Exploring Interpretations And Possibilities: Adopting An Inquiry Stance

By Author: White
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To grow as writers, students need to move beyond recognizing strengths. They also need to engage in conversations about their purposes and intentions as writers, and they need to explore their readers' interpretations and questions. To achieve this, I want to cultivate an inquiry stance, in which students Tag Heuer Replica Watches practice approaching a text with questions and observations, rather than with judgments or grades. I emphasize an inquiry stance to help students extend their use of specific observations, always grounding their feedback and questions in the text and in discussion with the writer.

Because this approach to writing discussion does not include the safety net of a peer-response checklist or a rubric, modeling is critical. As Jill noted, "In the beginning stages of our group revisions, I felt that I made very little progress. When looking at my group members' poems I was unsure of what to look for, what to question and what to suggest. When Christine modeled a group revision for the class I was able to see how it was ...
... done and I was more helpful to my group members. I couldn't believe the difference in revision after having seen this modeled for us."

I most often begin modeling these conversations by using a rough draft of my own writing. (I use student models in later mindlessness.) I resist the temptation to revise this piece beforehand, as I want to be dissatisfied with it. I want to need students' help in making it better. I admit I felt vulnerable the first several times I did this. At the time I was working with high school students, many of whom I knew to be good writers. I worried: I'm the teacher, what will they think when they see errors and lack of focus in my writing? Yet these insecurities reinforced the need to share my writing. If I, as their teacher, had these concerns, what must the reluctant writers feel? How can I expect them to engage in a practice if I refuse to do it myself? Sharing my writing with the class also allows me to position myself as a fellow writer, as someone who struggles with the same things they do.

I put my writing on the overhead projector. As I read it aloud, I ask the students to jot down both what they like about the writing as well as questions they have for me—perhaps about decisions I made, or about my purpose, or about what I am trying to say in a certain spot. As students begin providing feedback, I make notes on my copy, underlining what they like and recording their questions. I want them to see me making use of their feedback. I draw out their inquiry, asking frequent follow-up questions. I then ask them to share their interpretation of what I am saying, and I compare it with my intentions. We discuss specific segments in depth, determining how certain writing choices may have created confusion or altered my intended focus. I ask about parts that trouble me, not being satisfied until I get specific feedback. Once Omega Replica again, after modeling with the full class, students work with partners to have similar conversations around their individual drafts.
After one or two full-class modeling sessions, I move students into three- or four-person writing groups, allowing them to explore multiple viewpoints and work with lengthier pieces of writing. As students work in these small groups, I weave in additional full-class modeling lessons, using volunteered student texts to continue to illustrate ways of engaging writers in authentic conversations about their texts.