ERIC ED436738: Teaching for Strategies in Writing: Maintaining the Balance between Composing and Transcribing.

9 Pages·1998·0.25 MB·English

by  ERIC

DOCUMENT RESUME
CS 013 790
ED 436 738
Skandalaris, Lee
AUTHOR
Teaching for Strategies in Writing: Maintaining the Balance
TITLE
between Composing and Transcribing.
Reading Recovery Council of North America, Columbus, OH.
INSTITUTION
1998-00-00
PUB DATE
8p.; This article appears in ED 435 969.
NOTE
-- Journal Articles (080)
Teacher (052)
Classroom
Guides
PUB TYPE
Running Record; v10 n2 p1-3,8-9,12 Spr 1998
JOURNAL CIT
MF01/PC01 Plus Postage.
EDRS PRICE
*Childrens Writing; Classroom Techniques; *Early
DESCRIPTORS
Intervention; Instructional Effectiveness; Primary
Education; Spelling; *Teacher Role; Verbal Development;
Writing Processes; *Writing Skills; *Writing Strategies
*Meaning Construction; *Reading Recovery Projects; Writing
IDENTIFIERS
Topics
ABSTRACT
This paper discusses ideas which contribute to better
understanding of the writing portions of Reading Recovery lessons,
emphasizing the importance of helping the student monitor meaning during the
composing and recoding process. Topics addressed in the paper are:
(1)
(2) sources from which
differences between composing and transcribing;
children may select writing topics, and (3) three strategies used to
transcribe text--analyzing new words to be used, knowing the spelling of
familiar words, and relating the spelling of a known and unknown word.
Contains 7 references.
(EF)
Reproductions supplied by EDRS are the best that can be made
from the original document.
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Teaching for Strategies in Writing: Maintaining the
Balance between Composing and Transcribing.
by Lee Skandalaris
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Running
\i\i\i\higq-\1
Record
A Review of Theory and Practice for
READING
Reading Recovery Teachers
RECOVERY'
COUNCIL
Spring 1998 Volume 10
No. 2
OF NORTH AMERICA
Teaching for Strategies in Writing: Maintaining the
In This Issue
...
Balance between Composing and Transcribing
Teaching for Strategies in Writing .
I
. . .
Lee Skandalaris, Trainer of Teacher Leaders
4
Communicating the Work We Do
. .
.
Oakland University
7
Reading Medicine
Rochester, Michigan
Editor's Corner
7
Reading and writing share common
intends to communi-
.... the idea the writer
Copyright Notice
7
elements. Both forms of expression
cate to the audience of readers, along with
and both use
are driven by meaning
9
Glorious Road
the words and grammar chosen by the writer
the same conventions. However, readers
as suitable to conveying those ideas for the
Climbing Mountains
10
use their own knowledge and experience
reader (p. 120).
to construct meaning from text, whereas
The Sinking Child
11
writers construct meaning in text. In the
Clay (1993) suggests that the novice
Reading Reflections
12
second edition of Writing and the Writer
writer learns to compose messages (ideas)
Positions Available
13
(1994), Frank Smith explains that the act
in his own words and language structures,
of writing is a building process that is more
then engages in a "search for ways to
Membership Ideas
13
driven by our intentions of what we wish
record it" (p. 28). Clay's explanation may
Publications and Products
to communicate to the reader. In writing
14
be compared to Smith's description of tran-
this article, I attempt to communicate to
scribing. He explains transcribing the mes-
Membership Application
15
you, the reader, insights gained from my
sage as the physical effort in writing within
reading of Clay and Smith that have con-
The Last Word
the constraints of conventions of print:
16
tributed to my better understanding of the
Moment of Discovery
spelling, capitalization, punctuation, and
writing portions of Reading Recovery
Slow Reading?
legibility. Whereas composing occurs "in
lessons. I emphasize the importance of
The Right Prompt?
the head," as the writer gets ideas and
helping the young writer monitor for
Making Meaning
shapes them into language, transcribing
Can't You Read the Sign?
meaning while composing and recoding the
starts when the message becomes visible
The Power of Literacy
message.
text.
As you read this piece, you are trying
The similarities between the two theo-
to extract meaning from this text. The task
rists, Clay and Smith, can be represented as
The Running Record is published
is somewhat limited by the lack of face-to-
follows:
twice a year (fall and spring).
face dialogue. As a competent reader, you
Submission of articles, teaching anecdotes,
are highly successful at this task. The con-
Composing:
and poetry are welcome; all submissions
structive process is what we are trying to
the ideas
will go through a review process. Please
help Reading Recovery students learn.
composing the message (which
enclose 3 copies of each submission and a
Clay (1993) states:
must be done by the writer)
self- addressed, stamped envelope for corre-
spondence. Send submissions to:
Transcribing:
of a recovery pro-
... during the course
searching for ways to record it
gramme a low achiever learns to bring
Judith C. Neal, Editor
together:
The Running Record
explains that,
Smith
(1994)
the ideas
California State University, Fresno
the composing of the message (which
School of Education & Human Development
broad aspects of writing, com-
must be his own)
... these two
5005 N. Maple, M/S 202
posing and transcribing, compete for the
the search for ways to record it (p. 28).
Fresno, CA 93740-8025
writer's attention. The beginning writer
FAX [phone]
needs to pay undue attention to the conven-
Email [email protected]
In writing, we can think of two func-
tions of transcribing (p. 120).
tions: composing and transcribing (Smith,
1994). Composing is described by Smith
The Running Record
Compared to the other language
(1994) as,
rights reserved.
©1998 RRCNA. All
continued on next page
3
\NA,
The Running Record
Page 2
Spring 1998
Teaching for Strategies in Writing:
...
continued from previous page
processes, writing is hard work requiring
child how to:
nicate with a special group of profession-
the most physical effort, and it is the
als. I know the nature of Reading
slowest language process. Speech (speak-
Recovery teachers as an audience inter-
express his ideas in meaningful
ing) can be delivered at 200-300 words
ested in providing powerful lessons for
units;
per minute and still be comprehended by
children; we have common language and
shape his oral language structures
the listener. The listener can process up to
a shared mission. But for the child, we
into comprehensible sentences;
250 words per minute (listening) which
cannot assume he knows the relationship
learn how to develop a vocabulary
explains why the rapid fire auctioneer
between writing and the fact that some-
of high frequency words for writing;
(delivered at a speed of more than 300
one else will read what he writes.
hear sounds of words in sequence;
words per minute) is incomprehensible to
The Figure contains a few examples
use analogous thinking to construct
the less expert listener. Reading can range
of teachers helping set purposes for writ-
new words.
between 200-300 words per minute, but
ing and determining possible audiences
writing legibly is rarely more than 25
through their conversations with children.
While engaging in the physical effort
words per minute (Smith, 1994). The task
As Reading Recovery teachers you
of writing, the young writer is also facing
of writing is formidable for the beginning
can think of many more (and better)
the formidable challenge of writing for an
writer who needs to pay attention to all of
remarks to develop a sense of audience in
audience that may be known or unseen. It
the conventions of transcribing: letter for-
the young writer. The important point is
is essential to compose text with an audi-
mation, directionality, spacing, spelling,
that the remarks need to be woven into
ence in mind. As we work with children
matching symbols to sounds, etc.
the fabric of the writing event almost like
in Reading Recovery lessons, we need to
As the novice writer is working hard
the subliminal messages presented by the
think about who the audience is for the
to coordinate all aspects of composing
media to sell a product. The highest ".
. .
children's writing and how we can help
and transcribing, we as teachers offer
praise for his efforts.
. ." (Clay, 1993, p.
children develop a sense of writing for a
valuable assistance in helping the child
39) for a child is the reading of his story
prospective reader.
maintain a balance between these two
by an appreciative audience. Because
As I write this piece to you, I know
tensions in the writing process. We can
writing differs from reading in that it is
my audience. I am motivated to commu-
help the young writer by teaching the
more driven by our intentions of what we
wish to communicate to readers, develop-
ing a sense of audience lifts this exercise
from a purely mechanical act to a true act
Purpose
Audience
of personal communication.
For purposes of clarification, I will
Writes to record an experience
Self
examine composing and transcribing fur-
Let's write about what happened last night so we can read it later
ther as two aspects of the writing process.
(The teacher is sharing the permanence of writing versus the fleeting nature of talk.)
Even though the following discussion
deals with the topics separately, they are
Writes to explain
Class
integrated throughout the writing process.
What a great story about how you got your gray cat!
Let's make a copy so you can tell your friends.
Composing ideas to Write
First, I have a confession to make.
Writes to share
Home
Recently I brought a Predictions of
(The daily re-assembly of the cut-up story summarizes a book
Progress up-to-date on one of my
just read.)
Reading Recovery children. I was sur-
Let's send the book home with your story so your Mom
prised (or is appalled the better word?) on
(Dad, etc.) can see how well you understood what happened.
how skewed the predictions for progress
Home
Writes to inform
in writing were. All of the goal state-
(The child and teacher compose a piece about a
ments I had written were about recording
newly-acquired strategy:)
language; for example, "The child will
Let's write a letter to your Mom (Dad, etc.) about how you are
know how to write at least 40 high fre-
learning to say words slowly to write hard words.
quency words quickly and fluently."
None of the goal statements was about
All
Rejoices in new skill
monitoring for meaning or about compos-
(The child has made a shift in legibility. Copies are distributed widely.)
ing. My goal statements for this child
It is so easy to read with the spaces you
Let's make copies of this wonderful story.
needed to be brought into balance. Since
put between words. Give this one to the principal
this one to your teacher ...
...
confessions demand repentance, I reread
several sources in my search for a better
Figure
continued on next page
Spring 1998 Page 3
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Teaching for Strategies in Writing:
...
continued from previous page
Teacher: Did your Dad stop the car?
borrow, and steal the ideas of others; but
balance of goals in writing.
beyond that, new ideas can be generated
We were going up north.
Child:
Dancing with the Pen (1996) provid-
that did not exist in any of the partici-
Teacher: So what happened after your
ed a possible new goal statement for the
pants' heads before (p. 207).
Dad stopped the car?
tentative revision of my predictions of
My Mom picked him up. He
Child:
progress. This book suggests the child will
The idea for the story needs to float
chews on the chair and eats
know how to select topics for writing
to the top of the sea of talk, not drown.
spaghetti my baby sister feeds
through several means: valuing first-hand
The teacher remains open to the ideas and
him ...
experiences and their personal knowledge
converses with the child in order to focus
(focusing) Tell me what hap-
Teacher:
of that experience; making use of their
none
n one thought to be expressed in writ-
pened when your Dad stopped
surroundings in and out of school; dis-
ing. This process requires careful listening
the car.
cussing their ideas freely; adapting and
and gentle shaping, always holding the
He ...
Child:
making use of their own and others' sug-
meaning of the message foremost.
Teacher:
Who?
gestions; and, showing initiative in select-
The novice writer has a multitude of
My Dad stopped the car.
Child:
ing their own topics for writing at the end
ideas whizzing around in his mind.
And then what?
Teacher:
of the program.
Furthermore, talking about these ideas is
My Mom picked him up.
Child:
James Briton (1970) said, "Writing
generated at a much greater speed than
Let's tell people that it was a
Teacher:
cat that was picked up.
My Dad ...
My Dad stopped the car.
Child:
And...
Teacher:
My Mom picked up the cat.
Child:
Now everyone will know how
Teacher:
you got your cat. Let's go for it!
The teacher above prevented what
professional writers reveal as the primary
causes of procedural writer's block: hav-
ing nothing of substance to say or being
confronted with too many possibilities. In
this short interaction before the story, the
teacher opened the conversation with a
question about the child's pet. The ques-
tion was not so broad that he could not
sort through his mental schema about his
pet cat. When the chair-chewing, spaghet-
ti-eating cat facts were presented there
was potential for confusion, but the
teacher refocused the conversation on how
Lee works with Andrew in the writing portion of a Reading Recovery Lesson.
the cat was found. Maybe the next day,
her prompt will be, "What happens when
floats on a sea of talk" (p. 164), and Clay
can be written. The listening teacher
your cat chews on the chairs?" Or, even
reminds us, "First, talk with the child"
seizes an idea during the conversation that
more titillating, "How does your cat's face
(1993, p. 29) in the section on composing
is full of possibilities for growth but also
look after eating a plate of spaghetti?" The
the story. But how does talk contribute to
has some words the child knows how to
talk is interactive but kept focused by the
the composing of a story by the young
write or can get to using his present strate-
teacher who is genuinely interested in the
child? Smith (1994) helps clarify the rela-
gies. A conversation may play-out as fol-
child's ideas (Clay, 1993).
tionship:
lows:
Lucy Calkins (1986) points out that
Composition is learned through reading
teachers often appear to listen to a learner,
and writing; it can also be fostered by
Teacher: How did you get your lovely
conversation and discussion. Talking with
but instead of giving a natural reaction,
cat?
other people in one sense is just like writ-
such as laughing, sighing, smiling, or
He was in the middle of the
Child:
ing, in that it provides opportunity for
reflecting, they tend to look for questions
road and my Dad put on the
the examination of ideas one already
in an effort to "improve" the writing. The
holds and for the generation of new ones.
brakes (amplification of
talk before story-writing needs to be gen-
It is important to understand all the
screeching brakes, reactions in
uine, not interrogatory in tone. Clay
advantages of discussion. One can test
the car) and
...
one's own ideas on others, one can hear,
continued on page 8
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4.NIAI
Spring 1998
Teaching for Strategies in Writing:
...
continued from page 3
tough physical labor.
sound-to-letter (e. g., bone, bake), then the
(1991) observes that if the child can carry
child will understand the value of apply-
The young writer learns how to use a
on a conversation with the teacher, "then
variety of strategies to record his message
ing this behavior to other situations. It
each is using a flexibility of language that
in print. In Clay's (1993) words:
is suitable for good communication to take works! If the teacher chooses words that
are difficult to hear requiring a great deal
place" (p. 73). During such conversations,
of the teacher's knowledge of spelling (e.
children's ideas can surface and be pol-
Sometimes you can analyze words
g., saw, night), then the child will not feel
ished to enhance writing stories.
you want to write.
in control. As the child acquires ortho-
Roaming Around the Known is the
Sometimes you have to know how to
graphic awareness from constant exposure
time to establish a conversational tempo
spell a particular word.
to print, he begins to sense the position of
geared to the linguistic style of the indi-
Sometimes you have to 'make it like
letters in less predictable words.
vidual child as well as a time to explore
another word you know' which
However, saying the word too slowly
interests that can become topics for
means get it by analogy with a com-
may work against the child who records
authentic expression in writing. As stated
mon spelling pattern in English (p.
every single sound heard much like the
so well in Dancing with a Pen (1996),
35).
phonetician recording an unfamiliar
"Learners write best on topics they own.
dialect or language. In overextending
This does not mean that they have always
In the very first lessons the Reading
words, children will hear too many
selected their topics without help or stimu-
Recovery teacher uses procedures to foster
sounds, e. g., the schwa sound after an
lus; it does mean that they have something
each of these strategies the child can use
overextended "b" sound; this confuses the
to say in their own voice about their sub-
in Reading Recovery lessons and in class-
child's work in Elkonin boxes. Frank
ject and, therefore, the best purpose of all
room writing.
Smith (1994) explains the adult's problem:
of writing" (p. 27).
For closer examination of their pur-
As the teacher and child face the
pose, I shall explore each strategy used to
We (adults) know something about
unusual task (to novice learners) of writ-
write text.
spelling, we persuade ourselves that we
ing messages in text, the teacher needs to
Sometimes you can analyze new
can hear the spelling in some spoken
focus on the importance of communicat-
words you want to write. In Section 6:
words. For example we may claim to
ing the young learner's ideas. The blank
Hearing and Recording Sound in Words,
hear the 't' in the usual pronunciation of
page is a challenge for the teacher and the
the word 'writer.' Children do not share
Clay (1993) explicates the activities
child: the teacher reminds the child of the
the adult inability to perceive the actual
designed to help the child think about the
intended message as the child struggles
sound of the speech; this is the second
order of the sounds in spoken words and
problem. They will attempt to reproduce
with the perplexities of learning how to
to analyze words he needs to write into
the sounds like a professional phonetician
transcribe his ideas. For the novice writer,
the correct sequence of sounds. The child
(p. 198).
the teacher guards the balance between
is encouraged to say the word slowly, lis-
composing the message and the challenges
tening and recording. "Say it slowly" is a
Clay (1993) reminds us as teachers to,
of transcribing it.
prompt which will empower the child to
"let him hear the sounds separated but in a
approximate the correct spelling of words
Transcribing Written Language
natural way" (p. 32). But she informs us
in classroom writing activities. Therefore,
in Becoming Literate (1991) that, "sound-
Writing and reading text are two
it is imperative for the child to know why
to-letter analysis does not reign supreme
processes that entail similar challenges in
he must say the word slowly and listen: to
in the hierarchy of skills to be acquired for
using print conventions. One of these
record the sounds he hears in oral lan-
very long. The child who has learned only
challenges is directionality. The novice
guage as letters in written language.
a small reading or writing vocabulary
writer must sort out spatially on the blank
In the introduction to this section,
begins to generalize about letter-sound
page where to start, which way to go,
Clay encourages us as teachers to choose
relationships quite early" (p. 88). This
where the second line startsall while
from the child's orally composed story
leads us to explore the next strategy in
moving from the top to the bottom of the
two or three words they can profitably
learning how to record stories fluently and
page. Another challenge is learning that
work on together. Why two or three? The
efficiently.
oral language needs to be segmented into
frequency and consistency of using this
Sometimes you have to know how to
words that are represented in print with
strategy (analyzing a word you want to
spell a particular word. The high frequen-
white spaces between them. Additionally,
write) on the practice page will help the
cy words in the English language are
letter formation, letter size, and use of
child internalize its power.
needed often in writing text. The child
capital and lower case letters all present
Teachers need to take seriously the
needs to know why he is writing that word
hard physical work for young writers. And
word "profitably." Early in lessons, the
over and over again on the practice page,
then the child must learn how to spell
teacher needs to select words that will
on the whiteboard, in the sand, and so
which can be equally puzzling. The sup-
allow the child to feel the power of this
forth. In Roaming Around the Known, the
portive, co-constructing-of-text teacher
strategy. If the 2 or 3 words chosen to
concept of what a high frequency word is
helps the child maintain the importance
place in Elkonin boxes are predictable in
and wording of his message during the
continued on next page
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Spring 1998 Page 9
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Teaching for Strategies in Writing:
...
continued from previous page
in his language should be practice page is a temporary
developed. Hunting across
detour and the teacher needs to
books, newspapers, or maga-
bring the meaning of the child's
zines for a particular word (e.
story back into focus.
g., 'is') gives the child a sense
Clay (1991) informs the
of its frequency. As a novice to
teacher that, "As the core of
text reading, how could he
known words builds in writing,
know that the word `is' is used
and the high frequency words
lots of times! During the hunt,
become known, these provide a
perhaps a comment might
series from which other words
can be composed taking famil-
accompany the activity: This is
a little word that you will see in
iar bits from known words by
books and write in stories the
analogy" (p. 244). The child's
ability to make analogies,
rest of your life.
As the child writes a new
"relating something he knows
high frequency word on the
to something new, and classing
practice page during the writing
the two things as similar"
portion of the lesson, he may
(Clay, 1993, p. 50) hinges on
need to be reminded why it
the known being under control
needs to be learned and why it
and secured. This knowledge
needs to be fluent. Praise the
leads the child to another way
child when a high frequency
of knowing how to record ideas
word is quickly written in a
efficiently.
story. "The child develops a
Sometimes you have to
sense of mastery when he
`make it like another word you
writes a word which is quickly
know' which means get it by
recognized by an adult" (Clay,
analogy with a common
1975, p. 70). Recently a little
spelling pattern used in English.
girl's face lit up when she was
Initially, the teacher needs to
told by the teacher: Now I can
model how this is done. For
read that word, anyone can
example, when Andrew needed
read what you just wrote. It's
the word `new' for writing his
like the fuss made over the first
story in Lesson 6, the teacher
word uttered by the infant that
asked Andrew to clap And-rew,
wrote it on the practice page,
is understood by the adult!
The section on the proce-
and brought the child to the
dure to help the young writer second syllable sound similarity
to `new.' In order to assist the
develop a "little movement pro-
child with analogous thinking
gramme" to produce these high
the teacher must know what the
frequency words (Clay, 1993, p.
30) is entitled: "To get fluent
child knows and capture every
writing." The operative word
opportunity to foster this link-
for the teacher is `get;' not, 'try
ing from known to new words.
to,' but `get.' The use of this
As the core of known words
choice of word strongly sug- and spelling generalizations
gests that the teacher must be
increase, the use of analogies to
get to new words should
insistent, persistent, and consis-
tent in obtaining mastery of
increase proportionally.
these little words. With a cadre
The teacher's role changes
of known words under control
as the child becomes more
(not semi-control) the child will
adept at writing stories. Having
be able to get to more words
fostered the powerful strategies
and use the words in the class-
discussed above for children's
room. As with all word work,
recording of their ideas, the
however, fluency work on the
continued on page 12
7
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Page 12
Spring 1998
in Writing:
Teaching for Strategies
continued from page 9
not work immediately for standard
teacher must encourage children to
write longer and more complex sen- spelling of comeing during the writing
because the child was processing on
tences to express ideas with clarity.
Also, children will have less need to the run; instead, she opted for a short
mini-lesson when Andrew completed
work on the practice page. A shift from
demonstration to occasional verbal
writing his story.
Andrew has a self-extending sys-
guidance of the child through text writ-
tem in writing. He chose the topic to
ing must occur to foster independence
share, selected his wording as he wrote
and practice orchestration of the strate-
in his voice, using the third person to
gies he has acquired; furthermore, the
convey the message. The strategies for
composing and transcribing of the
recording were so integrated that only
story should flow from the pen with
by watching his lips did the teacher
less physical effort from the child.
The joy of this fusion of composi- sense when he was using analysis;
tion and transcription is exemplified by
analogous thinking could no longer be
the stories Andrew wrote late in his
overtly observed. Most importantly, he
program. In Lesson 47, Andrew's story expressed joy at being able to share his
news in writing. Andrew and his
was: We went to a concert. It was loud
teacher had met the challenge of main-
and some p_e_ople_ were dancing. The
underlined words or word parts were taining a balance between composing
done independently. The choice of the message (his ideas and language)
topic had been selected without and transcribing the message for his
prompting by the teacher who was gen-
intended audience: his parents
. or
.
.
uinely intrigued by the story. The sen-
(perhaps) Santa Claus?
tences at this point in the program were
References
still told to the teacher aloud so that
Britton, J. (1970). Language and learning.
composing was not quite integrated
Baltimore, Maryland: Penguin.
with the transcribing. The role of the
Calkins, L. (1986). The art of teaching
teacher was to model the power of
writing. Portsmouth, NH: Heinemann.
Clay, M. M. (1991). Becoming literate: The
analogy to get to known word bits:
construction of inner control.
"The `er' in 'concert' is like `her.
Portsmouth, NH: Heinemann.
Ou' in `loud' is like 'out.'" Some'
Clay, M. M. (1993). Reading Recovery: A
sounds like `come.'"
guidebook for teachers in training.
By lesson 69, a teacher leader was
Portsmouth, NH: Heinemann.
Clay, M. M. (1975). What did I write?
called to assess Andrew for discontinu-
Aukland, New Zealand: Heinemann.
ing when he wrote: It is Christmas in
Dancing with the pen. (1996). Wellington,
(6) six days and Santa is comeing to
New Zealand: Department of
town to bring Andrew some presents.
Education.
The teacher's prompt for the story had
Smith, F. (1994). Writing and the writer.
2nd ed. Hillsdale, New Jersey:
been: What wonderful news do you
Lawrence Erlbaum Associates.
have to share today? Andrew did not
rehearse before be began writing. He
picked up the pen and composed and
transcribed simultaneously. The role of
the teacher was anticipatory in terms of
trying to predict the traps in the
English language for Andrew at this
stage of his development. In synchrony
while he was writing his message, the
teacher whispered, There's a 't' next
you can't hear (for Christmas); Write
the word for six, it's what grownups
do; Say the word present so you can
hear the last sound. The teacher did
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