Lesson Plans For Making The Transition To Cursive. We Write To Read

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1 Lesson Plans For Making The Transition To Cursive Research-Based Instruction For Integration and Application of Fluent Cursive Handwriting Patterns We Write To Read from Peterson Directed Handwriting Table Of Contents Introduction A Design for Fluency General Instructions Exaggerations Writing Position - A Major Objective Pencil Position Posture - Body/Desk Position What Is Legibility Self-evaluation Classroom Organization And Preparation Continuing Printwriting Skills Teaching Numerals Our Pupil Books Are Unique Teaching Method - Regular Lesson Procedure 234 Unit One Lesson Plans (Weeks 1-6) Unit One Model Test Unit Two Lesson Plans (Weeks 7-12) Unit Two Model Test Unit Three Lesson Plans (Weeks 13-18) Unit Three Model Test Unit Four Lesson Plans (Weeks 19-24) Unit Four Model Test Unit Five Lesson Plans (Weeks 25-30) Unit Five Model Test Grade Three Samples

2 Introduction What s In A Name? Peterson Directed Handwriting has been serving schools since Three generations of the Peterson family have made unparalleled contributions to the development of instructional methods that make a real difference in helping teachers of symbolic language skills. Peterson handwriting specialists are actively involved in teaching handwriting. The methods, devices, and materials of instruction and learning we promulgate have been thoroughly tested, revised, and improved in the classroom. Research Based Instruction The Peterson organization has always been recognized for scientific analysis of the physical/process skill needs of children as they learn to write. And most recently, with the cooperation of computer scientists and brain function specialists, totally objective data has been gathered using cutting-edge technology - an electronic digitizing handwriting tablet that records ten handwriting movement functions at the rate of 1000 points per second. Monumental Research The type of data that helps scientists around the world to learn more about human motor control systems and helps to provide answers to problems associated with disease and brain damage... now, has revealed important corollaries that are very important in learning symbolic language (including READING SKILLS). In short, handwriting process instruction would be important for children even if written work would all be produced on a word processor! All Symbolic Language Is Learned Adults have become so automatic when they read and write that they forget that READING and WRITING are artificial language. Over the world there are a multiplicity of symbolic language systems. Our written language must travel from left-to-right... and, because of human physiology, the way a child produces the symbols of language is urgent. That is why Peterson methods are so very unique, compared to typical handwriting activity books. Simplicity and Ease Peterson methods are easy to teach and learn. Since handwriting is a psychomotor skill you will note that lesson plans always focus on how to write. The sequence of instruction is based on motor control science. The difference offered by the Peterson Method is quite simple. We teach the forms as patterns of movement - including "how to move." No other approach addresses the issue of movement dynamics. It is the key to enabling fluent application as related language skills improve. Please do not have pupils trace models with the pencil! Isn t It Ironic? The computer excuse for de-emphasizing handwriting instruction has been proven wrong - by the computer! In fact, your computer offers you an opportunity to take the methods course you probably never were offered while in college. Our Information Directory offers a long list of presentations that amount to a methods course on line. Invest a couple of hours to work through each of the presentations available. You will be rewarded with some surprising information that will probably change the way you design and conduct many learning experiences. Select <Information Directory> You will also find that our Resource Library offers a wealth of information in a series of PDF documents. Select <Resource Library> We are available to you for questions via telephone. Our toll free number allows you call for support from your school. If you can phone from a station near a computer, we can usually use the internet to good advantage during the conversation. We are here to help. Perhaps you would simply like to learn how to use our web site for lessons with your class, or maybe you would like to discuss ideas for solving a particular problem for one of your students Lesson Plans For Making The Transition To Cursive

3 General Instructions Cursive Development The We Write To Read series provides for a unique cursive readiness instructional program at the second level. Therefore, if your third grade pupils used the Peterson program in second grade they have learned several basic facts about cursive and, in varying degrees based on individual abilities, certain cursive writing skills. If you have pupils who did not attend your school last year it is probable that they had no teacher direction in cursive readiness. However, you can be sure that most pupils have experimented with "curvy writing" for at least a year. Incidentally, nondirected experience of this kind will make it necessary to over-teach basic physical position skills as this school year begins. In addition, those who have not had the benefits of readiness instruction will need to learn the facts about cursive development. This handbook provides you with the information needed to treat the needs of all of your students. A Design For Fluency The Lowercase Cursive Alphabet Lowercase letters will be introduced in a sequence of instruction that is based on learning very simple muscle movements. This process has been thoroughly verified in the computerassisted research plus our unparalleled teaching experience. Analysis of the cursive letterforms reveal some interesting facts. A Scientific Sequence Of Instruction The teaching plan of units one and two of this handbook is therefore based on the following letterform sequence: Sharp top letters that join to other letters from the baseline: First, cursive writing is designed to fit the human body. Lowercase letters are formed by three simple strokes: Loop top letters that join to other letters from the baseline: ROCKER-ROCK RAINBOW-ROLLER SLANTS that make the tops of letters lean to the right For ease and simplicity of muscle movement the formation process slides to the right and immediately slants back to the left. This pulsating coordinated movement creates a one track muscle pattern: Motor Control specialists call it "ballistic" movement. Round top letters that join to other letters from the baseline: Sharp and loop top letters that use a round top second stroke and also join to other letters from the baseline: Sharp Top Loop Top Round Top Roll Top By using this one track muscle pattern cursive movements are actually easier than the multi-part patterns used for printing. Whoever invented the cursive alphabet must have known a great deal about human musculature. Roll top letters with sharp top second strokes that join from the baseline: Second, cursive letters are engineered to join. All twentysix lowercase letters can be learned in a time-efficient manner by focusing on both the formation of the tops of letters and how the joining of letters can be controlled. We Write To Read, Grade Three 225

4 Special Form Characteristics Note: The eighteen letters just illustrated are shown without ending strokes throughout the teacher handbook. This does not suggest that ending strokes in cursive are not important. Ending strokes for words are wonderful. They are natural nonvisual spacing strokes for good spacing of words in sentences. But the overriding need for muscle control must be developed from the very beginning. You will note that the models for pupils and the daily lesson plans continually propose a special process we call cursive printing. The separation of cursive letters within a word is one of the major new methods of instruction that has been verified by the computer-assisted research. Tarzan Letters (Above-line Joiners) The next four letters are developed using the same basic strokes for form, however their joining patterns are quite different from the eighteen letters above. Because of the swinging rocker at the so-called end of each letter the connecting stroke must be above the baseline. The high swing joining stroke can distort letters that are connected to these four letters: Most commercially prepared cursive alphabets show lowercase letters a, c, d, g, o, and q with a left-curve downstroke as a beginning stroke. Peterson approaches the introduction of these six letters differently - not to be different - rather to help children learn how letters join and to take advantage of the rhythmic, out-right, back-left production pattern. On the develop pages in the pupil book, letterforms are introduced with joining strokes as beginning strokes. By starting all twenty-six lowercase letters on the baseline the child learns: 1. Simplified formation skills 2. Logical joining patterns 3. Better lateral movement 4. Consistent rhythm and control Exaggerations 1. The lowercase letter c is developed from the base of an i and the top is hooked. Rather than introducing the curved downstroke adults usually develop, the c is shown with a regular slant and no curve at the baseline. Research has indicated that this presentation helps pupils retain legibility. 2. The lowercase p is developed with a fairly tall sharp top, followed by a retraced tail that rolls up to the pie round top. Legibility research prompted the exaggeration. Submarine Letters (Below-line Joiners) The forms of the last four letters are developed using the same basic strokes, but again the joining pattern is unique. Joining letters from a submarine letter requires the child to start joining from the bottom of the tail. This extra distance requires longer joiners. 3. Baseline control pauses appear to many adults as the biggest exaggeration of them all! In fact this pause before joining technique is completely child-oriented. Just a short few years ago most written curriculum guidelines suggested that third grade pupils should receive thirty minutes of directed handwriting practice a day (150 minutes per week). In those days a teacher could be moderately successful in helping pupils learn to flow rightward like a skilled adult. Adults often write complete words with no obvious pauses within the word. The control pause technique makes teaching more time-efficient...and helps pupils develop better motor patterns. Once the teacher feels confident about using Peterson methods and procedures the practice sessions will be very productive in less than half of the time the traditional methods would take. Baseline control devices and techniques like cursive printing are also keys to helping pupils carry over good handwriting into the daily work of other subject areas. 226 Lesson Plans For Making The Transition To Cursive

5 Considering Developmental Growth Self-Help For Control (Skill # 6) Learning the correct control pause will help you to learn the correct rhythm for the letter. This is the secret you need to find the path to fluency. Control pauses are easy to learn because all letters stop before the joining stroke. 18 Lowercase letters join from the baseline. Practice Cursive Printing to learn rhythm and control. It helps your muscles learn where to stop. When your muscles remember to stop in the right place, it will be simple to join all of the letters in in words. 36 We Write To Read Additionally, there is strong indication that the laterality of the cursive patterns contribute to improved left-to-right tracking for reading when the dynamics of movement are part of the instruction. This is still another reason to continue the gross motor training. It also reflects on the need to direct practice sessions rather than have pupils spend time with trace and copy activities that can actually block the integration of dynamic information. Our initial focus will be to teach the patterns for the letters with a new and challenging size objective. The challenge is to maintain rhythmic movement and build control mechanisms for the process. Tall letter parts will now be one space tall and vowel sized parts will be half of a space. This proportion is used for two reasons. It is an accommodation to commonly available materials - particularly practice paper. It is also suggested by the fact that this age group is better able to handle the concept of "half as tall" than the concept of "thirds." Please keep in mind that students mature physically at different rates. In the majority of our schools formal training on instruments like the clarinet seldom begins prior to grade four. The majority of your grade three pupils have not yet matured into fine motor control to the extent that will allow success with the movement patterns necessary with these instruments. In order to make a transition to using cursive for daily work we must help the student develop control of movement patterns that will produce the symbols at a more practical size. We are actually initiating fine motor training that will help to develop these skills. However, it is important to remember that the gross-motor activities that are part of the regular lesson procedure are a key step in the process. Modern research gives every indication that the gross information is shared readily. There is no indication that fine patterns do the same. It means that continued efforts with the gross patterning are important to developing the fine motor skills. There is also considerable evidence that the efforts expended to develop and improve skill with control of these relatively simple movement patterns will have a positive effect on student abilities with other, more complex, fine motor learning - keyboarding and clarinets for example. While we feel that it would be best to begin with the adult proportion, the availability of paper which provides appropriate ruling is very limited. You can find a composition paper that provides a vowel guideline at one third of the space, but the writing space is three eighths of an inch. Given the cost of this paper and the fact that the pupils will struggle to manage the size even when drawing, we suggest that you use the widely available and inexpensive paper that is ruled with one half inch between lines on pages that are 8.5 inches wide by 7 inches tall. School supply houses describe it as: 8.5 x 7 inches, ruled at 0.5 in., the long way. Later on you will want to go to three eighths-inch ruling. But, for the initial unit at least, the extra height provided by 0.5 inch spaces will allow more gross motor involvement making it a little easier for your pupils to keep the rhythm. If you have the Peterson computer font you can easily create paper with the size guide at one third of the space and make the space as tall as you wish. Starting your students with the adult proportion is easy. You can decrease the writing size in increments as skills improve and also individualize to accommodate those who need a little more time before the demands for adult size are imposed. We Write To Read, Grade Three 227

6 Writing Position Is A Major Objective Because we will include instruction aimed at developing the use of the fluent type of movement, pupils need to learn position skills that will allow them to move fluently. Our analysis of the ergonomics and subsequent recommendations are based upon thousands of digital handwriting samples collected in hundreds of classrooms, work places and faculty rooms. When the writing page is held in "reading position" fluent lateral movement is blocked! The pupil cannot learn how to move fluently. The pupil cannot learn to use the best muscle groups. The movement issues are created by the writing hand and arm being positioned beside the image area. The body, along with the height of desk surface and chair, control the position of the writing arm. The student must learn to rotate the paper beneath the writing arm to achieve a position that will allow efficient lateral movement. Please review the Position Skills section for more information The animated position presentation on our web site will also be helpful. Right-handed. Hand and arm under the baseline. Left-handed, Sidestroke. Hand and arm under the baseline Our self-adhesive position guides are extremely effective. You can instantly spot pupils who need a reminder during any writing activity. Left-handed, Overhand Hand and arm above the top line. Note wrist is rolled outward. 228 Lesson Plans For Making The Transition To Cursive

7 Pencil Position Thumb dominance is responsible for the most common form of writers cramp although you will probably notice the more bizarre, claw type grips first. This thumb-forward grip probably looks much better than those more twisted habits. Actually, the claw type grips are usually corrected more easily. They can't move the fingers so they learn arm movement. The fingers relax as confidence and coaching take hold. Youngsters start poor habits early. Thumb dominance is most often associated with early experience at too small size. They need to learn how to move the arm. Our large size recommendations are aimed at demanding arm movement. When the child learns to make the moves with the arm fingers can relax. The thumb should be farther away from the point than the tip of the pointer finger. The thick, triangular pencils we offer are helpful for developing a more relaxed grip. Thumb Back Habits are hard to break but our experience and the research shows that the poor grip is associated with patterns for early drawing movement. A better grip can and will be associated with the patterns learned during write & say practice of fluent movement. Thumb Back Posture - Body/Desk Position Posture is important because it helps maintain balance and control. This position skill is for good health as much as it is for good writing! Check eye distance. (11-14 inches) When the head is down, it usually indicates that fingers are too close to the point of the pencil. Check desk height. The top of the desk should not be higher than the lower rib. When the desk is high it forces arms away from the body toward the sides of the paper. See paper position/arm entry. Forearms on desk Lean forward so the arms support the upper body. Chair back, front legs just under desk. Space between stomach and desk. When the child sits too close to the desk, arms are forced away from the body toward the sides of the paper. See paper position/arm entry. Feet back or flat. We Write To Read, Grade Three 229

8 WHAT IS LEGIBILITY? Legibility is a relative term. We prefer to say that handwriting must be easy to read. There are six specific subskills that combine to make handwriting easy to read and easy to write. Use these posters to help pupils understand the legibility subskills: # 1 Letter Formation # 2 Downstrokes # 3 Size Start letters in the right place. Slant back to the left evenly. Start letters correctly for better size. Move in the proper direction. Make basic strokes correctly. Build letters step-by-step. "Chop" the baseline. Check paper holding, Study the "tall" and "small" letters. Check your pencil position. 1 # 4 Spacing # 5 Smooth Rhythm # 6 Line Control Slide between letters. Hold the pencil softly. Use lines for control. Check joiners! Add ending strokes to words. Study the beats for each letter. Stop on the baseline! Hold the paper and pencil correctly. Relax when you write! SELF-EVALUATION Peterson Handwriting specialists check approximately onehalf million handwriting samples each school year. We base our analyses on the degree to which the children demonstrate progress with the six legibility subskills discussed throughout the pupil and teacher materials. If children understand the facts about handwriting skills they will have specific goals to guide practice. Teach your pupils to check their own handwriting regularly. Have each child check his or her writing in other subjects, even using homework papers! help explain what one needs to do to improve. The pupil books include "SELF HELP" pages that help accomplish the skill objectives. Display the legibility skill posters on a bulletin board. Be sure each pupil learns that #1 is the code for letter formation, #2 is the code for slant, #3 the code for size, etc. Then have pupils check their own papers (or exchange papers). Examine the paper for each of the skills. If the child thinks he or she needs to improve one or more of the skills, place the number for that skill at the bottom of the paper. This process also helps you to determine the level of understanding each child has developed! When you disagree with a child s self-evaluation, you now have a diagnostic tool to Subskill code numbers show Eric needs to improve slant and size. 230 Lesson Plans For Making The Transition To Cursive

9 CLASSROOM ORGANIZATION AND PREPARATION Eric N. Room 22 Handwriting Individual Handwriting Folders We recommend making a file folder for each child (preferably with pockets for easy storage). Children can keep their handwriting book, practice paper, and a writing class pencil in their folders to help save time in preparation for lessons. It can also serve as a progress folder if you have pupils save papers for periodic comparison. Seating Arrangements Place desks in frontal position so that pupils have a clear view of the chalkboard while the teacher is directing lessons or if pupils must copy assignments from the board. This does not imply the desks must be strictly regimented. Desks may be arranged in many different patterns that allow good visualization for the pupils. Left-handed pupils attempting to learn to use the sidestroke technique should sit on the RIGHT SIDE of the room as they face the chalkboard. Pencils Peterson offers several kinds of grippers for the regular #2 pencils. They can help those pupils who need a reminder. We also offer special triangular pencils that offer help for pencil holding without a pencil gripper. Selecting Practice Paper Most school supply houses offer very economical paper that meets these recommendations. Peterson Directed Handwriting does not manufacture regular practice paper. Option #1 - General Practice and Model Test Paper 8-1/2 x 7 inch manila paper ruled the long way - with half-inch lines. Option #2 - Remedial Practice for Reduced Size Introduction Control paper with 1/4" midlines to make vowel-sized letter tops. 10 x 8-1/2 inch manila paper ruled the short way - with halfinch top and baselines. Some suppliers also offer this paper with a skipping line for lower loop letters. CONTINUING PRINTWRITING SKILLS Printwriting is a valuable tool. It is compact and efficient for such purposes as labeling, headlining, map and graph work. It is a demanding skill, however. Cursive is far less dependent on eye-hand coordination. Begin the year by allowing pupils to continue printwriting in daily work. However, you must insist on good writing habits. The full transition to cursive may take 12 weeks. We would suggest beginning cursive in spelling classes first, gradually encouraging sustained cursive use in other subjects until everyone is familiar with all lowercase letters. Children may print capitals until they have mastered the cursive capitals (Units 3 and 4 of the lesson plans). Since printwriting tends to encourage poor pencil position, many pupils will write too small. Stress the importance of holding the pencil back at least an inch and practice making vowel-sized small letters one-half space tall. Capitals and the tall lowercase letters should be made a full space high. Spacing between words in printwriting depends on eye-hand coordination. Have pupils use the thumb of their paperholding hand to space between words. Standards are essential. Be sure pupils understand the left-toright, step-by-step development of printwriting lowercase letters. Also, show them the no-lift process in making the following letters: We Write To Read, Grade Three 231

10 Reviewing Slant Print Patterns Lowercase Basic-Stroke Letterform Groups: l t i j u h r n m b p a d g q f c s o k v w x y z Teaching Numerals Since numerals stand alone, you will find pupils who learned to make them from visual models with no instruction about where to start (at the top), or direction of movement (down and left-to-right). It is highly likely that you will have some students who have not integrated a production pattern for some numerals. If they must "think" about the creation of the shape they may well miss the concepts you are trying to teach. We highly recommend a short patterning session as you begin each math class - even if it is only gross-motor airwriting for a minute or two. Get "The Numeral Song" from the "Ideas" section of our Resource Library for a fun exercise that also serves to illustrate the existence of good patterns. If they can write legible numerals as they sing the song, you can be fairly sure that good patterns exist to free the brain for concept learning. Capital Letter Basic-Stroke Letterform Groups: L T I F E H P B R D J U C G S O Q Y V W X 232 Lesson Plans For Making The Transition To Cursive

11 OUR PUPIL BOOKS ARE UNIQUE SIMPLE, TIME-EFFICIENT AND SUCCESSFUL SENSORY COMMUNICATION The picture illustrates how our book and self-adhesive position guide are designed to fit on a standard size school desk. This combination of teaching aids makes training, correlation and learning the physical movement patterns easy and quick. The WE WRITE TO READ books have other advantages. They are designed for simplicity and ease of use. The instructional plan makes it possible for children to understand objectives and set goals for improvement. In addition, because the curriculum is so crowded, we provide lesson plans and skill development processes that are very timeefficient. No arbitrary, time-consuming, irrelevant copybook activities are included in the books. We teach for transfer of learning by: Developing skill needs, Practicing for muscle training and Applying the skill directly into daily work. We Write To Read, Grade Three 233

12 A Time Efficient Teaching Method And A Regular Lesson Procedure The Method - Simple, Sound and Successful! Teacher control and direction of the lesson is the key to teaching rhythmic patterns that will transfer. Imagine you are leading an aerobics exercise group. Everyone in the group makes the same move at the same time. In this context it becomes clear that pupils must know what the moves are and also the correct sequence. Communication of these cognitive facts, along with the rhythm of the moves, is easy using the We Write To Read pupil books and a four-step lesson sequence that is simple and quick. Chant the Color/Rhythm, chant the Action Words or count! A little rhythm practice each day offers real opportunity to develop fluent rhythm patterns for good writing - and all other symbolic language skills. Explain the reasons why you ask students to practice a specific way. Also, help students set specific skill targets for practice. Step 1: Illustrate and Describe Step 2: Airwriting (Action Words) Step 3: The most important factors in teaching handwriting as a process of language: 1. Concentrate on teaching lowercase letters: a. help students learn the exact starting point and stroke sequence used for letters. b. show students how the individual strokes of small letters follow left-to-right sequences in rhythmic "beats." c. teach precise stopping points in the movement pattern for each letter to emphasize the letter rhythm. 2. Build paper placement skill and the related position of the hand, wrist and arm and correlate with classwork. 3. Use large muscle practice (gross motor) and control the rhythm process. 4. Use a descriptive language of movement. 5. Use eyes-closed practice to check muscle patterns. 6. Listen to the voices when you move to the Write & Say step. At first, you may have trouble getting pupils to chant. Eyes-closed trials often bring it out more quickly. Repeat steps 1, 2 & 3 if you cannot get the voices going. 7. Initial trials will not be as precise as pupils would like. They will need extra coaching and coaxing to build confidence in new position skills. Step 4: Fingertrace & Say Write & Say 8. Please remember that pretty letters are a product. Your pupils will focus on the product they produce. Our objective is to develop a process that will support fluent language tracking! With practice, correct process can become both practical and beautiful. The process controls the product in applied work. 234 Lesson Plans For Making The Transition To Cursive

13 OBJECTIVES: 1. To develop good physical position skills: a. Paper and arm placement b. Pencil holding c. Desk posture UNIT ONE LESSON PLANS (WEEKS 1-6) 2. To develop an organized movement process that enables the pupils to use speed and control: a. Left-to-right sliding b. Slanting movement consistency c. Baseline control 3. To develop skill in producing the basic strokes that create lowercase letterforms: a. Rocker-rock curves for sharp and loop tops b. Rainbow-roller curves for round and roll tops 4. To develop, practice, and apply eighteen lowercase letterforms with legibility and fluency. 5. To learn and apply cognitive facts about handwriting skill in self-evaluation tasks. WEEK 1 Day One 1. Instruct the pupils to write (cursive or print) a beginning of the year sample like the following paragraph: ÍÅÄÖùÑïë D ÄáêÑïë I áìåäöûë Æ ÑïÅÄÅîë ÄÖûÅîë á è áôáêñïë. WÑïë ßÇòÅÄÇúÇúë áƒæ ÅÄáìáêáôáìÑïë ÑïÅÄáìÇòë îåäö Ï. I ÇòÅüçƒÑïë áêåüí áôöùáƒæ Åüé åïë. Day Two Discuss printwriting. Explain to the pupils that printing was the first way people learned to write thousands of years ago. It is a skill that we shall use the rest of our lives. This year we shall learn cursive handwriting. If you use printwriting letters properly, cursive will be easy. Whenever you printwrite always be sure to make the tops of the letter strokes first. And remember the stopping places in print, because we use most of the same pauses in cursive! Printwrite the following lowercase letters on the chalkboard. a c d g h i j l m n o p q t u These are cursive cousins. They are almost exactly like the cursive letters - except we have to learn how to join them together. Tomorrow we ll learn how to get started the right way for cursive handwriting. Day Three 1. Use pupil book page 2 to remind pupils about slant (Skill #2). Explain that paper position is very important for cursive because all letters slant the same way. 2. Use pupil book page 3 to review paper position, pencil holding, and desk position. 3. Introduce page 4. Explain the basic stroke movement pattern and the importance of paper position so that we can make the movements with speed and control: Slide Right Slant Back Stop 4. Write the basic strokes on the chalkboard and have pupils airwrite with action words; "slide right, slant back, stop." The four strokes are visually different but use the same muscle pattern. 5. Examine the use of these basic strokes in the color/rhythm letters on page 4, your wall cards or on the back cover. Have pupils find and name letters that use sharp tops, round tops, roll tops and loop tops. Learn To Use "Action Words" To Help You Move Fluently. Fingertrace The Basic Stroke Patterns - Move With Your Voice. Each of the basic strokes has two moves and two action words. Say one word with each movement. Sharp Top Loop Top If your district subscribes to the Peterson Service Program, use the special TERM PROGRESS ASSIGNMENT paper that is provided for this purpose. Otherwise, use regular composition paper folded from top to bottom. Write the pretest on the upper half of the paper. SAVE THE PAPERS FOR COMPLETION AT THE END OF UNIT FIVE (and for periodic comparison of individual progress). 1. Slide Right 2. Slant Back 3. Stop Round Top Roll Top Each Letter is A Pattern! Each Word Is A Pattern! Basic strokes build lowercase letter patterns. Join letter patterns to build words. 4 We Write To Read We Write To Read, Grade Three 235

14 5. Introduce pupil page 5. Fold the book so that page is visible. Place the book in correct writing position and direct the pupils to fingertrace the exercise over and over again as they describe the movement using the "Action Words." Ask them if they remember learning the "sharp top." SLIDING IS THE SECRET! Building Basic Stroke #1 - Sharp Top Fold the other pages behind and hold the book in writing position. Fingertrace and say the action words. 1. Slide over to the right as you rock up! Start 2. Slant back to the left. Say "sharp" as you rock and "top" as you slant. Sharp Sharp tops can be tall and small. In second grade we made tall and small sharp tops like these. Third grade size will let you write much more on each line. Write & Say to practice with rhythm! We Write To Read 5 Start 3. Stop on the baseline. Top the loop top on page 6. Emphasize sliding and slanting (with a rhythmic beat). 3. Use regular practice paper. Fold the paper down the middle. Review the position skill instructions and teach pupils how to make large sharp tops and loop tops on the paper. Emphasize long sliding beginning strokes and the one track movement pattern used to create slant. 4. Self-evaluate using the slant guide on page 2. As pupils check their own work, also be sure the slants are straight (not curved) and that they stop on the baseline. You may need to repeat instruction on the push-pull muscle pattern used to create speed with sharp tops and loop tops. 5. To remediate miscues in slant, introduce the concept of chopping the baseline. Say Sharp-chop. We call this exaggerated process handwriting KARATE. It helps pupils to focus on the "target" baseline enhancing the development of fluency. 6. Demonstrate the addition of the slant stroke at the end of the rocker. Then, on the chalkboard, trace the slide and slant movement pattern. As you trace, say rock-slant. Direct pupils to repeat the exercise in the air as they chant the "sharp top" action words. 7. With the book in writing position, fingertrace the large exercise. As you observe pupil ability to fingertrace with rhythm, direct them to fingertrace the sharp tops on page 5 as they chant sharp top, sharp top, over and over again. Sharp tops are very important as we learn cursive letters. In the 26 lowercase letters we will find 19 sharp tops! Days Four and Five 1. Introduce pupil page Explain to the pupils that the rocker-rock also helps us to learn to write another stroke called a loop top. Demonstrate the loop top on the chalkboard. Fingertrace Building Basic Stroke # 2 - Loop Top You will use loop top basic strokes for many lowercase letters. Like sharp tops they can be tall and small. 1. Rock then loop back before the slant. 2. Slant straight back to the baseline. WEEK 2 This week four sharp top letters will be introduced and practiced. If the pupils used our cursive readiness program in second grade they should remember the letters very well. However, they may not have had any direction in reducing size. We do not expect beginning third graders to make the transition to cursive quickly. It is much more important to pace the introduction of the concepts and physical skills in an unhurried manner. Therefore, based on your observations of pupil performance, feel free to keep practice large, using top, middle, and baselines for size until you believe the pupils can handle the size reductions. Usually most pupils will be anxious to use cursive in daily work. However, it is not uncommon for third grade teachers to wait until after 12 weeks of school before using cursive in daily work. If pupils exhibit great difficulty with size reductions, try to acquire special control paper that provides a midline for vowel sized letters. Slide over so you can slant back. Say "loop" as you rock and "top" as you slant. Fingertrace & Say to learn the rhythm, then Write & Say. In second grade we made tall and small Loop Tops like these. Third grade size will let you write more on each line. Write & Say to practice with rhythm! 6 We Write To Read 236 Lesson Plans For Making The Transition To Cursive

15 Day One 1. Introduce pupil page 7. In the first column the assigned letters are presented. Please note the letters are presented without ending strokes. Explain to the pupils that ending strokes on every letter make joining difficult. Ending strokes are not used inside of words. All of these letters join from the baseline. Practice Third Grade Size Write & Say on paper. "Cursive print" as shown, then join. Use ending strokes to space sets and words! Sharp Top Letters Loop Top Letters Odd Top Letters Making Letters - Fingertrace And Say The Action Words For Rhythm Week Two - Sharp Tops Week Three - Loop Tops Week Three - Odd Tops 1. Sharp Top 2. Cross 1. Loop Top 1. Sharp Roof Slant 8 We Write To Read 1. Sharp Top 2. Dot 1. Sharp Slant Curve 1. Loop Top 1. Loop Tail 2. Rock 1. Sharp Top Be sure to hold 2. Sharp Top the book in Feel The good writing Rhythm! position as you fingertrace! We Write To Read 7 2. Use the regular lesson procedure. 1. Rock Hook Slant Did you call for pizza delivery? When I take your order I must write neatly. 3. Introduce lowercase t. When the t is reduced to application size it is less than a full space tall. Day Two Introduce lowercase i. When the i is reduced to application size it is no more than 1/2 space tall. Day Three Introduce lowercase s. The s is the same size as the i. Be sure pupils understand the sharp top. Day Four Introduce lowercase u. The u is the same size as the i and s, but it has two sharp tops as illustrated in the pupil book. Day Five 1. Review and practice. Use the first two lines of pupil page 8. Emphasize the importance of baseline control. Use separated script (cursive printing) before joining attempts are made. Point out to the pupils how valuable the ending stroke is when writing words. We don t have to thumbspace between words in cursive! 2. Numerical counts for the words (including ending strokes) are: sit = 3 + finish its = 3 + finish us = 3 + finish suit = 5 + finish One count for each basic stroke - each slide right/slant back = 1. Week 3 Day One 1. Review the loop top exercise. Introduce lowercase e using the regular lesson procedures outlined in Week 2. The e is the same size as the i. 2. Demonstrate words such as elf, let, set, see, fit, using the cursive printing technique. Demonstrate ending strokes on words. 3. Emphasize baseline joining control. Day Two 1. Use the regular lesson procedure to introduce lowercase l. The l is one full space tall. 2. Demonstrate words using baseline control pauses, such as let, tell, sell. 3. Demonstrate rhythm by counting for each letter like this: Cursive printing is an excellent technique because it helps one control form, size, and spacing. We Write To Read, Grade Three 237

16 5. Introduce pupil pages 20 and 32 to discuss legibility subskills, size, and spacing. 4. The numerical counts for the words shown on page 8 are: let = 4 set = 4 elf = 5 see = 4 fit = 5 1 Self - Help For Size (Skill #3) Good size comes from sliding - 1. Check paper and writing arm position. Handwriting 2. Check pencil grip and writing hand position. Hints 3. Check letter rhythms, make sure you pause to control each joiner. 4. Check sliding, make sure you are moving to the right and up for good size. Learn the 18 lowercase letters that are "small" - no taller than one half of the space. 5. Continue to emphasize good physical position. Stress long beginning (and joining) strokes. Day Four These letters have taller sharp tops. These loop tops should be one space tall. Check your letter tops for size. Cover the bottoms of spelling words and other classwork! 20 We Write To Read 1. Introduce the lowercase r. Emphasize the little roof in top. Double downstroke letters like r require pauses for clarity. The r is a minimum size letter in reduced size (1/2 space). 2. Demonstrate words in cursive printing that use the r. Numerical counts including rocker endings: Self-Help For Spacing (Skill #4) Good spacing comes from sliding - Joiner # 1 Rock Joiner # 2 Slide Roll Joiner # 3 Swing Joiner # 4 Sway Joiner # 5 Roll Rock Joiner # 6 Long Roll Day Three Hints Use 1 / 2 " quadruled paper to practice control of joining with connect three exercises. 1. Check paper/arm position 3. Pause before joining 2. Check pencil grip & wrist 4. Slide to the right The tops of letters have to be spaced apart. Cover the bottoms of words to check your spacing skill. 32 We Write To Read 1. Introduce lowercase f. Show pupils that the top of f is exactly the same as l. When developing the form, emphasize the long slant and the rocker upstroke used to form the tail. Even though the f is a tail letter it is still a baseline joining control letter - quite different from other lower loop letters. The tail goes down halfway into the next space. 2. Demonstrate the rhythm of the f by counting for the two rockers as pictured in the COLOR/RHYTHM model (downstrokes are supposed to become automatic so we do not need to count for them). sir = 4 tire = 5 fur = 6 rise = 5 Day Five 1. Introduce lowercase c. If children are ready to reduce size it is the same size as i, s, u, e and r (one half space). 2. We have exaggerated the development of the c. You can write a sharp top in the smaller size and trace to add the hook top. Make the hook top slant for emphasis. 3. We call r and c odd tops. They both require strong teacher direction. 4. The c only has a numerical count of one because we don t count downstrokes, but there is a definite double downstroke rhythm for both of these irregular letters. Use pupil page 8. Numerical counts for words: (Letter counts + one for the spacing/finish stroke, dots and crosses are added after the count.) ice = 4 cute = 6 cutters = 9 cut = 5 rice = 5 3. Demonstrate words using page 8 and others that are familiar to pupils such as if, fill, fell, etc. The high frequency word list provided at the end of the methods sections, will be a quick source of additional words. 238 Lesson Plans For Making The Transition To Cursive

17 Week 4 Day One 1. Introduce the rainbow-roller as demonstrated on pupil page 9. Follow the regular procedure used to introduce the rocker-rock stroke and sharp tops. Continue to stress good physical position. Get The Beat! 1. Round Top 2. Cross 1. Round Top 2. Round Top Fingertrace With Action Words To Learn The Rhythm Week Four Week Five Basic Stroke Combinations Week Six Round Tops 1. Sharp Top 2. Round Top 1. Loop Top 2. Round Top Roll Tops With Sharp Tops 1. Roll Top 2. Sharp Top 1. Roll Top 2. Sharp Top Building Basic Stroke # 3 - Round Top Fold the other pages behind. Hold the book in writing position. Move your arm to "Fingertrace & Say." "Write & Say" the exercise on practice paper. 1. Round Top 2. Round Top 3. Round Top 1. Loop Top 2. Round hook slant 1. Roll Top 2. Sharp Tail 3. Rock 1. Use your arm to roll to the right. 2. Slant back and stop on the baseline. We Write To Read 11 Roll + Slant = Round Top Say "round" as you roll and "top" as you slant. These round tops are second grade size. Write & Say until it is easy to make them all look the same. Write & Say with your eyes closed. Do your muscles remember? Do eyes-closed round tops look the same too? Third grade size lets you write more on each line. Write & Say to practice with rhythm. Remember, to roll sideways you need to use your arm. Good slant means you are using the correct muscles! We Write To Read 9 2. Using page 10, introduce the rainbow-retrace combination that creates the Roll Top basic stroke. Explain to the pupils that roll tops begin the letters; a, d, q, g, and o, as shown in color rhythm at the bottom of the page. Practice writing roll tops with action words. Building Basic Stroke # 4 - "Roll Top" Hold the book in writing position and move your arm as you "Fingertrace & Say." Roll right then roll back. Stop on the baseline. "Roll" "Top" Practice with "Action Words." Say "Roll" as you roll right and " Top" as you roll back. These roll tops are second grade size. Write & Say until it is easy to make them all look the same. Do your muscles remember? Do eyes-closed roll tops look the same too? Third grade size lets you write more on each line. Write & Say to practice with rhythm. 2. Develop and practice the x. Cross the x with a rockerrock upstroke. 3. Demonstrate the application of the x in words. Numerical counts: six = 4 (plus the dot and cross) fix = 5 (plus the dot and cross) exit = 5 (plus the cross, dot, cross) 4. Emphasize that the joining stroke for round tops slides on the line before rolling up to the round top. Day Three 1. Introduce the n. Show the pupils how the slant print n is changed into a cursive n by adding the rainbow to the printed letter. Use the regular lesson procedure emphasizing position, movement, and baseline control. 2. Emphasize sliding the joining strokes along the baseline for spacing. Use page 12 and self-help page 32 for discussion. 3. Pupil page 12 provides practice and apply models. Can you see the "Roll Top" in these letters? 10 We Write To Read Practice And Apply - Round Top And Roll Top Letters To join round tops and roll tops you will need to use a new joining stroke - "Slide Roll." Practice "cursive print" then pause and join. Use ending strokes to space sets and words. Day Two 1. Introduce the three letters that use only round tops as shown in the first column on pupil page 11. Discuss the fact that the x uses one round top, the n uses two round tops, and the m uses three round tops. Combination-Top letters use the rocker to join. Joiners control form, slant, size and spacing. You also use the "slide-roll" joining stroke for letters that begin with a roll top. 12 We Write To Read We Write To Read, Grade Three 239

18 Day Four 1. Introduce the m. Show the relationship to printwriting. Emphasize the number of round tops. 2. At the chalkboard try to write n and m with eyes-closed. Emphasize the verbal descriptions and specific rhythms of each letter. 3. Demonstrate the use of m in words using cursive printing. Numerical counts for words (count for letters and ending strokes - dots and crosses are added after the count): me = 5 men = 7 mixer = 8 seem = 7 meet = 7 six = 4 mix = 6 mine = 8 nine = 7 Day Five 1. Review and self-evaluate. 2. Provide individual help where miscues have been identified. Week 5 This week the three target letters that are developed use combinations of the sharp top, loop top, and round top basic letter parts. Again, all of the letters are engineered to join from the baseline. They are KARATE letters. 1. Introduce the Week 5 letters on pupil page 11. Develop the lowercase p. 2. Demonstrate the p as it is applied in words. Numerical counts (including ending strokes) for the following words: up = 5 pet = 5 put = 6 pin = 6 pen = 6 pull = 7 Day Two 1. Introduce lowercase h. Review the loop top of the l and one round top of the n. Emphasize the descriptive and numerical counts for rhythm and control. Chop the baseline. 2. Numerical counts for words: he = 4 her = 5 his = 5 the = 5 this = 6 then = 7 push = 8 them = 8 Day Three 1. Introduce the k. The hook-slant double downstroke requires extra emphasis. You can show the pupils how the round top looks like a question mark. Continue to chop the baseline for control. 2. Numerical counts for words: ski = 5 seek = 6 kit = 5 kite = 6 kiss = 6 kick = 7 knee = 7 hiker = 8 Days Four and Five Continue to use the regular lesson procedure outlined at the beginning of Week 2. Day One Get The Beat! 1. Round Top 2. Cross Fingertrace With Action Words To Learn The Rhythm Week Four Week Five Basic Stroke Combinations Week Six Round Tops 1. Sharp Top 2. Round Top Roll Tops With Sharp Tops 1. Roll Top 2. Sharp Top 1. Review. Continue to practice and apply the legibility subskills: FORM, SLANT, SIZE, SPACING, SMOOTH- NESS and LINE CONTROL. 2. Use eyes-closed practice in chalkboard lessons and on unlined paper. 3. Reteach action words for form. Use numerical counting to increase speed. (Note: As an alternative to count, try having students "spell" as they write. Write each letter as you say it.) 1. Round Top 2. Round Top 1. Loop Top 2. Round Top 1. Roll Top 2. Sharp Top 4. Erase the bottoms of cursive words to test visual memory and understanding. 1. Round Top 2. Round Top 3. Round Top 1. Loop Top 2. Round hook slant 1. Roll Top 2. Sharp Tail 3. Rock We Write To Read Lesson Plans For Making The Transition To Cursive

19 Week 6 The last three lowercase letters that use the baseline for joining control are developed this week. The roll top used for this family is used only five times in the alphabet, but because of the frequency of use of a and other roll top letters it is very important for overall legibility. roll over more Days Three, Four and Five 1. Develop lowercase q. Explain to the pupils that the tail uses a rocker to get back to the baseline, just like the f. This is the last baseline control (karate) letter! 2. Numerical counts for words: quit = 8 quite = 9 quiet = 9 quick = Practice more words with line pauses, page 13. Most miscues with this letterform family occur because pupils do not roll over far enough to allow the sharp top to close the letter. The a begins to look like a u and the d begins to look like a cl combination. Day One 1. Review pupil page 10. On the last line of the page show the pupils the separated strokes of the three letters assigned for the week. Turn to pupil page 11 and study the COLOR/ RHYTHM models for a, d, q. Demonstrate how these three letters are related to printwriting. 2. Introduce the development of the a. Be sure to make the letterform large on the chalkboard emphasizing the combination of basic strokes. The joining stroke for the trace top letters is like a regular round top joining stroke. Slide along the baseline and roll over on the top. 3. Numerical counts for words: at = 4 are = 5 an = 5 am = 6 ran = 6 tan = 6 air = 5 care = 6 More To Practice Control And Rhythm Practice line control pauses using cursive print as shown. When you are sure you are stopping on the baseline, simply pause then join. Can you write the letters as you spell out loud? N D We Write To Read Prepare for the Unit One testing sample as presented on pupil page 14. Please explain to the pupils that the words in the model can be written in cursive print or joined. Unit One Model Test Unit One Model Test Show how well you have learned to cursive print and join with the "baseline-joining" letters. You may use cursive capital letters in your name if you wish. N D Day Two 1. Develop lowercase d. Extend the sharp top to almost the top line when using reduced size. The tops of the t and p are the same size. 2. Numerical counts: 14 We Write To Read lid = 5 aid = 6 mad = 8 ad = 5 did = 6 deeds = 8 red = 5 sad = 6 mud = 8 dad = 7 had = 6 said = 7 We Write To Read, Grade Three 241

20 UNIT TWO LESSON PLANS (WEEKS 7-12) OBJECTIVES: 1. To continue good physical position development. 2. To develop, practice, and apply the rest of the lowercase letters: a. Four above-baseline joining control letters b. Four below-baseline joining control letters 3. To learn and apply cognitive facts about handwriting skills development for individual progress and improved written communication. 4. To develop fluency and smoothness for better transfer of learning. 2. Discuss the little retraced slant in the third sharp top. Then have pupils write the w in the air as they point to the model you made on the board. Pause very definitely before you swing the Tarzan ending stroke. 3. Open the books to page 15. Unit Two - Fingertrace To Learn The Tricky Control Points These letters are tricky because they do not end on the line. You must learn to use two new joining strokes! Week Seven Week Eight 1. Sharp Top 2. Sharp Top 3. Sharp Trace 1. Loop Top 2. Sharp Trace Swing to join sharp top and loop top letters. 1. Round Top 2. Sharp Trace 1. Roll Top 2. Rock Sway to join round top and roll top letters. Week 7 The first six weeks of instruction developed eighteen letterforms. The basic stroke/line control characteristics of those letters made it possible to accomplish that assignment. The second unit of instruction includes only eight letters in the same time allowance. The target letters included in this unit are presented together because of the unusual joining strokes they require in word writing. Please spend the extra time allowed in order to help pupils refine their position skills and their understanding of handwriting facts. Day One 1. Before opening the books to page 15, demonstrate the cursive word we on the chalkboard (use only a baseline and write very large). Explain to the pupils that there are four letters we need to learn that are different from the 18 letters we have practiced. These four letters force us to connect letters up above the baseline. Because they join to other letters differently it can be very confusing if we don t study the letters and learn to make these special joining strokes. For the next four weeks we ll practice only two letters a week and we ll write lots of words that use these letters. Have you ever been to an amusement park? If so, did you ever ride on the Jungle Swing? We Write To Read 15 Ask the pupils if they have ever heard of Tarzan and discuss other names we could use to describe the four letters on this page. (Examples: Swingers, Flag Letters, Trapeze Letters, Circus Letters, etc.) 4. Fingertrace the w and verbalize the sharp tops. Add swing at the end. Be sure everyone learns to stop before the ending stroke. 5. Fingertrace the w in joined triplets as illustrated. Count numerically stop, stop, stop, finish Day Two 1. Review the air writing and fingertracing of the w. Write the w on practice paper one space high. 2. Reduce the size to 1/2 of a space. Emphasize the short slant in the third sharp top. 3. Try to join two w s together with an exaggerated joining stroke. 4. Self-evaluate, reteach. Listen to me - I m going to write the w on the chalkboard and pretend I m on that swing - Sharp top, sharp top, sharp trace - Whee e e 242 Lesson Plans For Making The Transition To Cursive