Category Archives: Writers

Starting With Why: A Return

Three Teachers TalkJoin us for a summer series revisiting our top posts from this school year, and please “turn and talk” with us in the comments section each week!

This week’s post is from 2016. Amy Rasmussen’s viewing of a TED Talk left her with a reason for teaching, plus a bonus writing exercise. 


“People don’t buy WHAT you do;
they buy WHY you do it.”
~Simon Sinek, Start With Why

I first heard of Simon Sinek from my son Zachary. He came home from work one day excited to share a TED Talk he’d listened to during his break. I had not seen my youngest son so animated in months. Zach had big dreams, but he made some poor choices that led to him having to wait a while after high school to start making those dreams a reality. This young man needed some inspiration. Simon Sinek gave it to him.

At Zach’s request, I watched Sinek’s TED Talk “How Great Leaders Inspire Action,” and talked with my son about Sinek’s message:

“There are leaders and there are those who lead. Leaders hold a position of power or influence. Those who lead inspire us. Whether individuals or organizations, we follow those who lead not because we have to, but because we want to. We follow those who lead not for them, but for ourselves.”

Zachin Taiwan

Zach watched that TED Talk multiple times, and my husband pulled Sinek’s book from a shelf in our hallway. “You ought to read it,” he said.

“I want to be that kind of leader, the one who inspires,” Zach told me, and he began to make choices based on his drive to help people instead of what he thought he would get out of helping people. As I write this, Zach is in Taiwan. He gave up his cell phone and his friends and jumped into learning Mandarin Chinese. His 6’4” frame dons white shirts and ties everyday as he rides a bike through Taipei, serving a full-time two year Mormon mission.

My son found the WHY that Sinek inspires, and it changed the direction of his life.


Sinek’s book is about identifying why some leaders are able, not just to sell a product, but to create a movement. He explains his purpose: “to inspire others to do the things that inspire them so that together we may build the companies, the economy, and a world in which trust and loyalty are the norm and not the exception” (7).

That reads like a nice idea for educators, too, doesn’t it? I do not know a teacher who does not want “to inspire [students] to do the things that inspire them.” However, according to Sinek many in business go about it backwards. By extension, I argue that many in education do, too. We focus on the WHAT and the HOW– like making learning relevant, engaging our students, teaching them grit, focusing on achievement, calculating grades, teaching a specific book, giving them a quiz — instead of WHY we teach our students in the first place.

Sinek says, “All the inspiring leaders and companies, regardless of size or industry, think, act and communicate exactly alike. And it’s the complete opposite of everyone else.” They start with WHY.Instead of a focus on the WHAT they produce or sell, or HOW they produce or sell it, they focus on WHY they produce and sell it in the first place. Apple, for example, obviously sells computers. That is their WHAT, but their WHY is to challenge the status quo. It always has been. Stay with me here with Sinek’s explanation:

“A marketing message from Apple, if they were like everyone else, might sound like this:

We make great computers.

They’re beautifully designed, simple to use and user-friendly.

Wanna buy one?

When we rewrite the Apple example again, and rewrite the example in the order Apple actuallycommunicates, this time the example starts with WHY:

Everything we do, we believe in challenging the status quo. We believe in thinking differently.

The way we challenge the status quo is by making our products beautifully designed, simple to use and user-friendly.

And we happen to make great computers. Wanna buy one?

Apple doesn’t simply reverse the order of information, their message starts with WHY, a purpose, cause, or belief that has nothing to do with WHAT they do” (40-41).

Now, let’s think about this as educators:  Most of the time, we think and talk about WHAT we do. “I teach English,” or “I teach high school,” or even “I teach kids.” Sometimes we talk about HOW we do it. “I teach readers and writers in workshop,” or “I advocate for choice independent reading,” or even “I teach To Kill a Mockingbird, ” or “I teach Hamlet.” These are different from WHY we teach and have nothing to do with what motivates us to greet our students each morning, armed with carefully crafted lesson plans, and a smile.

According to Sinek, when we focus on WHAT we do instead of WHY we do it, we are like most of the businesses and companies in the world that drive their work with manipulations and punitive rewards, which might work in the short-term, but do not breed loyalty and long term change. We see this in education all the time:  threats of in-school suspension and failing grades, mandatory tutorials, new test-prep programs, increased numbers of safety nets designed to keep students from failing, changes in grading policies, and more. “There are only two ways to influence human behavior: you can manipulate it or you can inspire it,” writes Sinek. Most decisions we make to motivate students are based on manipulation, and we fail to inspire long-term change. No wonder we see the same students in the same trouble year after year. When we define ourselves, or our schools, by WHAT we do, that’s all we will ever be able to do (45), and that is not enough “to inspire [students] to do the things that inspire them,” or to build a world where trust and loyalty are the norm. We need what Sinek calls “inside out thinking.” To inspire lasting change, we must start with WHY.

Let’s take that example of Apple from before and apply it to our schools. If we are like everyone else, we might talk about our school like this:

We teach high school.

Our school culture is spirited and sound. Our curriculum is rich. Our test scores are high.

Wanna come here?

When we rewrite the example again, and rewrite the example in the order an inspiring school leader actually communicates, this time the example starts with WHY:

Everything we do, we believe in challenging our students’ thinking. We believe in genuine and individual inquiry.

The way we challenge our students is by making our school safe and innovative, with passionate and knowledgeable teachers who are caring and compassionate, who cater to the needs of all students.

And we happen to graduate honorable and educated citizens. Wanna come here?

Does that example make you feel a little different?

As I read Sinek’s book, I kept imagining what his argument looked like when applied to education, but more specifically, I kept imagining what it would look like applied to me as a literacy leader in my classroom. The way I talked about teaching was like everyone else I knew; I focused on what I did as an educator instead of WHY I did it.

I taught AP English Language and Composition. I taught skills to pass a test. I taught students to love books and to like reading. I taught students to write.  Although I had changed my instruction from when I first began teaching, from whole class novel studies with little writing instruction, to readers and writers workshop with choice, modeling, and mentoring, I still struggled. I struggled until I turned my thinking inside out. I took that example Sinek uses to explain what makes Apple such an innovative force in the market and applied it to my belief about myself as an educator and how I make that belief happen in my classroom.

See how I start with WHY:

WHY:  Everything I do as a teacher, I believe in helping my students identify as citizens, scholars, and individuals whose voices matter. I believe our world is better when individuals understand their value, believe in their capacity to cause change, and take action to better the world around them.

HOW:  The way I challenge my students is by making my classroom safe and inquisitive for my individual learners, with instruction that centers on trust, esteem, equity, and autonomy. Through the rituals and routines in my workshop classroom, students gain a sense of belonging, identify themselves as readers and writers, develop their voices, advance in literacy skills, and take risks that have the potential to change their worlds and the world around them.

WHAT:  And I happen to teach English by modeling my reading life and writing life.

It works.

My readers and writers advance because they know we are in the business of learning about ourselves and our world — together.

Simon Sinek is right:  “[Students] don’t buy what we [teach], they buy why we [teach] it.”

My challenge for you:

Follow Sinek’s model like I have above, and write your WHY. Please share it in the comments.

Amy Rasmussen lives in North Texas. Follow her on Twitter @amyrass — and if you are not already, please follow this blog.

How do you read enough to match students with books? #3TTWorkshop

Questions Answered (1)The verb is the key. How do we read enough in order to help students find books they want to read? We read. We have to read — a lot. And we have to know our students.

The reading part is fairly simple. Well, as simple as carving out the time for it, which I know can be a challenge. Maybe it’s a matter of belief. I have to believe my time reading books I may not normally choose for myself will be worth it. I have to believe that YA literature has substance. I have to believe that my students will read, and most likely read more, when I can recommend books because I have read them.

We find time for the things we value. Simple as that. If we value our readers, we must do the things that help them want to read, and reading books that appeal to adolescent readers is a major part of it.

Book Stack

My Current To Read Next Stack

Personally, I like books in print because I like to save favorite sentences and passages that I might be able to use for craft lessons as I read. But audiobooks are a time saver I trust. I usually have at least two books I’m reading at any one time, hardcopy and in Audible. (I started The 57 Bus by Dashka Slater yesterday; I’m halfway through listening to There There by Tommy Orange.)  And honestly, there are some books I just can’t finish, but that doesn’t mean I haven’t read enough to know if I might have a student who wants to give it a try. I can read enough to know if a book might engage one of my readers.

I have to know my readers. The best way I know to get to know them is by talking to students one on one.

Again, the time issue.

Short personal writing can be a real time saver, especially at the beginning of the year or a new semester. Lisa’s Author Bio idea is one of my favorites, ever. I also like to use Meg Kearney’s Creed poem and have students compose their own. Writing like this gives students permission to show themselves, and it gives me an invitation to see into their lives. This is what I need to help match students with books.

A follow up question to the How do you read enough . . .? is often:  How can I find books my students will want to read? or What are some great books for seniors? for 7th graders? for sports enthusiasts? for dog lovers? for a student born in Pakistan? for a group of kids into becoming Insta famous?

I don’t know.

Your school librarian will, most likely.

(Really, I may have some ideas for a few of those questions….but that’s not the point.)

Create a partnership with your school librarian. Hopefully, you still have one. This person loves books and advocates for books and readers. This book expert is a friend to self-selected independent reading, and this professional has access to book lists with descriptors and synopses. (And sometimes funds to add books to the school library.)

Of course, you can find all kinds of book lists online:  Pernille Ripp posts great lists on her blog. The Assembly on Literature for Adolescents of the NCTE (ALAN) shares picks. Young Adult Library Services Association (YALSA) has Best of the Best lists. Edith Campbell recently posted a list of 2019 middle grade and YA books, featuring and written or illustrated by Indigenous people and people of color. And, of course, this list I crafted before Christmas — all recommendations from the contributors on this blog.

To make self-selected independent reading work, which is a vital part of an authentic literacy focused pedagogy, we have to do the work. We have to read, and I wish I could remember where I heard it first:  Reading YA literature is a powerful form of professional development. Isn’t it?

Amy Rasmussen reads a ton of books on the porch, in the yard, by a pool, on her bed in North Texas. She will be spending a lot of her summer with teachers facilitating PD around readers-writers workshop in secondary English classes. Her favorite. She’s also going to be doing a lot of writing. And a little poetry study at the Poetry Foundation Summer Teachers Institute in Chicago. Follow her @amyrass

 

Making the Micro, Macro: An End-of-Year Mixtape Musing –Guest Post by Anne Barnhart

The soundtrack to the end of any school year for me includes musical bytes of all kinds looping through my brain. This year, cue the part of Twenty One Pilots’ “Ride” when they repeat “I’ve been thinking too much.” Big facts, Tyler Joseph, big facts.

I’ve been thinking about (as I’m sure we all do) what I could, would, should have done. What I can, shall, will do next year to make it all better, to rectify all that went wrong or undone. The end of each year benevolently gifts the space to sit and interrogate our year, ask it questions, contemplate its potential answers, revel in the hope of possibility of its wisdom.

In the Secondary Readers-Writers Workshop world, there is a LOT to think about and…I’ve definitely been thinking too much (help me.) In all of this thinking, I’ve been asking myself a seemingly simple question — What is working on a micro level, something that emerged spontaneously, that can be applied for macro impact, becoming a part of my larger set of routines and systems?

I (and my students) use mixtapes often in our Writer’s Notebooks.  Here, for example, is a class-created model we made together for our class read of Alexie’s Absolutely True Diary of a Part Time Indian after a visit to our local Tomaquag Museum. We use them to make connections to theme & character, across time & literature, with each other & our own selves–but no matter how we use them, they help us to analyze and to reflect.  

So, in the spirit of mixtapes, here is my Spotify mixtape of songs and ideas of what works in small ways in other parts of my practice to make a big impact in the workshop model–I invite you to listen as you read…

mix tape

Screen Shot 2019-06-13 at 2.17.56 PM

  • Patience [with Meeting Ourselves Where We Are]” by Tame Impala-I meet kids where they are. It’s part of my daily teacher mindfulness practice, my ability to zoom out to look at the whole learner, my understanding that these kids (like all of us) are “Just growin’ up in stages[…]Livin’ life in phases.” But sometimes the weight of learning objectives, success criteria, and common assessments threatens the integrity and philosophy of the Workshop model. I find myself wondering–How can I more intentionally balance living in both worlds in order to ensure that I honor my meet-ourselves-where-we-are-right-now across all workshop spaces?

 

  • “Go [Explore Unique Spaces to Write]” by The Black Keys–Participating in and Places.pngfacilitating the Rhode Island Writing Project’s Open Air Institute and listening to David Whyte’s discussion of genius loci on his On Being interview in 2016 helped me grow my practice of place-based writing in Creative Writing by encouraging something as simple as facing the window, occupying a stairwell, sitting somewhere else in class, writing somewhere on campus. The power of writing in new spaces is something I have come to understand profoundly myself and hope to share it, but I’m left wondering: How can I heed the advice of the Black Keys and remind myself, “You gotta go” explore new spaces so all students can experience the transformative nature of “place”?

 

  • “Missed Connections [Within Writer’s Notebooks]” by The Head and the Heart I love connections. They’re the stuff of learning. I encourage them through MsBmy Barnhart Brownie Points system which creates class to class, class to self, class to whatever connections (check out my system here), but I cannot help but imagine (and “I get the feeling [some of] you’ve been here before/From a missed connection” like I have) what impact they might have within our own Writer’s Notebooks themselves. How might I leverage more purposefully and systematically how students engage with their entire body of work to look for connections in theme, in craft, in insight?

 

Feel free to reach out via social media or email (see bio below) to help me explore my questions, but really I want to end with a little remix of John Dewey and propose this:

“To be playful and serious at the same time is possible, and it defines the ideal [Writers Workshop space]” — What is one song and question that would play from your mixtape? What micro moves that you already do could make a macro impact with your ever-evolving Workshop model?

Tweet it out, tag @3TeachersTalk #3TTWorkshop, and continue the conversation!

Together, we’ll get by because, like Mavis Staples and Ben Harper sing, “We get by with help from our kin/We get by through thick and through thin.”
Anne Barnhart spends her school years facilitating learning of and learning alongside some amazing Rhode Island teenagers at Westerly High School and some amazing Rhode Island educators through The Center for Leadership and Educational Equity. Summers? She spends reading, writing, and growing with the Rhode Island Writing Project. Follow her @Ms_Barnhart on Twitter or contact her abarnhart@westerly.k12.ri.us with suggestions, questions, or resources.

Rethinking Summer Assignments

black and blue plastic pen non top of black covered notebook

Photo by rawpixel.com on Pexels.com

Ahh…Summer reading…

For some of us, summer reading means lounging by the pool reading something that isn’t school related. Maybe we’re soaking in the rays and the books that, if you’re like me, have been piling up on our dressers all year long while we reread Gatsby for the 100th time. (If you’re looking for a great summer pleasure read, I have to suggest Daisy Jones and the Six. It was fantastic. Definitely listen to some Fleetwood in the background while you read the novel.)

For others of us, summer reading means sitting down with our arsenal of sticky notes and highlighters and InkJoy Gel Pens to catch up on some professional reading because, you know, we spent the year rereading Gatsby for the 100th time. Gotta love that green light and the bae across the bay plotline! (If you’re looking for a solid professional summer read, I highly suggest Why They Can’t Write. It’s prompted some interesting conversations and some thoughtful reflections for me.)

I plan on partaking in both kinds of summer reading – the more traditional for pleasure books and the I can’t stop thinking about teaching for pleasure books.

For our students, however, I wonder how many of them look forward to their summer reading. I wonder how many of them find value in their summer assignments besides the assignment just being a hoop to jump through.

I do think there’s value in summer reading assignments. Summer slide is real, and I like my classes to come in to the first day with something more to discuss than the syllabus. I also teach at a highly competitive magnet school, and summer work is one of those unstated expectations for AP classes.

So all of these ideas were running through my mind when thinking about my summer assignment for AP Seminar – a new course we’re offering for the first time next year. I knew that the students were expected to complete something over the summer. I knew that I wanted their assignment to have some choice involved. I knew that I didn’t want the assignment to take all summer, but that it should be meaty enough that we could start discussions at the beginning of the year. A lot of boxes to check. The brilliant Hattie McGuire came to the rescue. She posted her ideas of offering a summer writing invitation instead of a summer reading assignment. After talking with her, I tweaked some of her ideas to fit my environment.

Here’s the assignment:

I wanted my students to continue to think critically and inquisitive about the world around them, to take stock of their surroundings and experiences and to try to push their thinking further by asking themselves, “I wonder…” until they couldn’t wonder (or in some cases, wander) anymore.

So in an attempt to spend part of the summer writing and to cultivate a researcher’s mindset, each student will create 42 entries in a “Curiosity Journal.” Each entry will catalogue an observation/problem/question about their day and an attempt to take that observation/problem/question as far into “I wonder territory” as possible. We’re calling this part “further implications.”

A sample entry might look like this:

I observed that the extremism of Marie Kondo’s method of cleaning was very cathartic for me personally, and the house does feel less cluttered, but I wonder what good I’m truly doing by donating all of my unwanted junk to Goodwill.

My further implications for this observation might be: In participating in this behavior and in giving my stuff to Goodwill, I’m making the assumption that other people want my junk. I wonder if I’m doing good with my leftovers. This makes me think of disaster relief efforts and how often we send out crappy sloppy seconds to people who are truly in need. We do offer our stuff because doing so makes us  feel better, makes us feel useful, but I wonder if it’s actually useful for those people in need. I also wonder if it’s better to just throw all of this stuff away in a landfill. I wonder if there are other, better options for donation besides Goodwill. I find that the trend of minimalism goes against the consumerism of American society – it’s counterculture but it’s also pop culture, which is interesting. We’re overwhelmed by our stuff, which should make us question why we have all of this stuff to begin with in the first place. I also wonder how long I can keep up this minimalism streak until I’m back in Target buying another throw pillow. I also notice that there’s a lot of privilege present in even being able to KonMari my home. I wonder what the implications and effects of this privilege are?

So after a run of seven observations, students will choose one problem or question to pursue a little bit further by finding one external source that deepens their understanding of the issue, offers another perspective, or adds to their further implications. They’ll write about this new piece as well.

We’ll begin our first day of class discussing our favorite observations and, hopefully, the rabbit holes our observations led us down, maybe sparking a conversation about research and questioning. I’m hoping to find trends in the kinds of problems/questions/observations my students noticed that could begin to facilitate a conversation about what all of this says about who we are as people or how society works. I plan on using their Curiosity Notebook as a jumping off place for our individual introduction conferences that will happen during the first two weeks of school.

Mostly, I’m hoping that this assignment will keep students writing and reading and thinking over the summer about ideas that they’re interested in.  I’ve linked the assignment here if you’re interested.

Happy reading – whatever you’re reading, I hope it’s good!

Sarah Morris teaches AP English Language, AP Seminar and Film as Lit in Middle Tennessee. She’s currently enjoying her first summer as a married woman, spending her time travelling with her husband. You can follow her @marahsorris_cms.

 

Defining Readers-Writers Workshop: A Return

Three Teachers TalkJoin us for a summer series revisiting our top posts from this school year, and please “turn and talk” with us in the comments section each week!

This week’s post comes from 2017, when Amy Rasmussen dove into defining the term workshop–the umbrella that envelops all we do. 


“I need a visual of a ‘workshop.’ That word confuses me still.”

This is not the first time I’ve been part way through facilitating professional development and a participant has made a similar request. There’s a lot for me to learn here.

Before we can begin really sharing the excitement and benefits of a readers-writers workshop model of instruction, we must get on the same page as to what we mean by Workshop. I’ll try to do that here.

Let’s start with the dictionary definition of workshop and zero in on #2.

workshop definition

Based on this definition, let’s consider this essential question:

How do we create open spaces where the children we teach can grow as readers and writers?

To me “open spaces” equates to “workshop.” Open spaces means teachers let go of control, remove themselves from center stage as the holders of the knowledge, and invite students into a space of curiosity and discovery. It’s a space where students thrive in a community of trust and sharing, where they talk about their identities and experiences as readers and writers, where they play with language and take risks as they explore what it means to develop their comprehension and analysis skills — and their craft as writers.

Opening spaces requires planning. It is not willy-nilly choice in books or topics, or stations without specific guidelines and instructions, or seats moved from rows into small groups without modeling the thinking that makes it possible to “engage in intensive discussion and activity” around our content. Teachers must model what this looks like. And we must trust that our students will engage and learn in this model.

They will — if we let them.

Readers-writers workshop is a method of instruction that often requires a paradigm shift, a shift from the teacher making all the choices and telling students what to learn within a text, to students making choices, and through practice and application of skills-based lessons, learning as they read and write.

I’ll return to some definitions found online to help clarify:

“The Reading Workshop is a teaching method in which the goal is to teach students strategies for reading and comprehension. The workshop model allows teachers to differentiate and meet the needs of all their students.”

For our readers, we open the space for students to choose the books they read. By doing so, we meet students where they are in terms of their interests and abilities. The teacher becomes a coach, teaching skills specific to the needs of each learner. This requires time. We must reserve time for students to read when they are with us in class, and we must confer with students about what they are reading — and how they are reading it. This is reading instruction in a workshop model. We teach the reader, not the book. Readers must predict, visualize, infer, comprehend, analyze, and evaluate. These are all skills we model and teach in readers’ workshop.

What about writer’s workshop?

“As in a professional writer’s workshop, each student in the class is a working author. The teacher is a writing professional and peer coach, guiding authors as they explore their craft. … Teachers write with their students and share their own work as well.”

To teach our writers, we must be writers ourselves. We must model the moves writers make as they use language to craft meaning. We must validate our writers and help them recognize what professional writers do to think of ideas, organize those ideas, and convey those ideas in a way comprehensible to readers. In a workshop classroom, we use mentor texts:  sentences, paragraphs, passages, essays, poems, stories to teach writing skills that students apply to their own writing. We teach the writer, not the writing.

workshopquestion

So, what do I mean when I say “workshop”? I mean students doing the work of readers and writers, “engaged in intensive discussion and activity on a particular subject” — specifically related to growing as readers and writers. This work happens because teachers open the spaces in their classrooms which allow for it.

Questions about your move to a workshop model of instruction? Please ask in the comments.

Amy Rasmussen lives in north Texas and teaches AP English Language and English 4 (new prep in ’17. She loves talking books, daughters’ weddings (two this year), and grandbabies (five). She also loves facilitating PD for other teachers making the move into a workshop pedagogy. Amy adheres to the words of Emerson: “We aim above the mark to hit the mark,” and Jesus: “Love one another.” Imagine a world if we all aim higher. Follow Amy on Twitter @amyrass. And she really hopes you will follow this blog!

Q & A: How does workshop work to prepare students for college? (Or I love teaching these books) #3TTWorkshop

 

Questions Answered (1)I’ve been asked this question in several different ways:  How do we do this for college prep courses? How does workshop work in an AP English class? If I’m not teaching books from the canon, how am I preparing students for college? And we’ve written about it a lot on this blog. (See here and here and here and here and here and here for starters.)

Sometimes I think we have misplaced ideas about what is expected of students in college — especially if we were English majors, and our students may not be —  and perhaps some skewed ideas of what rigor looks like when it comes to high school English classes.

I first clued in when I read Readicide by Kelly Gallagher. No doubt, I killed the love of reading — and the love of the literature I loved — the way I “taught” the books I expected my students to read. (Most didn’t.) Since then, I’ve studied, practiced, implemented, revised, and stayed up late thinking about how I need to revise my instruction in order to best meet the needs of my students. All of my students — not just those in a college prep or AP English or those going to college — but every student in every English class in preparation for the rest of their lives. I want them to be fully confident in their literacy and all the gifts that will give them in whatever future they choose.

My students, not just those in advanced classes, or on a college-bound track, need to know how–

  • to think critically about their ideas and the ideas of others
  • to articulate their thoughts in writing (in multiple modes) and orally (with clarity and confidence)
  • to support their thinking with valid sources
  • to revisit their ideas and revise them when they encounter viewpoints that require them to extend, modify, or change their thinking
  • to verify sources, and identify and analyze bias

There’s power in these skills, opportunity and freedom — for our students and for ourselves. We do not need a list of “AP suggested novels” to teach them.

What we need is to build communities in our classrooms where students feel safe to engage in inquiry, share their thoughts, receive feedback, and give themselves to the learning process. Study guides, worksheets, TpT lesson plans, and the same ol’ same ol’ approach to teaching the same ol’ books will not cut it. Just because a book is considered of literary merit does not make the learning around it rigorous. Rigor is not in the text but in what students do with the text. (For more on this, see Jeff Wilhelm’s article “Teaching Texts to Somebody! A Case for Interpretive Complexity“)

What we need is to to know our state ELA standards or the AP English Course and Exam Description as provided by College Board. (I think the AP English Course descriptions scream “workshop.”) Then, begin thinking about and hunting for mentor texts, written in a variety of modes, that 1) prompt students to think in different ways about a different topics, 2) engage students in inquiry and class discussion, 3) spark ideas for research, and all along the way, invite students to write beside these mentors:  What do you think? What do you notice? What do you wonder?

At least this is the genesis of answering the question:  How does workshop work to prepare students for college? There’s so much more to it.

Resources that have helped me:  Write Beside Them and Book Love by Penny Kittle, Dr. Paul Thomas’ blog. Currently reading: Why They Can’t Write by John Warner, and the #1 on my summer reading list Handbook of Research on Teaching The English Language Arts 4th edition, edited by Diane Lapp and Douglas Fisher.

I once did a two day workshop, helping a district coordinator move her teachers into the readers-writers workshop model. In a reflection after our training, one teacher-participant wrote:  “I’ve been teaching for 24 years, and feel like I’ve been told I’ve been doing it wrong all along.” Nope.

But. . .

What if we could do instruction better?

 

Amy Rasmussen lives in North Texas where she thinks, ponders, and writes about how to motivate, engage, and teach today’s adolescent readers and writers. She will be spending a lot of her summer facilitating PD focused on readers-writers workshop in secondary English classes. Follow her @amyrass — and she’d love it if you follow this blog!

 

I’ve been thinking…and thinking and thinking about Repeated Writings

During undergraduate studies (with Shana!), Dr. Alan Frager, a favorite professor of literacy at Miami University, assigning a repeated readings fluency experiment to my fellow pre-service teachers in which we had to have a peer read a poem multiple times and track their fluency improvements.  While During student teaching, I worked with a reading intervention group and later relied on the practice when teaching in my own classroom to improve student fluency and comprehension.  If repeated readings work to improve student reading–what about repeated writings?

I had a theory that if we ask students to write the same type of piece or over the same topic a few times, perhaps they would gain fluency in the mode or achieve more depth of thought with more opportunities to practice and process.  I noticed this to be proven true with my AP Literature and Language courses, as we practice the same style responses throughout the year, working to deepen analysis and improve craft but wondered what impact repeated writings would have on creative, analytical, and reflective pieces.  We do repeated readings or re-readings of texts to glean and gain more information. We ask students to practice their speeches, presentations, and pre-writings. We practice writing high quality, thoughtful questions for Socratic Seminars. Why not challenge students to “lap,” as Penny Kittle and Kelly Gallagher would say, around the same pieces?

black twist pen on notebook

Photo by Mohammad Danish on Pexels.com

Throughout the past school year, juniors practiced quick writes, many from Linda Rief’s The Quickwrite Handbook and creative responses inspired by mentor texts.  We journaled in topic notebooks about our independent reading books.  I also assigned multiple iterations of the same writing assignment in the hopes that, like repeated readings, style and content would improve as students gained confidence.

The repeated assignments, usually chunked into 3 to 5 practices, created a series of thought and writing improvement that could be tracked throughout my informal study. During the year, students practiced writing responses about editorials in the news three times over three weeks to hone our argumentative skills.   We worked on literary analysis chunks that paired with choice novels which culminated in a mini-literary analysis when strung together. This spring, students wrote four reflective one-pagers that synthesized The Bluest Eye, the documentary “13th,” and their understandings of the world each week.  We reflected on growth with quarterly Reading Ladders, too.

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Repeated writings provided opportunities for improvement and depth.  Once students understood the type or style or writing, they were able to shift their cognitive focus to their ideas and voice versus the parameters, requirements, or purpose of the assignment with repeated practice.  I noticed students moving away from the five-paragraph essay and templates to infusing voice into their argument. I saw a synthesis of ideas across texts. I noticed more different syntax and academic vocabulary, as well as moments of writer’s craft rule breaking.  Most importantly, I saw students become more confident in their writing–there was much less “Is this right?” and more “I can’t wait for you to read my paper!” or “Can we share these in groups?”

While one must strike a balance between assigning the same task over and over again to the point of monotony, repeated writings worked like repeated readings with the most gains being in confidence and identity as a writer.  

 

Maggie Lopez is enjoying the slow mornings of summer break, sunshine, and endless reading time on the back porch.  You can find her on Twitter at @meg_lopez0.

 

Q & A: Where do you find mentor texts for informational reading and writing? #3TTworkshop

Questions AnsweredHere’s the thing:  Finding engaging mentor texts, whether to integrate current events into lesson plans or use them to teach reading and writing skills, requires us to be readers of the world.

“I don’t have time,” I hear some thinking. Yeah, well, finding the time to read ourselves is the best professional development available.

Want to engage students more in independent reading? Read a wide variety of engaging and inclusive YA literature. Want to shake up literature studies? Read more diverse and award-winning literature. Want to bring real world events into the classroom for some critical discussion? Read a whole bunch of news.

There’s no secret to finding mentors that will work. We just have to do the work to find them.

We can rely on others to help. Kelly Gallagher posts the articles of the week he uses with his students — a good resource. Moving Writers has a mentor text dropbox — also good. However, what works for some students may not work for others. We know this.

We also know our students. We know the instructional goals we have for them, and we know what they need from us in terms of interest and ability (at least we should.)

So — read more. Read with a lens that will best meet your needs and the needs of your students. Sometimes we find treasure.

For me treasured mentors, particularly for informational texts — because they often get a bad rep — are those that are not boring. (In my experience, most students think info texts are boring.) Voice, format, and style = engaging real world informational writing.

I’m sure there’s more out there, but here’s three sources I read regularly. Sometimes I pull long excerpts, sometimes paragraphs, sometimes sentences to use as mentors.

The Hustle. “Your smart, good looking friend that sends you an email each morning with all the tech and business news you need to know for the day.” You can sign up for the newsletter here. Here’s a sampling of a great piece with imbedded graphs and data: How teenage hackers became tech’s go-to bounty hunters. This is a mentor I would love to use with high school classes.

The Skimm. (I’ve shared this before.) “Making it easier for you to live smarter.” Sign up for the newsletter here. The women who started this site are all about promoting and advocating for women. I like that. Their podcast is interesting, too.

Robinhood Snacks. “Your daily dose of financial news.” I’ve been teaching myself about investing for the past couple of years, so this one just made sense to me — the newbie-tentative investor. What I like is how the writers make the information so accessible — and they post a “Snack fact of the day,” which will often work as an interesting quickwrite prompt. Sign up for the newsletter here.

What about you? Do you have favorite resources to stay in the loop of the news or to find treasured mentors for informational reading and writing? Please share in the comments.

 

Amy Rasmussen spends a little too much time reading daily newsletters and checking her most recent stock purchases. Her favorite investing apps:  Robinhood, Stash, and Acorns. Really, if she can do it, you can, too. Amy lives, writes, and loves her family in North Texas. Follow her @amyrass

End of Year Musings

I’m amazed, sometimes, by how quiet this room can get.  Lights dimmed, soft piano music playing, I slowly shift papers from one stack to another as I pour over the thoughts and words of this, my first class of students at my new school.

Pausing for a moment, aware of the unusual peacefulness, I glance around the room. Everyone who visits complements the view through the big picture window overlooking the courtyard studded with live oaks. I, for once, appreciate that view before continuing my scan of our sacred space. Everywhere my eyes land,  I see evidence that students populated this space.  Someone taped snowflakes made of empty gum wrappers to my bookshelves. Another person wrote “HEYYY” on a sticky-note stuck to the built-in shelves.  Some creative soul splashed hearts and stars across the small whiteboard. Paper, wrappers, and empty water bottles litter the floor and remind me that I need to pick up a little before I turn off the lights.

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Hundreds of colorful pennants decorate the space above the book shelves; a reminder that as we struggled through our literacy lives this year, we covered vast expanses of literary territory. Upon closer inspection, I notice names, titles, and authors scribbled on each scrap of paper – evidence of books loved, hours of silent satisfaction, and reading identities.  These little flags wave reminders at me of the hard work, joy, and successes we’ve shared.

Books laze haphazardly on shelves overloaded, wondering where their friends have disappeared to. Shifting my eyes towards the door, I see the book nook stacked high with  books waiting for a magic book fairy to shuffle them back into their places in the classroom library before school lets out.

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My thoughts move to the front wall, draped in sagging and fading anchor charts, and I remember when two intern teachers – confident and comfortable – created their own “vortex” (more on that another day) and hashed out a lesson cycle like they’d been doing it for years.

My professional library brings up thoughts of lunches spent silently scouring the words great thinkers, and roads traveled; places left to visit or re-visit.  Kittle, Gallagher, Newkirk, Romano, Anderson and many more, remind me of monumental tasks I faced each day and remind me too, that I signed up for this.  Above, those books rest, (on the shoulders of giants, one might say) mementos, pictures, action figures and even a giant check left over from days of football past.

Too often, thoughts grades, lesson plans, assessment, and skills consume my mental calories. Not near often enough do I take the time to reflect, piano music drifting softly through the air, on our work here in this room.

This year was far different from all those that proceeded it.  The end-of-day rush out the door wasn’t a mad dash to football practice or to the parking lot just before driving a bus full of teenagers across town to a soccer game. Instead, I rushed out the door to get home in time to meet my daughter at the bus stop before picking up my son at school. There were no serious talks with students facing graduation, warning them how much it hurts to have life after high school hit them square in the face.

Instead, these freshman taught me as much about teaching as I taught them about reading and writing. They forced me to face struggle as much as I forced it upon them.  They made me look at my craft with fresh(man) eyes and change the way I moved through workshop routines.  I’m better for it.

Graduate school, too, reinforced the importance of life-long-learning and ripped the cover off the academic writing skills I’d boxed up almost twenty years ago.

In one year, I won a #BookLove grant and presented at the district, state, and national levels.  Recently, I was asked to contribute to the ILA magazine, Literacy Today, based solely off of a piece I posted right here back in July. Not bad for a an old ‘ball coach.

Being asked to chair the High School Section for TCTELA has been both an honor and an eyeopener.  I’ve never experienced the feeling of fear that came over me when I realized how much the members of this section needed outlets to amplify their powerful voices, and I didn’t know the first place to start. To even begin to think about conquering these tasks, I leaned on the lessons that have come before this, in times of vulnerability, and I looked at those around me who handle their struggle with grace and composure.  Oh, and those inspirational educators are the people with whom I’ll travel to Louisiana, for ILA 2019, to continue to spread our love of literacy.


Charles Moore looks forward to new challenges and growth opportunities even in his old age.  He’s trying to rebuild his reading habits and write as much as possible.  If you are high school teacher in Texas, and would like to help out with the High School Section of TCTELA, please email Charles at mooreliteracy1@gmail.com.  He wishes everyone a peaceful and relaxing summer and promises to post as many twitter selfies as possible.

Summer Reading: One Answer to this Big Question

By now we all know that we don’t want our students to lose any of the healthy reading habits they have been building over the course of the school year. We’ve all worked too hard to build them, and to give these good habits over to the summer slide seems like a really bad idea.

So we need a plan. We know that if we don’t plan for a positive summer reading experience, that’s the same as planning for many of our students to not read at all… While many of our students will continue to read over the summer because they’ve established their reading habits quite successfully, others are still burgeoning readers and haven’t established these habits in the same way.

For example, I have one student who has resisted reading literally the entire year. She regularly told me that she doesn’t like reading. That reading is boring. That she doesn’t like books.

I kept responding with one word: Yet.

About three weeks ago, she changed her tune. She found a book she loves. She told me it was good. She liked it! (This is another argument for student choice when it comes to reading, but that’s a slightly different post.)

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Her book is Speak by Laurie Halse Anderson.

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This respect for books and reading is new for this student. The reading habits are fragile, and her disposition could change over the summer. Nobody wants that… It’s too important to ignore.

It’s just one of the many reasons why our school has decided that summer reading is something we have to expect and encourage.

We want to honor our students and their individuality. They are all over the place when it comes to where they are in their reading journey, so there is no one-size-fits-all plan for summer reading.

Here’s the we-hope-it-works-for-everyone plan we came up with: Students will choose their own titles, their own number, and even the language in which they read. We’ve told them they need to read books in both Spanish and in English (we are in Nicaragua, so this is entirely appropriate). But no one is telling the students what books to read, how many to read, or what ratio their English to Spanish books needs to be.

  1. Students choose their titles based on next-reads lists, talking to each other, book talks they’ve liked, and what sounds fun for summer reading. Some will choose three, some five, some ten… we don’t give them a minimum number, we simply ask how many they think is a reasonable number for the summer. (We do try to get them to agree to at least three, though.)
  2. Students confer with their current ELA teacher, and that ELA teacher “nudges” them to possibly add something to their lists, or help them make decisions, but only if they need it. We try to avoid student frustrations from choosing books that are too hard over the summer, as they won’t have regular conferences with teachers, for example. We try to make sure they’ve chosen “enough” to read over the summer, based on what we know about them as readers. But all of this is based on student choice and preference.
  3. Students fill in a quick google form that will be shared with next year’s ELA teacher. This form will help next year’s ELA teacher with the first reading reflection, the first conference, etc. This is where the summer reading accountability is built in. No one will be “in trouble” for not reading over the summer, but it will be the basis for the first honest reading conference of the school year. Screen Shot 2019-06-01 at 8.54.00 AM
  4. Students email their parents their summer reading choices with an explanation of the summer reading program. At that point they can check out their books from our school library (YES! They really can check out books over the summer! I love this so much!)Screen Shot 2019-06-01 at 8.53.27 AM

Our summer reading plan really is just four easy steps. However, these steps are based on an entire school year of implementing student voice and student choice when it comes to reading. Students have a good idea about how much they could potentially read over the summer because they have just completed semester/year long reflections and recognize their growth and learning when it comes to reading. They have inspired themselves!

This plan will be implemented with this year’s current fifth grade students so they will enter sixth grade knowing that they are respected for who they are and what they like, but there is also an expectation that they will read. It’s a grade six through twelve summer reading plan, and I do think it will work. I’m excited to talk to my new students in the fall already about how their summer reading goes.

What does your school do for summer reading? I’d love to hear other ideas!

Julie has been teaching secondary language arts for twenty years, spending the first fifteen in rural Central Oregon, and the last four in Amman, Jordan. She’s thrilled to report that she and her family moved across the world to Managua, Nicaragua this year, and are loving their new adventure.

Follow her on twitter @SwinehartJulie