I’m delighted to be the featured presenter at the next Young Willamette Writers meeting, set for Jan 3, 2012 at the Old Church in downtown Portland. You can find out more about the Young Willamette Writers here.

We’ll be doing an hour of poetry, starting at 7 p.m. The Old Church is located at SW 11th and Clay, and the event is FREE. It’s a great way for young writers to start the new year off with some new words.

The overall goals of my writing workshops, whether working with young writers or adults, are as follows:

1) Create a comfortable, inviting and inclusive atmosphere where participants feel welcomed and encouraged to engage with their own creativity and to share their creativity with others, free of self-judgement.

2) To impart valuable tools and lessons that will support each participant’s growth as a writer, no matter where he or she is in their own growth. (In this way, even within a group dynamic, I take the time to connect with participants individually to be sure they are continuing along their own path and pace.)

3) To encourage consistent, constructive writing habits so participants begin to build a daily writing practice into their lives.

4) To increase and enhance each participant’s literary vocabulary, building their strengths as writers, editors and reviewers. Much of this work comes in the form of constructive critique. To introduce the concept of constructive critique, we generally begin with pieces of literature written by someone not in the workshop. From there, we often critique pieces of my writing. Then we get into critiquing the work of writers in the workshop. This is a safe and supportive way to build toward critique, especially with young writers for who the concepts of workshopping, review and revision are still relatively new.

WORKSHOP SIZES

In the past I have worked with groups as large as 20, and as small as 2 (in addition to 1-on-1 sessions). In setting up a small, parent-driven workshop that occurs at one parent’s home, an idea number would be anywhere between 2 and 6, though if space permits, we could have as many as 8. The smaller the group, the more individualized attention each writer will receive.

For a group of 4 or less, individual sessions will last approximately 90-minutes to 2-hours. For 5-8 students, individual sessions last between two and two and a half hours.

PROPOSED WORKSHOP SCHEDULING & TUITION

When launching a new workshop, I prefer to set parameters around the number of meetings, in order to help us clearly identify and work toward goals within a set amount of time. If, once the workshop is complete, we decide to continue, we can stick to the original design, or we can redesign the workshop to accommodate schedules, goals, etc.

I’ve provided the following example to help you conceptualize how a workshop may run. Again, I’m happy to work with parents to design a model that works for them and their child/children.

• Six group meetings of 90-minutes to 2-hours. Meetings are held in a parent’s home, or at a designated nearby location.
• At-home writing exercises to be completed during the week. The intent of the exercise is to help foster good, consistent writing habits. Students will bring the pieces they generated during the week to the workshop to be read, discussed, reviewed and revised.
• The overall six-week curriculum is a blend of creative writing and fundamental basics designed to enrich what they are learning during the school week. Writers will also be able to bring school-related writing exercises to the workshop for peer review, insight and revisions.
• Costs for this type of workshop generally falls in a sliding scale between $600 and $900 for the group (or, $150 – $225 per student, assuming four students). Parents are free to split these costs in any way they see fit. My goal with these costs is to ensure that parents are able to afford these classes within their family budgets.

PAST AND ONGOING YOUTH WRITING WORKSHOPS INCLUDE THE FOLLOWING

• The after-school writing program at Woodstock Elementary (SE Portland). Now in its fifth year, this program includes three, eight-week sessions throughout the school year for Woodstock’s third, fourth, and fifth grade populations.
• One-on-one workshops. These personalized sessions are designed to build on the strengths of the individual writer while also introducing them to new concepts, approaches and techniques. When working with young writers in one-on-one sessions, parents are invited to participate, share their thoughts and offer their input into the direction the workshop takes.
• Summer Youth Writing Camp at The Attic Institute (2011). The inaugural youth writing camp (Summer 2011) welcomed more than a dozen young writers, ages 11-16, for a four-week, eight-session workshop built around creative expression, writing fundamentals and critique/review. Writers wrote and shared during each three-hour session, and also engaged in at-home writing exercises.
• Winter/Spring Poetry at Depaul Treatment Centers (NE Portland, 2006/07)

AND ONE LAST NOTE . . .

Take a look at this previous post about the Summer 2011 Youth Writing Camp, which delves a little further into my process, thoughts, and drive behind working with young writers.

Thanks for reading!

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People have a lot going on in the summer, when the rains finally go away and the premium is spent on outdoor recreation. I can’t blame parents for planning canoe trips, day hikes and backpacking adventures with their kids. I look forward to doing the same thing. Likewise, I discovered that parents like to have their children’s summers mapped out as early as possible. I didn’t publicize the workshops until mid-May, and by then it was too late. Decisions were made and the kids’ days were already lined up.

All of this was playing in my head when I received a fairly innocuous bit of literature in the mail, the 2011 “Report on Our Schools” from Portland Public. (You can find an online version of the same report here.) By all accounts, PPS is doing very well, as student achievement is on the way up . . . except in one key area that speaks to me both personally and professionally: “Seventh Graders Meeting Writing Standards.” It sticks out like the proverbial sore thumb on the report, the only “red downward arrow” in a column where all the rest are upward and green.

Why is this? I don’t know for sure, but I have my own thoughts and feelings about how writing is taught – and in some cases not taught – in schools. And when I boil my thoughts down to their simplest form, it comes back to the notion of process vs. content.

I believe that, as a society, our focus is on content. “What have you done?” is more important than “How have you done it?”

Overtime, what I’ve discovered and have come to honor is that successful writing has more to do with “How” than with “What”. Still, in a typical school day where classes are 50-minutes long, and occasionally half of that time is spent trying to get kids to stay in their seats, there just aren’t enough minutes to focus on “How.” And while kids may receive various tools and tips that help them find the “How,” the focus naturally shifts to “What” – after all, grading “What” is a lot easier than putting a stamp or letter on “How.”

My goal as a writing educator is to introduce writers of all ages to the concept and notion of “How,” keying the birth, growth and evolution of their own unique and individual writing process. Some parents have asked if workshops are geared only toward students who already enjoy writing and/or excel as writers. The short answer is, “No.” The workshops are extremely inviting and inclusive. I refer to each workshop student as “a writer,” because in the end that’s what they are, not only during the workshop but also when they leave the workshop and venture back to the world. I want them to feel confident that when they sit down to write, the words that will spin out of them will be valid and good.

You can learn more about this year’s Youth Summer Writing Camp in SE Portland on the Workshop page. Feel free to email info(at)davejarecki(dot)com with any questions.

Some eight-year-old boys drool. In the four years in which I’ve worked with third graders, at least one boy has drooled in the middle of at least one class. Sometimes it’s from frustration, but mostly it’s a result of over-excitement coupled with a blood sugar spike.

This year’s drooler is Ben. He’s now drooled three times in two sessions, which means he has six more sessions to break the all-time drool-per-session record of seven. Ben’s in-class snack of choice is a juice box. His teeth are coming in at jagged angles, leaving plenty of gaps through which saliva can escape. And writing excites the hell out of him.

I say the record is his.

Read the rest @ ReadWritePoem.org

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Below I’ve pasted the original skeletons, followed by Alice’s replies.

It’s ________ __________ “___________ ___________” and it’s ___________ __________ __________ “___________”. This is, __________ it’s _________ ___________ the __________! The _________ ___________ _________ the _________ __________ for __________, which _______, “_______ __________.” This is __________ _________ it is to _____________.

Alice writes:

It’s tomorrow buddy “seven days” and it’s today dear that’s “here”. This is, look it’s Safe Chap the hero! The weird dork from the planet Zuok for $4, which says “Yo dude”. This is how fun it is to dream.

When ______ _________ at ______ _________ of ________ ___________ in the ________ _________. ____________ ___________. I _________, “what are __________ ___________ ___________ ___________ ___________?” I _________ I’ll __________ a ____________ of _________ ____________. Then I __________ ___________ _____________ to ____________ ___________, I ___________ in ____________.

Alice writes:

When I cry at night love of life springs in the dark well. I’m desperate. I scream “what are you on these bleak lands?” I swear I’ll cry a river of salty tears. Then I sink down slowly to my knees, I struggle in vain.

A few nights ago one found me in a really wonderful dream that went like this:

I was at a conference. Hillary Clinton was sitting next to me. She was flirting with me in a passive sort of way, or in the least was very friendly. We were writing haikus together, which had something to do with the conference itself.

Hillary had no time for the whole notion of “exploring thoughts” or “following the stream of consciousness,” though I was trying to impress both upon her while explaining that my interpretation of a “good haiku” is one that joins two things together in a very brief, eternally present moment.

My haiku had to do with my father sitting on a porch. Not only was I writing it in the dream, but I was also editing it. (I remember distinctly editing out the word “are”, which is a good word to edit out in just about any piece of writing.)

In my second draft, my second line was the longest; in my third, my last line was the longest – as in life, I wasn’t following any American convention of 5-7-5. I simply don’t agree with it and I wish teachers would stop professing that haikus must be written in this form . . . but I digress.

When I woke up, the actual haiku had evaporated – I couldn’t recall it word for word, but I reconstructed the three versions I remember having worked on –

First:

There you are on the porch
I wonder if my father
Is as beautiful as always

(notice the word “are” in the first line)

Second:

On the porch
my father is as beautiful
as always

Third/Final

My father
on the porch
as beautiful as always

You have a certain way of seeing the world that never changes, regardless of how much writing you get done. As Natalie Goldberg says in Write Down the Bones – you live each moment twice, one time in and of the moment, the second time in reflection of it. It’s not a conscious decision – it’s how you’re wired.

Honor it. Be proud. Never judge. Simply run with it and be.

Now go forth, prosper, and know that your work is good.