Scaffolding Towards AP Lit with Literary Analysis

Maybe your school has an undesirable course that all your department members try to avoid.

Grammar for Writing? Ugh.

Economics? Eek.

Well, for some crazy reason, English 10 is the unwanted reject in my English department, and lucky for me, all this other-teacher-avoidance means I’ve been able to snag my favorite ELA core for the last eight–and now nine–years.  

Bound for APLit

Unlike some teachers, I have no dreams of teaching honors or Advanced Placement seniors on the verge of college. I love teaching underclassmen, helping them develop their skills and move on towards later refinement. English 10 is ripe for major composition transformations. With that, I have no need to keep my fingers crossed hoping “Ooh! Maybe someday I’ll have APLit on my schedule.” Nope, that’s not what I’m after; instead, I want to keep the end in mind and have the Advanced Placement courses as a goal for my students. Even if they choose not to take them, I want my students to be prepared for the demands of AP, college, and beyond.

This summer, thanks to the support of my principal, I was able to attend APLit training in an effort to prep my soph-ies for the rigor of the College Board. I’ve been doing similar work with APUSH for the last few years in my sophomore US History, pairing down the skills required to dominate the DBQ, but this summer I got the chance to finally tackle the expectations of APLit.

One of the biggest things my sophomores have been trying to tackle has been Literary Analyses. In particular, my students are quick to say that they struggle to find the purpose in writing them in the first place. If we can work on this early–eighth, ninth, and tenth grade–and as a whole department–common language and delivery–, I think that all students will write better essays.

In English 10, I typically get a class set of nearly identical Literary Analysis essays, all talking about the same symbols, same theme, and same characters. It’s just a regurgitation of class discussion or maybe Sparknotes. Thankfully, my kids can blend quotes and–for the most part–explain how they support their claim. The problem is that these essays are formulaic and incredibly boring to read.  You know how it is when you’re sitting at Panera all Saturday grading essays and one after the other, you can’t tell the difference between each student’s idea. It’s torture. No wonder I eat so many bear claws!

Provide some Purpose

Last year, Dave Stuart, author of the new gem A Non-Freaked Out Approach to Teaching the Common Core, shared this great article, “How ’bout That Wordsworth!”,  by Jerry Graff. If you follow this blog, you already understand the high regard that I hold both Stu’s recommendations and Graff and Cathy Birkenstein’s book, as I’ve already mentioned both a number of times, so, of course, I jumped on this resource. It’s a powerful (and short–Yay! Only 2 pages!) article about pushing students to write better and more meaningful Literary Analysis.

You should totally read it, but I want to use this post to give you a few snippets.

To start, Graff says, for one, Literary Analysis essays need to start by responding to someone else‘s argument:

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I realize that my students essays were boring, because they were trying to play it off like they were the only readers who had ever thought that Daisy’s green light means something more than a green light. Kids can’t pretend that they’re the only people who have ever talked critically about that particular book. It makes their writing lose any life or argumentative weight.

Use Counter Voices

Graff says, “The assumption is that persuasive writers need…a conversation to motivate their own arguments–that unless we are provoked by the views of others, we have no reason to make persuasive arguments at all.” Exactly! Kids may not have the consciousness or the gall to ask “Why are we even talking about these ‘enchanted’ objects? What’s the whole point?” Without someone to get the conversation started, our kids have no grounds for debate, so we’ve been playing with this idea of responding to other sources who have also discussed the book. Sometimes this is easy as looking at the book’s foreword; other times I share analyses by literary critics (Bonus: They work as great mentor texts).
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With our Great Gatsby essays, I shared Matthew Bruccoli’s foreword (found in the front of our edition) and John Green’s Gatsby Crash Course (Part 1 & Part 2). Sucking the assignment out of the vacuum and bringing in other “They Say” critics made my students’ arguments not only more engaging reads but they also provided so much more direction.

Sophistication or Informal Voice?

If I want my students to be ready for AP-worthy Literary Analyses, I have to do more than just provide purpose and counter voices. I’ve got to build scaffolds towards sophistication. Great news is that Graff and Birkenstein make our jobs easy here with the inclusion of Literary Analysis sentence starters in a new chapter of the third edition of They Say, I Say. (Yay! Cheers for High School Edition!)
Here are a couple examples of the new brushstrokes:
  • According to Critic A, novel X suggest _______, I agree but would add that ________.
  • Several members of our class have suggested that the final message of play X is ________. I agree up to a point, but I still think that _______.

Some teachers might feel uneasy when they see the use of personal pronouns and class debate blended into formal essays. Until this last year, I was one of those teachers. I marked kids down. I guided them away from this kind of writing, thinking that it was too casual and not persuasive. But since attending the APLit training and reading Graff’s article—keep in mind he was the president of the Modern Language Association, I’ve come to realize that these are key moves to add voice and life to our writing. Real literary critics do it too, you know, when they’re not writing 5-paragraph essays.

Okay, so I’m obviously still new to this APLit prep. I’d love to hear what you have to say. What is working for you and your students? Where do you find solid literary counter voices? How do you help your students increase their sophistication? What’s your take on the personal pronoun debate? How do you feel about students infusing their peers’ literary critiques into their papers?

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Getting Real with Argumentative Writing

Entering the Conversation

Most of ya’ll know my friend and colleague Dave Stuart over at Teaching the Core.  A few weeks ago, Stu shared ways that we’re working on supporting students so they can learn to really argue.  I wanted to explore this idea over here as a way to both expand the conversation and invite you all to share your experiences teaching argumentative writing.

Inquiry & Research

During the last two years, I have been researching ways that I can push my students to be better academic writers.  I’m really  fortunate in my district that students come from a rich, narrative writing workshop in the middle school, so my students were entering the high school able to free-write with great stamina.  I’m lucky also because my students are incredibly passionate about big issues (ex. they’ve raised thousands of dollars for Charity:Water in ninth grade World History).  But–even though my students had these strengths–I was noticing that they struggled to clearly organize their ideas, and their writing seemed to lack conviction, despite all that big passion.  It was becoming more and more obvious that the freedom and love of a narrative writing workshop wasn’t transferring to the disciplinary writing being asked of them in their other core subjects, namely the informational and argumentative writing tasks in social studies and science.

So, let’s be honest, this learning gap—which spans this chasm between totally focusing on love and freedom to actually working towards rigor and the realistic demands of life—only hints at the major imbalance facing current adolescent literacy instruction. This year I’d like to explore this imbalance with more than the “Tips” series has allowed me to do so far on the blog.

Today, I’ll just take a small step towards this debate by saying that  ELA teachers, even those who follow a totally free-style writing workshop, have to realize that students need to learn how to take a stance and use textual evidence to support their ideas.   From English and science to art and social studies, all content teachers need to make expository and argumentative writing the major writing focus across all content disciplines. 

When I was a single-subject teacher, my English major background lead me to believe that students would be prepared for college if they could master a personal narrative and half a dozen literary analyses. But now that I’m also teaching Social Studies and researching reading and writing across disciplines as a professor of literacy studies, I realize that this kind of limited thinking leaves my kids ill-prepared for any college major outside of English.  So as I began exploring these gaps, I kept coming back to these same questions:

  • Q: How can my students start practicing the language of scholars?
  • Q: How can my students learn formal structures without losing their autonomy? –and how could I teach those structures without selling my soul to some standardized test?
  • Q: How can my students write effective arguments, according to a standard of excellence?

Over the summer, I spent time reading and researching these problems with the Lake Michigan Writing Project.  My LMWP friends pushed me in my role as a teacher-researcher, urging me to explore how writing instructions needs to teach kids to stretch their thinking, to extend their analyses, to pull apart their claims and examine the details of an argument.

“Stretching the Cotton” became one of the metaphors I began using with my students to discuss the importance for a writer to elaborate her argument, highlighting the tiny fibers which hold it all together.

Another way to get these ideas to stick is this simple chant we’ve been using for years: “Blend-In, Quote, Talk-About-A-Quote. Blend-in, Quote, Talk-About-A-Quote.” Trust me when I say, I try to make it as annoying as possible, so it gets stuck in kids’ heads when they’re writing non-narrative essay.  So annoying, in fact, that we have accompanying dance moves for the chant.

Mentor Texts & Models

My students and I read, analyzed, and emulated the arguments of published authors, like Gallagher suggests in Write Like This: Teaching Real-World Writing Though Modeling and Mentor Texts.  Namely, we studied “Articles of the Week” that had an argumentative slant, like those found at The Week and The New York Times Room for Debate, and, more specifically, we frequently examined the work of Pulitzer Prize winning columnist Leonard Pitts (I love, love, love his work).

To do this type of text study, we use our “First Draft Read” to explore the texts for content, and our “Second Draft Read” invited students to share what they noticed the writers were doing, like structure, tone, and use of research.

Along these same lines, I regularly wrote arguments in front of my students, whether it was modeling their assignments in class or and sharing my process of writing my Master’s project at home.

In particular I wanted to model for my students how I use sentence starters or “brushstrokes” from Graff and Birkenstein’s book They Say, I Say: The Moves that Matter in Academic Writing. I know, I know, I’ve mentioned this book many times before.  A lot of colleges are requiring this book for their freshman writing classes; however, I think that it should be in the hands of all high school freshmen.  My high school’s English Department included some of the They Say, I Say templates in our high school’s Academic Writing Handbook that we distribute and host online each year. This way all students and staff have access to the same common language.

Great news! Jim Burke, author and teacher extraordinaire, just announced that he’s teaming up for the third edition of They Say, I Say high school edition!

Quick Writes

Keeping the end in mind–writing effective academic arguments using the language of scholars–, I worked backwards to meet students at their level of proficiency.  We began with high support: the two-paragraph “They Say, I Say” argument structure presented in Graff’s Clueless in Academe: How Schooling Obscures the Life of the Mind.

The general argument made by author X in her/his work, __________, is that __________. More specifically, X argues that __________. She/he writes, “__________.” In this passage, X is suggesting that __________. In conclusion, X’s belief is that __________.

In my view, X is wrong/right, because __________. More specifically, I believe that __________. For example, __________. Although X might object that __________, I maintain that __________.  Therefore, I conclude that __________.

I love how clearly this structure breaks down the They Say (Paragraph One) and the I Say (Paragraph Two), and within that, the structure explicitly guides students through “Blend-In, Quote, Talk-About-A-Quote” with multiple opportunities to elaborate and “stretch the cotton.” It gives them various brushstrokes to try out as they learn the formal structures of academic writing.

In the beginning of the year, I required that all students use this format to write their Article of the Week one-page responses. As we’ve moved through the school year, students have been individually “released” from this high structure when they have shown that they’ve mastered it.  Students next step is to begin trying out the various sentences stems on their own. The hope is that–with time and repeated practice and modeling–they will use these strategies independently.

Student Examples

The following example is an argument written during Trimester #1 last year. This multi-source essay asked students to argue whether or not the United States is still a “Land of Opportunity.” In doing so, students had to support their arguments with well-explained evidence/quotes from their choice of texts we read in English and U.S. History.  This is one, especially truant, sophomore’s essay:

Is the U.S still a “land of opportunity”? I would say yes. I say yes, because in the U.S you can grow up in a poor family. But if you work hard and put in the detection [dedication], you could eventually be in the middle class or even the upper class. Another reason why i say yes is because, back when the U.S was first discovered people would come over and start new lives. Like people today, we still have the same opportunities. Its just harder to get it. my last reason is because there are a ton of scholarships for you to get, And that can help pay for a lot of the college coast.Today in America if you graduate high school with a 4.0, you can get into almost any college you want to. You don’t always have to go to a college thow. We have the option to go to a trade school. If you go to a trade school. The only thing you need is your high school diploma or a GED. In America you don’t even have to graduate high school, you can take a test and get a GED.

They Say, I Say Options -Anchor Chart

They Say, I Say Options -Anchor Chart

Aside from the lack of “They Say” research support, you can see that because this truant student has missed out on the opportunity to study mature mentor texts, he is following a very elementary organizational structure: starting off with the question, answering with a yes/no, and the very unsophisticated idea transitions (ex. “Another reason why I say yes is because…”). It’s obvious that the student doesn’t know the language of scholars, so he has to fall back on language that is beneath him.  Furthermore, he hasn’t expanded his argument to really develop his claim of the United States being a land of opportunity.

Conversely, this is just an excerpt from the same student’s argument during Trimester #3. (Note: His attendance didn’t really improve, but his writing did make some gains.) This time, students were asked to argue whether or not it’s justified to do immoral or illegal acts in response to threat. Many spoke specifically about how we, as global citizens, responded to the threats of WWII. Again, the students had to ground their argument in textual evidence.

we did not respond appropriately to the japanese internment camps. Here many critics would probably object that the camps were good because they took the people that were a threat to us and they held them all up. There was then no other way they could get information from us, through spy work. In other words, the spies aren’t free, so they couldn’t get involved with our military or armed forces. On the one hand, they are right to say that spy work was going on. On the other hand, it is still true that they were taking pretty much what was going on in Germany and doing it in the US. They thought that they had more of a reason. Basically, Germany was having a genocide going on, and that was the whole reason for the war. When we took people and put them in a camp, it was just like Hitler was doing in Germany. to put it another way, he was taking Jews from their homes, taking their jobs, and pretty much destroying their whole lives, by making them into animals. 

According to PBS’s “Internment History, “They were forced to evacuate their homes and leave their jobs; in some cases family members were separated and put into different camps. President Roosevelt himself called the 10 facilities “concentration camps ” (PBS ). In making this comment, PBS argues that this was the same concept that was going on in germany to the jews as what we were doing on are home to the Japanese-Americans. Ultimately, what is at stake here is that they’re mistreating the Japanese-Americans, like they’re not humans. Everyone should have equal rights, no matter what is going at the time. Just because someone’s ancestor is bombing their new homeland, it doesn’t mean it’s their fault; therefore, they’re not to blame for the attack….

Although this scene may seem of concern to only a small group of people, it should in fact concern anyone who cares about citizens of the United States, because they are American citizens, so obviously they have the same rights as any other American citizen. Clearly, we did not respond appropriately to the japanese internment camps.

This go-round, it’s obvious that he was able to develop his argument, add research evidence, and maintain a more sophisticated tone.

Student Feedback

When I asked my sophomores what they thought about using “They Say, I Say” brushstrokes, they responded as follows:

“I like how they give me a place to start, because they help you set up your argument and save you a lot of time.” – Sean

“The templates gave you a set format to start and end an argument, so that no matter what–if you were well-prepared on both sides–you had it in the bag.” -Nate

“[They Say, I Say] helped me by giving me a place to start, looking for a side to argue, and putting in the evidence I can use for both sides of the… argument.” -Becca

“They helped me in a lot of ways. I worked to get better in areas where I needed it, and I actually improved in the areas that I was already good.” -Aaron

“It helped me develop how I argued and made me sound more like I knew what I was talking about.” -David

What are your experiences?

Seriously, I wanna know! As I continue to research this dilemma, I’d love to collaborate with you, hearing what works and what doesn’t at your various grade-levels.

  • Q: How do you find a literacy balance between the love/freedom and rigor/realistic demands of life?
  • Q: How do you help your students start practicing the language of scholars?
  • Q: How do you support your students as they learn formal structures without losing their autonomy? –and how do you teach those structures without selling your soul to some standardized test?
  • Q: How do you teach your students to write effective arguments, according to a standard of excellence?

Thanks for the help and your support! 🙂

Lake Michigan Writing Project

For the last three weeks, I’ve been working as a fellow with the Lake Michigan Writing Project at Grand Valley State University. If you follow me on Twitter, you’ll have noticed a crazy amount of #LMWP tweets, so you can probably tell–especially if you’ve participated in a National Writing Project Summer Institute–that these weeks have made some of the best new teacher friendships and powerful professional development experiences of all my years in education. I plan on sharing more details, once I have a chance to step back and reflect, but here is a glimpse of some of the #LMWP.