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Spring 2004
English 406: Advanced Expository Writing for
Teachers
Professor Ian Barnard
Telephone: (818) 677-0913
Office hours in ST 834: W, F
Email office hours: ian.barnard@csun.edu
Home page:< http://www.csun.edu/~ib5991>
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INTRODUCTION
Welcome! I hope you find this course enjoyable, as well as personally and intellectually rewarding.
The course will enable you both to work on your own writing at an advanced level and to address some of the most pertinent and interesting issues impacting the teaching of writing in California public schools (such as the writing process, grading, grammar, Spanglish, Ebonics, anti-homophobic pedagogy). Major writing assignments will include a critical response to a Madonna music video, a collaborative manifesto for inclusive pedagogy, a professional book review, your own writing prompts with rationales, your teaching rationale, and thoughtful responses to your colleagues’ work. Revision will be an essential part of the work of the class. You’ll receive oral and written feedback on your paper drafts from your colleagues and from me. There will be few lectures--class time will revolve around discussions and writing workshops. Course grade will be based on an interactive group oral presentation, prewriting assignments (evaluated on a credit/no credit basis), and a final portfolio of your best revised written work.
Since this is an advanced writing course, we will review, develop, and complicate writing skills introduced in your previous composition course(s). We’ll also focus on more sophisticated work with sources and questions of style and audience. We will emphasize writing as a process. You’ll write multiple drafts of some or all of your papers. Every class member will have the opportunity to have one of her papers workshopped in a whole-class workshop, and to facilitate the whole-class workshop of a colleague's paper. These workshops will give us all the chance to discuss the issues at stake in the papers, to articulate and negotiate our criteria for effective expository writing, and to address and practice a variety of rhetorical strategies in the context of specific student texts.
As I will not spend much time lecturing, I expect you to participate vigorously in the many workshops and discussions around which the course is organized. We all teach and learn in this course--I do not believe in a one-way transmission of “knowledge” from instructor to students. I don’t have all the answers, and I look forward to learning as much as teaching in this course. You should direct your questions and comments in class to your colleagues as much as to me. I encourage you to talk in class: try to speak at least once during each class discussion and whole-class workshop. You may eat and drink in class.
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REQUIRED TEXTS
Course Reader.
Proett, Jackie, and Kent Gill. The Writing Process in Action: A Handbook for Teachers.
Plus one book from the list of Presentation Texts in the Course Reader.
Please bring the Course Reader to every class meeting.
In addition, plan to spend time and money making photocopies of your own work for other class members--please make double-sided copies in order to conserve paper.
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COURSE WEB SITE
You will find the syllabus, additional homework assignments, presentation and workshop schedules, announcements, and other course materials posted on WebCT: <http://webteach.csun.edu>. You’ll be required to participate in specific class discussions on WebCT, and will be able to contribute anonymously to a more general discussion list about the class at any time during the semester. You’ll also post most of your papers related to the teaching of writing on this web site--the web site will thus act as a teaching resource for members of the class.
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GRADE DISTRIBUTION
Prewriting Assignments (about 50 pages): 25%
Final Portfolio: 65%
Group Oral Presentation: 10%
A = Outstanding work
B = Good work
C = Satisfactory work
D = Unsatisfactory work
F = Failing work
For further details of grading criteria, see evaluation rubric on p. 1 of the Course Reader. In the case of a student whose final grade is on the border between two grades, I will consider the quality and quantity of that student’s participation in class discussions and workshops in determining the final course grade.
Since your papers will be revised for the final portfolio (and not all work will be included in the portfolio), since the portfolio will be evaluated holistically, and since I don’t believe that grades constitute a productive way to teach writing, you will not receive grades on the drafts of Papers 1-4 that you turn in to me. However, you may at any time during the semester ask me what grade I would give a particular paper draft of yours. Midway through the semester I will meet with students in the class who are at that point earning lower than a “C” for the course.
All Writing Assignments
Except for in-class work, all writing assignments
turned in to me must be typed, single-sided, double-spaced, and
stapled, with one-inch margins on all sides of each page.
Since I need to be able to write on your papers, you must turn
in hard copies of all assignments. Plan to make use of the
Prewriting Assignments (about 50 pages):
These include paper drafts, WebCT posts, responses to your colleagues’ paper drafts, your facilitation of a workshop, your own whole-class workshop, and brainstorming exercises. The prewriting assignments are designed to help you organize and articulate your responses to a particular text or set of texts, participate effectively in class discussions, begin working through ideas that you will treat more fully in your Papers, and work through the revision process. Except for your workshop facilitation, which is worth two points, I will assess all these assignments on a credit/no credit basis (in class we will discuss the requirements for earning credit for a particular assignment).
Since this work is intended to facilitate your participation in class discussions and is a component of the paper workshops, you cannot receive full credit for a prewriting assignment if you turn it in after the due date. If you are not able to attend class on the day that a prewriting assignment is due, turn in the assignment ahead of time or ask a classmate to turn it in for you if you wish to receive full credit for it (most assignments are listed on the syllabus). You may receive half credit for a late prewriting assignment, provided that you turn it in or post it on WebCT the class period after it was due. You cannot make up a missed in-class assignment.
Papers 1-5
Papers must be titled, and pages must be numbered. After you turn in each of the first four papers to me, I will return the paper to you with comments. If you turn in a paper late without making prior arrangements with me, I will lower your final course grade by 1/3 grade for each week or part of a week that the paper is late. If you do not receive credit for a paper, I will count that paper as late. You will need to revise the paper immediately and turn it in again. You may not turn in Paper 5 late. In addition to Paper 2, you may produce a collaborative project for one of the following: Paper 1, Paper 3, and Paper 4.
Portfolio
Turn in on 5/26
Your portfolio consists of the following items (not necessarily in this order):
- cover page
- Table of Contents
- Paper 5 plus workshop draft of Paper 5 if applicable (write “DRAFT” on the workshop draft)
- three substantially revised papers (you choose which three papers of Papers 1-4 to revise)
- the previous drafts of the three revised papers (the versions on which I wrote) or, in the case of Paper 2, the previous draft plus my evaluation of the paper
- your two strongest prewriting assignments, excluding paper drafts (at least one should be a response to a colleague’s workshop draft; turn in the copies on which I wrote, except for WebCT posts; print out posts from WebCT).
I do not accept late portfolios. You may collect your portfolio after the semester is over, or you may enclose it in a self-addressed, stamped envelope so that I can mail it to you.
Group Oral Presentation
With your partners, give a short presentation on one of the Presentation Texts listed in the Course Reader (I will assign specific groups in class). Your presentation should critically discuss one or more aspects of your text (i.e., do not treat your text as gospel, but discuss the strengths and weaknesses of the ideas it presents). Since most of your listeners will not have read your book, you might need to explain what it is about, but spend a minimum amount of time summarizing it. Time constraints make it impossible for you to cover every aspect of your text: select the area(s) you want to focus on. Discuss a few points in-depth rather than many points superficially.
Plan the presentation with your partners. Your presentation must include an interactive component, where you invite class members to participate in some way in your presentation. This is the most important part of your presentation; devote the most amount of time to this component. Be creative! Each member of your group must have a part in the presentation. The entire presentation should last about 20 minutes. I will stop you after 25 minutes. Rehearse and time your presentation beforehand.
You and your partners must meet with me at least 5 days before your presentation date to discuss your presentation.
I will give you your presentation score and evaluation the class period after your presentation. My evaluation of your presentation will be based on how well you present your text, how well your group members work together, and how effective the interactive component of your presentation is.
The presentation will provide all class members with a plenitude of resources for potential future teaching careers, give you practice in reviewing a professional book in your field and teaching others about the material, enable you to study an aspect of writing instruction in more depth, and help you to generate ideas for your Paper 4.
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DISABILITY ISSUES
Please see me early in the semester if you require academic accommodations based on a documented disability.
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ATTENDANCE POLICY
Since there are no examinations and tests in this course, and since your participation in in-class workshops and other in-class activities is a vital component of the course, I expect you to attend all class meetings. I will lower your final course grade by 1/3 grade for each absence over six class meetings. It’s a good idea to save the six “free” absences for emergencies (illness, family crises, etc.). Two tardies (arriving late or leaving early) count as one absence. I will also mark you tardy if you are not prepared for class. Of course, if you add the course late you will be marked absent for any classes you missed.
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PLAGIARISM
Note that plagiarism (using someone else’s words or ideas without proper acknowledgment) is a serious offence; sanctions will include a grade of “F” for the course. We will discuss effective ways of using sources and issues around plagiarism in class.
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EMAIL
I acknowledge all email messages. If you email me but don’t get a response, I haven’t received your email. Feel free to email me any questions you have about the course or about your work. Do not email your papers to me for feedback; I’d be happy to discuss your papers/revisions/revision ideas with you in person any time during the semester.
MAJOR WRITING ASSIGNMENTS
Responses to Workshop Drafts (about 50 total
pages; format open):
- each response should be 250-500 words long
- make your comments and suggestions specific; support your assertions with examples from the papers you are discussing, and give concrete revision suggestions (see sample responses in the Course Reader)
- be sure to discuss each paper’s strengths and weaknesses
- follow the criteria list in the Course Reader (you obviously cannot cover all of these points; decide which points you want to focus on)
- clearly indicate your name on both copies of each response, and the name of the writer whose draft you are responding to
- bring two typed, stapled copies of each response to class
My goals for these responses:
- to prepare you to
participate productively in the workshops
- to give the writer of
the paper written feedback on her draft that may not be brought up
during the workshop
- to help you to evaluate
writing (the writing of others and your own writing) and effectively
articulate your evaluation; this will be an especially useful skill
for future teachers
- to encourage you to
think critically about your own writing and to give you ideas for your
own papers
Paper 1 (Academic Essay)
750-1500 words
Turn in on 3/1
Since the work you will undertake in this paper (textual analysis/interpretation) is most commonly found in academic writing, where readers often know something about the text under discussion, we will work with a common text, Madonna’s Like a Prayer music video. Imagine your readers as other interested scholars. Assume that while all your readers may not be members of this class, they have seen the video and are familiar with some of the discussions around it; thus you do not need to waste time summarizing the video.
Write your own analysis of Like a Prayer. Analyze one scene, theme, character, motif, image, set of images, issue, or technique in the video. Ensure that your essay has a focus/thesis, and is not a collection of unconnected points about the video. While you are analyzing one aspect of the video, a strong paper will make connections between this one aspect and what you see as the important issues about/in the video. Support your thesis with specific reference to and examples from the video, and detailed discussion of these references/examples. Cite your source(s) (including the video itself) following MLA format (see <http://owl.english.purdue.edu/handouts/research/r_mla.html>).
You can view the video online at <http://launch.yahoo.com/musicvideos>.
If you had a whole-class workshop on Paper 1, staple your workshop draft to the back of the revision you turn in.
My goals for this assignment:
- to give you practice in academic writing and textual analysis; this includes creating and developing an original scholarly argument, and supporting your argument with close textual analysis
- to allow you to focus on your own writing, without having to think about teaching writing
- to encourage you to develop and use your skills in engaging with and analyzing visual media, which arguably are the most influential and widely “read” media in our culture
- to enable you to engage with the important political and social issues this music video raises
- if you teach or plan to teach, to encourage you to think of the value of using popular culture in your own teaching
- for us to have a lot of fun!
Paper 2 (Collaborative Manifesto)
750-1500 words
Turn in on 3/10
Generate a collaborative manifesto for inclusive pedagogy that addresses, for example, issues of race, class, gender, sexuality, disability, and/or nationality (your may focus on one such topic or address several topics). Your manifesto should consider the needs of a diverse student population and articulate your position on and strategies for reforming and/or resisting curricular and/or classroom practices that reinscribe stereotypes and other explicit or implicit biases.
It’s up to you to decide who the audience for your
manifesto might be (possibilities include teachers, members of the
public, students, school administrators, students’ guardians,
politicians).
Paper 3 (Writing Assignments with Rationales)
1000-2000 words
Turn in on 3/29
Create two of the following writing assignments for any grade level (k-12), and write a rationale for each of the two assignments. Specify the grade level(s) your assignments target. If you are targeting middle or high school students, the assignment should be something that you could hand out to the students themselves. (You may use/adapt assignment that have been created by others, provided that you acknowledge your sources.) The rationales should give a detailed explanation and justification of the assignments, as well as a discussion of how you would lead students through the assignments. The rationales should refer to California Department of Education standards (see <http://www.cde.ca.gov/standards>), and may also include other justifications for your assignments. The audience for the rationales could be the students themselves, school administrators, fellowship committees, potential employers, or yourself. If you use any sources, cite them following MLA format.
If you had a whole-class workshop on Paper 2, staple your workshop draft to the back of the revision you turn in.
Assignments:
Creative writing assignment (e.g., poetry, fiction, drama)
Expository writing assignment (not about literature)
Expository writing assignment (about literature) (see <http://www.cde.ca.gov/literaturelist> for recommended texts by grade level)
Paper 4 (Professional Book Review)
750-1500 words
Turn in on 5/5
Write a review of one of the books on the lists of “Presentation Texts” and “Other Resources” in the Course Reader. You may review the book you worked on for your oral presentation, and use material from the presentation in your review. Find an appropriate professional publication (i.e., not a popular newspaper or magazine) to which you might send your review, and include a brief cover letter addressed to that publication with your review. If you cite any sources in your review, follow the citation format used in the publication you’ve chosen.
If you had a whole-class workshop on Paper 4, staple your workshop draft to the back of the revision you turn in.
The purpose of this assignment is to
- give you practice writing in a professional genre
- help you to think of yourself as a scholar and educator professional by engaging in work within this scholarly/professional community
- help you to situate your writing within this scholarly/professional discourse and think of ways of disseminating your ideas by publishing your writing
- give you resources for your Paper 5 and your possible future work as a teacher.
Paper 5 (Statement of Teaching Philosophy)
Undergraduate students: 1000-2500 words
Graduate students: 1250-3000 words
Turn in on 5/26
Write an essay in which you articulate your own ideas for teaching writing, and give a rationale for these ideas. Don’t just rehash what you’ve read or what we’ve said in class. You may discuss how your engagement with some of the texts for the class have or have not impacted your thinking and your ideas about writing instruction, the theories about teaching writing that you find most persuasive and why, and the assumptions and ideologies that are implied in your teaching beliefs and practices. You may also discuss how your own experiences with writing classes have impacted your beliefs about teaching writing. Though you may address practical issues like developing writing assignments, leading class discussion, responding to student writing, assessing student writing, and meeting the needs of a diverse student body in teaching writing in K-12, your primary aim in this essay should not be to develop a how-to-teach-writing manual, but rather to critically examine and reflect upon your vision, your goals, your desires, and your investment in teaching writing.
Ensure that your paper has a thesis/focus, and is not a list of unconnected points. Don’t feel that you have to discuss every aspect of teaching writing--you may focus on one or two topics that interest you.
Imagine your audience for this paper as colleagues and professionals in the field of education; while your readers might not all be members of this class, they nevertheless can be assumed to be educated, literate, and interested in your topic.
You may use material from your other papers in your essay. You must refer to The Writing Process in Action in your paper and any one reading from the Course Reader. You may also use other sources. Cite all sources following MLA format (cite materials from the Course Reader as if you were citing them from their original sources). Follow our class guidelines on effective engagement with sources.
If you had a whole-class workshop on Paper 5, include your workshop draft in your portfolio (write “DRAFT” on the workshop draft).
WebCT Posts
1)
Response to Course/Syllabus
Log on to the class web page at <http://webteach.csun.edu>
Select “Discussions” from the panel on the left
Select “Response to Course/Syllabus”
By
By
2)
Paper 2
Log on to the class web page at <http://webteach.csun.edu>
Select “Discussions” from the panel on the left
Select “Paper 2”
Post Paper 2 by
3)
Response to Paper 2
Log on to the class web page at <http://webteach.csun.edu>
Select “Discussions” from the panel on the left
Select “Response to Paper 2”
Post a paragraph in which you
discuss the manifestos in general and two manifestos specifically; you
may also respond to other class members’ WebCT posts about Paper 2.
Due by
4)
Paper 3
Log on to the class web page at <http://webteach.csun.edu>
Select “Discussions” from the panel on the left
Select “Paper 3”
Post your Paper 3 to WebCT by
5) Response to Paper 3
Log on to the class web page at <http://webteach.csun.edu>
Select “Discussions” from the panel on the left
Select “Response to Paper 3”
Due by
****
General course-related comments/questions/discussions
Log on to the class web page at <http://webteach.csun.edu>
Select “Discussions” from the panel on the left
Select “
For this discussion topic, you may
make posts anonymously or with your name at any time during the
semester.
TENTATIVE SCHEDULE
M, 2/2
Introduction to course
In-class writing
WebCT post #1 due by 2/3
W, 2/4
Discuss syllabus
Introduction to Madonna
F, 2/6
Reading due: Paglia, “Venus of the
Radio Waves”; Wildmon, “This Video is Offensive to
Believers”; hooks, “Madonna: Plantation Mistress or Soul Sister?”
Watch and discuss Madonna music
video
M, 2/9
Assign Paper 1 and discuss samples
Draw workshop dates
W, 2/11
Discuss evaluation criteria
Discuss workshop procedures
Sign releases
F, 2/13
Continue discussion of workshop
rationale and procedures
Sign up to facilitate a workshop
M, 2/16
Discuss responses to workshop
papers and
sample responses
Draft of Paper 1 due if you have a workshop on
2/18 (27
typed, stapled copies)
W, 2/18
Paper 1 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed, stapled copies of each response)
Draft of Paper 1 due if you have a workshop on 2/20 (27 typed, stapled copies)
F, 2/20
Paper 1 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed, stapled copies of each response)
Draft of Paper 1 due if you have a workshop on 2/23 (27 typed, stapled copies)
Assign presentation dates, groups, and topics
M, 2/23
Paper 1 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed, stapled copies of each response)
Review revision
W, 2/25
Reading due: The Writing
Process in Action vii-31
F, 2/27
Discuss anti-homophobic pedagogy
Reading due: Hart, “Literacy and
the Lesbian/Gay
Learner”
M, 3/1
Turn in Paper 1 (if you had a workshop on Paper 1, staple workshop draft to back of revision)
Assign Paper 2
Discuss writing assignments from Texts
and Contexts and Writing About Literature
W, 3/3
Assign groups for Paper 2
Bring a published manifesto to class
Discuss sample manifestos
F, 3/5
Group work on Paper 2
M, 3/8
Reading due: The Writing
Process in Action 33-58
W, 3/10
Turn in Paper 2 (1 copy per group)
In-class assessment of group work
Assign Paper 3 and discuss sample
papers
WebCT Post #2: Post Paper 2 to
WebCT by
F, 3/12
Meet in computer lab. to work on
California Standards
Exercises for Paper 3
WebCT Post #3 due by
M, 3/15
Reading due: hooks, “Embracing
Change: Teaching in a Multicultural World” and “Confronting
Class in the Classroom”
Discuss responses to Paper 2
W, 3/17
Discuss debates around “standard English”
Reading due: June Jordan, “`Nobody Mean More to Me than You and the Future Life of Willie Jordan’”
Draft of Paper 3 due if you have a workshop on 3/19 (27 typed, stapled copies)
F, 3/19
Paper 3 workshops (3)--bring name label
Bring responses to two workshop drafts (2 typed, stapled copies of each response)
Draft of Paper 3 due if you have a workshop on 3/22 (27 typed, stapled copies)
Course feedback and response to
paper comments
M, 3/22
Paper 3 workshops (3)--bring name label
Bring responses to two workshop drafts (2 typed, stapled copies of each response)
Draft of Paper 3 due if you have a workshop on 3/24 (27 typed, stapled copies)
Discuss course feedback
W, 3/24
Paper 3 workshops (3)--bring name label
Bring responses to two workshop drafts (2 typed, stapled copies of each response)
F, 3/26 NO CLASS
Work on Paper 3
Meet with presentation group members
M, 3/29
Turn in Paper 3 (if you had a workshop on Paper 3, staple workshop draft to back of revision)
Reading due: Anzaldúa, “How to Tame
a Wild Tongue”
WebCT Post #4: Post Paper 3 to
WebCT by
W, 3/31 NO CLASS
WebCT Post #5 due by
F, 4/2
Presentations (2)
SPRING BREAK
M, 4/12
Presentations (2)
Course evaluations
W, 4/14
Presentations (2)
Assign Paper 4
F, 4/16
Presentation
Bring a book review from a
professional or scholarly journal
M, 4/19
Bring a copy of the publication for
which you plan on writing your Paper 4
Discuss sample book review process
W, 4/21
Draft of Paper 4 due if you have a workshop on 4/23 (27 typed, stapled copies)
Discuss global revision and sample
papers
F, 4/23
Paper 4 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed,
stapled copies of each response)
Draft of Paper 4 due if you have a workshop on 4/26 (27 typed, stapled copies)
M, 4/26
Paper 4 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed,
stapled copies of each response)
Draft of Paper 4 due if you have a workshop on 4/28 (27 typed, stapled copies)
W, 4/28
Paper 4 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed,
stapled copies of each response)
F, 4/30
Discuss ineffective ways of using
sources
M, 5/3
Discuss effective ways of using
sources
W, 5/5
Turn in Paper 4 (if you had a workshop on Paper 4, staple workshop draft to back of revision)
Assign Paper 5
Review MLA format (bring a handbook
documenting MLA style)
Post Paper 4 to WebCT by
F, 5/7
Work on local revision (bring your
Papers 1-3 and a handbook)
M, 5/10
Continue work on local revision
(bring your Papers 1-3 and a handbook)
Discuss grammatical “errors” in the
writing classroom
Reading due: Lu, “Professing
Multiculturalism: The Politics of Style in the Contact Zone”
W, 5/12
Discuss portfolio and criteria for
selecting work for portfolio (bring all your workshop responses)
Draft of Paper 5 due if you have a workshop on 5/14 (27 typed, stapled copies)
F, 5/14
Paper 5 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed, stapled copies of each response)
Draft of Paper 5 due if you have a workshop on 5/17 (27 typed, stapled copies)
M, 5/17
Paper 5 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed, stapled copies of each response)
Draft of Paper 5 due if you have a workshop on 5/21 (27 typed, stapled copies)
W, 5/19 NO CLASS
Work on Portfolio
F, 5/21
Paper 5 workshops (2)--bring name label
Bring responses to workshop drafts (2 typed, stapled copies of each response)
W, 5/26
Party
Turn in Portfolio
Thanks to Aneil Rallin, Irene Clark, Marjie Seagoe, and Dorothy Clark for assistance with, ideas for, and feedback on this syllabus.
Presentation Texts:
Barnes, Donna, Katherine Morgan, and Karen
Weinhold, eds. Writing Process
Revisited: Sharing Our Stories.
Christian, Scott. Exchanging
Lives: Middle School Writers Online.
Dale, Helen. Co-Authoring
in the Classroom: Creating an Environment for Effective Collaboration.
Root, Robert L., and Michael Steinberg. Those Who Do, Can: Teachers Writing,
Writers Teaching: A Sourcebook.
Rubenstein, Susanne. Go
Public! Encouraging Student Writers to
Publish.
Tchudi, Stephen, ed. Alternatives
to Grading Student Writing.
Other Resources:
Bratcher, Suzanne. The
Learning-To-Write Process in Elementary Classrooms.
Cooper, Charles R., and Lee Odell, eds. Evaluating Writing: The Role of Teachers’
Knowledge about Text, Learning, and Culture.
Davis, Judy, and Sharon Hill.
The No-Nonsense Guide to Teaching Writing.
Heinemann, 2003.
Evans, Janet, ed. Writing
in the Elementary Classroom: A Reconsideration.
Foster, David, and David R. Russell, eds. Writing and Learning in Cross-National
Perspective: Transitions from Secondary to Higher Education.
Giordano, Gerard. Teaching
Writing to Learning Disabled Students.
Kahn, Elizabeth A., Carolyn Calhoun Walter, and
Larry R. Johannessen. Writing About
Literature.
Lindemann, Erika. A
Rhetoric for Writing Teachers. 4th
ed.
Means, Beth. Teaching
Writing in Middle School: Tips, Tricks, and Techniques.
Moeller, Dave. Computers
in the Writing Classroom.
Moore, Cindy, and Peggy O’Neill, eds.
Practice in Context: Situating the Work of Writing Teachers.
Motivating Writing in Middle School.
Neman, Beth. Teaching
Students to Write. 2nd ed.
Newkirk, Thomas, ed. To
Compose: Teaching Writing in the High School.
Noguchi, Rei R. Grammar
and the Teaching of Writing: Limits and Possibilities.
Olson, Carol Booth, ed. Practical
Ideas for Teaching Writing as a Process at the Elementary School and
Middle School Levels.
Ray, Katie Wood. Wondrous
Words: Writers and Writing in the Elementary Classroom.
Ray, Katie Wood, and Lester L. Laminack. The Writing Workshop: Working Through the
Hard Parts (And They’re All Hard Parts).
Soven, Margot. Teaching
Writing in Middle and Secondary Schools: Theory, Research, and Practice.
Spear, Karen, et al. Peer
Response Groups in Action: Writing Together in Secondary Schools.
Thompson, Thomas C, ed. Teaching
Writing in High School and College: Conversations and Collaborations.
Tompkins, Gail E. Teaching
Writing: Balancing Process and Product. 3rd
ed.
Weinstein, Larry. Writing
at the Threshold: Featuring 56 Ways to Prepare High School and College
Students to Think and Write at the College Level.
What Can I Write About? 7,000
Topics for High School Students. 2nd
ed.
Wollman-Bonilla, Julie. Family
Message Journals: Teaching Writing Through Family Involvement.
Internet Resource:
<http://www.ncte.org>. Free
subscriptions to “NCTE Inbox” available. (Click
on “Inbox” in the “NCTE Links” box.)