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ED 1.61 038 ( CS 204 406 AUTHOR Day, Robert, Ed.; Weaver, Gail Cohen,'Ed. TITLE Creative Writing its the Classroom: An Annotated Bibliography of Selected Resources (K-12). INSTITUTION ERIC Clearinghouse on Xeaaing and Communication Skills, Urbana, Ill.; National Council of Teachers of English, Uibana, Ill. SPOONS AGENCY National Inst. of Education (DHEW), Washington, D.C. PUB DATE 78 CONTRACT 400-75-0029

NOTE . 122p. AVAILABLE FROM National 'Council of Teachers of English, 1111 Kenyon Road, Urbana, Illinois 61801 (Stock No. 09284, $4.75 member, $5.50 non-member)

-141BS PRICE M7-$0.83 HC -$6.01 Plus Postage. DTSCRIPTORS *Annotated ibliographies; *ComposIption (Literary); *Creative Writing; Drama; Elementary Secondary -Education; Fiction; Poetry; *Resource Materials; *Teaching Techniques; *Theories IDENTIFIERS Information'Analysis-Products ABSTRACT This bibliography annotates over 700 'books and,, articles published from 1950 to 1976 that discuss the teaching of -creative writing in the elementary and secondary classroom. It'is intended to enable teachers to lotate a variety of materials to aid in planning teaching approaches and techniques and to help teachers and students pursuing studies on the teaching of creative writing to learn abcut relevant research studies and teaching trends. The entries are divided into four categories: theory (the value of Creative writing, teacher- and classroom-related factors, and research findings);yoractice (teaching the writing process, teaching poetry writing, teaching fiction aid drama writing, and materials for student-use-H--results (respondineto student- work and publishing student work); and special resources (anthologies of student work, magazines that publish student work, writing contests, and other resources). The bibliography is indexed both by author or editor and

by subject. (TJ) .

**********************************************************************4 Reproductions supplied'by EDRS are the best that can be made 4 from the original document. 4 ********41*************************************************************4 U.S. DEPARTMENT OF HEALTH, EDUCATION 4 WELFARE NATIONAL INSTITUTE OF EDUCATION MIS DOCUMENT HASBEENTREPRO- A. DUCE° EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATIORORIGIN- ATING IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRE- SENT OFFICIAL NATIONAL INSTITUTE OF CREATIVE WRITING EDUCATION POSITION OR POLICY IN THE CLASSROOM AN ANNOTATED-BIBLIOGRAPHY OF SELECTED RESOURCES (K-12)

ROBERT DAY, EDITOR Washington College GAIL COHEN WEAVER, ASSOCIATE EDITOR ERIC Clearinghouse on Reading and Communication Skills

Clearinghouse on Reading and Communication Skills National Institute of Education

National Council of Teachers of English , 1111 Kenyon Road, Urbana, Illinois 61801 This hook has been published in cooperation with he Associated Writing Programs, Washington College, Chestertown, Mary and. fr

NCTE Editorial Board: Evelyn M. Copeland, Rudine Sim% Ddnald C. Stewart, Ann Terry, Frank Zidonis, Robert F. Hogan,' officio, Paul O'Erea, ex officio. Staff Editor: Carol Schanche Book Design: Tom Kovac4

NCTE Stock Number 09284 Published 1978

'ERIC ClearinghouS Reading and Communication Skills and'National Councilf Teachers of English 1111 Kenyon Road,rbana,Blinois 61801

The material in this publication was prepared pursuant, toa contract with ,the National Institute of Education, U. S. Department of Health, Education and Welfare. Contractors undertaking such projects under govehiment sponsorthip are encouraged'to express freely their judgment in professional and technical matters. Prior to publication, the manuscript was submitted to the Nationad Council of Teachers of English for critical review and determination of rirofessional competence. This publication has met such st,pdards. Pointsof view or opinions, however, do not necessarily represent the official view or opinions of either the National Council of Teachers of English or the National Institute of Education.

Library of Congress Cataloging in .Publication Ecata Main entry under title: Creative writing in the classroom.

Includes indexes. 1. English languageStudy and teachingBibliography. 2.English languageComposition and exercisesBiblio- graphy. 3.Creative writingStudy and teaching Bibliography. I.Day, Robert Adams. II.Weaver, Gail Cohen. III.ERIC Clearinghouse on Reading and Commu Z5818 141 016.808'042'07 TSB

3 CONTENTS

11

Foreword vii Preface ix

Introduction 1

.THEORY

The Value of Creative Writing 5 The Teacher and the Classroom 7 Research Findings 18

PRACTICE 25

Teaching the Writing Process 25 Stimuli for Writing 26 General Classroom Techniques 38 Teaching Poetry Writing 59 Teaching Traditional Verse Fornis 60 General Classroom Techniques 62

Teaching Fiction and Drama Writing 75 Teaching Fiction Writing 75 Teaching Play Writing and Script Writing 79 Materials for Student Use 81

RESULTS 93

Responding to Student Work 93 Publishing Student Work 95

SPECIAL RESOURCES 101

Anthologies of Student Work 101 Magazines That `Publish Student Work 104 Contents

_Writing Contests 106 Other Resources 107

AUTHOR-EDITOR INDEX 110

SUBJECT INDEX 115 FOREWORD

The Educational Resources In- formation Center the findings of specific educational research are (ERIC) is a national informatiOn system de- to be intelligible to teachers and applicable to veloped by the U. S. Office of Education and now teaching, considerable bodies of data must be sponsored by the National Institute orEducation reevaluated, fogysed, translated, and molded in- (NIE). It provides ready access to,descriptions of to an essentially different context. Rather than exemplary programs, research and development resting at the point of making research reports efforts, and related inform'ation useful in devel- readily accessible, NIE has directed the separ- oping more effectiVe educational programs. ate clearinghouses to work with professional Through its network of specialized centers or organizations in developing information analy- clearinghouses, each of which is responsible for a sis papers in specific areas within the scope of particular educational area, ERIC acquires, the clearinghouses. evaluates, abstracts, and indexes current signifi- This extensive bibliography annotates repre- cant information and lists this information in its sentative books and articles published from reference publications. 1950-1976 that discuss the teaching of creative ERIC/RCS, the ERIC Clearinghouse on Read- writing in the elementary and secondary class- ing and Communication Skills, di§seminates room. This bibliography will enable classroom educational information related to research, teachers to locate a great variety of materials to instruction, and personnel preparation at all aid in planning teaching approaches and tech- levels and in all institutions. The scope of inter- niques; and it will enable teachers and students est of the Clearinghouse includes relevant re- pursuing studies on the teaching of creative search reports, literature reviews, curriculum writing to learn about relevant research studies guides and descriptions, conference papers, proj- and teaching trends. . ect or program reviews, and other print materi- ERIC/RCS and the National Council of Teach- als related, to all aspects of reading, English, ers of English are pleased to cooperate with the educational journalism, and speech communica- Associated Writing Programs in making this tion. bibliography available to teachers of creative The ERIC system has already made available writing. through the. ERIC Document Reproduction Bernard O'Donnell Servicemuch informative data. However, if Director, ERIC/RCS

rri PREFACE

"Prefaces, and passages, and excusations and I then turned to ERIC /RCS, at the National other speeches of reference to the person, are Council of Teachers of English, which took on great wastes of time; and though they seem to the task of completing the work"that had begun. proceed of mOdesty, they are bravery." So wrote This meant assigning an associaVe editor, Gail Francis Bacon late in the sixteenth century, and Weaver, to find additional books and articles, I am inclined to agree with him. To this book I annotate them, and organize the materials into a have contributed he following: the idea of it, this form useful to the- classroom teacher. preface, the int oduction, and something my In finding additional items for the bibliog- associates call "e ergy"which I understand to raphy, we drew heavily on the resources of the mean pushing and nagging. I take-the trouble to ERIC system. A computer search was conducted claim these credits because all the rest of this to locate ERIC documents on the teaching of book has beedone by the hard work and creative writing. In many cases, we made use of diligence of oers, and I'd like our Feaders to abstracts of these documents, written by ERIC know who th y are and what they did. abstractors, in writing annotations. We also In the sum ers of 1974 and 1975 I conducted relied on brief annotated bibliographies on the Washint on College Summer Institute in teaching writing that were prepared for ERIC/ Creative Writing. Using a grant from the Mary- RCS, as well as on annotated lists of relevant land Arts Council and the National Endowment ERIC materials that appeared in Elementary for the Arts, and matching funds from Washing- English (now Language Arts) and English Jour- ton College, I brought together elementary and nal in the form of ERIC/RCS reports. Finally, secondary teachers with poets and novelists in we drew on the Annotated Index to Elementary order for he writers to instruct the teachers in English (1924-1967), and the Annotated Index to the skills of teaching creative writing. the English Journal (1944-1963) and its First As a p oject for the teachers participating in Supplement (1964-1970), all published by the the Insti ute, I asked them to search out books National Cbuncil of Teachers of English. and arti les on the teaching of creative writing. I am grateful to the many people who worked During the first summer a basic list of such on the bookKathy Walton and-the Associated publicions was compiled. During the second Writing Programs staff; and the ERIC/RCS summ= Institute participants added to the list staff, including Bernard O'Donnell, Linda Reed, and b gan annotating the items. Kathy Walton and especially Gail Weaverfor making this and t e staff of the Associated Writing Pro- bibliography a reality. I am also indebted to the gram. (also located at Washington College) gave many individuals who prepared the abstracts, addi onal assistance in organizing and culling bibliographies, lists, and indexes that were used thentries. in the preparation of this work. B the end of the second summer it was I must also thank the teachers who partici- obv ous that we were developing a valuable pated in the summer institutes. They are: Linda ma uscript for classroom teachers who wanted Bennett, Marjorie Chappel, Linda G. Cunning- toind information on the teaching of creative ham, Virginia Day, Patricia Dean, Elizabeth H. w iting. It was also obvious that we had made Drew, CherylF. Fehlman, June Foster, E. o ly a beginning, and that we would need Gwendolyn Freeman, Herman M. Gay, Mary- a I ditional assistance to see the project to com- Beth S. G.oll, Mary E. Harrison, Kathryn E. letion. Hran, Beverly A. Hogg, Alice B. James, Felice

1 x Preface

Joseph, Barbara 0. Kreamer, Barbara S. Mack, Patrice C.'Mason, Barbara Matting ley, Robert Me Dorman, Patrick_ McElhinny, Joan Frankie Miller, Bennie Milton, Dee Rewman,Newman, Margo Nicholson, Mary - E: Norcliffe, Nancy Norton, Daniel Nuzzi, Lin& Orem, Marilyn Otroszko, Donna Robinson, Albert Romanosky, Diane C. Romesburg, Marshall Samtielson*, Syl- via Stenersen, Saundra Sutton, Nancy McCloy Thornton, Anne B. Vansant, Marlene Vosburg, Larry B. Walker, and Mary D., Wood. Robert Day". Washington College Chestertown, Maryland -y

I

V INTRODUCTION -

This bibliography was compiled to serve two (formerly Elementary English)t addressed to functions: to be of use to secondary anele- elementary school teachers, anc English Jour- mentary school teachers who are interes ed- in nal, addressed to middle school and junior and learning more about the techniques 'of ching senior high school English teachers. Some of the writing, and to bring some order to the study of books listed are available' from NCTE; some teaching creative 'writing. The test of our success publicationS, identified by ED (ERIC Docu- will be whether individual teachers and librari- ment) numbers, are available from the ERIC ans find our volume easy, to use, and whether Document- Reproduction Service (EDRS). (For they fgel confident that we have supplied them further information on NCTE and ERIC re- with valuable information. sources, see Entries730, 733, 734,and736.) We must confess a certain narrowness of mind Almost all of the publications listed should be inselecting items for the bibliography. We available at a local library or througkinter- included materials on the. composition of the library loans. The teacher who is planning to standard genres of Englishand American litera- teach creative writing can consult this volume, ture (poetry, short stories, novels, and plays) and read the annotations, and finding the articles or -on forms of writing that facilitate self-expression, books best suited for the planned lesson, ask the - such as autobiographies, journals, and stream- librarian to order them. (In some cases, the of-consciousness writing. Not included are items English Journal for 'example, the school library about expository -.writing,rhetoric, and the may well carry a' subscription.) general state of student writing. We were even We envision ttfis bibliography as part.of the stingy aboutbsting items on "creativity," unless teacher's reference collection, as well as part of the work was primarily designed. to express the /permanent collection of the school library. information about creative writing. As a result, The annotations themselves present so many this bibliography -focuses on the teaching of useful teaching ideas that this bibliography creative writinginsecondary, middle, and should become a resource book for ideas on how elementary sliools. to teach creative writing, as well as a list of works on the subject. The teacher will be testing How to Use This Bibliography and revising these ideas, adapting them to the ,skills and needs of his or her own students. Bibliographies tend to be the properties of university librarians, tucked away in some dank Annotations corner where only the harried graduate students" in English and history venture. Theyre, after This bibliography is descriptive, not preScrip- all, only lists of books, and to look at tive. We think we,have compiled a thorough list lists? We hope the clagsroom teacher' will, and of representative materials on the teaching of that is why we have taken care .to make our creative 'writing published from1950through bibliography something of a working document. 1976.We have not excluded material with which /With the help of the school librarian (off- even on we disagree,.or that we do not think will work, or one's own), it should not be too difficult to obtain that seems incompatible with our "style" of these books and articles. teaching creative writing. Rather, our intention Many of the articles we located have been is to give the teacher a brief description of what A.published in two NCTE journals: 1,41 nguagc A pertinent articles and books have to say about 2. Introdu6iian )

the teaChing.of creative writing, to-be inclusive broad education about the teaching of cr.aat've and informative, and to let the teacher choose writing,wand in the end, year after year, th (with the aid of the annotations) the materials kind of knowledge is invaluab1. that' eem the most valuable. Many fine teachers Most classroom° teachers want thpractical

and writers have recorded intelligent and inno- adviee given by the material listed in the section. vative idets. We urge teachers to take advantage on practice. That is only reasonable. We are all of the boom in inforrhation, and to try a-variety awFts-Of the great demands placed .upon the of techniques a,nd approaches._ classroom- teacher. Seldom is there plenty of (time to read and reflect upon the educational Organization of the BibliographY aims of a propoied unit. More often units have to be planned, lessons written, and Short-term ,The overall design of the bibliography will lead objectives achieved. The practical problems of 1 the reader from general information about day-to-day teaching have led to a great deal of \ Creative writing (Theory); to practical adviceon pedagogical wri 'ng based on the this-worked- \ the 'teaching of creative writing in the clastroom for-me approach. o wonder! Orr- can well (Practice), to information about how to deal with imagine the harrivlacher with tclirty students the final products --,the students'. poems, stories, (and twenty-sevenesks), a- curmudgeon of a and plays - (Results). The Special Resources principal; a knot of parents who want the section provides information on other reference teacher to try thec"open classroom," and a state aids and on.publisliing student work. Each of that" demands ailditional graduate .workin these categories is divided into more specific "methoplssf education." The stereotype is all too subsections, and annotations for books and often We, and, understandably, this climate for articles are grouped separately within sub-' produces articles that say in effect, want a sections. The annotations in the bibliography technique for a good class in writing poetry, try have been assigned entry numbers in-a continue this one. It worked for me. ous sequence that runs from the beginning of the Items are included in the section on practice if Theory section to the end of the Special. Re- they describe classibom techpiques thatcan be 'sources section. used for motivating students to writeor for In the section on theory the teacher will find teaching the writing of such, genres aspoems,, material that ranges from,discussions' of the stories, novels, and plays; or if they giye specific creative process to essays on classroom environ- advice on the teaching of forms wit-Kin a,genre,, ments. In general, the articles and .books in- such as haiku (included in the sectionon tradi- eluded in this section tend to be abstract, and tional verse forms)., In all cases the teacher need tend to address large issues, rather than to gNe onl,Y check with the introthictory 'paragraphs practical advice. The teacher who is interested that precede each section to determine which in background information, creative ambience, kind of material is included in that section. or in general theories.of creative writing should The section on results lists materials that consult this. section. Those pursling studies on suggest ways of ,reactingto student work, the teaching of creative writing will also find evaluating it, or putilishing it in various forms. valuable research reports and dissertations here. The special resources section is the resting place It would be a mistake to assume that the for a great deal of cogent informationon such material in the theorysection is esoteric and only materials as anthologies of student workand suitable for scholarly purposes. The classroom reference aids. teacher planning a unit on creative writing can Finally, subject and author-editor indexes make good use of general background informa- have been provided. (These indexes,as well as tioh-There are discussions about the values and the cross-references throughout the bibliog- goals of creative writing, and the relationship raphy, refer to items through their entry num- between creative writing and other school sub- bers, gather than- their page numbers.) The jects. The teacher should not skip the first subject index was compiled to serve twopur- section just because the material seems to have , poses: to aid teachers in finding specific types of no immediate practical use; it will provide a information, and a:I-serve as a source for new

I0 O V Introduction 3

\a'ice s by actiu Ling. teachers' with new tea- Scope:- 1.95b-1976 niq es and forms. Not all 'of us knowho we- /nig teach the, diamante form of poetry, and We have included a large and representative some of ifs don't even know wliat'it.is. But we selection of articles and bookS written about the can find out. a teaching of creative writing een 1190 and , t As we compiler this 151b1raphy we dis-^ 1976. We drew the line at.1950 or-ttree reasons: covered thp.t, as inkany field o deavor, there first, the bulk of such writi-has been done are leadersteachers whose ideasern to Work sfflce that date; second,we believe that current well, and who have a facility for writing about inforrfiatjon 'is of the most interest to teacherS.; them. To some 'extent the author-editor index and third, we- anticipated limits on the, availa- -exists -because classroom teachers 'might be inkbility of older material's. Perhaps atsome Future search of particular authors, authors whosetime a bi liography of earlier wos can be ideas they had once tried and found useful. assembled. would :no dOubt show tbio)t the In that regard, many teachers knOw of Ken- teaching of reativeWriting is not a n w subject neth Kechr:s success in teaching children to write in American education: Perhaps, it is-only the poetry. But there are many other men and proliferation of journals and-reviews that makes, women who, over the years, have written With . it seem as if there is a boom in tl-N teaching of skill and'insight about their teaching endeavocs creative writing. those of us who teach the Flora J.Arnstein', Hughes Mearns, David subject in college often -forget thatewe, hi),1d the H6lbrook, to name a few. A few books, including same :0 'that 'was Professor Longfellow's at ,Hughes Mearns' Creative' Youth (see Efitry 27) Harvard in the nineteenth century. and Natalie Cole's The Arts in the Classroom (see r A Elitry 258), .were 'mentionedas a source ofTrena in Tgaehing Creative.W4tingn inspiration by so Many teachers that weinCluded f them even though they were published b,fore The bibliography reflects several,trences in the '1950. And R.V. Cassill has written 'better about tedthing of creative writing:. The first the the teaching of fiction than almost alyinie rise in recent proliferation of such courses, with dome the,United States. True, Cassill's teaching is in authors believing that creative writing will help college, but his book Writing Action (see-Entry solve the problefns of" general student writing, 521) is without peer, and is useful in the grades and other authors believing that these courses well belowyc011ege. are necessary in order to help students achieve 'Which brings us to another matter ,.ofor- their full creative potentiall ganization: the lack of divisions between ele- Another trend involve freeing of creative mentiany, middle, and secondary school material:'writing front regular English class standards. A carefill reading of the annotations will There is vigorous disagreement over how _strict! reveal that'the techniques for teaching creative teachers should be about creative writing. Is the writing are useful in most of the grades. Even.,creative writing class the "free lesson" where when the author is, say, a fifth grade teacher, students don't have to worry about spellingor and is writing about techniques that worked at punctuation or grammar? Are thepoems and that level,itis apparent thafrmuch the same stories n by students, to receive praise strategy could be used at other 'levels. Of course because t9 create. anything at all is special, and' there are exceptions, and no one would argyle to criticize, say, triteness or l 1,ad structure is to( that R. V. Cassill's bookon the writing of fiction inhibit the creative process? These argramong could be used with profit with fifth grade the issues debated. students, but in the end it made sense to let the. There are other trends. There seems to be a individual teacher decide to What extent a given movement away,from the instruction of "formal" experience with one grade could be used with poetry. Kenneth Koch and his 'followers have another. The only exception to this rule is in the argued that it is More important to get students section on materials for studentuse, in which we started writing anything than to worry about coded each item according to the grade level for teaching traditional forms. Koch writes in Wishes, which it was designed. Lies. and Dreams (see Entry 427): "I felt the main

.1 ,I .

bitroduct ion

. , . thing I had to do Was toget them started writing, from other disciplines. Pos about cities and writing' anything,in a way that would be rivers are:written, with,a city 9r-river napped in pleasant and, exciting for them.,, -Once. that.,every other line. When thigexercise is used, out happened, I, thought,' other good things might from under the desk come the geography books. follow." The trend, thus,seems to be, away frorl' A short story with John Brown or Bill Hickok as teaching:studonts t9 write such standard En- characters requires that students know their glish farms As /the 'sonnet and the fhymetl histoly as well as the location of 'the .state- of N. quatrain, and more toward nonrhyrna forms Kansas. If this trend continues, tiie teaching of sudh as Japanese haiku, or even "made-up" creative writing will be a way of- Mtivating 4 forms. The are also articleshich suggest that studs' interest'in other field's of. leaving. no form ,is necessary, that t businesg, of the Taken together, these trends reaffirm what

. creative writing teacheristo motivate the has been distinctivebout American writing student' toward self-expression, and that the sAnce Whitmanthe rejection Of Biltisn and form (if there _need :be any will follow. In any European fotems and the'assumption that litera- case, -rhyme is out: teaching versifiyation is to ture in general (and poetry. in particulaftcan teach it without making words rhyme. Fewhive any topic or objectas its subject. Given the writers lament the absence of rhyme in recent ways` in which creative writing is now being poetry, and few writers have sugge4tiOns on how taught, these traditions seem very much alive. ) to teach rhyming verse. J What counts now7 for our future literature is Another trend is the relationshipbetween the that young writers be given some sense of psychology of the stiflent and creative writing. literary value, some notion that 12oems are not ..i, r There seems to be some concern about the "found," but made; that storiesdon't"happen," "clasSrri climate." Many teachers have found, but are written, and that craft and art are awl areWing' to argue, that the most impor-', related to literary value and, literary traditOn. tant factorin the creative writing lesson is the More than ever this responsibility rests the ambience in the classroom. Creative work, they teachers of creative writing. Our he is. that assert, is ,,done in a creative atmosphere And. this hibliography_will be ofinodest helpto those L__-_ 'cannot be done without proper encouragement teachers.

and stimuli. . . -.,) Robert Day . Finally, there is a movement tdward using . Washington College subject matter.(and tos,on'ie extent form) deriyed CI-lege/town, Maryland

"*.

A. $

4" , THEORY

The books and articles in this section discuss the The first two parts of this four-Part article ' value of creativewriting. teacher- and classroom- deal with "Talking and Writing" and "Prog- related factors that are conducive to creative ress in Writing." In the last two parts, writihg,"and research findings afat relate to the "Language and Experience" and "Student teaching of creative writing. This section pro- Writing and Evaluation," the author uses vides good background information for teachers examples of children's writing to show how - who are considering initiating creative writing a child may write about pa4t experiences, units in their classrooms. both for fun and from the need to try to come to terms with the experiences. THE VALUE OF CREATIVE WRITING 3. Burrows. A lvina Treut.':',!Writingas Therapy." The authors of these articles discuss definitions, Vement(try.Ent/iish 29 (March 1952): 135-38, 149. values. ansi purposes of creative writing in the schools. Some of th (0. tidies. reflecting trends of Demonstrates through examples of chil- dren's writing hoW4'-'ereative writing the 1950s, stress, the t erapeutic values of crew can help children release tension and tive writing and -note that the teacher can gain empower them to "manipulate th-eir characters-with knowledge of students' problems through read- authorityinsteadofbeingalways the ing their creative writings. One article, however. recipients of authority." Creative writing is a dissent that urges teachers to'abandon crea- can help children to have better relation- tive writing since it may in fact he impossible to ships with others and to gain self-confidence. teach. 4. Carlson, Ruth K. "Seventeen Qualiti4 of Crea- Articles tive Writing." 14,7c me nbt Enyl ish 38 (Decem- ber 1961): 576-79. 1.- Applegate. Mauree. "Iloppity . . . Skippity Enumerates and defines seventeen possible . . Serendipity'" //dhow/ Ed/irotion 36 (February 19610: 259-62. qualitiesororiginalwriting,including Presents and discusses numerous poems novelty, individuality, personal qualityre- and stories by children to show that when vealing the self, emotion or feeling, and children write freely they communicate imagination. significantly about their problems and feel- 5. ('lark, Leonard. "Poetry by Children." Horn ings. Teach,ers who read between the lines Book Mow/zinc 45 (February 190): 15-19. can provide frigndly understanding and Points outthatrecently,with greater can plan experiences that will help meet acceptanceoffreeverseandgreater children's needs. attention to content. children's poetry has 2. Britton, James Nimmo. The Student's Writ- taken on a new vitality and 06wer. Presents ing." In 1','./.p/0?-utionN in Chifiircn's and discuss'es examples of four kinds of poems written by children. edited by Eldonna1,. Evertts: pp. 21-74. Champaign, Ill.: National Council of Teachers Eyster. Mary I,u. "Undjrstanding Children of English, 1970. (Available from N(CTE; No. through Creative Writing." /4,7cmcntary k,',/- 16582.) y/ish 30 (November 19$31: 429-33. 6 Theory

Offers six examples of hOw reading chil- priately.GivesilluStrationsofwriting dren's creative writing can help teachers which portrays some of these qualities. gaininsightsintochildren's problems. 11.Miller, Melvin H. "The Dimensions of Crea- °Suggests that file folders be kept with the tive Prose." Journal of Creative Behavior ,9 work of individual children so that the (First Quarter 1975): 61-67. teacher may observe their growth more Discusses five dimensions of creative prose: objectively over as'eriod of time. Shows (1) it is an attitude of mind, in which the how writing can be a means ofself- writer feelsin command of his or her i mprovement. language; (2) creative prose is honest prose; 7:Floyd, Wallace C. "Creative Writing: A Key to (3)itisbased on simplicity.;(4)itis Mental Hygiene." 'Elementary English35 memorable; () the ultimate goal of creative (February 1958): 104-5. prose is inspiration: the moving and direct- Children will reveal in writing what they ing of the reader's feelings. Though not would never express orally if the teacher addressedtotheteaching of creative has gained their confidence. After the writing,thisdiscussionishelpfulin revelation of problems, the teacher can help understanding what is involved in creative to free children from their anxiety or fear. writing. 8. Funk, Hal D. "Is It Worth the Time and 12. Thornley, Wiln R. "The Case for Creative Effort?" Lahguage Arts 52 (October 1975): Engll bJournal 44 (December 1015-16. 1955): 528-31. Argues that creative writing is worth the Argues forthe organization of special teacher's time and effort because:' (1)it elective classesincreative writing and provides an opportunity to gain an in-depth discusses many aspects of creative writing, understanding of children, (2)it affords pointing out that creative writing courses children the opportunity to release tensions should focus on "sharpening and training and anxieties, (3) it permits discovery of and exercising" sensory awareness. children with exceptional composition tal- 13. Van Allen, R. "Let Not Young Souls Be ents,(4)itprovides for application of Smothered Out " Childhood Education 44 composition skills, and (5) it is enjoyable (February 1968): 354-57. and personally rewarding to children. Stresses the importance of fostering the 9. Kranes, David. "The Young Creative Writer in spark of uniqueness in young children; the Classroom." College English 37 (March discusses many values of creative writing 1976): 671-76. and other creative language experiences: Asks and answers three questions about they provide for individual differences, young potential "Creative Writers": How do develop imagination, build self-confidence, you recognize them? Do you really want provide for emotional expression, develop them? What do you do with them? Suggests the esthetic sense, deepen-appreciation of tenways tohelppotential apprentice other people; and bring balance to educa- writers deyelop their writing skills. tional activities. 10. Mac Phee, Angus/Children's Writing." CITE 14. Withers, Samuel. "Creativity in EnglishA Newsletter 5 (October 1971): 14-26. (Available Dissent." Phi Delta Kappan 42 (April 1961): from EDRS;, ED .061 212.) 311-14. Classroom writing programs should instill Argues against attempting to teach "crea- in children: (1) a deeper understanding of tive writing"inhigh school; discusses the themselves, (2) a deeper sympathetic un- difficulties,if not the impossibilities, of derstanding of others, ,(3) a fuller under- teaching creative writing, and urges teach- standing of their own position in time and ers to dedicate themselves to the "work-a- space, (4) a fuller understanding of thp day job of teaching people simply to say living (nonhuman) wq1d, (5) a more highly effectively what they mean" in expository developed'and refined esthetic awareness, writing. and (6) the ability to express these appro- The Teachet:and the Classroom

15. Witty, Paul A, "Some Values of Creative roles as ,teaChers. Among the goals ex- Writing." Elementary English34 (March pressed are: to create a community .in the 1957): 139-45. classroom in which students are encour- Stresses some important purposes of crea- aged to learn from and with each 'other, to tive writing: to keep records of significant put student writers in touch with them- experience, to share experience, to experi- selves, and to help them discover their ence pleasure or "escape?" and to learn to unique "personal voice." Writers include communicate clearly. Traces the origin and Wendell Berry, George P. Elliott, Denise developmentofamodern conceptof Levertov, Grace Paleyland Wright Morrts; creative, writing and gives examples that although the contributors' teaching experi- illustrate some of the values in creative ence is plainly at the college level, their writing. ideaswillalso be usefulto secondary teachers.. THE TEACHER ANI,) THE CLASSROOM 17. Clegg, Alex C., ed. The Excitement of:I/Vritiny. New York: Schockei Books, 1972. 138p. This section focuses on teacher- and classroom- Presents childrent. creative writings from related factors that are conducive to creative twelve British schools that deliberately writing. Many of the books and articles stress encourage students to enjoy writing and the importance of a, relaxed, warm classroom using words. The writings, chosen for their climate in which there is respect for students' freshness,, power of expression, and sin- uniqueneSs and ideas. A number of writers cerityoffeeling,are accompanied by believe that it is crucial to help,students write descriptions of the circumstances under about what is meaningful to them, and some whichtheywerewritten.Theeditor point out that school-imposed taboos on language stresses that the schools represented place or writing topics may inhibit self-expression. great value on first-hand experience, on Other -authors discuss preparing students for praise of student work, and on expression writing, mentioning such factors as exposure to in varied media, and very seldom (if ever) literature, creative work in varied media, a wide use books of English exercises. He makes a range of classroom experiences, and an empha- case against the use of such exercises, and sisonsensory awareness:useof,textbook against external examinations which put exercisesis often rejected as meaningless to pressures on teachers and students. students. 18.. Dolch, Edwt-d W. Lanynage Arts Philoso- The authors note the importance of respond, phy. Woodstock, Ill.: Woodstock Community ingpositivelytostudentwriting,stressing Consolidated District Nuter 10, 1968. 30p. content over, form and downplaying spelling,and (Available from EDRS; E031 481.), punctuation errors: some authors believe that Separate Sections discuss a philosophy of creative writing should never be graded. So that language arts, teaching writing skills, and teachers may gain a respect and understanding teaching creative writing. The latter sec- for the writing process, they are urged in many tion examines many aspects of teaching of these books and articles to write along with creative writing and stresses that the ideal their students and to share their own writing topic for elementary children is themselves with their classes. and their experiences, that books are a Books prime source for motivating children to write. and that impromptu classroom situa- 16; BaumbachIonathan, ed. Writers as Teach tions can lead to writing activities. An ers/Teachers asWriters. New York: Holt, appendix provides a ,guide for a five-day Rinehart & Winston. ,1970. 218p. creative writing sequence involving provi- In an attempt to exorcise cliched, hollow, sion ()fir writing stimulus, group and indi- "voiceless prose," eleven professional writ- vidual work, individual conferences with ers who teach writing share their insights pupils, and work on areas of difficulty. and feelings about writing and about their 8 , Theory

19'. Garrett, George, ed. Craft So Hard to Leorn: where writingTables, 'myths, autobiog- Conversations with Poets and Novelist about raphiesplayed a central role. The empha- the Teaching of WritiVg. New York: -i-iliam sis was on praise and encouragement: no Morrow & Co., 1972. 93p. criticismof grammar or spelling was 'A collection of interviews on the teaching of given. Numerous examples of the chil- writing, conducted with eleven writers who dren's work are in?luded. teachwriting,includingR.V.Cassill, William Peden, Richard Wilbur, Sylvia 23. Larson, Richard L., ed. Children and Writing Wilkinson, and James Dickey. Therange in the Elementarg Schyol: Theories and Tech- and diversity among the writersin age. niques. New York: Oxford University Press, educational background, experience, aims, 1975. 420p. and goalsis reflected in the variety of Reprints twenty-nine essays by leading' theirapproachestoteachingwriting. theorists fromGreatBritain and the Although these writers all teach at the United States, including James Moffett, college level, their views will be useful to Herbert Kohl, Margaret Langdon, Kenneth creative writing- teachers at the secondary Koch/and Wallace Douglas. Thepurpose is level. to provide guidance in areas where teach- ers must make choices: about the kinds of 20. Holbrook, David., The Secret Places.. Essays On Imayinatire Work in English Teaching and writing to invite from students and how to on the.Culture of the Child. University, Ala.: respond toit, about ways of stimulating University of Alabama Press,' 1965. 284p. students to write, and about the sequence in Stresses the importance of imaginative which writing activities /should be orga- g.reativitS7for, personal development and nized. Although some of the essays focus on urges teachers to help children become teaching the "basics" of composition, many aware of their creative powers through deal with fostering the development of the writing. To do this", teachers must try to free child's imagination through creative writ- children from the contamination of com- i ng. mercial culture, which tends to promote 24. Logan. Lillian M.: Logan, Virgil G.; and false emotional values, and must be willing Paterson,Leona.Creative Communication: tohelp children explore theirnattital leaching the Language Arts. Toronto: Mc- interest in love and sex. Also points out the Graw-Hill Ryerson, 1972. 464p. futility of tests and textbook exercises in Chapter seven, "Painting Pictures with teaching creative writing. Includes many Words: Creative Writing," points out areas samples of children's work. in which children need help before they can 21. Kohl. Herbert R. 'Poch in(' the "Untrachable-: express themselves creatively in writing: The Story of iv,E'.rperiMelitin Children's opportunities for broad experiences, devel- Writinfi.... New York: The New York Review, opment of perception and imagination, 1967. 614p. experience with literature, skill in using Describes howtheauthorencour*e5tI words, and skill in communicating feeling disadvantaged children to write honestltn and ideas. Describes many spurs to creative the classroom by means of provocative, writing, including .serial stories, tall tales, open assignments that drew responses from alai sensory experiences. Also gives numert the children's imaginations. Stresges the _ous ideas for motivating children to write importance of teachers' liptening to what poetry, and presents a sequence for helping children have to say and responding as children to write and evaluate stories. In- honestly as possible. Inclules many exam- cludesachecklistforevaluatingthe ples of student writing. creative writing program in the classroom and in the entire school.. 22. Kohl, Herbert. . /1/ Children. New York: The New American Library; 1967. 227p. 25. Marsh, Leonard. Alongside the Chilll.._Experi- The'author describes his teaching experi- enccs in the English Primary School. New, ences with a sixth grade class in Harlem, Ycrfk: Praeger Publishers, 1970. 154p. 'this "book about young children at work

c The Teacher anthe Classroom 9

in the primary schools," chapters eight, 28. Mearns, Hughes. Creotipc Nicri:The Edam- nine, and tep touch on many aspects of crea- t ion of Math in the Ovalle(' Arts.Second rev. tive writing. Topics include: the importance ed: New York: Dover Publications, 1958. 272p. ofhaving 'childrenwriteabout sense This work, a revision of Mearns' 1929 experience and techniques to heighten the classic, ais the,-story of the author's work in observation proCess; the value, of encourag- helping children to discover, develop, and ing children to write about personal experi- express in writing their innate creativity. ences; the effectiveness of reading aloud to Mearns' teaching methodslcenter on accept- children a:4 a stimulus to their own writing; ing all sincere. attempts at self expression: and the pointlessness of textbook exercises .approving some aspectof eacheffoKt; that deprive children of the opportunity to giv.ingcriticism associated withstroMg, use words as a means of sharing their own general approval (but only 'after mutual experiences. trust has been established); and consis- tently focusing: students' attention on that 26. Marshall, Sybil. At> E.1. pc ri ntrtt.ti'n1,;(1 ',ca- portion of their writing that is fresh and tion. Caridge,England: Cambridge Uni- original. Numerous examples of student versity tress, 1970. 222p-. plus 36 plates of writingtestifytothe success of these children's. art. teaching methods. Dur g eighteen years' work in a one-room y schoolin 29. Moffett, James.Teach' lupine (.7n rerse pymar(i-ii England, the author evolved an "integrated" teaching method in course.Boston: Houghton Mifflin Co., 1968. which art, English; and other subjects were 21-p. ,:linked. Much of the book'.0,resents and companion volume to Moffett'sSt ',dent- describes art work produced. by the chil- entered La ofma ye Arts (pric?iln in, Grades tem there is also:somedisetission of crea- K-10'(see Entry 279), this book outlines the tive writing, and 'a description of a unit theorybehindtheauthor'scurricular based. on-Beethoven's Pastoral Symphony, proposals. The chapter "Narrative: What, Which stimulatecra great deal of poetry as Happened" discusses a spectrum: of narra- i well-as xit. . tive techniques in fiction and shows how knowledge of the spectrum can be helpful 1-with:. Hwy -(/ , 41 r nn ng reading and writing sequences NOV; 170 ,theCreat i tor students. "Learning to Write by Writ- ,N.Y.: Doubleda y, Page & ing" emphasizes the importance of feed- Co. back and response to student writing and it ring work isan argues against the use of writing textbooks: Pio .4 ng verse written ., .school students; the 30. Rubel, William, and Mandel, Gerry. The o sect riRtion of the school tunsNotebook. Santa Cruz, Calif.: Stone Soup, environment'that led to the students' lively 1976. 32p. enjoyment ofTiteratur'e and to the creation Shows how to useStone Soapmagazine of of the poeni. s, Means tells how the teachers children's work (see Entry 718) as tree basis "ti-oted with rts6ect every sort of genuine fora comprehensivewriting' andart self-expression, and refrained from a too program. Outlines the principles on which riectagogic correction" as.they attempted to Stone Soupis based: to encourage children set free the imaginative !power ofe'ch to create work which is.meaningful to them studnt..Hegives step-by-step accounts of as individuals; to help children feel that the writing, of many of the poeins, and out- their ideas and feelings are valuable: to dis- lines his basic teaching procedures: never courage children from merely plugging assign topics, but instead help students to into "mass culture formulas and stylistic write about th241bwrrimaginative experi- conventions." Recommends a"circular 1 ences; givgreat praise to superior lines program in which children write and then and phres as they begin to appeir in hear eachtier'swork, which stimulates students'riting. further:.writink. ProCess should be stressed

I ''. Theory

over product; children should feel free to is "nova matter of simply .elticiting verse or write without fear of corrections. Suggests worse, but rather of establishing a relation- bookmaking and magazine production. ship and an ethos which will promote 31. Smith, JaMes A. Creative Teaching of the experiment,talk,enquiry,amusement, Language Arts in the Elementary School. Sec- vivacity,bouts of intense concentration/ ond ed. Boston: Allyn and Bacon, 1973. 369p. seriousness, collaboration, and a clearer Chapter six "Creative Writing," stresses and more adequate self-knowledge.: that most creative writing should grow out 34. Teach ing'Creat ve Writing. Washington: of children's own interests and experiences. lished for the Library of Congress by the\ G Discusses ways teachers set conditions for trude Clarke Whittall Poetry and Literatur creative writing;listsnatural,;:waysto Fund, 1974. 140p. (Available froM EDRS; motivatechildrentowrite' ('including ED 102 556.) having them write ,autobiographies, dia- Transcriptions of four panel discussions ries, tall tales, and poems for special occa- from?, a1973Conference on Teaching sions); and describes numerous writing Creative- Writing held at the Library of activities,including writingtomusic, Congress. Although the panelists are uni- writing nonsense rhymes, and writing ,versity and college teachers (including about specific senses. In other parts of the ElliottColeman,PaulEngle,Wallace book, the author discusses creative teach- Stegner, and John Ciardi, each a director of ing, the creative process, and strategies to a major writing program), their comments stimulates creative writing situations. Ex- on teaching creative writiug should also be amples ofchildren's writing are used Of interest to secondary teachers. throughout the ,; book. Each chapter in- chides questions for the "college student 35. Whitehead, Frank, et al. Creative Experi- and classroom teacher" and a selected ment: Writing and the Teacher. Lydon Chatto bibliography. & Windus, 1970. 94p. Reports on creative writing ith 32. Smith, Rodney P., Jr. Creativity in the En- en English teachers, held as pa (me- glishProgram. Champaign,Ill National ear inservice course. Includes ,Les of Council of Teachers of English/E IC1970. the writing of all the participant.along 92p. (Available froth EDRS; ED 038 413.) with an account of the ,relevant circum- Discusses creativity in the language arts stances and the author's comments and program, including the aspects of the class- reflections Ton the writing. New insights room climate that encourage the develop- into methods of teaching creative writing to ment of creativity. Chapter seven, "Crea- children, gained as a result of the inservice tive Writing," traces the history of creative course, are outlined in the last section Of the .writinginthe schools and touches on book. The author notes his dissatisfaction research in creative writing and evaluation with the vogue for using an isolated sense- of student writing. ' experience as the stimulus for children's 33. Summerfieid, Geoffrey, ed. Creativity in writing, and he urges teachers to help stu- English.Papersrelatingtothe 'Anglo- dents draw on their own life experiences American Seminar on the Teaching of En- when they write. He.also recommends pro- glish at Dartmouth College, N. H., 1966. vidingplentifulexperience with good Champaign, Ill.: National Council of Teachers literature. of English, 1968. 68p. (Available from NCTE; 36. Miriam E[lizabethl. Creativity in the No. 09322.) ElemeAtary School. New York: Appleton- Papers by David Holbrook, Reed Whitte- Century-Crofts, 1959. '72p. more, and Geoffrey Summerfield discuss Points out the teacher's role in helping chil- the nature and purpose of creativity and dren develop theircreativityin many 11 give examples of students' creative writing. different -areas.Chapter two discusses Summerfield stresses that creative English factors which lead to the development of The Teacher aiid the Classroom ;

creative writing skills: exposing children to Points out that it is not enough simply to literature; creating an "environment, of tell children, "Write a poem!" Individual faith,beauty, and quiet": catching and writing must be preceded by a sequence of recording spoken poetic expressions; giving activities that help to release children's children the opportunity to write stories in creativity: participating in enriching ex- which they describe life as they see it; periences;exchanging ideas;discussing encouraging the telling of "make-believe" words and imagery; listening to stories stories; encouraging creative dramatics to read by the teacher. develop powers of expression; permitting children to make choices about what media 40. Arnstein, Flora J. "Recognizing and Encour- to use, with whom to share their writing, aging Creativity in Composition." Elementary and how much to polish their stories; stress- English 40 (January 1963): 68-71, 84. ing content over mechanics in creative Discusses frequent blockstochildren's writing. creativityinwriting:, self-consciousness; over-praise; the judging of children's writ- 37. Wolfe, Don M. C reative Mos to Teach En- ing according, to adult standards; competi- glish, Grades 7 to 12. Second ed. New York: tion; criticism. Stresses the importance of Odyssey Press, 1966. 554p. continuous writing sandof a classroom Chapter ten, "Can Writing Be a Demo- climate based on three important aspects of cratic Art?" urges teachers to encourage a "teacher's relation to the childrespect, ...t-students to write about the patterns of their acceptance, and faith," own uniquelives,andpoints out the importance of teaching students to write' 41. Baker, Franc( hil- effectivelyaboutsensoryexperiences. dren to W h Ett Chapter tweio ;,t. "Classical Principles //;4, 29 (Fehri, s -96. divesideas, .riting originalPaul inAction: eacher as Writer and Bunyan storit suggest,vriting exercises -through nd creating limericks; which teachers can themselves learn the stressesthat .acherscanhelp draw classicalprinciples 'ofliterature. Many children out by not speaking too much and other portions of the book have relevance by being alert to the needs they express. for the creative writing teacher; there are 42. Berger, Art. "Poet in the Schoolhouse: Evok- chapters on training the five senses, on ing Creative Energy in Langpage." Speech writing autobiography, and on student given at the annual convention of the National problems and concerns as revealed through Council of Teachers of English, November student surveys. There are also suggestions. 1970. 12p. (Available from EDRS; ED 051 on helping studentsto write dialogue, 235.) poetry, and themes about family life. Inteaching disadvantaged childrento write creatively, the speaker has concluded Articles that teachers should learn to accept the 38. Anderson, Donald G. "Writers Are Made." children's language; children should be Elementary English 28 (January 1951): 24-27. allowed to invent the language by which Debunks a mystical attitude toward crea- they manage their world; no arbitrary tivity and suggests that each student has a limits should be placed on the range of unique background that, provides a poten- 'experience described or on the language tialforcreativeexploration.Suggests used in the classroom; and writing must not methods by which the creative spirit "may be estranged from other arts such as be enticed from its hiding place." acting, music, drawing, and dance. . 39. Applegate, Mauree. "After All, Mrs. Mur- 43. Berger, Art. "Poet as TeacherTeacher 'as phy." In When Children Write, pp. 23-29. Poet." English Journal 62 (December 1973): Washington, D.C.: Association for Childhood 1238-44. Education International, 1955. In order to teach writing as the exploratory

1;> 12 Theory

process that motivates students to contem- writing; ures.teachers to downplay spell- platetheirlives,teachersmust first ing and punctuation errors in creative t,experience the process themselves. The writing,toproviderelaxed timesfor author discusses workshops in which teach- children to share their writing, and tom ers begin to sense themselves through their "substitute for endless, dulling drill those writing; several teacher-written poems are techniques which regard the learner as a included. groyving artist." 44. Brand, Alice. "Basic Beginnings." Language 48. Burrows, Alvina Treut. "The Young Child's Arts 52 (October 1975): 1027-29. Writing." In Explorations in Children's Writ- Teachersshouldhelpchildrenrelieve ing, edited by Eldonna L. Evertts, pp. 77 -8g. anger and tension, understand fears, re- Champaign, Ill.: National Council of Teachers duce guilts, and clarify desires through of English, 1970. (Available from NCTE; No. creative writing. Teachers should not grade 16582.) creative writing, but should give children's Pointsoutfivewaysofencouraging writings approval and enthusiastic encour- children to write: (1) encourage creative agement. efforts in many-Ilia. (2) show each child 45. Bruner, Ruth Anne. "Where Fool In: that you welcoh her uniqueness,' (3) Teaching Creative Writing." Media. read aloud stories written by other chil- (ON 11 (February 1975): 48-49. dren, (4) have sessions in which .childfen To help students become free to express tell their own "make-up" stories (5) occa- themselves, the author discovered that she, ionally suggest building upon a story too, has to be free; has to "have enough by someone else. Urges teachers humility to make a fool of myself in order to never to grade creative stories; correct break downtheinhibitionsandself- form can be learned through practical, consciousness of the students." Describes 'writing. some of the "foolish things" she has done in 49. Cahill, Walter T. "Can You TEACH Creative her classroom, and suggests an assignment Writing?" Clearing House 33 (November for students: do something you've never had 1958): 165-66. the chance to do before or something that, The author believes that teachers cannot will make you feel free; then write about it. teach students to write creatively, but can 46. Buckley, Helen E. "Children Communicate inspire them to write by showing them the through Writing." In Readings in the Lan- process of writing. Therefore he writes. guagerts, edited by Verna Dieckman Ander- along withhis students, and writes a son et al., pp. 122-25. New York: Macmillan, newspaper column, not because heis a 1964. writer but because he is "a teacher who Tells how the author. made herself available needs to write in order to teach well:" to write down stories dictated by children 50. Cook, Luella B. "Writing as Self-Revelation." in her kindergarten class. Some children English Journal 48 (May 1959): 247-53. dictated plays which were then staged. Six- Differentiates between writing as com- and seven-year-olds made books of stories, munication and writing as a private enter- some of which were presented to the school prise;points, out that personal writing library. Stresses acceptance, respect for should not be inhibrited by demands for children's ideas, and provision of time, technical precision sand that it can be a opportunities, and materials for writing. "vital force in the development of personal 4.7. Burrows, Alvina Treut. "Children's Writing, integrity.". A Heritage in Education." Elementary En- 51. Cramer; Ronald L. "The Nature and Nurture glish 52 (October, 1955): 385-88. of Creative Writing." Elementary School Jour; Acknowledges the contribution of Hughes nal 75 (May 1975):. 506-12. Mearns in showing how to help children Discusses the importaRce,of creative writ- achieve uniqueness and freshness in their ing in the elementary curriculum, and gives

23 The "'Melt el and tl e MS:4(0)111 I.?

twelve suggestionsfer encouraging creative enjoy. Suggests using picture postcards to writing, including: use children's 'experi- stimulate story writing. ences, encourage pupil'sto write about things that are relevant to their interests 56. Evertts, Eldonna L. "Dinosaurs, Witches, and needs, developsensitivityto good and Anti-Aircraft: Primary Composition:" writing by reading aloud to children, write Elementary English 43 (February1966): stories and poems of your own, andpsh.are 109.-14. them with children, make certdin that Stresses the fact that in creative writing children's writing results in outcomes or emphasis should be on content rather than products. onform,particularlyintheprimary,,. grades. Gives many specific writing activi- 52. Davison, Mildred A. "Guiding Writing Activ- ties,including writing stories basedon ities in the Elementary School." In Readings literature and writing group fables. Also in the Language Arts in the Elementary School, discusses evaluation. edited by James C. MacCampbell, Pp. 255-60. Boston: D.C. Heath and Co.. 1964. 57. Farrell, Barry. "Qn a Sailboat, of Sinking Discusses the needforthe. elementary Water." Life 68 (May 15, 1970): 4. curriculum to encourage both creative and After observing Kenneth Koch teaching practical writing. This can be achieed by poetry writing, the author notes that Koch's providing a classroom atmosphere that is method is in fact no more than an attitude conducive to creativity,-'exposing children that cbildren are natural poets and that to rich and varied experiences as well as to teaching them means "encouraging, good literature, and writing down stories with enthusiasm,respect,ideas and a dictated by children until they are able'to general amnesty on all the obstacles to free write independently. expression such as spelling, meter, and rhyme." Criticism, correction, or singling 53. Dell. William C. "Creative Writing in the En- out of the best poems were all "out of the glish ,Classroom." English Journal 53 (October question." 1964): 500-503. Maintains that a relaxed classroom atmo- 58. Fay. Robert S. "Poets in Search of an Audi- sphere, constructive criticisms, and writing ence." English Jormiai 61 (November 1972): exercisesarenecessaryfordeveloping 1181-88. Oriting skills and fostering creativity. Lists Describes a book in which selections from and describes eighteen devices which are eleventh graders' individual autobiogra- useful in stimulating creativity and go(id phies were compiled into a "kind of com- writing. posite autobiography organized topically and chronologically!' Offers some thoughts 54. Dixon, John. "Creative Expression in Great on poets, poetry education, and two levels of Britain."EnglishJournal 57 (September existencethe "human being as everyday 1968): 795-802. man" level, and the "human being as poet" Discusses the need to teach creative expres- level.Urges teacherstoaddress their sion in writing, four classroom conditions teaching to the second level. that facilitate creative expression,_ and the -recent growth of "creative English" in 59. Ferebee, June D. "Learning Form through Great Britain. Creative Expression." Elementary English 27 (February -1950): 73-78. 55. Evans, Helen Kitchell. "Creative Whiting in Discourages the teaching of creative writ- the Elementary Classrobm." School and Com- ing as a vehicle 'for drilling specific skills munity 47 (March 1961): 23. and stresses that teachers can draw out Urges teachers not to "tamper with me- children's writing abilities by providing a chanics" in the creative writing of primary relaxed atmosphere,, providing an oppor- school children. Children should be encour- tunity for children to share their stories, aged to "write, write, and write"; to learn to making children aware of what is good, and express their feelings on'paper; and to read fending off negative criticism. their stories aloud for their. classmatps to 14 Theory

60. Goedert, William 0. "TIN Ailt of Authorship: Children and Their Writing."-Educational_ Creative Writing in the Iritrmediate'Grades." Perspectives 9 (May 1970): 376. Notional Catholic Educational Association 'Discusses children's needs 'with retard to Bulletin 60 (August 1963): 397-400.' writing:theyneedtofeelthattheir To help children in the intermediate grades thoughts are worthy of recording; they develop' creative writing skills, teachers need to feel that their readers, will receive., must do two, things: sharpen -children's their writing with respect and enjoyment; observational skills and develop in thema they need praise and patience from the love of communicating in writingChildren teacher. PointS out the value of getting must Write purposefully about matters of _children started with collaborative stories.. interest to th,em; teachers should occasion- ally accept rough drafts of compositions 65. Jenkins, Kenneth D. "Towardsar"Ne4rAWare- instead of insisting on polished work. ness of Creative Writing." Eq7ish Journal 54 (January 1965): 21-22. 61. ,Hall, Robert D. "Motivation for civeative Lists varidtfs understandings necessary to Writing.Elementary English 52 Narch teach creative writing, among them the 1955): 154-56. realizations that creativity is not taught but Describes factors that help motivate chil- inspired; creativity is not reserved for the drentowritecreatively:hearing and gifted; creativity is based on the individu- discussing writing by other children, the al's experiences; the student's writing must teacher's enthusiasm, aelaxing atmo- '5e met with respect and benevolence. sphere, the teacher's ability to capitalizeon the moment and to stimulate close observa- 66. Keleher, B. M. "What Do. Children' Say?" tion of what is happening. Childhood Ethication 43 (May'''1967): 520-23. Urges kindergarten teachers to provide an 62. Harris, Josephine. "What Writers Advise on environment that stimulates children's oral the Teaching of Creative Writing." English expression, and to be alert to things they Journal 60 (March 1971): 345-52. say which can serve as the beginnings of Offersthe. suggestionsofprofessional stories and poems. Recommends helping writers, including Saul Bellow, John Up- children explore their sensory impressions, dike, and X. J. Kennedy, on how to teach using pictures to evoke stories, and work- creative writing to high school students. ing with nonsense words. Most of the writers agree that writers are born, not taught, and see the teacher as a 67. Kevin, Sister Mary. "Joy in Creative Writ- catalyst to the creative process. ,. ing." Catholic School Journal 1151(January 1961): 37-38. 63. Hoffman, Marvin. "Real Are Peopl The key to teaching creative writing is ing Writing in the Schools." Jou9., of Gen- encouragement; ;teachers must call atten- eral Education 22 (January 1971): 2-38. tion to_ interestiriphrases and sentencJs in Describes the work of the Teachers & children's writing. The author suggests Writers Collaborative, which places writ- stimulating story writing by using pictures ers in public school classrooms. Discusses and stimulating poetry writing by frequent two points emphasized by many of the reading of poetry.All wok .should be writers: the technical aspects of writing are shared with other class members. secondary to the honesty, intensity, and boldness of subject matter; and school- 68. King, Robert W. "T14,Child ,as a Real imposed taboos on subject matter prevent Writer." Childhood EducatiVn 50 (February fully honest exp ession by students. Shows 1974): 201-3. how the writers devise "libefating, mind- Concerned that much of current school expanding assignments" that "encourage writing is based on "artificiAl approaches," the author calls for a turnabout to methods students to be as silly and crazy. as they can -based on the principles of "writing what be." you want that has to be written for a real 64. Hurley, Beatrice J. "Some Thoughts about audience," preferably an audience of peerA

4 4) The Teacher and flu, (Tassro(ini 15

69. Kohl, HerbertR., and VVirtschafter, Zelda "-language -(;kills: Dana. Creation of a Teachers -awl Wril2crs Center. Final Report. New York: Tead'hers 73. McPha,d, Augustine. '`Children's Language Development, Its Relation to Creative ,Trit-" .College,Columbia University,1968.'75p. (Available from EDRS; ED 023- 677.) ing.".ElementanjEngliSh 49 (February 1972): Reports on the establishment of the Teach- 242-44. ers & Writers Collaborative .in 1967. Three Shows how the development of children's interrelated programs were developed: the language relates to creative writing: ar- placement of professional writers in public gues that children have an innate ability to_ schoolprograms:theestablishmentof express themselves orally, and that this fact teacher-training seminars led by the writ- is directly related to their ability to write ers; and the rdevelopmdht of curricillum creatively. materials. Findings of the Collaborative 74. Mdroney, Vrances M. "The Deeper You Dig." suggest that professional writers inspire English 33 (March 1956): 165-68. students to write in ways not envisioned by D scribes prewriting activities: the read- their teachers; that all children have an ing of published poems, and extensive oral intense innerlife and an awareness of work with listg of action i,ords, descriptive strong emotions; avid that many teachers words, and comparisons. Points out, the are willing- to change to less authoritarian importance of a listening welcoming- audi- teaching styles. Includes samples of chil- ence, not a critical analytical one*. dren's writing, 75. Munneke, Allen S. "You (Expletive Deleted), 70. Lewis, Richard. "A Vital Experience." In Mary." English Journal 64 (April 1975): 69-71. 'Explorations in Children's Writing, edited by When the author's class was urged to write Eldonna L. Evertts, pp. 93-95. Champaign, as honestly as they could, "to use writing as Ill.: National Council of Teachers of English. 4 means of recording their reactions to thq 1970. (Available from NCTE: No. 16582.) World as they perceive it," their writine Thiscollectorofchildren's verse(see included language not usually considered Entries 693-695) presents many of his "proper"forschoolwork. The author thoughts on teaching and'creative expres- discusses ev that transpired when the sion, stressingothe importance of allowing- students pushed their work and points children to exptrience, their feelings and out the dilemma for teachers who want to their imagination ,in the classroom/ and to encourage honesty in writing. express them in their writing. 76. Murray, Donald M. "Your Elementary Pupil 7/. Lowe, Lee Frank. "Writers on Learning to and the Writer's Cycle of Craft." Co.nnerticut Write." En'glish Journal 53 (October 1964): English ,Journal (Fall 1969): 3-10. (Available 488 -95. from EDRS: ED 040 210.) The author sought the opinions of fourteen Pupils can learn to write more effectively if . professional authors about their own ex- they go through the cycle of prewriting, periences in studying grammar and compo- writing, and rewriting practiced by au- sition, and about how teachers should teach thors. They should not be hampered by writing. He reports their comments and studying writing backwardfrom the pro- disclthsestheimplicationsforteaching cess of readingor by the restrictions of a students to write. too-precise teacher. In order to teach writ- 72. McDermott, Jane E. "The Problem of Moth- ing most effectively, teachers must also ing to Say." Elementary English 50 (Septem- practice it and must share their failures, ber 1973): 984-87. successes, and solutions with their students. Classesthatarehaving troublewith 77. Peterson, R. Stanley. "Once More to the Well: creative writing should stop writing for Another Look at Creative Writing." English awhile and start talking, because oral Journal 50 (December 1961): 612, 61719, languageskillsmustprecedewritten 637. a It; Theory

The teacher- must open_ up the world for experienced and shpuld joiji in the writing- students to eacperienCe with all their senses. themselves. niust encourage hOnest and personal writ- 'ing,and must foster a sense of form 824 Rowe, Ernest Ras. "reative Writing and the through correlation of writing with the Gifted Child." Exi.eptionol Children ,.34 (be- study ofliterature.Gives five specific cember 1967): 279-82. assignments for teaching short story writ- Emphasizes the importance of making use ing, and five for teaching Poetry writing.. of "the teachable moment" and of.develop- jng good rapport with stud% ts. Describes 78. Pryor. France.F1.. "We Can't Afford Not to some of the author's meth° n motivating Write." Elementary English :38 (November creative writing: the use d 'philosophical 1961): 509-12. 520. questions (where is love? what is happi- The author finds that inviting children to nes0) to provoke thought, extensive read- write freely and regularly about theirown ing of poetry and literature, sensory aware- experiences and ideas helps to release inner ness training, humor inthe classroom. pressures and brings about 'an improve- Content, style, and original thought were ment yin all language skills. Typing chil- emphasized in student writings, rather dren's stories provides an incentive for. than the mechanics of writing. their writing. 83. Schaefer, Charles. "Young Poets on Poetry." 79. Reddin, Mary. "A Case for' a Red Balloon: Eloyentary School Jourilal 74 (October 1973): An Essay on Personal Writing.,' Educational 24-2'7. Perspectives 9 (May 1970): 7-10. A questionnaire &signed to discover how Early in her teaching career the author creativity is developed was sent to elemen- read Hughes Mearns' Creative Power (see tary school children whose poems had been Entry 28) and converted the atmosphere in selected for 'inclusionin a collection, of her classroom from a "climate paralyzed by children's poems, and to the children's -the act of over-teaching a'nd policing" to a parents and teachers. The author discusses "climate of respect for each writer's unique questionnaire responses, which have man§ style and ideas." Children kept private implications for classroom teaching, above pesonal journals which were shared at allthat "poetryisbest nurtured in a their own discretion. The article discusses relaxed and unrestricted atmosphere of the importance of children's finding their adultinterest, warmth, encouragement, own voice and writing for their own pur- and recognition." poses, whichjcan lead to- such joy as that expressed by one pupil who wrote, "Heavens 84. Schrader, Steven. "Let the Children Write." a. red balune! And so's this kind of jurnel. High Point,,. 48 (December 1966): 15-25. . The author discusses what he feelswere o HIP! HIP! HIP! HOORAY!".. successful methods of teaching writing in 80. Rose, Elizabeth. "Let Them' Write What his,first year- Nsa teacher: he encowagecr They Know." English Jaurnal 41 (November honest writing about important and "dah-- 1952): 495-97. gerous" t,opics, he typed stud'ents' work and Stresses that the basic material from which 0 posteditfor others, toread,. he wrote honest. responsible, and imaginative writ- idsigthy comments on. student papers, he ' ing begins and develops is the personal assigned topics that altowed students to experience of the individual. write about personal_ experiences. Recom- 81. Ross. Ramon. "The Classroom Teacher and mends using a book of student writing for Creative Writing." Elena-Oar!? English 41 motivation. (January 1964): 22-24. 39. 85. Schulberg, Budd. CoUld Happen in the Uses theories of Plato and Alfred Adler 1p .(Schools." NEA Journal 56 (December 1967): $r obtainadefinitionofcreativity. arguesthat teachers should encourage The hatred felt by adolescentsfrom fhe studerits to Write about things they have Watts area of Los Angeles was unleashed

4r1 . The 7 cachcr mul Clussromp 17

on paper and betame a source of puhlish- pictures, stimulate strong sensory impres- alpie .writing in the Watts Writers Work- sions, stress content over mechanics, read shop, The author tells how ,the workshop student wqrk 'to the class. helped drbpouts "findtheirpride and define i,t in meaningful language," and he 90. Torrance, E. Paul. "Ten Ways of Helping . suggests that such an outlet should be Young Children Gifted in Creative Writing ., possiblewithin the schools. and Spieech."G'iftcd ('h ild Qua rterl y 6 (Winter 1962): 121-27. 86, Strang ,Ruth. "Creativity in the Elementary Discusses ten ways by which parents can Classro ." .loarnal 50 (March 1961): help\ children gifted in creative writing and 20-22. speech. The suggeStions, which are also Discuss.,42many.ways to foster creativity: applicabletotheclassroomsituation. note and comment on original ideas and include: provide materials that develop phrasesinstudents' speech; encourage imagination and enrich imagery, permit 'manytypesofwriting,includingthe time for thinking and daydreaming, prize writing of picture books for youngerchil- rather than punish true individuality, be dren; select for special' recognition only cautious about editing children's-writings, works that demonstrate originality. encourage children to play with words. 87. SulliNfian, Sheila. "Beginning Poetry and Its 91. Turner, Thomas N., and Terwilliger, Paul N. Survival." 'Teachers College Record 67 (April "Multi-DimensionalCreativity."Lanyhage 1966): 508-14. Arts 53 (February 1976): 155-59.- Young children, the author believes, fre- Shows how teachers can stimulate children quently tell about their feelings poetically, to use their imaginations by creating a but "poetry -deaf' adults shout down their varied and fascinating classroom environ- poetic beginnings. Uses examples, ofchit- ment, planning unusual, entertaining, and drgn'spoetic speechto show adult re- thought provoking tasks; and setting a sponsesthat might squelchthechild; climatof feedback in which security, satis- demonstrates how teachers can help chil- faction, and recognition are provided. Also dren use poetic form as a means of sharpen- describes several classroom techniques -for ing their ideas. Deplores an emphasis on thecomposingofpoem's,stories,and technique before habits of thinking poeti- melodies for poems. cal are established.. 92. Volckmann, Norma H. "Creativity Gets a 88. Sutton Smith, B. "Creative Writing: Writing Spark." Crud(' Tcochri: 80 (February 1963): What You Like and Liking What You Write." 40, 131-32. F'IorrcHtarqEiry/ish30( December1953): Stresses that a creative writing program 492-99. should make children self-confident, not Presents methods for helping children to self-conscious,about mechanical errors. write creatively, freely, abundantly, and Discusses a weekly "creative writing";or with pleasure. Stresses two major points: "storytelling" time that gradually freed freedom alone is all that is necessary to get children to use their imaginations, and that some children to writer and the flow of overcame their initial resistancip writing. writing will not be forthcoming from some children unless they find permissiveness, 93. Wagner, Guy. ,"What Schools Are Doing in acceptance, and encouragement. Creative Writing." E'dheation 79 (September 1958): 62-65: 89. ThOmasine, Sister Mary, "Instant Creativity Reviews ',curriculum guides for creative in Composition." Catholic School Journal 66 writing issuedin ,fivecities(Houston; (February 1966): 62. r t Portland, Oregon; New York; Wilmington, Discusses many guidelines for teaching a Delaware; Los Angeles) between 1952 and creative ,writing: establilh rapport with 1957. Also points out that a teacher can best pupils.stimuate studentsto,.usetheir foster children's creativity by being "the imaginations,ask§,tudentstodescribe thoughtffil listener, the kind137?critic, the 4

-C 40 , LX Theory.

encouraging friend, the suggestor of possi-, and Dreams (see Entry 427). The author bilities." indicates her own teaching preferences by -94. "Ways to Creative Liiglish." (London) Times includin several poems that children Educational ,Snpplement"No. 2,771 (June 28, wrote "hen topic and form were not 1968): 2Mt.'''2; assigned in a... classroom where children ,Reports'on an English teachers' conference exercisechoice and control in many of in which David Holbrook discussed "ex- their activities, and where the work of both tending" children by providing meaningful children and adults were classroom litera- experiences, and creating an atmosphere of ture." trust to .enable children to be adventurous intheir 'writing. Geoffrey Summerfleld RESEARCH FINDINGS argued for active participation in poetry and demonstrated how' poems can be In this section, researchers report'on studies that orchestrated by theuseof percussion relate to the teaching of creative writing. Many instruments. of the authors have investigated the effects of 95.Wilt, Miriam. riting and Learning." different teaching Inethods on creative Writing Childhood Eduesitd 142 (NoVember 1965): in an attempt to find the most effective,ones. 151-55: Severalauthors hake studied the effectof Discussedways teachers canfacilitate various stimuli on student writing, experi- children's writing, sbressing that. "day -to- menting with the use of films, pictures; and day exposure to the wealth of their common different types of writing tools. heritage of literature, a small dose of other A perennialconcernofcreative writing children's attempts, and an itivitation to try teachers is how to evaluate creative writing. tbeir hands and mind's at creating their Many of the researchers have addressed them- own is often all that is needed." The author selves th this concern, and in somecases they believes that the use of games,' exercises, have designed evaluation scales in an attempt to and examples of colorful speech is mis- measure the originality of student writing: guided: "rather, the process is in a direct One other trend addressed here is.the study of line from the internalized experience of the literary devices that children employ in their child to expression." creative writings. 96.Witty, Paul. "Make Way for Creativity." Books and Dissertations PTA Magazine 57 (March 1963): 16-18. 98.Frankston,' Leon. "Some Explorations of Points out some differences between crea- the Effect of Creative Visual Art Experi- tive pupils and high-IQ pupils, and stresses ences upon the Poetry ,Writing Quality of the importance of finding and encouraging Eighth-GradeStudents,"Ed. D.Disserta- the creative child. To identify Children with tion, Columbia University; 1963. 284p. (Avail- creative ability in writing, teachers may able from University Microfilms; Order No. use the "open-end" story device in which 64-1475.) children are asked to expand on a story told An experiment was performed to deterr by the teacher, or they may ask children to mine whethertraininginartmight write about a film. If a child appears to be transfer to the poetry writing of eighth ,consistently or repeatedly .reinarkable in graders. There was found to be no transfer writing, the teachershould seek the ortinion of creativity from art to poetry. of well-informed people in the field. 99. King, Richard P. "Sensory Approach to Crea- 97. Wright, Evelyn. "Wishes, Lies and Dreams: tiveWriting: A Study of theEffe'ctof Pedagogical Prescriptions." Elementary En- Increasing the Number of Types of Sensory glish 51 (April 1974): 549-56. Stimuli Intended to Motivate Children to Discusses the limitations of total-group Write Creatively." Ed.D. Dissertation, Uni- stimuli and poetry prescriptions, as pro- versity of North Dakota, 1973. 116p. (Avail- posed by Kenneth Koch inWishes, Lies, able from University Microfilms; Order No, 74-14,904.).

.J

4-1 7. 4U Research Findings 19 J The .primary purpose of this investigation cussed all the questions and concerns arid was to determine whether increasing the was tested and approved by classroom number of _types of sensory stimulation teachers. . prior to a writing experience would help fourth, sixth, and eighth grade students to 102. Shane, HaTtild G.; Walden, James; and write longer, more creative stories. One Green,Ronald,coordinators.Interpreting conclusion was that the creative writing o? Language Arts Research for the Teacher'. Wash- fourth and sixth grade children is affected ,ington, D, C.: Association for Supervision and more by variations in motivational treat- Curriculum Develoment, National Educa- ment than is that of eighth grade children. tion Association, 1971. 195p. ( Available from NCN;No. 23643.) 106. Lilija, Linnea Diane. "A Study of the Writ- Chter nine is devoted, to research in ten Poetry Responses of Fifth Graders Given creative writing. Part one of this chapter Selected Methods of Instruction." Ph. I/ Dis: reviews research on creative writing in sertation,University of Minnesota,1970. secondary schools: viewpoints on creative 265p. (Available from University Microfilms; writing, encouraging students to write, Order No. 70-20,213.) factors affecting writing, the improvement Uses 1364iens written by fifth grers to of writing; evaluating writing. Part two determine any differences in the q ality of reports research on creative writing in the children's writing that might be induced by elementary school: general comments on the `'broad exposure" approach to teaching childien'swriting,stimulating writing poetry, the, "analytical" approach, or the ability, composition and grainmar instruc- "non-exposure" approach. Some conclu- tion. sions were that the evaluation of poetry is a personal and emotional,process subject to Articles the preferences of the reader, and that no 103. Alpren, Patricia Farrell. "Can Children Be one of the three instructional methods mea- Helped to Increase the Originality of Their sured seems substantially bettgr than the Story Writing?". Research in the Teaching of others with regard to the children's final English 7 (Winter 1973): 372-86. (Authors written product. Ed. D. dissertation on this topic is available 101. Sarlih, Ittouise. "A Study of Teachers' Con- from University Microfilms; Order No. 72- cerns and Questions Related to the Teaching 20,185.) of Creative Writing inthe Intermediate The researcher attempted to determine Grades of the Plainedge Public Schools; As- whether fifth grade children's originality certaining Teachers' Needs as the Basis for instory writing would increaseafter Writing a Teachers' Guide for Helping Chit- receiving evaluative feedback infOrmation, dren Write Creatively (Parts 1 and 2)." Ed. D., in the form of printed scales, on the origi- Dissertation, Nev York University,1969. nality of a story they had written. Of two 272p. (Available from University Microfilms; rating scales tested, one was foii)eit to havea Order No. 70-16,000.) negative effect on student rmance, This study proposed to identify teachers' and one a positive effect. questions and concerns in teaching creative 104. AuguSte, Joanne 'A., and Nalven, Fredric B. writing in the intermediate grades a six "ITA and TO Training in the Development of elementaryschoolsinPlainedge, New Children's Creative Writing." Research in the York; to assess the extent to which teachers 'Teaching of English Fall 1969): 178-80. would be interested in having these con- Reports on a study at dtrnpared the cerns treated in a teachers' guide; to write effects of ITA (initialeaching alphabet) such, a guide And test its adequacy for and TO (traditional orthography) instruc- meeting teachers' problems and needs. tion in the first grade on children's crea- Over five years' time, more than sixty tive writing skill in the second grade; found questions and concerns were determined to that the ITA program produced superior be of potential interest if discuSSed.,in a results_ (Sr*.Isn: 1 n try 11R 20 Theoiy

105. Carlson, Ruth Kearney. "Recent Research in from secondary sources) than when they Originality." Elementary English 40 (October wrote from. direct experience. 1963): 583-89. Describes a study of the originality of 109. Edmund, Neal R. "Quality of Creative Writ- stories written by fourth, fifth and sixth ing Based on Direct Experiences." Clearing graders, which gave evidence that pupils House 33 (November 1958): 163-64. might become more original if their social Reports on an investigation which led to the environments,includingteachersand conclusion that ninth graders' creative peers, could foster diversity and individu- writing was of a slightly .higher- quality' when it was based on derived experience ality. in thought. (coming from secondary sources) than 106. Duffy, Gerald G. "The Construction and when it was based on direct firsthand Validation of an Instrument to Measure Po- experienCe. The author notes that the dif- etry Writing Performance." Educational and ference in quality between the two types of Psychological Measurement 28 (Winter 1968): writing was very slight and .was not as pro- 1233-36. nounced as in the writings of fifth and Reports on a study conducted to determine seventh graders whose work he had studied whether a rating scale could 'be developed previously (see Entries 107 and 108). He to.measure the poetry writing performance suggests that younger children might be of intermediate-lexel children. A rating able to write/more effectively about direct scale wAs developed to analyze perform- experience if teachers placed more empha- ance in seven areas: theme, organization, sis on -the effective use and handling of solving the problem or ending the poem, direct experiences. stimulus perception, emotional depth, com- bining ideas or things in unusual relation- 110. Edmund, Neal it "Writing in the Interme- ships, and word choice. The scale was found diate Grades." Elementary English 36 (No- to be valid and reliable. vember 1959): 491-501i Examines research on writinginthe 107. Edmund, Neal R. "A Study of the Relation- intermediate grades. Discusses numerous ship between Prior Experiences and the Quali- studies according to.their topics: writing as ty of Creative Writing Done,by Seventh-Grade a way of identifying and motivating gifted Pupils." Journal of 'Educational Research 51 children, experiences forming the bases for (March 1958): 481-92: children's stories, pupil interests and the Reporti on a study designed to determine selection of writing topics, methods and whether a relationship existed between materials for teaching writing, and crea- prior experiences of seventh grade pupils tive writing and personality development. and the quality of their creative writing. Bibliography. Among the conclusions was that creative writing was of a higher quality when it was 111. Groff, Patrick J. "Figures of Speech in based on derived experiences (experience Poems by Children." Elementary School Jour- coming from secondary sources),than when nal 63 (December 1962): 136-40. An investigation of 'the figures of speech in it. was based on direct experience (experi- ence that the writer has actually had). poems written by 540 intermediate pupils revealed that 27.1% of poems written by the 108. Edmund, Neal R. "The Relationship. be- boys, and 33.2%ofthegirls'poems, tween Prior Experiences and the Creative contained figures of speech. Noting that Quality of Stories by Fifth Grade Children." most students of children's poetry believe Elementary English 35 (Apfil 1958): 248-49. that, figures of speech impi-Ove the quality Reports'the findings of a survey of 140 fifth of the poetry, the author suggests that graders, given forty-five minutes to select a greater emphasis on teaching figures of topic and *rite about it. Results indicated speechshould improve the qualityof that better writing resulted when children children's poems. wrote from derived experience (resulting Research. Findings 21 112. Hill, John David: "A Flying `Garbearge' of English 9 (Fall 1975):. 154-61. (Author's Can." Viewpoints 50 (January 1974): 37-44. Ph.D. dissertation on this and related topics is Reports on a studyto, determine the available from University Microfilms; Order presence, frequency of use, and develop- No. 73-23, 704.) ment by grade level of literary devices in Reports on a study in which the investiga- children's writing. Amo ngs: the' tor attempted to develop a working defini- humorous tale and thefa7rtZTretiwerethe tion of creative writing, to establish criteria most popular genres chosen by the stu- by which creative writing could be evalu- dents,elementaryschoolchildrenare ated, to draw up a rating scale, and to capable of using allspecifiedliterary determine whether three judges could de,ices, children use more of the elements grade creative writing products with con- of structure (genre, form, narration, dia- sistency. Concluded that creative writing logue, chai-acterization) than of texture can be evaluated with spme degree of (alliteration, metaphor) in their writing. confidence. 113. Karnes, 1Vierle B.; Wallersheim, Janet P.; 116. Nalven, Fredric B., and Auguste, Joanne A. and Stanley, Lola S. "The Effects orTyping "How Lasting Are the EffeCts of ITAvs. TO Instruction on Creativity arid Achievement Training in the Development of Children's among the Afted." Champaign, Ill.: Unit 4 Creative Writing?" Research in the Teaching of Schools, 196111.51p. (Available from EDRS; English 6 (Spring 1972): 17-19. ED 010 921.) In a study that compared the long-term Two groups of fourth, grade children rated effects of ITA (initial teaching alphabet) as "academically talented" received enrich- and TO (traditional orthography) instruc- ment in creative thinking and writing; one tion in the first grade on children's creative of the groups also received typing instruc- writing skill-when they reached the fourth tion. The experimental group using type- grade, the authors found no significant writers showed significantly greater gains differences in creativity scores between the in creative writing -and creative thinking ITA and TO subsamples. (See also Entry than 'did the control group. 104.) 114. May, Frank B., and Tabachnick, B. Robert. 117. Pippert, Ralph. "Imagination and Humor in "Three Stimuli for Creative Writing." Ele- Creative Writing by Achieving and Under- mentary School Journal 67 (November 1966): achieving Students." Peabody Journal of Edu- 88 -94. (More detailedreport, "Effects of cation 41 (November 1963): 157-63. Three Different Stimuli on the Creativity of Reports on a study in which the creative Children's Compositions," is available from writings of tenth grade "achievers" and EDRS: ED 003 461.) "underachievers" were analyzed for evi- Reports on a study made to determine dences of humor and imagination. Under- which type of picture stimulusorganized achievers tended to write .humorously less (representational), unorganized (nonobjec- frequently than did achievers, but inone tive), or a choice between the twowould portion of the study they exceeded the result in the greatest degree of creativity in achievingstudentsinimaginativere- the written stories of third and sixth sponses. graders. Results differed among the differ- ent subgroups: third graders responded 118. Roser, Nancy L., and Britt, James. "Writing similarly to all thi'ee stimuli; sixth grade with Flair." Elementary English 52 (February boys did, best in response to unorganized 1975): 180-82, 220. stimuli; and sixth grade girls did best in Reports on a study that 'showed conclu- response to organized stimuli or to a choice sively that first grade Children wrotemore of stimuli. Suggests the need to vary with colored felt-tipped pens than with stimuli for a class of children. pencils; the study also demonstrated the effectivenessof puppetry and creative 115. Moslemi, Marlene "The Grading of Crea- drama in motivating children to write. tive Writing' Essays."7 tworrh rn tho Tpiroh ;nit 22 Thai)

119. Rowland, Monroe, and Hill, Patricia. "Race, in response to four stimuli: a picture, a Illustrations, and Interest in Materials for' poem, a rusty key, and tile sound Of albud Reading and Creative Writing?! Journal of crash. The diversity of responses sugg9ted Negro Education 34 (Winter 1965):_84-87. that there can' be no general critefia by A first grade racially mixed class was which stimuli carf -be selected. Evidence tested to determine whether their interest indicates that the successful employment of materialsfor reading and creative writing stimuli isrelated more to the writing would be influenced by the racial general- teaching climatethan'tothe content of those materials. The authors con- specific stimuli employed. cludedthat 'children'sinterestinthe 123. Sharples, Derek. "The Content of Creative materials was influenced by racial content; Writing." Elementary School Journal 68 (May since interest and achievement are closely 1968): 419-26. related, they call for materials in which a In a study similar to his earlier study, the variety of racial types are'portrayed, author examined the content of children's 120. Shapiro, Phyllis P., and Shapiro, Bernard J. writing in response to various stimuli. The "Two Methods of Teaching Poetry Writing in resultsshow that"sti ,,,ulicanaffect the Fourth Grade." Elementary EngliA 48 ' responses and that in ividual differences in (April 1971): 225-28 (reflects a paging error achievement and Schooling also influence in Elementary English for April 1971), (The writing." The author suggests that More first author's Ed. D. dissertation on this topic effectivemethods must besoughtto isavailable from University Microfilms; develop individual originality and 'growth. Order No. 70 -12, 201.) 124. Sullivan, Howard J.; bkada, Masahito; and Reports on a study of two approaches to Niedermeyer Fred C. "Effects of Systematic -teaching poetry writing: a "free" approach, Practice on the Composition-Skills 'of First which encouraged poetry writing through Graders." Elementary English 51 (May 1974): exposing children to good 'poetry, and 635-41. "semi-strUctured" `approach,whichin- Reports on, a study involving the develop.- cluded a sequence of carefully planned ment of a karefully sequenced composition activities. The "semi - structured" approach program forfirst grade children,and proved more effective, although both meth- investigation of the effects of the prokr,am ods led to improvement in children's poetry on children's . storywriting. performances. writing skills. Discusses thepositiveresults obtained

121. Shapiro, Phyllis P., and Shapiro, Bernard J. through use of the program. , "An Evaluation of Poetry Lessons with Chil- dren from Less Advantaged Backgrounds." 125. Taylor, Winrilfred F., and Hoedt, Kenneth C. "The Effect of Praise Upon the Quality and Educational Leadership 30 (October 1972): Quantity of Creative Writing." Journal of 55-59. 1 Working with children from working class Educational Research 60 (October1966): backgrounds, the authors tested the effects 80-83. of two alternative programs fa poetry Fourth graders were divided into groups writing: the "free" approach and the "semi- and given, (a) praise without correction, or structured" approach. Both methods were (b) negative criticism and correction on found effective in helping children express theircreative writing papers. .Results themSelvescreatively,withthe "semi; indicated that praise without correction is structured" proving somewhat more effec- superior to blame; the praised but uncor- tive. rected group wrote more, showed more favorable 'attitudes, were more highly moti- 122. Sharples, Derek. "Stimuli for Creative vated, and appeared to be more indepen- Writing: A Comparative Experiment." Edu- dent than the other group. cational Review 20 (November 1967): 56:64. 126. Witty, Paul, and Martin, William. "An Reports on a study in which children wrote Analysis of Children's 'Compositions Written Research Findings 23 o )/ in Response to a Film." Elementary English 34 127. Wyatt, Nita M. "Research in Creative, Writ- (March 1957): 158-63. ing." Educational Leadership 19 (February Reports. on a study of stones and poems 1962): 307-10. writtenbyfirstthrough sixthgrade Reports on numerous studies in creative children in seventy-nine classrooms after writing, on the type of subject matter viewing a symbolic and imaginative film, which produces the best writing in chil- The punter and the _Forest. The authors dren of different age groups, on maturity of discuss characteristics of the writing in expression in children's writing, on the various grades and emphasize their belief value of dictating stories, and on the rela- that the use of films is an excellentway to tionship of writing ability to extensive N stimulate creative expresSion. reading. Discusses possible classroom im- ,plications of the 'research.

A PRACTICE

This section offers practical #dviceon getting with classeS at other schools; and holding two students to start writing and on teaching the separate writing periods, one forpractical writing of creative prose, poetry, fiction, plays, writing that is corrected and graded, and one for and scripts. The section concludes with a list of creative writing in which free expression is materials for student use. The emphasis in all stressed and no corrections are made. the materials cited is on ideas and aids that can Specific techniques are also given for working ,be easily used in the classroom. withprimary grade children,forhelping students to develop sensory awareness, and for TEACHING 'THE WRITING PROCESS teaching different types of writing (including folk tales, tall tales, fables, and poetry). One of Motivationisone oftheteacher's biggest the most prevalent trends, however, is a de- challenges in the creative writings classroom. emphasis on the teaching of particular. genres The authors of materials in this section offer and an emphasis on getting students to write out ideas for making students want to write and for of their own experiences and observations about making writing work in the classroom. what is personally meaningful to them. "Stimuli for Writing" offers practical sugges- This section seemed the appropriate place to ions on how to launch 'students into writing. present the unique work of the Teachers & ctive student motivators include: frequent Writers Collaborative. Since 1967, the Teachers ex,*re to good literature, collaborative,,writ- & Writers Collaborative has placed professional writersinclassrooms forthe purposes of ing, hearing other students' work, and, for "creating a curriculum that is giant to the .primary children,dictatingstoriesfor the teacher to write down. A number of authors 'lives of children" and "encouraging children to stress the' importa.nce of helping students to create their own literature from their own develop sensory awareness, by writing about language, ,experience°, and _imagination." The ,their sensory experiences -.4r,;;.trlexamining writers maintain detailed diaries of their work, natural Or rrtanufactured objecis. and these diaries along with the works\44, the Many of the books and articles list specific students, become the raw materials for the topics and story-starter situations for classroom project's, publications: use; others describe activities that can stimulate Teachers & Writers Magazine(formerly creativityi9 writing, including taking field Teachers & Writers Collaborative New wetter) is trips; viewing films. photographs, and pictures; issued three times a year. Individual issues projecting oneself into imaginary situations; arelistedinthissection.Inadditionto creating adventures for, fictitious characters the Magazine, Teachers & Writers Collabo- invented by the teacher; writing to or about rative has published a number of antholOgies music; and writing only "lies." and books of interest; these are listed else- In "General Classroom Techniques," teachers where in this bibliography. (See "Teachers & tell how they fit creative writing into the school Writers Collaborative" in the subject index for curriculum and describe ways of organizing and Entry numbers.) Further information about the conducting creative writing lessons, from- pre- Collaborative's programs and. publications may writing activities to evaluation procedures. be obtained by writing Teachers and Writers Suggestions include employing a workshop Collaborative, 186 West 4th Street, New York,' nlivinata in11011;0/1 411,101,1+0rant] artrir1;(14,110Crannli New York 10014. 26 Practice

ing techniques based on their own beliefs and hole; making paper hats atid writing about interests and on the needs of their particular magic hats with special powers; reading students, but . the hundreds of ideas in this r stories and books and writing stories section will aid teachers in generating their own stimulated by them. Each assignment lists ways to encourage students to express them- teaching goals,materialt needed, sug- selves in writing. gested books for motivation, and'suggested procedure. Stimuli for Writing 1 1. Moore, Walter J. A Thousand Topics for Books Conipositimi: Revised, Elementary Level. Ur- bana, Ill.: Illinois English Bulletin, Febru- 128. Ettner, Kenneth, chair. A Thousand Topics ary 1971. 32p. (Available from NCTE; No. fc.r Composition: Revised. Urbana, Ill.: Illinois 54425. Also available front' EDRS; ED 048 English Bulletin, January 1971. 22p. (Avail- 298.) 'able from NCTE; No. 54522. Also available One hundred teachers supplied topics of from EDRS; ED 048 290.) interest to elementary students. The eight Topicsfoundeffectiveincomposition categories include description (me, my courses were supplied by 250 junior and world my thoughts, my.dreams, ply ideas, senior high school English teachers: Cate- my actions), characterization, and imagina- gories include personal reminiscences, per- tive writing (cther places, other people, sonal reactions, character sketch, fantasy, oti; r objects, "anything goes," wordsas detcription, and "creative" writing paral- i s).Includes motivational techniques leling literary works. and suggestions for games, projects, story- 129. Grimm, Gary, and Mitchell, Don. The Good starters, and :stories based on' literature. Apple Creative Writing Book. Illustrated by Articles Gary Grimm. Carthage, Ill.: Good Apple, Inc., 1976. 107p. 132. Adams, Dennis M. "Creative Writing Ideas Presents practical, easy-to-use ideas for That Work." Instructor 85 (December 1975): developing the imaginations and divergent 62-64. thinking skillsof students in approxi- Five writing strategies anclude You Name mately the fourth through the eighth the Person! (beginning with an original grades. Includes sections on playing with name, students invent and describe a ficti- words, writing letters, ideas fora creative tious person); A Mad Professor Created Me! writing center, creative writing relevant to (students write froin the point of view of everyday life, and using creative writing someone or something made in a mad and thinking skills in "creating" original professor's laboratory); Write on the Wall! ,, restaurants. Also includes sections with (classroom graffiti). dozensofspecificideastostimulate 133. Altenhein, Margarete R., and Maybury, creative writing and provides numerous Margaret W. "Daffodils, Daffodils Every- ready-to-use 'activity sheets thatmay be where: Poetry Appreciation Lesson and Verse du licated for student use. Illustrationsare by Third Graders." Peabody Journal of Edu- inc ded throughout. cation 41 (March 1964): 296-300. 130.Joy, Joan. Nonsensical Nuances of the After participating in a daffodil-growing ABC's. Hayward, Calif.: Alameda County prioject,third graders were helped to School Depdrtment, 1971. 59p. observe and describe the daffodils and were Provides twenty-six creative languageas- introduced to Wordsworth's poem "Daffo- signments (one for each letter of the alpha- dils." They then wrote their own poems bet) designed to motivate pupils toexpress about daffodils, many of Which are in- themselves in writing. Most of the activi- eluded. _ ties involve simple props and materials to stimulate pupils' interest and imagination.' 134. Applegate, Mauree. "In My Space-Coat Poc- ket." Grade Teacher 79 (March 1962): 44-45, Examples: eating donut "holes" and writ- oc_a Teaching the Writing Process 27

-%peaking to children, the author setsup a 139. Bednarz; Barbara. "Project Sound .Makes situation in which each child's family is It." Elementary English 48 (January 1971): going on a pioneer trip to the planet of their 86-89. choice. The spaceship has been loaded and Tells how to use music to elicit creative the child has been told that there is room writingresponsesfromstudents;lists for one more prized possession,small numerous diverse musical selections and enough to fit into a space-coat pocket. The suggests how they may be used in the Class- author discusses posSible choices anti quol.es room.- extensively from the children's own-writing in which they explain their reasons for 140. Bent, Margaret. "To Trigger Creativity." taking a tulip bulb, popping corn, a shell, a Instructor 71 (March 1962): 101, 106. baseball, a stamp collection, a cocoon, a Lists approximately twenty story-starters, bird's egg. including:- draw a rainbow and then write 4 about each color; draw a machine Oai will 135. Applegate, Mauree. "When the Spacemen do a job you don't like to do and then write Come." Grade Teacher 79 (April 1962): 26 -27, about *he machine. 139-40. The author invites children to imagine 141. Bierbaum, Margaret. "How to Make a Pic- they would act if they were the first per ture Really Worth a Thousand Words." Grade to,meet visitors from outer space, and wha Tecicher 83 (April. 1966): 70, 146, 148. they would show them as typical of the Describes activities to use with Stop, Look meaning of America. Included are quotes & Write, a book.of photographs de-signed to frin poems and stories of children who stimulake, creative-writing (see Entry 596): Wrote ,aboiit that topic. lift every item in a picture; write from the viewpoint of one of the people in a picture; 136. Applegate,, Mauree. "First Anniversary on write &Own INhatever comes into one's,mind ,Mars.' Grade Teacher 79 (May 1962): 58-59, on viewing a picture. Includes diverse 78-79. writings submitted about one picture. "It is the year 2000,andyou and your family have been living as pioneers on Mars 142. Bierbaum, Margaret, and Sohn, Dave. "Did for one year," the author announces in this the Cat Eat the Mouse? Or..."Grade Teacher article addressed to children. She asks 84 (November 1966): 91, 151. them to write a letter to Earth describing Describes, with examples, stories written their experiences, and quotes several of by third graders in response to a series of photographs of a cat and a mouse found in these. "Letters from Mars." ., the book Stop, Look & Write (see Entry 137. Bacher, June. "Criterion for a Poem: Its .596). Ability to Dance." Elementany English 40 (November 1963): 729-30,-735, 769 (reflects a 143. Brack, Kenneth H. "Creativity in Writing Is paging errorinElementary English,for Where You Find It." Elementary English 38 (February 1961): 89-90, 98. November 1963). A city child's fantasy of owning a pig A pet parade stimulated a fourth grade became a stimulus to his own creative writ- class to do a great deal of creative writing ing as well as to the writing of his class- about animals; they went on to write poems mates. Shows how a teacher can nurture for a class chart, develop criteria for poetry, creativity through perception of children's and set, poems to music. interests. 138. Bany, Mary. "Cooperative Group Writing." 144. Brattier, Mary. "With Thanks to Eder' Lee Elementany English 32 (February1955): 97-99. Masters." English Journal 64 (September Nine- and ten-year-olds whose writing 1975): 39-40. Ina Bicentennialproject skills were poor gained confidencein inspired by attempting to write their own stories and Edgar Lee Masters' Spoon RiIr Anthology, poems after group oral storytelling experi- students researched the lives of-early local cInnno ontl relon,,-. nnrnru-so if of settlers and wrote poetic epitaphs for them. 28 Practice

.Brodsky, Mimi. "Creative Writing in Ele- Inspired by the book Flat Stanley by Jeff mentary School." Elementary English40 Brown, which features a flattened, two- (February 1963): 189-90. dimensional character, fourth graders wrote Teac'hers should encourage moments of their own stories about people who were "creative quiet" in which children think redirced to one or two dimensions. Exam- about and express their sensory reactions to ples of their stories are included. colors, seasons, sights, and smells. 151. Christie, Antony: "Making with Words: A 146. Brough, Grover. "Build a Foundation for Practical Approach to Creativity." English. Creative Writing." Instructor 71 (Septhmber Journal 61 (February 1972): 246-51., 1961): 17, 114. Proposes marry classroom-tested ideas for Recommends starting story-writing activi- creative writing: working with the shape ties by, providing sensory experiences for ,and sound of words; writing about interest- pupils; cites examples of materials that can ing objects, pictures, animals, people; writ- be used to provide experiences in using the ing dialogue. five senses. 152. Cramer, Ronald L., and Cramer, Barbara B. 147-. Cady, Jerilyn L. "Pretend Yo Are... an "Writing by Imitating Language Models." Author." Teaching Exceptionalhildren 8 Lan gu a g e Arts 52 (October 1975): 1011-14, (Fall 1975): 26-31. 1018. In a program for children with learning Recommends having children imitate lan- disabilities, creative writing was intro- guage patterns in literature, in a duced by reading literary clissics and chil- ,group and then individually, as a way of dren's writings aloud to the class. Topics learning to write. Describes a proledure ' for writing were frequently suggested to for eliciting patterned writing, and lista' the children; all the children's initial efforts many books,that are useftil models for such were read to the class by the teacher. In- writing activities.. eludes a list oaf 145 topics used in the project 158. Cross, Alma. "Books and Children's Crea- ("The Loch Ness Monster," "Excitement tiveExpresion." Elementary English 35 is...," "Tell about a fight"). (January 1958): 38-41. 148. Calderhead, James T. "The Templehall Bes- Suggests ways of using books to stimulate tiary." Elementary English 46 (February children to write: discuss a book chafacter 1969): 166-68. and have children write about it; have A group of Scottish students wrote poems children write their own endings for a in which they expressed sympathy to an book; have children write stories based on animal for some difficult aspect of its life. book titles or, illustrations. They prepared a book of their verses, 154. Dakelman, Beth C. "Think Tank and Mind written in the local English/Scots dialect, Tiansportation: Teaching Creative Writing." so they could see how their spoken language English Journal 62 (December 1973): 1272-7a looked in print. The author has found that the best way to 149. Carlson, Ruth Kearney. "Sparkling aryd get truly creative writing from students is Spinning Words." Elementary English' 41 to help them achieve "mind transporta-., (January 1964): 15-21, 55. 'tion," forgetting the reality of the, class- Believing that reading and listeningrare room and retreating to more stimulating basic foundations for writing creatively, worlds: She describes several teaching the, author lists books, poems, and records techniques, including arranging a semi- that can help students gain an appreciation dark setting that includes relaxing music for writing and that can create in them an and scented candles. urge to write. (See also Entry 467.) 155. Dauterman, Philip, and Stahl, Robert. 150.Carroll, Emma C."Creatamath,or "Film StimuliAn Approach to Creative Geometric Ideas Inspire Young Writers." Writing." English( Journal 60 (November Arithmetic Teacher 14 (May 1967):.391-93. 1971): `1),/10-22. Teaching the Writing Process 29

Tells how to help students progress from 161. Dittmer, Allan "S issor Your Way to Suc- descriptive to affective .to creative respon- cess: News Clips forlassroom Use." Media & ses to- film stimuti. Methods 11 (March 1975): 20-22. 156. "Dear Sir, You Cu,r! and Other Writing In a follow-up to his previous article (see Assignments." Grade Teacher 87 (February ,Entry 160), the author presents nine shol-t 1970): 52-56. and startling news clippings about real Ideas contribute s events, Whichcan be used to motivate by three teachers,in- creative-writing. He suggests speric ques- vOlve: play-writinstudents' writing about tions to stimulate student thinking about their sensations as they pretend to "walk the incidents reported. - into"the scene depictedina selected painting;and writingbusinessletters 162. Duffy, Mike. "Sidetracks: Poetry Writing in based on humorous, unusual problems with the Science- Class." Science and Children 10. products. (April 1973): 7-9. A 157. DeHaven, Edna. "A Questioning Strategy After a)rock-collecting field trip, students Model.for Creative Wilting." Elementary ,En- examined their rocks with-great care and glish 50 (Septembee(1973): 959 -61, 987. from many different aspects, mused about Proposes a carefully structured sequence of the history of the rocks, and wrote poems questions that will focus children's atten- based on their tilpughts and observations. A tion on something, establish aicriowledge different elm's examined and wrote about base,expandconcepts; and encourage ,trees, and a third class "grew" aid wrote divergent thinkingall good QrepaPation about crystal gardens. Directions for grow- for creative writing. ing the crystal "plants" are included: 163. Duke, Charles R. "Brainstorming Activities 158. Diane, Sister Mary. "Cart before the Horse." Based on the Newspaper! Elementary En- Catholic School Journal ,67 (Novemtber 1967): glis4 52 (April 1975): 588-90. 47-48. "If only we-could inculcate a love for good Lists dozens of classroom activities based on the newspaper; many involving creative reading in every child," the author believes, "our' problems in developing writers would writing, which originated in a brainstorm- be considerably lessened." She' discusses ing session with a group of teachers. children's literary classics that will satu- 164: Dunning, Donald J. "A Derivative Ap- rats children's minds,with ideas to stimu- proach to Creative Writing." English Journal 7- late their own stories. 54 (December 1965): 845-47. Discusses obstacles to creative writing in 159.Dietz,Sandy. "Monstersrr Teacher 93 (April 1976): 64-65. high school and proposes an approach in After collectively drawing a six-foot-long which students write stories by trans- class monster, fourth graders created their posing artistic material from such sources own monsters and wrote stories about as myths, parables, lyric and narrative them. poetry, epigrams, and visual art. 160. Dittmer, Allan. "Using the Newspaper to 165.Ellis,Helene M, "21 Way-Out Story- Stimulate Imaginative Writing." Media & Stv-ters...and How to Use Them." Grade Methods 9 (September 1972): 58, 60-61. Teacher 86 (Mar'ch 1969): 95-100. ' Presents a sampling of "short and stranger- Story-starters arranged as a semester's than-usual" newspaper articles that the work in creative writing include: "You are author has successfully used to motivate from apother planet and have landed on earth .:.write about what you see." "Write creative writing! Points out that such about being your age." "Describe a charac- articles can be used to supply the basic ter frOm a song." "Describe a fight scene." ingredients for short stories, poems, plays, or films; gives sample questions to stimu- 166. Engelsman, Alan D. "A Piece of the ActiOn." late student writing based on one of the English" Journal 61 (February 1972): 252-56. articles. "Students always enjoy themselves more," 30 Practice

the author ebelieves, "w you give them a in stidents, including those the anal& had piece of the as,tion." He tells how his class " dubbed "Miss. Braids" and "The Growler" creatednumerousfictitiouscharacters (because atfirst.: he growled ,whenever around . which several creative writing .poetry was mentioned). assignments were based. 171. Furner, Beatrice A. "Creative Writing 167. Fagerlie, Anna M. "Third Graders ,Try through Creative Dramatics." EleMentary

Creative Writing." Elementary English 33 ;English 50 (March 1973): 405 -8, 416. , (March 1956): - 164 -65. o The authorbelievesthat "the useof Inspired by the study of Johnny Appleseed, dramatic activity in the motivational stages a third grade class wrote a group song and of a creative writing experience is a useful play. Timid children were encouraged by addition 'to the exchange of ideas through ithe work of the more creative children. talk, since it involves the child pirlsicpy, 168..Farris, Herbert J. "Creative Writing Must verbally,, and emotionally in exploration of -the problem." Be Motivated." Elementary English 29 (Octo- , . ber 1952): 331-32,374. Also in Readings in the -1'72. Girdon, Mary Bowers. "Helping the Dis-- Language Arts in the Elementary School, abled Reader." Elementary English 50 (Janu-. edited by James C. MacCampbell, pp. 261-63. ary 1973): 103-5. Boston: D.C. Heath and Co.,=196. Eighth graders readinat a primary leVel Lists do's and don't's for the cr6htive writ- dictated stories' basedn provocative pic- ing teacher. Discusses three activiti s sue- tures and on "story starter"sentence's. cessful in motivating intermediate grade Theirwriting .e,x.pe ienceshelped, the children; creative -writing games,aving, students to improve their self - concepts, and children finish a story, and have a Story to feel personally involved i0earning to - Boi into which children put poems and read. stories to read to the class at a designated ,, time. ,,,173 Glass, Malcolm. "Lying Helps Them Tell the Truth More Vividly." College Compdsition and 169. Fennimore, Flora. "A Conversation with the Communication 26 (February 1975): 36-381 Witiel,,"Elementary English52(January When students were given a free writing 1975): 123-25,4135. 0 . . assignment with only one restrictionthey Before, children can write, they must have musttellonly liesthey wrote vividly, something to write about and experience'p specifically, imaginatively, and with great handling that "something." The author 4, enjoyinent: Results of, such assignments describes a step-by-step process through have convinced the author that every which children, explored their feelings and student can write creatively, and that sensations while experiencing the wind and, "imaginative writing had its place in every than wrote poems about the wind. . English course." 170: Ferber,Ellen."Miss Braidsaidthe 174. Green, Arthur, S. "Let's Take the Strait- iiowler." American Education 4 (November jacket out of Writing.." Education 76 (April 1968): 107_12. 1956): 494-97. Also in Readings in the Lan- Reports favorable reactions of writers, guage Arts in the Elementary School, edited by teachers, and students to a writers-in- James C. ,MacCampbell, pp. 118-22. Boston: residence program in pUblic schools in D.C: Heath and Co., 1964. Washington, D.C. The author provided a Explains the teacher's role as one who box in which children were encouraged to encourages children's participation in class leave anonymous contributions that were discussions about writing topics and who not to be graded or corrected. Freedom to stimulates interest in writing. Suggests expvess themselves, exposure to a gm/at categories of writing topics which get good deal of poetry, and constructive criticisfn of results: (1) personal' experiences; (2) fan- their work gradually led students to write tasies; (3) integratinV writing with creative more and 'bore. Discusses the improved art; (4) integrating writing with subject 1 lex Thad-ling the Writing Process

-varied tormstuf writing such as dialogues, 180. Hirsch: Ruth. "Start Yofir Class on the ROT- skits,- poetry and television and radio TEN ROAD TO' WRITING." Teacher 90 scripts. (February 1973): 106-9. 175. Hall, Nary A., and Gambrell, Linc19J3.. ' After reading The Rotten Book by Mary 3 "Children as Authors." Elnentary English 49 ROgers,sixth graders wrote humorous ,- JOtober 1972): 889-93. picture books iji which they described their 'Describes the usefulness of m aterial writ- own "rotten" thoughts. Their books were . bound and displayed at a school book fair. ten by other children as a stimulus to : children's creative writing, and includes an .181. Flise, Jesse. "Films As au Aid to Teaching annutated bibliography of anthologi of Creative Writing." In Rhetwic. and Composi- children's work. ' tion. in the English Cla;ssroom (focus issue of 176. Halperin, Irving. "Combining Art Appre- Arizona English 'Bulletin ebruary 1974), ciation and Imaginative riting."" English edit& by Ken Done , pp.50-54. Tempe3 Journal 40 (September 1951): 396-97. Ariz.: Arizona Enis? Teachers Association. Through a study of El Greco and Brcughel, (Available from NCTE; No. ,41404.) . the author guided eleventh grade students Suggests t and discUsses ways of using a to deeper concentration in observing, think- .nuriabd4f specific films to "expanclhe ing, arid' feeling, and to improved writing. classroom and help solve the naggingiq es- tionWhat do we write abouq" , , 177. Hannan, Dennis J. "Student Poet P9wer." !'. A,` English Journal 60 (October 1971): 9,13-20.' 182.Hise, Jesse. "There's Nothing- to Write About." In Rhetoric and Composition in the Demonstrates how reading and discussing, poetry writs by studenits can serve as a English Classroom- (a focusiassue of Arizona stimulus fofurther stutien't writing. In- English BulletiS, February 1974), edited by eludes numerous student-written poems Ken Dohelsun, pp.165-67. Tempe, Ariz.: i and points out aspects-that can be discussed Arizona English TeachersAssociation. (Avail- able froth -NCTE; No. 41404.), in class. 1 . Describes ,how the. author created four 178. Hav;Tley, Robert C., and Hawley, Isabel L. films of ecially 44esigned,to Ysti mulp.te "Scissors, Glue; And English, Too." Indepen- creativwriting, and gives tips to teachers , dent School Bbilletin 33 (October 1973): 4P-43. on makig their own films for this purpose. Describes many(word- and - picture collages that students can make from 'magazines: 183. Hofer, Louise B. "Prime the Pump with .collages representing onus :`real" or "ideal" Music:" Elementary English 37 (November self; collages on a chosen theme; a collective 060): 452-561' . collage- or "fantasy wall." Also suggests Fifteen-minutesessionsoflistening to. writing "found stories" built around clip- 1 musicwere followed by having students pings divided into five categories: heroes, write about their thoughts. The ittusic villains, obstacles, ways to overcome ob- evoked emotional responses and memories stacles, and settings. whiCh expressedinthestudent writing..)were 179. Hill, Mary Evelyn. "Creative Writing: First Steps.." Elementary School Journal 60 (MO 184. Hook, Edward N. "A Dozen Methods for 1960): 433-36. Stimulqting Creative Writing." Elementary From the second day of school, the author's English 38 (February 1961):.87 -88. first grade class dictates stories which are- In ?teachingcreative writing,teachers recorded on chart paper. Children are should encourage childrento use and encouraged to dictate individual stories maintain their powers of imagination and whenever they wish; they progress from to "fo'get themselves" temporarily. Gives dictating stories of a few sentences, to twelve writing ideas, including writing tall dictating longer stories, to writing their tales, writing stories based on abstract an. The works are published in a class painting, and writing about personal ad- magazine issued five times a year. ventures with fictional characters. z,32 :Practice ,f 185. Huck, Charlotte .g. "Literature's Role in article's tideland wrote stories about them- Language Development." Childhood Edam, during an entire school year. The teacher Lion 42 (November 1965): 10,50. ' frequently contributed "story-starter" sen- Points out that literature PrOYides a model tences about the characters. for children's writivig and serves as a springboard for-creative activities., Chil- 190. Kennedy, Dora. "A Technique That Fostered dren can write sequels to books and can Creative Writing." ElementarflEnglish 35- -write stories using a theme from a well- (March 1938): 163-64. known work such as Kip ling's Just So When teacher and, pupils worked-together Stdries. on a long ongoing adventure story in which r the Characters were members of the class, 186. Jacobs; Lucky. "Writing Poetry about .other kinds of creative whiting Were stimu- Sports." Language Arts 53 (February 1,976): lated. 191-92. Points out the need to find sUbjecti for 191,. Kuse, -Hildegard, R., and Allar, Betty. "r childeep's writing that excite their imagi-', Write More Better with a Partner." Elemen- nations; suggests sports events as .a topic. tary English 48 (December 1971): 984-88. Lists many classroom writing activities on Reports on an' attempt to rind out which that topic, such as "in alternating lines, types of writing environments, primary write a feeling you haye while playing A school children wanted and the kinds of sport; then write a feeling you have while help they preferred while engaged in watching a sport." writing activities, Discusses information derived from the study- and examines 187. Julita, Sister 'Mary "The Magic of Words." impliCations for improving the classroom 'Cathirlic School Jour l64, (March 1964):. writing environment. 57 -58. ° Discusses and gives.many examples of 192. Labrecque, C. "Art in the Classroom: Pic- laborative poems and stories written by a turesMotivate Creative Writing." Grade second grade class. Initially, the class was Teacher 85 (February 1968): 91-92, 96. motivated to writlrby the teacher's writing Reproduces threepaintings and gives the opening line of a poem on the black- methods forusing themtostimulate ( board; children were invited to come up creative writing. and add additional ilines during the school 193.Lewis, Carolyn L. "Write That Tune." day. Media & Methods 11 (March 1975): 42. The author played records 188. Kaplan, Milton A. "Look into ThyThy Heart and in class Write." English ,Thurnal 43 (January 14): "everything from bullfight music to honky 13-18. tor/k, with a little 'Night on Bald Moun- The author's' Methods for encouraging tain,' Swiss yodeling, opera,' sitar music, students to write about meaningful experi- and rock hrown in." Students then wrote ences included' ila.,ving them read-'-auto- descriptions of the mental images formed biographies,preparetalks about past in response to the music. experiences or hobbies,sowrite in stream-of- 194.Linderman, Ruth J. "Imagination° c9isciousness style, and write about- a Instructor,i77 (May 1968): 32. Childhood experience. .1rentually thirty- Sixthgraders were askedtoproject twd students wrote autoillographies which themselves into the past by ,selecting a were bound into one. book. person or event that appealed ' to them 189. Keller, Barbara Mayers: "My Class Met The individually; they then wrote imaginative Fairy with theGreen Toe AND THEN THEY letters and diaries from the point of view of WROTE...Re#Ily Cieatiye Stories." Teacher their character. f 90 (September 1972): 90-92. 195. 14v.o, Norma.4., "Variations on a Theine:,,: A class invented a set of fictitious charac-7, Fiogs." LangUage Arts 53 (February 1976):' ters (including the heroine featured, in the :193-96. Licto rin7nne nf. Innn1,6 In "snows re + es In ; es, r Teaching the Writing Process

songsaboutfrogsand,suggeStsthat Commercial picture books are a valuable -children might be stimulated by them to learning tool for children through junior write their own frog stories,, myths, or _high school age, since they help them to poems. develop, an appreciation for, and skills in 196, Mackintosh, Helen K. "Catching Color and usiig, figurative language, literary allu- sion, RhythmiiiPoetry with Nine-Year-Olds.". and otherdevices. They provide Elementary El,glish 48 (January 1971): 81-85. students with background and motivation Using the poetry collection Hailstones and for riting.,their own picture books. HalibutBones,by Mary O'Neill,the202 Mussen, Lenore. "Teaehing Creative Writ- author stimulated a class discussion of ikgtoEmotiOnally-HandicappedAdoles- colorfavorite colors, colors one doesn't cents." English Journal 56, (April1967): like, gay colors, sad colors, exciting colors. 608-6, 609. Although the article dealsPnnarily with Emotionally diiturbed adolescents found a poetry appreciation, the activities described helpful release for their feelings when they would be stimulating to children in writing were encouraged to look at, work with, and about colors. write, about natural beauty. The unre- 197. McCann, Patricia. "Po-art-ry."A Arts and stricted and unstructured freedom to write Activities 69 (June 1971): 18. enabled many students to express prob- Describes the experience of a second grade lems, desires, fears, and dreams in a thera- class based on "the natural relationship peutic manner. between poetry and art. ", After stretching 203. Nathanson, David E.; Cynamon, Amy; and out in the sun on a hot day, the children Lehman, Katharine K. "Miami Snow Poets: watched .a..` light show accompanied by Creative Writing-for Exceptional Children." rhythmic sounds, and then made "sun col- eaching Exceptifoal Children 8 (Winter lages" and wrote poems about the asun. 1976): 87-91. A group of Miami children, handicapped in 198. Meehan, Elizabeth H.i" The Tiniest Sound." varying wayS, -was introduced to snow Elementary English 50 (April 1973): 575,598. through piGtureS, three-dimensional plastic A volume of poetic images, Ti' iTiniest snowflakes, and the chance to touch, taste, Sound by Mel Evans, was used to stimulate and smell a handful of snow: After experi- creative writing by sixth graders about the ences in creative dance and dramatics, and "tiniest sounds" they could imagine. a diScussion of snow, they wrote "snow': 199. Mikoloski, Vanda. "Sharpen Your Senses." poems. Instructor 72 (October 1962): 77,86. 204. Nelson, Dorothy H. "And Nowthe Sensu: In an exercise in sensory perception, the ous. Writer!" Language° Arts 53 (May 1976): author asked hen students to describe their 591-93. sensory experiences on, theway to school. In a sensory -writing project, a seventh She also read .iPoems of Robert Frost to grade class fried bacon, listened intently to motivate the children to write.° noises at home and at 'School, touched 200. Miley, Betty. "Come Up to the Mountains various objects, viewed photographs and Some Fine Day!" Teaching Exceptional Chil- pictures, and ate sour 'drops; they then den 4 (Summer 1972): 186 -91. wrote descriptions of their sensory read=' A class of primary, edudable mentally tions. ,.. a retarded children was taketi on a field trip 205. Neugeboren, Jay M. "They Didn't Have to to the mountains. The following day the a Tell the Truth," NEA Journal 53 (November. teacherlistedthe things they recalled 1964): 21-22. . about the trip, and the children composed a Students wrote excitedly and fluently when group poem about the experience. the author assigned writing topics, and 201. Miner, Marilyn E. "Books by Kidsfor added that they didn't hay to tell the.truth Kids." Elementary En-Nish 49 (October 1972): about them. He feels that being able to on A nn 4-..41 1,; i' "to regard writing compositions with a as "real people" through books such as Lee minimum of fear and resistance." Bennett Hopkins' Books. Are By People; 206. Osterweis, Rollyn. "Pictures as Ins ation ease them into writing by working with for Creativity." English Journal 57 (J nuary them in a group; provide positive reinforce- 1968): 93-95. ment. Also i4 an annotated list of Iii-esents a method of stimulating student eleven antho ies of children's writing. interest in creative story writing by using 211. Poskanier, SusanCOrnell. "A Case for Fan- pictures from The Family of Man,kdited by tasy." Elementary English 52 (April 1975): Edward Steichen. Contains a sample story 472-75. based. on one of the pictures. Reading fantasyliteratureto children 207. Parish, Margaret. "Give Wings to Young resulted in a 'flood of creative activities, Writers." Grade Teacher 79. (April 1962): 24, including the writing of a play and descrip- 117-18. tionsof"fantaiyWorlds with absurd Describes many writing experiences to characters who speak rich, made-up lan- stimulate imagination: making listsof guages." descriptive words; writing descriptions of 212.Pryor,Frances. "What,' ShallIWrite an object after visualizing with eyes closed; About?" NEA Journal 54 (November 1965): writing* a description of ,another pupil; 54-55. inventing a-fictitious character; expressing Includes more than two dozen questions feelings about weather (snow, rain,,the first and suggestions which teacherscan use to spring day); writing based on cooking stimulate children'swriting,including: experiences; writing a group play. "What do you think dinosaurs were really 208. Phillips, ,Fredrick. "Stories to Finish." In- like?" "If the ruler were a magic wand, structor 71' (January 1970): 74. what would you do with it?" "Describe the Provides the starting paragraphs of four smallest or biggest thing you sp.won your stories that can be given to intermediate- way to school today." level children to complete. 213. ,Redding,' S. "A Free and Untram- 209. t'ilon, A. tiarbarg. "Stimulating Creative meled Unit." English Journal 57 (September Writing through Literature." Bulletin of the 1968): 846-48. School of Education, India'na University 45 Discussesthpauthor's success with a (November 1969): 33-61. (Author's Ph. D. dis- writing assignment having "no specifica- sertation on this topic is available from Uni- tions, boundaries, restrictions, taboos,or versity Microfilms; Order No. 69-22,030.) expectations,".and no grading for content Outlines a sequence for stimulating chil- or mechanics. Students could write any- dren to writecreatively: read them books of thing "from a line to a novel." Includes children's writings; use books that stimu- many samples of student writing that late word-play; encourage children to write, resulted. storiesaboutbooksthatcontainonly 214. Renzulli, Joseph S., and Callahan, Carolyn pictures; expos9 children to imaginative M. "Developing Creativity Training Activi- books that stimulate theiii to express their ties." Gifted Child Quarterly 19 (Spring 1975): own ideas. Lists numerous books which can 38 -45. be used for these purposes.' Discusses the principles underlying train- 210. Pilon, A. Barbara. "Come Hither, Come ing in creative thinking processes which Hither, Come Hither: The Right to Writ,;, The "freethe .student from thetraditional 'Write' to Read." Gifted Quarterly 14 modes of thinking." A section on creative (Autumn--1,sta 970): 147-52, 162. writing sugge"sts brainstorming and word- Suggs manyideasfor encouraging listing activities to help students find ideas children to write: introduce then? to pub- for stories, find effective words touse in lished works written by other children; theirwriting,and developinteresting introduce them to the idea of adult writers character sketches.

4 1 Teaching' the Writing Process 35

'215. Ridout, Albert K. "The Scarlet Letter and 220. Sellers, Louise. "Teacher, Will You Type?" Student Verse.'' English Journal 55 (October Grade Teacher 87 (October 1969):'38. 1966): 885-86. Children in the 'author's second grade class Describes a class assignment: to write a wrote stories and poems on any subject they sonnet expressingthefeelingsof one chose_ and deposited them 'in a special character in The Scarlet Letter. Gives three folder;the teacher typed each week's .sample sonnets that resulted. offerings during the weekend, and tie chil- 216. Rohman, D. Gordon. "The Vocabulary of Be- dren then read them aloud. , coming: An Existential Approach to Writing." 221. Shean, ,Sister Jeannette. "Experience in Elementary English 48 (February1971): Awareness: An Introduction to Creative Writ- 185-89. - ing." In Rhetoric and Composition in the E'n- The autho'atconcern in teaching creative glish Classroom (a focus issue of Arivma writing is with the way people use words to English Bulleti;i, February 1974), edited by define themselves. He discusses the concept Ken. Donelson,pp.16-21. Tempe, 'Ariz.: of a "key vocabulary" of Words that have Arizona English Teachers Association. (Avail- vital meaning to an individual child, as able from NCT.E; No. 41404.) developed by Sylvia Ashton-Warnerin. Suggests 'a number of activities for moti- Teacher (see` Entry 247), and proposes that, vating creative writing, including: keeping studentskeepjournalsofemotionally a journal; writing "fast and furiousjy" for charged words' in their lives. ten Minutes on any topic; taking observa- ;217. Ru Ss, Laura Edwards. "Choose Your Own. tion tours around the school; participating Topic." Catholic School Journal 68 (November in observation clasges.to develop awareness, 1968): 33. of taste, "smell, and touch. Lists forty;seven -topic's that can serve as a 222. Shelby, Betty. "One-word Stimulus Leads to springboard to creative writing. Topics Expressive Creative Senteives." Grade Teach- include "I Can Do as I Please," "Trip to the er 82 (April 1965): 46. Moon," "Ten Dollars to Spend,'"Fun in Suggeists that children may be stimulated Free Time." to .write, by "organic" words such as love, 218. Russell, -Bob, and Craig, JiM. "Mystery fear, blood, cranky, tears, hateful,'liar (also Write-In." Media & Methods '8 (September discussedby Sylvia Ashton:Warnerin 071):. 85-86. Teacher, Entry 247). As a prelude to a school-wide mystery:223. Slavit, Norma. "Help Your Pupils Develop writing contest, slides made from close-ups Creative' Thinking:" Instructor 70 (March of fourteen "intriguing pictures" were 1961): 128. shOwn to junior high,students to the accom- Children were asked to listen intently to paniment of eerie sounds. Students chose sounds coming from outdoors; they then ten of the slides as ingredtients for their:, viewed the scene through their window nd mystery stories. (7., thought of words to describeit. T eir 219. Schwartz, Steven. "Snowball Throwers thoughts were arranged into a collective Live Forever." English Journal 56 (November .poem. 1967): 1153-57. 224. Smith, Lewis, and Willardson, Marilyn. To the accompaniment of electronic music "Communication Skills through Authorship." and various- visual stimuli, including a ElementaryEnglish48 (February1971): color wheel; students wrote freely and 190-L92. imaginatively. Ditto sheets of their anony- Describes a pilot program in which first mous writings that were passed out to the and second grade classrooms were supplied class provided encouragement for further with cassette tape ,recorders and small writing. private recording environments in which the children could dictatestories. The stor; ies were then typed by a part-time

4 () c 36 Practice

typist hired especially to serve the project. interest in writing was Maintained through 225. Spann, Sylvia. "The Handwriting on the the teacher's minimizing the number of Wall." English Journal 62 (November 1973): corrections(classlessonsin usage and 1163-65. punctuation were held), reading literature A large wall area was covered with brown to the class, and having children copy wrapping paper, on which students were favorite poems. invited to write whatever they wished; the 230. Svoboda, Laura Siel. "Creative Writing and wall was quickly covered with student the Classics." Elementary English 31(January poetry and other writing. 1961): 29-32. 226. Steahly, Vivian Emrick. "Stimulating the Advocates using literary classics as start- Student Writer." NEA JoUrnal 56(November ing points for stories and poems written by 1967): 64-66. students. Describes projects such as writ- Literature study and 'imaginative writing ingstories from particular characters: are interrelated, the author believes; she points of view and adapting stories for a describesseveralwritingassignments "radio script." Includes samples of student based on literature. She also suggests many work. nonliterary ways of stimulating students to 231. Tiedt, Sidney W., and Tiedt, Iris M. "Imagi- write (including having them write about native Books Inspire Imaginative Writing." sensory experiences and asking them to Elementary School JoOnal 66 (October 190): delineate two characters by dialogue alone.) 18-21. and 'supplies "little tricks of the trade" for Summarizes tenchildren'sbooksthat improVing student writing. involve imaginative play with words :,,and 227. Stevens, Frances. "Pre-Poetry and Poetry." ideas, and indicates how they may be used (London) Times Educational Supplement No. to stimulate children to write their 'own 2,336 (February 26, 1960): 375. stories. A supplementary list recommends Thirteen-year-olds spent several sessions eleven additional titles., listening to poetry, prose, and music and 232. Tiedt, Sidney W., and Tiedt, Iris M. "Can handling objects with different textures Primary Children Write Creatively?" Instivc- and surfaces. They were led toward a , for 75 (November 1965): 36, 112, 117. "heightened consciousness of sense-impres- Describes activities tomotivate,writing in sions and were encouraged to write and the primary classroom: group dictation, paint freely." Gives extracts,from students' individual dictation, independent writing

free writing, done both after hearing a (beginning with just a, sentenceor two). 1 poem andinresponsetoateacher's Gives suggestions for 'story starters. suggested topic. 233. Twigg, Helen Parramom " 'You Are There' 228. Stevens, Mary Mercer. "Creative Writing in and It's Fun to Write." Instructor 84 (January the Inner City." Instructor 79 (November 1975): 88-89. 1969): 120.' Suggests many ideas for student writing: An innercityexperimentalcoursein writing about what happens after a trip to . creative writing integrated creative writ- space or.to another time; writing about a ing, dramatics, choral speaking, and read- variety of objects in a "mystery bag"; ing. Dramatics and choral speaking helped switching papers from one child to another to develop a background for writing. during a story-writingperiod-,writing 229. Stroh, Natalie Korbel. "How a Diary En- storiesto be taped with sound effects; couraged Creative Writing." Elementary En- writing about a "happening" staged by a glish 46 (October 1969): 769-71. few students. The author's. reading of her own childhood 234. Vail, Neil. "English: Create from Cartoons." diary to her class stimulated children to Instruitor 84 (January 1975): 51-52. keep their' wn diaries as well as to express Suggests ways of using cartoons to moti- themselves, in other types of writing. Their vatecreativewriting,beginning with Teaching the Writing Process 37 single-ft-lame cartoons and progressing to student in her third grade class, greatly multiple-frame cartoons that are somewhat enjoyed stories she read aloud, the author open-ended. asked him to retell one of the stories. His 235. Vinluan, Alicia S. "Poetry in ,Music." School success in doing this stimulated him to and Community 58 (November 1971): 40-41. continue to tell stories to the class and later Suggests ways of combining poetry writing to write his own stories. These opportuni- andmusic:musicalcompositionsthat ties for self-expression gradually led to a correlate with sights, smells, and feelings decrease in Ted's anti-social behavior. can be played as motivation for creative240. Webb, Rosalie. "Heaven Is Under Our writing, or children can write poems to be Feet." Elementary English 47 (December set to music. 1970): 1106-8. Presents representative poems written by 236. Von Behren-Futh. "It Worked for Me: A students v(ho had carefully examinedone Teacher Shares a Successful Idea." 0-ode square foot of earth. Teacher 86 (September 1968): 39-40, 43. v The author assigns periodic "personal" 241. Weed, Kay, and Watson, Pearl. "Elect Crea- creative writing exercises that are written tive Writing for First Grade."EleElementary En- for only the teacher to see; she finds that the glish 46 (March 1969): 295-99. writings serve as an emotional release for Tells how to pave the way for creative the children and free them to write spon- writin;by taking down sentences dictated taneously'in other areas of creative writing. bythechildren,making classbooks, exploring rhyming words, and reading 237. Vosovic, Larry, and Baer, Tom. "Trust, books aloud frequently. At the same time, Write, Read... AnApproach to Launching a group story writing may begin, correlated Class in Creative Writing." In Rhetoric and with readiness and other subjects Composition in the English Classroom (a focus beim 11(,(1. issue of Arizona English Bulletin, February 1974), "edited by Ken Donelson, pp. 92-94. 242. Wilkerso. obeli. "Wliat About Children's Tempe,Ariz.:Arizona Enklish Teachers Literature?" English Journal. 62 (September Association.Available from NCTE; No. 1973): 923-26. 41404). Notes that the study of children's litera- Outlines the initial steps used in leading ture can inspire high school students to students to "reach into their memory and write fables or picture books foryoung chil- come into contact with the subconscious or dren. Includes list of reference materials. the unconscious" for material to write243. Wolfe, Rinna. "Houses Teach Reading." about. Student work was read in class; Instructor 84 (March 1975): 120. teachers' and students' remarks were kept Fourth graders went outside to sketch 'positive at first. houses in the school neighborhood; back in 238. Walden, James D. "HOme Grovin Authors." the classrbom they wrote poems and stories Viewpoint 50 (January 1974): 53-63. about the people who might live in, the Suggests numerous activities to help chil- house,or about the houses' feelings. dren formulate ideas, including taking244. Worsley, Alice F. "Unicorns in the Class- "field trips" t,1%;ugh the school building room." Elementary English47 (February and taking "litrkg trips" around the 1970): 267-68. playground. Lists activities for developing As a' story-starter, students are asked ' , language skills and for introducing begin- to draw "Somethings": abstract shapes to ning writers to writing. Stresses the impor- which they may, add details in order to tance of praising student work. make them resemble strange creatures. 239. Ware. Inez Marie. "The Case of Terrible They then write stories telling about their Ted." Elementary English 37 (January 1960): Somethings, including informationon how 33-35. they met them and what they talked about Noting that Ted, a perennial problem together. 38 Practice

General Classroom Techniques good or bad. That's got nothing to do with it.. ,:Your only allowable comment is one Books of .natural interest in what [the child] is 245.Applegate,Mauree. HelpingChildren writing. As in conversation: And I never Write: A Thinking Together ,about Children's mark their books in any .ay and'never Creative Writing. Evanston, III.: Row, Peter-r, complain of bad writing."(Most of the book son and Company, 1954. 176p. does not deal specifically with creative Intended to serve as a first step in helping writing, but describes in lively detail class- teachers get practical ideas for a creative robm activities based on the tapping of each writing program, this book, give's sugges- 'child's creative energies. tions for helping children write poemS, 248. Attea, Mary. Turning Children on Through Stories, and letters; for building vocabulary; Creative Writing. Illustrated by the author. and for evaluating creative writing.It Buffalo, N.Y.: D.O. K. Publishers, 1973. 40p. stresses that the growth of individual chil- Divided into five major sections: (1) tells dren is more important than what they howtofitcreativewritinginto. the write and examines numerous values of a elementary curriculum and how to build a creative 'writing program. good classroom climate; (2) shows how to 246. Applegate, Mauree. Freeing Children to encourage picturesque language aqd stres- Write. Evanston, Ill.: Harper & Row, 1963. ses reading aloud to children; (3) guggests 184p. reading poetry aloud, beginning poetry Stresses that children's writing comes out writing with group compositions,and of "piled-up experience: real experience experimpting with various poetry forms, thatislivedfirsthand orvicarious which aiLe described; (4) discusses ways of i experience provided b a thoughtful teach- using the tape recorder, video tape re- er." Uses hundreds $ examples of chil- corder, overhead transparencies, and other dren's writiAii. discussions of: providing media* tostimulatewriti1ig;(5)offers stimulating .Wriences; "pushing the lever several suggestions for story-starters (ex- of.interest" to stimulate writing; evaluating ample: "write from the point of view of an children's writing (urges teachers never to inanimate object"). evaluate a child's writing apart from the 249. Brown, Rosellen; Hoffman, Marvin; Kush- child who wrote it); helping primary grade ner, Martin; Lopate, Phillip; and Murphy, children write (fourth graders can be used Sheila, eds. The Whole Word Catalogue. New as dictation "secretaries" for first graders); York: Teachers & Writers Collaborative, 1972. and helping intermediate-level children Originally published as Teachers & Writers improve their writing skills and proofread Collaborative Newsletter 4, no. 3 (Summer and correcttheir own work. Includes 1972). '72p. (Available from NCTE; No. 57092.) dozens of practical classroom suggestions. Contains dozens of practical writing as- 247. Ashton-Warner, Sylvia. Teacher. New York: signments, many developed through class- Simon & Schuster, 1963. 224p. (hardback); room use by writers from the Teachers & New %roil, m Books, 1964. 191p. (paper- Writers Collaborative, for stimulating and. back). Photographs. encouraging elementary and secondary Classic account of the author's methods of students to write. Assignments are divided teaching children inftMaori school in New into fourteen categories, including Magic, Zealand to read and write by thelping each Personal" Writing, Collective Novels, Dia- child to develop a "Key Vocabulary" of gram Stories, Fables, Creating Worlds, wordsthathave anintensepersonal Spoofs and Parodies, Language Gams, and meaning for the child. Beginning with Poetic Forms; each category includes back- copying their words at age 5, chil ground notes, teaching tips, and examples progress to writing-stoxies about me ning- of student writing. Also describes materi- ful experiences.' The teacher's attent n is als that can be used to supplement the on content: "You never want to say that it's assignments.

(t Teaching the Writing Process .19

250. Burrows, Alvina Treut; Jackson, Doris C.; chapters: "Bristles on the Sun" (primary and Saunders, 'Dorothy Olton. They All Want grade writing activities); "Black Irises and to Write: Written English in the Elementary Blushing Anemones" (creative paragraph School. Third ed. New York: Holt, Rinehart writing);"ViolentFiords andHidden and Winston, 1964. 2810. Valleys" (creative stories, including folk A defiled description of a writing pro- tales, fairy tales, and fantasies); "Topaz gram, developedbytheauthors,that Thoughts" (poeticwriting experiences); balances personal and practical writing. and "The Sputtering Flame" (evaluating The object of personal writing is to "cul- creativewriting).Includes the Carlson tivate a sense of joy and power in the Analytical Scale for 'Measuring the Origi- activity itself," and all factors that hinder nality of Children's Stories. freeexpression(suchasattentionto mechanics) arediscouraged.Children's 253. Carlson, Ruth Kearney. Enrichment Ideas. work is read aloud; no adverse criticism is Second ed. (Literature for Children Series.) 'given, and something in every, story or Dubuque, Iowa: Wm. C. Brown Co., 1976. poem is praised. Children's work is rarely 166p. "published," as the process of writing is Focuses on' ways children can interact, ith considered more important than the pro- literature.Insuggesting ways to help duct. The authors present case studies of children respond to general types of litera- 'ten children over one to four year periods, ture as well as to specific classics, the and include a fifty-two-page verse and author suggests many types of creative story supplement of children's writing that writing activities, including making alpha- can be used for motivation. bet books and "Bumptious Beast Books/' writing song parodies, writing poems and 251.Carlson, RuthKearney.IkTritiptiAids stories about color, making bound books, through the G;.iides: One Hundred Eighty-Six and writing limericks, haiku, and tanka De relopmental Writing Activities. New York: verse. Teachers College Press, 1970. 136p. Classroom writing aiefiyities in this spiral- 254. Chase, Cheryl M. Creative Writing: Activity bound book are divided, into six major Ideas for Character and Plot Development, categories: (1) "The Ebb and Flow of Writ- Grades 3 and 4. Longmont, Colo.: Northern ing" (includes multi-sensory activities to Colorado Educational Board of Cooperative increase observational powers); (2) "Compo- Services, 1974. 19p. sition Writing as an Artistic Expression" Provides step-by-step procedures for fif- (suggests motivational activities); (3) "Spell- teenteacher-testedactivities,including ing Problems and the Flow of Expression" creating imaginary characters and describ- (suggests ways of helping primary-grade ing them, writing imaginative stories about children express therrtheaves in writing); obstinate animals, writing from the point of (4) "Oriental Poetry and Other Syllabic viewof others,writing conclusions to Verse Forms" (Tor the intermediate grades); stories, writing a conversation in play form. (5) "Traditional and Experimental Verse 255. Chase, Cheryl M. Creative Writing; Activity Forms"; and (6) "Writing Is a Way of Feel- Ideas for Observation and Description, Grades ing" (therapeutic writing). 3 and 4. Longmont, Colo.: Northern Colorado 252. CarlsOn, Ruth Kearney. Sparkling Words: Educational Board of Cooperative Services, Two Hundred and Twenty-Five Practical and 1974. 19p. Creative Writing Ideas. Rev. ed. Geneva, Ill.: Describes sixteen teacher-tested 'ideas for Paladin House, 1973. 241p. (Revised third edi- helping students to use all their senses in tion scheduled for release in 1978.) making observations, and to use words that Creative writing ideas that have been used describe their sensory, impressions.In- in numerous elementary classrooms are cludesideas for teaching children the presented along with examples' of chil- importance of detail, how to use action dren's writing. Ideas are groMted into five words,and howtowritedescriptive phrases. The activities do not deal directly 40 Practice

with creative writing, but they do deal with do beautiful creative work in art, rhythmic writing techniques that are employed in dancinNand creative writing. The author creative writing. selected phrases from the children's indivi- 256. Chase, Cheryl M., and Mar ler, Joyce. Crea- dual writing which showed lionesty and tive Writing: Activity Ideas for Grades 7, 8, individuality; each child then copied these and 9. Longmont, Colo.: Northern Colorado portions in very large handwriting on a Educational Board of Cooperative Services, Wall 'Newspaper. The teacher's role was to 1974. 46p. praise, to encourage the growth of self- Describes writing activities dealing with confidence, to react to content, to relieve description, character, plot, dialogue, mood, worries about inadequate spelling or me- point of view, and humor. For each of these chanics. topics, from ten to fifteen activities are 259. Daigle, Pierre Varmon. How to Teach Crea- described. Sample activities: develop char- tive Writing to JuttiOr and Senior High School_ acter through dialogue; imagine your sur- Students. Church Point, La.: Acadian Pub- roundings from the viewpoint of something lishing Enterprise, 1973. 86p. nonhuman; rewrite a fairy tale, a portion of Tells how to, motivate students by publish- Shakespeare, or a part of the Bible using ing alass magazine and how to help today's language. studentk progress from descriptive writing, '257. Clapp, Ouida H., ed. Classroom Practices in to bringing characters to life, to writing Teaching English, 1975-1976: On Righting vignettes or "slices of life," and finally to Writing. Urbana,Ill.: National Council of writing ,short stories. The emphasis is on Teachers of English, 1975. 121p. (Available helping students to "loosen up" and feel from NCTE; No. 06854.) what their experiences have meant to them., Ten of thethirty-fourarticlesinthis and to write about them. Includes many collectiondealdirectlywithteaching examples of writing that illustrate the creative writing. Contributed by practic- author's points. ing teachers and supervisors from all grade 260. George, Mary Yanaga. Language Art: An levels, the articles discuss various topics, Ideabook. Scranton, Pa.: Chandler Publishing including how toset up a classroom Co., 1970. 149p. Writer's Corner; a Young Authors Confer- Offers activity, ideas for a language arts ence at which pupils from nine Idaho program focusing on writing and on the elementary schools share "books" they have development of ea '' .1,1's ,tivity. The ma4e; forming students into groups in program is ba, (1) the which they write short stories, and-write interrelations'', imagina- and perform radio plays based on short tive fun; (3) va readin,(4) sincere stories; "The Publishing Game," a simula- praise.Specific citingideasinclude: tion game which transforms students into keeping a journal; writing poetry after writers, poets, -reviewers, and editors of a exposure to such poets as Frost, Sandburg, magazine staff; and techniques by which and e.e. cummings; writing about the "the slowest tenth grade English class" was "quietest (noisiest) sound you know".; bind- enabled to write stories and poetry. ing books (illustrated instructions are in- 258. Cole, Natalie. The Arts in the Classroom. cluded). New York: John Day Co., 1940. 137p. Photo- 261. Hansen, I. V.,'ed. A Year's Turning: Young graphs. PeopleWriting.London: Edward Arnold This book, which has inspired countless (Publishers), 1970. 163p. teachers, discusses the author's "faith that This anthology of writings by fourteen- and there is the capacity v*ithin the child to do fifteen-year-old students includes discus- surprisingly beautiful things when encour- sionsoftheclassroomsituations and aged and freed by the teacher, and tells stimuli that led to the writings. The works how her encouragement helped children to arse divided into verse (classified according

I 4 '1 e Teaching the Writing Process 41

to the stimuli that produced it) and prose 265. Holbrook, David. English for Maturity: En- (divided into love stories, letters about ficti- glish in the Secondary School. Cambridge, En- tious situations, and two-character portray- gland: Cambridge University Press,1967. als). The book concludes with notes for 262p. teachers, in which some of the stude4its' Part one discusses the author's beliefs that writings are discussed. English teaching should be civilizing and 262. Hawley, Robert C., and Hawley, Isabel L. humanizing for students, and should edu- Writing for the Ficn of It; An Experience-Based cate them for living. Part two presents Approach to Composition. Amherst, Mass.: practical ideas for teaching English; the ERA Press, 1974. 109p. chapter on creative writing, is a personal Featuresa "compendium of activities" account of the author's work in children's designed to help students discover enjoy- writing,inwhichhe encourages the ment in varied forms of writing. Many of explorationand expressionoffeelings the activities call for the generation of raw through the use of poems, sea-shanties, materials to be followed by individual or folk songs, and game-rhymes. small group writing. Includes suggestions 266. Holmes, Noel. The Golden Age for English: for teaching short poetry forms and short Creative Work in the Junior School. London: o story writing, and discussions of mechanics...- M4cmillan; New York: St. Martin's Press, and evaluation. . 1967. 104p. 263. Hennings, Dorothy Grant, and Grant, BaY- Section one deals with stimulating creative bara M. Content and Craft: Written Expres- writing: subjects and opening sentences sum in the Elementary School. Englewood which have proved stimulating to children; Cliffs, N.J.: Prentice-Hall, 1973. 235p. using music, paintings, photos, shapes, and Attemptsto make writing a relevant objects to stimulate writing; and creating a undertaking for students by focusing on the class magazine and a classroom neWsboard. substance of writing (the ideas to be ex- Section two discusses helping children to pressed) and on the writing process. Out- enjoy and to write poetry, as well as to paint lines methods for guiding children in build- from poems. Sectioh three rovers other ipg significant idea-content to communi- aspects of English teachir4 cate and in learning the craft of writing 267. Hopkins, Lee Bennett. Li Them Be Them- and revising. Two chapters deal specifically selves: Language Arts Enrichment for Thsad- with poetry and story writing; many refer- vantaged Children in Elementary Schools. ences to developing creative writing skills New York: Citation Press, 1969. 206p. are included throughout the book. Though oriented toward the teaching of 264. Holbrook, David. English for the Rejected: disadvantaged children, this compilation of Training Literacy in the Lower Streams of the classroom-tested language arts activities Secondary School. Cambridge, England: Cam- and ideas applies to all children. Chapter bridge UriPersity Press, 1964. 291p. onwritten expressionincludes"quick Describes.ways in which the author helped accomplishment ideas" and ideas for in- to develop the creative potential of a class of volving the senses; poetry chapter gives low-IQ children in the lower streams (or suggestions for writing haiku, cinquains, "tracks") of a. British secondary school. and other verse forms. Other chapters deal Most of the book is devoted to a discussion with children's literature, improving self- of methods which encouraged the children image, oral expression, and critical think- to write creatively, and to extensi%e sam- ing. ples of their writing that confirm the 268. Idea Inventory in Teaching the Creative. The author's belief that slow childre.Q can write Sutherlin Program,1964. 35p. (Available surprisingly well when teachers work from EDRS; ED 001 347.) patiently and lovingly to help the% develop Outlines ideas for helping creative stu- their creativity. dents develop their abilities in creative

4 n 1 ( J 42 Practice

writing as well as in other areas of the Make Their Own Readers. New York: Teach- curriculum.Lists twenty-three creative ers & Writers Collaborative,1971.120p. writing ideas for grades one through six (Available from NCTE; No.., 10584.) and more than thirty creative writing ideas Tells about an oral literature project with for grades- seven through twelve. Exam- children who were not learning to read ples: use sound-effect phonograph records well, write competently, or feel any real as stimuli for creative writing; have groups sense of satisfaction in school. Relying on of students experiment with forms such as the native imagery and language skills poems, story books, plays, and radio scripts; emanating from thechildren'svaried have students write personal accounts, such ethnic and cultural backgrounds (Afro- as diaries, autabiographies, impressions, American, Latin American, and Chinese), reflections, or interpretations of dreams. the instructors made class readers out of the children's own work, recorded the 269. Jackson, Jacqueline. Turn Not Pale, Beloved readers in a tape library, and designed a set./ Snail: A Book about Writing among Other of language exercises based on the readers. Things. Boston: Little, Brown and Co., 1974. Includes extensive illustrated examples of 235p. the children's work, and more than twenty Addressing would-be writers of all ages photographs. (and, indirectly, creative writing teachers), the author uses examples from favorite 272. Lane, S. M., and Kemp, M. An App to books, gives insights into her own writing Creative WI. if r itg in the Primary School. Lon- methods, and describes, countless personal don and Glasgow: Blactkie and Sen. 1967. experiences as she urges readers to open up 115p. Illustrated. all their senses to the life around them and The authors believe thathito an be towriteabouttheirreactions.Main encouraged to w 1,in a "fresh,,ersonal, message to teachers: start from the "joy and and vigorous way." They provide ideas for compulsion of creation" rather than from helbing young children develop sensory; "rules and drudgery"; teach writing as a awareness, write in response to music, spontaneous exploration of a subject rather write about pictures (including their own),' than as a dreary task of outlining and then write verse, and write stories based on fleshing in the outline. Main advice to literature and folk tales. They also give writers: keep a journal with accounts of suggestions for diary work, comic strips, experiences, thoughts, andifeelings. In- and writing for a magazine, and tell how a cludes suggestions for "catching" poems in class created large "monsters" from 'waste children'sspeech and recording them; materials and wrote about the monsters' using sensory training games; interview- adventures. ing people about their life experiences and 273. Langdon, Margaret. Let the Children Write: writing down their stories. An Explanation of- Intensive Writing. London: 270. Knowles, Marlene. Creative Writing: Free Longman-s, en and. Co., 1961. '72p. Style. Miami: Dade County Public Schools, Spurre y disappointment in her second- 1971. 22p. (Available from EDRS; ED, 065 ary stuents' dull and lifeless writing, the 883.) authorunched an experiment in creating This guidetoa quinmester workshop situations in which students wrote quickly course in creative writing emphasizes both and spontaneously about their emotional content and style in short stories, poems, reactions to various subjects: spiders, being plays, and informal prose. Includes per- alone, fear, spring (preceded by an outdoor fortnance objectives,rationale,. learning observationsession),animals, miracles. activities, field trips, and resource person- The object was to achieve honest expres- nel; lists student and teacher resources. sion of feelings that were "real, alive, and vital" to students and that were based on 271. Landrum, Roger. A Day Dream I Had at first-hand experiences. Includes numerous Night and Other Stories: Teaching Children to examples of the lively writing that re- Q Teaching the -Writing Process. 43

suited,includingsuccessfuleffortsby after draft of their writing until it becomes "slow" students. Also relevant for elemen- lively and compelling.Thefirst require- tary teachers. (See also Entry 368.) ment is a constant searching for truth by 274. Livingston, Myra Cohn. When You Are both teneher and stud.ts, to combat what Alone It Keeps You Capone: An Approach to Mac i one elsewhere terms "Engfish"the Creative 'Writing. with Children. New York: phony, pretentious language of the school Atheneum, 1973, 238p. that doesnot express truths that are meaningful to the student. Gives numerous Offers many examples of children's writing and stresses the need to listen to children, to specific assignments, with examples from praise, to make suggestions gently, and to student writing, fdr such activities as free encourage children to say what they truly writing, revising first .drafts, collecti "fabulous,realities," keeping a jour feel.Includes chapters on: the tools of creative writing; form versus no form; uses writing case histories, and playing with and misuses of the collective poem; the how words.Discusses andillustrates. many and when of metaphors and similes, rhyme, aspects of writing, including repetition, and haiku; reaching the no, ter: ideas sharpedng, form, maintaining flow, anor for writing; distinguishing between good controlling sound. Each time this program 'well 1,, ' and bad poetry; and ways in vhih ehildre states Macrorie, it has pro- , pieces of good writing." can find for themselves iece writing falls art. Macrorie, Ken. Telling Writing. NewYok Hayden 1 ook Co.,' 1970. 270p. 275. Lopate, Phillip. h.1q with Children. Gar- Presents the same writing program as in den City, N.Y.: Doubleday & Company, 1975. Macrorie's Writing to be Read" see Entry (Also available through Teachers & Writers 276),exceptwith examples fromthe Collaborative.) 192p. (hardback); 486p. (pa- writing of college students. The program perback). The author recounts 1-kis experiences in a gives students the freedom to find their New York City public school as 4 partici- own voice, and the discipline to learn more oabout a professionalcraft. The assign- pant in the Teachers & Writers Collabora- ments, which are enough for a one-year tive. He blends descriptions of the life of the course in writing, follow closely the outline school and his relationship with school in Writing to be Read, and some of the dis- personnel with personal accounts of his cussions are identical. But this work also 'strugglestofind methods forputting children more in touch with their creative contains a great deal of new material, much voice. He describes specific writing ac- of which is applicAle at the secondary tivities, including stream-of-consciousness level. writing, writing down observations made 278. Macrorie, Ken. Uptaught. New York: Hay- on neighborhood tours, writing dialogue den Book Co., 1970. 192p. based on "eavesdropping" sessions around Throughpersonalreminiscences,anec- the school, writing collaborative portraits dotes, and samples of student writing, the ofindividuals.Ike alsotells about his author documents his struggles and even- involvement with playwriting, videotaping, tual success in teaching students to write in producing a musical production, and com- alively,interestingmanner. The ap- piling The Spicy Meatball, a collection of proaches Macrorie found successful are student writing from which he includes incorporated into his books Telling Writing many selections (see Entry 701). and Writing to be Read (see Entries 276 and 276. Macrorie, Ken. Writing to be Read. New 277); Although the author's experiences York: Hayden Book Co., 1968. 2'78p. were at the college level, and the book deals with many topicsotherthan creative Outlines a writing program in which writing, thereis much that secondary teachers act as editors rather than cor- teachers can learn from it about how to rectors, leading students through draft encourage students to find their own voice 44 ' Practice

and write honestly and directly about on how they write. Includes a bibliography things that matter to them. of books that teach the writer's craft. 279. Moffett, James. 'A Student-Centered Lan- Although this book does not deal specifi- guage Arts Curriculum, Grades K-13: A cally with,the teaching of creative writing, Handbook for Teachers. Boston: Houghton the principles it advances are applicable to Mifflin Co., 1968. 503p. the writing of cioetry and fiction. lasedon the thesis that students should use 282. Pease,Don. Creative Writing' iyt the Ele- language more than thqicustornarily do in mentary ,School: Psychology and Technique. most schools. Proposes a curriculum em- New York: Exposition. Press, 1964..182p. phasizing thinking skills, writing from Discussescharacteristicsof a creative personal. experience, self-awareness,se- Writing. atmosphere; gives many. specific quential development, trial-and-error learn- techniquesfor., developing story-writing ing, small-group interaction, and language abilities, including ideas for helping chil- as a social act. Much of the book is about dren write endings to oral or written' 4i creative Writing, with practical ideas and stories, write surprise endings, and develop assignments which begin with younger spontaneous speaking skills. Demonstrates children dictating stories to older children. individual writing patterns through dis- Also de4ls with sensory writing, writing cusions of the work of five children, and about pittures, and writing poems and presents a case study showing the develop- plays; stresses .then importance of writing ment of one 'child's writing from third for an audience of one's peers. (See also grade thrgugh sixth grade. Entry 29.) 283. Petty, Walter T., and Bowen,-Mary. Slithery 280. Murphy, Richard. Imaginary Worlds: Notes Snakes add Other Aids to Children's Writing. on a New Curriculum. New York: Teachers & New York: Appleton-Centin'y-Crofts, 1967. Writers Collaborative, 1974. 110p. 99p. This work resulted from an attempt to find Discusses how to create a stimulating themes of sufficient breadth and interest to environment, for creative writing; gives allow sustained independent writing by many specificsuggestionsfor getting students.Children inventedtheir own writing started; and tells how to help chil- Utopias, their own religions, new ways of dren work with the "builditig blocks" of fighting wars: and different schools. De- various forms scribes the classroom sessions in which the pf writing, and story organization. Also author worked with sixth and eighth grade deals with &valuation, stressing the impor- students and includes a great deal of the tance of sell2appraisal. Includes a sample. -students' work, with their own illustrations. - , writing lesson based on a literature selec- 281. Murray, Donald M. A Writer Teaches Writ- tion. ing: A Practical Met od of Teaching Composi- 284. Petty, Walter T.; Petty, Dor9thy C.; and tion.Boston: Houk ton Mifflin Co.,1968. Becking, Marjorie F. Experiences in Lan- 256p. guage: Tools and Techniques for Language Arts Presents a method of teaching writing Methods. Boston: Allyn and Bacon, 1973. based on the experience of professional 529p. writers. Shows how to teach students the Charter eight _lists possible writing activi- writer's seven skills:'discovering a subject, ties, many related to creative writing. sensing an audience, searching for speii- Chapter twelve, geared to the elementary fics, creating a design, writing, developing level, discusses the importance of a relaxed, a critical eye, and rewriting. Describes accepting classroom climate, andlthe need skills needed by, the writing teacher and to provide opportunities for new experi- elements of a good writing climate; gives ences and encouragement to children to be numerous tips on correcting and editing observant. Presents numerous ideas for papers, holding conferences, "reaching the getting writing started, including using unreachable"; quotes professional writers specific topics, pictures, story frameworks, Teaching the Writing Process 45

andstorybeginnings;describes many tional Service, 1972. 188p. poetry forms including couplets, triplets, A spiral-bound book containing more than cinquain, limericks, haiku. Gives sugges- 100 practical ideas for classroom use, coded tions for encouraging children in their according to appropriate grade level and writing, for evaluating writing, and for divided into six sections: stimulating inter- independent activities for children. est (through such programs as author of the week- showcase and writer's exchange); 285. Pratt-Butler, Grace K. Let Them. developing Creatively. Columbus, Ohio: Charlese. Mer- techniques;storystarters; rill Publishing Co., A Bell poetrypointers;' exploring otherideas Howell Co., 1973. (including 133p. pla.ys from stories and new Stresses the importance of early encour- words for old songs); favorite finales (such agement of personal expression, and of as a young authors workshop or publishing permitting children experience in varied a magazine). media such as drama, art, and Music before 289. Stdudacher, Carol. Creative Writing in the beginning writing activities. Also discusses Classroom. Delmont, Calif.: Fea:ron Publish- creating nonsense as a way of leading into ers, 1968 60p. versean poetrywriting, andoffers Discusses the importance of creating and specific techniques for working with chil- maintains a creative climate in which dren six through eight years old and nine emphasis anpraise are given to children's through twelve years old. creative i s, and in which children are 286. Richardson, Elwyn S. In the Early World. freed froWorrying about corfect meOhan- New York: Pantheon Books, a Division of Ran- ics in their writing: Points out that the dom House, 1964. 217p. strongest incentive for children when they Describes the creative experiences of a begin writing is hearing other' children's class of children who experimented with work.Specific suggestionsinclude: de- such art forms as pottery, sculpting; screen scriptive' writing based on sensory observa- printing, and painting, as well as with tions; writing stories based on pictures that poetry and "thought writing." The author leave a lot tito the imagination; writing about tells how the children developed standards storybook characters. Points out the value for judging the quality of their work, and of building a file of poems, preferably non- devotes five of the fifteen chapters to a rhymed, that appeal to children, as stimuli discu,ssion of their creative writing. In- to their own writing. cludes many examples of the children's 290. Stratta, Leslie, ed. Writing. English in Edu-, writing, and reproductions of much of their cation 3 (Autumn 1969). England: National art work. Association for the Teaching of English. 128p. 287. Schaefer, Charles E. Developing Creativity Nearly all of the thirteen articles in this in Children: An Ideahook for Pet chers. journalissuerelate to the teaching of falo, N.Y.: D. 0. K. Publishers, 1973. 100p. creative writing. They deal with such 'topicsas'creatiyewritingbasedon Part three, "Prose," and Part four,'"Pottry," literature; techniplues for motivating .stu- offer many specific field-tested ideas for dents; using oral storytelling to create a writing lessons, including- writing about context for creative writing; increasing inkblot pictules, writing based on provoca- tive themes (with twenty -five suggested students' awareness of sensory perceptions; andfin inksofaresearchstudy on themes), composing myths andfables, students' written' language. Three 'of the writing simile poems, and creating picture articlesa o appedrinChallenge and poems. 'Also contains' a section with ideas Change in the Teaching of ,English, edited by for stimulating sense eir awareness. *my' Arthur Daigon and Ronald T. LaConte 288. Spencer, Zane A. Flr: 44, Handbook of Cre- (Boston: Allyn and Bacon, 1971). They are.: ilti ve Writing Tech?? iimes for the Elementary "This Is What Came Oiit" by Alex Mckkod School nacher. Stevensville, Mich.: Educa-. (report of a project In which students io five 46 Practice

schools wrote whatever they wanted to say skills,stories from start to finish, and to each other without having to consider. writing poetry. their teachers at all); "A Writing Lesson"' . by John HarYdey (a step -by -step: description 294. Walshe, R. D., ed. My Machine Makes Rain- of a poetry writing lesson); and "Some Cdn- bows: Eight App,koaches to Creative Writing in siderations When Marking" byLeslie the Primary School. '§ydney, Australia: Reed Stratta (a discussion of problems in re- Education, 1972. (Available in the U. S. from sponding effectively to Students' creative" Charles E. Co.,' .Rutland, Vermont.) writing). 176p. Photograp Eight teachers from Australia, New Zea- 291. Strickland, Ruth G. The Language Arts in land, and Papua New Guinea describe,their the Elementary School. Third ed. Lexington, methods of teaching creative writing to Mass.: D.C. Heath & Co., 1969. 502p. children from tive to twelve, and present Chapters thirteen and , fourteen discuss samples .of the children's work. Among the both'practical and creative writing, stress- topics, discussed' by the contributors are: ing that "the development of skills and the introducing kindergarten children to crea- teaching of written form are taken care of tive writing; creative acti 'ties based on in practical writing, while creative writing literature; a series of "w 'ting workshop" is freewrikng, with the emphasis on origi-, activities flat train chil r ii to use their nality of content and style." Outlines steps senses in observation; a our-step method in leading primary children from dictating for writing stories; writ from direct /stories to writing independently; points out experiences, some contrived by the teacher; ( the importarice of a relaxed and happy stimulating.writiAg through mime, dance, classrobrir climate. in which children are omiart. The emphpsis in all cases is on exposed to literature and-'to "a wealth of wrItpig as a dynartic and central element experience."iscusses the author's belief ofthe curriculum. - that form isu in poetry and that rhyme canterfere with children's poetic 295. Witter, Janet, and Emberlin, Don. Writing thinking. Is the Funniest Thing: Teaching Creative Writ- ing. Salem,. Ore.: Oregon Association for Su- 292. Tiedt, Iris M., and Tiedt, Sidney W. Contem- pervision and Curriculum Development, 1973. porary English in the .Elementary School. -Sec- .40p. (Available from EDRS; `ED 083 583.) ond ed. Englewood CliffsN. J.: Prentice-Hall, This curriculum 'bulletin discusses a pro- 1975. 431p. gram that was used for teaching creative Chapter seven, "Creative Writing," tells writing to fifth and sixth grade children. how teachers can integrate creative writ- The children wrote briefly every day ing experiences into the curriculum and throughout the school year, producing let- discusses motivation techniques and ele- thrs, reports, stories, editorial essays, news ments of a good writing climate. Chapter stories, ,poetry, descriptions, And jingles. eight,"ExploringPoetry,"dealswith Subjects included approaching holidays Poetry appreciation as well as witii experi- and seasons, emotions, colors, and sensory encesinwriOng freeverse,couplets, impressions. Includes samples of the stu- triplets, cinquhins; and other verse forms. dents'writing and descriptions of the 293. 'Ullyette, Jean M. Guidelines for Creative stimuj/ usedto motivate the writing. Writing. Dansville, N.Y.: The Instructor Pub- 296. Wolfe; Don M. Language Arts and Life Pat- licatibns, 1963. 48p. terns, Grades 2. through 8. New York: The its handbook provides ideas to give pupils Odyssey Press, 1961. 628p. satisfying and challenging Writing activi- .The author believes that the heart of the ties: Safnple>g of creative writing introduce language arts program should be having each section. Main sections include guiding children write and speak about the aspects . creative writing, areas for creative writing, of experience that are most crucial in their motivating the writer, developing word %day-to-daylives. Chapters five, through Teaching the Writing Process 47

eleven deal with teaching creative writing: proceeded 'to create their own newspapers helping. children from the early grades to report imagined events. throligh grade eight choose writing topics that are meaningful to them, teaching the 299. Teachers & Writers Collaborative Newsletter , use of sensory language, introducing the 4, nos. 1-2 (May and October 1971): 204p.. writing of autobiographies as a long-term' (Specialouble issue.) project, working with personification, and More than twenty writersgive 'a.ccounts of helping students write stories> based on programs they conducted with diverse comic strips. groups of students in varied settings and include numerous examples of student 297. Zavatsky, Bill, and Padgett, Ron, eds. The work. Material most pertinent to, class- Whole Word Catalogue 2: A Unique Collection room teaching includes the folloWinr art of Ideas and Materials to Stimulate Creativity account by Ron Padgett of acprogram in in the Classroom. Published in association which sixth graders who had studied with Teachers & Writers Collaborative. New .poetry writing became teachers of poetry, York: McGraw -Hill Paperbacks, 1977.352p. writing for kindergarten children; Roger Numerous professional writers who have Landrum's description of a program in worked with studentsinpublic school which children's spoken stories were repro- classrooms offer ideas for helping students duced in written form and then made into learn to write creatively. The ideas'cover a individual books; Phillip Lopate's report of wide range of topics, including the writing his experiences working with students at of poetry and prose, imaginative writing an East Harlern'Youth Employment center; "gimmicks," publication' of student work, detailed suggestions for designing a stimu- and writing projects involving the visual lating environment for creative writing arts, film, video, ecology, and history. In activities, offered by Sheila Murphy; sev- addition to providing practical suggestions eral dozen "story-starters" contributed by and teaching strategies, the writers contri- Rosellen Brown; a report by David Shapiro bute thoughtful discussions about their own of a program in which a writer, a painter, a teaching successes and failures and about dancmsan actor, and a musician worked to- many issues related to creativity, teaching, gether M two, schools; and Bill Zavatsky's and learning. Includes annotated bibliog discussion of the importance of each poet's raphies of varied- resources and numerous finding his or her own personal method of_ examples of student work. teaching poetry writing. Teachers & Writers N'ewsletter/Magazine 300. Teachers & Writers Collaborative Newsletter 4, no. fel (Spring 1973): 159p. 298. Teachers &,Writers Co llabor4tive Newsletter The selections from writers' diaries in this 3, no. 3 (October 1970): 84p. (Eaclier issues of issue are intended, according to the editor, the Newsletter ve no longer avaiThble.) to "present a dynamic of. the incessant Describes the classroom techniques of two, pulsation between upkand.downs, euphoria poets who. taught in junior high and second and crankiness, energy. and exhaustion in grade classrooms; presents selections from the American classroom. There are new writers' diaries that discuss successful "les- writing techniques.to use in classesbut no sons"inwhichstudentswroteabout ideas divorced from their setting and mirrors (looking into them and walking egos .... It's QUI; intention to show-how good through them), junk, objects that talk, and writing ideas emerge from flesh-and-blood imaginary beasts. In other contributions, encounters." In addition to the diary selec, BillCtirriertellshow, fourth graders tions,articlesof interestto classroom created picture books containing their own teachers include Phillip Lopatks'account of stories and photographs, and Phillip Lo- helping children to make videapes, from pate shows how sixth graders invented writing and' producing a script through their;own news, interviewed each other, editing and screening, and Anne Martin's staged mo.0( television specials, and then description of the way first graders were 48 Practice

encouraged to write by exposure to a great totheir moods and needs; Sue Willis variety of types of writings and by such describes a unit' on the Medieval Age that activities as group dictation and writing in included the writing and staging of a play, individual notebooks.. and a Medieval procegsion; Aaron. Fogel 301. Teachers & Writers Collaborative Newsletter shows how he helped students learn that 5, no. 1 (Fall 1973): 64.R. they can choose the 'content for tfieir own In the first article in this issue, Bill Zavat- Writing and write about what is interest- sky uses an example of student writing to ing to them; and Karen Hubert tells of an demonstrate two ki ,iasof poetry: that experiment with writing in different gen- which is based on fanaisy and that which res', in which students wrote horror stories, reflects close observation of the real world. romance stories, and mystery stories. In Other articles, Phillip Lopate tells how 303. Teachers & W4pers Collaborative Newsletter students painted a triptych of heaven, 5, no. 3 (Spring 1974): 64p. earth, and hell on a large screen and then In this issue, Kathleen Meagher describes a wrote about their conceptions of the three poetry workshop in which children, talked locations; Ron Padgett shows how fifth and about their dreams and used their dream sixth graders wrote and staged a puppet images in writing; Phillip Lopate reports play -and worked with him in making a' on a class session dealing with stream-of- film; and Sue Willis tells how she worked consciousness writing and a lesson in which along with students on group poems and children created fantasy writings about stream-of-consciousness writing and helped being insane; and Aaron Fogel urges them with dramatic improvisations. Nu- teachers to leave the child's diction alone merous examples of student work are and address themselves to the thought included. rather than the style ofeach child's writing. 302. Teachers & Writers Collaborative Newsletter Ron Padgett expresses concern ,about "the 5, no. 2 (Winter 1974): 64p. monopolization of the haiku by the minia- In this issue, Phillip Lopate discusses ways turized and excessively adorable world of in which teachers can help children feel Nature" and presents unusual haiku writ- free to express their feelings in writing and ten by students who were asked to make the notes undesirable techniques sometimes last line a "complete surprise"; and Bill used to try to reach this goal; he also deals Zavatsky tells how the surrealistic paint- with the handlingof taboo subjects in chil- ings of Rene Magritte stimulated students dreh's writing. Ron Padgett tells how he tif-vfrite fantasy stories. -worked,with several students in making a.,304. Teachers & Writers.Collaborative Newsletter film and found that one boy who had been 6, no. 1 (Fall 1974): 56p., , -uninterested in writing poetry became very Ine the firstarticleinthisissue, Dan excited and involved in the filmmaking Cheifetz tells that a restless, hard-to-reach project. Dick Lourie points out the value of groUp of children responded well when Kenneth Koch's Wishes, Lies, and Dreams asked to imagine seeing a strange creature (see Entry 427) as "the personal journal Of a when they looked in a mirror; the children poet some of ose insights and ideas may described \their fantasy creatures orally be of use" to teachers, but he warns against and then wrote stories and drew pictures the use of the book as a teachers' manual involving them. In other articles, Nan thaie offers "Methods" to be applied un- DavisondescribesaprojectinWhich thinkinegiy din other clasSrootns. In other children* made glass light-showslides, articles, Bette Distler tells how, when she projected ,em, and wrote stories sug- found that merely giving writing assign- gested bye slid"; Sue Willis tells how ments did not result in good student she helped cdren to write all stage their writing, she evolved more flexible tech- ow'nplay, a murder mystery; Jeannine nionesinvolvinggettingto know the Dobbs. reenunt.a hnw she learned In viva har Teaching thttjyriting Process 49 during the process of writing, to pay less draina; and Meredith Sue 'Willis's article attention to their writing products than she about helping children write fiction scriPts had at first; and-:-above allto try to estab- m. for film and video. lish a bond of trust with them; and David Fletcher tells how a discussion of Otto 307. Teachers & Writers Collaborative Newsletter Rank's concept of the birth trauma led to 7, no. 1 (Fall 1975): 48p. writings in which children described their Among the articles' in this, issue are the ideas about their own births. In the final. following: Anne Martin's account of how, article in /this issue, Norman Weinstein after participating in a poetry' writing presents excerpts from the diary. of his ,workshop as a student, she developed more teaching experiences in Appalachia which respect for the development of each of 'her revealhisstrugglestohelpstudents own pupils; Philip Lopate's description of a discover, their own individual voices; he project in which children gathered infor- quicklyrejectedlanguage games and mation about their parents' lives, wrote exerbises since he feels they rarely generate about their parents, and collaborated with student poetry with any individual power. their parents in writing stories; Phyllis Tashlik's report of a workshop in which 305. Teachers & Writers Collaborative Newsletter writing was taught 'as "a type of medita- 6, no. 2 (Winter 1975): 48p. tion, a process that helps the Student reach Articles in this ,issue deal with teaching his or her own center; and the source of writing, in a therapeutic community of inner knowledge"; Theresa Mack's account drug Addicts, teaching a course in film of the way in which a group of fifth and viewing and filmmaking, and teaching art. sixth graders wrote-and produced a nine- In.! addition, Aaron Fogel tells of the minute videotape, complete with an illicit diffiCttities of teaching -Writing to dispirited love affair and a murder; and a description students in a special education class; and of the ways in which children were helped Bill Bernhardt presents exercises that can to write the long stories published in Five lead high school students to an increased Tales of Adventure (see Entry 683). awareness of what writing is and includes samples of student writing done in response 308. Teachers & Writers Collaborative-Newsletter to the exercises. Karen Hubert tells how a 7, no. 2 (Winter 1976): 48p. group of children, meeting regularly over a In this issue, Wesley Brown presents exam- period of several months, created a love ples of children's fietiOnal, renderings of story; she describes the group' dynamics historical events; Theresa Lack tells howa that operated during the composing ses- group of children made an 'animated movie sions and includes the entire love story. of, "high-points" of the American Reyolu- don; Annette Hayn describes how a group 306. Teachers & Writers Collaborative Newsletter. of children wrote a play based on an inci- 6, no. 3 (Spring 1975): 48p. dent experienced by one of them and then This issue "presents sorne of the experi- staged the play for the rest of the school; ences of writers working with film and and Meredith Sue Willis shows how she video. These articles explore the connection worked with fifth and sixth graders all between drama, as captured by these year:, and then helped them to make a class media, and the writing process with which book from their writings. Bob Sievert we attempt to familiarize children. We describes an insect project that led to chil- hope to convey to the reader some sense of dren's building papier-mb,che insects and how film and video, major. art forms of our then to their making a horror movie about time, can be used in the classroom to giant insects that invade a school; Lois Kalb expandtheunderstanding, ofartsin Bouchard tells about a course for prospec- general." The theee articles are Phillip tive teachers during which the teachers Lopate's account of a film history course for gained confidence in:their ability to write elementary school students: Theresa Mack's expressively And to hpin ehildrpn do thp 50 Prcittice

after trying many types of writing assign--311, Teachers & Writers Magazine 8, no. 2 (Win- . ments that seemed rather irrelevant to the ter 1977): 48p. class, she led the students to writing but of This issue is a tribute to Flora Arnstein, their -own experiences and out of such author of the classic studies Children Write current fascinations as horror, violence, Poetry and Poetry and theChild (see and love relationships. Entries 416 and W17) and a pioneer in the 309. Teachers & Writers Collaborative,Newsletter fieldofteachingcreativewritingto 7, no. 3 (Spring 1976,)! 48p. children. For thefirstarticle,Phillip In this issue, Karen Hubert recommends Lopate interviewed Flora Arnstein in her that teachers learn students' preferences in San Francisco home; he describes his entertainment; then, by offering them the impressions of her andtells what he same kinds of choices in their writing that learned about her life, the development of are available to them in their other enter- her interest in poetry and in teaching, her early teaching experiences, and .her ideas tainment,teacherscanbegintoturn writing into self- entertainment. In other about teaching children to write. Excerpts articles,-Alan Ziegler describes a project in from two of Arnstein's works are included: which children wrote letters and letter- an autobiographical memoir dealing with poems to objects, to nonhuman organic her early life, and a book that, in the words things, to 'people who had died, and to of the editor, "concentrates entirely on historical 'figures, and then wrote answers classroom life: portraits of children, and from the recipients; Meredith Sue Willis the ethical and personal quandaries of describes, a number of writing activities, being aresponsive,justteacher." In including listening to dialogue in various another article, Richard Perry tells how a parts of the school building and writing it group of advanced readers from a sixth down, and writing ends to stoties begun by gradeclass 'studiedfiction by Ernest published authors; and Christine Smith Hemingway and James BaldWin ancj use& tells how, believing that writing teachers it as a model for their own Writin should take ideas into the clg'ssroom rather Articlg- than teach creative writing as a subject unto itself, she introduced a study of whales 312. Albert, Burton, Jr. "Tips from Tom, Ben and dolphins, which led to various types of and the Other '76-ers: Launching a Writer's , student writing. Workshop." ?Language Arts 53 (September 1976): 637-44. 310. Teachers & Writers Magazine 8, no. 1 (Fall Deplores, the "assignment approach" to 1976): 56p. writing, in which students write for brief In this "Special Comic Book Issue," Phillip periods on assigned topics; describes how Lopate describes the methods by which, professional writers immerse themselves in with the help of a printer and an artist, he topics of their choice before writing about helped children make their own comic them and recommends creating a work- books. The second "article," written by shop climate for writing in which students Phillip Lopate and illustrated by Bob explore subjects in depth and interact with Sievert,isa comic strip showing the each other, exchanging drafts, reading, development of the comic book project. In and reacting. the final Meredith Sue Willis dis- cusses projects that grew out of the comic 313. Arnold, Myrtle. "Writing Is Fun." Elemen= book project, including the making of a tary English 40 (January 1963): 78-81, 84. fotonovelaa story in comic book (fgrmat Suggestions for student writing include that,uses photographs instead of drawings. writing fabs and myths, relating experi- A reproduction of the fotonovela is included, ences, wri ing from giventopics, and and the entire comic book made during the finishing a story from a given dramatic nrn;an4 is innInriarl as an inaarf N, situation. Includes suzzestions for story 4 Teaching the Writing Process 51

planning, oral presentations, and develop- Reproduces children's original stories and ing "language standards." points out that "the only requirements of a Banks, Janet Caudill. "Writing with No story are that the writer likes it and that Strings Attached." Instructor 79 (June/July the audience reacts affirmatively"; teacher 1970): q 1. 'criticism ofcontent or mechanics will only To encourage children Ulf express them-, "dull the sharp edge oU inventiveness." selves freely, a teacher instituted two writ- Rehabilitative measures for children who ing periodsone with simple assignments are discouraged about writing ,include and, correction of errors; and one for building rapport, reading aloud tothe class creative writing, with no strings attached, stories by other children and bytheir own members, looking for things to enjdy inthe done during a fifteen-minute daily period. writing, and forestalling negative criti- 315. Bowman, Locke E., and Bowman, Ruth. "Ar cism: Dikusses ways in which correct form Writer's Workshop for Young People." Inter- in Writineaan be developed. national Journal of Religions Education 41 (December 1964):16 -17,. 33. 318. Carey, Mary. "Write And Speak CreatiVely." Eleven high scDool students attended an Instructor .72 (November 1962): 51, 96. intensive ten-day summer workshop in Desciibes a series of telecasts prepared by creative writivg. They wrote, criticizdd one educators in. Houston, Texas, to help third another's work, went on field trips as back- through sixth graders become more articu- ground for writing, and met with profes- late. The 'programs dealt with sensory per ception, alliteration, and building stories sionalwriterstodiscussthewriters' careers and their ideas about writing. from a word, phrak, or topic sentence. '316. Burkhart, Catherine. "Creative Writing-,-A 319. Chapman,' Jane. "There's a Writer iltAMY School!" Teacher 90 (April 1973): 38-42. New Curriculum." Paper presented at the an- Describes some of the classroom proce- nual meeting of the Conference on English dures used b&- writers who work in public 'Education, March 1975. 17p. (Available from schools in tbe New. York area as part of the EDRS; ED 106 855.) Teachers e Writers Collaborative. Gives Highs hoolstudentsin' theauthor's creati glimpses of work on a communalpoem, riting sequence begin with a indiyithial stories, and an animation proj- paptitled "I Am" and proceed through a ect. Photographs. seri of self-discovery papers.If they achieve a grade of A or B; they are entitled 320 Cholden, Harriet B. "Writing Assignments to enter either Creative Writing 2 (a poetry with Equal Writes." Elementary English 52 coursein which students explore such (February 1975): 190-91. forms lid, tanka, haiku, triad, and experi- -To avoid discouraging students by marking me,ntal approaches) or-Creative Writing 3 errors in their creative writing, the author (a short story and drama writing class made two separate assignments each week: focusing on the writing of dialogue). Crea- ''standardwriting,"correctedforone tive Writing 4, open to students who have specific skill each week; and "free writing," achieved an A in Creative Writing 1 and 2, with no corrections made at all. Many involves independent work and peer teach- students wrote lengthy dialogues and short ing of these courses. In Creative Writing 5, stories for their free writing assignments. open to all advanced creative writing stu- 321. Clark, William A. "How to Completely Indi- dents, students direct schoolwide writing vidualize a Writing Program." English Jour- contests. nal 64 (April 1975): 66-69. 317. Burrows, 4lvina Treut. "Children's Experi- Urges. teachers to validate each student's ences in Writing." In Children and the Lan- uniqueness, and to demonstrate through guage Arts, edited by Virgil E. Herrick and students' writings how each one sees things T sla nri R.T nnhenn 91 52- g7oFin erlauunnri differentlynccorihraq a malinri inwhich Practice

students "churn out a number of rough duction, a body, and a conclusion for their drafts" for stories and then select a few stories. which they polish for a grade. In the revision process, the teacher helps stu- 326. Dunlap, Vivieri H. "Creativity: AC RainboW dents build on what the students them- in the Sky." Elementary English 39 (January selves choose as the ``best thing" in their 1962): 41. drafts. Describes experiences With a fifth grade 4, individualized reading project dealing with 322. Cowles, Dorothy S. "One Outcome of Crea- legends, folklore, and tall tales of America. tive Supervision." Educational Leadership 18 Emphasis was on improving free expres- (April 1961): 435-37. sly ofideas, vocabulary growth, and On a beautiful, spring morning, five chil- applied language skills. Includes a student- dren were sent outdoors to write their written tall tale. impressions of spring, while the reAt of the cls stayed indoors to do their writing. The 327. Dworsky, Nancy. "The Disaster WOrkshop." c&trast between the outdoor and indoor College English 35 (November 1973): 194-95. writing pointed out to the class tlt writing To avoid discouraging students by negative is more powerful when authors are close to comments but still convey certain stan- their topic, sharing their true feelintp with anis of gooq writing, the author holds their readers. poetry workshops in which. she and the students criticize poems that the student 323. Cozzo, Joyce R. "Clinics for, Writing." En- writers have been unable to Make work to glish Journal 51 (January 19'62): 26, 31-32, 43. their satisfaction"disasters" which they. Describes a program involving Saturday feel are worth Changing, and with which morning' writing clinics in which small they welcome help. groups of students headed by a teacher consultant read-and analyzed student com- 28. Dr, Daniel.,,"When Kids Are Free to positions' written in class. Wrq,." English Journal 65 (May 1976): 34-41. gvery Friday the authorand his seventh 324. "Creative Instructor $3 (October grade class write in any genre andon any 1146-112._ topic they choose; those who want to, read !.16ea rs ft-OM differing grade levels con- their work aloud, and the work is turned in Uilouted many ideas: empathy situations foil, comments oncontent (mechanical (students empathize witha nonhuman e Mrs are not commented on and no grades object, such as a moth ready to break out of are given). Includes a table indicating num- its cocoon); sympathy situations (students ber and pegentage of compositiohs.re- write from the point of view of another ceived during a two-year period in five human being in an emotional situation); an categories: personal experience, letters to honest approach (students write honestly the teacher, fiction,oetry, and exposition. about what they really think apd feel); scientificobservation(after examining 329. Eichenberg, Mary.Ann. "Bringinga Class natu'ralobjectsclosely,studentswrite to Its Senses." English 'Journal 54 (September about them);pecial workshops (children 1965): 515-18. learn to plan,ork at their own rate, and Maintains that careful training of the five write on their own terms without grade senses fosters improved descriptive writ- incentives). sing.Relates activitiesfor training the senses, with corresponding writing assign- 325. Doubert, Bonnie Lowe. "CHALLENGE! ments. Don't Just Teach!" Elementary English 48 (December 1971): 960-62. 330. Featherstone, Joseph. "Teaching Writing: The author helped second grade kpupils Some Seem to Know How to Do It." New write stories, using magazine pictUresanct Republic 163 (July 11, 197b): 1144. ilnlIclial nh;nn+e Discusses the "admirable effort" of the Teaching the Writing Process 53 -a places writers in classrooms on a .regular sented at the annual convention of the Na- basis;praises the Teachers & Writers tional Council of Teachers of English, Novem- Collalorative Newsletter for its "refresh- ber 1971. 16p. (A'ailable from EDRS; ED 085 ing" discussions of failures as well as 750.) successes in teaching writing. Describes Talk and tbe exchange of ideas serve to teaching techniques of Kenneth Koch, one createa needfor inner-directedself: of the Collaborative poets; emphasizes that expression;therefore, dramatic activity the main .point is not the product, -but can be an effective form of exploration of a rather howtheexperience helpsthe topic-prior to' the act of writing. The tasks student. Points to Foxfire, a quarterly in in a creative writing experience may be which students record Appalachian folk- broken into a sequence_ : (1) focusing of chil- lore, as a venture which provides invalu- dren'sattention ona broadtopicto able, experience for students. generate interest; .(2) .exchange of ideal; 331. Finkel, Judith S., and Hasson, Elizabeth A. (3)- the writing period, during which the "reregdipityOr° How Things Happen inan teacher sehps as a catalyst, an audience, Open.' Classroom."' Elementary English 50 and an aid with mechanics (young children (April 1973): 579-80. may dictate their ideas t.9 the teacher); (4) a Describes ways in which creative writing sharing perio occurred in an open classroom: one group of 333. Garrett, De 1.. "Creativity and the Class- children wrote books to be read tckyoupger room." Clearing House 48 (September 1973): children,; while others worked with news- 62-64. paperEZ miffing captions for pictures and The author believes that creative writing creatiffg their own comic strips. lends itself to the workshop approach in a, '332. Forsy.theliichard. "Attitudes toward Crea- which class-members write, react, revise, tive Virieting:":;Clearing House 35 (December and reevaluate as an entire class or in small 1960): 223431 groups. the article describes examples of Urges teachers to do some writing-them-- stimulating writing assignments and dis- selves, and outlines a step-by-step method cussesthewriting of autobiographies, by Which students can learn to write crea- : journals, and poetry. tively: write a descriptive sentence about a 336. Girdon, Mary Bowers. "I Like to Write." classmate, write a description of a scene Elementary English 31 (November 1954): frOm a window, write short character 399-401. sketches, write about how a real-life situa- Third and fourth grade children wrote tion affected them, participate in class freely when permitted to choose their own -readings from their works followed by topics and to write at odd moments during criticisms and discussions. the day. :The. teacher commended expres- 333. Freeman,, Sophie. "Put 'Create' into Crea- sion of feeling, vividness of description, and tive Writing." Elernentary English 42 (April free -play of imagination, and apprecia- 1965): 401-2. tively read all the stories. Describes a series of writing activities:,337. Girod, Gerald R. "Creative Writing and Be- (1) draw picture stories, (2) put the same havioral Objectives." Elementary English 50 story into words, (3) write "a story that is (September 1973): 97L-76. . real" as one wbuld tell it, (4) tell "a story Urges teachers to select a "set of character- that never happened," (5) prepare "a story istics which seem to make up creative that stands still" (use of nouns and adjec- writing" and then set objectivesto be tives); (6) prepare "a story that moves" (use achieved. Gives a sample lessen and ideas of verbs and adverbs), (7) write poems, for reinforcement. (8) write letters. 338. Glatthorn, Allan A. "Cooperate and Create: qqA Fil /*naylino 4-;Acs A T-1-:- I Cl L . I I 54 Practice

Theauthorbelievesthatsmall-group children's creativity. Discusses six segue cooperative learning facilitates creativity tial steps in the creative act: children and encourages students to take responsi- have rich, sensory experience, they must,. bility for their own learning. He describes reaceotionally to their sensory expert: anactivityin which small groups of ence, must wish to share their experi- A students write and dramatize a poem. ence,ey must have appropriate media of 339. Godfrey, Lorraine Lunt. "Creative Writing." expression available°, they must learn to Teacher 92 (January 1975): 34 -36. subject themselves to the disciplines of their medium, they must achieve a measure Gives suggestions for developing a "crea- of uccess. tivewritinglearningstation"inthe classroom; describes more than a dozen, 344. Hopkins, Lee Bennett. "Creative Writing possible activities for the station, including for Those Who Can't." Catholic School Journal writing captions for comic strips, writing 68 (December 1988): 46-47. abouictures, and finishing sentences. Describes ideas tested with "children who 340. Gordon, Julia W. "I Want My Children to Be couldn't writebut did!" Ideas include creating captions for pictures;Nicrpiting .Skillful." Instructor 72 (February 1963): titlesfor 36. storiesorpictures;writing 'Describes a classroom situation in which similes"; working with short poetic forms, children had the opportunity to write for such as couplets, haiku, and cinquains; half an hour each day about anything they learning to use the fiv senses. wished, and then to share their writing. 345. Hunter, Elizabeth. "Fostering Creative Ex- One child- was given the help he needed to pression." Childhood Education 44 (February develop his skills in writing and binding his .1968): 369-73. own book. Creating. mood! with music, paintings, or 341. Groff, Patrick. "Success in Creative Writing poems that are merely pretty does little to for Everyone!" -Elementary English 40 help children with the three basic problems (January 1963): 82-84. of story writing. plot and content, word Gives a step-by-step procedure for teach- usage, and the process of gathering ma- .) ing creativewriting. The method begins terial and getting started. The author gives with group-written stories, with correc- numerous ideas for exploring these areas. tions and proofreading done by teacher and 346. Jacobs, Evelyn. "Primaries Exchange with class. As children are ready, they add their Fourth Graders." Instructor 81 (February own individual lines to the stories, and 1972): 128E. eventually write complete stories indepen- In an exchange program between a first dently. and fourth grade class, in different com- 342. Harper, Wilma. "Creativity Is Contagious." munities, the older class wrote and illus- Grade Teacher 85 (September 1967): 158-60. trated books which they sent to the first Children in the author's fifth grade class graders. The first graders then wrote books wrote creatively for at least five minutes a for exchange. day and criticized each other's writings. 347. Jones, Marian I. "Use Your Imagination." Theyalsokeptvocabularynotebooks, Elementary English 40 (March 1963): 271-72. dramatized action verbs, and wrote poems Describes Methods for teaching first grad- about beauty after reading and discussing ers to use their imaginations so they can go other poems on that topic. beyond conventional written statements 343. Heffernan, Helen. "You Can Release Crea- such as "the little girl went out to play" to tivity in Children." Instructor 69 (December express ideas about the little girl's thoughts, 1959): 6, 82. feelings, and surroundings. Also points out Stresses that the guidance of the teacher is the value of having children read their Teaching the Writing Process 55

;348. Josephs, Lois. "A Disciplin9d Approach to on one large piece of paper. Creative Writingte English Journal 51 (Octo- ber 1962D: 468-73. 353. Kohl, Herbert. "Another Way: Responding Outli es a cr ve writing course designed to a Student's Writing." Grade Teacher 86 to h p stu ents see that "writing is not (December 1968):'11-12. aim ssly creative; itis planned, ,thought Discussesvariousaspectsofteaching about,defined,redefined,written and writing: responding to the content rather rewritten." In the course students ekplore than grading or correcting mechanical `basic standards for-gdbilwrifing and work errors,writingcollectivepapers,and on expesition.: research papers, and encouragiAg students to write about topics stories. of interest to them. 349. Kpables, Harold."Creatiyelccitingin the 354. Kohl, Herbert. "Another Way: Success, Secondary Sctiool." English Jburnart, (March Failure,andEvaluationinWriting..." Grade Teacher 86 (January 1969): 39-40, 43. 1968): 356-59, 430. . ,Pi4oPoses a creative writingeourse in which Stresses that a writing program ought to students write out of theirown experiences grow organically through student-teacher and observations, learn about levels of collaboration. piscusses the importance of usage (standard, colloquial; etc.), andjudge sharing the experiences of other teachers their own Wilting against' eg,ch other's an4, and of learning from one's failures, and against' profes'Sional models. considers a number of ways of evaluating _,---..... student Writing. 50. Kelley, Julia G. "Creative Writing in the First Grade." Elementary English 41 (Janu- 355. Lazarus, Arnold Leslie. "English XL." En- ary 1964): 35-39. glish Journal 43 (February 1954) :' 71-74. The first grade teacher should encourage A language arts course for selected stu- children to dictate their ideas, provide dents-with the ability to express themselves stimulatingclassroomexperiences and verbally stressed intensive writing stimu- help the children write experience charts, lated by, selective reading. The program praise early writing attempts, encourage included daily journalwriting, weekly the use of phonetic spelling, and provide compositions orpoetry, and a research varied opportunities to write. paper. 351. Kinnick, B. Jo. "Encouraging Creative 356. Lowe, Bonnie. "Individualized Creative Writing." NEA Journal 49 (December 1960): Writing in the Open Classroom." Elementary 20-22. English 52 (February 1975): 167-69. Suggests ways in which teachers can use Describes interest centers and motivational the writings of Franklin, Poe, Hawthorne, materials that were provided in an open Emerson, and Thoreau to stimulate crea- classroom; points out that in order to stimu- tive writing by students. Other suggestions late students to write creatively, these deal with writing about sensory responses; materials need to be supplemented unified-effect writing in which the student individual conferences,interest groupp attempts to class discussions, and sharing of creative create a single, emotional writing. responseinthereader; writing about objects; and evaluation procedures. 357. Macrorie, Ken. "To Be Read." English Jour- 352. Kohl, Herbert. "Another Way: On Starting nal 57 (May 1968): 686-92. a Writing Program." Grade Teacher 86 Describes a thirty-point program for a seminar-style class in which students are (November 1968): 20-22, 24. , The author beghn a writing program for encouraged to write freely and honestly fourth graders by handing everyone a about matters of concern to them, and in blank piece of paper. Students and teacher which students criticize each other's writ- r.11 ...... 4.-. ,...... 1 -1:,...... 1 ---.1.. -it. ---t- ing. The author has found that the program 56 Practice

358. Marando, Frances. 'Creative Writing." The author's creative writing courses are- English Journal 64 (nuary 1975): 60. based on three concepti: "the steal"' (imi- Describes an eighth n-week course for high tating the best writers); "the feel" visual school juniors and seniors that presents a and kinetic stimulation, including writing wide range of writing opportunities allow- in varied settings and with media other ing individual choice and individual devel- than pen and pencil); and "the real" (stu- opment. dents' creation of stories, poems, and plays 359; McKean, Willa Mae. "Freedom to Write." about their own 'experiences and percep- School and Community 58 (February 1972): tions of outside experiences). 19 -20. 363. Murray, Alice I. "From an Island of Si- The author's creative writing course is a lence." English Journal 42 (October 1953): combination of tutorial and independent 382-84, 396. udy. Students are free to choose their own For three consecutive days the author's gibjects and forms. The teacher providesa classes "thought and wrote, rewrote, re- variety of books, records, and pictures from, wrote and thought some more" in "islands the library; she is also critic and proof;" of silence," an experiment that proved to reader before final retvision§ are made. her that students will write eagerly when Students' offer constructive criticism to provided with the opportunity, time, and each other and help determine their own. silence, The teacher encouraged students to fina)--grade for the course. write from their inner consciousnesses. , 360. \11eliller,-Marilyn, and Merritt, Harriet D. "A 364. Murray, Donald M. "Give Your Students the Fourth Grade Cqvposes a Japanese Folk Writer's Five Experiences." In Challenge and Tale." Childhood 'Education 45 (February Change in the Teaching of English, edited by 1969): 329-32. Iirthur Daigon and RonaldT.LaConte, 'As the Althination of a unit on Japan, 4. 354-60. Boston: Allyn and Blcon, 1971. 'fourth graderSstudied common thees and Discusses how to teach varied types of qualities in Japanese folk tales ,anthen writing by means of a laboratory tr wroteoneoftheii nil. The ahor workshop format in which students take describes the stkiti-bY-step 'process ud in the initiative for discovering their own helping the class write the fOlk tale. problems and solutions. Urges teachers4to 361. Morrill, Mabel, and the Committee on Crea- enter into the writing course by writing tive Writing. "Creative Writing." In Essays m themselves, and outlines the five basic the Teaching of English: Reports of the Yale wpects of professional writing that can 'be Conferences on the Tedching of English, edited explored by teacher and students:; seeing, by Edward J. Gordon and Edward S. Noyes, form,publication,communication, and pp. 79-136. A publication of the National failure. Council of Teachers of English. New York: 365. Murray, Donald M. "Why Creative Writing Appleton-Century-Crofts, 1960. Isn'tOr Is." Elementary English 50 (April Presents some general aims and purposes 1973): 523-25, 556. of creative writing, and details a number of Describes seven elements in the creative classroom exercises: learning imitation of writing process: awareness of life, caring style, using figurative language, writing about what happens in life, incubation of description from observation, writing per- ideas, discovery of meanings in the author's sonal narrative, learning point of view, life, commitment, detachment, and effective- writing beginnings and endings to short ness. Points out the teacher's role in the stories, and writing poetry (haiku, limer- "cycle of craftprewriting, writing, and icks, epitaphs, free verse, and sonnets). rewriting." 362. Mueller, Lavonne. "Stealing Apples: Crea- 366. Parker, Robert P., Jr. "Focus in the Teach- A 11 r/771 I 7 r yr,. le, Ir. . - Teaching the Writing Process 57

"Sensitive and imaginative-and intelligent children read their tales, displayed their attention to the pre-writing and the writing drawings of tall tale characters, and sang stages of the writing process," believes the folk songs. Several children's tall tales are author,"virtually guaranteesthatthe included. product-evaluation state will take care of itself." He cites the teaehing methods of 371. Ray, Mary Lou. "Who's That Lady...?" Kenneth Koch, described in Wishes, Lies, Teacher 93 (April 1976): 62-63. and Dreams (see Entry 427), as exarriples of Describes activities for humorous writing ...4s)r.rccellent teaching in the prewriting and explored on the television series Zebra iting stages. Wings (see Entry 738). These include a V, humor magazine, cartoons, tall, tales, role- 367. Phelan, Patricia. "How to Get Kids to playing, and writing about embarrassing Write." English Journal 64 (April1975): situations.Providessuggestionsfora 63-65. writer's center, for evaluation, and _for a Suggests many writi' activities:one- classroom climate conducive to creative minute timedwriti_,dailyjournals; writing,allof which were developed making tiny clay monsters and writing through working with students on Zebra about them; writing about pictures; writ- Wings. ing poems after studying contemporary song lyrics. Suggests ways for lightening 372. Roberts, Geoffrey R. "Writing Continuous the teacher's paper-grading load and for Prose: Value of the Cyclic Process!: (London) reproducing student wank. Times Educational Supplement 2,606 (April 30, 1965):.1117. 368. "'Poets' in the Classrocan." News-456 Recommends the cyclic process of learning (August 8, 1960): 68. creativewritingadvocatedby A.N. Tells of teacher Margaret Langdon'sex- Whitehead, which involves three stages: periment in;fintensive writing," in which romance (motivating children by reading children write from direct personal experi- an interesting story), precision (discussion ence quickly, writing whatever comes into of specific words, phrases, and ideas to be their heads. They are then encouraged to used), and generalization (writing rough eliminate excess words and to find the drafts of their stories). Then begins a new precise words to express their ideas. (See cycle: romance (the excitement of hearing also Entry 273.) each other's work), precision (revision of 369. Potts, Richard. "Diligence and Inspiration." first drafts), and generalization (copyirrgv:' (London) Times Educational Supplement 3,186 the stories neatly and preparing them for (June 25, 1976): 45. presentation). Tit author tells about his own writing 373. Schmittlein, Albert E., and Wood, Laura C. habits and describes some of his classroom "Creative Writing in 1st Grade, Thanks to,- techniques: build up interest in a topic over iit/a/." Instructor 75 (January 1966): 129. a period of several days; plan creative Stories written by first graders 4ing ITA writing for early in the school day;repro- (theinitialteaching alpliabet)Jare °pre- duce children's work for the class to read; sented to show how use of ITA facilitated help children map out chapters for long the children's ability to express themselves short stories and make their own books. in writing. 370. Prickett, Erma. "These Kids Tell Whoppers 374. Schroeder, Fred E. H. "How Not to Assign and Learn." Grade Teacher 87 (September `What-Did-You-Do-Last-Summer': A Cumula- 1969): 130-34. tive Course in Writing Personal Narratives." In a fifth and sixth grade unit, students English Journal 57 (January 1968): 79-84. read tall tales, discussed ,and evaluated Outlines a teaching sequence in which them, noted colorful word usage, and then studentsprogress from writing about 58 ,Practice

based on snapshot documents, and then to The author describes her mini-workshops writing biographies or autobiographies. with children in which she emphasizes that This course, the author believes, promotes writers must constantly be on the lookout "the orderly and gradual accumulation of for ideas to write about. She recommends literary skills" and produies "originality in stopping and looking closely at things, and vision and in wilting." listening to people's conversations. Includes 375. Shart, Philip A. "Letter from a Wolf." ideas for teaching sensory perception and Instructor 85 '(August/September 1975): 225 - the writing of haiku. 26. 380. Stoll, Patricia. "You Must Begin at Zero: In a year-long letter exchange project, Story Workshop," College English 35 (Decem- sixth graders wrote to fii-st grade classes ber 1973): 256-66. pretending to be the wolf in The Three Little A student response to the Story Workshop Pigs. They created adventures for the wolf method of teachingccreative writing used at and wrote about them, and they also Columbia College,Chicago: the author created books for the younger children. finds that the method is a "process of 376. Shiflett, Betty. "Story Workshop as a Method becoming" through which people are freed of Teaching Writing." College English 35 to find and write about "things and people (November 1973): 141-60. and events truly perceived, but hidden in Describes in detail the Story Workshop those dark corners of the mind where no- method of teaching creative writing de- body goes." (See also Entries 376 and 700-.) signed and used at .Columbia College,"381.- Strubel, Evelyn D. "'Creative Writing' in Chicago. This method uses "a constantly the Kindergarten:: _Grade Teacher 79 (June developing arsenal of word, telling, read- 1962): 18, 58. ing, and writing exercises of increasing Suggestions to thetodergarten teacher demand" to guide students to the discovery ' include: ask children tell the story of of their own voice and perceptual. pavers. their pictures, and then,int it; encourage Although'the method as described may be close attention to nature a rl music; begin sop icated to be used in its entirety in stories for children to coplete; set chil- ost high school classes, secondary teach- dren's creative thoughts to their own music. ers will find many of the ideas interesting and applicable to their teaching. (See also 382. Tiedt, Sidney, and Tiedt, Iris ,M. "Guiding Entries 380 and 700.) Creative Writing." Clearing Hcntse 38 (March 1964): 401-3. ' 37.Simon, Audrey R. "Myth-Makers." Grade Suggests several approaches that can foster Teacher 89 (December 1971): 30-31. creative writing without adding to the After several weeks of reading, discussing, teacher's burden of grading student work: and dramatizing myths, sixth graders accent the positive, have individual confer- wrote original myths in the Greek style and ences, permit stddents to progress at their invented their own set of "classrdom gods." own rates, check papers for only one thing 378. Sommers, Kathryn. M. "Story Inspirations at a time, use an'overhead projector so that in a Corner." Teacher 90 (November 1972): 63. studentpapers can beprojectedand Demonstrates how one teacher used an discussed, publicize and):Iuplicate student "inspiration corner" to encourage story writing. writing" Materials in the corner included 383. Tway, Eileen. "Writing: An Interpersonal such varied objectsas a wishbone, a Process." Language Arts 53 (May 1976): 594- Norman Rockwell painting, part of a "Dear 96. Originally presented at the Annual Meet- 'Abby" column, and a newspaper article. ing of the National Conference on the Lan- 379. Soule, Jean Conder. "Stop, Look, and Lis- guage Arts in the Elementary School, Seattle, +cr., " T ob.," nirtn. 41 11:1711 AL` M7 March 1974. 4p. '(Original 'paper available Teaching Poetry Writing 59

The ways in which writing can be taught as 388; Yates, Sister Mary Clare. "Why Pigs HaVe an interpersonal process include encourag- Curly Tails or An Experience in Myth`Writ- ing team ,writing, in which children work ing."Elementary English45'(November together to produce a story or a book; 1968): 989-93. permitting children to talk freely with each Presents a step-by-step approach used by ,other as they write individually; inviting fifth grafters in writing myths. The teacher authors to talk to the children; and, as emphasized 'use of quotations, making the teathers, sharing in the writing experience narrative explicit and clear, using the five witT, children. senses, andclearly establishing theperson- 384. Webber, Mary B., and Tuttle, Betty M. ality of the main character. "Student Writing Worth Reading," English. 389. Young, Marguerite. "Inviting the Muses." Journal 61 (February 1972): 257-60. Mademoiselle 61(September1965):194, In a writing exchange between high school 230-31. students and university students who were The author, a poet and novelist, tells of her prospective English teachers; the partici- fiction-writing classes in which students pants wrote creatively on the same assigned and teacher "do not talk of plot, beginning topics and commented on each other's and middle and endbut-rather of memory writing. The high school students felt that and observation, dream and reality, conflict they learned from reading college-level and character." One of the first, class exer- papers and from the comments made about cises is the writing of a sentence at least their own work. three pages long, which forces students "to 385. Weeks, Eleanor. "Making Words Work." pick up every aside, association, reference, Instructor 74 (October 1964): 103, 105, 114. memory, impressioh." Fifth graders collected examples of phrases in,children's literature in which sensations, TEACHING POETRY WRITING actions, and characters were described in a forceful and colorful manner; they then PoRry enjoyment andpoetry writing are composed their oNk descriptive sentences frequently regarded as inseparable and are and finally wrote stories. taught by many teachers as one subject. This 386. Wolfe, Pon M: "Can Creative. Writing Be a section focuses on ways of helping students to Democratic Art?" English Journal 40 (Octo- enjoy poetry and to learn to write their own ber 1951): 428-32. poems. All persons can learn gradually the dignity Many teachers have found it helpful to teach of their own experience, seeing in their students to write traditional verse forms, often lives the "unique materials of potential asanintroductiontopoetrywriting.In Literature." The author discusses this prem- "Teaching Traditional Verse Forms," authors ise and describes methods for helping give practical suggestions foy teaching the students Write about what is meaningful in writing of such traditio forms as haiku, their lives. cinquains, tankar Koreasijo, limericks, and concrete poetry. 387. Wolfe, Don M. "Autobiography: The Gold of Some authors Vote at the advantage of Writing. Power." English Journal. 60 (October working with ma4,0f th se forms is that they 1971): 937-46. teach a sense of poetic'fb-rm based on something Suggests methods for teaching autobio- other than rhyme, thus helping students to break graphical writing as a means of helping away from a dependence on rhymed verse. After students write stories that reveal to them learning to write. traditional verse forms,,stu- the "unique dignity" of their personalities dents. can go on to experiment with their own ari4 the "unique coloring" of their experi- individual ways of writing poetry. ences. Includes excerpts from- students' In "Genefal Classroom Techniques," many 60 Practice I atmosphere of of praise and encouragement. S provide. few concrete suggestions for eral authors tell hoW to help students learn to fise using- this book with students." Section simple language -and concrete details in their Four is an- anthology of concrete poetry, by poems, rather than flowery language that is students and professional weiter, which believed to be "poetic." The articles describe hOver can be used as stimuli for students' own to teach students ab uch poetic.elements as , writing. imagery, rhythm, and metaphor; how to encour- ...age poetry writing in the primary grades; and Articles how to teach poetry writing to students who are 392. Applebee, Bernice' L. "Color Cinquains,, considered "slow." Many teachers tell how poetry Seven Year Olds Create." Elementary English'' writing can evolve into poetry productions 52 (January 1975): J9 -80. involving choric verse, dramatized poetry, and poetry set to music. With color serving as the backgrotind theme, seven-year-olds were introduced to Teachers, will find in this section a great many writing poetry using-the format of the five ideas that have been generated through Poets in. line cinquain structure. the Schobls programs. Since their inception in 1966, such programs have become an important 393. Bucher, Janet. "Poetry and Fourteen-Year- force in the teach4ig of creative writing in the Olds! How to Mesh the Two." Media & Meth- schools. Kenneth Koch, perhaps the best known ods 8 (April 1972): 48. of the writers wtro have participated in such Students who had floundered when free to programs, and many, others are represented in "write about anything" respondedto the this section. Their 41 eas need not be takenas structured requirements of writing haiku. prescriptiqns that all teachers should apply in Their haiku and (Japanese- style" illustra- their own classrooms, but they do give valuable tions were dung up 'without being given glimpses into ways in which poet/teachers have criticism or grades. made poetry writing a lively and pleasurable 394. Chey*, Frazier-R. "Cinquain."Ast tor experience for their students. 78 (March 1969): 77. Explains the cinquain verse form, givesa Teaching Traditional, Verse Forms few tips on 1-1Rw to introduce it, and includes Books cinquains written by children. 390. Henderson, Harold G. Haiku in English. 395. Christ, Henry I. "Self-Fulfilling Prophecy Rutland, Vt. and Tokyo, Japan: Charles E. and the Haiku." English Journal 58 (Novem-' Tuttl'e Co., 1967. Originally printed by the giber 1969): 1189-911 Japan Society of New York. '74p. Haiku,- states the author, is "the great The first two chapters explain the poetic leveler." Illustrating with student haiku, he conventions of classical Japanese haiku and demonstrates that students in anonaca- discuss haiku in English. The third chap- demic class can show as much*sensitivity ter, "Writing and Teaching Haiku," gives and insight in their work as students inan suggestions for helping elementary and honors class. He also points out thata secondary students to write their own teacher's positive expectations help achieve haiku. The author discusses the important positive results. elements of haiku, stressing that haiku 396. Fegan, George R. "Haiku in the Classroom." must convey a sense of emotion and not English Journal 50 (February 1961):. 106-7. merely adhere to a particular form. Haiku poetry can serve as an excellent 391. Pilon, A. Barbara. Concrete Is Not Always Introduction to a poetry unit: it does not Hard. Middletown, Conn.: Xerox Education receive the usual anti-poetry studentre- Publicatipns, 1972." 96p. sponse; it can be used to teach the reading The firgt three seotions introduce teachers of lyric poetry; and it providps a disci- plined, easily. 'learned' form for Writinst Teaching Poetry Writing 61 397. Glickman, Janet. "A First Grade Haiku Presents a demonstration lesson in class Project." ,Elementary English 47 (February construction of a cinquain and points out, 1970): 265-66. ways of using cinquains for oral patterning After learningto writing haiku,first of standard language. graders'made a booklet of their poems and attempted some Japanese. art forms. The 404. Marker, Linda. "Haiku: Pretty Punchy PO-. project led to an appreciation of other etry."'\ Clearing House 45 (December, .1970): forms of poetry. 219-20, Recommends the teaching of haiku writing 398. Hall, L. M.,"Poetry As Technique." (London) as a way "to teach poetry without tears "; Times Educational Supplement 3,171 (March includes a table of ideas and themes which 12, 1976): 31. lend themselves tp haiku. The author introduced students to Japanese 405. Messina, Salvatore. "The Role of Japanese art (paintine and air line posters), dis- Haiku in the Teaching of Cteative Writing." cussed the qualities of the art; read and Journal of Secondary Education 39 (March analyzed haiku by Basho, as well as haiku' .1964): 122-24. attempted by the author, and then assigned The haiku serves as an appealing initiation the writing of haiku. to the field of poetry because of its sim- 399.° Harris Mary McDonnell. "The Limerick plicity, its open-endedness and its concen- Center." Language Arts 53 (September 1976): tration --upon ordinary experience. The 663-65. authosr discusses the form itself and its Presents. activities for a limerick center adyantages in the, classroom. that were designed to develoP a concept of . limerick and that were tested with younger 496. Morgan, Sister Junette. "Writing Poetry in intermediate children. Junior High." Englgi 'Journal 57 (October 1968): 1009-13, 1078. 400. Hopkins, Lee, Bennett. "For Creative Fun, Suggests ways to foster students' interest in Let Them Try a Cinquain." Grade Teacher 84 poetry: expose them to poetry gradually, (December 1966): 83, 128. begin writing poetry as alass concentra- Introdqcing the cinquain verse form to tion; and presentsome form-through which fifth and sixth graders 'produced reward- ideas will flow. Defines six forms (word and ing units in creative writing...Describes the -syllablecinquain, Japanese haiku and cinquain and includes student examples. tanka, Korean sijo, and rhymed poetry) and 401. Hopkins, Lee Bennett, "sijo." Instructor 78 presents student poetry to illustrate each. (March 1969): 7647. s 407. Mueller, Lavonne*tCOnc-rete Poetry: crea- Recommends teaching children, to write tiveWriting forAllStudentS." English sijo, a Korean poetic form, to help them jourazal 58 (October 1969): 1053-56. "explore mean-ingful thoughts and experi- Discusses- concrete, poetry: its origins, tips ment with colorful language withOut hav- on teaching it, and its appeal to students at ing to make lines rhyme." GiveS ekamfSies varied academic levels. Includes samples of of student-written sijo. students' concrete poems and alist of 462. Krogness, Mary Mercer. "Imagery and selected readings. Image-Making." Elementary EngliA 51 (April 408. "Poems to Learn By." Time 88 (September 2, 1974): 488-90. 1966): ,65. Describes exercises for introducing chil- Tells how Maeve O'Reilly Finley, a fourth dren to the idea of imagery, and gives grade teacher and author of Haiku for You suggestions for teaching the writing of 'for children, teaches her classes to write haiku. their own haiku. They first read haiku 403. Marcus, Marie. "The Cinquain as a Nag- together,' clappinginunison with the 6.! Praetire

started on their own haiku. th*i teacher.reGeneral Classroom Techniques gives them the first two lines. Books 409: Scofield, Elizabeth. "Haiku. A New °Poty Experience for Children." Elementary En- 414, Anderson, Douglas. My Sistt). Looks Like rr !111.11 38 (January 1961): 24-26. Pear: Awakening the Poetry in Younti,Peogle. This brief description of haiku as a form. New .York: Hart Publishing Co.,' 1974. 268p.

and of its use with children in grades three working . inthePoetsintheSchools through five, includes examples written by program, the author tried to bring forth the children and a description of how the "deep, simple music [that exists] in every project was presented to the class. Includes human being. No exceptions."--To build a short list of books op the haiku. students' self-esteem he made copies of work from every student to be read aloud: 410. Stuart, Allaire. "Creative Writinglpan: no writing was disparagedor judged ese Haiku." Efeatentary Eng/ish 4(1 Oa uary relative to other work. Includes more than 1963): 35-36, 67. 250 examples of student writing, and A_sixthy-rade class enjoyed writing haiku: numerous specific suggestions: use older ----,e:ica,allitM"i"loieirtioriting-s are included, students as 1>ecr,etaries': for primary grade The author stresses that writing easily and children: write about yourself as a fantastic fluently can only be- developed after an animal; write about your (fantasy) birth; intensive pog-arn in reading. write to music: write in spirals or ctDrves; .111. S'wiss7--T-horn. "Approaches to Teaching Con- use "starterlines" culled from student (Tete Poetry: An A "notated Bibliography." writing. College English 38 (September 1976): 16-49. 415. Applegate, Mauree. Etts;ll in EHglish: An Refers teachers to articles and anthologies Imaginative Approach to the Teaching of the that can "serve as a starting point for more Llinywaye Arts. Evanston, Ill.: Row, Peterson. thought and research by those teachers and Co.: 1960. 564p. interested in developing thellse of concrete Chapter seven, "Children Ham Poems," poetryintheclassroom." 'Thoughthe recommends four "practically foolproof" resourceslisted donotalldealwith steps in preparinievhildren to write poetry: methoquintain,verse patterns and Urges their use "Cupboig of Ideas" for classroom use. in motivating students to compose !wins. 416. A rtist;;In., Flora .1. Children Write l'oetry: A -113. Wagner. Stanley. "Write Poetry and Enjoy Creatice Approach. (Originally published un- It "( 7ett Yin!) 111)1(SU34 (January 1964) :286-87. der the Ale At/century Intol'oetry.) New Describes thy-tinquain and suggests that York: Dover Publications, 1967. 216p. teachers can arouse ani iteest in poetry This classic work shows how freedom to writing by assigning indi writing of write, exposure to poetry, acceptance and einquains after aniniti collaborative appreciation:and enlightenedguithince. effort.IncludesexamPlesofstudents' leadto the growth of children's, poetic cinquains. powers. The author preCedes poetry writ- ing sessions by reading poetry aloud; when children began to write.. their poems are Machiny Netry Writing t;.t

readaloudwithoutany accompanying word and phraNe files to draw on in writing criticism-. Stresses- the need to free' chil- poetry. dren' from the limited concept of poetryas -rh me and jingle" and' to help them draw 419. Chase, Cheryl M., and Sloat, Peggy. The Sound (Intl Language of Poetry: Activity Mew; n theirinnerthoughtsinwriting poe ry. DiscUsses blocks to children's crea- for Grades I,and -I. Longmont, Colo.: North- tive expressly, which include undue em- ern Colorado Educational] Board of Coopera- phasis on critical evaluation, laughter or tive Seniices, 1975. 26p. ridicule, overpraise which sets standards Presents poems to read aloud, with sugges- they are -fey,rful, of not meeting in the tions on making them enjoyable for chil- future,andill-advisedcriticism which dren. Also describes activities for helping undermines their confidence. Shows how to children learn about rhythm, rhyme, allit- help child en evolve their own criteria, or eration, descriptive language, personifica- tion,andwords judgingplkms.Employs examplesof thatexpresssounds; children's poetry throughOut the book. suggests the writing of simple verse forms and of group poems. 417 nstein, Flora J. Nctry owl the Ch ormerly. titled Portry inthe Elementa ry 420. Chase, Cheryl M., and Sloat, Peggy.T/u ssraom.) New York: Dover Publieations. Shope (in(' Language Nf Poetry: Actiritblew; 1970. 126p. for Grades b,5and 6. Longmont, C .: North- Presents ways tf helping c ildren enjoy ern Colorado Educational Board (Coopera- poetry and of building a cl..sroom climate tive Services, 1975. 33p! based on respect and acceptance \f ,evh Urges' teaciterstohelpchildr nenjoy. poetry by reading Italoudfre piently; \w. child, which fosters feelings of self-adequacy. Chapters sik through twelve deal with sueest-s the creation 'Of a poets' corner and children's writing of poems, a step which placement of a box in which students and the author feels follows naturally from an teacher place good first lines or ideas for encouraging room clirtiate and regular poems. Includes descriptipns of activities exposure to poetry. Recommends that chil- for helping sttrrients learn to 'change prose dreh write about their thoughts and feel- into poetry and to write verse forms such as ings, unhampered by attemptftcrhyming; couplets, limericks, haiku, senryu, tanka, advises teaching byindirection,drawing formula poems, and cinquain. Offers ideas attention to felicities of expression and to forteaching students about poeticlan- poetic elements; tells 'how'. overpraise and guage, including figurative languagsim- criticism block creativity. Discusses nu- ileandmetaphor,personification,and merous children's poems in relation to their words that represent sounds. authors' ,growthihPoetic expression. 421. Chase, Cheryl IVr., and Sloat, Peggy. Crcot- .418. Boyd, Gertrude A. Mach it 1)(ictry in the int/ Poetry: Activity Ideas Gradesis8,(1m1 9. P;lementary School. Columbu, Ohio: Charles Illustrated by Charles Gullett. Longmont, E. Merrill Publishing Go., 197:3. 105p. Colo.: Northern Colorado Educational Board The purpose of this hook is to help the adult of Cooperative Services, 1975. 44pi (and through the adult, the child) to find Present' ideas for teachingpoetry writing, pleasure and delight' in poetry. Chapter six divided-Into four categories: preparation deals with the writing of poetry, which the for writing poetry, what to write about, the language of poetry (figurative language, authorbelieves,evolvesnaturally from reading _and 'memorizing ,it. She discusses personification, simile, metaphor, allitera- the i)se of colorful language, individual and don, symbols, rhythm), and 'the shape of poetry(haiku,senryu, group dictation, and verse formscouplet, tanka. formula quatrain, limerick, haiku, tanka, concrete poetry, cinquain. rhyme scheme, letry, and unrhymed forms -using exam- alphacouPlets). ples from the work of children and profes- .122. r ..s.ietuien, Barbara .1. :1( 'c/chratioti of Bees: sional poets. She also suggests compiling Ile/ping Chi/dIrrn Writc Portia. Minneapolis: Winston Press, 1971. 211111). 64 Practice

Stresses the heed for group sessionsin Focuses on a program in which poets teach-- which children, under the teacher's guid- poetry in the classroom; contains several ance and probing. suggest varietiesof short articles on various aspects of teaching images andthenrefine ,them.Inthe poetrywriting, a collectionof student writing of individual poems, the teacher's works, two photo essays, and practical tech- role is to continually draw ideas and images niques devised by poet/teachers. A bibliog- from children and to help them examine raphy lists anthologies of poetry, collec- what they have produced. The fifteen chap- tions of children's writing, and books by ters include discussions.of developing word poets. consciousnessinchildren,writing cin-' quains and haiku, and writing poems about 426. Kerber, Adolf B., and Jett,:XhOrnas F., Jr. water, the seasons, the city, morning, night, The Teaching of Creative Poetry. Indianapolis: the moon, people, animals, rrVoods, and The Waldemar Press, 1956. 128p. emotions. Each chapter includes poems by Describes a three-step process in teaching children, suggets possible activities. and poetry writing in the high school classroom. lists poems related to the given topic. In the warm-up stage, the teacher4evelops a good creative atmosphere and familiar- 422.)Frieks, Richard. A Fee/ for Words: Making izes students with the subject matter. Step Neb.!, in the Addle Schools. Nashyille, Tenn.: two, the serious attempt, involves develop- Tennessee Arts Commission, 1973. 199p. ing insight into word symbols, making use The author, a "poet in the schools," presents of techniques for effektive expression, and some ofhis "thoughts on writing and working in groups. In the discipline stage, learning with children." Chapter one deals-- students develop their poetic notions along with ways in which people use language. more formal lines and polish their perform- Chapter two stresses reading aloud to chil- ances. dren and showing acceptance for children, and tells how to capture a child's imagina- 427. Koch, Kenneth. Wishes. Lies, and Dreams: tion on paper. Chapters toe and four Teaching Children to Write Poetry. New York: discuss working with children ininter- "Chelsea House, 1970. 309p. mediate through high school levels; here In a book which has already become a theauthorasksstudentsto"tellme classic, the author shows what beautiful something I don't know." and "tell it in a poems children are capable of writing new or different4y." Chapter five isa when they are freed of the traditional bibliography of teaching resources and constraints ot\rhymed lines and "proper" poetry anthologies. Student poetry is fea- sentiments-. Koch desiribes his experiences tured thoughout the book. inteachingchildrentowritepoetry through pr-use of repetitive structures of a '24.Hopkins, Lee Bennett. Puss the Nvtrn, formula nature (beginning each line with "I /'lease:' New York: Citation Press, 1972: 199p. wish. including a color in each line, Thisbookabout teaching childrento using a noise in each line, etc.). Much of the appreciate poetry contains a lengthy chap- childOes work isincluded, along with ter on encouraging children to write poetry. practical suggestions for teachers. The author describes and tells how to teach numerous verse forms, both traditional and 428. Koch, Kenneth. Rose, Where Did I'm Get enwrirnental. He discusses techniques of That Red?: Machin! Great Poetry to Children. adults who have helped children write New York: Random. llouse, 1973, 360p. (including Hughes Mearns, the Teachers & Teaching poetry reading and poetry writ- Writers Collaborative, and adults who have ing as one subject,' the author exPysed published children's work) and shows how children to great poems by adult writers, to use specific hooks of poems to motivate discussed the poems, and gave the children children to write. suggestions for writing poemslof their own that were in some way like tlit poems they 125, I Write Wlay I Waal, Sari Francisco: Po- were studying. Ile gives details of many of etryinthe "Schools California,1974. the lessons he taught, each followed by a ( Available from I DRS; ED 112 .129.) Malang Net cy jug

selectionofthechildren'spoems. and poetryhelping students search for facts in includes an anthology of poems to teach to or'&1- to write_ about a subject. Includes children along with some suggestions about numerous examplo; of students' poems. how they can be taught: 432. Norris, Ruby Lee, and Sange, Sally -Harris, -129. Larrick, Nancy. ed. Somebody Turned ol? eds. A Borrowcr Be: Au Interchange of Culturc lirp iu These Kids: Poetry and Young People in the Classroom. Richmond, Va.: Humanities Today. New York: Delacorte Press, 1971. 178p. Center, 1975. 89p. Eleven essays by such well-known poets Describes the ways in which artists-in- and anthologists as Myra Cohn Livingston, residencehelpstudentsintheschools Karla Kuskin. and Eve Merriam, as well as borrow from one field to create in another. by teachers and their students, deal with Includes sections on filmmaking, ,print- thetypeofpoetry young ,peopleare making, dance, photography, art, history, responding to and, in turn, writing. Though and the performing arts. The final section, some of the articles touch only on poetry "Poetry in the Schools," examines teaching appreciation, several deal with methods for methods used by six writers-in-residence inspiringchildrentowritetheir own (Sylvia Wilkinson, Naomi Long Madgett, poems. MichaelMott,LucilleClifton,Evelyn 430. Lusk, Daniel. llometrauly Poems: A Ham/ Patterson Burrell, and Dabney Stuart) and hook. Hermosa, S. D.: Lame .Johnny Press. gives many examples of poems used to 197-1. 59p. stimulate student writing. Catalogs nearly 200 group- testedideas 433. The Pied Piper: Artists in South Nicola which emphasize simple devices to encour- Schools. Autumn 1973 issue of Syyday 7othes: age fresh and imaginative writing. Part A Magazin(' of the Fine Arts. Vermosa, S. D.: one gives ideas for getting started: games Lame Johnny Press, 1973. 48p. and group activities; poems about the poet's Containspoetryselection4writtenby self ("ten thingsI remember," "I seem to elementary and secondary students who be...but reallyI am..."). Part two helps participated in a poetry in the s'chaols pro- poets sharpen their senses. pay attention to gram;includesdiscussionsof teaching small things. and write about them with methods byparticipatingpoetsDaniel exactness.Part three suggestswriting Lusk and Freya Manfred,aswellas from another's point of view (an object, an specific ideasi for classroomwo fncludes animal, a villain). The book also discusses numerousphotographof students and field trips and other experiences that can poets at work, and color reproductions of stimulate writing, and it offers suggestions students' art work. on rewriting "and grammar. ("Don't worry about spelling, grammar, or form at first. 434. Powell, Brian S. English through Poetry And maybe never.") Writ irar A (.')'cati,w Approach for Schoo/s. Itasca,Ill.:F. E. Peacock Publishers,19(18. -131. Norris, Ruby Lee. ed. and comp. T/Li- Tr( lila' 1361). raf the Teacher: A bialogue between Poets and Offers a step-by-step program based on Students. Richmond, Va.:'l'he Dietz Press, three elements of writing: form, content, 1972. 88p. (Available from NUT E; No. 55219.) and evaluation. The fir), exercises give Three writers----MichaellMott Dabney Slit pupilsa number of structuresfor the art. and Sylvia Wilkinsondescribe tech- shaping of their writing, including coup- niques and approaches they used in teaching lets, "form poems," and haiku. The content poetry writing in elementary and secon-. categories present suggestions for' subject (Ian.'schools:encouragingstudentsto matter. The crahodam exercises are de- believe that their personal thoughts and signedtohelp students improvetheir feelings are worthwhile; affordiUk a cli- written- expression. Includes two series 6f mateforsharingtheiri,vritingwith exercises, introductory and advanced; pre- :mot her person, whet her a, professional or a sents many examples of (student writing. peer:providingincentivesforreading 66 PractThe

435. Powell, Brian S. Making Poetry: Approaches ing, talking, reading, and writing. Most cif to Writing from Classrooms Round the World. the bookis devoted to ideas for helping Don Mills-, Ontario: Collier-MacmillanCan- children write poetry. Points out that atten- ada, 1973. 180p. tion to form may detract from expression of A development of the teaching approach meaning by the child beginning to write presented in English through Poetry Writ- poetry; gives dozens of ideas for poetry, . ing. (see Entry 434). Gives procedures ,fOr including writing about activities, animals, conducting poetry writinglessens and colors, dreams, sensory experiences, music, offers suggestions for teaching three. as- growingup,magic, andwishes.Also pects of poetry writing: form (introduces a 'discusses collaboration peen's and the uses number of structures as frameworks in and misuses of verse forms in teaching which to fit the appropriate words), content poetry writing. Examples of student writ- (shows how' -to - help students focus on topics ing are included throughout the bo4. that are attractive to them and are related to their experience), and evaluation (pro- 439. Whitman, Ruth, and Feinberg, Harriet. vides basic standards with which students Pocnimaking: Poets in Classrooms. Lawrence, can evaluate their own writing). Includes Mass.: Massachusetts Council of Teachers of as examples more than 300 poems written English, 1975.. 116p. (Available from- NOTE; by the author's pt.rpi Isin many different No. 35595 ;) countries. Seventen poets who went into elementary

i . and secondary classrooms to teach poetry 436. Walter, Nina Willis. Let Them Write 1)(i- writing have written about their experi- etry. New York: Holt, Rineha'rt & Winston, ences. They describe such approaches as 1962. 179p. preparing audiotape, collages to stimulate The author's purposes aretohelp the imagination; encouraging children' to han- teacherfosterthecreativeimpulsein dle and write about fruits and other objects; children,to suggest ways: of presenting and exploring movement, fables, pictures, poetry so thatitcalls forth the poetic and film to help studen s get started writ- response to experience, and toeflevelop stan- ing. Many examples student writing; dards of evaluation for children's poetry. photographs. Includes discussions of the creative envi- ronment, creative experiences, developing 440. Welsch, Robert Almon, Poetic Composition emotional understanding, building a poetic through the Grades: A Language Sensitivity vocabulary, and evaluating subject matter Program. New York: Teachers College Press, and style, 1970. 183p. (Author's Ed. D. dissertation on this topic is available from University Micro- 437. Whisnant, Charleen, and HassettJo. Poetry films; Order No. 70-18,145.) Ner. Raleigh: North Carolina Dept.of The author, believes that poetic composi- Public Instruction, 1972. 72p. tion gives children a way of knowing them- A book of ideas for teaching poetry writing, selves, other people, and their world; he compiled by a poet and a teacher who shows through anecdotes and samples of worked in a Poetry in the Schools program; children's poetry how teachers vcan help considers poet and school, poet and teacher, children find their powers of expression. and poet and students. Suggests dozens of He treats three cyclical stages of a program topics to stimulate student poetry writing. to develop poetry composition: the evocative Includesanannotatedbibliographyof stage (stimulating children's appreciation poetry anthologies for the classroom. of their own language ability), the language 438. WhisnAnt, Charleen, and HassettIo. Word precision stage (helping them to control Magic: How to Encourage Children to Write their language with precision as well as and Speak Creatively,,: Garden City,' N. Y.: vitality), and the sharing stage (sharing the Doubleday & Co., 1974. 164. finalproduct).Whiletheexperiences Stresses the importance of creative listen reported and the examples given do not extend beyond grade eight, high school Teachilly Poetry Ifrititly

teachers will also find value in the sugges- Describes many activitiesinan eighth tions made in the book. grade poetry unit: studying contemporary song lyrics; exploring the use of allitera- Oticles tion and metaphor; writing concrete poems; -441. "Ah, Poets." Time 96 (December 28, 1970): writing about films; and participating in a 26-27. "poetry treasure hunt" in which students An account of Kenneth Koch's teaching searchthroughtileir own poems and techniques': Describes hOw Koch responds publishedpoems forspecifictypesof enthusiastically to a phrase or idea in each phrases or lines. child's work, ignoring such "barriers'?" as 446.Bacher, June. "NeededforLanguage rhyme andmeter.Tells some ofthe Growth: A Nourishing Diet of Experiences." formulas used by Koch: poems beginning "I Elementary English 42 (February 1965): 185- "; "Iused- tobe... but now I 88. am ... ": "I dreamed ...." A "treasure hunt for words" was used to 442. Arduser, Ruth H. "When I Held a Conch spark poetry writing about autumn leaves. Shellto My Ear." Elementary, Errylitih 39 Stresses that expression of poetic insights (January 1962): 42-45. must be preceded by many experiences in A group poem, "When I Held a Conch Shell observing, searching for apt words, and to My Ear," was composed by third grade talking. children and grew out of their interest in 447. Beard, Aaron Bernarr. "Carmen Bernos de sea shells. The ant-6r describes the inspira- Gasztold's Prayers From the Ark: An Ap- tion for the poem, its initiation, and the proach to Writing Poetry." Elementary En- step-by-step development leading toits (Irish 45 (November 1968): 968-71. accomplishment. The book featured in the title (a book of 443. Armington. Mon S. "An Experiment in prayers of various animals on Noah's ark) Creative Poetryt the Sixth-Grade Level." proved very appealing and stimulating to, Elementary Eng(h 43 (February 1966): 134- junior high school students, who wrote 37. their own animal prayer poems after read- A field trip to Longfellow's home led to ing the book. children's interest in his poetry and then to 44 Bennett, John. "Poetry Too Is a Moveable interest in other poetry. The class was then Fea English Journal 64 (October 1975): encouragedtowritetheir own poetry. 46 -..81E. Teaching techniques included holding indi- Stresses the importance of having students vidual\conferences, introducing similes and write poems about their personal- e)tperi- metaphors, and publishing a class booklet ences, using simple language and concrete of verse. details, rather than writing in flowry and 444. Arndt, Linda A. "Teaching the Writing of figurative language, using metaphors, sim- Poetry." Se/rah/80c Teacher (Teacher's Edition iles, and other tra4tional poetic devices. of Senior ,.'eliolastic).Senior Scholastic 94 Presents and contrasts numerous pairS Of (February 14, 1969): 16-17. poems .written in the two styles. 4 Recommends a step-by-step approach for 449. Bordan, Sylvia D. "Poetry Projett." Grade students learning to write poetry: write Teacher 88 (September 1970): 98-105. haiku; write about a human experience or Tostimulateimaginativeresponsesto feeling in terms of a concrete object; write autumn, children viewed .pictures and metaphors and similes; write group poems listened toiloetry about autumn. They then and then individualzpoems;revise the developed lists of words describe autum poems. colors, thought of images dQpicting 4,15. Auerbach. Shirley. "The Shape's the Thing." movement ofleaves, and wrote poe English 6:?, (April 1973): 607-12. which were presented in choral readings at an assembly program. Includes the "play in prose-poem form" composed by the pupils. 68 Practice

450. Bridgman, Betty. "Poetry Is Reporting." 455. Cline, Sister Deborah. "Developing Middle: Elementary English 51 (March 1974): 361-67, Grade Children's Creativity Through Poetry." 448. Elementary English 48 (November 1971): Repsents poemmaking as the reporting 843-48. of every ay experiences. Describes three Teachers must themselves develop a genu- types of poems: "string of things" poems ine appreciation of poetry. They can then (lists or enumerations); poems that tell a teach poetry writing through a planned story; and poems that take an idea and sequence: reading poems to students; ex- make it interesting. Gives twenty practical ploring rlbythm, sense awareness, similes, ideas for helping students write poetry. metaphors, and rhyme; having children 451. Carlson, Ruth I. "The Creative Thrust of write in free verse; and introducing specific verse forms. PoetryWriting."Elementary English49 (December 1972): 1177-86. 456. Cochell, Shirley. "Poetry from Every Stu- Various poetry forms, such as haiku, tanka, dent." Scholastic Teacher (Teacher's Edition of and cinquain, are described and examples Senior Scholastic). Senior Scholastic 81 (Sep- given. Cites a number of authors and books tember 26, 1962): 22T-23T. of potential value to the student writer. Suggests beginning a poetry writing unit 452. Chamberlain, M. A., and Riley, J.,'"Poetry with exercises on alliteration, rhyme (using and the Personal Voice." (Ise of English 2L the eight line triolet), the quatrain, and (Spring 1970): 208-16. "cooperative couplets" (two students work- Children must first see any poem the ing together). Students can rewrite Mother write as an accurate record of what they Goose rhymes patterned after those in The had in mind; they must then learn to evalu- Space Child's Mother Goose '--by Frederick ate how efficiently it works. The teacher Winsor, write poetic character sketches, or may point out verbal 'redundancies or in- imitate favorite poeMs. stances where chkdren overreach them- 457. Coffin, LaVerne.W. " Writing Song Lyrics." selves, and tmay help children improve English Journal 59 (October 1970): 954-55. their word choices. Describes a unit .41 which students learn about the techniques of poetry by writing 453,.Gila-- in, Sylvia. "A Fifth. Grade Writes Non- 'senseerse." Grade Teacher 81 (September song lyrics. . 63): 6 119-20. 458. DAvid, Sister Mary Agnes. "The Writing of After rding verses by Lewis Carroll, a Poetry.?" Catholic Sc oo/ eternal 61 (June fifth gra e class enjoyed writing nonsense 1961): -37. 1 verge based on the pattern, "I thought I Before introducinpoet y writing, teach- saw ... ;I looked agaip and saw it was ...." yrs sh uld discuss natural rhythms and (Example from a student: "I thought I saw have s _idents talk and write in various a kangaroo/Upon the mantlepiece./I looked rhythrnic forms. The author alsorecom- again and saw it w* sister's husband's mends waiting about colors and writing niece."). haiku and 2rinquains. 454. Childs, Rita Jean. "A Psychedelic Poetry459. Decker, Howard 1 "Poetry Writi Unit...Why Not?" English ,Journal 57 (De- 'Killing' 4Assigninent7 English lournI 5 cember 1968): 1335-37. (September 1968): 849-51. Through focused examination of an object, Describes a poetry-writing exercise that ninth graders learned that freSh percep- followed a reading, of Edgar Lee Master's< tions can be gained byfeoncentrated obser- i SpoonRicer Anthology.Students were vation.They explortd waysinwhich asked to write their own epitaphic' after artists, musicians, and their having been assigned various "deaths." perceptions, studied word eanings and Includes samples of the "powerfully reveal- connotations, and wrote their own poems. ing" poetry that resulted. Teaching:Poetry Writing 69 460. Duffy, Gerald G. "Poetry: An Insight into emphasizing that the thoughtis more Self."Elementary English40 (November important than the rhyme; suggest topics 1963): 758-61. for poems; require a certain number of Discusses the effect that writing poetry can poems during a specified period; read the have in helping students recognize their student poems to the class. Avn individuality. A detailed outline of teaching methods follows. Includes samples 465. Garry, V. V., and Cihiwsky, Timothy W. of students' poetry. "Sources.of Inspiration." Elementary English 52 (January 1975): 113-15. 461. Feeney, Joseph J. "Teaching Students to Upper elementary students were inspired Write Poetry." English Journal 54 (May 1965): to write their own poems after reading two 395-98. books of poetry: The Trees Stand Shining, a Students were taught to approach a poem poetry collection of the North American as a cdrnmunication of experience and to Indians, selected by HettieJoneS; and Hail- apprec ate the imagery and economy of stones and Halibut Bones, poems dealing poeticanguage through a step-by-step with color, by Mary O'Neill. Samples of the sequenc ofreadingpoetry andthen children's ,poems are included. writing a d discussing tanka, blank verse, c and stanis verse forms. 466. Geeting, gaxter M., and Geeting, Cor- inne. "Creative Motivation of 'Poetry (You 462. Fisher, Carol J. "Writing Poetry: Children Must Be Kiddin !)." Elementary English 50 Can Do It!" Parer presented at the annual (November/Dece ber 1973): 1205-8. meeting of the National Conference on the Suggests fiveatural steps leading to the AI Language Arts in the Elementary School, creatio+f po try: hearing poetry, speaking Boston, Mass., April 1975. 10p. (Available poetry,ead. g poetry, dancing to poetry, from EDRS; ED 106 877.) and eating poetry. Strsses the impor- To' stimulate children to write poetry! (1) tantof Ippealing to the child's sense of allow them to develop experien and play ("leaing thrQWalt Whitman's poem Reco ends making a "five senses" chart which begins "I hear Americaoinging ," that, lied to well-known poems, shows students wrote their own poem's with the students that poetry is grounded in ordi- assigned opening phrase "I see,America nary se-Aory perception. Students cahen dancing." Many satinpics of student poems go outs*, record their sensory Of pres- are included. sions, and write their own poems. 464. Garrett, Lawrence. "The Wr4ng of Poetry." 469.Hagerman, WilliamA. "Dada Lives!" ./Litipai 34 (January 1950): 20-23. rill(' & Methods 8 .(December 1971): 46. Gives a step-by-step, sequence for helping Gives instructions on how to make a dadaist students write poetry: read entertaining poem, This method (derived from methods poetry, statting with rhymed couplets but described by Tristan Tz' The Dada

Ij 70 Practice

Painters and Poets: An Anthology, edited by 474. Kendrick, Delores T. "On Teaching the Robert Motherwell) involves clipping an Writing of Poetry." English Journal 48 (May article from the newspaper, cutting out 1959): 266-68. each word separately, putting them in a To stimulate "word interest," a clIss was bag, taking out the words one at a time, and asked to write "word-thoughts" oniarious copying them as they, come from the bag. subjects such as morning; phonograph The result is that "originality in expression recordings of poetry were also used as is stimulated and unfortellable juxtaposi- teaching aids. tions of words create colorful and striking . 4k expressions." 475. Kirkland, Josephine. "Choric Verse Through Creative Writing" Elementary English 40 470. Haworth, Lorna H. "Words in Concert." Ele- (January .1963): 4 -51. mentor!' English 52 (January 1975): 109-11, A step-by-stepscussion of themposing 122. processes of a grail) of sixth rs who Sixth graders staged a poetry "Pop Con- wrote a groupchoricverse- rtheir cert": they gathered poems dealing with a promotion exercises. particular theme (machinery through the ages), wrote their own poems, and read the 476. Kralik, Milan. "Poetry: Take a Chance." poems to the class accompanied by appro- English Journal 64 (October 1975): 52-53. priate background effects. Proposes a technique for enjoyable compo- sition of poetry: writing poems based A 1 471. HoPkins, Lee Bennett. "Report of a Poet-in- chance combinations of words written, by Residence." English Journal 62 (February classprrates on individual slips of paper. 1973): 239-43. 477. Larrick, Nancy. "Poets and Poetry in the The author "saturated" high school students 1975 Poetry Ffstival." English Journal 64 with poetry, reading and discussing in turn (October 1975): '44-46. poems dealing with successive life stags: The author, eAtor of the 1975 English early childhood,' adolescence, adulthd, and old age. Students wrote their own ournal Poe.Vy Festival (see Entry 722), poems dealing with each stage. iscusses strong and wtt.k points of the undreds of entries rec ived.ed. MainOrob- 472. Kachaturoff, Grace. "A Double Dactyl to ms 'include the abuse of the adjectilve You!!" Clearing 11014S(' 50 (November 1976): (oth in over-use and in unfortAate inno- 129-31. vations), cliches, overly ambitious a.tignipts Describes the double dactyl, a novel verse to --ciiikussprofoundand.,iphilWphical form presented in the book JiggAp-Pokery, subjeAf, andpoor line breakl., The points

edited by Anthony Hecht and John Hol- made , helpful to the teaching of poetry lander, and gives suggestions f r eaching 4writing. students to write their own. 478. Lewis,Richard. '`.',Bringing *Poetry Out Of 473. Kaplan, Milton A. "Verse W iting in the Hiding." NEA Journal 56 (February 1967): English Class." English Journal 55 (October 12-14. 1966): 880-84, 890. Discus,ses certain components o claiskTis To show students that the material of that encourage poetic thinkin ichildren: poetry is inside and all around them, the the, teacher is concer ed 'with' listening to, teacher should have them read poems that what children, have. tosay;'there is an illuminate the commonplace; they can then attitude that all children can participate make their own lists of items that appeal to fully in the experience of poetry; children their senses and organize them into poems. ..,.ear,poetry, see it,, and each out to write it. The author describes techniques for help- cludes severarpoems from. Miracles, an ing students work with imagery, rhythm, nthology of children's- poems edited by and rrwter. wis (see Entry 693): Teaching Poetry Writing 71 e 479. Lewis, Richard W., Jr. "Brainstorming into the school years, but th4t, he prefers not to Poetry Reading." Eng/ish Jou -nal 61 (Septem- dignifythe free-wheeling, experimental ber 1972): 843-46. writing of children by the term "poetry." After viewing and discussing a\ picture displayed by means of an overhJad pro- 483. Miller, Helen Rand. "Children As Nets." jector, students wrote individual and group Childhood Education 39 (March 1963): 333-35. poems. The, author's purpose was to help Children in kindergarten through the third students understand imagery in poems grade were encouraged to dictate stories- they read, but the techniques described and poems freely; their work was then wouldalsoaidin ,.developing creative typed for them. The author stresses.content Oriting skills. over form, and urges children to write poetry -th& doesn't rhyme. 480. Manzo, Anthony V., and Martin, Deanna 484. Miyretta,.Janies. "Photographic Perception Coleman. "Writing Communal Poetry." J0141- nal of Reading 17 (May 1974): 638-43. and he Poetic Process," Exercise Eerchange 17 A class of inner-city high school students (Spring 1973): 20-25. who had previously failed English took Using as a text Reflectio. ns on a. Gift of part in a three-week project during which y Water'melon'Pickle,editedb Stephen they created a communal poem and made a Dunning and others, the authOr developed videotape with the help of a professional his students' insights,into the poetiC experi- poet. Details the process by which a group Fence by pointing out similarities'between leader elicited, and worked with student writing poetry and taking photographs. responSes in writing a comminial poem. They outlined the function of poets: (1) 'select a subject,(2) study the subject 4'81 Meade,.Richard 0. "Introduction to Poetry." perceptively, (3) employoetic techniques . fdeglish Journal 64 (January.1975): 60- 1. to achieve their purpose4) record the total' outlifies a one-week "mini-course" f expe,r- ienceinthe poem. Stu' tints then graders that integrates the rea ng and 'wroteteir own poems, 'severk1of which writing of *try ',into a meaningfuk com- mare included. bination. Includes suggestions for poems about an ifnals, people, the night, lonelin,ess, 485 Morris, David. "Teaching Poetry Writinetn , and war. 4 A the Third Grade." Elementary English 52 '" (Atoll 1975): 580-81. . Cr" 482. Memering, W. Dean. "A Student POm Is ,a Explains the ground rules followed by the POem "'Christdtson, "A. "Is.A-'Poem?" author in teaching poetry writing: (1) ac- & Methods 9. (Se tember 1972): 56.-57, cept anything written, (2) ignore spelling, 76. errors, (3) givettpraise anl. encouragement, Th gument originates with Christen- (4) \be, patient,if teaching techniques prove son's ar 'de, "Poetry Ws, Can Understand unsuccessful, (5) write along with.the chil- It Again" (MediaMethods 8 [April 1972]: dren, (6),don't force children to share, their 37-39, 54.-56), it ,which :he welcomes the writing if Alley don't wish to do'so. recent appearance of more diciplined, more Structured poems and urges teachers 486. Musso, Barbara Bonnerw"Want to late Poetry TiS7 This." Gl'adelkachci,84 (No- to give 'up the "do-your-own-03etry-thing" . and get back to the disciplined approach to vember 1966): 86. art. Memering argues that students must Describe§ a Method oteaching poetry be free pi explore and experiment, to find kiting to middle an,d'prtary grades by their owl. identities and ideas, before they using the Japanese conce t of fouii divi- are ated.to Concern themselves with poetic sions of beauty: bade (color ul, brigrik, and struct re.Christensonrepliesthan he. flashy), iki (smart, stylish, c ic); jim advocoiles disciplined writing bY,theele-,, traditional), and skint/ (a dull but rich. ve h.. and twegth grade,' not afiTthrough ackgroundi with a spark of contrasting bright ne 72 Practice

487. Nichols, Ncirma S. "Poetry in the Second 492. Rathbone, Chades. "Prelude to the Making Grade." Grade Teacher 87 (Septmber 1969): of a Poem: Finger Exercises." English Jour- '176, 180-82. nal 54 (December 1965): 851-56. The author read poemof famous poe Presents short, simple exercises to involve including John Cia.rd chel Lindsay, an students and draw them "bit by bit into the William Butler. Yea with h Secon process of writing." The exercise's deal with graders, who the wrote poe mselves. four aspects of poetry: sound, multiple The class expl red various elemts of eaning, metaphor, and form. poetryincludingideas,forpi,rhythm, mood, words, and style. 493.Rechtien, John. "Something that Chai- lenged." English Journal 50' (March 1961): 488. O'Brien, Joseph P. "Advice to Young Poets." 2-3. English, Journal 55 (April 1966): 461.:-63, 467. tudents wrote poems based on'grief Warns against the use of trite phrases, descriptive paragraphs they had written on rhymes, and subject matter in poetry, and any topic 014i)L, appealed to them. lists sevetial dozen phrases to avoid, includ- ing "tall windswpt pines," "placid sea," Reed, Cecilia%. "Using RecoMs to Teach and "the chirp or a robin'," especially if it is Poetry." Scholastic Teacher (Teacher's Edition a "cheerful chirp." Urges students to use of Senior .' gcholastic). Senior Scholastic 89 their own senses and to read a great deal of t .;(November 11, 1966): 16. poetry. Since "the first step in the writing of poetry ) is to 'develop an appreciation of it," the 489.O'Neill, Jean H. "Metamorphosis of a author reads a great many poems with her Poem:" Elementary English 50 (November/ "junicorhighschoolstudents antplays 'December 1973): 1195-98. poems recorded by the authors. She use-a, step-by-step description of a seventh recording of 'sea sounds as one stimulus for i' gradeprojectinwhich eachstudent student poetry writing. receives a picture, describes it, turns the , .. sdescripti p into poetry, and thenchanges 495. Rodgers,*Denis. "A Process for Poetry- t ithan4her studentyho.draWs' . Writing." Elementary SchoolJournal72 .(March 1972): 294-303. . picturet.:0 whatay& the poem describes. The ,author broke down the process of 490. Potter,.Carolynoing Poetry:" Media & poetry Writing _into a sequence of five. Methods 8 (Decern* 10): 46-47. lessons for an average fifth grade class. Faced with a el_aiss oehigh school students (1) noting differences in for nd Content<1 who "hated everything" she had tried, the between poetry asnd prose; (2)hanging author. aroused their interest by playing prosesentences topoeticform;(3) Mexican music recorded live at a bullfight. discussing line Leph and more arranging The class the olunteered phrases about of sentences into poetic form; (4) discussing bullfighting,,wh the teacher arranged in the five. senses, "reliving" an experience, he orm of a p..' After reading some and writing about the experience in prose examp poetry, the. students that was converted to a poem; (5) going . the ..Nrrot iWpoern.s. through the, same process as in lesson 4. ... 491. Potter, Ralph. 'On Teaching the Writing of 496. Schmidlin, Lois Nelson. "Introduce Two- Poetry."English .Journal 39 (June1950): Word Poetry." Instructor 79 (May ;$70): 53-54. :)07-13. Suggests helping children writ.e jpeins In the author's poetry unit, students begin which contain just two Words in each line;, by studying S. I. Hayakawa's Language in gives student examples: 4 . . Action and b' writing descriptions, of ; sensuous impresSions. They study. pulp 49\7. Schmidlin, Lois Nelson. "Smile with Sip& lished poems, write limericks and par-. Poetry." Instructor 86 (NOvember 1976): 10 ?- miles, and then progress to writing serious Tells ow to help children think of similes poems. and uthem in callalytior:ve simile poems. Iocfude exaples5rwrim ten by children. Teaching Pocty

498. Schulkind, Carole, and Baskin, Barbara. assigned topic, and reading a d comment- "Impaled on a Wild Entanglement of Lace: Ing on other students' writin s. Poetics, for the Young ti.ifted Ele ta'ry English 5(I (November/December 1973): 503\ 'Slaughter. William. "Childroi...Can Write 1.209 -14. Poeifry." La ',glow(' Arts 53 (Febxuary 1976): Describ6 to methods used in ,a project for 16247, 186. gifted' upper:elementary studentsthat Based op his experiences as a visiting poet made use of sense training, field trips, and in a fourth grade classroom, the author , group writing', and resulted in a "sophisti- offers numerous poem iciN slcluding: the tecl, hardlcover limited edition of a hook "self ,portrait as" poem (pretending t'§ be of someone* else),the"Poetman, orPoet- etry." worntin" poem ,(imaging and writing 499. SheeleStuart L. "Students as Poets." En- about a. poet supe?-hero), the sound poem. glish .Jau root 58 ,1-April 1969): 577-85. Suggests one concepts about .poetry' that Discusses many benefits.of having students teachers' can develop, such as: poetry does write pdetry, among then ,--/'*stud9nts' dis- Rot have to rhymevnetry does not have-qv covery that poetry has a pl`ace aqd a func- be pretty, poetry is "always right, never tion ik their living. Gives a step -by -step rong.7 proceSs for teaching poetry writing, tratipy through student poems. how stu 504. Smith, Josie G. "An Experience in Creative de> 6. can be helpedto progress in their use Writing." Emu i shJour=nal .11 (September of strong*concrete verbal images. 1952): 372-73. , Students, wrote" essays' on thelivesoff"' 500. Sherwood, Irene. "The Poet and the Laug- famous men, including Gandhi: Nehru, and dry .List." English .1m-mil 59 (Septemlik Moses; the "hen arrange4 the writittgs in 19701: 823-25. poetic form for .a choriC (ceadi-og by the To encourage poetry writing in students clasS. who arenot, academically( inclined, the author has her class listen to songs and read. 505. Solkov, Arnol i. "Upon First L)oking; into poems ii4?at list favorite objects in everyday Christensen ;g retoric:".'Enyl ish Jou rnal 59 experieWt.e. The students then write their (September . 0):. 83436. own "laundry list" poem-S. Suggests and-expiains how to teach stu- dents to-write "instant poems" based on the 501. Shuman., R. 13- ird. "A Poetry Workkhop cumulati sentence. Such poems are a for the Upper El mentary Grac s." Elcclr means oencouragingncouraging students to use the tax y ngl ish 511 (werriber/Det mbe'r 1973): ideas of generative rhetoric proposed by 1199-203. Francis *Christensenin ways thatwill Describe a fcui paced three -day workshop encourage inventiveness and imagination. /in Alen' students participatedin ,,,,such activities as writing endings, for poems, 506..tassen, Marilyn E. "Creative Writing ip writing about what they saw in an abstract .Junior High School."' Enfilish Ito oral 54 shape, working on building a mood for (Jarwary 1965):17-20;_27. . poetry wtiting, and wl'iting cinquains and Disturbed by eildren's tencienv'to write poetry with forced rhymes and Nil y thm4, thc'-`authar stressedthe importance of 5102. Shuman,' R: fiairtL "Teasing Writing Out r)f content and the necessity of making wards,* 1Eigh Sehaol Students.",!-1,q/ish./oRrtra/ 92 sounds, and images fit the purpose of the (December 1973): 1267-71. paerri. Field trips, reading modern poets, two-day poetry workshop showed stu- writingh9ilku.and painting 'to music deints how to get started writing and how to helped thr efiisslearn ,to express their workitseit1.11other** vritics.Activities feelings in phetry. ;it wa'ruinute silent period to build riloewci for witig, nonstop writinwon an 507. Stein, Debra. "Thousands of Glassroam 1)0(.4.s." ThotatisEd,irotionGI 'I Fehrwary .1972): 18-20. 74 Practice

, A, poets-in-idence program made; it the classroom. Givesddairectioitsi. to teachers poiSit5le. foreventeen ,poets to. visit class- for setting up a residency for a poet in di it rooms and conduct teacher workshops . classrooms and serves as a preview to he throughout New Jersey;.Thepoets trans- ,author's booklet" Poets in the Schools ;(s e formed the glasSroorns into pOetry work! Entry 737). \ shops with a atmosphere of fuNand play: They emphasized development of rise 512. Wallenstein, Barry. 'Wren Poets? C'ommon'thea/ 93 (FebrilarY 1971):: 44Ei,50.,;... perceptions,, emotionalreactions;meta.- r, and t'kythm and sound. The author raises /nanyuestions about the best ways of 'teaching poetry writing to' 508. Thompson, Phyllis. "Haku Mele: A Poetry children based .33n his owniexperiepces and ,Workshop Program." English Journal 60 on his reastions to Ken4ieth,Koch's)wo,Ok. . (February 19714;;215=19. PointsutThe need for theiteaCher to excite. Describes a poetry program (Haim Mele is students Out "a particular theme ,without Hawaiian for poet) in, which university. inhibiting the exprZsion of it. Stresses that students led weekly small-group sessions in teachers should recoOize the Value of poetry writing at elementary and second- poetry writing as a cieative.expeniencefor ary levels. The focus of the program was children and-should not be concerned with rigorous student criticism of each other's searching fsr "good':,', poems as judged by work. mature. stincYtrds of- artistic taste. 509.. Thompsoti, Phyllis. "Like a Poet," Elemeo-- 5,13. Walter, Nina Willis. "Making- ,Poetry." tar'y .'49 (December 1972): 1145-47, CTA Journal 59 (March 1963):,23; 37. 1151. %. Tells how to..f0ease children'screative Propostda poe writing program that inraginatjon: provide creaVe experiendes, wouldexcltia forced phyr,ne1..patterns,., Jet Children speak freely about their experi- excessive relurify of meter or $iligieness ences; let them 4,ilow their responses are of interest, 'excessive collaboration, 6es- valuable, give them time to tlynk ;bout sive planning (in order to make roomr theirexptkienis. The main freedom), and abstractions 'that have n trf bhildren's poetry writing is the aWakening emerged from what is known to the senses of an increased awaleness of the world, Stresses that Ahe child as poet needs to -about them and. a deepening enjoyment of learnabout many differrrt alasof experience.' .ti knowledge and to gain an awarenessf his Otbr her own -identity. 514. Weston, J. H. "Poetryanhe Upodiwns:' "- Engtish Journal 50 (October 1961): 475-77. 510. Tiedt, Iris M. 4 New Poetry Fo.riThe. The rebellious type of.student "who consiS- Diamante." 'ElementOriincash46 (May terialit2 up novel wads a gettingointo 1969)4 588 -89. t, le"le',' should be ,pxPosecLtliroughout the Describes the diamante pattetn of poetry, school,. year to contemporary "irrational and inve d by the author who was searching iinpulsive" poetry. Late, in the year 05.11clu. for d ways to stimulate the poetry 7-"gits is can be urged to write poetry: of' - writing 'of ,children; gives examples, of what r type they wish, breaking every diamante Poems Written by .kixth-graders.. "rule they desire: ;- 511. True, Michael. "I''he Poets in illeSchools 515.Wliting, "Monroe H."Poetry. pf Rod ,Anti-Massacre Movement."-Englisk Jouryal Mas(uen:, ANMedern ApprOach, for Teathing 64 (October. 1975): 61-63. Poetry." Elementary ,E119/"...k..49-Webruary Discusses -the nature and success of th 1972): 240.-41. Poets in the Schools program, which place A unit for sixth graders was built arnd professional poets in'sclio,ols with the goal tapeki- program of .McKuen's poem ome of helping students to 'become actively read by the. teacher and tome su g by involved with poetry and of combating the McKuen. Students then wrote their own typical "massacre," of poetry thatcurs in poem's, which were taped against musical, backgrounds. r 02 Teaching Fiction and Drania Writing 75

516. Wickens, Elaine. "Please Don't Tell the enced feelings of success when they collabo- Children."}tinny Children ?3(October 1567): rated on a group poem about Christmas.. 15 -18. heir pOem and illustration'were printed in rUrges teachdrs nottospoilpoerns..-fori=, the school paper. children by telling tip ,much about:they-1-c . illustrates, hoW childeen's creativity may be TEACHING FICTION AND developed by the teacher who;Sensitiliely,--..:DRAMA WAITING draws 'out their respei1ses poetry?. In- 1 ..41u,des- .pOeips WhiCh resulted Most of.lthe bodies ana'articles on fiction focus on fro ni as reading, a nd_d iscuss;ion of a poerri by dna St. Vincent Millay. relb.. helping students learn to develop plot, Mood, , Setting,characterization, point of view, and 517 Widdows, J. "Writing Poetry." In4e Ex- dialogueinshortstories.Severalauthors perience of Poetry in School: Si:r Es-drys on .,mentibii,the importance of reading and discuss- ,Various Wdys of Presotd ina-Netry in ,Second- ing published short stories as an aid in learning edited, by Victoria V. Brown, to write fiction," and one suggests modeling , pp. 127-55: London: oxford University Press, stories after literary Selections. Others give step:

195:3. by-step . suggestionsfor guiding studentsin Stresses ,the.importp.nce of poetry writing writing fiction; holding individual student con- as part of the whole poetry experience. Out- fer-ences, \And1-ving students work in srnall ., lines a four-step teaching method: (1).the'l grOups. tea0er rea6s one or two poems; (2) the Some of the authors stress that student fiction a. teacheK introduces the subject; (3) children' is most effective when it is based on situations . write, and teacher observes (.4) the teacher that students .know Most. about.BLit- several orchildrenread poems noted -by the-authors have found it effective to help students teacherasthe. children were writing,::write fiction based, on their 'favorite liierary " Presents a fe\v sample lessons and exam- genres, .including horror, adventure, mystery, ,: pl.es of the poetry which, resulted. and romance. 518: Williams, :C.harleS W -"My High School This section also contains' ideas for helping Poets."Today's Ed on '57 students write plays; film and televT'SIon scripts, renternber monologues, puppet 'plays, and o_perettaS.Many 1968): 21. The author finds, that all his sdents can aUthors,offer suggestions for gumming students in write poetry when he encburages 'thern to producing their work for an audience. "drop ,their-masks" and let themselves go. To stimulate honest, writing, he employ4, TWhing Fiction Writing 'pain'ting ;music, and writing outdoors, and"' Books

.requires Hence while students are writing. , 521. Cassill, R. Y.Writit Fictim).Second Edi- 519. Wooten, Vida Jo. "Primary Creative Writ- tion..Englewood Cliffs, N.J.: Prentice-Hall, ing."Te.tas (halvah-52 (Agri -11568): 24, 64. 1975.-.1.74P. , (46,,y,ailable from EDRS:. ED .025 506.) osa'Although addressee' -tocollege and ad-. .second. grade. class began 'a creative Nance& high school students,this' book.. writing-project by listening to.Poetry and \provides, valuable -ideas to 'teachers' selecting poems. to "memorize and ,recite, es-ledin helping 'young writers develop which stimulated and encouraged thenuto 'their.. fiction-writing skills.Sectioir.-Une evaluate,-Poetry and to :wrte. their* oWi% urges thd reader to read.good fictibn in ,poems. Sixth Viers acted' as secretaries order to, learn principles of writing, -and' iti for tlie younger children. writing down shows why it is best for Writers to chooSe their clictAted poems. subjects.,' from their -own life experiences. 520. Zeligs, ROst.). "Well-versed for the Season." Thistection also presents several "finger Grade "Teaciat5r1,89 (Decernter 49741: 1213. exercises," shows how to keep a water's A class of so-called slow .learners exper,i- notebook, and discusses description, narra- _ .. tive passag-es, scenes, arid dialogue. Section A. tP 0 Olepe e

Two resents six short stories as exampleis examples of these uses, and to practice cried approaches to writing fiction; and writing dialogue. ection Three examines the concepts of unity, plot as unity, character, tone, and 526. Coriaty, Linda S. "Who's Writing?" Grade theme. Teacher. 89 (September 1971): 9-10. Presents step-by-step IeSSons for a unit on 522. Hubert, Karel M. Teacking and Writing. "point of view" that helps children define Popular Fiction: Horror, Adventure, Mystery point of view, realize the many factors that and Romance in the American Classroom. influence point of view, anti gain awareness New York: Teachers & Writers Collaborative, that literature is written from a particular 1976. 235p. standpoint. Discovering that her elementary( ani,'s'ec- oridary, studepts likedto read -..pOP),4alr 527. Drake, Robert. "Teaching Fiction Writing."- CEA Forum 4 (April 1974): 13-14. genres of literature, the author pr'ovided Ots writing activities that reflected their read-i** Outlines the main aspects of teaching ing preferenceS. In this book, she discusses fiction writing: make students sensitive to background an the nature and emotional hat is good and what is bad in fiction by content of the founitenres treatedt,ells how requiring them to read both kinds; insist to help students bUild up to writing stories, that students tell their own stories, write and offers more than one hundred classroom- about what they knoW, and write whatthey tested "recipes "i be used as story-starters feel compelled to write, not what they may for horror, adventure, mystery, and ro- feelthey should write. Points out the mance stories. Includes an anthology of teacher's role in providing a stimulating No students' stories. climate. 528. Folsom, JamesS4. "Evaluating Creative ArticleS Writing." High Points 46 (November 904): 523. Anderson, Viola. e Teacher's Role in the .5 -27. Also in Writing and Literature- in the Making ohl,,Fictilin Vfrifer..0 English-Journal Sitonclary School, edited by Edward J. CiorL 56 (April967): don, pp. 123-44. .New York: Holt, Rinehart Studentstudiedthe devices 'used by and Winston, 19$5; and, in inward Vision. . professional short story writers in setting a Imaginative Writing, by John B. bgc)en, Jr., mood and in, building character through and Barbara Pannwittpp. 203 -24. Welles- dress,action,and dialogue, and.. then ley Hills, Mass.: Independent School Press, applied the deyices.to their own writing. 1971 (see Entry 615). Discusses the Daily Themes rse at Yale, 524.Ballou,Backara."ExercisesBUilding ih which stiktents submit a 300- ord theine toward tile Short Story." English Jo0-rial 49 daily. Explains' ho* teachers y evaluate (May 1960): 34§-46. students' fictio9, ikriting bpresenting Exercises to develop story writing ski4ls portions of seven studentritteri short" included: students' reading, ana discussing stories and discussing the'good and bad: published short stories,writing'charaCter points. The best stories,1 e author stresses,. sketches, writing plotted stories based op are those about peopte;ents and ideaSare pictureS, writing half a story wnicn "Was important onlys- th reveal character, then completed by another class member, The good stories ieve their *effect by workinginpartnersto ealuate revelation rather t aexposition; they do other's stories. 4,, .not tell us what to, hink, but rather show 525. Carlson,4ulie. "Six Uses of DialogHow$. to what happened:"helevaluation principles Teach The." Grade Teacher 86 (April 1969): 'are also applicable to the 'writine. Of high schoolstudents.(Seealso Evil- 549..) Presents4 step-bylstep sequence for teaqh- 529. Folsom, James 1011Teaching Creative Writ- -ing the writing of dia ogee "to fifth and ing through Point of View." Journal pf En- sixth graders. n jectives are to glish Teaching' Technique§ 5' (Summer 1972): learn 'six common us s of dialogue, tostudy 1-22,

/ Cl Teaching Fiction a ama Writing 77'

Quoting fiorn numerous student-written novels, discussing them and getting help in stories, the author demonstrates the im- "Young Author's Forums." The author ex- portance of teaching students about "point plains h w to initiate the project and details of view" in writing fiction. He also discusses her syste or organizing the material and the analogy between writing and film tech- facilitarig the students' work their nique, and shows how a teacher can teach books. writing by talking interms of films. 535. Larom, Henry V. "Sixth Graders Write 530. Goller, Gayla North. "Mystery Writing for Good Short Stories." Elementary English 37 the Middle Grades." Elementary English 52 (January 1960): 20-23. (February 1975): 192-93. Reports how elements of writing taught in The author capitalized on children's enjoy- s college-level course (description, lively ment of mystery stories by having them verbS, plot, suspense, characters a:LI char- write their own mysteries. actermotivation, viewpoint,a d) story 531. Groff, Patrick. "A Model for Writing Ad- theme) were employed with sixt-grade ventureStories." Elementary English 46 students withsresults the author conered (March 1969): 364-67. stiperior to those achieved with his co ege Proposes a detailed pattern .for adventure students. stories that can be used by children in 536. Leavitt, Hart [Day]. "To Write or Not to writing their own stories; the model is 'Write: And How?" In Writing and Literature 'particularly useful fo.olating the parts of in the Secondary School, edited by Edward stories for "reluctant" Writers so they can 'Gofdon, pp. 55-76. New York: Holt, Rinehart see how a certain kind of storyis put and Winston, 1965; and in Inward Vision... together. ImaginatThe Writing, by John B. Ogden, Jr., 532. Hadley, Barbara. "Short Story Writing in and Barbara Pannwitt, pp. 185-201. Welles- Senior High." English Journal 51 (January ley Hills, Mass.: Independent School Press, 1962)t 49-51. 1971 (see Entry 615). Alb Describes a unit divided into a study of Discusses and illustiMs the "Seven Deadly three elements of short .story...writing: Sins" ,of, teenage writing and. .urges the setting, character Portrayal, action and writing of i'short-short" fiction as "te most plot development. Students studied litera- effective and the Most interestinV tureand analyzedwriters' techniques pline for sharpening students' min& a befe: Writing their own short ies. observation." Such writing helps. student to be specific in their writing and Mould be 533. Hiatt, =Mary. "Teaching the Writing used by :students to explore character, Short Story." English Journal (4 em idepsnd conflict that are of vital interest 1945): 810-18. them-or' in their own lives. Short stork writing project lath three differen.tgroupsof eighth and '',ninth 537., Martitt6 Marvin. "Children Can Bec4fne tgra-de'rs involved the reading and study of a BetterWriters."ElementaryEnglish41 , group' of stories,developmefit of each. (January 1a64): 53 155. , student's story Ilea, writing the first draft Children can be taught to use imaginative and the final IMftion, and "public.ation".i. figures of speech in their writing, and to some instances. Frequent individual con- develop plot, character, and setting' in the ference's were held, and eiriahasis was stories they write. . placed on writing about sorhething based 538. Martini, Teri. "On the Teaching of `Creative on personal lertowledgn,or experience Which Writing." Grade Teacher 78 (March 1961): the writer felt strongly about. 38-39, 101. 534. Jackson, Norma F. "Writi i"r;tovels." Working in.:small groups and evaluating Teachee90 (December 1972): 50. each other's writing,' fifth graders invented In an "exciting;, self-motivating, exhilarat- and described their own characters, wrote, a story plan in which their character was ing" project, sih 'graders wrote their own 3, 78' actice

confronted with a problem, and wrote a reading published shod stories, students diAlogue between theircharacter and wens ready to write their own stories. another person. Each child then wrote a first draft of an original story, which was 544. Rouse, John. "In Rhythms Run the Words evaluated orally by other students, cor- That Sound the Self." Media &Methods 6 rected, and revised. One of the short stories (February 1970): 41-43, 62-65. is included. Building on student interest in hot rod novels,the author helped his eleventh 539. Murphy, Charles P. "The Teaching of Fic- grade clasg of "failures and troublemakers" tion as Composition." English Journal 55 write their own'wn Such novel. small groups of (March 1966): 331-34. students acted out the scenes of the novel To make studits aware of the composi- and wrote down scripts for them, from tional aspects of fiction : in a. way that which the best scripts were selected and involves theft in the creative proctss, the used for -the novel. The class_ also read author gave each student the elements of a poems, and wrote poems about the "themes" short story plOt and directed them to write of thgir lives. (Part two of a two-part their own stories. article; part one does not djal with creative 549. Noble, Donald "Rewriting the Great Plots." writing.) English Journal 60 (December 1961): 628-29. 545. St. John, Sister Mary. "Flashback. Tech- The writing of short stories based on nique in Writing." Catholic Schpol Journal 65

literaryselectionsallowsfullplay, of (October 1065): 64, 69. , 4 students' imaginations and gives_ a basic Outlines a method for' teaching pupils to insight into the structure of the short story. usethe- flashbacktechniqueintheir Gives suggestions forstories based on writing; shows dertiin well-known Julius Caesar and Silas Marner. works can be usedused Th\i,llustrate the tech- 541. Nold, Ellen W. "Short Scripts and the Short nique. Story." English Journal 61 (Marsh 1972): 546. Schmitt, Gladys. "Creativity in theleven- 377-80. ties." In English Educatioil Todayedited by In an exercise to develop critical aware- Lois S. Josephs, and Erwin Steinberg; pp. ness, students are given the ,beginning 424 -35. New 'York: Noble and Noble, 1979. lines of a scene from a story without beings Discusses the author's methods of teaching told that the scenes are from real stories. college students to write fictionby means of Working in pairs, they write scripts for the personal conferences; the ',techniques are completion of the scene, read aloud and also appropriate hit- high school use. discuss their scriptaie and then compare them with the origfral stories. 547. Schneider, Maxine. "A Pattern'or Story Writing." Crr4le Teacher 84(October 1969): 542. Person, Tom. " SO Proud You Could Pop!" 102-3. . English Journal_ 49 (Noveml?er 1960): 520-27. After pupils analyzedt-4.story of ,Go/ch- Discusses many aspects 4q teaching crea- locks, and tlie Three- Beam, the teacher tive writing: setting the atmosphere fer helped them to make story line, that free. expression; teaching the elements of demonstrated the action of the story:- (Onset character, setting, plot, andconflict; estab- beginning, mounting excitement ateac lishing attitudes of persistence in polishing new incident, climax, and, cptik endi 'stories; handling varied personalities of The story line provided a gOle students. children's story Writing. 1 `543.3 Porter,forma. "Fiction Writing.Eighth 53184 Seid, Kenteth A. "Getting into Fictidn." Grade Style." English Journal 47 (May 1958): Exercise Exchange 17 (Spring 1974):T0-32. -292-93. Outlines an exercise, in which'ptudents After writing grbup storiesin "round choose an incident, scene, person, or thing robin" style, analyzing tIN stories, and and write three-different pa'ragraphsa,bout . Teaching Ficti6n and Drama Writing 79

it: one objectively neutral, one primarily the young short story writer and suggests positive in connotatiog, and one negative. 'dome praCtical solutions.. Discusses the functions of the exercise, particularly as it poirits up the ,relation- 5533Yocum, Charles Franklin. "CreatiiTe Writ- .. jp ships between fiction and nonfiction. ing:Fiction." Grade Teacher 81 (October 4963): 52, 117. 549. Sewall, Richard. "The Content of Student Provides a'atep-by-step sequence for teach- Writing." In Essays 'on the Teaching of En- , ing children how to write stories; tells how' glish: Re'pbrts of the Yale Conferences on the to teach- about chaeacter, setting, problems Teaching of English, edited by Edward J. Gor- 1,0 be faced and solvedby the character, and dOn and Edward S. NoAs, 61-'17. outcomes. 'Suggests that the first cation of the National Council of Teachera of should be started by the teacher and English. New York: Appleton-Century-Crofts, ,,Oonnpiled as a group effort. 1960. Discusses the 'tale Daily Themes course, in Teaching Play Writing and Script Writing which students wrote a 300-word paper every day for an ,entire term. Presents and lioclZs .. analyzes many samples of student fiction to 554. 'Bordan, Sylvia Diane. Plays as Teaehing show students are° taught to use Tools in the Elementary School. West Nyack, spec& detail, dto sharpen all theftsenses, ,N. Y.: Parker Publishing Co., 1970. 249p. to clarify by point of view, to use** Prese,nts guidelines for teaching a.class to indirect method, to choose words precisely,-. write original plays. Suggests a sequence of and to make each story a unified kvhofe. The acti*ing: (1) pupils improvise dialogue for methods discussed may behelpfulto a Short episode read aloud by the teacher, teachers at the advanced secondary level: (2) pupils improvise a series of episodes-and, (See also Entry 528.) . . A then Write down the dialogue, (3) pupilS 550.Siegel,Sally Dewald. "Begiving with recreate litre story .from---a- basal Character." College Composition end Com- reader, (4) the teacher rites an original vot 'Munication 25 (May 1974): 200-3. play with lieclask. Diteusses.the benefits Describes an approach developed by novel- of play eat- ii--'orall .students, from - , , istand teacher Gladys Schmitt in which "retarditader d "underachievers" to% exercises are planned for seven weeks to superior, students; irtludes models of ori-; allow students. "to, create a character, to ginal plaand-a discusses techniques ustA G) know this character intimately, :and to to genera hem. 7 bring this character, if possiale,to the point 555. Cornwell, Paul. 6.49,ti,v Playmaking-in the where the character would take on a Primary School. Photci hs by Nick Mill-- fictional life of his or her own. , house. Londormehatto & Windgs, 1970. 136p'. 551.. Stoats, Mable M. "Continued Next Week." -Records she ..experienfesincreative English Journal 49 (February 1960): 112-14. plaYrnaking in art English primary .school In-;ban ,exercise involving writing a. story (intermediate' level), particularly'a prbject introduction and analyzing its effect, stu-- in which .cchildren wrote and perforrheda dents wrote the opening paragraph to-a play based on Homer's Odyssey. Tells, how ry of moving picture to be "continued the claq created the pray Week-by-week; next week." The class then evaluated the in-Chides .an anthology tf children's Pperns writ i rig-s)' written during the project and a,chapftvr on' the use, of mime, inovemOt-,..ancldraina 552. Strong, Jonathan. "The Short -Story Work- stimulate writing. The author likens, his shop." English. Journal 59 (September '1970, .-- aims tor those expressed by-Sybil Marshall 811-23. .., . in An Erp,tinient in.E4,4cation (gee Entry Givesideasfor teaching a short-story $6):. to enrich children'sjmagtnations and workshop in which students criticize ea stimulate their potpntial forcreativity. other's work; points out common f ilin go. re,

1 F)1 80 Prailice

Articles used to guide the children through the many steps involved. - 556.Appel,JosephM."CreativeWriting through 'Dramatics." English Journal 48 561. Galleys, Beverly H. "Creativity in the Basic- (November 1959): 482-83. 'Skills Class." English. Journal 52 (November Each stu4ent in an eleventh grade class 1963): 622-24. was required to write4t one-act play and to A basic skills teacher reports on the success present ,it orally; students worked together of a unit based on the students' writing of to stage the plays. original plays, which theey performed for 557.- Cochell, Shirley:, "Monologues: Something the other Blass members. New for Creative %IOW' Scholastic Teacher 562. -Miller, Doris. "Puppet Theatre for Teen- (Teacher's EAE ion of Seniiir'Scholastic): ,!5en-,. agers." Media & Methods 9 (September 1972): ior. Scholast. 83 (October 25,11963): wy."- 72-73. After re ding and hearing several-mono; *Ninth graders working in small groups rogues, a class wrote theirgVin; the author puppet skits duringa, four-day lists the suggestions sheognaak to initiate shop, and performed and vidNitord the activity, and points::eut that wrath-1i ,the skits.- Includes the teacher's gu. es monologues helps overcome difficulties in :or the students, in which she dpscribes' writing dialogue. The article includes a list'- each of the puppets proyided and gives sug- of books containing monologues. gestions, for . writing and producing the 558. De Roo, Edward.."Teaehing the Procegures skits. 40 for Writing aPlay." SpeechTeacher 19 563. Moro, Stephen, and FlerAg, (November ,1970): 257-61. "Video hort Story.y Englisr.Journal 65 In teachi/fg pilaywritirigproeeklurei,teach- (Mar 76): 60-63. . ers ,should realize .that:,(1) hiern prat- escribes methods through which students ,tieingeng professonalsi start to weifrom an) working in 'small groups can create and impulse rather than from a "coie-cutter produce a short story for videotaping. formula"; (±) the wurse Content should deal Through personal experiences with famil- with the'developrkent of individdals' crea- iar televisihn characters, the author finds, tivity, 'rather gran with-thP" completion of students are able to develop plots. and a ,play; (3.) tape redording'and videotaping themes which are reflections of their own can be uett,' ivtiqti oer, rgpeated playback lives and concerns. might. la ip stUdeift,l sttiStute their plays; 5c4. Nikirk, F. Martin. "Filmmaking, A Seventh (4f4blie:Idrarnatiiatiott and p4ntorrikne Grade Experience." School Arts 75,(-Recamber cstItikttein haVe vajde in .a plVw' riting '1975): 16-17. course.. . . ,_,,,After completing an English unit on horror 549. Donlan: Dan) "The Ray Bradbury D atic and mystery stories, a seventh grade class Workshop, " Elementary English'51 (J ry wrote and produced their -own horror- 1974),, 0942; movie. Diseusgeg a unit ID which students learned how to c4angetoryNclijlOgue into play 565: Noble, Donald. "Television Script' Book Re- dialogue, N'ewrote a short story lilyRay/ pot-le English Journal 49 (April1960): , Bradbury as a short play, ankvVotlied on, 0.259-k. . wilting a film sckipt. for one scene from the Describes Methods usc;.eltohelp.. tenth ders writetelg,visi story. _ w script based on a ingle-scene frotri a novel. c. 560. Dugan.,'It'.irginia.-4"` Beat theWinter.BlahA' Rothrock,-C.4117-son. "Our ,,,Own-Iiinior High . a Language Arts 53 (April 19 78-79, 4b:. Working in small gr.p +l Musica'11"English Journft/Z1-(Novem- wv nt° er11123;-_-12/t/-4ts. ' plays, madp,ptiPPetS; Pn7- of juni highvchool students!' duced ,puppet plays.' hniqUes wrote the script Arr a one -act play in six. "'": ort i 1 '

''. II,: : 4. CA' ',,'.' I.' 1 Materials for Student Use 81

scenes. Other students composed music for script, and a portion of the finished outline the play, choreographed dance numbers, for the script.

designed scenery, and staged the play as a ....i musical. MATERIALS FOR STUDENT USE 567. Sposet, Ray, and Asad, Tom. "The Play- maker, or, The Dramatic Side of Life." En- Tilleseatii aterials, desigried foruse by students, glish Journal 63 (March 1974): 80-81. includebooks, textbooks, workbooks-,lesson Describes-a seven-point procedure through series, and special-classroono materials such as which a class of students can write a play;' story cards. stresses conflict as an initegral part of hu- Most ofthe books blend exercises With man existence and -ahe basis of play- discussions of writing techniques. Many present writing. models for student writnd include exam- 568.' Stevens, Mary; Neuger, Judy; Maraffie, ples of student writing to sel/e as motivation. Bertha Neubert; and Singer, Debbie Feiman. Some provide pictures andWphotographsas "treating an Operetta." Instructor 75 (June/ writing motivatOrs; one series, the Stop, Look & July 1966): 83, 118, 122, 124, 126, 128. Write Series, is based entirely on writing in In a six-week summer workshop for fourth response to such stimuli. A few books, written by and fifth graders, teachers of art, music, successfulpublished authors, offer students gnd creative writing collaborated to help "tricksofthetrade" based on their own the children create and produce an operetta. experiences. Describes some of the techniques used in Some- of the materials listed here are not helping children write the script. planned specifically for use in the classtoom but may be used by interested students who want to 569. Sullivan, Joanna "Taping TV Shows Pro- pursue the study of writing on their own. In , `motes Creative Wi-iting in the Classroom." attempting to 'give guidance to such students, Media & Methods_ 8 (April 197 -51. especially those at the advanced secondary level, Suggests activities that can e ge from teachers should be aware that there is a vast " playing the tape-recorded audie, portion of body of literature available on the craft of a favorite TV show: students can transcribe writing. We have not attempted to include this the dialogue and act out tisto y. heyecan category in this bibliography, but we think that make comic book versions of t-s ;they1teachers may want to alert particularly inter-

i. can write additions 'or differ yr^ sions. , ested students to the publications of The Writer, *" Inc., which include an extensive series of how-to 570 Vetey; June J. "Curtain I yyvrit- ing.Teacher 94 (December 1976);52; ,56. books on writing plays, short stories,1 novels, Describes-:a technique that involves choos- juvenile fiction, light verse and prose humor, ing a topic that children have expressed and magazine articles. The Writer, Inc. also interest in and then having them do some publiShes The Writer, a magazine filled with tips simple research, draw up an outline, and f9r' the weld -be writer.Writer's Digestis cwnpose mini-plays that are incorporat.ed.another baluable resource for theaspiri'hg in a class play. Tells hotZ7 one gr4up wrote a writer. 7 ._ play about the TrojarWar. Becauteo, st of the materials in this section were des* for use at specific grade levelaslive 571. Vogel, I\TricY. "How a High School Classin have )ncluilea grade level code for each, item.. Utah Sold atTV Script!" Writer-4s Digest The codes are: Kkindergarten; Pprimary; (February 1973): 21-23, 41... IT-intermediate; Jjunior highschool; ,,,and A step -by -step account of how ahigh sctiool,,S=4-riorThigh school.. it.class in%creative writing wrote an original -script for the TV `program Room 222.'1571 Applegate,4Manree. Wingect Writingi. Iinag-i Includes theteachdr'sinitial' letter of fnatte Poerns.andStories oj,Schopl Children- inquiry,to theprodnceit, advice and instrtc- from Grades .4 throwh 8. Evanston, Ill.:,R6w, 4tions from the producer-Tor writing: the ,i0.Peterson and Co,, 1961. 308p. I-J. `'- :i" . Reproducesportionsofthe ,^ broadcast .., ': la ir d° 82 Practice

material from twentxitwo programs in the 575. Barbe, Walter B. Creative Writing Activi- author's"Let'sWrite"radioseriesof ties (Highlights- Handbotlik °Columbus, Ohio: creative writing lessons formerly offered Highlights for Children, 1965. 33p. K-1. by the Wisconsin School of the Air. Topics Basely materials that have appeared in> whichAildren were encouraged to write Highli for Children, this book may be about include horses, fire, mysteries, outer used as a source book for small groups or by space, dinosaurs, tall tales, sensory percep- a . child working alone. Writing activities tions, and machines. In each program, the include: wtird titles for stories author speaks directly to children, present- and writing storiesfunriting from titles; sentence ing background for the featured topic, andStorycompletion;rhyming,. blank reading relevant writings by professional verse, and haiku; write from pictures; writers and by children, attemptin'g to descriptive writing-, writing myths, fables, stimulate interest in writing about the tall tales, and wishes; usingbther children's topic,. and helping the children get started writing as models. writing. Presents a sampling of children's writing written in response to each pro- k' 576. Charles, C. M., and Church),adge. Crea- gram. tive Writing. Skills, Book Q1ie: l clebook for Teaching PriMary Grad 0 Min*. .lis: T. S. 573. Applegate, Maur*. When the Teacher Says, Denison 80S0., 1968. 86p. (In es Student "Write a Poem": A Book for Junior High Workbook; separate Seitdept Workbook, 39p.) P. Schtrol Students. New York: Harper & Row, Intheir discuss44 of creative writing 1965..121p., J. skills, the autho rge teachers to read Addressed to theirior high school student aloud to children frequently; to criticize faced with a po ry-writing assignment-, writing in poSitive ways, and not to grade this book presents the argument that creative writing- papers: They present "poetry is for you." Individual chapters, thirtyine sequential lessons designed to treat the expression of sensory impressions; buildi?ncreative writing- skills. The lessons rhythm, the pictorial nature of poetry dea with creative thinking (invent details huthorous poetry,revision, and various about mermaids' lives and write a stay definitions of. poetry. A "kindle kit': of about a mermaid), words and expressions, suggestions, exercises, and sample" revi- or ization, poetic expression (write non - sions concludes most chapters. Numerous rhyming poems about .given topics after poems by adolescents and several by the class discussion of theni); story beginnings, author are used throughout the book as and story endings, and evaluating creative l-. illustrations, as models, and as the bases for writing. , The student workbook includes exercises. exercises that' caordinate smith the text, 574. Applegate,'Mauree. When the Teacher Says, 'illustrations to btimurate writing, and lined "Write a Story": A Book for Junior High r 'Pages for story twritifig....- School Students. Evanston, Ill.: Harper & Row, 5. ChaMes, C. M., and Church, Madge. Crea! 1965. 106p. J. tive Writing Skills,,,Bbok Two A Guidebook for Pointing out that *bne of the most exciting Teaching Upper Wazdes: MimieapOlig: T. S. ways of entertaining ourselves is to learn td Denistrn & Co., 1968.119p. (Includes Student write stories," the author provides encoiiir.- 1,17,,o4hrbbk; _separatetudent Workbook, 52p.) agement to students in getting an idea for a I-J. .story,planning thestory, making the in Bcbk One, the authors discuss the chaiiact- come alive, de dingy on the ftding principles of their text, notifi*tha sceneryid t &ging, experiWnting with the lessoni egriphasiZe the tiinking-pprt of g himiqr, and 'checking tte storytosee if it is creative writioistand hav4been planned to) wiitterlias correctly and clearly as potir:sible. delielop creative writing sequentially., Each- chapter includes numerous examples The fifty-one lessons 4al with creative drawn from student writing and concludes \tiiinking, word Choice;irclarity,. organiza- with a "kindle kit" of sugkestions and tion, story -endingsiAd story4eginnings, bxercise§. . 'description,, language and. poetry,and *.e*- 66 6 ra JP . Materials for Student Use

evaluating creative writing. The student six were formerly available but are sche- workbook contains exercises' that coordi- duled to go out of print in 1978) is designed nate with the text. Designed for students in to stimulate conversation, develop an'aware- grades four through six, this text)has also ness of words, and encourage creative beenusedsuccessfullywith .students writing: The books present passages by through grade nine,according to.the professional writers as models; questions authors. guide students to examine the model4 then 578. Ginmplete Creative-Writing Program: Class- to discuss, and finally to write themselves. room Kit. Indianapolis: Graham Educational 581. Creativity: In Thinking and Writing, Mid- Products (formerly Fun Publishing Com- dletown, Conn.: Xerox Education Publica- pany), varying dates. P-J., tions, 1971. 31p. Separate Guide to Teaching ConsistssOf a studybook/workbook for each Creativity,4p. J-S. grade level from one through eight, each of Includes exercisestostretch studgts'. which guides students in writing poetry, imaginations and 'presertts writing exer- stories,and articles. The complete kit cises: include a list of given words in a piece includes twenty-five studybooks for the of writing; write about a poeM based on desiredgradelevel;an accompanying step-by-step instructions. Also includes a teacher's manual; a book, Him,' to Teach story and illustrations by a New Hamp- Writing, which features teaching sugges- shire teenager and An interview with her in tions contributed by eleven teachers; a which she gives her thoughts on creativity. progress chart; and twenty -five tests of students' understanding of basic storywrit- 582. Daigon,"rthur. Write On! Issue-Centered ing techniques. As part of this program, Writing.ew Xork: Harcourt, Brace JoVano-, anthologies, of children's work are pub- vich, 1972. 158p. S. lished frequently (see Entry 684); one 'of° Presents students with ,timuli for writing, the. anthologiesisalso included in the assignments. These stimuli, geare0 to the , complete kit, and information isprovided interests of high, school. students, Include onsubmittingchildren'swritingsfor. poems, short stories,quotations, "'photo- publication in future anthologies. Books of graphs; excerets from longer, works, and duplicatipg masters for developingcrea- /'other typesofmaterials; most of the tive writing skills are also available but a e selections are.' contemporary. Each selection CP not included in the classroom kit. includesideasforwarm-upactivities, discussion questions, writing activities, and 5. Copeman, Christopher, and Self, David, eds. follow-up activities. Many of the writing Poetry Cards. Boston: Dynamic Learning activitiesinvolvethewriting of short Corp., 1972. I-J. . stories, poetry, and dialogue. * ' A -election of poetry, pictures, and sup- , porting materialpresented onsturdy 583. Dodd: Anne Wescott. Write Now! Isisights lamiivateottrds. Photographs illustrate into Creative Writing: New Yprk: 1.,earning the thern- of the card,,or the mood of .a Trends a' division of Globe Book .C.o., 197-3. 107p. S. ' . single poem. Themes, havee e n chosen to litlp link a child's reading and writing by his text leads students through exercises stimulating group-discussion, class discus- many aspects ,ofcreativewriting. sicin,,and personal creative writing. Separ- -14, eludes sections-n' eompleting abstract 4te smaller cards, with follow4sugge§tions, sentences by usingidoricretedetaily("1?gauty provide a teacher's aid. ev is... "); figurqs otspeeCh and word choice; . At. 41 writing that appeals '1.6, er's five .1580. Weative English. Separate bOoksfor grades ettifehl,s of the shorts Ntetting;,1/4 A ,- sev9n, eight,andeline. Photogra,p spl caract4, and dialOglieWplaywriting; `11' ingToranto,'Ontario: Copp Clark,,1968. explbring the sound, of pl#637 and *riting

arate teacher's guides. J,, . some poems:, ... Thiig series (books for gr4iiionei tbrough--

4:111 * ° . Si Practice

- 584.*6nning,_ Stephen, supervising ed. Scholas- 587. Halliburton,:Warren J., and Pastva, Sister tic Literature Units (A. Language and Litera- Agnes Ann. A Sentence and a Worm .(from ture Program for Grades 6-11). New York: Composing with Sentences). The Cambridge .Scholastic Book Services, varying dates. I-S. Writer's Program Unit 6. New York: Cam- Features numerous units to lead students to bridge Book Co.: 1974." 96p. S. an appreciation of language and literature. Sectionsofthisstudenttextprovide The units are divided into three series, two exercisestocreativewriting:writing of which call for a great deal of creative poems (diamante, cinquain, tanka,free writing. The "Types of Literature" series- verse) based on images; writing stories teaches literary techniques by involving about photographs, writing stry openings. students in writing their own short stories, Other exercises are designed to irrliWo've drama, poetry, and satire. The 'Creative general writing, skills. Includes numerous Expression" series teaches the skills needed photographs thatcan be used for-motivat- to complete a creative project: writingan ing students to write stories. adventure story, character analyses, verse, or advertising copy. The units include a 588. Hopk, Julius Nicholas. Writing Creatively. wide variety of ,literary anthologies, stu- Boston: D. C. Heath and Co., 1963. 309p. S. dent handbooks and unit books, posters, Addressed to the high school or college recordings,gamematerials,teaching student, this book provides lively discus- guides, and other. materials. The units are sions of ,writing principles, ong with designated for various grade leyelsdrom sample passages and numerous ndividual grade six through grade eleven. and class exercises. Sections voted to generalprinciples(subject and theme,, 585. FolprechtWilliam. Write the Word: A observation and sensory words, descrip- CreativeWri4ingText.Illustrated by Ed tion and imagery), writing fiction (charac- Parker. Milford, Mich.: Mott Media, 97.6. terization, setting and plot, writing short 208p. S. stories and plays), writing poetry, and the Designed to "assist young Christians (and writer's craft. Also included is a section on their teachers) to write better and more factual Writing. Attempts to shqw students often," this book tells informally of lessons that creativity is derived from new ways of learned in editing; writing, and teaching looking at familiar things. over a span of twenty-fiveyears. Stresses the importance of publication of writings 589. Imagination. Express: Saturday Subway an. incentive; gives helpful tips and enfour- Ride.4(Prepared originallyas Saturday Sub- agement to- the would-be writer. Separate way Ride.) Project director,' Gary A. Davis: chapters are 'devoted to building vocabu- Buffalo, N. Y.: D.O.K. Publishers,_1973. 91p. lary, getting ideas, the paragraph, the short 1-J. story, tlarticle, the majmscript and its The first part 'of this book is a 'read -aloud market, the returned manuscript, and the story about an imaginary, subWay teacher/student consultation. dieing which the narrator experiences ",many fantastic adventures. Simple exer- 586. Freeman, John F. Creative, Writing. Lon- cises that roster creative thinking and don: Frederick Muller, 1966.127p. (Distrib- creative writing .skills are provided at uted in the United States by,Transatlantic intervals throughout the text;-the exercises Arts, Levittown, New York:) S. are printed.on'detachable pageS that can be AddresSed directly to students, this book duplicated for student use. Includes exer- devotes individual chapters to discuSsions Aises in writing- songs, dialogue, tall tales,' elemeiltsinvolvetiinwriSi..gshort . and story endings. ' sto'ries:..FronflictvtleSel-iption5;,naracters; dialogue; 'ideas and 'credibilitY; openings, 590._ IniaginatiOn: In Thinking and. middles, and setitences and para- Middletown,.Conn.: Xerox Edueation 13:ublica:- graphs:. words; and style. Each chapter ,,tions, 1970. 31p. J-S. inclutllAi relevant atsignments. Pointsoutthepowerof -imaginative

%Of

At yw Materials for St ydent Use s5

hinktniNind presents severgt, exercises 593. Kantor; MacKinray.; Osgood, Lawrence; and at requiFe inimation to solye. Provides Eniantel, 'James. How I New York: suggestions for rnany typl of writing: Harcourt Brace Jovanovich, 1972. 256p. S. writing_about, Woes, writing about paint- A personal record of the experiences- and ings and photographs reproduced in the thoughts pf three writers: a fiction writer, a book, Writing a multi-media presentation. playwright,andapoet.The writers 591. Imagine and Write: My Weekly Reader describe their working methods, tell of Creative Expi.ession Series; Books 2 through 6. --'experiences that led to writingand getting By the EditAs of My Weekly Reg#.1' Midale-A4 -work,publAed, and'provide students with town, Conn.: Xerox EducatiorCPUb1icatioi.18. -'suggestions for doing their own writing. 4(See also Entry 620,) Book twos 1070; Books three through six, 1967. . Each book, 47p. Separate Teacher's Guide for 594. Leavitt, Hart Day. The Writer's Eye: Effec- each book. 31p. P -I. Writing.through Pictures. The Stop, Look, This seriesis designed' for grades two & Write Series. New York: Bantam Books, through, six (corresponding to book num- 1968. 224p. J-S. bers). Each 7'eacher's Guide discusses seven Containsmore than160 llustrations, basic,elements Of a creative writing pro- including photographs anreproductions gram; stimulus- input, favorable environ- of art that represent, a g at Pietyt y of ment, knowledge and skills, vocabulary styles and .tecliiques. The *to help- aids, time anfreedom, constructive reac- readers "see '4flew forms in the miliar tion, and ongoing motivation. The Guides patterns of living" and to offer stimulating alsogiye page-by-page suggestions for pictures to motivate writing. Pictures and, guiding c,hildren through the, workbooks. writing exercises are grouped into four .Work sons progress in complexity areas: dealing with hinnan nature, human from k two through book six and relationships,the"impersonal environ- provide practice in writing about photo- ment,' and intangibles such as morality, graphs of animals; writing captions for fantasy, and beauty. pictures and, en-ding's to stories; writing fairy tales, free verse about people in photo- 595. Leavitt, Hart Day. An Eye for People: graphs, and tall tales; wrhing about nature A Writer's Guido Character. The- Stop, photographs; and !writing mystery 'stories. Look, & Write Series. New York: Bantam Books, 1970..224p. S. 592. Judy, Stephen N., senior autho'r. The Crea- This book-is a "visual studyof humanity," 6.4 Word, Books 1 through 6. TI-i& Random designed to show students how and where House English Series. NeW York: Random to find subject matter, for characterization. House, 1973 and 1974. Separate teacher's It includes more than 150 photographs of mamuals. Illustrated throughout with photo- people and reproductions of paintings, graphs, drawings, and art reproductimts. J-S. sculpture, cartoons, and other images as Designed for use in grades nine through revelations of character. Written exercises twelve, these books can be used flexibly at are suggested, both about, the images and various grade levels. The series challenges about their relationshipeto actual- life, and students to think and write creatively about examples of good charatteritations by well- issues and topics 'of. vital interest to them. known authors are included. Literary selections and provocative 'pic- tures are presented throughout the series, 596: Leavitt, Hart Day, and Sohn, David A. Stop, often as stimuli. for the ,students' own Look,.& Write: Effective Writing throligh Pic- writing. Many aifferent types of creative ture*. The. Stop, Look, & Write Series. New York; Bantam Books, 1964, 224p. J-S. *writing are efiCoLeraged, including the writ- ing of poemS, Short stories, dialogue, and Contains more than 100,photographs that plays. can be used to stimulate creative writing. Includes 'practiceexercises' which are eR e -

dimided into twenty sections dealing with do. you feel...when one of your\ cubs is suck elements of writing as emphasis; hur ; when you play with-your cubs; when point-of-view, 'characterizations,conflict, yoare stalking a deer; when you are the unexpected, comparison; contrast, and. spr inat your prey? Put together a humor. pressedconflictphrase,describing 597. Madden, David. Creative-Choices: A Spec- , your feelings as a mother lion. Now write trum of Qiality and Technique in Fiction. from the young deer's point df view." Glenview, Ill.: Scott, Foresrnan, and Co., 1975. 600. Mason, Edite. To Be a Writer: A Course in 4. 245p. Teacher's Resource Book, 63p. S. Creative Writing. Based on selected short Prepares high school students to write their . stories by Geraldine O'Donnell. London: Jolan ,town short stories by helping them under- Murray; 1970. '72p. (Distributed in the United stand the techniqUes of creative writing., States by Transatlantic Arts; Levittown, New Study aids such as discussion questions York.) S. teach students to examine critically their Following each of the ten short stories in reactions- to the twenty-five _short stories this book, discussion questiOns are provided presented in the text. Includes a glossary= to guide students in studying the story explaining story-writing-terms and tech- content and the writing techniques used by. niques.; the author. Maniof the questions ask stu- 598. Mahon, Julia. Tle. First Book of Creative dents to continue the stories in various ways Writing. Illustrated, fi'y Gustave E. Nebel. or to write their own works based on the New York: Franklin Watts, 1968. 61p. I-J-: stories in the book:, Three selections by students are included; student illustrations . Inlanguage addressed directlyto' the strident, accompany each of the .selections in the the author discusses the basic book. elements' dfshortstory writing:plot, o characterization, setting, and style. Other 601.McAllister,Constance,comp. Creative parts of the book deal with usage, Writing for Beginners (Highlights Handbook). researchingstories,and book Columbus, Ohio: Highlights for Children, reports and essays. 1976. 33p. P-I. Provides exercises to stimulate creative 599. Making It.Strange: A New Design for Crea- writing in children of many ages and skill _five Thinking and Writing, Books One through levels. Includes exercises in building stor- Tout. Prepared by Synectics; Inc. New York: ies from story titles and story beginnings, Harper 8.C,R,Ow, 1968. Each book, '79p. Teach- er's .Manual for the series, 61p. P-J. writing about pictures, writing concrete Ibis program is designed for grades three poems, and writing -ahout imaginary situa- througix, but each book can be dseeli in tions. Each exercise isillustrated with grades two through seven. The program, sketches or color photographs. Examples of based on the conscious use of metaphor, children's verse and prose. are_inclucled. encourages childhn to take a new look at 602. McBee, Dalton H. WrOer's Journal: Experi- the familiar world and to write creatively ments.New York: Harcourt Brace,JovanOilich, about it. The prggram ,focuses on three 1972. 304p. S. kinds of analogy: direct analogy (simple Five units show students how tolearn to comparison), personal analogy ("Be the write from models, from poetry, and from Thing"), and symbolic analogy (a`statement jrama; how to let reading prompt writing; containing "compressed conflict"). Sample and how to write short fiction. Selections.by exercises:"Whichisthinner,ashrill professional writers are featured through- whistle Or a piece of paper? Why ?' "Pr.etend out the.book; and numerous writing assign-,; you are an apple seed just beginning to ments are provided. The book urges stu- grow. What happens to you as you' grog ?" dents to keep journals and to write every "Imagine that you are a mother lion. How day.

1, Materials for StudentUN(' 87

603. McBee, Dalton. H. Write's Jourfial: Ex- Exercises are presented to guide students - plorations. New York: Harcourt. Brace Jovan- in varied 4spects_of writing: focusing on ov ic h, 1972. 292p. S. ..r specific experiences to wriabOut; using Divided' into five units that give students detainn make epdePs s r, and feel. pointers 4.n keeping a writer's journal, --the experience; using comp."ons; writing writing about what they see in the world dial e which ect¢each character's around them, developing imagination, re- it ce"; and writi g fro% 'the point of View flecting on past experience, and developing of others. Includes numerous photographs.' theirpowers ofperception. The bookli ' features selections by professional writers-1607. Murphy, Geraldine. Picture Your Writing 2: throughout and provides numerous writing In - Prose,Poetry, and pi,ays. Middletown, assignments, many of which involve the Conn.-. Xerox Education Publicati r972. writin4 of fiction, poetrj, and dialogue. 47p. J-S. Divided intolitilu..-ee main sections: "Telling 604. Meredith, Robert An Anthology for' Stories"'hel studentslearntotake Young Writers. Skokie, Ill.: National Text- different points 44 view, to imake ,th book Company, 075. 239p. S. charactersbelievable,andtosuggest, This companion volume toWritingin rather thantell, the meaning of their Action (see Entry 605) Oresents selections story; "Creating Plays" gives pointers on by professional writers to be used as models writing actable dialokue, c reating and for imitation of form and organization. The directingfullscenes7and becoming a selections are of varied types; many are playwrightidirector; "Making Poems" deals from works of fiction by famous authois, with cre g poems out of pantomimes, including John Steinbeck, Richird Wright,* dialogues, and monologues. Photographs. John Updike, Shirley Jackson, and W. Soinerset Maugham. Each selectionis,"608. Myers, R. E., and Torrance, E. Paul. Invita- - followed by study questions, and many tibizs to Thinking and Doing. Boston: Ginn and include specific writing assignments. Each.' Company,1964. ,1.00p. Separate Teachers' chapter is numbered and titled to corres- Guide. I-J. pond with the chapters of Writing in Twenty-five workbook exercisesinvolve Action. `pupilsinactivities that helpto build creative thinking skills. Includes exercises 605. Meredith, Robert C. Wrt tng in Action: A:., in developing sensory awareness, working Text for Young Writers. Skokie, Ill.: National out solutions to problematic situations,: Textbook Company, 1975. 202p. S. thinking about relationships' between di- Addressed directly to the student, this text versembjects, creating un4ual similes, and leads students systematically from rela- writing- titles for stories. Many of the exer- tively- simple kinds of writing based on cises call for some form of Creative writing. their powers of observation to writing Each exerci is' accompanied by sugges- /aboatt subjects that require critical think- tions for act Vities to further build the skills ing. rNurnerous writing techniques are developed th ugh the exercise. , discussed, including many that are ern; ployed in the writing of fiction. Through- 609: Myers, R, E., anti Torrance, E. liul. Can You-Imagine? A Book o(IdeaS for Childrel in outthe f text therearereferenceSto selectionsinthe companiontext, An the Priinary-GTades. Boston: Gina, and Com Anthology fa? Young Writers (see Entry pany, 1965. 48p. Separate Teachers' Guide.- P. In thT workbook, twenty -three exercises 604), that illustrate principles under dis11. ciussion. ehallengechildren to think and write about imaginary situations, abstract shapes, and :606. Murphy, Geraldine. PictUre Writi6 1: unusual haPpenings and combinations of First Steps in Creativity. Middletown, COnn.: ,objects. Sample questions: "What could -Xerox Education Publications, 1972.47p. J-S: happen if ,..(cats could bark, allflowers were yellow); "Write snout what you would

id 7 Y, 88 Practice

. da if you were a raindrop-or a kite"; "Write .6131 Norton, Jasn-ies H.; and Gretton, Francis.' a song about a monkey who changes places Writing IncredAly Short. Plays, 'Poems, Stor-

a Man.' 'with iese New York: Harciurt Brace Jovimovicb,- 610. Myers; R. E., and Torranc% E. Paul.,/nvita- 1972 312p. Separate_reaehers'Xanuci/. S.

. Employs diScussion, litaary samplps, and' awls to Speaking and Writing :areativelg. I3os: , . ton: ,Girin and Company;1965. 84p. Sep suggested activities to offer encourage7.: mint and guidance,: to ,sudent writers': Teachers"; Guide. I-J. . Presents twenty-one Workbook exercises "Writing ShOTt Plays" aids students In' that involve pupils in activities that have writing a play one step ata time thrOugh-; been identified with the creative process: discrisSiqns of-conflict, chargcterization,` seeing relationships,,elabotating fl ak- ideas, stage 'directions, beginnings, vidcrles, re- coinbiningjde-as and elements, explOring sponsible resolutions, and production. possibilities, and becoming sensitive, aware, in Short Poems," Whish. encourages the. ' and flexible. The exercises call for the writing' of "sincerely felt and honestly writing of many types- 61h short stories and recorded ,experience," discusses rsetit verse. Each exercise is accompanied by .0afe,. imagery, rhythm, tone, mood, 4nd suggestions for several supplementary So- form, and suggests the writing of many tivities. , simple verse forms. "Writing Short Stor- . ies" 'helps students write examples of 1 611. Myei-s, R. E., and Tdrrance, E. Paul. Poi- almost every _kind of short prose .compo, Thosr Who Wonder. 'Boston: Ginri and Com- sition, inating. writing of a pany, 1966..58p. SeparateTeachers'_Guide. I. cOmple short story. Twenty -two workbook exercises stimulate children's creativity by asking them to 614. Now Poetry. Middletown, Conn.: Xerox Edii- explore feelings and ideas, think about dation Publications, 197 P. I-SIC. commonplace and strange objects,; and Attempts to show, s ntS that ipoetry..i discover solutions to possible and imagi- nOt-,.bound by rigid. rules birt can speak, nary situationS. Story writing is incor- simplysand naturally about ,A ezig6 life, As' porated in most of the exercises. Sample emotions and eXiperiendes. PrOyideS guide- questions: "What would happen if " (it lines for writing many'tys of poems; alivays rained on Saturdgy, it Were against including formula poem's~ diamgnte, "I - the law- to sing); "Would you rather be a wish.,.."' poems, haiku, tarikk; pine cone or an orchid?";, "-Holt would you sionistic-,Poerris, found poems, and concrete feel it your pencil made music -whenever .p,oerris-;IncludeSexamples written bye 'you wrote with it?" piofessional writers and by stuacints. AIL thOugh the booklet is geared to junior high 612. Nissen; Earl, and Noble, Eleatik: Story sOlvol students,'Many of 'the teKrns can, be Starters. forty-eight printed cards and photo- used with intermediate -level or Spniorloigb graphs. B04014 Ginn and Company, 1970. school qudento. Teachers' Manual, 32p: I. , ."1-, I.Ogden, John 13., Jr:, and pannivitt:',Aarhaza. 1 Presents a variety 'of situations; pi-oblerns and pi,ptures that challenge pupils to '-think nward yisicyr. . hnagitative. an at through Writingstories, Wellesley Hills ;'. Mass.: IndePendrpriVSellbol d rangatizatIons,andrhymes. PreSrs, 1971, -224p. of the ''d'ards feature Story- The ilitiroduaion discusges Ogden's mgthod rficitivOtng ,situations -printed on heavy of'teaChing Students to write shoit fiction ecilored, _Stock- (7" x 111), and sixteen ciprds based on accfiralis recording of actugl are 'black and \visite photographs (Ti" observation,..thought, or feeling. He demon.; 14"),' also on heavy stock., The teachers' strates how he teaches his studentsto avoid' , manual offers' suggestions' for using the tscliclies and holk to portray .conflict. fine story* starters and presets selected chil- book Itself Consists of ,fittYii-Jiht short dren's responses to each of the cards. ., storms by high- schobl studetits,,dlyided if ight &a.fOg4i-i6s; slich as'stories in .which,, I r A' MOteials for Student Use rH r t

achafa.cter,:s .interior s tateis conveyed 13statena-ent of purpose, description of skills through behavior, and 'stories-in. whicla to be developed, resume of the lesson, and ,comnionplaCe relatjongiip Is reversed. For preparationandteachinginstructions.

, eac atego6r, Student readers are given. Same lessons include' a suggestecdraniatic SpefAuggestions for writing their own activity. story., includes "To Wi-ite or. Not to .'619, Oregon Elementary English Project. coin-. Write:- 4nVflbw?"... by. Wart kavitt (see p ry536). and "Evaluating~It' Creative position (Grade Sir); Teacher's Guide. Eugene: itie,--,by,-James IC Folsom (see -Entry UniVersity of Oregon, 1971. 75p. (Available, : o 4'1 '''Q. from EDRS; ED 075 855.) I. . Includes lessons in six categories: obsery- c's 7-6 Oi egon letnentaty English Project. Coin- ing, recallinaexpefieriCes, making Words (Grades Three .and afour);;Teach- 'work, causes' -and effects, using imagiria- e ,Guidg,Eugerie: -University of Oregon, 'don:land considering audience. Each lesson 19t1.426p. (Avaiable EDRS; E11 075 includes a statement of purpose, 'descrip- 853)P-13' tion,Of skilit to 1* developed, resume of,the More° thansixtSr. lessons,each with a lesson, and preparation and teaching fp- stateinent.\ ofpurpose,resume,listof structions.' Some lessens contain a sug- rnatertials, aild, teaching directions. Major -Wsted dr.tnatic activity. sections ,are based, on" "Let's Pretend...'..7 620. Philips; Judson;' Carter, Lawson; and Hay- (With 'anirhals., with pe9ple, with thine. den, Rob.ert.'Hau,./ Writel I. New York: Har- AV,Ithseasan'sand ,holidays,and.with coart Brace bvanovich, 1972. 213/i. S. stories)... Many activities are cre-signed to involve thvenes-and Three professional writers diScusS their .tio' craft and, provide, suggests s to students ressuppleritary materials ineltidec91-- . about learning to write. i,3 :lips,. a fiction r loon illustrations for which Childre6Catel writer, 'and, Caret, a playwright present \-asketo write fitting captions. 11, ''and discuss .selections written by. them- Nt7. Orep Eleme4tai3y:,: Englili,Project. A "** selves and °fliers and 9utline methods: for Handfig,of "Nothings," and Also: Some Othcr 4. writing short stories a.i4c1 plaYs.--Hgai/deTh- q, :

,Pogni,S: Literature- .Currieulon,. Levels CLD . poet, discusses his career-and. writings in 1-..,a, (Graikslh ree anc4fav),...Tecreher:N aninterview thatisaccompanied' by .% gene: tniVers.ify of .Oregon, 1911 6311. (Avail-- suggestions for ,poetry writing. (See, also .abfe from EDRS;-ED 075, 847.).P7I. iigntry 593.) ,' ,.. Intendedto. intioduce -students to title Wiereading, and, writhig of,,p6etry. Poems by 621 Plimmer,,FraPk. Impact,. Seebf,c,ards with 'r'ecognizedtioets makeliii-the bulk of the photographs.. Boston:Dynarnio' Learning Corps, /972-J selections:. some children4ilooeMs are also`.- '-"I - ''',Cards with photographs, selected for their, inc1,9ded: . Suggegions ,fot!iteaChing. the.° innediate. impact on a student's imagina poems are.provided, The.,g-uide is designed :"'' 1 tion, Whi.ch care lead to written work, dist to encour4ge .qucletts ,to- write their own . cussiori, arts anti graTts,--dra'ra., and topic- ` poetry and to recognize thaVoetry ban be. . , "A work. e° form or inspired piayk. ; °!` 1.t 622. Sauro, Jban. 4,ollylpoip Trees and Rectangle. 1;0618. Orgon'Pemeniary English Project. C SideavalkS: A Creative' Writing, Book. °Jack- posit?,?: (Griade Fivet::Tea;dter's Guide. E wOdd, N: J.: Educatidilal Impact, 1974.90p. S. gene niversity of4911,1971. 81p:,(Ayal This student text -for ^a Phini-coursc in able from EDRS;fj.;07a 854-) . ,creative writink is .based'on 'a combination . jgc;ivas lessons categaries: obse'rv- of-imagination and craft, And concentrates ing, re alling'expertoncea, characterAden- / on short story and. poetry- writing.'".Writ-. tity (understanding incliVidUal,differences); ing. the Shorttory".-,iticludes discussions feelingS,,..tirrie/spaci;telatiOnShips, and 'us- and sugfbstioris on :handling CharaCter, ink iVagination,' hatih lesson -includes' a point ofview-, action' and plot,theme', ti /. 90 Practice

dialogue, setting, and putting itall to- of writing; (2) paragraphsideas for writ-, gether. "Writing Poetry" deals with words ing story beginnings, middles, or endings, and word pictures, free verse, free verse an,d for stretching the student's imagina- and word figures, the shape,:a. poem takes, tion; (3) short storiesideas for developing and patternsOfsyllables,'.. stress,and setting, character, dialogue, and plot; (4) sounds. Contains more thair140 student- plays and film scriptshow'to constru t a written pieces, photographs' to stimulate play and -116-w to use dialogue and actinto writing, and numerous short exercises develop character. ("Creative, Doings") that guide students throughwriting experiences based on 626. Wiz, Mary. Say Something: PiCtures by specific aspects of writing. Edward Frascino. New York!, Harper & w 1968. 29p. P. 623. Sisk, Jean, and, Saunders, Jean. Composing Thispicture book, describes numerous Humor: Twain, Thurber, and You. New York: objects (including a cave, the grass, a Harcourt BraceJovanovich, 1972. 314p. Sep brook, a tadpole, a road, a mountain, the ar.teacher's edition. S, moon) and invites children to "say some- desdiscussions and examples of thing" about each one. 'tan be used in humorous writing drawn primarily from primary classrooms to motivate'children to the works of Mark Twain and James write their own impressions of their world. Thurber, and suggestions for writing and discussion to guide studen in writing 627.fStories You Can Finish. By the Editors of humorously.Discussions i the twelve Read Magazine. Middletown, Conn.: Xerox chapters focus on such tocs as the comic Education Publications, 1962. 31p. J-S. spirit; techniques and devices for writing Provides nine stories to be completed. For InVnor; jokes, jests, and tall tales; light each story, gives a cast of characters andan comedy; satire; "black" comedy; and parody. introduction which presents a problem for thV characters, a goal they would like to 624. Sohn, David A. Pictures for Writing: A reach, and obstacles to that goal. Gives Visual Approach to Composition. The Stop, space in which to complete the stories, and Look & Write Series. New York: Bantam specific suggestions for writing them. Books, 1969. 192p. J-S. The goal of this book is to "teach the student 628.. Tannen, Robert. I Know a Place. Boston: to see life through the perceptive eye of the Dynamic Learning Corporation, 1969. 60p, I. photographer and the writer." It contains This workbook presents a structure to exercises thatinvite students to write guide children in organizing knowledge description, stories, and dialogue based on and experience from their real or imagi- more than seventy-five photographs, and it nary life for writing their own stories. illustrates elements of effective writing Though the skeletal structure of the stories with passages from well-known autrs. has been carefully determined, the sub- The exercises are divided into ten chap ers stance of the texts is the students', which deal with such topics as setting the 629. Taylor, Ann Richards. Fiction Writing: A scene and mood, people, point of view, Guide far Students. Austin,Tex.:Steck- conversation, surprise and comedy, and Vaughn Co., 1969. 95p. S. fantasy and symbolism. Writtendirectlyfor the student,this 625. Stacy, Clement S.4 Write: Finding Things to manual discuses ch5.racter,plot, word Say and Saying Them. Glenview, Ill.: Scott, usage, dialogue, and point of view in fic- Fores an and Co., 1974. 256p. S. tion. Includes practice exercises and an Fil ed with examples of student writing, analysis of two of the author's short stories. 'phography, and art, designed to stimulate 1630. Wolfe,. Don M., et al. Enjoying,English. Sep- the reader to write. Writing suggestions arate textbooks, workbooks, and teacher's and exercises are divided into four.sections: editions for grades two through twelve. New (1) one linersideas for brief, playful bits York: Random House, dates vary 'from 1969- 1975. Illustrated. P-S.

ti Materials for Student Use 91

This series has been designed to help writing. She quotes from several children's students learn to communicate more effec- classics in discussions a how to select a tively and to understand and appreciate subject, how to begin a story, how to language. It focuses on an experience-based develop plot and characterization, how tq,) approach to writing in which students are write biography, and how to achieve disci- motivatedtowrite by thinking about ,pline in writing. familiar experiences and rading samples 632. You Can Write: A New Approach to Exposi- of student writing.In the upper-level tory and Creative Writing. Prepared- by the books, numerous literary selections are Editors of Read Magazine. Middletown, Conn.: presented as stimuli for writing. Many Xerox Education Publications, 1965. 4'7p. J-S. type of creative writing are encouraged at This worpook provides opportunities for eaCh grade level. bothexpositoryandcreativewriting. 31. Yates, Elizabeth. Someday You'll Write. Ekercises are divided into four sections: New York: E. P. Dutton and Company, 1962. The Game's the Same (fun with words); 94p., J =S. Teaming Up (using Ards in interesting Speaking in a conversational tone to the combinations); Sentences in Series (writing young would-be writer, the author, winner varied types of paragraphs); and Get in of the 1951 Newbery Medal, gives encour- There and Create (two dozen ideas for short agement and' advice about the craft of stories, plus ideas for 'expository writing).

/ RESULTS

Teachers whO have taken the Theory section to keep their paperwork from becoming unman- heart and developed a classroom climate condu- ageable. Refraining from correcting mechanical cive to creating writing, and who have learned in errors in papers, requiring students to hand in the Practice section how to get students 13o start only some of their creative Writing, holding writing and how to keep- them writing, should individual conferences during, class time, form- find that they are the recipients of a large ing students into small groups ead and react quantity of student writing. What are they to cloi to each other's work; all may h p to lighten the with these products of the creative writing' teacher's burden in respondingstudent work. process? HOw can the students' writing be evaluated fairly?. How can teachers respond to Books student _workin ways that will encourage 633. Holbrook, David: Children's Writing: A further student writing? The books and articles Sampler for Student Teachers."Cambridge, in this section are addressed to such questions./ 'England: Cambridge University Pregs, 1967. . 234p. -.- RESPONDING TO STUDENT WORK This work, a student teacher's handbook. to accompany The Exploring Word (see This section focuses di suggestions about the Entry 634),` is intended to help teachers most effective ways of responding to creative learn to "receive" children's writiptv to writing, and on attempts to measure the quality approach it in a positive frame of mind,,:and of that writing. to see opportunities in children's writing Many of the authors believe that certain for links with literature. The book ,prO- teacher responses, especially negative criticism, vid'es eighty-one exercises in which pupil may discourage students from making further workispresented for the purpose of attempts at writing. They stress the importance stirriulating discussion and evaluation. of accepting everything that is written and of 634. HolbrookDavid. The. Exploring Word: searching for something to praise in every piebe Creative Disciplinesint Education of of student writing. Some of the books and Teachers of English. Cambridge, 'England: articles present examples of student writing, Cambridge University Press, 1964, 283p. along with teacher responses, that demonstrate The author discusses the disciplines of what are believedto_ be discouraging and English teaching and suggests ways of encouraging reactions. One article urges teach- improving the education of teachers. In ers to respond -to the content of student writing sections on creative writing he reproduces as a "person" rather than as a teacher, and many samples- of children's writing, many in stress that teachers should de-emphasize spell- their original handwritten form, to show ing and punctuation errors in responding, to the difficulties teachers face in reading and creative writing. attempting to evaluate students' w iting..

Some writers have atte t He presents a ng witn reac- rating scales, `.'.evaluat tionsto T-y student creative writin- teachersto, aisly In considering .1 this creative"rent oytypical and in other sections, Leachers may find ways to teacher education i-te deplores, 93 9.4 Results

the student teachers' tendency to look for Designed to assess the quality of Creative faults, their emphasis on correcting every writing by intermediate and 'junior high mechanical error, and their unwillingness studentst this scale is intended for use by to simply leave a child's creation alone. both'students and teachers or by research- Useful for teachers as well as for prospec- ers. Contains four scales with foUr possil,?le tive teachers: ratings in the areas of vocabulary, 635. Maga line Fundamentals for Student Publi- tion, `organization,and structure. The cations and the Official CSPA ScOrebooks for author considerS the scale valid' becauseoit General, Literary, and Literary-Art Maga- is based on an examinationof what experts zines. New York: Columbia Scholastic Press hay.e said about, children'S writing and on Association, Columbia University, 1973.'40p. an examination of more than a thOusand This handboOk provides the 1973 basic piecesof writing.Reliabilityfor three principles of the Columbia Scholastic Press adults trained as raters was .97. Association (CSPA) for determining the 638. Tway,. Ei een. "Literary Rating Scale." quality of the writing, publishing, and From the author's Ph.D. dissertation, Syra- management ofsecondaryschooland cuse University, 1970. 20p. (Rating scale avail- college general, literary, and literary art able from EDRS; ED 091 726. Ph.D. disserta- magazines. A section devoted to creative tion available from University Microfilms; iting suggests qualities that make for Order No. 71-1-0,997.) excellence in student-written Aloft stories Designed to assess analytically the quality and poetry. Other sections discuss stan- of children's fictional stories, this instru- dards for judging the editing and make-up ment is composed a a set of twelve scales: of student magazines and for evaluating structure, word usage, characterization, typesof writing other than ."creative setting, paint of view, conversation, detail, writing." appeals to senses, values, ending, sentence 636. Torrance, Ellis Paul. Rewarding Creative structure, and situation. Each scaleis Behavior: Experiments in Classroom Crea scored 0,' 1, or 2, with the highest possible tivity. Englewood Cliffs, N. J.: Prentice-Hall score being 24. A validity check indicated - 1965. 353p. '- that the scale does discriminate maturity in The purpose of the studies described in this writing. volume was to formulate, develop, and test 639. Yamamoto, Kaoru. Experimental Scoring principles for (1) creating an environment Manuals for Minnesota Tests of Creative that.places a high value on creativity; Thinking and Writing. Kent, Ohio: Bureau of (2)guiding the evaluative behavior of Educational Research,. Kent State University, teacherg, counselors, and administrators; 1964. 160p. and (3) helping children develop evalua- The first sectiOn:of, the book is a scoring tive behavior conducive to creative think- manual for evaluating creative thinking. ing. Although most of the book deals with The second section, "Scoring Manual for the encouragement of creative thinking, Evaluating Imaginative Stories," provides there is some disCussion of the effect of sixcriteria (each of which has several teacher reaction on children's writing of subcriteria,) for evaluating the creativity of imaginative stories. Includes several scor- stories written by children in grades three ing scales for evaluating Creative writing. through six. The criteria are organization, sensitivity, originality, imagination, psy- Evaluation Scares chological insight, and richness (of expres- 687. Sager, Carol. "Sager Writing Scale." FrOrn sion, ideas, emotion, curiosity, and fluency). the author's Ed. D. dissertation, Boston-Uni- Also includes a "Supplementary Scoring versity, 1972. 39p. (Available from EDRS; ED Guide for the Evaluation of Originality and 091 723.) Interest" by' E. Paul Torrance.

IJ

17,1 _ Publishing Student Work 95 Articles the paper in view of its particular form of 640.Bogener,Adelaide."Creative Compli publication and its particular audience, meats." School and Community 56 (November and copy reading and correcting mechanics 1972): 75. at the last possible moment in the writing Incorrectingcreativewriting papers, process. -Deals with all types of student r. elementary teachers Must, search for some- Writing; seems to be well-suited to respond- thing to encourage. They can point out ing to creative writing. effective .words and 'phrases, aid must be 644. Ka.ntor, Ken. "Evaluating Creative Writing: "creative in ,compliments," finding many A Different Ball Game." English Journal 64 ways -of saying "good:: (April 1975): 72-74. 641. Carlson, Ruth Kearney. "An Originality Describes concepts of creativity that can Story Scale." Elementary School Journal 65. Serve as guidelines for the evaluation of (April 1965): 366-74. creative writing: divergent thinking, play- Touches briefly on scales for rating chil- fulness -and fantasy, risk-taking and skepti- dren's stories that have/been developed by cism about convention, oPenness to experi- Kaoru Yamamoto and by other research- ence, effective surprise, symbolic expres- ers, and describes the Carlson Analytical sion. Applies the criteria to a brief student- Originality, Scoring Scale devised "by the written story. author. Includes sampleS.from the five divi- sions of the' scale, which44ate story struc- PUBLISHING STUDENT WORK ture, novelty, emotion, individuality, and style of stories. also Entry '252.), The publishing of student work is mentioned throughout the literature as a potent aid in 642. Golub, Lester. S. `,`Stimulating and Receiv- motivating students to write. Publishing, in the ing Children's Writing: Implications for an sense of "making known publicly," may be as Elementary Writing Curriculum." ElemenT simple as reading student writing aloud to the tar y _English 48 (January 1971): 33-49. class or displaying it on the-bulletin board. The .Qs tl-fey stimulate children toiscover their authors represented in this section discuss these innervoice and expressiteffectively, and many other types of publication, including teachersshouldattendtothechild's making individual books, publishing class and linguistic and rhetorical development rather schoolwide magazines, submitting Writing to than to errors in spelling and punctuation. professional magazines, and entering writing in The author provides,twelve sample's of chil- contests. Some of the articles discuss dramatiz- dren's writing and discusses ways of "re- ing andpresenting studedt writingto an ceiving" them which will lead-to growthin audience. children's oral and written language skills. One common trend is for students to write 643. Judy, Stephen N. "Writing for the Here and books for younger children; or for presentation Now: An Approach to AsseSging Student to the school or locallibrary. Many of the Writing." Elton's'? Journal 62 (January 1973): teachers offer tips on helping students to bind 69-79. books.Several teachers mention that book- Blocks out an approach to responding to-making' has great motivational value for stu- -.student writing that ignores "hopes for dents who are low achievers. future competence," and focuses on helping Information on submitting student wore students have satisfying experiencesin publication in professional magazines .1., writing. The approach involves listening vided in the "Special Resources" section. for the student's voice commenting on "good" parts, reacting t...te content of the Books papel- as a person rath(than as a teacher, 645. Holland, Allyne S., and Holland, Robert G. determining a form of "publication" (read- The Student Journalist and theLiterary ing the paper aloud, posting it on the board, Magazine. The Student Journalist Guide making copies for the class, etc.), editing 96 Results

Series. New York: Richards Rosen Press, 649. Bennett, John H. "A Directory of Writing 1970: 192p. - Contests." English. Journdl 64 (January 1975): Examines numerous aspects of okganizing. 98-100. a high schoot literary magazine, finding Outlines positive aspects, as well as possibly and selecting material, and publishing the negative aspects, of students' ntering writ- magazine. Also discusses standards for contests;*provides guidelines for sub- good creative writing, shows how writing mitting, students' writings. lists national for a literary magazine can be a stimulat- writing contests and writirigsontests held ing experience for elementary and junior in thirteen states. (Some of the information high school students,, and provides sugges- may be outdated.) tions for the writing of poetry, short fiction, 650. Bezzerides, Betty. "The. Book That Dripped and nonfiction. The appendix presents Blood." English Journal 61 (October 1962): ColumbiaScholasticPressAssociation 1043-47. orl score sheets for various types of student Seventh graders with pool reading and magazines. writing skills were helped to enjoy writing 646. 'Kinnick, B. Jo, ed. The Sciwol Lirary as they put together "ghostly magazines' Magazine. Champaign, Ill.: National Council which included ghoulish recipes, a "Dear of Teachers of English, 1966. '77p. (Available Dracula" advice column, sports stories (the from NCTE; No. 42699.) Victory Vampires vs. -the Weary Were- Discusses the importance. of the literary *wolves), and gory ads. magazine as a motivator of, and showcase for, student writing. Gives practical sug- 651. Brennan, Susan Warfield. "Publishing Chil- gestions dren's Writing." Reaing Teacher 29 (Febru- for motivating and publishing ary 1976): 447-49. creativewriting,suggestscriteriafor evaluatingliterary magazines, andin- Lists and gives information (some of which? cludes testimonials from professional writ- may be outdated) about magazines which ers about how publication in school maga- publish contributions froin children. Pro- zites gave them early encouragement in vides guidelines for teachers in submitting their writing. children's work; asks them to "remind the -children that self-expression, not publish- 647. Stegall, Carrie. The Adventures of Brown ing, is the reason for writink." Sugar: Adventures in Creative Writing. Cham- paign, Ill.: National Council of Teachers of 652. Christina, Sister M. "Aid to Creative Writ- English, 1967. 103p. (Available from EDRS; ing in the High School." Catholic Educational \ Review 59 (January 1961): 43-48. ED 083 629.) - Reports how the author guided a group of Suggests a student literary publication to fourth graders in writing a book about a promote creative writing for all students. dog named Brown Sugar, and includes the Discusses was such a project,can motivate book. Describes the step-by-step process of students, how to siisure quality in the writing each chapter of the book; the publication, how to reach students through- development of the students' own writing out the school, and ,how to launch the rules, recorded in individual books and publication. used as a guide in their writing; and plans 653. "Culture Begins at Home." S_atvyr W. Ely We- for students to write individual books. view52 (July 19-,1969): 59. Tells the originsof Foxfire magazine, Articles which is writteno edited, and designed by 648. Bennett, Esther Holt. "Dr. Seuss's students in grades eight through twelve in Instructor 71 (February 1962): 102. Rabun Gap, Georgia. In addition to report- Sixth graders wrote verses patterned after ing on local "crafts; remedies, recipes, tales, Dr. Seuss's works, and made illustrated and superstitions," the students offer po- books which they read to children in the etry, short stories, drawings, 'and photog- primary grades. raphy. Includes student poems from Fox-, fire. (See also Enti:y. 670.)

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1(1" 1 4., Publishing Student Work 97

654. Dombrink, Patricia L. "Kids, ip Print:" 659. Hemingway, Helen Fitts. "A, Cooperative Teacher 93 (April 1976): 66-67. Effort in CreatiVeness." Elementary English Gives suggestionsfor entering student 35 (March 1958):164 -67. writings in national children's magazines In a long-term project, a group of children", and provides information on acceptance dictated a group story; dramatized it, using policies of fifteen magazines as of 1976. songs they wrote themselves; and presented 655. Edelman, Anne B. "Creative Writing in the their play few parents, college classes, and Reading' Class." English Journal 64 (January other elementary classes. °.1975): 60-61.- 660. Herman, Wayne L., Jr. "Is the Display of Seventh and eighth grade students who Creative Writing Wrong?" Elementary n- read below grade level became involved in glish 47 (January 1970): 35-38. writing their own books through a project Urges teachers to display "incorrect" drafts in bookbinding and creative writing. of creative writings by children, since 656. Engle, John D., Jr. "Giftedness and Writ- requiring children to submit their creative ing: Creativity in the Classroom." Gifted Child work in near-perfect form inhibits crea- Quarterly 14 (Winter 1970): 220-29. tivity. Points out the incongruity of display- In a ten-year period, the author's high irricrekive products of the visual arts that school students published approximately contain mistakes, while refusing to display 200 stories, poems; and articles in national unless all errors have been correcte . periodicals. He tells. how to prepare and submit manuscripts for publication and 661. Humphrey, Jack W., and Redden, Sandra R. describes his teaching methods, including: "Encouraging Young Authors." Reading Teacher believe in students as creative beings and 25 (April 1972): 643-51. convince them of this belief in them; use As the result of a Young Author's Project in pictures,music, words, and objects as Evansville, Indiana, more than three thou- story-starters;teachfree-writing;teach sand children wrote books, (or stories close observation and use of all the senses; anthologies) which were bound, catalogued, convince students to write honestly and sin- and placed in Evansville school libraries.' cerely about things they know. Includesthe"Young Author'sProject 657. Frey, Sandra J. "This Ma a ine is `Rated 'K Guidelines" and describes many of the (For Kids)." Teacher 91 (A methods used to help the children learn to it 1974): 54-59. write stories and poems, Children in four classesom grades four through seven in four different communi- 662. Krich, Percy. " 'Room 23 Weekly'A Crea- ties combined their efforts to producea tive Writing Experience." Elementary School -student-edited magazine. Includes the "se- Journal 63 (r arch 1963): 336-41. lectionform"usedbytheclassesin Third graders "published" a mimeographed, choosing items they wished to do for each weekly newspaper containing classroom issue. and school news, weather, sports, features, 658. Griest, Barbara. "Pupil Authors: A Lan- cartoons and poetry. During the Semester. guage Arts Activity." Eiliwritiou 89 (April: their writing improved in quality and May 1969): 332-35. quantity, and they developed competence in Details the steps involvedin a middle- editing their own work. grade small-group activity in writing and 663. Lake, Mary Louise. "Whom- Do They Write illustrating books: organize committees, For?" Grath, Teacher 89 (February 1972): 84- hDose a plot, write and then illustrate the 85. /stories,correct stories and make .final Urges teachers to read student's' stories copies, read the stories aloud and display' aloud to the class; hearing their stories read them. aloud and seeing their classmates' enjoy- 98 Results

ment provides mo :vationforstudents' published. The author discusses the ways in future writing. which student interest and motivation are boosted when class members' work begins 664. Magmer, James. "Youngorizons Promotes Creative Writing." School A ivities 34 (Seri- to be published. tember 1962): 9-11. 670. Thomson, Peggy. "In the Footsteps OP Fox- Describes the Origin and 'ornization of fire." American Education 8 (July 1972): 4-10. Young Horizons, an anfholo of the best 'Recounts the history of the magazine Fox- writing submitted by high schs.1 students fire, for which Georgia high school students in Michigan and Ohio, whichas intro- interview local "oldtimers". about mountain duced by the journalism deparent at the crafts and lore. Tells how two other student jUniversity of Detroit. magazines have spun off from Foxfire: The 665. Mc*Cabe, Patrick P. "RX' for Reading Atti- Fourth Street I', which reports the life of a tude Chang" Elementary English 52 (Janu- PuertoRican,black,and. white slum neighborhoodin New York City;and ary 1975): 43-44. Hoyekit,a, produced by Sim* Indian stu- Inner-city Sixth graders with poor reading dents of the Pine Ridge geservation of skills wrote stories, illustrated with their South Dakota. (See also Entry 653.) own photographs, which were duplicated and compiled in "class readers." Interest 671. Tway, Eileen. "Creative Writing: From and enthusiasm for reading resulted. Gimmick to Goal." Elementary English 52 (February 1975): 173-74. 666. "Pep Up Their Verse-Writing-with a Poetry - A class of ten- and eleven -year olds became Booklet." Grade Teacher 83 (November 1965): a "publishing house," publishing their own 66-67, 142, 144. worksinbook 'form and occasionally Describes ideas for four types of books of student poems: "home-made" poem books publishing writing done by younger classes. which are mimeographed, a student-edited 672. Wallace, Marion. "The Haiku of Jack book with linoleum-block .prints.iby chil- FranklenCamp." Instructor 82 (January dren, a school literary magazine, and a city- 1973): 73-P74. wide magazine. A class wrote numerous group haiku and displayed them in the main showcase in the 667. Rosen, Reva Blotnick. "For Our Book Fair, k front hall of the school under the pen name Pupils Were Authors." Instructor 78 (April "Jack Franklens Camp," formed from 1 1969): 70-71. initials of all the children's names. After Children in all the classes of an elementary several weeks trey revealed the "poet's" school wrote, illtistrated, bound, and "pub- identity to the rest of the school. , lished" books, which were displayed in a school book fair. Includes tips on binding 673. Whitham, Neil. "Magazine Publishers." In- books. * structor 81 (March 1972): 44. A sixth grade class published their own 668. Scott; Alan. "Science-Fiction Best Seller." fiction magazine in a venture 'modeled as Instructor 77 (March 1968): 164. closely as possible after a real magazine Working in small groups, fifth graders' business. To obtain material for the maga- 'wrote and illustiated a science fiction book zine, the class sponsored a school-wide which was printedin the high school print- fiction-writing contest. shop. 674. Woodward, Isabel A. "We Write and Illus- 669. Swearingen, Wilna. "Student Writing That Sells." Today's Education 59 (February 1970):- trate." Elementary English 36 (PebrUary 1959): 102-4.. -7 31. Stimulated by seeing a book -their teacher Allstudent writing in ttle authot'.'s creative writing courses was Vepared and'sub- had written and illustrated, third graders mitted for publication in Magazines; one wrote and. illustrated their own books for -year, every student had ayeast one poem ;first graders to read.

/; Publishing Student Work 99

675. Young, Virgil M., and Young, Katherine A. "Special Education Children as the Authors of Books." Readiati Teacher 22 (November 1968): 122-25. Pupilsina special education classof. educable children wrote two "books" as a culmination of a year-long writing pro- earn. The program built upon the chil- dren's knowledge and experience of their own physical senses; an incentive to learn° write was provided by letter-writing ex- changes set up.with classes in other towns.

- V SPECIAL RESOURCES

r

This section lists a great many supplementary Forty-two poems written by a child-poet. materialsf6rcreative writing teachers.It The poems "are limited to a subject matter includes lists of student anthologies, informa- that one might expect a young girl to deal tion about magazines that publish student work, With but, have an exciting precision of information about national writing contests, and language." lists of reference aids and other resources to aid in the teaching of creative. writing. 677. Baron, Virginia Olsen, ed. Here I Am! An Anthology of Poems Written by Young People in Some of America's Minority Groups. New ANTHOLOGIES OF STUDENT WORK, York: E. P. Dutton, 1969,159p. Also available in paperback from bantam. Perhaps the factor mentioned most frequently as An anthology of poems by children, teen- a powerful motivator of student writing is agers, and young people who belong to hearing the writing of other students. We many minority groups, including Black, present this lisst of 'anthologies of student work ^ Puerto Rican,Indian,Eskimo, Cuban, for teachers .who want -to stimulate students to .jupapese, and Chinese. write by showing-them'concrete evidence that young people can write and can have their work, 678. Berger, Josef, and Berger, Dorothy. Small taken seriously enough to be published. Voices. New York: Paul S. Eriksson, 1966. Some of'these books are collections of poetry 305p. -by-individual children. Some are anthologies of Selections from the diaries, journals, and writing by students whip participated in writing notebooks of thirty-nine children who lived between the eighteenth century and the workshops, or who worked in classrooms with r writers from the Teachers & Writers Col- prese-nt, some of whom (including Louisa laborative. Still,others are-collections of writing May Alcott, Theodore Roosevelt, t Anais fiorn students around the world. Many of the Nin, and Margaret O'Brien) becaniet fa- books are writings collected from inner-city chil- mous. Includes notes on the lifeofkach dren,, who in many cases are members of child. minority groups. These books reflecta recent 679. Conkling, Hilda. Poems by' a Littlirl. trend for writers to go into the ghettos to work London and Sydney: George GI Harrap & with such children, helping them find a means Company, 1920. New York: Frederick A. by w ch to release th4j,rcreativity and to Stokes, 1.920. 120p. ex sstheirfeelingsabout some ofthe Hilda Conkling "told" her poems to hdr problems in their lives. The books also reflect a mother, who wrote them down exactlyas trend for compilers to attempt to listen to the they were recited. This collection presents voices of the urban poor, to show them that poems that Hilda wrote between the ages of people care about their problems and needs. four and nine. 676. Barnstone, Aliki. The Real Tin Flower: 680. Conkling, Hilda. Shoes of the Wind. New News about the World pt Nine. New Yoric: York: Frederick A. Stokes, .1922. 170p. Crowell-Collier. 1968. 54p. This collection of Hilda Conkling'spoems was published when. she 'was iwelve.

la 1w! Speeigl Resources

68.Cornish, Sam'gdDixon, Lucian W., ks. describe 'their Brooklyn neighborhood in hiory: Young Voiees from the Black Ghetto. 105 photographs and accompanying text. New York: Association Press, 1969. 96p. , 687'. Hopkins, Lee Bennett, comp. Cfty Talk. A collection9fWritingsbychildren, Photographs by Roy ,Arenella. New York: andand young adults frdm lialti- Alfred A. Knopf, 1970. 47p. rnore's inner city The iSiesfirst ap- A collection of cinquains by chill:Yen in and peared in Chicory', "a magazin of poetry, around urban centers. Tpoern."express fiction,and comment which pi-esses important moods and concerns about what: the city's many moods as irchanges from happens to 'inner city inAividuals, both in..: season to season." their -environments and in the world as a 688. Jordan, June, and Bush, Terri,.comps. The whole." fp. Voice, of the ChIldren. New, York: Holt, Rine- 682. Dunning, Stephen, ed. Mad, Sad & Glqd. hart and Winston, 1970.. 102p. New York: Scholastic Book Services, 1970. Twenty, black and, Puerto Rican junior high schoolstudents, who participatedina 160p. For manyer years Scholastic Magazines has creative Writing .workshop in New York conducted annual creative writing contests City, have written their poetic im ssions foi- students in grades seven through twelve of groWing, up in the ghetto. (see Entry 725). The poems in this volume 689. Joseph, S;epten M., ed. The Me ,Nobody are from the award winners for the years Knows: Children's Voices from the Ghetto. New '1966-70. York: Avon Books, 1969. 144p. A collection of poetry and prose, expressing 683. Fire Tales of Adventure.-New York: Teach- the:colicernsA children growing up in the er's Si Writers Collaborative, 1975, 119p. .4" ghettos of New York.City. The children's A- collection of fiv shnct novels written by ages range frorseven to eighteen and most elementary school' children in workshop§, of them are black or Puerto Rican. conductqd by writers from Teachers -N\ itersCollaborative. An introduction 690. kohl, Herbert, and Cruz, Victor tlernande±, describes how the tales were written. . eds. Stuff: A Collection of PbenT., Vision 'and. Imaginative Happenings from Youngtiters .684.GraharniEducatiOnatProducts (formerly in SchoolsOpened and Closed. Ne York: Fun Publishing Company). Anthologies of The World Publishing Company, 1971. 1 writings by children. Indianapolis: Graham A sampler' of the voices .of young people Educ9,.tional Produas, varying dates. from various .parts of. the . United States, As part of its creative writing program, including New York City, Philadelphia, this publisher has 'issued Many anthologies California, and MisSissippi. of children's writing. Each anthology cOn- tains pOgrns, or poems and. short fiction,..691.'larrick, Nancy, ed. Green Is Like a Meadow '''.written by ch'ildi-en in grades one through Grass: An Antholog y of Children'.s Pleasure three, four through six,r seven through in Poetry. Champaign, Ill.: (.;',arrard%Publish- ten. (See also Entries 57 and '709.) .ing Cempany, .1968. 64p. Sejected, poems written by children Nio 685. Grossman, Barney: Groom, Gladys: and the participated in a fifteen-wet* poetry work- Pupils of P. S. 150, ;'he Bronx. New York: shop. InCludes poems alit colors, stkithu- Black Means...New York: Hill and 'Wang. lated by reading Mary O'Neill's Hailstones 1970. 54p. and Halibut Bones; poems in the form of 'These children's writings 'givepositive ahimals* prayers, Written after reading definitions of blaek, showing that blak-k can Carmen Bernos de Gasztold's Pra yer: 4rov be beautiful. the Ark; and poems sti'mutate4 by various 68 Tolland, John, ed. The Way It Is. New York: other activities held during the workshop. HarcoUrt. Brace and World, 1969.. 87p. In des an explanation of some' of the Fifteen boys aged thirteen through sixteen teasing methods used. .09

4 4, A nth;ilogicsof Student Workl'' 10.]

692. Lafiick,-Nancy, comp. / licqh/ a Scream in .W0t.1(1. Published in cooperation with the O. S. tlw Street.. Poems by Yining j.).-eople in the-City.0 Committee for UNICEF. New York: John Day /

Illustrated..' with photographs by .students. Company,A971. 120p. New 'fork: M. -Evans and CoNn pany, 1970. An anthology of art and writing from chil- 141p. dren in seventy-five countries, designed to Poetry, by teens and preteens, drawn from enhance the concepts of brotherhood and workshops, school newspapers, aril com- understanding. Mostipf the selections arr.., munity magazines. printed both in English' and in the author s native language. 693)tewis, Richard, comp. Miracle's:,Poems by Childrenof the English-Speaking World. New 6 9. Schaefer, Charles E., and Mellor, Kathleen York: Simon and Schuster, 1966. 214p. C., collehors. Yoti.ng Voices, New York: Bruce The nearly 200 poems in this volume were Publishing Company, 1971. 148p.. written by children , from varied 'back- This collection of pos by fourth, fifth, grounds. in many countries, including the and` sixtgrade child en resulted from a UnitedStates.England, New Zealand, poetry: search sponsored by the Creativity Kenya, Uganda, Australia, India, and the Center of Fordham Univergity. Philippines. 700. Schultz, John, ed. The Story Workshop 694. 'Lewis, Richard, comp. The Wind and the Reader: A Story Workshop Anthology. Chicago: children's n Photographs by Columbia College Press, 1976. 475p. (Mail-. Helen Buttfield. Ne 'ork:irnfi and Sochus- able*. from Writing Department, Columbia

. ter, 1968. 44p. College, 600 S. Michigan Avenue, Chicago, Some of these poems ar takeriirom Lewis' Illinois 60605.)-- book Miracles; others ar blished for the The dantributok to this anthology are part

first time iji this book of poetry and photo- of the Story Workshop movement origi-. graphs. nated at Columbia College, Chicago. Some ,of the stories in thercollection arose directly 95. Lewis; Richard, ed. Journeys: Prose by Chil-. from Story Workshop activities' and pro- Iren (),TPhe English Speaking 'World. New . de a feeling for the oral tellinethat occurs, /York: SimoB and Schuster, 1969. 215p, . ina Story Workshop. A "teen section" / Intended as a companion Volurne to Mira- cles, this book features prose by children° contains stories, written by students in froth around the world, written op a wide Story Workshops conducted in TR--hi lie and . parochial schools. An epilogue briefly 'pre- range of topics. sents the background of the Story Work- 696. Lonette, Marisa. One Day Means a Lot. New shop method of teaching writing, noting York: Bobbs-Merrill Company, 1965. 32p. that the method has been used With all age A four-year-old describes events that are groups from primary school children to importanttoa child: the first rosebud of adults. (See also Entries 376 and 380.) spring, gettirik a lollipop, finding a'pump- kin, and playing with a favorite pet. 701. Teachers & 'Writers Collaborative. Spicy. Meatlyll. New York: Teachers & Writers Col- 697,, Mendoza, George. comp. The W(../(/ frotri laborative, annual 'publication. ,My Windom. New York: Hawthorn BoOks, This annual anthology features writings by, 1969. 911p. children who have worked with writers Mendoza-collected these poems and draw- from the Teachers & Writers Collaborative. iagsfrompoor- childrenallover the In addition to this publication and Fire United States" and calls their work "the Tales of AdrctitIve (see Entry 683), the most beautiful but lonely poetry I had ever Collaborative has published many books of seerf."., children's'writing,includingcollective works. anthologies of prose and poetry, and 698. Pellowski.,'Anne:Sattleyr Helen; and Ark- shortnOvelfs- andhooksofpoems by hurst, .Joyce, comps.11(1 cc You Stwn a-Conwt! individual children. Chil(lren's ;1krt andWrititot from oronnt7'tht,

O 104 ;Special Resources. 0

702.,:Wertheim. Bill, ed.., with the assistance' of 703. American Girl. 830 Third Avenue. New Ir Ma Gonzalez. Ta lkin' about Us: Writings by York. New York 10022. Stu( Icnts in the l'ivard Bound Program. New'' For gills twelveto Seiienteen. Accepts York: New Century: Educational Division., stories, poetry, art. and letters: Pays for Meredith corporation, 1970. 176p. (Available much of, the. material printed. Materials from 4Hawthorn Books.) r, cannot be returned. A cO4ction of writings by high school students in Upward. Bound programs all 704. Child Life.1100 Waterway Boulevard, overthecountry., from 'diverseback- R 0. Box 567B, Indianapolis. I 'hdiana 46206. grounds including Black. Puerto Rican. Science fiction and mystery-Magazine for ,Chicano, Indian. Eskimo, and Appalachian. children-seven to eleven. Accepts letters, poems. art, anshort stories with a science fiction or mystery theme. Stories should be MAGAZINES THAT PUBLISH STUDENT typed or printed neatly. WORK- 705. Children's Plo !mate. 1100 Waterway Boule- The idea of submitting' students' work toa vard, P. 0. Box 567B, Indianapolis, Indiana magazine for 'publicationis frequently men- 46206. tioned as a student motivator. and it is for this For children three to eight. ACcepts poetry, reason that we include the information in this jokes and riddles, art, and stories. Stories section. should be typed or printed neatly. Some authors, however, note the importance 706. Cricket. Box NO, LaSalle, Illinois 61301. of preventinwstudents from being disappointed For children five to twelve. Accepts letters if their work is not accepted for publication,as and riddles: holds monthly contests for most magazines can print only a tiny percentage stories, poetry, and art based, on a given of the writing that is submitted to them. Other theme. Occasionally publishes other work authors. noting that the process of writing is tubmitted by children. A note regarding more important than the final product, point out originality of work must be sent by teacher the need for helping students to see that self or parent. Work will be returnedif a 4expression is the real reason for writing, and stamped, self-addressed envelope is prp- that pul4ication in magazines is just one possible vided by the sender. result. Teachers should consult copies of magazines 707. Daisy. 830 Third AVenue, New Yo c,- New rn their individual policies on acceptance of York 10022. ent writing. We have included information For children six to eleven. A large part of t was given tous, by the magazines we Erns magazine is devoted to contributions contacted, but some of the information may be from children, including stories, poems. incomplete or subject to change. As a general art.puzzles, and descriptions of craft rule, name. age. grade level, and address should projects and activities. accompany all work. Many magazines' require a 708. EbonyP14, 820 South Michigan Avenue.

noteregaflding the originalityof the work C ht,ago. :., ;is 60605. , . . submitted, which Must be signed by teacher or For children.six to twelve. Accepts letters, parent. Some magazines will return work if the news of children's achievements. art, po- -sender includes a self-addressed stamped en- etry, stories. and cartoon strips. Writing vet ripe: others cannot return any materials. It is contests are held annually. No work can be best to type the work ,or print it neatly. Since returned. editors receive hundreds of submissions each month, some said they simply don't have time to 709. Graham Educational Products (formerly attempt to read barely legible '4riting. Fun Publishing Company). P. 0. Box 40283, Some magazines print only student writing Indianapolis; Indiana 46240. that is submitted as entries in contests; these are Frequently publishes anthologies of stories listed in the next section. and poems submitted by children in grades one through ten. Written work submitted

1 .11(tId4iers That l'ublish Stilde'd 1Vorl; 105

by children wi,1i be considered for publica- poems, stories, pI4,ys, and'"mini mysteries." tion in future antlirtlogjes if it is submitted A note regarding originality of the work by a liJ)rarian or teitchttla. (See als`e Entries must be sent, signed by the student as \Kell 578 and 684). as the parent or teitche,r, Entries should be typed or printed, and sent in care of "Stu- 71-0. o' ('Iiilrl/co. 80:1 Church Street, dent Writing" or "Mini Mysterie§-." Honesdale, Pennsylvania 184-31. For Children two to twelve. Accepts: letters, 71ti. Sehotostic 14ice. 50 West 44th Street, New-, jokes and riddles, stories, poetry, and art-. A York, New York 10030. note regarding originality of work must 1w Published eekly .during the school' year sent by teacher or parent. No work can be forstudentsingades seventhrough returned. twelve. with an emphasis on materials for 711. Jack mid lid. 1100 Waterway Boulevard. students in grades eight through ten. Regu- P. O. Box '5137B, Indianapolis, Indiana 40200. larly publishes student-written poems and For children five to twelve. Accepts letters, stories of less than 5110 words. Also fea- poems, art. photos of children. aml short tures frequent writing contests on given stories. Stories should he typed or printed themes. A note regarding originality of the work must be sent, signed by the student as neatly. well as by teacher or parent., Entries should 712. KidsMdfm,:ipc.P. (1, Box 3041, Grand Ceti- he typed Or printed, andsent in care of tral Station, New York, New York 10(117. "Your Turn." For'(°thildren five to fifteen. This -magazine "by kifor kids" publishes stories, nonfic- 717, Sere/deco. 850 Third Avenue, New Turk, New York 10022. tion,poetry,art,puzzles, games, comic stripsand other writingall done by For teenagers, particularly girls. Accepts children, who also help edit the magazine. original contributions by young writers, Monthly contests are featured. Materials including short fiction, poetry, mood pieces, not accepted will he returned if a self- opinion columns,- and articles about pe addressed. stamped envelope is provided by sonal experiences. Materials not accepted the sender. willbereturned if' aself-addressed. stampedenvelopeisprovidedbythe 71:1. L'oef/cr Adt+io .11drid.:opc. 1412 Six- sender. Sponsors an annual fiction contest teenth Street. N.W.. Washington. l).C. 20030. for boys and girls aged thirteen through Vol-childrenfivetotwelve years old. nineteen; prizes and honorable mentions particularly those seven and older. Accepts are awarded, and winners' work is pub- poems and art on nature topics. Materials lishedinSceent,,,,e.Contestrulesare cannot be returned. announced in a spring issue of the Mag-a- zine each vear, 711 Xerox Education Publications, 2.15 Long Hill- Road, Mi6lletown, Connecticut 718. Stone Sony. Box 83, Santa Cruz, California (16457. 95003. Forgradesseventonine.Regularly For children fourto twelve. A literary includes students' jokes and poetry. Once a magazine written and illustrated entirely year has a special student issue devoted to by children, which attempts "to encourage poetry, short stories, plays, and other types children to create writing and art whichis of writing by students. meaningful to them as individuals." Work willbereturnedifastamped,self- 715. Seb,d(i.stle Seope. 50 West I-Ith Street, New addressed envelope 'isprovided by the York, New York 10036. sender. The Editor,, Notebook, a companion Published weekly during the school year volume to Stonc Stmp (see Entry 30),is for students in seventh through twelfth intended to assist teachers in finding Ways grades who read at a fourth to sixth grade to use Stone Soup as the basis for a com- level. Regularly publishes student-written prehensive. writing and art program.

110 106 Special Resources

'719. Wee Wisdom. Unity Village, Missouri 64065. 7121. NCTE Achievement Awards in Writing. This educational and "character-building" J.,Iational Council of Teachers of English, 1111 magazine for c.bildren from three to twelve. Kenyon Road, Urbana, Illinois 61801. accepts children's stories and poems. The Each year this program presents Achieve- August /September issue features children's ment Awards in Writing to more than 800 work exclusively. A note regarding origi- high school students throughout the nation. nality must be sent from, pattnt or teacher. To be eligible for the awards, students must 720. Weewish Tree. American Indian Historical behighschooljuniorsand must be Society; 1451 Masonic Avenue, San Francisco, dominated by their high school English California 94117. department. They are judged on the basis A "magazinei Of Indian America for young of two omptsitions: an impromptu theme people," of interest to children from ele- on a given topic, written under a teacher's mentary through secondary levels. Accepts supervision; and a writing sample of their stories, poetry, and art. with Indian-related choice, which nay be in the form of fiction, themes. poetry,ornonfiction. More information may be obtainedfron\the NCTE Director 721. Young World. 1100 Waterway Boulevard, of Achievement Awards in Writing. P. 0. Box 567B, Indianapolis, Indiana 46206. For ages ten to fourteen. Accepts letters, 725. Scholastic Magazines Writing Awards. 50 poetry, art, jokes, and short stbries and West 44th Street, New York, New York 10036. articles. Stories should be typed or printed This award program, which has been in neatly. operation for more than fifty years, accepts short stories, poetry,, drama, and articles from students in grades seven through WRITING CONTESTS twelve for its annual competition. Certifi- cates, cash prizes, and scholarships are We have listed national contests and national awarded to winners, and winning entries magazines that sponsor writing contests. The are published in many Scholastic Maga- previous section, "Magazines That Publish Stu- zinespublications,including Scholastic dent Work," also indicates certain magazines Scope, Scholastic Voice, and Litero-y Cav- that sponsor occasional contests. Many states alcade. Entry blanks are included in the sponsor local writing contests; information about December issue of Literary Cavalcade each some of these contests may be found in Entry year, and they fnay also be obtained from E;49. Scholastic Magazines after October 1 each year. 722. English Journal Spring Poetry Festival. P. 0. Box 1.12, East Lansing, Michigan 48823. 726. Weekly Reader. Xerox Edu ation Publica- Each May, English Journal features a tions; 245 Long Hill Road, Middletown, Con- Spring Poetry Festival of poetry written by necticut 06457. students and teachers. Rulef fer submis- Senior Weekly Reader (for sixth graders) sions to the Festival are included in one of frequently sponsors story-ending contests the autumn issues each year. and prints excerpts from some of the winning entries. Occasionally, the fourth 723. Know Your World. Xerox Education Publi- and .fifth grade editions of Weekly Reader cations, 245 Long Hill Road, Middletown, sponsor story- and poem-ending contests. Connecticut 06457. Asidefromwinning entriesinthese F,or ten- to sixteen-year-olds who read at a contests, no children's work is published. second to third grade level. Once a year the magazine sponsors a story-ending contest; 727. You and Your World. Xerox Education certificates are, awarded to many of the Publidations, 245 Long Hill Road, Middle- entrants, and about six to eight winning town, Connecticut 06457. entries are published. Rules are included in For students fourteen through eighteen the Teacher's Edition. and older who read at a third to fifth grade level. Once a fear the magazine sponsors a Other 'eso recs 107 itory-ending contest; certificates are sent to Teachers may find out about local Igo- many of the entrants, and about six to eight grams1(31y ,:contacting theirstate, Arts of the winning entries are published. Rules Courier addresses of state Arts Councils are included in the Teacher's Edition. arg provided in A Directory of Aznerican FictionWriters (see Entry 731) and A OTHER RESOURCES Directory of American Poets (see Entry 732). Suggestions for setting -up a Poet in In this section we have included reference aids the Schools program are offered in Poets in for teachers who want to find out how to par- the Schools: A Handbook (see Entry 736). A ticipate in an Artists in the Schools program. We twenty-four-minute color film, "Slowly the have alsolisted two ERIC indexes that can help Singing Began,", has been made to docu- teachers locate creative writing documents that ment the work of Michael Moos as a Poet in are indexed in the .ERIC system. The NCTE Residence in schools in Wichita, Kansas. The film provides a glimpse into the types catalog of publication'sislisted as a useful resource for finding materials about the teach- of interaction and student writing that an ing of writing. Artist in the Schools program can engen- For teachers who would like to track down der. For information on film 'availability, relevant films and other audiovisual materials to contact Director, Literature Program, Na- show to their classes, We have included a listing tional Endowment for the Arts, Washing-- of the comprehensive NICEM media indexes. ton, D.C. 20506. Finally (sO that we may truthfully claim to 730. Current Index to Journals in Education have gone from A to Z in this bibliography!) we (CIJE). Published in cooperation with the have listed Zebra Winys, a television series Educational Resources Informations Center designed to teach creative writing skills to ele- (ERIC). New York: Macmillan Information, A mentary schoolchildren,producedbythe. Division of Macmillan Publishing Company. Mississippi Center for Educational -Television Published monthly. (Subscription information and dis-,r-ibuted nationwide. isavailable from Macmillan Information, 100D Brown Street, Riverside, New Jersey ,728. American Poetry Review's Poets in the 08075.) Schools Supplement. American Poetry Re- Articles from more than 700 educational view, 1616 Walnut Street, Room 405, Phila- jeTirnals are indexed in this publication. delphia, Pennsylvania 19103. When titles are not descriptive of the From July 1973 through July 1977, each contents of the articles, brief annotations issue of American Poetry, Reviewa forty- outlining the scope and substance of the eight-page tabloid of poetry, interviews. articlesre provided. In each issue, articles and criticism, published six times a year are indexed according to subject'', articles included a four-page supplenrnt in Which with a major, emphasis on creative writing poets discussed their experiences in teach- are indexed under the heading "Creative ing poetry to elementary, secondary, and Writing." Copies of the journal articles are (occasionally) college students. Many of the not available from ERIC and must be 1975, 1976, and 1977 issueare available obtained from a local library collection or from American POetry Rem.4'. The Poets in from the publisher. the Schools supplement iso longer pub- lished, on a regular basis but does appear in 731. A Directory of American Fiction Writers, 'occasional issues of ,A nterican Poetry Re- 1976 Edition. New York: Poets and Writers, 1976.127p. view. (Availablefrom NCTE; No. 11726.) 729. Artists in the Schools Programs. Published as an aid in locating writers for Artists in the Schools programs, in which readings and workshops, this work con-. professional writers work with students in- tains, information about more than 800 their classrooms, have been growing in fictionwriterswhose work hasbeen popularity and in numbers in recent years. published in the United, States. The state- I oh' Uiltt r li( oltrecs

by-state 'list includes writers' addresses. school year, features articles on all aspects work preferences, most recent work and of the elemen4,ry language arts curricu publisher, and special intereSts.-An exten- lum; English Jouruf11, published ninetimes sive ``Service Section" lists books, filfns, during the school year, focuses on the refprence sources, and services of use to interests of middle school and junior and both authOrs and sponsors, and resources senior high school teachers. Both journals forcreative writing teachers.Includes 'regularly include articles on the teaching of addresses of state Arts Councils, whichcan creative writing; occasionaFly, they publish put teachers in touch with local Artists in issues in whiola a major focus is given to thechools programs. sucharticles.Pastfocusissueshave included the following: Elementary English 732. AIrectory of American Poets, 1975 Edi- ,40 (January 1963), 41 (January 1964), 50 tion. ew York: Poets and Writers, 1975. (April1973),50 (September1973),50 130p. (November/December 1973), 52 (January A state-by-state list of more than 1,550 1975), 52 (February 1975), and 52 (May poets interestedin working 'in writing 1975); Language Arts 52 (October 1975), 53 progr4r.is i n schools. Gives poets' addresses, (February 197), and 53 Nay 1976); En- tetaching preferences, most recent work glish JOurnal 62, (December 1973), 63 (May and publisher, and spe-Cial interests.In`- 1974), 64 (January 1975), 64 (April 1975), eludes an alphabetical index of all poets and 64 (October 1975). Many individual And- an index to minority writers, a list: of -articles from these,issues are listed in this films -2 andvideotapes of contemporary bibliography. f, authors, and ,references for creative writ- ' ing teachers.4Includes addresses'for state 735. NICEM Media indexes. National Informa- Arts Councils; which Can put teachers .in tion Center for Educational Media (NICEM), touch with local poets and give informa- University of Southern California, University tion about local programs. Park, Los Angeles, California 90007. Varying dates (frequent revisions are made in orde,r to 733:, NCTE G.Cb lop: 2e.sionalProf Publications keep educators ihformed about audiovisual Syr 'Me .Tee .(0,;?r .qpnghish and the Language materials that are currently available). 8..i.Naftf601,c4tilpf.Teachers of English, ate indexes are provided for educa- , Urbana, Illinois 0801! tional 16mm films, 35mm filmstrips, rec- ords, overhead transparencies, audiotapes, which may ire()i, videotapes, slides, and 8mm motion car-_ fistsallprint tridges. Other indexes list producers and cassettes published distributors,free educational materials, 11401 CTE. Sections on andmaterialsonspecializedsubjects. "Compositiq -.Ideas for the Class- Within each index, resources are listed room" list many publications that are of under subject headings and are coded for help in the teaching of creative writing. appropriate grade level; many aids for The catalog also providers information on teaching creative writing are listed. NC't membership, whichincludesa .subs ription to one of three professional 736. Resources in Education (RIE). Prepared. by urnals: Language Arts, English -Journal, the Educational Resources Information Cen- orCollege English: ter (ERIC). Published monthly. (Subscription information is available from the Superinten- 734. NCTE Professional journals for 'elementary dent of Documents, U. S. Gvernment Print- and secondary teachers: Language Arts- and ing ()Mee, Washington, D: .20402.) English Journal. National- Council of Teachers This journal prints the abstracts of docu- ofEnglish,11)1 Kenyon Road, Urbana, ments processed and indexed into the ERIC ' Illinois 61801. sysrtem.Approximately1,200abstracts Langdage Arts (formerly Elementary En- from all the ERIC clearinfhouses appear glish), published eight times during the g

0

1 licsn ice:: I09

each month and are arranged under ED must take to enable their schools to partici- (educational document) number as well as pate. Includes guidelines for planning and by descriptor terms. Each volume of RIE setting up a plogram and an annotated hasfourindexes: main entry,subject booklist of- contemporary poetry antitolo- (descriptor term), author, and institution. gies. (See also Entry 511.) f Abstracts of documents with a major emphasis on creative writing are listed in 738.Zebra Wings.A classroom television series thesubjectindex undertheheading jin creative writing for nine- to twelve-year- "Creative Writing." Most of the documents olds. Jackson, Miss.: Mississippi Center for are available from the ERIC Document Educational Television, in association with the Reproduction Service (EDRS), P. 0. Box Agency for Instructional Television. (Rental 190, Arrington, Virginia 22210. Ordering information and preview materials are avail- information able from Agency for Instructional Television, is provided in each issue of Box A, Bloomington, Indiana 47401.) RI E. Features one inservice program for the teacher and ,,fifteen twenty-minute color 737. True, Michael, chair, Committee on Poets in .programsforstudentsinintermediate the Schools.Poets in the Schools: A Handbook. grades. Each program consists of a sight Urbana, Ill.: National Council of Teachers of and sound presentation of one type of English, 1916! 13p. (Available from NCTE: writing and a guided studio talk session No. 36206.) with host Lee Bennett Hopkins and three Since 1966. the Poets in the Schools pro.: children. The 'programs discuss the writing gram has been placing professional poets in of myths and fables, pOetry, humor, short elementary and secondary schools with the stories, plays and scripts, and other ma- goal of helping students to become actively terials; their purpose is to encourage chil- involved in writing. This handbook gives dren "to think, to feel, to sense, to imagine, details about what teachers may expect to dreamand then to write." (See also frcui the program and what steps they Entry 371.) AUTHOR-EDITOR INDEX

Numbers following entries in this in ex are entry numbers. ,Adams. Dennis M.. 132 Brennan, Susan Warfield, 651 Albert, Burton, Jr.. 312 Bridgman, Betty, 450 Allar, Betty, 191 Britt, James, 118 Alpren, Patricia Farrell, 103 Britton, James Nimmo, 2 Altenhein. Margarete R., 13,r Brodsky, Mimi, 145 Anderson, Donald G., :38 Brough, Grover, 146 Anderson. Douglas, 414 Brown, Rosellen, 249 Anderson, Viola, 522 Bruner, Ruth Anne, 45 Appel, Joseph M., 556 Bucher, Janet, 393 Applebee, Bernice L., 392 Buckley, Helen E., 46 Applegate, Mauree, 1, 39, 134-36, 245, 246, 415. 572-74 Burkhart, Catherine, 316 Arduser, Ruth H., 442 Burrows, Alvina Treut, 3, 47, 48, 250. 317 Arkhurst, Joyce. 698 Bush, Terri, 688 Armington, Marion S., 443 Arndt, Linda A., 444 Cady, Jer-- ti L., 11: Arnold, Myrtle, 313 Cahill, Wafter T.. Arnstein. Flora J., 40. 116 Calderhead, James 1., Asad. Tom. 567 Callahan, Carolyn M., 21 Ashton-Warner, Sylvia. Carey, Mary, 318 Attea, Mary, 248 Carlson, Julie, 525 Auerbach, Shirley, 445 Carlson, Ruth Kearney, 4. ,.149, 251-53, 451, 641 Auguste, Joanne A., 104, 116 Carroll, Emma C., 150 Carter, Law4on, 620 Bacher. June, 137, 446 Cassill, R. V., 521 Baer. Tom, 237 Chamberlain, M. A., 452 Baker, Frances Elizabeth, 41 Chapin, Sylvia, 453 Ballou, Barbara, 524 Chapman, Jane, 319 Banks, Janet Caudill, 314 Charles, C. M.,'576, 577 Bany, Mary, 1:38 Chase, Cheryl M., 254-56, 419-21 Barbe, Walter B., 575 Cheyney, Frazier R., 394 Barnstone, Aliki, 676. 'Childs, Rita Jean, 454 Baron, Virginia Olsen. 677 (holden, Harriet B., 320 Baskin, Barbara. 498 Christ, Henry 1.395 Baumbach, Jonathan. 16 Christie, Antony, 151 Beard, Aaron Bernarr, 447 hristina, Sister M., 652 Becking, Marjorie F.. 284 Church, Madge, 576, 577 Bednarz, Barbara, 139 Cihiwsky, Timothy W., 465 Bennett, Esther Holt,.648 Clapp, Ouida H., 257 Bennett, John H., 448, 649 Clark, Leonard, 5 Bent, Margaret, 140 Clafk,Milliam A., 321 Berger, Art, 42, 43 Clegg, Alex C., 17 Berger, Dorothy, 678 Cl*, Sister Deborah, 455 Berger, Jotef, 678 Cochell, *Shirley, 456, 557 Bezzerides, Betty. 650 Coffin, Wierne W.; 457 Bierbaum, Margaret, 141, 142. Cole, Natalie, 258 Bogener, Adelaide, 640 Conkling, Hilda, 679, 680 Bordan, Sylvia Diane, 449, 554 Cook, Luella B., 50 Bowen, Mary, 283 Copeman, Christopher, 579 Bowman, Locke E., 315 Coriaty, Linda S., 526 Boeman, Ruth, 315 cornish, Sam, 681 Boyd, Gertrude A., 418 Cornwell, Paul, 555 Brack, Kenneth H.. 143 Cowles, Dorothy S., 322 Bramer, Mary, 144 Cozzo, Jokre R., 323 Brand, Alice, 44 Craig, Jim, 218

110 Author- Editor Indnx iii

Cramer, Barbara B., 15? Forsythe, Richard, 332 Cramer, Ronald L., 51, 152 Frankston, Leon, 98 Cross, A Inta, 15:3 Freeman, John F., 586 Cruz, Victor flernaryle7.; 690 Freeman, Sophie, 323 Cynamon, Amy, 2030 Frey, Sandra J., 657 Daigle, Pierre Varmon, 259 Fricks, Richard, 423 Oaigon, Arthur, 582 Funk, Hal D., 8 Iakelman, Beth C., 154 Furner, Beatrice A., 171, 334 auterman, Philip, 155 Galleys, Beverly H., 561 avid, Sister Mary Agnes, 458 Gambrel', Linda 13.. 175 la vson, Mildred A.. 52 Garrett, De Lois, 3:35 ecker, Howard F.. 459 Garrett, George, 19 eHaven, Edna. 157 Garrett, Lawrence, 464 ell. William C.. 53 Garry, V. V., 465 '' e Roo, Edward, 558 Geeting, Baxter M., 466 lane, Sister Mary, 158 Geeting, Corinne, 466 tpietz, Sandy. 159 George. Mary Yanaga, 260 ADittmer, Allan. 160. 161 Gilmary, Sister, 467 -/Dixon. John. 54 Girdon, Mary Bowers, 172. :336 "Dixon, Lucian W., 681 Girod, Gerald R., 337 ' Dodd, Anne Wescott. 583 Glass, Malcolm, 173 I Do Ich, Edward W., 18 Glatthorn, Ali Dombrink, Patricia L.. 654 ' 3:38 Donlan, Dan, 5:;0 Glickman, .1 .'7 Goba, Ronalu ., . 168 Douhert. Bon! %.e. 325, Godfrey, Lorraine Lunt, :339 E , Dry Robk. Goedert, William 0., 60 j I,L. Gerald, -106, 460 Goller, Gayla North, 5:30 Duffy, Mike, 162; Golub, Lester S., 642 Disgan, V irgini061) Gonzalez, Irma, 702 Dike, Charles R., 163 Gordon, Julia W :346 Di,nlap, Vivien H., 326 Grant, Barbara M., 263 Dunning. Donald .J.. 164 Green, Arthur S., 174 Dunning,' Stephen, 584,82 Gretton, Francis, 613 Dworsky. Nancy, 327 Driest, Barbara, 658 Dyer, Daniel. 328 Grimm, Gary, 129 Edelman, Anne B.; 655 Groff, Patrick :1.,111, :341, 531 Edmund, Neal R., 107-1 Groom, Gladys, 685 Eichenberg. Mary Ann, 329 Grossman, Barney. 685 Ellis, Helene M., 165 Hadley, Barbara, 532 Emanuel, James, 593. Hagerman, William A., 469 Emberlin, Don. 295 Hall, L. M., :398 Engelsman, Alan D., 164, Hall, ;17-y A.. 175 Engle, John 65(1 Hall,otert D., 61 Esbensen, Barbara J.; 4V Hallibcton, Warren .J.. 587 Ettner, Kenneth, 128 Halpen, Irying, 176 Evans, Helen Kitchell, 5t Hannan, Dennis J., 177 Evertts, Elelonna L 56 Hansen, I. V.- 26.L------E:ySter, Mary Lu; 6 Harper, Wilma, 342 Harris, Josephine, 62 ' Fagerlie. Anna M.. 167 Harris, Mary McDonnell, :3 V Farrell, Barry, 57 Hassett, Jo, 437, 438 Farriss, Herbert .J., 168 Hasson, Elizabeth A., 331 Fay, Robert S., 513 Hawley, Isabel L., 178, 262 Featherstone. Joseph, 631 Hawley, Robert C., 178, 262 Feeney. Joseph J.. 461,1. Haworth, Lorna H. 470 . Began, George R., 396'. \ Hayden, Robert, 620 Feinberg, Harriet, 439.- Heffernan, Helen, 343 to Fennimore, Flora, 169.,j Hemingway, Helen Fitts, 659 Ferber, Ellen, 170 ' Henderson, Harold G., 390 Ferebee, June D., 59 Henning, Dorothy Gant, 263 Finkel, Judith S., :331 Herman, Wayne L., Jr., 660 Fisher, Carol J., 462 Hiatt, Mary, 533 Flaumenhaft, A. S., 463 Hill, John David, 112 Fleming, Donald, 563 Hill, Mary Evelyn, 179 Floyd, Wallace C., 7 1 Hill, Patricia, 119 Follmecht, William, 585 I Hirsch, Ruth, 180 Folsom,' James K., 528, 529, HiseJesse, 1, 182

or Ailthor-E(litn' Index

floy,dt.jienneth C.. 125 Lehman, Katharine K., 203 Iiiifer,rr,ouise B.. 183 Lewis. Carolyn.L., 1413 Hoffman, Marvin; 63. 2-19 Letvis, Richard, 70, 478, 693-95 Holbrook, pavid, 20, 26-1, 265.633,)3.1 'Avis, Richard W.1r., 419. Holland, Al yne S., 645 Lilija,-Linnea Diane, 100 Holland..1ohn, 686 Linderman--; Ruth J., 194 Holmes. Noel. 266 Livingston, Myra Cohn, 27.1 Hook, Edward N., 184 Livo, Norma 195 Hookfulius Nicholas. 588 Logan, Lillian M.., 24 Hopkins. Lee 'Bennett, 267. 344. 400. 401, 424. 47b 087 Logan; Virgil G., 24 Hubert, Karen M.. 522 Lonette, Marisa, 696 Huck, Charlotte S.. 185 Lopate, Phillip, 2.19. 275 Humphrey, lack W.661 Lowe, Bonnie, 856 Hunter, Elizabeth, 3.15 Lost, Lee Frank. 71 Hurley, Beatrice-1.. 61 Lusk. Daniel, -130

Jackman. Norma F., 53-1 Mackintosh, Helen K., 190 Jackson. Doris C., 250 MacPhee, Angus. 10 .lackson. Jacqueline. 209 Macrorie, Ken, 276-78, 357 Jacobs. Evelyn, 346 Madden, David, 597 Jacobs, Lucky, 186 Magmer, .lamas, 664 Jenkins, Kenneth 1)., 65 Mahon, .Julia, 598 Jett, Thomas F.. Jr., 420 Mandel, Gerry, 30 Jones, Marian 347 Manzo, Anthony V., 480 Jordan. June, 688 Maraffie, BerthaNeubert, 508 Joseph., Stephen M., 689. Marando, Frances M., :358 .Josephs, Lois, 348 Marcus, Marie, 403 My, Joan. 131) Marker, Linda,A04 Judy.'Stephen N.. 592: 643 Marker, Joyce, 256 Junta, Sister Mary. 187 Marsh, Leonard, 25

Marshall, -Sybil, 26 . Kachaturoff, Grac'e. -172 Martin, Deanna Coleman. 480 Kantor, Ken. 644 - Martin, Marvig,,i537 Kantor. MacKinlay, 593 Martin, William, 126 Kaplan. Milton A., 188, 473- Martini, Teri, 538 Ksarnes' Merle B.. 113 Mason, Edite, 600 Kiiables, Harold, 349 May, Frank B., 114 Keleher. B. M., 66 Maybury, Margaret W., 133 Keller, Barbara Mayers. 189 McAllister, Constance, 601 Kelley, .Julia (;., 350 McBee, Dalton H.. 602, 603 Kemp, M., 272 McCabe. Patrick P., 665 Kendrick. Delores T.. 474 Mc Dermott, .Jane E.; 72 Kennedy, Dora, 190 McCann, Patricia, 197 Kerber, Adolf B.. 26 McKean, Willa Mae, 359 Kevin. Sister Mary. 67 McPhail, Augustine, 73 King, Richard P.. 99 ip Meade, Richard 0., 481 King, Robert W., 68 Mearns, Hughes, 27, 28 Kinnick, B. 351, 646, Meehan, Elizabeth H.. 198 Kirkland; Josephine, 475 Mellor, Kathleen C.. 699 Knowles. Marlene, 270 Memering, W. Dean. 482 Koch, Kenneth. 427, 428 Mendoza, George, 697 Kohl, Herbert R., 21, 22. 69. 352-54, 69(1 Meredith, Robert C., 004, 005 Krali-k, Milan, 476 Merritt, Harriet D., 36(1 Kranes, David, 9 Messina. Salvatore. 405 Krich. Percy, 662 Mikoloski, Vanda, 199 Krogness. Mary- Mercer, -102 Miley, Betty; 200 Kuse, Hildegard R.. 191 - Miller, Doris. 562 Kushner, Martin. 249 Miller. Helen-Rand, 483 t Miller, Marilyn, 36() Labrecque. C., 192 Miller. Melvin H.. 11 Lake. Mary Louise, 663 Miner. Marilyn E., 201 Landrum. Roger. 271 Mistretta, James. 484 Lane, S. M., 272 Mitchell, Don, 129 Langdon, Margaret, 273 Moffett, James, 29, 279 Lamm, Henry V., 535 Moore,W lter J., 131 Larrick, Nancy, 429, 477, 691, 692 Morgan, S ster Junette, 406 Larson, Richard L., 23 Moro, Stepn, 563 Lazarus, Arnold Leslie. 355 Moroney, Frances M., 74 Leavitt. Hart Day. 536, 594-96 Morrill. Mabel, 361 \,2 1 ' Whirr-Editor it((//:e Morris, David.k185 Redding. PaukS., 213 -Moslemi, Magera, H., 115 Reed, Cecilia L., 494 Mueller, Lavonne, 362, 107 Renzulli, Joseph.S., 214 Munneke, Allen S., 75 Richardson, Elwyn S., Murphy. Charles P., 539 Ridout, AlbN-t K.. 215 Murphy. Geraldine. 606. 607 Riley..J., 452 Murphy. Richard, 280 Roberts, Geoffrey R., 372 Murphy. Sheila, 249 -Rodgers. Denis. 495 Murray, Alice I., 363 Rolrman. Ii.1-ordon, 216 Murray, Donald M., 761 281. :164. 365 Rose. Elizabeth, 80 Mussen, Lenore. 202 Rosen. Reva Blotnick, 667 Musso, Barbara Bonner. 486 Roser. Nancy L., 118 Myers, R. E., 608-11 Ross. R'amon. 81 Rothrock, ('arson, 566 Nalyen. Fredric 11.,10-1. 116 Rouse. John:544 Nathanson . David E.. -203 Rowe. Ernest Ras. 82 Nelson, Dorothy H., 204 Rowland. Monroe, 119 Neugeboren. -Jay M., 2)15 Rubel, WkOliam. 30 Neuger, .Judy. Russ, Lai5'a Edwards, 217 Nichols, Norma S...187 Russell, Bob, 218 1/ Niedermuyer, Fred C., 124 Nikirk, F. Martin, 564 Sager, Carol, 637 Nissen, Earl, 1112 St. John, Sister Mary, 545 Noble, Donald, 540. 565 Sange, Sally Harris. 432 Noble. Eleanor. 612 , Sarlin, Louise. 101 Nold, Ellen AV., 541 Sattley, Helen, 698 Norri:.;-, Ruby Lee. 431. -132 Saunders. Dorothy Olton, 250 Norton. James II.. 613 Saunders; Jean. 623 ° O'Brien. Joseph P., 488 Sauro. Joan, 622 Ogden. John B., Jr., 615 Schaefer, Charles E.. 83. 287, 699 Okada. Masahito. 124 Schmidlin, Lois Nelson, 496, 497 ONeillJean II., 489 Schmitt, Gladys. 546 Osgohd. Lawrence, 593 Schmittlein. Albert E.. 373 Osterweis, Rollyn. 204; Schneider, Maxine, 547 Schrader, Steven, 84 Padgett. 1-6. 297 Schroeder, Fred E. H.. 374 PannwittB rbara, 615 Schulberg, Budd, 85 Parish. Marr,,aret, 207 Sehulkind. Carole, 498 Parker. Robert l'.. Jr.. 366 Schultz. ,John, 700 Pastva, Sister Agnes Ann, 587 Schwartz. Steven, 219 Patterson, Lew*. 2.1 Scofield, Elizabeth. -109 Pease, Don. 282 Scott, Alan. 668 Pellowski. Anne. 698 Seid. Kenneth A.. 548 Person. Toni, 5.12 Self, David. 579 Peterson. R. Stanley. 77 Sellers. Louise, 220 Petty, Dorothy 284 Sewall. Richard, 5-19 Petty, Walter T., 283. 254 Shane, Harold G.. 102 Phelan, Patricia, :167 Shapiro, Bernard J.,120, 121 Phillips, Fredrick, 208 Shapiro. Phyllis P., 120, 121 Phillips, Judson, 620 Sharpies. Derek, 122, 123 Pilon..A. Barbara, 209. 2111 :191 Shaft. Philip A.. 375 Pipped. Ralph, 117 Shean, Sister :Jeannette, 221 Plimmer, Frank, 621 Sheeley. Stuart L. 499 Porter. Norma, 543 Shelby, Betty, 222 Poskanzer, Susan Cornell. 211 Sherwood, Irene, 500 Potter, Carolyn L., 490 if Shiflett, Betty: 376 Potter. Ralph. 491 Shuman, R. Baird, 501, 502 Potts, Richard, 369 Siegel, Sally Dewald, 550 Powell, Brian S., 484, .135 Simon, Audrey R.. 377 Pratt-Butler, Grace K.. 285 Singer, Debbie Feiman, 568 Prickett, Erma, 370 Sisk, Jean. 623 Pryor, Frances, 78, 212 Slaughter, William. 503 Slavit,'Norma, 223 Stoat, Peggy. 419-21 Rathhone, Charles, 492 Smith. James A., 31 Ray, Mr y Lou, 371 Smith, Josie G., 504 Rechtien, John, 493 'Smith, Lewis, 224 Redden. Sandra R., 661 Smith, Rodney P.Jr., 32 Reddin, Mary. 79 Sohn, David A., 142, 596, 624 fr./ i4" A tiiit;Jr-f!..:(1ifor Jude,' NtEi*

Solkov, Arnold. 50'5 Vezey. June .1., 570 Sommers, Kathryn M., 378 Vinluan. Alicia S., 235 Soule, Jean Conder, 379 Vogel, Nancy. 57.).. Spann, Sylvia, 225 Volckmann. Norma IL, 99 Spencer. Zane A.. 288 Von Behren. Ruth, 236 Sposet. Ray, 567 Vosovic, Larry, 237/ Staats,'Mable.M., 551 Stacy, Clement S., 625 Wagner. 'Guy. Stahl, Robert, 155 Wagner. Stanley, 413 Stanley, Lola S.113' Walden, James D., 238 Stassen, Marilyn E. 506 Wallace, Marion,,672 - Staudacher, Carol, 28k) Wallenstein, Barry. 512 Steahly, Vivian Emrick. 226 Wallersheim, Janet P 113 Stegall, Cairie, 647 Walshe. R. D.. 294. Stein, Dedfa, 507 Walter, Nina Willis, 436, 513 Stevens, Frances, 227 Ware, Inez Marie, 239.1 Stevens, Mary-568 Watson, Pearl. Stevens. Mary Mercer. 228 e. Webb. Rosalie, 240.O .r Stoll, Patricia,380 Webber, Mary B.A4 Stolz, Mary, 626 -Weed, Kay, 241. Str'ang, Ruth, 86 Weeks, Eleanor: 385 Stratta. Leslie, 290 Wertheim, Bill, 702 Strickland. Ruth G., 291 Weston, J. H., 514 Stroh, Natalie Kerbel, 229 Whisnant. Chacleen, 437, 438 Strong, Ionathan, 552 Whitehead, Frank,-35 Strubel. Evelyn D., 381 Whitham, Neil, 673 Stuart, Allaire. 410 Whiting, Monroe H., 515 Sullivan. Froward .J.,124 Whitman, Rath, 439 Sullivan. Joanna. 569 Wickens, Elaine, 516 Sullivan, Sheila, 87 Widdows, J., 517 Summerfield. Geoffrey. 33 Wilkerson, Isabell, 242 SuttoniSmith, B.. 88 Willardson, Marilyn, 224 Svoboda, Laura Siel, 230 Williams, Charles W., 518 Swearingen. Wllna. 669 Wilt, Miriam Elizabeth, 36. 95 Swiss, Thom, 411 Wirtschafter, Zelda Dana. 69 ,(Withers, Samuel, 14 Tabachnick, B. Robert. 114 Witter, Janet. 295 \?c Tannen. Robert. 628 Witty, Paul A.. 15. 96, 126 Taylor, Ann Richards, 629 Wolfe, Don M 37, 296. 3811387. 630 Taylor, Winnifred F., 125 Wolfe. Rinna, 243 Terwilliger, Paul N., 91 z Wolsch, Robert Allen, 440 Thomasine, Sister Mary. 89 Wood, Laura C., 373 Thompson. Phyllis, 508, 509 Woodward. Isabel A.. 674 Thomson. Peggy. 670 Wooten. Vida .lo. 519 Thornley, Wilson R., 12 Worsley, Alice, F., 244 Tiedt, Iris M., 23.1, 232. 292. 382, 412, 510 Wright, Evelyn. 97 Tiedt. Sidney W., 231, 232, 292, 382 Wyatt. Nita M.. '127 Torrance, E[llisl Paul, 90, 608-11, 636 True, Michael, 511, 737 Yamamoto, Kaoru, 639 Turner, Thomas N., 91 Yates, Elizabeth, 631 Tuttle, Betty M., 384 Yates, Sister Mary Clare, 388 Tway, Eileen. 383, 638, 671 Yocum, Charles Franklin. 553 Twigg, Helen Parramore. 233 Young, Katherine A., 675 Young, Marguerite, 389 Ullyette. Jean M., 293 Young, Virgil M., 675

Vail. Neil. 234 1 Zavatsky, Bill, 297 Van Allen, ft., 13 Zeligs, Rose, 520 SUBJECT INDEX

Nunters following entries, in this index aretry numbers; Occasional references to page numbers refer the reader to an entire section of the bibliography and are designated by See also pages 00-00.

Adventure stories. 190, 522..531 Dada poems, 16 V Anthologies of student writing, 17. 27, 2T;0, 261, 275, 433, 522 -Daily writing, 295, 310.'342, 355. 528, 549 t See also pages 101-104 Dialogue writing, 309, 525, 559, 586, 603, 606, 607 Art. SO' also Fine arts activities Diamante, 510 as part of creativ"vriting activity, .159, 197, 244, 272, 297, Dictation of stories by children, 41T, 179, 221, 271, 279. 299, 301, 370, :397 483 , as stimulus for writing, 98, 176, 192, 303,,398 Disabled readers. 172, 655, 665 Artists in the Schools programs. See Writers in Residence Disadvantaged students, 42, 121, 267, 697. Sec also Inner city programs students AudioviSual aids, 224, 271, 318, 479, 735, 738 Displaying student work. 660, 67E,, used in creating Stimuli for- writing, 197, 218, 2.19, 248, ''Doulk dactyls, 472 304. 439. 569 (we alms) Films as stimuli for whiting) Autobiographies, 37, 58' 188, 296, 387 EDRS (E,RIC Document Reproduction Service), 736 Emotionally disturbed students, 202, :304 "Chance combination" writing, 178, 469, 476 England. See also Foreign countries Classroom environment, 32, 36, 79, 83, 154,191, 248, 281, 283, anthologies of student writing from, 17, 261 284. 289, 291, 292, 299, 417, 478 description of creative writing in, 54' Classroom writing centers, 257, 339, 378 teacher education .programs in. 35, 633, '634 Clichés, avoiding, 488 'teaching techniques used in, 20, 25, 26, 33. 94. 227, 264, Cinquains, 392, 394, 400, 403, 413. 122. 687 265, 266, 272, 273, 290, 369. 372, 555, 633 Collaborative writing Evaluation criteria, 245. 246, 252, 281, 290, 528, 633-35, 644, and dramatization of works. 257, 308, 338, 659 645. Sep also Evaluation scales as aid to low achievers, 138, 167, 480. 520 helping students develop, 274, 283', 286, :321.416, 4:34. 435, of books, 249, 658, 66& 452 of character sketches. 275 Evaluation scales,103,106,115, 252, 636, 641. See also of poems and stories,' 187, 223, 31)5, 341, 383, 142, 538 Evaluation criteria; and also page 94 of videotape and movie scripts, 307, 308 Exchange programs, 290, 346.:375, 384, 675 uses and misuses of, 274 Collages, 178, 197 Fables, 249 Comic strips as stimuli for writing, 231. 296 Fantasy. -159, 211, 244. 249, 272, 280, 298, 303, 304 Concrete poetry, 391, 407, 411 Fiction writing, 593, 602-5; 620, 629, ,631. See also Novel Contests, 218, 649, 673, 68?. SCValsopages 106-1117 writing; Short story writing; um/ als(4 pages 75-79 Course guidelines, 358, 355, 428 , Fictitious characters, creatinK and developing 166, 189, 261, Creative clicamatics, 171. 301, 334 550 Creative' students, 96. 268 I.-- Field trips, 243, 275 Creative writing Figures of speech. See Literary devices benefits of, for students, 8,13, 50, 78, 245, 460, 499 as stimuli for writing; 126, 155, 1ti1, 1S2 characteristics of, 4, 11;12, 301, Film scriptg, writing and producing, 297, 301, 302, 306, 308, history of, in schools, 32 559. 564. 625 separation of, from other types of writirer51i, 250,291, Pine arts activities, 26, 258.285, 286, 294, 299, 432. See also . 314, 320 Art , therapeutic values of, 3, 6, 44, 78;202,,236,251 First grade pupils. See also Dictation of stories by children; Creative wrijitng programs Primary grade pupill determining behavioral objectivh for, 337 activities for,' 179. 241, aoo, 350 goals of, 10..15, 33, 513 composition-Program for 124 Eoaluation of, 24 developing imaginations of, 347 Creativity exchange programs for, 346, 375 blocks to, 40. 416, 411 haiku writing for, 397 developing, 20, 27, 28, 136. 38, 83, 86, 96, 247, 258. 416,417, ITA used with, 373 516 Materials of interest to, 119 nature of, 33. 58; 65 writing implements that appeal to, 118 ,:,Curriculum guideS, 93, 270, 616-619 Flashback, technique, 545

115 I tit; u b'Yect I wled.

Folk tales, 36( 4 writing,.writing; 285, 453 Foreign count See also England Novel writing. 249. 534. 54'4. Sec also Fiction' writing anthologies ° student writing from, 435 693. 691695, 698- - Observatio'nal skills, 240. 45d,18 619 teaching techniques used in, 148, 247, 28(1 294 Open classrooms, 331, 356 Foifirc, 330, 653,670 Oral expression, 72, 73, 290. fosteding,47. 28, 30, 47, 67. 86, 103, 105; 258 Gifted students, 82, 90, 498 Other students' work as stimulus for writing. 30. 95. 175;177, Grachp*. Sec Evaluation, criteria; Evaluation settles 250. 289. Scealsopages 101-104 A 'Nadvantages of teaching, 393. :396. 404. 405 Photograpix as part of writittg activity. 298, 66a, 686' cautions about using 274, 303 Pictures as stimuV-for writing, 114, 141, 142, 206, 479, dam, for first, graders, '397 579, 587. 512, 5.94-96, 6412, 621; 622;624 for nonacademic students. :395 Play whiting and production, 167, 275, 302, 304. 308, 588, Croup composition of, 672' 593, 602, 607, 41'3, 620, 625. NI, also Programs for, techniques forteaching. 390, 398, 402. 408-10.122 audiences, writing and presenting; and also pages Handicapped students, 203 79-81 History a,writing topic, 194, 297, 302, 308 Poetic forms. See Cinquains; Concrete poetry; Dada poems; 'Honestf in writing, 75. 8-1. 276-78, 518 Diamante; e d 'Is;Haiku; Limericks; Sijo; Horroc, as theme vpol also page0-62 for class magazine, 650 Poetic speech of chil ren for films. 308, 564 "catching" and v ding down. 26.q for stories. 302. 521 encouraging, 87 Humor writi*, 117. 249, 371. 623. 738 Poetry appreciation, 266, 417, 424, 494, 516, 617 Poetry writing. See also Cinquains: Concrete poetry; Dada Imagination, fostering developMent of,`21. 70. 280. 608. poems; Diamante; Double dactyls; Haiku; Limericks; 617-19 Rhyme in student poetry: Sijo] mt:also pages 60-75 Independent work. 280, 359 based op prose writing, 489, 493,`495, 504, 607 Inhibitions. breaking down, 45, 63. 302,518 suggestions for students, 77, 573, 588:59:3, 602. 603. 607, Inner city students. See also Disadvantaged students 613, 614, 620, 622, 738 anthologiegrf writings-by, 681.686-89, 692 teaching techniques, 120, 121,248, 249, 251, 252, 262, 266, teaching techniques usedwith. 2t 22,85,228, 299,480. 267, 297, 617 665 Pots in the Schools. See Writers in Residence programs Integration ff creative writingwith other subjects. 26,, 162. Point of view. 526, 529 260, 292 Praise, effects of on student writing, 125 Inte)k,lligence. relationship to creativity, 96 Prewriting activities, 39. 74, 157,.366, 415 Intensive writing, 219, 273, 276, 277, 363, 368 Primary grade pupils. Sec Om) Dictation of stories by chil- Interviews as source of 'writing material, 269.307 dren; First grade pupils; Kindergarten pupils LTA(initial teaching alphabet).104.,116. 373 book and newspaper production by, 662, 674 °collaboratiye writing by, 167, 187, 4;42 Journals and diaries, 79. 216:'22t). 269. 276. 355, 522. 602, 603 general teaching techniques for. 56. 220. 232. 251. 252. 291 "Keyvocabulary.- 216: 222. 247 opihions of. 191 Kindergarten pupils, 46, 66. 294. 299, 381. See also Dictation poetry writing techniques for. 133. 197, 392. 485. 487, 519 of stories by children: Primary grade pupils story writing techniques for, 142, 325 textbook series for, 630 Learning-disabled students. 147 . 44210 writing exercises for, 575. 576. 578, 591. 599, 601. 609 Letter writing, 1361 261, 309,375 writing topics for, 626 Limericks,41, :399 "Problem" students,' 239, 281, 490. 514, 544 Literary devices, 111. 14,2, 274, 296, 4'8, 497 Processes of writing, 76, 312, :364, 372, 440, 484 Literature as model for stusdent wri g, 1,58, 164, 185, 28:3, ' stressed over finished product, 30, 245, 512 290. 311, 428, 453, 463, 540,80, 600, 602, 604, 605 Programs for audiences, writing and presenting Literature as stimulus for studentri2,ing, 95, 153, 230, 416. choral readings, 449, 475, 504 417, 443, 487, 519,602 musical programs, 370, 470, 566, 568, 659

specific works recommended for, 14 , 149, 150, 158, 180. Publishing student work. See also pages 95-99 -198,209, 215, 21, 253, 424, 4, 7, 459, 465,691 cautions against, 250 Love stories,261, 302, 3 5,- 522 in professional publications, 585, 651, 654,.656, 669 (sec Low achievers.117. 13 257, 264, 271, p73. 395,480. 500 also pages 104-106) in student-made books, 201, 271, 298, 299, 307, 308, 498, Magazines gid newspers as stimuli fo riting, 160. 161, 647,'648, 655, 658, 661, 665-68, 671, 674, 675 163, 178 in student-made toMic books, 310 Mentally retarded students, 200, 675 in student-mad'ednewspapers, 298, 662 Minority group students, 119, 271, 670, 677, 685, 68689, 702 in student magazines, 259, 330, 645, 646, 650, 652, 657, Monologues, 557 664, 670, 673 Musical settings for poems, 235, 515 Puppet shows,. writing and producing. 301, 560; 562 Music as stimulus for writing, 139, 183, 19:3, 235, Mystery stories, 218, 302, 522, 530 Reading, aloud to children, 25, 51, 248 Myths, 377, 388, 738 Research findings, N, 290. See also pages 18-23

. , ,tiltlurct ii,'

Revising friting, :121, 365, 660 Teaching inettqls. comparisons of.10t.;>-1111.' 121 . Rhyme in 'student poetry. 27.1. 291 Teaching sequences. 15. 169: 346. 332, '14, :3-11. :143. :174:355. "Rotind robin'. stories. 543 :155 ..: based on' cyclical stages, 372, 4-1 Scieiee fiction, 665 based on professional writer's' Methods, 76. 251 Sensory awareness. deviiTupwg, 25, 37, 145: 146, 169, 199, for poetry writing. 290, .016, .115, 426, 444, 155, 46-1, .159. 204. 251, 255, 269, 257, 290, 29-1, :122. :129. -465, 57:1 495,-499, fd7 Sensory stimuli for w ruing, 99, 227 Teaching styles, 69: 299 Serial .stories.,190 Television scripts, 565. 569, 571 Short story whiting. Svo- 04--sl, Fiction writing Textbook series. 576; 577, 550. 554, 592. 1210 suggestions for students, 77. 57-1, 555, 556. 555. 597, 595, Theines for writing. 156.122. 470, 171. e r It I rig 600. 607. 613, 615, 622. 625, 735 toptcse. teaching techniques, 24-5. '411., 537, aminals.-137, 195. 309 Sijo, 401 colon's, 1)6. :1921, 691 V- Song lyrics, writing, commonplace objects, .150,.173. 500 Songs as stimuli fur writing, 515 dreams, 303 Special education classes. ,305, 520 nature, 13:1,162. 305. -142, 449 Stimuli fur writing. comparisons of.122.1233 Typing of children's writing, 75. 220, 221. .153 'Story starters, 134-36. 140, 165, 205, 212, 2.15, 255..299, 612, 6°7 Videotapes, writing and producing, 275. 297. 306, :107. Story Workshop Method, 376, 350, 700 450, 569. 56:1 Strearn-of-conseiousness writing. 275. 301. 30:1 ulso Stibconscious, getting in touch with Wall writing, 225, 255 .Student experiences as basis fur writing, 2, 45, 28, 31,35,37, Vord usage, teaching about. 7-1, 296, :3.55, i1i16, 619 5)).1(17-9, 247, 259.279. 296, 305, 386. 448, 533, 603 Work/books. 576-78. 591, 599, 605-11, 1;25, 1212 Student interests as basisa.for writing. 20, 14. 105 Worl-shop approaches, 307, :312, 323, 327, 3:15. 357, 364, 501, Student needs and concerns, 37. 41, 64 502, 508, 552, 691, Sew ulso Story Workshop method Student opinions, 83, 191 summer 'Workshops, 315, 565 , Student problems, revealed through writing. 1,6. 7 Writers in Residence programs. Svc i/-i Teachers Writers Student writing Collaborative (Ilse studies of, 250, 252. 417 cdmpilation of student writing from, .133 critiques of, 5. 429, .1-1S, 177. :)25, 536, 552 information about, 511. 729, 7:3), 732. 7:17 Students as teachers. 299 teaching techniques derived from, 170.414.423,425,-130. Subconscious, getting in touch with, 237, 307, 363, 359. .131, -132, -1:17. -1:19, -171. 50:1. 507, 728 o/so Stream-of-consciousness writing Writers' views on teaching, 16, 19. 34. (12, 71, 2);9, 251, 429. Writers in Residence programs, teaching tech- 'ratio() Aidneet, dealing with. (;:t. 75, xi, :102 niques dttn-ived from Tail tales and lies. 11. 173. "05. 326. 370 Writing exercises, N9, 276. 277, 305. 434, 492, 521, 57:3, 574, Teacher concerns, 101 575, 581, 583, 557-90, 601, 606. 622 -Teacher education. :11, 35, 37,1:1. 305. 35.1, 63:1, 6:14. cautions about using. 20, 25. 29, 1)5, 304 a/.- o Teachers' writing attempts, value of Wrding for an audience,..68, 279. 251. 619, (;6:1 Teacher role Writing implements, varying, 362 in providing encouragement and acceptance. ,55 317. (101 effects ur, on students, 115 inprovidinf enrichment experiences, 246, 294, 162 Writing mechanics. de-emphasized in creative writing. 22. in reactiroto student writing. 27-29. 54, 633, 6:1T .17, 50. 63, :117 642, 613 lw pages 9:3-95i Writing topics. Scc /1/ Themes fur r'iti*g 'stressing content above form of writing, 56. 1;:, 303 permitting students to choose their own, 65, '213. 296 302, validating student uniqueness, :121 :125, 336. 340. 435 Teacher-student conferences, 251. :159. 533, 5.16. 555 suggestions for. 125. 1:11, 217. 572..626 Teachersi Writbrs Collaborative. .t.:(oe i/s ages 17-5o descriptions of, 6:1, 69, :119, 330, -124 Vale Daily Themes course. 525. 549 publications of, 2.19. 271. 275, 250. 297. 522, 653, 701 Teachers' writing attempts. value 4_35,13,19. 51, 7);. SI, :107. :132. 352, 36,1