David L. Harrison and Timothy Rasinski

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.

By Lester Laminack

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.

By Laura Robb

Several months ago, I observed reading in three ELA classes in a district not far from Virginia. Students were reading the same novel and completed a packet of worksheets.  Teachers sat at their desks grading worksheets students turned in earlier in the week.  During my visits to each class, I noticed students always sat in rows and there was no discussion of the book.  The required five whole class novels had been selected by the school district ten years ago, and their relevance to today’s students was questionable. In addition, each ELA class had students complete the same sets of worksheets for each book. The district’s rationale was the worksheets provided grades and showed whether students had read the books. 

Scores on state tests dipped each year, and the new director of instruction invited me to work long-term with teachers to develop a student-centered approach.  First, I surveyed students because I hoped to use their responses to initiate a discussion with teachers about best practice and reading workshop. Here are the three survey questions students answered:

What do like about your reading class?

What would you change in your reading class?

How do you feel about reading?

Survey Results

There wasn’t one student who enjoyed completing packets of worksheets for each book. In each class, several students complained that they struggled with reading the book and did poorly on the worksheets. Sometimes, the book was available on a CD and they could listen to it.  Suggestions from students included:

• Find books we can read.
• Find books we enjoy.
• Discuss the books in groups and sit in groups.
• No more worksheets; they make us hate the book.
• We want to choose books. 

The students were on the same page as the new director of instruction. It was time to abandon the myth that one novel can be read and comprehended by all students. And while I do just that, I’m also going to bust other myths about reading instruction and what works and doesn’t work for students.

Five Reading Myths That Need Busting

Reading Myth 1: The whole class novel for all students provides the teacher with a common text. Purchasing and using pre-made worksheets students complete reveals their level of understanding and gives teachers the grades they need.

Myth Buster: Since most classes have a wide range of instructional reading levels, one book won’t meet the needs of every child. Use an anchor text—picture book or excerpt from a long book. Use the anchor text for mini-lessons,  think-aloud and make visible your emotional connections, inferences, and knowledge of text structure. Divide the anchor text into short chunks and spread the learning over five to eight days. Now you can create a reading workshop with a common text for teaching and invite students to choose their instructional and independent reading books, ensuring students read every day from books that motivate and engage them. 

Reading workshop offers many assessment opportunities: readers’ notebooks entries; journaling; analytical paragraphs, applying literary elements to texts, showing how figurative language links readers to big ideas in a book, small groups discussions, book talks, and book reviews.

Reading Myth 2: Silent, independent reading is not learning. Students aren’t doing anything that can be measured or graded. 

Myth Buster: Silent, independent reading of self-selected books leads to students developing literary tastes and a personal reading life. It also enlarges vocabulary and background knowledge and improves reading achievement. Anderson’s 1988 study, published in The Reading Research Quarterly, showed how time spent reading self-selected books correlated with reading achievement. Students who read 65 minutes a day read 4,358,00 words a year and scored in the 98 % on reading tests. Students who read 1.8 minutes a day read 106,000 words and ranked in the 30% on reading tests. Outstanding educators like Steven Krashen, Richard Allington, Dr. Mary Howard, and Donalyn Miller agree that daily independent reading of self-selected books is the best way to develop lifelong readers.

Reading Myth 3: Collaborating is cheating. When I was in school, we sat in rows and had to cover our work so no one could see it.  Completing work became stressful because I worried that if I looked away from my desk I would be accused of getting answers from a peer. This belief is alive and thriving in many schools.

Myth Buster:  Collaboration is a skill students require if they are to be successful in the workplace and college. Large corporations as well as state and federal governments invite groups to collaborate to generate ideas and solve problems. In addition to preparing students for their futures, collaborating has important benefits. Students learn to:

• become active listeners who respond to others’ ideas;

• value the diverse literary interpretations of classmates;
• compromise by negotiating with peers;
• observe that there’s more than one way to tackle a problem;
• generate a wealth of ideas to solve a problem; 
• observe alternate analyzing processes;

Collaborating opens learning doors that continually working alone closes.

Reading Myth 4: Teachers reading books aloud that students can’t read is a good accommodation.

Myth Buster: Those who need to read to improve—students—aren’t reading. Moreover, it’s unlikely that students are listening if the teacher reads aloud more than 12 to 15 minutes. Research is clear: volume matters and students need to do the reading in order to build stamina and skill.

Reading Myth 5: Teachers need to assess independent reading by having students summarize in a journal their nightly reading or require students do a project for each completed book.

Myth Buster: First, doing a project for each completed book punishes students who read widely and voluminously, and it also punishes teachers who feel they must grade each project. In fact, I’ve known teachers who wanted to abandon independent reading because grading projects and reading students’ summaries had turned into an onerous job. Considering the research, such a decision would be detrimental to students’ reading progress. 

I invite teachers to reflect on their independent reading lives. They don’t write summaries; they don’t complete projects, but they do discuss books in book clubs, share favorites with friends, and read book reviews to discover newly published books they want to read. It’s important to offer students similar, authentic options such as:

• Invite students to do a book talk a month. Model what a short, effective book talk looks like or use a search engine to find examples of what a short, student book talk looks like.
• Organize book club discussions where students share a beloved book with a group of peers, and focus their talk on a literary element or what they learned.
• Have students read book reviews from magazines and/or newspapers or read students’ book reviews posted on the Internet. Basically, a book review opens with a short summary; the bulk of the review is the author’s opinion of the book. Once you and students have developed some guidelines for books reviews appropriate for your grade, invite them to write a review of a beloved book two to three times a year.

Closing Thoughts

Keep reading instruction real! To me, this means that if you don’t do worksheets, projects, and summaries for every book you read, then don’t have your students do these “school-made” activities. Trust them to read. Look at the glass half-full. Remember, if students have choice and time to read at school, they will develop a lifelong and joyful habit along with the expertise to apply their reading ability to research and learn as well as find innovative ways to solve problems and share information. Remember, by making reading authentic you are preparing students for their tomorrows!

By Cameron Carter

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.