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Drafting and
Assessing Poetry
A Guide for Teachers
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Drafting and
Assessing Poetry
A Guide for Teachers
Sue Dymoke
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© Sue Dymoke 2003
First published 2003
Apart from any fair dealing for the purposes of
research or private study, or criticism or review, as
permitted under the Copyright, Designs and
Patents Act, 1988, this publication may be
reproduced, stored or transmitted in any form, or
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writing of the publishers, or in the case of repro-
graphic reproduction, in accordance with the terms
of licences issued by the Copyright Licensing
Agency. Inquiries concerning reproduction outside
those terms should be sent to the publishers.
Paul Chapman Publishing
A SAGE Publications Company
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SAGE Publications India Pvt Ltd
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ISBN 0 7619 4854 6
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Printed in Great Britain byAthenaeum Press, Gateshead.
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Contents
List of Figures vi
Acknowledgements vii
Introduction x
1 The Place of Poetry within the National Curriculum Orders for
English 1
2 Drafting Poetry 19
3 Using Poets’ drafts 63
4 Poetry and ICT 113
5 The Visiting Poet and Poetry Workshops 131
6 Assessing Poetry 147
7 The Context: Forty Years of Poetry Teaching 171
Appendix 1: The Ghazal 191
Appendix 2: Some Recommended Poetry Books for Key Stage 3
Readers 193
Bibliography 197
Author Index 205
Subject Index 208
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List of Figures
1.1 Specific references to poetry writing in the National Literacy Strategy
(Key Stages 1 and 2) 13
1.2 Key Stage 3 National Strategy Framework for teaching English:
Years 7, 8 and 9 – specific references to poetry writing 17
2.1 How can teachers encourage pupils’ development of cognitive processes
through drafting and responding to poetry? 24
2.2 Example of a guidance note for inclusion in a drafting book 35
2.3 Sherbet lemon haiku jar 40
2.4 Commentary on demonstration by Jane Murphy 45–6
2.5 How to respond to your drafting partner 51
2.6 Examples of conference cards 52
3.1 Worksheets 1 and 2 for ‘Ssssnake Hotel’, by Brian Moses 76–7
3.2 Worksheet 3 for ‘Ssssnake Hotel’, by Brian Moses 78
3.3 Worksheet 4 for ‘Ssssnake Hotel’, by Brian Moses 79
3.4 Worksheet 5 for ‘Ssssnake Hotel’, by Brian Moses 80
3.5 Extracts from Cliff Yates’s notebook 85
3.6 Draft 1 of ‘Appeal to the Grammarians’, by Paul Violi 89
3.7 Fourth draft of ‘How Thought Accompanied the Traveller’, by Moniza Alvi 92
3.8 Extracts from Clive Wilmer’s notebook pages 1 and 2 94–5
3.9 Extract from fifth draft of ‘Bottom’s Dream’, by Clive Wilmer 96
3.10 Drafts of ‘Adlestrop’, by Edward Thomas, ADD 44990 f10v–11r, by
permission of the British Library 105
5.1 Examples of ghazals written by Year 8 pupils 140
6.1 Poetry-making descriptions devised by Dennis Carter 157
6.2 Creative writing in higher education: criteria for assessment of
portfolios of writing 160
6.3 ‘The Magical Garden’ 165
6.4 ‘My Garden’ 168
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Acknowledgements
I would like to thank the following copyright holders, who have kindly
granted permission for reproduction of their work.
Moniza Alvi for ‘How Thought Accompanied the Traveller’ drafts and
commentary; Ann Atkinson, Liz Cashdan, Livi Michael and Ian Pople for
‘Creative writing in higher education: criteria for assessment of portfolios
of writing’ (first published in Writing in Education, 21, Winter 2000–01)
Richard Bain for ‘Hypertexting’ (first published in Secondary English
Magazine, 2 (3), February 1999); Ian Baker for ‘The Magical Garden’;
Debjani Chatterjee for ‘A Winter’s Morning in Tirmapur’ and commen-
tary; Carly Forrest for ‘A Midsummer Night’s Dream’; Sean Gibson for ‘The
Magical Garden’; Jean Hayhoe for ‘City Blues’ by Mike Hayhoe; Tom
Hopkins for ‘Bird Flight’ and GCSE coursework commentary; Henry Ives
for ‘My Garden’; Jackie Kay for her responses on drafting; Ekaterina
Krylova for The Torrent Raged and GCSE coursework commentary; Ian
McMillan for ‘The Destiny Girls’ (first published in The Invisible Villain,
Macmillan, 2002) and commentary; Brian Moses for ‘The Ssssnake Hotel’
(first published in Welcome to the Ssssnake Hotel, Macmillan, 2001) drafts
and commentary; Jane Murphy for Raindrops and her commentary on
demonstration;Charles Nicholls for ‘Going to Bed’; Jack Samuels for ‘The
Magical Garden’;Tim Shaw for ‘My Garden’; Tom Short for ‘The Tornado’
and GCSE coursework commentary; Chelsea Clarke Smith for ‘Friends’;
Caroline Stanley for ‘Leave me Alone’; Myfanwy Thomas and the British
Library for the draft manuscript of ‘Adlestrop’ by Edward Thomas (ADD,
44990 f 10v–11r); Paul Violi for ‘Appeal to the Grammarians’ and com-
mentary; Clive Wilmer for ‘Bottom’s Dream’ (first published in Around the
Globe, 20, Winter 2001–02) and commentary: Cliff Yates for ‘Leaves are
Just Thin Wood’ (first published in The North) and commentary.
Every effort has been made to trace the copyright holders, but if any
have been inadvertently overlooked I would be pleased to make the nec-
essary arrangements at the first opportunity.
I also thank the poets featured in Chapter 3 who have responded to my
many questions with encouragement and enthusiasm; the teachers who
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viii DRAFTINGANDASSESSING POETRY
have given of their time so willingly and allowed me to visit them in their
classrooms; the English departments at The Minster School and West
Bridgford School, Nottinghamshire and Philippa Goad for tirelessly locat-
ing pupils for me; David Belbin, Christine Hall, Bernard Harrison, Mark
Pike and Morag Styles for their advice and support.
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For my poetry teachers
