June 9, 2011
DEMONSTRATION LESSON
Mary Andis
Hoosier Writing Project Summer 2011
Lesson Title: Engaging the Writing Brain
Inquiry Question: How do the principles of brain-based learning, as defined in the Making
Connections: Teaching and the Human Brain (1991, 1994) by Renate and Geoffrey Caine shape the
type of instructional writing strategies we use? For this lesson, how does the 9th principle (p. 93) drive the
development of a pre-writing strategy for writing personal narratives?
9. We have at least two different types of memory: a spatial memory system and a
set of systems for rote learning.
We have a natural, spatial memory system that does not need rehearsal and allows for instant
memory experiences (Bransford and Johnson 1972; Nadel and Wilmer 1980; Nadel, Wilmer, and
Kurz 1984). . . We have at least one memory system designed for registering our experiences in
ordinary three-dimensional space (O’Keefe and Nadel 1978). The system is always engaged and
is inexhaustible. . . It is enriched over time as we increase the items, categories, and procedures
we take for granted. . . The system is motivated by novelty. In fact, this is one of the systems that
drives the search for meaning mentioned earlier [principles 3 & 4].
Facts and skills that are dealt with in isolation are organized differently by the brain and need
much more practice and rehearsal. The counterpart of the spatial memory system is a set of
systems designed for storing relatively unrelated information. Nonsense syllables are an extreme
case. The more separated information and skills are from prior knowledge and actual
experience, the more dependence there must be on rote memory and repetition.
..................................................................
By ignoring the personal world of the learner, educators actually inhibit the effective functioning of
the brain.
Context
Prepare HWP teacher educators to write personal narrative submissions for a self-published
Indiana guide book. The book is “curated content” because its chapters are focused on things in
Indiana that are less well known than those ordinarily covered in guide books, such as big
sporting events or state history or travel information.
Rationale
Donald Graves said in his chapter “7 Conditions for Effective Writing” from A Fresh Look at
Writing that in his early teaching days (p. 106) his “students had no chance to read, interview, or
gather material, to do what professional writers do before writing.” This fits with the Caine’s 9th
principle for brain-based learning about how the system of the brain that drives the search for
meaning is motivated by novelty. In other words, engaging pre-writing activities should enrich the
quality of writing, or at the very least make it easier for a writer to begin a quality piece.
Materials, Equipment & Resources
DVD
Singin’ in the Rain (1952) – Clip of Donald O’Connor’s solo dance and his commentary
DVD
Moonstruck (1987)
(1) Clip of the opening sequence with commentary by the director, Norman Jewison
(2) Clip from Special Features (Moonstruck: At the Heart of an Italian Family) with commentary
by writer, John Patrick Shanley and director Norman Jewison
Handout: Mock-up of the Indiana Book Table of Contents, p. 27 & 28
Page 1 of 4
June 9, 2011
Procedure
Step 1 – 5 minutes
Explanation of Inquiry Question, Context and Rationale
Step 2 – 15 minutes
(a) What to watch for: Watch how Donald O’Connor does brainstorming. He does not do random;
he targets his thinking. He seems to me to do three things: (1) focuses on what he does best, (2)
uses what is at hand or familiar to improvise, (3) sticks to the central theme to grab attention with
the opening and make the big finish pop.
(b) Play clip from Singin’ in the Rain [5 minutes]
(c) Discuss what class saw.
(d) In threes, select an item from the Table of Contents and do some brainstorming trying to
incorporate some of the targeted brainstorming that Donald O’Connor did.
Step 3 – 15 minutes
(a) What to watch for: It is important to get the opening “hook” right to engage and keep your
audience
(b) Play 1st clip of Norman Jewison talking about the opening music for the sequence [2 minutes]
(c) What to watch for: It is important to be true to the culture and have a title that engages but also
anchors the work.
(d) Play 2nd clip of Jewison and Shanley talking about the making of Moonstruck. [5 minutes]
(e) Discuss what the class found important in what they heard.
Step 4 – 10 minutes
Instructions: Using the points in your brainstorming list and your awareness of the importance of
title and the opening “hook,” write an opening paragraph and title for your 3-person collaborative
narration on the item you selected from the Indiana Book Table of Contents.
Step 5 – 5 minutes
Invite several to read what they wrote.
Evaluation
Discussion of what worked and what did not.
Standards Connection
This connects to any pre-writing standards that relate to focus and organization.
List of Sources
Caine, R. N. & Caine, G. Making connections: Teaching and the Human Brain. Addison-Wesley
Innovative Learning Publications, 1994.
Graves, D. H. 7 conditions for effective writing. A fresh look at writing. Portsmouth, New Hampshire:
Heinemann, 1994, 103-114.
Rosenbaum, S. Curation nation: Why the future of content is context. New York: McGraw Hill, 2011.
Page 2 of 4
June 9, 2011
AFTER THE PRESENTATION
Two groups shared their opening paragraphs and both showed potential for future submissions for the
Indiana Book. The first was an opening paragraph for a narrative about the State Fair. The group used
humor to get into the story. The other was an opening paragraph for a story about visiting an unusual
restaurant. One writer said that seeing the video clips gave her an “AHA” moment. She had been
approaching the writing as an essay and suddenly realized she could write it as a story like a screenwriter
does a movie.
As I moved among the groups, I heard people talking about their strengths in writing (something we saw
Donald O’Connor do while brainstorming choreography in which he focused on his dancing strengths)
and how that would apply to writing for a specific topic.
I concluded that the demo lesson did show potential for jump starting the kind of writing teacher educators
need to do when writing to a set list of topics in the Indiana book.
Clarifying Questions
1. What about practice? How does that fit in?
My Response: I feel that practice is exceedingly important. This lesson is not in context. In a classroom,
something like this would be presented after discussions about opening paragraphs and writing personal
narratives. There would be opportunities to practice throughout the process. It is, however, essential to
remember when stressing the importance of practice that quality should be a part of the equation.
Practice for the sake of practice is not the goal. As teachers of writing, we want to underscore the idea
that practice should help us improve.
2. What about culture? On the handout, under the Moonstruck clip, the second point is about
cultural truth, but it did not seem to be addressed as completely as points one (the opening hook)
and three (the title).
My Response: The screenwriter, John Patrick Shanley, probably says the most important thing about
cultural truth when he talks about being Irish but being a careful observer of his Italian neighbors as he
was growing up. Recognizing that we each are part of a culture is an important discussion. A first step in
helping students capture the truth of another culture is to help them sharpen their observation and
listening skills.
When I first developed this lesson, I included three video clips. I needed to shorten the lesson to fit the
60-minute timeframe. So, I cut the third clip that more fully addressed possible ways to deal with cultural
truth. The clip was the opening of the 1997 Japanese romantic comedy of Shall We Dance? in which a
bored and stressed out account executive decides to put a little fun in his life by taking dancing lessons.
In order for the comedy to work, the audience needs to know that in Japan it is considered shameful for
men and women to show public affection, such as holding each other while dancing. The humor does not
work without knowing this “cultural truth.” The screen writers dealt with this by opening the movie with a
narration that explains the context. To me, this means that we can do the same with our writing. It may
be necessary from time to time to explain the context or background in a few sentences before the piece
begins.
Page 3 of 4
June 9, 2011
Extensions
“There is power in showing video clips.”
This demo lesson prompted a number of ideas about discussions we should have with our student writers
as a result of watching these clips and listening to the commentaries.
1. Titles: How does having a title shape or not shape our writing? When do we come up with the
title? What do you do if you are not good at creating titles? How does audience affect your
choice of title?
2. The Difference between Editing and Revising: Listening to real writers talk about their
experiences with tweaking their scripts or revising them, as in the comments by the director and
writer of Moonstruck, helps us get a handle on when and why to either just edit or completely
revise. This difference is difficult for students to understand and needs discussion time.
3. Responding to Student Writing: The commentaries from Singin’ in the Rain and Moonstruck
are good examples of how response from others can be crucial to shaping a successful product.
As teachers, we need to give some thought to how our responses can truly help students write a
finished piece that has value. One tangible way to help is to keep a portfolio of writing. This is a
way to show growth and discuss with students what they have done to improve their writing.
Page 4 of 4