Category Archives: > Writing Skills

Review: David Crystal’s Book on Grammar

MAKING SENSE: The Glamorous Story of English Grammar, by David Crystal
281 pp. Oxford University, $24.95.
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Peter Sokolowski, NY Times: “The indefatigable linguist Crystal’s latest book, “Making Sense,” is a surprisingly entertaining historical and scholarly tour of the mechanics of English.
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Grammar can seem as technical and off-putting as math or physics to many people who nevertheless can speak, read and write very well, and while some books on language prey on readers’ insecurity with lists of word-choice peeves and classist language shibboleths, Crystal efficiently punctures such snobbery.
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His approach is to explain the points of grammar and their natural acquisition in the order in which a toddler develops language skills, a brilliant strategy that allows him to begin with the most basic concepts and build upon them while simultaneously exemplifying the descriptive nature of his work.
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He illustrates the lingering “pernicious” effects of trying to fit the square peg of English into the round hole of Latin grammar, responsible for centuries of confusing information about how English works.
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Discussions of semantics (what we are trying to say) and pragmatics (how we are trying to say it) give a more concrete nature to grammar, and are used effectively here to explain away the silly admonition against the passive voice in writing.
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A primer on corpus linguistics and a short explanation of how our language evolved from Old English help complete Crystal’s masterly telling of why a living language’s grammar, like its vocabulary, is not only unfinished, it is unfinishable. One could not have a more genial guide for such a tour.”
Reading/Spelling tutor in Columbus OH: Adrienne Edwards 614-579-6021, or email aedwardstutor@columbus.rr.com

+ Central Ohio Free Parent Seminar on Writing Problems

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Marburn Academy in Columbus is inviting parents to a free seminar on “Getting It Down On Paper: The Solutions to Student Writing Problems.”

  • Date: Tuesday March 6
  • Time: 7:00-9:00 pm
  • Marburn Academy: 1860 Walden Dr, Columbus OH 43229
  • Reservations required: bdavidson@marburnacademy.org
  • Or phone 614-433-0822

Often students with learning differences have no trouble coming up with creative ideas, but they may struggle with expressing those ideas in writing.

Parents of children who wrestle with writing will find that this seminar offers  insight into the reasons why some children learn to write easily and others don’t.  They will be hearing about practical answers for remediation.

Earl Oremus, Headmaster of Marburn Academy, is a nationally recognized speaker on education, learning and learning differences. 

Oremus will explain why some children learn differently, why it is so important for teaching methods to match each child’s learning needs, and what works best when writing is being taught.

Orton-Gillingham tutoring in Columbus OH:  Adrienne Edwards 614-579-6021 or email aedwardstutor@columbus.rr.com

+ Read and Write Side by Side With Your Child

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Rebecca Alber blogs at the edutopia site, and says students need to know that we also struggle with writing. 

She is writing for teachers.  But parents should model reading and writing as well.

So — as your children work on their own reading or writing, let them see you writing — so they can see that you, too, “get tongue-tied and run out of things to say.” 

Share with them the knowledge that you repeat yourself too.  You  forget words even though we’ve used them in the past.  You change your mind halfway through  a page and want to start over with a new topic.  

Your child needs to know that writing isn’t always easy for you — just as it isn’t easy for them.

And Albers says modeling reading is just as important.  It sends this message:

I like to read.  I don’t just tell you this and [monitor] how much you read.  I read side by side with you.  You see my facial expressions as I struggle to understand something difficult and you see when I feel emotion at a sad or funny part.  I am a reader, too.

This modeling for young people of your love — and struggles — as a reader and writer can help them understand that even for an adult who reads and writes all day, these task continue to be challenging.  

But you can show them that you find reward and delight in the process.  As they will, too. 

For Alber’s post, and much more at the site, visit http://www.edutopia.org/spiralnotebook/rebecca-alber

Orton-Gillingham tutoring in Columbus OH:  Adrienne Edwards  614-579-6021 or email aedwardstutor@columbus.rr.com

+ Central Ohio Dyslexia Conference March 2 in Dublin

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REGISTER EARLY for Central Ohio IDA Conference

COBIDA Annual Spring Conference
Friday March 2
OCLC Conference Center, 6600 Kilgour Place, Dublin OH 43017.

(Members $85 until February 20.) Non-members welcome. Information and registration at http://www.cobida.org/.

PARENT TRACK: Expert Panel on Advocacy Matters: Learning How to Become Your Child’s Strongest Advocate.

PROFESSIONAL TRACK: Writing Matters: Developing Writing Skills in Students Who Struggle. William Van Cleve MA

Orton-Gillingham tutoring in Columbus OH:  Adrienne Edwards 614-579-6021 or email aedwardstutor@columbus.rr.com

+ Writing Exercise

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From The Writers Almanac, a bonus.

Favorite Writing Exercise:  “I like to read a poem to my students (one easy to take in by ear, one that I think is rich with possibility, one not too long but long enough for everyone to find a word or phrase or something that catches imagination) and I tell them to jot down something from or about the poem. After that, we write for ten minutes or so and see what happens.”

– Joyce Sutphen

tutoring in columbus OH:  Adrienne Edwards  614-579-6021 or email aedwardstutor@columbus.rr.com

+ COBIDA Offers Webinars August 9 and 11, 2011

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Project Read Webinars – Learn at Your Computer
 
Written Expression (Framing Your Thoughts) – August 9, 6 – 8 PM EST
Reading Comprehension – August 11, 6 – 8 PM EST
$35 per webinar ($25 for IDA members)
 
Register online now at:  www.cobida.org
For more information contact:  info@cobida.org
 
Hope to see you on-line!
 
Full courses will be offered in the fall if interest dictates.
If you are interested in a full-course, please let us know after you have done this initial webinar.
 
tutoring in Columbus OH:  Adrienne Edwards  614-579-6021 or email aedwardstutor@columbus.rr.com

+ POEM “To a Young Son”

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[I never do this, but today Writers Almanac offered a poem that made me want to keep it .] 

To a Young Son

by June Robertson Beisch

<!– (from Fatherless Woman) –>

Today I passed your room
and you were slowly quietly
combing your hair.
It was a pleasant, calm moment.
I felt the silence of the room
and could almost hear you growing.
You combed without a mirror,
your eyes distant and pale,
your head slowly nodding
like the head of a stroked animal.

Xerxes the King sent out a spy
who returned to camp, astonished to say
that the Spartans were all stripped to the waist
their bodies gleaming in the Aegean sun
and they were all carefully combing their hair.
The king was afraid then.
The Spartans were preparing to die.

I turn slowly from your doorway
and return to the linen closet where I
will fold this memory in my heart
among everything that is clean and fresh and white.

“To a Young Son” by June Beisch, from Fatherless Woman. © Cape Cod Literary Press, 2004. Reprinted with permission. (buy now)

Find Writers Almanac at http://writersalmanac.publicradio.org/

tutoring in Columbus OH:  Adrienne Edwards  614-579-6021  or email aedwardstutor@columbus.rr.com

+ Teaching Phonics: Some Terminology

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At a COBIDA conference this weekend, I found Isabel L. Beck’sMaking Sense of Phonics: The Hows and Whys.”

The introductory chapter provides an explanation of some terms.

  • Decoding:  using the letters on a page to retrieve the sounds associated with those letters
  • Word recognition, sight word recognition:  decoding by applying  letter-sound knowledge immediately, without any apparent  attention.  Also called automaticity.
  • Word attack:  decoding by the conscious and deliberate application of letter-sound knowledge to produce a plausible pronunciation of a word.  Self-aware “figuring-out” of a word.
  • Encoding:  sometimes called spelling, encoding is the opposite of decoding.  It involves the application of letter-sound relationships to identify which letters will be needed to create a specific written word.
  • Alphabetic principle:  the ground rule that written words are composed of letters, and those letters correspond to segments of written words.  In this alphabetic language, a letter (grapheme) is associated with a unit of speech (phoneme). 
  • Grapheme:  a letter associated with a unit of speech; the smallest written representation of speech sounds.  For example, in the word “mop” (the m , the o  and the p ).  Or the three representations in the word “chain” (ch and ai  and n.)
  • Phoneme:  A unit of speech; the smallest speech sound into which a spoken word can be divided.  For example, the sound /m/in the word “mop.”
  • Great Debate:  a term coined by Jeanne Chall in 1967 to describe the argument in the reading world about whether to teach beginning readers with a code-oriented approach (these days associated with phonics) or a meaning-oriented (often referred to as “whole language”)  approach .Also called “the reading wars.”
  • Explicit, systematic phonics:  the instructional strategy by which the relationship between letters and sounds are directly  (explicitly) taught in a pre-established (systematic) sequence.  In most reading programs (but not all) the consonants and short vowels are presented before long vowels, vowel teams and r-controlled vowels.
  • Orthography:  a language’s writing (spelling) system.
  • Orthographic knowledge:  what an individual knows about the writing system of a language.
  • Invented spelling:  children’s initial attempts to represent oral language, such as CU for “see you” or bak for “back.”
  • Consonants:  the English letters whose sounds are produced in the mouth and throat by blocking or controlling the air in some way; they may be voiced or unvoiced.   
  • Consonant blend (or clusters):  two or three contiguous consonant letters in which each letter maintains its sound (the b and r in “brush”).
  • Consonant digraph:  contiguous consonants in which the letters do not maintain their sounds  ( sh in “ship”) but produce a unique sound.
  • Vowel:  in English, the vowels are a ;  e ;  i ;  o ;  u ;  and sometimes y  (as in “my).  They are letters whose sounds are always unblocked and voiced.
  • Short vowel:  the sound of a vowel in a “closed” (CVC)syllable: the sound of o  in the word “hot,” for example.
  • Long vowel:  the sound of a vowel when it “says its name.”  For example, the sound of o in the word “no” or “note.”
  • Vowel digraphs or “teams”:  two contiguous vowels in which they stand for a long vowel sound (ai  in “sail,” for example) or a sliding vowel sound ( ou  as in “out,” for example).  The spelling for a “sliding” vowel sound is sometimes referred to as a …
  • Diphthong:  the vowel digraph representing a sliding sound (the ou  in “out,” or the  oi   in “join”). In a sliding vowel sound, the speech sound begins with one vowel sound and moves to another.
  • R-controlled vowel:  a vowel followed by r  no longer has its short sound.  Notice that the sound of  a  in “car” is not the sound of   a  in “cat.”
  • Grapheme-phoneme (letter-sound) correspondences:  expression used to name the correspondence between a grapheme and a phoneme.  How letters map onto the sounds of a word, and vice versa.
  • Spelling-sound relationships:  the concept that a reader knows to use various sub-word units which are often beyond the grapheme-phoneme relationship, such as ous   or    tion    in “nervous” or “action.”
  • Phonological awareness:  an umbrella term for a person’s ability to understand spoken words, or recognize rhymes, or to identify that “at” and “it” are different or to notice different words in a spoken list (“cat,” “mat,” “fat” for example).
  • Phonemic awareness:  an understanding of the individual phonemes in a word (for example that “ran” and “rain” both have three sounds.

Chapters

  • The Alphabetic Principle and Phonics
  • Letter-Sound Instruction
  • Blending
  • Word Building
  • Multisyllabic Words
  • Epilogue  

Appendices 

  • CVC Pattern
  • Long Vowels of the CVCe Pattern
  • Long Vowel Digraph Patterns 
  • rControlled Digraph Patterns 
  • Word and Syllable Matrices for Syllasearch
  • The Word Pocket

There are also References, and an Index.

The definitions above are from the “Introduction” chapter of Isabel L. Beck’s book, “Making Sense of Phonics: The Hows and Whys,” published by Guilford Press (http://www.guilford.com).   134 pages. ISBN 1-59385-257-6 (paper).

tutoring in Columbus OH:   Adrienne Edwards  614-579-6021  or email  aedwardstutor@columbus.rr.com

+ “Dysgraphia:” Symptoms, Strategies

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The term “dysgraphia” generally refers to extremely poor handwriting.  But it’s technically defined as a learning disability resulting from the difficulty with expressing thoughts in writing and graphing.

So articles and books on”dysgraphia” can deal not only with the formation of letters on a page, but also with what many people would call “writing skills.”

Every state has its own criteria to determine if a student has a specific learning disability; these are the defined special education guidelines.

If a student’s writing or graphing difficulties do meet these criteria, special education services are to be offered.

The problem is, no nationally defined clear criteria exist for “dysgraphia.” 

Any degree of handwriting difficulty may be labeled “dysgraphic” by some educational specialists.  It may or may not fall into  categories that receive special education services.

Some Underlying Causes

Students with dysgraphia may have sequencing problems.  What appears to be a perceptual problem (reversing letters and numbers, writing words backwards, writing letters out of order, sloppy handwriting) have frequently been shown by researchers to be directly related to sequential/rational information processing.

Such students may have trouble with the sequence of letters and words as well.  they may occasionally intermix letters and numbers in formulas.  One strategy is for the student to slow down in order to work on the “mechanics” of writing (spelling, punctuation). 

However, sometimes slowing down means getting stuck in the details, and results in a complete loss of the idea they are trying to write. 

Some students have ADD or ADHD.  They can experience significant difficulty with writing and formulas in general in addition to the handwriting struggle.  Why? Because ADHD students also have trouble organizing and sequencing detailed information.  In addition, when time is a consideration, ADHD affects the processing of information. 

A major factor frequently is a lack of fine motor coordination.

Sometimes such students  have a general auditory- or language- processing weakness.  If a student has trouble hearing and understanding language in general, obviously he or she has difficulty expressing himself in in oral or written language.

While most students don’t have visual or perceptual processing problems, those who do can experience great difficulty with writing speed and clarity of thought, since the ability to place information on a page is  compromised.

SYMPTOMS

  1. May exhibit strong verbal skills but poor writing skills.
  2. Random/nonexistent punctuation or spelling errors.  (Reverslas, phonic approximations, omitted syllables, errors in adding suffixes, clumsiness and disordered syntax.)
  3. Generally illegible writing, despite what should be considered  appropriate learning time and attention.
  4. Inconsistencies: there may be mixtures of print and cursive, upper and lower case, irregular letter size, shape or slant.
  5. Unfinished words or letters, omissions of entire words.
  6. Inconsistent position on page (with respect to lines and margins), or  inconsistent spacing between letters and words.
  7. Cramped or unusual grip (especially  holding the writing instrument very close to the paper, crossing thumb over two fingers, or writing from the wrist).
  8. Talking themselves through the process, or carefully watching the writing hand.
  9. Copying or writing that is slow and labored (even though the result may be neat and legible).

40 DYSGRAPHIA STRATEGIES 

  1. Encourage students to outline their thoughts.  It’s important to get the main ideas down without having to struggle with details and mechanics.
  2. Allow a student to draw a picture of the thought in each paragraph.
  3. Have a student dictate her ideas into a recording device for later listening and writing down.
  4. Arrange for the students to learn keyboarding.  It is difficult at first, but  once mastered, typing is much faster and clearer than handwriting.
  5. Allow your students to use a computer for organizing information and spellchecks.  (Even if keyboarding skills aren’t great, computers help with details.)
  6. See that your student continues to practice handwriting, however, since there are always times that  notes and sharing with others must occur.  Fact:  the more we practice, the better we get!
  7. Encourage your student to talk aloud as they write, for auditory feedback.
  8. Allow extra time for written tasks (note-taking, copying and tests).
  9. Outtline and hand out course assignments and assessment procedures — papers, exams, or expected computer literacy.  Students who understand the demands can foresee problems early in the process.
  10. Give assignments early.  Allow students to begin projects early.
  11. You might include time in the student’s schedule to be a ‘library assistant’ or ‘office assistant.’   This might provide time that could also be used for catching up, getting a head start on work, or doing alternative activities related to the material being learned.
  12. Provide a partially completed outline rather than insisting on a student’s keeping a complete set of notes. He can fill in the details under major headings.  (Or conversely, you provide the details and have him provide the headings!)
  13. Allow student to dictate some assignments or tests (or parts thereof)  to a “scribe.”  Note: it’s important to train the “scribe” to write verbatim, allowing the student to make changes (without assistance).  
  14. Remove ‘neatness’ or ‘spelling’ — or both — as grading criteria for some assignments. Design assignments to be evaluated on individual steps during the writing process.
  15. Allow students to abbreviate in some writing [ b/c  for “because”).  Allow a student to learb ir develop her own repertoire of abbreviations in a notebook; these will come in handy in future note-taking.
  16. Reduce copying demands.  Math students might be provided with  problems already written on a worksheet.
  17. Separate writing into stages and then teach students to do the same.  Teach the stages of the writing process  — brainstorming, drafting, editing, and proofreading. (Consider grading the stages, even on some one-sitting exercises — points can be awarded for each stage.)
  18. Allow your student to produce a rough draft, revision and final draft on a computer.  This way, each draft can be evaluated — without extra typing.
  19. Encourage a student to use a spellchecker. Speaking spellcheckers are best.  Have someone else proofread any work.   Allow student to use cursive or manuscript, whichever is most comfortable and legible.
  20. Offer a primary student paper with raised guide lines.
  21. Let an older student use the line width that works best for him. (Some students use tiny writing to disguise messiness or spelling.)
  22. Allow your student to use paper or writingmaterials in different colors.
  23. Allow a student to use graph paper for math; he might turn lined paper sideways, to help line up columns of numbers.
  24. Allow the student to use the writing instrument that she finds most comfortable.
  25. If copying is laborious, allow the student to make some editing marks rather than recopying the whole piece.
  26. Speech recognition software might be helpful.  If a student (and teacher) are willing to invest this time and effort in “training” the software and learning to use it, a student can be freed from the onerous motor processes involved in  writing or keyboarding.
  27. Develop cooperative writing projects: different students can take on separate roles, for example “brainstormer,” “organizer of information,” “writer,” “proofreader,” or “illustrator.”
  28. Long-term assignments: provide extra structure and use intermittent deadlines.  Discuss with both your student and parents ways to enforce due dates; ideas such as having the student work with the teacher after school in the event a deadline arrives and the work is incomplete.
  29. Build handwriting instruction into the student’s schedule.  The ultimate degree of independence will depend on your student’s age and attitude. 
  30. Note: handwriting habits are entrenched early.  Beware of student overload.  Before engaging in any battle over a student’s grip — or cursive versus print — consider whether enforcement will make the writing task easier.  It may be that this is a chance for the student to make his own choice.
  31. Teach alternative handwriting methods such as “Handwriting Without Tears.” Visit http://www.hstears.com/intro.htm
  32. Allow your student to write just one key word or phrase for each paragraph; he can go back to fill in the details later.
  33. Use multisensory techniques for teaching both manuscript and cursive writing.  The techniques need to be practiced substantially so that letters formation is utomatic before the student is asked to use the skills to communicate ideas.
  34. Allow your student to  use visual graphic organizers.  She might create a mind map.  For example, she can put the main idea in a circle in the center with supporting facts on radiating lines.
  35. Model a way to do papers and assignments in a logical step-wise sequence.  Remember the steps with the word POWER:  P = plan; O = organize your thoughts/ideas; W = write your draft; E = edit; R = revise.
  36. For student fatigue, some exercises: shake hands fast, but not violently; rub hands together and focus on the feeling of warmth; rub hands on the carpet in circles, or on clothing near thighs; use thumb of the dominant hand to click the top of a ballpoint pen while holding it in that hand, then repeat using the index finger; perform sitting pushups by placing each palm on the chair with fingers facing forward (students push down on their hands, ifting their body slightly off the chair).
  37. Allow your student to record important assignments and/or take oral tests.
  38. Prioritize certain task components during a complex activity.  For example, students can focus on using descriptive words in one assignment, using compound sentences in another.
  39. Reinforce your student’s positive efforts.
  40. Be patient and encourage student to be patient with himself.

source: downloaded from West Virginian University web site.

tutoring in Columbus OH:   Adrienne Edwards   614-579-6021  or email  aedwardstutor@columbus.rr.com.

+ Teaching With Mysteries

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From Kim Haynes at TeachHub, some suggestions for engaging the interest of students. 

She suggests that you try using Web sites which offer “Five-Minute Mysteries,” for example Mystery Nethttp://www.mysterynet.com/ ) or U-Solve-It Mysteries ( http://www.scholastic-direct.com/usolveit/audiofiles/mm1.asp).  These sites offer very short stories which encourage careful reading or listening.

How about Nancy Drew or Encyclopedia Brown?  Mysteries follow a predictable pattern, but keep the readers guessing.  Haynes suggests Alfred Hitchcock’s Mystery Magazine, or Ellery Queen Mystery Magazine.

You can get a student’s attention by just making the topic “mysterious.”  Kim Haynes suggests that you ask questions such as “Why is this species becoming extinct?”  “Who really wrote Shakespeare’s plays?”  Talk about “unexplained events:”  the Loch Ness Monster or the Bermuda Triangle.  (But she warns that you have to be prepared yourself to deal with whatever arises out of such a conversation!)

For practicing math, Haynes suggests Math Maven,           http://teacher.scholastic.com/maven/ ,  a site that offers “capers” that need solving.  Every story is at a particular level of difficulty.  Topics range from whole number operations to geometry and probability. 

For teaching plot structure, just working with mystery stories is useful.  Such stories follow predictable patterns, so concepts such as exposition, “inciting incident,” and rising action are fairly easily observable.

And for adding content knowledge, Haynes suggests http://www.teacher.scholastic.com/histmyst/index.asp for history; http://www.eduweb.com/pintura/ for art; http://www.marshallschools.com/teachers/aldredgel/mystery/ for science.  For more options, Haynes says searching “mystery options” might gather interesting results.  In addition to learning content, these exercises teach tech skills too.

Old fashioned language in classic books can be a challenge for today’s young people.  — Edgar Allan Poe or the Sherlock Holmes stories –these texts can be an entry point into Victorian language.   They are shorter than the Brontes or Austen, and their plots appeal to boys. 

CSI in the classroom?  Science and technology play significant roles in solving crimes.  So take advantage of kids’ fascination with forensic science with some Crime Scene Investigation opportunities at http://www.sciencespot.net/Pages/classforsci.html .

Build writing skills with mysteries’ easily recognizable templates: there are basic character types, basic sequences of events, etc.    Use them to demonstrate setting: many rely on stormy weather and creepy locations to set mood.  Help your students analyze mystery stories and write one of their own. Visit http://www.mysterynet.com/learn/lessonplans/writing.shtml  or http://www.readwritethink.org/classroom-resources/lesson-plans/everyone-loves-mystery-genre-796.html.

Students learn about research through mysteries — it’s a little known fact that mystery writers do lots of research before they write.  They need to know about law, or medicine, or unusual facts, historical details…  Help your students learn research skills by looking up information.  Ask them to read a story and then do the  research to prove whether the details are accurate.  Haynes warns you though — some crime stories get gory; so use your knowledge of your students and be prepared.

Other suggestions: read a mystery that connects to your subject.  She suggests the Periodic Table Mystery Series by Camille Minichino for science, Suzanne Adair’s Revolutionary War-era mysteries, or Jacqueline Winspear’s Maisie Dobbs series set during the period just after World War I. 

sole source: Kim Haynes’s “Elementary My Dear Teacher: Teaching with Mysteries” at http://www.teachhub.com/news/article/cat/14/item/349 .  Visit TeachHub.com for teacher resources of all kinds!

tutoring in Columbus OH:   Adrienne Edwards   614-579-6021  or email  aedwardstutor@columbus.rr.com