Madeline M. Craig
Students learn the best when they are engaged, and returning their paper covered in red ink is not going to engage them in the task of writing. This is why addressing surface errors of a text, the dualistic response to student writing, fails to motivate students to continue their learning process. Chris M. Anson explains that “for the dualistic teacher, response is teacher-based and egocentric, a way of displaying intellectual prowess, a way of asserting authority” (29). When teachers return student papers with each sentence slashed through and each grammatical error pointed out, it declares to the writer that their words are unimportant. It sets up writing as a daunting task rather than one meant to develop meaning and explore a larger idea. Paulo Freire’s banking system, in which the teacher is the undisputed authority figure in the classroom that imparts knowledge on to students as they see fit, is the traditional model of teacher feedback within writing instruction. A model that “is well suited to the purposes of the oppressors, whose tranquility rests on who will fit the world the oppressors have created, and how little they question it” (30). Effectively shutting down student voice and autonomy over their writing means erasing “authentic thinking, liberation, and freedom” (31).
Though this unit will not require any red pen, it would be irresponsible to send students off to high school without knowledge on the basic conventions of academic writing and expect them to be successful. However, tackling gaps in grammar and structure does not take precedence over students cultivating a positive relationship with writing. Sending their first draft back covered in red ink and criticisms with the expectations they “fix” their writing only reinforces the negative notions most students already have surrounding academia. Composing narrative prose and poetry is the perfect starting unit for the year, as it centers mostly on the portrayal of ideas and emotions over syntax. “Empower students to do it ‘wrong’ before they do it ‘right.’ Such an approach to the writing workshop teaches the twin goals of creativity and courage” (32). By foregoing “mistakes” students have a chance to truly explore who they are as writers and teachers have the opportunity to empower students and give them autonomy over their writing. Once empowered, students will have more confidence and momentum to continue their writing journeys by exploring other writing conventions later in the year.
