In Real Revision, award-winning author and teacher Kate Messner demystifies the revision process for teachers and students alike and provides tried-and-true revision strategies, field tested by students' favorite authors. Kate takes us on a behind-the-scenes look at how more than thirty-five authors—including Julie Berry, Watt Key, Loree Griffin Burns , Jane Yolen, Lisa Schroeder, Suzanne Selfors, Eric Luper, Danette Haworth, and Kathi Appelt—revise their works, often many times over, before they appear on library and bookstore shelves. Using successful strategies from her own classroom, Kate teaches how authors use research, brainstorming, and planning as revision tools; how they revise to add detail and make characters stronger; and how students can use those same techniques for all kinds of writing in the classroom. Real Revision features dozens of reproducible “mentor author” pages, with quotes from the authors about their revision processes, and includes related classroom-ready activities.For any teacher who wants to produce strong real-world writers, Real Revision will infuse the classroom with new energy as students use mentor authors as models for their own revision and writing.

    But such progress raises problems, and teachers today have a number of new concerns, mainly: Now that my students are writing, how do I help them improve? "What a Writer Needs" answers these concerns. In engaging, anecdotal prose, Ralph Fletcher provides a wealth of specific, practical strategies for challenging and extending student writing. There are chapters on details, the use of time, voice, character, beginnings and endings, among others. The work of student and professional writers is sprinkled throughout the book, and a generous appendix of useful picture books and novels is also provided.In "What a Writer Needs," Ralph Fletcher brings important perspectives and ideas that are well-grounded in classroom experience. The book is for writing teachers as well as teachers who write, and with its thorough exploration of literary techniques it will also be useful and appealing to reading teachers. As Donald Murray writes in the Foreword, the author "builds sturdy bridges from the writer's studio to the elementary and middle school classroom."

    Too many times daily editing lessons happen in a vacuum, with no relationship to what students are writing.In Everyday Editing, Jeff Anderson asks teachers to reflect on what sort of message this approach sends to students. Does it tell them that editing and revision are meaningful parts of the writing process, or just a hunt for errors with a 50/50 chance of getting it right—comma or no comma?Instead of rehearsing errors and drilling students on what's wrong with a sentence, Jeff invites students to look carefully at their writing along with mentor texts, and to think about how punctuation, grammar, and style can be best used to hone and communicate meaning.Written in Jeff's characteristically witty style, this refreshing and practical guide offers an overview of his approach to editing within the writing workshop as well as ten detailed sets of lessons covering everything from apostrophes to serial commas. These lessons can be used throughout the year to replace Daily Oral Language or error-based editing strategies with a more effective method for improving student writing.

    Efforts to define and then assess the key qualities of writing have helped pinpoint what outcomes matter most and how to measure them, yet they threaten to become an end in themselves. Meanwhile, high-quality instruction seeks to create a safe environment that applauds risk taking by supporting students through strategies that are not readily measured. In this landmark book, Vicki Spandel takes on the immeasurable, opening an exciting discussion about the conditions writers need to achieve their full potential and offering practical applications for any writing classroom.In The 9 Rights of Every Writer Spandel invites nine published authors into a discussion of what makes writing work. Well-known novelists, researchers, science writers, and teacher-writers join this dynamic conversation, and together they draw vital conclusions about teaching strategies that both lead to growth in craft and allow good teaching to flourish. Join Spandel and friends in discovering the personal and instructional importance of:reflecting finding personally important topics going off topic personalizing the writing process writing badly to unearth and clarify meaning observing other writers at work assessing constructivelyand well experiencing structural freedom unearthing the power of each writer's voice. As you will discover, The 9 Rights of Every Writer weaves the philosophical into the practical, offering powerful, ready-to-use lessons that jumpstart the progress of the writers in your classroom and help them reach writing standards. Harness your passion for writing instruction, let go of rigid practices, and balance the needs of maturing writers with today's classroom realities. Read The 9 Rights of Every Writer, learn to trust your teaching instincts, and concentrate on what matters most: creating an instructional setting where writers can achieve success that soars beyond what can be measured.

    If you want to be a writer, you begin by carefully observing the work of accomplished writers. Recognizing the importance that modeling plays in the learning process, high school English teacher Kelly Gallagher shares how he gets his students to stand next to and pay close attention to model writers, and how doing so elevates his students' writing abilities. Write Like This is built around a central premise: if students are to grow as writers, they need to read good writing, they need to study good writing, and, most important, they need to emulate good writers. In Write Like This, Kelly emphasizes real-world writing purposes, the kind of writing he wants his students to be doing twenty years from now. Each chapter focuses on a specific discourse: express and reflect, inform and explain, evaluate and judge, inquire and explore, analyze and interpret, and take a stand/propose a solution. In teaching these lessons, Kelly provides mentor texts (professional samples as well as models he has written in front of his students), student writing samples, and numerous assignments and strategies proven to elevate student writing. By helping teachers bring effective modeling practices into their classrooms, Write Like This enables students to become better adolescent writers. More important, the practices found in this book will help our students develop the writing skills they will need to become adult writers in the real world.

    Her exuberant, critically acclaimed teaching guide takes instructors, writers, and general readers into the very heart and intensity of life and the craft of expressing what one feels through the written word.

    Most young writers are not intimidated by personal narrative, fiction, or even poetry, but when they try to put together a "teaching book," report, or persuasive essay, they often feel anxious and frustrated.JoAnn Portalupi and Ralph Fletcher believe that young nonfiction writers supply plenty of passion, keen interest, and wonder. Teachers can provide concrete strategies to help students scaffold their ideas as they write in his challenging genre.Like the authors' best-selling Craft Lessons: Teaching Writing K-8, this book is divided into sections for K-2, 3-4, and middle school (grades 5-8) students. These divisions reflect various differences between emerging, competent, and fluent writers. In each section you'll find a generous collection of craft lessons directed at the genre that's most appropriate for that particular age. In the K-2 section, for example, a number of craft lessons focus on the all-about or concept book. In the 3-4 section there are several lessons on biography. In the 5-8 section a series of lessons addresses expository writing. Throughout the book each of the 80 lessons is presented on a single page in an easy-to-read format.Every lesson features three teaching guidelines:Discussion--A brief look at the reasons for teaching the particular element of craft specifically in a nonfiction context.How to Teach It--Concrete language showing exactly how a teacher might bring this craft element to students in writing conferences or a small-group setting.Resource Material--Specific book or text referred to in the craft lesson including trade books, or a piece of student writing in the Appendixes.This book will help students breathe voice into lifeless "dump-truck" writing and improve their nonfiction writing by making it clearer, more authoritative, and more organized. Nonfiction Craft Lessons gives teachers a wealth of practical strategies to help students grow into strong writers as they explore and explain the world around them.Be sure to look at the When Students Write videotapes too.

    When they received their prompts, they responded by transforming these seeds into any form of creative work they wanted to share. The result is a stunning collection of words, art, poetry, and stories by some of our most celebrated children book creators. A section of extra story starters by every contributor provides fresh inspiration for readers to create works of their own. Here is an innovative book that offers something for every kind of reader and creator! With contributions by Sherman Alexie, Tom Angleberger, Jessixa Bagley, Tracey Baptiste, Sophie Blackall, Lisa Brown, Peter Brown, Lauren Castillo, Kate DiCamillo, Margarita Engle, Deborah Freedman, Adam Gidwitz, Chris Grabenstein, Jennifer L. Holm, Victoria Jamieson, Travis Jonker, Jess Keating, Laurie Keller, Jarret J. Krosoczka, Kirby Larson, Minh Lê, Grace Lin, Kate Messner, Daniel Nayeri, Naomi Shihab Nye, Debbie Ohi, R.J. Palacio, Linda Sue Park, Dav Pilkey, Andrea Davis Pinkney, Jewell Parker Rhodes, Dan Santat, Gary Schmidt, John Schu, Colby Sharp, Bob Shea, Liesl Shurtliff, Lemony Snicket, Laurel Snyder, Javaka Steptoe, Mariko Tamaki, Linda Urban, Frank Viva, and Kat Yeh.

    The story begins in 1973, in the offices of The Atlantic Monthly, in Boston, where a young freelance writer named Tracy Kidder came looking for an assignment. Richard Todd was the editor who encouraged him. From that article grew a lifelong association. Before long, Kidder’s The Soul of a New Machine, the first book the two worked on together, had won the Pulitzer Prize. It was a heady moment, but for Kidder and Todd it was only the beginning of an education in the art of nonfiction.Good Prose explores three major nonfiction forms: narratives, essays, and memoirs. Kidder and Todd draw candidly, sometimes comically, on their own experience—their mistakes as well as accomplishments—to demonstrate the pragmatic ways in which creative problems get solved. They also turn to the works of a wide range of writers, novelists as well as nonfiction writers, for models and instruction. They talk about narrative strategies (and about how to find a story, sometimes in surprising places), about the ethical challenges of nonfiction, and about the realities of making a living as a writer. They offer some tart and emphatic opinions on the current state of language. And they take a clear stand against playing loose with the facts. Their advice is always grounded in the practical world of writing and publishing.Good Prose—like Strunk and White’s The Elements of Style—is a succinct, authoritative, and entertaining arbiter of standards in contemporary writing, offering guidance for the professional writer and the beginner alike. This wise and useful book is the perfect companion for anyone who loves to read good books and longs to write one.

    But it is also the planning, the thinking, the writing, the journey: all I've been putting into my teaching for the last two decades. This is the book I wanted when I was first given ninth graders and a list of novels to teach. This is a book of vision and hope and joy, but it is also a book of genre units and minilessons and actual conferences with students." -Penny Kittle What makes the single biggest difference to student writers? When the invisible machinery of your writing processes is made visible to them. "Write Beside Them "shows you how to do it. It's the comprehensive book and DVD that English/language arts teachers need to ensure that teens improve their writing. Across genres, Penny Kittle presents a flexible framework for instruction, the theory and experience to back it up, and detailed teaching information to help you implement it right away. Each section of "Write Beside Them "describes a specific element of Kittle's workshop:Daily writing practice: writer's notebooks and quick writes Instructional frameworks: minilessons, organization, conferring, and sharing drafts Genre work: narrative, persuasion, and writing in multiple genres Skills work: grammar, punctuation, and style Assessment: evaluation, feedback, portfolios, and grading. All along the way, Kittle demonstrates minilessons that respond to students' immediate needs, and her Student Focus sections profile and spotlight how individual writers grew and changed over the course of her workshop. In addition, "Write Beside Them" provides a study guide, reproducibles, writing samples from Penny and her students, suggestions for nurturing your own writing life, and a helpful FAQ. Best of all, the accompanying DVD takes you right inside Penny's classroom. Its video clips explicitly model how to make the process of writing accessible to all kids. Penny Kittle's active coaching and can-do attitude alone will energize your teaching and inspire you to write with your students. But her strategies, expert advice, and compelling in-class video footage will help you turn inspiration into great teaching. Read "Write Beside Them "and discover that the most important influence for all young writers is their teacher. Write Beside Them debuts as the field's most comprehensive, contemporary, and practical book on high school writing. Kittle not only tells how a skillful writing teacher operates, she shows you on the accompanying DVD, with clips of kids at work in every stage of a writing workshop. And all this glorious teaching happens with real, sometimes struggling kids who remind us of our own classrooms and students. Write Beside Them "is the whole package." -Harvey Daniels Author of "Content-Area Writing" and "Subjects Matter" Click here to view a sample video from the DVD.

    In a series of first-person letters, essays, manifestos, and notes to the reader, Kim Stafford shows what might happen at the creative boundary he calls "what we almost know." On the boundary's far side is our story, our poem, our song. On this side are the resonant hunches, griefs, secrets, and confusions from which our writing will emerge. Guiding us from such glimmerings through to a finished piece are a wealth of experiments, assignments, and tricks of the trade that Stafford has perfected over thirty years of classes, workshops, and other gatherings of writers.Informing The Muses Among Us are Stafford's own convictions about writing--principles to which he returns again and again. We must, Stafford says, honor the fragments, utterances, and half-discovered truths voiced around us, for their speakers are the prophets to whom writers are scribes. Such filaments of wisdom, either by themselves or alloyed with others, give rise to our poems, stories, and essays. In addition, as Stafford writes, "all pleasure in writing begins with a sense of abundance--rich knowledge and boundless curiosity." By recommending ways for students to seek beyond the self for material, Stafford demystifies the process of writing and claims for it a Whitmanesque quality of participation and community.

    With clear and accessible language, Carl guides you through the three main parts of a writing conference, and shows you the teaching moves and intentional language that can be used in each one. He helps you understand: - how to get started with conferring, or improve your existing conferences - how to use conferences to meet the diverse needs of your student writers - how to fit conferences into your busy writing workshop schedule. More than 25 videos bring the content to life, while Teacher Tips, Q&A's, and Recommended Reading lists provide everything you need to help you become a better writing teacher.

    Guilt mounts. Students want to know when their papers will come back. Grading begins consuming all your energy, your weekends, your life.Grading papers is a fact of life, especially in English classrooms, and the paper load is a leading cause of teacher burnout. Fortunately, Carl Jago's here to help, and in Papers, Papers, Papers, she offers you advice honed from thirty-one years in the English classroom and forty-five thousand papers worth of grading. You'll not only get through stacks of papers, but you'll do so accurately, completely, and with the time you need to give each and every student in your classes the attention they deserve.Ever practical and always professional, Jago suggests techniques that can be implemented right away to turn your mountain of essays into a foothill. She covers every aspect of attentive grading, including:responding to student drafts commenting rather than correcting using scoring guides and rubrics for common expectations fostering improvement from one paper to the next effective peer- and self-editing suggestions for alternatives to essays. With all this and her Ten Tips for Handling the Paper Load, Carol Jago gives you everything you need to keep on top of student papers.

    It  may also change your life.

    A groundbreaking and absolutely essential book." -- Tom NewkirkAllison Marchetti and Rebekah O’Dell invite you to join them on a transformational journey. Out of the dark tunnel of boring literary analysis assignments, they lead you into a world where students learn to write fresh, compelling, authentic arguments based on their own unique interests. “There is a place for analysis of literature in our classrooms,” they write. “But we think there is more. In this book, we invite you to explore your teaching of analytical writing from a new perspective. To open your mind to the real world of analytical writing, and challenge traditional notions about what students should be analyzing and how they should write it.”Allison and Rebekah offer a broadened definition of analysis for the 21st century classroom. “Analysis is everywhere,” they argue. “It’s about video games and athletes’ seasons, and the latest album, or the new Netflix series.” This new definition of “text” allows students to tap into their passions—and learn to write with expertise on topics that matter to them. “No matter where your students begin as writers—full of confidence or full of avoidance—unleashing them to explore the topics and texts they are passionate about can transform your classroom and transform their writing.”With samples throughout the book, you’ll see what students of all levels and experiences can do when they’re supported with mentor texts, targeted writing instruction, and the opportunity to write beyond literary analysis.