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

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!

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

By: Lester Laminack

 

Mr. Rogers understood and demonstrated the elegance and power in simple and consistent structures and routines.  His framework was predictable and visible, even to his young viewers. Think about the opening scene for any episode.  He enters and speaks to you, directly to you, in the singular. He sings and moves toward the closet where he unbuttons his jacket, removes it, and hangs it in the closet.  He takes his sweater from a hanger, puts it on and buttons or zips. Then he steps down to a bench where he removes his loafers, neatly tucks them away before slipping his foot into one sneaker and tying it, and then the other.  In that simple routine, he greets you, speaks directly to you and engages you in the familiar song that is your welcome each time you visit. During the time it takes to sing that simple song he demonstrates buttoning/unbuttoning, zipping/unzipping, tying/untying, and putting things where they belong so you can locate them the next time.  And, then, at the end of each episode, he does it all again as he makes his way to the door signaling the closure of our time together.

 

Each of the daily routines is paired with a song or his gentle, focused voice giving you an overview of what he has planned.  He tells you what to expect as he begins to unfold the episode and you move forward with a story, a visit to picture-picture for a virtual field trip or a deeper look into a topic, or he phones a neighbor to request permission to bring you along for visit, or on occasion someone drops in to visit with you.  In all this, he models civility and the importance of planning and preparation, the efficiency of reflection and thought before action.

 

These simple routines remind us of the impact a consistent practice can have. They provide a structure that enables our students to anticipate what is coming next. It sets them up to prepare their materials and their mindset.

 

What You Can Learn From Mr. Rogers

 

Each episode includes time for nurturing the imagination. You know Mr. Rogers will lead you there when he takes a seat on the bench next to Trolley.  Almost always the plan for “make-believe” will extend the theme of the day (e.g. worry, feelings, competition, mistakes). As you move through the tunnel and come out on the other side in “The Land of Make Believe” you have trusted friends there as well, ( e.g. X the Owl, Henrietta Pussycat, Lady Aberlin, Mr. McFeely, Daniel Striped Tiger, and others). You know that in each visit several of these trusted friends will be involved in some drama of their own. The storyline is typically simple and relatable, the variety of characters lets you see that it is possible for the same events to be perceived differently by a group of individuals.  Feelings get hurt, friends realize their comments and or actions can inadvertently cause another to feel bad. You see the powerful positive impact of heartfelt apologies and the opportunity to change thinking and behavior. Perhaps the beauty of those simple puppets is that they can say things you feel; things you may not have the words to say or that you may not be sure it is ok to say.  Mr. Rogers and your friends in “The Land of Make Believe” allow you to acknowledge feelings even before you can name them, to see the impact of words and actions and to understand that you have control of your own.

 

The entire episode moves through a series of events or scenes hinged one to another with a simple routine (e.g. an action, a movement, a song). The predictability of his routine does not result in boredom; rather it brings a sense of stability in a world of the fast-paced, ever-changing schedules and routines in the lives of children. There is never a wasted moment, yet there is never a moment when you feel rushed.  There is no pressure to do it right or do it better. There is no suggestion that your value as a person hinges on your success with any activity. Instead, Mr. Rogers assures you over and over again that you are enough just the way you are. He assures you that he is proud to be your neighbor and that you are the only you in this great wide world.

 

Important lessons for Teachers

 

Mr. Rogers is still teaching us.  His show spanned over 30 years and in that time his structures and routines remained consistent.  Let’s pause here to consider what this can mean for us today.

• Each of us desires to be acknowledged, to have our humanity recognized and confirmed.  Mr. Rogers greets you and makes you feel welcome. We owe that to our students, each of them deserves to be acknowledged and welcomed each day.
• Simple structures, rituals, and routines help us focus and move into the frame of mind needed to engage. Mr. Rogers had songs that marked various transitions in the visit.  We can easily adapt that to sharing a poem, a song, or a rhyme that is age appropriate to mark the opening and closing of a class meeting.
• Unspoken visible rituals can be effective as transition markers. Mr. Rogers had several of these including his jacket, sweater, loafers, sneakers, feeding the fish, and more. We can adapt these easily.  Designate a stool for read-aloud and sit on it only when sharing a text. Or set aside a cap or hat that you wear only when reading aloud. You may keep a pair of reading glasses on a shelf next to the basket of read-aloud texts for the week. Wear those particular glasses only when you share a text.  Simple routines send clear messages that soon become a part of the classroom culture.
• Civility is learned.  Mr. Rogers was a living model of civility.  He was always kind. He never had an unkind word for or about anyone.  He greeted visitors warmly and genuinely. He always phoned ahead to request permission to visit and to bring you along with him.  He was conscious of the feelings of others. Today we often hear adults lament the loss of civility. Well, my friends, it is we adults who must be the models of what it looks like and why it is needed. This one is easy, but essential.
• Planning and advanced preparation reduces anxiety and increases efficiency. In each episode, Mr. Rogers talks through his plans for our visit.  He poses questions, offers ideas, reflects, and then takes action. He invites us to think. Consider the importance of sharing aloud your plan for the day. When students know how the class will unfold and how each piece fits into the whole we reduce the potential for misunderstanding, misconnections, and misbehavior.  
• Imagination is a powerful tool. Mr. Rogers folded imagination/pretend into each episode.  It was in our visits to “The Land of Make Believe” that we had an opportunity to see the “theme” of the episode play out inside the stories of a familiar cast of characters.  As teachers, we recognize the importance of giving our students multiple access points to the lesson. Follow Mr. Rogers’ lead and offer students the opportunity to imagine and to consider the lesson through a different lens.

Keep in mind that children thrive on routines, kindness, and recognition of what they do well.  Reach and develop the imagination of every child you teach, for heightened imagination is a path to creative thinking.

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