Unit Title: Writers, Readers, and Revision

Grade level: 10-12 mixed (probably mostly 11-12)

Length of unit: 3 Weeks
Stage 1 Desired Results
Meaning
Enduring Understandings/Generalizations:

Essential Questions:

*Writersregardless of genre or disciplinedo not

compose/write in a vacuum. Not every writer is a member of a
critique circle, but at some point in their writing process, all
writers will have readers they trust offer constructive criticism
to aid their revisions.

*For whom do we write?

*Social media and the internet have made contemporary authors

more accessible to their audience, blurring the lines of the
author/reader relationship and calling into question the roles of
both parties in the digital age.

*Do we view the author/reader relationship differently as authors than

we do as readers?

*Authors do not necessarily write with a target/specific audience

in mind beyond themselves.

* What is the difference between revision and editing?

*What is the role of the author/writer?

*Is the author beholden to readers?

*What is the difference between constructive criticism and criticism?

*Do we have to accept all suggestions for revision we receive? How do

*Constructive criticism and suggestions from editors, agents, and we decide which suggestions to accept and which to set aside? Why
might it be okay to disregard a critique partner or editors suggestions?
peers can be invaluable to the revision process; however,
Are there conditions in which we wouldnt have a choice?
ultimately the author has the final say in which changes to make
and which to rejectfor good or ill.
*How do we know when to stop revising/editing?
Knowledge & Skills Acquisition
Learning Goals: (e.g., Iowa/Common Core standards.)
W.11-12.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and wellstructured event sequences.

W.11-12.5: Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on
addressing what is most significant for a specific purpose and audience.
W.11-12.6: Use technology including the internet to produce, publish, and update individual or shared writing products in response to
ongoing feedback, including new arguments or information.
W.11-12.10: Write routinely over extended time frames and shorter time frames for a range of tasks, purposes and audiences.
Learning Objectives:
Students will know

Audience
Constructive criticism
Revision
Editing
Author/Reader Relationship
Writers groups/critique circles
Self-promotion
Setting boundaries
Online presence

Students will be able to

Compose a piece of creative writing in the genre and form of their

choice and shepherd it through the revision process from rough to
final draft.

Offer constructive criticism that aids their peers in the revision

process.

Sort and use their peers comments effectively to revise their piece
throughout the workshopping process.

Engage in thoughtful discussion on the topic of the author/reader

relationship and the roles of each.

Articulate their personal beliefs about the author/reader

relationship from the position of a writer by composing a response
to a hypothetical reader in the form of a blog post.

Resources/Materials:
A Writers Manifesto by Joanne Harris
http://www.writerscentrenorwich.org.uk/awritersmanifestobyjoanneharristhenationalconversation.aspx
Mortal Instruments Creator Reveals How Female Authors Can Be Dehumanized By Their Own Fandom by Crystal Bell
http://www.mtv.com/news/2181489/mortal-instruments-cassandra-clare-fandom/

*Sarah Rees Brennan blog post excerpt (From That Girl Who Dies: Fridging, Feminism, Writerly and Readerly Doublethink
http://sarahreesbrennan.tumblr.com/post/103378549267/that-girl-who-dies-fridging-feminism-writerly):
Chekhov said One must never place a loaded rifle on the stage if it isnt going to go off. Its wrong to make

promises you dont mean to keep.'

Its wrong to put magic sacrificial knives on the scene if you dont mean to use them, and use them on an
important character. Its cheating if its side characters whose deaths will mean less to the audience and the
other main characters. There always had to be a sacrifice. I considered it so inevitable the way I talked about
book three was 'Who will be the sacrifice?
(Someone who works in publishing said to me 'We could try to get this book in book fairs if you took out the
human sacrifice! Do you think you could do that? andthough I would looooove to be in book fairs, they sell a
ton of booksI said no. Human sacrifice was the Lynburn legacy: it was the red in the creatures of red and
gold, the literalisation of the suffering inflicted on people in the time when there were lords in the manor.)
A main character had to die, because my main characters were waging war against a murderous foe and the
stakes had to be realthey couldnt have magical plot armour, exceptions made because they were important.
Someone had to die. More than that, a main character had to be sacrificed, because that was the most
meaningful and terrible death on the table.
There was always going to be a sacrifice, and it was always going to be Rusty. Many things about the books
changed in the writing of them, naturally, but that never did. It always seemed the right thing to do, the right
way to tell the story I wanted to tell.
*Say Yes to Gay YA Blog post by Rachel Manija Brown and Sherwood Smith
https://rachelmanija.dreamwidth.org/956650.html
*The Anatomy of Curiosity by Maggie Stiefvater, Tessa Gratton and Brenna
--Critique Partners pgs. 103-105
--Revision pgs. 201-203
--Excerpts from Drowning Variations pgs. 209-279 (IV. By Drowning, V. Waterlogged, VI. The Drowning Place pgs. 222-273)

Formative Assessment (Assessment for Learning):

Discussion
3-2-1 on post-it notes after each critique session: 3 comments that were helpful, 2 questions for your critique partners about their
comments (to seek clarification) and 1 comment that you did not find helpful (and why).
Drafts
Critique Circles

Summative Assessment (Assessment of Learning):

Portfolio Assessment containing the following:

--Copies of each draft of the creative writing piece with critique partners comments (critique partners names should be identified
on the drafts they annotated)
--Copy of the revised draft (typed)
--Self-assessment of participation in critique circle
--Peer assessments for each member of critique circle (student should not identify him/herself by name)
--Reflection on personal beliefs re: author/reader relationship in the form of a blog response to a reader (RAFT)

Stage 3 Learning Plan

Use these questions to help guide the creation of your pacing calendar (learning plan).

How many days will your unit last?

How will you sequence/organize learning your unit in an iterative/incremental way?

What opening activity will you use to hook or engage student learning in this unit?

How will you ensure students know where the learning is headed in this unit?

How will you introduce students to your Enduring Understandings and Essential Questions? At what points will you have your
students re-consider these understandings/questions?

How will you sequence/organize your assessments in an iterative/incremental way?

How will you foster critical thinking and problem solving in this unit? Self-reflection? Curiosity and imagination? Collaboration?
Innovation/Creativity? Adaptive thinking? Accessing and analyzing information? Oral and written communication?

What active instructional strategies/learning activities might you use to engage students in learning (You need to use at least 3
different types of instructional strategies)?

How will you differentiate for individual student needs in this unit? What differentiated instructional strategies will you use (e.g.,
student choice, flexible grouping, jigsaw, choice boards/menus, tiered assignments, anchor activities, etc.)?

How will you use technology to support and facilitate student learning in this unit?

Pacing Calendar
Monday

Tuesday

Wednesday

Unit: Writers, Readers

& Revision
Thursday

Friday

*Assign first piece so that

students have the
weekend to think about
what (form, genre) they
want to write
1

Essential Questions: For

whom do we write?

Essential Questions: For

whom do we write?

Essential Questions: For

whom do we write?

What is the role of the

author?

What is the role of the

author?

What is the role of the

author?

Is the author beholden

to readers?

Is the author beholden

to readers?

Is the author beholden

to readers?

Explain that students will

be placed in critique
circles for the unit

Do we view the
author/reader
relationship differently as
authors than we do as
readers?

Do we view the
author/reader
relationship differently as
authors than we do as
readers?

4 corners activity on
author/reader
relationship:
--Authors need an
audience.
--Authors make enough
money to live off their
writing.

Intro Activity: Do a quick

survey of the class.
--How many of you use
social media?
--How many of you have
a blog?
--Do you think that
would change if you

Read Critique Partners

from The Anatomy of
Curiosity
--Have them underline
the most important
qualities needed in a
critique partner (as
identified by the
authors)
--After reading the

4
Free Writing Day
(Students may write by
hand, or on laptops,
though the draft they
hand in must be typed)
**If students have
already finished their first
piece, they may write
something else or read
(either one of the books
on writing stocked in the
class or a book in the
form/genre of their
writing as part of a
semester-long
inspiration/writers craft
activity)

5
Announce critique
circles
Free-writing day
Last 10 min. of class:
Students meet with
critique groups and
decide critique order
**If students have
already finished their first
piece, they may write
something else or read
(either one of the books
on writing stocked in the
class or a book in the
form/genre of their
writing as part of a
semester-long
inspiration/writers craft
activity)

article, have them

name those qualities
and list them on the
board
Have students complete
diagnostic assessment
survey (keeping in mind
the considerations on
the board they just
identified)

--Bestselling authors are

rich.
--If a publishing
company charges too
much for books, readers
should be allowed to
download them online.
--Authors should offer
their work for free.
--Authors have a
responsibility to cater to
their readers.
--Authors should change
their stories to reflect
what their readers want.
--Authors have a
responsibility to censor
themselves if they
offend readers.
Read Joanne Harris
speech (A Writers
Manifesto)
Repeat 4 corners activity
Full-class Discussion:
Do we view the
author/reader
relationship differently as
authors than we do as
readers?
--Using the two four
corners activities as a
frame of reference,
reflect on whether or not
students perspective on
the author/reader
relationship has
changed as a result of

were published?
Read the Cassie
Clare/Maggie Stiefvater
article
Make a pros/cons list
about maintaining an
online presence.
Briefly discuss the need
to balance selfpromotion with selfpreservation
Quick Write: If you
become a published
author do you intend to
maintain an online
presence? Will you
interact with readers on
social media? Keep a
blog but turn the
comments off? Just
have a website?
--Have them write their
response on a post-it
note
--When theyve finished,
have them put the postits in a continuum on the
board from lowest to
highest online presence
(and see at what point
on the spectrum the
most notes fall)
Assign blog RAFT
Role: Published Author
Audience: Readers

reading A Writers
Manifesto

6
Essential Questions:
What is the difference
between constructive
criticism and criticism?

Format: Blog response to

a reader question
Topic: Author/Reader
relationship &
maintaining/managing
an online presence
**RAFT will be submitted
in the form of an actual
post to the class blog
7

Essential Questions:
What is the difference
between constructive
criticism and criticism?

8
Essential Questions:
What is the difference
between constructive
criticism and criticism?

How do we give
constructive criticism?

How do we give
constructive criticism?

How do we give
constructive criticism?

First draft due at

beginning of class
(submit electronically
along with a cover
page that gives their
name, the title of their
piece if it has one, and
offers a brief
explanation of the piece
and 2-3 areas theyd like
their critique circle to
pay special attention to
as theyre giving
feedback)

Critique Circles (Student

1 & 2each student will
get roughly 20 min.)

Critique Circles (Student

3 & 4each student will
get roughly 20 min.)

Students whose work

was critiqued that day
will submit a post-it note
3-2-1: 3 comments they
found helpful; 2
questions for their
critique partners; 1
comment that was not
helpful (and why)

Students whose work

was critiqued that day
will submit a post-it note
3-2-1: 3 comments they
found helpful; 2
questions for their
critique partners; 1
comment that was not
helpful (and why)

Students reread
Critique Partners and,
in their critique circles,
discuss the role of
critique partners and

9
Essential Questions:
What is the difference
between revision and
editing?
Do we have to accept
all suggestions for
revision? How do we
decide which to accept
and which to reject?
Why might it be okay to
disregard a suggestion?
Are there conditions in
which we wouldnt have
a choice?
For whom do we write?
Read Revision from
The Anatomy of Curiosity
Small Groups:
--As a critique circle,
brainstorm when to
accept and reject
suggestions from critique
partners/editors.
--Ask them Are there

10
Essential Questions: How
do we know when to
stop revising/editing?
Whats the difference
between revision and
editing?
Socratic Seminar:
Drowning Variations
--Students will come
prepared with
annotations/textual
support
--Use discussion cards
(agree; disagree;
?; wild card) with
sentence frames if it
seems like students need
support and/or have
never participated in a
seminar discussion.
**If discussion wraps up
early, or students are
inexperienced and it
seems like they need to
start with a shorter, 15-20

together write a list of

guidelines for their group
Each group will share
their guidelines with the
class
--Students will be
allowed to add ideas
from other groups
before handing in their
list of guidelines.
--The guidelines will then
be typed (by me) and
each student will
receive a copy to refer
to throughout the
semester.
**While students work,
print enough copies of
each of their pieces so
that the other members
of their critique group
have a copy

conditions in which we
wouldnt have a
choice? Let them mull
it over in their critique
circles for a few minutes.
--Each group quickly
shares one of their ideas.
--Give the groups the
SRB excerpt and the
Rachel Manija Brown &
Sherwood Smith blog
post to see if they were
right.
Wrap-up: Bring things
back to the earlier
discussions about the
role of the author and
tying that to how
accepting or rejecting
suggestions ultimately
falls to the author.
Assign excerpts from
Drowning Variations
(The Anatomy of
Curiosity)
-- Students will be asked
to pay careful attention
to revision and use postit notes to annotate
those revisions they
thought were most
successful (and
alternatively, anything
they think shouldnt
have been changed or
needs further revision).

min. discussion, allocate

the remainder of class to
rereading their first
piece and beginning
revisions.

11

12

13

Essential Questions:
What is the difference
between revision and
editing?

Essential Questions:
What is the difference
between revision and
editing?

Essential Questions:
What is the difference
between revision and
editing?

Do we have to accept
all suggestions for
revision? How do we
decide which to accept
and which to reject?

Do we have to accept
all suggestions for
revision? How do we
decide which to accept
and which to reject?

Do we have to accept
all suggestions for
revision? How do we
decide which to accept
and which to reject?

How do we know when

to stop revising?

How do we know when

to stop revising?

How do we know when

to stop revising?

Revision

Meet with critique group

to discuss revisions and
get verbal feedback

Meet with critique group

to discuss revisions and
get verbal feedback

Individual student
conferences with
instructor

Individual student
conferences with
instructor

14
Essential Questions: How
do we know when to
stop revising?

15
Complete peer- and
self-assessments
Hand in portfolios

Final revisions

**If students finish early,

they can consult with
me (at which point I
might encourage them
to experiment and try
multiple alternative
revisions), read, or begin
a new piece.
16

17

18

Introduce next unit

Individual student
conferences with
instructor
**If students have
already finished their
revisions, they may
begin the next piece or
read (either one of the
books on writing stocked
in the class or a book in
the form/genre of their
writing as part of a
semester-long
inspiration/writers craft
activity)

19

20

Creative Writing
Unit 1: Writers, Readers, and Revision
Unit One Portfolio
Over the course of each unit, you will compose a creative writing piece in the form and
genre of your choice (i.e. short story, chapter of a novel, poem, song lyrics, personal
narrative, graphic novel chapter, etc.) and, with the help of your critique circle, revise
your rough draft. Writing is an ongoing (and seemingly never-ending) process: Until the
publisher has sent your work to the printers, there is no such thing as a final draft. With
that in mind, at the end of this unit instead of a final draft, you will submit a portfolio
that contains the following:
1. Your critique partners annotated copies of your first draft (critique partners: identify
yourself by name on your copy of each of your partners pieces)
2. A copy of the revised draft
3. A hard copy of your blog post response to an imaginary reader in which you reflect on
your personal beliefs regarding the author/reader relationship in the form of a (see Blog
Reflection assignment sheet for detailed guidelines)
4. Completed self-assessment of your participation in your critique circle**
5. Completed peer-assessments of each of your critique partnersThese should be
completed anonymously. Do NOT put your name on the peer assessments.**
**You will receive the self- and peer-assessment forms in class on the last day of the unit.
You will have the full period to complete them.
Further Guidelines:
*All drafts of your work should be typed.
*All drafts of your work should be three-hole punched and placed in your binder behind
the folder divider for Unit One in the following order: Annotated rough drafts, revised
draft.
*Place your peer- and self-assessments in the left-hand pocket of your folder divider for
Unit One. Your self-assessment should be on top.
*Place the hard copy of your blog reflection in the right-hand pocket of your folder
divider.
*Make sure your name is clearly labeled on the spine of your portfolio binder.

Creative Writing
Unit 1: Writers, Readers, and Revision
Unit One Portfolio Rubric
Points
90-100

Required
Items/Presentation
All required items
are included and
organized
according to the
guidelines.

75-89

All required items

are included and
organized mostly
according to the
guidelines (a few
things may be out
of place)

60-75

All required items

are included but
are not organized.

Revisions

Reflection

Critique

Writing piece
demonstrates
significant
improvement
from first to
second draft.
Student shows
ability to sort
and use
critique
partners
comments
effectively to
revise their
piece.
Writing piece
demonstrates
improvement
from first to
second draft.
Student shows
developing
ability to sort
and use
critique
partners
comments to
revise their
piece.
Writing piece
demonstrates
some
improvement
from first to
second draft.
Student shows
some ability to
sort and use
critique
partners
comments.

Blog response
clearly
articulates
students
concept of the
author/reader
relationship
and explains
how much of
an online
presence they
will maintain
and why.

Student
demonstrates
ability to
effectively
critique peers
work and offer
constructive
criticism.

Blog response
articulates
students
concept of the
author/reader
relationship
and mostly
explains how
much of an
online presence
they will
maintain and
why.

Student
demonstrates
ability to
critique peers
work and
offers some
constructive
criticism.

Blog response
partially
articulates
students
concept of the
author/reader
relationship
and attempts to
explain how
much of an
online presence
they will
maintain and

Student
demonstrates
developing
ability to
critique peers
work but offers
little
constructive
criticism.

Creative Writing
Unit 1: Writers, Readers, and Revision
40-59

A significant
number of
required items are
missing.

No work
submitted.

Writing piece
demonstrates
little to no
improvement
from first to
second draft.
Student has
limited ability
to sort and use
critique
partners
comments.

why.
Blog response
struggles to
articulate
students
concept of the
author/reader
relationship
and does not
attempt to
explain their
online
presence.

Student
demonstrates
difficulty
critiquing peers
work and
offers no
constructive
criticism.

Creative Writing
Unit 1: Writers, Readers, and Revision
Name_______________________________
Unit One Critique Circle Self-Assessment
Please use the rubric to rate your participation in your critique circle in each of the
following categories:
Points
Written
Verbal
Responsiveness
Timeliness
Comments
Feedback
5

3-4

I gave my group
members
detailed,
thoughtful,
constructive
comments on
their pieces.
I gave my group
members
specific,
constructive
comments on
their pieces.

1-2

I gave my group
members
unspecific,
generic
comments on
their pieces.

I gave my group
members
negative
comments OR I
did not comment
on my group
members
pieces.

I was able to
clearly articulate
and expand
upon my
comments in
critique circle
discussion.
I was mostly
able to articulate
and expand
upon my
comments in
critique circle
discussion.
I was somewhat
able to articulate
and expand
upon my
comments in
critique circle
discussion.
I wasnt able to
articulate or
expand upon my
comments or did
not participate in
critique circle
discussion.

I was able to
respond directly to
my group
members
questions about
their work.

I submitted
all my
written
feedback on
the assigned
days.

I was mostly able

to respond to my
group members
questions about
their work.

I submitted
most of my
written
feedback on
the assigned
days.

I was somewhat
able to respond to
my group
members
questions about
their work.

I submitted
some of my
written
feedback on
the assigned
days.

I wasnt able to
respond to my
group members
questions about
their work.

I submitted
all my
written
feedback
late.

What do you think is your biggest strength in critique circle? What will you try to
improve upon in the next round of critiques?

Creative Writing
Unit 1: Writers, Readers, and Revision

Group Member_______________________________
Unit One Critique Circle Peer-Assessment
Please use the rubric to rate your participation in your critique circle in each of the
following categories:
Points
Written
Verbal
Responsiveness
Timeliness
Comments
Feedback
5

3-4

1-2

Critique partner
gave me
detailed,
thoughtful,
constructive
comments on my
piece.

Critique partner
was able to
clearly articulate
and expand
upon their
comments in
critique circle
discussion.
Critique partner
Critique partner
gave me
was mostly able
specific,
to articulate and
constructive
expand upon
comments on my their comments
piece.
in critique circle
discussion.
Critique partner
Critique partner
gave me
was somewhat
unspecific,
able to articulate
generic
and expand
comments on my upon their
piece.
comments in
critique circle
discussion.
Critique partner
Critique partner
gave me
wasnt able to
negative
articulate or
comments OR
expand upon
did not comment their comments
on my piece.
or did not
participate in
critique circle
discussion.

Critique partner
was able to
respond directly to
my questions
about their
feedback.

Critique
partner
submitted
all written
feedback on
the assigned
days.

Critique partner
was mostly able to
respond to my
questions about
their feedback.

Critique
partner
submitted
most written
feedback on
the assigned
days.
Critique
partner
submitted
some
written
feedback on
the assigned
days.
Critique
partner
submitted
all my
written
feedback
late.

Critique partner
was somewhat
able to respond to
my questions
about their
feedback.
Critique partner
wasnt able to
respond to my
about their
feedback.

Comment on the strengths this critique partner brought to your group and offer
suggestions for areas in which they could improve:

Rachel Charlow Lenz

EDUC 232
12/1/15
Unit Plan Essay
Writers, Readers, and Revision is designed to serve as the first unit in an
elective creative writing class for a mixed group of 10th-12th graders. Creative writing is a
subject taught at all grade levels, though with varying degrees of intensity. Because this is
a high school elective, it is intended to challenge students to think more deeply and
practically about the writers craft, learn to critique and revise a single work through
multiple drafts rather than continuously generate new pieces, and develop practical skills
necessary to pursue writing professionally regardless of form or genre. This particular
unit is intended to serve primarily as an introduction to art of critique and revision, skills
that students will continue to practice throughout the course. While students will likely
have varying experience workshopping writing, the process of critiquing and revising
creative writing differs from that of academic writing. Through this unit, students will be
guided through the concept and practice of critique circles. Additionally, in an attempt to
prepare them for the realities of publishing, they will read about, contemplate, and
discuss the author/reader relationship, the necessity for self-promotion, and the
advantages/disadvantages of maintaining an online presence. (Subsequent units will
explore other aspects of publishing, such as writing query letters.)
The sequence of lessons is organized so that students begin the unit by
contemplating those essential questions that support the enduring understandings that
pertain to the role of the author, the author/reader relationship, and the ways in which the
Internet has transformed them. The purpose is three-fold: First, to encourage students to

begin thinking of themselves as writers. Second, to build the necessary background for
later essential questions and enduring understandings concerned with which revision
suggestions to accept or reject. Third, to introduce students to some of the realities of the
publishing industry, not to discourage them, but to give them the professional and
emotional tools they will need if they decide to pursue writing as a career. The unit then
turns to those essential questions and enduring understandings that directly pertain to the
revision process, though the lessons surrounding them will also involve a recall to earlier
questions, such as For whom do we write? What is the role of the author? and Is the
author beholden to readers? in order to bring students to the final enduring
understanding: Constructive criticism and suggestions from editors, agents, and critique
partners can be invaluable to the revision process; however, ultimately it is the author
who has the final say in which changes to make and which to rejectfor good or ill.
The major learning goals for this unit are directly tied to each of the required
items in the portfolio assessment. By submitting the annotated copies of their rough draft
alongside the revised draft of their piece, students will be able to demonstrate their ability
to compose a work of creative writing and shepherd it through the revision process by
sorting through their peers suggestions and using that constructive criticism to
effectively revise their writing (objectives 1 & 3). Their comments to their critique
partners work, as well as their self- and peer-assessments will be used to assess their
competency in their ability to offer constructive criticism and participate in critique
circles (objective 2). Finally, their RAFT blog responses will be used to assess their
ability to articulate their personal beliefs regarding the author/reader relationship, selfpromotion, and maintaining an online presence (objective 5).

This lesson is primarily differentiated along the line of student interest, though
attention is also paid to readiness. Students are allowed to select their own form, genre,
and topics for their first writing piece. However, in the event a student is stuck and cannot
think of any ideas, they will be able to access a class folder of writing prompts to help
them get started. The diagnostic survey, which assesses student interest, prior experience
with critique groups, and what they hope to gain from them, will be used to form critique
circles. Though the circles will largely be based on students interests (so that those with
preferences for a certain genre and/or form will be grouped together), each group will be
heterogeneous based on experience. The more experienced group members will be able
to provide guidance for the less experienced; however, in deference to the reality that
heterogeneous groups often put gifted or more knowledgeable/experienced students at a
disadvantage, each group will contain at least two people at the highest readiness level so
that they are also able to receive feedback from a peer who will push them to deepen their
writing and critiquing abilities.