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Posts Tagged ‘writing style’

Writing Guides, English Handbooks, and Style Manuals

Remember using Warriner’s English Grammar and Composition back in high school and Strunk and White’s The Elements of Style back in college? Each resource provided tips on grammar, usage, mechanics, spelling, and composition. Many students found these resources to be indispensable writing partners for essays and term papers. Writing Guides, English Handbooks, and Style Manuals all provide useful tools to students and professional writers alike. However, print copies are often out of date as soon as they are published. With commonly accepted guidelines in flux, the resources of the web are much better suited to the needs of today’s writers.

Constantly updated, The Pennington Manual of Style has been designed to serve as a complete writer’s reference guide (not merely a guide to citation formatting) for fourth-twelfth grade students and their teachers… with one major improvement over the old Warriner’s English Grammar and Composition and The Elements of Style: This style manual is fully interactive with 438 downloadable essay e-comments to make essay response efficient and comprehensive. Teachers can SAVE TIME GRADING ESSAYS AND GIVE STUDENTS BETTER COMMENTS with this resource. Plus, teachers are licensed to print Read more…

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Free Writing Style Resources

Writing style is an umbrella term that includes writing rules and conventions, the voice or personality of the writer, how the writer interacts with his or her audience, what the author says, his or her purpose for writing, and how the author says what is said (including form, word choice, grammar, and sentence structure). Writing style also includes the personal agenda and collective experience of the writer. Writing style is all about the writer and his or her choices.

English-language arts teachers tend to argue about whether writing style is caught or taught. In my mind it’s both. Exposure to and recognition of unique writing styles through wide reading of a variety of prose and poetry provides a context for developing writers to experiment with their own voices. Teaching accepted writing rules, practicing sentence combining, requiring different grammatical sentence structures, etc. all impact what and how students write.

Following are articles, free resources, and teaching tips regarding how to teach essay strategies from the Pennington Publishing Blog. Bookmark and visit us often. Oh, and don’t forget to copy down the 10% discount code found only on this blog to purchase the quality curricula and resources offered by Pennington Publishing.

Writing Style

How to Improve Writing Style

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Writing style is personal, but also follows a traditional, widely agreed-to form. Indeed, good writing style does have objective rules to follow. Here are the key rules of writing style, written with tongue-firmly-planted-in-cheek examples. This article lists 24 writing style rules in a truly memorable way.

How to Improve Writing Unity

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Writing unity refers to how well sentences and paragraphs stay focused on the topic sentences and thesis statement. From the reader’s point of view, writing unity means that there are no irrelevant (off the point) details and that the tone of the writing remains consistent. This article gives good and bad examples of writing unity and provides strategies to improve your writing.

How to Improve Writing Parallelism

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Writing parallelism refers to the repeated pattern of words and grammatical structures. Parallel structures assist the comprehension of the reader and provide a memorable rhythm to the writing. Improve your writing style and readability by incorporating parallelism in your writing.

How to Improve Your Writing Style with Grammatical Sentence Openers

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To improve writing style and increase readability, learn how to vary sentence structures. Starting sentences with different grammatical sentence openers is the easiest way to add sentence variety. This article lists, explains, and provides clear examples for grammatical sentence openers.

Using Music to Develop Authentic Voice

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Music creates the passion, commitment, and authentic voice that we want to see in our students’ writing. Connecting to student experience with their own music can transform the way they write essays, reports, narratives, poetry, and letters.

How to Develop Voice in Student Writing

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For students to develop voice, they need to practice voice in specific teacher-directed writing assignments. Here are 13 teaching tips to help students find their own voices.

Teaching Essay Style: 15 Tricks of the Trade

http://penningtonpublishing.com/blog/writing/teaching-essay-style-15-tricks-of-the-trade/

“Never start a sentence with But.” Countless middle school and high school English-language arts teachers cringe when their students faithfully repeat this elementary school dictum. “Never use I in your five-paragraph essay.” Now university professors similarly cringe and shake their heads at the straight-jacketed rules placed upon their students. However, maybe there is a method to our madness. Perhaps these writing absolutes serve a useful purpose for developing writers. Perhaps the little white lies that we teach our students are actually our tricks of the trade.

How to Teach Rhetorical Stance

http://penningtonpublishing.com/blog/writing/how-to-teach-rhetorical-stance/

Students need to practice the elements of rhetorical stance to improve their writing. This article provides clear definitions and a great sample lesson with useful links to learn how to teach voice, audience, purpose, and form to your students.

Ten Tips to Improving Writing Coherency

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Writing coherency refers to how well sentences and paragraphs are organized into an understandable whole. Good writing coherency is reader-centered. From the reader’s point of view, the train of thought must be connected, easy to follow, and make sense.

How to Eliminate “To-Be” Verbs in Writing

http://penningtonpublishing.com/blog/grammar_mechanics/how-to-eliminate-to-be-verbs-in-writing/

Every English teacher has a sure-fire revision tip that makes developing writers dig down deep and revise initial drafts. One of my favorites involves eliminating the “to-be-verbs”: is, am, are, was, were, be, being, and been. Learn the four strategies to revise these “writing crutches.”

How to Teach Helping Verbs

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English teachers learn early in their careers that strong nouns and “show-me” verbs are the keys to good writing. Of these two keys, verbs give developing writers the most “bang for their buck” in terms of writing revision. As a plus, revising weak and imprecise verbs, such as helping verbs (also known as auxiliary verbs), with active “show-me verbs” is quite teachable and less vocabulary-dependent than working with nouns. Learn when to use and when not to use helping verbs and how to eliminate them to improve writing.

The Seven Essay Writing Rules

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Essays have certain traditional rules that help maintain a fair and balanced writing style. This article details the seven key essay writing rules with clear examples.

More Articles, Free Resources, and Teaching Tips from the Pennington Publishing Blog

  • English-language Arts Standards
  • English-language Arts Instruction
  • Essay Strategies
  • The Writing Process/Writers Workshop
  • Writing Style
  • Grammar and Mechanics
  • Spelling
  • Vocabulary
  • Structural Analysis/Syllabication/Oral Language
  • Teaching Reading in the ELA Classroom
  • ELA/Reading Assessments
  • Reading Intervention
  • Independent Reading
  • Response to Intervention
  • EL/ESL
  • Differentiated Instruction (RtI)
  • Critical Thinking
  • Study Skills
  • Test Preparation
  • Educational Issues and Teaching Trends
  • Developmental Characteristics
  • Professional Development
  • ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

    Teaching Essay Strategies is the comprehensive writing curriculum, designed to teach your students how to write coherent multi-paragraph essays. Students progress at their own pace through 42 sequential essay strategy worksheets and  skill lessons (including writing style, parallelism, coherency, unity, and writing evidence) to compose 8 complete essays in the different essay genres. Also get 64 sentence revision (sentence combining and grammatical sentence patterns) and 64 rhetorical stance “opener” lessons, 8 on-demand writing fluencies, remedial writing worksheets, writing posters, holistic and analytical rubrics, graphic organizers, and editing resources. No other writing program matches the comprehensive resources of this curriculum. Truly individualize  instruction with the resources found in this large three-ring binder. 359 pages

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    Using Music to Develop Authentic Voice

    A few years back, I sat down at my kitchen table on an early Saturday morning to begin the arduous process of grading a set of seventh-grade persuasive essays. I had postponed the task for too long and grades were due on Monday. Why did I dread the grading so much?

    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.

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    How to Teach Conjunctions

    Remember the elementary school Schoolhouse Rock song, “Conjunction Junction”? Here’s the first verse to refresh your memory.

    Conjunction Junction, what’s your function?
    Hooking up words and phrases and clauses.
    Conjunction Junction, how’s that function?
    I got three favorite cars
    That get most of my job done.
    Conjunction Junction, what’s their function?
    I got “and”, “but”, and “or”,
    They’ll get you pretty far.

    “And”:
    That’s an additive, like “this and that”.
    “But”:
    That’s sort of the opposite,
    “Not this but that”.
    And then there’s “or”:
    O-R, when you have a choice like
    “This or that”.
    “And”, “but”, and “or”,
    Get you pretty far.            by Bob Dorough ©1973 Schoolhouse Rock

    Countless students have learned that a conjunction “hooks up words and phrases and clauses” from this elementary song. Although only a few examples are given, the tune and lyric are memorable and many students can identify this part of speech, more so than others, because of this song. Now, of course, the above verse only refers to one of three types of conjunctions—the coordinating conjunction.

    Upper elementary, middle school, and high school students will need more examples of all three types of conjunctions to assist in accurate identification, and more importantly, to prompt their use of more sophisticated sentence constructions beyond those at the simple sentence levels. However, teaching the function of the three types of conjunctions with the most common examples in memorable ways certainly makes sense for older students. So, here are the three types of conjunctions, each with 1. Definition 2. Common Conjunctions 3. Example 4. Writing Connection 5. Writing Practice and 6. Memory Trick.

    Coordinating Conjunctions

    1. Definition: A coordinating conjunction joins words, phrases, or clauses of equal weight or similar grammatical construction.

    2. Common Conjunctions: for, and, nor, but, or, yet, so

    3. Example: Two desserts are fine, but three are better.

    4. Writing Connection: Avoid overuse of the conjunction so. Also, do not use the words then and now as coordinating conjunctions. A comma is placed before the conjunction if it joins two or more independent clauses. Teach students that joining two simple related sentences with a comma conjunction forms a more sophisticated compound sentence.

    5. Writing Practice: Write cloze sentences with blanks for the coordinating conjunctions, e.g., The food looked good, ______ she was not hungry. Have students compose original sentences for each of the seven common coordinating conjunctions. Have students “book search” for the seven common coordinating conjunctions. Require students to include a certain number of compound sentences in a writing process paper and underline each of the coordinating conjunctions.

    6. Memory Trick: Teach the seven common coordinating conjunctions as F.A.N.B.O.Y.S. (for, and, nor, but, or, yet, so). For younger children, the most common should be taught as B.O.A.S. (but, or, and, so)

    Correlative Conjunctions

    1. Definition: A correlative conjunction joins another correlative conjunction as a pair. The paired correlative conjunctions serve as conjunctions to connect two balanced words, phrases, or clauses.

    2. Common Conjunctions: both-and, from-to, whether-or, as-as, such-that, not-but, neither-nor, not only-but also, as many-as, just as-so, either-or, as-so, so-that

    3. Example: Either we work together, or we will fail together.

    4. Writing Connection: A comma is placed before the second of the paired conjunctions, if the sentence ends in an independent clause. Teach students that using the correlative conjunctions forms a complex sentence, which is one mark of mature writing.

    5. Writing Practice: Write cloze sentences with blanks for the correlative conjunctions, e.g., ______ ______ did the food look good, ______ it ______ tasted great. Have students compose original sentences for each of the common correlative conjunctions. Have students “book search” for the common correlative conjunctions. Require students to include a certain number of correlative conjunctions in a writing process paper.

    6. Memory Trick: Teach students to memorize the common correlative conjunctions to the tune of The ABC Song.

    ABC Correlative Conjunctions

    both-and from-to whether-or

    A      B    C      D  E    F      G

    as-as such-that not-but neither-nor

    H   I   J       K     L     M   N  O     P

    not only but also

    Q    R S  T    U V

    as many-as

    W           X

    just as-so

    Y     +   Z

    either-or     as-so  so-that

    Now I  know my A,  B,  C’s

    if-     then such-as   between-and

    Next time won’t you sing with me?

    Subordinating Conjunctions

    1. Definition: A subordinating conjunction always introduces a dependent clause (a noun and a verb not expressing a complete thought). The subordinating conjunction signals the relationship between the dependent clause and the independent clause (a subject and verb standing alone as a complete thought). A dependent clause is less important than the independent clause and is sometimes called a subordinate clause. It is helpful to remember that sub means under, so that the subordinate clause is subordinate to the independent clause.

    2. Common Conjunctions: after, although, as, as if, as long as, as much as, as soon as, as though, because, before, despite, even if, even though, how, if, in spite of, in order that, once, since, so that, than, that, though, unless, until, when, whenever, where, wherever, whether, while

    3. Example: Although my friends had already seen it, they saw the show a second time.

    4. Writing Connection: Adding a subordinating conjunction to one of the clauses can revise a run-on sentence. A comma is placed after the dependent clause, if it begins a sentence. Teach students that using the subordinate conjunction to signal a dependent clause forms a complex sentence, which is important to sentence variety.

    5. Writing Practice: Write cloze sentences with blanks to help students practice subordinating  conjunctions, e.g., ______ the food looked good, I ordered it for dinner. Have students compose original sentences for each of the common correlative conjunctions. Have students “book search” for the subordinating conjunctions. Require students to include a certain number of subordinating conjunctions in a writing process paper. Avoid stringing together two or more sentences with dependent clauses.

    6. Memory Trick: Use the following memory trick to prompt your use of these subordinating clauses: Bud is wise, but hot! AAA WWW

    B         U         D                             I                       S      W       I     S       E,

    Before Unless Despite (In spite of)    In order that     Since   While  If    Since  Even though (if)

    B                    U          T         H         O          T.

    Because           Until    That     How    Once    Than

    A                      A                                A

    After                Although (though)        As (As if, As long as, As much as, As soon as, As though)

    W                     W                          W

    Whether           When (Whenever)   Where (Wherever)

    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.

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    Teaching Essay Style: 15 Tricks of the Trade

    “Never start a sentence with But.” Countless middle school and high school English-language arts teachers cringe when their students faithfully repeat this elementary school dictum. “Never use I in your five-paragraph essay.” Now university professors similarly cringe and shake their heads at the straight-jacketed rules placed upon their students. However, maybe there is a method to our madness. Perhaps these writing absolutes serve a useful purpose for coaching developing writers. Perhaps the little white lies that we teach our students are actually our tricks of the trade.

    Instead of bemoaning past “bad writing instruction,” we should celebrate the fact that our students did remember these rules. After all, writing teachers of all levels are always shocked at how little transfer students make from grade to grade or from course to course. Anything that students retain from previous writing instruction can be used by resourceful teachers as “teachable moments.” Perhaps it’s time that we trust our colleagues that they understand best what works for their students at their age levels.

    Teaching all of the seemingly arbitrary rules and enforcing them in student writing practice makes sense. As writers mature, 7-12 English-language arts teachers and university professors can encourage “rule breaking” with sly nods and winks. Without knowing the rules, developing writers cannot make informed choices about which ones to break and when they should break them to serve their writing purposes. In fact, the best writers are rule-breakers. E.B. White revised and updated Strunk’s Bible of writing style, yet he consistently chose to break the rules in his own writing. He knew enough to consciously deviate from the norm.

    Writing teachers should worry more when their students unconsciously deviate from the norm. Of course, other forms of prose and poetry have their own stylistic rules to learn and break. But this article will concentrate on those of the essay. So, following is a list of the Teaching Essay Style: 15 Tricks of the Trade.

    1. Require students to write in a formal voice. No figures of speech, slang, clichés, abbreviations, flowery language, or contractions. Teach them to dress in a tuxedo or bridesmaid dress when they are in a wedding, not baggy pants or skinny jeans with flip-flops.
    2. Teach students to write in third person. It’s not that the I is inappropriate in all essays. The problem is that the use of the I requires a sophisticated rationale and limited usage. For example, qualitative research requires the I; however, quantitative research does not. Let the post-graduate supervising professors teach their students to break this rule. Furthermore, the “no I rule” forces a certain degree of objectivity and requires students to focus on the subject, rather than on the writer. These are the real concerns of K-12 and university professors.
    3. Teach students not to use their to reference singular non-gender nouns. Approving such sentences as “The student likes their classes” transfers to other more egregious pronoun reference problems as in “Those desk in the back of our room belong to them guy.” Also, no one likes reading he/she, him or her, s/he or the like. It does make sense to teach students to pluralize when at all possible, but the use of he or she throughout (please don’t alternate!) is no crime.
    4. Teach students to vary their sentence structures. “Never more than two simple sentences back-to-back and never follow a complex sentence with another complex sentence” will increase readability. “Have no more than 50% of your sentences follow the subject-verb-complement pattern” helps students focus on sentence variety.”
    5. “No more than one to-be verb per paragraph” will force students to avoid passive voice and strengthen nouns and verbs.
    6. Require your students to write in complete sentences. “No declarative sentences beginning with but, and, or, so, like, because, how, when, where, or why, unless you finish them” reduces fragments.
    7. “No unparallel verb structures” helps eliminate verb tense errors and awkward writing. For example, “Going to the store, to get some gas, and maybe have a cup of coffee are appearing on my agenda for today” can be eliminated with this rule.
    8. Require transitions between paragraphs. Sophisticated writers may have no need, but your students do to write coherent essays.
    9. Teach your students to choose simple words, not their weekly vocabulary words. Precision is better than pomposity.
    10. Demand specificity and do not permit generalizations, except in conclusions.
    11. Don’t allow your students to make parenthetical remarks. Most misuse these.
    12. Never allow repetition for emphasis. Developing writers do not have the skills to use this rhetorical strategy properly.
    13. Never allow double negatives. Students will confuse their readers.
    14. Teach students not to over-state evidence and to limit their conclusions.
    15. Teach students to place pronoun references close to their subjects to avoid ambiguity and dangling modifiers.

    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.

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    How to Teach Rhetorical Stance

    Teachers can help students practice the elements of Rhetorical Stance: voice, audience, purpose, and form. Learning these elements will enable students to flexibly address any writing assignment with dexterity and flair. Students need to be able to adjust their writing to a wide variety of genre in order to communicate effectively.

    Find clear models of the elements of rhetorical stance and share these with your students. Help students to identify each of the elements in the model. Discuss how each interacts with the others. Make sure to use a wide variety of models.

    Then, have students mimic the voice, audience, purpose, and form of the model to respond to an engaging writing prompt. Share their creative triumphs and correct shortcomings.

    Voice—Some would define voice at that intangible which makes one’s writing unique, personal, and honest. I define voice a bit more globally, encompassing style, point of view, tone, and diction (word choice). Students need to practice mimicking other voices to refine their own voices. Additionally, students need to be able to manipulate their voices to best suit the audience, purpose, and form. Choose student models to share that will broaden your students’ understanding of voice and encourage students to mimic these examples and the voices of other writers. Check out another article I have written, titled “How to Develop Voice in Student Writing” for plenty of instructional strategies. Why not introduce a video clip of Martin Luther King, Jr. to inspire students to mimic his poetic, emotional, and hopeful voice prior to a relevant quick write?

    Audience—Students need to understand that all writing is interactive communication. The other is the writer, himself, as reader and any others with whom the writer shares the work. Students all too frequently learn to write to the teacher as their exclusive audience. This practice tends to de-personalize student writing and limit development of voice. Choose student models to share that use a voice that engages and is particularly appropriate to the audience. Ask students to identify which parts of the writing response specifically address the defined audience and why. Why not select a class of third graders as an audience to encourage controlled vocabulary, brevity, and appropriate word choice?

    Purpose—My comprehensive essay curriculum, Teaching Essay Strategies, uses eight key writing direction words (describe, explain, discuss, compare-contrast, analyze, persuade, justify, and evaluate) as the action words of each writing prompt in leveled writing strategy worksheets. These same writing direction words are used on a rotating basis (eight times each) as the purpose components in the 64 Rhetorical Stance Quick Writes. Check out the attached example of a Rhetorical Stance Quick Write and use to guide your instruction in the elements of rhetorical stance. Why not have your students describe the ideal world that they hope to live in as adults?

    Form—Although the academic essay becomes the predominate form of composition beginning in the intermediate elementary years and continuing through college, facility in other writing forms is certainly necessary to develop voice, writing fluency, and writing dexterity. Additionally, writing practice using a variety of forms will improve reading comprehension across a wide variety of genres. Use a wide variety of form, from anecdotes to classified ads to help students adjust their writing form and voice to the purpose of the writing and their audience. Why not mimic the rhetorical style, including the parallel “I have a dream” refrains from Dr. Martin Luther King, Jr. in a two minute speech?

    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 MechanicsTeaching Essay StrategiesTeaching Reading Strategies, and Teaching Spelling and Vocabulary help teachers differentiate instruction with little additional teacher prep and/or training.

    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.

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    How to Develop Voice in Student Writing

    Some teachers would argue that a writer’s voice is so individualized that it must be discovered—much like finding the immunity idol on the CBS reality series, Survivor—an isolated and lonely search on a deserted island.

    For the uninitiated, the immunity idol is a small, hidden object that fits with the theme of the Survivor location. It is hidden near the tribal camps, or in more recent seasons it has been hidden on Exile Island. If secured by a player, the immunity idol will prevent that contestant from hearing the host’s immortal words, “The tribe has spoken,” which removes the player from further competition.

    Survivor players are banished to Exile Island by the other survivors. In fact, some contestants have been sent to the island multiple times. These Robinson Crusoes have no assistance from Fridays, but, with much effort and/or luck, are able to discover clues that will lead them to find the immunity idol.

    Constructivists would argue that the only clues provided to developing writers should be widespread reading and unencumbered writing practice. After a journey of self-discovery, the squishy concept of voice may emerge some day for some writing survivors.

    The debate hinges somewhat on our definitions of voice. Constructivists tend to adopt a narrow definition that voice is what makes one’s writing unique and personal; the intangibles that demonstrate an honest commitment to its writing.

    I take a different view. I define voice a bit more globally, encompassing what old-time Strunkers called style, as well as point of view, tone, and diction (word choice). I think that discovering voice should be the result of a guided journey. By the way, the clues on Survivor are quite direct and relevant to the quest; they are not needles in haystacks.

    As a reading specialist, I would agree that widespread reading does help students recognize voice; however, I would argue that for students to develop voice, they need to practice voice in specific teacher-directed writing assignments. Additionally, teachers need to help students practice different voices for different purposes. The voice that a student uses to convince a peer to do a favor, should not be the same voice that a student uses to convince a police officer to issue a warning, rather than a speeding ticket.

    Here are a few suggestions to teach voice:

    1. Read short passages from writers with diverse voices out loud. Have students identify characteristic diction and intonation (the sound of the writing). Hemingway, King, Jr., Rowling, Shakespeare, and passages from Isaiah are useful. Then, have students mimic the voices of these writers on a topic of teacher or student choice.
    2. Have students practice manipulating the other elements of rhetorical stance (audience, purpose, and form) regularly. Rhetorical Stance Quick Writes, used as bell-ringers, are particularly useful.
    3. Provide word lists, such as strong verbs and feeling words, for students to incorporate into their writing.
    4. Teach students to use poetic elements, such as metaphor, in their narrative and personal writing.
    5. Have students re-write endings of stories or news articles.
    6. Have students re-write third person stories into first person stories.
    7. Have students re-write fairy tales from another point of view, for example, from the wolf’s perspective, rather than that of the pig’s in Three Little Pigs.
    8. Have students identify and re-write the tone of readings. Poetry is a great source for clearly-identifiable tone.
    9. Teach different grammatical sentence openers. Encourage students to avoid “to-be” verbs.
    10. Teach inappropriate writing style and post examples for future student reference. For example, post generic words such as stuff and things and help students brainstorm specific alternatives. Perhaps create a “dead-word or phrase cemetery on a bulletin board.
    11. Have students write essays on controversial and relevant topics to identify divergent points of view, writer commitment to the topic, and sense of audience.
    12. Post a “graffiti board” to encourage students to share their voices.
    13. Have students read their own writing out loud and have their peers identify the elements I define as voice.

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