A Publication of the San Diego Area Writing Project Fall 2008
Inside... SDAWP’s Position Paper:
How I Came to Love
Cara Owens . . . . . . . . 2
SDAWP Log . . . . . . . . 6
Kim Douillard, SDAWP 1992
Writing Marathon . . . . 7
Heidi Paul The position paper is a long-held tradition in the San Diego
Nancy Rogers Area Writing Project (SDAWP) Invitational Summer Institute (SI).
YWC . . . . . . . . . . . 8-9
According to Jayne Marlink, Executive Director of the California
Paloma Acosta Writing Project (CWP), the position paper and its presence in sum-
Camilla Elizabeth Aguirre Aguilar mer institutes goes back to Jim Gray, the founder of the National
Cinnamon Roy Writing Project (NWP). Many writing projects, both in California and
nationally, still write position papers in their summer institutes, often as
a core piece and cornerstone of professional writing.
Let's Walk the Walk . . 10
Ted Hernandez The position paper gives teachers in the SI an opportunity to identify and
explore beliefs about teaching and learning or other educational issues.
Rethinking Native As they consider issues, weighing what others have said or are saying
Language Use about the issue in a variety of contexts, and investigate their own experience and beliefs
in Our Classroom . . . 11 through the writing, a position develops. In the safe, rigorous, supportive, and challeng-
Shannon Meridith ing environment of the SI, they move their writing from an initial rant or bland descrip-
tion to a carefully crafted articulation of the issue(s) and their point of view. This process
Also included: allows teachers to discover and refine their position with an audience in mind—helping to
define a stance that opens others to hearing their views. The position paper offers teach-
Muse Box . . . . . . . . . . 14 ers a voice…building confidence and an identity not just as a classroom teacher, but as an
educator who can make a difference and inform not only his or her own classroom, but
SDAWP Notes . . . . . . . 14 the larger educational community as well.
NWP Announcments . . . 14 Classroom teachers often find themselves awkwardly positioned in a profession filled with
contradictions. Teachers are professionals who have achieved high levels of education.
Publishing They have authority in their classroom to make decisions that are in the best interests of
Opportunities . . . . . . . . 15 their students and their learning and are expected to make those decisions based on their
professional knowledge. At the same time they are required to use particular materials,
Dialogue give particular assessments, and meet predetermined standards for student achievement
Call For Manuscripts . . . 15 as defined by national, state and local (district and site) standards, whether or not these
are in the best interests of their students and their learning. The K-12 teaching environ-
Calendar of Events . . . . 16 ment, in particular, doesn’t encourage teachers to articulate or publish the knowledge
gained through teaching, classroom research, or their own investigations into teaching
and learning. Knowledge about teaching and learning is often generated by educational
researchers, many of whom have little practical knowledge or experience with classroom
teaching or with curriculum. These
contradictions often silence teach-
How I came to
ers as they see that their profes-
sional knowledge and judgment is
held in less esteem and is seen as
less relevant than “research based”
methods and mandated approaches.
The position paper in the summer
Cara Owens ∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞
institute helps classroom teachers SDAWP 2007
negotiate the contradictions inherent
in their profession. Through writ- In 1997, I finally landed my first For most of my students, academic
ing, teachers are able to articulate adjunct teaching positions at San writing was very new. Of course stu-
deeply held beliefs—beliefs they may Diego City College and Southwestern dents didn’t understand what they
not have expressed publicly before. Community College. Fresh out of had read, because I hadn’t taught
With the support and encourage- graduate school, I was excited to them how to read academic argu-
ment of the writing response group have students read about issues I ments. Somehow, in our class dis-
in the SI, they are able to construct a thought were relevant and impor- cussions, we would skip right over
reasonable case for their beliefs, con- tant. I envisioned having wonder- the readings and move on to what
sider other perspectives, and work ful, in-depth class discussions about my students thought about immigra-
through how they might mitigate these issues. As I began to help tion. While my students had some-
conflicting demands while main- my students develop their voices in thing to say, were engaged, and
taining their integrity as knowledge- order to empower them as writers were even passionate about immi-
able professionals. Opportunities to and as citizens of the world, I ran gration, at best, class discussions
rethink and revise their writing in into one major problem. Many of were just the students’ prior opin-
this atmosphere allow their think- my students in my academic writ- ions with no references to the texts
ing to deepen. Reading their writing ing classes had voices, but I found read, and usually not much in the
aloud and seeing their writing in out the hard way that I needed to way of substantiating their opinions
print lets them hear their own voice help my students break away from with reasons or evidence. At worst,
and learn the power it holds. At our popular culture’s reliance on class discussions were a free-for-all
SDAWP we see writing the position a combative discourse style (think of knee-jerk reactions, unfounded
paper as an essential part of growing Rush Limbaugh, Howard Stern, and opinions, logical fallacies that often
as a leader, a step toward finding the George W. Bush) and move into the
powerful voice that teachers need to discourse of academic writing. In Possible Lives: The Promise of
Public Education in America, Mike
transform their profession through
their own knowledge and profes- I remember that one of my first Dialogue
Rose works against the negative view
sionalism. semesters teaching I chose the topic of teachers and U.S. public schools
of immigration. Living and teach- Fall 2008
that Hirsch offers. Rose does this
Teachers in the SI write their posi- ing in San Diego, immigration is a Issue No. 21
tion paper with publication in mind. relevant and important issue for my largely by changing the parameters
Publication begins informally in the students and me. My classes at the of the discussion. While he also
writing response group, expands to community colleges were always uses anecdotal evidence, he is care-
the full SI group, and is archived very diverse with a large Latino pop- ful not to universalize the stories he
in the SI anthology. These initial ulation. As a new teacher, I would
Editors: Stacey Goldblatt
tells. He uses specific examples of
stages often become the starting assign my students three to four
academic essays at a time to read as Jennifer Moore to
teaching practices that work only
place for more formal publication
with broader audiences. Publication homework. My assumption was that Page possibilities, not to univer-
suggest Design: Janis Jones
in the SDAWP Dialogue gives teach- they would indeed read them and Writing Angel: Susan and not to
salize these anecdotes, Minnicks
ers a taste of working with an editor understand them, and then we would claim universal excellence. Hirsch,
and for an audience of knowledge- have in-depth class discussions Published by the
on the other hand, uses anecdotal
able educators beyond those the about the readings and about immi- San Diego Area
writer has met or knows personally. gration. As Cynthia Brock writes, to claim universal decline
stories Writing Project at UCSD
Others go on to publish in edu- she was alerted “to the seductive— in U.S. public schools; this may be
cational journals such as NCTE’s but potentially disastrous—tendency some,
compelling toDirectors:but it makes
Language Arts or English Journal to assume that what I teach is what Makeba Jones
for sloppy and irresponsible argu-
or CATE’s California English. The my children actually learn” (Brock,
ments. We Kim Douillard more ways
need to find
position paper and the possibilities 2001). Reflecting back on my earlier
for publication take teaching beyond teaching, this was me! Just because to understand and expose this kind
the classroom and situate teachers I assigned my students to read, did UC San Diego
of argumentation. This is not to say
as active members of and contribu- not mean they understood what they SDAWP
that what Rose is doing is not valu-
tors to the larger educational com- read. Yes, they may have read the 9500 Gilman Drive
able and responsibly developed--I
munity. assigned readings, but could they La Jolla, CA 92093-0036
understand the subtle and nuanced think it is; it is, however, to say that
arguments and rhetorical strategies we need to broaden the kinds of
the authors were using? responses made to such arguments.
how much it relies on anecdotal
2 Dialogue, Fall 2008
included racist and sexist insults, and reasonable argument, reason- then asking them to discuss what
again reflecting our culture’s popu- ing, and using appropriate evidence. it is about, students are given a
lar discourse style. I hadn’t yet figured out a way to text and asked particular questions
help my students become thoughtful to help them understand who the
In one of my classes that semester, writers and participants in the con- author is, what was going on at the
a student jumped out of his seat versations that were taking place in time the text was written historical-
and exclaimed, “I am so tired of the academic world. ly and socially, and what motivated
all of these border bunnies jump- the writer to write—which we call
ing across the border!” At that, What changed? I started part-time at context and/or “the rhetorical situ-
three Latina students jumped out of SDSU as a lecturer in The Rhetoric ation” (Bitzer, 1968). Students begin
their seats and one of them yelled and Writing Studies Department to learn that writing doesn’t just
back, “How would you like it if we (DRWS). Yes, I was teaching at SDSU, happen arbitrarily, but that writers
called you a ‘jungle bunny’ since City College, and Southwestern like write in a particular time in history
you are black?” I really thought at many other community college writ- and are prompted to write because
that moment that fists were going ing instructors. At the time, Fall 1998 of something that is going on social-
to start flying! Luckily everyone in DRWS, many changes were taking ly, politically, and/or personally.
immediately calmed down as the place in the curriculum and Student
first student left the classroom. Learning Outcomes for each course. My students
However, I felt horrible wondering I started hearing terms used such as
what I had done wrong and what I “rhetoric,” “rhetorical strategies,” now had models
could do better. My students were “rhetorical situation,” “argument/
engaged and some even passionate claim, evidence, reasons, and war- in their classes of
about their beliefs about immigra-
tion, which to me was great. But,
rants,” “ethos, logos, and pathos.”
As a comparative literatures major,
what they were
how could I teach them to articulate these terms were foreign to me.
Not only that, but they sounded
expected to do
their ideas within the context of an
academic classroom? mathematical and pretentious. I was as academic
intimidated. I couldn’t understand
I hadn’t yet how looking at texts in this “rhetori- writers.
cal manner” would be interesting
figured out to me let alone to my students. Talk Students are also invited to look into
about taking all of the passion out a text in particular ways. After hav-
a way to of reading and writing I thought. I ing an understanding of the context
help my students would find out that I was wrong. of the text, we can look at the text’s
claim, sub-claims, the evidence, and
become My department defines rhetoric as
follows: “Rhetoric refers to the study,
reasons. I have found that breaking
down a text paragraph by para-
thoughtful uses, and effects of written, spoken graph, or groups of related para-
and visual language.” But what does graphs, helps students understand
writers and this mean to me as a writing instruc- what a text is doing in each section.
tor? This is what I had to figure out. By doing this “charting,” students
participants in Using rhetoric, my teaching started are able to see what rhetorical strat-
the conversations to be about what a text was doing
in terms of rhetorical strategies, or
egies a writer is using. In many
ways, looking at one text closely
that were taking strategies a writer uses, instead of to see how an author makes an
just focusing on what a text is about. argument was very similar to using
place in the This took a willingness on my part mentor texts. But rather than hav-
to rethink my teaching practices. It ing my students copy the author’s
academic world. also required many wonderful col- language and style, I was show-
leagues taking the time to answer ing my students how other writers
Student writing suffered from the my endless questions, showing me create an effective argument. My
same sorts of problems. Even when what they did in their classes and students now had models in their
students were engaged with the how they scaffolded their assign- classes of what they were expected
topic and had something to say, ments. I also attended in 2003 and to do as academic writers.
their essays were mostly a series 2005 the summer Reading Institute
of prior opinions, often unfounded for Academic Preparation (RIAP) Late in my RWS 280 class, we had
and illogical and lacking any sort hosted by SDSU. Both RIAP sum- three readings on whether or not
of reference to the texts we had mer institutes gave me invaluable torture was ever justified. For me,
read. I was discouraged because lessons on how to teach students as well as my students, this was a
even though I was getting stu- to read and write academic argu- very important and emotional issue.
dents engaged and my students ments. One of my students, Kelly, was very
were developing their voices, I was pro-torture, perhaps related to her
unable to teach them the skills and So what does this look like in prac- having a husband in the Marines in
tools they needed that would help tical terms in my writing classes? Iraq. I could see that this would be
them succeed within the context of Well, instead of handing students a touchy issue since I am very much
academic writing: making a valid a text, asking them to read it, and against torture. But here’s what
Dialogue, Fall 2008 3
happened. Instead of arguing our the most part. Of course students enemies, just like Johnson explains.
points back and forth and letting our were able to give their opinions, but Therefore, using torture would be
egos get in the way, we focused on they were much more grounded in counter productive and could have
the texts. As a writing instructor, I the texts we had read, and articu- devastating results."
want students to explore issues and lated in a more thoughtful manner.
come to their own conclusions, so Most surprisingly about this for me Although Pilar’s writing at this point
by sticking to what a writer is doing was to see how by focusing on what may be “clunky,” trying to incor-
in a text, we had opportunities to the text was doing, students under- porate each author’s text we had
discuss torture that were safe. Even stand much better what the text is read to help formulate her opinion,
though students disagreed with about in their discussions and in she is able to express herself and
other students and me, we could their essays keep herself grounded in the texts.
keep going back to the texts. However, her voice gets a bit lost.
By focusing on what each writer
What did our discussion look like
then? We had three articles: 1)
was saying and doing, students were
able to write sophisticated essays
He is engaged
Naomi Klein’s “Torture’s Dirty discussing the readings and articu- and passionate
Secret: It Works” where she argues lating their opinion on torture as
that torture is a bust for an interro- well. For example, Joe, in one of our about the topic,
gation tactic, but for social control, class discussions said, “Even though
it works, unfortunately; 2) David I agree with David Gelernter’s posi- and he is able to
Gelernter’s “When Torture Is The
Only Option ...” which argues that in
tion that torture should be used
in extreme cases, I find that his
extreme cases in order to save lives, evidence is weak. He relies on fear- his ideas and
torture should be used; and 3) Larry based emotional appeals rather than
solid and factual evidence.” Another stay grounded
Students were student explained, “In Naomi
in the texts
Klein’s Nation article, ‘Torture’s
voicing their Dirty Secret: It Works,’ she begins
we had read.
by telling the story of Maher Arar
opinions by who was wrongly detained and tor-
incorporating tured. Arar’s story, to me, is a very
real example of what can go wrong
In Rorik’s essay, he actually argues
strongly against torture. His voice
the texts we when we think it is okay to torture.”
Students were voicing their opin-
is strong and clear, and, for the
most part, he stays grounded in the
had read! More ions by incorporating the texts we text. In his response he is arguing
had read! More importantly, stu- against Levin’s argument from “A
importantly, dents were voicing their opinions Case For Torture,” which was the
in much more rhetorically sophisti- final text given for students to read
students were cated ways. and analyze on the spot for the prac-
voicing their As for their writing, I discovered
opinions in that students began to think like "I also disagree with his [Levin’s]
writers. They began to understand methodology, his idea that the end
much more that they as writers make choices justifies the means. This is a dan-
in their writing as to what kind of gerous thinking process that in his-
rhetorically rhetorical strategies they can use to tory too many people have used.
sophisticated express themselves. Students still
had their voice and passion, and
Stalin and Mao murdered and tor-
tured millions to create their utopi-
ways. they were able to articulate their
ideas in relation to the texts we had
an systems. How many people dose
[sic] Levin suggest we torture to
read. For example, in a practice save others? If we were to disregard
C. Johnson, ex-CIA officer’s, “... And final, a timed-writing, Pilar writes the rule of law, as he suggests, we
Why It Should Never Be One” who how she feels about torture: "Like would destroy everything that we
argues that torture never produces Klein’s argument, I do not believe represent [….] One must recognize
reliable information and that rela- that implementing torture as a form his [Levin’s] argument for what it is.
tionship building works much bet- of punishment is correct. I also don’t It makes us no better than a crimi-
ter. Our class discussions focused believe in the use of torture func- nal to treat them [terrorist suspects]
on identifying who the author is tions as an interrogation tool since it in the same capricious manner ter-
and why he/she is writing, what his doesn’t guarantee a truthful answer. rorists treat civilians."
or her main claim and sub-claims Gelernter’s argument persuaded me
are, and whether or not they were to believe that perhaps there are cer- Rorik’s voice is strong and clear in
convincing. We also comparative- tain situations in I which mild forms this example. He is engaged and
ly evaluated the evidence of each of torture, no physical or cruel pain, passionate about the topic, and he is
author. The discussion is never may be acceptable to save lives and able to articulate his ideas and stay
about whether or not the students prevent atrocities. Nonetheless, the grounded in the texts we had read.
agree with the authors or me, for use of torture will only create more By looking at the texts as mentor
4 Dialogue, Fall 2008
texts (as well as texts that they would later have to
write about) with my class, we could see how each
one of the authors formulated his/her argument,
explain his or her reasons, and use evidence. My
students began to understand how other writers
write, and how they made choices as to which
rhetorical strategies to use. My students not only SDAWP Fellows
understood what each author’s text was about, but
they had “mentor texts” of how to express their
ideas and opinions. I now believe that I not only
empower my students to express their voice, I also
believe that I empower them to successfully par-
ticipate in academic conversations about important Margit Boyesen Patricia 'PJ' Jeffery
issues. They need this to succeed at the university Ada Harris Elementary Hickman Elementary
level in the kinds of thinking and writing they are Cardiff San Diego Unified
required to do.
I now believe that Janna Braun Sharon Larry
I not only empower San Diego Mesa College Montgomery Middle School
SD Community College San Diego Unified
my students to express
their voice, I also believe
Callie Brimberry Anne Leggett
that I empower them to MAAC Community School Madison Elementary
successfully participate Sweetwater Union High Cajon Valley Union
conversations about Cheryl Converse-Rath Lisa Muñoz
Encanto Elementary Miramar College
important issues. San Diego Unified SD Comunity College
More importantly, my students are better prepared
to participate in the world around them. At the end Shannon Falkner Dinah Smith
of the semester, Rorik came up to me after class Coronado HIgh School CPMA Middle School
with a big grin and told me “I can really look at
an essay and figure out what someone is trying to Coronado San Diego Unified
say. I was never before able to pick out someone’s
argument and evidence. Now I do it all the time. It’s
really cool.” I couldn’t be happier! Lisa Harris Kelly Thomas
Olivenahin Pioneer School MAAC Community School
Encinitas Union Sweetwater Union
Bitzer, Lloyd. "The Rhetorical Situation."
Philosophy and Rhetoric. 1 (Jan 1968): 1-14.
Stephanie Hubner Lauren Wilensky
Brock, Cynthia. "Serving English Language
Learners: Placing Learners Learning Center Mar Vista High School San Diego Met High
Stage." Language Arts 78:5 (2001): 467-75. Sweetwater Union San Diego Unified
Gelernter, David. "When Torture Is The Only
Option…" LA Times 11 Nov 2005.
Janet Ilko Marla Williams
Johnson, Larry C. "…And Why It Should Never Be Cuyamaca Elementary San Diego State University
One." LA Times 11 Nov 2005. Cajon Valley Union CSU
Klein, Naomi. "Torture’s Dirty Secret: It Works."
The Nation 30 May 2005.
Levin, Michael. "A Case For Torture." (1982) Bay Park Elementary
http://people.brandeis.edu/~teuber/torture.html San Diego Unified
Dialogue, Fall 2008 5
SDAWP Log July 3, 2008
feel overwhelmed now, preparing to
face future trafﬁc? I discover that this
website, new to me, made someone
Amy Brothers—SDAWP 2007 very rich. I think again about my ca-
reer. I’ll never get rich as a teacher.
But wait. Today we agreed upon a
As I look over my notes of the day to give some continuity to the begin- basic belief that money cannot buy
write this log, I ask myself, “What is ning of this day. happiness. We had a really rich day.
the purpose of a daily log? We were
all there, participating.” Ted’s demonstration requires us "There are no corners in
to tap into some core beliefs, as he this writing institute"
The dictionary states that logs are shares ways he helps high school —SDAWP Leader, Summer 2007
written to record performance or seniors know themselves better in
progress. The performance was ac- order to write more compelling per-
cording to schedule. Journaling, sonal statements. Student writing I hear this
sharing, demonstrations, food, writ- shows improvement from the be- from my seat
ing group discussion, reﬂection, ginning to the end of this work. We in the circle:
announcements. My log could be a ﬁnd unity around a basic belief, and visually exposed,
terse list to show our work. But the again demonstrate our diversity as
progress—if we could quantify the we share our own writing.
progress of our professional think-
ing during these days, it would be… Trish shares her use of technology I write in corners.
a very big number. and visual images to engage stu- I'm a corner thinker.
dents in curricular content. We hear I speak out when
I am struck by the diversity of pro- students’ poems connected to photos
I've gathered my thoughts.
fessional practice, and yet the grow- and see the words made into mov-
ing feeling of unity in this group. We ies. We see possibilities for helping I don't cut corners;
teach at very different schools, from all students build knowledge about a I inhabit them . . .
elementary to university levels. Our topic, using images, words, and mu- habitually sit quiescent.
students are poor or rich, English sic. We add to our knowledge, and
speaking or English newcomers, write about the Trail of Tears.
struggling with literacy or not. We
Am I a mouse, quivering?
come from different places, diverse Ted says, “I kept thinking, there’s No. Timid has never been
experiences, and disparate ideas. got to be a way to get more [of their a part of my profession.
stories], so I began using ‘This I Be- I'm boldly quiet in my
The morning binds us together as lieve.’” Trish says, “I saw the movies corner of the world.
we listen to journals: Kendra, Su- made without movie cameras, and
san, and some others formed some said, ‘I could do that.’ Now that I know
sort of slippery bond yesterday after what can be done, I know what ques- Wait!
digging in messy trash, looking for tions to ask.” Again we are uniﬁed The world
Kendra’s wallet. I feel thankful for in our common goal of sharing and has no corners.
a group that sticks together. Linda learning. Both Ted and Trish have Its textured face
shares relief over projects ﬁnished. picked up an idea—a radio program,
My stress level spikes as my mind a computer program—and modiﬁed
forms varied habits
runs over my list… at some point I it for use in their classrooms. Both of mind and endeavor,
will feel relieved, too. Cara writes of have connected us to new possibili- which we trim
clearing the clutter from her mind, ties for our own classrooms. We go to into submission.
and I remember to breathe. Trish, lunch with minds already full. The innate curiosity
a technological explorer, shares
that the ﬁrst time she surfed the net During our writing response group,
was like being swept away by a tidal we marvel at the value of sharing is circumscribed;
wave, and I renew my appreciation our words and getting feedback. We an artiﬁcial geometry
of the willingness of this group to respond to poetry, an abstract, and subduing the natural
take professional risks. Allen shares position papers. We begin in the text, landscape of learning.
thoughts of riding public transporta- work our way out to laughing and
tion, contrasting train culture with telling stories, and then return to the
bus culture. I think of how teachers text. Are all the groups such a won- I am a quiet gatherer.
touch the world, both in and out of derful mix of challenge and support? Someday
the classroom. Iris shares a story Although our writing voices are quite I will gnaw through
close to her heart—her son’s mar- diverse, our unity toward purposeful the woven lines
riage—and I think of intersections, shaping of words is inspiring.
crossroads, and wonder where we that
are headed after these few weeks Reﬂection and announcements at the tie learners down.
together. Linda shares her “caught end of the day bring us back togeth- —Amy Brothers
poem” log. Our words, gathered er. The clean-up begins. Trafﬁc gets
from yesterday into a uniﬁed poem, checked on sigalert.com… should we
6 Dialogue, Fall 2008
My watch said nine o'clock on the
SDAWP: Writing Marathon dot. The Spring Writing Marathon was
Balboa Park—Spring 2008 supposed to start and we had three
participants: Warren and me, the hosts,
ppppppp and Warren's girlfriend, Iris, who was
obligated to be there.
On May 3, 2008 SDAWP members convened with hosts Becky
Gemmell and Warren Williams in Balboa Park to share writing time I thought to myself, "What a big waste
together. Writing Marathons, which were started by Richard Louth as part of time. We'll just cancel and go
of the Lousiana Writing Project's Summer Institute, are becoming part home."
of the Writing Project culture. We are currently looking for volunteers
to host writing marathons for SDAWP. We thought it would be fun hold But then I would've missed out on a
them in differcent parts of the county so that we can have opportunities beautiful day in Balboa Park. And to
to explore areas that may not be familiar to all of us. Please do what? To clean my house and run
contact the SDAWP ofﬁce if you are interested in hosting a marathon. to the grocery store?
If no one had showed, would I have
stayed there to wander around and
Butterﬂy Garden write on my own? Probably not. So
Balboa Park even though our group was small (we
expanded to seven by 9:20), it gave
Wrapped in a garden me a sense of purpose and of safety to
of stone and trees and ﬂowers explore, to write, and to take a break
hummingbirds whiz by from the daily drudgery.
Still on the stone bench We all need to take a break from the
bird songs drift in on the breeze daily grind and make time to write.
butterﬂies ﬂoat by Otherwise, are we really practicing
Writing what we preach?
Monarchs mostly now —Becky Gemmell
I almost didn't come today,
foreshadowing Kings and Queens SDAWP 2001
Not because Balboa Park is faraway
of summer Shakespeare
(because I love Balboa Park)
But because life is so hurried, Sun ﬁlters down,
I worried I'm carried off in a dream,
this was just one more thing. wrapped in butterﬂy wings.
However come I did —Nancy Rogers
and I got to know Iris and Warren, SDAWP 1994
and remember that writing is not painful
but a necessary cerebral cleansing and
now I am washed.
Dialogue, Fall 2008 7
S The Other World
U (a class poem,
YWC grades 7 and 8)
M My foot sinks into the beige-colored sand
E Callused feet assault from day to day
R riters’ I could taste the salty air and
hear the rhythmic sound of
the crashing waves
2 In the burning stand, a crab sits
0 ready to attack
Diving down, grabbing grainy
0 handfuls of sand, and
7 feeling it trickle through
Silver ﬂash of ﬁsh in the water
by Paloma Acosta, Grade 12 Sunset stretching in an
He guards his precious collection, across the horizon
even from the soft, delicate rays of sunlight.
A new world starts
He can't possibly understand that his myriad
of knick-knacks and strange assortments beneath
are considered trash ﬂavored trash by the skeptical beyond
eye, devoid of imagination. below
To him, he protects priceless treasures.
the ocean's surface
But to the rest of the world, he keeps guard over
Ode to Horses!
by Eugenia Tzeng, Grade 4
When I wake up
ﬁrst thing in the morning
out the window
You are a beautiful horse!
Looking right in my eye!
It must be a dream
Of a horse with eyes
that blink perfectly
and a bumpy back.
Oh, what a beautiful,
8 Dialogue, Fall 2008
A million metal bugs,
hustling under a
rustling, polluted breeze.
It's 8:14 and they're already
paranoid and rushing
on their concrete sea,
to get where they need to be.
Fumbling between 91.4 and 101.3
and their morning routines,
never noticing the miracles in
the sky of God's jeans.
A washed out denim dream,
the color of Omi's eyes,
ripped and leaking golden ink
onto a strawberry ﬁeld,
a quilt of green and singing trees,
onto an infected society that
injects and rejects
everything with their machines.
by Camilla Elizabeth Aguirre Aguilar,
by Cinnamon Roy, Class of 2007
Red is a ﬁre truck cling clanging its way to a house engulfed in ﬂames.
Orange is a racer back worn-out shirt dripping with sweat.
Yellow is a water polo ball soaring past the goalies ﬁngertips into the net.
Green is an evergreen forest slowing fading while gasoline seeps between its roots.
Blue is a crashing wave whose foamy ﬁngers carry surfers to shore.
Indigo is a starry starry night in which galaxies swirl and stars meander across the sky.
Violet is a morning glory proclaiming its beauty to other garden ﬂowers.
What is a Poem?
by Charlie Mann, Grade 5
Dialogue, Fall 2008 9
Let's Walk Aha. A teacher can best mine writ-
ing from students by writing him-
self. I can create an environment
the Walk where students write by writing,
too. I already write daily. But if I
write daily with my students, mod-
Ted Hernandez, eling behavior and craft, they might
begin to think like writers and work,
SDAWP 2007 as Graves states, “in a state of con-
stant composition.” And if I take a
Remember the saying, “Those that cator, he is constantly growing and
cator further step, working toward pub-
can, do. Those that can’t, teach?” ex
expanding his knowledge. lication and public exposure of my
A small cadre of educators at my work and voice, my students might
school, constructing a Visual and I write daily. But I seldom share see the validity of their efforts and
Performing Arts Academy, one of my work with my students. At this their writing becomes authentic. I
our site’s small learning commu- summer’s San Diego Area Writing will be walking the walk, and my
nities, are out to prove it wrong. Project (SDAWP) invitational, classroom becomes a garden of
They do not see teaching as discon- Rebecca Gemmell told a similar voices.
nected from the activity we teach. story. She then demonstrated how
They are writers, painters, teach- she began to write with her students This premise is not bound to writ-
ers. They write. They paint. They in her English classes, creating a ing teachers. We are historians. We
teach. They believe if we’re going to strong writing community, and how are scientists and mathematicians.
talk the talk—that is, persuade our their writing improved dramati- We are travelers. We are students.
students that our subject is valid cally. Kim Douillard demonstrated It doesn’t matter what we teach
and essential—we should walk the
walk. In other words, we need to
be prepared to do what we ask our We are historians. We are scientists
students to do. and mathematicians. We are travelers. We are students.
Too many teachers, I am included, It doesn’t matter what we teach
are inauthentic in our approach. or what grade level we teach.
I teach English and my students,
seniors in high school, create web
pages, construct power points and how she journals and reflects with or what grade level we teach. If
make presentations, read their her elementary school students, we ask our students to perform a
poetry aloud and in public, and also building a strong community task, we must be prepared to do
write in pressure situations. I do of writers. Last year, when she the same. We must be prepared to
none of these. I did some, once, as a moved away from that process, her expose ourselves, just as we ask our
journalist, and that experience is an students’ writing suffered. She will students to expose themselves. By
invaluable aid for me as a writing write with her students again this doing this, we are not only model-
instructor. I refer to that experience fall. They are walking the walk. ing professional behavior, we are
with my students, but it’s not the growing professionally and person-
same. I need to do more. I should It is not like the saying, “Those ally. Let our students know we are
participate in what I’ve asked them who can (write), do. Those who walking the walk. They will only be
to do; it not only models, but it can’t (write), teach.” It has the better for it.
builds community and gives assign- become, “Those who teach writing
ments authenticity. must write.” In their book Inside References:
the National Writing Project, Ann
Art teachers do this all the time. I Lieberman and Diane Wood state, Lieberman, Ann and Diane R.
watch in amazement as Ron Moya, “Thus, writers are the best teach- Wood. (2003). Inside the National
a painter and one of my colleagues, ers of writing simply because they Writing Project.New York: Teachers
moves about our campus and the are involved in the practice of writ- College Press.
community surrounding our site. ing.” They go on to quote a Writing
Wherever you see him, he has his Project teaching consultant, “Well, National Writing Project and Carl
notebook. He’s writing or drawing. I think number one is that if I’m Nagin. (2006). Because Writing
He’s visiting galleries. He’s begun to a teacher of writing I have to be a Matters: Improving Student Writing
show his work again. (He’s not just writer.” In the book Because Writing in Our Schools. San Francisco:
referring to when he used to show.) Matters, researcher Donald Graves Jossey-Bass.
He teaches his students to observe says, “If kids don’t write more than
the world as artists and to constant- three times a week, they’re dead, Gemmell, Rebecca. (2007). No
ly think about composition. When and it’s very hard to become a writ- More Boring Lit. Analysis Papers!:
it clicks for them, he says, “Now er. If you provide frequent occa- Encouraging VOICE in Student
you’re thinking like an artist.” In his sions for writing, then the students Writing. San Diego Area Writing
life at school and in the community, start to think about writing when Project.
he models this skill. He walks the they’re not doing it. I call it a state
walk. More importantly, as an edu- of constant composition.”
10 Dialogue, Fall 2008
m Language Use
in Our Classroom
“When they use their native lan- He already knows how to negoti- to compare within the “comprehen-
guage in the classroom it becomes ate the many functions of language sion,” “analysis,” and “evaluation”
a crutch.” within a different culture, and he levels of thinking.
brings that knowledge to the class-
How many times have those of us room table when he begins to learn Any objections to a linguistically
who work with English learners, or English, if we choose to let him. experienced and flexible student
for that matter, those who follow the with high level thinking skills?
English-only political debate in our So why should we, his teach-
country, heard this tired compari- ers, make this choice? By pro- In addition, the ability to compare
son? What’s so bad about a crutch, moting native language use at the and contrast two languages gives
anyway? Is it that we automatically same time that a student acquires a bilingual person a higher level of
associate the word “crutch” with English, we allow for significant what Ben-Zeev (as cited in Baker,
the word “injury”? cognitive achievement. Drawing on 1996, p. 136) refers to as “commu-
nicative sensitivity.” Baker explains
I’d like to suggest that under no circumstances “communicative sensitivity” as a
heightened awareness of when to
is a student’s native language harmful
use which language:
to his learning, nor is his lack ‘They need constantly to monitor
of English proficiency a deficit. what is the appropriate language
in which to respond or when ini-
tiating a conversation (e.g. on the
Let’s consider the crutch by itself. the research of Jim Cummins (as telephone, in a shop, speaking to
Doesn’t it give someone with a leg cited in Baker, 1996, p. 139), Baker a superior). Not only do bilinguals
or foot injury time to heal? Doesn’t summarizes three ways to explain often attempt to avoid ‘interference’
it provide her with continued mobil- how bilingualism and cognitive between their two languages, they
ity despite her injury? If so, why advantages seem related. “The first also have to pick up on clues and
does the metaphor seem to demon- explanation is that bilinguals may cues when to switch languages.
ize crutches along with native lan- have a wider and more varied range The literature suggests that this
guages? A crutch is an invaluable of experiences than monolinguals may give a bilingual increased sen-
source of strength, as is one’s native
language. The use of both is to
provide time, balance, safety, and ...teachers must stop thinking of a
healthier progress in the long run.
To remove native language leaves
student’s native language as a “crutch”
the learner vulnerable at best, and
in the worst situations—without a
—something temporary and throw-away,
voice. needed only by an “injured” person.
Both crutches and native languages
are shortchanged in this metaphor, due to their operating in two lan- sitivity to the social nature and com-
spoken so often in irritation, impa- guages and probably two or more municative functions of language’
tience, or intolerance. More impor- cultures” (Baker, 1996). Second, (Baker, 1996).
tantly, we don’t consider the harm he explains a switching mecha-
done when equating an English nism. “Because bilingual children To allow for these positive out-
learner with one who is injured. switch between their two languag- comes, teachers must stop thinking
I’d like to suggest that under no es, they may be more flexible in of a student’s native language as
circumstances is a student’s native their thinking” (Baker, 1996). The a “crutch”—something temporary
language harmful to his learning, third advantage, he claims, is that “a and throw-away, needed only by an
nor is his lack of English proficiency bilingual may consciously and sub- “injured” person. Evidently, a stu-
a deficit. In fact, he’s an entire lan- consciously compare and contrast dent on his way to bilingualism is
guage ahead of those of us who are their two languages” (Baker, 1996). in better “linguistic health” than his
“highly educated” but monolingual. Bloom’s taxonomy places the ability monolingual counterparts!
Dialogue, Fall 2008 11
Despite my awareness of the poten- in English, a neighbor’s quick trans- when we’ve accustomed ourselves
tial advantages of bilingualism, I lation is an efficient way for all stu- to calling all of the shots, to mak-
used to be part of the “crutch” camp dents to gain the same background ing the most important decisions for
of thinking. I could justify why knowledge and be able to move them.
students should have marginal use forward collectively.
of their native language in content Since the perceived threat of native
areas other than English, since the Though moving ahead with the language use often originates from
content is more the focus than the same knowledge base might seem our own fears, not from any substan-
language. But in English class I a desirable situation in our class- tiated concern that it will impede the
believed that since the content was rooms, there is one major obstacle content being studied, it is critical
the language, English should be in the way: our own anxieties. We that we learn to accept our own dis-
used at all times by everyone. That might worry that when we let stu- comfort. Stephanie Jones, in study-
puts everyone on an equal footing,
Though moving ahead with the same
In reality, the English language is
only “the content” of the English
knowledge base might seem a desirable situation
class in the broadest sense. There
are many sub-contents happening
in our classrooms, there is one major
within that subject area. Let’s sup- obstacle in the way: our own anxieties..
pose that we’re discussing literary
terms like metaphor and imagery.
While an English Learner might dents use their native languages, ing the alternative language prac-
struggle to articulate the purpose of we’ll no longer be able to con- tices of young girls in a high-poverty
such devices in English, she could trol them. We are warned in our U.S. neighborhood, asserts that, “far
certainly learn what they mean in teaching credential programs and from a harmonious, predictable, and
her language if we allow for a by our administrations that without shared vision that the idealized con-
quick translation. Won’t that get classroom control, all may be lost. cept of classroom ‘community’ might
her on an equal footing with her How can we be expected to control evoke, classrooms that open spaces
classmates much more efficient- students when we can’t even under- where students’ multiple ways with
ly? Won’t it be easier for her now stand what they’re saying? What if words are centered and engaged
to learn the English words, since the animated Korean conversation in meaningful, productive learning
the concepts are already in her is really about the overhead mark- are often sites of conflict” (Jones,
head? Additionally, the classmate er stain on Mrs. Merideth’s face 2006). We often equate “peaceful-
who translated or explained the instead of the theme of the book we ness” in our classrooms with “quiet.”
words to her has just reinforced just read? Learning, however, means active—
his own knowledge of the vocabu- and at times loud and confronta-
tional—meaning-making. It is natu-
ral for conflict to exist as students
Everyone benefited from the exchange,
E struggle not only with language
meanings, but with their beliefs and
even the teacher, who can proceed identities and those of others. This
with the lesson knowing that metaphor conflict, as Jones suggests, might
very well be productive and even
and imagery were introduced and understood. necessary.
The strongest conflict of all, though,
lary. Everyone benefited from the I’ve come to realize that whether may be within ourselves—the recog-
exchange, even the teacher, who or not I allow this dynamic in my nition and acceptance of our discom-
can proceed with the lesson know- classroom is more about my own fort in allowing students the free-
ing that metaphor and imagery level of comfort, or discomfort, than dom to use their native languages.
were introduced and understood. about wildly subversive students In addition we risk conflict with our
scheming in their native language colleagues when advocating for this
Most of us have studied a new while I look on helplessly. Middle practice. We then need to articulate
language at some point in our aca- schoolers are seldom subtle, and why the crutch metaphor is so faulty,
demic history, so we might recall body language says a whole lot. I for surely they will summon it to their
that the only—though significant— have had to learn to live with not defense. Not only does the metaphor
barrier to communication was our always controlling the conversation, misconstrue the true intention of the
lack of words, not an inability to and at the same time I trust my crutch as well as the condition of the
think or reason. We had only to ask instincts about what students seem language learner, but it wrongly sug-
our friend, or a teacher, or consult to be discussing. This, of course, gests that the metaphorical “it”—the
a dictionary, to arrive at where we means sharing some of the control native language—should eventually
needed to be, at least temporarily. with the students, and letting them be replaced or put away. First lan-
The same is true for my students. be responsible for their own use of guage use should be able to support
When my lesson grinds to a halt native language in their learning. the acquisition of both English and
due to a few misunderstood words It’s pretty intimidating, especially content area subject matter as long
12 Dialogue, Fall 2008
as needed, and thereby become a When I returned home I was a much
partner language of power and sup- stronger and more confident speak-
port. It is the foundation of English
learning because it’s the backbone
er of Spanish because I’d used all of
the tools at my disposal, especially SDAWP
of an English learner’s thinking. It my first language, to move me for-
is one of the most powerful tools—if ward. Why would I deny the same NOTES
not the most powerful—in the acqui- opportunity to my students?
sition of subsequent languages. Congratulations
And unlike me, most of our stu-
Laurel Corona (SDAWP ’77) has
Shall we then consider a student’s dents have not made the choice
native language a tool rather than a to live here, a country that is for- published a book (St. Martin’s
crutch? After all, we love the tools eign to them, but rather are here Press) entitled Until Our Last
of our trade, don’t we? Teachers by circumstances outside of their Breath: A Holocaust Story of
may disagree on methodology, but control. Many may be here for the
Love and Partisan Resistance.
most of us are passionate about our remainder of their lives, which gives
content area, and will do almost them an added incentive to learn the Check out her website at www.
anything to help students learn that language of power in our country— laurelcorona.com for more infor-
content. We’ll set chemicals on fire English. Using their native lan- mation about this book and her
in our science labs, recite poetry on guage throughout this process ini- forthcoming novel set in Venice in
tabletops, play a version of class- tially provides them with balance,
room baseball to review before a with a feeling of security, of knowing
test, and toss out Jolly Ranchers something in a setting of too many
as students volunteer their correct unknowns. According to Jones Kudos
answers. We use all of the tools (2006), “their being positioned as Christine Sphar has co-authored
at our disposal: dictionaries and knowers within a space where they
two books published by Math
thesauruses, calculators and graph are routinely positioned as lacking
paper, microscopes and beakers, to in knowledge opens up the possibil- Solutions: Supporting English
make learning more effective and ity that they may want to learn mul- Language Learners in Math Class
explicit. In fact, we are our own tiple ways of speaking about topics K-2 and Supporting English Lan-
most powerful tool. Would we deny of interest.” So their native language guage Learners in Math
students our own knowledge and not only helps them learn what they
ability to explain a concept if we need to know about their new lan- Class 3-5. The books provide
saw it was needed? If not, then why guage and country, but it actually speciﬁc strategies teachers can
would we preclude the use of native keeps them motivated to do so. use to help English learners suc-
language as a tool to move students ceed in math class. The lessons
forward in their learning? When we honor that language, and
guide teachers in developing stu-
the culture in which it’s embedded,
There is no such thing as true immer- we show students that we welcome dents’ proﬁciency in English while
sion in the target language, for that and accept them as they are. We also developing their mathemati-
would mean the elimination of our send the message that English is not cal understanding. In addition,
thinking and feeling lives, which intended to make them over into a
teachers will learn how to modify
naturally and automatically happen new person, but give them a tool
in our native tongue. Never, when to successfully negotiate the aca- existing math lessons to support
living abroad, was I forced to exist demic and professional demands of students with varying degrees of
in only the language of the host their new world. By valuing where English language proﬁciency.
country. There were many times they come from and the experi- The books are available for
when I was required to speak and ence and knowledge that they bring,
preview and purchase at
hear the language of the country, we build a trusting relationship in
but my knowledge of words and which they’re more likely to follow mathsolutions.com.
language use in general, from years us to new places of learning and
of speaking my first language, eased risk-taking. We also increase the Birth Announcements
this process. I don’t mean that I was probability that our students will
Jennifer Pust (SDAWP ’03) and
constantly translating from one lan- continue to feel pride and respect
guage to the other when speaking for themselves, their home languag- husband Michael welcomed a
and listening. In most communica- es and cultures, and in turn be able baby boy, Noah Michael, on
tions, though, aside from the briefest to extend that respect to the vastly April 21, 2008. Jennifer has relo-
bits of small talk, there was uncer- diverse citizens who make up this cated to Los Angeles and teaches
tainty for me to negotiate, and that country. Baker affirms that “those
is when everything I know about my who speak more than one language at Santa Monica High School.
first language bridged communica- and own more than one culture
tion to the second. In order to make are more sensitive and sympathetic, Sarah (Curry) Ogus (SDAWP
an instant decision about how to more likely to build bridges than '03) gave birth to Elizabeth Eden
participate appropriately in an act of barricades and boundaries.” (Baker,
Ogus on May 29th 2008. Con-
communication, I had to draw on my 1996) This bridge-building origi-
first language knowledge of context nates in our classrooms, where we gratulations Sarah and family!
clues, cognates, voice inflection, etc. allow and encourage the native lan-
Dialogue, Fall 2008 13
guage to be a bridge to English, and
perhaps more importantly, a way for
them to show who they are and what
Often referred to as our home lan-
guage, our native language is the
c MUSE BOX
center of our identity. It is how we
express our deepest emotions and “Books aren’t written—they’re rewritten. Including your own. It is one of
show our most intimate connections
to the world. Gonzalez (as cited in the hardest things to accept, especially after the seventh rewrite hasn’t
Jones, 2006, p. 116) writes that “the quite done it.”—Michael Crichton
interweaving of language ideologies
and emotion for children cannot Since becoming a young adult novelist, I’ve struggled with both the inter-
be overemphasized. How language
nal editor (the one that reminds me anything I write is not worth reading)
connects with formations of identity
and community for children is at and the external editor (the literal woman in New York who line edits my
the crux of the language wars that manuscript and nudges me to find things like the “emotional trajectory”
rage on.” When we remove—at any of my characters). The bottom line is that published writing goes through
point in their education or lifetime some sort of filter that either deepens or alters the intentions of the writer,
—peoples’ facility to use their native
but in the end, strengthens the piece so it’s ready for its reader.
language, we literally rob them of
their ability to fully communicate
who they are, where they are from, That said, find a piece of writing to which you are willing to commit
and what they feel and believe. yourself. Either start fresh, or go back to a piece that’s been niggling at
you. Read it aloud, without pen in hand. Next round, grab your pen,
It need not be a war, though not in
mark all over it. Ask yourself questions about it. Save it and start it anew.
our classrooms. Yes, we might have
to engage in the battle, in the con- Then read it aloud again until you’re ready to share it with someone.
versation, outside of our classrooms Then share it and allow someone else to use the pen. The process can be
to justify why we allow the use of this painful, but it is worth the outcome. If we don’t revise, we don’t have the
tool. But inside our classrooms we pleasure of seeing a piece of writing reach its potential. Allow yourself to
can let the conversations continue,
watch it grow and change and most importantly, don’t stop when you’re
live with our discomfort, and create
a safe—if at times overly animated, ready to give up.
conflicted. and even off-task—envi-
ronment for our students to make
sense of their learning without giv-
ing up any part of who they are. NWP Announcements
We must lay aside the notion that
our students’ native languages are Letters to the Next President: Writing Our Future
a short-term support, and recognize For high school teachers and mentors who would like to capitalize on young people's
the rich and lasting permanence of interest in the 2008 U.S. presidential campaign, Google and the National Writing
those languages in their lives. And Project have teamed up to create Letters to the Next President: Writing Our Future.
we must move beyond simply rec- http://www.nwp.org/cs/public/print/doc/nwpsites/writing_our_future.csp
ognizing those languages. We must
encourage their use, celebrate their Join the Conversation about Who is a Writer
beauty, and create new metaphors to What do people write and read every day? What makes people feel they are writers,
understand them. or not? Through online video, audio, and print texts The National Conversation on
Writing hopes to encourage a discussion on these questions. Members of the NWP
References community are invited to join the conversation about who is a writer.
Baker, C. (1996). Foundations
of Bilingual Education and Start Planning for the Annual Meeting in San Antonio
Bilingualism. Clevedon: Make plans now to attend this year’s annual meeting in San Antonio, Texas,
Multilingual Matters Ltd. November 20-22. Online registration for workshops begins September 2. Check the
NWP website for regular updates and information.
Jones, S. (2006). Language with an http://www.nwp.org/cs/public/print/doc/08am/home.csp
attitude: White girls performing
class. Language Arts, 84 (2), Writing Matters: What's Your Story?
114 – 124. Writing Matters offers online writing instruction for middle schools. It features genre
studies, animations, lessons, publishing tools and professional development.
TheWriting Matters portal is set up to provide teachers access to lessons plans, class-
room visual and an online location to collect, evaluate and publish student work.
14 Dialogue, Fall 2008
es and possibilities should we be
English Journal exploring? Who is the assumed Call for
NCTE audience for these standards, and
how do the standards benefit or
constrain teaching and learning in
For the Fun of It! Winter 2009 Issue
diverse settings? What are the ten-
Deadline: November 15, 2008 sions between skills and knowl- Submission Deadline:
edge? How do these tensions serve December 15, 2008
Do you remember what attracted teachers’ and children’s agency in
you to the field of English? Was it knowledge production? How do we
your escapist forays into other lands respond to standards in education
From Fear to
through reading? Dreams of writ- based on our political and ethi- Confidence
ing the next Great American Novel? cal obligations to our students? We
Fascination with famous speakers invite submissions addressing these Although we may read aloud
who moved the world with their questions and other issues related and expose students to the inspir-
words? Whiling away the hours to English language arts standards. ing possibilities of the written
with a dog-eared comic book or pop For submission guidelines visit: word many of them, and per-
novel? Indulging your ego with your www.ncte.org/pubs/journals/la/ haps many of us, grow up with
own angst-ridden poetry? Playing write/108999.htm a real distaste for writing and
your favorite songs again and again
a lack of confidence about our
to hear and appreciate every word?
Creating a famous Web site? You're Language Arts ability to write effectively and
correctly. We fear it more than
lucky. Now that you teach English, NCTE we love it.
you get to indulge these pleasures
with your students and call it work.
In each issue, we will feature a final from her essay
Since people learn best through
page called “In Closing . . . .” This is Learning from Learning
play, there is an argument to be
made that all teaching and learning a one-page format (750-word maxi-
mum) that could take the form of a In many ways, as teachers,
should be fun. What do you teach
that you and your students find poem, essay, conversation, journal we’re trying to undo fears,
to be a great deal of fun? Please, entry, short story, or visual art with insecurities (and unfortunate-
no Jeopardy!—style test reviews caption. The focus is on the voices ly, dislikes) our students have
or mnemonic devices for naming of educators who have recognized a about writing. What techniques
the parts of speech. For this issue, shift in perspective, perception, or or resources do you bring into
we seek enjoyable, creative assign- practice—in their school, their dis- the classroom that inspire your
ments that engage students in gen- trict, or themselves. We hope that students to write? How do you
uinely high-level learning in any readers will look forward to this imbue your students with a
area of English language arts. For feature because it prompts them to sense of confidence about writ-
submission guidelines visit: www. remember and rethink. For submis- ing? What are some books, sto-
englishjournal.colostate.edu/info- sion guidelines visit: www.ncte.org/ ries, poems, essays that you
forauthors.htm#articles pubs/journals/la/write/109012.htm find effective in catalyzing stu-
dent writing? What is your own
story about learning from your
Language Arts Classroom Notes learning that has brought you
NCTE Plus NCTE closer to feeling an affinity for
Locating Standards Classroom Notes Plus, NCTE’s quar-
Dialogue would like to receive
in Language Arts Education terly newsletter of practical teach-
your work or the work of your
Deadline: January 15, 2009 ing ideas for the middle and second-
students. Submit a story of
ary school level, invites descriptions
student success, a strategy for
Many professional organizations of teaching practices for consider-
implementation, or a personal
across content areas have estab- ation. We ask that submissions be
essay on your teaching experi-
lished standards for teaching and original and previously unpublished
learning (i.e., NCTE & IRA, NCTM, and, in the case of an adapted idea,
NCSS), providing the framework for that you clearly identify any sourc-
es that deserve mention. Please be Email all manuscript submis-
state and local curriculum develop-
aware that any student work needs sions, suggestions, letters to
ment. In this issue, we are interested
to be accompanied by statements of the editor and Project Notes to
in exploring the impact standards-
consent by the student and his or her email@example.com or
based education has on preK–8 lit-
parents.For submission guidelines firstname.lastname@example.org
eracy education. How do you relate
ideas, contents, and reflections with visit: www.ncte.org/pubs/publish/
standards? What curricular absenc- journals/109277.htm
Dialogue, Fall 2008 15
Calendar of Events San Diego Area
Extended Writing Across Makeba Jones
Conversations the Curriculum Kim Douillard
About Writing Grades K-16 email@example.com
Grades 1-6 Associate Directors:
Workshop Series SDAWP firstname.lastname@example.org
SDAWP/SDCOE October 7, October 14, Gilbert Mendez (Imperial Valley)
October 21, November 4 email@example.com
October 21, November 18,
January 13, February 17 4:45 - 7:30 p.m. Young Writers’
4:00 - 7:00 p.m. Programs Coordinators:
For registration contact Karen 2008 Summer firstname.lastname@example.org
Wagner at 858-292-3782 Institute Christine Sphar
NWP Technology Liaison:
Promising September 27, 2008 Jennifer Cost
Practices 1:00 - 4:00 p.m. email@example.com
Fall Conference January 10, 2009
8:00 a.m. - 12:00 p.m.
October 15, 2008 Senior Program Associate:
Marina Village Resort Carol Schrammel
For more information To contact the SDAWP office,
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La Jolla, CA 92093-0036 San Diego, CA
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LA JOLLA, CA