Much Needed Update & Blog Post Roundup

It's been a while since I posted here. For those that don't know, I had a baby in 2015, and this amazing joy of a little girl dramatically impacted my ability to blog in my "extra time." For some of my reflections on motherhood as an educator, check out these posts on my CTQ blog:

Leaning in, career teaching, and the superpower I now need

Four Lessons From Motherhood

More recently, I've been getting my writing mojo back!  Part of this was fueled by the realization that the role of creative writing in the study of English Language Arts deserves some attention in literacy and ed policy conversations, especially when the CCLS appear to deemphasize it. I first began writing about this in this article, "Decoding the Common Core," published by Education Week.  I also touched on the topic of creative writing as an equity issue in this blog post, "Who Gets to Write Fiction?" which was a response to calls for more diverse books for children (#WeNeedDiverseBooks). Then, just last month, Education Week Teacher published "Why Creative Writing Still Has a Place In My Classroom," in which I argue for the practice of fiction writing as an essential element in developing critical readers.

As part of my investigation into the role of creative writing in today's ELA classroom, I've created this survey, asking for English teachers and literacy leaders to share their opinions on the topic. If you missed it before, please participate! It's been very interesting and encouraging to see the responses, and I'll be sharing some results soon. 

Finally, also on the topic of writing, as part of a Teaching Ahead Roundtable at EdWeek Teacher, I shared my thinking on "The Problem With Complex Writing Prompts," and why the bulk of expository writing instruction should tap into students' own questions, ideas and drive to communicate.  

More writing and developments coming soon... I hope everyone is enjoying the summer. It sure is hot around here! 

3 Ways A Little Drama Can Enhance Student Learning

One question I hear often from educators considering the whole novels approach is what do you do in class while students are reading the book (besides reading the book, of course)? One of the best and perhaps underrated activities to aid students in rereading and comprehension of the text, as well as oral reading and public speaking practice, is dramatizing scenes from the novel. What's more, this activity is super easy to implement, it really brings the book to life, and it gets students out of their seats and having fun. 

In this article published on NEA's Share My Lesson site, 3 Ways A Little Drama Can Enhance Student Learning, I share my process, as well as three other, powerful ways to use drama in any classroom.  

New Book Idea--I Need Your Help!

I need your help! I'm working on a book idea that's been percolating for some time now. It's been two years since Whole Novels For the Whole Class: A Student Centered Approach was published, and since then, I've felt a big wondering come on about the role of fiction writing in the study of English Language Arts these days. In my own classroom, it is a source joy for both my students and me, and strong experiences like that in the classroom get me thinking. I'm trying to explore the value of this imaginative writing--academically and otherwise--as well as its current role in English classrooms around the country. I'm wondering if and how the Common Core Standards are influencing this kind of writing.

I will share more of my thinking on this soon, but first I really want to know how other teachers view and experience fiction writing within our discipline. Please help me by taking this brief survey... (your name is optional.) I hope you will find the questions interesting and that it will take only about 5 minutes! 

Survey: What Is The Role of Fiction Writing In English Class These Days?

THANK YOU! 

~Ariel

https://docs.google.com/forms/d/1rj28s8l7qGuLe-gMoBehS5PtGdUb0lXA8x_TjbRrZko/viewform?c=0&w=1

On Demand: My Free Whole Novels Webinar

Last week (on the afternoon before the last day of the school year for me), I got to spend an hour with teachers sharing some of the essential ideas of the whole novels method. The free webinar was hosted by Share My Lesson, an AFT-sponsored organization providing free professional development by teachers for teachers. My favorite part of the experience was when teachers were asking and answering each other's questions in the group chat feature. Shout out to the #wholenovels teachers who were there! 

The webinar is part of their "Summer of Learning Series." It is now available on demand here.  If you're curious about whole novels, check it out!  

Kevin Spacey, The Binge-Watching Phenomenon, and Teaching Whole Novels

I think Lost was my first binge-watching experience eight summers ago. I felt how different it was to watch a long series at my own pace, but I didn't think much about it. I was too fixated on what the heck was up with that island!  But as I binged more recently on House of Cards, Orange is the New Black, and other favorite "television" shows available through Netflix and my cable TV's On Demand feature, I made the connection. Binge-watching an entire season of a series is much like plowing through a compelling novel. You pick it up and put it down as you please. You indulge in a full day of story. You sneak bits and pieces when you should be doing other things--because you can, and because of the great storytelling. 

I made a mental note to myself. Compared with the traditional weekly episode model, this binge-watching thing bears a lot of similarity to the whole novels method(link is external). In it, we allow students to read an entire novel at their own pace, in a community of their peers, and discuss it when they have all completed the reading. (No spoilers allowed until discussions!)  When I saw actor Kevin Spacey talk about House of Cards, Netflix and the new model for viewing story, I thought, yes, he gets it.

Here is his five-minute speech at Telegraph (CLICK HERE)(link is external): 

Spacey explains that the House of Cards team did not want to waste time making a pilot to pitch, with artificial cliffhangers and other strategies to sell the program in one episode. They signed with Netflix, because it was the only network that took a leap of faith on their idea without seeing a pilot. In his explanation of why the team was so adamant about no pilot, Spacey says,

"We wanted to start to tell a story that would take a long time to tell. We were creating a sophisticated, multilayered, story with complex characters who would reveal themselves over time and relationships that would need space to play out."

Sounds a lot like what a novel does, right?

Releasing the entire season of House of Cards at once and the resounding success of the show proved that there was something about this process that worked for viewers. 

"The Netflix model... proved one thing: the audience wants the control. They want the freedom. If they want to binge on House of Cards and lots of other shows, then we should let them binge. I can't tell you how many people have stopped me on the street and said, 'Thanks, you've sucked 3 days out of my life.'"  ~Kevin Spacey

Like the Netflix model, the whole novels method gives students the freedom to read as quickly as they want. We have a diversity of readers in the classroom--some slowly digest each chapter with different levels of classroom support, and others will plow through it in two days, then reread for a deeper experience, before moving on to other related texts. This freedom stands in stark contrast to the traditional whole class novel study that gives students chapters of a novel in piecemeal, taking months to move through an entire full length novel (sort of like the traditional weekly episode model in television).

Putting limits on students' opportunities to read through an entire book and forcing analysis of each section along the way can really take the life out of the story.  It creates a disjointed experience that misses out on the thrust and enjoyment of authentic reading. In the whole novels method, we protect the reading process, allowing it to be subjective, and customizing support to the needs of individual readers. Then we come together as a class on the appointed due date, when all have finished the book, to discuss and debate the entire work. We conduct close reading of key sections students identify, in light of what we understand and still wonder about the whole work. 

In binge-watching, I see another parallel with whole novel studies, in the types of conversations we have about the shows, a) while we are in the throes of watching a season and b) when we have completed a season or an entire series:

a) When we know our friends have not finished the season, we don't spoil the plot for them. We share our assessments of characters, knowing we may change our minds as we come to know more. We share our predictions for fun. We clarify plot details for each other when we are confused. We assess and in some cases disagree about the quality of the writing of the show and whether it's holding our interest... Our conversations stay rather casual and light hearted, though, like the ones my students have during the reading portion of a whole novel study.

b) By contrast, when we've competed a season or a series of a compelling show and we are in the company of others who have too, we engage in a different level of conversation. 

I've debated whether Kevin Spacey's character in House of Cards actually has a noble goal despite his corrupt behavior. And what about Claire, his wife? Answering this question requires quite a bit of going back through the events and following his decisions with a critical lens, in light of what we now know. I've heard the show compared to Macbeth. 

I've also discussed whether in the final season of Lost the writers were able to successfully tie up all the loose threads they'd created over the course of several seasons in a convincing way, or whether they fell short, leaving questions unanswered and threads contradicting one another in an unconvincing way. These higher order questions come up naturally after having a powerful experience living in a story and reaching its conclusion.  

With the ability to go back and forth--zooming out to look at a whole story, and zooming back in to look at specific pieces--there is so much opportunity for deep anaylsis and critical evaluation (emphasized in Common Core Language Standards), AND it's fun.

Although I don't believe there is one best way to teach anything, I urge teachers to try allowing students to binge-read a whole class novel(link is external)! In the words of Kevin Spacey—

"They want stories--they're dying for them. They're rooting for us to give them the right thing. And they will talk about it, binge on it, carry it with them on the bus and to the hairdresser, force it on their friends, tweet, blog, Facebook... engage with it with a passion and an intimacy that a blockbuster movie could only dream of. All we have to do us give it to them."

This post first appeared at On the Shoulders of Giants hosted by the Center For Teaching Quality Collaboratory. 

The Simplest Teacher Move That Leads to Vibrant Student Discussions of Literature: Guest Post From Stefanie Cole

Earlier this year, middle school English teacher and librarian, Stefanie Cole, shared her process as she began to implement whole novels with her seventh graders here on the Whole Novels Blog.  She promised a follow-up post as she delved deeper with her students, and here it is!  The first in a 3-part series, this post focuses on Stefanie's desire to see more peer-to-peer engagement in her students' literature studies--and what happened when she made a simple shift in her approach to leading discussions. Elementary school teachers will be interested to read how she applied the method to picture books with younger learners.  ~Ariel

Stefanie Cole (@MsColeQVPS) has taught for 18 years in Southern Ontario for the Durham District School Board. For the last 11 years, she has been a K-8 Teacher Librarian at Quaker Village Public School, with the exciting addition last year of intermediate language arts teacher.  

Teacher and Librarian, Stefanie Cole

Reflections and A New Goal!

Last February I read Whole Novels for the Whole Class: A Student Centered Approach and saw many applications I thought could fix issues in my Grade 7 language program.  I was enthusiastically tweeting and sharing my discoveries and changes when, author & teacher, Ariel Sacks, asked me if I could share my discoveries on her blog.   I was honoured, excited and really nervous.

In editing the first post, Ariel had highlighted one statement I had made as part of a the list of classroom issues that were circling my mind:

"...Students were sharing their thoughts with me, but not with others in the class."

I had no idea that she had nailed the major issue in my program with a simple Ctrl + B.  I realize that now.  These are my aha moments as I was introduced, truly, to the world of Close Reading and Accountable Talk through Whole Novels for the Whole Class: A Student Centered Approach.

The Power of Authentic Questioning

My insightful students weren’t sharing the thoughts which could scaffold thinking for the rest of the class.  If someone was on the edge of an understanding in their novel, it was difficult to push them to return to it and explore it deeper. Many never did.  One of the greatest lessons I’ve taken from Whole Novels is the power of the structure of discussions in a classroom and how it supports our students, motivating them to return to the book to clarify their opinions and thoughts. Since then I have continued reading on those topics and attended nErDcampMI. My understanding of how discussion within a classroom can work for the teacher and, ultimately, the students has grown.

If you’ve read Notice and Note, by Kylene Beers and Robert E. Probst, you would know I needed to move from  monologic to dialogic talk (p. 28)  If you have ever heard Carmel McDonald speak or visited her website, EduMCcation, you would realize I needed to learn more about Accountable Talk.

Carmel came to a similar "Aha moment" when observing a lesson with a master teacher:

The students were constructing their own meaning from the assignment; the teacher hadn’t given them a mini-lesson where he stood up and “imparted the truth.” Rather, he led them to it, and asked them to explain it for themselves.  The students were doing the communicating, not passively listening and then repeating.  They made the learning happen through their conversations with each other—with thoughtful prompts from the teacher to keep them on course   (McDonald, Carmel, The Paradox:  A Control Freak and Her Student-Centered Room, Part 1. EduMcation.  December 26, 2013. http://edumcation.wordpress.com/category/accountable-talk/, July 24,2014)

That is what I wanted in my classroom.  I just didn’t know it yet and Whole Novels helped me find a way to do it.

To lay the groundwork for Whole Novels, I introduced Madeleine’s Famous Three-Ways-Of-Thinking Lesson (Chapter 3) using The Other Side, by Jacqueline Woodson.  The purpose was to introduce the literal, inferential, and critical thinking components central to Whole Novels, but I learned a new framework for discussions.  We decided the broken leg of the rocking chair would be our talking stick.  I like the symbolism of that.  A piece of the chair that represents who has the power in the room became the object representing the shared power in our discussions.  We sat in a circle.  We reviewed and posted Ariel’s rules for discussions:  

1. Listen to teachers/classmates.

2. Raise your hand if you wish the speaking stick.

3. No private conversations.

4. Respect personal space.   (Whole Novels For the Whole Class p. 116)

We began.   After reading, I used the questions that Ariel provided.  I actually had written them on my lesson plan so I wouldn’t forget them.  They are simple questions but are truly authentic, with no right answer, asking the students to think about the story and what it meant to them.

 “What do you think?  What do you notice?  What do you remember?  What stands out for you?”  (Sacks p 72) 

 The responses and observations were better than any I’d ever received with directed questions to prompt answers I wanted to hear:

• Sometimes children have different points of view than adults.
• Annie said she wasn’t allowed to cross (the fence) but nobody said anything about sitting on it, so they weren’t breaking the rules.
• It showed that nobody can tell you who your friends can be.
• I like how the Mom slowly adapted.  At the beginning she wouldn’t let her go close to the fence and then by the end she was allowed to sit beside Annie.
• I like how the kids adapted.  A first the skipping rope kids said no & that was it and later she skipped and they were having a wonderful time.
• It’s kind of like what happened with South Africa and Nelson Mandela.

We then went on with the lesson, but the glimpses of the ideas they shared rocked my teacher brain.

I couldn’t believe the nuances, themes and subtleties my students were providing, and it wasn’t just my higher-level learners.  It was students with learning disabilities, my level 2 students, students with fine motor difficulties who have trouble writing, and students who always have trouble understanding the plot of the story.  I felt like a barrier had been removed due these four simple questions.                       

Extending the Experiment

I’m also the teacher-librarian and had on- prep coverage every 5-day cycle with every Primary class in the school.  We were participating in the Ontario Library Association’s Forest of Reading Program and I had been sharing one of the Blue Spruce Books with each class every week.  

I decided to drop the format I had been using and try simply reading the picture book, then asking the students the key questions and have them each go around the circle with the talking stick and see what happened.

I was amazed.

That week we were reading A Good Trade, by Alma Fullerton.  It was a tough read for our students.  It portrayed the life of a boy in Uganda.   He fetched his own water, apparently lived in a tent on his own and received shoes from an aid worker who brought them in a truck.  This was a “window book” (Sacks, p. 45) for my students.  We live in an affluent small town in Ontario and they had little understanding of life in Uganda on any level.  In addition to the storyline, the illustrator, Karen Patkau, had provided rich illustrations with many details that caught the students’ eyes and told a story of Uganda beyond that of the text. 

Image from http://www.pajamapartybooks.com/2013/03/world-water-day.html

I’ll try to create a visual for you as classes from Kindergarten to Grade 2 gathered with me on our purple puddle carpet, in a circle, bottoms-up, heads-down huddled over the book.  They were comparing their lives to those of the characters.  They were asking questions to try to understand a life they hadn’t lived. Why did the houses look nothing like ours?  They were making inferences about plot and culture and telling me to flip pages so we could re-read sections. We poured over illustrations to see all the nuances caught between the images and the words. 

It was powerful, with all grade levels. Some still spoke more than others.  Some repeated what a friend before had stated, but it was certainly a strong start.  I had seen the absolute difference it makes when students lead the discussion, and I rejoiced in the richness. 

A major question still remained. How do you focus student thinking in the direction they need to grow?  Stay tuned for the second post in this series!