The Creative Writing Issue – Anne

Ann E. Hendler

Helping Students Find Their Voice
– Anne E. Hendler

 

Creativity. Either you got it or you don’t, right? Either you’re a right-brained person or a left-brained person, right? We all know that this is silliness and has been proven untrue, but does that mean we believe it?

I don’t really identify as being a creative person. However, language learning is, in part, a creative act and so tapping my students’ creativity is part of my job. Sometimes they protest. I tell them, “You don’t have to be particularly talented or particularly good at something. You just have to be particularly yourself. That’s enough.” And they have not yet ceased to amaze me.

I started doing creative writing activities with my students to help them express themselves when they were too shy to share their ideas orally. Here are some of the things I’ve tried and what I’ve learned along the way.

 

Cinquain Poetry

Write,

she said,

a Cinquain poem.

Fill each word with

Meaning.

Creativity

Innate? Teachable?

Writing, drawing, dancing

Changes how we see the world

Imagination

Observe.

Students do things

In their own unique ways.

Treasure each bright mind, beating heart.

And learn.

 

I started with Cinquain Poetry. A Cinquain poem has five lines. In one variety, each line has a set number of words (one, two, three, four, one). In another variety, each line has a set part of speech (a noun, two adjectives, three -ing words, a phrase, a synonym to the first noun). In a third variety, each line has a set number of syllables (two, four, six, eight, two).

One of the benefits of Cinquains is that within the structure of a Cinquain, students can feel the safety of having a “right way” to do it. It has enough structure to make it a challenge and enough freedom to make it a choice. The result always uniquely represents each student and even they are amazed at how differently they all approached it. More importantly, they collaborated and helped each other with it.

 

Personification of Vices

The second creative writing task grew out of a unit on vices. My students read an example poem called “Gossip” written in the first person. Then I asked them to go home and choose a vice and write a similar poem for homework using some of the new phrases they’d learned. I had no idea whether they’d try it or not. They had an example, but no structure at all. No detailed instructions. No step by step of how to write a poem. Their results surpassed my wildest expectations and were as diverse, unique and creative as the students themselves.

I learned from this that my students are brave. That when we take away the structure and steps, they still want to be heard so badly that they will put themselves out there even when they aren’t sure of the “right way”. One of the boys wrote about alcohol and anger, a reflection of his life at home. A girl wrote about lies and rumor, connected to an experience she had at school. Another abandoned the topic entirely and just let her words fall from the sky. And I would never have seen any of it if I had bound them with rules and structure.

 

Recipes for Success

After spending two weeks learning about goal setting and steps to achieving dreams and sharing their specific dreams, I came to class with a stack of recipe cards. During the class we wrote a recipe for banana pancakes on the cards. Then I pulled out a bowl and spoon and we passed it around adding (sadly, imaginary) ingredients and giving it a stir to make pancakes. I asked them to write a recipe for success for homework.

The results were varied – some used measurements they made up themselves and others combined recipe vocabulary with success vocabulary and created success pancakes. The icing on the cake (or perhaps I should say maple syrup) for me, though, was when a photo appeared on my student’s Facebook page of her personal recipe (175cm of tall, etc). Not only was she using English outside of class, she was adapting it in her own ways and sharing it!

I learned from this that my students will adapt a structure to suit what they think a product should look like, and also that they’re all different. Some are more concerned with content than presentation, and others are more concerned with presentation than content. Some are equally concerned with both but still give me something different from what I expected.

Not all students like all forms of creative writing, but when they find things that they like, they really run with them. More importantly, finding their creative voices gives them courage to try other things – like performing a play or learning a song.

I am really glad my students and I had this chance to explore their creative sides. Together we learned that with a little structure they can help each other and gain confidence to create poetry, but the structure is not as important as the ideas and thoughts that they bring into it. Creative writing doesn’t come from the textbook or the teacher or the task. It comes from the writers’ trust in themselves and each other and willingness to believe, if only for a moment, that they are enough.

 

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The Creative Writing Issue – Chris

Chris Mares

Ready To Write – Chris Mares

I vividly remember my first experience with creative writing in the classroom.  I was a lower sixth student at Lewes Priory Comprehensive School in the summer of 1975, sitting in young Miss Matthew’s English class.  It was a beautiful, blue-sky morning. I was watching a mini-skirted girl I vaguely knew from the upper sixth walk by outside, a chill of desire in my belly, exacerbated by the smell of patchouli exuding from Miss Matthews as she lent towards me, her long, thick black hair almost touching my face as it tumbled over her white of her hippy blouse.  I was in love.

But not with Miss Matthews.

“Are you listening Chris?”  Miss Matthews asked.

“Yes,” I said, instinctively.  Though I wasn’t.  Not really.

“Then write something.  How does it make you feel?  What does it do to you?”  Miss Matthews paused, then stood and moved on to another student.

We were listening to Lou Reed’s album Transformer.  Miss Matthews had told us, as she put the vinyl album on the record player, that we were going to listen and write.  The class sat in bemused disbelief.  We’d never done anything like this before and I had felt that Miss Matthews just couldn’t be bothered to teach us anything.  I had stared at my paper as the needle touched the vinyl and the music began.  Nothing happened.  My mind, though, was unknowingly awash with untapped creativity.  It could all have gone very differently.

There are powerful reasons for using creative writing activities in the classroom but there is also a need for structure and procedure.  Miss Matthews, though her intention was good, had plunged us in too quickly.  She had not led us to the point of creativity.  Our schema had not been raised. We were at sea, at a loss.

Alan Maley, in his excellent piece Creative Writing for Students and Teachers draws a distinction between expository writing and creative writing pointing out, importantly, that creative writing draws primarily on the right side of the brain, the side associated with intuition, feelings, and creativity, as opposed to the logical and analytical left side.  For many students the switch in focus from the instrumental requirements of expository writing to the aesthetic permissions of creative writing can be extremely rewarding and thus motivating.  For a student to produce an original poem, for example, results in a feeling of deep and genuine satisfaction, especially for beginner writers with a limited language repertoire in English.

I would argue that building creative writing into students’ writing experience from early on will help with their self-esteem and self-confidence as well as help them develop strategies such risk taking and that will help them become more effective language learners.

Creative writing also fosters an understanding of the playful nature of language that is common to all cultures yet rarely touched upon in most classrooms.  In our stories we play with collocation, connotation, and puns, for example.  We also bend and stretch rules.  This is all part of the fun and joy of language.

At its most basic level creative writing activities for the classroom can involve simply completing a stem sentence.

I wish I was good at …

I wish I knew how to …

I wish I could visit …

I wish I could speak …

It can also involve the addition of words within the structure of a poem.

First name

Who wants (three things)

Who loves (three things)

Who feels (three things)

Family name

Or

I am (two special characteristics you have)

I wonder (something you are curious about)

I hear (an imaginary sound)

I see (an imaginary sight)

I want (an actual desire)

I am (the first line of the poem repeated)

Another fun form is the acrostic where students read a word vertically, in this case, ‘love’, and then write a phrase related to love beginning with each letter of the word love.

Longing to see you

Over the moon

Very happy

Enjoying your warmth

A Favorite Creative Writing Activity

Short poems or haiku can be very evocative and be used as the basis for creative writing exercises.  A favorite of mine is Alan Maley’s haiku, Thinking of You.

Thinking of You

Thinking of you

Twenty nine thousand feet below

And eight years ago

Procedure

For any creative writing activity to be effective students need to be interested and engaged and their individual schema need to be raised.  The way to do this depends on the particular class but a generic way I have done this is as follows:

  1. Ask the class if anyone likes to read.  Establish what people like to read, whether they are reading anything at the moment, whether they read for pleasure, etc.
  2. Ask the class if anyone likes to read poetry or has read any poetry, or has even written a poem.
  3. Tell the class that you are going to read them a short poem and you want everyone to close their eyes and just listen and see what they see in their mind as you read the poem.
  4. Read the poem slowly.
  5. Tell the class you are going to read the poem again and this time students are going to write it down.  Having done have students in pairs take turn reading the poem to each other.
  6. Next write the following questions on the board:  Who wrote the poem?  Where was this person when she or he wrote the poem?  Why did they write it?  Tell the students there is no right answer and encourage them to be creative.
  7. Have each pair share their ideas with the class.
  8. The next phase depends on the creative license of the teacher.  In my case I tell the students I know who wrote the poem and what it’s about.  Ask students if they’d like to know more.
  9. Tell them that Alan Maley wrote the poem.  This is true.  What follows is my own embelishment.  Tell them that Alan used to work in India and at one point he was flying home to England when the captain said, “If you are sitting on the right hand side of the aircraft and you look out of the window you will see the city of Florence.  I tell the students that Alan looked out of the window and suddenly memories from the time he lived and worked in Florence come flooding into his mind.  He takes out his notebook and almost without thinking writes the haiku.
  10. I then tell the students that each of them is Alan and that when they get home, having written the poem themselves about a relationship he had once had with ‘Julia’, he decides to take action.  We then brainstorm what he could do, for example:  google Julia, find her contact information, text her, email her, write her a letter, call her, return to Florence and try to locate her.  Having established a range of possibilities, have students in pairs work on one of the courses of action Alan could take.
  11. Students are then given time to write a text, email, letter, dialog, etc.  If there isn’t enough time then the class can work together under the teacher’s guidance.
  12. After students have completed their task have them share with the class.

As an aside, I emailed Alan Maley a couple of days ago to verify that Thinking of You had been written by him.  Here’s what he said:

Dear Chris,In haste, as I am in Mexico on my way back to UK.

Yes, it is my haiku.  And thanks for using it!

All the best

Alan

I am sure Alan would be happy if you used his haiku, too.

Visualization

In order to foster creativity it is useful to build visualization activities into one’s repertoire.  Here is a generic visualization activity:

  1. Tell students to relax and close their eyes.  Tell them that they are going on an adventure.
  2. Tell students to imagine that they are standing on a street in a town they know.  Ask the students what time of year it is/day it is/what the weather is like etc.  Have them make notes.
  3. Tell the students that they are now walking along the street and they hear a noise. Ask them what the noise is.  Have them make notes.

The ‘story’ continues to be shaped by the teacher but is written by the students.  There is clearly a lot of latitude for creativity by both the teacher and students.  Students can be steered towards producing dialogs and therefore practicing the use of direct or indirect speech.

Some suggestions on the use of Creative Writing activities in the classroom

If students are not used to activities that require creativity it may take some time to train them to feel comfortable and let go.  This is understandable.  With this in mind it is worth building creative writing into one’s teaching repertoire, once a week for example.  Make sure tasks are completed and that students share their writing either in class or have their writing displayed either in the classroom or electronically.  This will motivate students as they will feel invested and validated.

The stem sentences can all be altered according to the students’ needs, level, and interests.  It is also fun to play with forms of poems.  Extra lines can be added, prompts changed, etc.

The language learning benefits from creative writing are clear.  Risk taking benefits learning as does playing with language and learning about collocation and connotation through experimentation.  The rewards are clear: personal pleasure, an increase in self-confidence and self-esteem and a resulting increase in motivation.

Returning to Miss Matthew’s classroom all those years ago.  I wonder if the class might have gone differently the class had a more structured flow.  Miss Matthews could have pointed out that it was a beautiful day.  She could have asked us what made it beautiful.  She could have asked us to write down what would have made it perfect.  We could have shared answers with each other, then as a class.  Miss Matthews could then have told us she wanted to listen to a song with our eyes close and to try and picture the song based on the lyrics and the feel of the music.  She could have asked us to imagine the people in the song, where they were, what they were wearing, what they were saying.  She then could have selected one track, Perfect Day, and we could have listened.

After that, our schema raised, our minds dancing with imagery, we would have been ready to write.

References

Maley, Alan, Creative Writing for Students and Teachers in Humanizing Language Teaching (Issue 3, June, 2012)

Ur, Penny & Wright, Andrew,  Five Minute Activities, (CUP 1992)

 

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The Creative Writing Issue

What role can creative writing play in language learning and how can something as creative as creative writing best be taught? Malu Sciamarelli, Chris Mares, and Anne E. Hendler share ideas, activities, and some great writing.

 

Malu Sciamarelli
Malu Sciamarelli
Ann E. Hendler
Anne E. Hendler
Chris Mares
Chris Mares

 

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More on Assessment – Luke

Luke Meddings

Give The Test a Rest, Continued
– Luke Meddings

 

Two years ago I sat with Chuck Sandy and Vladimira Chalyova in a cafe in Kosice, Slovakia, discussing the problem of standardised assessment and brainstorming possible slogans. ‘Give the test a rest!’, I ventured. ‘I’m more than a score!’, countered Chuck.

This article is a continuation of work that has gathered pace since that day: an effort to understand what strikes me as a universal problem in education, namely the increasing lack of time and space available to teachers and students to explore their subject (any subject) critically and creatively.

I’m not against assessment per se – it’s woven into every moment we spend with students, as we sense when and how to intervene in their learning journey. It can motivate, and it can – if used to counter the potential bias of personal recommendation, for example – democratise. But if it is over-prioritised, it can limit what we do in classrooms to a rainy parade of past papers. It can reduce the syllabus to testable chunks. It can be done far too much, and much too young: increasingly, it is.

I want to consider assessment from a very broad perspective. Firstly, by looking at our teaching lives in the context of broader trends. Secondly, by using a poem from the last century, the one that was modern, as a reference point. And thirdly, by suggesting five points for reflection and action. Without reflection there is no understanding; without action there is no change. And without change – well, what then? Standardised testing will continue to endorse and reinforce increasingly narrow curricula worldwide, narrowing opportunity for the many while limiting exposure to true academic challenge for the few.

 

1) Times Like These

We live in a management culture, and we live and breathe business speak. We talk of accountability before we talk of humanity. We speak of parents as stakeholders, and we hasten to call any series (of films, of books, of children even, if we are stakeholders in the family business) a franchise.

We live in a measurement culture. Show me the data. Give me the proof. I can’t sell it in without the numbers. ‘Economic imperatives’, writes Raoul Vaneigem in The Revolution of Everyday Life, ‘seek to impose on the whole of human activity the standardised measuring system of the market.’ He was writing in 1967. ‘Every aspect of public and private life ,’ he pursued, ‘is dominated by the quantitative.

It’s not just teachers who suffer. As communities begin to resist standardised testing, we hear the voices of learners. ‘There is this serious force on students, when it comes to testing,’ said Alex Kacsh at the United Opt Out Conference in Denver, Colorado, ‘that if you don’t do well you’re going to lose your teacher and you’re going to lose your school.’ This is testing as surveillance, testing as threat. This is testing as an instrument not of social opportunity but of state power.

 

2) A poem, for contemplation.

One cannot make an argument without feeling.

Dolor, by Theodore Roethke

I have known the inexorable sadness of pencils,
Neat in their boxes, dolor of pad and paper-weight,
All the misery of manilla folders and mucilage,
Desolation in immaculate public places,
Lonely reception room, lavatory, switchboard,
The unalterable pathos of basin and pitcher,
Ritual of multigraph, paper-clip, comma,
Endless duplication of lives and objects.
And I have seen dust from the walls of institutions,
Finer than flour, alive, more dangerous than silica,
Sift, almost invisible, through long afternoons of tedium,
Dropping a fine film on nails and delicate eyebrows,
Glazing the pail hair, the duplicate grey standard faces.

 

3) Five points for reflection and action.

Let’s look at the problem in our academic context in five different ways, and think how we might get out of this fix.

 

Ideology

There is an ideological issue. This relates to the portrayal of standardised testing as value-neutral. We can see this in the literature of testing, where new tests, increasingly online, are portrayed as being in line with best practice – evidenced by their alignment with frameworks like the CEF. But we are learning to recognise, understand and critique.

 

Psychology

There is a psychological issue, which relates to the dynamic of the oppressor and the oppressed. If oppression is sufficiently advanced, it becomes hard to believe that it is really being carried out against one’s best interests. One can develop sympathy for the methods of those who place us under an intolerable burden: there must be reason in such madness. This area is perhaps worthy of exploration.

 

Economy 

There is an economic issue, which relates to the opportunity seen by large corporations for profit in a wounded public school system, and who recognise opportunity in the general mania for data. Again, we must be ready to see this for what it is, and to call out the organisations that flourish in our own field for their unnecessary testing activity.

 

Pedagogy

There is a pedagogical issue: this is where we can make a difference on a day-to-day level. Formative assessment offers a route to dialogue with students and parents as project work is assessed and the results shared on a regular, not occasional basis. We can make our own tests, and ask our students to get involved. And we can make sure we step back from the test – which may help when it comes to the exam.

In the UK, the Villers Park Education Trust reaches out to gifted pupils living in disadvantaged areas by helping them develop a passion for their subject. And the way to do that, explains chief executive Richard Gould, ‘is by not getting them to do anything that’s in their exam specification.’ According to research he citesthey end up with better grades.

 

Politics

Finally, there is a political issue. By political, I mean an issue with which we need to engage as citizens. To counter the measurement machine we need to make space in our classrooms. We need to make contact with colleagues in what can only be an international project of resistance. And we need to make the argument – with students, with parents, with colleagues, with education managers, with education departments, with education ministers. My own belief is that we should start by reclaiming 50% of our classroom time from standardised assessment, the curriculum and the course book. Going 50-Free will help develop our critical and creative capacities as educators, hand in hand with those of our students.

 

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More on Assessment – David

Dave Dodgson

Helping Young Learners Get the Most Out of Assessment – David Dodgson

One of the biggest ‘changes’ I have witnessed in my current school during the ten years and more I have worked here concerns assessment. When I started here, pencil and paper testing was king, dictating students’ grades and condensing their learning efforts of the previous few weeks into a concise 45 minute grammar-based test (as is the case in the majority of schools in Turkey).

However, there have been ‘changes’ (the reason for using inverted commas around ‘changes’ will be become clear as you read on): first, we were introduced to the CEFR; following that, portfolios and self-assessment were introduced to our in-house assessment programme; an increased emphasis was placed on project work; rubrics were created for grading classroom performance; and the Cambridge YLE tests (Starters, Movers, and Flyers) were brought in for the appropriate year groups.

With all these new elements, you would think that the importance placed on exams had diminished over the years but, far from it, the exam still rules over all. End of year grades are heavily weighted towards the test score. Moreover, the projects, portfolios and class performance grades are officially not allowed to be ten points above or below the test grade… And now you see that these ‘changes’ have not really changed much at all, except that students and teachers alike now have more work to do…

I may be wrong (I hope I am) but I suspect the same may be true in countries other than Turkey as well – ‘alternative’ methods of assessment are included and given some attention but the exam is still very much on top when it comes to student, teacher and stakeholder priorities.

So, I guess the exam is here to stay. That does not mean, however, that is has to stay the same. There are changes we can make to ensure that exams are used in a child-friendly way and in the second part of this post, I will share some changes and I have made and some changes I would like to make so that exams test the whole of the child’s knowledge and not just a few structures and new words covered in the since the start of the semester.

 

  • Using international standard exams as a role model for in-house assessment

As I mentioned above, my school added the Cambridge YLE exams to our EFL programme a few years ago. This has had a positive impact on our in-house exams as we have started to mirror the question formats. This means fewer densely-packed gap-fill grammar exercises and more comprehension and thinking-based questions. It also means more visual stimuli in the tests and a more spaced out layout, which leads to a more child-friendly and less intimidating appearance for the exam paper (alas, sadly that does mean we use more paper!)

 

  • Test the whole language

Another lead that I have taken from the Cambridge tests is to focus on the larger picture of what the student knows. I avoid testing obscure vocabulary items just because they were in the book or directing students to focus solely on using past simple or past continuous because that was in the last unit. Instead, I aim for texts, questions and activities that test their overall knowledge of English from the 3 or 4 years they have been learning at school so far. In order to successfully complete the exam tasks, the students must activate their whole knowledge rather than just part of it. In what may seem like a contradiction, this is actually less stressful for learners as they don’t fret over a new language point they are fully familiar with and they don’t feel the urge/pressure to cram study.

 

  • D.I.Y. test preparation

Of course, exams are not just about taking the test but also revising and reviewing ahead of it. It’s all too easy to fall into a trap here of worksheets covering recent grammar and lexis, which often add to the boredom and/or frustration of the exam process. This is one area where we can inspire a change – we don’t always have the authority to change the exams our students take (I can only directly affect the exams for students in the year group I am responsible for) but we certainly can change the way they prepare. Instead of those boring review worksheets, why not get your students to create their own practice materials? After reading a text in class, ask them to prepare exam-style questions on it; get them to make their own grammar gap-fills; encourage them to prepare vocabulary quizzes for the rest of the class; use their own compositions and paragraphs as reading texts. All of these activities can help students get inside the exam and think about how the questions are put together from a different perspective. And they might just learn something rather than simply review it.

 

  • Give students a voice in their own assessment

Why stop there? If students are capable of preparing their own practice activities, why not have them compose their own exam questions as well? I tried this with a few classes last year for some target vocabulary. I reviewed the words they needed to know for the exam and asked groups of students to write questions involving each word. We then spent time correcting and redrafting the questions, rejecting any that were too easy or too hard and eliminating any ambiguity until I had a list of about twenty questions. From those that list, ten questions were chosen for the test so the students wouldn’t know exactly which ones were coming up. They may have recognised some questions when they opened their exam paper but I believe they got more out of researching and writing those questions than they would have from memorising the words during a period of self-study.

 

  • Have alternatives, not additions

And, finally, I would like to return to a point made earlier in the post. Alternatives to ‘traditional’ assessment are all well and good but they must be used to replace or at least reduce the emphasis on exams. What I have seen happen in several schools is that portfolios, project work, external exams and so on are all added on top of the existing assessment system. This leads to a never-ending cycle of work and pressure for the kids and preparing, supervising and marking for the teachers. Ideally, these assessment alternatives should mean that in place of say four written tests a semester, students have perhaps two tests and then graded project and portfolio work. If exams must stay, let them stay but if we want to explore alternatives, they should be just that – alternatives, not additions. And as for the exams themselves, let’s try to make them positive and rewarding experiences for our young learners that help them develop, reflect and grow.

 

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