From the award-winning author of From Your Child's Teacher, comes this excellent teacher's resource for helping primary students begin to write their stories.This resource includes:strategies for organizing and developing writers workshopsamples that illustrate various levels of writingstrategies for conferencing with young studentsinformation on the role of editingassessment ideasmany practical reproduciblesdetailed writing-activity lessons

Student writing is only as good as the feedback we give In this remarkable book, Patty McGee shares research-based how-to’s for responding to writers that you can use immediately whether you use a writing program or a workshop model. Put down the red-pen, fix-it mindset and help your writers take risks, use grammar as an element of craft, discover their writing identities, elaborate in any genre, and more. Includes lots of helpful conference language that develops tone and trust and forms for reflecting on writing.

Ralph Waldo Emerson was an American essayist, poet, philosopher, pastor, lecturer, and public figure. During his life, he was one of the most prominent thinkers and writers in the United States with his work remaining influential today. In the late 19th century, after the death of Benjamin Franklin, it was Emerson who filled the role of thinker, motivator, and spiritual guide for the American nation. While he was the mentor and friend of Henry David Thoreau, he was viewed by most liberals of his generation as their spiritual leader. The admiration was well deserved: he was the first thinker to formulate the philosophy of transcendentalism. Emerson’s writings influenced the work of Friedrich Nietzsche, Maurice Maeterlinck, Charles Baudelaire, and Leo Tolstoy. Poems of Youth and Early Manhood Poems, 1847 May-Day and Other Pieces Elements and Mottoes Quatrains Fragments Uncollected Poems Translations The Poems Essays. First Series Essays, Second Series Representative Men

Applied Practice: Evidence and Impact in Theatre, Music and Art engages with a diversity of contexts, locations and arts forms – including theatre, music and fine art – and brings together theoretical, political and practice-based perspectives on the question of 'evidence' in relation to participatory arts practice in social contexts. This collection is a unique contribution to the field, focusing on one of the vital concerns for a growing and developing set of arts and research practices. It asks us to consider evidence not only in terms of methodology but also in the light of the ideological, political and pragmatic implications of that methodology. In Part One, Matthew Reason and Nick Rowe reflect on evidence and impact in the participatory arts in relation to recurring conceptual and methodological motifs. These include issues of purpose and obliquity; the relationship between evidence and knowledge; intrinsic and instrumental impacts, and the value of participatory research. Part Two explores the diversity of perspectives, contexts and methodologies in examining what it is possible to know, say and evidence about the often complex and intimate impact of participatory arts. Part Three brings together case studies in which practitioners and practice-based researchers consider the frustrations, opportunities and successes they face in addressing the challenge to produce evidence for the impact of their practice.

Performing Culture presents a detailed and probing account of cultural studies′ changing fixations with theory, method, policy, text, production, audience and the micro-politics of the everyday. John Tulloch encourages academics and students to take seriously the need to break down the separation between high and low cultural studies. Tulloch′s case studies show that the performance of cultural meanings occurs in forms as diverse as The Royal Shakespeare Company′s Shakespeare and Chekhov productions and our everyday work and leisure encounters. Drawing upon anthropological and dramatic studies of performance, the book emphasizes that academic research also performs cultural meaning. A central feature of the book is its reflexive consideration of the representations of culture constructed by academic ′experts′.

Collects short biographies of important female authors, including Jane Austen, Toni Morrison, and J.K. Rowling.

If you want to learn how to shoot a basketball, you begin by carefully observing someone who knows how to shoot a basketball. If you want to be a writer, you begin by carefully observing the work of accomplished writers. Recognizing the importance that modeling plays in the learning process, high school English teacher Kelly Gallagher shares how he gets his students to stand next to and pay close attention to model writers, and how doing so elevates his students' writing abilities. Write Like This is built around a central premise: if students are to grow as writers, they need to read good writing, they need to study good writing, and, most important, they need to emulate good writers. In Write Like This, Kelly emphasizes real-world writing purposes, the kind of writing he wants his students to be doing twenty years from now. Each chapter focuses on a specific discourse: express and reflect, inform and explain, evaluate and judge, inquire and explore, analyze and interpret, and take a stand/propose a solution. In teaching these lessons, Kelly provides mentor texts (professional samples as well as models he has written in front of his students), student writing samples, and numerous assignments and strategies proven to elevate student writing. By helping teachers bring effective modeling practices into their classrooms, Write Like This enables students to become better adolescent writers. More important, the practices found in this book will help our students develop the writing skills they will need to become adult writers in the real world.

The Write Beginning illustrates how using success criteria as a guide can help students develop a clear understanding of the process and set realistic goals.