Melissa Trezza
ENG40524
Debby Mitchell
Six Traits for Teens:
A Teacher’s Guide
“Writing is easy: All you do is sit staring at a blank sheet of paper until drops of blood form on your forehead.” ~Gene Fowler
“There’s nothing to writing. All you do is sit down at a typewriter and open a vein.” ~Walter Wellesley “Red” Smith
“Every writer I know has trouble writing.” ~Joseph Heller
Contrary to popular assumption, even well renowned writers have trouble writing; they do not simply pick up a pen or pound on their keyboards, words coming together effortlessly. Even they acknowledge that writing is difficult, so why do so many “regular” people and amateur writers continue to beat themselves up over not being able to compose a masterpiece in an instant? If professional writers cannot do so, why should the rest of the world expect to? Writing takes time and effort, and it seems like a successful method to help teach writing has been developed called the Six Traits. Although it may take some getting used to, when practiced, Six Traits Writing can help everyone – even a less-than-enthusiastic teenager – become a better writer.
According to author and writer, Vicki Spandel, Six Traits is not a “curriculum” or even a “program” – it is a way to more easily figure out “what makes writing work.” (1). The Six Traits is divided up into six categories by which a piece of writing can be “judged”. The Six Traits answers the following questions for the reader:
- Ideas – Is the paper clear, does it make sense? Is the there a clear topic? Did it hold my interest? Does it give important details, yet avoid unnecessary information?
- Organization – Did the writing grab my attention immediately? Does it go anywhere? Is it written “in order”? Does it just stop or is there a “sense of resolution or completion”?
- Voice – Does it “sound” like the author? Does the writer seem to actually care about or be involved with the topic? Do I respond emotionally or physically to the writing?
- Word Choice – Are the words/wording chosen well? Does it create a picture in my mind? Are there words repeated unnecessarily?
- Sentence Fluency – Is the writing easily read aloud? Does it have a rhythm or flow? Is the tense consistent?
- Conventions and Layout – Is the reader required to edit the paper as it is being read? Is the spelling and/or grammar used correctly?
This method helps by laying out exactly what makes effective writing – for both the student and teacher. Students are also able to more easily understand what is expected of them. And, by referring to a Six Trait rubric, teachers can grade more easily and efficiently. According to Vicki Spandel, some other reasons the Six Traits are important is because:
- 1) It uses “consistent language” in regards to writing. All students, teachers, school systems, etcetera will use the same terminology regularly.
- 2) Standard rubrics makes grading simpler, more objective, and “consistent”.
- 3) It is easier for students to understand because it is divided into steps.
- 4) They “support and strengthen [the] writing process”.
- 5) It “makes revision and editing purposeful”.
- 6) It motivates students to assess their own work and empowers them with the confidence to do so.
- 7) It helps to link reading and writing by encouraging students to read like writers and write like readers. (6-7)
Where the traits came from is almost as important as what they are and why they are important because one must understand who developed the traits to ensure they are worthy of such acclaim. No one person actually “invented” Six Traits Writing. It has really been a work in progress over the last several decades. Paul Diederich was one of the pioneers of the method. In the 1960’s, he did research into why teachers graded the way they did. (What was their reasoning? What made the paper good or bad?) His studies lead to the categories of: Ideas, Mechanics, Organization and Analyses, Wording and Phrasing, and Flavor (Spandel 3). Two other important players were Alan Purves and Donald Murray, who both conducted studies on writing. Purves’ study highlighted writing on an international basis. In 1992, he determined that the significant writing traits were: Content, Organization, Style and Tone, Surface Features, and the Personal Response of the Reader (Spandel 3). Murray’s work in 1982 identified six traits very closely resembling those currently used today: Meaning, Authority, Voice, Development, Design, and Clarity (Spandel 3). The “final” Six Trait Assessment was created in 1984 by the Analytical Writing Assessment Committee, a group of seventeen teachers in Beaverton, Oregon – although it has gone through approximately twenty revisions since then (Spandel 2). Six Traits Writing is obviously a worthy technique, having been developed by experts in writing and tweaked several times in order to get it “just right”.
There are “competing” rubrics – five-point, six-point, and so forth – but, whichever is used, there is always a description of what kind of writing warrants a particular score. Here is an example of a five-point rubric:
|
EMERGING |
IN PROGRESS |
AT STANDARD |
EXEMPLARY |
|
| Ideas: | Ideas: | Ideas: | Ideas: | |
| Are weak so that the message is unclear; details are vague | Are emerging and at times supported with details. | Are clear with details that are interesting, important and informative. | Are strong with rich details that draw the reader in and create vivid images. | |
| Organization: | Organization: | Organization: | Organization: | |
| Is lacking so that the reader is often confused. | Is emerging so that the reader can follow most of the text. | Enables the reader to follow the text easily. Transitions aid reading. | Shows close connections with each section anticipating the next. Transitions enhance understanding. | |
| Voice: | Voice: | Voice: | Voice: | |
| Is flat, dull, tentative, or inconsistent. You are not engaged with your writing. | Is emerging as you find your own voice. You show limited engagement with your writing. | You are engaged with your writing. The writer comes through your words. | A lively voice imparts a personal flavor and interest that is you and shows your intense engagement with your topic and your reader. | |
| Word Choice: | Word Choice: | Word Choice: | Word Choice: | |
| Is vague, predictable. | Shows some interesting and precise choice of words. | Your word choice is interesting and precise. | Rich, colorful, precise language moves and enlightens your reader. | |
| Sentence Fluency: | Sentence Fluency: | Sentence Fluency: | Sentence Fluency: | |
| Sentences are choppy, difficult to read. Awkward word patterns slow the reading. | Sentences are at times fluent and easy to understand; some awkward word patterns slow the reading. | Sentences vary in length and style and are fluent and easy to understand. | Your writing has cadence power, rhythm, movement, used strategically to support your purpose. | |
| Conventions: | Conventions: | Conventions: | Conventions: | |
| (spelling, grammar, punctuation, capitalization, paragraphing, format): Poor mechanics impede the reading of the text. | Errors are minor but affect the reading of the text. | Correct conventions facilitate the reading of the text. | Correct conventions facilitate the reading of the text. Conventions, used strategically, add to impact of the text. | |
The “Emerging” category could warrant a point score of a 1 or a 2, “In Progress” a 2 or 3, “At Standard” a 3 or 4, and “Exemplary” could earn a 5 or a 6. However, before the rubric is used, it is wise to advise students of what will be looked at when their papers are reviewed for grading. There are several ways of achieving this, including placing posters up on the walls of the classroom listing the Six Traits as well as giving them sheets with questions they should ask themselves when revising/editing (Did I tell things in order? Did I give enough information? Does this sound like something I would say? Do my sentences “flow”? Is my spelling correct? Did I repeat the same word too many times?). If students understand what the teacher is looking for, they are more likely to become better writers and closer to that “5″ or “6″.
In a large-scale setting (national or statewide testing), getting good writing out of students can be quite a daunting task. Students are given only one or a few different prompts from which to begin (and they are usually poor prompts, at that) and they are sometimes given as little as twenty-five minutes to complete (Spandel 28). [Good prompts are important, but, unfortunately, hard to come by in large-scale assessment, according to Spandel (31).] Another difficult aspect of large-scale testing is the fact that oftentimes, the scorers are not even educators (Spandel 28). A common comment given by these assessors is that the student went “off topic”. What they often fail to understand is that “off topic” does not necessarily mean “bad paper”. Maybe the topic was lousy? If the writing is good, the fact that the student did not stick to the narrow topic of describing their favorite dinner, should not weigh too heavily on the final score. To prepare students for this type of stressful, imperfect way of writing there are some strategies that can be taught. Having students practice responding to writing prompts is a great way to brace students for these “big” tests. Another helpful tactic is for the students to learn different forms of pre-writing, such as webbing or listing (Spandel 34). If they are not prepared for this type of testing, they will do what they have to in order to survive, which often involves filling up the paper just to fill it. This, of course, is not good writing! Preparing students is particularly important for high school students who are typically looking towards college. So, remember – preparation, preparation, preparation!
On a smaller scale, in the classroom setting, things are much less difficult. There is ample time, more leeway with topic, revision/editing time, available resources (dictionaries, thesauruses, encyclopedias, etcetera.), and a teacher is present to help students understand what is being asked of them (Spandel 34). In the classroom, students also have the advantage of having someone (the teacher) who knows them on a more personal level – someone who understands where they struggle and where they excel. They also have the class rubric available to assess their writing more easily before a grade is ever given (Spandel 36). Obviously, the classroom is a much more appropriate setting for composing good writing.
Consistency and bias are two things many teachers struggle with when it comes to assessment. Educators must remember that there is no “right” score – everyone will grade every paper just a little differently, and that is okay. Remembering to refer to the rubric often to make sure it is being followed correctly and scoring each trait separately is important. Teachers should also be prepared to give a “1″; it does not mean failure – only “beginning performance” (Spandel 56). On the same token, a score of a “5″ or a “6″, does not mean perfection – only “strength and proficiency” – so holding out for that “perfect” paper before giving such a score is not wise (Spandel 57). When it comes to avoiding bias, there are several things to be aware of:
- Do not falsely believe that one trait is more important than another. They are all important!
- Appearance is not the most important thing. Perfect handwriting does not amount to an equally perfect paper, nor does messy handwriting mean it is a poorly written one.
- Longer does not equal better.
- Do not allow a dislike for the topic to taint scoring.
- Well-behaved or typically “good” students do not always produce well-written work and vice versa.
- SKIMMING
- No “sympathy scoring”. A sad story does not correspond to a better grade. (Spandel 59-61)
Involving parents can sometimes be a difficult process. First of all, most parents today are swamped – they barely have time to get five hours of sleep a night, let alone get involved in their children’s writing skills. Secondly, they are used to letter grades – not some newfangled point system using some crazy trait rubric. If it is not possible to get the parents in the classroom for a “lesson” on Six Trait Writing, a smart first step is to send a short (most people do not like to read more than a short paragraph or two) letter describing the method. In this same letter, give them the rubric that will be used to grade their children’s papers as well as a number-to-letter converter such as this one:
5.5 = A 3.5 = C
5.2 = A- 3.2 = C-
4.8 = B+ 2.8 = D-
4.5 = B 2.5 = D
4.2 = B- 2.2 = D-
3.8 = C+
This will help them to better understand where their child is in their writing skills. If available, putting this information online on a school website is another great option. Ask the parents to be good listeners – let their children read their writing to them – and give them their positive feedback. (Questions parents can answer – What did you like about it? How did it make you feel? Could you see what they were describing?) Being an attentive listener encourages children to continue to write. Another thing parents can do is to discuss topics with their children. Talk about a recent family vacation, family stories, etcetera to encourage a possible writing subject (Spandel 365). A parents’ encouragement and involvement can go a long way in pushing students to write better and more often.
Teaching students to write is certainly not an easy task, but Six Trait Writing makes it much easier. Some teachers may, at first, be put off by a new “required” method of teaching – yet another requirement to tie them down – but, once they learn about it and actually begin using it in the classroom, they are sure to see its’ benefits. Everyone involved, from students to educators to parents, will see the advantage of the Six Traits.
SAMPLE LESSONS
In Twenty Years
Book Title & Author: After Twenty Years by O. Henry
ISBN#:
Traits: Ideas, Organization, Voice, Word Choice, Sentence Fluency, Conventions
Grade Level: High School (9-12)
Time: One class period, time outside of class
Supplies:
- copies of the short story
Lesson Description:
1) After reading and discussing the short story, ask the students to picture themselves in twenty years and write about it. 2) This writing may take many forms: a short story, poetry, a dialogue at a class reunion, a play, a satire, etc.
The policeman on the beat moved up the avenue impressively. The impressiveness was habitual and not for show, for spectators were few. The time was barely 10 o’clock at night, but chilly gusts of wind with a taste of rain in them had well nigh depeopled the streets.
Trying doors as he went, twirling his club with many intricate and artful movements, turning now and then to cast his watchful eye adown the pacific thoroughfare, the officer, with his stalwart form and slight swagger, made a fine picture of a guardian of the peace. The vicinity was one that kept early hours. Now and then you might see the lights of a cigar store or of an all-night lunch counter; but the majority of the doors belonged to business places that had long since been closed.
When about midway of a certain block the policeman suddenly slowed his walk. In the doorway of a darkened hardware store a man leaned, with an unlighted cigar in his mouth. As the policeman walked up to him the man spoke up quickly.
“It’s all right, officer,” he said, reassuringly. “I’m just waiting for a friend. It’s an appointment made twenty years ago. Sounds a little funny to you, doesn’t it? Well, I’ll explain if you’d like to make certain it’s all straight. About that long ago there used to be a restaurant where this store stands–’Big Joe’ Brady’s restaurant.”
“Until five years ago,” said the policeman. “It was torn down then.”
The man in the doorway struck a match and lit his cigar. The light showed a pale, square-jawed face with keen eyes, and a little white scar near his right eyebrow. His scarfpin was a large diamond, oddly set.
“Twenty years ago to-night,” said the man, “I dined here at ‘Big Joe’ Brady’s with Jimmy Wells, my best chum, and the finest chap in the world. He and I were raised here in New York, just like two brothers, together. I was eighteen and Jimmy was twenty. The next morning I was to start for the West to make my fortune. You couldn’t have dragged Jimmy out of New York; he thought it was the only place on earth. Well, we agreed that night that we would meet here again exactly twenty years from that date and time, no matter what our conditions might be or from what distance we might have to come. We figured that in twenty years each of us ought to have our destiny worked out and our fortunes made, whatever they were going to be.”
“It sounds pretty interesting,” said the policeman. “Rather a long time between meets, though, it seems to me. Haven’t you heard from your friend since you left?”
Mouthwatering Menus
Traits: Word Choice, Conventions
Grade Level: Early Elementary (1-3), Late Elementary (4-5), Middle School (6-8), High School (9-12)
Time: One class period
Supplies:
- Menus from restaurants
writing supplies
Lesson Description:
- 1) Begin with a discussion regarding students restaurant experience and selection of food. Ask questions like “How do you decide what to order in a restaurant?”, “What kind of restaurants do you like?”, “What is your favorite kind of food?”2) Share menus emphasizing the descriptions given to various dishes. Some use “adjective piling” while others rely on hyperbole. Many menu descriptions focus on the ingredients used in a particular dish. Have some fun with this.3) Students write descriptions for their own menu items. It could be for an entree, a salad, a dessert, a fast food restaurant. The focus is on choosing the right adjectives for sensory appeal.
4) You could publish these in a classroom menu using a fun restaurant title such as Chateau Candice.
5) An adaptation could be to take a school lunch menu and describe the daily offerings in a way that they would appeal to the most reluctant eater.
The Truth
Traits: Organization, Voice, Word Choice, Sentence Fluency, Conventions
Grade Level: High School (9-12)
Time: One week or more
Supplies:
- Writing materials
Lesson Description:
1) This could be used as a final exam project or test replacement.
2) Students will select four books from their school careers or personal reading that have had an impact on them or helped them to form their TRUTH–wherever they are at the moment.
3) The assignment is to answer the questions: What is your TRUTH? What four works of literature have helped to form, solidify, challenge, defend, clarify your TRUTH? The answer will come in the form of a paper of at least two pages.
4) Each student will share their TRUTH to the class in an oral presentation that does not involve simply reading their paper. The presentation needs to accompanied by some form of visual that enhances the audience’s understanding and appreciation of the speaker’s TRUTH.
