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Narrative Bands of Text Complexity Descriptions

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Narrative Bands of Text Complexity Descriptions

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TCRWP | All Levels

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EKC

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VSA: MYP Inquiry-based Lesson Planning Sheet

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Ofelia García and François Grosjean

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In the last 10 years or so, a new term has appeared in the field of bilingualism, most notably in the area of bilingual education: translanguaging. One of its most visible proponents is Professor Ofelia García of the Graduate Center of the City University of New York. In a 2015 publication with Ricardo Otheguy and Wallis Reid, she defines translanguaging as, "... the deployment of a speaker's full linguistic repertoire without regard for watchful adherence to the socially and politically defined boundaries of named (and usually national and state) languages."

Ofelia García has very kindly accepted to answer a few of our questions and we wish to thank her wholeheartedly.
Q: You are a strong defender of allowing bilingual students in school to use their entire language repertoire through translanguaging. You write, "... forbidding bilinguals to translanguage, or assessing it negatively, produces an inaccurate measure of their language proficiency." Can you expand on this a bit?
A: If we are truly interested in knowing what bilingual students know and what they can do with language, we must separate their ability to use certain forms of one language or another from their ability to use language. For example, in schools, students are asked to find the main idea of a text, to support an argument with text-based evidence, to infer, to make a convincing oral presentation, to work out a math problem. Especially emergent bilingual students may not be able to show that they can do these things if only allowed to use the language legitimized in school. Only by drawing from their entire language repertoire will bilingual students be able to demonstrate what they know, and especially what they can do with language. Being able to perform with language-specific features legitimized in schools is not the same as having general language ability or being knowledgeable of content.
Q: Translanguaging in the classroom functions well when the children and the teacher share the same minority language. But in many other classrooms, students come from many different language backgrounds. How can translanguaging take place then?
A: Translanguaging pedagogy requires a different type of teacher, a co-learner. Classrooms are increasingly multilingual in the world. It is impossible for teachers to know all the languages of students. But it is possible for teachers to build a classroom ecology where there are books and signage in multiple languages; where collaborative groupings are constructed according to home language so that students can deeply discuss a text in the dominant school language with all their language resources; where students are allowed to write and speak with whatever resources they have and not wait until they have the "legitimate" ones to develop a voice; where all students language practices are included so as to work against the linguistic hierarchies that exist in schools; where families with different language practices are included. Any teacher, including a monolingual one, can take up translanguaging to enable their bilingual students to make deeper meaning and legitimize their home language practices.
Q: Given that bilingual students, as they grow older, will increasingly find themselves interacting with monolinguals, especially in their future workplace, should schools also encourage them to "keep to one language" and measure their proficiency at doing so?
A: Translanguaging leverages the fluid language practices of all bilingual students and communities to learn deeply, while also equipping students to recognize when to use what features for what purposes. Of course, schools must develop bilingual students' critical metalinguistic awareness, and their ability to suppress some language features from their repertoire at appropriate times. And schools must give students affordances to perform with only some of their features at times. And teachers must assess what students can do using their entire repertoire of language features, as well as selected ones. Yet, teachers should not evaluate bilingual children's performances using only certain of their language features as being valid performances, and should not compare those performances to those of monolingual children in that language.

Q: Turning to the more linguistic and cognitive aspects of translanguaging, how does the notion that a bilingual is not two monolinguals in one person- something I stressed as early as 1985- tie into translanguaging?

A: Your notion is essential to the concept of translanguaging. Translanguaging is based on François Grosjean's idea that bilinguals are not two monolinguals in one (see here). That is why their performances in one or another language cannot be compared to that of monolinguals, since they would then be expected to draw only from less than half of their entire repertoire. This puts bilinguals in an unfair position.
Q: In what way is translanguaging different from interacting with other bilinguals, changing base language freely, translating whenever needed, and intermingling one's languages in the form of codeswitching and borrowing?
A: There is an epistemological difference between the theoretical position on language contact that has led to the constructs of borrowing, code-switching, calques, language interference, etc. and the concept of translanguaging. Language contact studies start with named languages as categories, and then look across these named categories. Linguists often refer to the behavior of bilinguals when they go across these named language categories as code-switching. It is an external view of language. But translanguaging takes the internal perspective of speakers whose own mental grammar has been developed in social interaction with others. For these bilingual speakers, their language features are simply their own. Translanguaging is more than going across languages; it is going beyond named languages and taking the internal view of the speaker's language use.
Q: The linguistic phenomena mentioned in the previous question have been studied by researchers for more than 60 years. What are the benefits of replacing them with "translanguaging" when the behavior is clearly the same?
A: The behavior may look to be the same from the external social perspective, from a perspective that doesn't question why named languages and language hierarchies exist or the relationship between language and power. But seen from the internal perspective of the bilingual speaker, translanguaging behavior is clearly different. Translanguaging legitimizes the fluid language practices with which bilinguals operate. It posits that bilinguals have a much more complex and expanded repertoire than monolinguals. Bilingual speakers then appropriate all their linguistic features, no matter their social standing, instead of categorizing them as belonging to one national group or another to which they may not belong.

Q: In your 2015 paper with Ricardo Otheguy and Wallis Reid, you state that we all have our own idiolect- a collection of individual lexical and structural features- and that there are large areas of overlap among idiolects so that we can communicate with one another. People call this sharing a language (e.g. English), something that is psychologically real for them, and yet you state that language is only a social and political construct, not a lexical or structural one. Can you explain?

A: Linguists can only describe linguistic features, but they cannot say as linguists which features constitute one language or another. The naming of a language is always a social, political and economic decision, not a linguistic one. Thus, it is not true that separate named languages have linguistic reality. However, it is true that languages are social constructs that have had very important real and material consequences in the lives of people, some bad, and some good. This social construction of language also has an important identity function for groups and individuals that cannot be denied. But named languages have often been constructed by a process of standardization that leaves out the practices of minoritized populations.
Q: Bilinguals, according to you, only have one idiolect made up of more lexical and structural features than monolinguals and a more complex socio-cultural marking of which features to use and when. What evidence do you have, cognitive or neurolinguistic, that bilinguals do not have separate idiolects, one for each of their languages?
A: I am a sociolinguist who has specialized in the education of bilinguals. My evidence comes from the classrooms and from listening to bilingual children. From the bilingual 11-year-old who once told me: "Spanish runs through my heart, but English rules my veins," concretely expressing that for him there is one language system that cannot be separated because otherwise it would lead to his death. From the 5-year-old Spanish-speaker who was learning English by repeating after the teacher, "That tree is grander." From the teacher who tells me that her young first graders are always talking to themselves in Spanish, even when working through English. The work of neurolinguists is also beginning to show that when bilingual speakers perform linguistically, all the features of their repertoire are activated and available, even though speakers selectively suppress some features depending on the communicative situation in which they find themselves.

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Connect with international educators and grow ideas together!

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

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IB

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MYP From Principles into Practice

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VSA MYP Online Cohort, Session 1 (July 2020)

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Honesty
Authenticity/Real World
Seeing students as individuals
Focus on progress, rather than marks
Process over product
Students know we care — show interest in them as people!
Open-mindedness

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Enable students to reach their potential

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Respect the students' backgrounds and experiences

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Focus on developing students' character (morality) and skills rather than have them too focused on grades

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but we want to put the kids at ease with their capabilities and skills  and ensure they have those skills required when they are at the end of their VSA experience. Grades are not everything BUT there is an expectation that achievements are made.

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Teaching students about the morality, especially in novels

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Teaching students about the morality, especially in novels

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Focusing on character and developing the soft skills

Jeremy

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the word promise is a bit slippery, but we said giving the kids the skills they need in order to be the most successful for their capability.

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Giving students safe environment to share their ideas in the class.

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Instil and develop their curiosity about learning and focus on the learning process and experience

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about principles for pacing out your instruction over the course of a unit so as to maximize students' understanding of what they are doing. How to realize the Hmelo-Silver, Duncan, Chinn quote?

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Got - workshop lesson, timings for each lesson.
Wants - is it possible to cover all the content with the short time of directed teaching (8-10mins), sometimes there is more info to be shared - ie. even just going through the expectation of the task.

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Got - compliment first, teaching in - next

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Got: Student empowerment through their voice and choice & Want: how is language/literacy used across different subjects?

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Got: Student empowerment through their voice and choice & Want: how is language/literacy used across different subjects?

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A structure of the lesson that I can emphasis more in the future

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feedback which is timely and student specific is really important.

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Giving personalised feedback to students in a timely manner, specifying exactly what they can improve, but also complimenting what they have done well

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Since we are entering a third wave of covid here in HK, we will likely be doing more online learning...how can this look in an online setting? (want)

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Since we are entering a third wave of covid here in HK, we will likely be doing more online learning...how can this look in an online setting? (want)

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Want - Strategies for getting kids to take advantage of the resources you have in your classroom

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GOT-  review and refresh of effective feedback structure + approach (RWT)

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GOT-  review and refresh of effective feedback structure + approach (RWT)

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effective feedback

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- workshop helps to shape kids' identity as readers or writers
- authentic environment: literate - accessible - organized - authentic

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Understanding of how to bring Workshop into class

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Understanding of how to bring Workshop into class

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Workshop translates well to online learning as the mini-lesson, workshop and reflect/share time would work well with zoom or with prepared videos for students to watch

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Got
separate section of notebook for reflection on strategies and artifacts

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how to put the workshop model into teaching reading and writing? is there some case study or examples to share and discuss?

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Jennifer Serravallo

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Jennifer Serravallo

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Jennifer Serravallo

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Writing: Developing, Drafting, & Revising

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Writing: Developing, Drafting, & Revising

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Jennifer Serravallo

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Jennifer Serravallo

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MYP From Principles into Practice

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MYP From Principles into Practice

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EKC

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I Wonder: Whole Class Instruction with Clarity and Brevity

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I Wonder: Whole Class Instruction with Clarity and Brevity

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Another example minilesson - TCRWP

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Whole Class Instruction: Analyzing Point of View in Persuasive Texts (5-8)

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Gots: Using the ATL skills/learner profile and connecting it to the teaching point 

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Gots: Using the ATL skills/learner profile and connecting it to the teaching point 

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Turning teaching points into questions - essential or otherwise

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I notice vs. What do you notice and other inquiry-based language was very helpful.  I would like to see the architecture of other disciplines.

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Gots - linking ATL and learner profile.

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Gots-Ideas of bringing ATL's into  the lesson. 

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Gots-Ideas of bringing ATL's into  the lesson. 

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Identifying command terms earlier than only in the Assessment task

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Different levels of scaffolding

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GOT - making a connection to the future and that the skills can be used anytime. 

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GOT - making a connection to the future and that the skills can be used anytime. 

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Approaches for weaving the statement of inquiry through workshop

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tonya@erinkentconsulting.com

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Tweets by Mrs_Gilchrist

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Latest Posts Every Learner Has a Place "This is what happens when everything we want kids to learn is fixed, finished, done. One kid explained this, talking about his science class. 'The trouble is, everything's all figured out. So there's no place for me. They figured everything out already so why should I?

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Interviews with wonderful authors

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VSA MYP L&L Text Complexity & Objective A - Group 1

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VSA MYP L&L Text Complexity & Objective A - Group 2

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VSA MYP L&L Text Complexity & Objective A - Group 3

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VSA MYP I&S Text Complexity & Objective D - Group 4

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VSA MYP Sciences Text Complexity & Objectives Aiii + Dii - Group 5

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VSA MYP Lang. Acquisition Text Complexity & Objective B - Group 6

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Resource: Units of Study for Writing Workshop

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Resource: Units of Study for Writing Workshop

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TCRWP

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LLI Blue System, Leveled Literacy Intervention, Second Edition for Grade 2, Levels C-N.

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Resource: Units of Study for Reading Workshop

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Resource: Units of Study for Reading Workshop

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TCRWP

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LLI Blue System, Leveled Literacy Intervention, Second Edition for Grade 2, Levels C-N.

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Jennifer Serravallo

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Your Research-based Guide to Developing Skilled Readers. 300+ strategies with learning progressions support 13 reading goals, with each strategy cross-linked to skills, teacher tips, prompts, research, and reading levels—everything from fluency to literary analysis.

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Jennifer Serravallo

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Introduction
A Very Brief Introduction to Principles, Research, and Theory, and How to Use This Book
The idea for a book of writing strategies exists many times over. This one is possible only because of the great books that have come before it. There are books suggesting writing strategies meant for professional writers and college students, such as those by Noah Lukeman, Roy Peter Clark, and Janet Burroway, among others. There are countless examples of excellent compilations of writing strategies in books written for teachers of writing, such as Fletcher and Portalupi's Craft Lessons Series, Barry Lane's After "The End" (1993), Carl Anderson's Strategic Writing Conferences series (2008-2009), Donald Graves' many books, Katie Wood Ray's Wondrous Words (1999) and other titles, Katherine Bomer's books, Georgia Heard's books, Nancie Atwell's In the Middle (2014) and other resources, Lucy Calkins' Units of Study series, and many more. My aim in this book is to offer my favorite, most useful collection of strategies that span all aspects of the writing process, all genres and modes of writing, and that will work well with students in grades K-8. I want to offer you a little bit of everything. I streamlined the language and examples, and I present the strategies in a format that is organized so that the busy teacher can find just the right strategy at just the right moment. Of course, you'll elaborate on the streamlined language and make it your own.

But wait-before you dive in, I'm so glad you're taking the time to spend a few moments with this "Getting Started" introduction. In this introduction, you'll gain a helpful overview of the thinking that undergirds this book's ideas as well as an overview of its organization. You'll learn about strategies and all the aspects that I chose to include to elaborate on them-mentor texts, prompts, lesson language, teaching tips, and more. You'll learn how to navigate the pages of the book so you can find what you're looking for quickly and easily, for this is not a read-every-single-page kind of book (unless you want it to be). You'll get a quick crash course on some important terminology and concepts that will help you use this book to its fullest- thoughts about writing as a process, and modes and genres of writing, for example. And finally, you'll learn how to adapt what's in the book to fit your students' writing time in the classroom, no matter what form that time takes.
Click here to download more of the introduction of this book.
Goal 1: Composing with Pictures

Strategy Go back to your picture(s). Point to the part or picture that teaches something important about your topic. Touch or turn to the next part. Tell what new fact about your topic this part of the picture or this page teaches.

Lesson Language If I wrote or drew to teach, then when I read my writing back I'm going to make it sound like a teaching book. I'm going to tell my reader the facts I wrote about. Let me show you. I drew a picture of a big T. rex. I know a lot about them so I added a lot of details in my picture. I'm going to touch one part and teach what that part says. "The T. rex had very large jaws with big sharp teeth." Now I'm going to touch a new part and teach what that part says. "The T. rex had very short arms. It would only run using its hind legs."

Goal 2: Engagement - Independence, Increasing Volume, and Developing a Writing Identity

Strategy First, identify the problem you're having. Then, check the spot in the room, a resource, or a friend that might help you solve the problem. Try a solution. If it doesn't work, try something else.

Teaching Tip This strategy, like "Use the Room" that appears earlier in this chapter, assumes that there are things in the room that can be helpful, and that you've taught children how to use them. For example, in a primary classroom a word wall may help a writer to spell high-frequency words. If you've introduced and used mentor texts, then having these available for children to reference on their own could help them. Sometimes the problem might be that they need to work in a new spot in the room because of the amount of distractions at their current spot. Brainstorm possible problems with your students, and come up with a list of resources and solutions. Or, this strategy can be like a culmination of past teaching from this and other chapters.

Goal 3: Generating and Collecting Ideas

Strategy Decide on a new place to visit. Go there with no more than a notebook and a set of listening ears and observing eyes. Let yourself pick up on conversation and details of the person. Jot down what you observe, and also what you imagine, about the people you see.

Teaching Tip This strategy will take you outside of the classroom, so it would work well as a whole-class lesson followed by a field trip, or as a suggestion to a student, group, or class for independent writing outside of the school day.

Goal 4: Focus/Meaning

Strategy Think about a memory and all the events that are part of that memory. Think about what's important about that memory, or the big idea the memory leaves you with. Identify the one part of the memory that feels the most important. Write some ideas about what's important about it, and why it's important. Try to write just that one smaller part of the larger moment. Tell it bit by bit.

Teaching Tip The amount a writer will be able to reflect on the overall significance of a small moment will depend on her maturity level and experience with writing. For younger children, you may want to suggest choosing a small moment that will make a good story, rather than one imbued with a deep or heavy significance, or simply encourage them to narrow down the window of time

Goal 5: Organization and Structure

Strategy Before beginning to draft, visualize the shape of what you're going to make. Create some sort of quick visual, in pictures or in words, to represent the overarching structure. As you write, check back to see where you are in your plan.

Teaching Tip This is going to be most helpful after students have learned a variety of ways to structure their pieces and have been introduced to a variety of graphic organizers that would help them to organize, or shape, the information into a structure.

Goal 6: Elaboration

Strategy Think about the subtopics for which you'll want to collect information. Write each of your subtopics as a heading on a notebook or booklet page. As you find new information for your topic, think, "What page in my notebook should this go on? Which subtopic does it provide details for?"

Lesson Language I just found this interesting fact: Ballerinas really wear out their shoes. Many go through as many as 2-3 pairs per week! I'm going to look across the pages of my booklet to see where this would best fit. Would it belong in the section called "Types of Ballet Positions?" No, that's not about the positions. Would it go in the section called "Famous Ballets?" No. "What Ballerinas Wear?" Well, I do talk about pointe shoes in this section, so it might be cool to add this fact about how many pairs of pointe shoes the average ballerina needs. I'll keep the fact here.

Goal 7: Word Choice

Strategy Find all the action verbs in your piece. Focus on any that you think aren't as clear, precise, or exact as they could be. List several options for what might replace that word (use a thesaurus if you need it!). Choose the word that best matches your meaning.

Teaching Tip For this strategy to work, children will need to understand what an action verb is, so identification of verbs is a first step in this strategy. Many teachers weave in some instruction during other balanced literacy components such as word study, read-aloud, and/or shared reading. You could also plan to teach direct minilessons to the class or small groups for those who do not understand parts of speech.

Goal 8: Conventions - Spelling and Letter Formation

Strategy When trying to spell a word, try to visualize where you've seen it written and how you've seen it written before. It may help to close your eyes. Then, in a margin or on a piece of scrap paper, write how you think it's spelled. Try it a second or maybe even third way. Look back at what you've written and ask yourself, "Which of these tries looks right to me?"

Prompts

Check off the parts that look right to you.

Write the word as you think you've seen it before.

Which parts look right? Which part looks off?

Do you think there are some letters missing?

What part of that word is tricky for you?

The part you're trying to spell is also in the word _______. Does that help?

Goal 9: Conventions - Grammar and Punctuation

Strategy Find two sentences that talk about the same topic. Think about the relationship between those sentences. Choose a connector word and try combining the sentences into one. Reread and decide if you like the combined way or original way better.

Lesson Language Here's one spot in my draft where I have two sentences that I
think go well together. I wrote: "A dog is something that can keep you company. A dog
can cheer you up." What's the relationship between those two sentences? They both have
to do with something that is positive about owning a dog, so I think they are related. I'm
adding more information on. I'll try using and to combine those sentences: "A dog can
keep you company and cheer you up." Here's another spot: "I would love to have a dog.
My mom won't let me have a dog." What's the relationship between those two sentences?
The second sentence gives more information that feels in contrast to the first. I'll combine
them with however: "I would like to have a dog, however my mom won't let me." The
new sentence I made seems clearer and more to the point.

Goal 10: Collaborating with Writing Partners and Clubs

Strategy Talk with your partner about your goals (for the writing period, for the week, and/or for writing work to take place at home, and so on). Discuss together how you might get that work done. Write the goal, and make the promise...then check in with your partner soon.

Teaching Tip Reflect on your own life and goals you've set out to accomplish. Now think about how successful you've been and whether or not you made your goals public ahead of time. I know that when I share my goals with my partner, my friends, my colleagues, my editor, I am more likely to get things done. The built-in accountability, the opportunity to celebrate together, the lifeline of support in case something does not go according to plan-these are invaluable.

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Writing Strategies Book by Jennifer Serravallo.

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Collection of strategies that span all aspects of the writing process, all genres and modes of writing, and that will work well with students in grades K-8. Organized so the busy teacher can find just the right strategy at just the right moment.

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TCRWP | K-Z

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Text Complexity Cards (Primarily Narrative - All Levels)

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Text Complexity Cards (Primarily Narrative - All Levels)

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EKC

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TCRWP | K-Z

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TCRWP | MS/HS

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- more time tomorrow to complete the meeting and exceeding aims of our objectives.

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Got: Architecture of a Conference-make sure to vocalize the research aspect of it

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How to employ the workshop framework into lessons

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Got: Predictable frames in order to stretch out compliments:
I can see you're the kind of writer/reader ...
This skill is also important in life...

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Want: Tips for reading student work during the conference. Researching both through questions and through reading can be tricky!

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How to design lessons by applying the architect of conference

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1) How do we cater for learners' diversity in a conference model?
2) Ways of groupings / pairings

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Thank you so much, Frances!

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Thank you so much, Jeremy!

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TCRWP

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VSA MYP Online Cohort, Session 4 (July 2020)

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TCRWP

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TCRWP

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Start to think about how to set up the routine of remote learning

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Got - identifying big needs after reading student writing and then crafting a teaching point that students can digest - even if they may not be able to demonstrate mastery right away but eventually with sustained practice

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Got: How to plan and build a strategy group

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Dr. Tim Shanahan & Dr. Hiller Spires

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Disciplinary Literacy for Deeper Learning MOOC-Ed

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Book Love: Developing Depth, Stamina, and Passion in Adolescent Readers

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Book Love: Developing Depth, Stamina, and Passion in Adolescent Readers

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Penny Kittle

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Special Offer: We are dedicated to teachers. Use coupon code TAW23 to receive 30% off the list price and free shipping within the U.S. Valid only on online orders paid by credit card. Restrictions apply.

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Special Offer: We are dedicated to teachers. Use coupon code TAW23 to receive 30% off the list price and free shipping within the U.S. Valid only on online orders paid by credit card. Restrictions apply.

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Write Beside Them: Risk, Voice, and Clarity in High School Writing

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Write Beside Them: Risk, Voice, and Clarity in High School Writing

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Penny Kittle

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This book is about teaching writing and the gritty particulars of teaching adolescents. But it is also the planning, the thinking, the writing, the journey: all I've been putting into my teaching for the last two decades. This is the book I wanted when I was first given ninth graders and a list of novels to teach. This is a book of vision and hope and joy, but it is also a book of genre units and minilessons and actual conferences with students.
-Penny Kittle

What makes the single biggest difference to student writers? When the invisible machinery of your writing processes is made visible to them. Write Beside Them shows you how to do it. It's the comprehensive book and companion video that English/language arts teachers need to ensure that teens improve their writing.

Across genres, Penny Kittle presents a flexible framework for instruction, the theory and experience to back it up, and detailed teaching information to help you implement it right away. Each section of Write Beside Them describes a specific element of Penny's workshop:

Daily writing practice: writer's notebooks and quick writes

Instructional frameworks: minilessons, organization, conferring, and sharing drafts

Genre work: narrative, persuasion, and writing in multiple genres

Skills work: grammar, punctuation, and style

Assessment: evaluation, feedback, portfolios, and grading

All along the way, Penny demonstrates minilessons that respond to students' immediate needs, and her Student Focus sections profile and spotlight how individual writers grew and changed over the course of her workshop. In addition, Write Beside Them provides a study guide, reproducibles, writing samples from Penny and her students, suggestions for nurturing your own writing life, and a helpful FAQ. Best of all, the online videos take you right inside Penny's classroom, explicitly modeling how to make the process of writing accessible to all kids.

Penny Kittle's active coaching and can-do attitude alone will energize your teaching and inspire you to write with your students. But her strategies, expert advice, and compelling in-class video footage will help you turn inspiration into great teaching. Read Write Beside Them and discover that the most important influence for all young writers is their teacher.

Penny was the recipient of the 2009 NCTE Britton Award for Write Beside Them.

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Penny’s active coaching and can-do attitude alone will energize your teaching and inspire you to write with your students. But her strategies, expert

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

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

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Kelly Gallagher & Penny Kittle

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Section One: Planning Decisions

1. Start with Beliefs

2. Establish Daily Practices

3. Map a Year of Reading

4. Map a Year of Writing

5. Balance Feedback and Evaluation

Section Two: Teaching Essential Discourses

1. Narrative

2. Informational

3. Argument

4. Multigenre Research Projects

This book is divided into two sections. Section 1, "Planning Decisions," takes you through the process we used-and you might consider-to plan a year of teaching. The section includes five chapters:

1. Start with Beliefs

2. Establish Daily Practices

3. Map a Year of Reading

4. Map a Year of Writing

5. Balance Feedback and Evaluation

Section 2, "Teaching Essential Discourses," begins with an introduction that explains the general framework for planning a unit of study in a specific writing discourse. Then, in the four chapters that follow, we detail the decisions we made in four discourse studies: narrative, informational, argument, and multigenre. Our hope is that by reading about the decisions we made as we planned together, you will be inspired to reimagine the beautiful possibilities for your teaching.
- Introduction

This book is a brilliant work of architecture-the making of an English course. How do you shape the movement of the 180 days, balancing open space and structure, individuality and assessment, breadth and depth (not to mention managing the damn thing). Two of our country's most innovative teachers, Penny Kittle and Kelly Gallagher take on this challenge in a cross-country collaboration, exploring the art of the possible. This book-and its amazing video accompaniment-illustrates not so much the fixed course everyone should teach (even they don't totally agree on that), but how to think through the making, and the principles that should be its foundation.-Thomas Newkirk

Spending 180 days on the job and in the world with Penny Kittle and Kelly Gallagher is like apprenticing yourself to a year in the kitchen with two master chefs who speak honestly and passionately about the challenges we face and the choices we must make every day in our own classrooms. I learned something new on every page, verbally annotating just about every suggestion with a mental "Yes!" or "Try this!" At every turn, they acknowledge and address the constraints, especially of time, we all face in our classes-then show us how they manage to teach their students so much and so well despite those constraints.-Jim Burke, author of The English Teacher's Companion

"This book is everything. I mean this whole-heartedly and without exaggeration - this book is everything. It is everything I needed when I began teaching, and it is exactly what I need now to reflect on my practices, my curriculum, and my kids. The depth of knowledge and experience here, living alongside the breadth of thinking across the time and space of a school year, takes my breath away. Thank you, Penny and Kelly. May my children have teachers who have read and used this book."--Kate Roberts, author of A Novel Idea

Who among us hasn't wished to be a fly on the wall of Penny's and Kelly's classrooms? In 180 Days, we aren't just flies-we are invited into their brains, their plan books, and their friendship as they answer the question that plagues every teacher: how to do it all in one year? This book is not about how to find time where time doesn't exist. It's not about turning 180 days into 200 days so you can fit everything in. This book is about making decisions about what really matters enough and how to make the most of the time we are given with our students. It honors teachers as decision-makers and reminds us of the power of professional collaboration to change not only our students' learning but also our own professional lives.-Allison Marchetti and Rebekah O'Dell, coauthors of Writing With Mentors and Beyond Literary Analysis

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180 Days represents the collaboration of two master teachers-Kelly Gallagher and Penny Kittle-over an entire school year: planning, teaching, and reflecting

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Story Matters: Teaching Teens to Use the Tools of Narrative to Argue and Inform

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Story Matters: Teaching Teens to Use the Tools of Narrative to Argue and Inform

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Liz Prather

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Teaching Teens to Use the Tools of Narrative to Argue and Inform

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Minds Made for Stories: How We Really Read and Write Informational and Persuasive Texts

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Minds Made for Stories: How We Really Read and Write Informational and Persuasive Texts

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Thomas Newkirk

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This groundbreaking book challenges the assumption that narrative is an “easy” type of writing, by inviting readers to imagine narrative as

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The Essential Don Murray: Lessons from America's Greatest Writing Teacher

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The Essential Don Murray: Lessons from America's Greatest Writing Teacher

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Lessons from America's Greatest Writing Teacher

Don Murray's mission was to demystify writing by revealing as much as possible about the habits, processes, and practices of writers. This book carries on his work and shows the evolution of his thinking by collecting his most influential pieces as well as unpublished essays, entries from his daybook, drawings, and numerous examples of his famous handouts.

KEY WORKS ON WRITING IN ONE COLLECTION

Writing as Process: How Writing Finds Its Own Meaning · The Listening Eye: Reflections on the Writing Conference · Teaching the Other Self: The Writer's First Reader · Write Before Writing · Writing Badly to Write Well: Searching for the Instructive Line · All Writing is Autobiography · and more

60 years of work and wisdom: THE ESSENTIAL DON MURRAY

Don Murray on...
teaching writing as process, not product
"Instead of teaching finished writing, we should teach unfinished writing, and glory in its unfinishedness. We work with language in action. We share with our students the continual excitement of choosing one word instead of another, of searching for the one true word. This is not a question of correct or incorrect, of etiquette or custom. This is a matter of far higher importance."

understanding the writing process

"The process of making meaning with written language can not be understood by looking backward from a finished page. Process can not be inferred from product any more than a pig can be inferred from a sausage. It is possible, however, for us to follow the process forward from blank page to final draft and learn something of what happens."

knowing the writer within

"There is always magic in this for me, and wonder because I do not know what I am going to say until it is said. The writer within is always a stranger, with a grin, a top hat and long, quick fingers which produce what was not there before. I shall never know this magic man well, although he has been with me for sixty years. He entices me with his capacity for surprise."

doing the work of writing

"Writing is primarily not a matter of talent, of dedication, of vision, of vocabulary, of style, but simply a matter of sitting. The writer is a person who writes."

To request this title as a Desk/Exam copy, click here.

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Lessons from America's Greatest Writing Teacher Don Murray's mission was to demystify writing by revealing as much as possible about the habits, processes, and practices of writers. This book carries on his work and shows the evolution of his thinking by collecting his most influential pieces as well as unpublished essays, entries from his daybook, drawings, and numerous examples of his famous handouts.

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Culturally Responsive Teaching and The Brain: Promoting Authentic Engagement and Rigor Among Culturally and Linguistically Diverse Students

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Culturally Responsive Teaching and The Brain: Promoting Authentic Engagement and Rigor Among Culturally and Linguistically Diverse Students

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Zaretta Hammond

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From math, literacy, equity, multilingual learners, and SEL, to assessment, school counseling, and education leadership, our books are research-based and authored by experts on topics most relevant to what educators are facing today.

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Culturally Responsive Teaching and The Brain

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In this book, Zaretta Hammond draws on cutting-edge neuroscience research to offer an innovative approach for designing and implementing brain-compatible culturally responsive instruction.

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Disciplinary Literacy in Action: How to Create and Sustain a School-Wide Culture of Deep Reading, Writing, and Thinking

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Disciplinary Literacy in Action: How to Create and Sustain a School-Wide Culture of Deep Reading, Writing, and Thinking

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ReLeah Lent & Marsha Voigt

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CHAPTER 1: DISCIPLINARY LITERACY AND COLLABORATIVE PROFESSIONAL LEARNING: A PARTNERSHIP THAT WORKS

CHAPTER 2: UNLOCKING DISCIPLINARY LITERACY

HOW TO CREATE A SCHOOL-WIDE CULTURE OF DISCIPLINARY LITERACY

CHAPTER 3: CREATING A SCHOOL-WIDE CULTURE OF DISCIPLINARY READING

CHAPTER 4: CREATING A SCHOOLWIDE CULTURE OF DISCIPLINARY WRITING

CHAPTER 5: CREATING A SCHOOL-WIDE CULTURE OF DISCIPLINARY THINKING

HOW TO SUSTAIN A SCHOOL-WIDE CULTURE OF DISCIPLINARY LITERACY

CHAPTER 6: BUILDING DISCIPLINARY LITERACY (DL) LEARNING COMMUNITIES

CHAPTER 7: WHAT MATTERS MOST IN A DISCIPLINARY LITERACY (DL) LEARNING COMMUNITY

CHAPTER 8: FROM TEACHER LEARNER TO TEACHER LEADER

CHAPTER 9: LEADING THE DISCIPLINARY LITERACY CHARGE

Appendix A: Disciplinary Literacy in English Language Arts

Appendix B: Disciplinary Literacy in Math

Appendix C: Disciplinary Literacy in Science

Appendix D: Disciplinary Literacy in Social Studies

Appendix E: Disciplinary Literacy in Art

Appendix F: Disciplinary Literacy in a World Language

Appendix G: Disciplinary Literacy in Health

Appendix H: Disciplinary Literacy in Music

Appendix I: Technology or Digital Literacy

Appendix J: Disciplinary Literacy in Physical Education

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CHAPTER 1: DISCIPLINARY LITERACY AND COLLABORATIVE PROFESSIONAL LEARNING: A PARTNERSHIP THAT WORKS CHAPTER 2: UNLOCKING DISCIPLINARY LITERACY HOW TO CREATE A SCHOOL-WIDE CULTURE OF DISCIPLINARY LITERACY CHAPTER 3: CREATING A SCHOOL-WIDE CULTURE OF DISCIPLINARY READING CHAPTER 4: CREATING A SCHOOLWIDE CULTURE OF DISCIPLINARY WRITING CHAPTER 5: CREATING A SCHOOL-WIDE CULTURE

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Martin Brandt

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" Between the Commas, I believe, will make you a better writing teacher. Martin Brandt's understanding of language, his work with teenagers, and his lucid writing will increase your skills and rhetorical awareness. What you learn will enable you to train your students to create powerful sentences with an eye toward development, both the students' development as writers and your development as teacher."-Tom Romano, Miami University, as reviewed in English Journal

"Making sentences is a profound human capacity, one that defines us as a species. Every intellectual move could happen within them. In this engaging, honest, and innovative book, Marty Brandt makes all that clear. So welcome with me, a new and original voice in writing instruction."-Thomas Newkirk, from the Foreword

"What a special pleasure it is to celebrate Martin Brandt's new book. He illustrates with great clarity and passion the difference between assigning and teaching writing. Here is a book filled with deep, practical wisdom we can all use to teach the craft of writing in ways that will make a difference."-Jim Burke, author of The English Teacher's Companion, 4/e and The Six Academic Writing Assignments

"Marty Brandt has captured the tentativeness and problem solving that are inherent in teaching students to write well. He offers new frames for understanding sentence possibilities and new language to use in conferences. The lessons here will empower you to prepare all students well for college writing. You will love Brandt's own playful and interesting writing. I'm certain that this book will make me a better teacher.-Penny Kittle, author of Write Beside Them, Book Love, and 180 Days (coauthored with Kelly Gallagher)

"Frustrated with the pedestrian prose your students produce? Between the Commas describes a fresh approach that focuses on how artfully constructed sentences work both individually and in concert with one another. Brandt's classroom practices will help your student writers develop both compositional confidence and prowess."
-Carol Jago, author of numerous books including The Book in Question, and past president of NCTE

"By providing witty and innovative descriptions of how different sentence patterns help shape students' essays, Marty addresses one of the great difficulties faced by beginning writers (and writing teachers). He guides teachers toward practices that can help students produce essays that are thoughtfully structured and a pleasure to read. And similarly, Marty's own writing is compelling and high-spirited: a timely reminder that the best writing teachers practice what they preach."
-Jonathan Lovell, Director of the San Jose Area Writing Project and Emeritus Professor of English at San Jose State University

"Marty Brandt writes with wry, self-deprecating humor, sharing classroom-tested strategies that help high school kids truly engage with language. This lucid, well-written book is a joy to read and a smart reminder that having fun with language helps prevent school from becoming a Life Sentence-for students and for us."-Bill Strong, Founding Director of the Utah Writing Project and author of Coaching Writing

"If careful attention is a sign of respect, in this book Marty Brandt shows a deep and loving respect both for sentences and for students learning to write them. Brandt, a National Writing Project teacher consultant, draws on a history of focused writing instruction, his own rich classroom experiences, and his network of NWP teacher colleagues, creating a book that will make you laugh while showing you how to support students toward more mature and complex thinking and writing."
-Tanya Baker, Director of National Programs, National Writing Project

"I have been struggling for years to find better ways to teach good writing. Today, I had my 10th graders look at the Krakauer paragraph, and every single student was able to write their own version! They usually groan about writing anything, and it was so wonderful to see them having fun and doing something they didn't think they could do. Between the Commas is an innovative and practical way of approaching writing instruction."-Leisha Cowart, English teacher, Nease High School, Ponte Vedra, Florida

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Activities, exercises and lessons for sentence-level instruction your students will actually have fun with. - Heinemann

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Translanguaging for Emergent Bilinguals: Inclusive Teaching in the Linguistically Diverse Classroom

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Translanguaging for Emergent Bilinguals: Inclusive Teaching in the Linguistically Diverse Classroom

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Danling Fu, Xenia Hadjioannou, & Xiaodi Zhou

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"With remarkable writing ability, the authors in this book breathe life into a multifunctional translanguaging room through the vignettes in each chapter."
-- From the Foreword by Ofelia García, The Graduate Center, City University of New York

"Fu, Hadjioannou, and Zhou have put together a fascinating volume offering practical as well as theoretical insights into translanguaging pedagogy. The focus on emergent bilinguals gives the book unique value and strengthens the argument that translanguaging is a positive and productive approach to learning. The rich examples of translanguaging practices in the volume open up new venues for practitioners, policymakers, and researchers alike for further studies and professional development." - Li Wei, UCL Institute of Education, University College London, UK

" Translanguaging for Emergent Bilinguals contributes significantly to our understanding of the nature of translanguaging and its potential to transform the education of emergent bilingual students. Drawing on both research literature and a growing body of classroom experience, the authors insightfully articulate a wide variety of instructional strategies through which teachers can enable students to use translanguaging to expand their engagement with learning, affirm their identities, and ultimately increase their overall academic achievement."
-James Cummins, Ontario Institute for Studies in Education, University of Toronto

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"With remarkable writing ability, the authors in this book breathe life into a multifunctional translanguaging room through the vignettes in each chapter."-- From the Foreword by Ofelia García, The Graduate Center, City University of New York "Fu, Hadjioannou, and Zhou have put together a fascinating volume offering practical as well as theoretical insights into translanguaging pedagogy.