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Penny Kittle, New Goals, and The Summer Reading Assignment

6/16/2013

4 Comments

 

Flipping Summer Reading: 
    Students Decide, Teachers Listen


Click on photos to enlarge them or discover a link.

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Last week the English Department rolled out a new concept in Summer Reading. 

Instead of demanding that students read a classic (or two) while preparing for September's in-class essay, we are simply encouraging our students to read throughout the summer and to record what they've accomplished.

By inverting the old way into something new and radical, we are really flipping the classroom -- no at-home videos needed! 

The students will choose their own reading and decide how to respond to it. There is no double-entry journal, no mandatory essay, no disincentive to get in the way of students' relationships with their books. We are trying to develop a love of reading by backing off and creating space.


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School in September will begin without the teachers and their students rushing through the dreaded Summer Reading essay.

We are giving our pupils room to make their own decisions. By simply encouraging them and helping them "set goals & deadlines" we have placed ourselves in the positions of literary coaches rather than assignment taskmasters.


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This new assignment is UNGRADED, and will help both students and teachers because now kids can't show up on the first day of school already behind in your class, already doing poorly on the first essay.

Plus, it gives us time to teach our writing lessons and demonstrate the level of discourse expected in our classes before we administer the first assessments.



Stated Goals of Assignment:

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  •    Encourage a lifelong habit of reading.
  •    Push our students to read more advanced and more complex material.
  •    Discover what our students are reading.
  • Ignite the literary conversation among students & between teachers and students.


PictureA student's website: summer-reading goals.
This is a dramatic change from the old assignments I've given students over the summer, and I love it! 

Of course I love it -- I designed it:)!

I've always been concerned with how reading assignments can provoke students into hating reading.  Why should Summer Reading -- of all assignments! -- continue to teach our students that READING means dragging yourself through a book you don't find appealing, don't want to start, and might never actually read anyway?

Many of my colleagues in the English Department feel similarly, and they responded positively when I showed them my concept for a new assignment.

We are abandoning an old trope: the September essay on summer reading. In its place we hope to develop a lifelong habit of reading what interests YOU! 


The idea for this Summer Reading Assignment was inspired by Penny Kittle's presentation at last Fall's NCTE Conference in Las Vegas.

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I've always thought Kittle was gutsy, wise, and creative. I like everything she has to say about teaching reading and writing. I circled her name in the catalog months before the conference.

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My notes from Kittle's session include her idea for applying goal-setting strategies. Ask your students to put their goals in writing by keeping a list: "What am I going to read next?" 

Goal-setting is such a simple and effective technique, and yet it is easily and often overlooked.


If you want to check out more by the fabulous Penny Kittle, click here.


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If the new Summer Reading assignment is going to be successful, it is important for teachers to lead their classes through goal-setting sessions in the waning days of June.

Many of us saw students engage in passionate and enthusiastic conversation about the literature they have read or hope to read.


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I spent one period having the students create mind maps and lists of books they'd read the past few years.

After ten minutes of brainstorming, we did a whip around the room. During the whip each student had to suggest a book to the class.

I typed up this list on screen in real-time as they explained their suggestions.

It was so much fun! And it was an inspirational, informational, student-centered lesson about reading.

If I hadn't been with my AP class, I would have given more support to my students. Example:  A period in the "book museum" having our excellent librarians lead them through a showcase of new literature to choose. Librarians are so good at getting kids excited to read -- I love to collaborate with them.

We did set up support on the English Department website: links, lists, etc. have been posted here.


What about the Common Core?

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I believe this new assignment is perfectly Common Core Ready!

The photo to the left is a slice of the CC Requirements in Reading Literature: it's all about "analyzing" and "determining."

First, kids have to determine what they want to read! They need room to do their own analyses. 

The only teaching needed in July and August is to encourage young minds to explore on their own. There will be plenty of time during the school year to teach them the proper writing skills in order to explain what they've "determined" about literature and how to "analyze" it. 


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The Common Core does not mandate certain books, and it does not require that a single novel be taught to an entire class. It embraces student choice, diversity, and autonomy in the reading decisions made by our students.

Notice standard 10.10 to the right: "blah blah ... INDEPENDENTLY and blah blah..."

The CCR wants students to "grapple with works of exceptional craft ..." while being led up a "staircase of complexity."

How can that staircase begin with a high-level text mandated over the summer WITHOUT the support of a teacher or a classroom environment?


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The ground-base for reading instruction is to instill a love for literature and build a skill-set for reading. 

Will some students not read over the summer? Sure! And how is that any different from past practices and results?

As my colleague Mr. Graham likes to say: "Summer reading ... Summer not!" 
With our new assignment, we have our best chance to light the literary fire even beneath our most difficult pupils.
                                                *****
P.S. Our AP and Honors classes must complete the traditional reading/writing task about a classic ... AND this assignment.


Endnote: Students really do enjoy reading!

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4 Comments

Ending Where We Started

6/9/2013

9 Comments

 

In Praise
              of
 Portfolios                  

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These boxes hold this year's portfolios.

For more than a decade, every student I've taught  has created a book of original writing and art. 

It can be difficult to find time for creative lessons and writing workshop (in AP English or any other Language Arts class), but I make it a priority.

I start the year by showing them sample portfolios and setting a long-term goal -- complete your own portfolio.

The projects end our experience on a high note of creativity and accomplishment. 


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I almost always write my own handouts: 
                             These packets open and close the course.
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Portfolios exemplify many student-centered theories about teaching reading and writing, including:
  • long-term planning
  • goal-setting
  • authentic writing
  • project-based learning

Let me take you inside a few and show you the writing and creativity ANY student can accomplish.
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Poems, memoirs, and mind maps make up the bulk of the work. They also include photographs, awards, and examples of academic essays.

By "setting goals & deadlines" every quarter, I coax this material from my students throughout the year.
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I don't put grades on creative writing. Instead each piece is evaluated as "teacher-edit" or "final." If it's a "t-e" that means revise and resubmit. Students love to get "finals"; I love to make them earn 'em through my comments, lessons, and revision directions.

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Decorations and photo-book approaches are nice accoutrements, but they do not impact the project grade. The score is based on the number of "finalized" poems, mind maps, and prose -- plus the mandated reflections. 
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Reflections can come in many forms...
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You never know what will happen if you teach students to be creative and encourage them to "take risks" and "bleed on paper."
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Students have the option to create an on-line portfolio. I don't teach them any lessons on website creation, but I get submissions made on Weebly, Tumblr, Wordpress and others.


Click on each name to see some on-line portfolios from this year:
           Elizabeth
                Jeff & Gabe
                        Margarita

                                 Terrance   
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9 Comments

Revelation: Social Media

5/30/2013

2 Comments

 

Turning Facebook Into an
Educational Asset


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There’s been a revelation in my AP Language course this year: a Facebook Group was started!

Almost every student in my two sections is a member, and it has been a fantastic conduit of information and knowledge, teaching and learning. 

Our group is five months old, but there are already hundreds of posts, comments, and likes. Every inch of it has educational value and I'm going to demonstrate that value with this blog's assorted examples.


Special thanks to Christine Wong for starting the group -- and for being nice enough to invite me to join! (There are plenty of Facebook groups out there that the teachers are not a part of ...)



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I have always loved to distribute contemporary articles to my students -- whether it's to analyze writing techniques, add content to a unit, or a million other reasons. The Facebook Group is a dream-come-true for me, and I've posted at least two or three articles weekly since we started our on-line community.


I like this one because (a) It's about the curious combination of  Anne Frank & Justin Bieber; and b) It's a great writing example to analyze for our class lessons.


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A student shared a parody on the semicolon.

My students know I live for sentence variety, and properly using punctuation like the semicolon has a special place in my heart. 

(Kurt Vonnegut disagrees: “Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you've been to college.”)

Students will frequently post videos and articles of content that is related to our studies. Why should I be the only one!?


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I wrote alongside my students as we did some style-analysis practice with Narrative of The Life of Frederick Douglass.


That night I posted what I had written.


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The Facebook Group was especially active during The Research Paper. 


It's a wonderful forum for questions and answers -- and I don't have to give them all the solutions! Quite often students help other students through the on-going discussions.





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During the Research Paper, I used the group as a quick, efficient method of sharing important pieces with students who were working on related topics.




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I sometimes ask students to post their essays as models for us all to study and and steal from!


This one: The 2012 Synthesis Essay on Restructuring the USPS.


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I have a love for all things ART. This passion fuels everything I do in the classroom and every theory I write about on my website, blog, and book.


These are two examples of some of the artsy postings I have created: Above is a student's response to my Abstract Art lessons. Right is an Instagrammed photo I took from the end of my street.


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Isn't it amazing how much media we can share in the Internet Age?


(Isn't it amazing that two of my favorite teaching examples -- Jay Z and Jay Gatsby -- became forever intertwined this past year?)


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Contests always make great posts! 

My class had a dramatic improvement in award winners and published authors this year -- because of this Facebook Group!


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Last example: One more article! This one's about writing the college essay .... one of my specialties!





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There are an infinite number of ways to use the Facebook Group as an educational asset. I could add another 50 examples to this blog!

Whatever way you choose to use technology to improve your teaching, I encourage you to experiment with novel concepts, pursue new ideas, and take risks!



2 Comments

Proposal Accepted!

5/30/2013

1 Comment

 

NCTE Boston 2013:

Mind Maps for
Terrific Teachers

& Superb Students

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I am humbled and honored to announce that I will be presenting at the NCTE Conference this fall in Boston. 

My presentation is Saturday 11/23/13 from 1:15-2:30 in the Hynes Convention Center Ballroom Foyer.


The focus: How teachers can incorporate mind-maps, color, and creativity into their daily teaching habits. Mind-mapping is the most-underutilized, most-valuable, and easiest-to-learn technique there is! Learn how you can use it for anything: designing lesson plans, discussing reading, teaching note-taking, placing creative demands on your students ... and a whole lot more!

Stop by and say hello!


1 Comment

Building Writing Skills

2/9/2013

1 Comment

 

The Multi-Step Approach
                     to Teaching The Essay

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The mind map to the right melds together the two opposing forces taught in my courses: the essay vs. creative writing. 

Most of my website-book-blog-persona is devoted to teaching creativity. Now, I want to explain my philosophy of teaching the essay. It could be for the SAT. It could be for a state exam. It could be for the AP test. No matter the writing assignment, a composition written in academia can benefit from these elemental techniques.

Creating my own handouts is crucial to every lesson I teach. Click on any photo to download the handout. You can use my handouts -- although that's not how I would do it. I would use these as models to ultimately create my own material. You can give me credit by showing your students this blog!

Here in chronological order is how I teach the essay:


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1) Set the long-term goals. Using the handout pictured left, I begin teaching the essay on the first day of school. In my AP Language class, the students are told on Day One about their writing goals: prepare for their standardized exams, write a research paper, and complete creative requirements for a year-end portfolio. This is frontloading – give your students all the information you can upfront.

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2) Set the medium-range goals. More frontloading! To begin each quarter, I distribute the “Goals & Deadlines” to my classes. This handout lets students know exactly what is expected of them. “In-Class Essay: Black Boy Style Analysis” will be in three weeks. Now, our goal is set! We are working towards that exam.

3) Teach through revision. The bottom of the "Goals & Deadlines" handout explains the revision policy. I want students to revise these essays to practice our writing lessons, so I give them a bonus incentive. 

We must design revision systems in our classrooms. Revision is the key practice needed to teach our students how to improve their writing. Whether it's poetry or prose, a song or an essay, a children's book or a research paper -- writing must go through a process in order to maximize the assignment's educational value and create powerful and effective pieces.

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4) Use Rubrics. I love rubrics because they clarify why points have been deducted and what the student needs to strengthen. 

My rubrics begin with models from the New York State Regents Exam. I keep their categories and utilize some of their language, but I write up category descriptions to match our writing lessons.

At my first AP Workshop I learned to use this translator as an effective way to communicate with students through rubrics. 

"9 or 10" = outstanding in the category
"8" = adequate. (First question: Is it adequate or not?)
<8 = inadequate. To what degree?

This translator gives teachers and students a common language to discuss the intricacies of writing. It translates into a grade, highlights important lessons, and motivates students to become outstanding writers.

This rubric has five 10-point categories, so I double the score for a test grade out of 100. Be sure to teach them the rubric months before the essay!!

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5) Scaffold: Design mini-lessons based on the rubrics. I teach my students the concepts behind the rubric's language by creating mini-lessons on topics like thesis statements, quoting the text, transitions, and sentence variety. 

Make sure everything connects! The mini-lessons = the rubrics = outstanding writing = outstanding grades.

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6) Use repetition! Teach the same concepts, terms, and slogans again and again. The photo to the right is another example of frontloading. (Notice how often I write about frontloading? Repetition!!)

I use this handout to get all these lessons out front, in our ears, and off our tongues. We study these terms and practice their concepts all year-long. 

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7) Use student-samples as mentor-texts. I show plenty of samples written by my former students -- in every lesson I do, all year-long. For example, to prepare for the in-class essay, I'll show my students an authentic AP Exam question, and an authentic student response. (Or five!) Student-samples are the best way to prepare for the test and study how to accomplish all of our essay goals.

I keep 50-100 examples of everything I teach and work them into every lesson. Almost every handout I create includes a variety of student-samples. I also keep folders of all sorts of student-samples: research papers, regents essays, poems, memoirs, cartoons, pie charts, abstract art, etc. Student-samples are so important, you should start collecting them today!

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8) Short-term Goal: Ace the test!  An in-class essay is a serious challenge to all students. They not only need to know the material, they must show off their writing skills. 

I sometimes distribute the question a day or two in advance and encourage the students to prepare their answers. But, no notes can be used on test day! This helps isolate and assess the students' writing skills. 

Sometimes, I even make the test open-notes, a la the blog entry below.
                                                :)(:

1 Comment

Building Skills, Better Tests

1/18/2013

7 Comments

 

Open-Book, Open-Notes Exams

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Several years ago we had a district-wide PD session with a guy named Alan November. He was a terrific keynote speaker: humorous and full of great ideas about teaching and technology. Throughout his lecture he emphasized the open-notes, open-book test. I loved what he said about this strategy -- it's more real-life, it focuses on developing important skills, and it de-emphasizes cramming the brain with useless crap -- so I incorporated it into my teaching practice.

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Last week, I gave two open-notes, open-book tests. One was my Creative Writing course's quarterly exam. This covered every lesson, every handout, and every piece of writing we had studied the past eight weeks. 

From Day One, the students knew this exam was coming and they knew it would be open notes. This strategy allowed me to emphasize NOTE-TAKING and ORGANIZATION skills all year-long.

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In my AP Language class, students  used their notes, articles, mind maps, and even the book! for their final exam on The Great Gatsby.

They busted their butts to polish off their notes, collaborate with classmates, read over the book, and prepare in any way possible. The open-notes, open-book exam encourages all the best practices we want in students: preparation, organization, close reading, and careful note-taking.

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Plus, when students know there will be an open-notes test, they put more effort into taking notes and spend more time reading over their materials. They know it's not a test of memory: it's a test of their comprehension and long-term learning. Naturally, I favor the mind-maps-&-colored-markers techniques of teaching note-taking. These strategies are creative, mind-expanding, interesting, artistic, student-centered, and fun.

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I emphasize note-taking every day in every class I teach. Direct Instructions sound like this: "Copy this down..." or "Write the answer..." or "Add this to your mind map..." These commands keep students engaged during a discussion by giving them a hands-on experience.

Teachers know that most students will not take notes unless they are directly told to do so. When students don't take notes in your class, you can't ignore the behavior! It's your duty and obligation to teach note-taking, to motivate your students to write and brainstorm, and to maximize their learning in your classroom.


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The key to teaching note-taking is to be patient and give students time to take notes. You need the with-it-ness to know who is following your directions and who isn't. You have to acknowledge whether each and every pupil is complying with your requests. It's not about embarrassing students or picking fights with your non-note-takers. You have to encourage them with positive reinforcement, teach them how to be  good students, and reward them with tests that depend on those notes.

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Ironically, of course, this method of testing is very different than standardized exams. Then again, my goals are to inspire young people, to teach reading and writing skills, to motivate long-term learning, and to get students even more invested in their educations. (Not really the goals of most $tandardized te$t$.)

If that's the type of teaching you want to do, try out some of the ideas I learned from Alan November: try the open-notes, open book test!
                                             *********


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Student response to my lessons about abstract art!


7 Comments

November 25th, 2012

11/25/2012

16 Comments

 

Improving My Teaching of Reading:
New Techniques; Old Methods.

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After four days at the MGM Grand Hotel, I left the NCTE Conference in Las Vegas last month with one objective: Improve how I teach reading.

This week I took a very important step towards achieving that goal when I implemented some wonderful techniques of Kylene Beers and Robert E. Probst. They recently authored a sharp book on how to effectively teach reading called Notice and Note. I saw them speak at the NCTE to a room of about 300 teachers. Everyone I talked to and collaborated with at the session was excited and energized by their presentation, their ideas, and their new book. 

The pamphlet in the right of the photograph was distributed at the session. It summarizes a fantastic way to improve the teaching of reading -- which , goodness know -- ain't freakin' easy!! 

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In the session, Beers and Probst did a very entertaining two-teacher routine while illustrating how to lead a class through a "close reading" of "Thank You Ma'am" by Langston Hughes. At the heart of the lesson are six "signposts" to discuss with your students. Probst read the story aloud -- with good theatrics! -- while the pair periodically stopped to lead the room through signpost discussions.

You can read the signposts and their descriptions better if you click this link to the book's flyer, which I linked from the Heinemann web site.

In my lesson, I summarized the signposts for my AP Language classes. We're studying The Great Gatsby -- which is especially interesting because I teach in Great Neck, the book's famous setting. I encouraged my pupils to view each signpost through two perspectives: a character's and your own. For example, "Tough questions might mean a tough question a character faces. But, it can also mean a tough question that is raised for you as you read."

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Beers and Probst are terrific. But, I am proud of how I combined their ideas with mind-mapping, magic markers, and creativity. My innovations added an outstanding twist to an excellent reading lesson.

Executing the lesson: I put 20 minutes on a countdown timer -- I love having a classroom computer hooked up to a projector! -- and told the students to "Deconstruct Chapter two, looking for the signposts. You can work alone or with a partner or with a few friends. Look through the book, talk about the book, and take colorful notes!" They went into workshop mode while I wandered around the room, checked in with students, answered questions, and coached them to find the  information in the text.

The students were digging into the book, reading parts out loud, having intellectual conversations, sharing and debating ideas, creating mind maps, and finding their own ways through the material.

The lesson was a hit and -- dare I say it !? -- Common Core ready! Plus, the students were having fun!

After their 20-minute workshop session, I led them in a whip. I love this technique for just about any lesson. All you do: Call on each and every student in the class to say something. I rely on it as often as I do magic markers and mind maps. In this whip, each and every student had to "Read and explain one idea from your mind map. Be sure to take notes as we go through the class and talk about the points raised."


I always, always, always instruct my students to take notes. I frequently give instructions like "Write this down....." or "Add this to your mind maps...."

Mind mapping and the power of color: These are two of the easiest, most under-appreciated, and under-taught lessons in education. Another easy lesson: Teach your students how to take notes with direct instructions.

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In addition to being creative and teaching creativity, I always strive to be as student-centered as possible. What exactly does that term mean?

Well, here's a similar lesson done in a more "teacher-centered" way. The photo above is from the Gatsby lessons I've been using in recent years. I hand out this mind map, read key scenes to the class, and lead them in discussions about the book and its themes. The students take notes based off my cues.

This method is adequate -- but the teacher is at the center of it. I am telling them what to note. I am reading to them. I am deciding what's important in the text. That's being teacher-centered. 

(Of course, they are still making colorful mind maps ... which is always a fun way to learn!)

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In the "Chapter Three"  lesson, I told the students to "Create your own mind maps based on what I showed you in the Chapter Two handout." Then I handed out blank paper and put 20 minutes on the timer.

Notice this student added "symbols" and "themes" to repetition -- while carving out a corner for "figurative language." The work above it has many of its own inventions and innovations.

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I use mind-mapping for a lot more than just reading lessons. The one above illustrates how requiring "personal" and "self-motivated" mind maps (my students must submit three per quarter) can unlock creativity, inventiveness, art skills ... and have all kinds of other beneficial, educational, and rewarding results. 

For more student samples, check out my mind map gallery!

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16 Comments

Will writing workshop prepare students for The Common Core?

11/8/2012

13 Comments

 
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Book Response: Creative Atmosphere, Concrete Goals


The Common Core is on the minds of educators, parents, students, politicians, privateers, and publishing companies. I wanted to learn more about the CC, so I teamed up with a colleague to teach an in-service class in my district: “Connecting to the Common Core.” It begins on Nov.27 and I’ve been using my hurricane time to prepare.

The past two days I’ve read Writer’s Workshop for the Common Core, by Warren E. Combs, Ph.D. This book provides an education on the CC and emphatically praises the writing workshop as the most effective method for achieving its goals – it is exactly what I wanted to read. I don’t agree with all of Combs’ techniques, but he teaches readers a lot about the CC. Plus, his overall philosophy of writing education is outstanding (and just like mine!).  

Combs (and I) believe that the writing workshop is by far the most effective and enjoyable way to teach students how to write. Sadly, language arts teachers just aren’t using the workshop model as designed and discussed by Nancie Atwell, Lucy Calkins, Donald Graves, etc. Thankfully, in the summer of 1994 – at the urging of my mother, a social studies teacher and principal – I attended the Long Island Writing Project Summer Institute. Combs is correct when he praises the National Writing Project as the #1 promoter of writing workshop. 


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Of course, I know how hard it is to convert your classroom into a workshop. Even after attending the Writing Project, it still took me ten years of struggle before I embraced the workshop as the dominant principle of my teaching practice. It is difficult to give up control of your classroom and turn it into a setting where students create art. In fact, I embraced the workshop philosophy only when I began studying painting and attending artist workshops (2001). As an art student I discovered the most powerful gift a Language Arts teacher can give to his students is the motivation and the time to create writing.  

The reality of establishing a workshop is intimidating. You can’t just open the doors and say, “Create Art!” Structure is mandatory in any workshop environment. I get most of my structure from only two handouts: “The Opening Day Packet” and “Goals & Deadlines.” Other structure comes from my "teacher-edit/final" system of evaluation, the notebook I use to track each students' projects, and my constant emphasis of due dates. I am not a fan of over-structure because I hate to be stifling. Combs is much more of a task-master and subscribes to his own theories of “The Writing Cycle.”

I agree in principle with “The Writing Cycle”: motivate your students to move writing through a process. However, I do not favor all the mechanisms behind the writing cycle – the logs, the self-evaluation rubrics, the self-assessment math (why are students figuring out their average number of words/sentence?), the proofreading triads, the Peer-Assisted Learning Systems (PALS – cute), and conversion charts. It’s way too much time and energy spent not writing. In the forward to this book, Ingrid Jones, a Professional Learning Specialist from Georgia, calls the Writing Cycle "writer's workshop with training wheels." Combs authored his book with fifth-graders in mind, which may account for his super-structure bias. I teach high school juniors and seniors and find that I don't need all these machinations to get students invested in their writing, putting pieces through a process, collaborating with each other, and producing outstanding work that is both personally satisfying and preparatory for the ELA, the SAT, the AP test, and the Common Core. 


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Combs is at his best when he demonstrates how to utilize the power of the writing workshop to attack the Common Core Requirements. The first thing you have to know about the CC is The Shifts. This is a one-page summary of how the CC should impact your teaching. Reviewing The Shifts will help you to understand the goals and impact of the CC. In fact, I recently quoted the shifts throughout a model CC-ready lesson plan on “Imagery, Theme, and Essay Skills.”  The Shifts are almost all you need to know.

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In his chapter intros, Combs digs a layer past me into the CC’s verbiage to show readers how his exercises fulfill the CC goals. His quotes are taken from the “College and Career Readiness Anchor Standards for Writing, Language, Speaking, and Listening.” You can see a sample to the right (and - maybe more importantly - you can see how I use Crayola markers to annotate literature. Yes, I teach students to do this!) 

The Common Core is preposterously over-written, and both Combs and I  could wade even deeper into its ocean of words: We could have pulled our quotes from the minutia found in the "Grade by Grade Standards." 

The CC establishes ten Anchor Standards in Writing, ten in Reading Literature, ten in Reading for Information, six in Speaking & Listening, and six in Language. Right there that's 42 pieces of information for you to absorb and translate into teaching practice. But, each standard might have 3-6 details; let's call it 150 bits of information to learn per grade. Plus, you need to know what the grade before you was supposed to accomplish and what the grade after you is expected to accomplish - you have to see exactly where your class fits on the continuum. It adds up to an overwhelming task of reading, translating, and understanding hundreds and hundreds of goals, sub-goals, and sub-sub-goals.

The toughest part of the CC is trying to figure out what it says! That does not bode well, considering it’s a 79-page document whose purpose is to improve writing instruction. I won't even get into the litany of poor phrases and grammatical missteps that litter its charts, data analyses, and scientific explanations. I don't recommend using this labyrinthine document as a model in your classroom.

If you are struggling to understand something about the Common Core, trust me: Begin with the Shifts. When you feel like you’re ready to ascend, read the "College and Career Readiness Anchor Standards." At the peak of the CC's own "staircase of complexity" are the grade-by-grade breakdowns of expectations in the myriad categories.


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My point of view on the CC is colored by the fact that I have been teaching AP Language and Creative Writing for nearly decade. This puts me in a position to really “get” where David Coleman is coming from – he was the leading engineer of the Common Core and is now the president of the College Board. As an AP teacher, I already have my sights set on making my students “College and Career Ready.” I don’t think the CC is going to have the traumatic impact on me that it appears to be having on my colleagues at the elementary- and middle-school levels.

After all, they are now being asked to fall in line with what I already do: teach students to analyze writing, construct convincing arguments, cite sources, do research, form opinions, and utilize the revision process. On the reading end, I’ve already been doing close readings, using nonfiction texts, encouraging high-level vocabulary, and connecting reading and writing throughout the disciplines. I do these things because they are emphasized in my training to be an AP teacher, which is the top of the writing-education pyramid. David Coleman's “top-down” philosophy - and much more! - is discussed in this excellent profile in The Atlantic.

My favorite aspect of the Combs book is that it clearly states a truism I already knew: You can use the writing workshop to teach essay skills. For the most part, I have separated my AP class into two worlds: Writing Workshop to develop "authentic writing" like poetry, memoir, and mind maps; and Essay Writing that begins with the tasks given on the AP Language exam and breaks them down into lessons like designing a thesis, constructing a body paragraph, ICE'ing your quotes, and other traditions of the essay. No matter what world we're in, my classroom tone is set by the workshop atmosphere: enjoyable, social, embracing technology, and productive. Reading this book makes me realize that I can better combine those two worlds into one universe where students will choose if they work on a poem or an AP argument in today's class.


I should expand my students’ quarterly goals to include essays like “argument” or “style analysis” - in addition to poems, memoirs, and mind maps. I've been moving in this direction recently. For example, last year I included “poetic analysis” in my mini-lessons and on my "goals & deadlines." This year, I added an “outside reading reflection” for the first quarter for my AP classes. But, now I see a bigger picture where I can create options in both spheres: creative writing and essay writing.

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The most important takeaway I got from this book: affirmation. Combs and I subscribe to many of the same theories, methods, and techniques of writing instruction. Namely:

1)      Writing Workshop is awesome. Just like Nancie Atwell said it is.

2)      Writing Workshop is awesome for developing essay skills and preparing students for a variety of local, state, and national tests. I concur with the Donald Graves quote presented by Combs: "You can take energy from Assessment."

3)      Rubrics are terrific tools. You simply cannot be an effective writing teacher without using rubrics properly. I need to write a blog about my rubrics.

4)      Teach with models: your own writing is best; former-student writing is second-best. My lessons always include one or two professional examples and 10-20 student-samples. I throw in my own writing all the time – for example, I will show this blog to my students and invite them to read and respond to it.

5)      Set time limits and deadlines.

6)      Students should find topics in their other classes.

7)      Students can and should be taught to collaborate on writing.

8)      You need to do lessons on sentences and paragraphs. Emphasize the sentence!

9)      Write to be read. Publish.

10)  You want to be able to say “My students are working harder than I am.”

11)  It’s a lot of effort from you to edit and revise all this writing. Make no mistake, Combs writes, “Nancie Atwell worked her tail off.”


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What do we disagree about?

1)      Combs is adamant that a teacher should write with his students. He even quotes Donald Graves: “The most powerful thing a teacher can say is ‘write with me.’” I emphatically disagree with both of them. When my head is down and I’m writing, I have no idea what my students are doing. I’m not comfortable with that. I like to move around my classroom and see who is doing what.  Combs even says he went through a stage like me: “I used to prompt students to write and move around the room, trying to motivate the slower ones to get started; now I invite, sit down and write, and they all follow, each at his or her own pace.” 

2)       We definitely disagree about how much structure is required. But, I respect the man’s approach: it’s airtight. In my book I go in depth about balancing freedom & structure in my writing workshop. I prefer to do more coaching, encouraging, goal-setting, and motivating. I like to create options and see what students decide to do. 

3)      Combs – like Atwell – believes a class should be split into three blocks of time: mini-lesson, workshop, sharing session (author's chair). I tried this approach, but felt the sharing time disrupted students who were writing, collaborating, and creating. I think of class as two parts: mini-lesson and workshop time. Many of my classes are one part: just workshop time. I periodically lead my classes through exercises of sharing their writing and practicing their public speaking skills – in a great technique I learned from Jack Conklin called a whip
 – but it’s not built into the daily format. 

4)      The meaning of the word “portfolio.” Combs’ students keep a “working portfolio” of their materials. This sounds like it's over-loaded with all those self-assessments, peer-assessments, sentence-check charts, etc. I see portfolio as the final product of the course. In this way we greatly differ – Combs ends his book without even discussing a final project. In my view of the writing workshop, the final portfolio is a crucial element of success. The #1 long-term goal of the course is for students to produce portfolios. On the very first day of class, I tell my students, “You MUST have a portfolio to pass the class. You do it page by page, project by project, and in the end you will have this amazing book and you will be so proud of it you will never want to lose it.” I show them examples of all sorts of portfolios right on Day One. At the end of the year, EVERY student leaves the class with one.


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I keep coming back to the same basic lesson plan when it comes to teaching for the Common Core.

a)      Students do close readings of a few nonfiction texts. These need to be challenging pieces of writing for the grade level. “The biggest resistance [among teachers] will be whether they believe kids can handle the more complex, difficult texts,”
Coleman said. I definitely hear that resistance coming from teachers of younger grades. But, what can you do? Step up the level of reading expected in your classroom and do your best to coach students to understand it.

b)       Students annotate the text. Now, this part is mentioned neither in the Common Core nor in the Combs book, but this is important in EVERY lesson: lead the students through an annotation of the text. It isn’t enough to just do a “close reading” – student must be told “write this definition…” or “circle that metaphor …” Use direct instructions to tell the students precisely what to do; teach them to be effective note-takers. For an added layer, have your students bring colored markers to class (mine do!) and take all their notes in full color. Taking notes in full color makes powerful connections to the brain, stresses creativity, and warms the atmosphere of an otherwise droll exercise.

c)      Give the students a "standards-based writing prompt" that connects the reading to writing. Coleman loves to say that he wants students to “read like a detective and write like an investigative reporter.” Well, here’s where you have to cover the duality: teach your students how to analyze writing and how to write about writing. I had never viewed writing – and the teaching of writing – through this lens before I became an AP teacher. Now, it seems like the whole K-12 structure has to contribute to the detective/investigative reporter conceit.

d)     Lead them through a writing workshop: mini-lessons and writing time. This, of course, is the tricky part. I suggest you enroll in a Summer Institute through The Writing Project. You could start by reading a book – or a library of them – about turning your classroom into a workshop. Since you’re on my blog, you may as well read mine first - especially if you teach older students. Combs recommends Denise Leograndis's Launching the Writing Workshop: A Step-by-Step Guide in Photographs.

e)      Celebrate the finished product: read aloud, publish, portfolio.

You can also see the details in my sample lesson plan for aligning to the Common Core.


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One last bone I want to pick with both Combs and The Common Core: Neither one emphasizes the importance of creative writing for idea-making, identity-creation, and self-discovery. They don't treat the language arts classroom as an art-room.

Everything I love most about teaching writing is derived from students creating powerful, important, original writing through lessons like Take Risks! Bleed on Paper! Find your Voice! and Pebbles! 



Although the personal narrative is mentioned in the CC, Coleman has mocked its importance in our classrooms. He publicly stated that a boss would never tell an employee, “Johnson, I need a market analysis by Friday, but before that, I need a compelling account of your childhood.”

If Coleman could see just one of my students’ portfolios, he’d better understand the importance of creative writing.

I now propose the Creative Core – which will be mandated concurrently with the Common Core. The Creative Core will demand that students write poetry and memoir and create artistic pieces like mind maps, cartoons, and visual poems. 

In the Creative Core: Teachers must employ the Writing Workshop. Across the K-12 spectrum, class-time must be used more often to write than to talk about writing. "I know the writer's workshop can make peak-performing writers out of most students," Combs says. "Yet, the majority of teachers of writing remain untouched by it." 

In the Creative Core: Students must write from the heart. They must have the freedom to choose their own topics, styles, and genres. They must produce careful art that has real meaning. They must be given time and space to discover their own voices, explore their own lives, and accomplish their own goals for writing. They must see that our websites, blogs, magazines, newspapers, and literature are not filled with Common Core essayists but with people who can express their own original ideas.

In the Creative Core: Every student, every grade, every year leaves with a portfolio, a stronger sense of self-worth, and a feeling of tremendous pride.

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13 Comments

"Mr. Weinstein, Was That Jay Z I Heard In Your Classroom?"

10/6/2012

5 Comments

 

Great Samples of Writing: 
The World of Rap Music

Picture"Rap is thought-provoking poetry," Shawn Carter (a.k.a. Jay Z) says. "If you took rap lyrics, pulled them out and stuck them on a wall somewhere, people would say, 'This is genius.'"
I am proud to report that all classes have a flourishing writing workshop! That success is due in large part to the atmosphere of my classroom: creative, fun, cutting-edge, experimental, encouraging, and respectful of writing in all its forms.

One of my favorite genres to use with students is rap music. In the past week, I've played songs by Jay Z, Eminem, Tupac Shakur, Notorious B.I.G., and the Blackeyed Peas. These are some of today's greatest poets and the energy the bring to a classroom is contagious.

It is critical to teach our pupils the bedrocks of each style - and my students get plenty of Robert Frost, Langston Hughes, William Carlos Williams, and the other canon authors. It is equally vital to expose students to successful, contemporary writers. Each of my mini-lessons includes about 20 examples of the concept in action. These samples come from famous writers and obscure ones, current and former students, deceased and living musicians.



I incorporate music into my lessons by calling up YouTube videos on my computer, which is connected to a projector. I like to find ones with the lyrics - so we can analyze the writing strategies. I periodically stop the song to discuss the literary techniques they display - which connect to all the lesson I'm teaching.


For example:

The opening of "Empire State of Mind" - by Jay Z and Alicia Keyes -  goes like this:
Yea I'm out that Brooklyn, now I'm down in TriBeCa
right next to Deniro, but I'll be hood forever
I'm the new Sinatra, and... since I made it here
I can make it anywhere, yea, they love me everywhere


Just this tiny scrap of Jay Z's material is chock full of writing lessons. 

a) Bleed on paper - Every word he writes is the honest truth. This is the most important lesson for young writers. 
b) Show don't tell. (a.k.a. The Pebbles lesson. a.k.a. Use details) - The proper nouns give it away!
c) Antithesis - "Out" of Brooklyn; "In" Tribeca.
d) Ode - this is a tribute song.
e) Power of I - Poetry frees you to explore your stories. First-person pronoun!!
f) Allusions - To famous movie stars, singers, and songs.
g) Extended metaphor - Mentions Sinatra, follows up with Sinatra lyrics.

h) Interior rhymes -"Anywhere ... Everywhere".
i) Collaborations - I do lessons on how students can and should team up to create writing.


Another example: Eminem's "The Way I Am"
I'm so sick and tired of bein admired
That I wish that I would just die or get fired
And dropped from my label and stop with the fables
I'm not gonna be able to top on "My Name is... "
And pigeon-holed into some pop-py sensation
That got me rotation at rock'n'roll stations
And I just do not got the patience (got the patience)...
To deal with these cocky caucasians


a) Take Risks - Writers and artists of any type must be willing to take huge risks if they are going to be successful.  The raw emotions and unfiltered ideas on display here are compelling, powerful writing.
b) Rhymes using assonance - "tired ... admired ... die ... fired ..."
c) Original rhymes - avoid the obvious word - "label ... fable ... able."
d) More fascinating rhymes - "sensation ... rotation ... station ... caucasians."
e) Alliteration - "rotation ... rock-n-roll station"; "cocky caucasians"
 f) Bleed on paper, Find Your Voice, Details! and other basic lessons.

I know that sometimes it seems like most of our students are listening to this music. Trust me, this is erroneous. When you play Eminem in your classroom - and analyze his writing techniques - you are showing your pupils something they really haven't seen or heard before. Sure, a few of your students love this genre of music and will be super-excited to see you bring it into your classroom. But, musical tastes span the gamut in any class.


Look what my current student, Ben Z., just did this week - after I taught some of these rap-infused lessons. (Note: this is a young man who had no interest in hip-hop before my class.)


This is the work of Ronnie Li, who now attends Brown University and can rap in Chinese and English like you wouldn't believe!!
Last example comes from Dan Cataldi, also a student at Brown now.
5 Comments

Use Color!

8/30/2012

1 Comment

 

"Take Out Your Magic Markers!" 

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An easy first step to unlocking creativity: trade in your pen for a pack of Crayola Thin-Tipped Markers. 

My opening-day handout makes it mandatory for students to carry magic markers to class. 

Why are magic markers good educational practice -- even with high school and college students?

a) Color excites the mind. The markers give students art to look at and art to create. 

b) They ask students to invest in their work. "Aesthetics count!" I like to say."Make it look good."

c) It's so flexible: It positively impacts everything from notes in class to study sessions to projects meant for submission.

d) Color is inspiring.

e) Color emphasizes creation - artistic creation.

f) It changes everything. It makes my classroom the special place where art and creativity are recognized, taught, and encouraged.



My former student Alexia was nice enough to send me this reflection on how color continues to impact her academic life - even at college: 






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One of last year's juniors: "I vividly remember thinking, Why in the world are markers necessary for an 11AP English class? Why are we drawing and coloring?Mindmaps. Immediately, I was drawn into a world of conveying my thoughts onto paper in the form of art. It was so different. It was so revolutionary.


"I recall several days of class in which I would walk in and Mr. Weinstein would give us a prompt for a mindmap, such as 'People who deserve a Thank You' or 'My Goals.' After we all doodled and scribbled to our hearts’ desires, everyone stated something listed or drawn on their mindmaps. From there, ideas evolved. The unique exercise of mindmapping is so memorable not only because I still use mindmaps today to sort thoughts out, but also because they encourage organization, creativity, and appeal in pieces."  



Click here for more examples of color's impact on education.


1 Comment
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    Blog Author:
    Daniel Weinstein

    I teach AP Language and Creative Writing at Great Neck South High School on Long Island. 

    Teaching philosophies: Student-centered. Collaborative. Goal-setting. Coaching. Divergent thinking. Portfolio. Writing as therapy. Take Risks! Find your voice. Experiment! Freewrite. Poetry. Memoir. Editing. Layers. Deadlines. Frontload. Rap and hip-hop. Expository technique. Drawing. Art. Magic Markers. Mind Maps. Publishing. Music. Cellphones. Ipods. Wikipedia. Twitter. Facebook. Stay modern. Stay open-minded. Keep learning. 

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    01. The Call For Creativity
    02. Take Risks!
    03. Use Color!
    04. Set Goals & Deadlines
    05. Teaching Rap Music
    06. Common Core
    07. Notice & Note + Mind Maps = Improved Reading Lessons
    08. Open-Notes Exams
    09. The Essay: A Multi Step Approach
    10. Proposal Accepted
    11. The Facebook Group
    12. Portfolios
    13. Summer Reading
    14. Creative ID Cards
    15. Student Choice In Literature
    16. Mind Maps Across The Curriculum
    17. NCTE 2013: My Presentation
    18. Quarter's End: Calculate & Reflect
    19. Mind Maps Magazine - Feature Story!
    20. Revising The MM Lesson
    21. Free Lesson: Ab Art
    22. Heinemann Reprint
    23. Student Videos
    24. NCTE 2014
    25. MM For Identity: Heinemnn Reprint
    26: Guest Columnist: Radhika
    27: Moving Past Mind Maps
    28. Improving Literacy
    29. Reading Comps
    30. Professional Development
    31. Reading Workshop
    32. Hybrid Success

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© 2013 Daniel Weinstein
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