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Some Writing Crafts to Look for when Reading Like a Writer

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Some Writing Crafts to Look for when Reading Like a Writer

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Various examples to look out for in Mentor Texts and teach students.

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Truth be told, there are very few phrases my [ speaking as post co-author Sean] high school teachers used during instruction that I remember to this day. Ironically, if taken at face value, the phrase I do still remember promotes outright thievery.

My high school journalism teacher Jack Kennedy told us: "If you are going to steal, steal from the best." Of course, he was not advocating larceny. In the context of teaching us how to write, he also was not teaching us to plagiarize. He was emphasizing that learning techniques and approaches from other writers' work, and using what you learn in your own writing, is a good thing. He taught us to read the best writers for this purpose, and we devoured articles from Sports Illustrated, Time, and Rolling Stone and talked about them in class.

Most teachers are not going to be able to bring in the most accomplished writers, such as journalist Malcom Gladwell or novelist Courtney Summers, for mentoring sessions with their students. However, teachers can do the next best thing by using mentor texts as part of their writing instruction. These texts also can be used to help children and teens become better writers at home.

What Are Mentor Texts?

Those articles we read and discussed in Kennedy's class were mentor texts. Mentor texts are written pieces that serve as an example of good writing for student writers. The texts are read for the purpose of studying the author's craft, or the way the author uses words and structures the writing. The goal is to provide students a model they could emulate in crafting their own piece. Essays, passages, articles, chapters, or full books could all serve as mentor texts. So too could a letter, email, film script, or comic strip, depending on the context under which the mentor text is being used.

What Constitutes a Good Mentor Text?

A good mentor text will be something student writers can read (individually or as a group), identify techniques and approaches used by the writer, discuss and understand why those approaches were effective, and integrate what they learned from this process into their own writing. A mentor text will show, not just tell, students how to write well, and allow them to envision the kind of writer they can be as they develop their skills (Dorfman & Cappelli, 2017).

Three Qualities of a Good Mentor Text

1. You (the educator) think it is good. If you will be reading the mentor text aloud with students or assigning them to read it, choose something you consider to exemplify good writing. Do not pick a piece or a writer just because his or her work has a reputation for being good. If you are indifferent about the piece, it will be difficult to authentically teach students to emulate the writing.

2. It is understandable for your students. Although it is an added bonus if a mentor text is about a topic that is of interest to students, fundamentally, students must be able to comprehend the piece. This does not mean to avoid all challenging texts. You can go over difficult vocabulary with students prior to having them read the mentor text independently or in a group. That way, they will not get frustrated when they reach those challenging words (Gil, 2017).

3. It is relevant to what you are teaching. If you are teaching a unit on writing persuasive essays, do not choose a hilarious parody article. If you are teaching students how to write a lead or introductory paragraph, make sure you include the beginning of the piece, not a beautifully composed conclusion from a long research paper. If you want students to identify and implement several writing techniques into their own writing, choose a text where the writer did multiple things well.

In addition to textbook passages and texts that are part of your specific literacy curriculum, mentor texts can be found from a variety of other sources.

Potential Sources of Mentor Texts

"In the wild": You may encounter or already know of excellent mentor texts without even trying. Perhaps you subscribe to a literary magazine that had an article last month with incredible use of metaphors and similes. Or, maybe you frequently think back to reading the journalistic profile of an actor that had great use of direct quotes. When you encounter good examples of authors' craft, print them out, email them to yourself, or bookmark them on your computer. You can never have too many mentor texts in your toolbox for a future writing lesson.

Students' peers: Student writers may be more likely to connect to a mentor text written by someone close to them in age or writing experience. They also may have greater confidence in their abilities to implement in their own writing the techniques that a peer used, as opposed to emulating a more experienced professional writer. For example, if you have a unit on narrative poetry coming up, you might recall reading a narrative poem in the magazine just published by your high school's poetry club that contained captivating character development. You may know that the local university's arts and culture magazine always has strong student-written reviews that would work great for your lesson on how to write a movie review. Go to student publications and see what you can find.

Go straight for the best: Teach using mentor texts that won prestigious prizes like the Pulitzer Prize for journalism or fiction, or The Masters Review short story award. This can also be a way to find outstanding mentor texts by students' peers, such as winners from the Paul Engle High School Essay Contest. As mentioned previously, make sure to select something you actually think is well written, not just because it won a prize.

Teaching With Mentor Texts

Once you have identified mentor texts that you want to use, your students can gain the most from them with some instruction. Research findings indicate that using mentor texts as part of comprehensive writing instruction can result in students improving as writers. A large-scale statistical review (meta-analysis) resulting in the recommendation of 11 key elements of effective adolescent writing instruction included teaching students to analyze and emulate mentor texts (referred to in the report as models; Graham & Perin, 2007).

An action research project suggested that picture books might be useful as mentor texts for struggling writers (Premont, Young, Wilcox, Dean, & Morrison, 2017). The teacher read the mentor texts aloud, followed by a class discussion. Students then considered the writing traits explored in the picture books when writing their own personal narrative. The student writers' improved their sentence fluency, word choice, and writing conventions such as punctuation. Picture books may not be the best choice for every class or specific lesson, but they may work well as a change-of-pace alternative, as long as they have sufficient text to work with.

The authors of a descriptive study wrote that mentor texts also might have application for teaching overall structure and necessary contents for subject-specific writing (Pytash, Edmondson, & Tait, 2014). A teacher would read aloud a white paper in a high school economics class and highlight the techniques and vocabulary used by the author. Students then worked in groups to analyze the text further before writing their own economics papers. An analysis of their writing and comments made in interviews seemed to suggest that reading the mentor text provided students' knowledge of how to structure their own papers, how to effectively use transitional words, the need to include evidence for their claims, and the need to recognize bias in their own writing and the writing of others.

A study with younger students ages 7-11 found that their quality of writing improved from pretest to posttest when teachers taught with mentor texts (Corden, 2007). Over the course of a school year, teachers used mentor texts as models of particular narrative forms and writing styles during daily instruction. They read aloud the texts to the class, focusing on structural or stylistic features. This was followed by a shared writing of sentences or paragraphs using techniques identified in the mentor texts. Then, students further investigated the mentor texts in small groups. Students followed all this by transferring ideas and devices learned into their author notebooks during weekly independent work. The resulting students' writing showed significant progress in structure and style. Although students were not compared to a group of peers who were not receiving the mentor text instruction, the authors noted that the average improvement of students in the project exceeded the expected rate of normal writing progress over the course of a school year. The techniques discussed in the mentor texts were evident in the students' writing.

Overview of Steps for Teaching Writing Using Mentor Texts

1. Directly teach students what they should recognize in a piece of mentor text. For example, if students are unfamiliar with figurative language, it will be difficult for them to recognize it or label its properties in a text. No matter how good the piece of writing might be, knowing what makes it so compelling is not necessarily intuitive for student writers. Authentic writing used as mentor text likely does not come with a set of directions pointing out what the author has done or what the particular technique is called. You will need to introduce that element of author's craft first by defining it and giving easily understood or simple examples before asking students to apply that knowledge in studying a mentor text.

2. Have students read the mentor text. Depending on the age of the students and their familiarity with reading to identify a particular type of author's craft, you may want to read the mentor text aloud to them. Reading in small groups or reading individually are also options. As students become familiar with recognizing one or more elements of writing, you can transition from reading aloud to having students read the mentor text individually.

3. Engage in a discussion about the text by asking questions. Though opinions on the mentor text's topic should not be the focus of the discussion, it is important to establish that students understand what the text is about (Gil, 2017). Next, move to the crux of the discussion by asking students about the technique or approach used by the writer. Initially, you will need to model for students how you identify in the text the element of language or structure that you are teaching them. Think aloud to describe for students what makes the author's craft stand out to you. As students become familiar with analyzing a mentor text, ask them to identify where and how the technique(s) they are learning were used in the text and why the writer was effective at using the technique. The discussion is a time to slow down and focus on individual words, sentences, and paragraphs and how these convey meaning to the reader (Dorfman & Cappelli, 2017). Talk about writing decisions that the writer made, section-by-section, and why certain words and phrases were used to make points (Pytash & Morgan, 2014).

4. Time for students to write using what they learned from the mentor text. If possible, have students begin writing existing or new pieces right away, with a focus on emulating the techniques and approaches of the mentor text writer. This too will need to be modeled for students first. Think aloud as you demonstrate for students how you adapt an example from the mentor text to incorporate that craft into your own writing. With guidance and practice, students should be able to take what they learned, using their own writer's voice, and tell the story they want to tell. As they write, help students revisit and reflect on their conclusions about what the writer did well in the mentor text.

5. Assess the students' writing and provide feedback. What level of success did students have in using the writing techniques and approaches of the mentor text writer in their own writing? Provide specific praise and constructive feedback. Ask for revisions where opportunities for improved use of the techniques and approaches exist. Peers can also provide feedback in a writer's workshop or small-group setting, depending on the students' ability level and prior experience providing peer feedback.

Using the "Improve Your Writing Using Mentor Texts" organizer (see Supplemental Materials for Teachers and Families below), students can read and respond to a mentor text as a class, in small groups, or as individuals.

By finding and using excellent mentor texts as part of writing instruction in the classroom or at home, you can help students progress from "stealing" from the best to learning to "read as writers." This involves reading with a sharp eye for writing techniques and approaches that they can use to become multi-skilled writers like those successful scribes they wish to emulate.

Supplemental Materials for Teachers and Families

Improve Your Writing Using Mentor Texts

This organizer can be used in a group or individual setting to guide thinking and discussion about a mentor text, and how students can identify techniques and approaches used by the writer to improve their own writing.

References

Corden, R. (2007). Developing reading-writing connections: The impact of explicit instruction of literary devices on the quality of children's narrative writing. Journal of Research in Childhood Education, 21, 269-289. doi:10.1080/02568540709594594

Dorfman, L. R., & Cappelli, R. (2017). Mentor texts: Teaching writing through children's literature, K-6 (2nd ed.). Stenhouse Publishers.

Gil, C. (2017, June 1). 8 Tips for Teaching With Mentor Texts. Edutopia. Retrieved from https://www.edutopia.org/blog/8-tips-teaching-mentor-texts-christina-gil

Graham, S., & Perin, D. (2007). Writing Next: Effective Strategies to Improve Writing of Adolescents in Middle and High Schools. Retrieved from Carnegie Corporation of New York website: https://www.carnegie.org/media/filer_public/3c/f5/3cf58727-34f4-4140-a014-723a00ac56f7/ccny_report_2007_writing.pdf

Premont, D. W., Young, T. A., Wilcox, B., Dean, D., & Morrison, T. G. (2017). Picture books as mentor texts for 10th grade struggling writers. Literacy Research and Instruction, 4, 290-310. doi:10.1080/19388071.2017.1338803

Pytash, K. E., Edmondson, E., & Tait, A. (2014). Using mentor texts for writing instruction in high school economics class. Social Studies Research and Practice, 9(1), 95-106. Retrieved from http://www.socstrpr.org/wp-content/uploads/2014/04/MS-6543-Paytesh.pdf

Pytash, K. E., & Morgan, D. N. (2014). Using mentor texts to teach writing in science and social studies. The Reading Teacher, 68, 93-102. doi:10.1002/trtr.1276

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Using Mentor Texts to Learn From the Best and Improve Students' Writing

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Truth be told, there are very few phrases my [ speaking as post co-author Sean] high school teachers used during instruction that I remember to this day. Ironically, if taken at face value, the phrase I do still remember promotes outright thievery.

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Literacy Toolkit Map

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This site is FANTASTIC and packed full of resources and information for Writing.

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The Ultimate Guide to the Six Traits of Writing

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Find lessons, videos, and training for the 6 Traits of Writing. Learn how to introduce and implement the traits into any K-12 literacy classroom.

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https://www.youtube.com/watch?v=qGOANyXibas

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https://www.culhamwriting.com/LIBRARY/RESOURCES/scoringguides.html

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Scoring Guides from The Culham Writing Co.

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Culham Writing Company helps teachers and students reach their writing goals in classrooms across the U.S. and the World. Welcome! Ruth Culham, Educator and Author of The Traits of Writing. 503-372-0600.

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UPDATE OCTOBER 2014: This post has become so popular that I expanded it and turned it into a downloadable PDF. You can get the downloadable PDF for free when you sign up for my teacher newsletter (sign up is on the right-hand sidebar).

This year, I'm participating in August 10th's #pb10for10 where friends of the Nerdy Book Club talk about 10 picture books they can't live without in their classrooms.

I usually post about picture books that I use as writing mentor texts. So today, I give you, 10 picture books I've been using for several years in my classroom as writing mentor texts for word choice. Below I detail what types of amazing word choices the author uses and links to lesson plans I've written, in some cases.

by Janice N. Harrington

Illustrated by Shelley Jackson
Mentor Text Lesson Plan Word Choice Highlights:
Onomatopoeia, Figurative Language

by Karen Hesse

Illustrated by Jon J. Muth
Word Choice Highlights:
Sensory Words, Vivid Verbs, Astounding Adjectives,

Imagery, Specificity, Figurative Language

by Janet Stevens and Susan Stevens Crummel
Word Choice Highlights:
Onomatopoeia, Vivid Verbs, Alliteration, Word Play

by Eileen Spinelli

Illustrated by Betsy Lewin
Word Choice Highlights:
Vivid Verbs, Sensory Words

by Denise Fleming
Word Choice Highlights:
Vivid Verbs, Word Play

by Tammi Sauer

Illustrated by Scott Magoon
Word Choice Highlights:
Vivid Verbs, Word Play

by Tammi Sauer

Illustrated by Jeff Mack
Word Choice Highlights:
Vivid Verbs, Word Play

by Kate Messner

Illustrated by Christopher Silas Neal
Mentor Text Lesson Plan Word Choice Highlights:
Vivid Verbs, Sensory Words

by Jane Yolen

Illustrated by John Schoenherr
Word Choice Highlights:
Sensory Words, Specificity

by Deborah Underwood

Illustrated by Renata Liwska
Word Choice Highlights:
Specificity, Astounding Adjectives

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10 for 10: Top 10 Favorite Picture Books to Use as Mentor Texts for Word Choice

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UPDATE OCTOBER 2014: This post has become so popular that I expanded it and turned it into a downloadable PDF. You can get the downloadable PDF for free when you sign up for my teacher newsletter (sign up is on the right-hand sidebar). This year, I'm participating in August 10th's #pb10for10 where friends of the Nerdy...

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Downloadable PDF's What Makes Boys Form Good Working Alliances with Teachers Engaging Boy Writers Creating Boy-Friendly writing classrooms Encouraging Young Writers My Core Beliefs About Writ...

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If you've ever gotten bored while reading, the parts that you skimmed were probably descriptions of places. It's not enough, as a writer, to use description to show what a place looks like. Try to convey the narrator's or character's attitude toward the thing you are describing. For an example, read this excerpt from Esmé-Michelle Watkins's story "Xochimilco," published in Boston Review:

There was nothing to see. Gone were the Stay Away drapes tall as street lights, whose heavy fabric Mammì flew all the way from our house in Pasadena to Nonna's in Bivona to have custom-made; the Go Sit Down oil fresco of clustered villas hugging crags along a turquoise sea; the Knock You Into Next Tuesday French-legged dining table and high backed chairs, formerly below the Go Ahead and Try It chandelier; the Touch and Lose Your Life crystal bowls, where Mammì kept my favorite Sorrento lemons sweet like oranges, and the Cabinet of Doom wide as two hall closets, which housed the finest of Mammì's That's a No-No clique: tableware from Baccarat, Tiffany, and JL Coquet. (From "Xochimilco" by Esmé-Michelle Watkins)

2. Develop a Character's Interior Life
It may seem obvious, but books are not movies. A reader's relationship with a character is primarily with the character's thoughts and feelings, not physical appearance. Yet, a simple description of who a character is and how she looks can be an entry into her interior life. Kelli Ford illustrates this perfectly in her story "Walking Stick," published at Drunken Boat:

At sixty-seven, Anna Maria did not hurry with much these days. She was still stout and round, but a bone spur on her right ankle forced her foot out at an odd angle. That shoe always wore thin on the inside before the other. She could feel the gravel poking through. (From "Walking Stick" by Kelli Ford)

3. Write a Thrilling Action Sequence
I grew up reading Hardy Boys mysteries and Louis L'Amour cowboy adventures, which means I read a lot of fight scenes. Yet I've found that writing similar scenes--or any action sequence, for that matter--often turns into a boring choreography of movement: hit, punch, kick, grunt, etc. Good fight scenes must do more. The key is to interpret or comment upon the actions. Kevin Grauke shows how in this excerpt from his story "Bullies," published at FiveChapters:

He grabbed Mr. Shelley's tie and gave it a quick yank. He meant this only to be a sign, a signal that this was over for now--a period, not an exclamation point--but he pulled harder than he'd meant to, and Mr. Shelley, caught off-guard, stumbled forward, knocking into him. Off balance, Dennis staggered backwards from the low height of the porch, pulling Mr. Shelley with him in an awkward dance, and as they fell together and rolled, he understood that there was no way to turn back now, or to end this peacefully, no matter how clownish and clumsy it had to look. (From "Bullies" by Kevin Grauke)

4. Build Suspense
In his famous essay "Psychology and Form," Kenneth Burke explains how suspense is built by giving readers something to desire ("creation of an appetite," he calls it) and then delaying the satisfaction of that desire. The easiest way to do this is with a distraction, or, as Burke writes, "a temporary set of frustrations." In other words, promise the readers something and then wave something shiny to make them forget the thing you promised--so that when you finally produce what you originally promise, the readers are surprised. You can find a clear example of this strategy in Manuel Gonzales' story "Farewell, Africa," published at Guernica. If you read the entire story, you'll see how long Gonzales is able to delay showing us what happened to the pool:

No one, apparently, had thought to test the pool before the party to see that it worked. The pool, which was the size of a comfortable Brooklyn or Queens apartment, had been designed by Harold Cornish and had been commissioned as a memorial installation for the Memorial Museum of Continents Lost. It was the centerpiece of the museum as well as the party celebrating the museum's opening. In the center of the long, wide pool was a large, detailed model of the African continent. According to Cornish, the pool, an infinity pool, would be able to recreate the event of Africa sinking into the sea. "Not entirely accurately," he told me early into the party, before anyone knew the installation wouldn't work. "But enough to give a good idea of how it might have looked when it happened." (From "Farewell, Africa" by Manuel Gonzales)

5. Use Dialogue to Create Conflict
Close your eyes and listen to people talk, and you'll quickly realize that they have different speaking styles--their own particular diction and phrasing. Dig a little deeper and I suspect you'll find that those differences are tied to differences of personality. Our diction and phrasing are integral to our conception of our identity. So, to create conflict in a story, trap together two characters who have different speaking styles. The personality differences will soon emerge. A good example of this can be found in Rene Pérez II's story, "Lost Days," published in The Acentos Review:

"I don't mean to disparage the whole of Corpus as being 'ghetto,' because that connotes a certain socioeconomic status," he said, trying to backpedal as delicately as he could out of a comment he'd made at the dinner table that offended Beto, her husband, his father. He had always spoken that way; Stanford didn't do that to him. "It's just that there's a culture here which is such that one can't be challenged or even stimulated intellectually. There's no art, no progress toward it or high culture. It's a city of... of... philistines."

It would have hurt less if he'd just stuck with calling the place 'ghetto.' Rose knew what she did and didn't have, and that she raised her son where and how she and Beto could afford to. So their neighbors were a little shady. They were still good neighbors. So their neighborhood was down-run and their house a little small. It was still their home. (From "Lost Days" by Rene S. Perez II)

6. Avoid the Chronology Trap
Stories and novels don't move through time. Instead, they gather time into chunks, organizing minutes and hours into miniature stories within a story. Think of each paragraph as a stand-alone unit--with its own arc, theme, and organization. This should help avoid those tedious passages that plod minute-by-minute through chronology. To demonstrate how this works, check out this paragraph from Roxane Gay's story "Contrapasso," published at Mixed Fruit. The story is formatted like a restaurant menu. Each paragraph is a description of a dish. Notice how much time is collapsed into one short passage:

Filet Mignon $51.95
They saw specialists. There were accusations. They tried treatments, all of which failed. They tried adoption but she had a past and they had no future. And then it was just the two of them in their big house straining at the seams with all the things she bought and all the things they would never have. One day she came home. All of it was gone. (From "Contrapasso" by Roxane Gay)

7. Write Short, Stylish Sentences
People often claim that a story's language is poetic. But what does that mean? Sometimes it means that the writer uses lush, lyric descriptions. But not always. Great sentences--and great lines of poetry--often work the same way. They strive for leaps in logic, for the unexpected juxtaposition of images. Readers are expected to keep up, to make the connections without the aid of explanation. Therefore, a stylish sentence often dashes forward. The best writers can do this in two words, as Vladimir Nabokov did in his famous parenthetical aside "(picnic, lightning)." Other writers, like Kelly Luce, leap from one short, direct sentence to the next. For example, here is the opening paragraph from her story "Rooey" in The Literary Review. Notice how far and fast the story moves using phrases of less than ten words each:

Since Rooey died, I'm no longer myself. Foods I've hated my entire life, I crave. Different things are funny. I've stopped wearing a bra. I bet they're thinking about firing me here at work, but they must feel bad, my brother so recently dead and all. Plus, I'm cheap labor, fresh out of college. And let's face it, the Sweetwater Weekly doesn't have the most demanding readership or publishing standards. (From "Rooey" by Kelly Luce)

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If you've ever gotten bored while reading, the parts that you skimmed were probably descriptions of places. It's not enough, as a writer, to use description to show what a place looks like. Try to convey the narrator's or character's attitude toward the thing you are describing.

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Teacher Talks: Ruth Culham on the Traits of Writing | Scholastic

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In this 2012 Teacher Talks webcast, Ruth Culham describes her 6+1 elements that define strong writing and shares advice for teaching writing in the classroom.

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Teacher's Survival Guide

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There's some useful ideas in here. I wouldn't take all of it as Gospel, but there are some useful things...