Instagram Stories have been around for two years. They came onto my radar about six months ago since several people I follow started creating them. I thought about dabbling in Instagram Stories, but knew I needed to watch a bunch of them before I tried on my own. (Even though Instagram Stories disappear from your profile after 24 hours – unless you save them to your profile from your private archive – I didn’t want to make a fool out of myself!) Therefore, I immersed myself in many Instagram Stories before creating one.
Just as I needed to view many Instagram Stories to help me figure out how one of my own would go, immersion helps young writers envision what their end products will look like. Regardless of the genre, time spent immersing children in the kind of writing you expect them to produce in a unit of study is time well-spent (Bomer, 2010; Caine, 2008); Eickholdt, 2015; Ray, 2006; Shubitz, 2016). After all, it’s hard to understand what’s expected if you don’t know what the finished piece could look like.
Typically, teachers share mentor texts with students during read aloud time. The first reading of a text should be to experience it as a reader. The second reading of a mentor text should be to notice craft or, rather, how the text is written. After reading a text twice, it is time to dig deeper to notice and note what an author did that made the writing come alive. Many teachers provide time for whole-class discussion of a text so that all students’ responses are honored and recorded on an anchor chart for future reference.
In addition, students can work with partners to read like writers. You may provide students with a variety of mentor texts (i.e., published, teacher-written, student-written) to read and explore together. Provide students with a variety of mentor texts – at different levels – so all students can engage in immersion with a partner.
There are many ways to help students read like writers.
Katie Wood Ray (1999) suggests:
- Notice something about the craft of the text.
- Talkabout it and make a theory about why a writer might use this craft.
- Give the craft a name.
- Think of other texts you know. Have you seen this craft before?
- Try and envision using this craft in your own writing. (120)
Ralph Fletcher (2011) encourages students to:
- Make a copy of the writing and put it in your writer’s notebook.
- Copy a sentence or short section of the piece in your writer’s notebook, maybe mentioning why you chose it.
- Share it with a friend, zooming in on one part or craft element you really liked.
- “Write off the text” – that is, create a similar piece of your own. (13)
While Katherine Bomer (2016) provides a third way to examine texts:
Step 1: Read Out Loud.
Step 2: Respond as a Reader.
Step 3: Reread.
Step 4: Read with a Lens.
Step 5: Talk.
Step 6: Record. (10-11)
There isn’t one way to read like a writer. Therefore, it’s important to provide students with a variety of ways to read texts – some are more structured than others – so students can find a process of their own to adopt. After all, we want kids to continue to do this work independently in the future.
After spending two to four days at the beginning of a unit of study to immerse students in a genre, it’s time to determine what they’ve absorbed. After immersion, set aside a day to administer an on-demand writing assessment (Calkins, Hohne, and Robb, 2015). On-demand writing assessments give students the opportunity to try out what they’ve learned after immersion. The data you’ll glean from an on-demand writing assessment will help you modify your whole-class instruction, if necessary, if you notice there are some big understandings about a genre the entire class is missing. In addition, you’ll be able to look at each student’s piece to determine strengths and areas for growth, which can help you set goals for one-to-one writing conferences. Furthermore, on-demand writing assessments provide you with data to create groups of students so you can create a series of small-group strategy lessons to meet multiple needs at one time.
We want students to feel confident when they begin the first non-immersion lesson in a unit of study. One of the best ways to empower kids to feel like they can create writing is to help them understand what it is they’re going to create from the start.
Bomer, Katherine. 2010. Hidden Gems: Naming and Teaching from the Brilliance in Every Student’s Writing. Portsmouth, NH: Heinemann.
—————. 2016. The Journey Is Everything: Teaching Essays That Students Want to Write for People Who Want to Read Them. Portsmouth, NH: Heinemann.
Caine, Karen. 2008. Writing to Persuade: Minilessons to Help Students Plan, Draft, and Revise, Grades 3-8. Portsmouth, NH: Heinemann.
Calkins, Lucy, Kelly Hohne, and Audra Robb. 2015. Writing Pathways: Performance Assessments and Learning Progressions. Portsmouth, NH: Heinemann.
Eickholdt, Lisa. 2015. Learning from Classmates: Using Students’ Writing as Mentor Texts. Portsmouth, NH: Heinemann.
Fletcher, Ralph. 2011. Mentor Author, Mentor Texts: Short Texts and Craft Notes. Portsmouth, NH: Heinemann.
Ray, Katie Wood. 1999. Wondrous Words: Writers and Writing in the Elementary Classroom. Urbana, IL: NCTE.
—————. 2006. Study Driven: A Framework for Planning Units of Study in the Writing Workshop. Portsmouth, NH: Heinemann.
Shubitz, Stacey. 2016. Craft Moves: Lesson Sets for Teaching Writing with Mentor Texts. Portland, ME: Stenhouse.