In our previous blog articles for the Robb Review and elsewhere, we have written about the importance and advantages of poetry for children and how poetry should play a major role in any reading and language arts curriculum. In this current article, we would like to shift the focus from poetry to poets. In the United States, we are blessed with a wide variety of children’s poets, and just in the same way that students learn about the many authors of trade books for children, we feel that students (and teachers) should also learn about the fine poets whose trade is to write for kids.

Most of us have a favorite children’s poet or perhaps even a group of favorite poets. Often these include such great ones as Shel Silverstein, Jack Prelutsky, and A.A. Milne. As great as these poets are, the universe of wonderful poets for children is very large — and we would add worth exploring ourselves and with our students. Poets lead interesting lives that help inform their writing. As students learn of the lives of the poets they read about and hear, they may be able to make connections that will inspire them to write their own poetry.

Angela Knight is an elementary school librarian in Springfield, Missouri. Dr. Knight reads a poem aloud to the students in her school every week during the school year as her way to help foster an appreciation for poetry and encourage teachers to include poems in their daily classroom activities. We think her practice is brilliant in its simplicity and should be passed along to librarians, teachers, and all other adults who read to children.

We’ve all watched long wriggly lines of young fans queue up to meet authors of their favorite chapter books or novels and become tongue-tied with adoration when they hold up their books for an autograph. Do kids line up like that, behave like that, in front of a poet? Perhaps some do, but in general, not so much. Yet in classrooms, when poems are read by teachers and students recite their own favorites, they learn to love poetry. Research thoroughly underscores the benefits of hearing and reading poetry in all grades, especially primary grades. An ongoing challenge is to encourage more teachers to read more poems in more classrooms.

The goal isn’t to make poets famous. It’s to make children (and the adults in their lives) more aware of poets as people. Why? Because the better we know someone, the more interesting they become. How do we do that? There are hundreds of books of good poetry for children available in schools and libraries. Many of them provide a thumbnail description of the poet. Nothing more. What is lacking is a way for students to get to know, more personally, the people who write their poems. Who are they? What were they like when they were kids? Why do they like to make up poems? How did they get started? Why is poetry so important to them? Where do they live? Do they like dogs?

We discussed this challenge with forty well-known poets, all veterans of school visits and literature festivals. We agreed that each one would select or write a poem for our project. We would publish their picture on the first page and a kid-friendly bio on the second. We said, “Introduce yourself the way you do when you are in a school, standing before an audience of students and telling them about yourself.” The third page would feature their poem and a fourth would present a word ladder activity composed for each poem in the book. We asked each poet to suggest other books of poetry, their own or someone else’s, that they recommend for young people. The result was a reference reading list of more than 120 titles to go in the back of the book. The result, 40 Poems for 40 Weeks: Integrating Meaningful Poetry and Word Ladders in Grades 3-5 Literacy, was published by Routledge/Francis-Taylor in 2025.

We believe that moving poetry deeper into the mainstream of reading choices for young people, in the classroom and beyond, will develop a deeper appreciation for poets and the work they do. It will also have a positive impact on developing more fluent and proficient readers. We have found that poetry is an ideal text for developing fluency, the critical bridge from phonics to comprehension, as students must rehearse a poem (i.e., repeated readings) before performing it for an audience of classmates and others. Elementary educators often struggle to find the right materials to fit their instructional goals and schedules. 40 Poems for 40 Weeks, Integrating Meaningful Poetry and Word Ladders in Grades 3-5 Literacy provides a poem and poet for each week of the school year and can be selected in any order. We hope our effort to increase the popularity of poetry and the visibility of poets will inspire others to find ways to approach the goal. Instilling an appetite to read and developing proficiency in doing it remain our top priority as educators, parents, and the general population.

Poetry is rightfully reclaiming its place in the school reading and English language arts curricula. However, poetry does not exist without poets. Learning about the lives of poets who inspire with their poetry may inspire our students to give poetry a try in their own lives.

An excellent supplemental resource is a site called Poetry from Daily Life Free Video Library (https://www.youtube.com/@PoetryfromDailyLife-e2j). Sixty poets, teachers, journalists, editors, and professors have recorded their reasons why they believe that poetry is a vital part of our lives. Among the selections are numerous well-known, respected poets who write for children, including Jane Yolen, Joyce Sidman, Charles Ghigna, Janet Wong, Joseph Bruchac, and David L. Harrison, all of whom read a poem and talk about where they find ideas and how they write their poems. Educators who discuss how to make the most of poetry in the classroom include Laura Robb, Tim Rasinski, and Mary Jo Fresch.

The post Robb Review — Learning about the Poets appeared first on The Robb Review Blog.

The Importance of Reading Aloud to Children
Reading aloud to children plays a vital role in their development for several reasons.
First, it immerses children in the rhythms of written language, helping them become
familiar with the patterns and sounds that characterize stories and informational texts.
The exposure to varied linguistic patterns helps develop an appreciation for the music
and potential in written expression. This exposure is foundational for their literacy
growth, facilitates a deeper appreciation for language, and helps them become attuned
to the nuances of how language can be crafted.
Additionally, reading aloud contributes to the enhancement of listening skills. As
children follow along with a story, they learn to focus, comprehend, and process spoken
words, all of which are necessary for effective communication and learning.
Another important benefit is that reading aloud introduces children to a wide range of
authors, illustrators, titles, topics, and genres. This variety not only enriches their
literary experiences but also encourages curiosity and exploration within the world of
books.
Furthermore, reading aloud provides children with exposure to multiple points of view
on a topic. By listening to stories from various perspectives, children gain a broader
understanding of the world and the diverse ways in which people think and feel.
Engaging children in read-aloud experiences enables children to think about critical
issues that they might not encounter otherwise. Through stories and discussions,
children are prompted to consider ideas and dilemmas that foster critical thinking and
empathy.
Finally, reading aloud provides access to language and ideas, allowing children to
encounter new vocabulary, concepts, and ways of expressing themselves. Offering
students a shared literary experience and exposure to a diverse body of literature
generates a common point of reference, fosters a sense of community, and establishes
a basis for thoughtful dialogue about texts. This access is crucial for their cognitive and
social development, laying the foundation for success in both academic and everyday
settings.
The power of rereading is another important aspect modeled during read-aloud
experiences. Teachers demonstrate how revisiting a text with a specific focus can reveal
new insights and enhance appreciation for the author’s craft. This repeated exposure
emphasizes the importance of looking closely, examining ideas, considering
perspectives, and questioning what is read.

Selecting Books for Repeated Reading
When all members of a classroom share deep and intimate knowledge of a small
collection of books, a new level of communication about reading and writing is possible.
I recommend beginning with five fiction and five nonfiction titles to revisit throughout
the year. When making your selections, consider the following:
 Does the book have enough depth and substance to merit multiple readings?
 Do the language and art provide different perspectives for repeated exploration?
 Are literary elements or text features strong enough to support focused study?
 Is the information accurate and engaging?
 Does the writer use craft techniques to help readers construct meaning?
 Are text features used to clarify, elaborate, or extend information?
 Can this book serve as a lens for approaching other books?
 Will this book help build insights that can translate into writing opportunities?
*Note, this collection of books for repeated readings is one small part of the read-aloud
experiences across the year. There will be many texts that are read in addition to this
collection.

Elements of Effective Read-Aloud Experiences
Think of the read-aloud experience as a performance art. Read the text aloud a few
times before reading it to your students. As you read, think about how your voice will
convey the feeling, the intentions, the emotions, and the energy in the writing. Here
are four elements to consider as you prepare.
Tone
I think of tone as the attitude expressed in a piece of writing. It may be chatty and
informal, sincere, snarky, caustic, arrogant, formal and distant, cheerful, solemn,
pushing, pleading, preachy, or academic. The writer’s attitude or feelings toward the
subject directly influence the tone, and the tone may also be shaped by the writer’s
intentions to evoke certain responses from the reader. It is important for the reader’s
voice to reflect the tone present in the text to convey its full meaning.
Mood
I think of mood as the emotional climate or temperament, the feeling it leaves with the
reader. A piece may be sad, depressed, hopeful, wishful, excited, eager, or nostalgic.
Setting, voice, and the character’s personality are all elements that contribute to
establishing the mood. Ideally, as the reading concludes, the mood should linger,
leaving a lasting impression, much like a fragrance.
Intensity

I think of intensity as the energy within the text. It may be powerful and bold, or tender
and quiet. The energy might build and wane, begin with a punch and maintain that
level, or start full and gradually diminish. In some cases, it is gentle from beginning to
end. When reading aloud, intensity is revealed through shifts in volume and the
strength of the reader’s voice, which help bring the text to life.
Pacing
I think of pacing as the heartbeat, the pulse and rhythm of the text, shaping its flow. At
times, the pacing may race, while at other moments, it slows to a standstill. Dramatic
pauses and a rush in the reader’s voice can create tension, while slow, deliberate
speech can draw the listener in. Emphasizing words or moving quickly through passages
can mirror the action and emotion found in the piece.
Just as a musician interprets what is on the page, a reader interprets the intentions of
the writer through tone, intensity, pacing, and mood. Reading aloud with skill means
playing that music with your voice. Beyond accurate reading, it requires interpreting the
writer’s intentions and conveying them through expressive delivery.
Making Time for Read-Aloud Experiences
Many of us find it challenging to set aside time for read-aloud experiences. Here are six
possible times across the day when a read-aloud may fit nicely. Each possible time is
paired with an intention that can make the read-aloud experiences a viable part of your
instructional day.

1. Building Community (Starting your day). Begin the day by reading aloud to help
   foster a sense of community among students. This shared experience sets a
   positive tone and encourages connection. Stories shared here can be
   touchstones across the year.
2. Exposure to language (First transition). During the first transition of the day,
   share texts that allow students to hear the rhythm and melody of language,
   immersing them in its musical qualities. For this read-aloud experience you’ll
   want to focus on lyrical texts that will expose students to a more expansive
   vocabulary.
3. Featuring poetry (Preparing for lunch). As students prepare for lunch, continue
   the focus on language through poetry, sustaining engagement and offering a
   soothing transition. Consider featuring one poem per week.
4. Supporting writing opportunities (After lunch). When your class returns from
   lunch, a read-aloud experience can support writing work, providing inspiration
   and models for effective writing. Select texts that model the work you and your
   writers are doing.
5. Building bridges across the curriculum (At the opening of a content area class).
   Integrate read-aloud experiences into subject area lessons to connect literature
   with curriculum topics, building subject specific vocabulary, pairing language and
   image to facilitate concept formation, making learning more cohesive and
   meaningful.
6. Closing the day with a chapter book (Last event of the day):
   End the day by reading from a chapter book or extended text, offering a
   satisfying conclusion and encouraging a love of reading that extends beyond the
   classroom. If you are reading a chapter book, consider ending at a high point, a
   moment of tension or suspense, rather than at the end of a chapter. Leave them
   with something to think about as they travel home.
   Reading aloud to our students is essential instruction. Let’s elevate it to a place of
   prominence in our day.

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In the age of the Science of Reading, many schools have adopted various curricula aligned to explicitly teach the five pillars of reading instruction: phonological awareness, phonics, fluency, vocabulary, and reading comprehension. Research around reading instruction emphasizes The Reading Rope, a visual metaphor connecting language comprehension and word recognition in order to build a skilled reader. As schools begin to pilot or implement curricula aligned with this type of explicit teaching, it is crucial for administrators to emphasize the need for teachers to continue to bridge their passion, art, and craft of teaching with the technicalities of the “science” of literacy instruction. Most curriculums on the market are scripted, containing step-by-step directions on how to teach the lesson. At times, teachers can get lost in learning the new curriculum, which leads to losing their art of teacher voice. Below are some pros and cons from teachers in regards to their experiences with scripted curricula: 

Pros

-Easy access for learning standards/targets 

-Helpful for substitute or guest teachers 

-Can be interdisciplinary with other content areas 

-An outline of activities for interventions or enrichment 

-Rigorous academic content 

-High level of family engagement with topics 

Cons

-Feeling of restriction… worried about veering off from the script 

-Lack of teacher autonomy or creativity 

-A lot of prior reading before implementing the lesson with students 

-Can be overwhelming for first-year teachers 

-A lot of time dedicated to one content area 

Teacher feedback loops show there are many pros and cons. As more schools purchase these curricula, teachers must have an understanding of not only the why for the switch, but also the importance of the how in regards to the implementation process. 

Teacher Engagement is Crucial

Research shows high teacher engagement has a positive effect on student engagement levels. As professional development teams roll out scripted curriculums, it is important to express the need for teachers to continue to teach as their authentic self. For example, the “script” of the curriculum is a roadmap, a guide, to aid in navigating the academic rigor of the content. Teachers must know they are still the trained expert, and they understand the needs of their students. A “tuned in” teacher will recognize when their students are disengaged. If an activity must be slightly altered to meet the students where they are, do it. This is the art of responsive teaching. 

Think about your own experiences with professional development. The times where the speaker may have been monotone, or the session was primarily what we call a “sit and get”. Afterwards, or even during, you feel drained, and your brain has been essentially turned off. It is our job as teachers to use all of our craft to try not to let this happen to the students that sit before us each day. 

Many teachers fear being handed a “script” and the mere thought of being asked to teach verbatim. While it is important to hit the necessary targets being addressed in the lesson, paraphrasing the language in your own words, or even language that your students may understand more effectively, is justifiable as long as the core target of the lesson is communicated. 

So now what? How will you navigate the uncharted waters of a scripted curriculum? 

Teacher Tips 

–Embrace the unknown! You are a learner alongside your students
–Be honest. Share with your students that this is new for you and that you will make mistakes… It’s okay! Students need to see adults modeling mistakes

–Read the manual the day prior to feel prepared

–Use different colored highlighters to designate words or items you will say verbatim and areas of the lesson that allow your creativity and art of teaching to shine

–Get connected. Find your colleagues that are in the same boat as you. Share your triumphs and tribulations

–Social media. Join curriculum support groups to get ideas

–Have fun! Continue to bring your best teacher flair

Administrator Tips

–Communicate. Share with your staff that you value their vulnerability in learning something new 

–Validate. Express that you understand this will be a shift from current teaching practices

–You are learning, too. Alongside them you will help to provide the necessary supports to make this transition manageable 

–Evaluations. Yes, they will still occur, however you recognize the manual will be in the teacher’s hands and mistakes will happen. It is natural and should be celebrated 

In conclusion, remember this… 

You are the expert, the trained professional, that best knows your students. 

Whatever you do, do not lose sight of your unique art of being an authentic teacher. 

]We must continue to advocate to bridge the art and science of scripted curricula. 

We are stronger together. 

You can do this. 

Cameron Carter is currently a first grade teacher in Worthington, Ohio and an aspiring educational leader. He is pursuing his administrative licensure from​​ The Ohio State University. Continue learning alongside Cameron via LinkedIn. 

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Attempts to improve reading outcomes, especially among students who struggle to become proficient reading, have been in the reading spotlight in the past few years. The solution that is most commonly offered is a stronger emphasis on direct systematic phonics instruction (e.g. Sold a Story podcast, 2022).   While we completely agree that phonics is essential to reading success, phonics itself is only one part of the equation to develop proficient readers.

The aim of phonics instruction is for readers to be able to decode words accurately.  However, consider a reader who is able to decode words accurately but does so in an overly slow word-by-word manner without paying any attention to phrasing or expression. Clearly, we would not consider such readers proficient.  Truly proficient readers not only decode words accurately, they also decode the words they read effortlessly and they read text with good phrasing.    

Fluency in reading involves teaching students to read text not only accurately but also automatically or effortlessly.  The significance of automatic word recognition is that readers no longer have to employ their cognitive resources to decode the words in text – the words are instantly decoded with minimal use of cognitive resources.  Those freed up resources can then be employed to the more important task in reading – comprehension.    

Fluency also involves reading with what linguists call prosody.  We prefer to call it reading with expression and phrasing that reflects the meaning of the text.  In order to read with prosody, readers need to be attending to the meaning of the text. Thus, prosodic reading aids in comprehension.

Studies by the National Assessment of Educational Progress have shown that large numbers of lower performing fourth grade readers tend to struggle in both automatic word recognition and prosodic reading.    Clearly, then, developing fluency in these students, both automaticity and prosody, will significantly improve reading proficiency.    Fluency instruction must be a part of any science-based reading curriculum.

The Tools for Developing Fluency

• Modeling Fluent Reading.   Young readers need to hear fluent reading in order to understand reading fluency.   This means teachers, parents, and others should read to their children regularly and make sure that when they do they read with expression that marks fluent reading.
• Wide Reading.   Fluency in anything requires practice.   Wide reading involves reading as much as possible.   Recent research (Allington & McGill-Franzen, 2021) has shown that reading volume is associated with reading achievement.
• Deep (Repeated) Reading.  Fluency often requires the learner to practice a text (or other activity) multiple times in order to achieve fluency.  Research (Rasinski, et al, 2011) has shown that repeatedly reading one text leads to improvements in new texts never before read.   The key to repeated reading (i.e. rehearsal) is to make it authentic.    If a text is meant to be performed for an audience it needs to be rehearsed- not for speed but for developing a sense of expression that an audience with find satisfying.    Texts such as readers theater scripts, poetry, song lyrics, and other are meant to be read aloud for an audience and are thus excellent choices for repeated reading.
• Assisted Reading.   If a text is challenging having an assist or scaffold from a more fluent reader can lead to fluent reading.   Assisted reading can take the form of choral reading as a group, paired reading where the partner is a more fluent reader, or reading while simultaneously listening to a prerecorded version of the text.    Assisted reading (Rasinski, et al, 2011) has been shown to be a powerful tool for developing fluency and overall reading proficiency.
• Phrased Reading.  Less fluent readers / tend to read / in a word-by-word manner / that disrupts the natural language / of the text / and makes  comprehension difficult. //   Helping students / read in phrases / by marking a text / with phrase boundaries / can move students / to more natural and meaningful phrasing / that will improve reading fluency / and comprehension.//

These basic fluency development tools, by themselves, can move students toward higher levels of fluency and reading proficiency.   However, if we can combine these tools into a single lesson format we get synergy – a situation where the benefit from a whole lesson combining these elements is greater than the sum of the parts alone.  This is where the Fluency Development Lesson (FDL) comes in.   

The Fluency Development Lesson

The FDL is a systematic, explicit, science-backed instructional practice that when implemented regularly closes reading gaps for all students, including multilingual learners (National Reading Panel, 2000; Kulich 2009; Zimmerman, et al., 2019). While the FDL supports all foundational reading skills, it targets fluency since reading difficulties often manifest in this area (White, et al., 2021), and its flexible design supports readers of all ages.

Implemented in 15-20 minutes, the FDL includes effective assisted reading practices like choral, echo, and partner reading. Initially, the FDL was created to be delivered in a single day using short, grade-level passages (Rasinski, 2010; Rasinski, Padak, Linek, & Sturtevant, 1994). Research suggests that scaffolded, repeated reading of a single text over the course of a week leads to gains in fluency and comprehension skills (Stahl & Heubach, 2005). So, we encourage students to read the same text throughout the school week with a variety of scaffolds. Additionally, you’ll find embedded activities to target all literacy skills, i.e., listening, speaking, reading, and writing. You’ll also notice activities for students to continue developing all foundational reading skills, such as phonemic awareness and phonics. 

Planning 

First, choose a grade-level text aligned to a reading scope and sequence, theme, or phonics skill.  The FDL supports your core curriculum. While any genre will do, our favorite is poetry.  Given its rich, rhythmic language, poetry is an obvious choice. This is particularly true for multilingual learners who benefit from the rhythm, rhyme, and repetition that poetry offers (Vardell, Hadaway, & Young, 2006).

Next, select the assisted reading practices needed to support your students, and plan to explicitly teach new vocabulary.  Remember students will need more scaffolding earlier rather than later in the week. Prepare to discuss the poet’s purpose, word choice, and theme because comprehension is always the goal.

Include opportunities for students to read aloud for different audiences, e.g., principal, custodian, etc., and include a written response activity. Reading and writing are synergistic, so be sure students write about the poem and share their responses. This experience helps develop the necessary dialogic communication skills students need and will use.

Finally, the FDL supports home-school partnerships. Students can read their weekly poems to someone at home.  Consider hosting classroom poetry parties and invite families to listen to students read their favorite poems.

Implementation

Conclusion

I (Lynne) implemented the FDL with my elementary students, and no other instructional practice proved to engage my students and advance their reading skills like the FDL. One year, 12 first graders out of 27 were performing below grade level based on general reading outcome measures in the fall.  In addition, five of those students were multilingual learners. Due to limited bandwidth, not all 12 students qualified for Title 1 services.  I (Lynne) knew I had to leverage evidence-based reading practices – core instruction had to be solid.  Besides using the district’s curricular resources, which included an explicit phonics program, I (Lynne) implemented the FDL each day for 15 – 20 minutes.  All 27 students were reading on or above grade level by the spring.  The following year, none of the students qualified for Title 1 services (Kulich & Evanchan, 2007, 2008).

Pre and post reading data from my (Lynne’s) doctoral research (2009) with Karen children revealed the reading growth three students made during the summer and after-school sessions with the FDL. During this 9-week summer program for a total of 4½ hours a week, and the afterschool sessions from September through December for 1 hour a week, the multilingual learners made between two to three years of reading progress.  In addition, their attitudes towards reading significantly improved.

Fluency instruction can be engaging, authentic, and effective all at the same time.  The Fluency Development Lesson combines all the evidence-based tools for fluency instruction into a synergistic practice that closes reading gaps and promotes the joy of reading.

References (Lynne)

Allington, R.L., & McGill-Franzen, A.M. (2021). Reading Volume and Reading Achievement: A Review of Recent Research. Reading Research Quarterly, 56(S1), S231– S238. https://doi.org/10.1002/rrq.404

Kulich, L. S. (2009). The English reading development of Karen children using the Fluency Development Lesson in an intensive English language program: Three descriptive case studies (Doctoral dissertation, University of Akron).

Kulich, L. S., & Evanchan, G. (2007, November). The Fluency Factor: How did the fluency development lesson impact the literacy development of thirteen “at-risk” first grade readers? Paper presented at the Fiftieth Annual Meeting of the College Reading Association, Salt Lake City, UT. 

Kulich, L. S., & Evanchan, G. (2008, November). The Final Fluency Factor: How did the fluency development lesson impact the literacy development of thirteen “at risk” first grade readers? Paper presented at the Fifty-First Annual Meeting of the College Reading Association, Sarasota, FL. 

National Reading Panel. (2000). Report of the National Reading Panel: Teaching children to read. Report of the subgroups.  Washington, DC:  U.S. Department of Health and Human Services, National Institutes of Health.

Rasinski, T. V. (2010). The fluent reader: Oral reading strategies for building word recognition, fluency, and comprehension (2nd ed.). Scholastic.

Rasinski, T. V., Padak, N. D., Linek, W. L., & Sturtevant, E. (1994). Effects of fluency development on urban second-grade readers. Journal of Educational Research, 87, 158–165.

Rasinski, T. V., Reutzel, C. R., Chard, D. & Linan-Thompson, S. (2011).  Reading Fluency.  In M. L. Kamil, P. D. Pearson, B. Moje, & P. Afflerbach E (Eds), Handbook of Reading Research, Volume IV (pp. 286-319).  New York:  Routledge.

Stahl, S., & Heubach, K. (2005). Fluency-oriented reading instruction. Journal of Literacy Research, 37, 25–60.

Vardell, S. M., Hadaway, N. L., & Young, T. A. (2006). Matching books and readers: Selecting literature for English learners. The Reading Teacher, 59(8), 734–741.

White, S., Sabatini, J., Park, B. J., Chen, J., Bernstein, J., and Li, M. (2021). The 2018 NAEP oral reading fluency study. Washington, DC: U.S. Department of Education, Institute of Education Sciences, National Center for Education Statistics.

Zimmerman, B.S., Rasinski, T.V., Kruse, S.D., Was, C.A., Rawson, K.A., Dunlosky, J., & Nikbakht, E. (2019). Enhancing outcomes for struggling readers: Empirical analysis of the fluency development lesson, Reading Psychology, 40(1), 70-94. DOI: 10.1080/02702711.2018.1555365

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As I write this, I am beginning my forty-seventh year as an educator. I’ve been a classroom teacher, a reading teacher, a university professor, and continue now as a full-time writer and consultant working with schools throughout the US and abroad. In my career I have been witness to big shifts in how we approach the teaching of reading several times. Each time it happens there are comments about a pendulum swinging from one side to the other, from point A to point B. 

It can’t be a pendulum, though. If it were a pendulum, we are simply moving from what we used to do (A) to what we’re doing (B), which is what we used to do (B) before we did what we used to do (A). If this is the case, we’ve just been moving back and forth between the same two things, which would make all of us rather silly. There would be no evolution of thinking. There would be no change in our practice. It would just be moving between A and B, constantly bickering about which is better. Therefore, I reject the notion of a pendulum.

I prefer to think of it more like a Ferris wheel. Pause a moment and picture a Ferris wheel someplace in an amusement park; it’s a giant wheel, a circle. Think about the profile of this wheel laid out like the face of a clock. There are major positions 12, 3, 6, 9, with all the smaller hash marks representing each minute between. And each one of those is a seat on the Ferris wheel which is slowly moving in a constant clockwise motion. There is always one seat in the 12 o’clock position for a while. One seat will be in the three o’clock position for a while, and another in the six o’clock position, and another in the nine o’clock position.

Using this analogy, I would argue that the seat in the twelve o’clock position is the new “it” thing getting all the public attention. It’s the current “new best way” to do something. The seat in the three o’clock position is the former “best way” of doing something and is gradually falling out of favor. The seat in the six o’clock position, which once was in the twelve o’clock position is now rejected. And, in the nine o’clock position, there is something that is being researched, retooled, tweaked, reorganized and is slowly on the rise. If you’ve been around long enough, you’ve watched that Ferris wheel make full turns, which seem to take about ten years per rotation.

As a profession we understand that how we teach, what we teach, what we think about should be, like any other professional practice, ever evolving, ever-changing as we continue to question and research and refine. 

The Ferris wheel turns and the seat at twelve o’clock will rotate to three o’clock, on to six, then to nine, and eventually back around to the twelve o’clock position. But when it returns to twelve, it will not be the same as when it was previously in the twelve o’clock position. It will have been reexamined, researched, revised, revisited. It will have had time to examine what was argued against it, what was put forth as it flaws. During the movement it will fine tune, refine, repackage, reposition. 

I am drawn to the idea of the Ferris wheel because that circle is always evolving. Every single seat is attached to a common axle by a spoke. If this analogy works for you, ask fifteen different people what the axle represents. I suspect you’ll get a variety of answers. From my perspective (and I’m creating the analogy) the axle is students. Every seat is connected to that axle. I believe that no matter which seat you choose on that Ferris wheel, the occupants hold the fervent belief that what they are advocating is the best thing for kids. Each seat will pull a body of research, a set of practices, a set of materials to the forefront and say, “If you just do this, it will be best for kids.” 

Perhaps, if we stand back, if we move out to the edge of the fairgrounds and look at the Ferris wheel, we will see it as a unified thing rather than a collection of isolated seats. Each seat contributes to the whole and every seat is an integral part connected to one common axle.

Those of us who teach know there is no silver bullet, no one correct and magic thing that works for every single child. I place my faith in the professional knowledge of teachers to begin with the axle, the child/children before them, and consider which seat of knowledge to pull from. I trust the professional practices of teachers to weigh the needs of the student against their knowledge base and make an informed and professional decision about how to proceed. I trust professional teachers to monitor the progress and adjust those decisions as needed. 

Rather than arguing over which seat holds the “right” set of practices, let’s work together to provide teachers with the most robust knowledge base possible and trust them to teach.

For more in-depth discussion and sample lessons, see Critical Comprehension: Lessons for Guiding Students to Deeper Meaning Katie Kelly, Lester Laminack, and Vivian Vasquez (2023) Corwin.

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By Chase Young

I once asked a second-grade boy if Reader’s Theater made him a better reader, and he responded, “No, because it’s fun.” He was a reluctant reader, but he loved the interaction during rehearsal and entertaining his peers during the performance. So, I suppose he was a reluctant silent reader but loved reading aloud with his friends and classmates. You could tell he enjoyed it more than any other activity because he was always smiling when he rehearsed and performed.

Regardless of what this second grader thought, Reader’s Theater was helping him become a better reader, which is also true for many other students. Research says that Reader’s Theater is an excellent way to improve reading fluency, comprehension, vocabulary, and confidence (Millin & Rinehart, 1999; Young et al., 2019). Improving these combined aspects of reading results in an increase in overall reading achievement. A recent meta-analysis found that Reader’s Theater has a large impact on students’ reading proficiency (Mastrothanasis et al., 2023). So, I encourage you to give it a try.

Reader’s Theater is essentially a group of students who dramatically read a text for an audience. All you need are some kids, a few scripts, and five to ten minutes per day.
Although there are many ways to implement Readers Theater in your classroom, I will share a method that worked well for my second graders and me. Feel free to adapt the following to meet the needs of your students and unique teaching style.

Selecting Scripts reading skills
I use a five-day format that helps students prepare for our weekly performances. Each day our rehearsals focus on different aspects of reading; we begin the week with decoding and end the week with fluent, expressive reading.

Before the week begins, I select three to six different scripts for the students to choose from. The number of scripts depends on your class size and the number of parts in each script. The scripts are usually based on popular novels, but I also include nonfiction, poetry, or speeches. In fact, I even use scripts from movies, such as A Christmas Story—the students really enjoy performing the “flagpole” scene.

While you can turn almost anything into a Reader’s Theater script, my website has over 200 free ready-to-download from www.thebestclass.org. Of course, once students become comfortable with Reader’s Theater, I encourage them to write their own scripts based on my read-alouds or books they’ve read. Teachers can also write scripts to match their students’ interests or topics in content areas. The key is to provide scripts that you think your students will love and enjoy performing.  

Five-Day Format
Teaching Reading Skills

On Monday, I read the scripts to my students, and they form groups based on their choice of script. At that time, I ask students to read the entire script and think about the overall meaning of the text.

On Tuesday, the students choose their parts. It is a little chaotic in the beginning of the year, but remember, Rock, Paper, Scissors solves everything. So, when your wonderful little people begin to argue over parts, break those hands out and try your luck at a best out of three matches.

After the students select and highlight their parts, we focus on decoding and word recognition accuracy; I make sure that students know all the sounds and words and that they can pronounce them accurately and automatically.

On Wednesday, we focus on expression—often referred to as prosody. The students practice reading expressively by calibrating their voice inflection, tone, volume, pitch and pauses for dramatic effect.

Students need a deep understanding of the script to render expressiveness that matches the author’s intended meaning. I offer assistance and also encourage the students to coach each other with the goal of producing appropriate prosody.

On Thursday, we have a practice performance. It is a time for any last-minute tweaks or suggestions from the teacher or peers. When students need additional assistance with their parts, I meet with them one-on-one and choose from a variety of interventions such as echo reading, repeated reading, or choral reading. The goal is to ensure that every student sounds great during the performance.

Once the students and I feel they are ready, we look forward to the last day of the five-day format: performance day. By this time, the students have engaged in daily rehearsals, which is an artful and authentic synonym for repeated reading.

Substantial research exists that promotes the method of repeated readings, and Reader’s Theater research acknowledges the power of practice but also includes a purpose—we believe that if you are going to read a text repeatedly, there better be a good reason. That reason is the performance.

On Friday, we perform. But first, it is important to secure an audience. You can invite parents, other classes, administrators, and other school staff, or take your show on the road!

Tips for Successful Reader’s Theater
Teaching Reading Skills
Here are a few recommendations that I’ve curated from experience.

• Use challenging texts; they have plenty of support and time to rehearse.
• Use challenging texts for another reason; I do not want students to memorize the texts; I want them to read their parts.
• Select texts based on what your students will enjoy performing and will also engage the audience.
• Incorporate daily activities related to decoding, vocabulary development, and expressive reading. I, along with Faida Stokes and Tim Rasinski, wrote an article for The Reading Teacher in 2017 titled “Reader’s Theater Plus Comprehension and Word Study,” which has daily activities beyond rehearsal that you can access and review.
• Set a timer for rehearsals each day, allowing for at least two rehearsals.
• Tell students there are no props or costumes. You don’t want a student to show up dressed like a farmer or an astronaut on Friday.
• Find an audience. If you cannot, go to the front desk; someone is always there willing to attend.
• Print extra scripts because students often lose them.  

Some Interesting Results

There are many studies that suggest Reader’s Theater is an effective reading activity, but I’d like to share the results of one in particular. A study we conducted (Young et al., 2019) showed that Reader’s Theater had a profound impact on boys. The three pretest measures—decoding, word knowledge, and comprehension—revealed a gap in favor of the girls. By the end of the study, that gap had closed. We were shocked at these unexpected results but also excited to share that we found something that might help boost reading achievement among boys. An analysis of the survey revealed that most boys liked Reader’s Theater because of the interaction and humor and because it was a novel activity.

Conclusion
Teaching Reading Skills
Readers Theater is a lot of fun (my students and I can attest to that). But more importantly, it can improve many aspects of their reading, including reading fluency. Fluent readers do not have to focus on decoding as much and, therefore, can redirect their attention to reading comprehension, which is the main goal of reading.

So, download some scripts, prepare your little thespians, and integrate the science and art of reading instruction into your classroom.

References

Mastrothanasis, K., Maria Kladaki, M., Aphrodite Andreou, A. (2023). A systematic review and meta-analysis of the Readers’ Theatre impact on the development of reading skills. International Journal of Educational Research Open, 4, 100243.

Millin, S. K., & Rinehart, S. D. (1999). Some of the benefits of readers theater participation for second‐grade title I students. Literacy Research and Instruction, 39(1), 71-88. Doi: 10.1080/19388079909558312

Young, C., Durham, P., Miller, M., Rasinski, T., & Lane, F. (2019). Improving reading comprehension with readers theater. Journal of Educational Research, 112(5), 615-626.

Young, C., Stokes, F., & Rasinski, T. (2017). Readers Theater plus comprehension and word study. Reading Teacher, 71(3), 351-355.

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By Timothy Rasinski and Lois Letchford

In a previous posting on the Robb Review (9.12.2020),  I (Tim) described how much poetry has to offer for the teaching of reading.  It is an engaging, joyous reading, and it offers opportunities to develop essential reading competencies in students.   However, one of the most significant attributes of poetry is its ability to improve the reading outcomes of children identified as dyslexic or learning disabled and, indeed all children who struggle to become proficient readers.  

The brevity of most poetry for children as well as the rhythmical, melodic, and rhyming patterns in poetry (and songs) allow even the most struggling of readers to achieve success.    Research tells us that human beings have what appears to be an innate ability to detect patterns in our environment.   Seeing patterns allows us to better negotiate our worlds.    The patterns in poetry allow children to negotiate their language worlds.   All of us know young children who have learned to recite the words to a familiar rhyme or song.  While memorizing the lines of poetry and songs is not reading per se, giving children visual access to the written words in those poems and songs can be a beginning step to reading.    

Several years ago, I met an amazing woman named Lois Letchford.  She had just written a book entitled Reversed which described the journey that she and her dyslexic son Nicholas who went from “learning disabled” to a skilled reader, and highly successful adult. Writing and using poetry was one major transformative component of our literacy story.   

Lois’ Story:

In 1994, my son Nicholas went into first grade. He failed. Throughout this year, he bit his fingernails, wet his pants, and stared into space. At the end of the year, standardized testing sealed expectations revealing he could read ten words, displayed no strengths, and had a “low IQ.”  

I had the opportunity to homeschool Nicholas for six short months, hoping for a turn-around. Armed with a book series labeled, “Success for All,” I too, failed. Stress levels skyrocketed, and progress remained at zero. 

It was my mother-in-law who came to my rescue, offering simple yet profound advice: “Lois, put away what isn’t working and make learning fun.” Her words compelled me to reevaluate my approach to this daunting challenge. But where should I begin? Where did Nicholas excel? Her advice encouraged me to rethink and redesign my approach. But what could I do?  What could Nicholas do? 

I recalled Nicholas and I previously working with spelling patterns. He could do that. He recognized the patterns and learned all those words. How could I use this strength? 

I thought about rhyming words and how to use them. Could I write a short poem to help Nicholas? When desperation reigns, one can only try to find solutions. 

I wrote one simple poem and read it to Nicholas. We read it together and found the rhyming words. That first poem titled A Mug of a Bug, was a huge success. He relaxed and recalled it. He was engaged, we talked about the meaning, found the rhyming words, and recited the poem.  

One poem led to the next and the next. Each poem added to his knowledge, enjoyment, and purpose for reading and writing. My first poems focused on words with short vowel sounds. Poems then include our travel experiences. One poem was about visits to the thousand-year-old church of St. Nicholas. The memory I treasure is one of Nicholas running ahead of his Grandma to visit it, shouting, “Nana, Nana! They named this church after me!” Connections were growing.

Nicholas’s reading growth appeared slow, each poem seemingly added just a drop into the ocean of required literacy knowledge. Yet, in a poem using the “oo”  words as in ‘cook, look, and book,’ I wrote about the last of the great explorers, Captain James Cook. My poem: 

Captain Cook had a notion there was a gap in the map in the great big ocean.

He took a look, without the help of any book, hoping to find a quiet little nook. 

Captain Cook had a notion there was a gap in the map in the great big ocean,

He took a long look, and filled a whole book which caused the whole world to look! 

Poetry is simple. Ideas embedded in poetry were extraordinary. The exploration of this poem tapped into Nicholas’ curiosity, resulting in his asking questions I could not answer.

“Who came before Captain Cook?”  was his first question.  

“Oh,” I replied, “that’s easy. That was Christopher Columbus.”

“And who came before Columbus?” He shot back.

And I was stunned. It was not a question I had ever considered. His question turned me into a curiosity-driven researcher determined to find answers to his questions. 

Though Nicholas’s knowledge of letters and sounds had grown slowly, his intellectual curiosity was boundless. 

Why was poetry such a powerful tool for Nicholas’s learning? 

Prof Sansislas Deheane’s book How We Learn has a chapter on the four pillars of learning. These pillars are Attention, Active Engagement, Error Feedback, and finally, Consolidation. 

Every day, I had Nicholas’s attention. He was actively engaged in listening, reading, and responding to details of all poems. Poetry was building his knowledge base, providing a purpose for using those challenging letters and sounds and building an understanding of patterns in language. Finally, the consolidation through repetition by reading, writing, and reciting these poems aided growth. 

It took almost 25 years to appreciate the impact of this foundational knowledge. In 2018, Nicholas defied the odds and completed his PhD in Applied Mathematics from Oxford University. 

As for me, my book Reversed: A Memoir tells the longer literacy journey from failure to academic success.

The post The Power of Poetry – One Powerful Story appeared first on The Robb Review Blog.

Why use book clubs? There are many benefits to consider. First of all, book clubs allow our readers to engage in a social activity with myriad opportunities to practice their conversation skills and learn from diverse perspectives. It gives students a chance to really bond over books, living with and through the characters, traveling to unfamiliar settings, and learning more about themselves and their readers’ identities. Students become better readers and grow a commitment to reading that extends beyond the school day. Book clubs are a chance for teachers to listen in to rich conversations and take notes about the skills and strategies book club members are demonstrating as they discuss a book, poem, play, essay, or article.

Student Self-Selection

Book clubs are a small group format that allows teachers to observe students in action, employing various reading skills and strategies, demonstrating empathy and compassion, zooming in on what it truly means to be human. They can be as small as two and as large as six or seven, and in their best use, students get to choose the books they want to read for book clubs.

They can do this in several ways. Sometimes, a teacher creates a small bulletin board space where students can post an invitation: I’m about to begin The People’s Painter: How Ben Shahn Fought for Justice with Art by Cynthia Levinson. It’s a picture book biography about Ben Shahn who came to America from Lithuania and was hired during the Depression to paint stories of struggling Americans. Who wants to join me? Our classroom library has three copies. Teachers can also display choices around genres, authors, or topics/themes. Student-written book reviews and book talks may help students choose a book to read and discuss in a book club format. Sometimes, book clubs arise out of students who read books together. At other times, book clubs can be formed due to curriculum needs and interests. Students may want to continue to read about women after a Women’s History Month unit of study or choose to read a book about the planets and other celestial bodies after a study of the solar system in science class. Perhaps Masterminds by Gordon Korman or Space Case by Stuart Gibbs for a science fiction read. Remember, book selection is important for the success of book clubs, but sometimes, it’s okay to give the class something to think about. After browsing your students’ interest surveys, select three to five books to book talk and display the books (and multiple copies, if possible) where students can browse if they so choose.

Getting Conversations Started and Sustaining Interest

Before you launch book clubs, organize some informal groups that will sit together during your read-aloud time. When you ask students to turn and talk or stop and jot, these students can share their questions, comments, and opinions. During this time, listen to their conversations to note possible minilessons that will help these readers be successful when they have launched a book group.

Make sure to review key social skills such as active listening (eyes on the speaker), one speaker at a time, use each other’s names, and encourage with nonverbal signals (head nods, thumbs up, leaning in towards the speaker).

You can provide scaffolds for getting started with response, although it may not always be necessary. Scaffolds should be very open-ended. Sometimes, a list of possible questions can be posted as an anchor chart. Here are some examples:

• ●  What is the text about?
• ●  What parts do you especially like?
• ●  What suggestions, questions, or comments would you have for the author?
• ●  How can you present a key idea from this text to your classmates?
• ●  What is/are the theme(s)?

Sometimes protocols for discussion are helpful and can provide variety to a book club discussion. (See Appendix G: protocols for Book Club and Small Group Discussion in Welcome to Reading Workshop: Structures and Routines That Support All Readers, 2023).

It’s often helpful for club members to have a plan about how many pages they will read for the next session and a target date when the book will be finished. A mini-lesson on why it is important to support their thinking with evidence from the text is very helpful, as well as ways they can piggyback on each other’s thinking. Some examples to help students envision ways they can connect with others might include “I agree with Sofia, but I would like to add…” or “Jaelyn makes a good point; however, I disagree with his thinking about the character’s motives because I believe…” In addition, urge students to place sticky notes (sparingly) on pages to jog their memory about points they would like to discuss. Finally, create an anchor chart with a set of questions the students would like to use as self-evaluation. “Did I stay focused on the conversation?” and “How did I support my book club today?”

How Do We Assess What’s Going On?

Finding ways to follow the progress of a book club, even when you are not present for the club meeting, is key to your comfort and the club’s success. As teachers, we often fear that little learning is happening if we are not present. However, when we give students ownership of the club and let them lead, we often find they are making progress.

One valuable source of information is the reader’s notebooks and the entries the club members are keeping. How are the students responding? Is there evidence of deeper thinking, or are they just retelling? The content of the entry can help you decide if you need to work with that group or student to lift the level of responses, teaching them ways to elaborate that include personal thinking as well as text evidence. Consider posting sentence starters on an anchor chart that will help students move beyond simple retelling. This can be done through the use of double-entry journals. One column is used to record main points about the story (characters, problem, events, plot, resolution), interesting quotes, author’s craft, and vocabulary while the corresponding column is used for students to respond with their thoughts and feelings.

Another option you might try is recording the book club to listen to later. This can allow you to hear responses, note who contributes to the conversation (and how), and make decisions about future interactions you will have with the club.

As in all assessments, consider your original intentions for the book club. If your goal was to improve conversational skills, watch for how students keep the conversation going and how they get every member involved. Was your goal to have students offer thoughts and opinions with text support? Notice the use of sticky notes in books and who uses them in conversation to support thinking. Consider what has been taught during minilessons and look for tracks of your teaching in written responses as well as in the conversations.

Be careful of assigning a “fake” project as a form of assessment when a club wraps up. Stephanie Harvey and Harvey Daniels (Comprehension and Collaboration; Inquiry Circles in Action. 2009) remind us that as adults, we don’t rush to “make” something when we finish a book; instead, we move to talk about it. They urge us to make reading responses that are authentic. Perhaps have the group share out during a share session the ways the book changed the group’s thinking about the topic, or how the reading of the book has grown their desire to learn more about the topic. Club members may want to create a book talk to get others to read the book or write a book review that could be placed in the book when it is reshelved. It’s tempting to assign a project, but when we allow students to choose how they will respond, we give them a voice and show them we trust them and value their thinking.

Keeping Notes During Book Club Discussions

Keeping track of observations can be tricky. It is often a matter of finding a system you are comfortable with, one that works for you and one that you can and will use. A simple way is to write one or two observations on a sticky note. Then, transfer these notes to a more permanent location, such as a page in a notebook that is dedicated to the student you observed. As you move the note, you have the opportunity to reflect on the information and make some notes for future instruction. You might consider having a three-column notebook page for each student. The first column is where you will tape the sticky notes, the second for thoughts about the observation, and the third for future instruction. Remember, the system you use needs to work for you! Be creative. Be flexible. Find what you are comfortable with.

What Happens if a Student Does Not Want to Participate in a Book Club?

Sometimes, one or two students may be resistant to joining a book club. These students can continue to read independently and offer their thoughts in a one-on-one conference with the teacher. Other times, a student may be persuaded to partner with another student to read and discuss a book the two students select together. Giving these reluctant joiners a chance to observe one or several book clubs in action may be another way to move them closer to participation later in the year. Sometimes, it’s simply a matter of finding the right book to read and talk about with others. It’s important to welcome partnerships into our book club routine to allow for greater choice and to help all readers feel safe and have ownership in the entire process.

Final Thoughts

Book clubs increase peer interaction time and help students share their excitement for reading. Through discussion and reflection, students will be able to imagine how their reading work can be used in new settings across the day. Books clubs help readers grow in enthusiasm and interest in reading, cultivating a habit that will last throughout their adult lives. Most students will end up reading more and more thoughtfully when they commit to a book club.

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If your school experience was like mine, comprehension was an after-reading activity. Many of us remember reading first, then answering questions to prove that we understood. For too long, it seems that comprehension has been seen as the process of giving the right answers to someone else’s questions. To be clear, I see nothing wrong with answering questions. However, consider what is required of the one who asks the questions. That person is reflecting on the text, sequencing information, considering the connections within and beyond the text, summarizing and prioritizing, synthesizing the information, grappling with vocabulary, peeling back layers to explore nuance, and considering the information in relationship to the cultural context and to self. Generating questions, then, may be more complex and more rigorous engagement with text than simply searching for answers to someone else’s questions.

Homework assignments asking students to read a selection or chapter and then answer the questions defined comprehension for me as a student. When I was in the fourth grade, my older brother showed me a “trick” that allowed me to finish the assignment more quickly so we could get outside to play.  He told me to begin with the first question. Jot it down. Then, go to the first heading and begin reading. Often, the language of the question mirrored the language in the first paragraphs of the section. The process became something of a game that went like this: drive the “truck” to the end of the chapter to pick up the question. Then, drive to the next heading in the sequence to collect the language that mirrors the question. Drive that truck to my homework page and dump out the language on the page.  As the “truck driver,” I collected, transported, and delivered the information. I did not, however, engage with that information. I did not weave my own threads into those laid down in the text. And I certainly did not examine any threads for bias, stereotype, perspective, accuracy, or any efforts to influence my perception of truth.  Nor did I pause to examine whether the perspective gave privilege to some ideas at the expense of others or question whether there may be other perspectives that may be missing or deliberately omitted. In fact, as a child in school, it never occurred to me that a school textbook would include anything other than the absolute and unbiased truth.

We know that comprehension is more than giving the right answers to someone else’s questions. It involves engagement and interest, concepts and thought, background knowledge, a rich vocabulary, and a command of language. Comprehension calls upon the reader to question, probe, and push back to move forward. It involves weaving all this together to create something new for the reader, something that leaves them changed. Comprehension requires the reader to take information and ideas from the writer and connect them with their own experiences, conceptual understandings, and background knowledge to weave meaning that is relevant to them, which will likely result in unique insights for each reader.

Although approaches to reading instruction vary, the result must be that the reader has understood the text and made relevant meaning from that engagement. Beyond the ability to decode the print and say the words on the page, this requires the reader to bring a conceptual understanding, background knowledge, and vocabulary related to the topic of focus. It requires an ability to make connections between what is already known and what is newly presented in the text. Of course, a reader can build new vocabulary and develop new concepts through engagement with texts, but in this situation, the text must provide a scaffold that connects to what is meaningful and relevant to the reader. Comprehension is multi-faceted, layered, and nuanced.

To comprehend requires the reader to know but also to think, to question, and to challenge information. To comprehend, we pick up threads put down in the text, but we weave them together with the threads of our own experiences, thoughts, beliefs, and opinions. If we are not conscious, our own biases become one of the threads we add to the weave; our notions of right and wrong, the stereotypes that have quietly become part of our unchallenged truth, become a thread.  Therefore, the meaning we make will be ours.  It may include threads of meaning shared by other readers, but each reader weaves their own “truth.”

The reader who consciously examines their own biases and stereotypes as they read and examines the text with attention to the presence of bias stereotype will question and actively seek additional voices and presentations of the information in search of a more nuanced and robust truth.

Throughout most of my early school years, I would have said that the one who could answer the questions was the one who had the best comprehension. If asked to write a definition or to describe what comprehension is, what would your students write? What might their responses reveal to you about where our instruction needs to be tweaked?

For more in-depth discussion and sample lessons, see Critical Comprehension: Lessons for Guiding Students to Deeper Meaning Katie Kelly, Lester Laminack, and Vivian Vasquez (2023) Corwin.

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If you’ve been on social media, watched the political frenzy unfold, or tuned into the media-fueled misinformation of Emily Hanford’s six-part podcast “Sold a Story: How Teaching Kids to Read Went So Wrong,” then you know that guided reading was caught in the crossfire on a contentious battleground. On one side of the conflict are those who view guided reading as a malicious evil invented by delusional educators seeking financial gain. On the other side, we find those who see guided reading as a professional force of good for our children. The 1st group simply dubs it as “BAD,” while the 2nd acknowledges the merits of guided reading but not as a panacea.

The Guided Reading Debate: Problematic Pitfall or Promising Practice?

Given this never-ending tug of war, we find ourselves in a clash of perception:

Problematic pitfall? Promising practice? Somewhere in the middle?

The answer depends on who you ask and what we can glean from their response:

• Is it a definitive “NO,” or are there shades of benefits with some cautions?

• Is it based on self-claimed expertise or actual experience and knowledge?

• Does it add to or diminish the hope of meaningful, productive discourse?

• Is it motivated by a personal agenda or commitment to the needs of children?

• Are useless fillers like “proven and settled used or specific points shared?

To be clear, believing something because a reporter, teacher down the hall, politician, organized group, or next-door neighbor tells us its true does not an informed view make. If we are to move guided reading from Hanford’s calculated chopping block, we must be willing to put guided reading under a professional microscope. Perceptions rising from the level of experience and knowledge, or lack thereof, dramatically alter the message from informed to opinionated, the latter being all too prevalent these days.

But even experience and knowledge won’t guarantee “impact potential.” No matter how promising a practice may be, potential is only realized if it is honored where it matters most: putting it into action in the company of children. Impact potential demands a clear understanding of the WHY of guided reading that becomes a GPS for HOW and WHAT. This also requires us to know our children so that we may craft a guided reading lesson based on that knowledge and observations not only in guided reading but whether that learning transfers to other contexts. Unless we bring all of that to the guided reading experience, it is but another failed time-wasting experiment best alleviated altogether.

In the wise words of Regie Routman:

“Only when we develop common beliefs that align with research-based, principled practices can we effectively apply guided reading – or any instructional construct – to benefit all learners.”

Guided reading is one of many principled practices that are mutually supportive. In this age of political mandates that summarily dub some things as “GOOD” and others as “BAD,” guided reading misinformation has launched a knee-jerk reaction as leveled readers and manuals are literally tossed into the trashcan both literally and figuratively and teachers are FORBIDDEN to use guided reading altogether. When did personal desire and political agenda devoid of knowledge to back it up grant anyone the right to say what is and is not worthy? Yet, it seems quite fashionable these days.

Let’s start with a definition of guided reading from Fountas and Pinnell. It’s worth stating that Fountas and Pinnell were also shamefully targeted in part 5 of the story Hanford sold us (and thus guided reading by default) without evidence to support this mean-spirited slam. But then as we have often seen in the Science of Reading debates, blind faith in unsubstantiated calculated claims run rampant. As a long-time educator, I don’t waste time on opinion, so I proudly share this quote from two brilliant minds:

“Guided reading is a small-group instructional context in which a teacher supports each reader’s development of systems of strategic actions for processing new texts at increasingly challenging levels of difficulty.” Fountas and Pinnell

These words define my belief system across fifty-one years in education. I was trained in Reading Recovery, yet another victim of lies in a story we were sold. I have engaged in guided reading for decades as an interventionist and a literacy consultant supporting schools. The impact potential of guided reading is null and void unless we approach it in ways intended, but that does not negate its impact potential. I have seen mindless implementation of guided reading as children lose ground not due to guided reading but to ignoring critical tenets of the process in place of an implementation free for all.

My goal in this post is to offer those critical tenets that will shift the view of guided reading from problematic pitfall to promising practice. Unless we can address these “Tipping Points” I detail below, I advise abandoning guided reading and expending precious limited minutes in far more productive ways. Wasted time is never a good idea!

TWELVE TIPPING POINTS TO GUIDED READING AS A PROMISING PRACTICE:

TIPPING POINT #1: Invest in teachers from the start with ongoing support in mind.

I start here since all that follows will otherwise fall short. Before implementation, buy high-quality leveled texts in varied subject areas and topics of interest and create an easily accessible book room with text sets up to six. Build a strong bridge of ongoing professional learning with expert coaching support. Give teachers release time so they can observe and critically analyze and discuss lessons and then apply this learning in small groups with support. Without time and financial backing, failure is inevitable.

TIPPING POINT #2: Keep your sights on the end goal and use this as your guide.

The central goal of guided reading is to provide a teacher-supported context where students are actively doing the bulk of the work and the volume of reading is high. The end goal is to promote independent joyful experiences that draw from what students are learning in other contexts. In other words, we don’t do guided reading for the sake of doing guided reading but rather to offer a support platform that increases independence and, thus, ultimately alleviates the need for guided reading in the future. Guided reading was never meant to be a permanent instructional fixture but a temporary stepping stone.

TIPPING POINT #3: Acknowledge guided reading as one part of a bigger framework.

There are many rich components in the learning day. Yet, guided reading often gets far too much expenditure of time. This excess view forces us to alleviate relevant practices that fall within this comprehensive system. If guided reading robs time for read-aloud, shared reading, independent reading, or other essential features within that framework, we are preferencing guided reading at the expense of a much bigger picture.

TIPPING POINT #4: Celebrate the depth and breadth of what it means to be literate.

Acknowledge the reciprocal nature of reading and writing and embed it into your guided reading process. Remember that guided reading is about engaging children actively in reading, analysis and reflection on texts both through dialogue and written responses. We demean that process if children take turns reading or the teacher reads to them. And if the teacher is talking more than children, we ignore the powerful invitational nature of guided reading that contributes to growing independence and love of learning.

TIPPING POINT #5: Avoid ill-conceived structures that are not supported by research.

A flawed approach known as the walk-to-guided reading model is common but has no research basis. Professionals who spend the most time with children have the most to offer them while those who know them least raise the risk of negative impacts such as rigid ability grouping, stagnant groups and lessons that are more an act of obligatory compliance than a student-centered practice. Each of these issues translates into a one-size-fits-all view that is grossly ineffective.

TIPPING POINT #6: Widen the range of what counts in a guided reading experience.

In Teaching Readers (Not Reading), Peter Afflerbach asks us to ‘move beyond skills and strategies to reader-focused instruction’ such as engagement, self-efficacy, and motivation. Preferencing skills like cause and effect while ignoring how to use a text to support meaningful discourse with peers or how to self-question using the text as a rich springboard are relevant goals. In guided reading, we teach children what it means to be literate in the real world while making them active participants in that process.

TIPPING POINT #7: Avoid scripted low-level activity-based guided reading programs.

As the name implies, guided reading is about guided reading with a focus on readers, not trivial seatwork. Each minute filling in a blank sheet usurps time that could be used for reading, rereading, revisiting, and the collaborative talk and writing it inspires. Beware of the publisher code “with fidelity” designed to devalue professional decision-making. The impact potential of guided reading requires in-the-moment decision-making based on our knowledge of literacy research and children. Flexible references shift us from program-centered to student-centered. Responsive teaching lives within teachers.

TIPPING POINT #8: Put reading levels and the limited role they play into perspective.

Reading levels are commonly misinterpreted from theory to practice. Fountas and Pinnell remind us to level books, not children, and only in the context of guided reading:

“Text levels play an important but quite limited role in students’ literate lives in school.”

Yet, it is common for classroom libraries to be organized by levels in a gross departure from this intent. Worse, putting a child’s reading level on display inadvertently labels them publicly which is an unethical invasion of privacy that robs children of choice.

TIPPING POINT #9 Coordinate your efforts for children who need intense support.

The small group nature of guided reading makes it ideal for children who need more. This requires an “in addition to” stance in a spirit of all-hands-on-deck. Sending children off to a fix it room while ignoring what happens the rest of the day leaves little room for escape and does more harm than good by sending mixed message. Guided reading meets children where they are – not based on a grade. We increase intensity for accelerated progress by forming groups of three with added support across settings.

TIPPING POINT #10: Emphasize guided reading assessment in the context of learning.

Standardized tests are an educational staple, but they tell us little about guided reading. Using a DIBELS repeated reading fluency test is like comparing apples and oranges. Assessment should fit the goal of strategic reading and engagement, such as running records with analysis and direct evidence drawn from the guided reading experience. This experience in action offers varied sources of information based on engagement within that process. Formative assessment and observation are valuable informants.

TIPPING POINT #11: Acknowledge the wide range of small group options with purpose.

Guided reading is a small group teacher-supported, student-engaged instructional context that occurs through active participation in ways that raise intensity. Yet, it is often the only small group option in place while ignoring variations like student-led small groups. In What Are You Grouping For?, Julie Wright and Barry Hoonan write,

“Students’ curiosity and interest are more trustworthy and energizing drivers of grouping decisions than anything else. When we harness the power of the social and personal, it becomes far easier for us to teach into their academic needs as readers.”

TIPPING POINT #12: Engage in a range of literacy behaviors that work in concert.

It’s called Guided Reading, not Guided PHONICS or Guided WORKSHEET. While there are opportunities to model, teach and support discrete pieces of reading like phonics, our focus is on applying it in the context of reading rather than skill and drill phonics in isolation. We consistently return to our first tipping point by keeping in mind that guided reading focuses on what children can do with support and thus allows them to apply this in other contexts independently. This transfer illustrates that learning occurred. 

CLOSING THOUGHTS:

We live in a technological era where anyone with a computer, social media account, YouTube channel, media platform, blog, or podcast can sell whatever misinformed story they invent without reins. This makes it our responsibility to consistently evaluate all sources of information thoughtfully and honestly. Since Emily Hanford emerged on the educational landscape in 2018 with Hard Words: Why Aren’t Kids Being Taught to Read? Guided reading has been in the line of fire. These days, blind faith, mandates, and opinion spread rapidly, particularly when it’s disguised as the “truth” and carefully crafted to pull at our gullible little heartstrings.

On the other hand, good intentions and desire are not enough even when schools honor the translation and informed implementation of guided reading. The value of anything resides in our ability to apply what we know in practice and always in the name of kids. This is a more effective use of time than cowardly social media mudslinging and name-calling that has become a favorite pastime at the expense of those who have spent years committed to research-informed literacy beliefs. It’s exhausting and ignorant.

It is our professional imperative to stand up for practices that have value but also to consistently re-evaluate the quality and worthiness of what we bring into our schools. We must be able to demonstrate that they are designed to honor precious time with our children and reconsider, adjust or alleviate those practices if they don’t. After playing an active professional role in guided reading for decades, there is no question in my mind that it is, in fact, a promising practice. But to bring that promise to life, we must be willing to refute misinformation and ensure the highest quality implementation using my Twelve Tipping Points as a collective high priority.

REFERENCES CITED

Rethinking Guided Reading to Advantage ALL Our Learners by Regie Routman (2018, Middleweb)

Level Books, Not Children: The Role of Text Levels in Literacy Instruction by Fountas and Pinnell (Originally published in Literacy Today Magazine by the International Literacy Association Jan/Feb 2019)

“Sold a Story: How Teaching Kids to Read Went So Wrong” by Emily Hanford (2022 APM Reports)

Teaching Readers (Not Reading): Moving beyond Skills and Strategies to Reader-Focused Instruction by Peter Afflerbach (2022, The Guildford Press)

What are You Grouping For? How to Guide Small Groups Based on Readers – Not the Book (grades 3-8) by Julie Wright and Barry Hoonan (2018 Corwin)

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