I knew what to expect. I would see the results of my instruction and significant improvement. I would feel self-validated and be able to give myself a well-earned pat on the back. The essays would sound like miniature versions of me. No doubt my essays would make me look good that week during our department read-around. However, I knew what would be missing in my students’ writing: Soul, Passion, Commitment, Connection. No… it was not the fault of the writing prompt. There were several to choose among, and they were intrinsically motivating for my students. There was something else.

As many teachers naturally do, I reflected back to my own successes as a writer. I drifted back to my own junior high experience. Mr. Devlin was an odd teacher with horribly worn black shoes. He was odd, even by English-language arts teacher standards. But, his writing assignment is the only one I’ve saved from my entire K-12 experience.

Mr. Devlin gave us a journal assignment with no rules. No, I’m not advocating this kind of unstructured experience, per se. After all, I’m still assigning those persuasive essays, right? In fact, it was not the assignment that was meaningful at all; it was what I did with it.

My room was my personal sanctuary. I’m dating myself at this point. My room was covered with psychedelic rock-art posters-each painted/printed in luminescent color. Yes, I had a black light. Yes, I had a strobe light. I begged my parents for black-out drapes, but olive-green was their choice. My stereo was bitchin’. I burned incense, even though I hated the smell. It was 1968.

I played the Beatles’ Sgt. Peppers and Magical Mystery Tour albums non-stop. One of the most irritating memories I have is that of my father, a professional musician, saying that the flutes sounded like cheap recorders on Paul’s “The Fool on the Hill.” He said the song was garbage.

I listened-no… I felt the music and I wrote. As I read the journals today, much of the writing is juvenile and prurient—a budding Steinbeck I was not. However, my analysis of lyrics, wanna-be girlfriends, my parents, comments and warnings to Mr. Devlin to hold true to his promise that he wouldn’t read the journals rings true to my age and experience. The journal had what my students’ persuasive essays lacked-an authentic voice. With all of the Soul, Passion, Commitment, Connection.

I graded the persuasive essays, and as I expected, most were technically very good. But, I vowed to do things much differently with their next persuasive essay. I was going to Mr. Devlin their writing by allowing my students’ cultures to create their own voices. Music would be the transformative medium. Connecting to student experience with their own music can transform the way they write essays, reports, narratives, poetry, and letters. Music was just as influential, just as pervasive, for my students as it was for me. I knew what I was getting into. I hate their hip hop, new R&B, metal, and rap. It really is garbage.

Music, and songwriting in particular, can help teachers develop a creative writing culture. Learning the lessons of musical composition can improve student writing writing. Read how teachers can develop a productive writing climate by learning a bit about how the music business operates.

Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum,Teaching Essay Strategies, at www.penningtonpublishing.com.

As music has always been a social medium, in makes sense to analyze the music business, and songwriting in particular, to see how we might apply some of their lessons to improve student writing.

At the height of the Great Depression in 1931, the recently completed Brill Building at Street in Manhattan opened its doors. The owners were forced “by the deepening Depression to rent space to music publishers, since there were few other takers. The first three, Southern Music, Mills Music and Famous Music were soon joined by others. By 1962 the Brill Building contained 165 music businesses (http://www.rockphiles.com/rp_artist.php?act_id=19).”

“A musician could find a publisher and printer, cut a demo, promote the record, and cut a deal with radio promoters, all within this one building. The creative culture of the independent music companies of Brill Building and the nearby 1650 Broadway came to define the influential “Brill Building Sound” and the style of popular music songwriting and recording created by its writers and producers (http://www.rockphiles.com/rp_artist.php?act_id=19).”

While songwriters such as Carole King, Neil Diamond, Boyce and Hart (writers of The Monkees hits), and Neil Sedaka were cranking out the hits out of the Brill Building community that defined American music in the 1960s, their British counterparts were doing the same thing on Denmark Street in London. On this short, narrow street The Beatles, The Rolling Stones, and Jimi Hendrix all recorded in basement studios. Publishing companies were headquartered on this street.

The Kinks’ Ray Davies writes the following in their 1970 hit, “Denmark Street.”

Down the way from the Tottenham Court Road

Just round the corner from old Soho

There’s a place where the publishers go.

If you don’t know which way to go

Just open your ears and follow your nose

“cos the street is shakin’ from the tapping of toes

You can hear that music play anytime on any day

Every rhythm, every way

In 1972 “Elton John wrote his classic early song Your Song, here. Later, the Sex Pistols lived above number 6 and recorded their first demos there. The street contains London’s largest cluster of music shops. It was also the original home of London’s biggest science fiction and comic store, Forbidden Planet.

Writing Lesson #1

Although writing can be done most anywhere, it certainly makes sense to do so where resources are available and accessible. Both the Brill Building and Denmark Street provided all of the resources necessary to write, record, market, and sell music. A teacher’s classroom can provide the necessary resources for academic writing. Not just dictionaries, thesauruses, and computers… but the human resources as well. The writing expertise of the teacher and the listening ears of fellow student writers make the entire process of composition efficient within the classroom community. In my experience, rarely does the quality of at-home or at-library student writing match the level of in-class composition.

There’s just something about the social nature of composition that motivates creativity. Don Kirshner, 1960s publisher, record producer, and radio/television mogul recognized the fact that massing talent would be beneficial. Kirchner subdivided his Brill Building office space into cubicles and hired eighteen songwriters to crowd into these spaces. He then directed his songwriters to churn out love songs, and occasionally dance and novelty hits, for the teen masses (http://www.rockphiles.com/rp_artist.php?act_id=19).

“Describing conditions in the Brill Building, (Barry) Mann said, Cynthia ( ) and I work in a tiny cubicle, with just a piano and a chair, no window. We’d go in every morning and write songs all day. In the next room Carole (King) and Gerry (Goffin) are doing the same thing, with Neil (Diamond) in the room after that. Sometime when we all get to banging pianos, you can’t tell who’s playing what.’ (http://www.rockphiles.com/rp_artist.php?act_id=19).”

Writing Lesson #2

A productive writing climate can be promoted by establishing a collaborative community of student writers. Allowing students to help each other by “borrowing” ideas, providing immediate feedback (including criticism), and thinking out loud can motivate effort and improve the quality of the product. A community that feels that they are all in the same boat remains task-oriented and maintains motivation. There is a reason that Don Kirshner did not let his songwriters work from their apartments.

The teacher can facilitate this kind of intense writing community, ala Don Kirshner, by establishing a business-like, no-nonsense, and product-driven set of high expectations within the tightly confined community. Kirchner, and good teachers, can choreograph the activities, but the writers are the ones who have to write the hits.

Beyond massing writing resources and developing a collaborative community of writers, there is something to be said for the value of competition and the pressure/adrenaline that it produces. “Carole King described the atmosphere at the Brill Building publishing houses of the period:

“Every day we squeezed into our respective cubby holes with just enough room for a piano a bench, and maybe a chair for the lyricist if you were lucky. You’d sit there and write and you could hear someone in the next cubby hole composing a song exactly like yours. The pressure in the Brill Building was really terrific-because Donny (Kirshner) would play one songwriter against another. He’d say: ‘We need a new smash hit’-and we’d all go back and write a song and the next day we’d each audition of Bobby Vee’s producer (The Sociology of Rock 1978).”

Writing Lesson #3

One of the positive outcomes of developing a productive writing climate is that success breeds success. A healthy competition among student writers can be enormously motivating. Students care about what other students think, no matter what they say. Public sharing of student writing in class, online, in book stores, coffee houses, etc. can inspire quality writing. More gifted students can inhibit some student writers, but the wise teacher can even use these inhibitions to improve writing.

Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum,Teaching Essay Strategies, at www.penningtonpublishing.com.

As I reflect back on my experience as a junior high and high school student, one creative medium was singularly influential and remains so for my students today-music. Music inspired me. Music made me dream big dreams. Music made me want to write.

Now, music didn’t make me want to write the way that Mr. Devlin, my junior high English teacher, wanted me to write. And music didn’t inspire me to write the stupid five-paragraph essays that Ms. Carruthers, my senior Advanced English teacher, assigned each week. Music made me want to write like John and Paul, Mick and Keith, and Bob Dylan. Somehow, my English-language arts teachers just did not tap into that motivating influence.

Now we did analyze a few songs in class. I remember Mr. Devlin helping us to interpret the Beatles’ “Revolution.” I ate it up, but there was no follow-through. It was a one-time experience, and then back to the literary anthology. No connection to our own writing as students. Our art teacher was very cool. She played our records while we worked with paint and clay. I discovered The Doors in her class. But, the music was background and its creative potential was not instructionally connected to our paper mache Christmas angels.

Music is just as influential on today’s students as it was for me. Ask students how much they listen to music today. It’s certainly more than they spend reading or writing. And they listen to music while they are on Facebook®. That’s a powerful combination. It seems to me that we can apply a few lessons from how our students combine music and social networking to how we should teach them to write.

Music has always been a social medium. Let’s do a bit of reflective thinking about the music business, and songwriting in particular, to see how we might apply some of this to improve student writing.

Toward the end of the Nineteenth Century musical tastes were changing from minstrel shows to vaudeville. The economic up-tick following the terrible recession of 1873 put more money in the hands of more Americans. Recently freed slaves migrated north into already-crowed cities. Increasing immigration added wealth to the expanding economy and consumers enjoyed some of the trickle-down benefits of the Gilded Age, including more leisure time and a bit more discretionary money.

A number of music publishers set up shop in the same district of Manhattan along 28^th Street between 5^th Avenue and Broadway to take advantage of the economic boom and sell music to the popular vaudeville shows and sheet music to consumers to play on their parlor pianos. This neighborhood became known as “Tin Pan Alley,” probably due to “the cacophony of the many pianos being pounded in publisher’s demo rooms… characterized as sounding as though hundreds of people were pounding on tin pans (Wikipedia).”

“Song composers were hire under contract giving the publisher exclusive rights to popular composer’s works. The market was surveyed to determine what style of song was selling best and then the composers were directed to compose in that style. Once written, a song was actually tested with both performers and listeners to determine which would be published and which would go to the trash bin. All of a sudden t seemed that music was becoming an industry more than an art. Once a song was published, song pluggers (performers who worked in music shops playing the latest releases, akin to playing new CD releases in a record store today) were hired and performers were persuaded to play the new songs in their acts to give the music exposure to the public (Wikipedia).”

Writing Lesson #1

Publishing was the motivator for songwriting in Tin Pan Alley. This was, indeed, writing for a purpose. The profit-motive and pay-off were paramount; art was a by-product of that end. In contrast, our students are frequently only required to write to please an audience of one, that is their teacher, and the resulting pay-off is simply a grade. Hardly motivating and largely perceived as being irrelevant to their lives. No wonder there is little authentic voice, creativity, or passionate commitment in our students’ writing. The solution is to make the pay-off a motivator for student effort. Survey students to find what publishing ends would motivate their best efforts. Online postings, video reads, peer reviews to name a few.

Writing Lesson #2

Encourage mimicry of author’s styles. Just as vaudevillian composers were directed to compose in popular styles, help students to do the same. Help students identify components of popular author’s styles, including those of musical composers. Yes, hip hop is music. Don’t fret about lack of originality. One’s writing voice is an amalgam of one’s reading experiences and other voices.

Writing Lesson #3

Have students serve as song pluggers and performers for each other. We create a writing culture when peers begin responding to each other’s work. Students care more about their peers’ responses than those of their teacher. Teach constructive criticism: the “I like way you did ______, but you might try ______” needs both modeling and practice. Trust-building activities are a must. Allow students some degree of choice with whom they will work. After all, students don’t “friend” everyone on Facebook®. Try directed and undirected response groups, but don’t relegate these to the end of the writing process. Response groups work well after both prewriting and drafting. Don’t use student response solely as editing assistance. The more students perceive writing as a collaborative and social art, the more commitment and investment in their own writing will result.

Read a related article on Using Music to Develop a Productive Writing Climate.

Find essay strategy worksheets, on-demand writing fluencies, sentence revision and rhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum,Teaching Essay Strategies, at www.penningtonpublishing.com.

Now I may be over-extending my metaphor a bit, but teachers see more value today in an eclectic approach to teaching reading and writing. We embrace both part-to-whole and whole-to-part instruction. No one wants to throw away the explicit teaching of phonemic awareness/phonics or reading to learn; no one wants to throw away explicit grammar, spelling, and writing strategies instruction or the writing process with Writers Workshop. In a previous article, I have made the case that a balanced reading program makes sense. In this article, I will attempt to make the case that a balanced writing program also makes sense. First, I will list 21 Curricular Assumptions that most of us would accept about writing instruction to build a consensus. Then, I will detail six steps to take to ensure a balanced and effective writing program in any classroom.

Most of us would agree with these… 21 Curricular Assumptions about a Balanced Writing Program

1. Teaching and practicing the stages of the writing process through writing process papers in various genre is important. The writing process is not rigid, however. Writers compose differently. Word processing has certainly reinforced these differences. For example, some revise and edit after drafting; some do so during drafting.

2. Teaching and practicing specific writing strategies/skills in short writing pieces, such as “Quick Writes,” is also valuable.

3. Students vary in their writing abilities and have different writing skill-sets. Simply teaching grade-level standards in writing strategies and applications (process pieces) is not enough. Certainly, we teach content, but we also teach students. We need to both “keep them up” with grade-level expectations and new instruction and also “catch them up” with additional targeted practice in their writing deficiencies. Teachers see the value in diagnostic assessments to determine who does and does not need extra instruction and in which writing skills. Yes, we need to differentiate our writing instruction.

4. The reading-writing connection much be taught explicitly. We learn reading from writing, but we also learn writing from reading. For example, teaching expository text structure is both reading comprehension and an essay strategy. Analyzing both good and bad writing is instructive.

5. Good writing instruction is necessarily “recursive.” Students need to review, but also do new. As teachers review, writing foundations are solidified and depth of understanding increases. For example, first graders work on sentence construction, but so should high school seniors.

6. Teaching content is an essential ingredient to teaching writing. Writing is a constructive thinking process, built on prior knowledge. Time spent teaching critical thinking skills, such as errors in reasoning, is time spent teaching writing.

7. Vocabulary development is an important component of writing instruction. Knowing the meanings of words and how to properly use them cannot be confined to a revision task such as substituting boring or over-used words with “cool words” found in a thesaurus. Teaching Greek and Latinates, semantic shades of meaning, idiomatic expressions, etc. are all components of solid writing instruction.

8. Explicit grammatical instruction (sentence components, word choice, usage, word order) should be more than just error analysis or correction. Daily Oral Language is certainly not the answer. Teaching grammar and mechanics rules/proper usage in the context of targeted lessons that integrate this instruction with student writing is appropriate. For example, teaching a prepositional phrase and then following instruction with writing practice in which students use prepositional phrases as grammatical sentence openers makes sense. Grammar and mechanics cannot exclusively be relegated to end of writing process as mere editing skills.

9. Spelling matters and requires direct instruction, even throughout high school. The spelling-vocabulary connection is well-established and needs to be taught in the context of word study (including derivatives and etymological influences), syllabication, and conventional spelling rules. Spell check did not suddenly make orthographical study passé.

10. Revision is the key to writing improvement. Revision requires direct instruction to teach sentence manipulation, sentence combining, sentence variety, and precision of word choice. Revision requires focused tasks in the writing process to add, delete, substitute, and rearrange ideas to afford writers alternative means of expression. Hemingway completely re-wrote the last chapter in For Whom the Bell Tolls in 39 different ways. There must be something to this revision stuff.

11. Authentic writing tasks that are relevant and meaningful to students motivate quality writing, especially when the writing will be published in a venue that students care about.

12. Teaching rhetorical stance: voice, audience, purpose, and form produces significant writing pay-offs. Writing style can be modeled, mimicked, and developed over time.

13. Degree of oral proficiency in vocabulary and grammar impacts writing ability. ESL students need differentiated instruction to bridge language barriers.

14. Direct instruction is not enough—coaching is necessary to teach students how to write. The “sage on the stage” has to be matched with the “guide on the side.”

15. Teaching structured writing makes sense to focus on writing organization and unity. However, form and purpose dictate structure, so structural straight-jackets can be counter-productive, if pressed into service for every writing task.

16.  There are certain writing rules that are worth teaching.  Of course, rules are specific to each writing form. Indenting paragraphs, writing in complete sentences, and the like add to writing coherency.

17.  Writing coherency should be the ultimate goal of any writing task.

18. Teaching grammar, spelling, vocabulary, and writing strategies are more than just test prep. These skills require teaching and practice, not testing. Fortunately, quality instruction and practice in these writing components will result in higher test scores.

19. What we say shouldn’t always be the way that we write. Good writing instruction helps students learn to distrust their oral language as a grammatical filter. Authentic writing voice is not the same as playground banter.

20. Writing fluency is a worthy goal; however, contrived on-demand writing for the purpose of writing lots of words in a given time does not achieve that end.

21. Teaching writing shouldn’t take up an entire English-language arts course. We have other fish to fry as well.

How to Teach a Balanced Writing Program in Six Steps

1. Develop a Writing Plan

Establish a comprehensive writing scope and sequence of instruction with your colleagues, including those who precede and those who follow you. Base your plan on your more general grade-level state standards, but get as specific as possible. I suggest integrating grammar, mechanics, spelling instruction, specific writing strategies, writing genre, and writing process pieces into a multi-year plan. An specific writing scope and sequence makes more sense than a “shotgun” approach.

2. Direct Grammar/Mechanics/Spelling Instruction

Allocate 15 minutes, 2 days per week, to direct instruction of the grammar, mechanics, and spelling skills dictated by your scope and sequence, say on Tuesdays and Thursdays. Find resources that will teach both sentence modeling and error analysis. Require students to practice what has been learned and formatively assess their skill acquisition.

3. Differentiated Grammar/Mechanics/Spelling Instruction

Use an effective diagnostic assessment to identify grammatical and mechanical skills that your students should already know. Also, assess students on their spelling skills. Chart their deficits and find brief, targeted instruction that students can independently practice. Develop brief formative assessments for each skill. Allocate 15 minutes, 2 days per week, of teacher-student mini-conferences to review their practice and grade their formative assessments, say on Wednesdays and Fridays. Have students keep track of their own mastery of these skills on progress monitoring charts. Re-teach and re-assess skills not-yet-mastered.

4. Do Direct Writing Instruction

Allocate 10 minutes, 3 days per week, to direct instruction, sentence models, and guided writing practice in vocabulary development and sentence revision (sentence manipulation, sentence combining, and sentence variety) say on Mondays, Wednesdays, and Fridays. Require students to practice what has been learned and formatively assess their skill acquisition.

5. Do Differentiated Writing Instruction

Allocate 15 minutes, 2 days per week, to direct instruction of the writing strategies/skills dictated by your scope and sequence, say on Tuesdays and Thursdays. Design paragraph assignments to keep writing and review time manageable. Develop brief formative assessments for each skill. Allocate 15 minutes, 3 days per week, of teacher-student mini-conferences to review their practice and grade their formative assessments, say on Mondays, Wednesdays, and Fridays. Have students keep track of their own mastery of these skills on progress monitoring charts. Re-teach and re-assess skills not-yet-mastered.

6. Teach Process Papers

Teach and require students to compose at least one process paper per quarter, as dictated by your scope and sequence and grade-level standards. Not every process paper must include all steps of the Writing Process.

Find essay strategy worksheets, on-demand writing fluencies, sentence revision andrhetorical stance “openers,” remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in the comprehensive writing curriculum,Teaching Essay Strategies, at www.penningtonpublishing.com.

Why not make sense of grammar instruction with a curriculum that will help you efficiently integrate grammar into writing instruction? Throw away your ineffective D.O.L. openers and last-minute grammar test-prep practice, and teach all the grammar, mechanics, and spelling that most students need in 75 minutes per week. Teaching Grammar and Mechanics, provides a coherent scope and sequence of 64 no-prep Sentence Lifting lessons with Teacher Tips and Hints for the grammatically-challenged. The mechanics and grammar skills complement those found in the 72 TGM Worksheets and target the diagnostic needs indicated by the multiple-choice TGM Grammar and Mechanics Diagnostic Assessments.

For individual sound-spelling worksheets that correspond with the comprehensive TSV Spelling Assessment, spelling rules with memorable raps and songs on CD, spelling tests, Greek and Latin affixes/roots worksheets, syllable practice, spelling games, vocabulary games, and more to differentiate spelling and vocabulary instruction, please check out Teaching Spelling and Vocabulary.

Diagnostic Assessment and Differentiated Instruction

Teachers too often teach what some students do not know at the expense of some students who already know what is being taught. For example, students learn the definition and identification of a sentence subject over and over again from third through twelfth grade. Teachers legitimize this repeated instruction by arguing that learning is recursive and, thus, reviewing is necessary.

Instead of making excuses, teachers should address the problems inherent in a diverse classroom. Why not administer diagnostic assessments to determine who does and does not need extra instruction in sentence subjects? Then, use the data to inform and differentiate instruction. Targeted worksheets that correspond to the diagnostic assessment, as in my Teaching Grammar and Mechanics, with individual one-on-one follow-up conferences or in small group review just makes sense. How often and how much class time do I devote to grammar differentiation? Twice per week, 15 minutes per day.

Direct Instruction

Front-loading grammar and mechanics instruction is efficient and transfers to student writing when a teacher follows a coherent scope and sequence of instruction that builds upon previous instruction and writing practice. For example, here is a scope and sequence for teaching adverbs that builds in year-to-year review, and also helps students deepen their understanding of this part of speech to improve their writing:

• Primary students should learn that an _ly word “talks about” a physical action verb and practice recognizing these words in their reading and adding _ly words to sentences.
• Intermediate students should learn that an _ly word “talks about” a mental action (e.g. knows) or state of being (e.g. was) verb. They should also practice recognizing these words in their reading and adding _ly words to various places within sentences.
• Upper elementary students should learn that adverbs ask How? When? and Where? to describe verbs and practice recognizing all forms of adverbs, including adverbial phrases, in their reading. They should also practice adding adverbs to various places within sentences and as transitions within paragraphs.
• Middle school students should learn that adverbs ask How? When? Where? and What Degree? to modify verbs and adverbs and practice recognizing all forms of adverbs in their reading. They should also practice adding adverbial phrases and clauses to various places within sentences and as transitions within and between paragraphs.
• High school students should learn that adverbs ask How? When? Where? and What Degree? to modify verbs, adverbs, and adjectives and practice recognizing all forms of adverbs in their reading. They should also practice adding adverbial phrases and clauses to provide sentence variety to various places within sentences and as transitions within and between paragraphs. Students should also practice elements of style, such as placing shorter adverbs before longer adverbs and placing general adverbs before specific adverbs within sentences. Students should also contrast comparative adjectives and adverbial phrases, identify dangling modifiers, and practice recognition and revision of these errors for SAT/ACT test preparation practice.

Sentence modeling from exemplary student writing and literature should be examined and emulated in brief student writing exercises with direct instructional feedback. Alongside of sentence models, contrasting sentences with writing errors should also be analyzed, but not in the context of an incoherent, scatter-gun D.O.L. (Daily Oral Language) “program.” Download an example of my Sentence Lifting exercise at  Grammar Openers Toolkit Sampler to see how this direct instruction approach integrates grammar and mechanics instruction within the context of real writing. My Teaching Grammar and Mechanics curriculum has 64 Sentence Lifting lessons with multiple instruction layers of instruction (as in the adverb example above) to provide the teacher with resources that reflect leveled degrees of difficulty. How often and how much class time do I devote to direct grammar and mechanics instruction? Three times per week, 15-20 minutes per day.

Writing Strategies

Teachers should practice sentence manipulation and sentence combining. For example, re-writing subject-verb-complement sentence construction to begin with complex sentences, such as with adverbial clause sentence openers is excellent practice. I use Sentence Revision exercises such as in the Writing Openers Toolkit Sampler from my Teaching Essay Strategies curriculum to help students practice sentence construction and revision. Sentence Revision also provides exercises in writing style. How often and how much class time do I devote to Sentence Revision? Three times per week, 10 minutes per day.

Writing Process

I require students to include specific sentence openers that we have practiced within their writing process pieces. Students re-write sentences to reflect their practice within the revision stage of the writing process. Peer editing focuses on the specific grammar and mechanics that we have been learning in our Sentence Lifting and Sentence Revision lessons.

Here are brief overviews of the two curricular sources described above: Find essay strategy worksheets, writing fluencies, sentence revision activities, remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in Teaching Essay Strategies. Find whole-class diagnostic grammar and mechanics assessments with 72 targeted worksheets to differentiate instruction based upon these assessments and a full year of 15-minute Sentence Llifting lessons with standards-based mechanics, spelling, and grammar skills in Teaching Grammar and Mechanics. Download free previews or purchase on my website.

*By grammatical instruction, I refer to usage, word choice, grammar, syntax, punctuation, capitalization, spelling rules, and the like, as most teachers tend to lump together these writing skills.

The lines of division within reading have been drawn between those who favor part to whole graphophonic (phonics-based) instruction and those who prefer whole to part (whole language) instruction. (Check out my blog on the Reading Wars to get up to speed on the current issues in this debate.) Similarly, the divisions within reading have also been drawn between those who favor part to whole instruction and those who prefer whole to part instruction.

Part to Whole

The essence of part to whole grammatical instruction is the inductive approach. Advocates believe that front-loading the discrete parts of language will best enable students to apply these parts to the whole process of writing. Following are the key components of this inductive approach.

1. Memorization of the key terminology and definitions of grammar to provide a common language of instruction. If a teacher says, “Notice how the author’s use of the adverb at the start of the verse emphasizes how the old woman walks.” Some would carry the memorization further than others: “Notice how the author’s use of the past perfect progressive indicates a continuous action completed at some time in the past.”

2. Identification leads to application. If students can readily identify discrete elements of language, say prepositional phrases, they will more likely be able to replicate and manipulate these grammatical constructions in their own writing. A teacher might suggest, “Let’s add to our sentence variety in this essay by re-ordering one of the sentences to begin with a prepositional phrase like this one shown on the LCD projector.”

3. Focus on the rules of grammar leads to application. If students understand and practice the grammatical rules and their exceptions, they will more likely be able to write with fewer errors. Knowing the rule that a subject case pronoun follows a “to-be” verb will help a student avoid saying or writing “It is me,” instead of the correct construction “It is I.” Some advocate teaching to a planned grammatical scope and sequence; others favor a shotgun approach as with D.O.L. (Daily Oral Language) instruction.

4. Distrust one’s own oral language as a grammatical filter. “Whoever John gives the ring to will complain” sounds correct, but “To whomever John gives the ring, he or she will complain” is correct. Knowing pronoun case and the proper use of prepositions will override the colloquialisms of oral language.

5. Teaching the components of sentence construction leads to application. If students know, can identify, and can apply key elements of a sentence: subjects, predicates, parts of speech, phrases, and clauses they will better be able to write complete sentences which fit in with others to form unified and coherent paragraphs.

Whole to Part

The essence of whole to part grammatical instruction is the deductive approach. Advocates believe that back-loading the discrete parts of language as is determined by needs of the writing task will best enable students to write fluently and meaningfully. Following are the key components of this deductive approach.

1. Memorization of the key terminology and definitions of grammar and identification of grammatical components, other than a few basics such as the parts of speech, subjects, and predicates, does not improve writing and speaking. In fact, teaching grammatical terms and indentifying these elements is reductive. The cost-benefit analysis indicates that more time spent on student writing and less time on direct grammatical instruction produces a better pay-off.

2. Connection to oral language is essential to fluent and effective writing. The students’ abilities to translate the voice of oral language to paper help writers to develop a natural and authentic voice that connects with the reader in an unstilted manner that is not perceived as contrived. A teacher might use mini-lessons to discuss how to code-switch from less formal oral language to more formal written language, say in an essay. For example, a teacher might suggest replacing the fragment slang “She always in his business” to “The couple frequently engages in a physical relationship” in an essay on teen dating.

3. Connection to reading and listening provides the models that students need to mimic and revise to develop their own writing style. Reading and listening to a wide variety of exemplary literature, poetry, and speeches will build a natural feel for the language that students place within their own “writing wells.” Students are able to draw from these wells to write effectively (and correctly) for a variety of writing tasks.

4. Minimizing error analysis. Teachers believe most grammatical errors will naturally decrease with  #2 and #3 in place. A teacher might say, “Don’t worry about your grammar, punctuation, or spelling on your rough draft. Focus now on saying what you want to say. We will worry about how you say it in the revision and editing stages.” Teachers are concerned that too much error analysis, such as practiced in D.O.L. (Daily Oral Language) will actually rehearse errors.

5. Teaching the whole paragraph with a focus on coherence will best enable students to apply the discreet parts such as subjects, predicates, parts of speech, phrases, clauses, sentences, and transitions to say something meaningful.

Of course, the conclusion to the Great Grammar Debate is not necessarily “either-or.” Most teachers apply bits and pieces of each approach to teaching grammar. Teachers who lean toward the inductive approach are usually identified by their “drill and kill” worksheets, their grammatical terms posters, and GrammarGirl listed prominently in their Favorites. Teachers who lean toward the deductive approach are often pegged by their “ignore and write more” writers workshops, mini-lessons (if they ever get to these), and their writing process posters prominently display on the wall, next to their autographed picture of Donald Graves.

I suggest an informed instructional balance of the two approaches is most effective. Using effective diagnostic assessments can narrow the focus and time commitment of the inductive crowd. Well-planned front-loading of key grammatical terms, with identification and application practice can transfer to better student writing without having to wait until the process of writing osmosis magically takes place.

Need resources for a balanced approach? Find whole-class diagnostic grammar and mechanics assessments with 72 targeted worksheets to differentiate instruction based upon these assessments and a full year of 15-minute sentence lifting lessons with standards-based mechanics, spelling, and grammar skills in Teaching Grammar and Mechanics.

* For the purposes of this article, I use the term grammar as is colloquially used by most teachers, i.e. to mean syntax, grammar, word choice, usage, punctuation, and even spelling—a catch-all term that most English language-arts teachers use to describe the “stuff” that we “have to , but don’t want to” teach. For the “nuts and bolts” of instruction, knowledge of the above distinctions is useful; however, for the purposes of discussing the two philosophical approaches to teaching grammar, such fine-tuning of terms is not necessitated.

Teachers are also victims of the bandwagon effect. What’s new is questioned, until certain key players buy in. At that point, many teachers become no-holds-barred converts. We teachers are especially vulnerable to new ideas labeled as “research-based,” “best practices,” or “standards-based.” We could all do with an occasional reminder that one of our primary duties as teachers should be to act as informed “crap detectors” (Postman, Neil, and Weingartner, Charles (1969), Teaching as a Subversive Activity, Dell, New York, NY.).

Following is a list of the educational fads that have come and gone (and sometimes come again) over the last thirty years of my teaching. I’ve bought into quite a few of them and still believe that some of them have merit. The list reminds me to hold on loosely to some things that I currently practice and to be open to change. Cringe, laugh, and be a bit offended as you read over the list. Oh, and please add on to the list, which is in no particular order.

1. Writing Across the Curriculum No one really ever believed that math, art, or music teachers should be spending oodles of time teaching writing.

2. Timers Timers used to keep students on task, pace themselves, track their reading speed.

3. Left-right Brain Strategies Some teachers used to have students place bracelets on their left or right wrists to cue brain hemispheres.

4. Self-esteem Teachers developed lessons to promote the self-esteem of students to increase their abilities to learn.

5. Cultural Literacy E. D. Hirsch, Jr. popularized this movement of shared content knowledge in his influential 1987 book, Cultural Literacy: What Every American Needs to Know. Boston: Houghton Mifflin. Teachers abandoned free-choice novels and chose core novels that inculcated American values.

6. Multi-culturalism This much maligned approach to education influenced many publishers and teachers to include multi-cultural literature.

7.  Relevance The practice of choosing curriculum and instructional strategies designed to  relate to the lives and interests of students.

8. Clickers Used to track student discussion responses, equitable teacher questioning, and even attendance.

9. Re-learning Early Childhood Behaviors One reading strategy for struggling readers in the 1970s involved re-teaching those remedial readers who never learned to crawl to crawl.

10. Learning Styles I can’t tell you how many learning styles assessments I designed over the years.

11. Experiential Learning Role play, simulations, mock trial.

12. Alternative or Authentic Assessments I once taught an entire year-long sophomore level World History class without giving one traditional paper and pencil test. Think museum exhibits, video productions, interviews, etc.

13. Cooperative Groups Touted as a primary means of heterogeneous instruction in the 1980s.

14. Values Clarification and Moral Dilemmas Two forms of values education that emphasized decision-making and informed moral choices.

15. Gongs Used to focus students’ attention and signal instructional transitions.

16. Critical Thinking Skills Bloom’s Taxonomy, Costa’s Levels of Questioning, et al.

17. Behavioral Objectives and the Madeline Hunter’s Lesson Design Teaching to measurable objectives with connection to prior instruction, guided practice, closure, and independent practice.

18. Standards-based Instruction A movement to identify content standards across grade levels and focus instruction on these expectations. Many state tests were aligned with these standards.

19. Language Experience A reading strategy which used oral language ability to help students read. Teachers copied down student stories and had students practice reading them.

20. Bilingual Education A movement to teach native literacy and celebrate bilingualism in the belief that literacy skills are easily transferred to English.

21. Learn by Doing John Dewey revisited. Gardening and keeping classroom pets were popular recreations of the theme.

22. Cornell Notes Popularized by the A.V.I.D. (Advancement Via Individual Determination), this columnar notetaking strategy originated in the 1950s at Cornell University.

23. Inventive Spelling The practice of guessing sound-spelling relationships to encourage writing fluency. Instruction followed from spelling analysis.

24. Achievement Gap The gap in reading and math achievement between racial subgroups. Later expanded to language and ethnic subgroups.

25. Thematic Instruction Teaching broad-based themes across the curriculum, such as teaching a unit on cooking in which recipes are composed and read, mathematic measurements involving recipe quantities are practiced, the final meal is sketched, using artistic perspective, and the meal is eaten.

26. Time on Task A movement that tried to minimize wasted time, class interruptions, and outside activities (such as assemblies) and maximize minutes of classroom instruction, such as with classroom openers.

27. Whole Language The movement popularized in the 1970s and 1980s that de-emphasized phonics, spelling, and grammar instruction and emphasized reading and writing for meaning.

28. Reading Across the Curriculum No one really ever believed that math, art, or music teachers should be spending oodles of time teaching reading or that “Every Teacher, a Teacher of Reading.”

29. Phonemic Awareness Better described as phonological awareness, teachers played patterns of sounds, emphasized rhythm, and used nursery rhymes to prepare students to match speech sounds to print.

30. ADD, ADHD, Epstein Bar, Chronic Fatigue Syndrome, Autism, and Others Difficult to diagnose, these conditions introduced educators to Parent Advocates and mandated classroom interventions.

31. Auditory Processing Deficit Disorders and Visual Processing Deficit Disorders New brain research has validated these learning disabilities, but instructional strategies to address these challenges have a questionable track record.

32. Dyslexia Reading difficulties have produced a plethora of remedial strategies, many such as colored transparencies have been dubious, at best.

33. Career Education Students were tracked according to career interests.

34. Community Service Students were required to perform hours of community service as part of course or graduation requirements.

35. Tracing Letters in the Sand Those who believe that spelling is a visual process had students memorize the shapes of letters within words by drawing the outline of the letters.

36. Inquiry Education Instruction based upon student questions and interests.

37. Sustained Silent Reading, Drop Everything and Read, et al In class or school-wide, this practice of silent reading is usually based upon student choice of reading materials without accountability and is designed to foster life-long reading.

38. TRIBES, et al Groups of students, mentored by adults, that build relational and supportive bonds within the school setting.

39. Peer Tutoring A practice in which a smarter student is paired with one less smart to teach the latter.

40. Writers Workshop and Six Traits Movements based upon the writing research of Donald Graves and others that emphasize the process of writing, revision, and publication.

41. Problem-Solving Strategies developed to solve difficult problems in collaborative groups.

42. Rubrics Here a rubric; there a rubric. Holistic and analytic scoring guides that purport to de-mystify and objectify the grading process of complicated tasks, such as essays.

43. Manipulatives Learning mathematical concepts through visual models that students manipulate to understand mathematical processes.

44. Metacognition Thinking about thinking. Strategies that teach reflection on the learning process.

45. Prior Knowledge Usually referred to as a pre-reading or pre-writing strategy in which the student “accesses” his or her background or personal experiences to connect to the reading or writing task.

46. Hands-on Learning Project-based instruction that emphasizes concrete learning making or doing.

47. Realia Using “real” objects to scaffold into abstract learning. For example, bringing in a silver necklace to teach what silver and a necklass mean.

48. Tracking and Ability Grouping Permanent or temporary grouped instruction based upon student grades, test scores, or skill levels.

49. Differentiated Instruction and Individualized Instruction Instruction designed according to the diagnostic needs of individual students, frequently involving group work.

50. Multiple Intelligences Popularized by Howard Gardner, this movement described intelligence aptitudes such as interpersonal intelligence.

51. Powerpoint®, Blackboard, Web 2.0, computer literacy skills, SmartBoards, Video Conferencing and more to come.

52. Color Mood Design Teachers draped soothing colored butcher paper (blue or green) over the teacher’s desk to reduce stress. Teachers stopped using red pens to correct papers.

53. Back to Basics A movement to focus more on the three R’s and less on electives.

54. The Five-Paragraph Essay The model essay, consisting of one introductory paragraph, three body paragraphs, and one conclusion paragraph.

55. Multi-sensory Education Using the five senses to teach a concept or skill.

56. Learning Centers Resources placed around the classroom that allowed students to explore learning on their own.

The writer of this blog, Mark Pennington, is an educational author of teaching resources to differentiate instruction in the fields of reading and English-language arts. His comprehensive curricula: Teaching Grammar and Mechanics, Teaching Essay Strategies, Teaching Reading Strategies, and Teaching Spelling and Vocabulary help teachers differentiate instruction with little additional teacher prep and/or training.

Since the return of phonics-based reading instruction in the 1990s, elementary teachers have had to allocate more instructional time to direct instruction. With greater diversity in most states, more pressure to differentiate instruction in reading has compounded the problem of instructional minutes at all grade levels. Science, art, social studies, physical education, music, and writing have become the casualties of this time-theft.

The advent of timed writings on high stakes tests, such as the new SAT 1, high school exit exams, and standards-based writing assessments, has placed teachers in the difficult position of choosing among three instructional approaches to help students both learn to write and succeed on these tests with no additional time allocated for writing instruction. The three approaches are 1. process writing 2. on demand writing and 3. a mix of the two.

Advocates of the process writing approach (Six Traits, National Writing Project, Writers Workshop, etc.) argue that frequent practice in all phases of the writing process i.e., research/brainstorming, drafting, revision, editing, and publishing best helps writers develop writing fluency and proficiency. Advocates of the on demand approach argue that the above components can be streamlined into an integrated process, which teaches the writer to concurrently multi-task the drafting, revision, and editing steps with the quick bookends of planning and proofreading. Those teachers trying to please both masters have limited their process pieces and upped the amount of on demand writing tasks when the standardized writing test looms on the horizon.

Process writing proponents tend to teach grammar and mechanics (punctuation, capitalization, and spelling) incidentally throughout the writing process or via targeted mini-lessons. On demand proponents tend to teach grammar and mechanics explicitly through an established instructional scope and sequence. Those who try to combine process and on demand writing wind up relegating most grammatical and mechanics instruction to test preparation out of sheer time constraints.

A brief readers theater (tongue firmly planted in cheek) may help teachers of all writing approaches greater appreciate the challenge of teaching writing today.

Narrator: Here is a familiar scene in the teachers’ workroom. Two teachers kill time while waiting in line for the laminating machine. Their subject of discourse: an ongoing discussion of Process Writing versus On Demand Writing.

Teacher 1: I can’t believe that Mildred accidentally threw out my Writing Process charts when she rotated off-track. I’ve got to get new ones laminated and back on the wall. I’m lost without them!

Teacher 2: Are you still using those dumb charts? I thought that you must have dumped them by now. The Writing Process is “old school.” We dropped that with whole language years ago. Get with the program! It’s On Demand Writing, now. Oh by the way, I put back your Lucy McCormick Calkins book in your box; I have enough paperweights for my desk, thank you.

Teacher 1: You and your on demand writing tasks… You’re not teaching—all you are really doing is testing. Are you still passing out those grammar worksheets for homework? Remember, the research about writing says—

Teacher 2: Don’t give me that research stuff—I know what works for my kids. My language expression scores on the state test were much higher than yours. You’re lucky you’ve got tenure.

Teacher 1: Even when I didn’t, I never kissed the principal’s butt like you do. And I don’t teach to the test, like you do. My kids are learning how to think. They are writing to learn. Who cares if they know their subjects and predicates!

Teacher 2: Kids are going to have to spell, punctuate, capitalize, and use grammar correctly if they want to make it in today’s world. They’ve still got to be able to write in those blue books in college for a timed one-hour exam. They can’t just pick their own writing subject and do multiple drafts for a mid-term. You really need to get a Red Bull® and wake up to the real world.

Teacher 1: In the real world, students need to have the brains to say something. Outside of school, people have time to revise and edit. They have the time to be reflective. That’s what real authors do… They don’t have someone forcing them to write to a contrived prompt and then hovering over them with a stupid yellow timer.

Teacher 2: Now, you’re getting personal. My aunt gave me that yellow timer… Who writes your paycheck? Last I checked it was the school district. All our principal cares about is higher test scores. If you can’t show it, they don’t know it!

Teacher 1: That’s not why I got into teaching. I want to develop the whole child and nurture a love for learning. I just completed a trimester-long unit on the Haiku and its place in Japanese society…You should come in and see our published poems on the wall. We used real 24 carat gold to highlight—

Teacher 2: I bet I could find some punctuation mistakes—you with your peer editing groups. Talk about the “blind leading the blind.” I have students write one paragraph each day in indelible ink—no changes. I time them and have their desk partners count how many words the student has written in the 10 minutes. It sure saves a lot of teacher grading time. All I have to do is record the number of words in my grade book program. I can show you huge gains in words per minute.

Find essay strategy worksheets, writing fluencies, sentence revision activities, remedial writing lessons, posters, and editing resources to differentiate essay writing instruction in Teaching Essay Strategies at www.penningtonpublishing.com.