Perhaps the best part of teaching writing to other people’s children is the curriculum I accumulate along the way. Over the past two years, I’ve purchased more writing books than I could have ever justified buying for my two boys alone. I’ve tried a few that have flopped (Brave Writer and One Year Adventure Novel), used some old favorites (Michael Clay Thompson’s Paragraph Town and Essay Voyage), and found some new friends. Still more sits on my shelf, waiting for the right student to come along. The longer I teach gifted students to write, the easier it is to make guesses about what will work and what will flop, but as children are as different from each other as are snowflakes from one another, I’ve tossed very little aside for good.
Models for Writers: Short Essays for Composition (Alfred Rosa and Paul Eschholz) has served as assigned reading in college and high school composition classrooms for years. I teach out of the 9th and 10th editions, which are recent enough to be easy to find and old enough to make used copies easy to afford. (I’ve never seen the urgency in having the newest edition of a writing text anyway.) There is little difference between these two editions, so I’ll not be drawing distinctions between them. I use this text after Michael Clay Thompson’s Essay Voyage and before more formal argumentation texts, finding it works well after a student understands the essay writing process overall while providing a bridge for writers before they move to formal and cited academic writing, as in MCT’s Academic Writing 1.
Models for Writers is divided into four sections. The first three (The Writing Process, The Elements of the Essay, and The Language of the Essay) focus on just what an essay is and how it is put together. The first section covers the basics of all writing, from prewriting through first draft to revising and editing. It’s an effective review for students who’ve done projects requiring prereading, not a guide for the first-time writer. The second section does much of what MCT’s Essay Voyage does — it addresses what writers must master to make any essay work: thesis, unity, organization, beginnings and endings, paragraphs, transitions, and effective sentences. The fourth, Types of Essays, the section I use most heavily when I teach one-on-one, explores the many genre of essay: illustration, definition, comparison and contrast, narration, argument and more are explained fully with examples. The book concludes with a short treatment of the research paper. I’d not call this last section sufficient for teaching the process of writing from sources, but it does serve a fine introduction to the craft. It touches what comes next, just as the first section provides a short look back.
For all but the first section of the book, the format is the same. Rosa and Eschholz provide a few pages of instruction on the topic at hand. These brief but comprehensive portions of each chapter give the reader the language of the topic and the basics of the technique at hand. What follows are three or four essays to serve as examples for the topics at hand. Essays by Russell Baker, Eudora Welty, Helen Keller, Annie Dillard, Natalie Goldberg, and many others illustrate the chapter’s lesson. After each essay are questions for study and discussion, questions focused on helping the student analyze the given essay in the context of the lessons it’s supposed to illustrate. These questions demand a set of skills I’ve not found elsewhere: careful reading followed by deep thought not just about what the writer wrote but about the devices the writer used in the essay.
These are hard questions for many young students, quite gifted ones included. Even organic writers (not the sort grown without pesticides but the kind who were born with stories to tell and a keyboard attached to their fingers) struggle when it’s time to talk about elements of writing within another’s writing. Initially, I used the book without those questions, assigning the readings as examples. That worked fairly well, as we could talk about some of the patterns a writer would use or note a particular way to handle an introduction. Using the book this way won’t shortchange a writer, as there is plenty to learn without those questions. But despite the struggle they cause for some students, these questions are generally worth the grapple. They move a student to think about what they read and then, hopefully, about their own writing in a critical and analytical way. Whether discussed or assigned as written work, using at least some of these question sets will bring your writer further along in composition and reading skills.
After the questions come classroom activities which, I suppose, would be helpful for one teaching in a classroom. A few are amenable to using one-on-one, but most require a partner or small group. The suggested writing assignments that follow each essay are far more helpful. Note: Some of these assignments aren’t directly addressing the skill at hand while others are more chapter-related. Because I like my students to have some say in what they write, I usually ask them to look over particular assignments in these sections, selecting options that would elicit writing that best addresses the purpose of the chapter.
As mentioned earlier, I use Models for Writers after I’ve taught the essay via Essay Voyage or with students having some basic command of the essay, understanding the principles of the form and format all essays share. Because of that command, I start with section four, which addresses the types of essays one can write. (Note: The division into types helps teach techniques that might be hard to sort out otherwise. Few essays fit neatly into a single category. A comparison and contrast piece may have highly descriptive passages, for example.) This book could certainly be used start to finish for a writer less familiar with the form. I generally assign material from the first three sections as needed with my more experienced writers, combining, say, the chapter on introductions and conclusions with the chapter on definition writing. This reinforces the essential techniques and parts of the essay while providing context for using that skill while writing. It’s a flexible text.
I like Models for Writers. It’s approach to technique is straightforward and logical. It’s essays are highly engaging and carefully chosen to illustrate the point at hand. Its assignments for essay types are varied and can easily be expanded upon. The essays are, however, chosen with a college audience in mind. If you have a particularly sensitive child or if your child is quite young, pre-read the essays you assign, ensuring they are appropriate for your child. All essays come with an introduction to orient the reader to the context of the essay (time, publication location, author background). Don’t skip these sections, as they help guide the reader through the piece.
What happens after Models for Writers? Michael Clay Thompson’s Academic Writing 1 could follow or be used along with Models. I’ve also used Writing from Sources (Brenda Spatt) when I want to develop a student’s ability to summarize, paraphrase, and quote effectively. They Say, I Say (Graff, Birkenstein, and Durst) helps students effectively incorporate the writing of others in to argumentative writing. New to me this year is Everything’s an Argument (Lunsford, Ruszkiewicz, and Walters), a book teaching argumentation. Whatever text one chooses, it’s likely time to move into using outside sources for one’s writing, learning the techniques of academic writing. The essay skills learned in Models give writers a strong start for that next task.
Note: I’m unable to accept new private students this semester as my docket is full. Should I have openings for weekly students, I’ll note availability at Write with Sarah, my professional website. I do have room for project coaching, a service detailed on my website.