Developing Teachers, Developing Writers Through the Writing Workshop

Developing Teachers, Developing Writers

Through the Writing Workshop for Elementary Classrooms

by Bernie McDonough

"Hello Writers"
"Hello Writers!" Eva McGough sits on a small stool at the front of the classroom. Twenty-two second graders sitting on a carpeted area that is the gathering place for this classroom respond, "Good Morning Ms. McGough!" Eva McGough begins every class this way, reminding students to take themselves seriously as writers. Susan Moscrip is leading another classroom in the same building. The first graders in her group are holding one curled up hand to an eye as they look through an imaginary camera lens. They adjust the focus with their free hand as Moscrip talks to them about zooming in on the small details that they see around their classroom.

McGough and Moscrip are writing instructors and staff developers for Powerful Writers. They are launching an ambitious and exciting new school wide staff development model in elementary writing instruction in this Seattle school. Powerful Writers is a program of Powerful Schools, a nonprofit organization started in 1991. Powerful Schools provides support to students by bringing guest artists, writers, peer mentors, tutors, and a full schedule of after school enrichment programs into their schools. The organization is funded by grants and individual contributions.

I worked with Powerful Writers during my student teaching in a second-third grade classroom. My host teacher and I worked with a resident poet from the organization. We also had a Powerful Writers volunteer who came weekly to help with our writing workshop. As I prepared for my first classroom, I wanted to know more about how to set up my own writing program. I began a three-month case study of the Powerful Writers professional development model in one school. I worked in the school as a participant observer, taking field notes and working as a writing coach to first and second grade students during conference time. I began my case study with the following focus question in mind:

What are the essential elements of a successful Writing Workshop in an elementary classroom?

Program History
The Powerful Writers program grew out of an annual author festival produced by program founder and Director of Staff Development Anne Mulherkar and many Powerful Schools volunteers, parents and guest writers. This annual event helped to build a growing network of literary enthusiasts into a staff that provided guest writers and teacher support to enhance the writing programs at several of the member schools. The program has grown steadily since it began in 1996.

Initially, Powerful Writers brought professional writers into the classroom for guest residencies at the various member schools. Powerful Writers trains volunteers to visit classrooms weekly to support teachers by conducting one to one conferences with students, or working with small groups. The program now runs in five schools with various levels of school commitment. The program model that I investigated is a school wide professional development program with full staff commitment. It is a comprehensive program that puts everything that Powerful Writers has learned and developed over their eight year evolution.

Powerful Writers has nurtured and developed its still growing network as the program has grown. Powerful Writers recruits local professional writers to work in the classroom alongside teachers. Children's author George Shannon brings his own notebooks into the school to demonstrate how a real writer gets and develops ideas that lead to published work. Guest novelists and poets work with children and teachers by sharing their own artistic process and providing one to one conferences with young writers.

Resident writer and staff developer Kenny Rich brought a wealth of experience to early program development from his previous work in New York City schools as a staff member of the Teachers College Reading and Writing Project. Several staff developers and classroom teachers from the member Powerful Schools have also attended the summer institute of the Teachers College Reading and Writing Project directed by Lucy Calkins. Powerful Writers collaborates through the Growing Writers Consortium with Puget Sound Writers Project, which runs a summer institute at the University of Washington and ongoing support for writing teachers throughout the year.

In recent years, Powerful Writers has been focusing their program on staff development. Mulherkar says that the goal of her staff is to work themselves out of a job. The program now builds continual instructional improvement in schools by providing classroom-based professional development to teachers. Powerful Writers is now working with a whole school model, so that they can help to build a literate community of students and a collaborative community of professional teacher-learners.

Theoretical Context
The Powerful Writers community of learners resembles the model created in New York City Community School District 2. Shelley Harwayne (1992, 1999) and a group of staff developers from the Teachers College Writing Project started the Manhattan New School in 1991 with the support of District 2 superintendent Anthony Alvarado. The school staff drew from their experience with the writing process approach while working with Lucy Calkins at Teachers College. Harwayne (1992) credits the early work of Graves (1983) and Calkins (1986, 1987) for providing the theoretical basis for their instructional approach. The staff also focused on continual staff improvement by creating professional learning communities in the school. Teachers were encouraged to reflect on their teaching in journals, visit other classrooms, videotape their teaching, and form adult reading, writing and study groups. The school became a model of school improvement in District 2. Elmore & Burney (1998) and Resnick & Harwell (1998) have documented the effects of professional development in District 2 on student performance.

Powerful Writers cite the work of Graves (1983, 1994) and Calkins (1986, 1987) in their program philosophy. Calkins (1986) first articulated the idea of mini-lessons, which provide brief, focused instruction in the daily writing workshop. Graves' (1994) Conditions for Effective Writing provide the research-based foundation for Powerful Writers Core Principles. The work set forth by Cambourne (1988) in his Conditions for Effective Writing is also implicit in these principles:

The following is a summary of Powerful Writers (2004) Core Principles:

Students need a safe environment with predictable routines.

Teachers must write in front of their students.

Students must write and publish for real purposes and audiences.

Craft elements must be taught incrementally and specifically.

Teachers learn best when professional development happens in their classroom with their students.

Students must be immersed in quality literature from a variety of genres.

Students and teachers choose meaningful topics drawn from their life experiences.

Meaningful assessment supports students and strengthens writing instruction.

Setting
Powerful Writers works in five schools in one of the most economically and racially diverse neighborhoods in the city. Their mission is to provide services to support students and teachers to close the achievement gap. The school where I completed my case study was typical in many ways. The demographic breakdown shows high percentages of students of color: Asian (50%), Latino (25%), and African-American (10%). Most (63%) students receive free and reduced lunch. Many (37%) receive bilingual education services. The school has utilized any additional funds to lower class size, providing a ratio of twenty-two students to one teacher in all grades throughout the K-5 school.

Powerful Writers staff developers cite the strong emphasis placed on community in the building as essential to making their program work. Mulherkar says:

Students need a safe and supportive environment for their writing to thrive. The school community is so critical if you want children to take risks, and to be willing to stand up to read their work out loud. That's honored in this school. (Interview, May 2004)

A community bulletin board near the school entrance honors dozens of adults who volunteer weekly at the school. Several have been coming for over ten years. Three are parents of teachers at the school. The school has a paid volunteer coordinator, a Latino parents club, and bilingual instructors who help create an atmosphere of caring. An open concept design allows a welcoming environment with support staff desks situated in high traffic areas for visiting parents. The school has full (100%) parent participation in parent-teacher conferences.

Strong building leadership helped the program to succeed by committing funds and freeing teachers from other district sponsored outside trainings. Several teachers at the school had worked with Powerful Writers while at other schools.

A culture of literacy was already present at the school, which ranked highest in the city for students reporting that they "read for fun" (Seattle Schools Annual Report, 2004). The well-supplied library is the hub between classroom pods. Clearly labeled baskets of leveled reading books fill classroom shelves.

At the end of my case study, I accepted a first-grade teaching position at the school for the next year. The commitment of the staff to professional development was an attractive characteristic for me. Teacher buy in to the Powerful Writers program was full (100%). Staff developers reported consistent follow-through with lesson units, and active participation at weekly staff debriefings.

The school climate was another great draw to this learning community. The rich cultural diversity was evident in an interchange in class one day. A second-grader with family roots (and home language) in Samoa asked a Filipina girl why her name sounded Spanish. She gave him an exasperated look, saying with raised eyebrows, "Spain conquered the Philippines! Didn't you know that?" (Classroom observation, March 2004)

Program Overview
In the fall of 2003, Powerful Writers embarked on their yearlong professional development program in the writing workshop. I identified the following key features of the program:

Introductory staff workshops on the writing process, personal narrative genre study, and expository writing genre study

Author visit launching the writers' notebook

Eight-week writing cycles designed to be grade level appropriate on personal narrative, expository writing (feature articles, how-to books), or poetry

Structured daily writing workshop include adequate time for immersion, predictable routines, student choice of topic, writing demonstration, and time for sharing and response

Print-rich classroom environment that supports writing

Weekly demonstration lessons by staff developers who introduce units and main themes

Weekly debriefings focused on instructional improvement between staff developers and teachers in grade level teams with instructions for teaching follow up lessons

Classroom celebrations and publication conclude each eight-week writing unit

Staff developers generally rotate to a different team of teachers for alternating units

Extended creative writing residencies

Teacher study groups on the primary workshop

Staff debriefing with third party consultant who gives feedback to Powerful Writers

Student portfolios assessed by third party consultant

Development of network for professional collaboration

Research strands
The following sections explore significant categories and elements of the writing program that I observed. The program as a whole answered many questions that I had about designing my own writing program. Powerful Writers embraces many ideas based in the research of Graves (1983, 1994), Calkins (1986, 1987, 1990), and Harwayne (1992). It was helpful to me as a preservice teacher to see these ideas implemented daily in the writing workshops that I observed.

Student voices
The writing workshop provides a fascinating window into the world of the student. I worked regularly with Wang Lu during writing conference time. This first grader had family roots in southern China and spoke Mien at home. His English proficiency is emerging. I discovered things about his life that helped me to build a trusting relationship with him. One particular day, Wang Lu exploded with information about how his family came to America. I realized that this was probably a story that he had heard many times at home in his native language, but that this was perhaps the first time that he was telling it in English. My conference with Wang Lu provided him the opportunity to rehearse the storytelling ability that is essential to language acquisition, as well as writing. It certainly fostered the community building that is one of the best by products of allowing student voices to be heard in their writing.

At a recent celebration in Audrey Lucero's first grade class, students read a favorite selection from their just published how-to books. Staff developer Susan Moscrip asked the students what their favorite part of the writing project had been. The overwhelming majority cited choice of their topic. They valued the chance to write something they knew about, drawn from their lives, and that was meaningful to them.

Principal Susan Murphy says that the Powerful Writers program encourages student voice:

I have to say that the Powerful Writers Program offers tremendous promise for the students at our school. It pulls together the critical areas of literacy and critical thinking and provides children with a powerful sense of self-efficacy. Written expression allows children to have a voice. Those voices will contribute to who we are as a society in years to come, and cultivating those voices will provide them with a vehicle to express their opinions and advocate for positive change. (S. Murphy, personal communication, May 2004)

Classroom environment that supports writing
This category also correlates to Graves' (1983, 1994) idea of room structure. Teachers support student work by creating a highly organized classroom structure. Student work is managed in portfolios or notebooks. Transitions to writing time are quick because teachers have set up systems to manage work.

Staff developers often chart the work for an individual mini-lesson. When Susan Moscrip taught a mini-lesson on writing effective leads to a personal narrative, she wrote this on a large chart:

My grandma had a chicken coop with about two dozen chickens. They laid eggs every morning. Every time I cook scrambled eggs, it reminds me of grandma. (Classroom observation, April 2004)

This chart remained in the classroom for students to see throughout the week. Other charts generated in the writing workshop had tips for editing, timelines to plot stories, or foursquare charts to identify possible writing topics. Classroom teachers generated charts with students on favorite class books and authors, favorite poems for choral reading, or word walls with vocabulary in particular subject areas. Word lists adorned the walls and hung from clotheslines above the desks. This print-rich environment provided information that was generated in class and meaningful to students.

Powerful Writers Staff all agreed that the safe environment of the school is essential for a successful writing workshop. Classroom teachers have to create an environment where students can work independently for long periods of uninterrupted writing. Students need to know that their voices will be heard and respected when it is time to share writing with others.

The school wide focus on writing in my study school encouraged more talk about writing among staff and volunteers. One day as I signed in to attend writing workshop, one of the school staff showed me her own beautifully illustrated, self-published picture book.

Writing process based on solid research
Powerful Writers staff gave an introductory workshop to school staff on the writing process, reviewing important research by Graves (1983, 1994), Calkins (1986, 1987) and others. Staff developers presented a demonstration mini-lesson, and talked about classroom routines and the structure of the daily writing workshop. Teachers had time to write and share with each other. This exercise begins to build the culture of literacy among the staff. It also prepares teachers to be able to write in front of their students, an essential element of the writing workshop (Graves, 1983).

The writer's notebook
When author George Shannon visited the school at the beginning of the year, he brought many of the seventy-two black and white composition journals that he has filled over the years. He then showed students his published books. Students saw that an author does not sit down and just write a book. Mulherkar says that the notebook teaches the students to think like writers. Notebooks give students a place to gather observations from their daily lives that provide material for later writing projects (Calkins, 1990).

Teacher Audrey Lucero introduced notebooks to her first grade class. She says that writers' notebooks provided a valuable tool for students "to experiment with their writing and to gain the fluency and confidence they needed to try more difficult projects later in the year" (Interview, May 2004). Mulherkar says, "Notebooks provide a place for students to begin to experience what it means to live like a writer" (Interview, May 2004).

Extended genre studies on particular forms of writing
Each grade level team chose two eight-week writing units led by staff developers. The units allowed students to deeply study writing in a particular genre (personal narrative, expository writing, poetry) and gave students a vocabulary to talk about different forms of writing.

Structured daily writing workshop with adequate time for writing
A structured daily writing workshop allows adequate time for students to stay immersed in a writing project for an extended period. Teachers committed to a daily writing workshop that lasted approximately one hour. Graves (1983, 1994) ideas of time, choice of topic, predictable routines and structure, demonstration, expectation, and response were all practiced on a daily basis, as they form the foundation of instructional strategies. Frequent, regular writing periods allow students keep thinking about their writing, so that they stay engaged in the creative process.

Focused instructional strategies with clear demonstrations and predictable structure
The writing instruction that I saw was focused, highly structured, and yet allowed considerable room for the creativity of individual teachers. The mini-lessons that I observed lasted 10-15 minutes and generally followed this format:

Gathering, accessing prior knowledge. Where are we in the writing process?

Stating explicit goal or writing strategy for this writing session, such as adding voice.

Teacher demonstrates or models how to employ strategy in her writing.

Students offer ideas or strategies about how they might use the strategy in their own writing.

At this point students write for a period of approximately thirty minutes. During this time, the teachers confer briefly with individual writers. Following the writing period, the students share new work. The teachers highlight effective writing strategies in the shared work, and then students are invited to share how they might employ similar strategies in the future.

Every writing workshop class had this same structure. I internalized the predictable routines after a few sessions. This is the highly structured environment that Graves (1983) talks about. Students are supported by the predictability of the routines within the lesson. This reinforces the clear expectations, and allows students to focus on their writing. Teachers demonstrate writing and model the ways they strategize by thinking aloud. Students share strategies, and learn from their responses to one another.

Demonstration
If there is one teaching strategy that must be singled out, this is it. Teachers demonstrate their thinking process as they model good writing to students. Thinking aloud as they consider different writing strategies, teachers model the critical thinking skills that students need to learn to succeed in all areas. Demonstration engages Vygotsky's (1962) zone of proximal development, and Bruner's (1973, 1996) idea of scaffolding when the teacher leads students from their present knowledge base to their next level of development.

When Eva McGough taught an eight-week unit on personal narrative to second graders, she led them through her own reasons for choosing a topic that she knew about, would interest her audience, and would be fun to write. Each week, she returned to her own story of a triathlon race that she once ran, thinking out loud as she dramatically rehearsed ways that she might relate different parts of the story in her writing.

Students learned to critique the effectiveness of various ways of expressing an idea as she tested out phrasings that varied in voice and quality. Student interest was high because the personal story told them something about McGough. She engaged them in the events of her own life through this story. This enabled her to lead them through the organization and critical thinking skills that they would need to make decisions in their own writing.

Conferences
A successful conference (Graves, 1983; Calkins, 1986) with a young writer begins by assessing the writer. Writing coaches should evaluate where a writer is in the process, looking for evidence of discovery, risk taking, and other patterns that may emerge. A good writing instructor will affirm the writer by naming and reinforcing the strengths of their writing. Finally, the writing coach chooses one thing that will help the writer most at the time, and teaches a strategy or craft technique that other writers use. Within this process, teachers build upon what the writer already knows, and show them how to reflect on and learn from their own writing.

Writer conferences provide a great opportunity for teachers to continually assess the needs of their students. Conversations with students about personally chosen topics allow teachers to connect with students in a positive way that builds the trust necessary to support the risks that students need to take to extend their learning. Conferences allow teachers to give individualized instruction in specific skills that students need to communicate material that is meaningful to them.

Clear Expectations
Teachers set clear expectations (Graves, 1983, 1994) for students. Cambourne (1988) found that adults assisted toddlers in acquiring language by communicating confidence in their ability to succeed at the task. Teachers perform the same role for their students. Teachers in my study often pushed students beyond what I had thought possible in writer conferences. They needed to be familiar with student capabilities, and know areas where students needed to grow.

Response
Students benefit from positive feedback from sharing their written work (Graves, 1983). Teachers can elicit suggestions from other students on different strategies that a writer might use to communicate an idea. All students learn from share and response sessions. Often a few students who effectively implemented a desired writing attribute can model that to other students better than teachers. I observed a share session where only a few students embraced the concept of adding setting to a narrative. After those students read their work, many others were able to predict how they might use the strategy in their own writing in the next workshop period.

Classroom celebrations and publication
At the end of the eight-week units, each class has a celebration of the completed project. Each student completes a book of finished work. Laminated book covers feature student artwork. Students gather in small groups or as a whole class to read their completed work to each other and teachers. Students and teachers ask questions and offer positive feedback on the writing. Cookies or doughnuts add to the atmosphere of festivity. A spiral-bound anthology in Audrey Lucero's classroom library contains work from each student for her future classes to read.

These classroom celebrations are extended into the neighborhood community. Powerful Writers sponsor an open mike reading at a neighborhood Starbucks. Students and teachers from five participating schools gather with family members to read and hear each other's work. An end of year celebration at the Richard Hugo House literary center features readings by over thirty student writers and their teachers with over one hundred in attendance.

Student portfolios assessed
A university consultant was contracted to assess student work in portfolios. Powerful Writers has found that portfolios are the most effective way to evaluate student progress throughout the year. In order to evaluate the effectiveness of their program, they asked each teacher to provide a sampling of student work from high to low ability students. The consultant will measure the growth in student ability over the course of the school year.

Professional collaboration
This category was unique to the type of model that I studied. Powerful Writers has tried to create a professional development model for schools that will build a culture of professional collaboration that can continue within the school.

Staff developers introduced eight-week writing projects to students, and returned each week to introduce new concepts. They modeled effective teaching methods to classroom teachers by presenting mini-lessons, demonstrating their own writing process to students, conferring with students, and leading a concluding share session.

Staff developers debriefed with teachers in grade level teams, reviewing the demonstration lesson, and giving teachers assignments for follow-up lessons. Teachers were accountable to each other to keep the agreed upon schedule. Teachers reported that they often learned most from questions raised by their team members. Staff developers worked collaboratively with teachers, rather than as experts. Teachers generally had the opportunity to work with each of the two staff developers placed at the school. This cross-pollination proved to be a very effective way of extending the culture of collaboration in the school. This culture of professional collaboration helps Powerful Writers to "work themselves out of a job," as Mulherkar says (Interview, May 2004).

Powerful Writers contracted with a third party consultant from a nearby university to help evaluate their program. The consultant held a closed debriefing with the teaching staff, and collected feedback for Powerful Writers. The staff debriefing helped to build the collaboration among teachers across grade levels.

There was a general consensus among staff that placed high value on staff development within the classroom. Teachers reported great benefits from seeing highly skilled teachers work in their classrooms with their students. Teachers also reported gaining confidence in their own ability to write in front of their students. The specific structure provided to them for follow-up lessons helped teachers to break apart the writing process in focused, instructional lessons.

One teacher felt that the program did sacrifice time from valuable units taught in the past. Another teacher decided to forego participation in one of the eight-week cycles to provide time for other curriculum.

Powerful Writers has offered scholarships to classroom teachers to attend writing conferences. They are actively building a network among local writing professionals and teachers. The Richard Hugo House literary center has hosted panel discussions gathering individuals to share expertise. I attended one event that gathered teachers from primary grades through college level. Presenters shared expertise on writing conferences, workshop organization and assessment with their peers. This kind of exchange extends the culture of collaboration outside of the school and into the larger community.

Conclusions
Writing workshop is a vibrant and rigorous process that allows teachers to design creative, personalized curriculum within a focused instructional approach based on more than twenty years of research and experimentation. The following essential elements to a successful writing workshop in the elementary classroom provide a guide that represents one approach that has been tested positively.

Structured daily workshop with adequate time is essential to provide the immersion that helps writers engage in the creative process to think about projects in between active periods of writing.

Topic choice increases writer interest and commitment, accesses student prior knowledge, and gives student voices expression that will help them to be literate, independent, lifelong learners.

Focused instruction with predictable routines gives student writers the supportive structure that they need to organize their thinking and writing.

Demonstration is the most effective method to model writing strategies by showing students how other writers make decisions about their writing.

Response gives writers the opportunity to receive feedback about their writing, and hear strategies that other writers use.

Celebration and publication allows writers to write for real purposes to specific audiences.

Writers notebook provides a place for writers to experiment, explore topics, and build the confidence and fluency for longer projects.

Portfolios provide a place to gather and organize student work, and chart improvement and growth in writing ability.

Professional development is essential for teachers to receive the support necessary to continue to grow as educators. Book groups, writing groups, study circles, classroom observations, reflective journals, audio and video recordings of instruction for self- evaluations, and professional conferences are all tools that enable teachers to be reflective practitioners.

The writing workshop creates the community of collaboration between students and teachers that builds strong schools. Sound instructional strategies based on solid research give teachers the tools to help students develop the voice and critical thinking skills that will help them succeed.

Powerful Writers Director of Staff Development Anne Mulherkar discusses the importance of topic choice and demonstration in the writing workshop:

We believe that when students are allowed to bring their lives and their passion to the writing workshop, their fluency and their voices as writers will emerge. They are that much more invested. When they begin to care about their writing, then they are going to be more open to all those hard parts like editing, conventions, and revising. They will persevere and stay with it.

We do not say to teachers, 'never assign a topic.' In general, we say that although students may not have a choice over what the structure of the writing is, the topic should be their choice. Then their learning curve will be more about the craft of writing than the content area. That is why writers' workshop is a separate time of the day. We believe that students need real purposes for writing and real audiences.

We model the ways we rewrite in our own lives. We believe that teachers need to write in front of their students. They need to think out loud in front of their students. It is possible for students to go all the way through school and never see writing modeled in front of them.

We ask teachers in our initial workshop to start writing about when writing works for them, and when it does not. They begin to get inside their own heads to see what their blocks are. I have my own blocks when I write. It's so good for me to go through that in front of students, and I think it is good for them to see that it's not always perfect for me.

You only have to write a couple of sentences. In that process of writing and rereading, we are catching errors. We are catching what we left out, and we are ruminating about it. Then we start to think about it when we are away from the page. We come back later and we make more changes. I think that when they see that process demonstrated in front of them, they will get the clearest sense of what writing is all about. (A. Mulherkar, interview, May 2004)

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About the author

Bernie McDonough teaches third grade in the Edmonds School District. He has taught students in Seattle, Washington and Rochester, NY. He brings a love of books and writing to his students, developed during his years as a Children's Book Buyer. McDonough received a Master of Arts in Education from Antioch University in Seattle.

Contact Information

Bernie McDonough
4645 S Gazelle Street
Seattle, WA 98118
mcdonoughb@edmonds.wednet.edu

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