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1. Analysis in the Wild

2. Toward a New Understanding of Analysis

3. The Essential Tools of Analysis

4. Exploring Passion

5. Exploring Ideas

6. Exploring Structure

7. Exploring Authority

8. Movie and Television Analysis

9. Music Analysis

10. Sports Analysis

11. Video Game Analysis

12. Literary Analysis

13. Gathering Your Own Resources

This book is written to help you plan instruction that supports the development of writers, specifically writers who are analyzing texts. The book is organized into three parts. Part 1 is an immersion into analytical writing that is current, authentic, and relevant to the students we teach today. We'll use the language of exploration to frame a new way of thinking about analysis. This process of analyzing a text is not unlike an explorer setting sail in search of a new land-a metaphor we'll draw on throughout this book to emphasize the discovery that is possible when students analyze texts of their own choosing. Sections 2 and 3 each begin with their own introduction. Section 2 is your lesson book - your guide to helping students find and explore and write about texts they love. Section 3 promises to be dog-eared and worn by the time you're finished with it. Each chapter is jam-packed with our absolute favorite mentors, mentor texts, and "cheat sheets" for supporting students who are analyzing texts you've never heard of.

With samples throughout the book, you will see what students of all levels and experiences can do when they're invited into the world of authentic analysis and supported with mentor texts, targeted writing instruction, and the opportunity to write about their passions.

This book is for teachers who want to revive the art of analytical writing in their classrooms-from teachers of middle-grade writers who are making their first foray into analytical writing to teachers of experienced twelfth-grade writers who are looking ahead to college where their professors will expect much, much more. In this book, we invite you to explore your teaching of analytical writing from a new perspective. To open your mind to the real world of analytical writing and challenge traditional notions about what students should be analyzing and how they should write. In short, we invite you to arrive where you started and know it for the first time-and to share this journey with your students and celebrate the writing that is born where passion and analysis meet.

- Introduction

"English teachers have been waiting for this book since...well...forever. Allison Marchetti and Rebekah O'Dell breathe new life into that semi-comatose assignment-the analytic essay. They ask us to totally reimagine it, to examine how analysis works "in the wild" -on blogs, web sites, Internet reviews, and to expand the range of "texts" students can analyze (music, video games, sports teams, movies). Then drawing on their own classroom work, they show how students can use the lessons from mentor texts in their own writing. A groundbreaking and absolutely essential book." -Thomas Newkirk, author of Embarrassment and Minds Made for Stories

"Are you ready for a mind-bending journey into analytical writing? This book holds a new vision for student engagement grounded in current, authentic, and relevant texts. I guarantee it will upend your understanding of analysis. Full of sentence and passage studies that ignite student voice, mini-lessons that clarify the intent of organizational structures, and a deep understanding of how best to learn from a mentor text, this book will make you a better writing teacher. It's simply brilliant."-Penny Kittle, author of Book Love and coauthor of 180 Days

"Allison Marchetti and Rebekah O'Dell take the dusty skeleton of literary analysis and transform it into a responsive, sophisticated, magical genre of writing that we can teach our students to develop and to adore. Using this book will produce the writing that you and your students will cherish most - these are the pieces they will keep, the ones they will publish. Marchetti and O'Dell's work brings relevance, voice, and life to a form that feels crusty and brittle with directions, templates and redundancy. This book will make your students better writers - but it will also help them to enter into the world they encounter with greater passion and insight than ever before."-Kate Roberts, author of A Novel Approach and coauthor of Falling in Love With Close Reading

"As tour guides to a brave new world, Rebekah O'Dell and Allison Marchetti reject the well-worn path of literary analysis and guide teachers to a vibrant new analytical landscape. By reframing the idea of text as anything that has a beginning, middle, and end, O'Dell and Marchetti entertain a "bigger vision for analysis," that helps students find their passion, explore their ideas, assert authority, and build solid structures for writing. Divided into three sections, the book offers an inquiry into traditional analysis, a compendium of practical lessons, and an exploration of sub-genres, such as writing about movies, music, sports, and video games. In addition, this book is chock full of dynamic mentor texts and classroom-ready techniques that will free your students to explore the vistas vital to their lives."-Liz Prather, author of Project-Based Writing

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This book is for teachers who want to revive the art of analytical writing in their classrooms-from teachers of middle-grade writers to teachers of experienced twelfth-grade writers who are looking ahead to college. We invite you to explore your teaching of analytical writing from a new perspective.

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180 Days: Two Teachers and the Quest to Engage and Empower Adolescents

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Amazon.com: 180 Days: Two Teachers and the Quest to Engage and Empower Adolescents: 9780325081137: Gallagher, Kelly, Kittle, Penny: Books

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Essay. Poetry. Book Clubs. Digital Composition. Penny Kittle and Kelly Gallagher extend their work in 180 Days: Two Teachers and the Quest to Engage and Empower Adolescents by taking a deep dive into four essential studies. Their aim is to move beyond compliance and formula, and to develop students' agency, independence, and decision-making skills. These four practices, they argue, have the power to transform students' relationship with literacy-and truly prepare them for the more demanding work of college.

A central belief underlies each of the four studies-that composing involves choosing, picking among options. It is not following a pre-set pattern. But if students are to make these choices, they need to be aware of the moves and possibilities open to them. That's what this book does-it shows how teacher demonstrations, the skillful use of mentor texts, effective feedback (and many other tools) can make choices possible.

By reimagining how we teach essay, poetry, book clubs, and digital composition, we can open the door to more engaged, connected, and challenging learning.

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4 Essential Studies: Beliefs and Practices to Reclaim Student Agency

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Amazon.com: 4 Essential Studies: Beliefs and Practices to Reclaim Student Agency: 9780325120065: Kittle, Penny, Gallagher, Kelly: Books

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Lanny Ball

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When I first started teaching reading and writing workshop, the hardest part was that I couldn't picture the classroom, the work. I couldn't see it. This was some of my internal dialogue. I was pretty skeptical. It was only by seeing people like Kathleen Tolan, Carl Andersen, and Mary Ehrenworth do the work of workshop in front of me that I began to become a believer.

As my editorial team and I worked on A Novel Approach, we realized that a set of videos might help. All of these videos-and many more-are available within the book. You will find them called out in special sidebars.
via GIPHY
I want to share a few of them here for anyone to see and use and discuss. They are not perfect - scratch that, I am not perfect. If I could, I would change a bunch so that I look like a perfect teacher, I am full of critique. In making these videos we wanted to capture some specific ideas in workshop teaching and in the book but we also wanted them to feel as authentic as possible with a boom mike and a film crew. So we tried not to cut too much, not to redo, we tried to keep things as real as possible. You will see imperfection. You will see me stumble. You will see some lessons land and some that only begin a journey. But I think there are moments that capture something kind of nice. Like this conference, with Charlotte.

In this conference, Charlotte and I work together to help her take the next step in her interpretation work and while we struggle at first, there is just a lovely moment when Charlotte turns a corner and knocks it out of the park. I think there are moves I make here to help her that you could do too:

This conference is similar - Jalissa and I have a good conversation, and we are able to find some work around language specificity that led her to some interesting places.

Or this mini-lesson in Peg Bruno's 6th grade classroom. It builds off of the work done before, pushing kids to use what they already know and go a bit further. It's pretty short, and pretty clear. I think if you are looking for a mini-lesson that does the parts of a lesson well, and that delivers a strategy clearly and succinctly, this is a good one to use. I also love that we see a boy totally unengaged in the lesson and in the "active engagement." This is what that part of the lesson is for - to look for kids who need some guidance.

Or this Read Aloud in Caine Schekner's classroom. I love here that while the kids don't seem super into the read aloud as like a whole class, when they talk to each other they are thoughtful, engaged, and pretty brilliant. I like that I work here to listen, take what they are doing well, and offer strategies to clarify, complicate, or multiply their thinking.

Each of these videos shows a way of teaching that can help kids access and practice the skills and strategies of a unit of study. I hope that they also show how these methods of teaching, this pedagogy, can help offer opportunities to connect to our students, and allow our goofy, scattered, quiet, or determined personality to come through our teaching. I became passionate about teaching workshop because I saw kids grow and move closer to their dreams, and because the ways I taught when I taught workshop helped me to see my students and truly listen to what they were telling me. I give myself a B/B+ in these videos for those relationship-building goals. But the point, to me, is that these methods of teaching help me to talk less, listen more, and teach rather than tell.

I hope they help you do the same.

♦ ♦ ♦

Thank you to Heinemann's Sherry Day, Michael Grover, Tobey Antao, and Dennis Doyle for the two-day photo shoot, and to Peg Bruno and Caine Schekner for the time with their kids.

KATE ROBERTS is a national literacy consultant, top-selling author, and popular keynote speaker. She taught reading and writing in Brooklyn, NY and worked as a literacy coach before joining the Teachers College Reading and Writing Project in 2005, where she worked as a Lead Staff Developer for 11 years. Kate's latest book, A Novel Approach, asks how we can teach whole class novels while still holding onto student centered practices like readers workshop. She is also the co-author of Falling in Love with Close Reading (with Christopher Lehman), DIY Literacy (with Maggie Beattie Roberts), and she co-wrote two Units of Study books on Literary Essay. Her work with students across the country has led to her belief that all kids can be insightful, academic thinkers when the work is demystified, broken down and made engaging. To this end, Kate has worked nationally and internationally to help teachers, schools, and districts develop and implement strong teaching practices and curriculum.

Follow Kate online.
Twitter:
@TeachKate Pinterest: /
Blog: IndentBlog KateAndMaggie.com

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A Peek at A Novel Approach Videos: Mini Lesson, Conferring, and Read Aloud with Kate Roberts

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Here, Kate Roberts shares just a few extended classroom clips from her book, A Novel Approach. In this blog, you'll get a chance to watch Kate confer with two different students, and see how Kate structures a mini-less and read aloud.

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Connect with educators around the world!

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Log into Facebook to start sharing and connecting with your friends, family, and people you know.

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Website: erinkentconsulting.com

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Developing Assessment-Capable Visible Learners, Grades K-12

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Developing Assessment-Capable Visible Learners, Grades K-12

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Nancy Frey, John Hattie, Douglas Fisher

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Introduction. The Foundation: Visible Learning

Chapter 1. Defining Assessment-Capable Visible Learners and the Teachers Who Create Them

Chapter 2. Assessment-Capable Visible Learners... Know Their Current Level of Understanding

Chapter 3. Assessment-Capable Visible Learners... Understand Where They're Going and Have the Confidence to Take on the Challenge

Chapter 4. Assessment-Capable Visible Learners... Select Tools to Guide Their Learning

Chapter 5. Assessment-Capable Visible Learners... Seek Feedback and Recognize That Errors Are Opportunities to Learn

Chapter 6. Assessment-Capable Visible Learners... Monitor Progress and Adjust Their Learning

Chapter 7. Assessment-Capable Visible Learners... Recognize Their Learning and Teach Others

Chapter 8. Mindframes of Schools That Create Assessment-Capable Visible Learners

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Developing Assessment-Capable Visible Learners, Grades K-12

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Introduction. The Foundation: Visible Learning Chapter 1. Defining Assessment-Capable Visible Learners and the Teachers Who Create Them Chapter 2. Assessment-Capable Visible Learners... Know Their Current Level of Understanding Chapter 3. Assessment-Capable Visible Learners... Understand Where They're Going and Have the Confidence to Take on the Challenge Chapter 4. Assessment-Capable Visible Learners...

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DIY Literacy by Kate Roberts & Maggie Beattie Roberts.

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Make visual teaching tools instead of buying them. Use your teaching smarts to get the most from those tools. And help kids think strategically so they can be DIY learners. Get the traction going with teaching and learning to inspire kids to work as hard as we do.

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Dr. Paul Napper and Dr. Anthony Rao

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Introducing The Power of Agency, a science-backed approach to living life on your own terms. Agency is the ability to act as an effective agent for yourself-reflecting, making creative choices, and constructing a meaningful life. Grounded in extensive psychological research, The Power of Agency gives you the tools to help alleviate anxiety, manage competing demands and help you live your version of success.

Renowned psychology experts Paul Napper and Anthony Rao will help you break through your state of overwhelm by showing you how to access your personal agency with seven empowering principles: control stimuli, associate selectively, move, position yourself as a learner, manage your emotions and beliefs, check your intuition, deliberate and then act.

Featuring stories of people who have successfully applied these principles to improve their lives, The Power of Agency will give you the insights and skills to build your confidence, conquer challenges, and live more authentically.

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The Power of Agency: The 7 Principles to Conquer Obstacles, Make Effective Decisions, and Create a Life on Your Own Terms

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The Power of Agency: The 7 Principles to Conquer Obstacles, Make Effective Decisions, and Create a Life on Your Own Terms - Kindle edition by Rao, Anthony . Download it once and read it on your Kindle device, PC, phones or tablets.

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Choice Words: How Our Language Affects Children's Learning

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Choice Words: How Our Language Affects Children's Learning

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Peter H. Johnston

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In productive classrooms, teachers don't just teach children skills: they build emotionally and relationally healthy learning communities. Teachers create intellectual environments that produce not only technically competent students, but also caring, secure, actively literate human beings.

Choice Words shows how teachers accomplish this using their most powerful teaching tool: language. Throughout, Peter Johnston provides examples of apparently ordinary words, phrases, and uses of language that are pivotal in the orchestration of the classroom. Grounded in a study by accomplished literacy teachers, the book demonstrates how the things we say (and don't say) have surprising consequences for what children learn and for who they become as literate people. Through language, children learn how to become strategic thinkers, not merely learning the literacy strategies. In addition, Johnston examines the complex learning that teachers produce in classrooms that is hard to name and thus is not recognized by tests, by policy-makers, by the general public, and often by teachers themselves, yet is vitally important.

This book will be enlightening for any teacher who wishes to be more conscious of the many ways their language helps children acquire literacy skills and view the world, their peers, and themselves in new ways.
eBook Available Through Major Retailers
We offer ebook editions for most of our print titles so you can access on your computer, tablet, or e-reader from several major retailers including Amazon, Barnes and Noble, OverDrive, and ebooks.com. View the full list of retailers here. For eBook purchases of 10+ please email us for a quote. Purchases of 20+ qualify for a bulk discount.

If you previously purchased an ebook from Stenhouse.com, they will remain available in your digital library.

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In productive classrooms, teachers don't just teach children skills: they build emotionally and relationally healthy learning communities. Teachers create intellectual environments that produce not only technically competent students, but also caring, secure, actively literate human beings.Choice Words shows how teachers accomplish this using their most powerful teaching tool:

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"Love brings us in close, leads us to study the details of a thing, and asks us to return again and again. These are the motivations and ideas that built this book."
-Chris Lehman and Kate Roberts

You and your students will fall for close reading. In Falling in Love with Close Reading, Christopher Lehman and Kate Roberts show us that it can be rigorous, meaningful, and joyous. You'll empower students to not only analyze texts but to admire the craft of a beloved book, study favorite songs and videogames, and challenge peers in evidence-based discussions.

Chris and Kate start with a powerful three-step close-reading ritual that students can apply to any text. Then they lay out practical, engaging lessons that not only guide students to independence in reading texts closely but also help them transfer this critical, analytical skill to media and even the lives they lead.

Responsive to students' needs and field-tested in classrooms, these lessons include:

strategies for close reading narratives, informational texts, and arguments

suggestions for differentiation

sample charts and student work from real classrooms

connections to the Common Core State Standards

a focus on viewing media and life in this same careful way.

"We see the ritual of close reading not just as a method of doing the academic work of looking closely at text-evidence, word choice, and structure," write Chris and Kate, "but as an opportunity to bring those practices together to empower our students to see the subtle messages in texts and in their lives." Read Falling in Love with Close Reading and discover that the benefits and joy of close reading don't have to stop at the edge of the page.

Read a sample from the book to learn more about Chris and Kate's close-reading ritual for students and for an annotated text that shows how it works.

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Falling in Love with Close Reading: Lessons for Analyzing Texts--and Life

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Amazon.com: Falling in Love with Close Reading: Lessons for Analyzing Texts--and Life: 9780325050843: Christopher Lehman, Kathleen Roberts, Tobey Antao, Donalyn Miller: Books

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Characteristics of Assessment Capable Learners

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Characteristics of Assessment Capable Learners

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BRENT EARCOS Amplifying Authenticity Across our Assessment Practices

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BRENT EARCOS Amplifying Authenticity Across our Assessment Practices2

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BRENT EARCOS Amplifying Authenticity Across our Assessment Practices (1)

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BRENT EARCOS Amplifying Authenticity Across our Assessment Practices

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Resources | Teachers College Advancing Literacy

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Using a Learning Progression to Help Students Work Towards Clear Goals as they Lift the Level of Their Information Writing (K-2)

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Using a Learning Progression to Support Self-Assessment and Writing about Themes in Literature: Small Group Work (3-5)

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Lucy Calkins and Colleagues at the Teachers College Reading and Writing Project present Using a Learning Progression to Support Self-Assessment and Writing about Themes in Literature: Small Group (3-5)

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Vol. 70

No. 1

Abstract

What Is Feedback, Anyway?

Feedback Essentials

Progress Toward a Goal

"But There's No Time!"

Advice, evaluation, grades-none of these provide the descriptive information that students need to reach their goals. What is true feedback-and how can it improve learning?

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Abstract

What Is Feedback, Anyway?

Feedback Essentials

Progress Toward a Goal

"But There's No Time!"

Who would dispute the idea that feedback is a good thing? Both common sense and research make it clear: Formative assessment, consisting of lots of feedback and opportunities to use that feedback, enhances performance and achievement.

Yet even John Hattie (2008), whose decades of research revealed that feedback was among the most powerful influences on achievement, acknowledges that he has "struggled to understand the concept" (p. 173). And many writings on the subject don't even attempt to define the term. To improve formative assessment practices among both teachers and assessment designers, we need to look more closely at just what feedback is-and isn't.

What Is Feedback, Anyway?

The term feedback is often used to describe all kinds of comments made after the fact, including advice, praise, and evaluation. But none of these are feedback, strictly speaking.

Basically, feedback is information about how we are doing in our efforts to reach a goal. I hit a tennis ball with the goal of keeping it in the court, and I see where it lands-in or out. I tell a joke with the goal of making people laugh, and I observe the audience's reaction-they laugh loudly or barely snicker. I teach a lesson with the goal of engaging students, and I see that some students have their eyes riveted on me while others are nodding off.

Here are some other examples of feedback:

A friend tells me, "You know, when you put it that way and speak in that softer tone of voice, it makes me feel better."

A reader comments on my short story, "The first few paragraphs kept my full attention. The scene painted was vivid and interesting. But then the dialogue became hard to follow; as a reader, I was confused about who was talking, and the sequence of actions was puzzling, so I became less engaged."

A baseball coach tells me, "Each time you swung and missed, you raised your head as you swung so you didn't really have your eye on the ball. On the one you hit hard, you kept your head down and saw the ball."

Note the difference between these three examples and the first three I cited-the tennis stroke, the joke, and the student responses to teaching. In the first group, I only had to take note of the tangible effect of my actions, keeping my goals in mind. No one volunteered feedback, but there was still plenty of feedback to get and use. The second group of examples all involved the deliberate, explicit giving of feedback by other people.

Whether the feedback was in the observable effects or from other people, in every case the information received was not advice, nor was the performance evaluated. No one told me as a performer what to do differently or how "good" or "bad" my results were. (You might think that the reader of my writing was judging my work, but look at the words used again: She simply played back the effect my writing had on her as a reader.) Nor did any of the three people tell me what to do (which is what many people erroneously think feedback is-advice). Guidance would be premature; I first need to receive feedback on what I did or didn't do that would warrant such advice.

In all six cases, information was conveyed about the effects of my actions as related to a goal. The information did not include value judgments or recommendations on how to improve. (For examples of information that is often falsely viewed as feedback, see "Feedback vs. Advice" above and "Feedback vs. Evaluation and Grades" on p. 15.)

Decades of education research support the idea that by teaching less and providing more feedback, we can produce greater learning (see Bransford, Brown, & Cocking, 2000; Hattie, 2008; Marzano, Pickering, & Pollock, 2001). Compare the typical lecture-driven course, which often produces less-than-optimal learning, with the peer instruction model developed by Eric Mazur (2009) at Harvard. He hardly lectures at all to his 200 introductory physics students; instead, he gives them problems to think about individually and then discuss in small groups. This system, he writes, "provides frequent and continuous feedback (to both the students and the instructor) about the level of understanding of the subject being discussed" (p. 51), producing gains in both conceptual understanding of the subject and problem-solving skills. Less "teaching," more feedback equals better results.

Feedback Essentials

Whether feedback is just there to be grasped or is provided by another person, helpful feedback is goal-referenced; tangible and transparent; actionable; user-friendly (specific and personalized); timely; ongoing; and consistent.

1. Goal-Referenced

Effective feedback requires that a person has a goal, takes action to achieve the goal, and receives goal-related information about his or her actions. I told a joke-why? To make people laugh. I wrote a story to engage the reader with vivid language and believable dialogue that captures the characters' feelings. I went up to bat to get a hit. If I am not clear on my goals or if I fail to pay attention to them, I cannot get helpful feedback (nor am I likely to achieve my goals).

Information becomes feedback if, and only if, I am trying to cause something and the information tells me whether I am on track or need to change course. If some joke or aspect of my writing isn't working -a revealing, nonjudgmental phrase-I need to know.

Note that in everyday situations, goals are often implicit, although fairly obvious to everyone. I don't need to announce when telling the joke that my aim is to make you laugh. But in school, learners are often unclear about the specific goal of a task or lesson, so it is crucial to remind them about the goal and the criteria by which they should self-assess. For example, a teacher might say,

The point of this writing task is for you to make readers laugh. So, when rereading your draft or getting feedback from peers, ask, How funny is this? Where might it be funnier?

As you prepare a table poster to display the findings of your science project, remember that the aim is to interest people in your work as well as to describe the facts you discovered through your experiment. Self-assess your work against those two criteria using these rubrics. The science fair judges will do likewise.

2. Tangible and Transparent

Any useful feedback system involves not only a clear goal, but also tangible results related to the goal. People laugh, chuckle, or don't laugh at each joke; students are highly attentive, somewhat attentive, or inattentive to my teaching.

Even as little children, we learn from such tangible feedback. That's how we learn to walk; to hold a spoon; and to understand that certain words magically yield food, drink, or a change of clothes from big people. The best feedback is so tangible that anyone who has a goal can learn from it.

Alas, far too much instructional feedback is opaque, as revealed in a true story a teacher told me years ago. A student came up to her at year's end and said, "Miss Jones, you kept writing this same word on my English papers all year, and I still don't know what it means." "What's the word? " she asked. "Vag-oo," he said. (The word was vague!)

Sometimes, even when the information is tangible and transparent, the performers don't obtain it-either because they don't look for it or because they are too busy performing to focus on the effects. In sports, novice tennis players or batters often don't realize that they're taking their eyes off the ball; they often protest, in fact, when that feedback is given. (Constantly yelling "Keep your eye on the ball!" rarely works.) And we have all seen how new teachers are sometimes so busy concentrating on "teaching" that they fail to notice that few students are listening or learning.

That's why, in addition to feedback from coaches or other able observers, video or audio recordings can help us perceive things that we may not perceive as we perform; and by extension, such recordings help us learn to look for difficult-to-perceive but vital information. I recommend that all teachers videotape their own classes at least once a month. It was a transformative experience for me when I did it as a beginning teacher. Concepts that had been crystal clear to me when I was teaching seemed opaque and downright confusing on tape-captured also in the many quizzical looks of my students, which I had missed in the moment.

3. Actionable

Effective feedback is concrete, specific, and useful; it provides actionable information. Thus, "Good job!" and "You did that wrong" and B+ are not feedback at all. We can easily imagine the learners asking themselves in response to these comments, What specifically should I do more or less of next time, based on this information? No idea. They don't know what was "good" or "wrong" about what they did.

Actionable feedback must also be accepted by the performer. Many so-called feedback situations lead to arguments because the givers are not sufficiently descriptive; they jump to an inference from the data instead of simply presenting the data. For example, a supervisor may make the unfortunate but common mistake of stating that "many students were bored in class." That's a judgment, not an observation. It would have been far more useful and less debatable had the supervisor said something like, "I counted ongoing inattentive behaviors in 12 of the 25 students once the lecture was underway. The behaviors included texting under desks, passing notes, and making eye contact with other students. However, after the small-group exercise began, I saw such behavior in only one student."

Such care in offering neutral, goal-related facts is the whole point of the clinical supervision of teaching and of good coaching more generally. Effective supervisors and coaches work hard to carefully observe and comment on what they observed, based on a clear statement of goals. That's why I always ask when visiting a class, "What would you like me to look for and perhaps count?" In my experience as a teacher of teachers, I have always found such pure feedback to be accepted and welcomed. Effective coaches also know that in complex performance situations, actionable feedback about what went right is as important as feedback about what didn't work.

4. User-Friendly

Even if feedback is specific and accurate in the eyes of experts or bystanders, it is not of much value if the user cannot understand it or is overwhelmed by it. Highly technical feedback will seem odd and confusing to a novice. Describing a baseball swing to a 6-year-old in terms of torque and other physics concepts will not likely yield a better hitter. Too much feedback is also counterproductive; better to help the performer concentrate on only one or two key elements of performance than to create a buzz of information coming in from all sides.

Expert coaches uniformly avoid overloading performers with too much or too technical information. They tell the performers one important thing they noticed that, if changed, will likely yield immediate and noticeable improvement ("I was confused about who was talking in the dialogue you wrote in this paragraph"). They don't offer advice until they make sure the performer understands the importance of what they saw.

5. Timely

In most cases, the sooner I get feedback, the better. I don't want to wait for hours or days to find out whether my students were attentive and whether they learned, or which part of my written story works and which part doesn't. I say "in most cases" to allow for situations like playing a piano piece in a recital. I don't want my teacher or the audience barking out feedback as I perform. That's why it is more precise to say that good feedback is "timely" rather than "immediate."

A great problem in education, however, is untimely feedback. Vital feedback on key performances often comes days, weeks, or even months after the performance-think of writing and handing in papers or getting back results on standardized tests. As educators, we should work overtime to figure out ways to ensure that students get more timely feedback and opportunities to use it while the attempt and effects are still fresh in their minds.

Before you say that this is impossible, remember that feedback does not need to come only from the teacher, or even from people at all. Technology is one powerful tool-part of the power of computer-assisted learning is unlimited, timely feedback and opportunities to use it. Peer review is another strategy for managing the load to ensure lots of timely feedback; it's essential, however, to train students to do small-group peer review to high standards, without immature criticisms or unhelpful praise.

6. Ongoing

Adjusting our performance depends on not only receiving feedback but also having opportunities to use it. What makes any assessment in education formative is not merely that it precedes summative assessments, but that the performer has opportunities, if results are less than optimal, to reshape the performance to better achieve the goal. In summative assessment, the feedback comes too late; the performance is over.

Thus, the more feedback I can receive in real time, the better my ultimate performance will be. This is how all highly successful computer games work. If you play Angry Birds, Halo, Guitar Hero, or Tetris, you know that the key to substantial improvement is that the feedback is both timely and ongoing. When you fail, you can immediately start over-sometimes even right where you left off-to get another opportunity to receive and learn from the feedback. (This powerful feedback loop is also user-friendly. Games are built to reflect and adapt to our changing need, pace, and ability to process information.)

It is telling, too, that performers are often judged on their ability to adjust in light of feedback. The ability to quickly adapt one's performance is a mark of all great achievers and problem solvers in a wide array of fields. Or, as many little league coaches say, "The problem is not making errors; you will all miss many balls in the field, and that's part of learning. The problem is when you don't learn from the errors."

7. Consistent

To be useful, feedback must be consistent. Clearly, performers can only adjust their performance successfully if the information fed back to them is stable, accurate, and trustworthy. In education, that means teachers have to be on the same page about what high-quality work is. Teachers need to look at student work together, becoming more consistent over time and formalizing their judgments in highly descriptive rubrics supported by anchor products and performances. By extension, if we want student-to-student feedback to be more helpful, students have to be trained to be consistent the same way we train teachers, using the same exemplars and rubrics.

Progress Toward a Goal

In light of these key characteristics of helpful feedback, how can schools most effectively use feedback as part of a system of formative assessment? The key is to gear feedback to long-term goals.

Let's look at how this works in sports. My daughter runs the mile in track. At the end of each lap in races and practice races, the coaches yell out split times (the times for each lap) and bits of feedback ("You're not swinging your arms!" "You're on pace for 5:15"), followed by advice ("Pick it up-you need to take two seconds off this next lap to get in under 5:10!").

My daughter and her teammates are getting feedback (and advice) about how they are performing now compared with their final desired time. My daughter's goal is to run a 5:00 mile. She has already run 5:09. Her coach is telling her that at the pace she just ran in the first lap, she is unlikely even to meet her best time so far this season, never mind her long-term goal. Then, he tells her something descriptive about her current performance (she's not swinging her arms) and gives her a brief piece of concrete advice (take two seconds off the next lap) to make achievement of the goal more likely.

The ability to improve one's result depends on the ability to adjust one's pace in light of ongoing feedback that measures performance against a concrete, long-term goal. But this isn't what most school district "pacing guides" and grades on "formative" tests tell you. They yield a grade against recent objectives taught, not useful feedback against the final performance standards. Instead of informing teachers and students at an interim date whether they are on track to achieve a desired level of student performance by the end of the school year, the guide and the test grade just provide a schedule for the teacher to follow in delivering content and a grade on that content. It's as if at the end of the first lap of the mile race, My daughter's coach simply yelled out, " B+ on that lap!"

The advice for how to change this sad situation should be clear: Score student work in the fall and winter against spring standards, use more pre-and post-assessments to measure progress toward these standards, and do the item analysis to note what each student needs to work on for better future performance.

"But There's No Time!"

Although the universal teacher lament that there's no time for such feedback is understandable, remember that "no time to give and use feedback" actually means "no time to cause learning." As we have seen, research shows that less teaching plus more feedback is the key to achieving greater learning. And there are numerous ways-through technology, peers, and other teachers-that students can get the feedback they need.

So try it out. Less teaching, more feedback. Less feedback that comes only from you, and more tangible feedback designed into the performance itself. And, of course, send me some feedback on this article at gwiggins@authenticeducation.org.

Feedback vs. Advice

› You need more examples in your report.

› You might want to use a lighter baseball bat.

› You should have included some Essential Questions in your unit plan.

These three statements are not feedback; they're advice. Such advice out of the blue seems at best tangential and at worst unhelpful and annoying. Unless it is preceded by descriptive feedback, the natural response of the performer is to wonder, "Why are you suggesting this?"

As coaches, teachers, and parents, we too often jump right to advice without first ensuring that the learner has sought, grasped, and tentatively accepted the feedback on which the advice is based. By doing so, we often unwittingly end up unnerving learners. Students become increasingly insecure about their own judgment and dependent on the advice of experts-and therefore in a panic about what to do when varied advice comes from different people or no advice is available at all.

If your ratio of advice to feedback is too high, try asking the learner, "Given the feedback, do you have some ideas about how to improve?" This approach will build greater autonomy and confidence over the long haul. Once they are no longer rank novices, performers can often self-advise if asked to.

Feedback vs. Evaluation and Grades

› This is a weak paper.

› You got a C on your presentation.

› I'm so pleased by your poster!

These comments make a value judgment. They rate, evaluate, praise, or criticize what was done. There is little or no feedback here-no actionable information about what occurred. As performers, we only know that someone else placed a high or low value on what we did.

How might we recast these comments to be useful feedback? Tip: Always add a mental colon after each statement of value. For example,

"Good work: Your use of words was more precise in this paper than in the last one, and I saw the scenes clearly in my mind's eye."

"This is a weak paper: Almost from the first sentence, I was confused as to your initial thesis and the evidence you provide for it. In the second paragraph you propose a different thesis, and in the third paragraph you don't offer evidence, just beliefs."

You'll soon find that you can drop the evaluative language; it serves no useful function.

The most ubiquitous form of evaluation, grading, is so much a part of the school landscape that we easily overlook its utter uselessness as actionable feedback. Grades are here to stay, no doubt-but that doesn't mean we should rely on them as a major source of feedback.

References

Bransford, J. D., Brown, A. L., & Cocking, R. R. (Eds.). (2000). How people learn: Brain, mind, experience, and school. Washington, DC: National Academy Press.

Hattie, J. (2008). Visible learning: A synthesis of over 800 meta-analyses relating to achievement. New York: Routledge.

Mazur, E. (2009, January 2). Farewell, lecture? Science, 323, 50-51.

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Advice, evaluation, grades-none of these provide the descriptive information that students need to reach their goals. What is true feedback-and how can it improve learning?

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How to leave a voice note on a google doc

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How to leave a voice note on a google doc

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Balancing Volume and Writing About Reading

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Balancing Volume and Writing About Reading

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Anna Cockerille

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Most reading workshop experts suggest that students spend no more than 10% of their reading time writing about reading. During the other 90% of reading time, students should be reading, engrossed in books they can read with a high level of accuracy in order to achieve the kind of reading volume that leads to maximum growth.

Readers must also pause at points to distill their about their reading, and writing is a key way to do this. The thinking work that readers are expected to do as they progress through the grades becomes staggering in its sophistication. The way a reader can reach these high levels of thinking is by making work she is doing as a reader visible so that she can share it with others, she can get feedback on it, and she can set goals for how to make it better.

But how to help readers to use writing to move into more sophisticated ways of thinking about books and also maintain a high volume of reading? The key is to teach readers to use writing strategically. There three main ways of writing about reading: short jots to record quick ideas (these are often done on Post-its); longer entries to grow ideas (often done in a reading notebook); and formal pieces of writing exploring a theory about a character or a book (these often take the form of literary essays). It's helpful to teach readers to be strategic about when and about how often they might utilize each kind of writing in order to preserve their reading time.

Readers might think of each kind of writing as follows:

Quick jots: readers should expect these to be the most frequent kind of writing about reading they do. Most of the time when they write about their reading, they'll stop to record a quick thought, or a new detail on a theory or main idea they've been tracking. Their jots will become more nuanced and sophisticated as their thinking about their reading becomes so, but their jots needn't necessarily become longer. For more on helping students achieve their best Post-its, see The Life Cycle of a Post-it.

Longer entries: Occasionally, a reader can pause their reading to write in long form to grow an idea. In upper grades, readers might do this for homework, or in the middle of reading workshop to transition into book clubs. Teaching notebook techniques, such as Post-it to theory charts in which readers take a Post-it and used a kind of focused writing to develop a theory about a character or theme, is a way to help readers be as effective and efficient as possible in their longer writing. Many suggestions for notebook techniques can be found in upper grade reading units of study.

Formal writing about reading, such as essays: Virtually all of the time, formal writing about reading is best done during writing workshop. A writing unit on literary essays is a perfect example of this. During writing workshop, students draw upon the thinking work they've done in reading workshop, including their quick jots and longer entries. And in writing workshop, they develop a theory about their writing, and write an organized piece using examples from their reading.

At this week's TCRWP Twitter chat, staff developers and upper grade reading experts Katie Clements and Eric Hand will lead a discussion on ways to help students to balance reading volume and writing about reading. If you teach upper grade reading and wish to help your students both grow their thinking and achieve maximum volume, be sure to join this chat.

Each Wednesday night at 7:30pm eastern, The Teacher's College Reading and Writing Project hosts a Twitter chat using the hashtag #TCRWP. Join @clemenkat & @writtenbyhand to chat about balancing reading volume and writing about reading tomorrow evening.

Not on Twitter? Take Heinemann's free Twitter for Educators course here.

Anna Cockerille, Heinemann Editor and Coauthor of Bringing History to Life(Grade 4) in the Units of Study for Teaching Writing Series, was a teacher and a literacy coach in New York City and in Sydney, Australia, and later became a Staff Developer and Writer at TCRWP. She also served as an adjunct instructor in the Literacy Specialist Program at Teachers College. Anna has been a researcher for Lucy Calkins, contributing especially to Pathways to the Common Core: Accelerating Achievement (Heinemann 2012), and the Units of Study for Teaching Reading, Grades 3-5 series (Heinemann 2010). Anna is currently serving as an editor on the forthcoming Phonics Units of Study series for grades K-2, and previously served as an editor for theUnits of Study for Teaching Reading, K-5 series.

Follow her on Twitter@annagcockerille

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Balancing Volume & Writing About Reading, 3-8

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Most reading workshop experts suggest that students spend no more than 10% of their reading time writing about reading. During the other 90% of reading time, students should be reading, engrossed in books they can read with a high level of accuracy in order to achieve the kind of reading volume that leads to maximum growth.

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Some Authentic Reasons to Write About Reading...

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Some Authentic Reasons to Write About Reading...

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Katie Clements (2019)

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Why I Write About Reading - Clements (2019)

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Grade 8: Analytic Essays- Movies, TV Shows, Games

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Grade 8: Analytic Essays- Movies, TV Shows, Games

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Debrief: Teacher Moves for Maximum Impact

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Peer Conferring: Students Teach Each Other to Revise in Order to Orient their Readers (3-5)