Writing Process

” L L “ F U o n i s r V e

The Wrriting W Process Notebook For More inForMation Visit ttMs.org

by Steve Peha

The best way to teach is the way that makes sense to you, your kids, and your community. www.ttms.org

The best way to teach is the way that makes sense to you, your kids, and your community. www.ttms.org

Notebook The

A Practical Way to Get Kids Organized For Writer’s Writer’s Workshop Workshop

What is the Notebook? The notebook is a way for kids to keep track of all the work they generate in Writer’s Workshop. One of the first problems teachers encounter when they begin using Writer’s Workshop every day is that their kids create enormous amounts of writing. Kids can turn out 20-30 pages or more in just a few weeks. And before you know it, desks are bulging with loose papers that no one wants to throw away, but at the same time no one knows what to do with them either. If you don’t have a way of helping the kids organize their own work, you end up doing it for them. And that’s just not practical. How Do I Use the Notebook? Each section of the notebook is tied to a particular par ticular section of the Writing Process. Process. As students move pieces from one stage to the next, have them store the things they are working on in the appropriate section. All their pre-writing work will be in the Pre-writing section, all their drafts in Drafting, and so on. When a piece is finished, finished, it can be saved in the Publishing ishing sectio section. n. From From time to time, ask the kids to clean out their notebooks. You You may want to set up some kind of permanent per manent “archive” or classroom library to allow kids to save things throughout the year (ideally for portfolios), or you can just have kids take things home. Once a piece has gone through publishing, kids should feel free to throw out most of the preliminary materials they created, but try to encourage them not to throw away anything from Section 3: Responding or Section 7: Assessing. This is extremely valuable information that is well worth reviewing re viewing from time to time throughout the year. year. In addition to helping kids stay organized, this type of notebook format is ideal for showing to parents at conference time because it illustrates in one place all the activities you are doing in your writing program, progr am, and how each student is handling those activities. Remember, Remember, too, that students can use this notebook to organize all the writing you do in class, not just writing from Writer’s Workshop. Workshop. Do I Have to Use This Notebook? Absolutely not. In fact, I would encourage teachers to introduce i ntroduce their own notebook format that is ideally suited to their students and their style of teaching. This is the notebook I would hand out to my kids. It is very much in my style. But if you think it would work for you, please use it. Among other things, it has a lot of useful information about the Writing Process built into it. And this material can easily be used as the basis for mini-lessons. To help you get started with creating your own notebook, I have also included a set of “blank” section covers with just the name namess of the stag stages es of of the Writin Writingg Process Process.. In gene general, ral, this this type of notebook notebook format can be used for kids of all ages, except possibly very small children. My feeling is that 2nd graders and perhaps even some 1st graders should be able to manage something like this. However, However, for many primary students, a simpler folder arrangement may be more effective. For the most part, these very young students are not going through the full Writing Process. They don’t need seven sections in a three-ring binder to stay organized. Last but not least, you may want to consider the addition of an eighth section at the back that students can use to save handouts, keep log or journal entries, and store other miscellaneous materials that don’t fit neatly into one of the seven main sections.

© 1995-2002 by Steve Peha. Peha. For more information, or for additional teaching materials, please contact: Teaching That Makes Sense, Inc. • E-mail [email protected] • Web www.ttms.org

h s r g s e g l n t i u e u e h B t t o i c i h w a j r o n t r o r h S W P T

Pre-Writing

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The Writing Process Stage One

What is Pre-Writing? As its name implies, pre-writing is any writing you do before you start writing. Sound confusing? It’s not. We all do a little bit of thinking before we write (yes, even you). So why not write some of that thinking down? Maybe you don’t know exactly what you’re going to write about. Maybe you don’t know what you’re going to write about at all. The fun of prewriting is that it really doesn’t matter. Pre-writing is a time that you can use to experiment, to jot down a few quick ideas, to try out something new without having to try very hard, to take a little time to gather your thoughts and choose a direction before you start drafting. What Can I Do During Pre-Writing? You can do just about anything you want. You can draw. You can read (just like Alex down there in the picture). You can make notes. You can scribble random thoughts. You can make a web or a story map. You can do anything that will help you come up with good ideas for writing. It doesn’t really matter what you do, as long as it involves turning on your brain and thinking about your topic. Then, just write down whatever pops into your noggin. As you begin to put ideas down on the page, see if you can organize them in some way. Take your time. There’s no rush. Time spent pre-writing is time well spent. Why is Pre-Writing Important? If you play sports or a musical instrument you know that it’s always a good idea to warm up before you start to play. (Actually, if you’re like most kids, you probably just ignore advice like this when silly adults like me start yackin’ away like we think we’re handing down some big secret that if you don’t know all about it something awful will happen. But anyway…) That’s kind of what prewriting is. It’s warm-up. It gets your mind loose and limber so that by the time you’re ready to start drafting, you can push the pencil around the page without straining your brain too hard. You know the feeling: you sit there with that lazy look on your face thinking, “I don’t know what to write.” You’re just not warmed up. That’s all. And everybody knows you can’t play your best when you’re not warmed up. So do a little pre-writing before you take the field. Chances are, your game will be much better for it.

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A M E SS

AG E “ W he n F M I w as y RO ou r a g M R. P EH A d o p r e, w e e- w r d id n ’ t d r af t i n it i ng . W e j u g et t o g, a nd st s ta r te d w b o y w as a ll b e i t h t w ri t i n g ha t a m a e w s s . W e a y , n o w h a t ’d t h av i n w e w e r e d g a n y i de a B L A M o i n g , MO ! W a n d t ri t e r ’ s h e n … u p m b lo c k . i d - s e P en c i l s n t e n c s tr ea m f r oz e e . S w i n g e a t s f r om o u t c am a e t h r t e d r b ro w ic k w it h t he p s. T he a ir b y ou n g e- a p l ab l e w ri t er s w ho a nx i e t f or i t. y k o n f e ( I t hi n w t h e y w er k s om e k g o t o e i n id s e v t he n u en h a r se d on ’ t d t o k no w h .) Al l I c an s o a i s y w l u ck y t ea c h e ou y y o r s w ho l et y ou u a r e t o h av e d o p re -w r i t i n g. ”

Pick a Topic

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Make Some Notes

© 1995-2002 by Steve Peha. For more information, or for additional teaching materials, please contact: Teaching That Makes Sense, Inc. • E-mail [email protected] • Web www.ttms.org

Drafting

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The Writing Process Stage Two

P E H A M R. M O R l ls y o u E F w h o t e l i fe S S A G y E d o M b y A i n A n

g s r d. o f t h i n g i s h a “ W r i t in i n g. B u t l o t s a l l t h e t im e e m i s l y i t i s n ’ t a n d w e d o t h t ; t h e y m a k e , d t a n r a r e h a h e y ’ r e i m p o r d i n t h e l iv e s t e a n b e c a u s e i n o u r l iv e s e o f t h o s e c o n e n a d i f fe r . W r it in g i s t h a t i f i t i s n ’ t e r s o u o f o t h o p l e w i ll te l l y u t I s a y s t ic k e P k . B t h i n g s. t a k e a b r e a o w t o w o r k l, l e w ’ t a r n h g o i n g c a n l e t s, t h e y w o n u o y f I o p t. s h d a y, i t o u e r o u g t u r e. D a y b y h t h g e, t h r o u g h i n t h e f u e n t e n c s y b u o e b e s o r t le, s e n t e n c i ll g e t e a s i g w y l it l i tt le b o r d… w r i t in o d o i t w h e n w y r n t w o r d b n l y i f y o u l e a u t o e r — b r d .” i t ’s h a

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Start Writing

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Don’t Stop

What is Drafting? When countries fight wars, sometimes they start drafting people to fight them. They send you a letter in the mail, and off you go. (If you don’t go they send you to jail, so either way you’re going somewhere.) If you’re a college sports star the same thing can happen. The pro teams start drafting people, they pick you, and you’re off to a new city to play ball. (Same idea as being drafted for a war but you make a lot more money, people don’t try to shoot you, and you can wear your hair any way you want.) When race car drivers drive right up behind the cars in front of them, they do it to take advantage of the reduced air pressure that follows in the wake of the car ahead. This helps them go faster without pushing their engines quite as hard. It’s almost as if the car in front is helping to pull them along. This is called drafting. What’s my point? Well, the conventional meaning of the word “drafting” is, and I quote: “A preliminary version of a plan, document, or picture.” But all that tells you is that a draft is something that isn’t finished. Big deal. You probably already knew that. But what you may not have known is that drafting is all about being pulled into your topic and letting it carry you along right behind. You’ve thought about it during pre-writing, you may have even written a few notes, now just let yourself go. Let yourself be drawn in by the power of your own ideas. Get up close to them, put your pencil on the paper, open up the throttle of your imagination, and don’t stop until you cross the finish line. What Makes Drafting Hard? Sounds easy, doesn’t it? Well, it’s not. You see, a lot of us don’t like to drive fast. We putz around the track at 10 miles an hour, and then we wonder why we never get anywhere. But hey, going fast is scary, right? And then there’s folks who spend most of their lives with their foot on the break pedal. That’s selfconsciousness—the feeling that what you’re writing is stupid, or that it doesn’t make any sense, or that it will somehow embarrass you. So, drafting isn’t really about doing something, it’s about not doing something else. It’s about not psyching yourself out, not making yourself afraid, not worrying about spinning out in the third turn and losing the race, because here’s the deal: you can’t crash. That’s right. Drafting is like playing a race car video game with an endless supply of quarters. If you end up in a ditch with nothing to write about, just pop in another coin, pick up your pencil, and start driving again on some other part of your topic. What Should I Do? Just keep going. If you feel your self-consciousness catching up with you, hit the gas pedal and outrun it. If you think you’re running out of gas, come in for a pitstop: take a look at what you wrote during pre-writing, fuel up on some of the notes you made before the race began, and then just get back out there on the track. Try to remember this: it’s a long, long race from beginning to end, and part of the trick to finishing in good form is keeping that in mind. Every idea is 500 miles long, and every writer has to drive around that oil-soaked oval again and again, one mile at a time. Sometimes you’re inspired and the driving is a blast, but sometimes you’re not and the driving is no fun at all. That’s what being a writer is all about; it’s about writing even when you don’t want to, even when it’s hard, even when it looks like you’re the last car on the track struggling to finish the race long after all the other drivers have seen the checkered flag and all the fans have gone home.


Sharing

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The Writing Process Stage Three

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Use Your Criteria

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Get Other Opinions

A . P E H

M R What is Sharing? Sharing R O M t h i n k G E F A s s. Y o u e. S e S n E i s M u b A means just what it says: shar y l o n a l o n e l it e a b o u t : a t : s i g n i t d r a f “ W r i ing your work with other peo t o w r e t h i n g : a l o n e. Y o u n c e m o s p s u e r ie t e ple and getting some feedback k e n o n d, t h e e x p s t o a m u e Y o t h e about how you’re doing. Most g e b e g B u t i n t h e p a h y n o t n o a l o n e. d writers in a writer’s workshop get c r e a t e t h e r s. S o w A s k y o u ’ v e a y ? i t h o response from other writers when r e d w a l o n g t h e w y o u r a h s e b o r k t s, y o u r w o u r p a r e n y o n e they share their work in front of the y s h a r e , a n r e t e a c h e m i e s — a s k w h a t whole group. Your piece doesn’t have y o u r n e o u , y o u r d t e l l y to be finished for you to share it. In f r ie n d s o u r w o r k a n t o t a k e t h e i r v e d y t o r e a Y o u d o n ’ t h a c o n s i d e r i t. fact, it’s probably better for you to share . k n i t t o t h e y t h t i t c a n ’ t h u r t h e r w r it e r s it several times long before it’s done, so u , b r o a d v i c e h e s a m e f o you have a chance to make changes o t A n d d c a n .” based on the comments you receive. One o u w h e n y thing that helps is to focus your audience on something in particular that you would like them to respond to. Try this: “My piece is called…. I’d like you to listen for…, and tell me what you think about it.”

What Makes This Stage Hard? There are two troublesome things about the sharing stage: getting responses and giving them. Standing up in front of the group and sharing your writing takes guts. You’re afraid people will laugh at you or that they won’t like your writing. Maybe you don’t read very well. Or maybe you just don’t like what you’ve written. The only way to conquer your fears is get up there in front of everyone and face them. Each time you do it, you’ll begin to feel more comfortable. After a while, sharing will be fun and you’ll want to do it all the time. On the other hand, commenting on someone else’s writing can also be difficult. Telling another writer that you like or hate their piece, while possibly an honest reaction, really isn’t very helpful. The writer needs to know why you feel the way you do and what specific parts of the writing make you feel that way. It’s important to be both honest and respectful of other writer’s feelings. And this is a balancing act that takes time to perfect and a great deal of maturity. One tip for making insightful and appropriate comments is to rely on the language of the Six Traits criteria. Phrasing your reactions in these terms virtually guarantees that any comments you make will always be positive and constructive. What Should I Do? Start by sharing your work with other people. If you don’t feel comfortable sharing in front of the group, share with a friend or a parent or your teacher. Just share. Think it Over And see what happens. Most writers are pleasantly surprised by how much fun it is to present their work to othHmm… ers. When it comes to responding to others, try this: as you listen to the writing being read make a mental note of what you like and what you don’t. Then, before you make a comment, jot down a note or two. Try to answer these two ques-

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Revising

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The Writing Process Stage Four

P E H A M R. M O R a l ly f o r E F e s s i o n n f S S A G o E r p M g A o u i t in

w r i n g t y, a f t e r m c o m . I u s e d a I , “ F i n a l l s r n 1 0 y e a r e v i s i o a g a a l m o s t t h e v a l u e o f a m t n d n k o u d e r s t a I w o u l d c r a n a d a y a p t e r i o w, i t. h e c t k a o h t o a b o B u t n t ic l e o r l o o k b a c k . n g s I r z i n e a r e v t h i a n d n e b a c k , I s e e o h e w t r o o k a k e n t I d o l o o v e d h a d I t m m y n e h w f r o m p r h a v e i r m y w r it in g p e n d c o u l d e d w s c o n s i w. I n o t im e t o p o i n t o f v i e s i n g l e p i e c o n ’s r e a d e r v e n m o n t h s a g a i n a n d e r o in g w e e k s n g m y w r it t h i s I f e e l I i s i o f v e s , r e n d b e c a u s e e w e l l. ” a w r it a g a i n — l e a r n i n g t o a l ly a m f in

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Plan Your Changes

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Make Your Changes

Repeat Until It’s Just Right

3

What is Revising? The word “revision” literally means “to see again.” This is what revising is all about. Having received comments about your piece during the Responding stage, you can better see your writing now from the reader’s point of view. That’s the key. Up to this point, you’ve probably been more concerned about yourself— what you wanted to say, how you felt about it, things you want to include. But now it’s time to shift your thinking just a bit and really start considering your audience. It’s time to start asking yourself, “How can I say what I want to say in a way that will make my reader s understand how I feel and maybe make them feel that way, too?” What Makes Revising Hard? Revising is hard because it involves four distinctly different things you often have to do all at the same time: [1] Adding things; [2] Moving things; [3] Cutting things; and [4] Leaving things alone. You may read over a sentence, decide to add a few words here and there, realize that you need to move things around, then cut some words that don’t belong, and all the while you’re thinking about what you can leave alone just the way it was. And you have to do all this as both writer and reader. As a writer, you have to make the changes you think your readers will appreciate, but then you have to switch over to the other side and try to experience those changes as your readers will. This is an impossible task. You can’t get it right, you can only come close. This is why writers revise their work so much. Revision isn’t something you do just once. Some writers revise parts of their work 5, 10, 15 times or more; they revise until they think they’ve gotten it just right. What Should I Do? Hmm… that’s a very good question. There’s no one right answer because there’s no one right way to revise. The important thing to recognize is how important revising is. It is the most important stage in the Writing Process. It is where you should be spending most of your time because it will help you more than anything else to improve. Revising is also the most difficult stage in the Writing Process, so be patient with yourself. Don’t expect to succeed right away. Nothing will test your patience and courage as a writer more than facing up to the task of revising your own writing, but there really is no other part of writing that is more rewarding.

Produce a New Revision


Editing

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The Writing Process Stage Five

What is Editing? Editing means many things to many people. But here it means only one thing: taking care of any problems you have with writing conventions like spelling, punctuation, grammar, and usage. You can make minor changes to the content of your piece—a word here, a phrase there—but if you want to make bigger changes, go back to the Revising stage. What Makes Editing Hard? Editing is hard because there a lot of things you need to know in order to do it well—more things than you can learn in any one year of school. To edit for spellCool! ing you have to know many words and be able to use a dictionary. To edit for punctuation you have to understand how to use every type of punctuation your writing needs. What Should I Do? Edit the things you know how to edit. Then, ask someone else to help you with the rest. Watch what they do so you can do it on your own next time. Ask questions if you don’t understand something. That’s the only way to learn.

Editing For Fun and Profit

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Find Errors

E H A R. P O M M R F I t i s t e E S S A G e b i t. f a l l n o g A M E n o i t i

s t e d d w o r ’ t l ik e “ I d o n s b o r in g, a n t I d o i t b e i t i . B u d i o u s, r y g o o d a t i t w t h a t I c a r e k n o t v e I ’m n o n t p e o p l e t o t e t o b e a s a w w r i I c a u s e b o u t w h a t I s c o r r e c t. I a i t i h e n o u g c a n b e t h a t c o r r e c t ly, o r e l l s I s u r e a i f I d o n ’ t s p r w r it e l e g t a h t y t io n, o k n o w u n c t u a w a y s t h a t m p r e p o r n i p a s e m r d u s g y s e w o d, m y w r it in d. u r o i b l y, r s t a n i s h a r s u n d e E d i t in g t e r i t r e a d e r y e f fe c t iv e. a s v e r e v e r m w i th n e l b l i t w o n n d a t I t im e, a u r e t h I a m s y. B u t o v e r b e t t e r a t i t .” n g e t e l c o m p l r t, I a m g e t t i o f f e m u c h

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Make Corrections

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Produce Clean Copy


Publishing

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The Writing Process Stage Six

P E H A M R. M O m u c h E F R e ’ s s o i t r S S A G e E h M T v l. A

i s c o o o u r p i e c e i n is h i n g y l b u P a b o u t “ m a k e a r n e d h e d o t o e l n a e c v a u I h a t t y o r e a d e r. o k i n g c l o s e l y o u r a o t i n g m l o k a t y i n g f r o o y. L o o t h e m, p u b l is h w r i t in g I e n j a d e d j u s t r e w s p a p u b l is h o o k s. D o n ’ t n e e b o o k a t l s, t h e f a v o r it e m. T a k e a l i a t h m m e r c l o o k a t a z i n e s, T V c o p r in t. A n d o f a g p e r s, m e v e r y k i n d o u t w h e t h e r — t a b e I n t e r n r y t o o m u c h o r n o t. Y o u r o t e r d o n ’ t w n g a c o m p u m a k e t h i n g s i s u u t e r t o i n g s y o u ’ r e a c o m p s t t im e s, t h d e e n o d o n ’ t a c t, m o l. I n f k b e t te r. ” o c k o l o l o o y h a n d d o n e b

What is Publishing? The word “publish” might remind you of another word you know. That would is “public” because that’s what publishing is all about: preparing a piece of writing so that it can be read, understood, and enjoyed by the public. Who’s the public? Well, technically, it’s anybody. But practically, it’s the people in your class, your teacher, and anybody else you decide to show your writing to. Of course, if you send off a piece to a newspaper or magazine, things are a little different. But the main idea is that the Publishing stage is your chance to prepare your writing in a way that will best reach your audience. Do I Have to Publish My Piece? Absolutely not. No writer ever has to publish something they don’t want to. However, there are many times that people ask us to write things, and when they do, unless we feel that they are asking us to do something that is wrong or unfair, we need to do our best to honor their request. Publishing can be a very satisfying part of writing. It’s fun to see your work all dressed up in a cool book with a snazzy cover. But sometimes you don’t feel like publishing a certain piece, and that’s just fine. What Should I Do? Just about anything goes as long as it helps bring your writing to more people. Obviously, you wouldn’t want to write so poorly that people couldn’t read it, or print your piece out of a computer in some weird kind of type. On the other hand, artwork, a nice cover, or an introduction that explains who you are, what your piece is about, or why you wrote it, can be very nice. Look at some published books that you like and take ideas from those. Just remember, the point of publishing is to make your writing as readable and as attractive to your audience as possible.

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Create the Final Copy

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Add Artwork if You Want


TheFrogLeap by SonjaButler

Thisisatruestoryabout m ybabyhood.I t wastheyear 1 987andI wasten m onthsold.I wasinm yoldhouse, theoneI wasbornin.I wasonm ychanging table. MyMomandDadwerewithm e, theywerestandingright next tothe changingtable. That’s theweirdpart. I wasbeingcuteandwaggingm ylittle cutebottom . Myparentsw ereadm iringhowcuteI wasandsm iling.ThenI dida suddenfrogleapwhichreallyscaredm yparents!I bouncedlikeaball ontothe heater whichhadskinnylittleribs.Theheater wasinbetweenthechangingtable andm ydresser. Luckilytheheater wasnot onbut I didget hurt. W henI was finishedbouncingI just sat therecoveredinbruises.MyMomandDadandI staredat eachother andthenweall scream ed.MyMompickedm eupandweall went over tothecouchfor aSonjasandwichhug. TheEnd

Assessing

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The Writing Process Stage Seven A . P E H

R O M M y o u E F R G ( D o n ’ t A S M E S u r a g e h e

A a t ? ) t w a s y o w h e n I a d u l ts s a y t h w o r k k c a B “ e n u r s s e d o t e i t w h j u s t h a n w h o a s s e g o t a g r a d e s t e r s o o n l y p a c h e r. W e j u d i d n ’ t e v e n e w e e t w a s t h o f t h e t im e t ? W e g r e w t s o o u s s w h a a n d m u t g u e o w, w e l e t y B . y h w N r. w e o t r i ll p u t k n o t s m a s s i n g. W e s t n g d n a e c a s s u p, f t h e a t a t l e a s t w e y o e m d o s o e n t s i n, b u e r ia w h i t s c r it e r y o c a r w t T r x i u o e v e S w i t h t h e d o. W h e n a t o n i a l p e x a y w it e r i l t h e w a i t s c r w e f e e s t h e S i x T r o d y u n d e r s e r y b b o d y u e i r w o r k , e v e h t s e n t .” a s s e s s s e s s m a e h t s t a n d s

What Makes Assessing Hard? Have your teachers been asking you to write down a lot of things about the work you’ve been doing? Are they always wanting you to tell them what you did and why you did it? Do you ever get tired of it? I think one of the things that makes assessment hard is that we have to do it all the time. Just when we think we’re all done, there’s this other part we have to deal with. The reason your teachers ask you to assess your own work so often is because it’s really important. Assessing your own work helps you learn about how you learn so you can repeat those things that work best for you the next time you have something to do. Learning how to learn is more important than any single skill or piece of information you can acquire because once you learn how to learn, you can learn anything you want.

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Reflect on Your Work

???

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What is Assessing? The word “assess” comes from the Latin word “assidere” meaning “to sit beside.” (This does not have anything to do with who sits next to you in class.) The idea here is to pull up a chair right alongside yourself and peak over your own shoulder to see what you’ve done. Here’s how it works: after you’ve published a piece and let it sit for a while, take it out again and re-read it. Then, jot down a few thoughts about what you did. Are there parts you like more than others? Did you learn something new? What does this piece say about you as a writer? Use the Six Traits criteria to help you analyze your work more closely. Take a look at comments you might have gotten from your teacher or other writers in your class.

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Think About Your Next Piece!

Review Comments

Do You Really Have to Do This? You don’t really have to do anything. But if you don’t do anything you won’t learn anything. Assessing is very important. Without it, we would have no easy way of charting our own progress, or of determining what we needed to learn next. I’ll admit, as a teacher, that part of why we ask you to do this is to help us. The more we learn about what you learn, the better we can help you learn more. But you’ll get a lot of out this, too. After you’ve done it two or three times, you’ll star t to see some very interesting patterns. You’ll star t to notice things you usually do well, and things you probably haven’t mastered yet. You’ll develop a better sense of yourself as a writer, and that will help you develop a better sense for writing.


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Novem ber 25, 1 996 StoneSoup Children’sArt Foundation P.O.Box83 SantaCruz, CA 95083 Dear Editor, I likem ystorybecauseit soundslikem e. I ’malwayshyper. I get reallysilly. I lovetoreadandwrite. I thinkother peopleshould readm ystorybecauseit isnot just som efiddle-faddlefiction,it is true!I organizedm ypaper fromwhat year it wasandwhereI was, andinthem iddleyoucantell m yparentsweresurprisedwhen I didthefrogleap, andit isnot onlytalkingtokidsit isalso talkingtoadults. Sincerely, Sonja

Student: Sonja Butler Paper: The Frog Leap Date: 12/3/96 score

4

Ideas

The heart of the message, the content of the piece, the main theme and supporting details.

What a great thing to write about! It reminds me of when I was a little baby and I swallowed a safety pin. My parents were scared, too. I like the part where you said: “I bounced like a ball onto the heater which had skinny little ribs.” That’s a great detail. I could really see it happening. I would have enjoyed more details like that.

score

3/4

Organization

The internal structure, the thread of central meaning, the logical pattern of ideas.

Pretty well organized. I like the order you told things in. Each idea lead to the next and I never felt lost. I liked the ending, too. I’m glad you were all right. I was worried there for a minute. If you had included more details then splitting the story up into paragraphs would have made it even better.

score

4

Voice

The heart and soul, the magic, the wit; the writer’s unique personal expression emerging through words.

This sounds just like you, full of energy and enthusiasm. I especially liked it when you wrote “I was being cute and wagging my little cute bottom.” And I like the phrase “a Sonja sandwich hug.” That’s a great expression. When you put in details like this it helps your audience feel what you felt.

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3/4

Word Choice

Rich, colorful, precise language that moves and enlightens; a love of language, a passion for words.

Nice job. How did you decide to call what you did a “frog leap”? That’s a really good descriptive phrase. I like the word “babyhood,” too; it’s so much more original than “childhood.”

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3

Sentence Fluency

The rhythm and flow of the language; the way the writing plays to the ear, not just to the eye.

Your paper reads very easily, but a lot of your sentences start with “I”. To make it a little more interesting you might try starting some of your sentences in other ways. You’re very good with alliteration (that’s when you use several words that have the same starting sound). I especially like the sound of: “I bounced like a ball…” and “…a Sonja sandwich hug.”

score

3

Conventions

The mechanical correctness of the writing and its contribution to meaning and readability.

You did a good job on your spelling. I liked the way you circled the words you weren’t sure of and then looked them up in the dictionary. You used periods and capitals well, too. Did you know that there are two kinds of “witch”? There’s “witch” as in Halloween and “which” as in “which one.” Words that sound the same but are spelled differently are called homophones. We’ll have a lesson on that soon. I’ll also show you how to break your stories up into paragraphs.

You did a wonderful job on this paper, Sonja. I really appreciate how hard you worked from the very first pre-writing session through all your drafting, revision, editing, and publishing. You put in a lot of effort and it really shows. You have a wonderful voice that just pops right off the page. I can’t wait to read your next piece. Scoring Guide: 1-Beginning

³

2-Emerging

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3-Developing

³

4-Maturing

³

5-Strong

s a formal method for teaching writing, Writing Process g oes back to the early 1 1970’s when dozens of academic articles inquiring into the nature of the compositional process began to appear. But writing as a process goes back even further than that—way, way back. Indeed, all writers have used one “process” or another to render their ideas in print, it’s the nature of the beast; words just don’t magically materialize on a page or a computer screen every time we want them to. So writing as a process is as old as writing itself. It’s just that in the last 30 years or so, we’ve thought to inquire about exactly what processes might best be shown to students to help them grow as writers.

A

At one time or another, we’ve all been there: first draft, final draft, done. And for many of us, the final draft probably consisted of little more than recopying our teacher’s red pen corrections. Here’s what one class was like for me: 7th grade. Hell hath no fury like Mr. Hackworth. A most mercurial man. Tall, dark hair and beard, piercing stare, earth-shattering voice, ego-crushing demeanor. He had no trou ble getting our attention and keeping it. His class was a series of rituals: weekly news quiz, worksheets, and the research paper. The quizzes and worksheets I could handle, but I was completely unprepared for the paper. The longest thing I think I had written up to that point was about five pages. Suddenly, there were rumors in circulation about students from the previous year’s class topping 50; someone even said that one paper was over 100 pages long. To get us started off on the right foot, Mr. Hackworth introduced us to his version of the writing process: [1] Choose a country; [2] Make sure you cover history, economics, climate, geography, government, etc.; [3] Write in pen; [4] Hand in the paper before Christmas break. That was it. We received no additional instruction whatsoever on how such a report was to be researched or written.

Sound familiar? No wonder so many of us struggled to get our work done—or even to get started. As much as I love writing now, I hated it during school. And I think part of my frustration came from not knowing anything ab out how to write, that is, how to go about the business of carefully crafting a piece of prose from beginning to end.

Like any academic theory, Writing Process has evolved considerably over the years, but two beliefs have remained constant: [1] Methods of teaching writing should be structured to account for the fact that the creation of a piece of writing is a developmental process that occurs over time; and [2] Writers engage in different activities depending on which stage of development a piece of writing is in. 1

The most important of these articles have been conveniently collected into a book called Landmark Essays on Writing Process, edited by Sondra Perl and published by Hermagoras Press. This is a wonderful book which not only includes essays by academics but also by professional writers like Annie Dillard and William Stafford. It really goes far beyond Writing Process to more general discussions of wr iting itself. I highly recommend it.

 Copyright 1995-2003 by Steve Peha.

Teaching That Makes Sense, Inc. • Web www.ttms.org • E-mail [email protected]

Writing Process as a method of helping student writers has always, to my knowledge, been conceived of as a set of discrete stages wherein a writer engages in certain activities designed to solve particular problems unique to that stage. And it is this practical problem-solving approach that I think makes Writing Process and other contemporary ap proaches more effective than traditional methods which often attempted to teach writing in a manner that ran counter to the ways in which writers naturally go about their work. As it was initially conceived, the process had only two stages: drafting and revising; the writer was said to cycle back and forth between them until a piece was finished. While this is probably the most accurate reflection of how writers work, it isn’t very useful in the classroom; student writers seem to benefit from a bit more structure. In the 1980’s, Writing Process theories crystallized into something most of us are now familiar with: a five stage process that includes Pre-Writing, Drafting, Revising, Editing, and Publishing. But now in the 1990’s, we have further refinements that, at least in my experience, have truly made Writing Process valuable to student writers working in the classroom, and to teachers trying to help them. There are now three distinct ways of looking at Writing Process:

No Assessment Stages

Criteria-Based

Modified for K-2 Writers

Pre-Writing

Pre-Writing

Pre-Writing

Drafting

Drafting

Drafting

Sharing

Sharing

Revising

Revising

Optional or Limited

Editing

Editing

Optional of Limited

Publishing

Publishing

Publishing

Assessing

Optional or Limited

With the incredible popularity nationwide of criteria-based assessment, and the recognition of the power of criteria-based instruction in all subject areas, the traditional process has been expanded to accommodate the use of criteria like those in the Six Traits approach. This only makes good sense. According to research the use of criteria by student writers as a tool for focused revision is the single most important and most valuable 2 technique we can employ , so having two distinct stages (Sharing and Assessing) for this activity is well warranted. Without formal recourse to criteria, studen ts cannot effectively shape their writing in the Revising stage, nor can they assess their own progress after Publishing. I recommend that teachers take students through the contemporary sevenstage process making appropriate changes for writers in grades K-2 who are not yet revis3 ing.

2

See Research in Written Composition by Robert Hillocks, Jr. published by NCTE.

3

Some very young writers can and do revise. But many just aren’t interested. I recommend introducing all writers to the full process, but making all stages after Drafting optional for K-2 writers. I don’t absolutely require kids to go through the whole process until mid-year 3rd grade, and even I will let some “slide by” until they feel more comfortable. By 4 th grade, all students should be mature enough to deal with the demands of working on the same piece of writing over a long period of time in a more detailed and more technical way.



Writing Process is the “how” of writing. Think about it for a minute. How do you write? There’s much more to it than just putting pen to paper or dangling your fingers over a keyboard. Consciously or not, most writers go through a predictable set of stages as their work evolves. Those stages—our own individual writing process—evolve slowly over time as we develop, and as the nature of our writing changes. As competent adult writers, we all have a writing process. But when you’re young, just starting out, you really have no idea what to do first, where to go next, or how to finish up. Small children reach for a pencil before they have any idea what they want to write. Older students may sit in class for days complaining that they can’t get started. The Writing Process gives inexperienced writers a simple, dependable structure they can follow, a foolproof plan of attack that will always yield results. By helping students with the process of writing, we free them up to put more effort into the execution of their ideas. From a teacher’s perspective, Writing Process is ex tremely helpful because it solves some very basic, but all too common, problems:

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



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Students don’t know how to get started: No problem, just introduce them to PreWriting activities like brainstorming, webbing, mapping, freewriting, or listing. Students don’t write because they are afraid of making errors: Tell students they will have a chance to make corrections during the Editing stage. Low productivity; students don’t write very much: Pre-Writing activities like free writing increase fluidity of expression; the knowledge that things can be changed during Revising frees students up to experiment. No effort in Revision; no ability to rethink earlier drafts: By teaching focused lessons in specific writing skills, and showing students how to use the Six Traits criteria, young writers become interested in and committed to serious revision. Sloppy work; no attention to detail in final drafts: By reserving a special stage for Publishing, and creating authentic publishing opportunities for your students to publish their work, you can show them how important this aspect of writing really is, and you can give them specific lessons in how to go about it.

Last but not least, Writing Process is a required component of the Washington State Essential Academic Learnings for Writing. Like it or no t, Writing Process is the law in this state. Students are expected to know it inside and out.

Yes and no. No professional writer that I’ve ever heard of goes through seven distinct stages with each piece (or any number of distinct stages for that matter). I know I certainly don’t. Competent adult writers tend to pursue all of the stages more or less simultaneously. We cycle: we think of an idea, write it down, read it over, change it a little, fix a typo, format it… and then we start the cycle all over again. Students will cycle, too, though probably not as dynamically or as purposefully when they’re just starting out. So, rather than a fixed set of stages each writer goes through, like this:  Copyright 1995-2003 by Steve Peha.


Use Six Traits criteria here

Pre-Writing

Drafting

Sharing


Revising

Editing

Publishing


Assessing Use Six Traits criteria here

It’s better to conceive of the process as less of a one-shot assembly line affair and more like a flexible, dynamic system that will vary to some extent with the individual needs of the writer and the type of writing he or she is trying to do:


Pre-Writing

Drafting

Sharing


Revising

Editing

Publishing


Assessing Use Six Traits criteria here

Of course all of this speculation about the creative inner life of writers begs the obvious question: if nobody really uses the Writing Process, why do we teach it at all? Here’s how I look at it: The most important contribution of the process writing movement has not been the revelation of a single most productive, most perfect, and most proper way of writing. It is merely the idea that there are ways of writing: predictable paths good writers follow that lead them step-by-step to the successful rendering of their ideas in print. There is no single writing process, no “secret formula” known only to a select cadre of award-winning educators, elite researchers, and literary mavens. Writing is a process in and of itself. And it is the recognition of this simple fact that has so significantly influenced the way our best teachers teach writing today. Once we acknowledge that writing is not a spontaneous act, but rather a series of discrete events scattered through stages that un fold over time, we can begin to guide young authors through those stages, so that ultimately they can guide themselves.

I teach students the contemporary seven stage process (even if I don’t require writers in grades K-2 to use it, I still tell them about all the stages and invite them to try it out), and I take them through it until they know it cold. As they experience more success and begin to develop a sense of what works best for them, I give my students more latitude to find their own ways of getting things done. But when they get stuck, I send them right back to the seven stages again. Eventually, they dev elop a way of writing that works best for them that incorporates all of the components I have introduced. I use Writing Process more as a problem-solving mechanism than as a way of monitoring student progress or long term development. You see, whether or not writers pursue the stages deliberately, it is a simple reality of the task that anyone who attempts any kind of formal composition must eventually draw from each of the seven “wells” in order to nourish their work from beginning to end. What I like to say to teachers is this: Writing Process is a tool, not a rule. And it usually works best when it’s used in that context. Instead of telling students: “Here’s something you have to do.”, tell them “Here’s something that will help you out. Give it a try and then take a little bit of time to assess how well it works for you.



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I n b a o s a H s e w s C o r o i c p o i a t r i e e s i m t n a r w k w m b n r c , y o o c p t u g a b r h a s e h m i o s t . a p d e r d y t p h h o , w m o t I g S e l a . o i t n o t m i e r m s c r n n i a r t t m s e o o d a e w u u i e a r e m 0 I i o s e s n r e t i c k . u p e t e a l p h y m o i t i a a o o m c i e o d . , s v e h h v r i e f o e y m m a e 2 t n g r b r t n e p c k h i t L P a - n K p , l t e o t e u e o n - o o i i t u t o s s u r o s f l d l r e n i p e . o e h t r a r e h r e o i t t p a f i e s g w s l o m o o 5 s B r s u i e f a s t r . r u o s e s r u f h t p o h h y v e u t t t a e s n e t g o r v n a e o g d z e t h d p t i l o ” f e 1 s a h t n h m s b i i n p e o t p y e s t e n t s b i e v U f d r o m n o n i h e d t a w c t i o a h t r c b s e i r l h t i s r t r b v m t a n r e l n a d y h t a e e e a o e e s h r h n i n e h t u l t c a d a u o s p P h y u i n i m o o l a a h i r v r i e o a a i s l ’ g ’ t e e o h a s s f h o h o h a t , ” e o h w s i t i a s i p u C h h t l A c c t c p W a v A p O t e t a P p t t n l i a h h n l l n n l i k k p t i i t h m t l e l e e e e s t r e a r l t r t o b b w o c d d m e h a r s p p a o d y o r n d d u o u f u e a t n m i o c s i y y i p k p i t q o « u l i w i n I c a U a t w t p b l e t B n « « « « P P l « I p j o y l i t a u e b d r t A e x h . e l . g w t e y w n t i i e t s v h d i a t y l c a n e r a n o i o t s g t n n i o n e n o d v i n t a e d o a n r c e e l r y v a r r s n o e d o h i v C c k e

- i - n v e i a t n d I d v c o i a n l d u a t n a s o r a f s d e a n x v l e u e e c l v s o p a f e l h m m e o s o o h h r t t c I n f w a y o t a f G i h i a t h t l l o : N e I k c I c g e u t k s . y n r c e i T s a s i r t t I o s t a d r n i a u D C i g l v o o c n t i E e g p n a n d i i d k e t n h e a i t g i s a e a d e M E m n t w i « t «

. I t l . s s e t . r d l e - t . g e g i a e - d y e n a e n i t r h g a i , o l i a v i a n e b n t u h t i h s e b i e i o , s n s i a n : n k t t t t d h r t a o i i e s r r d h n i n n t g s o t o s e n r a n I e , d g t n e g o h t v i t h o h t o e n n a o w l s r l n o d n : s t i t s n a i a i c n u n e n . m m d n a i t e w t , i s t i . m o u t o k I . x r i o e d c u t s t e o s e i e r c o n i d I , s ’ e m s t d S d t e a w u e o t k i r t k i h l g h n l t n u c t l g s o d u o i g t i u e n d a e h g t k l t e t s y . r o s t a n a l i n t n f o e s n i o l o f u s e t t i W h i r s l n s r d a v g i d t s s e u . a h s t e n s i o f m k n e s q d l i r o t a s b a e g o e n t ) h m r I r i s c s n d i d s p i h d o a e n . ’ u y e u o e p r u c w r u i i n t n d A I t 3 t t e o w t n n i c r e s h b e e d c ’ s n q t a d e u I , e c e P w l s t r . d u , ; a o , e k e w r r t d r n u i c o o I i e u g g e e n t w k c r g u i r r o a e s h t ) p s c o c i r e i s t r n r F n s h s i o a o i e t i e o d o a o r d e e o t a m e g 1 t w t t n r a n n m r o i y o n n a h i ) n c s a r t i i h k w i c m t p m o h o t i I e v n : d n e r t n t c e i a e w o u 2 d l t . n n a a I i s n r e s e t s t n d e t n s e h i I t n m i t e c s e o m a e r e u ; n o e o m c i h h p y u h n s c v o t s l A , e v n s y , i n h s t t e t r o h p b e n d t s e m n s . i a o a d t e w t i p s s t e e h . e f l e i c e m s u u p h e e e i , s a i a n ’ t t r t e t l v s d g e , e c r h n s d c d c a w a , a f i g b s g n n t b s r t s e e n o o s e e e t e e e g e n — n d t a u n e n i o c i f n f W i l u e i a k n c r e g y i t r n p i s e c i p t h s a i b b u d o e e v i i r r o t t o c p c . i s v o r v s o t n e i n e k n a t a h m s d i c i t e t p n l e m i e h d I a n t l t p a n e l v n r p n t e s r e h e e t n h c r t o f o i u o e n x b x r o e o e a e d r l d o a e a x c a w c e i l t k b r s m r ? e s n t e b d i i e c e e a t C g h z E e r o c h t S c t p s I e t e l u l t o r r e r v t f k t t e a i r a s d d u t r n c a n o s o b o t n l e e s c o n n n i r n i e f o c o a h f r h d u u h o u e y o m r o b a o f h h o o o h r o « « « I b s c c T d c t m I o w t I m p S w b d m h I t o c o f c

r e z i n a g r O . k - i - e n - I t . e e n - n e e e , c t e y s n h r ’ n c v e ” b r e , d v r u y e s s t e g e : d g e n a n , a o h e r e s t r i c s e g n h a o e u n l r e n o o y t , e e n h t r g e I o r u e s n h g h e n i n t t i a h p , s t o r e m s i i e t g h s n t r t t a n e i s s , , i u m e t s n I . m o e g s t i s t e i a i t , f , e t w t i g t d y h n e g o s y c r r k f n o u r p e c a l i c h t t n l g s n n , t v o a r l i h n c u a l n i t o c a d e t n i p n a e n i e o i r o r e i e h I , r w f i f a o f e e r h s h e i a s s e , i m , t o s y d p k n p o e a r s t o o p l t e e i e g i t n d a p . n e t S s y p b d d p e d l g e r t “ e p n g n h i i A , o t i m e n n i k g h n a e s o o o h e d w i , e d h n n i a h g c v u l e f i k e i r t s t . r e . t c e a t g n a h s v c e s v d r l m u e e e s i s e h a s b e r m b i t i h s t e o y p c l h e i n p u c i e t f n n n o r b i i e t e i o p n t i e e , g o a c e i o r g n ” c v n f t i r f r p r w s t e o c e e m B r s i s e m w s r h a n g e h b n c k w e r o g o t u p e e e n A i t s r m n h o e o n , d t e r W t a T e m o t o t s p o o e i e c v n n h h o s o r i n f e ’ t k i e s a t g g n t r h i x ’ e e s d o s i . a r k h c i m i n e r o , b i t p l o n s r u r G m g c n w e e o r o e a . n c d t n s s . , e f a i e s g s o : e w f a l l i l L o e e e r e l i n q f o n n n o p n e s e u d f w g r g r o e t k r , n n n d n N i r r e i o y i . n i m a g e d i r e e . e o h u r f s e n p e n e s t T r a n i o a e r o i o a o e s n i o e m t r e r I i e s t e e n t u n h g t , s b a i i f . e i p i t a s g r d . e c r t r o v k k c e n w S r h s i “ , m m s u n r s M , h A n n i n b w e s g v W u a s s e n s o a c u s e t e r r . t m s I h i r o , s i l c a d t r o l u o t i n g e t t m o e t , h l o s i . s n h a a h e . o h s i i s t l t w a g n s s s i n c c a e o e e , t t s g i a P V e h s b o k e t o t i w d l e e l , p g o f e e g y s n e i i i e m n n c t d s e o i t i s c i a t h o i v i g s s h t f s c g r d s s r E n i l e l a m m t m t d n y , e o n e h f n t n u m h t s c r s m o t d a g u a m r e t a e I p i t i r A e s e a t v n o r e o i e i o o o s a a n t n R i y g e s e o i u e o e g i g n l s x d e h n t e s h a r c h r t r e p r f s t e e e e e c s t ” h s n e n t m a n d p e t d a g m u b e s e h g f s i i i c e i s i w a i c a s m y c g k d k d p t i n t t e m s e v s m r e r r o l b t i d s o s k o e e e o a r f u a u a a n h o s a r o e a l o e p r o a e l o f o s h s r s n t i i h l t e a h u w m t h R p f h a t h d i r o T « F e u s F p e f C s v c t f c a S h g W s p t e n i l t n t e e e s d g u d l t f d r s - b s . i o f e o t e s t n n s f f n l t e n r u t - b f i n z y i i o r i u o l i . I e a y i f r e r i r u r i e d d l e e t f s a o a a s o s s s r I m . e . o e a n n e d e g e n s i r s k s m s p f h t g s : , o r u y i s t f d o o t p n u h o e e h m r n a i u t h c e I o f a t a t d l o u i s k s a a s n i g y s a h c t l n r e j I r e . i h i l o a o g l a u s n T e M y h c t b e l d e t i e c u s n s e a T r o r e c i e f a h g g c w h r k i a . r f e s r a s t g t u m t h q n h y s n o r g e o g p c h a r n o n e s e e e g t g c b r i i g e r . n e g e e h l s s r o k s n o g a i c a i v a s l o a t g i o i i n b n e t W i n d o o n h d o p c n h n t h c s o i o p e u i t a h e i n e b i h r s t k t n r e m u l t t r l a e V r g g d o n p k o s a r s s h p m r c o o a h R s i w a a d a e h o h f a s a r e e s t a a u n e s r a m b e e t p o n f s l o v w f l e e e I e s p h o i m n y s s l h a r o a p e h u d a r r e a e o d s e f r e w “ e s e p a p a e ’ d v , m ’ ’ e o e l l l f s h d s e h e e q e e y s t x o e e l i t t n y e y e t e s s r : h , . c i e p b b t l w o t f a g k e n i r s e l g i i k t d e b i a v h g l e a a e i f c f k g s a i o r u i d g k g a w t p n e t o t n o r m t I a u f h r T i i h h s r d h , n d c k s i a g g i n p c l u u G i i u g n t t n t e , i i u r e w i n t e l l m w c o a a a t r e s m a f i e n , n t r i m l f i b e e c n h c m s i t a g m e N d n t t v i a a a w a i r s r i , s y t u r b g r t o a r u r , a y t v v e u e n e h e a x t a n o o o s I d w t w f a g e d e t r o i e u b s v f a f u e e a n e r r a s t h e t c e a h e h t o c a t n u p i v l a o A I s e s e w e i r h n u s R d y t i h l r s s ’ r u r t f e s g k t e t w w h A e n e a r t a e s t r s i b i f o e r h o b c n n d c y e o u g o n n s n d r r t d t r h e o t a h e l i e c y e h i e t . , ’ t a a f e i o w w h e p n e e o o n t l t h . g t v f e m w t h m w i h m g e t t y s i a e n t e m , , m l w c o o h h t H r e e a c g r n n y T S S e a I n r t h a e m c r h l e h i o g o g e e c n n e o d e t I , n r i t u h e h n g c n t e W W a a i l w u , h y m m n o h a n t t i i g g k k d n o n h h i i h t , I t n r n w d u g a . i i s t t i t t t t s e i c s n u y l . u i t e b i n t t r a t a e a v l g e r y

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t t i f r f s i g - s d y , m - s t n i e n . u . m s o f . d s e P l n y d e o a t t d a a a d e o t h p . I e e i e s n e r r e n v n r l x a b s t e t h a h t u n a I . y t i t t h e f f T . l h . k y e i e e o a a i s n T o a t u o d u f l e e B b e p n e n n g o r . r a g n d a n h g r o n e G s a . n l e s k n i y e a s h l l t d i A g u r s o y e v i e g s i h n c i r s . a t a d , c u l I r i c s i e d m a e r e y t s i k n e . r n o d . a i s w o t e e a a r n w i e m r I u . i a i o e d s e e s e h n e a r n n f g t r h k t a f l g o v s O d . r c t r t e i o . g t t o o i f e e p e . a h i k h y d r d s i e n . r t e a o e y o a b k d e e t f t e w . g n i a t ’ s o e n a g w l v a e h o w e l m s i i t n l i i I h w l ” c l e i e a f s r l f r s s h T e t n a a h p ” i n d n u w e t g x r d e m r r i i i i d h k t i u e r t t i r f e g t h o h r a m e i w p e r n s h “ f . c t e a r w r n d r e a o n k ’ a i i o t s e h e r u e i i i e u d i s p y e m - t a s t m g y t r r e r w p c o f t n H u g h c e r e t a w o y n u r k a o w e r r i a y s s i d j i t o m a e N i h o t . m g . w n e h e e c a o n y g g l n o t r d : p e r s r t e w t o r y n i h i r - e i r e e e T i s i i G P f r . r e w k t e s u i n t r a y g a p s g e o c i p r l r n e v a a p m m o i t e t e d m o y o a c g e n . s r r e e i t c n p f r t r v n b a r y i N l w d o e e e - w e r t n n t i a e t e i s n o y o n i o v s y l o p r w I n i v w R i p : i l l l p a t g o u e e s t a t o l . a h t u t o r e e t s h a e w s i e o i a h e t r e i e y e k e , n u t d k b h e s r o n w S a t a . n w i r T c r r e a o r n r f u c r e v c e t h p t h m l n n e n e r t y “ b r f i s h n e i k r e e i d m i e u w s p e o e a h k P o F n w p t e e i s s e e t l n ’ o o o c o o u r f t t e l a r o . u e e w i o g p a , f r y t o r t s o o n . e p l w g f s h e e e m r g d u q o o o b t t f s A o i h o e i r r b i a t e s n n t e u t e a y e t f i m t e e e r h t t k r r u n s e e t e r y q u r b u r . o e t e e o e e p p o s h o t t s i k i i i r g R D g i i t r e e A t m k t s n d y i i s e s s r m e c k m a k y o - e c e q l p c k h e t i e o a h i l s b g o r r p e h t h e a r o g . i s d s u a e e e a s k s c D t h U a f w n b a c v n t t s n b h a a e b o i a i r l i h h h s l e s i b o t r e i r e o s S a a a R t o o R o W t o a h r n N m D e f a k t h U b l t s . i k a W T e o t W p i o e f e o e t p t , a r d a s c f p e d l a i k h e r s n s u e r r o ’ i o a o t u e h n s o e t r o d a w t e « h b a s t o « t t n w g p p T t « « « « « « « P D g i « I t . f . s n n - . , t - y t o - a , n p e . e h e e w l ’ u o p , ) . t t e e o e e t s c t e a o f d e n t o o . r y o l p n u h t n m T l b v r g o k t s i e o h t d a s h l ’ p n e h F g o m g r i o o I u a . t s l e e / a i i a i e e l f i . s s r o n t a a I , s o H t i S d t y n t t s i e e i l i o s a i a e s : d w u n g w M o d b t r y v t w k a e . t e u e e s l i o o e u w h e r d ? o h h o l a t l u e n i t D t w f v N i t o t t o a l r n e d t i , s n t h y c d l a i n / l k e d p b e n e t o e c o a e e - A a f a g a l t i t o S ( y n i w k o e e l n s r ’ r c i S n L y T t t h c m o e t t d n t p m r d G l n t t d i i i I , . a h i ( u u ’ n u d a s e - o e j . a s t e v t a e s n l s I d r s i y m r u F s i i F o t p s h N c t a q e w . , s i o i s y n x r h a a r g e t c n o t e o w I n d a a g t o i e a e a e s l f f e c r d h n w a n a c — o h t s c h i c a o o C n o n h t a n i p s t w a d p o a T s s r w e o e i i S t t h c p k r - l i A r t a s t i s I o y t g T o r e i t c o t s l d H l l o t i i o s c s e p u n . s - u w s s l e h p t e r n r i n s d u F l u i e a a R T n u i e t e e t t h o G c o i o u c e e e n d o a y h v n d w t u b w P a i u a h h g s o e t b e h ” t c f v f T n g t t i r t e a . h o d a I k i , a a y n n W r q s F t t a u e i t w u i e s I i e U p s n e , y d g l n t i t s F y r t s k l o a — - o E e W D L r / d e e v n s k r n . p a t n i l o s a s i g c e r n p i n ’ h c u i i t n a r e c a g a m c E Y g s d a c e o o 5 c i d t k t a i o ) s s u o n t A a g M c p w c c w e e n c ) . i f n e n i a o t i h i g g i g i n i n t i a a w e f M R e a d t i i o i t e p e e t s r h s w n h u a t n C e i a a p i o i e o r h P t h o . c e h h . g t l b r r e s c s o r o r h P r o o g y c t b g r t h t t C f s d D A T C ( W T b t t e T T e T S W I r o w e m t I r n g s t , w w - d t w l n c n u v l g o n e i i n m e n t t e i m e p a a . o r e s o e e s v u n i h i o o e i b l e r e r e e r i r e o x r e r h a d t h n e p p h u o h h r « « « « « « « « « « E P w a w I T t s t b d b u c t m f k t s h a p “ s t «

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