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Professional Reading
Focus on Writing Conferences
by Lisa Toner
"Why don’t you ever really tell us what to write about?
What I mean is, why do other teachers think they always
have to tell you what to write?"
Amanda, Age 9
Arizona Learning
Network School
Chapter 9
Focus on Writing Conferences
from
Inside Learning Network
Schools
My journey with The Learning Network began in 1993 when I
attended the Literacy Learning in the Classroom summer institute.
I had no idea at the time what an impact The Learning Network
would have on my career as an educator. Four years later, I
continue to be challenged in my understandings of teaching
literacy, especially writing instruction. It is this challenge that
drives me to question my instructional practices in order to be
the most effective teacher that I can be.
When I first began to implement what I had learned in the institute,
I taught third grade. Since then, I have taught kindergarten as well
as worked with teachers in kindergarten through fifth grade as a
teacher leader. I have learned that the process of writing is not
limited to certain grades. It is accessible to all writers, beginning
as early as kindergarten.
My experiences in my own classroom and in the classrooms of
others have shaped my understandings of the writing process.
These understandings are constantly being reconstructed as I
grow and reflect upon new learning.
___________________________________________________
COMING TO KNOW THE WRITING PROCESS
___________________________________________________
The summer after my first year of teaching I was offered the
opportunity to attend the Literacy Learning in the Classroom
summer institute sponsored by Richard C. Owen Publishers.
I had no background knowledge about the institute before I
attended. What I did know is that I consider myself a learner
and that I probably could benefit from the workshop. Little
did I know how much I would benefit.
I was introduced to many new ideas during those intense four
days: the recursive model of writing; the importance of modeling
of the writing process; and the interrelatedness of reading and
writing, to name just a few. However, by far, the most powerful
piece of learning I took away from those four days was learning
to question my current practice.
As I thought toward the 1993-1994 school year I wanted to
implement as much of what I was learning as I could. We were
cautioned in the institute to take "wee steps" and only implement
a little at a time. I had grand hopes of taking giant steps because
I felt that I had so far to go. My new class was composed of 27
Title I third graders. The thinking at that time within my school was
that if all the children identified as at-risk were put in one classroom
they could be given intensified instruction to accelerate their learning.
It was a successful approach for us at the time even though now it is
a practice we would not repeat.
Those children would certainly be a challenge for me. They had not yet
discovered the power of writing. They were very reluctant to put their
ideas down on paper. Many of them saw writing as drudgery and a
source of failure. These children had somehow fallen through the cracks
and I had the challenge of developing them as life-long writers.
At the start of the 1993-1994 school year, Montview made the
commitment to join The Learning Network. During this school year
a program coordinator would visit our school to support and build
the literacy understandings of two teacher leaders. One teacher
leader worked in my classroom and helped me to question my
current practice and build new understandings.
I began the year by having my students write every day in spiral
notebooks we call draft books. At the summer institute, we had
been introduced to the writing process as described in Dancing
with the Pen (Ministry of Education 1992). There were several
steps within this process that I had not previously considered. I
decided to use this model as a focus when teaching my children to
write. Within this model, writing is seen as recursive. The process is
circular rather than linear. Students move in and out of the stages of
writing just as writers do, crafting and refining their piece of writing
(see Figure 9.1). In the model of writing that I had previously used,
the movement from prewriting to publishing was almost always a
forward, linear progression. As writers passed through each step
they were not encouraged to revisit any of the previous stages of
writing. Doing so was often seen as regressive. The recursive model
of writing consists of four stages: forming intentions, composing and
drafting, correcting and publishing, and outcomes. The book Dancing
with the Pen became a valuable source of information in helping to
build my understandings about these stages of the writing process.
[Figure 9.1. A model of the writing process.]
_________________________________________________________
USING THE WRITING PROCESS
_________________________________________________________
My first goal was to bolster my students’ attitudes toward writing.
I wanted them to understand that writing is the creation of meaning.
I also wanted to create a safe environment where students could
approximate in their writing without fear of reprisal.
To measure growth of our student's writing each teacher at our school
collects a beginning-of-the-year writing sample which is then evaluated
for content, conventions, and organization. This task is repeated at the
end of the school year with another writing sample. When I attempted
to get my students to write this first sample I was not prepared for what
occurred. When I first explained to them what I expected I got many
comments such as "What if I can't write?" and " I can't do that." I
responded by telling them to do the best they could and assured them
that whatever they wrote would be just fine. Some went to work, some
cried, and one frustrated little girl just crumpled her paper and threw it
on the floor.
We survived this controlled writing experience and what it gave me
was valuable information about my students’ attitudes toward writing.
Their writing samples were assessments which I could evaluate to plan
for their first teaching points. In spite of this negative writing experience,
I found my learners to be eager for new information when it was
presented in a non-threatening way.
I made sure that I read and wrote to my students every day. When
I read to them I picked pieces in which the language was alive. We
talked together about things we especially liked in the language the
authors used. We also talked about the reasons people write and
who an author’s audience might be. I referred back to these
discussions later as I was modeling writing in front of them to help
them make the connection between reading and writing.
I modeled all stages of the writing process--not in one day, but over
time. As I modeled, I talked aloud, sharing the thinking that was going
on in my head as I created my piece of writing.
Slowly, my students’ attitudes about writing began to change. Of course,
it was different for every student, but it seemed that once they completed
and shared their first piece of writing, their outlook became more positive.
They were feeling successful at writing and success breeds success. My
students also turned out to be remarkable role models and sources of
support for each other.
I let go of my previously held belief that all students needed to be at the
same stage of the writing process at the same time. They worked at
different speeds. Since my editing load was now more evenly spread
out, I was able to work individually with students more often. As a
teacher, I no longer dreaded editing conferences. Instead, I found it
exciting to see the progress my students were making.
One day near the end of our writing time I looked at the clock to see
that it was almost time for recess. I asked my students to put their things
away and get ready to go outside. I was surprised to hear several groans
of disappointment. Seeing the puzzled look on my face, one student,
Shamica, asked me, "Can't we stay and finish our writing?" Needless
to say, I was pleasantly shocked. I let them stay to finish their work
and from then on recess became an option. Many students frequently
chose to stay in the classroom to work on their writing. What a change
in attitude from the beginning of the year!
It was about this time that I began to notice certain trends in my
students writing. Up until this point I had been meeting with students
only to give them feedback when they had reached the editing stage
of writing. They needed more frequent and varied feedback than they
were getting. I needed to once again question my practice and thus
began to strengthen my understandings of writing conferences.
_______________________________________________________
THE ROLE OF WRITING CONFERENCES
_______________________________________________________
In order to help my students to reach their writing potential
I came to understand the importance of writing conferences
and the feedback given to students during these conferences.
An article by Gordon Wells (1990) challenged me to examine
whether I was encouraging literate thinking in my classroom.
He wrote that literacy acquisition is a collaborative effort. He
makes the point that "children learn most effectively through
participation in meaningful joint activities in which their
performance is assisted and guided by a more competent
member of the culture." I saw writing conferences as the venue
in which I could guide and assist students in writing.
The conferences I would hold with students needed to occur
at all stages of the writing process. It was a crucial piece, which
I had never before implemented. I came to realize that the better
I got to know my learners as writers and the more I learned about
the writing process, the more specific and meaningful my feedback
and teaching could be within a writing conference.
My discoveries about these conferences did not occur in any logical
sequence. As any learner, I took on bits and pieces of learning as I
was ready for them. Each new piece of learning caused me to reflect
on my current understandings and practice and then to reconstruct my
thinking and possibly my practice to accommodate this new information.
Although this learning was random, it was constant and ongoing. What
I learned is that conferences look different and serve different purposes
at each stage of the writing process.
_________________________________________________________
WRITING CONFERENCES IN THE FORMING
INTENTIONS STAGE
_________________________________________________________
In the forming intentions stage students lay the foundations for their
writing. They think about what they want to write, who this piece
of writing is for, and what form it will take. With these things in mind,
they make an appropriate plan for their writing.
Writers must first choose a topic they want to write about. As often
as possible students should be able to self-select their topics for
writing. I found that students need support when given the responsibility
of choosing their own topics. I think most clearly of Sharee. Sharee
wrote about what was most safe and comfortable to her--her family.
Sharee wrote many stories about her family even though I encouraged
her and others to write about many different topics. It wasn't until I
modeled the use of an ongoing topic list that Sharee began to broaden
her horizon of topics. Sharee and other students began to keep topic
lists which they added to frequently. Ideas for topics came from a
variety of sources, including life experiences, the asking and answering
of questions, and sometimes through the suggestions of others.
Occasionally I would introduce a phrase such as "Places I Have
Been To" to spark new ideas. Brittany used this phrase to brainstorm
many writing ideas (Figure 9.2).
[Figure 9.2. A topic list to help students generate writing ideas.]
I brought together students like Sharee, who had difficulty selecting
new or different topics, for a small group conference. In these
conferences I talked with my students about their topic lists and their
possible ideas for writing. The outcome of these conferences was
not only for each child to have something to write about at that particular
time, but also to develop skills to help them generate future topics on
their own. Another outcome was for these students to hear from each
other what kinds of topics their peers may be interested in reading.
During these conferences we also talked about potential audiences for
their published work. In the past the audience for my students’ writing
was always me, the teacher. But, as they chose their own topics they
also began to develop an awareness of who they were writing for.
Students who struggled with the concept of audience usually had not
had much of their writing actually reach an audience. Once students
began publishing and their publishing began to reach the intended
audience, they began to understand this abstract concept.
Just as the building of a house requires an architect's well-conceived
plans, a writer must also plan for his piece of writing. My students
used sketches, webs, lists, and other graphic organizers to plan for
their writing and to help organize their thoughts. The type of plan a
student uses depends on their developmental level as well as the type
of writing they are working on. Jonathon used a web to organize his
thoughts for his story about the shack (Figure 9.3). I held one-on-one
and small-group conferences about how to develop a plan. The
students and I talked about what they wanted to write about and
what would be a logical sequence for this information. The tendency
of my students was to rush into the composing and drafting stage
without enough information to support their writing. I found that
good plans led to clearer writing and taught students how to create
a plan for their writing. These planning conferences sometimes
occurred even after students had begun their drafts. This happened
when students realized that they don't have enough to write about.
I have also had students go back to add to and revise a plan if their
writing was rambling or going nowhere. Sometimes the comments
of peers in these conferences helped to get writers back on track.
[Figure 9.3. Web of "The Shack."]
I always tried to take notes about my learners during writing conferences.
These notes helped me to know my learners and to plan for future
learning. I also tried to have a specific outcome for the conferences
I facilitated. When my teaching was focused and my outcome was
clear I felt my students were able to take away valuable information
from the conference. If I was too general in my teaching or not
prepared, the conferences never seemed to be quite as successful.
_____________________________________________________________
WRITING CONFERENCES IN THE COMPOSING
AND DRAFTING STAGE
_____________________________________________________________
Moving on to the composing and drafting stage, students begin
to get their writing down on paper. As they write, they refer to
their plan to make sure all of their original ideas are included in their
writing. Also as they write, they continually read and reread what
they have written to make sure that it makes sense.
When writers want to confirm that the intended meaning of their
writing is apparent to their audience, they choose to have a revision
conference. The purpose of a revision conference is to clarify the
meaning of their text to ensure that the reader will understand what
is written. My students’ need to revise their writing for meaning
caused me to form revision conference groups. These groups would
consist of three or four students who were ready for feedback on a
complete draft of their piece. The students would take turns reading
their writing while the others would listen. The members of the group
would then pose questions to the author about parts they found
confusing or lacking in information. This process of questioning can
be difficult for students, but with practice and guidance the revision
conference becomes an effective place for students to receive valuable
feedback. When I introduced this process I was present to model
questions focused on meaning, but as the year progressed, students
began to have revision conferences in small groups without me.
One student in the group would record the questions the other students
asked. It was then the responsibility of the author to determine which
questions he would answer to clarify meaning within his piece of writing.
In the following excerpt from a revision conference Alex shares
his story about bears with Dustin and Pete.
Alex: "Bears have claws to attack their prey. Bears eat meat because
they don't like dirt. Bears are strong to face their prey."
Dustin: What kind of prey do bears attack?
Alex: Other animals.
Pete: What kind of animals?
Alex: I'm not sure.
Teacher: Where could you find out that information?
Alex: I could look in a book I have about bears.
Pete: Why are bears strong?
Alex: Because they have big muscles.
Dustin: I think that too, because they do have muscles and strong legs.
I know because I saw a movie about bears on television.
After this conference, Alex revised his piece to include more information
about his topic. His final story was more complete and interesting than
his draft. When students have revised their draft and feel that the intention
of the piece has been conveyed, they move into the correcting and
publishing stage of writing.
____________________________________________________________
WRITING CONFERENCES IN THE CORRECTING
AND PUBLISHING STAGE
____________________________________________________________
Correcting
In the correcting and publishing stage of the writing process,
emphasis is put on ensuring that the piece of writing is syntactically
correct and print conventions are accurate. For this to happen, a
partnership is formed between the student writers and their teacher.
The students’ role in this partnership is to take responsibility to make
all corrections of which they are capable. This is called proofreading.
For example, if a student has learned the appropriate use and placement
of quotation marks, they are expected to check their writing for this
convention.
I use "I am learning to/I can" pages to keep track of what individual
students have been taught, and what writing conventions they are
expected to control and demonstrate. Each student has a blank sheet
in the back of their draft book. When a student shows he or she is
ready to use a particular convention in his or her writing, such as
question marks at the ends of questions, I teach them that convention
in an editing conference within the context of the written piece. Then I
record the convention on the "I am learning to" side of the sheet and date
it. When I see evidence of the student using the new skill independently,
I put the date of this observation on the "I can" side of the sheet (Figure
9.4).
[Figure 9.4. Example of an "I am learning to/I can" page.]
Editing conferences are individual conferences with students.
Before an editing conference takes place I check that the student
had proofread his or her piece of writing, and that they have taken
responsibility for the conventions on which they have demonstrated
success. Then it becomes my responsibility to make all other changes
in grammar, spelling, and punctuation that are needed. I make these
corrections using whatever writing utensil the child used. As I make
these corrections, I look for one aspect of writing that the student has
nearly correct. That is the next learning point which I will teach to the
student. When I find this teaching point, I do not correct it. I save this
point to be corrected during the editing conference. At this time I also
look for approximations in spelling and handwriting and make note of
them in my monitoring notebook.
After these observations are noted, I sit down with the student for an
editing conference. This conference is meant to be quick and to the point.
My objective is to give the student feedback on evidence of his or her
application of previous learning and to teach the student one new piece
of learning. All of this is done within the context of the student's written
piece.
The following is an editing conference between Heather and me.
Heather has written a short essay on her desire to be a police
officer
(Figure 9.5).
Teacher: Heather, do you remember what we talked about at our
last editing conference?
Heather: Yes. I learned that the words in the title of a story need
capital letters.
Teacher: Can you show me where you used this in your police officer story?
(Heather points to the title.)
Teacher: Great! Is there anytime you wouldn't use capital letters in a title?
Heather: Yes, if there are little words in the title.
Teacher: What do you mean by little words?
Heather: Um, like a or the or an. They don't need to be capitals
unless
they are the first word of a title.
At this point, I dated Heather's "I am learning to/I can" sheet to note that
she understood and was using something I had previously taught her. She
was now ready for a new piece of learning.
Teacher: Heather, can you read to me the first sentence of your story?
Heather: "I want to be a police officers... (goes back and rereads) a police
officer when I grow up because I want to fight lots of crime."
Teacher: Why did you go back and change police officers to police officer
when you read your story?
Heather: Because it didn't sound right.
Teacher: That was a good strategy to use, rereading something that
doesn't sound right. What did you decide sounded better?
Heather: Police officer.
Teacher: What would you need to change in your writing?
Heather: I need to cross out the s.
(Heather takes her pencil and crosses out the s at the end of the
word officers.)
Teacher: Is there anywhere else in your writing where you may need
to cross something out? (Heather reads through her draft and finds
the same error in two more places. She corrects her error.)
Teacher: Heather, do you know why police officers didn't sound
right in that sentence?
Heather: No.
Teacher: Listen to this sentence that you wrote: "Blue is my favorite
color and police officers wear blue." Does police officers sound
right in that sentence?
Heather: Yes.
Teacher: When I look at those two sentences, I see that when
you were writing about yourself and what you wanted, it sounded
better to say police officer, without the s. You are one person.
But when you wrote about more than one police officer, like when
you talked about their uniform, it sounded better to say police
officers, with an s. So, when do you think it would sound better
to add the s to a word?
Heather: When I was talking about more than one person.
Teacher: Can you show me an example of this in your story?
(Heather reads over her essay.)
Heather: Here, I put police officer with no s at the end because
it says "I really, really want to be a police officer."
Teacher: Why wouldn't it be police officers?
Heather: Because it sounds better to say police officer and because
I am talking about myself. I am one person.
Teacher: Heather, what did you just learn?
Heather: That I should reread my writing to make sure it sounds
right and that an s goes at the end of a word if I mean more than
one person.
Before Heather left this conference, I wrote her new piece of
learning on her "I am learning to/I can" page on the "I am learning
to" side. I would watch for Heather to apply this learning in her future
writing.
[Figure 9.5. Heather’s draft of "Police Officers" with changes from
an editing conference.]
Although I had planned to focus on a surface feature of writing, in
this case the use of the plural s, Heather took away from our
conference a valuable writing strategy about rereading her writing
to make sure it sounds right. Teaching points should not be limited
to conventions, but also can include any point about the writing
process in which the student may need support.
Implementing "I am learning to /I can" sheets appeared simple at
first. I soon learned that maintaining them was much more of a
challenge. I learned that to be effective, the teaching point I chose
needed to be within each student's zone of proximal development.
The concept of the zone of proximal development comes from the
Russian psychologist Lev Vygotsky. In Tools of the Mind by Elena
Bedrova and Deborah Leong it is described as:
Those behaviors that are on the edge of emergence.
It is defined by two levels. The lowest level is what
the child can do independently and the highest level
is what the child can do with maximum assistance
(Bedrova and Leong 1996, 162).
Finding a teaching point within a student's zone of proximal
development starts with knowing what the students can do
independently and then looking for evidence of what a student
is attempting to do. I found that the more experience I had
evaluating students’ writing for approximations, the better I
became at selecting appropriate teaching points. I also learned
that as my understandings of the writing process deepened, the
teaching points I chose became more specific and effective.
When I taught a student something new that was in their zone of
proximal development, they were much more able to take the
information and use it in their writing. If I choose a piece of new
learning which was above their zone, it was much more difficult
for the student to use the information and the teaching episode
was usually full of confusion for the learner.
Publishing
After the editing stage is completed and all corrections have
been made, students are ready to publish their writing. With
younger writers, publishing is done daily. As children produce
longer and more complex pieces, publishing is done less frequently.
The form a published piece will take is limited only by the imagination
of the writer. When selecting an appropriate form, the writer must
take into consideration who the audience is and what the purpose
of this piece of writing is. Students may need guidance in selecting
an appropriate form for their published piece.
The students in my third-grade class had a very narrow view of
publishing. They thought that publishing was putting a story into
a book format and then illustrating the book. This format was
indeed appropriate for some of their writing, but it was limiting.
Robert and James wanted to write to a local professional football
player. They planned, drafted, proofread, and edited their letter
and were ready to publish. They had some experience with writing
letters but needed support in determining the correct form a letter
would need and how to address an envelope. We met in a
conference and ended up consulting actual letters and addressed
envelopes for models of appropriate forms.
Sometimes conferences at this stage focus on the illustrations or
artwork which enhances the message of the student's writing. Input
from peers helps students to make decisions about what to include
and how the finished piece will look. Publishing conferences help
students get their message to their intended audience.
_______________________________________________________________
WRITING CONFERENCES IN THE OUTCOMES STAGE
_______________________________________________________________
Getting writing to an audience is the ultimate goal of writers.
Occasionally this is not true, as in the case of a personal journal
or diary, but for the majority of writing genres, the purpose for
writing something is for it to be read by someone other than the
author. In the outcomes stage of the writing process, students
not only get their writing to an audience, but also reflect upon
the responses they receive from the audience.
Response to writing is an often overlooked but very important
aspect of the writing process. If a student receives positive response
it may be the spark that causes him or her to move on to a new
piece of writing. With my original group of reluctant third-grade
writers, I saw this phenomena occur over and over. These
students were experiencing success at something they had
previously only associated with frustration. Their excitement
grew with every piece of writing they got to an authentic audience.
Conferences at this stage can be very exciting because they show
the learner how to take feedback and use it to expand on learning.
For example, Josh wrote a story about sharks which he shared
with the whole class. When he finished his story it was clear that
his audience had many questions that he had not answered.
Shalenia had the same experience with a story she wrote about
New Mexico. These students were pulled together in a conference
to discuss how they felt about the feedback they had received
and what they planned to do about it. The result of the conference
was that both students decided to begin new stories on the same
topic to provide more information.
Response from an audience is not always positive. Although we
have no control over audiences outside of our classroom, we have
the responsibility to ensure that within our classrooms students
have a safe learning environment. Therefore, it is important for
students to learn how to appropriately respond to each other.
I used to get frustrated with the shallow responses I would hear
from my students when they listened to each other's writing. I
would hear "That was good" or "I liked that." I came to realize
that students didn't always realize how powerful critical, genuine
response can be to a writer. The more they reflected on how
they valued genuine response, the more valuable responses I
began to hear. Questions emerged such as: "What made you
decide to have the setting of your story in the forest?" or
"How did you find out that information about Mars?" and
comments such as: "I thought the part of your story where
they were eating breakfast at night was funny! You used funny
words like squished and splat."
Before looking at this model of writing I had always considered
sharing as an ending point of writing. Now I see that in the writing
process there are really no ending points. Instead, there are many
new beginning points.
___________________________________________________________
THE TEACHING AND LEARNING CYCLE
___________________________________________________________
During this time, as I was developing my understandings of the
writing process, my teacher leaders were helping me to understand
the Teaching and Learning Cycle. They helped me to see that
as I observe a need that a student has in his or her writing, I am
actually using the student’s writing sample as an assessment tool.
I then evaluate the sample to determine what new learning the
student is ready for. Concurrently, I listen to students during
writing conferences and evaluate them for their understandings
of the writing process. Any verbal response from a student, such
as a question, an answer to a question, a comment, or a direct
response might also reveal a misunderstanding of the writing process.
After evaluating writing samples and student responses, I can plan
for teaching. I may look for students with the same needs and
group them together for a conference. I also choose resources
that I may need to help me make a teaching point.
The teaching occurs during the editing conferences, in which I
would endeavor to teach each student at his or her point of need.
The cycle begins again with assessments I gathered during and
after the writing conferences. With the knowledge of the writing
process, I am able to use the Teaching and Learning Cycle as a
guide to teach my students what they need to know about writing.
__________________________________________________________
THE JOURNEY CONTINUES
__________________________________________________________
I began my journey four years ago and it still continues. I am
constantly being challenged to ask myself why I am doing what
I am doing. Although some of the challenge comes from my peers
or professional reading, now I mostly challenge myself. My
involvement with Montview Elementary and The Learning Network
has caused me to grow and change professionally in ways that I
doubt I would have come to on my own.
Within the past four years I have witnessed the power of empowering
teachers with knowledge of reading and writing processes and the
Teaching and Learning Cycle. I have also witnessed my students
grow immensely as readers and writers. At the end of each school
year I have felt enormous pride as I see how my learners have grown
and moved along the learning continuum. The Learning Network and
the support that it provides allows schools to be able to support
teachers where they need it most: in the classroom and working
with children. The Learning Network helps teachers to reach all
of their learners, not just those who would learn in spite of the teaching.
This type of support should be available to all teachers.
____________________________________________________________
Bibliography
Bedrova, Elena and Deborah J. Leong. 1996. Tools of the Mind:
The Vygotskian Approach to Early Childhood Education.
Englewood Cliffs, NJ: Prentice Hall.
Ministry of Education. 1992. Dancing with the Pen: The Learner
as a Writer. Wellington, New Zealand: Learning Media for Ministry
of Education.
Wells, Gordon. 1990. "Creating the Conditions to Encourage Literate
Thinking." Educational Leadership, Volume 47, number 6, March, pp 13-17.
Lisa Toner
is a kindergarten teacher and a teacher
leader at Montview Elementary School, a Learning Network site in
Aurora, Colorado. She is a training to be a program coordinator.
She has worked with learners from many backgrounds, including
new learners of English and special education. During the summer
Lisa works as a facilitator for the Literacy Learning in the Classroom
institutes.
© 1997 by Richard C. Owen Publishers, Inc.
The model of the writing process on this page is from the
Ministry of Education. 1992 Dancing with the Pen:
The Learner as a Writer. Wellington, New Zealand:
Learning Media for Ministry of Education, page 23.
Copyright © 1992 and reprinted by permission of Learning Media.
Creating a Classroom of Writers
PO Box 585 - Katonah, NY 10536 - 800/262-0787 9-5
EST. M-F
Copyright © 1999 by Richard C. Owen Publishers, Inc. All rights reserved.
Information in this document is subject to change without notice.
Other products and companies referred to herein are trademarks or registered
trademarks of their respective companies or mark holders.