In Search of Joy

This is perhaps the most challenging year of a 20 year teaching career that I have enjoyed immensely. I find myself in a rut, though. I am hoping to rekindle the joy that I once had. These last two years have taken their toll. I am trying to embrace joy and gratitude and hope. 

I have taken on the challenge of writing a daily slice of life for the month of March and missed our first deadline. I find trying to carve out the time to write - challenging. 

There is so much on a teacher's plate. 

I am exhausted when I come home, and when I wake up I spend the early morning hours getting ready for the day. I am looking forward to meeting with a study group of teachers at the end of the day today to commiserate, collaborate and study writing together. Here is to the first slice  - a little late to the game, but hoping to be 'wide-awake' today and capture moments that I can include in the slice that I write later this evening. 

Teaching Kids with IEPs to Be Powerful, Joyful Writers

Last summer I attended The Teachers College Reading and Writing Project August Writing Institute and had the good fortune of participating in Jenn Kean-Thompson's section entitled, "Teaching Kids with IEPs to Be Powerful Joyful Writers".

I teach in an integrated co-teaching setting so I am always eager to learn more about creating a classroom where ALL students see themselves as members of our writing community.

This post will be part of a five part series, which will follow the steps in the writing process. Our first day was dedicated to immersion/rehearsal.

As I reflect on my notes, here are some of my big takeaways from Day 1, which was dedicated to immersion/rehearsal:

Questions to Consider
There are a few questions that are helpful to hold in our mind when we work with students with IEPs:

1. How are we providing access and JOY throughout the day?

2. Like teaching, it's a BALANCING act: When am I making the priority progress toward grade level standards? When am I making the priority progress toward IEP goals?

Getting to Know You

First and foremost, it is important to remember the important lesson we learn from "The King and I" and get to know the writers in our classroom. When we look at a student's IEP, it is one-dimensional. For example, did you know that 80% of people with disabilities experience anxieties? When we know this, it provides us with a new perspective, and allows us to see our students in a new light. We can plan with this new knowledge in mind. Conducting a writing survey, and making them time to really study student responses is a great way to gain deeper insight into the interests, talents, worries needs, and goals of the writers in our classroom.

Harness the Power of the Components of Balanced Literacy
Writing Workshop is one element of our balanced literacy day, but there are a lot of other opportunities across the day to provide access for our students. It helps to reflect on each component  of balanced literacy or the different structures of our writing workshop and ask:

When can I provide access to grade level curriculum? When can I provide access to personalized instruction (IEP goals)?

When kids feel like they have access, they are more joyful. When looking at the above components and structures, consider the implications for assessment, planning and instruction. As teachers we are all too aware that time is finite so it helps to think about where we are spending most of our time planning. For example, I am not going to spend the MOST amount of time planning for the mini-lesson if it is going to be difficult for a majority of my students to access the mini-lesson, which is tied to grade level expectations. Instead my time would be better spent planning for what I do during the independent work time, small group work and conferring, which are the places I can provide students with access to personalized instruction.

Shared Experience: The Power of Gradual Release and Shared Writing

Primary teachers know that co-authoring a text with a group of writers can be a powerful scaffold toward independent practice. In the upper grades, it is not unusual to begin units begin with some sort of shared experience or immersion lesson. In the TCRWP community, we sometimes refer to this work as "boot camp," which attempts to shore up foundational skills particular to a genre, provides a context for oral rehearsal, and gives students a sense of what it feels like to go through the whole process, but in one sitting.

While powerful for all students, shared experience/shared writing is particularly powerful for writers with IEPs. As Stephen Covey says in The Seven Habits of Highly Effective People, it helps them to "begin with the end in mind". During the shared writing experience, it is important to set students up for success by providing them with charts to reference during the experience. Students will be able to draw on the language prompts in the chart to support structure and development across the unit.

Expectation + Celebration/Affirmation + Choice = Engagement
Finally, Jenn reminded us of the power of expectation/celebration/affirmation and choice. For example, in the MWTP (Mid Workshop Teaching Point) we might encourage students to reflect on the following question to discuss with their writing partner: What have you accomplished so far? To provide additional support, if needed, we might share some different options with students that provide a spectrum of accomplishment but are also are a "veiled" sort of reinforcement and instruction: "In my essay I stated my claim, I wrote my first support, and gave evidence, I introduced evidence using transition words"

In our teaching share, we might provide students with choices about what to celebrate. For example, in opinion/argument writing, students might celebrate volume, stated claims, clear reasons or evidence. We might posts a chart with if you are celebrating ___________________, then you might share or highlight . . .

One particular point Jenn made that resonated with me at the end of Day 1 is, "often kids are not independent because they don't understand WHY they would do it (engagement) or don't understand HOW (skill, strategy, behavior, habit) to replicate it." I try to keep this in the forefront of my mind in assessment, planning and instruction of not just students with IEPs, but with all students.

Reflecting on the Principal Gala at the Botanical Gardens (2015)

It is important for leaders to retreat to the mountains. This event stands at a cross-section. We need it to determine the road ahead.

Leaders are the meaning-makers. The impact of leadership depends on the STORY that a community tells.

The story that you tell is what your people live. You will not stumble on your story, otherwise it is not your own.

It is up to you - principals, leaders - to author the story of your school. The storyline of great schools, begins with looking for a precious particle - a seed idea.

She spoke to the "rule of seven" which states that a prospect needs to “hear” the advertiser’s message at least 7 times before they’ll take action.

For more information on the rule of seven and how it can help us communicate our goals and vision, visit https://www.krusecontrolinc.com/rule-of-7-social-media-crushes-old-school-marketing/.

As educators, we need to make peace with the fact that our story will always be about crazy things coming our way.

However, as we learn from our most beloved characters, it is not what we face, but how we choose to face it that defines us.

An organization can thrive despite chaos. We cannot tap to the tune of new demands. Instead we need to hold close to our heart the words of Jim Collins in his book Great By Choice:

Far more difficult than implementing change is figuring out what works, understanding why it works, grasping when to change, and knowing when not to.

We cannot opt out of the pressure that led to the CCSS. We need to see hope, promise and possibility as we move our schools forward with urgency. Seizing the moment takes great leadership. Most of all, we need to listen.

However, we can't lead alone. We need to "embrace" vulnerable and be willing to lead from that position.

We need to find people from within, who share our vision, and bring them out front and center.

Principals should be finding and tapping - - anointing (nominating; choosing) instructional leaders. Most of all, principals need to go public as learners. 

Come out, come out . . . wherever you are! We need to be the star-makers, and believe those we lead into who we know they can be

We need to find and bring into the light differences in what brilliant people think - we can't be afraid to invite questions, invite inquires. These spark exploration and engagement in search of answers. 

We need to listen, to model/showcase great learning, not just great work. We need to celebrate failed attempts for it is inside these attempts that we celebrate learning, which needs to be central to our mission.

Don't mask opportunities to see conflict, debate -- these places are where most inquiries begin. Don't mask hard conversations.

Think about times we felt vulnerable. It is often times when we tried something new, unpopular, were called on to give/receive feedback, or grant or ask for forgiveness. Being vulnerable sounds a lot like truth and courage. Truth and courage are what we want inside our communities of practice. 

Vulnerability is the cradle from all things that matter come - Brene Brown

Less than one-third (31.5%) of U.S. workers were engaged in their jobs in 2014. See the following article: http://www.gallup.com/poll/181289/majority-employees-not-engaged-despite-gains-2014.aspx

People choose to be disengaged - often due to factors that we (leaders) control - (shame, isolation, loss, threat, blame).

David Rock reminds us that we are mammals - if we encounter threat or pain, it is in our nature to withdraw, to disengage.

We need to approach our mission whole-hearted. We need to be risk-takers. We need to ask those around us for suggestions and ideas.

It is important to hold in the forefront that we are the meaning-makers, that is the central message of one who leads a literate life. 

According to Andrew Solomon, it is how we respond to trouble is that matters most. We cannot take out or ignore the hard parts of teaching. We can take the hard parts and spin our trials into stories of triumph. We can take the hard parts and imagine new horizons and possibilities. 

We always have a choice. We need to link arms, hold tight to each other and cling to our best beliefs. 

You Need Grit (Teacher Grit) to Tap into the Power of Partner Reading

"Just the two of us, we can make it if we try, just the two of us, just the two of us, building castles in the sky, just the two of us, you and I . . . " From Just the Two of Us by Grover Washington Jr.

                                 

We all come to that place when we are first trying on workshop teaching when our reading partnerships get the best of us. We want to throw our hands up in the air in frustration, and exclaim, "Forget it! It's just not going to work with this group.  Take heart, we have all been there (and continue to struggle with getting the most out of this powerful reading tool). However, the best resource that we have for coping with the challenges of sustaining partnerships is each other.  What are some helpful tips that you would give to teachers who are falling into the partner pit of despair?

                                  

  

It has been helpful for me when I feel like throwing in the towel, and removing the following Jame's Britton quote from my bulletin board as it taunts me from across the classroom, "reading and writing float on a sea of talk" to remind yourself of why we NEED to have reading partnerships in the first place.  Please feel free to add to the list of reasons below:

1. Partnerships lift the level of understanding. Isn't true that you understand what you have read better when you have the chance to talk it out with someone else?
2. Talk provides teachers with multiple opportunities to assess comprehension. Who is it that said talk is a window into our understanding?  We can listen to partner conversations through the lens of reading skills.
3. Talk builds a sense of community.  Think about the communities or groups that we are a part of. Most would agree that the communities that thrive are the groups where there is trust that it cultivated through relationships. How do we build relationships?  That's right, through conversation. Talk allows us to connect with others.
4. Talk helps to support stamina. You might question this as when reading is interspersed with talk, don't we have less time to read. However, stamina is not just about time, in fact when we think of time, it might be that volume is a better word choice. Stamina means energy, staying power, grit, and resilience - it's that feeling that when the going gets tough; the tough get going. Talk breathes new life into our reading and gives us the energy to push through the tough parts and keep going. Talk helps us maintain our momentum.
5. Talk supports oral language development. It provides students with multiple opportunities for repeated practice in comprehending (listening) and expressing their ideas (speaking) with deliberate scaffolds and support from proficient speakers.
6. Talk promotes a thinking curriculum.  The notion of a thinking curriculum is summed up well by the following quote, "Education is not the filling of a pail, but the lighting of a fire." In classrooms where there is a thinking curriculum in place we can observe the marriage of content and process in the classroom.  Communication is an essential skill and so we need to provide students with authentic opportunities to engage in conversation in order to support them in becoming effective communicators.   

The following two articles are great resources for extending the conversation with colleagues or making the argument for partner reading (in spite of challenges it poses in terms of management) Why Talk is Important In Classrooms and A Thinking Curriculum.

If we start partner reading in our Kindergarten classrooms with our five year olds (see the video below from Tracey Fritch)  

                                        

and continue partner reading through first, second, third, fourth, fifth, sixth, seventh, eighth grade and beyond Imagine the possibilities . . . 

What should teachers consider when creating partnerships? What do strong reading partnerships look and sound like? What are predictable problems that we will face when launching and sustaining partnership work in reading? We will consider these and other questions in future posts.

What Can We Do About The Kid Who________? Dramatic Ways to Help Every Student Shine, Feel Safe, and Desire to Write and Revise and Write Again!

From the archives: The following are notes from a speech that Katherine Bomer delivered at the July 2010 TCRWP Writing Institute.  

One of the things that I love to do for inspiration is to reread notebooks of speeches I've heard from people I admire.  This morning I stumbled on one such speech. I feel like it is something great to keep in our Writing Tool Kit when we confer with students or to reread at the start of workshop as kids are settling into their writing so as to remind us that potential and promise stand before us if we ignite the spark.

As teachers we ask, what about the kid who has nothing to write about or  . . . .?

·        ·      says “I’m done!”

·         just writes about _________________
·         struggles with mechanics and/or conventions of writing
·         doesn't elaborate
·         doesn't revise or edit

It’s important to remember that we can’t measure the hearts and minds of kids who are composing meaning on the page.

1. We need to keep close in mind the words of the late Don Murray, “You have to write badly in order to write well.”  Remember badly means exploratory, it means helping a fledgling writer find the word or line and spinning some the magic around it.  

Wreck this Journal by Keri Smith is a great exploration into writing with wild abandon, respecting the messiness on the page, and seeing where it takes you.  You can learn more about her work at http://www.kerismith.com/.

2. ‘Assume greatness’ If we approach a child thinking that they can’t, they won’t. We need to believe them into the writer they are.

3. Keep it real. We need to do the work of a writer if we want our students to do the same. We need to slow our own process as writers, we need to keep it real and show students that real writers struggle, and we are all real writers.  In the end, we need to help students find real authentic reasons to write, and send their words out into the world.  The beauty of the process approach is it helps kids see and find the significance in their lives.

4. Writers (and kids) need other people (feedback, support, camaraderie) as “the process of the becoming literate is inherently a social one.” Anne Hass Dyson.  You can learn more about her research and stance on the intersection between literacy and childhood here: http://education.illinois.edu/people/ahdyson.

5. Find the brilliance and beauty in a student’s piece. We are led by error, if we don’t encourage risk taking, we are inviting voiceless/bored writing from our students. Remember error is the seed bed for the imagination.  Find places in student writing to name the brilliance that is there.

6. A final exhortation to was to love the kid who _______________.  As teachers and as teachers of writing, we need to love and accept kids who are different. It begins with respect. Hold onto an image of kids who can, will and do.

Revision Across the Writing Process

I have been thinking a lot about my one little word for 2014. I have resolved to go with revision. Revision is not just about writing, but about life. The same fear that gnaws at us at the very thought of revising the words on the page is the fear that can sometimes prevent us from making choices that take us on a new path, course or direction in life.

I had the privilege of learning about revision alongside Maggie Beattie Roberts and Audra Robb from the Teachers College Reading and Writing Project during the Summer Writing Institutes 2011 and 2012. Over the next few posts, I am going to revisit the notes from these past summer institutes and explore not only how revision can lift the quality of our writing, but in so doing, I hope to also think about the power of revision to lift the quality of our life.

During over first day, Maggie helped us to think about the qualities of writing alongside the different stages of the writing process.

Writing Process	Collecting	Developing	Drafting	Revision	Editing/Publishing
Qualities of Writing	Meaning	Structure	Elaboration	Craft	Voice

How do we teach students to revise while collecting entries? After all, don't students need to have writing on the page to in order to revise it.  It made me think, though, how often do I encourage students to revisit previous entries in their Writer's Notebooks.  This is a habit I would like to encourage, and an option I would like students to entertain more without making it a mandate.  I need to think more about how to build it into their repertoire.  

One method for doing this might be building it into the link of the mini-lesson, and in the link remind students to: Remember that you can always go back into your notebook and revisit entries that you have written earlier to revise them.

Maggie directed us to this great article Revision Strategies of Student Writers and Experienced Adult Writers (Sommers, N.) where student and experienced writers comment on their definition of revision, and what it means to them.  One thing that I would like to work on more with students is returning to an entry across several days to revise it for meaning, significance, and purpose.  Maggie outlined some of the following strategies, which I feel would make for a great "cheat sheet" while conferring into the collecting work students are doing. 

While I often do not spend a long time collecting in a UoS, I am toying with extending the collecting phase to allow more time for revision while collecting or keeping collecting short and embedding some of these strategies in teaching shares and mid-workshop teaching points. 

Below are strands of teaching points for revising while writing entries, revisiting entries written earlier, and strategies that help writers focus on meaning and significance inside of entries to lift the level of the writing.

Strategies to Collect Entries with Meaning in Mind 

• Begin with place.  “It lives in the deepest part of ourself.” Fletcher
• Our body is a map of our lives.  Scan it – write from a memory
• Let smells or music (songs) bring you back to memories once lost

Strategies to Revise for Revisiting Entries

• Remember audience. Think: Who is your reader? How might they affect your writing? How would you write differently if you were writing for (audience)?
• Rewrite the beginning lines of your entry.
• Start the entry in different places.
• The bigger the issue/the smaller your write.  Pick the smallest (most manageable) part and start there. 

Strategies to Create Meaning, Significance, and Purpose Inside Entries

• Writers use powerful images or objects (which stand for something bigger – symbol) and weaves them throughout the piece.  This image unifies the piece (beginning – middle –end).
• Writers use a lot of colorful language to jazz up their writing. They choose words wisely and words that have power.  Writers choose words that are imbued with power and feeling (connotation) and that these are tied to significance, paint a vivid picture and see it in your mind.
• Writers seek to connect with an audience through emotion and give a lot of emotions to help readers feel with them.  
• Use flashback and flash forward. 
• Think about powerful actions and begin with them.  Create a balanced structure to take your audience on a journey.
• Weave in or repeat a powerful quote a quote that is connected to the meaning and intention of the piece.
• Uses varied sentence structure (pace, cadence, tone.)
• There is a balance of word choice and image. Use shocking comparisons to leave an impression on the reader.

Over the next few weeks, I hope to focus on revision inside of writing workshop, and will support students with building a revision mindset or stance when writing. Who is with me? I would love to post some examples of student writing when practicing this work to show revision in action.  Please let me know if you would like to study this together. 

Also, comment below on revision success stories (or attempts) in your classroom. What have you found effective when teaching students to embrace revision? I leave you with this quote from Truman Capote.

“I’m all for the scissors. I believe more in the scissors than I do in the pencil.” Truman Capote, Conversations With Capote, by Lawrence Grobel, 1985

What I Learned from Carl Anderson in 2010

Several years ago I had the chance to study with Carl Anderson for a week at a TCRWP Summer Institute on the topic: Enduring Goals that Last Across the Year: Link Units of Study into Learning Pathways to Support Revision, Independence and Vigor.  

After writing yesterday about the dangers of missing the writers in the writing curriculum, I revisited notes that I had written while listening to Carl. You know that something powerful is being said when it is timeless and true . . . even several years later.

He spoke to how we were in the best and worst of times in the teaching of writing. It is the best in that there is so much curriculum material out there, but it is also the worst because it is easy to forget that these materials were not written with OUR kids in mind.  This begs the question: How can we draw on the best of both worlds . . . How can we make use of the materials that we have at our fingertips, while at the same time, design units of study that will meet the needs of our students?

Through our work that week, Carl helped us to realize that our goal should be to teach students central ideas and understandings about writing not just about the genres we teach.

Carl spoke to the importance of goal setting with kids in our class.  He shared how important it is to have conversations with students about curriculum, and discuss with them how our writing units can support their goals.

His beautiful description of units as chapters in an ongoing narrative that helps students grow as writers across the year reminded us that we needed to look past a single conference, a single workshop and think about a student's learning pathway.

He spoke to how the key to curriculum design is to decide (based on assessment) what are the lines of growth for writers in your classroom, and then choose to work on just a couple of these goals inside of a unit.  As we think about each writer, it is important to work with them on a particular goal across several units to help them "develop" as writers.  The decision belongs to us - the teacher - What are the most important things to teach the writer(s) in front of me? Carl spoke about Tom Newkirk's work and how Tom shared that the two biggest problems writers struggle with (no matter what their age) are focus and elaboration.  

However, the idea that he kept coming back to, similar to the familiar mantra: teach the writer not the writing or we teach children not curriculum was that we teach writers not units.   What are some of the biggest issues that the writers in front of you are facing at the moment? How are your teaching plans responding to those needs?

The Secret Lives of Boy Writers

I am afraid . . . Afraid that I am squashing the love of writing out of some of the third graders that walk through the doors of my classroom.  Common Core State Standards, Standardized Testing, Bottom Lines and other pressures are being exerted on me, and I don't know that I am handling it well.  When these kinds of pressures are exerted on me, I find that I endeavor to CONTROL the environment around me more, in the hope that if I can control the outcome more. So I am afraid of taking risks, afraid of deviating from the path (curriculum), and afraid to listen to students because I know that the students will see straight through me. They will see that I am absent from my teaching because I know some of what I am doing is not in my students best interests.

When did I realize that I had not recruited students to author a writing curriculum for our writer's workshop with me and left them out of the conversation . . . it was when I discovered the secret life of a boy writer, who I struggled to get to write in the classroom. I am new at a grade level this year, and when you are "new" to anything, there is a learning curve, and I feel like external forces are robbing me of this learning curve. Here are some pages that a writer in my classroom has been secretly writing outside of whole class units: 

How do you strike a balance between helping students to write well, and exposing them (and teaching them) to write in different forms and genres while at the same time honoring student choice (and not just choice about topic, but choice about projects)? I have been teaching inside of a writing workshop for the past 12 years, and I long for the days when teachers were able to author a curriculum WITH their students, and FOR their students.  

In Assessing Writers, Carl Anderson suggests that the following questions should guide our thinking and planning work for writing workshop: What are our students' needs? What are our students' interests? What have our students studied in previous grades? What units doe we know well enough to teach? What curriculum mandates are we required to meet? I feel like we often take into account that last question, and perhaps even the second question when authoring curriculum and looking at units of study in writing workshop.

In our drive to ensure consistent practices and scaffolded curriculum, have we left our students behind? In looking at our curriculum calendars, where do we see the interests of our students? Where do we see units we have authored based on student needs?  I feel that I am progressing in a lockstep fashion with colleagues on the grade level, and don't know if the writers in my classroom are with me. How many of them live secret writing lives outside of the writing workshop?  In these last two weeks before the December Break, I have decided to rebel a bit, while colleagues are working on holiday crafts and activities, I am going to attempt a miniature unit on independence before we start our next unit in January, entitled Changing the World: Writing Persuasive Speeches, Editorials and Petitions, which I am really excited about teaching next month.

In The Art of Teaching Reading, Lucy Calkins asserts that "each of us needs to do the soul searching and the research necessary to define our role as advocates for our profession" (2001).  I feel like the powers that be are trying to rob us of this time to study, reflect, and be critical of the work that we are doing because we are being told to do it. What is the difference between consistency, and conformity? How can we make sure that we don't cross the line?

A Toolbox of Lessons from Fiction Writing Can Lift the Level of All the Writing that Kids Do

Here are some more notes from the archives.  This particular speech was from the August 2007 Writing Institute and was delivered by Colleen Cruz of the Teachers College Reading and Writing Project.  As we begin to start up our writing workshops, it is important to keep in mind the lessons that fiction can teach us regardless of what kind of writing we are engaged in - especially personal narrative writing. Disclaimer: However, these are notes, and reflect the thinking and reflections of the note taker, which might not align completely with what the speaker shared.

Kids love fiction! It is mostly what they read.  We need to use fiction for our touchstone texts in other UoS – especially personal narrative.  It is powerful because it draws on the imagination and is not limited to facts (moves toward abstract).

The personal narrative is the cornerstone of writing workshop.  It is the closest bridge to fiction.  The similarities include: dialogue, setting, internal thought – opportunities to preview character action, and in-the-moment writing.

Help Young Writers Develop Setting, Character, Story Tension and Language

Setting

Make sure that we have some, it is ONLY described in-depth when it is significant.  Here are some important tips on when to include setting: it matters to the story because it is connected to the deeper meaning of the text, the setting might show us character emotions, or the setting could be a metaphor or symbol in the story.

Character

A character has to want something for the story to work.  What is the character’s motivation and desire? What is driving them? 

It is also important to remember that the character’s internal and external qualities are connected.  When developing characters think about how the character feels, what the character wants, how they look.

Secondary characters need to play a role and be important and well-developed as we write our stories.  Predictable Problems: Often students will lose the main character OR lose the secondary character (emphasizing one over the other).

Finally, each character needs to have personality traits and quirks – cannot build Flat Stanley characters (characters need depth and dimension).  In order to encourage authentic character development, have students read their pieces aloud.

Story Tension

It helps to keep in mind the traditional story mountain (think of rising and falling action).  We need to throw obstacles in our character’s way to make the story more interesting.  It is important to give our characters a little bit of trouble that grows over time.

Strategy: Highlight the most important moment in the story.  This should be the part of the story that has the most words.

Language (The Grammar of Story)

We need to use specific nouns (tiny details) – names give you images).  Look at objects and be specific – use brand names.

It helps to use strong nouns and verbs (a great go-to conference or small group that immediately makes the writing stronger.)  Use adjectives and adverbs sparingly.  Beware of passive language – get rid of was, have, had, and –ing.

Another great conference or small group work is to look at sentence structure/length. Play with the length of sentences to convey the pace, emotion, tone or mood of the moment (short sentences versus long sentences).

Writing Models for Kids

As we are thinking about demonstration texts for our UoS, it's helpful to think about making sure that our models are inside of our students Zone of Proximal Development (ZPD). 

As I was digging through notes from institutes past, I stumbled upon the following notes from a February Institute in 2009 entitled: Using Touchstone Texts to Teach Reading and Writing Well.  This particular small group section was led by Emily Smith, who is now a Senior Research Assistant and Lead Staff Developer at the Teachers College Reading and Writing Project.  

She gave the following tips for writing models (or demonstration texts) for young writers:

1. Write forward as best you can (and then write backward) with your students in mind and some of the predictable problems in the UoS.

2. Look at a piece of student writing and try to replicate the writing moves that run through the piece in the demonstration text.  Make your text assessment based: What are your observations of students and their writing based on conferring, and reading their pieces? What trends and patterns are evident in the whole class?

3. Focus on different qualities in your student models depending on the needs of your students. Instead of just focusing on how to elaborate, write through the lens of structure to improve or lighten (write backward) the writing.

Look at the demonstration text below. Which grade level or age group could you imagine using this text with? What moves are evident in the piece? What could you imagine teaching in a conference, small group, mini-lesson etc.?

Reflecting on Writing about Reading with Kathy Collins

What's A Post-It Got To Do With It?

As teachers we have all asked that question as we tour our students bookshelves - What in the world do I do with all of those post-it notes? What am I looking for? What makes a "good" Post-It? 

                                             

What a beautiful fortune teller (sarcasm), so that's what was going on during independent reading . . . 

In our small group morning section with Kathy Collins, we are tackling this topic together.  We started out thinking about our questions and beliefs - What are our core beliefs about writing about reading?

As I consider this question, I think about the following excerpt from Janet Angelillo's classic book Writing About Reading: From Book Talk to Literary Essays: Grades 3-8, "Learning to respond powerfully to books is one of the great truths [we] will learn in school. It reflects [our] thinking and their learning lives. It takes many forms because it is so complex, as [our] learning lives should be. And it cannot be taught in one unit of three or four weeks, because it is too vital to [our] learning."

So here's what I'm thinking are some essential beliefs at the core as I reflect on writing about reading . .  . 

1. We need to provide students with multiple options for writing about reading.  Students responses to texts are so varied based on their personalities, experiences, intentions and learning styles.  

Question: How do we manage this as teachers? As teachers we depend on structures and routines that help us to look across the work of our students and hold against shared expectations, when responses are so varied, how do we provide students with flexible options and still 'manage it'? 

2. We need to practice what we preach.  If we want our students to write about their reading, we need to do it ourselves.  

3. This leads me to a third core belief, that our writing about reading needs to be purposeful and public. I think writers need an audience, and I think this is true for writing about reading, too. I know I write eager to see what others think about a book, article, poem etc. when I jot down thinking.  Students need to write to prepare for talk, 'think on paper', have others respond to their thinking. 

4. We are not satisfied with 10, which is the reason there is an eleventh CCSS in Reading for Literature K-5.  Students need to have a medium for responding to literature that supports deep interpretation ergo . . . . writing about reading.  

A fourth core belief is that in order for students to meet the ambitious expectations outlined in the CCSS, it important for us to create multiple opportunities for students to respond to texts - writing about reading is one possible path toward this goal.

CCLS RL 11. Respond to literature by employing knowledge of literary language, textual features, and forms to read and comprehend, reflect upon, and interpret literary texts from a variety of genres and a wide spectrum of American and world cultures.

Question: The standards seem to honor readers making connections to texts in the eleventh standard as we look across the progression at K-2, and then move toward interpretation and critique in 4,5: Do we agree with how the CCSS defines the eleventh standard in the progression?

5.  Writing about reading supports rehearsal for talk and if talk is so critical to learning, thinking and reading, then it is a non-negotiable for reading workshop teachers to provide students with explicit instruction in reading response so that the readers in our classrooms can prepare for grand conversations about literature.

Question: I am afraid that writing about reading can make reading feel cumbersome or rob students of  'reading for its own sake'. How do we ensure that writing about reading doesn't steal time from students just reading? I think this is a huge argument for teaching students to write-on-the-run, but at the same time I think meaningful reflection takes time - how do we strike a balance?

I hope to answer some of these questions this week and revisit these beliefs at the end of the week. How would you answer this question? What are beliefs at your teaching core for writing about reading?

Warming Up for July Reading Institute at TCRWP with an E-mail to Kathy Collins

Hi Kathy,

It is so great to hear from you.  I am in search of some of some of the items, but below are thoughts re: the questions that you posed in your e-mail. I am looking forward to a great week! Do you have a twitter handle - mine is @rscalateach. Thank you for reaching out and giving me this space to reflect.

Best,

Ryan

1) Where do you teach and what grade will you be teaching next year? How long have you been teaching?  If you're not a classroom teacher, what is your role in your school?

I teach in East Hampton, NY in a K-8 school known as Springs School.  It can be found at www.springsschool.org.  I have been teaching since September 2002 so this upcoming year will mark my eleventh year as a teacher.  I have taught fourth grade for the past ten years and will be teaching 3^rd grade next year.  This will be the first time I am attending a primary advanced section at a summer institute.  

Also, this upcoming year will mark the third year that I will be serving as a Literacy Co-Coordinator K-8.  Therefore, while I will be attending with a teacher’s hat, I will also be attending with the Literacy Co-Coordinator hat so that I can provide additional support for our K-2 teachers. 

I aspire to work as a staff developer with the TCRWP in the near future.  I was fortunate to find the project early in my career, and the TCRWP has been a source of knowledge and inspiration throughout my career.   We are an affiliate school with the project and our staff developer, Colleen Cruz, works with us several times across the year in grades 3-5.  In addition to our work with Colleen, we will have the support of a staff developer at K-2 next year.   I have had the privilege of hearing several of your keynotes over the past ten years, and love the blend of humor, inspiration, light-heartedness and wisdom embedded in them.  I am looking forward to spending the week learning alongside you and am delighted to be part of this group as we dig into this topic together.

2) What are your questions/concerns/issues about writing about reading/response to reading that you would like us to think about during our work together? Or what is your point of interest in this topic?

The idea of writing about reading has always been of interest to me and I want to study closely the possibilities of what this work might look like at the primary grades, in that, teachers at K-2 in my school have expressed the challenges of having kids use post-its, stop and jot and write about their reading in these earlier grades.  

I want to be able to support these teachers and show them the value of this work. 

The following are some questions that I have re: Writing about Reading and Helping Readers Craft Authentic Responses to Reading:

1. How can we ensure that writing about reading enhances the experience and is worth the time that it would take from reading?

2. What are some different options we can share with readers for managing the materials that support the work of writing about reading (think marks, post-its, charts etc.)?

3. At what point (grade), would we introduce readers to keeping a reader’s notebook? What are some of the differences between how K-2 readers would use the notebook to support their reading life versus 3-8?

4. Which (and how do the) components of Balanced Lit could support the writing about reading work students are doing (reading workshop, interactive read aloud, shared reading, guided reading)? How can social structures (reading clubs, partner work) support and further the writing about reading students are doing?

5. What are the horizons within the reach of K-2 readers in terms of interpretation and deeper reading of texts? What would a continuum of growth look like across the grades so that teachers could have a sense of what aspirations we might have for writing about reading across the grades?

6. One of the biggest challenges of writing about reading is that it often lacks audience with the exception of the teacher or a reading partner, what are some authentic genres for writing about reading that we can use with our K-2 readers?

7. What are some portable tools that we can make/use to support writing about reading in conferences and during small group work?  How can we design our classroom environment to support independence in writing about reading?

8. Technology is currently something I am very invested in so I am curious about how (and if) we can use technology and social media (Twitter, GoodReads) to support even our youngest students in responses to texts?   

3) What kinds of things do you need as a learner when you're participating in professional development?  In other words, what would help to make our five days together work really well for you?

I appreciate multiple opportunities to share thinking with partners and small groups of teachers. I like to leave these sessions with something to bring back to the school and artifacts that document some of the learning that we did, along with artifacts that I can use in the classroom to support students with their own writing about reading work.  

I learn through ‘doing’ so I appreciate a balance of seminar, and workshop where we have opportunities to plan and lead (practice) mini-lessons, conferences, small groups that will support student’s writing about reading.  

Summer is the perfect time to nourish our own reading life so I also value time spent reading both adult and children’s literature so that I can practice the work and speak to it as an insider, but also just to have the gift of enjoying stories and sharing our thoughts, questions, and insights about books with others.

4) What are your teaching strengths and struggles?

I think that a strength that I have is that I love getting to know students and connect with them as individuals, learning their interests and bringing that into our lessons, and conversations to boost engagement and motivation (but also just because I love getting to know the kiddos as 'little people'). 

I also have a deep investment in and ever-growing knowledge base of reading and writing workshop. I love to read, but I feel sometimes I am a bit unbalanced and read a lot of professional literature, when I should be reading more adult and children’s literature (reading for the sheer love of it).

I think that I can tend to take myself and the work we do too seriously and so sometimes I forget to find ‘the fun’ in my teaching.  

I feel like the pressures are so HIGH these days that sometimes it crowds out purpose and intention – almost causing me to lose sight (at times) of the reason I do what I do in the first place.

5) What are you looking forward to this summer?  

This year was one of the toughest of my career and I am looking forward to recharging my batteries and learning alongside like-minded colleagues.  I am attending the July Reading Institute and August Writing Institute.  I look forward to sunny weather, spending time at the beach and cherishing the time to read, write and spend time with family and friends.  

I hope to walk into the school in late August both refreshed and raring to go with fresh ideas and insights that will make me a stronger teacher than when I left school in June.

---

From: Kathy Collins 

To: Kathy Collins 

Sent: Tuesday, June 25, 2013 5:38 PM

Subject: 2013 July Institute on the Teaching of Reading

Greetings, Everyone!

My name is Kathy Collins, and I'll be your section leader for your morning advanced section at next week's reading institute at Teachers College.  Our section title is officially, Writing About Reading:  Using Talk and Writing to Lift the Level of Comprehension.  I'm revising the title slightly to:  Responding to Reading: Teaching Children to Make Meaning and Find Significance in their Texts, Their Talk, and Their Ideas.  I will cover topics and details around 'writing about reading' but I also want to take a wider view of what is gained when K-2 children to respond to texts in a variety of ways. 

I'm really looking forward to our days of working and thinking together.  In looking over our roster, we have so many educators working in diverse roles in settings from all over the world.  It will be so wonderful to put our minds together to consider how to make response to reading (especially writing about reading) work for all learners...and all teachers!

In an effort to plan for days that will be closely tailored to your needs and interests, I'm wondering if you wouldn't mind answering a few questions:

1) Where do you teach and what grade will you be teaching next year? How long have you been teaching?  If you're not a classroom teacher, what is your role in your school?

2) What are your questions/concerns/issues about writing about reading/response to reading that you would like us to think about during our work together? Or what is your point of interest in this topic?

3) What kinds of things do you need as a learner when you're participating in professional development?  In other words, what would help to make our five days together work really well for you?

4) What are your teaching strengths and struggles?

5) What  are you looking forward to this summer?  

Also, could you bring the following to  Teachers College, if possible ? (I know that some of you might be far from your schools at this point.)

a) an artifact from your classroom that means a lot to you or that represents you as a teacher (or a sketch/photo of an artifact)

b) a photograph (or a few) of your classroom and of a part of your school that you love (if possible)

c) your favorite read aloud book (picture book, chapter book, anything goes, as long as you and your kids LOVED it)

d)  a grown-up book you're reading 

Thank you so much for taking the time to consider these questions and list of items.  If you are able to respond before the institute begins, that would be great! I wish you smooth travels.  See you next week!

Warmly,

Kathy Collins