Teach Your Students to FLIRT

While I'm not a fan of formulaic writing, I'd argue that many students benefit from easy-to-recall structures to assist them with the writing process. One of the simplest, yet most effective, Mnemonic devices I'd recommend is FLIRT.

FLIRT is an acronym which reminds students to create sentence variety:

• First Word of each sentence is different.
• Lengths of sentences vary.
• Inversion is used for variety.
• Repetition is either avoided, or used for a purpose.
• Types of Sentences vary.

Check out the following excerpt from I See London, an opinion piece written by Tracey Lloyd for the NY Times Complaint Box Series (a treasure trove of persuasive writing pieces!). Note that the author skillfully employs all five of the above tips while expressing her disdain for the recent fad of wearing sagging pants (be sure to click on the link above to read it all):


Flint, Michigan has defined not only what's decent,
but also what's disorderly and downright indecent.

 

And you think high heels are impractical? Try walking in some low-slung slacks. You must adopt a waddle to keep the pants from dropping completely and must always keep a hand free to hike them up. Then there is the need to buy ever-longer shirts to cover your rear end — shirts that apparently don’t exist, since I can see your underpants!

Nor are sagging pants the only sartorial choice that makes me cringe. Take rompers, or shortalls. They offer the ease of a dress with the comfort of shorts, and I’m for convenience. But when adults start wearing clothes that I’ve been buying for people’s babies, something is wrong. As for wearing a very adult thong with a short skirt: Do you really want to sit your bare derrière on a subway seat? Granny panties may not be that sexy, but neither is a visit to the urologist.

Did Tracey Lloyd consult my checklist? No. She most likely is an experienced writer with an ear for good writing and a willingness to revise.

So to give my students a fighting chance, I emphasize FLIRT and provide them with plenty of excellent writing models (although perhaps not the one cited above!).

First Word of Each Sentence is Different

It's not uncommon for egocentric students to write about their own experiences with "I" leading every sentence. Students fixated upon a topic, such as snakes, may similarly begin every sentence with that word.

The Fix: Require students to read aloud or list the first word of every sentence. Teach ways to restate ideas by using synonyms, additional phrases or clauses, or inversion of existing words.

Before: The great horned owl hunts small animals that live on the forest floor. The great horned owl uses its talons to catch them. 

After: Strong, sharp talons allow the great horned owl to capture small animals that live on the forest floor.

Lengths of Sentences Vary

Sentences of the same length, appearing over and over, give writing a sing-song rhythm which is apt to lull the reader to sleep.

The Fix: Use coordinate conjunctions and subordinate clauses to combine short sentences.

Before: The park is used by many people in the community. Some people just don't clean up when they're done.

After: The park is used by many people in the community; however, some users neglect to clean up when they leave. Is that fair to everyone?

Inversion is Used for Variety

Beginning writers tend to place the sentence stem first, adding details later:

We heard a loud crash sometime after midnight.
Lenny waited in the outfield eagerly with his feet spread apart and his hands on his knees.
Susette had no interest in the suitors like her sisters.

The Fix: Phrases and clauses within sentences can be moved to increase sentence variety and interest.

Sometime after midnight, a loud crash knocked us from our beds.
Feet spread apart, hands on his knees, Lenny waited eagerly in the outfield.
Unlike her sisters, Susette had no interest in the suitors.

Repetition is Either Avoided, or Used for a Purpose

Students need to see examples of writing that avoids repetition, and writing that purposely employs it. For the most part, Tracey Llloyd's opinion piece avoided repetition. Not here how it's used for effect:

Unlike the homes of readers, the homes of these students had no literary materials in sight. No magazines. No books. No newspapers. Without exception, however, every one of these homes contained a television.

The Fix: Help students discern between repetition and redundancy.

Types of Sentences Vary

Check out Tracey Lloyd's first paragraph again, and note that she employs four sentence types; in the second paragraph, she employs three.

Another place to find excellent examples of variety in sentence types is advertising. In a legendary Charles Atlas bodybuilding ad, for example, we read:

Take a good honest look at yourself! Are you proud of your body - or are you just satisfied to go through life being just "half the man" you could be? No matter how ashamed you are of your present physical condition - or how old or young you are - the "sleeping" muscles already present in your body can turn you into a real HE-MAN. I know - because I was once a skinny, scrawny 97-pound half-alive weakling.

Was this ad copy successful in selling a product? Yes, to the tune of millions! Good writing sells products as well as ideas.

The Fix: Provide students with boring paragraphs containing only statements, and challenge them to rewrite those paragraphs using the four sentence types.

So is FLIRT complete? No. Word choice is noticeably absent. But for beginning writers, this is a fine list for self-checking writing at a very basic level.

Do you have a repertoire of similar acronyms or Mnemonic devices to help your students with writing or reading? We'd love to hear them!

The Most Misunderstood Advice for Young Writers

"Write what you know."

Young writers hear this adage often from well-meaning teachers.

But while their intentions are good, adults fail to mention to students that often countless hours of research may be needed to inform good writing, whether that writing be nonfiction, historical fiction, or science fiction.

Author Chris Barton recently tweeted about a Hornbook essay by Laurie Halse Anderson wherein Anderson describes the research undertaken to write her Revolutionary War-era novel Forge. In Tasting the Past, Anderson shares how she literally placed herself into primitive conditions in order to experience first-hand the physical hardships of the troops at Valley Forge. She concludes that essay with:

Is it possible to write historical fiction based only on the reading of primary sources? Of course it is. But for me, walking in the footsteps of people from the past adds vibrancy to their words. It’s one thing to read about a fire, quite another to smell the smoke and hear the wood pop and sizzle.

Doesn't sound like writing what you know.

Or does it?

Is it possible that "write what you know" is actually legitimate, yet entirely misunderstood, advice? Maybe those who first shared that adage meant to say, "Know it, by first finding it and experiencing it, and then write it."

I enjoyed the once-in-a-lifetime honor of hearing Jane Yolen speak about her classic The Devil's Arithmetic. She described how she became so immersed in research on the Holocaust that she suffered nightmares; she truly experienced the time travel effect portrayed in the novel. (Yolen added that while many deride the use of time travel in fiction, it's a device that effectively serves to place children into the shoes of those who lived in the past. I agree whole-heartedly).

Yet I'm still not comfortable saying, "Write what you know," as I feel I'm limiting students to rather pedestrian topics. But I might start saying, "If you don't know it, don't write it. Not yet. Not until you've researched it, digested it, perhaps even lived it."

That probably won't fit on a bumper sticker quite as nicely, but it seems to make sense.

So what does this mean to us as teachers of reading and writing?

1) We should encourage reading in a wide variety of genres. This will allow students to "write what they know," with some confidence that they actually know something!

Recently, for example, I assigned students a persuasive writing prompt. Not the usual "students should wear uniforms" bit, but a topic that instead required some research. Each student was assigned a predator, and told it was their job to convince the directors of the Hunters of the Wild Lands (HOWL) Museum that this particular animal deserved recognition in one of the museum's exhibits.

The project involved a good deal of fact finding, since students didn't readily know the characteristics or habits of the sixty-three separate hunters assigned. They soon discovered that sorting interesting facts from relevant facts was a challenge, as was dealing with conflicting information from various websites.

In the end, every student agreed that this was some of their best writing, since it was supported by facts rather than opinions.

2) We should engage students in author studies. Many authors led fascinating lives that informed and inspired their writing. Could Gary Paulsen had written Dogsong or Hatchet as convincingly had he not experienced dog sledding and outdoor survival for himself?

Other authors provide models for students through their research habits. Lois Lowry, for example, spent untold hours researching the Holocaust to write Number the Stars. According the Glencoe Literature Library Study Guide for Number the Stars, Lowry's editor mentioned that the author made too many references to the Nazi's shining black boots in her narrative. Lowry considered removing some of the references until, just soon after, she met a Dutch woman who had lost her mother to the Nazis. "The woman, just a toddler at the time of the Holocaust, remembered only one detail about the soldiers who took her mother away—their boots."

Lowry insisted on keeping the passages, stating:

If any reviewer should call attention to the overuse of that image—none ever has—I would simply tell them that those high shiny boots had trampled on several million childhoods and I was sorry I hadn’t had several million more pages on which to mention that.

3) We should do our own homework when it comes to research. When teaching the Holocaust, I'm often asked by students, "But why didn't the Jews resist? Why didn't they fight back?" The books themselves provide many explanations. Many Jews didn't resist because at first they believed they were simply being relocated. Others felt that if they cooperated, they would be treated fairly and humanely. Some dared not resist for the harm it would bring their loved ones. They felt that if they could withstand each horrific step along the way, they could survive. Still others simply feared the Nazi uniforms and guns.

Just when students seem satisfied with these explanations, they're surprised to hear me say, "But some did resist." I then share some stories from Ann Byers Courageous Teen Resisters: Primary Sources from the Holocaust. This title, one of four from Enslow Publisher's True Stories of Teens in the Holocaust series, describes how individuals and groups fought back, sometimes subtly, sometimes violently, but always at great risk to themselves and their loved ones. Students are amazed to learn that children their age took action in the face of certain death.

4) We should supplement our content area instruction with nonfiction reading selections. I vividly recall a fourth grade social studies text which encouraged students to "Write a journal entry of a soldier at Valley Forge. Describe the hardships you've endured." Unfortunately, the textbook itself had provided just one paragraph on this topic! How often do we similarly ask students to harvest ideas from their minds, when we haven't given them opportunity to sow the seeds?

Do you know of an author who has truly "lived" their writing? How do you push your students to write beyond what they know? What opportunities do you allow for students to write about their own feelings and experiences, about those things that make them unique? I'd love to hear your thoughts!