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"I expected that meaning would arrive if I could pronounce all the words. Unfortunately, that didn’t happen. I figured I was just a bad reader" (4).

"That's why we are reading this book together" (8).

"Reading is Thinking" (18).

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Opener

Learning outcomes for the session

Teaching methods (track!)

Engagement strategies (track!)

Formative data collection

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The Definition Of A Teacher in 2024 | Teacher quotes inspirational, Teaching quotes inspirational, Teacher motivation

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Jan 2, 2024 - Discover (and save!) your own Pins on Pinterest.

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love of reading must be taught

"The nonreader is mystified by the attraction of reading, having never felt it" (117)

"Unless we can persuade students that reading is a form of deep sustained pleasure, they will not choose to read; and because they will not choose to read they will not develop the skills to make them good readers" (117)

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What did I learn today?

Do I agree with/disagree with what I learned today, and why?

What from today do I want to carry forward with me into my teaching career?

What from today harkened back to what I learned in previous class sessions?

What from today makes me want to look into other readings/resources?

What practical tools did I learn today, and how can I link them here for future reference?

What am I learning about my beliefs about literature?

What am I learning about what is important to me as a literature teacher?

What ideas from today can I use to springboard into lessons, activities, and texts that I want to remember in my clinical and student teaching experiences?

What about today changed the way I thought about an idea or topic?

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Sheridan Blau: Stories from the Classroom

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Sheridan Blau: Stories from the Classroom

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"The texts worth reading are texts you don't understand. Because if you understand a text as soon as you read it, you must have understood it before you read it, so you didn't have to bother reading it in the first place" (24).

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"I never talk to them about the fact that many of them do not like to read, struggle with reading skills, or have not found reading personally meaningful. If I were to acknowledge that these excuses have merit, I would allow them to become reasons for my students not to read" (23)

"Embracing their inner reader starts with students selecting their own books to read. This freedom is not a future, perhaps-by-spring goal for them but our first accomplishment as a class" (23)

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Normative: What you perceive as normal

Asset Based Approach: Repositioning educating

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"Guilt is not productive"

"I know you can do better"

"Teaching is an opportunity to respond"

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zines

inside/outside circles

prompt-think-write-snake

survey

padlet

pear deck

soractic discussion

menu padlet prompts

essential ? of the day

entrance/exit slip

1 sentence argument, 1 sentence, 1 sentence discussion

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We aren't just teaching students, we are teaching future voters. We need to be able to tell and analyze and foster a good "bullshit" meter.

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Month spent listening to music and practicing critical thought

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understanding story through consuming stories no matter genre or medium

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Am I only making "readers" or am I making adults?

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Am I only making "readers" or am I making adults?

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“Problem-posing education does not and cannot serve the interests of the oppressor. No oppressive order could permit the oppressed to begin to question: Why?” (86). Project 2025 is a list of actions that members of the far-right want to enact once the next conservative is put into a position of extreme power. Within lists many different departments and plans of what to do with each; the section on the Department of Education starts as follows, “Federal education policy should be limited and, ultimately, the federal Department of Education should be eliminated” (Burke 319). This is under the guise of a “more diverse set of school options” but in reality, it is a feeble attempt to make sure that once a far-right member gets into power they can stay in power. Limiting the options for children to go to school lets those with bad-faith arguments stay in power. Continuing to teach, continuing to learn, allows for revolutions.

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Chapter 4: How do I teach beyond the canon

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Chapter 4: How do I teach beyond the canon

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As a theater minor, this chapter was a stark reminder that most English minded people don’t find story and literature in unconventional(non-prose) mediums valid. I spent most of my early teens getting my reading done through graphic novels/comics, fanfics, and cookbooks. I still do read all those things a decent amount but sprinkle in some contemporary fiction and plays. Without those things I frankly wouldn’t be reading very much today, never mind pursuing reading as part of my career. I am very proudly part of the “rising tide of mediocrity” with a gloriously short attention span, and a desperate need for instant gratification (69). Blame it on social media addiction, blame it on ADHD, I don’t care. I am a slow reader, so if I am reading for fun, I go for books with fun plots and big typefaces. This doesn’t make me any less of a literature fan than someone who touts around Tolstoy. It just means I have more fun.

The fun I have had with reading is mostly because I have had a lot of freedom with my reading. When the chapter goes into letting the students choose their own books, it wasn’t a new idea for me. It was something that was done in at least one of my English classes every year since 9th grade. I think it is common sense to let students do this. I’m not sure of anyone else, but nothing will make me not want to read something like having someone tell me to read it. I think that giving the students the option to look and choose for themselves what style of books they would like to read, making sure to include unconventional literature like poetry and graphic novels, allows them to create identities for themselves and find what they like in a story.

I’m very glad the chapter went over graphic novels because I feel like even now there is such a stigma against them, but it is truly one of my favorite styles of writing. That being said, novel’s as a whole were demonized in the 18th and 19th century because people thought they gave young girls unseemly wants. Not to mention the dime novels as mentioned in the chapter, and all of Shakespeare's plays. Old writing doesn’t mean incorruptible, and I feel like relying purely on the canon relies on old writing being the pinnacle of art. This idolizing of old, euro-centric writing gives the canon that iconic “unbearably white” glow (71). Mixing in contemporary and even old, non-euro-centric writing provides students with more view into the wide range of literature that exists.

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Worries:

General overload

Lack of instructional Agency

Time constraints

I think the biggest worry is lacking instructional agency. I am overall very bad with authority and the idea of someone controlling how and what I teach is a struggle. And parents trying to control me as well leaves a bad taste in my mouth.

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Choosing Literature and Essential Questions

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Choosing Literature and Essential Questions

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Do's:

Overarching

Sincere

Provocative

Associative

Understandable

Don't:

Specifics

Fishing for a specific answer

complicated

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Remembering and offering how we learn as well

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Remembering and offering how we learn as well

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Reading strategies::prompt-think-write-share(both in partners and in circle)

Giving Objective::giving criteria for success

Circle Discussion(Popcorn style)

Gentle suggestions of controlling conversation

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Popcorn discussion

Questions, but bring in quotes

Kahoot

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Time in class for reading

Book clubs

Pushback

Time for confusion

Teaching good skimming

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Creating a playlist will allow for a few different learning styles. There is the audio, but there is also literary and visual as students give their rationals on the playlist and choose covers. By using these various elements we can more broadly cover all learning types. it also allows for a lot of creative freedom, allowing the students to bring their personalities into the classroom. Creating an environment where the students feel like they can express themselves will be more conducive to learning. The students will be more willing to participate and analyze the text when they feel like they can infuse it with their understanding of the world(i.e. their music tastes). They begin to create personal connections with the book that allow for a deeper enjoyment of reading in general as they find ways to relate to books.

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think pair share

group poject

think write share

questions reading techniques

fist of 5

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How do I make you create formative decision to prevent faking

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How do I make you create formative decision to prevent faking

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Laying a Foundation:

I think the essential question “What is worth risking everything for?” was really supported by the activity. The students were able to fully investigate what the question meant for them alongside The Scarlet Letter. Bringing the money aspect into it connected it to something physical for the students to connect to.

Supporting the Reading:

One interesting idea that stuck out to me is that they were having the students come together to give advice and workshop their projects together, despite it not being a group project. I think the project overall showed that the students had high-engagement, and thus, high-interest in the book. It also talked about how they had to completely re-look at how they taught classic novels, which I think is valuable for teachers to do when they see their students not engaging well with a text.

Composing in New Modes:

One of the prevalent ideas of this section was that the new mediums let the students get lost in the book. They point out that it had gotten to the point where students didn’t realize that time was up until the bell rang. This shows the effectiveness of this project.

The Fruits of Our Labors:

The results of this project shows the effectiveness of having students do something that allows them to interact with the text in a way they are not used to. It also shows that “high-interest texts” can be anything as long as it is presented in a way that engages students. Meaningful connections with books can be formed anywhere if facilitated correctly.

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Dorian Gray

EQ: what would you do if you were young forever? what if there were no consequences?

LO: Themes of Dorian Gray to other books

Activity: Draw the soul of a character, stuff i sold my soul for

Frankenstein

EQ: what roles are in play when asking if an action is good or evil?

LO: Identity and actions

Activity: Psychology of the characters

Assessment: Write a paragraph about a choice and what their motives are

Pride and Prejudice

EQ: How does pride and Prejudice influence our lives?

LO: Citing Textual evidence for character assessment

Activity: Finding roasts in the book, then writing their own roasts

Great Gatsby:

EQ: Is the American dream worth chasing? What does it mean to make it?

LO: Problemitize the American dream. Understanding motive and actions. Understanding narrators.

Activity: Wealth Relativity. Story Corp. Writing from different perspectives.

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polish: Time managment

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What literacy skills do you want to have them learn when using Multimodal items?

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What literacy skills do you want to have them learn when using Multimodal items?

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Praise:

Good accommodation for group activity going unplanned.

Collecting the exit ticket and not just letting us keep it.-- actually assessing

nudging for deeper engagement

Crave feedback

Question:

Polish:

To much time in the first activity

There was a lot of quiet, and not enough promotion and directing discussion.

Not enough direction

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“initiate,” “react,” “evaluate”. The questions posed are often designed simply to determine if students have read the text or are paying attention in the discussion, or if students are able to voice “right answer.”

Not a good way to get assessment

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Everyone starts in the middle.

Put a controversial statement from the novel.

One side is yes, one is no. If they choose a side or change sides, they must explain why.

A ball is tossed/passed to decide who speaks next.

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Within a group context, have one person be the talker for a cold call. Than it calls out one student less and they allow them to discuss an answer.

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Reading choice

50% - Completely their choice

25% - Partial Choice

25% - No Choice

Not just in what books they want to read, but in also their responses. Are we letting the students practice autonomy?

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Hold the book

Know the book

Read a short passage

Keep Records

Accept Help

Remember how important you are

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How do we respond when a student asks why were book talking a book we haven't read?

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How do we respond when a student asks why were book talking a book we haven't read?

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"I won't subject you to my reading speed."

"Getting myself excited about it."

Showing that you also have to find books, and are very busy. Imperfect teacher.

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What should students do while book talking?

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What should students do while book talking?

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The students have a TBR list, which lets them have a solid list of books they are interested in.

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Typed-up book talk books students can look back on. Binder sorted by genre

Do the work on the front end so they can do the work on the back end

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Reading next list(this is more for me tbh)

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Reading next list(this is more for me tbh)

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Starlight Through The Storm - Cassie Creley's Blog

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Reading List Printables to Keep Track of All Your Books

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Record your TBR list, library holds, and reading recommendations with these free Reading List Printables! They make perfect bookmarks too.

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Book talks as a way to facilitate readers

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Book talks as a way to facilitate readers

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Assessment with learning targets spread sheet

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Assessment with learning targets spread sheet

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We are constantly wanting to guess at what the teacher is wanting

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If we are teaching feminisism in a way that doesn't focus on the equality of ALL genders than we are doing it wrong!

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If we are teaching feminisism in a way that doesn't focus on the equality of ALL genders than we are doing it wrong!

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Marxist Theory can be a scary terms for secondary students, but Social Class is important for historical texts and for modern texts.

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How colonial powers impact the world

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Praise: The handling of the impacts of colonialism!!!!!!!!!!!!!!

Question: You mentioned having some opinions contradicary to the book, what were your major complaints about it?

Polish: I wish we did something more than discussing in our seats like at least get into a circle to do a Socratic seminar

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We will interact with students with a multitude of backgrounds

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We will interact with students with a multitude of backgrounds

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A literary lens that explores how meaning is constructed within a text

Pros: Helps prevent manipulation

Cons: "You've just demonstrated that everything we've learned up to this point is a shame!"

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Pros: Allows students to connect the text to their own lives, therefore making it more personal and relevant for the individual.

Cons: Some students might not identify with the texts and find that "relating" to books is the only purpose for reading

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Overall, this lesson brought up some interesting views on critical literacy. The 10 Things I Hate About You clip at the beginning showed the power of critical literacy in the classroom. There is something to being open to ideas in the classrooms. One of the golden lines from this lesson was that we shouldn't make anyone a villain. This is essential as guilt isn't productive to learning. It doesn't teach you anything and it doesn't promote any change. It just makes you feel like shit. There was some rough conversations in here and overall it was very well handled. Shutting down any idea that colonialism should be praised was swift and productive. However, maybe it was misinterpreted from the students' original statements, it is an important thing to clarify that we should be saying that something terrible is good. But there is the other side of that, which the student was arguing that we should show that life goes on. I think that this is hard, as I think that, while we can't ignore that colonialism happened, it is vital in this modern era to correct misconceptions about how racism, colonialism, slavery, might have been good.

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analyze how "realistic" their graphic text's artwork is to argue the creator's desired effect on readers.

Notice the structure of a panel to determine what the creator wants the audience to see

notice the transitions of the panels to see how the creator progresses the story

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Analyze art

look for icons

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What is the difference between icons and symbols?

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What is the difference between icons and symbols?

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Symbol is a type of icon that represents a concept, idea, or philosophy

practical icon is a type of icon that is used in language, science, and communication(letters, numbers, arrows)

pictures are designed to resemble their subject

they are public and mostly universally recognition

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Realism are mostly realistic

Masking: stylized and less realistic to draw the readers in

When you look at a photo or realistic drawing of a face, you see it as the face of another

but when you enter the world of the cartoon, you see yourself

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Consider the layout of the pages

The white spaces between the panels

Border placement

Inferences about pace, tone, and overall meaning in the text

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Splash

Splish is a kind of panel that spans the width of the page.

If it runs off the page entirely, it is known as a 'bleed'

Zoom

Foreground: Where the subject or the point of the focus is for the reader. If the subject seems closer to the reader, in the front t of the scene depicted, it stands in the foreground.

Midground: If the subject stands in the middle of the scene that is depicted, where it is in the midground. Placing a subject off-center can also be used to create visual tension

Background: The object in the background(not usually the subject) help add contextual information for the reader

Camera Angle: If the panel were a photograph, where would the camera be placed?

Panel Transitions

Moment to Moment

Action to Action

Subject to Subject

Scene to Scene

Aspect to aspect

Non-sequitur

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The tone is the author or the character's attitude towards them

Mood is my reaction from their additude.

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Analyze the notion of the text. Author might be expressing and how the reader interacts with it.

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Captions, speech, thought, sound effects, internal dialogue.

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Pay Special attention to how color/grayscale conveys the creator's message and/or impacts your meaning-making process.

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find the common threads or through lines that are in conversations, whether aligning or disrupting, with one another across craft moves and literary elements in a story.

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Research role. Consider how this text references and refers to other works, across medium or genre. How has the text been talked about by readers, reviewers, and literary critics?

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The group's Critical Eye views the graphical and literary elements through critical lenses. Talking about power and privilege within social structures.

Sub critics: Problem posing, perspective taking, difference locating, or stereotype tracking.

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The teacher's perspective. Facilitate conversations on how an educator might approach similar texts, topics, and discussions. Consider multiple aspects of teaching literacy that are afforded by the text

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Blue for flashbacks

Colors of anger

Colors of sadness

Ghosts

Smoke

Watercoloring

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Creating a safe space and a teacher(pedagogy thing/classroom vision)

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Creating a safe space and a teacher(pedagogy thing/classroom vision)

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Meaning of color and grief

Are there ghosts

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What is the effect of gun violence on my students?

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What is the effect of gun violence on my students?

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set up expectations and rules and consequences.

What does reading time look like?

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Essential questions can be broken up into smaller and smaller parts

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THE GOAL OF AN ESSENTAIL QUESTION ISN"T TO BE ANSWERED BUT TO BE ENGAGED WITH

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THE GOAL OF AN ESSENTAIL QUESTION ISN"T TO BE ANSWERED BUT TO BE ENGAGED WITH

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I need like, a list of ways to make sure my learning targets are accessible to students

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I need like, a list of ways to make sure my learning targets are accessible to students

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Today, I want to teach you that good readers can make interpretations based on page formatting. One way you can do this is by annotating and analyzing gutters in graphic novels.

Today, I want to teach you that good readers can make informed interpretations of open-ended narratives. One way to do this is by charting character choices and finding a through-line (also maybe theme?)

Today, I want to teach you that composers of Graphica utilize flashbacks to flesh out the world. One way to do this is by showing characters in moments

Good readers analyze pacing

Good composers analyze how setting influences a character's choices around rules and expectations

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Sponsored by Chill Expeditions and Kiddom

Have you heard the whispers about one-pagers in the online teacher hallways? The concept of a one-pager, in which students share their most important takeaways on a single piece of blank paper, has really taken off recently.

The one-pagers I see on Instagram draw me in like a slice of double chocolate mousse cake. The artistry students bring to representing their texts on a single piece of paper, blending images and ideas in creative color, is almost hypnotizing for me. Perhaps you've had the same experience.

But it's the very beauty of the models that get posted that can drive students and teachers away from the one-pager activity. Sure, it's great for super artistic students, we tend to think, but what about everyone else?

Turns out it CAN be great for everyone. As long as you know how to structure it.

What Is a One-Pager?

Let's backtrack a bit and talk more about what a one-pager is. It's pretty simple, really. Students take what they've learned-from a history textbook, a novel, a poem, a podcast, a Ted Talk, a guest speaker, a film-and put the highlights onto a single piece of paper. AVID first developed this strategy, but now it's widely used in and out of AVID classrooms.

But why is this seemingly simple assignment so powerful?

As students create one-pagers, the information they put down becomes more memorable to them as they mix images and information. According to Allan Paivio's dual coding theory, the brain has two ways of processing: the visual and the verbal. The combination of the two leads to the most powerful results. Students will remember more when they've mixed language and imagery.

Plus, one-pagers provide variety, a way for them to share what they've learned that goes beyond the usual written options. Students tend to surprise themselves with what they come up with, and their work makes for powerful displays of learning. Plus, they're fun to make. Let's not pretend that doesn't matter.

So, assuming you're sold on trying this out, you're probably wondering what exactly goes into a one-pager?

Students might include quotations, ideas, images, analysis, key names and dates, and more. They might use their one-pagers to make connections to their own lives, to art or films, to pop culture, to what they're learning in their other classes. They might even do it all. You'd be amazed at how much can fit on a single piece of paper.

Many teachers create lists of what students should put inside their one-pagers. Knowing they need two quotations, several symbolic images, one key theme, etc., helps guide students in their work.

The Art Problem

When creating one-pagers, artistic students tend to feature more sketches, doodles, icons and lettering. Students wary of art tend to feature more text, and can be reluctant to engage with the visual part of the assignment at all.

It was this issue-the issue of the art-haters-that first drew me into one-pagers two years ago. I had seen some stunning one-pagers posted in my Facebook group, Creative High School English. But the comments that followed were always the same. "That's amazing work! But so many of my students don't like art...."

Those comments struck a chord with me. For years I had dealt with comments from some of my own students about their distaste for artistic materials when I would introduce creative projects. No matter how much I explained that it was the intention behind their choices that mattered, I always got some pushback if there were any artistic elements involved in a project.

Was there a way to tweak the one-pager assignment so every student would feel confident in their success?

Another problem was one of overall design: Though they knew they needed to hit all the requirements their teachers listed, students still seemed to be overwhelmed by that huge blank page. What should go where? Did colored pencils really have to be involved?

A Simple Solution: Templates

As I thought about the problem, I wondered if students would feel less overwhelmed if they knew what needed to go where. If the quotations had to be in the middle, the themes in the upper left, the images across the bottom, etc. I began to play around with the shapes tool in PowerPoint, creating different one-pager templates.

Then I began shaping my requirements, correlating each element with a space on the paper. Maybe the border could be the key quotations. The center would feature an important symbol. The themes could go in circles around the center. I developed a bunch of different templates for varied ways to respond to novels. Then I tried podcasts. Films. Poetry.

As I shared these templates with other teachers, I kept getting the same feedback: "It's working!"

That little bit of creative constraint actually frees students to use their imagination to represent what they have learned on the page without fear. They know what they need to put down, and where, but they are also free to expand and add to the template. To choose their own colors. To bring out what is most important to them through their creativity and artistry. And those super artistic students? They can just flip the template over and use the blank page on the back.

Beyond Novels

There are so many ways to integrate this creative strategy into your classroom. While one-pagers lend themselves beautifully to final assessments after reading independent novels, literature circle selections, or whole class novels, that's really just the beginning.

You can use them to get to know students better, as with a name tent or "about me" one-pager at the beginning of the year. One school used templates to have every student create a one-pager about their own lives, collecting them all into hallway displays as part of a project they called "Tell your Story."

You can also use them to help students focus in on the most important information in nonfiction articles and books. One EFL teacher in Croatia used the templates to have students share key takeaways from articles they read about social media. Not only did students have to analyze the text deeply to figure out what was most important, but the dual-coding theory suggests the process of creating the one-pagers will help them remember the information better.

Another great use for one-pagers is to keep students focused while absorbing media. When students are watching a film, listening to a podcast, or even attending an assembly with a guest speaker, they can be creating one-pagers as they listen, a kind of formalized version of sketchnotes.

Simple Steps for One-Pager Success

Whenever you're considering your options for assessment, throw one-pagers into the mix. The steps below should help you in creating an assignment for which every student has a roadmap to success.

1. Choose the elements you want your students to put onto their one-pagers. For example, quotations, key themes, literary elements, discussion of style, important characters or dates, connections to other disciplines, connections to their lives, connections to modern culture.

2. Create a layout using the shapes tool in PowerPoint or something similar (or grab a free set of templates here or here).

3. Connect your instructions to your layout. Make it clear which elements should go in which area of your template.

4. Create a simple rubric with the key categories you want your students to succeed with. With literary one-pagers, I use "Textual Analysis," "Required Elements," and "Thoroughness."

5. As you introduce the assignment, show students some examples of one-pagers to give them a sense for how they might proceed.

6. Give students time to work on their one-pagers in class so they can ask you questions. Consider providing some artistic materials if you can, or inviting students to bring them in. You can always let them complete the work at home if necessary.

7. Do a gallery walk of the one-pagers before you collect them, or have them present to each other in small groups. The students will learn a lot from seeing each other's representations.

8. Create a display after you grade the one-pagers with your rubric.

You can find more of Betsy's great ideas on her website, Spark Creativity.

Come back for more.
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A Simple Trick for Success with One-Pagers

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These visual tools allow students to synthesize learning, but some kids don't think they're talented enough to make them. A bit of creative constraint helps.

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Planning a Study of Informational Writing

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Planning a Study of Informational Writing

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Teaching how to observe

Interrogation of source

"Solid or Suspicious"

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Lap 1: Reading, understanding. Reading like a writer

Lap 2: Synthesizing

Lap 3: Creation