A Little Latin (and Greek), and a Whole Lot of English Building Vocabulary with Word Roots

By Timothy Rasinski, Nancy Padak, Evangeline Newton, Rick M. Newton

What do the following words and phrases have in common?

  • Tractor
  • A protracted argument
  • Abstract art
  • Attraction
  • Vanilla extract
  • Retractable ink pen
  • Traction
  • Intractable
  • Easily distractible
  • Contractions

Of course, it’s easy to notice that all these words and phrases have the word pattern (word root) “tract” in them.    Now let’s take it a step further.  What if you knew that the word root “tract” is derived from Latin and means “pull, drag, or draw.”    Would you be able to define each of the words and phrases above using the words pull, drag, or draw?    Absolutely!

  • Tractor:  A farm machine used for pulling farm implements.
  • A protracted argument:  An argument that drags on and on.
  • Abstract art:  Art that is pulled from reality.
  • Attraction:  An amusement that attempts to pull customers in.
  • Vanilla extract.   Pulled from the essence of the vanilla bean.
  • Retractable ink pen.  A pen for which the tip can be drawn back. 
  • Traction:   The drag or pull created by a car’s tires that keep it on the road on an icy day.  Also, in medicine the deliberate and prolonged pulling of a bone or muscle, as by weights, to correct dislocation or relieve pressure,
  • Intractable:    Unable to be pulled or dragged away.
  • Easily distractible:  To be drawn away without difficulty.
  • Contractions.  Two words that are pulled together; or muscles that are drawn together as in giving birth.

Knowledge of just that one word root provides you with a tool for unlocking the meaning (or a part of the meaning) to many words in English – and in the case of “trac,tract” it is well over 100 English words. Equally noteworthy, this includes words students use every single day at home and at school (think subtract, trace, protractor).

            One of the amazing features of the English language is that many of its words come from two important languages – Latin and Greek.  In fact, about 90% of English words with more than one syllable are derived from Latin; most of the remaining 10% are Greek-based (Brunner, 2004). Additionally, these polysyllabic (poly = many) academic words are found in science, math, and social studies.       Equally amazing is the fact that one-word root can be found in 10, 50, and in some cases over 100 English words.     

            With this in mind, it seems natural (nat, natur = born, produce) to make the study of Latin and Greek word roots a part of any vocabulary instruction from grades 1 and up.    Traditionally vocabulary has been taught in the following equation (equ[i] = equal):  teach one word, learn one word.     With a Latin-Greek word roots approach the equation changes to teach one word root but learn multiple (and often challenging) words.

            Of course, this begs the question, “How might I teach word roots?”     The first step is to identify which word roots to teach.    Below is a sampling of common word roots.

________________________________________________________________________

Common Bases

aero(o)            air, wind         

audi, audit      hear, listen                             

bibli(o)            book                           

bio                   live, life                                  

chron(o)         time                           

dem                 the people                  

graph, gram       write, draw                            

hydr(o)            water                         

labor                work

mand               order  

max                 greatest

phon                voice, call sound

photo              light

pod                  foot

pol, polis         city     

port                 carry

scop                 look, watch

stru, struct     build

terr, ter          land, ground, earth

Common Prefixes

ante                 before

anti, ant          against, opposite

auto                 self

bi*                    two

co, con             with, together

ex                    out

mega, megalo big

micro               small

multi                many (Latin)

poly                 many (Greek)

pre                   before

re                     back, again

super, sur       on top of, over, above

tele                  far, from afar

tri*                   three

un                    not

uni*                  one

Note*:  uni, bi, and tri can also be taught as numerical bases

___________________________________________________________________________

The next step in instruction (stru, struct = build) would simply be to choose one or two roots per week and make the roots and the words that belong to the root visible for students.  We call it “meeting the root.”    Here’s an example of two “Meet the Root” word charts that a teacher could put up for display early in the week. 

­­­­­­­­­­­­­­­­­­­­­­___________________________ 

Word Root:   Bi = Two/2

Bicycle

Bicuspids

Biceps

Bifocals

Biplane

Binoculars

Biannual

Bipartisan

Bilingual

Bicameral

Biped

Bisect

____________________________

Word Root:   Terr/Ter = Earth

Terrace

Terrain

Territory

Terrier

Terracotta

Subterranean

Extraterrestrial

Mediterranean

Interment

Lumbricus Terrestis

___________________________

Introduce students to the root and its meaning, then discuss how each of the words have embedded in them the root’s meaning.    Students may already know many of the words, but others may need some scaffolding from you (e.g. bipartisan, bicameral, interment).    Then, throughout the week, make reference to the words on the chart and even add more words to show the generative (gen = birth) nature of the word root.    Challenge students to use the words in their own written and oral language.

            Other days of the week can devoted to having students break words belonging to a word root family into parts in order to extract (trac, tract = pull, draw, drag) meaning – we call this ’Divide and Conquer;” read and respond to contextual passages that contain multiple (multi = many) examples of the words from the word root family; and even playing games that involve students in  having fun with the word root and its family of words.     Ten to 15 minutes per day can have a profound impact on students’ vocabularies and their approaches for learning new words.

            Reading specialist Hillary Loftus, says that a word roots approach gives students a degree of confidence (co, con = with, together; fid = trust) in tackling challenging words:

“If a student can recognize the meaning of just one part of a difficult word, this provides him a toehold on the new vocabulary. Students don’t give up as easily because they already know something about the word.”

And isn’t that what we want to develop in students ? – Not only help them enlarge their own vocabularies but develop in them competencies and dispositions for taking on new or unknown words on their own. 

            However, it is not only students’ vocabularies that will benefit from a word roots approach, but also their reading, writing (have you ever seen a writing rubric that does not include “word choice?”), and even their  performance in the academic disciplines.   Indeed, if the language content of science, math, and social studies is made up of word roots derived from Latin and Greek, a word roots approach to vocabulary is certain to improve students’ knowledge of words in these areas.

            Alan Becker, a former K-5 English Language Arts supervisor (super = over; vis = see) brought a word roots approach into his schools after seeing the dramatic impact it had on reading comprehension in his own classroom:

“At the end of each year, the district that I was working in saw 2-5% gains in student performance in reading, always inching closer to my goal of full proficiency in reading and reading in the content areas. By using Greek and Latin roots to teach vocabulary the district met and exceeded predicted growth models in reading.”

            An approach to word study that focuses on Latin and Greek word roots across the grade levels offers a new, efficient, and engaging approach for increasing students’ vocabularies and improving their reading across content areas.    Using a word roots approach to vocabulary may lead teachers and students to express (ex = out; press = squeeze) what Julius Caesar once declared after achieving victory – “Veni, Vidi, Vici” Vocabulary!

References

Brunner, B.L. (2004). Word Empire: A Utilitarian Approach to Word Power (2nd ed.). Star Nemeron Educational Innovations.

Rasinski, Padak, Newton and Newton are authors of numerous (num = number) resources on a word root approach to vocabulary instruction:   

Rasinski, T. V., Padak, N., Newton, R., & Newton, E. (2020). Building Vocabulary with Greek and Latin Roots: A Professional Guide to Word Knowledge and Vocabulary Development (2nd ed.). Huntington Beach, CA: Shell Educational Publishing.  (Professional Development Book)

Rasinski, T. V., Padak, N., Newton, R., & Newton, E. (2019). Building Vocabulary from Word Roots.  Huntington Beach, CA: Shell Educational Publishing.  (Vocabulary Instruction Kit – Grades K-11)

Rasinski, T. V., Padak, N., Newton, R., & Newton, E. (2013).  Starting with Prefixes and Suffixes, 2-4 (Getting to the Roots of Content-Area Vocabulary), Huntington Beach, CA: Shell Educational Publishing. 

Rasinski, T. V., Padak, N., Newton, R., & Newton, E. (2012).  Practice with Prefixes and Suffixes, 5-8 (Getting to the Roots of Content-Area Vocabulary), Huntington Beach, CA: Shell Educational Publishing. 

Connect with Dr. Tim Risinski on Twitter @timrasinski1 

Email Dr. Tim Rasinski: trasinsk@kent.edu

The Robb Review Recommends!

Daily Word Ladders by Timothy Rasinski is available at: https://shop.scholastic.com/teachers-ecommerce/teacher/search-results.html?search=1&prefilter=&text=daily%20word%20ladders

The Megabook of Fluency is available at: https://shop.scholastic.com/teachers-ecommerce/teacher/search-results.html?search=1&prefilter=&text=rasinski

The Fluent Reader can be found at: https://shop.scholastic.com/teachers-ecommerce/teacher/search-results.html?search=1&prefilter=&text=rasinski

Resources for Building Students’ Vocabulary and Word Knowledge are available at: http://timrasinski.com/products.html

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Experience Crafts Deeper Thinking

By: Jacob Chastain

Quality writing does not happen in a vacuum. Likewise, it is not improved by endless and boring worksheets, grammar practice, and writing in isolation from in-authentic sources.

         Writing, at least writing worth reading and doing, occurs when the writer has something they genuinely want to say, reflect on, or respond to. But how do writers gain the tools to do so? Many companies would like to tell you that a computer program (a modern-day workbook) is the solution. Just sit your students in front of a screen and have them correct sentences for thirty minutes a day and you too can have a writer who knows how to use a comma correctly! Teachers, ill-trained or supported in authentic practices accept these programs in the name of simplicity or mandates and move on. Meanwhile, they get to suffer as they read draft after draft of poor, lifeless writing from their students and lose faith over time that they can teach writing or that students can do it well.

         The interesting piece to this scenario is that the teacher using such computer programs (or worksheets) to teach writing are often ignoring what they are doing in reading. In reading, this teacher probably looked at a section of a story, article, or poem, asked some questions, and quite possibly even analyzed language to some extent, looking for meaning. These are all solid teaching moves within reading, but why not use those in writing as well? Why create two separate lesson plans, when the first can serve both sides of what needs to happen in a literacy class?

         Students should read like readers and read like writers. They should be tasked with experiencing the text and all that it offers, and then be challenged to look at it from a different perspective and ask the deep question, “How did the author do that?”

         By just focusing on reading as a reader, we train students to be consumers of information, and never creators or synthesizers of it. We passively ask students to consider what the author was meaning when we could also offer for them to create their own meaning using the model in front of them.

         Rather than just asking what the theme in a poem is, we can extend this to ask students how did the author convey that theme through language, symbols, and structure.

         Rather than just asking what the argument of a piece was and if it was effective, we could ask what is the most effective way for them to argue for what they are passionate about.

         Rather than just asking about text structures, we can invite them to try text structures we have seen to elevate their own pieces.

         Rather than just looking at a beautiful sentence or paragraph and discussing it, we can ask our students to look at the craft of writing, the use of commas, periods, and dashes, and get them to see grammar as a tool for meaning, rather than punishment and nuisance.

         If you are using great literature in your class, and we all should be, then the models are already there for you. Students don’t need worksheets, and you don’t need to be the greatest writer as their teacher. They need to see great writing in texts they can relate to, and you need to be equipped enough to be able to invite them into a multi-dimensional look at the examples all around them.

         This approach creates deeper thinking in students. Over time, they begin reading in a way that is far more critical than a reader that has had a one-sided education. Rather than just consuming news, for example, they will now be able to distance themselves away from the material long enough to ask, “What was the author doing here? Why did they write this headline like this? What was the point of this structure?”

         Teachers all over the world will bang their heads against the wall trying to get students to think about the author’s purpose and infer meanings in texts, but never offer students the chance to play those roles themselves and actually be the writer! It’s hard to grasp why someone might do something without ever stepping into their shoes. As students write more and think about their purpose for writing more, they will be able to read texts with more nuance and depth than they could previously. 

Experience crafts deeper thinking. 

Social media: 

Facebook—Facebook.com/teachmeteacher

Instagram—@teachmeteacherhost

Twitter—@jacobchastain_

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Thinking about Criticism and Critique

By: Lester Laminack

We live on a twenty-two-acre portion of an old farm nestled in the mountains of western North Carolina. Our property has acres of woods and acres of open meadows where cows grazed, and hay was harvested. I keep those meadows mowed. It takes about six hours on a small tractor to mow all of them and I do that at least twice each month. Six hours sitting on a tractor, wearing sound-muffling-headphones, is a great time to think. It is actually one of my new revision tools and a great time for reflection. When I am writing and hit a wall, I start the tractor and mow and think. When something is troubling me, I mow and think. 

Recently I was obsessed with the words: critic, criticize, criticism, and critique. I was rolling them around in my mind noticing their similarities and reflecting on how we interpret them. It seems that we are in a time when critics are present at every corner and on every tweet and post. News outlets and social media seem to thrive on criticism. I can’t speak for anyone else, but I find all that negativity draining, and it has me thinking. 

Some may argue it is only semantics, but I believe we feel the difference between criticism and critique. In my mind, criticism almost always comes from a negative place. Criticism lifts up what is wrong, incorrect, missing; all the negatives. Criticism seems to delight in finding flaws and flaunting them. You aren’t likely to want to help if someone says: “Just stop, that’s not how you load the dishwasher. You don’t put the plates in like that. Good grief.” Negativity never helps me move forward, improve, or make change. In fact, I find my reaction to negativity is quite the opposite. Negativity most often leads me to pull back, to withdraw, to avoid. 

I view critique, on the other hand, as coming from a positive place. Critique is what my editor offers when we have a conference to talk about one of my projects. She points out the strong parts of the manuscript, she lifts up what is working well, she speaks to those places where the language “sings”, where the characters and the dialog move the plot along, and points where the story “shines.” Then, within the context of that safety net of support, she draws a tight focus on a couple of places that are not working as well. Any attention to negatives is presented within the context of what is working, and she shows how the negative bit she chooses to highlight is detracting from all that is working well. 

If you are thinking this is some sort of coddling or ego management, then so be it. I’d rather think of it as guidance. Within the context of what is working well, the negative can be seen more clearly, more objectively. That is to say when negatives are presented in this way, I am able to see more clearly why something isn’t working and how it detracts from the story I’m trying to tell. Critique helps me to understand what I do well, what I have under control and gives me a window into where, how, and why I can improve. I find that critique, when defined this way, actually makes me a better writer. The next draft is tighter because I can reflect on what is working as I address what is not. Because I understand the intentions of my editor, I am energized to jump back into the work knowing exactly where to focus my attention.

From this perspective, critique is an act of caring. It requires that you reflect on what works in addition to what doesn’t. It requires that you consider your comments within a context, to pause and recognize that something isn’t “wrong” simply because it isn’t the way you would do it (e.g. loading the dishwasher). It asks you to consider whether your suggestion is coming from a place of support and potential for growth.  Critique is the positive energy of a critic.

Of course, this line of thought took me to school. It gave me pause and nudged me to examine interactions with both students and teachers. It is easy to notice the flaws, to see what is not working. It is easy to point those out. But, is it helpful? Is criticism beneficial to our students or our colleagues? I don’t think so, especially when criticism is coming from a negative place.

I find that criticism most often becomes a default mode when we are operating under stress. I believe most of you will agree that this has been one of the most stressful periods in our memory for our schools, our teachers, our students, and their families. When we are stressed, we are less likely to think clearly, less likely to consider the impact of our intentions, and less likely to think through how our feedback may impede or facilitate growth and positive change.  With that in mind I invite you to pause and reflect the feedback you give your students when offering suggestions for growth.

Lester’s books are on Amazon!

Learn more about Lester Laminack, check out his website!

Follow Lester on Twitter @lester_laminack

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Improve Students’ Fluency, Vocabulary, & Comprehension with Guided Practice

By Laura Robb

“The kids who can’t read the grade level text listen to it so they are on the same page as students who can read the text. That’s the only way I can have every student experience the required text.” This explanation illustrates how a sixth-grade teacher coped with a one-novel per semester curriculum in her classes. None of the teacher’s three ELA sections had all students reading on grade level or above. In fact, in this school students in all ELA classes, excluding two gifted and talented classes, were reading from grades one to seven —a range that’s similar to many middle schools throughout the country. 

            Despite the fact that teachers have classroom libraries and students read self-selected books for fifteen minutes each day, students reading three or more years below grade level don’t make enough progress in one year to learn from social studies and science textbooks.  In fact, these developing readers, often feel discouraged throughout the day because they can’t read texts in content subjects and therefore, don’t fully participate in discussions.

            More than forty years ago in his article, “If They Don’t Read Much, How Are  They Ever Gonna Get Good?” Richard Allington affirmed my observations and beliefs for developing readers: to improve their fluency and comprehension as well as enlarge their vocabulary and background knowledge, they need to read engaging, authentic materials throughout the day (1977).  Middle school is, most likely, the last opportunity teachers have to meet the needs of developing readers and by eighth grade have most students reading on or above grade level.  

When ELA and content area classes have books that represent students’ interests, cultures, and reading levels, students can read all day, every day. Equally important, as they improve reading skill and successfully participate in class discussions, students develop self-confidence and the perseverance to improve their reading. In addition to volume in reading, developing readers benefit from short, guided practice lessons that can also improve reading skill.

The Why Behind Guided Practice

Guided practice is instructional reading using a poem or a short text, and you facilitate the lessons that can be completed in 15 to 30 minutes. If you’re unsure whether students have absorbed information from a series of mini-lessons, you can use guided practice lessons to gain insights into their level of understanding. Moreover, during mini-lessons, you might identify a group of students who require additional practice. By supporting students with guided practice lessons, you strengthen their fluency, word knowledge, writing about reading, increase their background knowledge, and improve their recall and comprehension. How students navigate short texts can inform your instructional decisions, as you can:

  • Adjust instructional moves by re-teaching a lesson or tweaking students’ goals and workload.
  • Present one or two additional guided practice lessons to provide students with the practice that can improve their reading skill.
  • Confer with a student to deepen your understanding of his/her work.
  • Support a student or small groups by asking them to explain their thinking and then think aloud to model your process and gradually release the responsibility to students.
  • Pair-up students and ask them to support one another as they rethink and redo notebook writing.

By observing students during guided practice lessons, you can target interventions and bring all students to a level of understanding that allows them to experience success during instructional and independent reading.

Scheduling Guided Practice

Guided practice Lessons replace all or part of your instructional reading block over two to three consecutive days. You can reserve one week to present a lesson and use it to assess students, or you can set aside three to four weeks and use the guided practice lessons as interventions that boost students’ reading skill.  Guided practice does not occur all year long and daily formative assessments provide the data that informs decisions and schedule adjustments. I have developed two types of guided practice lessons for additional reading practice.

Two Types of Guided Practice Lessons That Work

Both types of lessons build vocabulary, recommend short videos to enlarge background knowledge, invite students to reread passages for different purposes, improve fluency, and provide practice with citing text evidence to infer and support a position.

Partner discussion lessons ask you to do more explicit teaching by modeling how to write notebook responses and use context to determine the meaning of words. Pairs collaborate to complete word work, discuss questions, and choose a prompt to write about in their notebooks. These lessons offer students practice in completing authentic reading tasks and rely on partners scaffolding tasks for each other.

Shared reading lessons invite students to solve reading challenges independently (Burkins and Yaris, 2018).  These lessons ask you to select texts that allow students to solve reading problems independently.  As you pose questions about a short text, you’ll drive students into the text to infer, explore themes, compare and contrast, and enlarge their vocabulary. It’s the students doing the work that develops stamina and confidence to enjoy independent reading at school and home.. 

After students have completed a guided practice lesson, take some time to reflect on your observations and students’ questions and responses.  Doing this can help you decide if all or some students need extra practice with a specific strategy or if you can move on to building students’ reading skill and independence.

Learn More About Guided Practice Lessons

Corwin Literacy has published a book by Laura Robb and David Harrison, Guided Practice For Reading Growth (2020) that includes partner discussion and shared reading lessons for twelve poems and twelve short texts written by David Harrison, so children practice using beautifully written and engaging texts. Below is a shared reading lesson from the book that you can use with your students.

Rain, She by David Harrison

Rain, she watch jungle.
Oh yes!
Rain, she slyly lift each leaf,

tiptoe down trunk of kapok tree,

make sure jungle nice and green.

2Rain, she know when jungle thirsty.

She bang on forest roof,
plunk rubber trees on their heads.

“Wake up! Drink!” she say.

Oh yes!
Rain, she plump up blossoms,
make them nice and fancy for thirsty bees.

3Rain, she not forget animals!
Oh no!
She drench fur of sullen jaguar,

make parrots shake their feathers,

drip off howler monkey’s nose.

Oh yes!

4And rain, she never never forget
to pelt and rattle thatch huts,
drip through cracks, trickle down walls.

“Ha!” she say. “This I do for you.
I keep river full, she happy,
I pour your squash a drink.”

5Then rain, she say,
“This I do for me.
I keep jungle nice and green.

Oh yes!”

SHARED READING OF THE POEM, “RAIN, SHE”

Purpose: To understand how personification and onomatopoeia enhance meaning and support visualizing

Lesson Materials:

  • Copies for all students of “Rain, She”
  • Students file folders for storing short texts; 4 x 6 index card for covering stanzas
  • An anchor chart headed with the title of the poem. Post both sentences on anchor chart:  Personification is giving non-living things the ability to do what humans can do. David Harrison personifies rain by making it a woman who cares for the rainforest. 
  • Make two columns on the anchor chart. Title left side “Strong Rain Verbs” and title right side, “What You Picture.”
  • Video: “Rain Forests 101/National Geographic” (3:41) or another video about rain forests that’s appropriate for your students. https://youtu.be/3vijLre760w >

Part 1. Pre-Teach

Day 1: about 15-20 minutes

  • Watch video “Rainforests 101/National Geographic.” (You might want to watch this twice).  Invite students to share all they remember. Discuss green canopy and ecosystems.

● Show photo of the Kapok tree. Have students look at the person compared to the size of the tree. Connect Kapok tree to the green canopy and point out the animals that live in the tree and connect that to ecosystems. A great online resource can be found here: https://www.rainforest-alliance.org/species/kapok-tree

  • Ask students to head a page in their notebooks and explain what the “green canopy” of the rainforest is and why it’s important. Circulate and help students by answering questions or helping them frame responses.

Day 2: about 15-20 minutes

read silently.

  • Read the sentences on the anchor chart for personification and personifies. Model how you use clues to figure out the meaning of personification. Invite students to explain personifies using sentence clues.
  • Have students turn-and-talk and discuss the meaning of these words using context clues.
  • Reread the title and ask students to explain how David Harrison personifies rain.
  • Reread the poem and ask students to turn-and-talk and find other examples of rain being personified as a woman.
  • Introduce onomatopoeia and explain that words that also create sounds are onomatopoeic words. As an example point to bang in the second stanza. Ask, What kind of noise does bang make?
  • Have students find other words in the poem that also make sounds: plunk, shake, pelt, rattle

Part 2. Start the Shared Reading Lesson

Day 3: about 20-30 minutes

  • Have students retrieve a copy of “Rain, She” and the 4 x 6 index card from their folders. Students use their index cards to cover up stanzas 3 to 5.
  • Read stanzas 1 and 2 out loud. As students follow silently, have them spot words that show what “she” does.
  • Have students turn-and-talk, share words, and write these on the left side of the anchor chart.

First and Second Stanzas

How do these words (watch, tiptoe, bang, plunk, drink, plump up) help you see and hear what she is doing? Tell students these are strong verbs because they paint pictures and create sounds.

What other words in stanzas one and two relate to water?

  • Read aloud the rest of the poem and students read silently.

Third Stanza

What does she do for animals? What words show you this?

Which words are onomatopoeic words?

Fourth Stanza

How are people in the huts feeling about “rain, she?” Use details from the poem to support you ideas.

How does the rain help people?

Last Stanza

Why does rain say, “This I do for me.” How do these words link to what the poet is saying about rain in the rainforest?

  • What affect does repeating “oh yes!” have on your feelings? On the poem’s meaning?
  • Reread each stanza. Turn-and talk about the picture you see in your mind and the words and phrases that helped create these. Share with the class.

Wrap-Up: Notice what students did well: finding strong verbs, onomatopoeic words, visualizing, and offering text details.

Day 4:  about 15 minutes

Part 3. Teacher Assesses

Complete the Anchor Chart

Additions and adjustments come from the students. You’ll want to see what they can add. If they add little, then students are telling you they require more practice. You can redo part of the lesson or move on and slow down, checking frequently for understanding.

  • Have students retrieve the poem from their folders.
  • Ask students to choral read as you reread the poem.
  • Review anchor chart notes and have students make adjustments and add ideas.
  • Review green canopy, kapok tree, personification, and personify and connect to the poem.

Reflect and Intervene: On sticky notes, jot the names of students who didn’t participate or contribute ideas for the anchor chart. Work with individuals or a small group. Return to modeling and then invite students to respond.

References

Allington, Richard L. (1977). “If they don’t read much, how are they ever gonna get good?”Journal of Adult and Adolescent Literacy. 21(1), 57-61.

Burkins, Jan and Kim Yaris (2018). Who’s doing the work? How to say less so readers can do more. Portland, ME: Stenhouse.

Miller, Donalyn and Colby Sharp (2018). Game changer! Book access for all kids. New York, NY: Scholastic.

Robb, Laura (2020). Guided Practice for Reading Growth, Thousand Oaks, CA: Corwin Literacy.

:Guided Practice for Reading Media Kit:Guided_Practice_Cover.tif

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