By Laura Robb and Evan Robb

Classroom libraries can be conduits for change, providing all children access to texts that affirm who they are, open possibilities for what they can become─and help them to develop the habit of reading. Teachers have tremendous power to amass text collections that develop students’ academic, emotional, and social selves. In this blog, we share the ins and outs to create a classroom library that adds joy to your school days─and affirms for all children that they belong.

The academic payoff of classroom libraries is old news…

There are decades of research to support the adage that children get better at reading by reading. In fact, whether you are a teacher or a leader reading this blog, we encourage you to use the research on why students become readers to advocate for funding classroom libraries. Developing successful, lifelong readers has everything to do with reading volume, offering students choice in what to read, and using outstanding children’s and young adult literature (Allington, 1997, 2012, 2014; Anderson, Wilson, and Fielding, 1998; Krashen, 2004). Yet, it’s important to acknowledge that we are all newbies regarding how to use books in ways that align with culturally sustaining pedagogy.

…but how teachers create an optimal collection is breaking news

Regardless of background, all teachers need guidance and assurance on finding books that provide positive, identity-building stories for all children. The field of culturally sustaining literature has exploded in the last few years, and the benchmarks have shifted. For example, publishers have recognized that it’s not enough to show characters of color or sprinkle them into storylines; they need to seek out own-voice writers and illustrators representing a wide range of ethnic, cultural, and religious backgrounds.

Children want to see themselves as protagonists, not slated to secondary characters. All children crave involving, entertaining, and nuanced stories and themes; they want normal, not noble. They know darn well when a book is pandering to stereotypes rather than written from an authentic perspective.

Luckily, great books in just about every genre abound! Tap the expertise of your school librarian and see the box below on a few of our favorite sources for diverse literature. Then, use the tips that follow to build the classroom library of your dreams.

1. Define diversity

Having a working definition of diversity helps you gather a strong collection. For example, you want to think about diversity in terms of abilities, race, ethnicity, culture, home language, gender identity, and so on. You want to reflect on what it means to shift away from assuming that white, middle-class, English-speaking is the norm. It’s not. Diversity is inclusivity. It’s not just about cultural and ethnic breadth.

2. Be asset-based

How you select a read-aloud, and how you talk about book characters, influences students’ sense of one another and themselves. For example, if you have bi/multilingual students in your classroom, select books that reflect their backgrounds and celebrate those learners’ ability to develop more than one language simultaneously. Also, pose questions in ways that are open-ended and invite all kids to respond. “What is familiar here?” “What is the character realizing now?” Older books in your current library? Scrutinize them to make sure they don’t perpetuate negative, patronizing stereotypes.

3. Be ruthless about relevance

What engaged you in terms of topics and authors as a youth might not resonate with most children today. So, fill the shelves with books that are relevant to students’ interests and life today.

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4. Consider reading range

Include lots and lots of books on grade level, but plenty below and above grade level.

5. Go big or go home

Each classroom library should have a minimum of 600 unleveled books and a goal to increase the collection to 1,000-1,500 over a couple of years. Pumping up students’ reading volume requires a voluminous approach to books. A few favorite diversity resources:

• Lee & Low Books, which was founded in 1991, is now the largest multicultural book publisher in the United States.
• Reycraft Books, a relatively new book line, publishes and licenses books for all children by authors and illustrators around the globe that have unique stories to tell.
• Wordsong is this country’s only imprint dedicated to publishing children’s poetry.
• Versify is a children’s imprint launched by award-winning author Kwame Alexander. It publishes books that celebrate the lives and reflect the possibilities of all.
• We Need Diverse Books is a nonprofit organization of book lovers that advocates essential changes in the publishing industry to produce and promote literature that reflects and honors the lives of all young people.
• The Brown Bookshelf is designed to push awareness of the myriad Black voices writing for young readers. Their flagship initiative is 28 Days Later, a month-long showcase of the best in Picture Books, Middle Grade, and Young Adult novels written and illustrated by Black creators. You can read more about the members of The Brown Bookshelf here.
• Penguin Random House Creative Writing Awards (CWAs) is a scholarship program designed to highlight, encourage, and support diverse student voices. Eligible for high school seniors, please visit the link for more information.
• Corwin Press has an equity line of professional books for teachers and leaders. Launched by Dan Albert more than 20 years ago, its authors have been at the forefront of culturally sustaining pedagogy.

6. Stock all text types and genres

Use these ideas (and the linked book lists) to help you make your library diverse in terms of genres.

• Poetry
• Picture books
• Graphic novels/manga
• Realistic fiction
• Historical fiction
• Science fiction
• Fairy tales (include renditions authored and illustrated by people of color/representing versions of the tale from various countries/cultures)

• Fantasy
• Humor
• Mysteries
• Informational books
• Biographies and memoirs
• Magazines and newspapers
• Folk tales (include renditions authored and illustrated by people of color/representing versions of the tale from various countries/cultures)

7. Connect instructional and independent reading

The classroom library should feel recess-like recreational to students! You want them to view books as a break from some of the tasks and learning at school that might be harder for them. That said, as you plan your units, from ELA to math, to science, to history, add books to the library on topics your curriculum addresses.

8. Keep the library kinesthetic, not static

As the teacher, you are wearing the hat of the bookseller. And as every bookseller knows, the secret to success is to entice browsers with appealing, new features. Students will love it! Invite students to help you organize the library at the start of the school year. Hand out a student reading interest survey, so you discover kids’ interests and what kinds of books they like. Every few weeks, layer in newness.

For example, display “This week’s picks” and invite students to do the same in subsequent weeks. Place a box in the library for students to make anonymous suggestions for books, topics, authors; sometimes kids are too shy to ask for a topic publicly. Invite students to schedule 60-second book talks to promote favorites to peers. Invite your principal to get on the school’s intercom once a week and tell about a favorite book, and have students also share favorites that way.

 9. Advocate for classroom libraries

We believe that with a little ingenuity, any teacher can develop a class library, even in schools whose leadership don’t see classroom collections as a priority. Advocate for the principal to shift budget money allocated for a new reading program to stocking every classroom with an abundance of books. Collaborate with other teachers to make classroom libraries a school-wide initiative, a badge of honor!

10. Collaborate and coach one another

Launch a professional development inquiry around best practices for cultivating independent reading. To help you and others develop excellent practices throughout the school, use the following checklist. (Many more checklists can be found in our book Schools Full of Readers.)

What tips do you have to create a classroom library? Share in the comments below.

By Travis Crowder

Exceptional writing teachers have taught me valuable lessons about how writers find ideas. Over time, writing has become a space for me to wrestle with my thinking, and I’ve accepted that when I finalize a blog or book, or essay, that piece of writing is only as good as my current understanding of the topic is. It is imperfect, but that’s what makes it worthwhile. It’s an invitation to continue grappling with an idea. It’s in this space that I commune with the philosophy that defines my classroom. I write to discover things about teaching young people. Many times while writing into ideas about engaging readers and writers, I’ve forged new thinking. Generally speaking, I’m always excited to sit down with my notebook and a cup of coffee and just write. Beautiful things lurk at the edges of writing. I’m always amazed at the possibility of discovery. 

It was in this spirit that I sat down to craft this blog post. So many experiences from the past year were, in my opinion, noteworthy things to write about. Because of the pandemic, I shifted from physical to digital notebooks. During hybrid and remote teaching, I learned a great deal about engaging readers and writers, even from a distance. I found the intersection of poetry and writing to be a meaningful place to explore ideas. And so did many students. But each time I sat down to craft any one of these ideas, I found my writing leaning elsewhere. Instead of writing about strategy and engagement in literacy, the ideas tilted toward my current teaching context. 

You see, this current year has been one of the hardest of my career. Not just because of the pandemic— although it has definitely contributed— but because of the continued, intensive push to standardize. Instead of decreasing, conversations about standardization have actually increased. During lesson planning periods, I’ve been asked repeatedly what standards I’m tying my lesson to and to explain the exact procedural plan for the lesson. Trying to argue that many standards are embedded in authentic reading and writing practices is futile. Explaining that identifying specific procedures for a plan is difficult when planning without students is a challenge, especially when traditional ideals plague any sort of PLC. I’m not against standards or having a specific lesson plan, but across time, I’ve learned that rigid alliances between classroom activities and standards and allegiance to a specific lesson plan suffocate opportunities for creativity. The expectation with lesson planning, it seems, is that every activity and assessment will be planned prior to walking into a room of students. Essential questions have to echo the swollen lexicon of the standards. I much prefer to ask engaging questions, but they have been critiqued by administrators who prefer cold, antiseptic questions instead of ones that genuinely excite inquiry. The language we use in our lessons or in essential questions may be academic, but, if it lacks relevance, it’s useless. And if our procedures don’t allow us to follow our students’ inquiries, what good is the lesson? 

The disturbing contradiction I’ve witnessed reveals itself in actions. Lip service is paid to giving students space and time to complete tasks and receive extra practice in a skill area, but allegiances to pacing guides and year-long plans tell another story. Emphasis is placed on completing tasks quickly and moving on to another assignment. Recently, an instructional coach with very little literacy background said, in reference to a skill, Oh, that’s easy to teach. I found an activity online students can use to learn that skill. Here it is. Let me know how it goes. It’s as if a quick online search will meet the needs of every student I teach. Why spend time listening to them talk about their reading and writing lives if an online search will do all of the work? 

In early December, while revisiting an anticipation guide after a novel study, several students explained that they realized how complex ideas are. They realized that gray areas exist. I can’t quantify that or give that a grade. I can’t plot their conversation (and just to be clear, they were facilitating the conversation, not me) on a graph and track progress toward a goal. And who would want to? The conversation took a turn while they were discussing, and it veered away from the main topic at hand. Yes, the conversation was different, but it was still relevant. I didn’t herd them back into territory where the standards, essential question, and goals lived. I let their conversation roam freely. Because that’s what conversation does. It’s fluent and alive and it deepens as we move further and further into ideas. I couldn’t have found a template for a conversation like this online. And I wouldn’t want to. 

Again and again, though, I’ve watched instructional support staff offer worksheets and activities that were the result of an internet search. I’m more interested in moving with the flow of conversation and helping students make sense of ideas they land on, not prescribing documents I find online. Instead of these worksheets, students could be working on independent passion projects, writing about a book they’ve read and loved, or working with a partner to generate more ideas for their writing notebooks. At the end of class, students could share beautiful lines from their writing or powerful lines from their independent reading on a class Padlet, with a partner, or with the whole class. 

Honestly, PLCs have become places where I generate lessons that are difficult to use. The lessons aren’t inherently bad, but I’ve rarely seen a lesson plan proceed as written when it greets a group of students. Instead of trying to create plans independently of students, we could spend our time interrogating our curriculum and ourselves and finding ways to center BIPOC (Black, Indigenous, People of Color) authors. Instead of centering standards and goals, we could discuss ways to center students and questions of humanity, too. This means decentering the system, and when we decenter it, lesson planning has room to breathe. 

And so do we and our students. 

Every time I consider lessons or activities, I have to make students the core of my work. I don’t consider their test scores or projected test scores or grades. I consider them— their stories and humanity. I consider what they need, how current events influence them, and how I can sensitively handle issues that bombard them. It takes courage to think this way, though, and honestly, I’m still learning what it means to be courageous in the classroom. But we all need courage to deconstruct those imaginary boundaries that have been placed around our classrooms. These boundaries tell us what is “effective” and “necessary.” But we can do better. I know I can. 

Nothing I do is perfect. There are many days that lessons fail, that students are unmotivated, and that I am not at the top of my game. There are days when students refuse to write, can’t find the energy to read their independent reading books, or aren’t interested in something I’ve planned, certain that it will engage them. But there are also many days filled with deep reading and conversations. There are many days where students can’t wait to talk with me about a book they’ve read or want an air high-five (the COVID version of a high five) because they’ve read another book and last year they didn’t even read one! There are other days when students write poems or responses that make me cry or cheer along with them. These are the days I am overwhelmed with joy. 

Last August, I started a doctorate in curriculum and instruction at UNC-Wilmington. Coursework has focused on curriculum studies and leadership, and since starting, I’ve learned a ton about what it means to think and to write into current iterations of curriculum. I’ve realized, yet again, that choices we are making in education are conscious choices, and while we know that they do not work, we continue to stand beside them. 

I still dwell in hope, though. 

I imagine an educational space where students write and read to find themselves, where they learn about their world and engage in the tough questions that have been part of the human experience for decades. I imagine a place where we attend PLCs to confront our biases and to engage in critical thought about what we teach and how we teach it. And we encourage change and refuse to shy away from conversations that are “too controversial.” 

This is what I imagine. 

As I move further into 2021, I want this flame of possibility to burn brighter. I want my reading life to move me to action and to encourage others to do the same. I know many are out there, and together, we are working for a better educational space. Sometimes I feel incredibly isolated, but I have to remember, as John Lennon said, “You may say I’m a dreamer, but I’m not the only one.” 

Follow Travis on Twitter @teachermantrav

Learn more about Travis!

By: Linda Rief

In my latest book The Quickwrite Handbook (Heinemann, 2018) I described how I came to do what I called “quickwrites.” Year after year I noticed several kids, frequently boys, staring into space more often than they were putting words on paper. Talking to them, trying to help them with their ideas was not a big help. I read Don Murray’s work about writing fast to outrun the censor in all of us. Sounded good. But for those kids that continued staring into space, telling them to write fast didn’t help if they still couldn’t think of anything to write. That’s when I thought, if I put a short, compelling piece of writing in front of them to show them what someone else did, and encourage them to “borrow a line” and write as fast as they can for two to three minutes off that line, that might give them something to hold onto, something from which to build their own ideas. Write fast, I told them. Don’t think too hard. Don’t plan what comes next. You are writing to find writing—the words you didn’t know you were going to write until you wrote them.

And it worked, and has continued to work, for most of my kids.

Holding on to someone else’s line has been magical in helping my students find their own words. More often than not they can get rid of that line as they continue to draft their thinking in their words.

Maybe it was the notion of holding on to someone else’s line that led me to Nikki Grimes’ book One Last Word. In this book Grimes has found inspiration from many of the poets of the Harlem Renaissance to write her own poems. The poetry she is writing takes the form of what is called the Golden Shovel. In her words “The idea of a Golden Shovel poem is to take a short poem in its entirety, or a line from that poem (called a striking line), and create a new poem, using the words from the original. Say you decide to use a single line: you would arrange that line, word by word (one word under another), in the right margin. Then you would write a new poem, each line ending in one of those words.”

This is the first year I have tried this form with my students. We had just finished reading Refugee by Alan Gratz. As we read the book I asked them to collect lines that resonated with them from the three families’ stories. I asked them to write down questions that came to mind as we read, and to look up articles and pictures that might help them answer the questions. When we were done with the book I encouraged them to share response or reaction in any form they chose. But, I did show them One Last Word as a possibility.

Although this worked especially well after reading the book Refugee, because of its emotional topic, I imagine these examples could be used at any time for any kind of writing. These were the instructions and examples I gave my students, adapted from Nikki Grimes.

Write a poem by

• using the line/s from a poem, each word of the line becomes the last word in each line of your poem, or
• using a favorite quote from Refugee or any author or book you love, each word of the quote becomes the last word in each line of your poem, or
• using a newspaper headline with a compelling lead or poignant photo attached, each word in the headline becomes the last word in each line of your poem

I gave the students several examples from Nikki Grimes book One Last Word. I showed them how she took the poem “Hope” by Georgia Johnson and used the first line of that poem to shape her poem “On Bully Patrol.” Then I showed them what I wrote.

I used the last line from Mary Oliver’s poem “The Summer Day” because it is a line I use as a mantra in working with eighth graders: “Tell me, what is it you plan to do with your one wild and precious life?

This is what I wrote, using that line:

Sometimes, in their writer-reader notebooks students tell

Truths that they are admitting to me

And so often I don’t know what

it is

That would help them cope with it

                        Whether the “it” is hunger or homelessness, self-doubt

         or bullying or even dysphoria. As a teacher you

Try your best to plan

A strategy to

Help each child do

What they need to do, with

Compassion and sensitivity. Your

Concern and helplessness make you worry that one

Day this wild

Child, who is only defending herself and

Trying to make the world work for her, will know what to do with her one precious

life.

Linda Rief

Many students found poetry by crafting their poems in this form. Sophie asked, “Do we have to stick with that form, one last word?”

“Absolutely not,” I told her. “Form should never drive what you have to say. It is only a suggestion. Let your words take the form that best fits what you want to say.”

Sophie wrote:

Tallying the Daily Dead

Line from Refugee by Alan Gratz, p.195

When you were in kindergarten

you learned how to tally.

You thought nothing of it,

nor should you have.

It was just a way

to count the numbers

that were put in front of you by a teacher.

You were always told

tallying should not be used for big numbers,

like 65.6 million people displaced at the end of 2016 or,

the 40.3 million displaced

within their own country or

perhaps not

the 22.5 million forced to flee

to another country.

In kindergarten,

you tallied numbers.

Now,

we tally lives.

Sophie M. 8^th grade

I am always looking for a variety of ways to help students get words on paper. No matter what way that might be, we need to remember: try the idea ourselves, give the students examples (ours, professionals, other students), give them choices within the framework, and let the framework go if they have other ideas. The bottom line in writing: finding every, and any way we can, to help students communicate their thinking in order to grow their voices.

References:

Gratz, Alan. 2017. Refugee. NY. Scholastic.

Grimes, Nikki. 2017. One Last Word. NY: Bloomsbury Children’s Books.

Rief, Linda. 2018. The Quickwrite Handbook. Portsmouth, NH: Heinemann.

by Laura Robb

Poetry!  Many teachers avoid including poetry in a reading curriculum. Some teachers don’t use poetry because it’s unfamiliar and wasn’t part of their reading background. Others claim they don’t have time to expose students to poetry. However, I believe poetry is a powerful and important genre that should be integrated into the curriculum in all subjects throughout the school year.

Why poetry? Poems tickle the imagination and cause laughter! They tell stories like “Casey at the Bat” a narrative poem by Ernest Thayer, and “Lord Randall,” a medieval ballad.  Poems capture feelings, a moment in time, and the variety is boundless: short lyrics, conversation poems, Japanese haiku, list poems, sonnets, small poems, and villanelles. They all have rhythm. Some poems rhyme; free verse poems don’t rhyme. Contemporary authors write novels in free verse. Check out Crossover by Kwame Alexander (HMH Books for Children 2014), Witness by Karen Hesse (Scholastic 2003), and Brown Girl Dreaming by Jacqueline Woodson (Puffin Books 2016).

What’s magical about poems is they beg to be heard! Read poems to students and invite them to read poems to each other. The photographer uses a camera and film to capture a moment or tell a story. The poet uses words and figurative language to help readers “see” through the poet’s eyes, mind, and heart!  

Be a Risk-Taker

You don’t have to know a lot about poetry to bring this genre to your students. Explore together.  Start by checking out dozens of poetry books from your school library. Spread the books out around the classroom and invite students to choose two they want to read. Then, set aside two to three classes for students to read and reread poems and choose a few to read aloud to a partner. Powerful poetic language and imagery can become part of children’s memories when you try some of the ten ways to bring poetry into students’ lives.

• Start the day in self-contained classes by reading a poem. Offer one for dessert after lunch, and close the day by reading a class favorite.
• Open and close middle and high school classes by reading a poem.
• Ask your school librarian to find collections of poems relating to a subject: sports, science, history, math, music, art. Have partners read their poems to each other and discuss what they’ve learned about a specific subject.
• Invite students to read a favorite poem to their group or the entire class.
• Start a “poetry talk” project for an entire semester.  Have students choose a poem to memorize, say it to you and reply back by sharing a poem you memorized.
• Have students choose a favorite poem, illustrate it, and create a display in your classroom and/or the school library.
• Share poems for two voices by Paul Fleishman with students and ask partners to select one they’d like to perform. After practicing, have pairs perform for the class.
• Invite students to silently “do” or act out poems they select or you choose. A great resource is Let’s Do A Poem edited by Nancy Larrick (Delacorte 1991).
• Choral read poems students and/or you select. Divide students into two to three groups that read a section of a poem together.
• Read poems to generate ideas for students’ writers’ notebooks.

Reading Poetry Matters

Poetry tunes students’ ears to figurative language and imagery, all the time showing them how much words matter! For striving readers, it offers an open door into the reading life. Surrounded by lots of white space, the poet’s words invite instead of intimidate.  Moreover, reading poetry builds students’ experiences with literary language, enlarges their background knowledge and vocabulary, and develops the self-confidence needed to tackle longer poetic and prose texts.

By reading, rereading, and listening to poems, students absorb and memorize the poet’s words and images, and the poems become part of their memory forever! Every time I see the sunrise I find myself whispering the first two stanzas of this poem by Emily Dickinson:

I’ll tell you how the sun rose,
A ribbon at a time.
The steeples swam in amethyst,
The news like squirrels ran.

The hills untied their bonnets,

The bobolinks begun.

Then I said softly to myself,

That must have been the sun!

I want students to know, love, and be acquainted with so many poems that the words will be imprinted in their memory, ready to surface when an experience calls the poem to the forefront of their minds. When poems become part of students’ DNA, critical thinking develops as they associate a poem’s meaning with a personal experience. I recall Joshua scratching his head in class and shouting, “Fleas./Adam had ‘em,” and students’ reserved giggles transforming into ripples of laughter!  Yes! Words embedded in memory link our experiences to the poet’s and our lives are richer for it!

Follow Laura on Twitter @LRobbTeacher

Check out Evan’s blog posts on ScholasticEDU!

Learn more about Laura’s ideas on reading- check out- Teaching Reading in Middle School