Teaching Points Lead to Authentic and Specific Writing Instruction

Before every single minilesson I teach in writing workshop, I write a statement. It always begins the same way, and I never (not-ever) forget to write it. It begins like this:

Writers...

This statement is a non-negotiable for me because it forces me to boil down the teaching point to something specific and authentic. If I can't complete the statement, then I shouldn't be teaching the lesson. Here are a few of my recent teaching points.

• Writers decide how to enter a new writing project either through collecting, drafting, or planning.
• Writers tell stories from their lives. 
• Writers use capital letters intentionally.
• Writers use both the inside story and outside story to write a narrative.
• Writers use their lexical system to figure out the spelling of a word.
• Writers use their notebooks to find the next thing to write about.
• Writers tell one time stories from their lives.
• Writers craft a story instead of reporting a story.

When I have this statement in mind, then I'm able to consider how to make the teaching point "sticky" and I can plan my minilesson accordingly. I also stack my teaching points together to make sure they are aligned with the bigger goals for the unit of study.

For example, in a kindergarten classroom we stacked these teaching points together for an oral storytelling unit to launch writing workshop.

• Everyone has a story to tell.
• Writers tell stories from their lives.
•  Writers can tell stories about one time their families.
• Writers can begin stories with the words, "One time."
•  Writers can tell stories about one time with a friend.
• Writers tell parts of stories using the words, One time...then...finally."
•  Writers can tell stories about one time with an animal.
• Writers can tell the exciting part of the story by using the word, "Suddenly."
• Writers can tell stories by using their fingers to remind them of one time...then...then...suddenly...finally.

Here is a card I made as a concrete reminder for students to tell stories with different parts. I took a photo of it before I added felt dots to each finger to make it more tactile and interactive for students to touch each finger while telling their own stories. We could also send them home with students to encourage oral storytelling outside of the school (and give parents a tool to help tell stories at home).

What about you? What were some of your recent teaching points with the writers you work with? I think it would be fun for us to make a collection of teaching points in the comments. Go ahead and add one -- you can even make it up right now!

laura resau interview (part 3 of 3): plot threads

One of the things I've been struggling to get a handle on as a writer is weaving a number of plot threads together in an interesting and clear way for the reader, while at the same time remembering and balancing them as a writer. Laura Resau's The Jade Notebook is an exceptional example of the weaving many plot threads together into a beautiful story. In this final part of the interview with Laura Resau, she shares some insights into plot.

I love the way you wove many different story threads to create a rich story with lots of depth in The Jade Notebook. What is your process like in order to tie so many threads together? How do you  balance planning specific scenes, while at the same time giving the story space to unfold as you draft?



Thank you! You know, I was on a tight deadline with the Notebooks series, which spanned from the time we adopted our baby (nine months old) to this year, when he was four. I was also writing and revising other books during that time, so I was really struggling to find time for everything. After I finished the second book in the series (The Ruby Notebook), my mom, who is my most trusted and competent critiquer (right up there with my editor), advised me to make the third and final book (The Jade Notebook) relatively short and simple, to make life easier for myself. I tried, but I just couldn't do it! I think it has to do with the fact that my characters come alive for me, even the minor ones. I feel compelled to tell their stories as well, and find a way to let their subplots connect with the main character’s one.

Early on in the manuscript, my process involves going back and forth between first-drafting (which is mostly free-writing for me) and outlining (my outlines are always changing to accommodate the discoveries I make as I free-write more of the story.) At some point, I end up with a rough first draft that is full of holes in places and bogged down with unnecessary scenes and words in other places.

My mom then comes in to save the day! She’s the kind of person who loves untangling necklaces and hair. Apparently, it’s meditative for her. Lucky for me, she has an uncanny ability to analytically untangle my subplots and figure out how they need to be woven together. She can masterfully detect missing scenes and tell me what scenes I need to add and where. So, my advice is: if you’re not analytically-minded about plot, then find someone to help you—preferably someone who loves you unconditionally like a mom, someone who will drop everything she’s doing to read your messy draft and somehow get back to you with advice the next day.

If you need to bumble through it alone, here’s my two cents: I think that integrating subplots involves an analytical part of your brain that’s different from the creative-free-writing part. I think you need to periodically step back from your organic free-writing to make lists, charts, outlines, graphs—whatever helps you tap into that analytical part of your brain. You could go through and highlight different sub-plots in different colors, or even cut and paste together pieces of each strand of sub-plot (kind of “unbraiding” them in a separate document) to get a sense of the sub-plot continuity or lack thereof. (Does that make sense?) Some authors I know fill out note cards with scenes from their story, sometimes color-coding each of the subplots, and then physically rearrange them on a bulletin board (or the floor or a big table) to figure out how the strands and layers fit together. It can be headache-inducing work… good luck!

Most of all, I encourage you to find trusted readers—critique partners or group—who will really take the time to go through and get their hands messy and analyze what’s going on in your story, plot-wise. Happy writing, everyone!

Somehow, this was just what I needed to hear. I think it gave me resolve to keep going, knowing in the end there are going to be "holes in places and bogged down with unnecessary scenes and words in other places." These words from Laura, coupled with this #TeachersWrite post about outlining helped me start trusting myself and writing my story again. 


Thank you Laura for taking the time to give insightful and inspiring answers. Good luck as you continue to write. I'll be looking forward to reading your next books! Remember to continue getting more inspiration from Laura you can read her blog, check her website, or fan her Facebook page.