Jakarta memang kota yang menjanjikan sejuta mimpi dan angan bagi sebagian orang. Semua orang berlomba-lomba untuk mewujudkan mimpi mereka di kota metropolitan ini. Mereka merajut impian dan mewujudkannya dengan segala macam cara yang dilakukan. Kulajukan mobil ku di kota yang tak pernah tidur ini. Sudah tengah malam tapi seolah orang-orang didalamnya tak pernah merasakan lelah untuk beraktivitas. Deru kendaraan memecah kesunyian malam dan semua pun tetap terjaga. Malam ini aku memang pulang lebih larut dari biasanya sudah hampir jam dua pagi tapi mata ku belum terpejam selama seharian. “ Kring, kring....” Alarm hp ku berbunyi Ku bersiap untuk pergi ke kantor seperti biasanya. Ku ambil baju berwarna pastel, sepatu dan tas berwarna hitam warna favorit ku. Ku memulas bibir dengan warna yang tidak terlalu mencolok. Hari ini kantor kami akan kedatangan investor dari perusahan terkemuka. Semua berkas- berkas telah aku siapkan untuk melalukakan rapat pada pagi ini. “Sinta, kamu dah siapin materi rapat untuk hari ini, klien kita akan datang tepatnya jam berapa?” “Setelah makan siang ve.” “Ok. Kamu siapkan ruang rapat satu jam sebelum meeting ya.” Pak aris menyerahkan persentasi ini untuk aku tangani, aku dipercaya untuk menangani proyek kali ini. “Demikianlah persentasi dari saya kali ini, selamat datang dan selamat bergabung dengan perusahaan kami’ Perusahaan kami memenangkan proyek besar dari investor asing. Mereka berminat untuk bekerja sama. “saya tidak salah memilih kamu untuk mempersentasikan proyek kita kali ini. Dan akhirnya kita mendapatkan proyek ini.” “terima kasih atas kepercayaan bapak memilih saya.” Setelah makan siang selesai kami kembali kekantor lagi. “Ve, denger- denger lo mau di rekomendasiin untuk mimpin kantor cabang yang ad di jogya, bener ya? “ya, pa aris minta gw untuk kesana. Katanya mau dibuka resort baru disana. “karir lo makin cemerlang aja ya setahun belakangan ini, gw liat semakin bagus” “ah lo bisa aja.” Terpikirkan semua kejadian yang ada dikantor hari ini. Karir yang semakin bagus tapi aku tetap menginginkan hal yang lain yang belum aku dapatkan. Aku merantau kejakarta untuk kuliah. Belajar hidup mandiri untuk menggapai cita-citaku. Semua kini telah aku dapatkan. Aku merindukan kampung halaman ku di Makassar. Sudah hampir sembilan tahun aku meninggalkan ibu dan adik-adik disana. “ibu, ve akhir bulan ini akan balik ke Makassar, sudah rindu ibu dan adik-adi disana.” “ibu juga rindu kamu ve, kamu hati-hati di rantau orang ya nak, restu ibu selalu menyertai mu nak” Aku mencari semua ini untuk ibu dan adik-adik. Aku menjadi tulang punggung keluarga sepeninggal bapak ketika aku masih smp. Aku tidak pernah menjadikan hidup ini menjadi beban karna aku tahu semua ini memang menjadi suratan takdir hidup ku. “ibu, mav ve tidak bisa pulang seperti yang ve janjikan, ada pekerjaan keluar kota bu.” “tak apa nak, ibu mengerti, jaga dirimu baik-baik”. Suara ibu parau di ujung telepon disana aku tahu ibu sangat ingin bertemu dengan ku, tapi aku berjanji akan datang untuknya di lain waktu. Sebulan kemudian aku pergi ke untuk pergi menemui ibu perasaan sendu menyambut kedatangan ku “kak, ibu titip surat untuk mu, dia sangat merindukanmu.” Andi memberikan sepucuk surat untuk ku. Teruntuk ananda Ve Ibu menantikan mu di setiap petang, membayangkan mu disetiap malam dan mendoakan mu di setiap sujud. Ibu selalu ingin memasakan makanan dikala kau pulang bekerja, menyiapkan pakaian disaat kau beraktivitas dan menemanimu disaat kau tertidur lelap. Ibu merindukan ve anak ibu yang sekarang telah dewasa yang bisa berdiri di kakinya sendiri. Wanita yang sukses dalam karirnya. Ibu ingin menimang cucuk darimu nak. Melihat ve kecil dalam dirinya dan tumbuh menjadi dewasa. Semoga ibu bisa melihatnya. Doa ibu selalu menyertaimu anak ku Ve yang terkasih.
Salam sayang dan cinta dari ibu.
Titik-titik air mata membasahi pipi ku mereka merengsak untuk keluar. Tak kuasa melihat ibu yang kini ada di depan ku terbujur kaku dengan senyuman dingin di wajahnya. Aku datang untuk mu bu tapi aku tak bisa melihat senyum hangat di wajahmu yang sangat aku rindukan. Tapi apapun yang aku katakan tak akan merubah apapun. Aku ingin memutar waktu untuk tetap melihat senyuman hangat yang sangat aku rindukan. Maaf aku tak bisa memenuhi hal yang sangat kau inginkan. Hari itu hujan mengiringi kedatangan ku dan juga kepergian ibu.
Masakan Italia memang memiliki tempat tersendiri di lidah orang Indonesia. Sudah banyak restoran Italia yang menggunakan konsep café & resto sebagai daya tarik mereka namun mungkin cuma satu yang memiliki visi: “Menjadi ‘café & resto’ franchise ala Italia yang dapat memuaskan hati para pecinta Café di wilayah Jakarta”, yaitu Pisa Café & Resto Tebet. Restoran ini sebuah franchise restoran Italia yang menawarkan keunikan rasa masakan, minuman dan ice cream ala Italia serta tempat dan lokasi yang nyaman nan strategis.
Terletak di wilayah Tebet, Jakarta Selatan, restoran ini memiliki area yang cukup luas yakni dengan kapasitas 133 tempat duduk yang terbagi dalam beberapa lantai dan ruang. Ruang VIPnya dilengkapi dengan peralatan presentasi, sound system, serta perlengkapan karaoke yang memadai. Accoustic Live Music yang hadir setiap hari Senin, Rabu, Jumat, dan Sabtu menjadikan resto yang buka setiap hari mulai pukul 11.00- 14.00 WIB ini sebagai tempat yang asyik dan nyaman.
Restoran ini membidik pengunjung dari semua jenis usia dan kalangan. Berbagai fasilitas serta kegiatan seru disiapkan untuk menghibur pengunjung lintas usia mereka, misalnya kursus dansa Salsa gratis untuk kalangan dewasa, dan kegiatan menggambar, mewarnai, dan mengasah kreatifitas lainnya serta kegiatan membuat pizza mini untuk anak-anak. Jika ingin mengambil paket, ada beberapa paket menarik yang ditawarkan, seperti: seperti Lunch Package, Birthday Package, Arisan/Reunion Package, dan Coffe Break Package.
Es krim khas Italia atau Gelato memiliki beberapa pilihan rasa. Sementara untuk hidangan utama, Fettucine Alfredo masih menjadi menu andalan selain Spaghetti o Fusilli Bolognese dan Lasagna Al Forno-nya yang merupakan menu favorit pilihan pengunjung.
PT. Food star is a new food and beverage corporation, established on July 1, 2003 founded by a Korean Entrepeneur, Mr. Kwak Bong Kyu, who happens to hve passion in fine quality food. In order to participate in the fast growing Food and Beverage Industry in Indonesia, he creates an Italian Restaurant known "Red Tomato". Red Tomato has its own special know-how on the products and management (business, sales, quality control and training for employees) experienced in operation of the restaurant. It possesses sufficient technical and professional personel ths owning manpower unsurpassed by others in this competitive industry.
Pizza Italian: 54,000 Pizza New York : 56,000 Pasta: 38,000 - 40,000 Salad : 24,000
Special Menu
Bulgogi Rice Pizza Pizza Cream Fungi
BASKET BUILDING IN OHIO
Space aliens, bending their eye stalks Earthward, often mistake Newark, Ohio as the center of all world power. After all, it is in this modest city that humankind has erected the grandest monument to the highest pinnacle of achievement by an advanced consumer culture -- the hand-woven gift basket. This monument is, in fact, the world's largest basket, and it's also the seven-story corporate headquarters of the Longaberger Basket Company.
There are many other contenders for over-the-top Monuments of Non-Essentiality in America -- the World of Coca-Cola and Precious Moments Chapel come to mind -- but they're not as intimidating when viewed from orbit.
The basket is a replica -- 160 times larger -- of Longaberger's Medium Market Basket. It's 192 ft. long by 126 ft. wide at the bottom, spreading to 208-ft. long by 142-ft. wide at the roofline. It is a magnificent sight -- especially at night.
Dave Longaberger, who founded the company, was the business visionary who not only tapped into the demand for hand-woven party baskets, but who dreamed up the idea of running his growing organization from the world's largest replica of one. Most of his employees, less farsighted than their leader, didn't take Dave's notion seriously when the plan was announced. Perhaps the house-sized basket in Dresden, Longaberger's old HQ, pushed the absolute physical limits of basket-building science.
Many were still astounded when they moved into the Brobdingnagian picnic packer in Newark -- their new Home Office -- on December 17, 1997.
We'd like to think that job satisfaction is higher than normal at Longaberger's. After all, no matter how menial your daily labors or how incompetent your boss, you still work in a giant basket.
Apple Basket in Dresden, Ohio.
Another reason that aliens could be confused about the relative importance of designer party baskets on this planet are the hordes of basket carrying zombies that routinely make pilgrimages to Dave Longaberger's woven Mecca. Over a half-million fans, many members of the "Collectors Club," visit HQ and other area Longaberger landmarks each year, carrying baskets, ready to remortgage the house for more, and hoping to get an autograph.
The entire region around Newark is basket-happy, thanks to the Longabergers. The World's Largest Apple Basket -- over 29 feet tall -- stands at the Longaberger Homestead in Frazeysburg, OH. It was hand-woven from hardwood maple in 1999. It's become an even better photo op since it was augmented with giant fake apples.
In nearby Dresden, on Main St. and 5th, you'll find the old HQ still standing, a house-sized picnic basket-- 23-ft. tall and 48-ft. long. This huge basket was the first architectural creation of the Longaberger juggernaut. To get there you'll probably cross Dave Longaberger Avenue.
The Big Easter Basket up in Lorain, OH -- on the shore of Lake Erie on West Erie Avenue -- is not a Longaberger creation, and it is a tad amateurish when compared to the other big baskets. Still, at 9 ft. high and 10 ft. wide, it suggests that big baskets have something to do with the soul of Ohio, not just the market-savviness of the Longaberger Basket Company.
There's a possibility
There's a possibility
All that I had was all I'm gonna get
mmmmmmmmmmmmmm
All I wanted is gone with your stare
All I wanted is gone with your stare
So tell me when you hear my stop
You're the only one that knows
Tell me when you hear my silence
There's a possibility I would't know
mmmmmmmmmmmmmm
Know that when you leave
Know that when you leave
By blood about me you walk like a thief
By blood about me I fall when you leave
So tell me when you hear my heart stop
You're the only one that knows
Tell me when you hear my silence
There's a possibility I wouldn't know
So tell me when my sigh is over
You're the reason why I'm closed
Tell me when you hear me falling
There's a possibility it wouldn't show
mmmmmmmmmmmmmmm
Know that when you leave
Know that when you leave
By blood about me I fall when you leave
By blood about me i follow your lead
mmmmmmmmmmmmmmmm
Bunaken is an island of 8 km², part of the Bunaken National Marine Park. Bunaken is located at the north of the island of Sulawesi, Indonesia. It belongs administratively to the municipality of Manado. Scuba diving attracts many visitors to the island.
Other sides of Bunaken.
Bunaken National Park extends over an area of 890.65 km² of which only 3% is terrestrial, including Bunaken Island, as well as the islands of Manado Tua, Mantehage, Nain and Siladen.
The waters of Bunaken National Marine Park are up to 1,566 m deep in Manado Bay, with temperatures ranging between 27 to 29 °C. It has a high diversity of - corals, fish, echinoderms or sponges. Notably, 7 of the 8 species of giant clams that occur in the world, occur in Bunaken.
Oceanic currents may explain, in part, why Bunaken National Marine Park has such a high level of biodiversity. Northeasternly currents generally sweep through the park but abundant counter currents and gyros related to lunar cycles are believed to be a trap for free swimming larvae. This is particularly true on the south side of the crescent-shaped Bunaken Island, lying in the heart of the park. A snorkeler or diver in the vicinity of Lekuan or Fukui may spot over 33 species of butterfly fish and numerous types of groupers, damsels, wrasses and gobies. The gobies, smallish fish with bulging eyes and modified fins that allow them to attach to hard surfaces, are the most diverse but least known group of fish in the park.
Students need to be personally involved in writing exercises in order to make the learning experience of lasting value. Encouraging student participation in the exercise, while at the same time refining and expanding writing skills, requires a certain pragmatic approach. The teacher should be clear on what skills he/she is trying to develop. Next, the teacher needs to decide on which means (or type of exercise) can facilitate learning of the target area. Once the target skill areas and means of implementation are defined, the teacher can then proceed to focus on what topic can be employed to ensure student participation. By pragmatically combing these objectives, the teacher can expect both enthusiasm and effective learning.
II.CHOOSING A TARGET AREA
Choosing the target area depends on many factors; what level are the students? What is the average age of the students, Why are the students learning English, Are there any specific future intentions for the writing (i.e. school tests or job application letters etc.). Other important questions to ask oneself are: What should the students be able to produce at the end of this exercise? (a well written letter, basic communication of ideas, etc.) What is the focus of the exercise? (structure, tense usage, creative writing). Once these factors are clear in the mind of the teacher, the teacher can begin to focus on how to involve the students in the activity thus promoting a positive, long-term learning experience
III.PLANNING THE CLASS
The teacher can begin to consider how to involve the students by considering what type of activities are interesting to the students: Are they preparing for something specific such as a holiday or test?, Will they need any of the skills pragmatically? What has been effective in the past? A good way to approach this is by class feedback, or brainstorming sessions. By choosing a topic that involves the students the teacher is providing a context within which effective learning on the target area can be undertaken.
Finally, the question of which type of correction will facilitate a useful writing exercise is of utmost importance. Here the teacher needs to once again think about the overall target area of the exercise. If there is an immediate task at hand, such as taking a test, perhaps teacher-guided correction is the most effective solution. However, if the task were more general (for example developing informal letter writing skills), maybe the best approach would be to have the students work in groups thereby learning from each other. Most importantly, by choosing the correct means of correction the teacher can encourage rather discourage students.
IV.APPROACHES TO TEACH WRITING
There are several approaches to teaching writing that are presented by (Raimes, 1983) as follows:
a.The Controlled-to-Free Approach
In the 1950s and early 1960, the audio-lingual method dominated second-language learning This method emphasized speech and writing served to achieve mastery of grammatical and syntactic forms. Hence teachers developed and used techniques to enable student to achieve this mastery. The controlled-to-free approach in is sequential: students are first given sentence exercises, then paragraphs to copy or manipulate grammatically by changing questions to statements, present to past, or plural to singular. They might also change words to clauses or combine sentences. With these controlled compositions, it is relatively easy to for students write and yet avoid errors, which makes error correction easy. Students are allowed to try some free composition after they have reached an intermediate level of proficiency. As such, this approach stress on grammar, syntax, and mechanics. It emphasizes accuracy rather than fluency or originality.
b.The Free Writing Approach
This approach stresses writing quantity rather than quality. Teachers who use this approach assign vast amounts of free writing on given topics with only minimal correction. The emphasis in this approach is on content and fluency rather than on accuracy and form. Once ideas are down on the page, grammatical accuracy and organization follow. Thus, teachers may begin their classes by asking students to write freely on any topic without worrying about grammar and spelling for five or ten minutes. The teacher does not correct these pieces of free writing. They simply read them and may comment on the ideas the writer expressed. Alternatively, some students may volunteer to read their own writing aloud to the class. Concern for “audience” and “content” are seen as important in this approach.
c.The Paragraph-Pattern Approach
Instead of accuracy of grammar or fluency of content, the Paragraph-Pattern-Approach stresses on organization. Students copy paragraphs and imitate model passages. They put scrambled sentences into paragraph order. They identify general and specific statements and choose to invent an appropriate topic sentence or insert or delete sentences. This approach is based on the principle that in different cultures people construct and organize communication with each other in different ways.
d.The Grammar-Syntax-Organization Approach
This approach stresses on simultaneous work on more than one composition feature. Teachers who follow this approach maintain that writing cannot be seen as composed of separate skills which are learned sequentially. Therefore, student should be trained to pay attention to organization while they also work on the necessary grammar and syntax. This approach links the purpose of writing to the forms that are needed to convey message.
e.The Communicative Approach
This approach stresses the purpose of writing and the audience for it. Student writers are encouraged to behave like writers in real life and ask themselves the crucial questions about purpose and audience:
Why am I writing this? Who will read it?
Traditionally, the teacher alone has been the audience for student writing. But some feel that writers do their best when writing is truly a communicative act, with a writer writing for a real reader. As such, the readership may be extended to classmate and pen pals.
f.The Process Approach
Recently, the teaching of writing has moved away from a concentration on written product to an emphasis on the process of writing. Thus, writers ask themselves:
How do I write this? How do I get started?
In this approach, students are trained to generate ideas for writing, think of the purpose and audience, write multiple drafts in order to present written products that communicate their own ideas. Teachers who use this approach give students time to tray ideas and feedback on the content of what they write in their drafts. As such, writing becomes a process of discovery for the students as they discover new ideas and new language forms to express them. Furthermore, learning to write is seen as a developmental process that helps students to write as professional authors do, choosing their own topics and genres, and writing from their own experiences or observations. A writing process approach requires that teachers give students greater responsibility for, and ownership of, their own learning. Students make decisions about genre and choice of topics, and collaborate as they write.
During the writing process, students engage in pre-writing, planning, drafting, and post-writing activities. However, as the writing process is recursive in nature, they do not necessarily engage in these activities in that order.
V.PROCESS WRITING ACTIVITIES
The following process writing activities can be used:
a.Pre-writing: A Place to Start
Pre-writing, the first stage in the writing process, begins long before the writer puts thoughts into writing. The experiences, observations, and interactions that students have prior to entering the classroom have an impact upon what they will write and how they will write it. Within the classroom, pre-writing prompts and activities can be integrated into the writing process as scaffolds by teachers to help students generate ideas for their writing and to practice the thinking skills inherent in the activity.
To initiate thinking and generate possible writing topics, it is important for students to explore ideas for writing topics using a variety of pre-writing strategies, such as the following: - Brainstorming - Constructing thought webs and graphic organizers - Interviewing a person knowledgeable about the topic - Engaging in peer or teacher-student discussions and conferences - Listening to music - Reading about and researching the topic - Free writing or timed free writing about the topic - Viewing media such as pictures, movies, and television - Listing and categorizing information - Reflecting upon personal experience - Examining writing models - Responding to literature - Role playing and other drama techniques - Asking the 5 Ws--who, what, where, when and why.
To explore topics about which to write, the teacher may post suggestions on the bulletin board for student reference. He/she may invite students to add their own pre-writing strategies to ideas such as the following:
1.Brainstorming about people, places, and feelings
Write down or tell a partner the names of people you could describe, then quickly and briefly describe each one. Name several places you have visited and list descriptive words for each place. List and describe some memorable feelings you have had, and explain the situation in which they occurred.
2.Talking and listening in pairs or groups
Take turns telling about an interesting person, thing, incident, or object. Encourage the listeners to ask questions and add ideas. Record possible writing topics or ideas as they arise during the discussion.
3.Looking at art
Study paintings, photographs, drawings, or sculpture in magazines or art books. It may even be useful to take a trip to a local museum or art gallery. Jot down notes and questions about the artwork, the artist and the subject, and any topic ideas that come to mind during the observation. It may help to talk over your information and ideas with a partner or small group. Explain to a partner the stories in the art works.
4.Listening to music
Listen to music you like best or a variety of new and unfamiliar music. Listen to tape recordings or to the radio, closing your eyes and letting the music paint pictures in your mind. Record these images as you listen, or turn off the music and quickly record your ideas. It may be helpful to tell the story you have imagined to a partner or group.
5.Role playing
Pretend to be any character, ask peers to act as other characters, and dramatize an event or incident, and what happened as a result of that incident or event.
6.Observing with all senses
Be aware of all that is happening around you, in the classroom, at home, in restaurants, in malls, and wherever you go. Listen closely to conversations of the people you observe, and try to capture the details of their manners and dress. Observe for issues, problems, or achievements in your community. Jot down ideas and notes as you observe them or as soon as possible after your observations.
7.Listing ideas and information
List such things as the activities that interest you, the sports you play, the clubs that you belong to, and the community and world issues that you know about from the media.
8.Reading
Read such things as nonfiction books, novels, magazines, stories, newspapers, and poems. Jot down ideas that occur to you as you read and list questions you might investigate further. Keep track of interesting vocabulary, story plots, and characters.
9.Newspaper searches
Read the stories and captions that catch your interest. Jot down ideas for writing a newspaper article or ideas that can be developed into other kinds of writing.
10.Author visits
As the authors share their writing and discuss the craft of writing, students gain further understanding of the writing process and possibly get ideas for their own writing.
Pre-writing prompts or activities planned by the teacher can serve as writing scaffolds for inexperienced writers who have difficulty accessing their own feelings, ideas, experiences, and knowledge. Teacher-planned pre-writing activities, such as the samples that follow, give students a place to start and make them become aware of places from which to get ideas in the future. Students who have a place to start with will be more motivated to continue developing their ideas and their own writing voices.
b.Post-writing: Preparing To Go Public
When students have an authentic audience and purpose, they want to rework their written drafts, polishing them for presentation or publication. Going public means taking a huge risk; the student's self-esteem is on the line, so the decision about how and with whom to share their writing must be up to the student writer. Teachers may encourage students to share certain pieces or determine the number of pieces that students are required to share or publish within a set time period, but ultimately the decision about which pieces to share, and with whom, should be left up to the writer.
To prepare a final, polished draft, students may write in legible handwriting or use a word-processing program to prepare a polished written work. Then their writings go to public through 1. Sharing 2. Publishing 3. Using a portfolio
c.Sharing
Students may share their written work. Sharing is a useful post- writing activity since it provides students with an immediate audience. Some examples of sharing students’ writings include
1. The author's chair, which provides opportunity for students to share their writing aloud with the whole class; 2. Sharing in small groups or with a partner; and 3. Using bulletin board space assigned to a specific genre or to a class of students.
At times, students should be provided with opportunities to decide if they wish to share their written work, and whether they will share in pairs, in small groups, or with the whole class.
d.Publishing
Students may choose to publish their writing. Some examples of publishing formats include: - Class booklets - School or local newspapers - Yearbook - Writing contests - Magazines
e.Using a portfolio
To decide if the written work will be placed in the student's assessment portfolio, teachers can negotiate with students to generate guidelines about the number and variety of pieces that they are required to place in their portfolio for assessment and evaluation purposes. Contracts may be useful to address individual student needs and abilities. Students should be involved in making choices about which of their written pieces will become part of their portfolios.
f.Mini-Lessons
At some point during most writing classes, in a 5-10 minute mini-lesson (length depends upon the procedure, concept, skill, or convention to be taught), the teacher provides students with information necessary for their writing. Mini-lessons about language usage and conventions such as spelling, sentence structure, and punctuation are necessary; however, they should emerge from the students' writing or the curriculum objectives, rather than being arbitrarily determined by the teacher. It is important to allow time for students to practice concepts introduced in mini-lessons within the context of their own writing.
The decision about what to teach in a mini-lesson depends upon the selected objectives as well as upon the students' needs and interests. The following lists provide examples of topics that may require mini-lessons.
Writing Process Procedures
1. Pre-writing activities 2. Writing rough drafts 3. Self-reflection 4. Participating in writing groups 5. Peer and teacher conferences 6. Writing folders and assessment portfolios 7. Revising and editing final drafts 8. Sharing and publishing.
Literary Elements and Devices
1. Plot 2. Characters 3. Main idea/theme 4. Setting 5. Narrative hook 6. Point of view 7. Flashbacks 8. Foreshadowing 9. Comparisons (e.g., analogies, metaphors, similes) 10. Personification 11. Alliteration 12. Rhyme and repetition.
Language Conventions and Mechanics
1. writing sentences 2. varying sentence structure (adding, deleting, substituting, moving, and combining) 3. writing opening and concluding paragraphs 4. writing descriptive paragraphs 5. punctuating items in a series 6. using the apostrophe 7. choosing titles 8. punctuating dialogue 9. selecting appropriate words (e.g., to show fear, suspense, bravery, or other characteristics).
Writing Formats and Genre
1. Friendly or business letter 2. News article 3. Short story 4. Haiku poetry 5. Personal experience narrative 6. Science fiction.
Some mini-lessons may be planned for the whole class because the teacher has determined the need for students to have specific information that supports their learning or the unit of study. Other mini-lessons may be provided to individuals or small groups as the need arises. If the concept to be taught is complex, the teacher should provide instruction in steps, allowing students the opportunity to practice each step before putting them all together.
Teachers should keep records (e.g., lesson plan sheets, anecdotal notes, checklists) of mini-lesson topics and to whom they were presented. Students may also be required to keep records of mini-lessons received (e.g., handouts, notes, checklists), for future reference.
g.Supporting and Managing the Writing Process
To support and manage a writing process workshop, teachers should take time to ensure that students understand how the classroom structure and instructional activities work together. It is important to create an atmosphere that allows and encourages students to feel safe taking risks in order to develop a community of writers who support each other and share with each other (the teacher is a part of this community).
The teacher should be sure that - desks are arranged in clusters or tables are used to accommodate four to six students. - resources which will assist students as they write (e.g., dictionaries, language study texts, literature as models, and samples of student writing) are provided on a specified shelf. - the writing process information is displayed on bulletin boards. - the areas designated for specific activities (e.g., peer conferences, writing and publishing tasks) are set in the classroom.
Of course, the teacher plays an interactive role and builds scaffolds as needed. He/she should model the various writing formats and conventions of the writing process, and provide the needed help as each student is writing. As a member of the community of writers, the teacher also writes and shares his/her writing with the students. For instance, while the students are engaged in pre-writing, the teacher may do her/his writing on a chart for the students to observe. This models the process, as well as the specific format or conventions being used.
