CTP2_EIST_ClEvR22-23.

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Last Name, First Name, and Subject Area:

Haynes, Shane, English

Title of Class:

English Language Arts 11A

Context of Instruction:

Jennifer Hull’s English Language Arts 11A class is in the midst of their memoir unit. So far, they
have written three shortform memoirs, read a couple of excerpts from other memoirs, and
listened to short memoirs told orally. My Eliciting and Interpreting Student thinking practice
comes at the nascent stage of their full-length memoir writing. The day of this teaching, students
were assigned a rough draft of a 4–6-page memoir that was either based on one of their
shortform memoir drafts or could be created brand new. This day of the lesson asked students to
form their plan for the memoir writing, but also to consider any concerns they may have moving
forward with their rough drafts. The day after this lesson, students would spend a full class
period writing their rough drafts. Afterward, they will perform peer review and move into the
editing process before completing their final drafts.

Claims-Evidence-Reasoning for HIT2:

Preparing to Elicit – Claim

My preparation for eliciting student thinking was not as comprehensive as it should have been.
Our “Memoir Unit Summative Pre-Writing Form” adequately prepared me to discuss each
individual interviewee’s writing subject and concerns; however, overreliance on improvisation
resulted in interviews that were too heavily focused on students’ memoir subjects. My
preparation was flawed in that it lacked questions that would elicit student thinking regarding
elements of student concern and questions that would have revealed more about students’
understanding of memoir writing as a whole.

Preparing to Elicit – Evidence

Memoir Unit Summative Pre-Writing Form:

https://docs.google.com/forms/d/1t4UM6TPemCIRvcoQevk-6tnaqWRkrJX3bdlZ5yFSH6U/edit

VideoAnt Annotated Video: https://ant.umn.edu/hlfqevrxzz/annotate

***The annotated video features an audio recording of several interviews that have been heavily
abridged with editing software.

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Figure 1.1

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Figure 1.2

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Figure 1.3

Figure 1.4

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Figure 1.5
Preparing to Elicit – Reasoning

The highlight of my preparation was the Memoir Unit Summative Pre-Writing Form. It
accomplished multiple tasks. It told me who was willing to be interviewed and recorded, what
the subject of their memoir was, what concerns they had related to the rubric, whether they
intended to tell their story linearly or non-linearly, and whether they were revising an existing
memoir or creating a new one.

Using the Memoir Unit Summative Pre-Writing Form, I compiled a list of interviewees and
wrote down notes (and a few questions) I would use for the interview. This allowed me to ask
questions specific to their memoir subject immediately. Unfortunately, this resulted in a myopic
focus on students’ memoir subjects. In the interviews, I ask questions about the details of
students’ memoirs instead of questions that would elicit their thinking in regards to writing
memoir on the whole (see VideoAnt Annotated Video).

I noted when students expressed concern about specific memoir elements. I also noted student
explanations regarding linear vs. non-linear writing styles. Unfortunately, I prepared (and
ultimately asked) only a few questions that would elicit student thinking related to these. One
student, Thai, indicated that he was concerned about Tone and Mood.

In Figure 1.1, I wrote (in relation to Thai):

“Why tell this story?”

“What tone do you use when you tell this story orally? What mood does that create?”
“I see humor in this. Ultimate irony.”

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The first question is open-ended enough to elicit student thinking about the creation of memoir.
Unfortunately, I never asked it. I asked the second question in a sort of roundabout way, but
didn’t have any follow-up questions. Finally, my observation of irony doesn’t do anything to
elicit student thinking. Perhaps if I had asked the student “do you see any humor or irony in your
story?” that would have given me some insight as to his understanding of those tonal elements.

Another student, Simon, indicated he was concerned about including all of the elements of
memoir.

In Figure 1.1, I wrote (in relation to Simon):

“Concerned about memoir elements.”

“What’s easiest for you to write?”
“What’s your biggest hurdle?”
“What do you mean when you say casual? How does this relate to tone?”

The first note I made provides good reasoning to ask open-ended questions that elicit this
student’s thinking about writing memoir on the whole. Unfortunately, I don’t end up asking
those kinds of questions. The first and second questions I wrote are probably the best at eliciting
thinking. Although vague, they provide insight as to this student’s grasp of memoir elements –
which he needs help with, and which he understands. The third and fourth questions are more
specific to his understanding of a non-linear writing style.

Overall, I could have better prepared by simply writing down more open-ended questions related
to students’ understanding of memoir writing. I could have made a list of 5-6 general questions
to ask each interviewee, as well as 4-5 questions (perhaps with follow-ups) to ask individual
interviewees related to their concerns. I realized, perhaps too late, that it was important for me to
“generate questions that draw out student sense-making” (see my note in Figure 1.1), but I don’t
believe I did so successfully.

Eliciting and Interpreting Student Thinking – Claim

Save for a few rare moments, I was unable to elicit student thinking on the subject of memoir
beyond a cursory level. My questioning lacked the necessary open-endedness that would allow
students to express, in their own words, their thought process regarding memoir. In my
interpretation of student thinking, I too-often practiced “re-teaching,” or simply gave advice,
instead of asking follow-up questions when students admitted concern or confusion.

Eliciting and Interpreting Student Thinking – Evidence

VideoAnt Annotated Video: https://ant.umn.edu/hlfqevrxzz/annotate

***The annotated video features an audio recording of several interviews that have been heavily
abridged with editing software.

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Eliciting and Interpreting Student Thinking – Reasoning

VideoAnt Annotated Video: https://ant.umn.edu/hlfqevrxzz/annotate

***The annotated video features an audio recording of several interviews that have been heavily
abridged with editing software.

Video Timestamps

0:30 - Here, I ask the student if he intends to use a non-linear writing style in his memoir. He
agrees and gives a short description of that plan. Rather than follow-up on that question to
discover why the student feels that is an effective strategy, or what he thinks that may do for the
writing, I simply tell him "I like that" and change the subject to ask about his memoir content.

0:56 - After the student tells me about his father's struggles, I remark that he has a lot to draw
from for his memoir; however, I don't elicit his thinking in regard to organizing this information,
what memories he intends to include, or how he might go about choosing which moments are
most effective for his memoir.

1:16 - The student indicated on the pre-writing form that he was concerned about meeting the
length requirement. I don't ask him why he has these concerns or what his thinking is in regard to
meeting the length requirement; instead, I suggest that a page or two can be filled with the
information we just discussed.

1:52 - The student begins to explain his thinking in terms of the tone and mood of the writing. He
knows that his story has positive and negative elements, and reminds himself of this because he
doesn't want his memoir to have a monotone voice. He's on a great thought track here, and
unfortunately, I get distracted from eliciting more of that thinking by asking him further
questions about how these events affected him.

3:13 - The student and I continue to talk about tone and mood, and how there were both good
and bad outcomes from the life events he describes. I simply agree, and encourage him to use
that in the writing. I could have asked him questions that further elicited this type of thinking.

3:27 - After I compare tonal elements of an example story with the student's ideas regarding tone
and mood, I ask him if he could see himself using similar tonal techniques as those in an
example from earlier in the lesson. This does well to elicit his thinking because it provides me a
glimpse of his understanding of tone in a sample text.

4:03 - After the student explains his thinking regarding meeting the length requirements of the
memoir, I offer him the suggestion to use flashbacks. In retrospect, I could have asked questions
that revealed why he was so concerned about the length requirement despite having a great deal
of memory to draw from. These questions might also reveal the writing elements he is forgetting
to use that would help fill the length requirement, such as imagery, dialogue, and figurative
language.

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4:54 - I elicit the student's thinking regarding his writing plan by referencing his notes from the
assessment form.

5:22 - The student explains how he intends to structure his memoir. I read aloud that he indicated
that chronological order would be "easiest for his story," but I don't ask any questions that elicit
his thinking in regard to that idea. Why does the student think chronological order will be the
easiest way to tell his story?

6:23 - By eliciting the student's thinking in regard to the content of his memoir, I'm able to signal
to him that many of the details he shares with me will be great to include in his writing.

7:32 - I think I do well here to elicit this student's thinking in regard to his writing strategy. But
rather than question further, I offer him an alternative approach.

7:56 - I think this is a decent open-ended question that elicit this student's thinking in regard to
linear vs. non-linear writing approaches.

8:30 - I think this is a decent question, especially since this student faces a challenging writing
topic. She intends to write chronologically about issues that have had a constant presence her
entire life. I hoped to reveal her thinking so that I might help give her writing a more focused
structure.

9:25 - I ask this question to elicit this student's thinking about her structure. Unfortunately, it's far
too vague. The student proceeds to give me greater detail about the subject matter of her writing
as a result.

9:46 - This is a great question, because it affords me the opportunity to elicit student thinking
regarding specific memoir elements. Here, the student says she's worried about describing "her
feelings and thoughts" and is concerned if her audience will understand how deeply she felt the
emotions involved in the story. This would have been a great opportunity to ask her questions
about what she understands regarding the function of figurative language, imagery, tone and
mood. Unfortunately, I just end up giving her more advice.

10:52 - The student explicitly says that she's concerned about including imagery in her memoir. I
could have elicited her thinking in regard to imagery. Unfortunately, I don't. I shift the subject
immediately to a different element - tone and mood. I do eventually relate the two elements, but
this could have easily confused the student. Also, it just comes off as more advice in the end.
Questions I should have asked might sound something like: "What do you think makes effective
imagery? Where have you seen imagery before in writing? How does imagery relate to our five
senses?"

11:50 - I begin to correct my approach here. Instead of telling the student what honest writing
means, I interrupt myself to ask what this student's thinking is regarding honest writing.

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11:58 - The student explicitly indicates he understands the memoir element honest writing. He
then says directly he doesn't understand reflection and theme. Rather than follow-up on eliciting
his thinking regarding these elements, I offer advice on both.

12:20 - This is a decent question, because it gets the student thinking about how his planned
content may already include the memoir element Reflection. But I'm assuming too much here.
This question assumes that this student already understands Reflection fully, even though he told
me moments earlier that he did not. This is alleviated somewhat by the follow-up question: "This
moment...do you think that you could put that in your writing?"

12:36 - I think this is a decent open-ended question that would give some insight as to what the
student is struggling to understand.

12:57 - The student states that he struggles with understanding figurative language. When to use
it, how to use it, and how much to use it. Rather than inquire further to elicit his thinking about
using figurative language, I offer advice.

13:47 - A good question that elicits this student's thinking about linear vs. non-linear approaches
to writing memoir.

13:60 - This seems like an egregious error in eliciting student thinking. I try to emphasize that I
want the student to explain his thoughts, but he admits he's having a hard time. It's my job to find
ways that enable the student to do so. I think this was a harsh response.

14:04 - I try and restate this student's thought process here, but I think I'm way off the mark. I
think that I'm actually rewording his statement in a way that reflects what I want him to think,
rather than what he was actually thinking. He picks up on this, because he begins to doubt his
own strategy, asking me "What would work better?" I then discourage him from using a linear
structure, even though both approaches would work fine.

15:15 – I ask a question that elicits thinking surrounding this student's concerns about the length
of his memoir.

15:40 - I ask another good question that elicits this student's thinking regarding memoir content.

16:02 - I don't elicit this student's thinking in regard to how he plans to choose the hockey
moments to be included in the memoir. I simply suggest that he includes them all.

16:06 - This is an enormous failure on my part. I get excited that the student used the figurative
phrase "relationship with hockey" when describing the subject of his memoir, only to conclude
for him that "you know that it has affected you." Of course, he knows that. I could have elicited
his thinking in regard to using the word "relationship" here. I could have asked him "Why did
you use the word relationship?" and followed up with more questions about his understanding of
figurative language use.

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17:22 - The student explicitly states he's worried about including dialogue in his memoir. Rather
than elicit his thinking regarding dialogue and what he understands about crafting dialogue, I just
tell him that I find it personally difficult to write, and offer the advice that it won't be fact-
checked.

18:58 – Here, I ask a good question that opens up this student's thinking about Tone in his
writing.

19:20 - I question this student's decision regarding the tone of his memoir, but only superficially.
I start to give him advice rather than elicit his thinking regarding tone.\

19:49 - Here, I try and follow up with the student's concern about Tone and Mood. By asking
this question, I hope to get an idea of how this student wants this story to be received. Of course,
I could have just asked him that directly, but didn't. I end up giving him some advice instead.

Reflect:  What did you learn from your efforts in CTP2?    

I learned a lot in my practice of eliciting and interpreting student thinking. I learned that I have a
tendency to fill dead air by making small talk or offering my opinion rather than let students
speak. In the case of this CTP, this was an egregious error that stifled students from sharing their
thought processes. I learned that when students shared concerns about topics, it is much more
beneficial to dig more deeply into their thinking rather than try and solve their problem in the
moment. Open-ended questions, combined with ample time to let answer formulate in the
student’s mind, allows for successful elicitation of student thought. As a result, a great deal can
be interpreted from this thinking and used to guide future instruction and further valuable
questioning.

Anything else?

I was very excited to practice this CTP, because I thought I would have been good at it. I wasn’t,
but I’m much more happy about my failure here than I was in CTP1. After taking a detailed (and
sometimes excruciating) look at my tendency to be overbearing rather than receptive, I am eager
to this practice again knowing what I’ve learned.

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