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Writing Language Objectives for Lucy Calkins, Step One: PANIC!

Writing Language Objectives for Lucy Calkins, Step One: PANIC!
by Susan Zimmerman-Orozco

Susan is an elementary ESL teacher in Montgomery County Public Schools and consultant with English Learner Portal. Rebecca Guzman is also an elementary ESL teacher in a local school system and consultant with English Learner Portal.

I started this blog as a way to “think out loud” about the struggle I’ve been having since fall as an ESL teacher supporting the Lucy Calkins writing program in K-Gr 2. I knew that my best bet was to develop academic language by creating language objectives and scaffolding instruction that explicitly tied student learning to the target writing output. HOW this is actually getting done is still very much a work in progress. As you read this post, I hope that you will think about your own challenges and successes you have had adapting academic language strategies to the LC writing program, and give me some feedback, suggestions, and recommendations on what has worked – and not worked – for you.

Help me out here. Last Monday, the Lucy Calkins’ teaching point in our second grade writing lesson, verbatim from the guide, was:

“Today I want to teach you that when writers do something new, they don’t just try it once and give up. Writers are bold too. You can try new things in your writing, even if they’re not perfect. Then you can see what you think. You can ask yourself, ‘Did it work?’ or ‘Should I try it a new way?’”

So tell me, readers, what’s the Language Objective?

SIOP training had been a “thing” at my school a few years ago, and several team members had been sent to training. However, in subsequent years several of the trained teachers cycled out to new schools and each fall the district served up another round of “critical” achievement goals and performance measures that filled our teachers’ plates to overflowing. The idea of creating and teaching language objectives faded away into “just another thing I don’t have time for.”

But as I reminded myself and my team last week, in a diverse school like ours (70% FARMS, 40% Hispanic, 40% AA, 55% ELL) all content objectives truly need to have accompanying language objectives that “articulate for learners the academic language functions and skills they need to master to fully participate in the lesson and meet the grade-level content standards (Echevarria, Short, & Vogt, 2008).” Feeling empowered, I promised my team at our weekly planning meeting that I would provide a language objective for their daily writing content objectives and create scaffolded lesson plans to support them.

Up to now, while I was getting better acquainted with the the Lucy Calkins program, I’d been supporting students classes by following up on earlier lessons that hadn’t “worked” for my English learners (ELs). Basically I re-packaged and scaffolded the same lesson classroom teachers had written in more visual and engaging ways, throwing in some appropriate academic language points, oral practice, sentence frames, and vocabulary along the way.

But now that I had hastily offered to deliver daily and meaningful academic language instruction, I realized I might have gone way outside my comfort zone. I panicked: What IS the academic language required for students to “make a bold move” and try things in new ways? And, was I the only person to find Lucy’s teaching points difficult to break down into language objectives?

I sought out trusted colleagues, and was relieved to discover I was not alone. Rebecca Guzman, an experienced classroom, SIOP, bilingual and ESL teacher helped me understand the disconnect.

“Her (Lucy Calkins’) thinking is that we are constantly introducing students to a menu of strategies they can apply to create a variety of writing genres; in other words, we are teaching them how to be writers not how to write. However, our English learners (ELs) need repetition and coaching to create productive written work, rather than a quick “I teach you-now go practice” approach.“

“Our elementary school ELs frequently come with a lack of background knowledge and writing experience in their own language, so it’s almost like we are rushing them through all of these strategies but not giving them enough time to practice and get good at one thing before moving on (quality vs. quantity). I worry that if they do not feel successful at something it will stop them from wanting to continue learning how to write much less how to be a writer. “

Knowing that I am not alone in my confusion about whether to address content or language was reassuring. Guzman writes weekly, not daily, language objectives, and further explained how she and her co-teacher approach the task: “I mostly focus on the actual content lesson activity to figure out what kind of language students will be expected to produce. I start by focusing on a specific language domain. Then I pull a language feature to focus on (i.e. grammar, vocabulary, etc..) followed by the language function (verb: explain, retell etc..) and then pick language supports that match the activity and/or student proficiency levels in the class.”

Her explanation helped me re-frame my question, “What is the language objective that supports “Writers are bold too. You can try new things in your writing, even if they’re not perfect,” to “What are the language objectives that will support the overall objective of Unit One: Lessons from the Masters Improving Narrative Writing.” Often the guide will give us a clue: In Grade 2, Unit 1, Lesson 3, for example, Stretching Out Small Moments, as Authors Do, it is clear we will need to focus on sequencing words.

But sometimes it’s not so obvious, as in my case of asking students to make “bold new moves?” In these cases we should go back to the unit objective: writing narratives, and review our students’ work to identify their academic language needs and, over the course of our unit planning, ensure that we have mini-lessons that will address all three of the WIDA Features of Academic Language: Linguistic Complexity, Language Forms and Conventions, and Vocabulary Usage across all of our students’ proficiency levels.

Easy peasy, right? I can’t say yet. I only just puzzled this out a few days ago. Stay tuned for my adventures in Lucy Calkins Language Objective Land, but more importantly, PLEASE PLEASE PLEASE, let me know what has worked for you. Or what hasn’t.

Like most ESL educators, I’ve attended training, read the word of experts – even talked to them, taken online courses, and attended my district’s workshops. But nothing – NOTHING – helps teachers more than the experiences of other teachers. I’m all alone in my school as I struggle to work this out; I hope you will share what you’ve tried, what worked, and other strategies and ideas you have tried. “Alone we can do so little. Together we can do so much.” My students need you, and there is so much left to do….

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Writing with English learners: Why plagiarism is serious business

Frank Bonkowski is an educational writer, English language teacher, and e-learning specialist, passionate about learning and teaching. As a lover of writing, Frank has a twofold mission: to teach English learners to write better and to train language teachers in teaching effective academic writing. He was a teacher trainer at several universities, including McGill, Concordia, and TELUQ, a center of distance education. We are thrilled to have Frank as a member of our online course community at English Learner Portal.

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In today’s post, let’s look at ways you can help learners avoid plagiarism. The text is based on a lecture in Module 3 of my three-credit graduate course in teaching writing.

Why plagiarism is serious business

cartoongirlcomputer In this lecture, we tackle the serious problem of plagiarism. If a learner is caught plagiarizing, it can have serious consequences.

At college or university level, the least serious penalty could be getting a zero grade on an assignment; a more serious penalty would be failing the course altogether. The most serious penalty would be getting thrown out of the school.

Learners need to be able to properly paraphrase, summarize, and quote the ideas of others when doing research. In doing these things learners avoid plagiarism.

In this lecture, we’ll first look at who is guilty of plagiarism. Then, we’ll review two strategies for helping learners avoid plagiarism: taking notes and paraphrasing.

Who is guilty of plagiarism?

Ask learners if they have ever taken parts of someone’s writing without citing the source.

Ask learners if they have ever used quotations without giving credit.

Inexperienced writers make these mistakes. It’s easy, simple to do, and seems harmless. If learners haven’t mastered the intricacies of English, it may be tempting to plagiarize. This is true for both native and non-native speakers of English alike.

Plagiarism, also called “cyberplagiarism” by McWhorter, has increased dramatically with cartoonlightbulb the widespread use of the Internet (Successful 592).

It can take 3 different forms:

a) “borrowing” information from online sources without acknowledging it,
b) cutting and pasting material directly without citing the source,
c) buying essays or papers online and using them as your own work.

Copying the ideas of others is not new. Two thousand years ago, the Roman poet Martial complained about others stealing his poetry.

Plagiarism is not just a violation of another’s writing. it’s also harmful to creators of music, videos, and graphics. For example, here is an interesting anecdote.

Songwriters sometimes commit plagiarism and may get heavy fines if found guilty. In 2014, the Marvin Gaye family was awarded a whopping $ 7.3 million for copyright infringement of a 1977 Gaye song by another singer.

Any way you look at it, plagiarism is theft—the stealing of somebody else’s ideas. Plagiarism is just dumb.

So how can writers avoid plagiarism or be more conscious of it?

The answer is simple. They can learn and practice how to take notes and to paraphrase.

Tip #1 for avoiding plagiarism: Take Notes

nocountryforoldmen Learners need to get into the habit of reading carefully and taking good notes.

Here is a student example using the two-column method (which I explain in another lecture of the online course) presented in an academic English classroom course I teach. The student had to take notes using an online film review.

Film: “No Country for Old Men”

Keyword and questions

Unpredictable narrative
Breathtaking
Sanguinary film
Remarkably
Sharpest

Notes (key ideas and facts) A modern movie
“Remains remarkably grounded in the everyday”
“Sharpest Coen Bros. film in years”
“Excruciating violence to ratchet up the tension”
“Shocks ’round every plot twist”

Summary:

Review by Bob Mondello , art critic: A really great movie and even the best Coen’s Brothers film in a while.

The movie has a surprising narration and is remarkably authentic and realistic.

The violence keeps the tension high and shocks viewers at every turn in the plot.

Tip #2 for avoiding plagiarism: paraphrase

Paraphrasing is a restatement of an original text in the writer’s own words. It could be a restatement of an entire sentence, part of a sentence, or one or more paragraphs, written in about the same length as the original.

It shows that a writer understands clearly the meaning of the original text. Paraphrasing is a useful way for all writers, but particularly non-native speakers of English, to improve their writing skills.

Here is a useful 10-point paraphrasing checklist you can share with your students.

checklist

Sources:

Douglas, Scott Roy. Academic Inquiry: Writing for Post-secondary Success. Don Mills: Oxford UP, 2014. Print.

McWhorter, Kathleen T. Successful College Writing: Skills, Strategies, Learning Styles. 5th ed. Boston: Bedford St. Martin’s, 2009. Print.

Williams, Julia. “Unit 4: Art History.” Academic Connections 4. White Plains: Pearson Education, 2010. 75+. Print.

For more helpful teaching tips, enroll now in Teaching Writing to Intermediate and Advanced English Language Learners and earn 3 university credits.

In the next blog post, we will take a look at the SQ3R method based on a lecture in Module 4 of the writing course.

JOIN me on June 28 for a 2-hour online writing workshop

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10 Possible Alternatives to “International Night”

Today’s blog is written by Laura Gardner. Laura has 16 years of experience working in public education, refugee resettlement, and social work. While in public education, she worked as a district level manager for immigrant family and community engagement as well as a school social worker. Learn more about Laura on our English Learner Portal website.

Many schools across the U.S. host international or multicultural nights each year. At intnight these events, students and/or their families typically set up tables to highlight their countries and cultures and the rest of the students and families walk from table to table sampling food and looking at artifacts and maps. While organizers of these events have good intentions and aim to honor their students’ cultural backgrounds, sometimes these events can seem tokenistic. How can we build family comfort in schools throughout the school year? With 79% of teachers in the U.S. being white* and 25% of students being children of immigrants, getting to know the cultural backgrounds of students requires a deeper dive.

There are often two goals of international nights. The first is for students to learn more about other cultures and the second is for teachers to learn more about the backgrounds of their students and their families. With those goals in mind, what are 10 possible alternatives to international night?

Invite immigrant parents or community members to speak in your class about their background and culture or a particular topic (i.e. a Vietnamese refugee could speak to students who are learning about the Vietnam war, etc.).
Invite immigrant parents or community members to come to the classroom and share a story from their home country.
Visit the main places your students and their families spend their time (places of worship, stores, community centers, neighborhoods, etc.).
Travel as much as possible outside of the United States, particularly to the home countries of your students. Talk with students and their families about your experiences.
Conduct an immigrant parent panel. For this professional learning opportunity, invite 3-6 immigrant parents to form a panel. Have one educator ask questions to each parent such as “Can you tell us about schools in your home country?” and so on. Be sure to provide teachers in the audience with an opportunity to ask their own questions.
Invite immigrant parents to provide input on the rules and values that are practiced at school. Discuss any “cultural mismatches” between home and school.
Take an interest in immigrant parents’ approach to raising their children. Ask questions about their family life.
Ask immigrant parents or community members for information needed. Every time you seek background information on something from another country or culture, ask a parent from that culture (or student, if appropriate) to tell you what they know about that topic. For example, if you have a lesson on Chinese New Year, find a Chinese parent in your school or community leader to talk to for more information and/or invite the person to speak directly with your students. Resist the urge to Google for lesson plans when you have direct sources of information nearby.
Invite immigrant parents or community members to provide input on the curriculum.
Help students make connections between what they’re studying and the immigrant communities in their own town. For example, an IB (International Baccalaureate) class studying India could visit a local Indian organization rather than visiting the Indian embassy.

When you are ready to plan your schedule of parent/community events, please visit the English Learner Portal Resource Center for a free “Planning Checklist for ELL Family Nights”. You will find this document in the Family Engagement folder.

*https://www2.ed.gov/rschstat/eval/highered/racial-diversity/state-racial-diversity-workforce.pdf

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