An Example of a Teaching Essay - Goddard College's Intranet

MFA in Creative Writing Program 

An Example of a Teaching Essay 

Brainstorming Out: 

Poetry As Springboard to Teaching Kids To Write Well 

Ken Damerow 

A Teaching Essay 

In recent years, I have been experimenting with my own curriculum for creative 

writing. The State of Michigan’s Language Arts Grade Level Content Expectations for 

Forth Grade seemed to me vague and irrelevant: (“Students will write a narrative piece [e.g., 

myth/legend, fantasy, adventure] creating relationships among setting, characters, theme, 

and plot...”, etc.) The State’s many writing rubrics developed by college professors across 

Michigan, are packed full of technical words unfriendly to fourth-graders. And in the void 

of guidelines from my district and with no materials to teach writing as its own subject, I cast 

about in bookstores, at conferences, in libraries, and Scholastic book orders for anything that 

might help me turn my fourth-graders into writers, creative writers who can do more than 

the State requirements of writing a grammatically correct sentence or of responding critically 

to a piece of fiction, which in my school is the way writing is typically taught. 

I had been teaching writing as its own subject for years, but in looking for ways to 

pull the diverse elements of my work with fourth-graders and writing together into a unified 

whole, I have always come up short. At the end of the year students seemed just as 

mystified about how to use the State of Michigan’s writing rubric to improve their writing as 

they were at the beginning. Perhaps they had gleaned a few tricks, but my goal of turning 

them into good creative writers with, if not a mastery then at least an awareness of, good 

writing traits seemed barely met even with the best students. 

ASO, 12/04

Teaching Essay, Ken Damerow 

One of the diverse elements have tried before is poetry. Some years ago, I happened 

across an essay by poet Kenneth Koch who described using adult poetry as a model for 

children to imitate. Last year with my class, I dabbled with this idea and was impressed. For 

example, in imitation of the dramatic scenes in Thomas Lux’s “The Man Into Whose Yard 

You Should Not Hit Your Ball”, this poem was written by one of my students: 

My Boots 

My boots click when I walk down the hallway. 

Everyone thinks I’m a teacher. 

They turn around, shocked to see me and say, 

“Oh, I thought you were Mrs. Krouse.” 

I smile. “It’s just my boots,” I tell them. 

They look relieved. 

I love my boots. 

-Kelly 

Or this as a response to a discussion of metaphor in Steven’s “Thirteen Ways of Looking at 

a Blackbird.” 

December Snow 

There is snow in December, 

that I know. 

The cold seeps into my family; 

I don’t know if we will break apart like ice. 

I am glad that there is snow in December, 

but I long for the spring.” 

-Zachery 

But as pleasing as these poems are, they are the exception. For most students, using 

adult poetry placed a burden onto their writing that could not be overcome. Because the 

language was so remote, few could apply what they had learned. For example, this poem, 

about a magical creature with special powers, was inspired by William Blake’s “Tyger, 

Tyger.” 

Lollipop, the Stuffed Horse 

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Your top is fluff and your bottom is beans. 

Your color is white and is very clean. 

You like to visit magical places 

Running along wide open spaces. 

Your mane is purple and your eyes are green. 

You are so beautiful you should be a Queen! 

You’re marked like you’ve been splashed with paint. 

You are so nice you could be a Saint! 

You love to look at shooting stars 

While the road is filled with passing cars. 

You like to talk to magical trees. 

From the foot of my bed you wait for me. 

I love you and you love me. 

You’re the best friend there could be! 

My Lollipop 

-Abegael 

Although an adult model did inspire kids to write, it did not lead in most cases to 

quality writing. In contrast, the example of the teacher teaching in the room next to me 

shows what can happen when no model or guidelines are used. She asked her students to 

write for fifteen minutes in their Writer’s Notebooks, and the class just sat at their desks 

blinking. 

Despite the burden of the language, I was amazed at how intelligently fourth-graders 

discussed the adult models. They were able to understand literary concepts with ease and to 

arrive at insightful understandings gleaned from language that was so far removed from their 

daily experiences. But I wanted more and sensed a potential in the method. I searched for 

other of Koch’s experiences with teaching kids to write and found his book, Wishes, Lies, 

and Dreams. After reading the book over the summer, I decided to center my teaching 

practicum around some of his ideas that most intrigued me: 

• “The object was to give them experiences which would teach them something 

new and indicate new possibilities for their writing.” (3) 

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• “I also needed poems to read to them that would give them ideas, inspire them, 

make them want to write.” (4) 

• “The idea helped them to find that they could do it, by giving them a form that 

would give their poem unity and that was easy and natural for them to use: 

beginning every line with ‘I wish.’” (8) 

• “Rhyme is wonderful, but children generally aren’t able to use it skillfully enough to 

make good poetry. It gets in their way. The effort of finding rhymes stops the free 

flow of their feelings and associations, and poetry gives way to sing-song.” (8) 

• “A poetry idea should be easy to understand, it should be immediately interesting, 

and it should bring something new into the children’s poems.” (9) 

• “In presenting these poetry ideas to the children I encouraged them to take 

chances.” (9) 

• “Children often need help in starting to feel free and imaginative about a particular 

theme. Examples can give them courage.” (10) 

• “Most important, I believe, is taking children seriously as poets.” (25) 

• “Again on the subject of language, the various poetry ideas should be presented in 

words children actually use.” (27) 

The goal of my teaching practicum was to help my students become writers, to 

encourage them to write good, high-quality poetry using a wide variety of grade level 

appropriate published work as models and learning tools. I sought to encourage them to 

develop their individual style and voice to enhance creative expression and instill an 

enthusiasm about writing and learning to write. Each session began with a focus poem 

exhibiting some essential poetical element such as metaphor or contrast. The discussions 

centered around two questions: Who’s talking to who about what? to explore meaning and How 

does the poet accomplish the meaning, and how does the poem look on the page? to explore language and 

structure. I designed these questions in keeping with Koch’s idea of presenting “...in words 

children actually use...” (27) Students then wrote for fifteen minutes attempting their own 

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version of the focus poem on a topic of their own choosing. Afterwards, students were 

given the option of sharing their poem with the group. 

A larger goal was to see how the weekly poetry session spilled over into other 

writing. I was hoping students would transfer the craft lessons they received on Fridays into 

their prose writing during the week. My worry was that as before, the models would seem 

too remote from their experience and place a burden on their attempts that could not be 

overcome. To avoid this, I decided to use as my models the kid examples illustrated in 

Koch’s book. 

The first of the fifteen sessions were devoted to writing in general with an emphasis 

on writing as a process of gathering ideas, writing a discovery draft, revising, editing, and 

publishing. This initial work, I’ve found over the years, is essential to dispel student anxieties 

about such things as spelling correctly in a first draft, writing for the teacher rather than 

exploring one’s own interests, writer’s block sparked from trying to get it perfect right away, 

etc. By portraying writing as a complex task with many steps, teachers empower students by 

legitimating their feelings of being overwhelmed by the task and by giving them tools to 

break down the task of writing into manageable chunks. 

The practicum then focused on seven poetical ideas derived from Koch’s book: 

• I Wish to get at desires and wants; 

• Strange Comparisons to get at simile; 

• the Noise Poem to get at sound language; 

• the Dream Poem to illustrate the idea that on the page anything can 

happen even though it might be impossible in real life; 

• the Metaphor Poem to explore metaphor; 

• Metaphors Using Of to explore word choice and sentence variety; 

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• I Used to.../But Now... to look at comparisons and contrasts and 

change; 

• and a culminating Mix-up Poem in which the children are encouraged 

to use a combination of all the poetical ideas learned thus far. 

We began with a collaborative I Wish poem in which each child would write one line 

beginning “I wish.” In starting with a collaboration, I was hoping to hook reluctant writers, 

to ease their preconceived notions of poetry as something remote, something they felt they 

couldn’t do. Each student was not responsible for the whole poem but for only one line. 

I used a few models from Koch’s book, reading them once myself and then asking 

for volunteers to read into the microphone to “get the poem into our ears and into our 

minds.” The read aloud also serves the purpose of creating a classroom community 

centered around the sharing of a poem, of providing kids the opportunity to practice public 

speaking, and of providing the teacher an opportunity to teach through modeling that poems 

are works of art to be seriously considered and highly valued. I then asked the students what 

things they noticed about the poem. I asked them, “Who’s talking to who about what?” to 

get at meaning and reader response. Then I prompted them to think about language and 

structure elements asking how the poet achieves the meaning and how the poem looks on the 

page. My goal here was to encourage them to come first to an individual reading of the 

poem and discus different interpretations and second to identify ways in which poets craft 

their work. The first question excited them by encouraging personal connections with the 

work while the second taught them to read for craft. These were the insights I was hoping 

would spill over into their prose writing. 

I continued to be impressed about how students can pick apart poetry and talk about 

it intelligently. Koch’s point about using kid language is important, however. I was careful 

in not using formal terms like metaphor, assonance, alliteration, etc. as I had done in previous 

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years. Instead, I listened carefully to how students described these things. For instance, one 

boy described onomatopoeia and repetition in a roundabout way in the following poem 

from Koch’s book: 

“Sounds 

The hot horse went happity-hoppity down the hill 

The great, groovy looking girl bought glittering, gleaming 

go-go boots that made the men go ga-ga 

The bright and beaming Betty Barber has a blue pencil that 

goes bleak-bleak 

Mrs. Wendy White did her wash in the wash washy washing 

machine. 

-Melanie Pophin 

He said, “It sounds like it’s really happening, the horse and the washing machine. Saying it 

over and over again. You know like pop sounds like a pop and crash sounds like that.” 

Only after the second or third time students described poetry traits in this manner 

did I offer the formal word by telling them that poets actually have a word for this. Then I 

wrote the word on chart paper, titled it “Traits of Good Poems,” and included a concise 

student description alongside it. We kept a running list on the chart and then when the chart 

was full, hung it on the wall for students to check when composing their own poems. Soon, 

some students were using the more formal terms, searching the chart for the correct term. 

After talking about the poem, students wrote. For the collaboration, they decided 

what things every line would have in it so that each line sounded like it belonged to the same 

poem. In the I Wish poem, they decided that every line would have a color, a cartoon 

character, an animal, and a place. They then wrote for fifteen minutes, writing as many lines 

as they could think of during the time they were given. Afterwards, I asked them to circle 

the line they liked best and collected all of the papers to read aloud. I then took suggestions 

for a title, wrote them on the board, and tallied the votes. The winner was “Cartoon 

Wishes.” 

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Cartoon Wishes 

I wish that my friend had a kitty and Sponge Bob from the Pacific, but that he would 

be blue. 

I wish Yogi Bear could ride a black lion all the way across the universe. 

I wish Sponge Bob could ride a tiger’s chopper with Pawlser to my house and give 

me that chopper and an orange country chopper helmet. 

I wish Dora the Explorer could find a purple monkey in a church. 

I wish Bugs Bunny could play with an orange basketball with a monkey on a baseball 

diamond. 

I wish Tweedy Bird could hop with a blue bunny to China. 

I wish my house was purple if it had a bird on it, and it was a blue jay. 

I wish I had two pink and green fairy odd parents so they can poof me an elephant 

to step on people. 

I wish Patrick would ride a pink whale with yellow spots. 

I wish Marvin the Martian could ride on a dolphin into Lake Michigan. 

I wish Marik Ishtar would team up with me, and we beat everybody in the world and 

wear black, purple, and gold and rode tigers. 

I wish Pooh bear would ride on a turquoise dog to the sun. 

I wish Asia would turn Tweedy Bird into a red leech. 

I wish Bugs Bunny was blue and could ride a bull. 

I wish Bugs Bunny and all the bunnies a green Christmas in Heaven. 

I wish Sponge Bob a white Christmas with a whale. 

I wish Timmy Tuner can ride a pink starfish all the way down south. 

I wish Yu-Gi-Oh would come to my house on a woodchuck that is orange and give 

me a little beaver, and they would dump off a bridge. 

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I wish bugs were gone. Bugs, bugs, bugs. I hate bugs. Bugs everywhere that I love. 

Bugs are green, red, blue, and yellow, and they make my legs feel like Jell-O. Every 

time I stare at a fly, it makes me look like a twit when I chase after it. 

I wish Bugs Bunny was small so he could ride on a pink and purple rabbit to go to 

Canada. 

I wish Kirby could suck up a blue ball to transform into Dash Kirby. 

I wish James Bond could ride a donkey to my house. 

I wish Patomon rode a zebra-striped antelope to a Texas rodeo. 

I wish I had a blue pig that would take me anywhere I wanted with Garfield. 

-Mr. Damerow’s 4 th Grade, September 2004 

A number of interesting ideas came from the creation of this poem. Although each 

line shares a common identity, an identity the students discussed beforehand and voted on, 

there are always those students who don’t follow directions. These lines in the poem where 

the pattern is interrupted gives the poem an unexpected delight to the reader and indeed 

even the rhyme that by itself might sound sing-song, in the context of this poem, satisfies 

the ear before returning to the established pattern at the end. I pointed out how this poem 

sets up an expectation in the reader but then delights when the poems varies the pattern. 

They quickly identified the same technique in the next poem we discussed. 

Another idea came from the phrases, “fairy odd parents” and “dump off a bridge.” 

After reading the poem to the class for the first time, two hands shot into the air, and both 

students who authored these lines immediately told us that they meant fairy god parents and 

jump off a bridge, respectively. But several students in the class protested that the mistakes 

were better and should remain in the poem. I called this a happy accident and told the 

students that this kind of thing happens all the time to even seasoned professionals who are 

smart enough to know which is better, the mistake or the original thought. Both students 

beamed and agreed to keep the mistakes. 

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The kids were delighted with this poem, and this delight set the tone for rest of the 

practicum. They were eager for the next session when they could start their own poems. In 

fact, many of them asked if they could write poetry for homework. I didn’t dissuade them. 

The next poems we tackled were Noises, Dreams, Comparisons Using Of, and I 

Used to/But Now. I followed the same format of introducing the focus with a model, 

discussing meaning and structure, and then asking the students to have a go at their own, 

individual poem. The Noise poems ranged from the literal to the inspired. Most students 

ignored my request to think of a sound and then try to compare it to something that sounds 

like it but is, at the same time, unexpected. Here’s a typical example from Sarah: 

Noise Poem 

A bird chirping 

sounds like 

whistling. 

Slamming a book sounds 

like a door 

slamming. 

At first glance, the comparisons seem common, and indeed they are. However, I 

became excited when I considered the juxtaposition of the images and the meaning that 

follows when taken together. The welcoming image of the bird, the noise of openness and 

the opening of a book suggesting possibility and wonder against shutting out those 

possibilities like a closing door. Also, this poet is experimenting with line and the shape of 

the words on the page. The simplicity and the elegance are amazing. I never could have 

inspired this student to such a depth of quality using my old teaching methods, rubrics and 

focus correction areas for grammar. 

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Perhaps the poet is unaware of the ultimate meaning a reader will place on his or her 

poems. Take the following example, which again seems like the poet ignored my request to 

make wild comparisons: 

The sneezing 

sounds like 

a chirping bird. 

A jack hammer 

sounds like 

two rocks hitting 

together 

-Matt 

When we discussed his poem in class, Matt seemed unaware that he has chosen 

something human to compare to something natural in both stanzas. However, he titled this 

piece “Sounds of Nature.” I’m sure he was unaware of the irony of putting the sound of a 

jackhammer in a poem titled “Sounds of Nature,” but it hardly matters. The poem speaks 

for itself regardless of the poet’s awareness of what makes it work. 

Some students took the form of the Noise poem far beyond my request for wildness: 

Sound Sensation 

Reading a book is nothing but silence. 

Elastic is like a snap of your fingers. 

Slamming a book closed is like two trains colliding. 

Hammering a nail is like hitting a rock on a stone. 

Asking an 8-ball a question is like a city’s commotion. 

Zipping a zipper is like an elephant’s call. 

Sharpening a knife is like clapping your hands. 

A car backfiring is like a rocket lifting off. 

Explosives are like pop rocks. 

Writing is like the ticking of a clock. 

A classroom is like buzzing with excitement. 

Erasing is like a bird chirping in the sky. 

Screaming is like brainstorming out. 

-Alexandra 

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The issue of awareness again comes up in this poem as well as revision. For her final copy 

of this poem, Alex included the following lines at the end: “Screaming is like brainstorming 

out loud/Listening to talking is like listening to anything. Looking is nothing but silence.” 

However, she put a line through the last lines of the poem from the word loud all the way to 

the end. This shows evidence of revision unprompted by me, revision that improved the 

unity of the poem by dropping a vague ending in favor of a stronger finish. There were 

other times during the school day, specifically when we wrote prose, when students heard 

me talk about revision but never in the context of poetry. This was astonishing since getting 

kids to revise their work has always been one of the hardest tasks I’ve faced as a teacher of 

writing. 

This desire to revise was an exciting surprise. There was something in the way I 

structured my poetry lessons with the children that inspired Alex to want to do her best 

work, to put forth her best effort. I can attribute it to an activity I have introduced this year: 

Sharing Around the Room. In addition to using kid poems as models, using language easily 

understood by kids, and focusing on poems illustrating a particular trait of poetry, Sharing 

Around the Room forges a sense of community and audience and boosts the excitement and 

enthusiasm of the class. The idea of Sharing Around the Room came to me from Mary 

Bigler, a Professor of Education at Eastern Michigan University. Her daughter and two of 

her daughter’s friends who graduated from the same school district in mid-Michigan, are 

accomplished, award-winning authors who struck national success while still in their teens. 

After discovering that all three of these brilliant young writers were in the same third-grade 

class together, Mary called each independently to ask them what helped them to become 

such successful writers. All three attributed their success to their third-grade teacher who 

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allowed her students to share their work with their classmates everyday. Mary’s daughter 

believes she attained her sense of audience from her experiences in third-grade. 

Sharing Around the Room was the method Mary’s daughter’s third-grade teacher 

used and is very simple to implement in the classroom. Every day after students have 

written, I ask who would like to share their work with their classmates. Hands go up, and I 

ask each student in turn to describe what they’d like to share. Alex might say, “I have my 

Noise Poem.” Another student might share an alien story, another a letter to the principal 

about how much fun he is having in Mr. Damerow’s poetry class. (I swear I did not put him 

up to it!) I then tell the class that if they would like to hear Alex read her poem, she’ll be in 

such and such a corner of the room. After all the authors are standing in their particular 

area, the remaining students choose a group to hear the author share their work. It has 

become a favorite part of the day. I encourage listeners to share their reactions with the 

authors after they read. Authors receive a sense of audience and a desire to revise based on 

the reactions of their peers. 

I’m also finding another spillover effect from their poetry work into their prose 

writing, a pleasant discovery since quality prose has been so difficult to get from them. An 

example is “Catastrophe After Catastrophe” by Haley. This story is the product of a unit 

study on the steps of the writing process. I always give my students free rein on the first 

writing project of the year as far as genre and subject. Some write stories, some poems, 

some personal narratives. Beyond the poetry lessons, I taught nothing of craft but spoke 

only of generating seeds for writing, writing a discovery draft, revising, editing, and 

publishing. 

13


Catastrophe After Catastrophe 

Abby used to be the daughter of the richest man in the world. She was Bill 

Gates’ daughter. But her family was robbed by the unknown and were never that 

rich again. 

When Abby was rich, one of her favorite things to do was shop. The local 

Boise Mall was her refuge. Boise is the capital of Idaho. With that much money in 

her wallet, $2,000 was the least she ever spent on a regular day. She especially loved 

to shop at the Gap. 

In June 2004, the Gates family lived in a measly rundown shack just west of 

downtown Boise. They could just get by with one loaf of bread every two days or so 

and water from a stream nearby. But, as you would probably think, Abby needed to 

shop at the Gap. She passed the time by laying around and twiddling her thumbs. 

Bill Gates, Abby’s father, was out rummaging through garbage when a man 

that looked very wealthy stepped up to him and said, “I am Mr. Wilfred R. Jenkins, 

the IV. I understand you have been robbed recently. I can help you. But it is going 

to involve some negotiating.” 

By this time, Mr. Gates was beginning to grow interested. He answered 

immediately, “Please, do go on, sir. My family and I are definitely up to some 

negotiating.” 

“Alright then, listen closely. I will pay you $1,000 each month. But, as you 

may have guessed, you do have your part in this. You must pay me back each year.” 

Bill thought hard for a moment, then decided, “Yes...I guess we’ll do it. If 

fact, let’s start right now!” 

The wealthy man reached in his pocket, fiddled with it a while, and gave Mr. 

Gates $1,000 in cash. Without a thank you, Mr. Gates hurried into the house. 

One year later (June 13, 2005), Mr. Jenkins knocked casually on the door of 

the Gates’ new home. Gloria, the wife of Bill, opened the fancy new door. 

“Oh hello!’ she said cheerfully. “Let me get Bill for you. Bill! Oh Bill! The 

renter is here to see you! One moment please.” 

Then Bill stepped into the doorway, fully dressed in tux and tie. The sound 

of ticking that had been going on stopped. A bomb went off and they all blew up 

and died! 

Obviously, Haley knew much about writing even before she entered my classroom. 

However, the turn of the wild phrase, robbed by the unknown, as well as the amount of detail 

which came up from the poetry lessons, and the concern for making sure the reader knows 

whose talking to who about what all seem to have spilled over from the poetry, and Haley 

confirmed this when asked. Also, the way the story ends is atypical for fourth-graders who 

would have normally written something like and a bomb killed them all. But Haley has the 

Noise poem on her mind as she tells us about the ticking and then the blowing up and then 

14


the dying. Haley’s story also has some of the elements (the tone, the mystery and quirkiness) 

of Lemony Snicket’s A Series of Unfortunate Events, which I have been reading to the class 

in the afternoons. Perhaps, she is also using this as her model. 

I am very happy with the results of this practicum experience. Spillover is happening 

and the poetry discussions are generating a common language about writing that I am able to 

access in the general writing lessons. When I ask them to add some noise here in their drafts 

or to think of a metaphor there, they immediately know what I am talking about. Some 

students this year walk through their school day thinking about writing. They carry their 

Writers Notebook back and forth between school and home, home and soccer or dance 

with an eye trained on writing down what they find interesting, gathering fodder for what 

they might one day soon form into a good piece of writing. On the way to the busses last 

month, one of my girls responded to the principal’s questions of Whose your teacher? and How’s 

Mr. Damerow doing? This student unabashedly said, Mr. Damerow’s teaching how to be a writer! 

The student evaluations tend to support this. Twenty-two out of twenty-three 

students responded they have fun in my class. Eighteen out of twenty-three say they love 

poetry. The one item in retrospect I wished I would have included is I learn a lot in Mr. 

Damerow’s class. Item 6, Mr. Damerow makes me think of things I never thought of before, was 

disappointing, and I think it may have been difficult for kids to understand. Most nine and 

ten-year-olds when asked if they knew something you just taught them will invariably tell you 

yes, they knew that already. But if you ask the question before the teaching, you will find 

they don’t know much. Like revision, metacognition is very difficult to teach kids to do well. 

Displaying and publishing student work has proven challenging and is the one area 

that hasn’t worked out as well as I would have liked. Given all my other teaching 

responsibilities throughout the week, displaying and publishing their work in the local 

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newspaper has been a low priority. The wonderful poems have been sent home asking for 

parental permission for publication and are now stacked up on my desk waiting for me to 

type them up and send them downtown. Time is the biggest flaw in education. But they will 

be sent, in a trickle, as I have time. The few that have thus far been published for all the 

county to read and enjoy, have stimulated my class to renew their efforts toward their poetry 

with enthusiasm and determination. 

Now that the teaching practicum has ended, we do a poetry lesson every Friday. 

Friday is poetry day in Mr. Damerow’s class. Last week, when I said to my class, “Well, it’s 

Friday and on Friday we do some poetry,” my class cheered. Even though the formal 

requirements of my teaching practicum have ended, I have much more to learn and apply 

from this experience. My mind has been churning, thinking of ways to apply the teaching 

methods that are working so well with poetry to prose: dumping the vague, seemingly 

irrelevant State of Michigan English Language Arts Grade Level Content Expectations for 

Fourth Grade using short models that illustrate some aspect of good prose writing; focusing 

their work on one, small trait at a time; sustaining their efforts through publishing and 

community forging. Working with rubrics is the State of Michigan’s official best-methods 

practice in the area of teaching kids prose writing, but I have my doubts. My kids have 

always done well on the annual MEAP English Language Assessment in January. However, 

when they leave my class in June, are they better creative writers? The months of focused 

test preparation teaches them good writing qualities only within the framework of the 

standardized test they must pass. But they never cheer in response to such writing. 

References 

1. Koch, Kenneth. Wishes, Lies, and Dreams. New York: HarperCollins Publishers, 1970. 

2. Michigan Department of Education. Fourth Grade English Language Arts Grade Level 

Content Expectations. http://www.michigan.gov/mde, 2004. 

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