students to create and develop ideas,

improved the quality of their end product.

Journal writing is an excellent tool that teachers can use on a regular basis to help

their students overcome “writer’s block.” Students become more comfortable with

generating ideas and find that when it comes time to having to produce graded writing,

they are more comfortable. Vacca and Vacca (2002) discuss the multitude of benefits

related to journal writing published in their 2002 textbook Content Area Reading:

Literacy and Learning Across the Curriculum. Vacca and Vacca examine the advantages

associated with journal writing which include the release of pressure they have to come

up with good ideas on the spot. In addition to the three authors above, several other

researchers and their findings will be presented in chapter two.


Preview of Methodology

Over the course of a semester, students in a sixth grade English class will be

taught how to prewrite using a variety of activities from journal writing to working

hands-on with manipulatives. Prewriting activities will be explicitly taught followed by

guided practice before their independent work begins. In chapter three, I lay out what

instruments will be needed in order to successfully teach prewriting including graphic

organizers to computers with software to assist students in their preparation. Students will

be provided a rubric for each prewriting activity at the start of the activity in order for

them to understand what is expected of them. Additionally, chapter three lays out the

procedures that will be used for each prewriting activity. The curriculum will be designed

from best practices identified in the research review such as using multiple intelligence

activities such movement and manipulatives (Hecker, 1997) and visualization techniques

(Dunn, 2001).

Significance of the Project and Limitations

Over the past several years, more and more educators are not teaching students

the writing process due to their assumption they have already been taught how to do it.

Unfortunately, many students, especially English learners, struggle with generating ideas

as well as how to put their thoughts into a cohesive product. In order to assist students in

becoming better writers, educators need to thoroughly and explicitly articulate how to

effectively complete each stage of the writing process. One of the most important facets

of the writing process is the prewriting stage; students need to be educated on how to

successfully produce ideas and once they have generated those ideas, tools need to be


provided on how to turn the raw ideas into a complete draft. The curriculum created for

this project can improve the writing of students because it provides a variety of creative

and traditional ways on how to pre-write. This is a positive effect for all parties; it will

involve more work in developing the activities but students deserve more than what they

are receiving. Previous research and literature guided the creation of the curriculum in

chapter four. Very little literature is targeted towards English learners and prewriting so

the curriculum created will fill in the gaps where little research has been done. A variety

of activities from various areas of research have been blended together in order to create

curriculum that is best suited for English learners. This curriculum will make a difference

in the educational experiences of ELs because they have a difficult time putting their

thoughts into words. They need alternative forms of brainstorming and diverse ways to

develop ideas. This curriculum offers students ways to brainstorm that will allow them to

push through mental roadblocks and enable them to prewrite with more ease.

A re-working of how teachers teach writing needs to occur. Too many

assumptions are prevalent and not enough writing instruction is occurring in classrooms.

The first important step to any writing assignment is generating ideas. Students need to

be taught a variety of techniques that is best suited for their own particular learning style.

The goal of this curriculum is to develop ways in which teachers can explicitly teach a

way of prewriting that guides students through practice, so once clarity occurs, students

embark on their own writing.

There are some limitations in this study. There is plenty of research on prewriting

and the benefits it provides for students; however, little research is focused on ELs. The


primary focus of most of the research on prewriting activities is directed towards all

demographics and all ages; however, little research is available that focuses specifically

on ELs. Another limitation is time. Due to the multitude of curriculum that must be

covered each day and the preparation that must be done to prepare students for the many

state exams, little time is left to cover a wide range of activities. It is very important for

students to receive writing instruction, especially time to prewrite and organize ideas;

however, the question of how to fit everything in during the course of a semester or year

seems daunting.

Another limitation I will face is the limited amount of research there is that is

targeted on middle school curriculum. Much of the research in the area of prewriting is

focused on elementary and high school curriculum, not geared towards middle school.

Summary of Chapter

A revamped curriculum is needed in order to address the needs of mainstream

English learners. Research has shown that students do better when they are involved in

activities that best suit their learning style. Teachers need to provide a variety of ways to

teach students how to pre-write. The purpose of this project is to establish a variety of

activities that teachers can use when they are teaching students how to pre-write. A great

deal of literature is available on ways to teach students how to pre-write. However, this

curriculum is designed to assist mainstream English learners, a group of students who

have not been the focus of research on prewriting. The following chapter will further

examine what researchers have proven to be successful in the area prewriting and narrow

in based on several learning styles.

Prewriting Strategies for Mainstream English Learners 10

Key Terms

English Learners: A person who is in the process of acquiring English and has

a first language other than English. English learners need to develop full proficiency in

all four of the language domains of listening, speaking, reading and writing. English

learners enter school lacking the basic English skills needed to understand the core

curriculum.

Explicit Instruction: Stated clearly and in detail, leaving no room for confusion or

doubt

Guided Practice: Visually and verbally showing students how a task is completed.

This might involve a teacher completing a graphic organizer on an overhead or document

camera and explaining how they will arrive at the finished process. This allows students

to see what is expected, what the product will look like, and ways to brainstorm.

Manipulatives: Tools, models, blocks, tiles, and other objects which are used to

explore mathematical ideas and solve mathematical problems

Middle School- students are in grades sixth through eighth. I will be focusing on

sixth grade students.

Multiple Intelligences: Refers to a concept created by Howard Gardner who

identified seven distinct intelligences. This theory has emerged from research and

"documents the extent to which students possess different kinds of minds and therefore

learn, remember, perform, and understand in different ways," according to Gardner

(1991). According to this theory, "we are all able to know the world through language,

logical-mathematical analysis, spatial representation, musical thinking, the use of the


body to solve problems or to make things, an understanding of other individuals, and an

understanding of ourselves. Where individuals differ is in the strength of these

intelligences - the so-called profile of intelligences -and in the ways in which such

intelligences are invoked and combined to carry out different tasks, solve diverse

problems, and progress in various domains" (Smith, 2008).

Prewriting: The initial creative stage of writing, before the writing of an initial

draft, in which the writer creates ideas, arranges information, and plans out ways in

which to organize and present the information

Writer’s Workshop: A writing process that contains 5 areas that must be done in

order to start the next task. Prewriting, drafting, revising, editing, and publishing are the

five components of this workshop.


Chapter Two

Literature Review

In California public schools, English learners consist of seventeen million

students (Jepsen & Alth, 2005). In 1998, a proposition was passed in California requiring

English Learners (ELs) to be taught in a mainstream class where the language of

instruction is taught only in English regardless of their how much English they

understand (Gandara, P., Maxwell-Jolly, J., Garcia, E., Asato, J., Gutierrez, K., Stritikus,

T., & Curry, J., 2000). Because of this proposition, English learners are put into

mainstream English classrooms which are far beyond what many of these students are

able to comprehend. A common way to assess a student’s understanding and knowledge

in a specific subject is through writing. However, many students, especially mainstream

English learners specifically in middle school, struggle with various issues related to

writing including difficulty in generating and articulating coherent thoughts and

organizing ideas which in turn prevent an effective product from being produced. More

times than not, students struggle to say what they think and then transfer their thoughts

into their writing.

A way to reduce this struggle and improve the quality of writing that is produced

by ELs is through prewriting (Harris & Graham, 1996). Prewriting refers to writing

which is done informally about a topic for the purpose of gathering ideas to produce a

final product. Prewriting has many forms and engaging students in prewriting activities

before they write a draft will help improve the overall quality of their writing (Graham &


Perin, 2007). The benefits that English learners gain from prewriting include relieving the

anxiety they might face of not believing their writing is up to par. This anxiety often

leads to the elimination of prewriting and causes them to struggle to produce a product.

Additionally, students who begin prewriting as the first phase of a writing assignment,

accomplish more when producing their final draft because they are not facing the severe

road block they may encounter if they were to jump right into producing a draft (Koffolt

& Holt, 1997). Often times, students participate in the activities that are required for an

assignment such as prewriting and creating multiple drafts, however, they do not have a

clear understanding as to why these strategies are important. In the article, Strategic

Writing: Moving beyond the Classroom Assignment, Deborah Dean (2005) states

“Students needed to understand why they used brainstorming or free writing, when

each would be most effective, or even when they were not necessary” which is

important to note because more often than not, if students are not clear as to why

prewriting is used and when it should be applied, they will not use the process (p. 83).

With this knowledge, students would understand the writing process better which in turn

would help them navigate through that process with more ease.

The instruction of various prewriting activities must be explicitly taught by

providing a clear objective to the students, modeling of the process is verbally and

visually demonstrated, and repeated practice occurs prior to students working

independently (Coleman & Goldenberg, 2010). In order for English learners to become

better writers, they must practice often and in a variety of formats. Readers will learn

about six different ways of teaching prewriting to English learners which are designed to


prepare them for writing of any format from speeches to essays. Once students have done

a prewriting activity and are now in their first draft of composition, students need to write

without worrying about errors, spelling, and grammar; those components can be edited

later. For English learners, writing needs to become more of second nature than a foreign

activity so constant exposure to the language is essential. Chapter two is separated in

three categories of prewriting strategies: the use of graphic organizers and visual

software, manipulatives with hands-on activities, and visualization and journal writing.

The research questions that guided this project include: what challenges do English

learners face when acquiring a new language? What prewriting strategies would help ELs

develop and organize their ideas in order to begin the drafting process? Would multi-

intelligence activities using alternative ways of learning such as using manipulatives and

movement be useful to ELs during their prewriting phase? Would providing ELs with the

SDAIE lesson plan format benefit their ability to pre write?

Second Language Acquisition

One might ask the question of why are there so many English learners present in

the California educational system? The answer is simple: learning a second language is

difficult in itself but learning a second language when the student is lacking the skills and

proficiency to understand their new language becomes the problem for so many students.

Collier (1995) states that there are many complex factors “that the school child

experiences when acquiring a second language during the school years, especially when

that second language is used in school for instructional purposes across the curriculum (p.

1). The four major components that are interdependent in learning a second language


include sociocultural processes, language development, academic development and

cognitive processes (Collier, 1995). The sociocultural processes are the events in the

student’s past, present, and future at their home, school, and in the community that affect

language acquisition. One’s self-esteem and anxiety in learning a second language

contributes to the student’s ability to successfully progress in their understanding of the

language. Language development, the second factor in language acquisition, is the

“subconscious aspects of language development…” as well as the “conscious, formal

teaching of language in school, and acquisition of written system of language” (Collier,

1995, p. 2). Academic development is the third facet which includes work in all core

subjects from grade K-12. In order for students to succeed in learning the second

language, it is imperative that students have a solid foundation in their first language

because that knowledge can be transferred to the second language being acquired. This is

due to the fact that the second language is built on their primary language and this is the

way the learner can make sense of the language (Diaz-Rico, 2008). Cognitive

development is crucial in the fact that content cannot be watered down for English

learners and that all learners are held to a high standard.

Cummins (1994) believed that there are five components of cognitive academic

language proficiency (CALP): communication, conceptualization, critical thinking,

context, and culture that ELs who are learning English need to achieve in order to be

successful in the classroom. Communication refers to reading, listening, and speaking,

writing and focuses on improving all areas; when reading, students can begin to increase

speed due to familiarity with pronunciation of the words, listening and being able to


follow verbal directions, giving answers orally, and using conventions for writing such as

spelling, punctuation, and grammar properly. Conceptualization allows students to turn

abstract concepts in to tangible concepts and understand the relationships between two or

more ideas. Critical thinking refers to “reading between the lines” in which a student can

infer the meaning that is not directly stated. Context allows students to read and

understand non-verbal clues and follows proper structures. Lastly, culture draws on the

students’ prior knowledge and moves between home and school. When acquiring the

second language, success arrives when the student can conquer the five above

components (Cummins, 1981). It becomes imperative that students learn the language

with other Els in order to fully grasp the concepts because learning become easier when

students interact with each other (Diaz-Rico, 2008).

Graphic Organizers and Computer Technology

Much of the information about prewriting is targeted around the area of graphic

organizers. De La Paz and Graham (1997) state that students who struggle in writing,

often reduce or even eliminate the planning stage; rather than evaluating or and analyzing

a topic, they resort to retelling what they know about the topic. In order for students to

reflect on and evaluate a topic, teachers need to provide prewriting strategies. Graphic

organizers assist English learners in brainstorming and evaluating a topic. Lindemann

(2001) states that “brainstorming allows writers to venture whatever comes to mind about

a subject no matter how obvious or strange the ideas might be” (p. 112). When a topic is

given or decided on, the benefit of providing graphic organizers to English learners is that

teachers are able to keep the writer focused on the topic at hand because their ideas are


being mapped out in a visual format. Diaz-Rico (2004) states that graphic organizers

combine the visual and the verbal which helps ELs grasp difficult concepts. In turn, these

organizers can enhance a student’s understanding because they are able to visually see

the information laid out rather than relying on their reading skills. Additionally,

organizers are extremely beneficial because they provide structure and organization and

allow students to see the relationship between new ideas and existing knowledge.

Graphic organizers are extremely beneficial for ELs because “they display information

with pictures, labels, and short phrases, thereby reducing the language load” (Carrier,

2005, p. 7). Organizers come in a variety of formats and allow for students to visually see

complex ideas. However, when a graphic organizer is going to be used, teachers must

provide explicit instruction, modeling must occur as to how to complete the organizer

effectively, and finished examples should be provided before independent practice

occurs.

The use of graphic organizers is an instrument that links a student’s prior

knowledge to their newly acquired information (Fisher & Frey, 2007). When a topic is

provided to students or they are to choose a topic, often times many students struggle

with getting anything on paper. Their mind goes blank and they are unable to connect

their own ideas to this newly acquired information. James, Abbott, and Greewood (2001)

concur with the previous authors but add that when a simplified graphic organizer that

offers guiding words to support the learner’s ideas is given, students are able to plug in

their ideas to spaces provided with more ease. With English learners and low-achieving


students, room should be provided on the organizer for teacher feedback so that students

can verify if they are completing the task correctly (James et al, 2001).

An article by James et al. (2001) has shown in a classroom inquiry that when

students are provided with graphic organizer(s), the work of those students increases in

length. With the combination of explicit instruction from the teacher and graphic

organizers, students are able to better grasp the abstract concepts because the learning is a

multi-faceted process. The literature differs as the latter authors not only recommend

graphic organizers but state that along with organizers, a process writing approach or a

writer’s workshop should occur. A process approach is one that includes prewriting,

drafting, self-editing, peer- editing, revision, and publishing. Prior to turning in a final

draft, the teacher consults with each student before the final draft is turned in. An

additional study by Griffin and Malone (1995) occurred in five fifth grade classrooms in

a mid-western city. Sixty one students from three classes from one school and two classes

from another elementary school were chosen to participate if their scores were lower than

a 40% on a pretest of basic composition skills. This pretest consisted of 16 basic

questions and a one-way analysis of variance (ANOVA) was used to examine the results.

Griffin and Malone concluded that with the implementation of graphic organizers and the

explicit teaching of how to successfully complete the organizer, is shown to produce

higher scores as well as shown to recall information more easily at a later time. Based on

the evidence from all above authors, graphic organizers are significant for an English

learner to formulate their initial ideas and move from retelling about a subject to

reflecting and analyzing that topic. The main element that is essential for a struggling


writer is to receive simplified graphic organizers that are thoroughly explained and how

to use in addition to a writers workshop.

An alternative to the traditional graphic organizer is using computer based

technology with specific programs that are designed to make writing easier. “One

particular advantage electronic environments have over traditional writing environments

is that they can often stimulate invention through the combination of multiple strategies

into one” (Bacci, 2002, p. 76) which allows students to examine their topic from various

perspectives. Software programs such as Inspiration provide a more engaging planning

experience. The program Inspiration has extensive age-appropriate symbol and picture

libraries that invite the use of graphics in representing ideas. Students create a picture of

their ideas in diagram or in outline format. These products also have options that are

particularly useful adaptations for students with special learning needs, such as narrator

functions, text reading, and magnification options. (p.128) Such programs also allow

students to insert pictures and sound bites which provide a more hands-on experience and

a higher motivation to succeed (Alber-Morgan, Hessler, & Konrad, 2007).

A study conducted by a middle school language arts teacher in Ulusoy’s (2006)

article, “The Role of Computers in Writing” was done to determine whether or not

computerized graphic organizers improve a student’s ability to plan and create a better

end product. The one class of students were provided with several templates created in

the program Inspiration and twenty students at random were chosen to determine the

effectiveness of the prewriting done in Inspiration (Ulusoy, 2006). The students’ work

was scored at Northwest Regional Educational Laboratory and their findings concluded


that students’ writing scores were higher when students used Inspiration as their

prewriting tool. With the above students as well as with ELs, graphic organizers “take the

information, vocabulary, or concept and make it more understandable by showing the key

points graphically…a graphic organizer can capture and simplify a teacher’s many

potentially confusing words” (Echevarria, Vogt, Short, 2010, p.87). The benefit of using

software as a graphic organizer for English learners is that rather than solely relying on

words, they can use pictures or symbols to represent ideas. Additionally, when students

use the software, writers can receive explanations on the content they have produced; this

component acts as a conversation which helps students improve and build on their ideas.

In the classroom inquiry, Using Technology to Support Visual Learning Strategies,

O’Bannon, Plunkett, and Rakes (2006) state that hand written graphic organizers work as

a prewriting tool using visual learning software, “provides the advantages of a quick,

intuitive, interactive and visual means of organizing ideas in expressing thoughts in a

graphical, visual, nonlinear fashion” (p. 128). An additional benefit of using computer

software as a prewriting tool is the tools that are provided in order to spark new ideas.

Tools that the program offers enable students to create new ideas or link their new ideas

to previously formulated ideas. As with the graphic organizer, explicit instruction,

modeling, and examples need to be given before independent practice occurs. Both the

hand-written graphic organizer and computer programs are useful prewriting tools that

offer a visual for the student in order to create and develop their ideas.


Manipulatives and Movement

In addition to the familiar concept of the graphic organizer, an unfamiliar link

between games and manipulatives to writing has allowed various types of learners to

become better writers. In the article “A Diversity of Writers: Fun with Kinesthetic,”

Stephenson and Hochstetler (2002) state that “too often we perceive writing as a function

of the brain alone, as if it were separate from the body” which for many students who are

kinesthetic learners, the act of moving is key to understanding new material (p. 54).

Kinesthetic learners, in order to grasp concepts and develop ideas, need to be moving or

working with manipulatives or toys because that it how they learn best. Spatial and

kinesthetic learners need to be physically busy to trigger thoughts about a topic and the

act of moving allows these learners to think things out with more ease. With this

information, it is necessary to provide these learners with prewriting activities that are

best suited with their learning style. The study done by Stephenson and Hochstetler

(2002) took place in three junior level language arts classes consisting of a total of 53

students; the creators of the study “asked students to use the manipulatives they were

given to build a paper they were working on” to make three dimensional models. (p. 57).

The data they collected showed that forty-one out of the fifty-three students felt that the

manipulatives benefited them in producing a written piece; forty-eight students felt that it

helped them greatly in their organization, twenty-three stated this process helped them

greatly in coming up with ideas and developing the paper, and twenty-two students felt

that it broadened their way of thinking and allowed them to come up with ideas they

hadn’t thought of without the manipulatives. These results show that the use of hands-on


instruments benefit a student’s prewriting process in several important areas. This study

proved that building toy models and using manipulatives improved the organization,

thought and content, and ways of thinking.

Linda Hecker (1997) has also researched the ways in which movement and the

use of manipulatives has allowed students to be successful in prewriting activities. She

further examines not only the use of toys but the use of movement. Hecker in her article

Walking, Tinkertoys, and Legos: Using Movement and Manipulatives to Help Students

Write (1997) found that when students are able to move and walk around while they are

generating ideas, this process appears to “mitigate word retrieval problems” and

“stimulate the flow of ideas and calls for language” (p.47). Such an activity is presented

by Dunn (2001) in the classroom inquiry who shares how a movement activity works

during the prewriting stage. A classroom of students were given a list of directions:

moving forward to represent supportive information, standing still represents getting

stuck, and moving sideways represents a new line of thinking. As students are walking

through their ideas, an assigned partner records their ideas and the directions they are

moving. Teachers need to provide prewriting strategies that satisfy a multitude of

learning styles. From the above research, it is necessary for students to be able to

prewrite using toys or having the choice of moving around. Students should not be

restricted to thinking solely through sitting at a desk and using a pen and paper. It is

important to utilize a student’s learning style and when a student is a kinesthetic learner,

“using movement as a way of knowing can help their writing by allowing them to use

areas of intellectual strength to develop insights regarding textual organization and


structure” (Dunn, 2001, p. 87). An array of activities should be provided so that all

students can benefit.

Visualization, Journal, and Free Writing

Visualization is a powerful tool and can be applied during the prewriting stage.

Just as spatial and kinesthetic learners were addressed previously in the chapter, many

students are visual learners. When a visual learner is able to use a visual aid to prewrite,

the process becomes feasible and less of a chore. Dunn (2001) further states that using

artistic activities like sketching to develop their ideas “gives students who can visual

images an opportunity to use that talent productively” (p. 66). Thinking about their ideas

in a nontraditional format allows students to utilize other skills such as artistic ability to

generate new ideas as well as building upon ideas already developed. A study conducted

by Norris (1997) consisting of a 119 third graders where half of the students used

drawing as a prewriting strategy, found that those students “…tended to produce more

words, sentences, and idea units, and their overall writing performance was rated higher”

as well as being “more enthusiastic about the project” (p.92-93). An activity that relies on

visual thinking is asking students to draw out their ideas in a symbol of picture form and

then decide how ideas are connected or unrelated. In one’s mind, ideas may make sense

but when students can visually see their ideas drawn out, sometimes awareness occurs

and they realize the changes that need to be made. In concurrence with Dunn, a

prewriting activity that Dean (2005) finds helpful for many learners is the collage

activity. In designing the high school writing class curriculum, Dean’s focus was to

create a strategic approach which prepared her students to adapt to the “shifting needs of


different writing contexts and not just to the assignments teachers give them”

(Dean,2005,p. 82). The curriculum designed centered on “three kinds of

knowing…declarative (knowing what the strategies were), procedural (knowing how to

use the strategies), and conditional (knowing when to use the strategies for certain tasks”

(p. 83).With this focus, the curriculum centered on a multitude of activities. Rather than

using a pen and paper or being in motion during prewriting, this activity involves making

a collage. When students have some ideas but are not sure how to turn them into a

cohesive product, this activity provides them a product they can visually see which in

turn will often show them what they are missing or how the ideas can go together.

Students draw pictures of symbols or cut out pictures from a magazine or newspaper that

represent each main idea and plot it together on a piece of paper. Dean used this activity

with her high school students and found positive results. A student who was struggling

with putting his ideas together found this assignment to be helpful in generating ideas and

used the finished collage as a detailed outline.

Along with visualization, academic journal writing is a great way for students to

prewrite. Journal writing is a very successful strategy to use particularly with English

learners because it allows students to write in a meaningful way. Students are able to

write about what is important to them and share their own experiences (Kim, 2005).

Vacca and Vacca (2002) state that academic journals “helps students generate ideas,

create a record of thoughts and feelings in response to what they are reading and

learning” (p. 262). Academic journals create a context for learning in which students

interact with information personally as they explore and clarify ideas which is important


because these journals can be used as the foundation for an assignment (p. 262). When

students write academic journals, their focus is on the ideas and not the grammar and

spelling which allows for ideas to flow more easily. Journal writing encourages students

to ponder what they want to include in a formal writing assignment. Such an assignment

might entail asking students to answer certain questions to prepare them for future

writing assignments. Koffolt and Holt (1997) provide some questions students might

answer which consist of “What do I know about my topic?” “Why is my topic

interesting?” More specific questions that relate assignment might include “What are the

themes in the book?” This is also a “nonthreatening situation for students” because they

know that they are only graded on their ability to come up with their own ideas (Vacca &

Vacca, 2002, p. 262). In concurrence with Vacca and Vacca, Kffolt and Holt (1997)

believe that like journal writing, “informal writing also encourages students to become

not only personally invested in a topic but comfortable exploring their own ideas” (p. 57).

Free-writes ask students to write informally on a topic or for English learners, probing

questions can be offered so that students have something to answer if they were to get

stuck. Journal writing can also elicit a conversation between teacher and student. Often

times, students will provide questions they want answered in their journals and this

communication helps further them along in the prewriting stage. Both authors state that

journal writing can be the foundation for a formal writing assignment.

Free writing is a risk free way for students to develop their ideas without having

to worry about accuracy (Lindemann, 2001). Students are instructed to write for a short

period time, usually between five and ten minutes, about whatever comes to mind


without concern of grammar or spelling. This form of prewriting helps ELs push through

mental blocks and gets them starting in writing. Allowing students to write freely

promotes an enjoyment for writing as well as developing an appreciation for one’s own

writing. Palmer, Hafner, and Sharp (1994) state that free writing is “a discovery process

with no definite purpose, allowing students to write without fear of criticism or grades

(p. 55). Rather than focusing on the end product, the lesson for students is the process and

how to become better writers. Free writing enables students how to write without

“thinking about writing” (Elbow, P, 1981, p. 15). Because these exercises are short in

length and are done in short increments of time, students are able to complete this process

and feel a sense of achievement. In offering students time to free write, these entries can

ultimately lead to formal drafts of writing.

A study was conducted with 212 eleventh grade students where the focus was to

examine the usefulness of eight prewriting strategies. Students were introduced to eight

prewriting strategies and then at the end of the semester, students were to choose which

prewriting strategy they would like to use in the future. In their findings, Pope and Prater

(1990) found that “freewriting was the first choice of all these students when creating a

piece” (p. 68) They further found that students used this strategy most because “the

strategy carries a low intimidation factor because it is a conscious exploratory activity in

which neither the writer nor reader expects accuracy or, for the matter, complete

coherence” (Pope & Prater, 1990, p. 68). For many students, free writing was preferred

because of its low pressure environment; however, the activity still provides students an

opportunity to establish and develop their ideas.


Connections to the Literature

Many prewriting strategies are available for teachers to utilize in helping English

learners and low achieving students improve their writing. Much of the literature states

that with any instrument, explicit and thorough instructions must be given prior to

independent practice. Because everyone’s learning style is not the same, teachers need to

offer activities that match the various types of intelligences. Graphic organizers have

been shown to improve a writer’s length and quality of ideas related to the topic and

should be used to assist English learners. When computers are available to English

learners on campus, computer software such as Inspiration should be used because it

allows students to be interactive during the prewriting phase. Assistive tools in computer

programs guide students through the prewriting phase and offer support that English

learners need in order to be successful. Research does indicate that an explanation of how

to use a particular program needs to be thoroughly explained to students in written,

verbal, and visual formats.

In a traditional classroom, more often than not, students are sitting in their desks

when for many, their best ideas emerge when they are moving. Students need

opportunities to get up and move around so that they too can be successful in the

prewriting stage. Researches from the cited articles above unequivocally state that

teachers need to design their activities around the learning styles of their students; using

alternatives to written prewriting activities such as manipulative and movement allow

kinesthetic and visual learners to come up with ideas more easily during the prewriting

phase.


Finally, journal writing is an informal way of practicing how to get one’s thoughts

on paper without worrying about criticism and red marks. Students need to be writing

every day in order to improve and journal writing has shown to help students create better

products. Additionally, non-traditional activities such as visualization should be offered

to English learners because it allows students to utilize their artistic skills to generate new

ideas. In the next chapter, the methods used to analyze a student’s success in using

various prewriting instruments will be examined. All the above strategies outlined in the

literature review will be tested to determine the success rate of middle school English

learner students.


Chapter Three

Methodology

Brainstorming is a task that is often brushed over in an English class when a

formal writing assignment is given; however, pre writing is essential for English learners

to get their ideas on paper in order to compose a draft. This first stage, prewriting, offers

students a chance to choose a topic, consider a purpose, identify the audience, and gather

and organize their ideas in order to move to the drafting process (Schweiker-Marra &

Marra, 2000). Many times if there is a pre writing activity, it is usually a handout with

little or no instructions. In order for English learners (ELs) to be successful in their

writing, various pre writing activities that incorporate multiple intelligences must be

offered and with those activities, explicit instruction and modeling must be provided.

Additionally, plenty of in class time to work on the assignment must be provided. Over

the course of a semester, students must be instructed on what a successfully completed

pre writing activity looks like followed by clear instructions of how to achieve that

success.

The research questions that guided this project include: what challenges do

English learners face when acquiring a new language? What prewriting strategies would

help ELs develop and organize their ideas in order to begin the drafting process? Would

multi-intelligence activities using alternative ways of learning such as using

manipulatives and movement be useful to ELs during their prewriting phase? Would

providing ELs with the SDAIE lesson plan format benefit their ability to pre write? In

this chapter, the design, setting, instruments used, procedures, and analysis of the project


will be explained. Explicit instructions, examples of a completed activity, and a rubric

will be given to students prior to them beginning their own prewriting. Such activities

students or should? participate in after modeling and explicit instruction include various

premade graphic organizers, drawings/graph/visualizations, building structures with

building blocks or legos to decide how their ideas go together, and formal and informal

journaling.

Design

Over the course of a year in an eighth English Language Arts class, six different

units were taught. Each unit involved various stories or a novel and a formal writing

assignment occurred at the end of the unit. With each writing assignment, a different

prewriting strategy was taught and practiced during each unit. Each formal writing

assignment began with a prewriting activity with explicit instructions, guided practice,

and independent practice. An additional difference to that of a traditional curriculum was

that additional time was given to students when they received independent and guided

practice. Students were given ample amount of time due to their need to process both the

content and the language. Rather than taking one class period, students received several

days in class to complete the activity. Students were given verbal and written instructions

and provided a grading sheet to show what was expected on their completed prewriting

assignment.

The way in which the unit was designed was created to assist ELs in the best way

possible. In order for ELs to be successful during the prewriting phase, many different

activities needed to be incorporated into the lessons that relied on different types of


intelligences. This project design enabled students to be exposed and taught different

ways of prewriting using hands-on activities such as using manipulatives and movement

as well as using technology to assist them in developing and organizing their ideas.

Students also needed explicit instruction and modeling of how to successfully complete

each strategy and the Specially Designed Academic Instruction in English (SDAIE)

lesson plan template; this template enabled me to offer students step-by-step instructions

of how to successfully complete each prewriting task. Additionally, the SDAIE template

offered not only explicit instruction and modeling of the task but gave the students a

chance to work on it with assistance from me as well as time to work independently on

each activity.

Setting

The setting of my study took place in north San Diego County. In this city, 38%

of the population is Hispanic, 52% are Caucasian, and the remaining percentage is a

combination of ethnic groups. At the school, 77% of the population is Hispanic and 13%

are Caucasian. 38% of the students are classified as English learners and 71% of the

school population is considered economically disadvantaged receiving free or reduced

lunch.

The classroom where the pre writing strategies were applied consisted of thirty-

four eighth grade students enrolled in a Language Arts class. The class was made up of

various ethnicities, both male and females, and various intelligence levels; however, this

project was designed to improve the writing of ELs.


The class make up included 30% English learners, 55% of students in this eighth

grade class are below a 6th grade reading level, and79% of students’ first language and

language spoken in the home is Spanish. The 30% of the ELs, total of ten students, take

the California English Language Development Test (CELDT). The CELDT is a test that

measures how well a student can listen, speak, read, and write in English and is given to

any student who lives in a home where the language other than English is spoken. The

scores are rated 1-5; 1 is beginning, a score of 2 is early intermediate, a score of 3 is

intermediate, a score of 4 is early advanced, and a score of 5 is advanced. In the 6th grade

class in which the curriculum is designed for contains fourteen students who have taken

the CEDLT test. Of the students taking the test, 12% received a score of 3 and 57%

received a score of 4 and 31% received a 5. Students who received a score of 3 have

enough English proficiency to be understood, can produce sentences with basic sentence

structure, and can interact with native speakers but make errors in speech. At this level,

verbal communication is strong but does not always assist in academic material. A score

of 4 means they are able to comprehend information almost at a native speaker’s level,

communicate well verbally, adequate academic vocabulary. A score of 5 means they are

able to comprehend the information at a native speaker’s level and communicate well.

They still struggle with academic vocabulary. At this level, the focus is geared to writing

and vocabulary development.


Instruments

Diagnostic Assessment in the Form of a Survey

A short survey was administered as a diagnostic assessment prior to beginning the

curriculum implementation. The survey was used to determine students’ prior knowledge

and their previous usage of prewriting strategies at the start of the year. Such questions

that were asked included what students believe the definition of prewriting is, when an

assignment was given, how often they prewrite, when they prewrite, and their preference

of learning style. The purpose of this survey was to help the researcher determine how

many students were familiar with prewriting and ways they learn best. This knowledge

guided the researcher on what students were familiar with and what needed more focus.

The researcher used this data to determine if extra time was needed for the activities due

to their lack of usage of prewriting strategies as well as determining what types of

activities would be used.

Lesson Plan Format

When developing the curriculum, the researcher used the Specially Designed

Academic Instruction in English (SDAIE) template in order to best suit the needs of all

students. SDAIE is an instructional practice that includes teaching core content in tandem

with teaching language development (Cline & Necochea, 2003). The SDAIE lesson plan

template offered the researcher a way to include both content objectives of English

Language Arts and for my ELs specifically, language objectives.

The template begins with the content standards and the language objectives that

are to be achieved during each lesson. Next, vocabulary that is needed in order to be

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successful in the lesson is presented at the start of the class. A detailed explanation of this

vocabulary is presented later in the lesson. This is a reminder - to introduce specific

vocabulary so that all students can grasp the new concepts. Here is where specific

prewriting strategies that we were to learn are outlined. The rest of the lesson plan

template is divided into three parts: into activities, through activities, and beyond

activities. A template of the SDAIE lesson plan format is provided in Appendix A.

The first part of each SDAIE lesson, into activities, gave the researcher a chance

each day at the start of the class, to summarize the upcoming lesson. This allowed

students to be aware of what they would be required to do during that period. For each

prewriting activity that we did, the researcher explained to students what was involved in

the activity and what they would be doing with the concept. Following the

summarization, an anticipatory activity occurred where students would have a warm-up

or something that introduced them to the new information. Once students completed the

into or introduction activities, the “teaching” began. Students were first provided with

new information on a new concept, thoroughly explaining the vocabulary, and offering

them a chance to ask questions and receive clarification on the material. Because it was

imperative that students understand how to complete each prewriting activity, the

researcher provided students with information on why the tool is useful, what type of the

seven intelligences it might be best suited for, and clear instructions on how to complete

the task. Once students were presented the new material, guided practice occurred. A

vital part of guided practice is teacher modeling. The researcher modeled for the students

what was expected of them to be able to do. The researcher slowly and precisely walked


students through the process of doing it, and in so doing saw them complete the process

under my supervision. The researcher was able to see who was struggling and what

material needed more re-teaching. Whatever prewriting strategy we were learning,

students saw how to complete the process successfully.

Lastly, was the independent practice. This is the place in the lesson where

students are required to complete the process on their own, without the teacher’s help. It

might be an individual or a small group activity where students work without teacher

guidance. For each prewriting activity we did, the researcher provided them with a

scoring sheet and gave it to them at the start of the independent practice. An essential

component of the independent practice is time. Students, especially ELs, need sufficient

time to complete an activity and cannot be rushed because they are learning both the

content and the language. The independent practice occurred within one class period or

continued over a span of several days. At the end of the period, five minutes were left to

complete a closure activity. The researcher summarized what was taught that day and

might require students to leave by completing an exit slip if necessary. This exit slip is a

short activity such as one or two questions that they must answer about that day’s lesson

in order to exit the room; an alternative is also to ask them to write one or two questions

they had about the activity or something for which they needed clarification.

Procedures

The best practices that were discussed in the literature review included using

multiple intelligences that enabled students of all learning styles to be successful in

prewriting. This required the activities to target kinesthetic, visual, and auditory learners.


It was stated that students learn best when they were provided with detailed explanations

of how to successfully complete the activity through teacher modeling. In order for the

best practices to be inserted into the prewriting activities, the researcher created a survey

to determine all students understanding of prewriting and familiarity as well as

determining what their preference was for learning. Next, the researcher created lesson

plans for each activity. A SDAIE lesson plan was made for each prewriting activity that

include the into, through, and beyond activities.

The focus of much of the literature reviewed for this project, stated that students

need to visually see how to successfully complete an assignment. Much of the research

presented in an array of articles stated that all expectations should be displayed prior to

any independent work. Therefore, students needed instruction on what they would be

doing as well as modeling of what a successful completion of the pre writing activity

looked like. Plenty of time was delegated for each activity. Many of the best practices

outlined in the research stated that because students are grasping concepts and language

skills, students need a considerable amount of time to complete the activity. In each

lesson, a minimum of one class period was devoted to the prewriting activity.

The desired goal was that most if not all prewriting occurred in the classroom so

that students and the researcher could answer emerging questions. Activities that were

designed included journal writing, using graphic organizers both hard copies and digital,

using manipulatives such as legos to construct their draft, and movement around the

classroom with specific symbols to represent new ideas, old ideas, connection between

the two, etc. Lastly, visualization activities once ideas had been established took place


where students used pictures and symbols to compose their prewriting ideas. The above

activities support the notion made in many scholarly articles that learning should be

multi-modal which allows students to be most successful.

The time frame for implementing the curriculum will span over the course of a

school year. Approximately 6-8 weeks will be spent on each unit and the writing portion

will immediately follow the close of the reading portion. For example, students read the

novel the To Kill a Mockingbird which was read half at home and half in class and took

about 4 weeks to complete. Students then began their prewriting activity on the 5th week

and were actively involved with prewriting for about 3 days.

Project Evaluation

In order to evaluate the created curriculum presented in chapter four, a set of

standards was used to determine if my curriculum was successful. Students learn best

when “abstract concepts are concretized and contextualized along with active

engagement and involvement of the learner” (Cline & Necochea, 2003, p. 20). The

lessons that students participated in during the prewriting curriculum was deemed

successful if students consistently were actively involved in the learning process. Lecture

was kept to a minimum and a majority of the time was spent on teaching modeling and

independent practice.

The focus of the curriculum was to use activities that relied on multiple

intelligences. Cline and & Necochea (2004) state it is imperative that students “…use

visuals, manipulatives, technology and realia” which will “help language learners both in

the aquistion of English and the understanding of abstract concepts” (p.20). The


curriculum was evaluated based on the students’ ability to not only understand the

concepts but be able to apply their knowledge successfully to partake in each prewriting

activity. The researcher used manipulatives, visuals, and technology in order for students

to grasp the abstract concepts.

Wiggins & McTighe (2004) state that a successful curriculum follows the three

stages of backwards design: desired results, evidence, and learning plan. To create a

successful curriculum, the researcher set out to follow the backwards design method and

began by identifying the desired outcome. First, it was decided what knowledge, skills,

and big ideas the students needed to grasp. After creating a list of the type of prewriting

strategies students needed to learn, it was determined how the activities needed to be

developed for the prewriting activities as well as ways to make it meaningful for students.

The curriculum was designed by beginning with direct instruction with lecture and

questioning students. Then, students received instructions of how to make meaning to the

content. Guided practice, discussion, reciprocal teaching, and feedback from students

was implemented. Lastly, transfer of knowledge where clear performance goals and

supervision of their independent practice was provided (Wiggins & McTige, 2004). This

curriculum was evaluated on the discussed standards and whether or not students are able

to apply their gained knowledge of how to prewrite to various writing activities.

Summary of Chapter

The goal of this chapter was to prepare for the creation of the curriculum aimed at

improving the prewriting skills for mainstream English learners. Students were given

step-by-step instructions on how to not only complete the prewriting activities but how


they were be graded. Explicit instruction occurred for each activity followed by guided

practice, and independent practice. Various instruments were used over the course of the

semester which narrowed in on a variety of learning styles. These instruments included

graphic organizers, manipulatives, and visualization tools. The curriculum created in this

next chapter will challenge students to prewrite using a variety of instruments and will

prepare them for any writing assignment. Each activity as well as the entire curriculum

was evaluated on a set of standards based on SDAIE strategies and Understanding by

Design. It was my goal for students to be able to enjoy the activities as well as being able

to take their new found knowledge of how to prewrite and be successful in future writing

tasks.


Chapter Four

Prewriting Strategies Curriculum

The curriculum that many teachers use for prewriting is more often than not a

premade graphic organizer that students use to fill in and organize their ideas before the

drafting process. However, many students struggle with writing, and sitting in their desk

staring at a blank sheet of paper become daunting. It is imperative for the success of the

students for teachers to “embrace the diversity in the classroom…allowing teachers to

accept diverse approaches to learning” (Young, p. 235, 1996). Because there is such an

array of learning styles, it is imperative that teachers offer multi-intelligence activities

during the prewriting step so all students can more easily develop their ideas.

What challenges do English learners face when acquiring a new language? What

prewriting strategies would help ELs develop and organize their ideas in order to begin

the drafting process? Would multi-intelligence activities using alternative ways of

learning such as using manipulatives and movement be useful to ELs during their

prewriting phase? Would providing ELs with the SDAIE lesson plan format benefit their

ability to pre write? These questions are considered to develop lessons to improve the

skills students have during prewriting.

Because English learners struggle with both language barriers and understanding

content, they often times feel “ostracized by dominantly linguistic approaches to

learning” (Young, p. 235, 1996). In order for some learners to be successful at writing,

alternative techniques need to be implemented so that all students are successful in


developing and organizing their ideas. This curriculum meets the needs of most all

learning styles and hinges on the use of multi-intelligence practices. The curriculum

designed for eighth grade language arts and its purpose is to improve students’ prewriting

skills as well as instructing students on ways in which they learn the best. The curriculum

includes the direct instruction, modeling, activities, and assessments the teacher and

students would partake in.

The curriculum is titled Prewriting strategies for English learners; however, the

activities may be applied with other students as well as different levels and subjects. This

curriculum is designed around the 8th grade literary works including Flowers for

Algernon, short stories including Edgar Allan Poe, Anne Frank, The Girl or the Tiger, To

Kill a Mockingbird, and a poetry unit. California English language arts (ELA) standards

as well as English language development (ELD) standards are incorporated in each lesson

plan. The curriculum is divided into six units: three occur during one semester and the

other three occur during the second semester. Each unit will take approximately 6-8

weeks and much of the reading is done in class. Each lesson plan will include: ELA

standards, ELD standards, language and learning objectives, academic vocabulary, and a

resources needed to complete each activity. Every other day for the entire year, students

will free write for the first five minutes of class. Students at the start of the year will be

instructed on the “rules” of free writing. Students are to write for the entire five minutes

and if they get stuck, they are to write a word or phrase over and over until another

thought comes into their head. This repetition of non-stop writing allows the students to


feel more confident in writing because it becomes easier. An anticipatory activity which

will link students’ prior knowledge to the new concept will begin the lesson followed by

direct instruction and modeling on how to successfully complete each prewriting

strategy; independent practice where students work independently or with a partner will

follow. All prewriting activities are solely done in class; however, if needed, students can

complete unfinished work at home. An assessment of each prewriting task will occur and

students will be instructed on what is expected from each task wither from a rubric or

checklist. Because this curriculum is solely designed for prewriting, there will not be

instruction on the rest of the writing process. On each lesson plan, it

will state what literary work the prewriting activity goes with but there will not be lessons

involving that particular piece of literature.


Lessons Standards Objectives Activity Assessment Lesson 1: Writing Create a diagram or Graphic organizer ~Graphic Prewriting Strategies 1.2 & map using using the software organizer made activity on 1.3 Inspiration that program Inspiration on Inspiration Flowers for Writing shows arguments to create notes for ~ A rubric will Algernon Applications

2.0d: and counter arguments

persuasive speech be provided for students

Lesson 2: Writing Complete the entire Students complete ~Graphic Prewriting Strategies: 1.6 graphic organizer; pre-made graphic organizer activity for short Writing include specific organizer to graded using a story for the Applications: details to include in prepare them to provided rubric Edgar Allan Poe 2.1a,b,& c their own short write a cohesive short story unit story short story

Lesson 3: Writing Students will Visualization ~Check off Prewriting Strategies 1.1 & illustrate their ideas activity for chart to activity for Anne 1.6 with commentary reflective essay determine if all Frank unit Writing

Applications 2.1c and provide evidence

requirements are met

Lesson 4: Writing ~Use movement to Movement using ~Notes taken Prewriting Strategies 1.1 & map out their body symbols for ideas- by partner that Activity on The 1.6 paragraph in their students work in outlines Lady or the Tiger Writing

Applications 2.2d essay ~Provide support from the text to defend claim

pairs student’s movements and students reflection

Lesson 5: Writing ~Use legos to map Students use legos ~Sketch or map Prewriting Strategies: 1.1, out their essay to construct their of lego Activity on To 1.2, 1.3, & 1.6 ~Understand the outline for their construction Kill a Writing importance of each essay ~Identification Mockingbird Applications:

2.2b & 2.2d element of an essay by providing it in their model

of all elements for the essay

Lesson 6: Prewriting activity for poetry unit

Writing Applications 2.2 a &b

Incorporate poetic techniques in each entry learned from a particular lesson

Students will work in stations to brainstorm and prewrite for each form of poetry

~Graded on final drafts of poetry projects


Unit 1 CURRICULUM AREA/DURATION OF Flowers for Algernon LESSON Day 1 (Even day) 8th grade Language Arts

3-4 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Applications 2.2d: Response to Literature Support judgments through references to the text, other works, other authors, or to personal knowledge Writing Strategies 1.2 &1.2 1.1 Create compositions that establish a

controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. 1.2 Establish coherence within and among paragraphs through effective transitions, parallel structures, and similar writing techniques.

ELD STANDARD(S) Writing Strategies and Application: Organization & focus, evaluation & revision Intermediate: Proceed through the writing process to write short paragraphs that contain supporting details about a given topic. There may be some inconsistent use of standard grammatical forms. Early Advanced: Write persuasive and expository compositions that include a clear thesis, describe organized points of support, and address a counter argument.

Language Objective: Students will be able Learning Objective: All students will be to organize their arguments and counter able to successfully complete the prewriting arguments through using the computer activity and have hard copy of their program Inspiration. prewriting to use for drafting their

persuasive speech.

KEY VOCABULARY RESOURCES AND MATERIALS (INCLUDING Argument: a reason to support your point SUPPLEMENTARY AND ADAPTED) of view • Software program inspiration Counter Argument: An argument that is in • Flowers for Algernon text opposition of the main argument. The counter argument tries to invalidate the argument

TIME LESSON/ACTIVITIES

5 minutes Every even class period (on even days- 2nd, 4th, 6th…) students will free write in a provided journal which they will leave in class. They will write for five consecutive minutes without stopping. Rules on how to journal correctly, will occur at the start of the year. Even though it will not be included in the following lessons, please note that it will occur in the

m


classroom on the designated days.

15-20 minutes

Argument

Developing/Reviewing Key Vocabulary Students will take out a sheet of paper for notes on key vocabulary to reference when prewriting These instructions can be done on a smart board, document camera, of white board depending on choice or access to technology. ∗ On one side of the board, write the word ARGUMENT and on the other

side of the board write the word COUNTERARGUMENT (best to write the words in two different colors)

∗ Begin with ARGUMENT- write the definition • an argument is a main idea, often called a "claim" or "thesis

statement," backed up with evidence that supports the idea. Inform students that we are going to do an example together not related to Flowers for Algernon to fully comprehend what each vocabulary word

eans • Provide students with an example argument: • A later start time for school from 8:02 to 9:00 am.

Write this on the board below the definition • Include an arrow labeling it ARGUMENT

Ask students to list some reasons of why this is a good idea and write their answers on the board- only ask for two or three. Label those reasons with an arrow and label is SUPPORT ∗ Now, go to the other side of the board and write the definition of

COUNTERARGUMENT and students take notes on what I am writing. ∗ Verbally, ask why is it important to have counterarguments in your

speech? • Counterarguments strengths your argument because you show a

deeper understanding of the topic you are discussing and consider those who might disagree with you.

∗ Definition: • a counterargument reasons that go against your thesis or some

aspect of your reasoning ∗ Look back at the reasons given in the ARGUMENT side for why

students should have a later start time. Put an arrow from one board to the other and have students provide the counterargument. (See example below) • Reasons:

∗ students have more time to do homework they might just sleep later and not get that homework done

Give students more time to get to school so they are on time some parents have to drop their child off early and they are unsupervised at school


TIME

5 minutes

1 minute 15-20 minutes

3 minutes

5-7 minutes

10 minutes

5 minutes

LESSON SEQUENCE (LIST YOUR ENTIRE LESSON SEQUENCE HERE, INCLUDING “BUILDING BACKGROUND”) ∗ Journal writing- students will walk in, row leader will get their rows

books and distribute- students will write for a 5 minutes ∗ Row leader returns journals ∗ Students will work on the vocabulary lesson outlined in the Reviewing

vocabulary section ∗ Students will keep their notes out and take out their textbooks, opening

to Flowers for Algernon. • Also students will take out their tutorial forms for Inspiration.

Students will also have a scratch sheet of paper ∗ Each person will come and receive their laptop and open to the program

Inspiration ∗ Prior to the start of the prewriting activity using Inspiration software,

students will receive a full period of instruction on how to use it. They will receive written instructions (see appendix) and students will receive a step by step tutorial prior to beginning their prewriting task.

∗ Students will begin by clicking on the diagram button in Inspiration to begin prewriting activity

∗ Students will create their first bubble stating “Flowers for Algernon” ∗ Next, students will create two additional bubbles on opposite ends of the

screen ∗ Have students have the left bubble state “Charlie should have the

surgery” and the one on the right “Charlie shouldn’t have the surgery” ∗ The two bubbles should be different colors Ex. The left bubble should be

green and the right bubble should be yellow- something readable ∗ Have students link the bubbles accordingly (students can reference their

tutorial forms) ∗ Next, ask students on their paper to draw three pictures that represent the

reasons why Charlie should have the surgery. • Example: a heart (ask students why a heart would be a good example

and write their reason on the board with the symbol of a heart) Students will now go to their digital locker and save their document www.smusd.org/moodle Students login- ID and last name Click digital locker at the top left Click browse, find their saved document and click insert Upload document

∗ Students will return laptops to assigned position in cart and resume the

http://www.smusd.org/moodle


following day on their prewriting.


UNIT 1 CURRICULUM AREA/DURATION OF FLOWERS FOR ALGERNON LESSON DAY 2 (ODD DAY NO JOURNALING) 8th grade Language Arts




Language Objective: Students will be able to organize their arguments and counter arguments through using the computer program Inspiration.

Learning Objective: All students will be able to successfully complete the prewriting activity and have hard copy of their prewriting to use for drafting their persuasive speech.

KEY VOCABULARY Argument: a reason to support your point of view Counter Argument: An argument that is in opposition of the main argument. The counter argument tries to invalidate the argument

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Software program inspiration • Flowers for Algernon text • Notes on Argument and

counterargument • Sheet on symbols started yesterday

TIME LESSON/ACTIVITIES 5 minutes ∗ Students will get their designated laptops

∗ Take out Flowers for Algernon, tutorial for Inspiration, notes on argument and counterargument, and scratch piece of paper that you started yesterday on symbols for why Charlie should have the surgery

∗ Go to moodle and open their digital locker to the diagram they started


10 minutes

10 minutes

15-20 minutes

10 minutes

5 minutes

yesterday in Inspiration ∗ If students did not draw three pictures and state the meaning on their

scratch paper yesterday, they need to finish it. If they completed that task, go into inspiration and find three symbols and insert them on the side with the bubble “Charlie should have the surgery”

∗ Link them together ∗ Insert text in the middle of the arrow stating what the symbol represents. • Example if you put a heart, in the middle of the arrow, you would

write love with teacher- Ms. Kinnian ∗ Next, students will insert a bubble under each symbol/picture to explain

the significance of the symbol. • Example: In the bubble, you could write he never knew real love till

he became smart and he got to experience emotions he never knew existed.

• They should now have three items per symbol for why Charlie should have the surgery------- comment of what the symbol is, symbol, and bubble to state explanation/significance of symbol relating to topic

∗ On their scratch sheet of paper, they are to draw three opposing reasons/counterarguments for the three reasons they put under arguments • For example: Counter argument for love is that he is now all alone-

could put a picture of a lone man. Save work and upload it to moodle Return laptop to correct section on cart


Unit 1 CURRICULUM AREA/DURATION OF Flowers for Algernon LESSON Day 3 (Even day) 8th grade Language Arts




Language Objective: Students will be able to organize their arguments and counter arguments through using the computer program Inspiration.

Learning Objective: All students will be able to successfully complete the prewriting activity and have hard copy of their prewriting to use for drafting their persuasive speech.

KEY VOCABULARY Argument: a reason to support your point of view Counter Argument: An argument that is in opposition of the main argument. The counter argument tries to invalidate the argument

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Software program inspiration • Flowers for Algernon text

TIME LESSON/ACTIVITIES 5 minutes 5 minutes

30

∗ Journaling ∗ Students get out all materials from previous day (tutorial form, scratch

paper, Flowers for Algernon, and notes on arguments and counterarguments)

∗ Students get their laptop and open their diagram via moodle


minutes

5 minutes

∗ Students should now be inserting pictures for their three counterarguments

∗ Students then are to write what the symbol is in the middle of the arrow connecting the picture to the bubble

∗ Students are to create a bubble underneath each symbol to explain the significance of that picture- remember it is the counterargument so it should state why the argument is invalid

∗ Students are to link all items together accordingly- link the top bubble “Charlie shouldn’t have the surgery” to the picture, to the explanation bubble.

∗ All arrows should be going down ∗ Make sure the counterargument bubbles are a different color than the

argument bubbles Any remaining time during the period, students can finish any incomplete items on their diagram. Once students are completed, they are to turn in their diagram. Students are to make sure they have completed all requirements as stated on the rubric. Students will receive their graded graphic organizer back and use it to begin writing for their debate.


Tutorial on using Inspiration Software Make sure you save all your work several times while working

Introduction to creating a Diagram

Open Inspiration software and in the opening menu, click diagram

A bubble will appear- type in the topic you a writing about o Example: Surgery for Charlie, Artifacts for hiding, etc.

To create the next item, you can choose a bubble or a picture o To insert a new bubble:

Click on the white space surrounding the bubble you created

Make sure you see a “t”

Begin typing for a new bubble to appear

o If you want to a picture, make sure there are no bubbles clicked: Type the desired picture you want in the box that states “enter search words”

Then hit enter for the selections to appear


Click on the picture you want once, and it will appear in the diagram.

∗ To link two items together to show a connection or relationship:

Click the Link button on the top panel.

the edges. Finally, click on the bubble you are attaching to and a line an arrow

should appear.

Once you have the arrow, if you want to change the direction, click on the icon shown below, which is at the bottom of the screen and choose in or out to change the direction.

Attach the arrow to the other bubble or picture you want Make sure that bubble you want to attach is highlighted green around

comment between the two. ∗ Once you have inserted two items and linked them together, you can insert a

Make sure the arrow is long enough so that a comment can be inserted Click on the box in the middle of the arrow Write your comment Click anywhere on the screen to finalize

. ∗ To change the color of any of the bubbles: Click on the blue oval at the bottom of the screen Colors will appear Click on the color you want the bubble to be The bubble will be another color- makes sure you can still read the text


Rubric of Organizer on Flowers for Algernon

Beginning Developing Accomplished 3

Exemplary 4

Score 1 2

Symbols for Has four or Have four or Has three Has three symbols for Arguments less total five symbols symbols for the arguments and three and symbols that total that the arguments symbols for the Counter- somewhat or accurately & three counter-arguments that arguments do not represent the symbols for accurately represent the (total of 6) represent the

themes from the story

story the counter-arguments that somewhat represent the themes

themes from the story

Explanation Has a few Has four to Has a bubble Has a bubble for each for symbols bubbles that

include some explanation but is not accurate or detailed enough

five bubbles for each symbol that includes a minimal explanation of how the symbols represents a theme

for each symbol that includes a minimal explanation of how the symbols represents a theme from the story

symbol that includes an accurate explanation of how the symbols represents a theme from the story

Color There is no A few bubbles Almost all The bubbles for the coding difference in

color coding for the arguments & counter-arguments

are colored coded

bubbles are colored coded

argument and counter-arguments are different colors

Linking No arrows Missing some Most ideas are All ideas are linked and ideas link the ideas

together arrows and/or the direction is incorrect throughout

linked but a few arrows are in the wrong direction

the arrows start from top and go down to the bottom

Spelling/ Multiple Some errors 1-2 spelling or No grammar or spelling Grammar errors that

hinder the reader

throughout grammar errors

errors


Unit 2 CURRICULUM AREA/DURATION OF Short Story Unit LESSON Day 1 (Odd day- no journaling) 8th grade Language Arts

2-3 50 minute class periods CALIFORNIA STATE STANDARDS: ELA ELD STANDARD(S) Writing Applications 2.1 a & c: Write short Writing Strategies and Application: stories Organization & focus, evaluation &

a. Relate a clear, coherent incident, revision event, or situation by using well-chosen Early Advanced: Write in different genres details. (e.g., short stories and narratives), including c. Employ narrative and descriptive coherent plot development, strategies (e.g., relevant dialogue, specific characterization, and setting. action, Advanced : Write documents (e.g., fictional physical description, background biographies, autobiographies, short stories, description, comparison or contrast of and characters). narratives) that include coherent plot Writing Strategies 1.6 : Evaluation and development, characterization, setting, and Revision a variety of literary strategies (e.g., 1.6 Revise writing for word choice; dialogue, appropriate organization; consistent point suspense). of view; and transitions between paragraphs, passages, and ideas.

Language Objective: Students will be able Learning Objective: All students will be to complete the premade graphic organizer able to successfully complete the prewriting in a detailed manner that will assist them activity and have hard copy of their in writing their own short story. prewriting to use for drafting their short

story.

KEY VOCABULARY Exposition: Background information regarding the setting, characters, plot. Rising Action - The process the story follows as it builds to its main conflict. A series of events that lead to the climax of the story- usually conflicts of struggles of the protagonist. Conflict: The problem or struggle in a story that triggers the action- there are four types of conflict: person v. person, person v. society, person v. self, and person v.

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Premade graphic organizer • Notes on plot chart • Plot chart on Tell Tale Heart • Document Camera, smart board, or

overhead projector


nature. This is the actual moment when the deciding factor takes place. What happens at this point determines the outcome of the piece. Falling Action: The action of a story that works out the decision arrived at during the climax. Resolution: The portion of the story where the problem is solved. It comes after the climax and falling action and brings the story to an end.


2 minutes

20-25 minutes

The short story unit consists of three short stories: The Landlady, The Monkey’s Paw, and Tell Tale Heart. After reading Tell Tale Heart, students will complete the story map which will assist them in writing their own short story. (For a blank version and a completed organizer, see Appendix)We will do the story map as a class with volunteers to fill in the blanks. Once students are completed, students will be given the premade graphic organizer for their own short story.

The lesson will begin with overview of the plot elements. ∗ Students will be given a blank plot chart ∗ Students will open their text books to the Tell Tale Heart (TTH) and

take out their notes on elements of plot ∗ We will begin with the exposition- asking for volunteers to state the

definition. Students will write the definition on their graphic organizer next to the appropriate box.

∗ Next, the question of what is the exposition for TTH will be asked ∗ I will fill in their answer on the document camera ∗ Next, students will discuss what the definition of the rising action is

with a partner ∗ We will come together as a class and discuss their response as well

as what are the rising actions in TTH ∗ We will as a class state what the climax is and how we determine

this ∗ Then, a volunteer will state what the climax is in TTH ∗ Next, students will state what the definition of falling action is and

what it is in the story ∗ Lastly, students will state what a resolution is and what it is in the

story Students will then be given a premade graphic organizer where they will


complete individually. We will go over what is on the premade organizer as well as discuss the rubric that will be used to grade their organizer. After students have completed the organizer, they will map out their story on a plot chart (blank one used for TTH) and submit both for a grade.

Name ___________________________________ Date _______________ Period _____


Name ___________________________________ Date _______________ Period _____

Title Tell Tale Heart

Basic Conflict, Problem or Situation:

The narrator describes the hate he has for the old man

Author Edgar Allan Poe

STORY MAP Rising Action (complications,

events, problems): The narrator watches the old man sleep The narrator kills the old man

The narrator cuts the body into pieces The police search the house The narrator hears the

beating of the heart

Climax (crisis, big event):

The narrator admits to killing the old man

Setting: An old house in England

He tries to convince the reader that he is not insane

Falling Action:

• The narrator is arrested or taken to an insane asylum

Resolution: The narrator tells the story of what happened.

Characters(s):

Protagonist – The narrator Antagonist – The old man Others – The police who come to question the narrator

Background: The narrator claims he has no hard feelings towards the old man besides his eye

(revised 12-10 Blume)


Title ______________________________

STORY MAP Climax (crisis,

big event): Rising Action (complications,

events, problems):

Setting:

Basic Conflict, Problem or Situation:

Falling Action:

Resolution:

Characters(s):

Protagonist –

Antagonist-

Others –

Background

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________


Short Story Graphic Organizer I. Setting A. When? _______________________________________________________________

B. Where? ______________________________________________________________

II. Characters

A. Character #1

1. Name ______________________________________2. Age ___________________

3. Physical characteristics___________________________________________________

4. Emotional characteristics (explain why they are happy, sad, angry, etc)

5. Other characteristics _____________________________________________________

B. Character #2

1. Name ____________________________________________________2.Age__________

3. Physical characteristics __________________________________________________

4. Emotional characteristics (explain why they are happy, sad, angry, etc)

5. Other characteristics

III. Plot

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________

________________________________________________________________________ ________________________________________________________________________


A. Rising action event #1 ___________________________________________________

B. Rising action event #2 ___________________________________________________

C. Rising action event #3 ___________________________________________________

D. Climax _______________________________________________________________

E. Resolution_____________________________________________________________

Short Story Graphic Organizer Assessment


Points Points possible earned

10 pts _____ The graphic organizer is filled out completely and each section answer has specific details that relate to the events of the

story. Answers are sentences and NOT one/two word answers.

10 pts _____ The plot is logical/makes sense and the rising actions

are in sequential are- beginning, middle, and end

5 pts ____ The resolution is complete and is not a cliff hanger or a

dream

10 pts ___ For completed story map of own short story. All elements

going in the story, need to be on the chart.

The Tell-Tale Heart

http://www.literature.org/authors/poe-edgar-allan/index.html


Edgar Allan Poe

TRUE! nervous, very, very dreadfully nervous I had been and am; but why WILL you say that I am mad? The disease had sharpened my senses, not destroyed, not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How then am I mad? Hearken! and observe how healthily, how calmly, I can tell you the whole story.

It is impossible to say how first the idea entered my brain, but, once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! One of his eyes resembled that of a vulture -- a pale blue eye with a film over it. Whenever it fell upon me my blood ran cold, and so by degrees, very gradually, I made up my mind to take the life of the old man, and thus rid myself of the eye for ever.

Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded -- with what caution -- with what foresight, with what dissimulation, I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night about midnight I turned the latch of his door and opened it oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern all closed, closed so that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly, very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this? And then when my head was well in the room I undid the lantern cautiously -- oh, so cautiously -- cautiously (for the hinges creaked), I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights, every night just at midnight, but I found the eye always closed, and so it was impossible to do the work, for it was not the old man who vexed me but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he had passed the night. So you see he would have been a very profound old man, indeed , to suspect that every night, just at twelve, I looked in upon him while he slept.

Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers, of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was opening the door little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea, and perhaps he heard me, for he moved on the bed suddenly as if startled. Now you may think that I drew back -- but no. His room was as black as pitch with the thick darkness (for the shutters were

http://www.literature.org/authors/


close fastened through fear of robbers), and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening , and the old man sprang up in the bed, crying out, "Who's there?"

I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed, listening; just as I have done night after night hearkening to the death watches in the wall.

Presently, I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief -- oh, no! It was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself, "It is nothing but the wind in the chimney, it is only a mouse crossing the floor," or, "It is merely a cricket which has made a single chirp." Yes he has been trying to comfort himself with these suppositions ; but he had found all in vain. ALL IN VAIN, because Death in approaching him had stalked with his black shadow before him and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel, although he neither saw nor heard, to feel the presence of my head within the room.

When I had waited a long time very patiently without hearing him lie down, I resolved to open a little -- a very, very little crevice in the lantern. So I opened it -- you cannot imagine how stealthily, stealthily -- until at length a single dim ray like the thread of the spider shot out from the crevice and fell upon the vulture eye.

It was open, wide, wide open, and I grew furious as I gazed upon it. I saw it with perfect distinctness -- all a dull blue with a hideous veil over it that chilled the very marrow in my bones, but I could see nothing else of the old man's face or person, for I had directed the ray as if by instinct precisely upon the damned spot.

And now have I not told you that what you mistake for madness is but over-acuteness of the senses? now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well too. It was the beating of the old man's heart. It increased my fury as the beating of a drum stimulates the soldier into courage.


But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder, every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment! -do you mark me well? I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me -- the sound would be heard by a neighbour! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once -- once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But for many minutes the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.

If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence.

I took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly so cunningly, that no human eye -- not even his -- could have detected anything wrong. There was nothing to wash out -- no stain of any kind -- no blood-spot whatever. I had been too wary for that.

When I had made an end of these labours, it was four o'clock -- still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, -- for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

I smiled, -- for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search -- search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.


The officers were satisfied. My MANNER had convinced them. I was singularly at ease. They sat and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears; but still they sat, and still chatted. The ringing became more distinct : I talked more freely to get rid of the feeling: but it continued and gained definitiveness -- until, at length, I found that the noise was NOT within my ears.

No doubt I now grew VERY pale; but I talked more fluently, and with a heightened voice. Yet the sound increased -- and what could I do? It was A LOW, DULL, QUICK SOUND -- MUCH SUCH A SOUND AS A WATCH MAKES WHEN ENVELOPED IN COTTON. I gasped for breath, and yet the officers heard it not. I talked more quickly, more vehemently but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why WOULD they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men, but the noise steadily increased. O God! what COULD I do? I foamed -- I raved -- I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder -louder -- louder! And still the men chatted pleasantly , and smiled. Was it possible they heard not? Almighty God! -- no, no? They heard! -- they suspected! -- they KNEW! -they were making a mockery of my horror! -- this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! -- and now -- again -- hark! louder! louder! louder! LOUDER! -

"Villains!" I shrieked, "dissemble no more! I admit the deed! -- tear up the planks! -here, here! -- it is the beating of his hideous heart!"


Unit 3 CURRICULUM AREA/DURATION OF Anne Frank LESSON Day 1 (Even date-journaling) 8th grade Language Arts

2 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.1c- Write narratives 2.1c Employ narrative and descriptive strategies (e.g., relevant dialogue, specific action, physical description, background description, comparison or contrast of characters).

ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use strategies of note taking, outlining, and summarizing to structure drafts of clear, coherent, and focused essays with consistent use of standard grammatical forms. Advanced: Produce writing by using various elements of discourse_(e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing

Language Objective: Students will be able to create sketches of objects they will choose on a premade graphic organizer as well as write details about each object.

Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive narrative essay.

Key Vocabulary Imagery- see activity below

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Paper and pen for notes on imagery

TIME LESSON/ACTIVITIES ∗ Students will do journaling/free writing today. Prior to the bell ringing,

5 minutes they will get their journals kept in the classroom and write for 5 minutes straight once the bell rings.


1 minute

10-15 minutes

1 minute

1 minute

8-10 minutes

1 minute

5-7 minutes

15-20 minutes

∗ The first person in each row will collect the journals and return to the class period’s shelf.

∗ Students will take out a piece of paper for notes. This is a review lesson on imagery. I will write the definition on the document camera or smart board.

Imagery - an image, in its basic sense, is something concrete that appeals to any of the five senses - sight, sound, touch, taste, smell - as well as metaphor, simile, and personification.

For example, the following images might be used to describe a stroll on a summer night:

Sight - a full moon in a black sky

Ask students for another image use the “sight” sense Sound - the chirp of crickets Taste - the tang of a cold glass of lemonade Ask students for an example they might have on taste Touch - a warm breeze Smell - freshly mowed grass ∗ Students will then divide the rest of their notes into 5 columns and label

each column with one sense- sight, sound, taste, smell, & touch ∗ I will write the topic on the board- “Saturday afternoon” ∗ They are to then close their eyes from one minutes, until I say open, and

picture a Saturday afternoon- where might they be, what are they seeing, hearing, etc.

∗ Students are to then fill in their chart with one or two images for each sense

∗ We then share out as a class, a few example for each sense- we verify as a class if the images of visual enough and how they might improve if necessary.

∗ Discuss why imagery is important

∗ Handout out assignment sheet for Anne Frank essay ∗ Go over instructions with students ∗ Provide due date for them for the prewriting, rough draft, and final draft ∗ Give students the rest of the period to think of the items they will

include in their essay. On the back of the sheet began writing down ideas. They can discuss with their neighbors or work independently but they should have three items they are thinking of writing about for the following class period.


Unit 3 CURRICULUM AREA/DURATION OF Anne Frank LESSON Day 2 8th grade Language Arts

2 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.1c- Write narratives 2.1c Employ narrative and descriptive strategies (e.g., relevant dialogue, specific action, physical description, background description, comparison or contrast of characters).

ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use strategies of note taking, outlining, and summarizing to structure drafts of clear, coherent, and focused essays with consistent use of standard grammatical forms. Advanced: Produce writing by using various elements of discourse (e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing

Language Objective: Students will be able to create sketches of objects they will choose on a premade graphic organizer as well as write details about each object.

Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive narrative essay.

Key Vocabulary • Imagery notes form the pervious

class period

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Imagery notes • Graphic organizer for prewriting

activity • Anne Frank project instructions • Check off list for prewriting activity


TIME 1 minute

10-15 minutes

LESSON/ACTIVITIES ∗ Students will take out their assignment sheet for the Anne Frank project

and their notes on imagery ∗ They will receive a premade graphic organizer for prewriting ∗ Once each student receives a graphic organizer, I will put it under the

document camera and show students how to complete correctly. ∗ First they will write down the three items they would take into hiding

I would then write down my three items in the first box to show what they are to do

∗ Next, students will take the item they have written on number 1 and draw it the box under item number one

I would then sketch my first item for them. I would explain that they aren’t graded on artistic talent but it in some way must resemble their item and it should be neat to receive full credit. ∗ Since my first item is a puzzle, I would think to myself, what does it

small like- underneath the picture of the nose, I would write, cardboard, women’s perfume because it was my grandma’s puzzle and musty because it is old. I would write all of this under the nose symbol. I would then describe what it looks like under the eye symbol. I might write- tiny pieces, many colors of reds and blues because it is of the American flag, small box holds the pieces, cardboard is flaking off at the edges, etc. I would make sure I verbalize all the instructions above so that students can see how I come up with my answers

∗ For the last box, why it is important to me, I would list in bullets why the puzzle is important or something I chose to bring. I foresee that I will have a lot of time and this would keep me occupied, it would remind me of my family, the smells would take me back to my home.

∗ After I completed the above explanation, I would begin taking my colored pencils and shading in the first box.

∗ If students want to draw everything, they can but they are only required to illustrate the first box.

∗ Lastly, once I am complete, I would revisit the check off sheet to make sure that I have completed all the requirements. • Did I write neatly and is it readable? Yes • Is the first box colored? Yes • Do I have at least two things written down for each sense? No, so

I need to complete this requirement. • Etc.

∗ After this modeling, I would hand out the graphic organizer and have students begin working on theirs.

∗ Students will have the remainder of the period to work on their organizer. They are only allowed to get colored pencils if they have


shown me their completed product. If they do not finish the assignment, it does become homework. Students who do not have three items for their essay will work in a small group with me. We will verbally discuss things that are important to them and decide how that translates into artifacts. Once they have come up with those three items, they are free to work independently.


ANNE FRANK WRITING ASSIGNMENT Please follow this format, 5 paragraphs. Use as much information as you can.

Paragraph #1 - introduction - Write this word for word, then fill in the blanks with your choices.

It is February of 2010, and I am going into hiding for a period of 25 months. I may choose three things to take with me. During this time, I cannot contact anyone outside of my hiding place. My life will end if I break any of the rules of the hiding place. The three items I will take are: ______________________, ____________________ and ________________________.

Paragraph #2-3 shoebox items You may only take three of your prized possessions. They must be small enough to fit into a shoebox. (These are the same items as named in paragraph #1.)

a. For the purpose of this essay, you must limit your choices to 3 small items (must fit collectively in a shoebox) and describe each one (food, money and clothing choices are not allowed). As you describe, be as specific as possible. Here are some questions you could ask:

b. What does it look like, feel like, smell like? Remember details! c. Why do you value this item? d. What purpose will it have while you are in hiding? e. Why do you choose this item over others you have? f. Remember you are going to a place without telephones, TV, VCRs, CD players,

Nintendo, ipods, cell phones, etc., because all make too much noise during the daytime. NOTHING ELECTRONIC!

Paragraph #4 - flashback to 2008 a. How old were you two years ago? (Exact age) b. Where did you go to school? c. Who was your best friend? One or two names only d. What was your ONE favorite activity? e. How did you spend most of your free time? f. How has your life changed in the last two years???

Paragraph #5 - conclusion It is now March of 2012, and (unlike Anne Frank) you have survived and may

leave your hiding place. Answer these questions. Predict the answers. a. What events have you missed in the past 2 years? b. How did you use your shoebox items, described above? c. How have you changed? d. What have you learned?

http://www.mrsrichardson.com/8th_grade/8th_grade_writing_assignments/annefrankessay.pdf

http://www.mrsrichardson.com/8th_grade/8th_grade_writing_assignments/annefrankessay.pdf


Name: __________________ Graphic Organizer for Anne Frank

List the three items here that you will be discussing in your essay.

1) 2) 3)

In the first box of each column, draw one picture that represents each item listed in the box above. Make sure the item matches the order you wrote in the box above.

Item number Item number Item number

1

What does your item smell What does your item smell What does your item like and what does it look like and what does it look smell like and what does like? Use specific details like? Use specific details it look like? Use specific

Why is your item important to Why is your item important to Why is your item important to YOU? YOU? YOU?


Check off sheet for the Anne Frank graphic organizer

√ Is the writing neat and readable? √ Do I have a picture for each of the three items? √ Are they in order from what is written in the first box? √ Do I have two bullet points for each sense? √ Are my pictures in color? √ Are the objects I choose acceptable in regards to what is allowed for the

items?


Unit 4 CURRICULUM AREA/DURATION OF The Lady or the Tiger LESSON Day 1 (odd date- no journaling) 8th grade Language Arts

3-4 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.2d- Write narratives 2.2d Support judgments through references to the text, other works, other authors, or to personal knowledge.


Language Objective: Students will be able to create work with a partner and walk out their ideas for their essay.

Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive response to literature essay.

Key Vocabulary Inferences

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Construction paper • Markers • The Lady or the Tiger

TIME LESSON/ACTIVITIES ∗ During the reading, we will have discussed what the definition of

inference is. They will have taken notes on the definition: Inference is a conclusion or judgment. If you infer that something has happened, you do not see, hear, feel, smell, or taste the actual event. But from what you know, it makes sense to think that it has happened.

Throughout the reading, we then make inferences of what will come next in the reading. Throughout, we will stop and infer what will happen next. I


Instructions: 5 minutes

20-30 minutes

15-20 minutes

will follow up with asking them to back up their claim and cite passages from the text

. ∗ At the end of the story, I inform them that their writing assignments is

going to make an inference of what the ending of the story is based on the evidence from the text.

∗ After we have read the story, make sure there is no discussion of the ending as that is their next activity.

∗ Students will break up into pairs- either by your or their choice ∗ They will receive a large piece of paper and markers ∗ Students will then write in the middle of their paper which door the

lady told her lover to pick- the tiger or the woman ∗ Students are to then branch off with lines and write supporting

evidence from the text using quotes and page numbers. See example below. I will provide them with the example seen below so students can see what is expected. They are to write big enough that other students can read it from their seats.

∗ Students will have 20-30 minutes to complete the activity. ∗ Once the time has concluded, each pair will come up and share which

ending they thought the lady chooses and a few pieces of evidence. • Students are informed that they will need various arguments for

their formal writing assignment and if they hear good arguments from other groups, they should jot notes down on their paper.

On page 30, the author The door that was opened was_________

writes “……..”


Unit 4 CURRICULUM AREA/DURATION OF The Lady or the Tiger LESSON Day 2 (journaling) 8th grade Language Arts

2-3 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.2d- Write narratives 2.2d Support judgments through references to the text, other works, other authors, or to personal knowledge.


Language Objective: Students will be able Learning Objective: All students will be to create work with a partner and walk out able to successfully complete the prewriting their ideas for their essay. activity and have a clearer understanding of

how to put together a cohesive response to literature essay.

Key Vocabulary Inferences

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Handout on symbols for walking an

essay • Pen/paper • Notes taken with partner from

previous day where students stated which door the princess chose and reasons cited from the text

• Notes on inferences • Smart board or document camera

used to show students how to take notes while partner walks and thinks aloud


TIME

1 MINUTE

5 MINUTES

15 MINUTES

30 MINUTES

40 MINUTES

LESSON/ACTIVITIES

∗ To prepare for the formal essay for The Lady or the Tiger, students will be with the partners they were in yesterday and will be using walking to map out their essay

∗ First, students will receive the symbol chart below to use for this activity Students will have notes out to jot down examples given I will provide an example that isn’t related to the text to give them the idea of how the activity will work. My example: I love tomatoes; however, I don’t like them in salads. Also, I like to cook them to make pasta sauce. Although, I don’t always have the time. For my notes, I would ask students how I would put the above statements in my notes using the symbols.

Answer: I love tomatoes I don’t like them in salads. I like to cook

them to make pasta sauce. I don’t always have the time. I would then ask for a volunteer to show how an example would look from the story The Lady or the Tiger. ∗ I will ask for a volunteer to discuss the ideas they had come up with

from the previous day that they presented to the class on which door was chosen

∗ That student will come up and bring their notes ∗ I will ask them to begin by walking and stating their first reason

For example: Volunteer walks and states that the princess told her lover to choose the door with the tiger because she didn’t want him to marry someone else. She wanted him for herself.

∗ I, as the students partner, would jot down notes of what the volunteer had stated Princess chose door with tiger > she didn’t want him to marry

other person. She loved him, she wanted him for herself. Students are to get in the same pairs they were in the previous day They are to have the sheet of notes they took together on which door the princess chose and the evidence provided in the text Each person will need the handout given on symbols for walking an essay Each person will need a pen/pencil and a sheet of notes Examples given on what this activity will look like ∗ Partners will begin to map out their ideas ∗ The first person to go will have the remainder of the period.


∗ The following day, the second partner will walk out their ideas and the person who went the previous day will take the notes. If needed, a fourth day can be inserted to finish up.

∗ Students should have two body paragraphs mapped out and will be graded on their use of symbols and the amount of information they have in their notes

∗ They will rely on their rubric/grading sheet to determine what is expected

∗ I will go over with the students the rubric prior to them beginning their partner work

“for example” http://www.ldonline.org/article/6216/

http://www.ldonline.org/article/6216


Grade sheet for movement activity

Beginning Developing Accomplished Score Symbols The notes from

the movement activity have lesson than four symbols

The notes from the movement activity have a minimum of four symbols

The notes from the movement activity has a minimum of six symbols

Examples There one or no example to support the claim of whether the princess chose the lady or the tiger

There are at least one example for each paragraph supporting the claim of whether the princess chose the lady or the tiger

There are at least two examples for each paragraph supporting the claim of whether the princess chose the lady or the tiger

Paragraphs Students have minimal to no notes for each paragraph

Students have some notes for both body paragraphs (minimum of two sentences per paragraph not including the examples from the text)

Students have notes for both body paragraphs (minimum of three sentences per paragraph not including the example from the text)

Partner’s notes Student does not have their partner’s notes that are about your essay

Student has partner’s notes on your essay

Student has partner’s notes on your essay


Frank Stockton The Lady Or The Tiger?In the very olden time there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammeled, as became the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing, and, when he and himself agreed upon anything, the thing was done. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but, whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight and crush down uneven places. Among the borrowed notions by which his barbarism had become semified was that of the public arena, in which, by exhibitions of manly and beastly valor, the minds of his subjects were refined and cultured.

But even here the exuberant and barbaric fancy asserted itself. The arena of the king was built, not to give the people an opportunity of hearing the rhapsodies of dying gladiators, nor to enable them to view the inevitable conclusion of a conflict between religious opinions and hungry jaws, but for purposes far better adapted to widen and develop the mental energies of the people. This vast amphitheater, with its encircling galleries, its mysterious vaults, and its unseen passages, was an agent of poetic justice, in which crime was punished, or virtue rewarded, by the decrees of an impartial and incorruptible chance.

When a subject was accused of a crime of sufficient importance to interest the king, public notice was given that on an appointed day the fate of the accused person would be decided in the king's arena, a structure which well deserved its name, for, although its form and plan were borrowed from afar, its purpose emanated solely from the brain of this man, who, every barleycorn a king, knew no tradition to which he owed more allegiance than pleased his fancy, and who ingrafted on every adopted form of human thought and action the rich growth of his barbaric idealism.

When all the people had assembled in the galleries, and the king, surrounded by his court, sat high up on his throne of royal state on one side of the arena, he gave a signal, a door beneath him opened, and the accused subject stepped out into the amphitheater. Directly opposite him, on the other side of the enclosed space, were two doors, exactly alike and side by side. It was the duty and the privilege of the person on trial to walk

http://www.eastoftheweb.com/cgi-bin/read_db.pl?search_field=author_id&search_for=FrankStockton&order_by=author_last,title&page=1


directly to these doors and open one of them. He could open either door he pleased; he was subject to no guidance or influence but that of the aforementioned impartial and incorruptible chance. If he opened the one, there came out of it a hungry tiger, the fiercest and most cruel that could be procured, which immediately sprang upon him and tore him to pieces as a punishment for his guilt. The moment that the case of the criminal was thus decided, doleful iron bells were clanged, great wails went up from the hired mourners posted on the outer rim of the arena, and the vast audience, with bowed heads and downcast hearts, wended slowly their homeward way, mourning greatly that one so young and fair, or so old and respected, should have merited so dire a fate. But, if the accused person opened the other door, there came forth from it a lady, the most suitable to his years and station that his majesty could select among his fair subjects, and to this lady he was immediately married, as a reward of his innocence. It mattered not that he might already possess a wife and family, or that his affections might be engaged upon an object of his own selection; the king allowed no such subordinate arrangements to interfere with his great scheme of retribution and reward. The exercises, as in the other instance, took place immediately, and in the arena. Another door opened beneath the king, and a priest, followed by a band of choristers, and dancing maidens blowing joyous airs on golden horns and treading an epithalamic measure, advanced to where the pair stood, side by side, and the wedding was promptly and cheerily solemnized. Then the gay brass bells rang forth their merry peals, the people shouted glad hurrahs, and the innocent man, preceded by children strewing flowers on his path, led his bride to his home.

This was the king's semi-barbaric method of administering justice. Its perfect fairness is obvious. The criminal could not know out of which door would come the lady; he opened either he pleased, without having the slightest idea whether, in the next instant, he was to be devoured or married. On some occasions the tiger came out of one door, and on some out of the other. The decisions of this tribunal were not only fair, they were positively determinate: the accused person was instantly punished if he found himself guilty, and, if innocent, he was rewarded on the spot, whether he liked it or not. There was no escape from the judgments of the king's arena. The institution was a very popular one. When the people gathered together on one of the great trial days, they never knew whether they were to witness a bloody slaughter or a hilarious wedding. This element of uncertainty lent an interest to the occasion which it could not otherwise have attained. Thus, the masses were entertained and pleased, and the thinking part of the community could bring no charge of unfairness against this plan, for did not the accused person have the whole matter in his own hands?

This semi-barbaric king had a daughter as blooming as his most florid fancies, and with a soul as fervent and imperious as his own. As is usual in such cases, she was the apple of his eye, and was loved by him above all humanity. Among his courtiers was a young man of that fineness of blood and lowness of station common to the conventional heroes of romance who love royal maidens. This royal maiden was well satisfied with her lover, for he was handsome and brave to a degree unsurpassed in all this kingdom, and she loved him with an ardor that had enough of barbarism in it to make it exceedingly warm and strong. This love affair moved on happily for many months, until one day the


king happened to discover its existence. He did not hesitate nor waver in regard to his duty in the premises. The youth was immediately cast into prison, and a day was appointed for his trial in the king's arena. This, of course, was an especially important occasion, and his majesty, as well as all the people, was greatly interested in the workings and development of this trial. Never before had such a case occurred; never before had a subject dared to love the daughter of the king. In after years such things became commonplace enough, but then they were in no slight degree novel and startling. The tiger-cages of the kingdom were searched for the most savage and relentless beasts, from which the fiercest monster might be selected for the arena; and the ranks of maiden youth and beauty throughout the land were carefully surveyed by competent judges in order that the young man might have a fitting bride in case fate did not determine for him a different destiny. Of course, everybody knew that the deed with which the accused was charged had been done. He had loved the princess, and neither he, she, nor any one else, thought of denying the fact; but the king would not think of allowing any fact of this kind to interfere with the workings of the tribunal, in which he took such great delight and satisfaction. No matter how the affair turned out, the youth would be disposed of, and the king would take an aesthetic pleasure in watching the course of events, which would determine whether or not the young man had done wrong in allowing himself to love the princess. The appointed day arrived. From far and near the people gathered, and thronged the great galleries of the arena, and crowds, unable to gain admittance, massed themselves against its outside walls. The king and his court were in their places, opposite the twin doors, those fateful portals, so terrible in their similarity. All was ready. The signal was given. A door beneath the royal party opened, and the lover of the princess walked into the arena. Tall, beautiful, fair, his appearance was greeted with a low hum of admiration and anxiety. Half the audience had not known so grand a youth had lived among them. No wonder the princess loved him! What a terrible thing for him to be there! As the youth advanced into the arena he turned, as the custom was, to bow to the king, but he did not think at all of that royal personage. His eyes were fixed upon the princess, who sat to the right of her father. Had it not been for the moiety of barbarism in her nature it is probable that lady would not have been there, but her intense and fervid soul would not allow her to be absent on an occasion in which she was so terribly interested. From the moment that the decree had gone forth that her lover should decide his fate in the king's arena, she had thought of nothing, night or day, but this great event and the various subjects connected with it. Possessed of more power, influence, and force of character than any one who had ever before been interested in such a case, she had done what no other person had done - she had possessed herself of the secret of the doors. She knew in which of the two rooms, that lay behind those doors, stood the cage of the tiger, with its open front, and in which waited the lady. Through these thick doors, heavily curtained with skins on the inside, it was impossible that any noise or suggestion should come from within to the person who should approach to raise the latch of one of them. But gold, and the power of a woman's will, had brought the secret to the princess.


And not only did she know in which room stood the lady ready to emerge, all blushing and radiant, should her door be opened, but she knew who the lady was. It was one of the fairest and loveliest of the damsels of the court who had been selected as the reward of the accused youth, should he be proved innocent of the crime of aspiring to one so far above him; and the princess hated her. Often had she seen, or imagined that she had seen, this fair creature throwing glances of admiration upon the person of her lover, and sometimes she thought these glances were perceived, and even returned. Now and then she had seen them talking together; it was but for a moment or two, but much can be said in a brief space; it may have been on most unimportant topics, but how could she know that? The girl was lovely, but she had dared to raise her eyes to the loved one of the princess; and, with all the intensity of the savage blood transmitted to her through long lines of wholly barbaric ancestors, she hated the woman who blushed and trembled behind that silent door.

When her lover turned and looked at her, and his eye met hers as she sat there, paler and whiter than any one in the vast ocean of anxious faces about her, he saw, by that power of quick perception which is given to those whose souls are one, that she knew behind which door crouched the tiger, and behind which stood the lady. He had expected her to know it. He understood her nature, and his soul was assured that she would never rest until she had made plain to herself this thing, hidden to all other lookers-on, even to the king. The only hope for the youth in which there was any element of certainty was based upon the success of the princess in discovering this mystery; and the moment he looked upon her, he saw she had succeeded, as in his soul he knew she would succeed.

Then it was that his quick and anxious glance asked the question: "Which?" It was as plain to her as if he shouted it from where he stood. There was not an instant to be lost. The question was asked in a flash; it must be answered in another. Her right arm lay on the cushioned parapet before her. She raised her hand, and made a slight, quick movement toward the right. No one but her lover saw her. Every eye but his was fixed on the man in the arena. He turned, and with a firm and rapid step he walked across the empty space. Every heart stopped beating, every breath was held, every eye was fixed immovably upon that man. Without the slightest hesitation, he went to the door on the right, and opened it. Now, the point of the story is this: Did the tiger come out of that door, or did the lady ? The more we reflect upon this question, the harder it is to answer. It involves a study of the human heart which leads us through devious mazes of passion, out of which it is difficult to find our way. Think of it, fair reader, not as if the decision of the question depended upon yourself, but upon that hot-blooded, semi-barbaric princess, her soul at a white heat beneath the combined fires of despair and jealousy. She had lost him, but who should have him? How often, in her waking hours and in her dreams, had she started in wild horror, and covered her face with her hands as she thought of her lover opening the door on the other side of which waited the cruel fangs of the tiger!


But how much oftener had she seen him at the other door! How in her grievous reveries had she gnashed her teeth, and torn her hair, when she saw his start of rapturous delight as he opened the door of the lady! How her soul had burned in agony when she had seen him rush to meet that woman, with her flushing cheek and sparkling eye of triumph; when she had seen him lead her forth, his whole frame kindled with the joy of recovered life; when she had heard the glad shouts from the multitude, and the wild ringing of the happy bells; when she had seen the priest, with his joyous followers, advance to the couple, and make them man and wife before her very eyes; and when she had seen them walk away together upon their path of flowers, followed by the tremendous shouts of the hilarious multitude, in which her one despairing shriek was lost and drowned!

Would it not be better for him to die at once, and go to wait for her in the blessed regions of semi-barbaric futurity? And yet, that awful tiger, those shrieks, that blood! Her decision had been indicated in an instant, but it had been made after days and nights of anguished deliberation. She had known she would be asked, she had decided what she would answer, and, without the slightest hesitation, she had moved her hand to the right. The question of her decision is one not to be lightly considered, and it is not for me to presume to set myself up as the one person able to answer it. And so I leave it with all of you: Which came out of the opened door - the lady, or the tiger?

http://www.eastoftheweb.com/short-stories/UBooks/LadyTige.shtml

http://www.eastoftheweb.com/short-stories/UBooks/LadyTige.shtml


Unit 5 CURRICULUM AREA/DURATION OF To Kill a Mockingbird LESSON Day 1 (Odd day- no journaling) 8th grade Language Arts

4-5 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. 1.2 Establish coherence within and among paragraphs through effective transitions, parallel structures, and similar writing techniques. 1.3 Support theses or conclusions with analogies, paraphrases, quotations, opinions from authorities, comparisons, and similar devices. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.2b, 2.2d Response to Literature 2.2b Connect the student’s own responses to the writer’s techniques and to specific textual references. 2.2d Support judgments through references to the text, other works, other authors, or to personal knowledge.

ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Develop a clear thesis and support it by using analogies, quotations, and facts appropriately. Write responses to selected literature that develop interpretations, exhibit careful reading, and cite specific parts of the text. Advanced: Write responses to literature that develop interpretations, exhibit careful reading, and cite specific parts of the text.

Language Objective: Students will be able to design scenes using legos to represent their thesis, topic sentence, and organize ideas visually.

Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive expository


essay. KEY VOCABULARY Thesis: The thesis is the last sentence of the introduction paragraph. It is one sentence. It tells the reader how you will interpret the significance of the subject matter under discussion. It will also tell the reader what to expect through the rest of your paper. It directly answers the prompt given, and it makes a claim. Topic Sentence: A topic sentence tells the reader what that theme of the entire paragraph will be. It is one sentence and is the first sentence of each body paragraph.

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Legos for each person • Writing utensil • Paper to jot down notes when

creating scenes with legos • Notes on what each part of the essay

is • TKMB novel • Notes taken throughout novel-

theme journals, character charts, etc. • Creativity

Each topic sentence will correspond with the order of the themes you put in your thesis statement. It is never a question; it is always a declarative sentence. Commentary: Analysis of the quote that refers back to the topic sentence and thesis. It answers the question of how does the quote support the claim made in the thesis. It is a minimum of two sentences and it directly follows the quote. Conclusion Sentence: One sentence that ends each body paragraph that states what the overall theme is of that paragraph. Hook: A statement(s) that draws the reader in. Might be a quote, a fact, and personal experience that make the reader want to further read into the essay. TAG: title, author, genre. It occurs in the introduction after the hook.


10 minutes

2 minutes

Students will have completed reading To Kill a Mockingbird (TKMB).

∗ Students will be given a cloze and are to fill it in from the notes given on the key vocabulary. (see handout)

∗ Once students have completed the cloze, they will be given their essay prompt. • Explain how Scout and/or Jem change over the course of the novel.


10 minutes

30 minutes

What is the author trying to say about childhood? They have a choice on whether they want to write the essay about both characters or to choose just one. It is their choice.

∗ On the essay prompt sheet, they will be given 10 or so minutes to decide if they want to write about both characters or if they want to write about just one. Once they have decided that, they will jot down some ideas they have on themes or ways these characters have grown. They are going to want to refer back to their notes taken throughout the novel to help them come up with examples and themes.

∗ I will then stop everyone and instruct them on their next step. After all instructions are given, they are able to move and sit on the floor if they want or to stay in their seats. They will need some room to work though. Instructions: Students must have decided if they are writing about both characters or if they are choosing one to focus on. ∗ Students will be given a bag of legos that will have different color legos,

shapes, and a few people. ∗ Students will be instructed on what part of the essay they are

constructing. For example, students will begin developing their thesis through constructing a scene(s) with legos. All students must be working on their thesis.

∗ Students will have the rest of the period to create a thesis by creating one or several scenes.

∗ They will jot down on their notes what they have created. For example, if they create a scene with Scout in a courtroom watching a trial, they need to write down on their notes that Scout changes through the course of the novel by watching/listening to Tom’s trial.

∗ Students will do this for the thesis and topic sentences ∗ After completing the pictures for both, they will write 3-5 sentences of

how their picture proves the point of the thesis. Students who are unable to behave and follow directions will be given a premade graphic organizer and lose their privilege in using the legos. Those students who are having difficulty coming up with themes or ideas will be put in a small group with the teacher. The group will discuss themes or ideas and discuss how that could be put into a lego scene. Once students are able to work individually, they will be dismissed from the group and given their own bag of legos. Below are examples of how to put ideas into a lego scene and what notes would be taken

Picture 1: Theme- loss of innocence


Picture 2: Theme- accepting others

Picture 3: Theme- respecting and listening to her father.


Students will take notes after they create each scene of what they have created. They will then put all three themes together to create their thesis. The example below shows that the notes taken on each picture allowed for a thesis to easily develop.


Parts of an essay CLOZE

The ________________ is the ________ sentence of the ______________

______________. It is _____________ sentence. It tells the reader how you will

_____________ the significance of the subject matter under discussion. It will also tell

the reader what to expect through the rest of your paper. It directly answers the prompt

given, and it ____________________ _____ _______________.

A ____________ _____________ tells the reader what that theme of the ___________

_________________ will be. It is ___________sentence and is the ___________

____________ of each body paragraph. Each topic sentence will correspond with the

order of the themes you put in your thesis statement. It is __________ a question; it is

always a declarative sentence.

_____________ is the analysis of the quote that refers back to the __________

______________ ______ ______________. It answers the question of _________

___________the quote support the claim made in the thesis. It is a minimum of

__________ sentences and it directly _________ the quote.

A _____________ _______________ is _________ sentence that ___________ each

body paragraph that states what the overall theme is of that paragraph.

A ______________ is a statement(s) that ___________ _________ ______________ in.

It might be a ____________, a ___________, or personal experience that makes the

reader _______ to further read into the essay.

The _______ is the title, author, and genre. It occurs in the introduction __________ the

hook.


Unit 6 CURRICULUM AREA/DURATION OF Poetry Unit LESSON Day 1 (odd date-no journaling) 8th grade Language Arts

9 days for about 10-15 minutes per period CALIFORNIA STATE STANDARDS: ELA Writing Applications: 2.2a,b- Responses to literature 2.2a Exhibit careful reading and insight in their interpretations. 2.2b. Connect the student’s own responses to the writer’s techniques and to specific textual references.

ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use appropriate language variations and genres in writing for language arts and other content areas. Advanced: Produce writing by using various elements of discourse (e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing

Language Objective: Students will be able Learning Objective: All students will be to participate in each station to prewrite able to successfully complete the prewriting for each form of poetry learned. activity and use their journaling from each

station to create poems. Key Vocabulary Notes on the format of each poetic form to write their own poem

RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED)

Notes on poetry terminology Supplies for each station Poetry books- a variety from Maya

Angelou to Shel Silverstein Magnetic poetry- one-two boxes 10-12 brown paper bags with the

words “smell, taste, or touch” Fabric- silk, feathers, etc Candy Coffee, licorice, cinnamon, etc Pieces of laminated pictures of art (I

use impressionist)- any will work Music without words- Enya or

classical Words on small sheets of paper Explanation of how to write various

forms such as odes, acrostic, sonnet, etc.

The poem “Where I’m From”


TIME LESSON/ACTIVITIES ∗ Students will be put into group of 3-5(depending on the class size) with a

total of 9 groups ∗ Students will be informed that they will be in these same groups for all

stations they will work in ∗ Each station will occur almost every day after students have learned a

new form of poetry ∗ This will act as their warm-up when students come into class Here are a list of stations:

Station 1: Borrowing from the greats In this station, I provide the students with a huge pile of poetry books, ranging from Shel Silverstein to Maya Angelou. They are to flip through and find a title or line that interests them, and begin a poem with those words, continuing with their own. They are instructed to write down the name of the poet and poem; i.e. "Based on 'Ain't I a Woman' by Sojurner Truth".

Station 2: Where I’m From Students will read the poem Where I’m From by George Ella Lyon. They will then discuss the poem as a group. What was good, what they liked, etc. They will then use the format of this poem to write their own poem with the same theme of Where I’m From. Students will use the graphic organizer provided to assist them in brainstorming and prewriting.

Station 3: Use your senses! In this station, I have around 10-12 brown paper bags with the words "smell, taste, or touch" written on them. The students are instructed to do as the bags say, using only that sense. Then they are to describe what it is they feel, smell, or taste, focusing less on trying to guess exactly what it is, and more on the details of description, along with images they associate with those details. They will write these descriptions in their notebook. For “touch” bags, silk or velvet scarves, rice, and strange objects like a koosh ball are inserted. For “smell”, coffee grounds, incense, clean scented candles, and cinnamon are used. For taste, I insert individually wrapped candies and students take one for this section

Station 5: Look! This station asks the students to look at various pieces of art and describe what they see. I provide students with about 10-12 laminated impressionist art pieces. In their notebook, they write the name and painter of the art piece


and write what do they make students think of? Can they tell a story about what may be going on in the picture? If nothing else, I tell them to just describe the picture itself, especially focusing on the colors and designs.

Stations 6: Listen! I have several soothing CD's with no words (or very few) such as Enya, classical composers such as Beethoven and Tchaikovsky, or jazz. I ask them to listen at first with their eyes closed, then to write what they envisioned when they hear the music. They will write after the song has played. The song ranges from 1-1.5 minutes.

Station 7: Word clusters. In an envelope I have several words typed onto small slips of paper. I ask the students to choose one and create a word cluster (web) until they can think of no other words. Students will write their word in the center and branch off with ideas and thoughts about the word. They are finished when they can think of no more. Students will then use these words to make a poem about the particular word.

Station 8: Poetry forms and activities. I have several activities on paper which explain how to write haiku, limerick, odes, and acrostic. I then ask the students to try out one or more of these forms. I also provide list poem starters (i.e. I dream . . . lies, secrets, and fears in my life . . . things I believe in . . .) as an alternative.

Station 9: Magnetic poetry. Students are instructed to simply play with the magnetic poetry words. I tell the students to spend the majority of the time manipulating the words and to write down what they created during the 5-7 minutes they are at their station even it is doesn’t seem like anything.

For stations 1,3,5,6,7, & 9, students will be told what poetic forms they are to emulate when creating their own poem using their notes from the centers. For center 1, students will create a free verse poem. For center 3, students will write a narrative poem. Center 5 will be a sonnet, center 7 is an elegy, and center 9 will be a ballad. Students will know in advance what station equals what poetic format to be created. ∗ After each station, students will have 5-7 minutes to write in silence their

ideas down from the stations, begin writing their poems in the correct format, etc. Students will use the stations as a starting point for each poem created.

∗ At the end of the poetry unit, students will compile their final drafts and put them together in a creative way- ie: book.


http://home.cogeco.ca/~rayser3/langexcite.txt

http://home.cogeco.ca/~rayser3/langexcite.txt


Where I'm From By George Ella Lyon

I am from clothespins, from Clorox and carbon-tetrachloride. I am from the dirt under the back porch. (Black, glistening, it tasted like beets.) I am from the forsythia bush the Dutch elm whose long-gone limbs I remember as if they were my own.

I'm from fudge and eyeglasses, from Imogene and Alafair. I'm from the know-it-alls

and the pass-it-ons, from Perk up! and Pipe down! I'm from He restoreth my soul

with a cottonball lamb and ten verses I can say myself.

I'm from Artemus and Billie's Branch, fried corn and strong coffee. From the finger my grandfather lost

to the auger, the eye my father shut to keep his sight.

Under my bed was a dress box spilling old pictures, a sift of lost faces to drift beneath my dreams. I am from those moments-snapped before I budded -leaf-fall from the family tree.

______________________________________________________________ ______________________________________________________________ ______________________________________________________________

_______________________________________________________________ _______________________________________________________________ _______________________________________________________________

_______________________________________________________________ _______________________________________________________________ _______________________________________________________________ _______________________________________________________________


I am from ________(write a place or object)_________________________

Describe your first place ________________________________________

I am from _______(write a different place or object)___________________

Next three lines describes your second place

I am from _________(write a different place of object)___________________

___________________(describe your third place or object) ______________

I am from _____ (write a different place of object) ______________________

Next three lines describes your fourth place

4 Additional lines describing where you are from


Chapter Five

Project Recommendations

This final chapter is a reflection on my research and project. I designed this curriculum

for a middle school language arts class, specifically an 8th grade class. The demographics of the

student population at my school are primarily Hispanic with a third of the students categorized as

English learners (ELs). The unit is designed to arm English learners with prewriting strategies

when assigned an array of writing assignments. I designed my curriculum in hopes of filling the

void that exists in regards to prewriting. The importance of prewriting is often overlooked and

the tools used during prewriting are insufficient to support the many learning styles students

have. Often the go-to strategy for many teachers is a premade graphic organizer that students fill

out prior to the drafting process; much of the time though, this approach fails to assist many

students in beginning their writing task. By challenging this common methodology, not only

English learners but all students with a range of learning styles can find more ease in beginning

the writing process.

The guiding questions for my project include what challenges do English learners face

when acquiring a new language? What prewriting strategies would help ELs develop and

organize their ideas in order to begin the drafting process? Would multi-intelligence activities

using alternative ways of learning such as using manipulatives and movement be useful to ELs

during their prewriting phase? Would providing ELs with the SDAIE lesson plan format benefit

their ability to pre write? These questions are considered in developing lessons to improve the

skills students have during prewriting. I applied the research acquired from chapter two to my

curriculum in order to better serve an EL student population.


In this final chapter, I will review the following aspects: lessons learned, educational

implications, project implementation plans, limitations, future project suggestions, and

conclusions.

Lessons Learned

In my research for this project, I found that ELs face a variety of roadblocks when

learning their second language of English. English learners enter the mainstream classroom with

proficiency in the language but often times just that. ELs often do not have enough skills to

complete tasks such as writing independently, and need tools to assist them in the writing

process. There are several components that are symbiotic in obtaining a second language that

need to be understood to comprehend the challenges ELs face.

Language Acquisition of English Learners

According to Collier (1995) there are four major components that are interdependent in

learning a second language which include sociocultural processes, language development,

academic development, and cognitive processes. Additionally, it is imperative that students have

a solid foundation in their first language because that knowledge can be transferred to the second

language acquisition. This is due to the fact that the second language is built on their primary

language and this is the way the learner can make sense of the language (Diaz-Rico, 2008). The

challenge grows when the student lacks the skills and proficiency to understand their new

language and this becomes the problem for so many students. For success to occur for ELs,

teachers need to “scaffold the content as a way to nudge a student toward a higher level of

performance” (Hill & Flynn, 2006, p. 16). In order to scaffold the content for ELs in writing,

prewriting activities need to be implemented with modeling and direct instruction prior to any


independent practice (Coleman & Goldenberg, 2010). Students, who begin prewriting as the first

phase of a writing assignment, accomplish more when producing their final draft because they

are not facing the severe road block they may encounter if they were to jump right into

producing a draft (Koffolt & Holt, 1997).

Selecting Activities

No one person learns the same way and most students don’t like to learn the same way all

the time. We, as learners, like a variety and do not enjoy the monotony of always doing the same

activities; this is also true with prewriting. I find that students struggle with prewriting because

most students are not able to immediately come up with ideas, plug them into a graphic organizer

with ease, and begin the drafting process. My goal for creating activities is to move away from

thinking that writing is solely a function of the brain alone and separate from the body

(Stephenson and Hochstetler, 2002) but rather using multiple forms of intelligences to spark

creativity and ideas during prewriting. I looked at what type of learners I have in my classes and

narrowed the type of learners I have to auditory learners, visual learners, those who thrive using

technology, and kinesthetic learners. From this, I decided what units would best go with each

type of learning style. Designing the prewriting activities became challenging when creating

movement activities and activities using manipulatives. I found that because these activities are

not often used in a mainstream classroom, there was no prototype to follow and coming up with

these tasks at a middle school level is challenging. I have learned that when activities do not

match a person’s learning style, doing or creating something that isn’t one’s dominant way of

learning is difficult. This is what many students face day-to-day. They are given assignments that

they may struggle with, but they might learn them better in a different fashion. As a teacher of


English learners, I understood the frustration students face when being asked to do something

they don’t know how to do and are not sure how to begin.

Modeling

An essential component for ELs to become better writers is modeling. Eggen and

Kauchak’s (2001) define modeling as “changes in people that result from observing the actions

of others” (p.236). In order for students to become successful at writing, they need to have

exposure to it prior to beginning the writing process themselves. For each prewriting assignment

students receive, they should not only receive direct instruction, but they should see how to

successfully complete the assignment several times. Modeling needs to occur multiple times so

students are exposed to the process prior to the independent practice. In modeling the activities,

they must be explicitly taught by providing a clear objective to the students, modeling of the

process is verbally and visually demonstrated, and repeated practice occurs prior to students

working independently (Coleman & Goldenberg, 2010).

Project Implications

My plan is to implement this curriculum with middle school students. If the curriculum

does change, I will alter the activities to align with the new material and will incorporate

multiple intelligence activities for the prewriting stage. My students will enjoy trying new things

and using their creativity to complete various activities. I think that the students will relish in the

diversity of the assignments that are different from what they may be accustomed to.

Regardless of a change of population or grade, I feel all students benefit from prewriting

and even though the core content might change, the array of activities using multiple

intelligences will remain the same. The materials chosen which include legos, movement,


premade graphic organizers, and technology would be incorporated regardless of grade level or

demographics. If the educational software program Inspiration becomes unavailable, I would

find an alternative as it is important for students to have exposure to this type of visual software.

The goal of my curriculum is to improve students’ skills in prewriting and to expose them

to an array of activities that they can rely on when writing occurs in any class. This way, students

develop awareness of what type of learning style works best for them and ways to benefit from

this knowledge. In knowing they are a visual learner, they can incorporate those strategies during

any writing assignment. My research project shows that if students are exposed to a variety of

prewriting activities, they will become more comfortable with writing and find more ease in the

process. From this prewriting curriculum, students are not only able to be better writers but they

are able to begin feeling comfortable writing and possibly enjoy it. My goal for creating and

teaching this curriculum is to reveal the need for more in depth prewriting and propose an

approach that can reach all types of learners.

Educational Implications

I would recommend that educators incorporate more variety in their prewriting

curriculum. Using multiple intelligence activities throughout the prewriting phase enables almost

all students to become more at ease with writing because they are relying on the way they learn

best. It is important to expose students to alternative ways of thinking because it opens up their

scope on how they can be more successful.

I would recommend that teachers offer an array of writing activities throughout the year

to become exposed to many forms of writing. I have learned that the assignments need to be

thoroughly explained both visually and orally where students hear and see what is expected

during the activity. Modeling must occur for students no matter how simple or complex the


activity is because students need to comprehend fully what they are to do and how to be

successful at each task. Lastly, a large chunk of in class time needs to be given to students to

participate in each prewriting activity. It is imperative that students receive in class time to work

so that any questions they might encounter can be answered immediately. Due to their language

development, English learners have a difficult time expressing their thoughts using academic

language. Additionally, if a student doesn’t have a solid foundation, it becomes even more of a

challenge for learners to succeed. Furthermore, many ELs’ confidence and their self-esteem in

regards to writing is low because they feel they cannot complete it successfully; often times, this

hinders their ability to begin their writing. The prewriting strategies used in this curriculum do

not entirely rely on language but rather other intelligences and senses. With this, ELs will

become more comfortable with prewriting and the writing process because they will have an

array of opportunities to get their thoughts out.

Limitations

The project’s limitations include time, availability of resources, and an ability to oversee

the implementation of the curriculum.

One of the main limitations that I faced was time. In order for students to be successful,

they need time. They need time to see modeling and hear direct instruction, they need time to

think and process the information, they need time to work on the prewriting, and they need

constant exposure to writing. However, it becomes a challenge to provide students with time

when there is an abundance of material that needs to be covered throughout the year. I find that if

I provide students with ample time to complete all prewriting tasks, other activities and learning

might not get covered during the year. It becomes a question of what is a priority and what is

essential for students to understand before the year ends. The reality now is that teachers are


teaching to the California standards test (CST) and if there is material that isn’t directly being

tested, there is little to no time to teach those topics. Prewriting is not something that is evaluated

on the CST which forces the teacher to decide whether it is imperative or not to offer that time to

prewriting or whether it should be spent on material seen on the CST.

Availability of resources is the second limitation one might face. Some schools might not

have access to resources for students: for example computers for each student to use, printer(s) to

print the created documents, and the program Inspiration might not be available at all school

sites. There are other programs that work similar to Inspiration that can be used instead in order

to allow students to prewrite using technology. Additionally, other resources might not be

available that are required for some of the lessons such as legos for all students, materials need

for the poetry centers, and other tools presented in this curriculum. Supplemental materials can

be used rather than the ideas provided in the curriculum that would achieve the same results.

A main limitation of this project is the inability to implement this curriculum in a

classroom. Because this curriculum was not administered to students, the timings, materials

needed, and resources might be skewed. Once I do have my own classroom, I do plan to

implement these prewriting strategies in order to improve the writing of English learners and all

students.

Future Recommendations and Suggestions

This curriculum can be adjusted for other middle and upper grades as well as various

demographics and student levels. The purpose of this curriculum is to improve the prewriting

abilities of English learners; however, these strategies can work with all levels of learners and all

types of populations. It is necessary though when English learners are present in mainstream

language arts classrooms that teachers are aware of the challenges ELs face. In order for many


ELs to be successful, a variety of tools need to be used in order for students to become more

comfortable with writing and become better writers.

I would suggest to educators that they invest more time in prewriting as it is essential in

students creating higher level work. An increase in prewriting will decrease students’ anxiety and

disinterest as they will become to feel more comfortable and begin writing with more ease.

Because language becomes a barrier for many ELs, repetitive practice with accountability is

necessary. Students will grow more engrossed in writing if there is variety and this curriculum

offers just that.

Summary

Prewriting is a necessary tool for all students, especially English learners and

underachieving students, to be exposed to throughout the year. In order for students to become

not only better writers but more comfortable with writing, teachers need to provide a variety of

activities that rely on multiple intelligences. This variety will allow students to be excited with

writing and offer then different ways to think.

The literature reviewed for this research project shows that prewriting has many forms,

and engaging students in prewriting activities before they write a draft will help improve the

overall quality of their writing (Graham & Perin, 2007). Additionally, students who begin

prewriting as the first phase of a writing assignment, accomplish more when producing their

final draft because they are not facing the severe road block they may encounter if they were to

jump right into producing a draft (Koffolt & Holt, 1997).

The goal of my project is to produce a curriculum that is designed around a variety of

learning styles and to improve the writing and comfort level English learners have with writing.

A variety of tools and activities should be incorporated throughout the curriculum in order for


students to achieve success in writing. A grading device should be given with the prewriting

activity so that students are accountable for their learning. The need to be able to write well is an

essential quality a person must embody. This feature begins at the middle school level and the

base of this process is with prewriting. The need to incorporate diverse writing activities will

allow students to become successful adults who feel comfortable with writing.


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SDAIE Lesson Plan Template

Unit Title of Unit: Day ___

CURRICULUM AREA/DURATION OF LESSON

CALIFORNIA STATE STANDARDS: ELA ELD STANDARD(S)

Language Objective: Learning Objective:

KEY VOCABULARY RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED)


Documents

Prewriting Strategies for Mainstream