Two questions to help reluctant writers in elementary classrooms

Maybe you were the student in school who was staring at the blank page before you, without a clue how to start. Or you regularly restarted the essay or story 15 times before the deadline snuck up on you. If so, this post is for you. I was admittedly not that student, I felt the words bubble up and my pencil couldn't keep pace with the movie playing in my mind. But as an educator I have learned how to support reluctant writers. I hope these 2 questions guide you.

Where's the resistance coming from? I don't actually say this aloud to the child, it is the first question in my diagnostic detective work. Start by having a 1:1 conversation with the reluctant writer, ideally away from their friends but still in the learning area. I once brought the student over to the classroom library with me and asked them to select 3 fiction books that they really enjoyed reading. This 1st grader selected a title by Mo Willems, a book about a teddy bear that loses a button, and one that I'd previously read to the class about a police dog that gives safety demonstrations in schools. The student then described the aspects of these fictional stories that they liked - the humor, the dialogue, and the illustrations. I noted these on a paper with 3 big stars, gifted the paper to the child, and then led the child through a reflection.

• Did they want to include humor in their book, and did they think they would be able to do that independently? YES! They said they always make their brother laugh. No resistance there.

• What about dialogue? They weren't sure, but they suggested using the books (now in their hands) to check how the authors did it for guidance. YES! And they want to use mentor texts! I made a mental note to myself to check in and specifically praise their effort regarding dialogue later.

• Finally, the illustrations. This was where the resistance was. This writer was inspired, they wanted to be like the authors in these books, but the daunting task was making the illustrations look like those of their literary heroes. The child shuffled uncomfortably as they admitted that they weren't good at drawing. My detective hat came off and the social-emotional champion hat went on. I remember telling this child that the illustrations are an important part of these mentor books, and feeling a lack of confidence in their ability showed how much they really wanted cared about their future reader. We talked about how writers sometimes collaborate with illustrators, instead of drawing for their own books, and that telling an interesting story is the goal and the illustrations support that goal. The child decided to start by writing the words and then they'd either try to draw the characters and scenes, or they'd ask a willing friend to help them as their illustrator. I agreed that a friend could help, but as a guide, sharing their drawing tips to teach you. That earned a big smile and 15-minutes of focused writing, just of the sentences, in the exciting and hilarious book that student created. They did eventually partner with a classmate who showed them how to draw faces and by the Writing Celebration, you would have never guessed that this young writer had been hesitant to create.

What is working? What isn't working? For a few years I actually asked "What's going well, and what are you stuck on?" but I've since determined that that language assumes that productivity is good and inactivity is bad. So I do actually say to the child, at their level, seated or paused near them (not circulating), "Hi ___, so what's working, and what isn't working?" This question allows the student to isolate the aspects of their writing without a sense of good/bad dichotomy, as the focus is on what has stalled and what is going fine (like a car). This question is best used with the student that looks like they are daydreaming. Assume positive intent as you approach their work space, perhaps they are visualizing their ideas, imagining a character conversation, or rewording a phrase in their mind. Older students are often quick to become defensive if their teacher approaches with a "get back on task" comment, so the curiosity in the "working / isn't working" question engages their instinct to share.

This question can also be very successfully employed with students who are overly negative about their work. Crumbled papers, scratched out lines, or the tap-tap-tap of the backspace/delete button. Focusing their attention on what is working, even if they mumble "Nothing." Then point out some potential, "I see you started this line with an action, that's a strong technique, did you learn that technique from a book you are reading right now?" The point is to engage them in a reflective conversation to notice the sparks of progress and support them with the obstacles. If the negative spiral persists, it might just help to just have them take a break, a walk to the water foundation, or a pause to do another task (read their chapter book, solve a math problem, or reread their science notes). When our nervous system is under stress, we can't think logically, and certainly can't write a creative story.

With the "working / isn't working" question you are in the role of project manager. You are noting their progress and making an action plan that will help the student navigate the obstacles they've identified. After they've answered, remind them that they are building their growth mindset too, and assure them that you'll back with resources and ideas to help them with the obstacles. This is your chance as the educator to also evaluate the patterns in your writing class and prepare mini-lessons or partnerships that address those needs. Perhaps 5 of your 20 students shared that they aren't really liking their story anymore but they don't want to restart because they've worked on it for several days. You could prepare a mini-lesson about story mapping that could help those 5 specifically, but also teach everyone that writing projects need progress markers so you can feel the evolution of the character's journey as you write. Or a small group session just for those 5 learners about their story arcs so they can reinvigorate each other with some peer feedback. Remember that the curriculum is a guide, you are the leader in the classroom and knowing what your learners are facing in their learning and addressing those obstacles through your teaching, is good teaching.

That's all for now, I hope these two questions help you!

Christina Kottmann