Dr. Louis' Blog

Hi. My name is Melissa. I was trained by you last school year with junior high and high school teachers of Ennis ISD. My seventh-grade students are writing a biography about an author. I'm requiring them to use the Jane Schaffer expository format, but most of them are struggling to form a topic sentence, commentary, or concluding sentences for their chunks. They seem to want to fill their paragraphs with nothing but concrete details. Is the Jane Schaffer format appropriate for a biography?

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‍Dear Melissa,

Yes. Use the 2+:1 ratio for the paragraphs, Melissa. Also, think of the biography in terms of a narrative with a beginning, middle, and end..Above the introduction: Title and Quote from the author (The title must be something from one of her works – it may not be her/his name)Introduction• Broad statements - Why do people read? Why do different people resonate with different authors?• Introduce author – name, century s/he lived, known best for• Thesis: Her/his life is meaningful because . . .Body Paragraph 1:TS – Early LifeCD – Details CD – Details CD+ – DetailsCM – What is interesting, odd, unusual? Impact?CS – Unexpected, Defied the odds, Impact on societyBody Paragraph 2:TS – Education, Mid-Life, First Book or PoemCD – Details CD – Details CD+ – DetailsCM – What is interesting, odd, unusual? Impact? Does first writing relate to her/his hardships, relationships?

CS – Unexpected, Defied the odds, Impact on societyBody Paragraph 3:TS – Late in LifeCD – Details - Awards CD – Details - CD+ – Details - DeathCM – What is interesting, odd, unusual? Impact? Does first writing relate to her/his hardships, relationships? CS – Unexpected, Defied the odds, Impact on society Conclusion - why out of all the authors you could have chosen did you choose this one? What makes him/her stand out above the rest?

Keep reading and writing!

Best regards,

Dr. Louis

Hi, Dr. Louis:

My name is Jaime, and I'm a teacher in Los Angeles. We spoke on the phone about a month ago or so. I'm just sort of in a quandary using the Jane Schaffer Method with my students right now. I'm mostly teaching 9th graders, more at the remedial end of the spectrum. So [. . .] the method [has] been extraordinarily helpful in helping my more remedial students learn how to organize their thoughts into paragraphs and eventually essays.

But I also have more advanced students in my classes who, for some reason, through better teaching in middle school or just natural aptitude, are more able to organize their thoughts more maturely into paragraphs and essays. I just don't know if I should require them to rewrite their work strictly using the format: topic sentence, concrete detail, etc., really strictly or give them more latitude with regard to their work. Student writing that for some reason just has a more natural flow to it with more advanced organization skills – I just don't know if I should like have them back up and rewrite strictly adhering to the Jane Schaffer format.

Anyway I'm sort of struggling with this quandary and thought you might have some feedback on the issue.

Thanks!

Jaime

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Dear Jaime,

Great question! Thank you for asking. Let's start with Jane's response to your question; then, I'll add a little more of my own commentary; then, I'll let Ralph Waldo Emerson finish this blog for me. From Jane's voice, straight to your ears: "Formula/structure is a place to start for students who need it; some don’t need it at all. We want students to leave the formula behind when they are ready to do so. Breaking the formula is called weaving –- mixing fact and opinion/concrete detail and commentary." Jane was adamant about valuing teachers' intuitions about students and the decisions that ensued, based on those intuitions.

For me, I have to tell a story. One year, on the very first day of school, I was busy greeting my ninth graders, and as I looked toward the back of the classroom, I saw a young man walking toward me. Normally, on the first day of school, ninth graders are shy, timid, and reserved. Not this ninth grader. His name was Adam, and he had a blue disk in his hand. As he approached me, his hand lifted and he said, "Ms. Louis, I would like you to read my novel.""Why, Mr. F (I called students by their last names), I'd be glad to read your novel," I said.

When I read the first few pages of his novel, I realized that this child was a natural writer. The next day, I gave the ninth graders a diagnostic essay prompt. It was a narrative assignment designed to provide me with their writing acumen. I told them to do their best writing so that I would be able to ascertain their strengths and weaknesses and plan their writing instruction accordingly. Adam's essay was exemplary. I knew that he did not need to start from scratch.

I pulled Adam aside the next day and said, Mr. F, your writing is beautiful. You have a natural talent. This year, your class and I will be working with a program called the Jane Schaffer Writing Program (JSWP). I would like for you to learn the terminology and the process for two reasons: 1) I'd like for us to use the terminology when we discuss your writing; and 2) I would like you to be one of my student writing coaches. However, when I assign paragraphs and essays to you and your classmates, you do not need to work through the JSWP process or graphic organizers unless you choose to do so. You may opt to write without the method. I'm fine with that." I tell you this story, Jaime, to reveal that there was no way I was going to take this child (or any child, for that matter) backward. He naturally understood the importance of the ratio in literary analysis; he naturally understood the purpose of an introduction and conclusion; he naturally understood how to create a logical, organized, cohesive piece of writing. When I gave prompts to Adam's class, I noticed that sometimes Adam would integrate a piece of JSWP if only to get him started. But that call was his, and I was happy that he had a variety of tools to access.

In my career, I had few students like Adam -- well, no student was like Adam. But I had few students with natural writing ability. When those students entered my classroom, however, I was comfortable and so was Jane with my having a conversation with those students about how they and I would handle writing assignments.

You are the expert in your classroom. Do what is best for each and every student. Have private conversations with students. Be respectful about the program, so other students won't feel like they are inept. Move individual students beyond the formula (see "weaving" in the guides) when they are ready.Back to Adam, at the age of fourteen, this young man was a Russian Revolution scholar. So, when I taught Animal Farm, I asked him to team teach with me. When he was a sophomore, University of North Texas (UNT) invited him to matriculate into their program his junior year. He was amazing. Every night, I prayed that I help and not hurt his academic progress. About four years after I had Adam in class, I received a letter in the mail from UNT, inviting me to attend their Math and Science Banquet. To my surprise, Adam had requested that the school invite me as the teacher who made the greatest impact in his life. I was humbled. I think he regarded me in that manner because I let him soar; I let him take the lead regarding how he would approach his assignments.

Some teachers are like Adam. Administrators need to just leave them alone and let them soar! I had administrators like that: Dr. Tribble, Dr. Clingman, Dr. Patton. Emerson said, "Trust thyself: every heart vibrates to that iron string." Go with that advice!

Warm regards,

Dr. Louis

Dear Dr. Louis,

 "You came to our campus [June 2017] and demonstrated the Jane Schaffer Writing Program by teaching our students as we teachers observed on the periphery of the classroom. You taught my eighth grade students. I know these students well. With you, they behaved differently. They were engaged, curious, and enthusiastic. They were, in fact, model students. You mesmerized them! How do I get that from them every day?"

Ann

Dear Ann,

Thank you for your kind words. You are correct. Your eighth graders were wonderful. Don't be disheartened, though. I was a new face, a novelty. And leading up to my arrival, you probably, in your best, firm teacher voice, threatened any misbehavior when the guest was presenting in your classroom (just kidding). I imagine that behavior, my friend, is more about their respect for you than for me. But it's an interesting question, and it allows me to talk to my colleagues, especially new teachers, about giving and gaining respect in the classroom.

I spent years as a young teacher, learning from my mentors. Jane was a kind, generous, and encouraging mentor. "Trial and Error" was definitely a generous one but not so kind at times! I learned different skills from each. From Jane, I learned that her writing method works for all types of students by removing the mystery from writing in an academic environment. From "Trial and Error," -- well, I learned a lot more than can be written in this one blog. However, to your point, I learned that students feel safe when they know someone is in charge who 1) is credible; 2) has their best interests at heart; and 3) sets expectations. We can have fun -- we do have fun -- but boundaries exist for optimum learning.

If I want engaged, curious, and enthusiastic learners, I must demonstrate those qualities as a teacher.

So, here are the sixteen rules I said to myself each day as I set my intention for the day: I call it "SWEET SIXTEEN: GIVING AND GAINING RESPECT IN THE CLASSROOM.

1. DRESS PROFESSIONALLY. Every day is a first impression when your children walk in the door. Something about business attire sends the message: “I respect you, and we're here to work and develop as productive global citizens.” On major test days, I would even ask my students to dress up. We complain about what the kids wear to school, but look in the mirror. Save the jeans for Fridays, and make sure that the jean you select make you look competent and classy! Every day, look like a professional. That impression goes a long way with students, because they pay attention to what you wear. Clothing, shoes, hairdos, and jewelry do not have to be expensive to be impressive. You are a professional. Dress the part.
2. USE PROPER ENGLISH or whatever proper language your students and you speak. Sure, make them laugh on occasion by using their vernacular, but make it a rarity. Talking like them puts you on their level. You are their teacher. You have at least two degrees, and many of you have several degrees.
3. Absolutely no profanity or even an inkling of profanity. I’m even talking about saying phrases, such as “that sucks,” “pissed off,” "crap," or "damn." Tempting on many days, but inappropriate. Whatever you say aloud to students is fair game for them to repeat. You are a teacher of behavior and etiquette whether you want to be or not. You took the job, and teaching youngsters about when and where certain phrases are appropriate or not will help them in their future.
4. And for goodness sake, do not start a sentence with "me and Jennie" or "her and Alex" or "him and Alicia."
5. BE PREPARED AND ENTHUSIASTIC about your lesson. If you're unprepared and/or bored, the students will be unprepared and/or bored. Trust me on this! They mirror you. They really do. With regard to creating engaging lessons, brainstorm with colleagues about approaches to a lesson that could make it more relevant to the students. Collegial coaching  is one of the most important professional development activity you can do! Also, when teaching, don't be the one asking all the questions. Teach the students to ask Level One, Level Two, and Level Three Questions. That skill will remove some of the apathy you sometimes witness. Yes, some days, I didn't want to be at school. We are all human! But every morning I meditated and set my intention for the day. Be prepared. Be excited. You are their Merlyn.
6. MODEL BEHAVIOR you desire to see in your students. RESPECT THE STUDENTS AND DEMAND THEIR RESPECT --  The way you listen, act, and speak will set the tone every day. I have an entire blog on not letting students call their female teachers “Miss.” You are not a waitress at a diner. I say, "Yes, m'am" and "No, m'am" and "Yes, sir" and "No, sir" to my students. "Please" and "Thank you." Decorum! Set the bar. Demand that STUDENTS ARE KIND TO AND RESPECT EACH OTHER -- The redundancy of good manners is very important in providing a safe environment for asking questions and taking risks when answering questions posed by the teacher. At the beginning of the year, one of my norms is “We do not make fun of each other in this class. We are a team. We care for and about each other. I will not tolerate your being unkind to each other. The punishment is severe for cruelty of any kind in this classroom.” ADDRESS STUDENTS BY NAME when you speak to and with them -- they love to hear their names. I am amazed when a teacher cannot remember a student's name in November. I had 150-200 students every day. I don't remember their names now, but I knew them within the first two weeks of school when they were mine. In high school, I called my students by their last names in the classroom (e.g., Mr. Ricci, Ms. Monda). In the halls and at extracurricular events, I called them by their first names (e.g., Caesar, Valerie). I was teaching how one must adjust one’s attitude and language in different situations. In other words, protocol and decorum rule in the classroom.
7. Pose questions in such a way to ENGAGE EVERYONE. Pose a question to the entire class; have all students write down their answers; wait; then accept volunteers and select non-volunteers to share their answers; everyone must speak and/or participate somehow every day (even in a class of 40). At some campuses I've visited, the lesson cycle (class period) is only forty-two minutes. Unbelievable, but true. In that situation, place your seating chart on a clipboard, and give a quick checkmark to students who spoke aloud during the class. Then, on the next day, make sure those other students speak before you start the cycle again. Adjustments must be made for different circumstances. When teachers expect everyone to participate, then the students realize that their teacher values everyone's opinion. Respect comes from this subtle method of engagement.
8. BE CURIOUS when students give an answer you did not anticipate or one which does not match the answer in your head. Especially in literature, if a student's interpretation is different from yours but can be traced back to evidence in the text, that's a magical moment. If you shut down answers, then don't be surprised when students do not volunteer. Find a way to praise their taking a risk among their peers. If you ask a question, and the student says, "I don't know," do not let that go! That response is a ploy by students. Jane used to respond: "Well, what would you say if you did know?" Be curious and participate in the learning!
9. DIFFERENTIATE by posing questions that fit certain students. Anticipate which student you will select to answer certain questions you have prepared -- everyone can be successful. For example, tell all the students to jot down their answers to a question; then, after all students have written their answers, select a non-volunteer, and say, "David, what did you write down?" See how I did that? When teaching to a whole group, always pose a question to the whole class. In other words, don't say, "David, what does the whirlpool symbolize in Moby Dick?  Everyone else thinks, "That's David's question; I don't have to think about it." When everyone writes down an answer before you call on students, you will be more successful when calling on non-volunteers.
10. How are your desks or tables arranged -- U-shape, in the round, pairs, triads, quads, rows? CHANGE UP YOUR SEATING ARRANGEMENT once a month or quarter or as needed for an activity so that the classroom as a whole remains cohesive and so that cliques cannot splinter off. If you have students in rows, on the first of each month, walk in and say, "Everyone in the last seat of the row, move to the front and everyone else move back one seat." In quads, I'll have a base group, then frequently, I'll move one student from each quad to the next table. The key is to shake things up a little. Routine and structure are imperative. But when students become too comfortable, they get a little lazy. Provide any guest or sub with an ACCURATE SEATING CHART, and make sure the students know that the sub or guest has the seating chart -- whether you are there or not!
11. COMPLIMENT YOUR STUDENTS, OTHER TEACHERS, AND ADMINISTRATORS and make sure your students see and hear you do that. We are in this together! We might not agree at times, but the stakes are too high for pettiness and gossip. Do not say, "Forget everything you were taught last year!" Such quips are disrespectful to your colleagues and to our profession. How would you like it if someone said that in reference to your hard work? Rather, say, "Last year, your teacher was was laying the groundwork for us. Now that you are older and wiser, we're going to take what you have learned and adjust it for your older self. Send notes to teachers and administrators once a semester, thanking them for their collegiality. We need each other. Kindness will pay off!
12. VARY ACTIVITIES FREQUENTLY to keep students on their toes, engaged, and guessing about what you might do next. Shift your middle school students' attention every 12-15 minutes and your high school students' attention every 15 - 20 minutes. Give the students brain breaks. I love gonoodle.com.
13. Alert them to the fact that EVERYTHING YOU ASK THEM TO DO IS FAIR GAME FOR A GRADE, from note-taking to homework to annotating a text, or decoding a prompt -- with or without notice. Keep them on their toes!
14. SMILE! It goes a long way and has a positive influence on everyone—the giver and the receiver!
15. Make EYE-TO-EYE CONTACT when you are talking or listening to students. Depending on the student and the particular interaction, moving toward a student who is answering a question helps to make the student feel like s/he is talking directly to you rather than presenting to the entire class of peers. Your eyes make a greater impact than you realize.
16. ASSIGN ROLES TO STUDENTS in a cooperative learning group: scribe, spokesperson, counselor, timekeeper, dictionary detective, thesaurus sleuth, materials manager, proofreader, comma cop, etc. Each student has a role that benefits the group and the end result. (Remember, group work does not work without individual accountability and positive interdependence) Also, set a social behavior objective for cooperative learning situations: encouragement; using each other's names; "please" and "thank you"; listening intently to each other; eye-to-eye contact when someone is talking. Cooperative learning and social skills practiced in the classroom will create a fun and mature environment and prepare the students for the work force.
17. BE PREDICTABLE, RELIABLE, FAIR, AND CONSISTENT in the manner in which you respond to your students.
18. APOLOGIZE to the whole class when you know you were a human and said something that was less than your spectacular self! Even if you said something you regret to one student, apologize to that student in front of the entire class. Teach them humility and mutual respect!

In her workshops, Jane said, "I can't make you a good teacher." What I realized years later is that she was talking about not only in a teacher's pedagogical approach, but also in a teacher's behavioral approach. If you want model students, be a model teacher!

Have a great school year!

Warm regards,

Dr. Louis

Dear Dr. Louis,

"Quick question -- I was just reviewing my notes from the webinars and remember that at one point, an online dictionary/thesaurus was referenced for the term 'left out' that helped students consider word choice that held the same tone or connotation. I don't seem to have written down the resource/website. It was very easy to navigate so would love to be sure we have that noted. Can you help?" -- Joan

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‍Dear Joan,

Sure! I referenced two: visualthesaurus.com and dictionary.com. I love visualthesaurus.com for many reasons. I especially like it because of its audio capabilityfor ELL students, its multi-dimensional purposes in teaching denotation and connotation, andits visual aesthetics. The other one is dictionary.com. Many teachers use it, and it has some super qualities: when you get there, select the <Thesaurus.> tab. You'll see wonderful tabs that delineate the word or phrase for different denotations and connotations!

And remember, one of the greatest skills a student can develop is the understanding of tone in a reading passage. By understanding the tone of a passage, a student can explain how the concrete details and the tone conveyed by those details contribute to the overall meaning of a passage. Come to our Back-to-Basics training.

There's No Place like Tone!

Keep reading and writing!

Best regards,

Dr. Louis

Dear Dr. D,

I've been researching expository writing and keep getting this type of definition: Expository writing is devoid of descriptive detail and opinion. It contains just the facts.

How can I reconcile that statement with the Schaffer method? 

Thanks, Annette

Dear Annette,

Interesting.

Aristotle deserves much of the credit for initially classifying the modes of discourse into deliberative, forensic, and epideictic. Over the years, however, teachers and professors have delimited the modes to help teach writing. Typically, they are divided into four categories: argumentation, narrative, literary analysis, and expository. We all know that the modes are not as mutually exclusive as some would think; certainly, an argument may have description, analysis, and even narration. However, let's get to your question. "Expository" is too broad of a term to give such a narrow definition as the above one.

There are many different forms of exposition: process analysis, exemplification, definition, classification and division, comparison and contrast, cause and effect, and problem and solution, to name the most popular. Look at that topic sentence handout that I gave you. You’ll see some of the various forms, topic sentence examples, and prompt suggestions.

The definition you provide lends itself to the type of expository writing that does not require commentary or analysis (e.g., explaining a process, explaining a plot, providing an accounting of what was taught in class today, inductive reasoning by giving examples only). It sounds like one that would be given by a teacher in the sciences and social sciences who might first ask her/his students to describe something, perhaps a behavior or phenomenon. Her/his next step might be to take the evidence and look at causes and effects. The final step might be to create an argument about it. So, the definition you are giving me suggests that it might be part of a progression –the first part, or providing the facts. In other words, first, writers collect the evidence (expository), then they might evaluate it (argumentation).

Expository comes from the word “expose.” The prefix “Ex-” comes from Greek through Latin and means “out, or away from.” The root of the word comes from the Latin verb ponere which means “to place.” Translated literally, exposition means “to place out,” and what we are placing out is the information. So, I can see why some would argue that it is fact only. However, the definition you provide is not the norm for state and national standards that ask students to analyze the information they present – also considered expository/explanatory.

Keep reading and writing!

Happy New Year,

Dr. D'

Dear Dr. D',

What do I tell my department when they would like to change the ratios from what they were taught? 

Frustrated Department Chair

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‍Dear Frustrated,

Your question is one which I address on a regular basis; and, now you have given me the opportunity to blog it. New teachers to the writing program have a tendency to change or customize the ratios for specific assignments. Sometimes, depending on the students, it works. Most of the time, however, changing the tried and true ratios reduces the effectiveness and authenticity of student writing and, more importantly, confuses the students.The ratios should remain pure:

• 1:2+ is for literary analysis, style analysis, and rhetorical analysis
• 2+:1 is for expository, narrative, argumentation, synthesis
• 3+:0 is for a summary that requires no commentary
• 1:1 is for the DBQ in AP social studies

Please trust me on this. Since 1984, we have reviewed essays from AP tests, college entrance examinations, and state and national tests. These ratios earn the highest scores. Instead of changing the ratios, your teachers and their students will fare well if teachers make their expectations clearer in the writing prompts and the scoring guides. Let me provide you with examples of both: The writing prompt. I have had the privilege and pleasure of training a wonderful science teacher named Brandon, and he told me that he wanted his ninth grade students, who had just recently been trained in the JSWP method, to write summaries in which they demonstrated their knowledge of the five different elements of scientific inquiry. Therefore, Brandon asked me if his ratio could be 5:0 for a summary response.

My response to Brandon -- Let's keep the ratio 3+:0, so the student recognizes the type of writing s/he is doing, but explicitly give the instructions this way:

Here is his prompt:  Science is a way of thinking, questioning, and gathering evidence. Read 1.3 “Scientific Thinking and Processes.” Then, write a one-chunk (3+:0) summary response that identifies the (5) different elements of scientific inquiry. A concluding sentence is not required.

The scoring guide or point system. Another wonderful teacher, Alison, said, "Deborah, when I write 2+, the students only write two sentences. How do I motivate them to write more?"

My response to Alison -- 1) Work more with the Tchart, so the students will have more fodder for sentences; and 2) Send the students a clear message about your expectations regarding the number of sentences – something like this --

• 2 simple sentences = highest score is a C
• 3 simple sentences = highest score is a B
• 4 or more simple sentences = highest score is an A

More importantly, when they learn “types of sentences,” provide a scoring guide that assesses their learning of sentence types:

• Simple sentences only = 2 points
• A combination of 2 or more simple, compound, or complex sentences = 3 points
• A combination of 2 or more simple, compound, or complex sentence combined with 1 or more compound-complex sentences = 5 points

Finally, adding “chunks” is also a way to “get more” from those noggins . . .Write a well-developed multiparagraph essay

• Ratio: 1:2+
• 1-3 chunks per paragraph

Of course, the writing scores are also contingent on the content of their sentences, not simply the number or the types of sentences, and that’s why you stipulate “highest score” or "points." But the “types of sentences” option truly increases the sophistication of the writing, even without weaving. (By the way, with regard to scoring guides, I am working on a new scoring guide that emulates gaming; students receive points and status.)In English Language Arts (ELA) classes, teach the sentence types to the class as a whole and make the above grading stipulations a formative assessment. The “Shaping Sheet” is a wonderful graphic organizer for you and your students to examine the “types;” to provide one-on-one conferences for relearning; and, to display models of sentence variety before moving on to final drafts. Then, after they have practiced with “types,” add the weaving technique for those individual students who are ready. This works well!

Keep reading and writing!

Warm regards,

Dr. D'