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Scaffolding Creative Writing: Everything You Need to Know

When it comes to creative writing , I feel scaffolding is especially important. Scaffolding writing–whether with worksheets or through techniques–is especially important for struggling writers. When students, who are uncomfortable with putting their ideas on paper, find themselves in a creative writing class, scaffolds are even more important. But what does it mean to scaffold writing? And what does scaffolding look like in a creative writing class?

What is “Scaffolding”?

The term scaffolding comes from construction work.

When new construction projects begin, usually supports are erected to help construction workers move materials, to give them a foundation to work on, and to otherwise aid in general construction.

Likewise, when students are constructing their new projects, they, too, need scaffolding; without it, they have to create with very little support.

Scaffolding is the supports that we, as their teachers, put up to support student writing.

In the classroom, scaffolding can take shape in many ways. It can be the outline for an essay or the sentence starters for a classroom discussion. One of my favorite scaffolds is a graphic organizer.

Anything you do that helps students get ideas on paper can be a writing scaffold.

In a creative writing class, however, where rules are meant to be broken, providing that scaffolding can be a challenge. How, then, do you guide students and provide support without limiting their creativity? Do you even really need it at all?

Why Should We Use Scaffolding in Creative Writing?

If the purpose of creative writing is to let students experience more freedom in writing, why even bother with scaffolding?

1. Scaffolding Writing Builds Confidence

Even my best writers are often unsure of themselves. Providing some guidelines, requirements, or outlines reassures them that what they’re writing is “right.”

Often, my students struggle in a class that has “no right answers,” so providing scaffolding helps ease their anxiety about writing a “wrong” poem or story.

It’s crazy, but a blank page and no rules really makes some students anxious! Especially when they’ve been trained their whole lives to regurgitate “correct” answers in order to make teachers happy.

2. Scaffolding Writing Gives Students a Starting Point

If students know they have to get from point A to point B, generally they can at least get started. Too much freedom can cause students to freeze up, write forever with no stopping point, or spend too much time brainstorming ideas and not actually writing.

Scaffolding helps students get started and guides them through the process of making it to the end.

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3. Scaffolding Writing Helps Struggling Writers Without Holding Back Advanced Writers

One of my biggest struggles in teaching creative writing has been the huge difference in skill, talent, and confidence between my lowest and highest achieving students. Some students have been writing creatively for years and need little guidance; others are not even sure what “creative writing” is or why their guidance counselor signed them up for it.

I struggled with how to guide students through their writing without also stifling them.

Scaffolding gives struggling writers the help and guidance they need to embark on learning a new skill, like writing for pleasure.

When I used Kwame Alexander’s writing as a mentor text (a scaffold in and of itself), I told students exactly what to talk about in each stanza of their own writing. This really helped my students who had never written a poem prior to the class.

It also helped them grasp the concept of blending others’ style and techniques with one’s own writing. I worried, though, that such formulaic writing would stunt and bore my writers who needed to be challenged.

However, I quickly realized that my advanced students weren’t letting the scaffolds stop or restrict their writing at all!

I find that when students are inspired, they have no problem throwing away my scaffolds entirely or expanding on the structure I set in place.

Now, I encourage this with every assignment and let students know that if my outlines feel restrictive, they should follow their little writer hearts.

4. Scaffolding Writing Prevents Writer’s Block

At some point, every student will say, “I don’t know what to write next.”

When that happens, it’s great to have a handout or a graphic organizer to point to and say, “Well, what’s next?” or “What question haven’t you answered?” Usually, that’s enough for writers to begin again.

Without those scaffolds, I would have to invest a lot of time looking at each piece of writing and trying to assess what the author may want to do next. The scaffolding not only cuts down on teacher time, but gives the students the tools to solve their writer’s block independently.

Ok, so we can all agree that scaffolding is a great tool for any class, even creative ones. But how  can it be put in place when the assignment’s final products can vary so much?

How to Use Scaffolding Techniques In a Creative Writing Class

Ok, but how do we scaffold writing in class? What can we do to help our students not only, start, but persevere, finish a piece, and aim for even better results next time?

1. Graphic Organizer Worksheets

When I was a student, I hated outlines. They seemed like a dumb tool for people who couldn’t remember their ideas for very long.

When I started teaching, however, I saw how immensely beneficial they were for my students to organize ideas before writing, and now I use them all the time myself!

Graphic organizers are my favorite way to have students brainstorm and consider a project before beginning. They’re great for visual learners and allow students to come up with all the “elements” of a piece before putting it together (which I think makes the final product less daunting).

For example, when we write cinquain poems in my class, students fill out a graphic organizer before writing the poem, even though the final poem only consists of eleven words!

They write down their topic, adjectives, synonyms, and other details, so that when they write the actual cinquain, they can choose the very best words for the finished product. It’s a great lesson on precision in language.

My free “I Am” poem lesson is another example of a graphic organizer. Students just need to fill in the blanks, and they end up with a whole poem!

2. Examples and Mentor Texts

It’s tough for an architect to build if they don’t know what the building is supposed to look like eventually.

The same is true for young writers.

If they don’t have a great example of what to shoot for, they won’t challenge themselves. This is where mentor texts come in.

For example, the poetry of Elizabeth Acevedo makes for excellent mentor texts in a creative writing class. Not only is her poetry mind-blowing, but her performances are as well.

In this lesson, we watch her perform one of her pieces, read another, and then write our own poem based on personal experience, just like Acevedo does. Watching her performance stays with my students, and they will occasionally remark on her performance even weeks later!

Knowing just how good an end result can be, gives students something to aim for, rather than having them settle for something mediocre. And. really, who among us remains uninspired after witnessing truly great art?

Our students deserve the same level of inspiration in their lives.

3. Guiding questions

Guiding questions are great to do on the fly when talking to students who are stuck. I sometimes incorporate them into worksheets and graphic organizers as well.

For example, when we write short stories, the possibilities are endless!

Some students write horrors while others write romances. Some stories start and end on a page while others go one for twenty. It’s difficult to structure an assignment with so many variations, so I use a lot of guiding questions that students can pick and choose from.

When they work on character development, I provide a bunch of questions students can think about to get to know their characters better.

Guiding questions do just that–they guide. They give students’ thoughts a jumping-off point, and once their mind gets going, they often find their direction.

Providing goals is another great scaffold because it keeps those struggling on track, while pushing those who are more advanced. What do I mean by “goals?” I mean targets to aim for other than simply what students will be graded on.

For example, when we read Elizabeth Acevedo , I encourage students to think about rhythm while they write.

When we study the poetry of Kwame Alexander , we talk about rhyme and I encourage students to use it.

When we write odes , I tell students they have to include at least three examples of figurative language.

When students get stuck, I just point to the extra goals I’ve given them.

How can you create more rhythm? What can you tweak to fit in an internal rhyme? What figurative language techniques haven’t you used? Knowing where and how to push themselves helps students to stay on track.

So, what do you think? Where in your creative writing classroom can you add scaffolds? What can of writing scaffolding do your students need?

If you’re not sure how to get started, I recommend checking out my “I Am” Poem for High School lesson . It’s FREE!

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Dyslexia Catalyst

Dyslexia resource for children, parents and teachers

How to scaffold creative writing

Creative Writing

Many children, especially those with EAL or Specific Learning Difficulties have problems in the area of creative writing. My aim is to show children (or teachers) how a structured, sequential and cumulative model can work successfully to support all children. Self esteem is guaranteed!

The manual for teachers and parents will be coming soon. It will explain the whole theory behind the scaffold, how to teach the skills required and will provide ten fully-supported lesson plans.

• Introduction

I hated story writing at school. I didn’t know where to begin, I felt I had no ideas, good words or how to create a plot and my best friend, who is now a successful journalist, was never stuck for words, which only made me feel more inadequate!

Once I became a teacher I developed strategies to scaffold and support nearly all areas of learning but particularly creative writing, so that there was no failure within this guided practice. It then followed that once the child gained confidence, they could ‘lift off’ in to independent writing .

I have taught for many years in London, Tokyo, California and Hong Kong, in many different educational systems. Throughout, there has been one constant theme and that is that many children (especially children with SpLD, such as Dyslexia and English as an Additional Language), their teachers and their parents all have a certain dread when it comes to Creative Writing. In contrast, I have found that with a sufficient amount of scaffolding and support and never giving creative writing as homework, all these worries go away, allowing the children to revel in their creativity and to gain an enormous amount of self-esteem. Success certainly breeds success.

• The Scaffold (framework) :

The scaffold can be looked at in a very structured way, it can be presented as a mind map or as a ‘wall’, each support skill being a brick. If one brick is missing, then there is every chance the wall will collapse. The scaffold consists of these elements;

• Scaffolding
• Presentation
• Reinforcement
• Self-esteem

These can be any skills that the teacher wants or is required to teach. I choose the skills that are most relevant to the goal of encouraging fluent writers. A session taught separately may consist of the explicit teaching and practising of how to write a conversation, synonyms of over-used words such as said or walk, or similes. Most children learn these skills but unless they are able to use them back in their writing, they are of little value. Once the skills are learnt, there should be great emphasis put on them in their creative writing.

To begin with, a passage (a page or two) is read from a fictional book, steeped in strong and vivid vocabulary. In this way the children have a strong mental image of a scene. The best idea is to follow this up with acting out the story, preferably with the aid of a few key props. Some children need to visualise and participate in the story, to fully understand the story and vocabulary.

The complexity of the story read will be differentiated depending on the interest (rather than the reading) level of the children. For example; the BFG might be suitable for a class of young readers, Magician’s Nephew for a class of fluent readers and Northern Lights for a class of advanced readers. Once introduced to these books, it is not surprising how often a child will then want to read the rest of the story for themselves. Music, poems and tapes are something that are introduced once the children become much more confident.

The idea is not to re-write the passage using the same characters but to be stimulated to use some of the ideas presented, to make their own story setting and characters.

Vocabulary phrases and words are all important for creative, creative writing. Children not exposed to interesting phrases, who have English as an additional language or are frightened to use words they can’t spell, find the lists of phrases chosen from the passages read (‘long, pale, wrinkly face’ from the BFG, ‘curiosity got the better of her’ from the Magician’s Nephew or ‘the heavily sculpted facade’ from Northern Lights) the most incredible support. In order to benefit the most from these sets of words, which they remember by thinking of the passage, the children should be encouraged to use words from past books so that the effect is one of a cumulative and sequential build up. A love of synonyms (especially for the words, walk, said, nice and spooky!) and a thesaurus, as well as a spell checker for proof reading, are essential. Once the synonyms are discussed, children find it highly amusing that there should be ‘forbidden’ words such as ‘said’, which are not allowed back in to their writing.

• Scaffolding (Framework)

The planning and structural aspects of the creative writing process, is critical. It is also the stumbling block for many children as they say the plan gets too complicated and they can’t think of how to a) start b) develop the plot c) think of good words and d) decide how to finish.

• Differentiation

The scaffold can work for many different levels: Initially, with young children one can start by just having one set of words that the children place in a pre-written story (prepositions for ‘We’re going on a Bear Hunt’ works well).

Next one would work on reading a passage, using the vocabulary, acting it out and building up individual paragraphs of setting or encounter. When the children are confident with the individual paragraphs, it can be good to write the ‘lead in’ as a class and then the children are encouraged to finish the story, stopping before each paragraph starts to establish what exactly is required of the next paragraph. Once discussed then one needs to ask for silence while they write, to allow everyone to think. If any of the children look puzzled then the process has gone too fast and they need the scaffold of the previous step cemented. In my experience, the rate at which the children ‘lift off’ this guided practice is entirely dependent on how ‘secure’ they feel in the process.

When the children have practised all the constituent parts of writing a story then they are ready to write the whole four paragraphs. There is one story plan that can be adapted for all stories. It is so simple and diverts the children away from what I call ‘and then’ stories. It encourages them to think and write in descriptive terms and, if it is followed carefully, the story ‘takes care of itself’. The reduction in stress is enormous and it is constantly amazing how one story plan, using just one stimulus, can produce such varying stories. As I say to the children, “it may be the same plan and stimulus but you have the freedom to take your story anywhere in the world and into any time frame!”

• The Story Plan :
• The lead in .

Asking the questions, who, where and why? Who is the main character in the story, where is that person and why are they there? A short paragraph, taking no more than five minutes to write.

• Description of the setting .

The children should concentrate on the description of the setting, using the vocabulary phrases, past and present and their own imagination. It is always good to think about their senses, what they can hear, smell or touch as well as what they can see. To avoid it being a straight list, encourage the children to combine ideas, for example, ‘chinks of light shone on to the lichen-covered, damp rocks’. This paragraph should take about ten minutes to write, again in silence, once all questions have been asked and answered.

• Description of the encounter .

This is when the main character(s) in the story encounter something or someone. The emphasis is on the description again. Once children have learnt the rules of speech, this is the perfect paragraph to put it in, a short exchange rather than a dialogue, as it is all too easy to forget the description. Again ten minutes is the appropriate amount of time to write.

In which the story is concluded. The characters have now met, the main question to ask is ‘what happens?’ In a short story this should be short, pithy and might be a ‘cliff hanger’. The sentence ‘ I woke up and it was all a dream’ is not an ending to be over-used! Five minutes is all it should take and ideally it should link to the ‘lead in’ by making some reference to the question of why the character was in that situation to begin with. For example if the character was in the desert looking for scorpions, maybe in the lead out, mention could be made of ‘a curved, crusty tail poised for attack!’

Once children have become fully confident and competent with the scaffold, it is very easy to extend their work by allowing more time for each paragraph, two or three paragraphs for each part of the story and using more and more sophisticated texts (and therefore vocabulary) as the stimulus. Outstanding work can be expected and achieved right up into secondary education, with this scaffold as the root model.

• ICT Software

This is possibly the biggest growth area in terms of outstanding help for children with difficulties and/or English as an Additional Language.

There are many pieces of software that support and scaffold the process of Creative Writing, but not all of them need to be used all the time, but it is useful to be able to draw on them. Some of the key pieces of software to consider are:

• Text HELP . Read and Write Standard/Gold

Text-to-Speech Feedback, with a floating toolbar to create a supportive environment, providing all the speech and spelling tools needed.

• Dragon Speaking Naturally

You talk, it types!

• Inspiration V8

Visual mapping software that organises, plans and presents ideas.

Always ready, on-screen vocabulary toolbox.

• Franklin Spell checker

Invaluable aid for proof-reading.

If you are interested a good company dealing in all this software, based in England, is: www.iansyst.com

Once the skills have been taught, the passage from the stimulus book acted out and discussed, the vocabulary words and phrases gleaned from the passage, the story planned, the children are ready to begin writing.

There are two points to note, one is that they should write skipping lines. The other is that it should be completed in complete silence. No questions should be asked as this disturbs everyone around. Keeping quiet is often more difficult for the teacher than the children!

If a child is unable, for whatever reason, to write, then one of the above pieces of software can be employed and in extreme cases the story can be ‘scribed’.

Creative Writing should never be given as homework, it is too stressful for all concerned and the parents can’t be expected to know how to scaffold or what is expected of them! Let alone the fact that you, as the teacher, have no idea who has written the story.

• Over-learning and reinforcement

Once the piece of writing is completed, the children should be given time to proof read it, preferably with the aid of a spell checker. It can then be handed to another child and they can proof read it, in another colour and sign it.

Next the children should highlight any words or phrases in the passage that are skills that they have learnt, such as similes, any vocabulary they have used from the vocabulary sheets, from the passage they have based their story on, or any vocabulary they have learnt in this manner. This highlighting encourages and fosters ‘over-learning’. Children love to highlight and as they become more aware of their own learning, more and more of the page is highlighted. Positive marking, of a tick, over the highlighted word, is just a reinforcement of the positive aspects of their writing.

A simple dot should be put under the incorrectly spelt word, punctuation or grammar. It is then up to the child to work out the problem and re-write it in the skipped line above the mistake (again using their spell-checkers) Whether marks have to be given depends on the school. My preference, is that it is better only to put a comment but when a mark is required, it is good to break the creative aspect from the grammar, spelling and punctuation.

Time should be made in the week for the children to read out their stories, with the other children providing constructive comments. For the reader to learn to read out loud and the positive benefits of having an audience, is an incredible boost for any child.

If possible it is best to put all the children’s creative writing work in a file, with coloured dividers for each different story. In this way they can access previous stories and vocabulary sheets easily and quickly.

Homework should be used for word processing their work or in making a fine illustration to go with their story. This can then be brought back in to school and displayed on a board, in a magazine or back in their files.

The great strength of this model is that reinforcement is provided all the way through the process in a sequential, cumulative and multi-sensory manner.

The final reinforcement is for the children to take pride in reading their stories out loud with expression. The other children should comment constructively and positively. This provides immediate feedback, pride and encouragement.

At the end of the whole process of the ‘scaffolded’ piece of Creative Writing, most children will feel as if they are a ‘writer’. An added bonus is that they frequently want to read the book from which you have chosen the passage to inspire them, and they become more critical of their own reading and whether it has ‘good vocabulary’.

Finally, if the whole model has been ‘scaffolded’ correctly, then every child experiences success. Every child, whether they have Specific Learning Difficulties, speak English as an Additional Language or are already confident readers and writers, can only improve and this is wonderful for their self-esteem.

Scaffolding Creative Writing Animation (coming soon)

Cartoons created by Bill Crooks of Creative Mosaic

Plotting a Plan to Improve Writing: Using Plot Scaffolds

• Resources & Preparation
• Instructional Plan
• Related Resources

To facilitate students' thinking and problem-solving skills, this lesson tasks students with turning a plot scaffold into a written narrative. Students learn kinesthetically by acting out the scaffold "script" while collaborating with others to determine character motivations and dialogue. Students transition from actors to writers by having mental conversations with the characters they have created and letting their characters dictate how the story will evolve. Students are also prompted to insert imagery and use proper grammar in their written narrative.

Featured Resources

Character Trading Cards : This easy-to-use tool allows students to develop characters to use in their narratives.

From Theory to Practice

• Plot scaffolding involves turning a narrative plot into an open-ended play script in which students write their own dialogue and imagery in order to learn style and create a new story.
• Plot scaffolds improve students' narrative writing because, as they complete the scaffold and physically act it out, students learn to write affective dialogue and imagery that drives the story, making the plot more active and engaging to the reader. Students "see" and "feel" what may otherwise be abstract or unfamiliar concepts in print.
• Plot scaffolding provides a temporary linguistic tool to assist students in moving to levels of language performance that they might be unable to obtain without scaffolding. Because it is constructivist, scaffolding is especially useful for English-language learners as it builds from their individual language level.
• Plot scaffolding enables English-language learners to practice reading fluently and aids transition into English. Play is a very powerful tool in second-language learning. Physically acting out a story uses nonverbal communication, and repeating lines in a script allows English-language learners to "rehearse" or practice English in a formative way.
• Creative drama promotes problem solving, characterization, and imagery.
• Drama enables participants to look at reality through fantasy and to see below the surface of actions to their meaning.
• Drama is powerful because its unique balance of thought and feeling makes learning exciting, challenging, relevant to real-life concerns, and enjoyable.
• Children bring to the classroom the universal human ability to play, to behave "as if," and to think spontaneously and learn kinesthetically.

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 9. Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.
• 10. Students whose first language is not English make use of their first language to develop competency in the English language arts and to develop understanding of content across the curriculum.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

Computers with Internet access

• How to Turn Flat Dialogue into an Exciting Story student handout
• Plot Scaffold Rubric
• Tips for Writing a Plot Scaffold

Preparation

Student objectives.

Students will

• Develop a range of writing strategies to engage the reader by creating an organized structure, excluding extraneous information, using sensory images, establishing a plot, creating relevant dialogue, developing complex characters, and providing a sense of closure
• Apply a range of reading strategies by reading fluently, making predictions, recognizing multiple word meanings, identifying motives, and increasing vocabulary
• Participate as knowledgeable, reflective, creative, and critical members of a literacy community by working collaboratively and actively soliciting peer and teacher comments and opinions
• Use spoken, written, and visual language to write and act out a plot scaffold script
• Create dialogue in their first language or transition into English

Session 1: Introduction to the Plot Scaffold

Session 2: acting out the scaffold, sessions 3 and 4: completing the scaffold, sessions 5 and 6: expanding the scaffold into a narrative, sessions 7 and 8: polishing student narratives, student assessment / reflections.

• Observe students’ participation in the initial discussions of the plot scaffold and how they add to their ideas as they progress through the lesson. Address any errors or misconceptions about how dialogue should be consistent with the character. Check to see that all seven elements of plot are present.
• Observe students as they act out the scaffold and provide a safe environment where students will want to take risks in exploring ideas. Offer feedback and guidance to those who need encouragement or require assistance in learning group cooperation and tolerance.
• Involve students in helping to create a rubric for final evaluation. (See the Plot Scaffold Rubric as a possible rubric or a guide to making one.) Apply the rubric.
• If the project includes acting out the scaffold as a play, then triangulate the evaluation by assessing student achievement in listening, writing, and reading as well as including elements of nonverbal communication.

This tool provides a fun and useful way to explore a variety of topics such as a character in a book, a person or place from history, or even a physical object. An excellent tool to for summarizing or as a prewriting exercise for original stories.

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Developing Language in Every Classroom

8 Ways to Scaffold Writing for English Learners

b y Valentina Gonzalez

Scaffolds are temporary supports meant to be released when no longer needed. Think of buildings that are under construction. When the building is in the early phases, more scaffolding is necessary to sustain the structure. As the building progresses, less scaffolding is needed. Finally, before the construction is complete, the scaffolding is removed.

Scaffolding our instruction for students, English learners or not, is similar in theory. Assessing when and where the scaffolds are needed, and removing them at the right time is critical. Keeping a scaffold for too long can create a crutch for some, and students may become dependent on scaffolds that remain too long. The goal of a scaffold is to support students toward future independence.

These 8 writing scaffolds can be implemented in any grade level or content area:

1. Sentence Frames

Sentence frames are highly structured. They are basically sentences with fill in the blanks that support students at earlier stages of language proficiency. Here are a few examples of frames:

The ___has ___sides.

The ____revolted against the___.

A ___is larger/smaller than a ____.  

2. Sentence Stems

Sometimes sentence stems and sentence frames are used interchangeably. However there is a difference between the two. As shown above, a frame provides a tight grammatical structure. A stem, on the other hand, is as the name indicates, just the “stem” or base of a sentence and not a whole sentence. Students must continue the thought. Sentence stems give students just enough structure to begin more elaborate writing. Here are some examples of sentence stems:

Based on the experiment, I can conclude that…

In the beginning I thought…, but now I think…

One way that ___and ___are alike is that….

On the other hand, they are different because…

3. Mentor Texts

Mentor texts are also known as exemplars. They are models of high-quality writing for students. While adult-authored books or articles are often a main source of mentor texts, it is also effective to use high-quality student-authored examples . One teacher I know would save the original student samples of writing to use as exemplars. Another made digital copies. (Either way, always be careful to remove any identifiable information such as names.) Mentor texts set students up for success because they show students what the target is, which makes it much easier to achieve. Sometimes using student-created exemplars makes the target seem more attainable for students.

4. Interactive Word Walls

Interactive Word Walls (IWWs) are large, thematic or unit-based graphic organizers filled with rich vocabulary and visually supported with graphics and real objects. IWWs are often co-created with students rather than premade by the teacher. They can be used as scaffolds for writing in all content areas because students can easily take the language from the unit-based word wall and use it in their writing.

5. Model Writing

Model writing is similar to the Read-Aloud; in fact, some call it Write-Aloud. When we write in front of students in real time, we have the opportunity to “think aloud” and model what effective writers do mentally. This helps to make the writing process visible for students. Students see how an idea moves from the abstract to a concrete piece of writing. Modeling writing in all content areas helps students develop the language of the domain. For example, when we model how to write a lab report, we can share with students the language structures and academic vocabulary that scientists use. This modeling process supports students as they go off to write on their own.

6. Quick Writes

Not every piece of writing students do has to be lengthy. In fact, quick, daily writing is an effective way for English learners to practice writing in a low-stress setting. Long essays and pages of writing can be intimidating for students who are learning the structures of the English language. What’s the saying? “How do you eat an elephant? One bite at a time.” Breaking a task into small chunks (or “chunking” the task) makes it seem doable. A Quick Write is a short writing task—usually about 3-10 minutes. Author and teacher, Larry Ferlazzo writes about the power Quick Writes, or Micro-writing, holds for ELs here in an article for ASCD . He shows how this type of writing can improve English learners’ confidence and language proficiency.

7. Language Experience Approach

The Language Experience Approach has been around for a long time. It is a method of shared writing in which students and the teacher write together after a shared experience. This is actually one of my favorite techniques because it builds community, models writing, and increases student participation and engagement. Students listen, speak, read, and write.

Begin by sharing an experience (like a field trip, science experiment, movie, book, etc). Next, have students talk about the experience with partners or a group, and come up with sentences to share with the teacher. Then lead the class in creating a text about the experience on chart paper (or under a document camera) as students share their sentences with you. After you write each sentence, have the class read it aloud chorally. (This provides tons of reading practice for fluency.) When the shared writing is complete, the class rereads the whole piece. Finally, lead the class in discussing organization, revision, and editing. Students can suggest adding and deleting sentences and decide to change words or punctuation. To see an example of what this can look like, check out Carol Salva’s use of LEA here !

8. Mentor Sentences

Think of a mentor in your life. Who did you imagine? Someone you look up to? Someone you try to emulate? Mentor sentences are sentences students try to emulate. Jeff Anderson, author of Mechanically Inclined and Patterns of Power writes about the effectiveness of mentor sentences. The sentences that we choose can come from Read Alouds or we can make up our own sentences using information relevant to our students and our class.

For instance, suppose we had a visit from the fire department and the kids couldn’t talk about anything else. So my mentor sentence may have been, “ While waiting anxiously to hear all about the apparatus, a crowd of kids huddled around the fire truck .” First I read it aloud, and then we read it chorally. I then invited students to discuss the sentence with their partner or in groups. What did they notice? What did they observe about the sentence? I called on a few students randomly. Some noticed that there was a comma. One student said that the sentence was in the past tense, and we asked how he knew. He said,  “Because the word ‘huddled’ ended with an -ed.” Another student said that it looked like two sentences stuck together. We talked more about that and discovered that the first part of the sentence wasn’t a complete sentence but a phrase. Finally, the students wrote their own sentences modeled after the mentor sentence. Some students used this frame:

While waiting ______to hear all about the_____, a crowd of ___huddled around the ____.

One student wrote: While waiting eagerly to grab all the kibble, a crowd of dogs huddled around the food bowl. To add to it, he drew a group of dogs around an empty food bowl.

If you have students who struggle with writing, try some of these scaffolds to support them along the way to independence and success!

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15 thoughts on “ 8 Ways to Scaffold Writing for English Learners ”

Thank you for the informative blog post! It’s so helpful to have ideas and strategies organized in a clear concise list! These are incredibly practical ways to get all students speaking and writing. Especially now that students have almost an entire school year worth of shared experiences to talk and write about. Buenísimo!

Excellent tips! I really appreciate your effort. I was looking for such great ways to help my students enhance their writing skills. I will share this with my colleagues as well.

These are such good ideas. I will certainly make use of them to help my students get better at writing.

wonderful and awesome ideas thank you

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Great tips. I love how they compare scaffolding in the classroom to a house being built. Great visual to refer back to.

Thank you for all of the information. I forget about short, daily writing as an important building block, even with my seniors.

Glad to have the sentence stems, I could print these out and have them around the room. I also feel that the quick write would be beneficial to sum up the days lesson.

I tried Quick Writes and Sentence Stems before and my ELL students loved them. I liked the idea of Interactive word wall for Physics class

I tried Interactive Word Walls last year and it was very helpful with the commonly misunderstood extensive/intensive, heat/temperature, etc. Used it for a couple of units and then dropped the ball – going to try and do more with it this year.

Loved using the interactive word wall last year. This is a great list for reminders of how to effectively engage all of our learners in science literacy.

Having students read Mentor Texts would be extremely helpful in creating and improving their skills. The ESL student would relate more to someone their own age and experience.

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I really appreciate this great work ,i will implement thèse stratégies with my learners so as to boost their writing skills

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Narrative Scaffolding

• Published: 11 November 2021
• Volume 14 , pages 1147–1167, ( 2023 )

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• Regina E. Fabry   ORCID: orcid.org/0000-0003-1078-1499 1  

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Mental capacities, philosophers of mind and cognition have recently argued, are not exclusively realised in brain, but depend upon the rest of the body and the local environment. In this context, the concept of ‘scaffolding’ has been employed to specify the relationship between embodied organisms and their local environment. The core idea is that at least some cognitive and affective capacities are causally dependent upon environmental resources. However, in-depth examinations of specific examples of scaffolding as test cases for current theorising about scaffolding have remained scarce. The aim of the current paper is to help close this gap. To this end, I will offer a characterisation of key aspects of ‘scaffolding’ that can help specify scaffolding relations. In a second step, I will analyse fictional textual narrative as a test case for accounts of cognitive and affective scaffolding. The key claim of this paper will be that fictional textual narrative can be considered as a scaffold that transforms our capacities in social understanding and empathising in the course of ontogeny.

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Social cognition, mindreading and narratives. A cognitive semiotics perspective on narrative practices from early mindreading to Autism Spectrum Disorder

Claudio Paolucci

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Richard Walsh

The Evolution of Imagination and Fiction Through Generativity and Narrative

In what follows, ‘textual narrative’ refers to a class of material scaffolds. When talking about ‘a textual narrative’ or ‘textual narratives’, I refer to particular members of this class.

It should be noted that the concept of ‘scaffolding’ was first introduced in psychological research on the role of tutoring in children’s acquisition of problem-solving skills (Wood et al. 1976 ). In this case, the scaffolding relation consists in the guidance provided by a parent, teacher or knowledgeable peer (the scaffold) and a problem-solving capacity (the scaffolded). In this paper, I will focus on philosophical work on scaffolding. For a review of educational research on ‘scaffolding’, see Pea ( 2004 ).

Another option would be that cognitive and affective scaffolding would not influence each other in any relevant sense, given that cognitive and affective processes would be clearly distinct. However, I will not explore this modularist option further, given that it is implausible in light of empirical findings and theoretical considerations (see, e.g., Pessoa 2015 ; Todd et al. 2020 ).

As stated above, I am concerned with the representation of connected events, not with the nature of connected events themselves . As Goldie ( 2012 ) points out, we should clearly distinguish between “a sequence of events; and a narrative or story of the events” (p. 7). Accordingly, the considerations developed in this sub-section are aesthetic and narratological, not ontological. For this reason, they are independent from discussions on the ontological properties of events and their connections. I am grateful to an anonymous reviewer for pressing me on this point.

The notion of ‘transformation’ as it is used in this context is similar to Sterelny’s ( 2010 ) notion and refers to the ontogenetic development of cognitive capacities.

An interesting test case for a transmedial narratological analysis of scaffolding relations would be audiobooks, which transpose the autoglottic space of a fictional textual narrative into a temporal sequence of vocalisations. Arguably, narrative discourse, story, and plot would be preserved in the transposition of a narrative text into an audiobook. However, we should expect to find differences between the identification and interpretation of visually detectable textual features and auditory cues (for a discussion, see Kuzmičová 2016 ). These differences, I assume, would influence the ways in which fictional textual and audiobook narratives could scaffold cognitive and affective capacities.

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Acknowledgements

I am greatly indebted to Roy Dings and Jussi Saarinen for their helpful comments on an earlier version of this paper. I would also like to thank Sabrina Coninx, Maja Griem, Albert Newen, Alfredo Vernazzani, and Julia Wolf for their constructive feedback. My work on large parts of the paper was made possible by a postdoctoral position, funded by Ruhr University Bochum, within the Research Training Group Situated Cognition . I would like to thank the group members for their support. The revision of this paper was funded by an ARC Discovery Early Career Research Award (grant number DE210100115).

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Fabry, R.E. Narrative Scaffolding. Rev.Phil.Psych. 14 , 1147–1167 (2023). https://doi.org/10.1007/s13164-021-00595-w

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Accepted : 27 October 2021

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Carrie brownstein and corin tucker talk sleater-kinney, and 30 years of making music.

Ann Marie Baldonado

Brownstein and Tucker co-founded Sleater-Kinney in Olympia, Wash., during the 1990s feminist punk scene. While they were working on their new record, Little Rope, Brownstein's mother died suddenly.

TERRY GROSS, HOST:

This is FRESH AIR. I'm Terry Gross. Our guests, Carrie Brownstein and Corin Tucker, formed the band Sleater-Kinney 30 years ago during the height of the riot grrrl feminist punk scene in Olympia, Wash. In January, they released their 11th album, called "Little Rope." They spoke to FRESH AIR's Ann Marie Baldonado.

ANN MARIE BALDONADO, BYLINE: It's been almost 20 years since Rolling Stone deemed Sleater-Kinney the best American punk rock band ever, so we're lucky that the band, Carrie Brownstein and Corin Tucker, are still making music and performing live. Since they started playing together in the '90s up until their latest album, "Little Rope," their music continues to evolve but still holds on to some signature tenets - the interplay of explosive guitars, Corin Tucker's distinctive wail, catharsis, vulnerability, guts and feminism, sour mixed with energetic joy.

During an eight-year hiatus, they both worked on solo music projects while Carrie Brownstein also co-created the sketch comedy show "Portlandia" with comedian and "SNL" alum Fred Armisen. Sleater-Kinney reunited 10 years ago in 2014 and became a duo in 2019 after the departure of longtime drummer Janet Weiss. "Little Rope" is their 11th album. While they were working on it, Brownstein's mother tragically died in a car accident. We'll talk about how that altered the trajectory of the songs and what it's like to work together for decades. Sleater-Kinney is currently on tour in the U.S. and will play abroad later this year. Let's start with a track from their new album, "Little Rope." Here's "Say It Like You Mean It" with Corin Tucker on vocals and guitar and Carrie Brownstein on guitar.

(SOUNDBITE OF SONG, "SAY IT LIKE YOU MEAN IT")

SLEATER-KINNEY: (Singing) Lie gently with me. All clocks have stopped. Our minds - they can't reach, all counting off. No bitter endings and no false starts - just tell me one thing. Just say the words. Say it like you mean it. I need to hear it before you go. Say it like you mean it. This goodbye hurts when you go.

BALDONADO: That's "Say It Like You Mean It" off the album "Little Rope." Carrie Brownstein, Corin Tucker, welcome back to FRESH AIR. Let's start off by talking about this song. Corin, this is you on vocals. How did this song come about?

CORIN TUCKER: This song was something that I had an idea for. I had, like, a really rough demo of it. And it was really just - I just had the chorus to begin with. And then I shared it with Carrie, and she was like, it's great. I really like it. You need to finish it. And so Carrie worked on the music, and I eventually came up with a vocal melody and lyrics for the verses. And we went into the studio with it, but when we were recording it, the vocals weren't quite hitting where they needed to. And I went home, and I just ended up, like, going to bed and waking up in the middle of the night being like, I have an idea. And I sang a different melody into my phone and just started the song in a different place that was kind of, like, a quieter, sweeter place to start the singing in so that it gave it kind of a bigger arc to go to in the chorus.

BALDONADO: Well, so starting at a different place than when you - where you originally started it - how did that sort of help what you wanted the song to be about?

TUCKER: Yeah. I think that, you know, the song is about a relationship with, you know, your longtime person. And it's different when you write a song like that when you're older because you have this whole journey that you've taken with the person, and it goes through a lot of ups and downs. But I think one of the things about, you know, writing a love song when you're older is that you realize there is a goodbye coming at some point for all of us. And we don't know when exactly that's going to be, but we do know that that's kind of the price that you pay for being in love. So the song is kind of thinking about that concept and saying, let's really say what we need to say today because we don't know what's going to happen in the future. But there's a lot of emotions, I think. There's, like, layers and layers and layers of emotions. And I think I needed to start the song in a different place in order to go through some of the different emotions that happen with that concept.

BALDONADO: Now, you started writing the songs for this album a few years ago in 2022, and this album was written during a period of sudden tragedy. Would it be OK if I asked you to talk about what happened while you were working on the album?

CARRIE BROWNSTEIN: Sure. So we had written probably three-quarters of the album, and we had gone into the first session of recording in the summer of 2022. We were slated to go back into the studio that winter, at the end of the year. And in late September, I got the news that my mother and stepfather had been killed in a car accident in Italy while they were on vacation. So that really changed a lot of things personally, obviously, for my family. And it, you know, really changed the direction of this album because it changed the direction of my life.

BALDONADO: Did any part of you want to stop or take a break? - 'cause that would have been totally understandable.

BROWNSTEIN: Yeah. I mean, to be fair, there wasn't any pressure to continue, not from Corin or our management or - you know, there are no outside influencers that were, you know, saying that it was an imperative to finish the album. And I don't even know whether I was thinking as clearly or cogently as, let's finish the album. But what I did know was that I needed structure and walls and stability at a time where everything faded and seemed to dissipate and blur. And playing music and playing guitar, which is something that I started doing in my teens - that was a ritual and a choreography that I really understood. I knew what to do with my hands and fingers upon a fretboard or the neck of the guitar, but I didn't know what to do with the rest of my body. I didn't really even know how to walk through a room or get out of bed as someone who was grieving. So I turned to something that I did know, and it was just the act of doing and making, I think, that gave the days shape and started to give my life a little bit of shape.

BALDONADO: Yeah. When I read that, you sort of, like, found comfort in going back to guitar and, you know, playing guitar like you did when you were younger, that made a lot of sense to me because it seems so physical. And I can understand that because I feel like grief affects your body, whether it saps you of energy or - I mean, even for me, I felt like I changed the way I was in my body. It's hard to describe, but it sort of sounds like what you're talking about. I don't even know, like, what words to use, but you just sort of feel different.

BROWNSTEIN: Yeah, I think especially with parents or family members...

TUCKER: Yeah.

BROWNSTEIN: ...It's an architecture, you know? It's like the scaffolding of your life and how you see yourself in relation to it is gone. You know, it's sort of crumbling. And you have to sort of write yourself in a new way and see yourself in relation to others in a different way. And I think, you know, it's like you're sort of walking around without a skeleton for a while.

BALDONADO: Now, you said that you didn't feel like you could handle the vocals the way you usually do. These days, you kind of trade off on songs. Can you explain why you wanted to play guitar but not sing as much?

BROWNSTEIN: Yeah, it's interesting because in the early days of Sleater-Kinney, as our listeners will know, or if people are just going back now and listening to our earlier records, you know, Corin is the voice of Sleater-Kinney. She has this amazing capacity to express so many emotions with her voice. She's really a very singular vocalist. And, you know, I was sort of always a sort of milder companion to that, more of a punk or personality singer. But over the years, I gained confidence, and partly because I had to kind of keep up with Corin, and we liked the intertwining vocals. You know, I started to sing more as we continued on.

And with this album - well, first of all, I'm such a fan of Corin's voice. Like, it's bigger than me, and I needed to hear it. I needed something bigger than me to step inside, to be a cloak, to be a shield, to be able to listen to sort of as a fan. So I turned to Corin as a - you know, just to help. And I needed her to rise to the occasion, which she definitely did. But I think I just felt part of it was that usually I have the words. I have the language. I'm fairly eloquent. But I just felt slightly misshapen and felt like I could express myself more clearly through guitar, which I think is an instrument that really emulates the human voice quite well. And that's where I did my wailing and let the notes bend and let, you know, the sorrow come through, or the sourness or the agitation or even the terseness and the frustration. That's all there in the guitar on this album.

BALDONADO: Let's take a short break here and then we'll talk some more. My guests are Corin Tucker and Carrie Brownstein, co-founders of the band Sleater-Kinney. They just released their new album called "Little Rope." More after a break. This is FRESH AIR.

(SOUNDBITE OF SONG, "MODERN GIRL")

SLEATER-KINNEY: (Singing) My baby loves me...

BALDONADO: This is FRESH AIR. I'm Ann Marie Baldonado, back with Carrie Brownstein and Corin Tucker, the band Sleater-Kinney. They've just released their 11th album called "Little Rope."

Going back to some of the difficult part of this story - can I ask you, Carrie, was it even more difficult that the accident that happened with your stepdad and your mom happened far away? You know, your mother and stepdad were on vacation in Italy when the accident happened. Did that make it feel strange or not real? I mean, it's always kind of strange and not real, I think, when you hear that someone that close to you has passed away. But...

BROWNSTEIN: Yeah.

BALDONADO: ...Just wondering if there was a difference.

BROWNSTEIN: I have not been asked that question, but I will say that Italy is a wonderful place to visit and a terrible place to die. It is - just takes a long time. I'm not singling out Italy, but it's just - as anyone knows who has lost someone in a far-flung place, the logistics are agonizing. The death certificates, just all - I mean, honestly, it just threw everyone in my family and Eric's (ph) family - Eric was my stepfather - like, it just - you know, we were just mired in all of these details. And that, I think - so it felt both far away, but what we were forced to focus on was just this minutia that was sometimes so absurd as to just be funny, sort of that laugh-cry kind of...

BALDONADO: Yeah.

BROWNSTEIN: ...Combination. And yeah, it was aggravating and very protracted. It actually really prolonged a lot of things, including the memorial service and just our ability to find closure. There was just a lot of paperwork and legalities to sort through when, you know, an accident happens on foreign soil. So yeah, it was just an added, I think, surrealism to the entire thing.

BALDONADO: Yeah, it even took them a couple of days to find you. And they called you, Corin, because that was a number that they had on file for Carrie's passport.

TUCKER: Yes. Yeah. I've had the same phone number since the '90s, so it was the one...

BALDONADO: (Laughter) Good for you. You may be, like, the only person.

TUCKER: Yeah, I know, I know. It was the one working phone number. And, you know, it just - it was the strangest phone call I've ever had, and I didn't. I couldn't process it at the time. I was driving my daughter to school and it came over, you know, the car and I was like, I'm not going to give you Carrie's number. Like, you can text me your details. Like, it just - it seemed unreal, seemed - you know, they weren't saying. They didn't say what was going on. They just said, we need to talk to Carrie Brownstein. I was like, I'm sure you do. You know, like, it just - it seemed unreal. And I had a bad feeling once the text came through and it seemed like a legitimate member of the U.S. embassy in Italy, you know? It just - then it was like, well, this seems - I didn't even really know, but I had a bad feeling when I saw that text. Yeah.

BALDONADO: I want to ask you about another song off the new album, "Little Rope." It's the song "Dress Yourself," which has that great line, get up, girl, and dress yourself in clothes you love for a world you hate, which I feel like many people can relate to. Can you talk about writing this song?

BROWNSTEIN: Yeah. There was a line that I read. It started out like, get up, girl, and something about meeting the day. I think it was that author, Jean Rhys. And so I was thinking of, OK, yeah, you're getting up. You're meeting the day. And I sort of - I wrote it down, and I was thinking about it and just the sort of modern conundrum of - I guess just the kind of cognitive dissonance that we all have to live with in order to both be cognizant of the woes of the world and our own, you know, pain. And yet we still sort of have to conform to just the task of being human and presentable. Sometimes that is a really difficult task.

And so, yeah, I started out, you know, thinking about, yeah, putting on your sort of your favorite clothes to put yourself into a world that you either momentarily or maybe loathe - I guess weekly loathe on a weekly or yearly basis. We somehow do it. I mean, I feel like that's just - you can't think about it for too long. It's so mind-boggling what we're able to juggle and what we're sort of forced to tune out. You can't engage with it all 24/7, but then you sort of - there's kind of a self-loathing and knowing that you can't and a desperation and a feeling of inadequacy that that you can't. So, you know, it's a conundrum that we all live with, I think.

BALDONADO: Now, you worked on this song before your mother passed away, but then you say it sort of took on a different meaning afterwards when you recorded it.

BROWNSTEIN: Yeah, I mean mostly the chorus. I mean, it really is a song about depression and sort of deep perennial sadness, I think, very entrenched. And the part in the chorus - you know, give me a reason; give me a remedy; give me a new word for the old pain inside of me - was really about my family and, you know, just sort of a longstanding, I guess, yeah, sadness around some of those relationships. And it was strange to me that after my mom died, it was like I had gifted myself the song to help me deal with it.

BALDONADO: Well, let's listen to the song. Here is "Dress Yourself" from the new Sleater-Kinney album "Little Rope."

(SOUNDBITE OF SONG, "DRESS YOURSELF")

SLEATER-KINNEY: (Singing) Get up, girl, and dress yourself in clothes you love for a world you hate. Stand up straight, and comb your hair, a style you're told looks half-deranged. Give me a reason. Give me a remedy. Give me a new word for the old pain inside of me. Give me the madness. Give me the memory. Give me a new word for the old pain inside of me.

GROSS: We're listening to the interview FRESH AIR's Ann Marie Baldonado recorded with Carrie Brownstein and Corin Tucker, co-founders of the band Sleater-Kinney. Their new album, their 11th, is called "Little Rope" - more after a break. I'm Terry Gross, and this is FRESH AIR.

SLEATER-KINNEY: (Singing) Step outside, and show yourself. The wreck of you is on display. Get out now while you still can. I hope you're saved. This is that rainy dance. (Vocalizing). Give me a reason. Give me a remedy. Give me a new word for the old pain inside of me. Give me the madness. Give me the memory. Give me a new word for the old pain inside of me.

GROSS: This is FRESH AIR. I'm Terry Gross. Let's get back to the interview FRESH AIR's Ann Marie Baldonado recorded with Corin Tucker and Carrie Brownstein of the band Sleater-Kinney. They formed the band 30 years ago in Olympia, Wash., and it became an important part of the feminist punk movement of the '90s. They both sing and play guitar, with Corin Tucker doing most of the singing on their new album, "Little Rope." It's their 11th. While they were working on the album, Brownstein's mother died in a car accident. Although a lot of the tracks on "Little Rope" had already been written, they both say that dealing with grief transformed the album.

BALDONADO: I want to play another song from "Little Rope," "Hunt You Down." Can you talk about writing it?

BROWNSTEIN: "Hunt You Down" was a song that we really worked on for a long time. We had so many iterations of the chorus, and it was probably the trickiest song to finish because we had a lot of faith in it. It was catchy, it was slightly dancey. We needed a song like that on the album. But the lyrics, the theme of the song just was not really coalescing. It wasn't until I was listening to an interview with an undertaker and poet named Thomas Lynch out of Michigan, and he was talking about meeting with a bereaved father who had lost a young child. And the father said to him, the thing you fear the most will hunt you down. And Thomas Lynch was struck by it, and I was struck by it, too, and I wrote it down. And as I was still wrestling with that chorus, I tried singing that over a melody and everything kind of clicked together. And then I wrote the verses around that idea.

BALDONADO: That idea, like what you fear most happening will find you, I think that's something that those of us with anxiety think about so much, like, on loop. It's such a true, difficult line.

BROWNSTEIN: Yeah. Whether it's, you know, existential or a much more real threat, I think there are a lot of us deep in that all the time.

BALDONADO: Well, let's hear the song. This is "Hunt You Down" from the new album "Little Rope."

(SOUNDBITE OF SONG, "HUNT YOU DOWN")

SLEATER-KINNEY: (Singing) Hey. Get ready. I've been down so long I pay rent to the floor. I'm reeling out of sorts. I'm unsteady. Been crawling round here for days in hopes the walls open up and give way. Call me home. I forgive you, I wish I'd told you so. Nowhere for the words to go, with what's left of me. I'll send you ashes, my love. The thing you fear the most will hunt you down. The thing you fear the most will hunt you down. Down, down, down. Down, down, down. I'm locking the room. I'm not ready.

BALDONADO: That's Sleater-Kinney with the song "Hunt You Down" off the new album "Little Rope." My guests are singer-songwriters and guitarists Corin Tucker and Carrie Brownstein.

I'm hoping you can talk about meeting each other and forming the band. You met in Olympia, Wash. You guys were in college there. What was it like starting out - the music scene there?

TUCKER: Well, just for clarity's sake, we actually met in Bellingham, Wash.

BALDONADO: Oh.

TUCKER: We met at a punk rock show that my first band, Heavens To Betsy, was playing, and Carrie was in the audience. And she came up to me after the show and she said, I'd like to get more information about this riot girl business. I took her address and wrote it down, and we talked about Olympia because I was going to school there and she expressed interest in going to school there. You know, the music scene in Olympia was extraordinary. It was wild. I mean, I went there as a college student, and as a freshman in college, I went to every punk rock show downtown that I could get into and just thought, you know, I saw a show that year, I saw Bikini Kill and Bratmobile play a show, and I said, I want to do this. And I formed a band, or I told people I was in a band. And then that summer I got asked to play a show. And, you know, I suddenly was, like, making records.

BROWNSTEIN: So I did - transferred, then, to the Evergreen State College and formed my first band, called Excuse 17. And then eventually Corin and I started playing together sort of as a side project. And that's sort of how Sleater-Kinney got its name because we thought, well, this is not going to be very serious or probably long lasting, so we'll just name it after a road that our rehearsal space was near called Sleater-Kinney, which is a town outside of Olympia called Lacey, Wash. And Corin just left it on my answering machine one day. I came home from classes and Corin said, let's call the band Sleater-Kinney. And we thought, sure. It'll last about a year. And that's how that all began.

BALDONADO: You guys had a short-lived romance when you were first starting out. I'm not sure if it's still - if it's OK to ask about it. But it was 30 years ago, and you continue to be a band and write music together and be in each other's lives. I think that's, like, life goals - keeping people important to you in your life like that.

BROWNSTEIN: We were really just ahead of the curve with the conscious uncoupling. You know, we - I feel like now there's so much more discourse around, you know, maintaining relationships and having things be copasetic and, you know, like, you know, communication is key and, you know, trying to prevent things getting acrimonious or too toxic. And not that there wasn't a lot of drama and acrimony and heartache and bad behavior. There definitely was. But we had the band to keep us together while we behaved poorly. And eventually we talked it out and worked through it.

TUCKER: We were just kids when we started out. You know, we were so young that sometimes we didn't - you know, we didn't really know how to handle all of those big emotions. But I think because we were able to write the music and do the songs, it's like that was always there for us. It did sort of help us grow as people, and I think that, like, those kind of more mature behaviors caught up with us eventually, hopefully.

BROWNSTEIN: Like this week.

BROWNSTEIN: They just did during this interview.

BALDONADO: Now, you write about breakup at various times over the course of those 30 years. And one example is the song "One More Hour." I think Pitchfork called it one of the most devastating breakup songs in all of rock music. Can you talk about writing that song?

TUCKER: Yeah. I mean, I think that kind of the language that we had to handle what was happening - at the time, I was really sad. And I - you know, I think that just being in that moment and writing about how something that you think is so special will end - I think that's just - that's kind of the nature of love songs. And that whole idea of impermanence and just trying to capture some of those images as that relationship is fading away is something that just sort of tumbled into that song.

BALDONADO: Well, let's hear the song "One More Hour" by Sleater-Kinney.

(SOUNDBITE OF SONG, "ONE MORE HOUR")

SLEATER-KINNEY: (Singing) In one more hour, I will be gone. In one more hour, I'll leave this room. The dress you wore, the pretty shoes are things I left behind for you. Oh, you've got the darkest eyes. Oh, you've got the darkest eyes. I needed it. I know, I know, I know. Oh, I needed it. It's so hard for you to let it go. I needed it. I know, I know, I know. Oh, I needed it. You never wanted to let it, let it go. If you could talk, what would you say?

BALDONADO: That's Sleater-Kinney with "One More Hour" - Corin Tucker on vocals and guitar, Carrie Brownstein on guitar. Let's take a short break here, and then we'll talk some more. My guests are Corin Tucker and Carrie Brownstein, co-founders of the band Sleater-Kinney. They just released their new album, their 11th. It's called "Little Rope." We'll talk more after a break. This is FRESH AIR.

(SOUNDBITE OF SLEATER-KINNEY SONG, "STEEP AIR")

BALDONADO: This is FRESH AIR. I'm Ann Marie Baldonado, back with the band Sleater-Kinney, which is Carrie Brownstein and Corin Tucker. They've just released their 11th album. It's called "Little Rope." Carrie Brownstein is also an actor and comedian. She co-created the TV series "Portlandia" with "SNL" alum Fred Armisen.

I want to talk to you about your guitar playing. The band doesn't have a bass player. You both play guitar. Can you describe how you approach your sound and if it's changed over time?

BROWNSTEIN: Sure. So Corin and I are both self-taught guitar players, and Corin's previous band was just guitar and drums. So she was just tuning her guitar to her voice, just tuning by ear. It was never codified, you know, via a tuner. So she was not in standard E, which is, you know, what most people start out with. So when we formed Sleater-Kinney, obviously, we needed to tune to each other so that the songs didn't sound awful. And she happened to plug into a tuner one day, and it was - her guitar was in C sharp. So, I mean, honestly, that was by accident. And stories of bands often involve these kind of happy accidents. It could have just as easily been, you know, drop D that day or standard E tuning, but it was C sharp, which is a step and a half lower. So I also tuned to C sharp, and that became the tuning of Sleater-Kinney.

Now, two guitars in C sharp - you know, they - as you go farther up on the neck, the intonation - it's not - you're not always in tune. And so there is - you know, we veer into this sourness, and I think what that sourness evokes is something that's melancholy. It's that - it's the sound of heartache. It's the sound of bittersweetness. And I think that became part of the lexicon of - you know, the sonic lexicon of our band. We also play very interlocking guitar parts. So we never really followed the convention of, OK, you're going to be rhythm guitar, and I'll be lead. We do sometimes, you know, occupy those places as guitarists, but often, we're both playing a semblance of a lead. You play a lot of inverted chords, half-chords. It's kind of a strange vernacular. And I think that's why Sleater-Kinney - it's part of the reason why we sound quite different from other bands.

BALDONADO: I love that you detune to C sharp, which is something - I'm not a guitar player, so I don't completely understand, but I always wondered what that kind of tension was. So I'm glad that there are - you know, to sort of find out what that kind of unspoken thing is - that I can't put my finger on is.

BROWNSTEIN: Well, it's that inaccessibility that our band has had for many years. People are like, why can't I get into this band? That's one of the reasons.

BALDONADO: (Laughter) Well, before I let you go, I want to ask you about another song. This is called "Untidy Creature." And I believe it's the first song you started writing for the album, but it's the last track on the album. Can you talk about writing it?

TUCKER: Yeah, this song is one that we - I think we started writing maybe in 2021. And it came together so quickly, just the melody and the guitar, that we were a little suspicious of the song. Like, is this - you know, maybe this sounds too much like other things we've done or it's - you know, it's not covering enough new ground for us. We just - we didn't know. So we kind of put it on the back burner and wrote the other music. But while we were writing the rest of the record, a lot of things happened, and one of them was Roe v. Wade being overturned and a sense of just anger and frustration and bitterness and betrayal and feeling trapped. And as we worked on that song, those feelings came up. And they came up in a way that looked at the idea of relationship and personal relationship, but also the relationship of being viewed or seen or evaluated in your own country as, you know, not being worthy of being in charge of your own bodily autonomy. All of those feelings went into that song and they came out very raw during the recording.

BALDONADO: Well, here's the song "Untidy Creature" from the Sleater-Kinney album "Little Rope." Corin Tucker, Carrie Brownstein, thank you so much for coming back to FRESH AIR.

TUCKER: Thanks so much for having us.

BROWNSTEIN: Thank you.

(SOUNDBITE OF SONG, "UNTIDY CREATURE")

SLEATER-KINNEY: (Singing) I heard the click of a tiny catch. I closed my eyes and you found the latch. I looked up and saw the bars intact - locked up tight, the perfect trap. I rattle and shake inside, but I can't escape tonight. There was a time when I saw it outside, followed the air, turn left, turn right. Now with a move, you close the lock. The world outside, it's what I want. I rattle and shake inside. I push against your arms tonight. And it feels like we were broken, and I'm holding the pieces so tight. You can try to tell me I'm nothing and I don't have the wings to fly. But there's too much here that's unspoken and there's no tomorrow in sight. Could you love me if I was broken? And there's no going back tonight. Looking at me...

GROSS: Carrie Brownstein and Corin Tucker. Their band Sleater-Kinney has a new album called "Little Rope." They're currently touring the U.S. and will play abroad later this year. They spoke with FRESH AIR's Ann Marie Baldonado. After we take a short break, David Bianculli will review a new science fiction series from some of the creative forces behind "Game Of Thrones" and "True Blood." This is FRESH AIR.

(SOUNDBITE OF CLAP YOUR HANDS SAY YEAH SONG, "OVER AND OVER AGAIN (LOST AND FOUND)")

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40 facts about elektrostal.

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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Age range: 7-11

Resource type: Worksheet/Activity

Last updated

22 February 2018

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Claudia Looi

Touring the Top 10 Moscow Metro Stations

By Claudia Looi 2 Comments

Komsomolskaya metro station looks like a museum. It has vaulted ceilings and baroque decor.

Hidden underground, in the heart of Moscow, are historical and architectural treasures of Russia. These are Soviet-era creations – the metro stations of Moscow.

Our guide Maria introduced these elaborate metro stations as “the palaces for the people.” Built between 1937 and 1955, each station holds its own history and stories. Stalin had the idea of building beautiful underground spaces that the masses could enjoy. They would look like museums, art centers, concert halls, palaces and churches. Each would have a different theme. None would be alike.

The two-hour private tour was with a former Intourist tour guide named Maria. Maria lived in Moscow all her life and through the communist era of 60s to 90s. She has been a tour guide for more than 30 years. Being in her 60s, she moved rather quickly for her age. We traveled and crammed with Maria and other Muscovites on the metro to visit 10 different metro stations.

Arrow showing the direction of metro line 1 and 2

Moscow subways are very clean

To Maria, every street, metro and building told a story. I couldn’t keep up with her stories. I don’t remember most of what she said because I was just thrilled being in Moscow.   Added to that, she spilled out so many Russian words and names, which to one who can’t read Cyrillic, sounded so foreign and could be easily forgotten.

The metro tour was the first part of our all day tour of Moscow with Maria. Here are the stations we visited:

1. Komsomolskaya Metro Station  is the most beautiful of them all. Painted yellow and decorated with chandeliers, gold leaves and semi precious stones, the station looks like a stately museum. And possibly decorated like a palace. I saw Komsomolskaya first, before the rest of the stations upon arrival in Moscow by train from St. Petersburg.

2. Revolution Square Metro Station (Ploshchad Revolyutsii) has marble arches and 72 bronze sculptures designed by Alexey Dushkin. The marble arches are flanked by the bronze sculptures. If you look closely you will see passersby touching the bronze dog's nose. Legend has it that good luck comes to those who touch the dog's nose.

Touch the dog's nose for good luck. At the Revolution Square station

Revolution Square Metro Station

3. Arbatskaya Metro Station served as a shelter during the Soviet-era. It is one of the largest and the deepest metro stations in Moscow.

Arbatskaya Metro Station

4. Biblioteka Imeni Lenina Metro Station was built in 1935 and named after the Russian State Library. It is located near the library and has a big mosaic portrait of Lenin and yellow ceramic tiles on the track walls.

Lenin's portrait at the Biblioteka Imeni Lenina Metro Station

5. Kievskaya Metro Station was one of the first to be completed in Moscow. Named after the capital city of Ukraine by Kiev-born, Nikita Khruschev, Stalin's successor.

Kievskaya Metro Station

6. Novoslobodskaya Metro Station  was built in 1952. It has 32 stained glass murals with brass borders.

Novoslobodskaya metro station

7. Kurskaya Metro Station was one of the first few to be built in Moscow in 1938. It has ceiling panels and artwork showing Soviet leadership, Soviet lifestyle and political power. It has a dome with patriotic slogans decorated with red stars representing the Soviet's World War II Hall of Fame. Kurskaya Metro Station is a must-visit station in Moscow.

Ceiling panel and artworks at Kurskaya Metro Station

8. Mayakovskaya Metro Station built in 1938. It was named after Russian poet Vladmir Mayakovsky. This is one of the most beautiful metro stations in the world with 34 mosaics painted by Alexander Deyneka.

Mayakovskaya station

One of the over 30 ceiling mosaics in Mayakovskaya metro station

9. Belorusskaya Metro Station is named after the people of Belarus. In the picture below, there are statues of 3 members of the Partisan Resistance in Belarus during World War II. The statues were sculpted by Sergei Orlov, S. Rabinovich and I. Slonim.

10. Teatralnaya Metro Station (Theatre Metro Station) is located near the Bolshoi Theatre.

Teatralnaya Metro Station decorated with porcelain figures .

Taking the metro's escalator at the end of the tour with Maria the tour guide.

Have you visited the Moscow Metro? Leave your comment below.

January 15, 2017 at 8:17 am

An excellent read! Thanks for much for sharing the Russian metro system with us. We're heading to Moscow in April and exploring the metro stations were on our list and after reading your post, I'm even more excited to go visit them. Thanks again 🙂

December 6, 2017 at 10:45 pm

Hi, do you remember which tour company you contacted for this tour?

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