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Intro to Process Writing

by: Eulalia Fay

Intro to Process Writing EDRG 4030

Marketplace > Southern Utah University > Reading > EDRG 4030 > Intro to Process Writing
Eulalia Fay
GPA 3.72

Mark Marriott

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Mark Marriott
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This 17 page Class Notes was uploaded by Eulalia Fay on Tuesday October 20, 2015. The Class Notes belongs to EDRG 4030 at Southern Utah University taught by Mark Marriott in Fall. Since its upload, it has received 19 views. For similar materials see /class/225501/edrg-4030-southern-utah-university in Reading at Southern Utah University.


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Date Created: 10/20/15
Rehearsal Living the Writetly Life My son entered nursery school in the middle of the year so neither he nor I received a proper introduction to the school s rituals In particular we didn t realize that Fridays were for showand tell Apparently on Miles s first Friday everyone gathered in a circle One child had a robot another a dog that walked and barked another a Spiderman figure Only Miles was empty39handed Each child in turn sat in a special chair and showed an item to the admiring circle Miles s turn came He took his seat in the special chair The group looked at him expectantly Ummm Miles said slowly looking out at the circle Then he fished around in his pocket With great seriousness he produced a little yellow thread from his blanket I brought this thread he said turning ceremoniously so everyone could see it Then he began rolling the thread on his hand like a miniature snow ball If you roll it like this and like thisquot he said you can make a love ball And Miles gave the love ball to Jonathan who was becoming his friend The next Friday came Again Miles s companions brought toys that beep and bop and again Miles was emptyrhanded This time when he reached into his pocket he produced a small white stone In my family we have memory rocks he said You save a special rock from the top of the mountain or from the beach and when you hold it and close your eyes you can remember the mountaintop and the sea Then Miles added I didn t even know this was a memory rock I found it in my pocket today I got it when I went to the big church and it was very boring so I picked it up from the oor Squinching his face up his hand closed around the stone Miles said Now when I close my eyes I can remember just how boring church really wasquot My hope is that in our writing workshops all of us teachers and children alike will be able to take the small threads and small stones of experience and of thought declare them significant and make something of them 21 22 Finding the Words to Describe the Writing Process The story of my son turning one of the threads from his blanket into a love ball is one of many metaphors i ve used to tell young writers about the writing process Sometimes I ve told children about how the poet Lucille Clifton likens writing to quilting or I tell them about Naomi Shihab Nye who writes in Valentine for Ernest Mann You can t order a poem like you order a taco Walk up to the counter say I ll take two and expect it to be handed back to you on a shiny plate Still I like your spirit Anyone who says Here s my address write me a poemquot deserves something in reply So I ll tell you a secret instead poems hide In the bottoms of our shoes they are sleeping They are shadows drifting across our ceilings the moment before we wake up What we have to do is live in a way that lets us nd them Maybe if we re39invent whatever our lives give us we find poems Check your garage the odd sock in your drawer the person you almost like but not quite And let me know Sometimes instead of using metaphor to convey the writing process I talk to students about research in the field I tell them for example that through the work of scholars such as Donald Murray Ken Macrorie Peter Elbow and Ianet Emig and through what writers report about their com posing processes we have begun to recognize that just as researchers often follow a scientific method writers often follow a process of craft when they work Some theorists describe the writing process as prewriting writing and rewriting some speak of circling out and circling back some of collecting and connecting I prefer Donald Murray s terms rehearsal drafting reviv sion and editing Whether we write a poem about shadows or an article about a geological expedition we often move through these same stages Some of us spend longer on rehearsal others on revision Some revisions fit between the lines of a draft others require a sequence of drafts We may edit a great deal when THE ESSENTIALS OF WRITING working on an expository essay and not at all when writing a letter Or the opposite may be true In our own way and at our own pace most of us follow a cycle in our writing rehearsal drafting revision and editing In this chapter I describe rehearsal in Chapter 4 I focus on drafting and revision Later in Chapter 18 I focus on editing Rehearsal An Overview For me rehearsal is above all a way of living People who write regularly live with a sense of I am one who writes and this consciousness engenders an extravsusceptibility an extraaawareness Stories happen to those who tell them Thucydides said Just as photographers are always seeing poten tial pictures so too writers see potential stories and poems and essays everywhere and gather them in entries and jotted notes This is rehearsal What do you do when you sit down to write a picture book I recently asked Karla Kuskin the awardrwinning author of The Philhach Gets Dressed and Near the Window Tree Poems and Notes I don t sit down to write she answered My writing starts with catch ing glimpses and snatches Then to explain Kuskin added On my way here I saw a big beautiful yellow truck with a sign Manhasset Imperial Sewage I noticed it and that sign may become the seed of a story Then Kuskin went on to say The Philharmonic Gets Dressed began on my daugh ter s birthday when she lifted up the dress on her new doll to check out its underpants Watching her I suddenly remembered my childhood fascina tion with underwear and the chant I see London I see France I see Karla s underpants and my book began Karla Kuskin is not alone After reviewing hundreds of interviews with writers for his Writers at Work series Malcolm Cowley says that although each writer s process is idiosyncratic each writer begins with a precious particle and then grows meaning from it This is true for Cynthia Voigt whose trilogy about Dicey and her family began when Voigt saw the strained faces of some children as they sat alone in a parked car outside a mall peering out into the parking lot It is true for Betsy Byars who says in her memoir 1991 that her books grow out of drawers full of clippings and letters and jotted notes and photographs It s a mystery why I kept a clipping about a man who ate thirty nine watermelons or this photograph of two beagles in sombreros or this story about a woman who put her very old hamster into the freezer to give him a merciful death she says but then adds Plenty of good scraps are as important in writing a book as in the Rehearsai 23 24 making of a quilt pp 26 39 Patricia MacLachlan talks about her writing process by likening herself to Cassie the heroine in Came Binegar who hides under a huge ugly tablecloth in order to study what feet reveal about the peOple conversing above her I am possessed by the image of that child MacLachlan says hiding under the tablecloth in order to watch and listen and become a writer peering at truths from a safe place Then she adds 1 know that child bemuse l was that child studying the world in order to learn who I was and how I fit in 1993 The Writer s Notebook as a Tool for Rehearsal The recognition that writing begins not as deskwork but as lifework has radical implications for how we and our students rehearse for writing Whereas some educators imagine that rehearsal for writing begins with listing and choosing among topics brainstorming ideas mapping alterna tive forms and experimenting with various leads most writers say that rehearsal for writing is not a string of exercises that warms up a writer just prior to the process of drafting but a way of life Rehearsal is not even something that occurs in conjunction with any one piece of writing it is a state of readiness out of which one writes The best way to develop the kind of widerawakeness that is so funda mental to the writing life is to write often Throughout the field of teaching writing one educator after another has begun to advocate that students jot down things they notice and wonder about their memories and ideas their favorite words and responses to reading into a container of some sort Donald Murray speaks of that container as a day book Donald Graves as a journal Betsy Byers as a bureau drawer and my colleagues and l as a writer s notebook but in each instance these containers differ from the popular understanding of journals Whether one calls them a day book a bureau drawer or a notebook they are above all places for rehearsal They are seed beds out of which rough drafts grow The poet Donald Hall has written an autobiographical work he calls Sm ng Too Short to Be Saved I like to think of a writer s notebook as a collection of strings too short to save It s a place for bits of life that may or may not emerge someday as major pieces of writing When our youngsters begin the writing process by collecting bits and pieces entries in their notebooks rather than by listing and choosing among possible topics for writing they are more apt to experience writing as a process of growing meaning Instead of entering writing with a subject in hand that already THE ESSENTIALS OF WRITING FIGURE 31 Angelica s entry amt cLWaM A31quot Maw kphW 244496 176 Jodiq Mb 39 mtgquot mix in feels big enough to be a story or an essay Angelica begins with this entry Figure 3l Once I saw a tulip in something and always wondered if it rained if it would fill up with water then I saw an image it was a tulip filled with water and somebody drinking it Michelle has used her notebook in a similar way to record a tiny ash of her imagination a moment she would not have put onto the page had her teacher said Choose a topic for a story She wrote Will I ever do a Diet Coke commercial since it s my favorite drink or will I open myself to prune juice If Michelle or Angelica had begun writing by choosing a topic for a story she wouldn t have written about drinking water from a tulip or wondering whether she d make commercials for prune juice They have written about these tiny morsels of life because the notebook has served as a tool that encourages them to do so Whereas Michelle and Angelica will probably take these seed ideas and gather more related entries in their notebooks before they try their hand at rough drafts Dan 3 second grader in Kathy Mason s classroom has already started the following two entries Figure 3 2 WHAT HAPPENED What happened to the dinosaurs What happened to the ice man Rehearsal 25 FIGURE 32 Dan s starred entries W af kappa10 The wor lef expown W h l ii wiff rim is s ices is We is g 2 J Gail gift if Q WEI7 aPPem 4 73 QUI mng mi 3322 Whro Ci if J 7L if38 a W hugemagma are mates ivy 1mg C 7L0 0 10quot 25 WAY6 35 r hms z fg my xvi44 I Mia2 7676 3 gug all Jo s 67 info of j eK od ng HA yjo pant 78 to Aug me Out va X776 Kaicquot 23C k in 3an 19 sex is P mazes V l 8 is 2125 wig9Z5 cot 26 Whathappened to my brother What happened to my dad s time What happened to my mom39s time I guess I ll just sit here With no parents to hug me and give me love I feel like a little orphan boy I wish they had time to spend with me Like other parents do THE WORLD S EXPLODING People are fighting People are having wars Families are breaking up People are stealing things People are killing people People are dying People make pollution People are making too much buildings What I mean The world s exploding Dan wants to make something of these pieces His revision process will involve polishing these tough drafts into finished pieces of writing Michelle Angelica and Dan all came to their classroom and to their writing desk without drawers full of good scraps Without precious particles THE ESSENTIALS OF WRITING Like many of our students they had never grown stories or essays out of what they saw and remembered and wondered about For this reason they probably didn t enter the class with a writer s eye already seeing potential stories in their lives Instead they told us My life is boring and I have nothing to write about Although Thucydides words Stories happen to those who tell them are true the reverse is also true Stories don t happen to those who don t perceive of themselves as story makers reporters poets or essayists And so when my colleagues and I work with youngsters often our first goal is to fill these youngsters with a sense of I ve got so much to say and My life is full of possible stories The First Days Introducing Our Students to the Writing Workshop and to the Writer s WidevAwakeness Isoke Nia one of the staff members of the Teachers College Writing Project recently gathered a group of youngsters around her From her knobby handwoven satchel Isoke pulled out a black book Perhaps it was the way Isoke cradled the book in her arms perhaps it was the way the book itself looked with its corners covered in a bold African fabric I don t know But I do know that the book seemed alive What do you suppose I have in here Isoke asked Words a child said I might have been impatient with that answer wanting an answer more specific than words But Isoke a wiser teacher than 1 instead reached out to cherish that child s suggestion Words she repeated Words She spoke as if this was the most precious gem in the world Yes I have words Words And what else Others in the group probably gained confidence when they saw that their friend s guess had been well received because now there was a urry of suggestions Stories Memories Poems Yes yes Isoke answered holding the notebook closer in her arms as if each suggestion reminded her again of the riches contained in it And what else Secrets Secrets Isoke said Secrets And She turned the pages of her notebook and those closest to her craned their necks to see inside Rehearsal 27 28 The children spoke quickly their voices piling on top of each other Purple ink Snapshots Newspaper clippings A dried flower Lists Isoke continued to cradle her notebook and it seemed as if she was also cradling each of the ideas the children had given her and each of the children My notebook has all of my life in it because I keep my notebook beside me always she said I don t carry those cute little purses some women carry because I need a bag that is big enough to hold my notebook I needed my notebook to be there after I left my daughter off at college last week and I told her father to drive because I had some thinking to do And I needed my notebook to be there after I saw a homeless woman filling a line of paper plates with food for a swarm of homeless cats And she continued to demonstrate the way writing weaves through all of her life The other night at a dinner party I didn t have my notebook and the speeches made me remember so many things that I had to borrow everybody39s napkins to write on she said and opened her notebook to the pages onto which she d taped her napkin notes Isoke used this writing workshop as a time to demonstrate the role writing plays in her life and to invite students to join her in living the writerly life In doing this Isoke relied on the theory of language develop ment that parents of young children know instinctively Mothers and fathers don t drill their toddlers on blends and word endings but instead engage them in purposeful conversations fully expecting that their children will convey meaning as best they can So too Isoke didn t drill her students on the component skills of good writing or on possible rehearsal strategies but instead invited the students to join her in using writing in genuine purposeful ways Within a few days each of Isoke s students will have brought in his or her own notebook and many will have added magazine pictures fabric postcards or drawings to their covers as a way of saying This is my book This is my life But this won t happen accidentally It will happen because Isoke knows that when she launches a writing workshop she needs to be sure that notebooks become a valued tool in her students lives She ll help her students realize that choosing one s own perfect notebook is an enormous decision and she ll show them the diversity of choices available to them She ll watch for the one child who begins to personalize her notebook with a careful drawing a photograph a quote to live by and she ll make a big fuss over this She ll watch for the one child who invents a bag for his notebook or nds a way to clip the notebook onto his belt or makes a small THE ESSENTIALS OF WRITING portable satellite notebook to carry with him to lunch and she ll make a big fuss over this too She may ask everyone who has chosen a notebook to wave them OVerhead so she can admire all their gorgeous precious books ust as Isoke knows even before it happens that a few of her stu39 dents will bond with their notebooks immediately she also knows even before it happens that a few will leave their notebooks at home or tear out pages to use for their math homework Both extremes will become opportunities for teaching When half the class has forgotten their notev books Isoke may go to one of the students and acting as if she doesn t recognize the extent of the problem she may stop in her tracks openr mouthed in amazement and say You forgot your notebook Turning to the class she might say Oh no what will Diana do without her notebook Geez that is awful I am so sorry Is there someone at home who could bring it in What Isoke will not do is to reassure the student by saying That s okay Write on loosevleaf paper for now and paste it in your note book tomorrow Isoke is establishing norms in her classroom She does this not by listing her expectations on the chalkboard but by living as if they already existed During the first few weeks in the writing workshop especially Isoke will need to show children what it means to carry a notebook with them every where and to jot in it often When children ready themselves to see a film or hear a guest speaker or listen to a story Isoke will want to be sure she has her notebook open and her pen poised and she ll want to search through the class asking Where are your notebooks How can you listen without having your notebook there to catch the ideas and memoriesand facts that interest you At the end of the day when Isoke wonders if any of her students have remembered to pack their notebooks in their knapsacks she ll probably say I ve got my notebook in my bag and I know you all have yours in your packs and purses Tomorrow and every day let s begin by sharing the wonderful noticings and memories and words and ideas we ve each put into our notebooks the night before Isoke acts as if writing is the most important thing in the world to her students and she refers to them as authors because she wants her students to be members of what researcher Frank Smith calls the literacy club We get our identities Smith says not by looking in the bathroom mirror and asking Who am I but by the clubs we belong to the groups we re members of 1988 The teacher of literacy sponsors a club a converr sation in his or her classroom and then does everything possible to bring students into that conversation and that community Rehearsal 29 30 Each of us as teachers will need to invent our own ways of launching our writing workshops In Living Between the lines I tell about how my colleagues and I often begin the workshop by asking students to push back the desks and form a storytelling circle When we want to invite and eajole our students to bring their memories treasures and noticings into the storytelling circle we often begin by reading aloud a book such as Mem Fox s Wilfrid Gordon McDonald Partridge in which the old people living in a nursing home find that everyday bits of their liveswchicken eggs and shells hold memories What treasures from your lives hold memories we ask In the reading list at the end of this chapter I have included books that could in a similar fashion evoke stories and memories In Living Between the Lines I tell about how Shelley Harwayne a colleague used her own memor ties to invite storytelling She told a circle of children about how her mother had used dried bones from a chicken s neck as jacks and a roll of cow hairs as a ball when she was a child When Shelley finished telling her story she asked Does my story bring out any memories of stories you ve heard in your family or images of anything you39ve made And then of course the circle was filled with the contagious energy that comes from a tumbling richness of stories one resonating against another There were exclamations of That happened to me too and Wow did you really do that and there was in the room a growing sense of what a group we arequot and what lives what stories Later after a week or more of sharing stories in the whole group and in small groups Shelley said We ve got so much to say why don t we each begin gathering some of these amazing bits in writers notebooksquot I In her book In the Middle Nancie Atwell 1987 writes about how she began a writing workshop by inviting her students to join her in living the literate life She drew her eighth graders around her and said I m a writer and a reader Writing and reading and teaching them to you are my lifequot Nancie describes her teaching this way I write with my students I show them my drafts I ask for their responses in writing conferences I tell them writing is a new habit one that is changing my life I tear my hair over my writing but I keep on writing because I can t stop I read with my students I show them what I m reading and I talk about and lend my books I tell them reading is an old habit one that shaped my life and gives it so much meaning I don t know if I could go on living if I suddenly couldn t read I love these things so much I can t imagine that my students won t love them too From the rst day THE ESSENTIALS OF WRITING of school I expect they ll participate in written language as real writers and readers do as I do pp 48 49 Each of us as teachers will constantly need to reinvent our own ways of inviting students to live like writers But we will all draw on some of the principles that underlie what lsoke Nia Shelley Harwayne and Nancie Atwell have done During the first days of their writing workshops each of these teachers invited students to join them in collecting drawers full of scraps in seeing their lives as full of precious particles they invited their students to come together as a richly literate community Good teaching is very rich and I want to pause for a moment to name and savor some of the lessons that can be learned from these glimpses of teaching 39 When we teach writing we will probably not begin by talking about writing but rather by demonstrating the power and purposes writing has in our lives and by inviting students to discover ways that writing can enrich their lives as well Rehearsal for writing can involve brainstorming possible topics or mapping possible directions for a piece but the more important thing is that students realize rehearsal involves living wide awake livesquotseeing hearing noticing wondering and gathering all of this in bureau drawers or notebooks or daybooks Teachers help students to see and value the precious particles in their lives not by giving lectures and assignments but by demonstrating this quality of attentiveness in our own lives and by establishing rituals in our classrooms that encourage it in our students lives Our teaching conveys messages of which we re not even aware We may think our teaching is above all informing students about how the little things an author sees can ignite an idea for a story but our most important lesson may in fact be carried instead by the way we call our students together Audion let s gather in a circle or by the way we refer to Robert McCloskey as an author like you At the beginning of the school year and of the writing workshop each teacher must above all build a learning community By paving careful attention to the tone of our teaching we can establish an atmosphere of graciousness and care and respect in our classrooms Rehearsal 31 32 Rituals That Encourage Students to Write Often Throughout Their Lives When we teach writing we first establish simple predictable writing work shops and then move about the classroom extending what our students do Our teaching is characterized not by the words we say but by the ongoing structures and rituals that shape the writing workshop I will describe these ongoing structures in great detail in Section III but for now it is enough to say that once a writing workshop is under way we will want to institute a few carefully chosen rituals that will help students see their lives as full of invitations to write Since Isoke wants her students to write in their more books every night she is wise to institute a morning ritual of sharing with a partner whatever one has written the night before This ritual will exert a much stronger in uence on her students than anything she could say to them Whereas Isoke and her students begin by opening their notebooks and sharing their entries other classroom communities may decide to begin the day in silence while members of the class take time to record their lives and their thoughts on the page Still other classrooms may begin with a variation of shorthandtell with students meeting in small groups to share and to savor the stuff of their lives Betty Lyons a first grade teacher in Manhasset Long Island begins many of her autumn writing workshops with Notebook News quot Who has tried something new in their notebook she asks in order to launch each session of Notebook News My brother told a joke and so I put it in my notebook one child says I found a box of wrapping paper at my grandma39s house and made a cover for my notebook another child says and adds and I got my grandma to put down the song she sang me when I was a baby Yet another child tells of riding the subway with a notebook in hand When young writers share the ways they weave notebooks into their lives their teacher doesn t need to spend her time lecturing them on the value of writing often for varied reasons and in various places Other teachers have invented still other rituals for encouraging students to write in their notebooks Some teachers begin each class meeting at least in the autumn of the year by hearing about and celebrating the diversity in their students notebooks How many of you have written a very very short entry a line a word a little list The children raise their hands high celebrating what they have done even if it is just a single word How many of you have written an entry that reached all the way to the bottom of your page and went around to yet another page How many of you have written THE ESSENTIALS OF WRl39I39ENG about a memory a question something you ve noticed a dream a book How many of you have written a poem a letter a plan a story Some teachers celebrate the diverse ways in which students choose to rehearse for writing by suggesting that every writer read aloud a single word from his or her notebook This happens quickly so that first one writer reads into the circle then the next and then the next until the classroom fills up with the bits of life that are there in the notebooks One of the wonderful things about this ritual is that it allows teachers to accept and to celebrate whatever students do When a child brings us a notebook with just a single word in it the brilliant teachers of the world say What a word and they say It s such a big word isn t it Later there will be times and ways for saying You can do so much more than this but at the start of the year when we re most apt to feel overwhelmed by all that our students do not yet know the wisest thing is to celebrate and extend Still other teachers suggest that each notebook be opened to a particular page and laid out in great ceremony as part of a Notebook Museum and that all the writers in the room mOVe about admiring the different ways in which writers use their notebooks to rehearse for writing Later these students will gather to respond to the questions What did you notice and What new idea39will you try based on what you saw today I have referred to the Notebook Museum or to Notebook News not as activities but as rituals Wise teachers know that using any one of these ideas often and with variations is far more powerful than using all of them For example the writers who display their notebooks in a museum and take note of what others have done can eventually use this ritual for very specific purposes Students can form a museum for displaying long entries and they can be encouraged to study what others have done Who has written long entries What can we notice by paying attention to those entries What questions do we want to ask the authors of those entries Because these ideas are best used as rituals teachers will want to select from among them carefully and to imagine ways to make the ritual significant in the classroom and to keep it alive over time Although it may not be wise to have a museum display at the start of every day s writ ing workshop this may be a wonderful way to begin or end each week Alternatively perhaps the idea of a museum is best used when it fits what ever is on the front burner of the classroom community In Chapter 20 I suggest that as teachers we will also want to think about how a ritual that works in the writing workshop might be used later within the math or social studies or science curriculum Rehearsal 33 34 Our writing workshops will always be shaped by a few carefully chosen rituals and structures but this is particularly necessary at the start of the year As all of us know and all of us forget everything is particularly difficult at the start of a writing workshop We cannot assume that students know how to gather in a circle or how to answer their own questions Pen or pencil Two sides of the page or one Page numbers or no page num bers So it is particularly important at the start of the year that we institute only a few rituals and structures in the classroom and take the time to attend to these with care If our teaching is too complicated we focuson our lesson plans rather than on our students Recommended Literature on launching Notebook Writing and Inviting Students to Live as Writers Children s Literature Aragon Jane Chelsea Salt hands New York E P Dutton 1989 Arnosky James Secrets of a wildlife watcher New York Lothrop Lee amp Shepard 1983 Avi Nothing but the truth A documentary novel New York Orchard Books 1991 Baylor Byrd The best town in the world New York Aladdin Books 1982 The other way to listen New York Macmillan 1978 The way to start a day New York Charles Scribner s Sons 1978 Your own best secret place New York Macmillan 1991 Bliss Corinne Demas Matthew s meadow San Diego Harcourt Brace Jovanovich 1992 w Blyler Allison Finding foxes New York Philomel Books 1991 Booth David Til all the stars have fallen New York Viking Children s Books 1990 Brinckloe Julie Fireflies New York Macmillan Children s Book Group 1985 Carlstrorn Nancy Light Stories of a small bright kindness Boston Little Brown 1990 THE ESSENTLALS OF WRITING Charlip Remy and Jerry Joyner Thirteen New York Macmillan 1984 Cisneros Sandra The house on Mango Street New York Vintage Books 1989 Collins Pat Lowery I am an artist New York Millbrook Press 1992 DeSaix Frank The girl who danced with dolphins New York Farrar Straus 5st Giroux 1991 DeFelice Cynthia When Grampa kissed his elbow New York Macmillan 1992 Fleischman Paul Rondo in C New York HarperCollins Children s Books 1988 Fox Mem Wilfrid Gordon McDonald Partridge Brooklyn NY KanefMiller Book Publishers 1989 George Jean Craighead Dear Rebecca Winter is here New York HarperCollins 1993 Goffstein M B Family scrapbook New York Farrar Straus St Giroux 1978 Goldstein Bobbye Inner chimes Poems on poetry New York Boyds Mills Press 1992 Golenbock Peter Teammces San Diego Harcourt Brace Jovanovich 1992 Greenfield Eloise First pink light New York Black Butterfly Children s Books 1976 Greenfield Eloise and Lessie Jones Little Childtimes New York Thomas Y Crowell 1979 Hall Donald The man who lived alone Boston Godine 1984 Hartmann Wendy All the magic in the world New York Dutton Children s Books 1993 lnnocenti Roberto Rose Blanche New York Stewart Tabori Gt Chang 1991 Klein Robin Penny Poilard s am New York Oxford University Press 1987 Lasky Kathryn My island grandam New York F Wame 1979 Little Jean Hey world here I am New York HarperCollins Children s Books 1989 MacLachlan Patricia Through Grandpa s eyes New York HarperCollins 1980 McCloskey Robert Time of wonder New York Puf n Books 1989 Rehearsal 35 36 McLerran Alice Roxaboxen New York Lothrop Lee amp Shepard 1990 Merriam Eve The wise woman and her secret New York Simon 81 Schuster Books for Young Readers 1991 Mills Patricia Until the cows come home New York North South Books 1993 Ray Deborah Star gazing sky New York Crown Publishers 1991 Reading Is Fundamental Once upon a time New York Crown Books for Young Readers 1991 Ringold Faith Tar beach New York Crown Books for Young Readers 1991 Ryder Joanne Step into the night New York Macmillan Children s Book Group 1988 Rylant Cynthia All I see New York Orchard Books 1988 Soda jerk New York Orchard Books 1990 Waiting to waltz A childhood Scarsdale NY Bradbury Press 1984 Zolotow Charlotte Snippets New York HarperCollins Children s Books 1993 Professional Literature Bomer Randy A time for meaning Learning literacy with people aged 10 20 Portsmouth NH Heinemann in press Calkins Lucy McCormick with Shelley Harwayne Living between the lines Portsmouth NH Heinemann 1991 Dillard Annie The writing life New York Harper amp Row 1989 Elbow Peter Writing with power Techniques for mastering the writing process New York Oxford University Press 1981 Goldberg Natalie Wild mind Living the writer s life New York Bantam 1990 Harwayne Shelley Lasting impressions Weaving literature into the uniting workshop Portsmouth NH Heinemann 1992 Heard Georgia For the good of the earth and sun Portsmouth NH Heinemann 1989 Hopkins Lee Bennett Pass the poetry please New York HarperCollins Children s Books 1987 THE ESSENTIALS OF WRITING Jackson Jacqueline Tum not pale beloved snail Boston Little Brown 1974 Murray Donald Expecting the unexpected Teaching myself and others to read and swine Portsmouth NH BoyntonfCook Heinemann 1989 Rehearsal 37


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