Check out this site for grammar help.
Warning: some content may not be appropriate for middle school students.
Check out this site for grammar help.
Warning: some content may not be appropriate for middle school students.
Passionate educator and popular author Laura Robb shares her ideas for moving teaching into the age of choice and collaboration!
By Laura Robb
It’s time to let go of 19th-century instructional methods that are alive and well in too many middle school classrooms around our country. Take a deep breath and think of the students sitting in classrooms you know about and consider how well the following practices serve them.
Practice: The entire class reads the same book.
Pitfalls: One book serves the group who can read it. Students who can’t read the book aren’t reading, and those who find it easy aren’t progressing because the book is at their independent reading level.
Practice: The teacher leads a recitation and asks questions that usually have one correct answer, then selects students to respond. Immediately, the teacher moves on to the next question.
Pitfalls: Asking students to answer literal questions doesn’t foster critical and analytical thinking. Moreover, students don’t have opportunities to pose and discuss their own questions.
Practice: Students complete worksheets with multiple choice and fill-in-the-blank questions.
Pitfalls: Fill-in-the-blanks and multiple choice questions are artificial checks to gauge literal comprehension; they are not authentic responses to reading. Research shows that when students write authentic responses about books they read, their comprehension rises by 24 percent.
Practice: Students sit in rows.
Pitfalls: A hallmark of 21st-century learning is collaboration. Sitting in rows isolates students and discourages generating ideas and discussing worthwhile texts in small groups.
You can avoid the pitfalls associated with these traditional methods by implementing robust practices that differentiate instruction so that all students can improve their reading, writing, critical thinking, and collaboration skills.
It’s beneficial to work with a colleague so you can support one another and observe the changes in action when you visit each other’s classrooms. By differentiating reading instruction and inviting students to discuss diverse texts using student-led conversations, you can heighten their ability to analyze texts and hone their critical thinking skill. Let’s break it down.
We need to shift our practice from students reading the same book to students reading books at their instructional reading level. This practice is quite manageable when you offer books at different reading levels that are connected by genre, theme, or topic, enabling students to talk and think together even though they are reading different books. Rather than “covering” a specific book, reading instruction becomes focused on the ideas you want students to understand.
For example, Ms. Galloway’s eighth grade class was reading Harper Lee’s To Kill a Mockingbird. Out of 27 students, 10 could read and comprehend the book. However, when I asked her what she wanted students to learn from that book, she said, “I want them to understand what it was like for African Americans before civil rights.”
Armed with her idea, Ms. Galloway and I found several books that met the instructional reading levels of her students and addressed her target concepts. Differentiation enabled every student to reflect on life in the South prior to civil rights legislation using a text he or she could read — and every student could contribute to a meaningful, collaborative discussion on the topic. Here’s our list with lexile levels:
And here are some tips for developing units with diverse texts that reach every reader in your class.
Tip 1: Identify the idea(s) you want students to explore as they read.
Tip 2: Ask your school and community librarians to find books related to these ideas on the reading levels of students in your class.
Tip 3: Organize stacks of books on the same reading level. Invite students to browse through the books at their instructional reading level and choose one to read.
Tip 4: Chunk books by having students read three to four chapters, then stop to hold a partner or small group student-led discussion on that section.
A powerful form of thinking and communicating, student-led conversations can last from five to 15 minutes and bring social interactions to students’ learning. When students are in charge of discussing books they selected and can read, motivation and engagement soar. These conversations develop critical thinking and strong communication skills as students practice framing responses to peers that represent their ideas with clarity.
Have students take turns volunteering to be the group’s leader. The primary job of the leader is to maintain the forward motion of the discussion by using prompts such as:
Students can use literary elements, themes, ideas, and genre structure to discuss different books.
Explore Literary Elements. Have students identify the protagonist and several problems he or she faces; antagonists and how each works against the protagonist; conflicts, themes, and how other characters affect the protagonist.
Focus on Genre. Ask students to discuss genre structure. For example, for realistic fiction they can discuss what makes the characters and plot realistic. For science fiction they can reflect on the warnings about present-day society and/or technology that the author presents.
Think Through Themes. Have students provide examples of unit themes such as obstacles the person or character faces and whether he or she overcomes these. Or ask students to define stereotyping and offer theme statements that are examples of this from their books.
You can observe one to two discussions during a 45-minute class period. Students can also write several key points from a discussion in their readers’ notebooks and/or evaluate the discussions by writing about specific examples raised during the discussion. Encourage self-reflection using these questions: Did I participate? Did I cite evidence? Did I listen carefully? What did I learn about my book? About a different book? About literary elements? About genre? About theme?
It’s helpful to have students compose open-ended, interpretive questions that apply to any text. Interpretive questions have two or more answers. Verb such as why, how, explain, compare, contrast, evaluate can signal an open-ended query. Have students test each question by finding two responses the text supports. Once they’ve identified two different responses, they can compose another question.
By posting questions on a whiteboard, students can choose those that work for their texts or link to a specific area such as theme or genre structure.
You can also ask students to develop queries that lead to self-evaluation and add to them or adjust them throughout the year.
When you incorporate student-led literary conversations, you inspire students to read, talk, and write about texts they choose. Remember, a student-centered approach builds a community of learners who collaborate and support one another. The result? Students improve as readers, writers, communicators, and critical thinkers.
Author, teacher, coach, and speaker Laura Robb has more than 40 years teaching experience in grades 4-8 and now works with school districts to train teachers. You can learn more about student-led conversations in her latest book, Read, Talk, Write: 35 Lessons That Teach Students to Analyze Fiction and Nonfiction. Her 25+ books also include Unlocking Complex Texts and Vocabulary Is Comprehension
FORM IT: HORIZONS POETRY PROMPT
BY HEATHER EURE
Form It is a prompt that focuses on exploring our topic through form poetry. This time, we’re going to “form” horizons.
Prompt Guidelines and Options
Acrostic (good for creating puzzles and mystery or dedications)
Ballad (excellent way to tell a story)
Catalog Poem (useful for building intensity, praise, or a sense of magic)
Ghazal (helpful for emphasizing “longing” or for exploring metaphysical questions)
Haiku (good for creating immediacy or focusing in on emotion)
Ode (excellent way to praise something or someone you love or admire)
Pantoum (useful for plumbing depressive or anxious themes)
Rondeau (helpful for giving form to extremes of either sadness or dark wit)
Sestina (good for exploring confusion, questions, worries, neuroses, fears in an oblique way)
Sonnet (excellent way to confine a bombastic theme or reign in a potentially sappy or overly-sentimental theme; also an excellent way to “work against” a topic humorously)
Villanelle (useful for themes that feel resistant to answers; also can be used to “work against” a topic, using mocking humor)*
Navigating cyberbullying, privacy, safety, and other digital dilemmas are a real challenge for schools. But technology also provides incredible opportunities for students to learn, connect, create, and collaborate in ways never before imagined.
Your school can build a positive school culture that supports the safe and responsible use of technology with Common Sense Education’s K-12 Digital Citizenship Curriculum. Students can build skills around critical thinking, ethical discussion, and decision making. And you and your school can join thousands of others across the globe by getting recognized for your efforts.
Our turnkey curriculum includes comprehensive resources for students, like lesson plans, student digital interactives, and assessments, as well as professional development for teachers and materials for family education.
Brain Pop: https://www.youtube.com/watch?v=THX0XRB54Yk
Free resource from Teachers Pay Teachers:
It’s a great day to let Adrienne Rich take a few calls. Bring Rumi with you for some banter at the water cooler. Robert Frost would enjoy leading your staff meeting. And Emily Dickinson would be great at filing. We believe there is poetry in the workplace, and there’s definitely a place for poets at work. We have a great collection of poets for you to color, cut out and glue to a popsicle stick to join you on the job.
But over the past few years as we’ve celebrated Take Your Poet to Work Day, we’ve noticed a trend: many of our favorite poets just don’t want to go to work. Instead, like many of us often dream to do, they find their way to the beach, or to the coffee shop, or to the county fair instead.
So this year, we thought we’d get ahead of our poets and take them to some great destinations from around the world.
Adrienne Rich met Lady Liberty in New York City.
I’d have never guessed that Emily Dickinson would ever say she was ready for her close-up, butPablo Neruda and Sara Teasdale talked her into a trip to Hollywood.
Wisława Szymborska and William Wordsworth came up with a plan to make Michelangelo’s Statue of David safe for work.
Walt Whitman might not be the best tool for fighting sea serpents, but if you’re Neptune, I guess you can make do.
Emily Brontë and a mermaid shared a quiet moment in Copenhagen.
Anna Akhmatova,Maya Angelou, and Robert Frost waited in line for Seamus Heaney and Walt Whitman to come down so they could have their turn on the Eiffel Tower.
Maya Angelou, T. S. Eliot, and Rumi enjoyed an afternoon of hide-n-seek at Easter Island.
Eliot had so much fun at Easter Island he invited Edgar Allan Poe to Stonehenge. Poe brought along John Keats and Christina Rossetti, who just wanted to read books all day.
Judith Wright invited friends Henry Wadsworth Longfellow and Elizabeth Barrett Browning over for an evening at the Sydney Opera House.
Matsuo Basho and Kobayashi Issa went to London to give Big Ben a hand.
And wouldn’t you know it, Emily Dickinson, Maya Angelou, Edgar Allan Poe and William Butler Yeats came over to my home state and made an appearance at Mount Rushmore.
So where are you and your poet going today? Whether you’re going to work, to the beach, or on vacation, take along your favorite poet. Tweet a photo to us at @tspoetry with the hashtag#poettowork, and we might feature you.
Photos used under a Creative Commons license and sourced via Flickr; modified to include embedded poets. Mount Rushmore by CamellaTWU, Statue of Liberty by Fr Lawrence Lew, O.P., Neptune by Wally Gobetz, Statue of David by Darren & Brad, Leaning Tower of Pisa by Neil Howard, Easter Island by Babak Fakhamsadeh, Stonehenge by vgm8383, Big Ben by André Zehetbauer, Hollywood by Neil Kremer, Eiffel Tower by Gilad Rom, Sydney Opera House byMotiqua, Copenhagen by Greenland Travel.
I had my students make a “Poet on a Stick” last year–they loved the activity. I think this year I will have them recite a poem of their choosing from the poet of their choice and/or have them create a play with the poets…still ruminating about the lesson plan…anyway…Enjoy the photos!
July 20, 2016
By Patricia A. Dunn
When people are overly self-conscious or frustrated, they don’t learn well. Whether they are new drivers or new writers, rattled people need to calm down. The feedback they receive can make things better or worse. I used to teach driver’s education, which taught me much about how people learn. I’ve been teaching writing for a long time, and I see many parallels. Sometimes new drivers or writers who have the most need of improvement are least able to absorb multiple commands. Here are some suggestions for how to give more useful feedback on written drafts—and what to avoid.
What to Avoid in Giving Feedback
Screaming at brand new drivers to “Check your blind spot!” does little good to those who have never been taught what a blind spot is. Barking at them to “Brake smoothly!” may not help either—they would if they could. Sometimes developing writers encounter multiple marginal comments from their teachers to “Fix commas!” or “Write in complete sentences!” But these angry-sounding commands may not work. Disheartened writers have no doubt heard all this before, but they may be too confused, frustrated, or disengaged to learn.
Therefore, driving—or writing—instructors should take care not to engage in criticism overload. I’ve seen new drivers, frozen with fear, struggling to coordinate what experienced drivers do without thinking: signal at the right time or brake smoothly without throwing passengers into their seat belts. I’ve learned that yelling Don’ts at them can sometimes make things worse: “Don’t signal too early!” “Don’t stare in your rearview mirror so long!” Some new drivers are already so stiff and nervous that they’re not thinking clearly. They need to take a breath, gain a bit of confidence, and think about what’s around them—as do writers. It doesn’t work to tell new drivers or new writers how terrible they are and then demand that they stop being so bad.
Two scenes: a driver education teacher and a writing teacher yelling at terrified learners.
How to Give Better Feedback
Say something positive: “You stepped on the gas a little more smoothly just now!” “Your hands are certainly placed firmly on the steering wheel!” This praise, small as it was, would calm their frazzled nerves. They had succeeded at something. Shaky writers, like shaky drivers, need to be handled with similar tact. Like some student drivers, student writers may come to a new challenge overwhelmed, discouraged, perhaps, from repeatedly being told how bad they are. They, too, are afraid. They may have a litany of good (and bad) advice playing in their heads. They face a blank page or screen with the same frozen self-consciousness that blocked the clear thinking of the trembling drivers.
Try an Alert Noticing of Positive Features in Writing
Writing teachers, like driver education instructors, also need to notice what’s going well. However, many instructors do not know how to notice or name what developing writers might be doing right. So focused are some teachers on error, or perhaps on justifying a bad grade, they may not know how to find in a very rough draft some aspects to praise (an active verb, a complex sentence, some vivid details, a lively snippet of dialogue, a helpful transition, the legal use of a semi-colon, etc.) When teachers can name specific things a writer is doing well (as Nancy Mack shows how to do with color coding), that writer is more likely to remember to continue to do those things in the future. What’s more, this confidence boost can provide motivation needed to address the many aspects of the draft that undoubtedly need to be fixed.
Of course it’s true that writers “in the real world” will surely have their writing criticized, sometimes brutally. It’s possible—in fact preferable—for instructors to provide a balance of response to a writer: an alert noticing of effective rhetorical moves as well as a focused analysis of how the piece could be improved. It’s this alert noticing of positive features that many of us who write comments on student writing need to learn how to do better.
Address First Things First—Mostly
New drivers and new writers often need to fix much, but first things first and not all at once. Regardless of the number of big and small things drivers and writers need to improve upon, they can’t fix everything before the next block, or before the next draft. Instructors must learn to prioritize. What needs addressing now? What can wait until next time? With beginning drivers, I’d let them build their skills gradually, both for their own development and my own safety. I’d start them off in empty parking lots, dead-end streets, or cemeteries. As their steering and braking improved, they’d begin looking further ahead than the hood of the car and start to process events unfolding in the coming blocks.
Here’s where my driver/writer analogy breaks down, however. Developing writers should not be made to slog around in the dead-ends of grammar exercises or mind-numbing five-paragraph themes. In addition to developing their skills, these wary writers also need to develop their engagement in writing—to see it as both doable and empowering. They need to write about things they care about, in real-world, authentic writing situations, for reasons more important than a grade.
Use a Strategic, Customized Balance of Praise and Critique
Another caveat is that not all writers—or drivers—need the same proportion of praise and critique. In fact, some overconfident new drivers often require candid commentary on their perceived skills. While their wisely under-confident peers often need gentle encouragement coupled with well-placed, prioritized direction (“Nice signaling—now brake gently here for that right turn coming up”), these Grand Prix wannabees often need clear, immediate, and unfiltered correction: “Stop speeding!” “Don’t pass here!” “Pull over now!”
Likewise, some writers, accustomed to getting As on well-edited but vapid school writing, can handle a less-cushioned response from an alert reader who sees their potential to challenge themselves: “Support your claim here with a more respectable source.” “Consider deleting some unnecessary throat-clearing in your introduction.” “You seem to want to say more about this.”
Feedback on writing, like feedback on driving, should be informed, balanced, and tailored to the individual learner. There should be well-placed, solidifying praise when it is warranted and needed, and insightful, prioritized suggestions for what can be improved. Having teachers who can balance their responses strategically for these learners will make our students’ writing better, and our highways safer.
Patricia A. Dunn is a professor of English at Stony Brook University (SUNY), where she teaches current and future teachers of English and writing. She is a former high school English teacher and two-year college instructor who has written several books on the teaching of writing, including Grammar Rants: How a Backstage Tour of Writing Complaints Can Help Students Make Informed, Savvy Choices About Their Writing (2011), with Ken Lindblom. She has contributed several other posts at this blog: the role engagement plays in writing, how bad “grammar” instruction can impede a young writer’s progress, and what learning to play a ukulele taught her about teaching writing. She has a new book, Disabling Characters: Representations of Disability in Young Adult Literature (2015). She is on Twitter as @PatriciaDunn1.