Brianne Wragg
In the mentor settings, there’s an approach I’ve held onto from my days in the classroom: the power of mentor texts. I enjoy watching a writer’s eyes light up as they dissect their favorite author’s work and mimic, model, and borrow ideas to improve their own. From my teaching days to mentoring, I’ve always championed the use of models—whether drawing inspiration from established authors or modeling their writing. This philosophy was deeply influenced when working with Lucy Calkins’ Readers Writers Workshops. Though I deeply value that curriculum, it wasn’t without its flaws. Here, I wish to share how I use mentor texts in my mentor-writing sessions and tips for using mentor tips at home or in the classroom.
Mentor texts, in essence, are written pieces used as exemplary models for writing. Their significance, both historically and in contemporary writing education, cannot be understated. They offer insights, inspire, and provide tangible examples of excellent writing.
Mentor texts come in many forms—novels, poems, articles, blogs, websites, YouTube videos, animation, graphic novels and comics, scripts, short stories, or even snippets of larger works. Effective mentor texts resonate with the reader, elicit emotion, and showcase writing techniques that can be emulated. They also vary in complexity, catering to writers of different proficiency levels.
The profound influence of mentor texts and reading can be transformative in writing. Take, for example, one of our talented writers who was introduced to the art of reverse poems through Marilyn Singer’s “Echo Echo,” which presents reverse poems about Greek mythology. She was captivated by its unique structure and dual narrative, and she channeled this newfound passion into crafting reverse poems for each of her favorite chapters from the most-loved novels. Such innovation showcases how reading can ignite fresh creative sparks, drawing inspiration from classical tales to modern narratives.
In my teaching journey, I’ve always emphasized the significance of models to kickstart writing units. These could be pristine samples from expert authors or spontaneous writing sessions where I put pen to paper before my students. My inclination towards this approach was substantially influenced by my experience with Lucy Calkins’ Readers Writers Workshops and the Teachers College Reading and Writing Project. While I hold a great appreciation for this curriculum, considering it a notch above others, it has its limitations (and I would love to get into this more in detail in another blog.)
One notable limitation I’ve observed is that the immediacy of modeling can sometimes overshadow the explorative phase of writing. Now, this issue is also further exacerbated by the timed nature of blocked units of work (a team to be completed in a set number of weeks.) Using modeling early swiftly orients students in the “right” direction; it also inadvertently shrinks the time they might spend playing with their ideas, experimenting with words, or simply letting their creativity take the lead.
As an adult, I resonate with Stephen King’s philosophy of “writing with the door closed” from his memoir, “On Writing.” This sentiment suggests the importance of uninhibited writing, especially in the initial phases. For kids, striking a balance becomes paramount. We must allocate time for them to wander freely in the world of words, make mistakes, and innovate. Simultaneously, guidance, models, and feedback serve as beacons, ensuring their creative expressions are effectively organized and articulated. Let me talk you through an example from a mentoring session.
To illustrate this, I worked with the writer of “The Diary of a Young Naturalist.” At the blog’s inception, the piece seemed directionless. However, upon closer inspection during our editing sessions, we discerned it had evolved into a comparative analysis. Yet, the structure didn’t mirror typical comparative essays. So, I swiftly sketched out a comparative paragraph on an unrelated topic. This wasn’t to override her originality but to serve as a guiding post. Leveraging this model, she reorganized her thoughts and delivered a piece that was both authentic and structurally coherent.
Additionally, as the saying goes, imitation is the sincerest form of flattery. Now, there is a clear line between mimicry and plagiarism—a great teachable moment. But for budding writers, mimicking established styles can be helpful for finetuning skills and creative experimentation. Let me give you another example of a writer using mentor texts for mimicry.
Resident Writer 45, the maker of SahaKaru, is deeply engrossed in animation memes and avidly combs through YouTube, curating them to fuse with his unique character series. He doesn’t merely copy; he breathes life into his characters, distinctive style, and carefully crafted dialogues, all underpinned by his original scripts. Before immersing himself in the animation creation, he meticulously aligns these scripts with the song lyrics and stylistic nuances of the animation memes he discovers. His process isn’t just imitation; it’s a process of inspiration and stylistic experimentation.
Mentor texts act as a lens, magnifying distinct writing structures. Consider again the approach of comparative writing. In our review session, instead of focusing solely on grammar, we delved into the structural and technical aspects of her piece. The narrative seemed to contrast different types of sailing boats she had encountered during a regatta while also adopting a listicle approach.
When I recognized the need for a more comparative structure, instead of rehashing her work, I presented an entirely distinct mentor text for clarity. On the spot, I leveraged ChatGPT to craft a comparative paragraph between apples and oranges, ensuring the output was age-appropriate and structurally straightforward. The prompt to ChatGPT was designed to yield a specific result.
The transformation in the writer’s approach to post-mentor text was remarkable, and it only took her five minutes per paragraph to restructure. She swiftly adapted her content to mirror the structure of the mentor text, resulting in a well-composed and organized blog about boat comparisons. It also led to further discussions around using comparative transition words and why consistency in structure is important for the reader.
Remember, the utility of tools like ChatGPT for in-the-moment modeling is powerful.
Side note: Always be polite with ChatGPT, we may be working for them one day. Additionally, ensure that you provide context, like the age of the persona or the desired structure of the paragraph for a more precise result.
Mentor texts are especially effective in working with narrative. A common misconception among young writers is equating stories strictly with chapter books. However, the beauty of a narrative lies deeper, in its intricate composition. At the core, a story isn’t just about chapters; it’s about scenes. Every chapter is a mosaic of various scenes or small moments (from Lucy Calkin’s Writers Workshops), each built on a foundation of dialogue, setting, descriptions, and narration interwoven with emotions.
While advanced techniques like foreshadowing and flashbacks add layers to a story, many young writers need to be made aware of the basic elements that constitute a narrative. A method I’ve found incredibly impactful is dissecting scenes from their favorite stories. By breaking down how accomplished authors seamlessly incorporate descriptions, emotions, and dialogue, it becomes a tangible lesson in the “show, don’t tell” principle. Color-coding these elements brings them to life, often leading to those revelatory moments where young writers truly ‘see’ the craft for the first time.
As mentorship progresses, many of my young writers have started analyzing their own work with this lens. They assess their compositions, identifying areas of strength or imbalance, such as an over-reliance on action or narration. This self-analysis transforms their own stories into personal mentor texts, fostering a deeper understanding and application of effective storytelling techniques.
Mentor texts are also great for illuminating and isolating specific writing skills. A prime example is the art of crafting dialogue. Whenever I start mentoring sessions, the use and structure of dialogue often stand out as an area of development.
My approach is tailored: I begin by inquiring about their favorite authors and books, as aligning with their preferences is essential. I also like to look for books in the Genre that they are writing and exploring. For instance, when honing dialogue skills, I’d present them with memorable dialogue from beloved books like ‘Harry Potter,’ ‘Wings of Fire,’ or ‘Warrior series.’ This is strategic. Presenting kids with excerpts from their favorite authors is impactful since they often aspire to emulate their writing heroes.
Rather than simply asking them to replicate the style, I guide them into a phase of observation. “What patterns or techniques can you spot?” I’d prompt. They might highlight the consistent pattern of beginning new lines for fresh speakers or the absence of frequent dialogue tags, making the conversation flow seamlessly. Observations also delve into punctuation nuances, like the correct placement of commas or the structure around dialogue tags.
Another vital observation is the emotional undertone conveyed through dialogue. It’s a practical lesson in “show, don’t tell,” where conversation hints at characters’ sentiments without overtly stating them.
In essence, these mentor texts serve a dual purpose: they illuminate the intricacies of a writing skill while also fostering a sense of discovery, allowing young writers to dissect and internalize these techniques independently.
Mentor texts also act as idea generators. By presenting themes, characters, or scenarios, they can ignite the imaginative spark in writers. Our prompts, for instance, act as stimuli, guiding writers towards new narrative territories.
Aspiring writers benefit from witnessing the evolution of a piece. By sharing snippets of my writing at different stages, I offer them a transparent view of the writing journey. This is where I resonate again with Lucy Calkins’s work, who explains that for many kids, writing teachers are tangible examples of authors that they get to interact with regularly. Your actions as a writer inspire them and their writing. It’s like giving them a sneak peek behind the curtain, illuminating the transformative magic of editing and revision.
Below is an example used in a recent Writers’ 45 session in response to my own personal narrative writing prompt: Imagine a time you felt embarrassed.
Here are some additional tips for working with mentor texts at home or in the classroom.
“Writers make good readers and readers make good writers.” This has always been a constant refrain at Writers 45, and mentor texts are a living testament to this belief. The path to becoming a proficient writer is seldom traveled alone. Just as travelers have stars and constellations to guide their way, writers have mentor texts — beacons that illuminate the craft, inspire innovation, and provide tangible footsteps to emulate. Mentor texts serve not merely as examples but as bridges, connecting the known with the unknown.
About the Author
Brianne Wragg is a deschooled English teacher. She started as a copywriter, ghostwriter and editor for companies and individuals after leaving schools. She returned to education, working at Synthesis School before running a creative writing & mentorship program for kids aged 10-15 years old.
Read On
Imagine a space where your child can unleash their thoughts without barriers, where the clock encourages a thrilling chase of words. A Quick Write is this spirited sprint—a short, timed writing bout that challenges young minds to flow with creativity without the brakes of perfectionism.
The label’ teacher’ feels overly restrictive. I don’t want to critique or elevate one role over the others, but I wish to share why the labels of mentor and coach resonate more deeply with me.
The old woman finally spoke, her voice barely above a whisper, yet it permeated the room with a ghostly resonance. “Secrets are heavy burdens. To release them, one must be prepared for the void they leave behind. It can be filled with something far weightier.”
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