Tuesday, January 1, 2013

Courage


This year my word is courage – The courage to take risks and forge new paths. I find myself at a crossroads in many places in my life, and don’t want the decisions that I make to be shaped by a fear of the unknown (or the voices of others), but by courage and heart (my own inner voice). I appreciate the words of Steve Jobs in the quote below . . .

Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma – which is living with the results of other people’s thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition.
Steve Jobs

"We will forever remember the places in which we've played" (Donald Graves comment from In the Company of Children by Joanne Hindley).  I also promise to remember that I chose teaching because kids are fun.  Even with all of the external pressures pressing down on us, I don't want to forget that we learn best when we are engaged in what we are doing, and what does it mean to be engaged, when all is said and done, engagement, at it's highest level, is about having fun, being interested, igniting passion, loving what we are doing and so I want to always remember to infuse work with a little bit of fun.

Sunday, December 30, 2012

Workshop Resolution

Conferring is the heartbeat of workshop teaching.  In order to teach well; learn to confer well.  Although the coaching institute was interrupted due to a hurricane, what I learned in those few sessions will provide me with much to reflect on in the coming months. 

Over the next few weeks, I am going to really work at growing stronger at conferring.  It feels like a critical component of conferring is the research.  It can make you or break you.  The research lays the groundwork for all of the other components of a conference.  It is differentiation at its best.  When you research well, you provide yourself with a storehouse to draw on for your teaching.  Here are a few tips for researching well from the TCRWP.
  • Try to be conversational in tone.  We are more likely to be honest and demonstrate investment when we feel comfortable, cared for, and at ease.
  • Keep notes to help you forge a pathway of learning.  Otherwise, our conferences will be like a game of hop-scotch and will lack traction.  Traction provides students with additional practice and scaffolding – a trajectory of growth.  This will allow you to layer your teaching and ensure that your conferences are driven by visible goals and feedback.
  • Always take a few moments to observe the writer – What are they almost doing? Skim their writing and look for patterns.  This will help you formulate strong research questions. Why did you  . . . ? What were you or are you trying to do here? Point to their writing when researching – It will help ground your teaching, but be careful to look for patterns – not too specific – otherwise you will fall into the trap of teaching the writing instead of the writer.
  • Try to stay away from the content. Instead ask the writer: What strategies have you been using? What goals or plans are you working on? Ask: What do you plan to do next?
  • It helps to think about lenses through which you can confer.  Find out what a student knows about a particular writing habit or skill.  This will help you stay within the students ZPD.
  • Stay inside the research part of the conference for a while – after pursuing one line of inquiry – ask a question designed to take you on another.  Look for multiple learning pathways.  Only after researching for a while, should you decide and choose what to compliment and teach.

Saturday, December 1, 2012

Things to Keep in Mind When Working with Striving Writers within a Whole Class Community

I have learned a lot about this particular topic from mentors, such as Lucy Calkins, Katherine Bomer, Mary Ehrenworth, Colleen Cruz, and Chris Lehman over the years.  Here are some of the bigger ideas I have extrapolated from conversations, speeches and/or workshops I have attended.

Principles We Can Reflect on When Working with Striving Writers
  1. Expect ALL students to achieve goals in writing and celebrate milestones toward those goals.
  2. When students are able to complete the work with independence, the modifications are successful.
  3. Build on a student’s strengths versus focusing or working on areas of weakness all of the time.
  4. Be explicit when teaching writing stamina (Quantity before Quality, at least, at first) – Teach into it – it doesn't happen overnight.
  5. Help students discover his/her writing passions – Ralph Fletcher calls these life topics, which are topics we revisit again and again.


Some Practical Tips to Keep in Mind when Working with Striving Writers
  • Keep teaching points the same for all students – the way that students access the teaching point will vary.
  • Modify the levels of support needed for students to learn the teaching point according to the strengths and needs of all students.
  • The work will look different from student to student, however, the process students will have gone through, will have been similar.
  • Focus on the main objectives of a UoS (Unit of Study) and or m.l., rather than getting caught up in the small details – what are the big goals of the unit – see CCLS for direction with this in planning.
  • Read aloud the child’s writing to him or her on a somewhat regular basis, and do it with an incredible read aloud voice (read it as literature).  Calkins calls this reading it ‘like it’s gold’
  • It helps to think in 3s – What are three goals for this student inside of this unit?  Remember that we can build smaller milestones into larger goals.
  • Provide students with alternative methods for planning and drafting: storyboarding/booklets, planning boxes, webs, index cards
  • For ELLs, encourage sketching and labeling as an access point to expressive language.
Community is everything.  Build a place that honors struggle, reflection and goal-setting. Make all kids an expert at something, so that we have ‘go-to’ people for help.  Create charts that teach.  Recognize and celebrate the efforts of all, while nudging writers toward new heights and more ambitious goals.

Friday, November 23, 2012

Teaching Large Scale Revision: Working with Our Most Proficient Writers


Here are some more notes from the past, looking for principles that still hold true.  I think it becomes all too EASY to leave our most proficient writers to their own devices, after all, these writers "get it" and often do what we teach them, but how do we take them even further? It is our job to teach ALL of our students to grow.  Do our most proficient writers reach their full potential in our workshops? 

It would seem that the habit of mind that would most support these writers would be teaching them how to make their revision work in more meaningful and complex.  After all, revision is a habit of mind, and when writers develop this habit and learn to do it well, it causes them to approach writing with a more reflective stance, work with increased independence, and of course, lifts the level of their writing.

Trouble We Encounter with Proficient Writers
     These writers often do EVERYTHING we teach them
     At times, these writers are reluctant to take risks (teacher-pleasers)
     These writers sometimes see revision as something I did wrong
     These writers look at revision as too much extra work; and need to learn to see revising as an art.
     These writers might move through revision TOO fast, this work helps them to slow down


Think about them as professional writers, look at their writing with an adult lens (professional writer), but translate into words that are accessible to kids.  “At its core, the truth of the matter is, revision is matching what is in your heart with what is on the page.”  

Logistics and Content
It helps for students to write on one side and skip lines when drafting because it makes it easier to draft and revise across pages and manipulate scenes in order to revise on a larger scale versus a line or word here or there. The following are some tips for large scale revision shared at a TCRWP reunion in 2007 with an all-star staff developer (who happens to be our staff developer, Colleen Cruz):
  1. Writers ask themselves questions about their writing to help plan their revision work, such as: Where is the trouble or tension (that's what makes it interesting to read)? Who is the audience? Does it make sense?
  2. Writers experiment with different structures that highlight the important parts of their pieces (flashback, flash forward, framing etc.)  There are two parts to stories: the outer stories (actions/reactions); the inner stories (feelings/responses). Often call external and internal.
  3. Writers consider the pacing of the text at different places and make changes (sentence structure, punctuation, content) to help slow the reader down, or speed them up.
  4. Writers work with intention - uniting what seem to be unconnected pieces in order to create layers
  5. Writers revise dialogue, making sure to break it up for rhythm and timing.  Ask: What work do we want dialogue to do in this scene? Again, we see we’re coming back to intention and the writer's purpose.
  6. Writers use objects as metaphors that will match their intended meaning, making sure it is placed with care and weighted throughout the piece (don't bang the reader over the head with it) so that the message resonates with the audience.

Thursday, November 22, 2012

Don't Forget the Craft


There's a Fine Line between Craft and Crap: Let's Not Cross the Border


In 2007, I attended a keynote address, Lester Laminack was the speaker, at the TCRWP August Writing Institute and was doing some fall cleaning and re-reading some notes.  It was the first time I ever heard Lester speak, and I must admit that, even now that I have heard him on several occasions throughout the years, I still feel like the kids (and teachers) are fortunate to have such a gifted orator and author in their midst.  I think it is powerful to revisit notes from several years ago and see what advice still holds true in these changing times, what gems we might have forgotten over the passage of time, and how thinking has evolved from that point.
Lester began with sharing that in "all forms of art; simplicity is elegance".  There is an inherent danger when we focus on craft in isolation - students tend to over generalize.  This is not surprising, in that, Brian Cambourne, the renowned Australian educational researcher, explained that approximation is one of the principles of learning.  It's that place where we're not quite sure if we've got it right, but because it's new and we're excited about what we are learning, we tend to overuse it.

Lester went on to encourage teachers to “bathe children in the language of the things we hope that they will write.” How often do we do this? How often do we invite children to write just like (name the author)?  In the 1980’s, during the whole language movement, teachers often made the mistake of drowning kids versus immersing them in language.  Here is where we fell into the trap of just teaching kids HOW to do it, and often neglected the more important WHEN and WHY of using it in our writing.

Lester explained, that “technique should serve the writer’s intention.” Encourage writers to form theories about WHY the writer applied the craft to that particular place.  What effect was it intended to have on the reader?  I think that when I enter classrooms where writers are having trouble find the heart of their stories, it is often because they're unsure about their intention. 

We need to make sure that, first and foremost, writers recognize that our classrooms, our schools and our communities are places where their stories matter.  An all important question to guide our conferring is: Why are you writing this PARTICULAR piece? Who do you hope will read it? What are you trying to show/say? 

According to Lester, “the teaching of and application of craft should be designed to fine-tune the writer’s intentions so that their readers are able to interpret the author’s meaning. Authors are intentional and deliberate about their craft decisions in a text, we can teach our writers to approach their writing with the same stance, and when rehearsing, choosing, developing, drafting, revising and editing it’s all about making the meaning clearer – it’s all about intention. How do you approach the teaching of craft? I think it’s an important question – in that – the CCLS seem to highlight structure, organization and elaboration? What about craft? Do we still feel like it has a place in our teaching?  To learn more about Lester's books and advice for writers, teachers and schools, visit the following website: http://www.lesterlaminack.com/index.htm 


Saturday, October 6, 2012

Since When Did Assessment Get A Bad Rap: The Ugly Stepsister of Teaching





So I am just coming back from an incredible learning experience. I am part of a specialty course entitled: Creating a Coherent, Braiding Curriculum: Thinking Across Units of Study in Reading, Writing, and Social Studies to Help Students Transfer Skills and Strategies, which Emily Smith is leading at the TCRWP. I hope to blog more about this later. The course is focused on transference, and maximizing the teaching that happens in reading and writing workshop so that students draw on the skills, structures and strategies learned in their reading and writing workshops, in order to, support them as learners in Social Studies and Science.

However, spending time at MY all time favorite learning place, The Teachers College Reading and Writing Project, rolling up my sleeves alongside other teachers at the BIG table (the table where Calkins and her colleagues used to have their Thursday Think-Tank meetings) I am hoping to channel some of the energy from yesterday in thinking about how I was going to bring this work back to my school.

This year in addition to teaching fourth grade, I am in my second year as literacy co-coordinator, and helping my school meet the demands of the CCSS. At our last professional circles meeting, I tackled the topic of assessment and in working with the administrative team to create an assessment schedule, we looked across it at the summative assessments, such as the ELA and the formative assessments, such as running records (such as Fountas and Pinnell), conferring notes on-demand writing assessments, and the predictive assessments mandated by the state, such as STAR reading. We stepped back and were like, “Wow! That’s a lot of assessment.” It was a great conversation with a line of creative and productive tension running through it, as we discussed how to make this work for all of us, with the demands placed upon us as teachers, and debated about the purpose behind each assessment or what we should keep.

This led me to think, ponder and blog about the following question, when did assessment get such a bad rap? It seems like assessment is the wicked or ugly stepsister of teaching, but it shouldn't be.

Calkins calls assessment, “The thinking teacher’s mind work” (Don’t get me wrong, I think all of us are thinking as teachers and I know that Calkins would agree because of what she shares next from The Art of Teaching Reading). “Assessment is the stance that allows us to learn from our students and thus to teach them. Assessment is the compass with which we find our bearings and chart our course, and the map on which we do this.” She goes on to share later in that chapter entitled: Bringing Assessment into the Very Real World of Classroom Teaching, that it's, “Clear goals and honest, frequent assessment, including self-assessment, [which] allow students to become managers and authors of their own learning lives.”

We need tools in order to make student progress (and teaching progress) visible, and so here is the argument for learning progressions or continuums of growth. What is so beautiful about the documents the TCRWP has created is that, these tools do not spotlight what kids are not doing and do not use deficit language. If you have attended an institute, are a TC school, or had some experience with their narrative writing continuum, which is available to the public on their website, then you know what the thinking is behind a continuum.

After all, I think this is what has given assessment such a bad rap in the past, is that, assessments have often used to label and stigmatize rather than inspire and provide a vision for next steps. We see this often with the teacher evaluation scores (based on the standardized tests) – Do these scores (a single snapshot), which are shared with the public help teachers or harm them? Do these assessments give a complete picture of a student's/teacher's progress and actual growth? Do these assessments celebrate where teachers and students are and provide them with a ladder for where to go next? In the end, do the assessments honor learning? Unfortunately, the answer, for the most part, is no they don't.

Let’s re-think assessment and go back to intention – We need to ask about the tools we are using for assessment: Is this assessment helping us to teach? Does it honor the learner and help them take up the reins of their own learning life (with a little help from us, which gives them a sense of investment and lead them to action? Does it provide the teacher with useful data and immediate feedback, which helps drive their teaching and supports them in drafting learning plans for the individual students in their class? Since time is such a critical factor, Does it help them teacher look for patterns across their classroom to help plan for small group instruction? Is it as authentic as possible so that it does not seem so foreign to kids, leaving them wondering, “Why am I doing this?” If not, then don’t do it, but if the answer to these questions is, “Yes!” then celebrate assessment, look at it like the valued mentor, colleague or partner of teaching, the respected older brother or sister, steering you in the right direction and showing you what’s possible over the horizon, with a little bit of effort.

Wednesday, August 22, 2012

To Begin Again


Here I am at the waning days of summer and it seems like the mind is swimming with ideas.  This leads me to the subject of this post: Environment.  I want to draw on the collective intelligence of the digital world and share some great places to find some great ideas about environment.

It is always great to post a poem at the entrance of your classroom door.  A poem is an invitation to fall in love with words.  Amy Ludwig VanDerwater wrote an incredible poem for her students.  It is posted below and can be found on her blog at http://www.poemfarm.amylv.com/2012/08/dear-students-new-book.html



Another great poem to "roll out the carpet" to the beginning of a new school year is Invitation by Shel Silverstein.  I think I stumbled onto the idea for this poem when visiting Stacey Shubitz and Ruth Ayres blog at http://twowritingteachers.wordpress.com  several years ago.

"If you are a dreamer,
come in,
 If you are a dreamer,
a wisher, a liar, 
A hope-er, a pray-er, a magic bean buyer... 
If you're a pretender,
come sit by my fire 
For we have some flax-golden tales to spin.
Come in!  

Finally, a poem  that will be a mantra that will echo in student minds all year long and fuel a love of reading is Good Books, Good Times by Lee Bennett Hopkins.  This poem provides wonderful opportunities for shared and choral reading as kids love the beat, pace and power of this poem.
 



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 h...