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Spotlight on Differentiated Instruction (Research brief)

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Spotlight on Differentiated Instruction (Research brief)

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Colonel P.R.I.D.E.

P-Personally

R-Responsible

I- In

D- Delivering

E- Excellence

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ADD Help is dedicated to providing information and support to parents and educators dealing with ADD/ADHD.

More than 1.6 million children across the United States are affected by ADD. There are various medications that can be used to treat the common disorder, but parents can also ensure that their children do not succumb to ADD's symptoms by ensuring that they eat properly, exercise regularly and keep a positive attitude.

ADHD is considered the most commonly diagnosed psychiatric disorder in children and adolescents.

Although many people tend to think of ADHD as a childhood problem, up to 66% of children may exhibit symptoms into adulthood. [1]

Presently, ADHD has no cure but there is effective treatment for many of the ADHD sufferes. These include:

Educational Approaches: Some children with ADHD are too hyperactive or inattentive to function in a regular classroom and may benefit from special education classes. Most children with ADHD, however, are able to stay in the regular classroom, but do need some special accommodations to help them learn.

In fact, at least 70 percent of children with ADHD respond positively to stimulants.[2]

Stimulant medications have been shown to dramatically reduce hyperactivity, decrease impulsivity, and improve ability to focus, work, and learn. While these medications are well tolerated, common side effects may include decreased appetite, weight loss, headache, and insomnia.

Long-acting, once-daily medications like Adderall provide a more convenient way to manage ADHD symptoms throughout the day, enabling people with the disorder to attend school or work without pausing for a midday dose. For more information on other medication check an Online Pharmacy.

Many clinicians believe the best way to treat ADHD is by using a combination of these therapies. In fact, a recent government-sponsored clinical trial found that therapies that include carefully monitored medication are more effective than those that do not, such as behavioral therapy alone.[3]

Reference

[1]. Weiss G, Hechtman L, Milroy T, Perlman T. Psychiatric status of hyperactives as adults: a controlled prospective 15-year follow-up of 63 hyperactive children. J Am Acad Child Adolesc Psychiatry. 1985;24:211-220.
References
[2] Cantwell DP. Attention deficit disorder: a review of the past 10 years. J Am Acad Child Adolesc Psychiatry. 1996;35:978-987.

[3] The MTA Cooperative Group. A 14-month randomized clinical trial of treatment strategies for attention-deficit/hyperactivity disorder. Arch Gen Psychiatry. 1999;56:1073-1086.

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More than 1.6 million children across the United States are affected by ADD. There are various medications that can be used to treat the common disorder, but parents can also ensure that their children do not succumb to ADD's symptoms by ensuring that they eat properly, exercise regularly and keep a positive attitude.

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Neurodiverse students often struggle with organization in middle and high school, but they can be successful with the proper supports.

Learning is the journey the brain takes when acquiring new information, and executive functioning is a critical component of this learning journey. Executive function skills require students to utilize memory, self-control, and attention flexibly to follow directions, plan, and multitask. Consequently, developing these skills is critical for students in secondary grades.

Secondary and postsecondary success often requires students to manage multiple tasks and courses, plan out completion of long-term projects, and set and reach ambitious goals. However, these skills can be challenging for secondary students to refine and master.

Students with disabilities are even more likely to grapple with executive dysfunction, particularly those with a diagnosis of attention deficit disorder and attention deficit hyperactivity disorder.

Neurodiverse students' executive functioning skills are an often-overlooked area of need during individualized education program (IEP) development. When we design accommodations and modifications, and engage in secondary transition planning, it's often related to supporting students' executive functioning skills to access the instruction.

For example, a student may have an accommodation that requires directions to be read aloud. This is a skill that can support students in comprehending and carrying out multiple steps. Students with and without disabilities can often benefit from explicit supports related to executive functioning. These skills can make the difference in students' ability to successfully navigate college, trade school, and independent life after graduation.

As a special educator, I'd say it's our responsibility to lead the charge in our schools by providing opportunities for all students to learn, practice, and refine executive function skills.

Executive dysfunction almost always plagues students with disabilities who are served via IEPs and 504 plans. However, all students can benefit from explicit executive functioning assistance. As such, I'm challenging special educators to lead the way in this area of instruction-let's teach students to manage themselves and the demands of life alongside the content of literacy, math, STEM, and history, etc.

5 Ways to Support Building Executive Function Skills

1. Bring your directions to life. Think aloud. There is power in narrating your thought processes when sharing expectations, organizing an equation, or annotating information. Consider how your lesson requires students to complete multistep directions. How can you break this direction down and model it aloud? Maybe today's independent task requires students to organize information from a passage. How can you bring this task to life? Think aloud.

2. Graphic organizers are your friend. Always provide students with options of graphic organizers to use when completing assignments independently. This will allow them access to tools for organizing and synthesizing information. Always model how to use these organizers with real tasks in your class. You may choose to make graphic organizers available via hard copy in your classroom or in a shared digital folder for students to access at all times.

3. Leverage technology. Use media, images, and video to provide visual exemplars of ways to organize information, plan tasks, and set goals. You could let your students see examples of how others annotate text in unique ways. In math, provide multiple ways that students can organize information in a multistep math word problem or use math journals to support students in organizing daily notes and content.

4. Incorporate executive functioning into grading. Consider allowing students to earn points toward an assignment or in a given course by applying executive function skills. For example, students may be able to receive additional points for a cumulative assignment by turning in a copy of the outline and short-term goals they created as they planned out the assignment.

Incorporating executive functioning into the grading system can encourage goal-oriented students to practice and apply these skills to support their success.

5. Use apps. There are limitless options of applications that allow for managing lists, utilizing timers, generating reminders, setting goals, and organizing information. Be sure to share them with parents and students, with permission. If appropriate, you may even choose to allow students to utilize the apps during class time.

As we support teenage students in refining their executive functioning skills, our classrooms should be safe spaces for them to explore a variety of strategies and figure out what works best for them. Creating these safe spaces to counter executive dysfunction can and should include the use of high-, low-, and no-tech strategies that students can access independently.

Beyond the five strategies listed, teachers can utilize everyday items like sticky notes, note cards, clocks, timers, calendars, labels, and even simple writing utensils to model executive function skills for students throughout the day.

A high school student's ability to self-regulate in the area of executive functioning can make or break their ability to balance life beyond graduation. Executive functions like attention, memory, time management, and organization are all everyday skills that we must independently manage in our lives. Special education teachers especially must not overlook conversations about students' skills in this area at IEP meetings, particularly when developing postsecondary transition goals.

For our growing and evolving students, executive functioning is a nonnegotiable component of learning, independence, and flourishing after high school.

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5 Ways to Help Neurodiverse Students Improve Executive Function Skills

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Neurodiverse students often struggle with organization in middle and high school, but they can be successful with the proper supports.

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How Tone of Voice Shapes Your Classroom Culture

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How Tone of Voice Shapes Your Classroom Culture

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Using your voice to manage a classroom is one of the most powerful tools at your disposal. Teachers vocalize to impart information through direct instruction, gauge student understanding by asking questions, facilitate transitions between activities-and also manage behavior by redirecting wayward learners and issuing directives when necessary. It's a deceptively complex, multifaceted tool, requiring constant modulation to fit changing classroom circumstances-and it can take teachers years to hone.

In a 2022 study, researchers set out to explore the nuances of tone, and especially how a teacher's tone of voice can shape classroom culture. Researchers from the University of Essex and University of Reading analyzed how elementary students reacted to common classroom instructions-"It's time to quiet down" or "Get in your seats, we're starting the lesson," for example-which were delivered in tones varying from controlling to neutral to supportive. While the words remained the same, shifts in tonality had a surprisingly large effect across multiple dimensions of classroom health, including students' sense of belonging, autonomy, and enjoyment of the class, as well as the likelihood that they'd confide relevant personal information to educators, like their interests or academic struggles.

The researchers concluded that controlling tones "undermined" students' sense of competence, while supportive tones "enhanced" their sense of connection with teachers. An authoritarian disposition can erect barriers: Controlling voices "dissuaded children from intentions to share secrets with their teachers," including whether students were being bullied, were suffering hardships, or had completed work they were proud of, said the researchers, eroding the bonds of trust that are needed to learn in the social setting of a classroom.

Yet tone remains difficult to master, and harder still to sustain in a chaotic classroom environment. That's why it's helpful to be mindful of how things like intonation, volume, and the pacing of your speech can influence behavior, and how these qualities of voice can be judiciously deployed in ways that are likely to reinforce learning.

Canary in the Coal Mine

Subtle changes in a teacher's tone of voice can be the first signal that something is awry in the classroom. A note of panic that slips into verbal directions, a rise in vocal register or volume, or a sudden barrage of repeated instructions may indicate to students that things are starting to spin out of control and trigger a fight-or-flight response in the classroom, ratcheting up the anxiety and leading to outbursts.

Emotions are contagious, researchers explain in a 2021 study. When teachers convey warmth and express interest in a topic, students are more likely to stay engaged-and stay out of trouble. Conversely, teachers who overreact to student disruptions or are emotionally distant can unwittingly create a combative or unfriendly atmosphere. Exhibiting passion for the topic works wonders: Teachers who enjoy being in the classroom "sustained their positive attitudes when students struggled and reported spending more time teaching," the researchers report.

Meanwhile, developing a steady, calm demeanor in a dynamic classroom setting takes time and practice, particularly when students know how to press your buttons. Take things slowly and work from a place of empathy and compassion. One way to prepare for the inevitable tests of your patience is by running scenarios in your head or with a partner. "Think through scenarios that might happen in your classroom and how you want to respond before the start of the year," suggests high school teacher and instructional coach Emily Terwilliger. "It will make those first redirects and interventions less intimidating."

As always, focusing on relationships first is a bedrock principle: " Bank time " with students and get to know them better, since these deposits can help ease future conflict. Finally, it's important to let go and start fresh; it's easy to overreact if a student keeps pushing your buttons. Try to start each day with a clean slate.

Finding the Warm in Your 'Warm Demander'

The ideal tone is a blend of both approaches, says middle school teacher Kristine Napper. "Neither high expectations nor kind hearts can do the job alone," writes Napper, who recommends adopting a warm demander tone that focuses first "on building strong relationships with students," and then "draws on that wellspring of trust to hold students to high standards of deep engagement with course content."

When students misbehave in Nina Parrish's classroom, she sees it as an opportunity to ask thoughtful questions and look for patterns. Did something spark the disruption? Are students trying to get attention from their friends, or are they bored? "Behaviors help students obtain something desirable or escape something undesirable," she explains. Instead of demanding compliance as a first step, meet your students halfway: Set high expectations, but also spend time trying to understand what makes them tick.

There will undoubtedly be times when you'll need to raise your voice or speak sharply to a student, but the tactic should be used sparingly. "Developing a calm, neutral, assertive voice is part of the teacher's own self-regulation, which allows them to help students to be self-regulated and to be secure in the knowledge that the teacher will be receptive to them, but also in control," says Linda Darling-Hammond, president and CEO of the Learning Policy Institute.

A Dose of the Nonverbal

It's easy to forget that tone isn't just conveyed through your voice-it can also be conveyed by facial expressions, hand gestures, and body language, which "help guide facilitation of student learning," says Samford University professor Lisa Gurley in a 2018 study. Teachers often adopt a formal demeanor in the classroom, modeling behavior that mirrors a professional environment. Yet the difference between too-controlling and just-controlling-enough often relies not on what is said, but on the accompanying nonverbal cues that can soften perceptions.

Are you inadvertently frowning or looking exasperated when a student speaks up? Do you seem dismissive? Modern eye-tracking research suggests that teachers tend to make eye contact with students in the front row and the middle section, so consider circulating in your room and making an effort to acknowledge those sitting in the back (and on the peripheries) with your presence.

You can be formal by nature and formal in speech, and still connect. Students can detect and appreciate teaching authenticity in many forms, according to recent research. And students usually "respond positively to professors who treat them with dignity and seem approachable, even if those professors are more formal in their speech and demeanor," says Amber Dickinson, a political science professor at Oklahoma State University, in a 2017 study. Acknowledging students with eye contact or an approving nod can "reduce the psychological distance" and help build a trusting relationship without saying a single word, she writes.

The Case of the Disembodied Voice

Vocalizing is not the only way that tone is expressed; our voice continues to have influence even in the absence of our physical presence. When giving feedback on an assignment, writing emails, or having an online discussion, the right tone can be harder to pin down-but it remains crucial-when communicating with students.

"A professor in a classroom may provide succinct instructions that students understand and appreciate, but a short email from a professor may be interpreted as cold or uncaring," says Dickinson. In her study, she discovered that attempts to be efficient by communicating in a precise manner-such as giving clear instructions on how to upload an assignment-were often interpreted by her students as harsh. Stripped of the nonverbal cues that typically accompany a face-to-face conversation, her online persona became stern and distant, and she saw her students become less engaged as a result.

When writing messages to students, be sure to include personal touches, suggests Dickinson. It not only will make them feel more comfortable but also can create a more positive classroom culture and encourage students to reach out for help. "For example, I included content to offer general encouragement by saying things such as 'Don't give up, the semester is almost over, and your hard work will pay off,' or reminding students I was happy to help them in any way," she writes.

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How Tone of Voice Shapes Your Classroom Culture

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It's no easy task, but developing your tone of voice can build trust, reduce conflict, and set the stage for more learning in your classroom, research shows.

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The Powerful Effects of Drawing on Learning

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The science is clear: Drawing beats out reading and writing to help students remember concepts.

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Neurodiverse students often struggle with organization in middle and high school, but they can be successful with the proper supports.

Learning is the journey the brain takes when acquiring new information, and executive functioning is a critical component of this learning journey. Executive function skills require students to utilize memory, self-control, and attention flexibly to follow directions, plan, and multitask. Consequently, developing these skills is critical for students in secondary grades.

Secondary and postsecondary success often requires students to manage multiple tasks and courses, plan out completion of long-term projects, and set and reach ambitious goals. However, these skills can be challenging for secondary students to refine and master.

Students with disabilities are even more likely to grapple with executive dysfunction, particularly those with a diagnosis of attention deficit disorder and attention deficit hyperactivity disorder.

Neurodiverse students' executive functioning skills are an often-overlooked area of need during individualized education program (IEP) development. When we design accommodations and modifications, and engage in secondary transition planning, it's often related to supporting students' executive functioning skills to access the instruction.

For example, a student may have an accommodation that requires directions to be read aloud. This is a skill that can support students in comprehending and carrying out multiple steps. Students with and without disabilities can often benefit from explicit supports related to executive functioning. These skills can make the difference in students' ability to successfully navigate college, trade school, and independent life after graduation.

As a special educator, I'd say it's our responsibility to lead the charge in our schools by providing opportunities for all students to learn, practice, and refine executive function skills.

Executive dysfunction almost always plagues students with disabilities who are served via IEPs and 504 plans. However, all students can benefit from explicit executive functioning assistance. As such, I'm challenging special educators to lead the way in this area of instruction-let's teach students to manage themselves and the demands of life alongside the content of literacy, math, STEM, and history, etc.

5 Ways to Support Building Executive Function Skills

1. Bring your directions to life. Think aloud. There is power in narrating your thought processes when sharing expectations, organizing an equation, or annotating information. Consider how your lesson requires students to complete multistep directions. How can you break this direction down and model it aloud? Maybe today's independent task requires students to organize information from a passage. How can you bring this task to life? Think aloud.

2. Graphic organizers are your friend. Always provide students with options of graphic organizers to use when completing assignments independently. This will allow them access to tools for organizing and synthesizing information. Always model how to use these organizers with real tasks in your class. You may choose to make graphic organizers available via hard copy in your classroom or in a shared digital folder for students to access at all times.

3. Leverage technology. Use media, images, and video to provide visual exemplars of ways to organize information, plan tasks, and set goals. You could let your students see examples of how others annotate text in unique ways. In math, provide multiple ways that students can organize information in a multistep math word problem or use math journals to support students in organizing daily notes and content.

4. Incorporate executive functioning into grading. Consider allowing students to earn points toward an assignment or in a given course by applying executive function skills. For example, students may be able to receive additional points for a cumulative assignment by turning in a copy of the outline and short-term goals they created as they planned out the assignment.

Incorporating executive functioning into the grading system can encourage goal-oriented students to practice and apply these skills to support their success.

5. Use apps. There are limitless options of applications that allow for managing lists, utilizing timers, generating reminders, setting goals, and organizing information. Be sure to share them with parents and students, with permission. If appropriate, you may even choose to allow students to utilize the apps during class time.

As we support teenage students in refining their executive functioning skills, our classrooms should be safe spaces for them to explore a variety of strategies and figure out what works best for them. Creating these safe spaces to counter executive dysfunction can and should include the use of high-, low-, and no-tech strategies that students can access independently.

Beyond the five strategies listed, teachers can utilize everyday items like sticky notes, note cards, clocks, timers, calendars, labels, and even simple writing utensils to model executive function skills for students throughout the day.

A high school student's ability to self-regulate in the area of executive functioning can make or break their ability to balance life beyond graduation. Executive functions like attention, memory, time management, and organization are all everyday skills that we must independently manage in our lives. Special education teachers especially must not overlook conversations about students' skills in this area at IEP meetings, particularly when developing postsecondary transition goals.

For our growing and evolving students, executive functioning is a nonnegotiable component of learning, independence, and flourishing after high school.

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5 Ways to Help Neurodiverse Students Improve Executive Function Skills

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Neurodiverse students often struggle with organization in middle and high school, but they can be successful with the proper supports.

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A Collaborative Approach to Mistake Analysis

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A Collaborative Approach to Mistake Analysis

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This method calls for students working in groups to create problems, point out common errors, find solutions, and then explain the process.

Courtesy of Emma Chiappetta

"Construct viable arguments and critique the reasoning of others." The Common Core asserts, "Mathematically proficient students are also able to compare the effectiveness of two plausible arguments, distinguish correct logic or reasoning from that which is flawed, and-if there is a flaw in an argument-explain what it is."

"Attend to precision. Mathematically proficient students try to communicate precisely to others."

"Look for and express regularity in repeated reasoning. As they work to solve a problem, mathematically proficient students maintain oversight of the process, while attending to the details. They continually evaluate the reasonableness of their intermediate results."

Many math teachers use mistake analysis as an instructional strategy for helping students to think metacognitively and to develop a deeper understanding of critical procedures. The approach that I will share takes this strategy to the next level by getting students up out of their seats, working collaboratively, and thinking critically about common misconceptions. The activity requires students to not only identify an error but also reflect on their own learning to generate their own ideas of what the common mistakes are and then explain the thinking of their peers.

As you read through the procedure, think about how students are deeply engaging with each of these practices.

Here's how it works. Randomly separate the students into groups of three, and assign each group to a board. Each iteration of the exercise has three rounds.

3-Round Mistake Analysis Exercise

Round one: Each group of students is prompted to generate a problem related to the current unit of study in which one of their peers might make a mistake. They write the problem and solve it incorrectly, intentionally performing the common error that they identified but without noting where the error occurs in the solution.

Round two: Each group rotates to the next board, so that they are looking at a problem and an incorrect solution generated by the previous group. Using a different color marker, they must identify the error in the solution and solve the problem correctly.

Round three: Each group rotates again so that now they are looking at a problem, an incorrect solution, and a correct solution, none of which were written by the group currently standing at that board. They verbally explain to the rest of the class the mistake that was made by the first group and the correct solution provided by the second group.

Benefits for Students

There are a slew of benefits to this approach. My favorite is that students must do several different types of thinking.

Generating an example of a common misconception requires a great deal of metacognition on their part. Identifying an error is an exercise in precision and critical evaluation of a process. Next, they flex their problem-solving skills. Finally, they need to construct an argument and explain someone else's solution. Thinking about the same content from all of these perspectives and modalities encourages a much deeper understanding of the material.

Another aspect of this protocol that I love is that every student has an entry point. Struggling students can reflect on a mistake they have made on a previous assignment, while high-flying students can think critically about a subtle mistake that might stump their classmates.

This collaborative approach to mistake analysis is a fabulous way to facilitate teamwork in a math classroom that, again, allows students at all levels to participate. Even the students struggling the most will be able to talk about what mistakes they have made and what types of problems are most challenging to them. Adding an additional requirement, that only one student may wield the writing utensil during each round, also forces everyone to participate and communicate.

Finally, the multifaceted stages of the exercise boost energy levels in the room. The buzz in the room is palpable as students move from one board to the next, brainstorm, debate, and change their thinking modality. Plus, I've always been a strong believer that we think better when we are standing up and writing big!

This strategy can be used at any stage in the learning process: near the beginning of a unit to nip misconceptions in the bud, in the middle when students are in the thick of formative assessment, or at the end as a review exercise. While I've found success using it in the math classroom, I imagine it could be adapted for any discipline. For example, English teachers might have students generate sentences with subtle but common grammatical errors. The possibilities are endless.

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A Collaborative Approach to Mistake Analysis

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This method calls for students working in groups to create problems, point out common errors, find solutions, and then explain the process.

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3 Brain-Based Strategies That Encourage Deeper Thinking 

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3 Brain-Based Strategies That Encourage Deeper Thinking 

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Retrieval practice, elaboration, and concept mapping help students make richer, more meaningful connections between ideas.

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Retrieval practice, elaboration, and concept mapping help students make richer, more meaningful connections between ideas.

With uncertainty hovering over fall plans, teaching and learning continue to look different from district to district than ever before. While administrators juggle with tough choices, almost every teacher is back to reading, reflecting, and restructuring their lesson plans to keep their learners engaged and learning-and as equitable as possible given the constraints. In this post, I share three strategies, informed by the learning sciences, that teachers can use online or face-to-face to deepen student learning: retrieval practice, elaboration, and concept mapping.

Strategy 1: Retrieval Practice

1. Create a version of your study guide that has only the questions. Ask students to practice answering them without additional support. Once they're done, they can share their answers; they can also look up the correct answers, either alone or in groups.

2. Use a brain dump. Ask students to write down everything they remember relevant to your question (or the topic) on a piece of paper. You can stop here, or have students compare their work to find gaps, similarities, and differences.

Retrieval practice, or the practice of remembering, is a robust learning strategy as summarized in a meta-analysis of more than 200 studies published by my colleagues and me. Retrieval practice is when you push yourself to write, tell, or draw what you've already learned, and it can be especially helpful for concepts you may not remember as clearly-the process of remembering will help strengthen your memory. Plus, you have the added benefit of identifying what you know and don't know. Some teachers use this strategy in their classrooms already-maybe you do too. If not, here are two ways to start:

Strategy 2: Elaboration

1. Ask learners to compare two examples of the same concept or share specific examples. For example, when covering concepts of reusable energy, ask questions such as, "What are three similarities and differences between wind and solar energy?" Use these questions in a discussion board, in a short answer prompt, or to jazz up the thinking quotient of your worksheet.

2. Learners can explain the topic out loud to themselves, friends, a sibling, or a parent. You can also incorporate it into group activities-like a jigsaw-or have students role-play as the teacher and explain the topic to the class. For virtual classrooms, Flipgrid is an excellent tool: Students can record themselves reading about a topic and then answering questions like "How do I apply this topic in my life?" For younger students who may need more scaffolding, you can ask a more targeted prompt, like "How do I consume energy every day?"

Elaboration -also known as elaborative interrogation-refers to expanding a concept to be more detailed, allowing our brain to connect multiple concepts to one central idea. The more connections we make, the more likely we are to remember relevant information. Think of the icebreaker "Tell me one fun thing about yourself." Not only does it help you remember something interesting about a person-they like rocky road ice cream, for example-but you may also think of that person every time you see the flavor. In a learning context, elaboration can often be done by asking questions that require engaging deeply with content. So instead of asking learners to simply memorize information, they can compare and contrast right and wrong answers. This approach is so simple, you likely use it in your class already. Here are two ways to start:

Putting It All Together: Concept Mapping

Concept mapping combines retrieval practice and elaboration through the process of drawing one's understanding of relationships between concepts. A map usually contains at least two concepts (nouns), a relationship (verb or concise description), and a directional arrow connecting the concepts. When reading the map, we create mini sentences (excusing poor grammar, of course). For example, a student learning about bacteria can create a concept map that includes any relevant ideas-such as specific types of bacteria (" Helicobacter pylori") or ways to describe them ("single-celled organism"). This layout allows learners to identify what they know and where the gaps are, in addition to the relationships between concepts. A review of more than 140 experiments suggests that this strategy is superior to rote memorization because it encourages students to make richer, more meaningful connections within a topic.

1. Focusing stage: Learners are given or are asked to identify a guiding question-such as "How is ice formed?"-relevant to the current topic.

2. Brainstorming stage (making use of retrieval practice): Learners do a brain dump in response to the guiding question, writing down any concepts and ideas that come to mind.

3. Organizing stage (elaboration): Learners review their brain dump and pick out concepts that are central to the guiding question, followed by asking themselves, "How are these concepts connected?"

4. Layout stage: Learners build their map connecting the concepts with directional arrows showcasing their understanding. At the top of the map, they can start by writing down the main ideas of the topic, and then start connecting words together.

5. Linking stage: They complete the first draft of the concept map by labeling the arrows with these descriptions. For example, if they start with the words "ice" and "cold," they can connect the two with "is." This encourages learners to think about the relationships between different ideas.

6. Revising stage: There is no perfect concept map. Give learners the opportunity to redo and update based on their understanding.

There are six stages in concept mapping, starting with the instructor providing learners with a specific guiding question.

In the past, I've done concept mapping with kindergarteners, replacing words with pictures, and it's so much fun to have them form sentences using images. The goal is to help them retrieve, elaborate, and share their understanding. (I also recommend looking into Dual Coding for Teachers and other resources by Oliver Caviglioli.)

A final tip: You don't have to do all of these strategies for every topic. Pick and choose, mix and match. Start small and build up. These strategies work because they engage the learner's attention and encourage them to think more deeply about the content.

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3 Brain-Based Strategies That Encourage Deeper Thinking

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Retrieval practice, elaboration, and concept mapping help students make richer, more meaningful connections between ideas. With uncertainty hovering over fall plans, teaching and learning continue to look different from district to district than ever before.

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Visuwords (digital mapping in real-time) 

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Visuwords (digital mapping in real-time) 

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Quiz Yourself: How Much Do You Know About English-Language Learners?

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This learning strategy helps students find solutions with the support of a collaborative group.

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Diversity and Inclusion Terminology Infographic - by SHONTERRIUS LAWSON-FOUNTAIN [Infographic]

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Vicky Giouroukakis and Andrea Honigsfeld present their A-Z of culturally and linguistically responsive practices
As the impending Common Core State Standards (CCSS) seem sure to entail even more assessment in most states, there are increasing demands for teachers to adequately prepare all their students to meet the new standards and achieve passing scores on high-stakes, standardized state assessments. Teachers around the U.S. today are facing new standards, new assessments, and new curricula that they will need to study and incorporate quickly in order to comply with state and federal requirements while doing their best to provide quality education for all of their students.

Educators of English language Learners (ELLs) face added challenges because they need to develop and implement not only standards-based, quality lessons but also apply culturally and linguistically responsive practices that will meet the needs of their diverse learners. Based on our recently completed research (Giouroukakis & Honigsfeld, 2010), we have generated an ABC list of such practices that will aid all teachers of diverse learners in terms of preparing them for standards-based instruction and high-stakes testing:

Authentic Materials: Infuse authentic materials (e.g., songs, newspapers, video clips, and current events) in the core curriculum in order to make instruction more meaningful and more readily relatable to students' lives.

Background Knowledge: Activate students' background knowledge in order to help them connect new information to prior knowledge and thereby learn the material. If students' prior knowledge is limited, spend time on establishing a common frame of reference before a new topic is introduced.

Comprehensible Input: Use oral and written language that is understandable to students, which will enhance their learning.

Differentiation of Instruction: Vary your instructional strategies to address differences in students' language proficiency levels, academic readiness levels, and learning styles.

Empathy: Lower your students' anxiety by showing empathy and by being patient and reassuring. Help students overcome past failures and enhance their chances to tackle academically challenging material successfully.

Feed Forward: Consider offering "feed forward" rather than feedback when your students respond to written prompts by guiding them throughout the process and anticipating areas of special difficulties.

Guided Practice: Create ample opportunities for your students to rehearse their responses orally first (in pairs or in small groups) before putting them into writing.

Home-School Connection: Acknowledge and build on students' "funds of knowledge" (Moll, Amanti, Neff, & Gonzalez, 1992) that they bring from their home cultures.

Interpersonal Support: Learn as many key phrases as you can in your students' home languages, and offer your ongoing support through encouraging remarks both in English and the native language.

Joyful Learning: Create a learning environment which recognizes that second language acquisition as well as content attainment may be more successful when the teaching-learning process is more enjoyable (Udvari-Solner & Kluth, 2007).

Knowledge Construction: Provide frequent opportunities for students to construct their own understanding of new concepts.

Learning about Your Students: Find out about your students and their diverse needs as much as possible (e.g., cultural, linguistic, academic, learning styles) in order to better address them.

Multimodal Learning: Use multimodal aids (e.g., auditory, visual, digital) in the classroom as a way to address students' diverse learning styles and interests.

Native Language: Encourage your students to use their native language in and outside the classroom as a medium for learning English as well as content; use bilingual dictionaries and glossaries during lessons and test taking situations.

Opportunities for Interaction: Provide frequent opportunities for student interactions though pair or small group work to enhance oral language development.

Performance-Based Products: Allow students to show mastery of content through varied performance-based assessments, not just through multiple choice tests or test items that emulate standardized tests. In an English class, use drama, songs, and role-playing to engage students as they develop new skills and to assess their knowledge.

Questioning: Assign questions or have students generate their own questions that are higher-order and require deep and broad thinking.

Reflection: Assign tasks that require students to reflect on ideas, topics, and problems such as journal writing, generating questions, and reader-response, in order to develop students' metacognitive skills, which will assist in problem-solving.

Scaffolding: Systematically employ instructional scaffolding techniques throughout your lessons, including modeling, vocabulary building, sentence starters, paragraph and essay frames, and structured and graphic organizers in order to provide support.

Technology: Utilize technology as a tool to enhance your lessons, motivate students, and equip them with 21st century skills.

Understanding: Deepen the textual understanding of students by explicitly teaching them strategies, such as previewing, purpose-setting, and vocabulary teaching.

Vocabulary: Pre-teach and regularly review the essential vocabulary of content areas and of the testing directions (function verbs) in order to aid in text comprehension.

Wait Time: Give ELLs sufficient time to formulate their responses before calling on them to maximize their chances of responding successfully.

Xerox: Make copies of outlines, model responses, partially completed handouts, visual scaffolds and other supporting materials.
Yes: Say yes whenever possible. Think positively and transfer your enthusiasm for learning to your students.

Zone of Proximal Development (ZPD): In the Vygotskyan tradition, make sure ELLs have learning experiences within their ZPD (1978), by providing them with mentor texts and language models and by encouraging them to become self-directed, independent learners.

We believe that by applying culturally and linguistically responsive practices, teachers will address the unique needs of their diverse students and equip them with the 21st century skills necessary to succeed in school and the workforce as well as in life.

References
Giouroukakis, V., & Honigsfeld, A. (2010) "High-Stakes Testing and English Language Learners: Using Culturally and Linguistically Responsive Literacy Practices in the High School English Classroom." TESOL Journal, 1(4), 470-499.
Moll, L. C., Amanti, C., Neff, D., & Gonzalez, N. (1992) "Funds of Knowledge for Teaching: Using a Qualitative Approach to Connect Homes and Classrooms." Theory into Practice, 31(2), 132-141.
Udvari-Solner, A., & Kluth, P. (2007) Joyful Learning: Active and Collaborative Learning in Inclusive Classrooms. Thousand Oaks, CA: Corwin Press.
Vygotsky, L. S. (1978) Mind in Society: The Development of Higher Psychological Processes. Cambridge, MA: Harvard University Press.

Vicky Giouroukakis, Ph.D., is an associate professor of English Education and TESOL at Molloy College, Rockville Centre, NY. She specializes in second language acquisition, cultural and linguistic diversity, standards/assessment, adolescent literacy, and teacher education.

Andrea Honigsfeld, EdD, is a professor at Molloy College. She has published extensively on learning styles, differentiated instruction, and teacher collaboration. Her book, Collaboration and Coteaching: Strategies for English Learners, was published by Corwin Press (2010).

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The ABC of Teaching Diverse Learners - Language Magazine

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Vicky Giouroukakis and Andrea Honigsfeld present their A-Z of culturally and linguistically responsive practices As the impending Common Core State Standards (CCSS) seem sure to entail even more assessment in most states, there are increasing demands for teachers to adequately prepare all their students to meet the new standards and achieve passing scores on high-stakes, [...]

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Using playlists to differentiate instruction 

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Using playlists to differentiate instruction 

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Listen to my interview with Tracy Enos or read the transcript here.

In our never-ending quest to find better ways to differentiate and personalize instruction for students, we have plenty of options. I covered a lot of the basics in my Differentiation Starter Kit. Then last year we learned how math teacher Natalie McCutchen manages a self-paced classroom. And for ESL students, there are the Can-Do Descriptors.

Now, Rhode Island teacher Tracy Enos shares her system for customizing instruction to meet the needs of every student. She calls it a playlist, an individualized digital assignment chart that students work through at their own pace.

First, consider what we usually do: When planning a typical unit of instruction, teachers map out a series of lessons to deliver, assignments for students to complete, and some kind of final assessment at the end. They might share this plan with students, but then the execution is done by the teacher: The teacher delivers the lessons, tells students when to do the assignments, and guides students toward the final assessment.

With playlists, the responsibility for executing the learning plan shifts: Students are given the unit plan, including access to all the lessons (in text or video form), ahead of time. With the learning plan in hand, students work through the lessons and assignments at their own pace. And because each student has her own digital copy of the playlist (delivered through a system like Google Classroom), the teacher can customize the list to meet each student's needs.

"A playlist is basically like a road map," Enos explains. "I started using them in my classroom when I looked at my room full of 26 students and I saw the variety in their abilities. I knew I needed something different so that I could meet the needs of each one of those kids. Instead of just saying, 'OK, everybody, we're going to work on this lesson today,' I needed to individualize it so that different kids are working on things that they needed."

The term playlist, by the way, was coined by one of Enos' colleagues, math teacher Jason Appel.

Here are screenshots of three sample playlists from Enos's class. If you click on each one, you'll be taken to the full version to view in Google Docs. Although these examples come from a language arts class, Enos feels strongly that the playlist concept could be used in any content area.

Argument Writing Playlist

The first playlist is for a unit on argument writing. What you see here is just the first few tasks; there are 19 on the full playlist.

In the first column, Enos simply names the task. The second column provides specific instructions for the task. The third column is set up for students to record any notes they have about the task, and the fourth is where students record the date they completed the task.

Although much of the playlist will be exactly the same for each student, especially for the first few tasks, individual tasks can be customized to meet individual needs. Because the playlist is stored in digital form, the teacher can go into each student's playlist at any time and make adjustments as needed.

In addition to adjusting certain tasks, Enos also builds space in each playlist for purely individualized tasks. If we look further down her playlist, we see that tasks #14 and #15 have been left open for individualized focus revision activities, to be determined after the student has written her draft:

Enos does place occasional hard deadlines into her playlists; item 13 above has a date assigned to it. Although students are allowed to complete the work before the deadline, having this task pinned to a specific date helps prevent students from getting too far off track from each other.

Parts of Speech Playlist

This next one is from a unit designed to review the parts of speech. Notice that some of the tasks are quite simple and quick: Students just need to log on to a certain platform, create an account, or join an online group. This makes the playlist a practical tool as well as a good instructional vehicle: One place to keep learning tasks AND the kinds of housekeeping items that accompany most units. And breaking units into smaller tasks gives students a feeling of accomplishment as they move through each item.

To see the full version of this playlist, click the image below:

Again, the "Directions" column allows for maximum flexibility. The teacher can add tech tips, reminders, or any other information that might help student complete the task more smoothly. And if this is done in digital form, the teacher can easily add tips, links, or other comments at any time, making the playlist a living document.

Book Club Playlist

The final example is a playlist created for a unit on dystopian fiction, in which students participated in book clubs.

Notice that the playlist also includes checkpoints, where students must touch base with their teacher before moving on. These can be built in at any point for any reason, such as making sure students have completed key housekeeping tasks (like in the example above) or having the teacher review a draft for quality.

Many of the tasks in the playlist will ultimately result in the student submitting work through Google Classroom, or they might require a paper submission in a class that hasn't gone quite so digital. In fact, the whole system could be done on paper-one look at how student learning is managed in a Montessori classroom and you'll see how that can work. What's key is that students work through the list on their own, which frees the teacher up to spend more time working one-on-one with students.

If students are truly working at their own pace, wouldn't that mean some are way ahead, even finished with a unit, while others drag way behind? Setting a few hard deadlines (as shown in the argument writing playlist) can help keep the pacing from spiraling too far out of whack, but if our goal is true individualization, then we shouldn't want everyone to be too closely aligned.

This can be managed on a day-to-day basis. Students who are taking longer to master key tasks will likely get more one-on-one assistance from the teacher or be placed in groups to help them. Those who finish the required material quickly can be given enrichment tasks that take the learning to more advanced levels.

Homework also takes on a different role in a class that uses playlists: Because students work through the playlists on their own, they decide whether they get homework or not. If a student is moving through a playlist quickly, they may not have a need to spend extra time on the work at home. Conversely, if a student finds he needs extra help in class, he may decide to catch up on a few videos at home.

For a more in-depth exploration of playlists, listen to my podcast interview with Tracy Enos using the player above or by listening on iTunes or Stitcher (for Android). If you have questions, ask them in the comments below and I'll have Tracy come over and answer them. And if you have used a system that's similar to playlists, please share your experiences in the comments so we can all learn together.♦

There's a lot more where this came from.
Join the Cult of Pedagogy mailing list and get weekly tips, tools, and inspiration-in quick, bite-sized packages-all geared toward making your teaching more effective and fun. You'll get access to my members-only library of free downloadable resources, including my e-booklet, 20 Ways to Cut Your Grading Time in Half, which has helped thousands of teachers spend less time grading. If you are already a subscriber and want this resource, just check your most recent email for a link to the Members-Only Library-it's in there!

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Using Playlists to Differentiate Instruction

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Want better differentiation? Learn how to use this simple method for providing students with customized plans for working through a unit of study.

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Secondary Blended Learning - Creating Playlists and Hyperdocs

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Jason Appel is a FUSE RI Cohort 1 member and a Secondary Math Teacher at Barrington High School. He has been using playlists within his classroom for several years and has done so even before his districts switch to 1:1 devices.

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Greetings. Please complete this reflection form after each PLC meeting. The information collected will assist me in ensuring you receive personalized support as we work together to build bridges and pathways to understanding for our scholars. Yours in service, Dr. Fountain, Instructional Coach

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Blended Learning: Building a Playlist - Dr. Catlin Tucker

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A playlist presents a strategy teachers can use to structure learning experiences that are more personalized to specific learners' needs.

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11-4-2022 C & I Bridges & Pathways Ed.1 - by SHONTERRIUS LAWSON-FOUNTAIN [Infographic]

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Re-imagining Notetaking as a Skill-DrFtn - by SHONTERRIUS LAWSON-FOUNTAIN [Infographic]

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Note-taking is a skill and looks different depending on the content, purpose, or related learning task. As you embed note-taking into your instruction, embed skills practice and vary the presentation and output. Students shift from being connoisseurs of others’ expertise to producers and creators, w…

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What does the research say?  (Edutopia Article)

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What does the research say?  (Edutopia Article)

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Edutopia is a free source of information, inspiration, and practical strategies for learning and teaching in preK-12 education. We are published by the George Lucas Educational Foundation, a nonprofit, nonpartisan organization.

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Gardner's Theory of Multiple Intelligences Summary

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Gardner's Theory of Multiple Intelligences Summary

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Many of us are familiar with three broad categories in which people learn: visual learning, auditory learning, and kinesthetic learning. Beyond these three categories, many theories of and approaches toward human learning potential have been established. Among them is the theory of multiple intelligences developed by Howard Gardner, Ph.D., John H. and Elisabeth A. Hobbs Research Professor of Cognition and Education at the Harvard Graduate School of Education at Harvard University. Gardner's early work in psychology and later in human cognition and human potential led to his development of the initial six intelligences. Today there are nine intelligences, and the possibility of others may eventually expand the list.

Gardner's Multiple Intelligences Summarized

1. Verbal-linguistic intelligence (well-developed verbal skills and sensitivity to the sounds, meanings and rhythms of words)

2. Logical-mathematical intelligence (ability to think conceptually and abstractly, and capacity to discern logical and numerical patterns)

3. Spatial-visual intelligence (capacity to think in images and pictures, to visualize accurately and abstractly)

4. Bodily-kinesthetic intelligence (ability to control one's body movements and to handle objects skillfully)

5. Musical intelligences (ability to produce and appreciate rhythm, pitch and timber)

6. Interpersonal intelligence (capacity to detect and respond appropriately to the moods, motivations and desires of others)

7. Intrapersonal (capacity to be self-aware and in tune with inner feelings, values, beliefs and thinking processes)

8. Naturalist intelligence (ability to recognize and categorize plants, animals and other objects in nature)

9. Existential intelligence (sensitivity and capacity to tackle deep questions about human existence such as, "What is the meaning of life? Why do we die? How did we get here?"

("Tapping into Multiple Intelligences," 2004)

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Howard Gardner's Theory of Multiple Intelligences | Center for Innovative Teaching and Learning | Northern Illinois University

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Gardner's early work in psychology and later in human cognition and human potential led to his development of the initial six intelligences.

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Types of Cognitive Learning Styles Infographic - by SHONTERRIUS LAWSON-FOUNTAIN [Infographic]

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Tier 2-3 Vocab - by SHONTERRIUS LAWSON-FOUNTAIN [Infographic]

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4-12-2022 Advisory EdPuzzle Playlist_new - by SHONTERRIUS LAWSON-FOUNTAIN [Infographic]

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SAMR Model: A Practical Guide for K-12 Classroom Technology Integration

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Discover how to enhance student learning using integrated classroom technology and the SAMR Model in your K-12 blended classroom.

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Gradual Release of Responsibility One Pager

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Gradual Release of Responsibility One Pager

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GradualRelease of Responsibility - by SHONTERRIUS LAWSON-FOUNTAIN [Infographic]

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What?

An anchor chart is an artifact of classroom learning. Like an anchor, it holds students' and teachers' thoughts, ideas and processes in place. Anchor charts can be displayed as reminders of prior learning and built upon over multiple lessons.

When?

Before, during and after reading

Why?

Children are able to focus on the information they are responsible for learning, and prepare themselves to increase comprehension. Previewing the lesson levels the playing field by providing all students, regardless of prior knowledge or background, with fore knowledge of the read-aloud vocabulary.

How?

1. Choose vocabulary words that are essential to student comprehension from the central text (such as Tier Two and Tier Three vocabulary, academic and domain-specific words, words deserving more attention, transition words and words likely to appear in future texts).

2. Before the read aloud, spend time orally identifying additional contextually relevant words (e.g., the civil rights movement, rights, Constitution, Supreme Court, Ruby Bridges) with students.

3. Create an anchor chart for on-going reference in the classroom.

4. Use a manipulative to help students conceptualize new vocabulary through original illustration.

5. Ask students to listen for the identified words while they listen to the read aloud.

6. Return to the text. Ask students questions about the unknown vocabulary words and phrases. Encourage students to use context clues, when possible, to determine meaning.

7. Add student answers and definitions to anchor chart. Clarify as necessary.

8. Extend the learning throughout the week by:

Guiding students to understand relationships between words (sort vocabulary words into categories, make real-life connections, recognize shades of meaning);

Asking students to look and listen for vocabulary words in conversations, books, television shows and advertisements and to share these observations with the class;

Requiring students to use the vocabulary words in conversations or writing.

English language learners

Explicitly teaching words supports language development, but using the word in context allows for a deeper level of understanding. English language learners benefit from the discussion that takes place among classmates to come to consensus the meaning of a new word meaning during the pre-reading oral presentation of the anchor chart. Verbalizing thoughts (as well as listening to others' view points) provides a context for understanding new vocabulary.

Connection to anti-bias education

Previewing focuses students' attention on specific information they will be responsible for learning, so all students can approach the text with the same foundational knowledge. This type of explicit instruction aims to narrow the achievement gap directly associated with vocabulary knowledge, development and access.

Sample anchor charts:

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An anchor chart is an artifact of classroom learning. Like an anchor, it holds students' and teachers' thoughts, ideas and processes in place. Anchor charts can be displayed as reminders of prior learning and built upon over multiple lessons.

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Anchor Charts in Secondary Social Studies 

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Anchor Charts in Secondary Social Studies 

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Anchor Charts in Secondary Social Studies | Social Studies Success

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As a secondary Social Studies teacher, the thought of anchor charts intimidated me - isn't that an elementary thing? How would I use them in my class? Would they even work with teenagers? What would they say? Then I saw some amazing anchor charts in classrooms and the light came on!

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free math posters ::||:: PRINTABLE ::||:: free math charts

Over 270 free printable math posters or maths charts suitable for interactive whiteboards, classroom displays, math walls, display boards, student handouts, homework help, concept introduction and consolidation and other math reference needs.

DOWNLOAD PDFs
For each area listed below.

Mathematical areas covered include Numbers, Operations on Numbers, Fractions, Decimals, Percent/Percentages, Ratios and Rates, Beginning Algebra, Data and Statistics, Probability, Geometry, Measurement, Time, Symbols & Notation, Money and Blackline Masters.

Click on the Download PDF links below to see the charts for each area.

© Jenny Eather. All rights reserved.
From

First numbers
First ordinals
Ordinals Hundreds Chart
Numbers 1-10 Australian Animals
Numbers 1-10 Counters
Numbers 11-20 Counters
Hundreds Chart
Two Hundred Chart
Number Lines
Skip Counting by 2s
Skip Counting by 5s
Skip Counting by 10s
Odd and even numbers
Prime and composite numbers
Negative and positive numbers
Square numbers
Triangular numbers
Roman Numerals
Number Sequences
Types of numbers, classifying numbers (natural, whole, integers, rationals, irrationals)
Place Value
Reading large numbers
Expanding numbers, expanded notation
Rounding Hundreds Chart
Rounding numbers 1
Rounding numbers 2
Rounding examples
Integers, Operations on Integers

Addition and Subtraction
Addition 1 - horizontal
Addition 2 - vertical with and without trading, borrowing or carrying
Subtraction 1- horizontal
Subtraction 2- vertical with and without trading, borrowing or carrying
Addition and Subtraction Strategies
* Count on, count back
* Doubles and near doubles
* Extensions
* Inverse operations
* Jump strategy
* Split strategy, partitioning
* Reordering (commutative property)
* Compensation and change methods
* Rainbow Facts
Addition table to 20
Subtraction table to 20
Addition properties
Multiplication and Division
Multiplication1 - horizontal
Multiplication 2 - vertical with and without trading, borrowing or carrying
Division 1 - horizontal
Division 2 - vertical with and without trading, borrowing or carrying
Multiplication and Division Strategies
* Using groups and arrays
* Inverse operations
* Extensions
* Split strategy, partitioning
* Area model of multiplication (partial products)
* Reordering (commutative property)
Multiplication Chart
Times Tables
Multiples and Lowest Common Multiple (LCM)
Factors and HCF or GCF
Prime factors and HCF or GCF
HCF/GCF calculator
(HCF: Highest Common Factor, GCF: Greatest Common Factor)
Divisibility Rules
Long multiplication
Long division
General
Key Words ... that indicate + - x ÷ operations
Problem Solving
Fact Families
Order of Operations
Operations Properties
Operations on positive and negative numbers

Percent, percentage
Percentages and amounts
Sales tax
Discounts and markdowns
Simple interest
Calculating profit and loss
Percentages, decimals, fractions
Percentages, decimals, fractions ... conversions
Percentage error
Percentage change
Percentage points, basis points

Ratios
Problem solving with ratios
Rates
Equivalent ratios and rates

Collecting data
* Statistics - data types
* Population and sample
* Tally, score and frequency
Organising data
* Types of graphs
* Bar graph, bar chart, column graph
* Box-and-whisker plot, box plot
* Conversion graph
* Cumulative frequency graph
* Divided bar graph
* Dot plot
* Frequency table, histogram
* Line graph
* Picture graph, pictogram
* Pie graph or sector graph, pie chart
* Scatter plot or scatter diagram
* Stem-and-leaf plot
* Step graph
* Travel graph
Analysing data
* Mean, median, mode
* Range
* Outlier

Probability
Probability Range, Probability Line
Probability terminology, e.g. experiment, trial, outcome, event
Sample space
Tree diagrams
Counting or multiplication principle

2D Shapes (plane shapes)
* First plane shapes
* Basic plane shapes
* Circle terminology
* Square
* Polygons
* Classifying polygons (simple,complex, regular, irregular, covex, concave)
* Regular polygons (sides, vertices, angles, lines of symmetry, order of symmetry)
* Triangles
* Quadrilaterals
* Diagonals
* Area
* Perimeter
* Symmetry - reflective and rotational symmetry
* Tessellations, tilings
* Transformations - reflection, translation, rotation, dilation OR flip, slide, turn, zoom
3D Shapes (solid shapes)
* First solids
* Basic solids
* Sphere
* Cube
* Cone
* Cylinder
* Prisms
* Pyramids
* Platonic solids
* Faces, edges, vertices, nets
* Views, cross-sections
* Surface area and volume
Lines
Angles
* Angles
* Angle Pairs
* Measuring angles
Position
* First position words
* Coordinates
* Compass points

Note: US charts use US spelling conventions for metric units.
Length
* Length
* Length - metric units
* Length - metric units US
* Length - metric conversions
* Length - metric conversions US
* Length - imperial, US units
* Length - imperial, US conversions
* Perimeter of 2D shapes
Area
* Area
* Area - metric units
* Area - metric units US
* Area - metric conversions
* Area - metric conversions US
* Area - imperial, US units
* Area - imperial, US conversions
* Area of 2D shapes
* Surface area of 3D shapes
Mass
* Mass
* Mass - metric units
* Mass - metric conversions
* Mass - imperial, US units
* Mass - imperial, US conversions
Volume
* Volume
* Volume - metric units
* Volume - metric units US
* Volume - metric conversions
* Volume - metric conversions US
* Volume - imperial, US units
* Volume of 3D shapes
Capacity (Fluid volume)
* Capacity or fluid volume
* Capacity - metric units
* Capacity - metric units US
* Capacity - metric conversions
* Capacity - metric conversions US
* Capacity - imperial, US units
* Capacity - imperial, US conversions
Temperature - Celsius (Centigrade) and Fahrenheit
Measurements Conversion Chart

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multiplication vertical with and without trading

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fractions to decimals to percentages conversions

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decimals to percentages to fractions conversions

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percentages to decimals to fractions conversions

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Free Math Posters : Maths Charts by Jenny Eather : FREE : PRINTABLE

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Over 200 printable maths charts for interactive whiteboards, classroom displays, math walls, student handouts, homework help, concept introduction and consolidation and other math reference needs. © Jenny Eather 2012.

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"This chart elaborates on the historical reading skills of sourcing, corroboration, contextualization, and close reading. In addition to questions that relate to each skill, the chart includes descriptions of how students might demonstrate historical thinking and sentence frames to support the development of these skills.” Available in English and Spanish.

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"This chart elaborates on the historical reading skills of sourcing, corroboration, contextualization, and close reading. In addition to questions that relate to each skill, the chart includes descriptions of how students might demonstrate historical thinking and sentence frames to support the development of these skills.” Available in English and Spanish.

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45 Must-Watch TED Talks That Spark Student Discussions

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From STEM and history to simply inspirational.

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My high school English class had just finished reading Madame Bovary, and we were all confused. (For those of you who have not read it, please skip to paragraph two. Spoiler alert!) Emma Bovary, a listless housewife in search of the passionate love she's read about in books, has many sordid affairs, falls deeply into debt and kills herself by swallowing arsenic, and her ever-faithful and terribly dull husband Charles dies a while later of a broken heart, and their daughter, upon finding her father dead, is sent to work in a cotton mill. We were all baffled and upset by the end of this intense, complicated novel. When we arrived in class the next day, our teacher asked us the question: "What can we learn about real love from Madame Bovary?" and no one knew what to say.

That night for homework, our only assignment was to watch a TED Talk: " Why we love, why we cheat " by anthropologist Helen Fisher. In the talk, Fisher explained her work: "My colleagues and I took 32 people who were madly in love and put them into a functional MRI brain scanner." I knew that Helen Fisher was taking a very different approach to understanding love from Gustave Flaubert. So why was I reading Flaubert and watching her talk, one after the other?

I didn't realize what my teacher was doing until class discussion the next day. We shuffled in, pulled our desks into a circle, took our copies of Madame Bovary out of our bags and looked around at each other.

"So," my teacher said, "if Gustave Flaubert and Helen Fisher were having a conversation about love, what would they say to one another? What would you say to them?"

There was a pause, and then: "I mean, the thing about love being a drug, like cocaine, seems like Emma felt love like that?"

"But then what about Charles? Was he in love?"

"Well he wasn't intense, and he wasn't possessive. Maybe he wasn't in love?"

"He died for love."

"Did he die for love or for heartbreak?"

"What's the difference?"

The discussion continued, back and forth.

What my English teacher did that day showed me the value of TED Talks in the classroom: school is all about ideas, and TED can help teachers bring ideas into conversation and debate. TED Talks aren't like Wikipedia articles-yes, they contain information, but at their best, they actually spark a conversation. They can be used to bring diverse voices, questions, and even conflict into classroom discussions-as Helen Fisher's did for my English class. Physics classes can start to think about just how non-linear physics really is with Boaz Almog's demonstration of quantum superconductors, history classes can think about Yoruba Richen's talk and wonder about how rights movements work, students can even question the school system they are a part of with Ken Robinson's talk on how schools creativity.

I graduated from high school in May. (I've spent the summer before college interning with the lovely editorial department at TED.) Throughout my high school career, I've seen teachers use TED Talks often-sometimes very well, and sometimes in ways I didn't find as effective. I recently got in touch with a former teacher from my school, Suzanne Fogarty (now the director of the Lincoln School in Providence, Rhode Island), who showed Chimamanda Adichie's TED Talk, " The danger of a single story," in an assembly. Afterward, Adichie's talk popped up in lectures, lunchtime discussions, even in the hallways between classes. Her ideas had entered the vocabulary of the school. Everyone was thinking about the "single story."

I wanted to find out why Ms. Fogarty chose to use TED in her curriculum. When I asked, she responded, "TED Talks make us pause and listen to the percolation of ideas-art, engineering, technology, the humanities, spoken word and more."

Her comment clarified something for me. The best use of TED Talks in the classroom really do take advantage of that "percolation of ideas." Talks work best when teachers use them to give perspective and to generate discussion around difficult topics.

But how exactly do you do this? Stephanie Lo, Director of TED-Ed Programs, advises teachers to use TED videos as a way to get students thinking. She recommends that teachers check out Ed.TED.com, which is packed full of short, animated lessons created specifically for students. (When searching, teachers can filter by student age-there are talks for elementary school students, middle school students, high school students and college students.) And she recommends that, whether they're using a lesson or a talk, teachers prepare discussion questions to get students thinking before they get to class.

Fogarty echoes the sentiment. "I like having some essential questions to accompany the talk," she told me, "or asking students to research TED Talks that carry meaning for their generation."

These conversations helped me see what can really happen when TED Talks are brought into the classroom. Students can better grasp topics they might not fully understand at first glance, think critically about how they think about the world, and discuss other big ideas alongside their own. Gustave Flaubert can have a conversation with Helen Fisher about the meaning of love. And that is pretty cool.

[ted id=16]

[ted id=652]

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My high school English class had just finished reading Madame Bovary, and we were all confused. (For those of you who have not read it, please skip to paragraph two. Spoiler alert!)

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Why we help develop and amplify student voice

Students are filled with curious, innovative, brilliant and thoughtful ideas; we know there is a significant impact when students are not only asked about their passions and perspectives, but when they work to develop and share those ideas to a larger audience. Through this program, students develop both 21st century skills and are better prepared to advocate for the problems of today and the future.

How the program works

The TED-Ed Student Talks program provides free, customizable activities for educators working with students ages 6-18 in a classroom, school, extra-curricular setting or youth/educational organization. When an educator's application is approved, you receive access to a customized virtual learning platform where you will access our our guided activities and resources, which are standards-based and built on TED-Ed's core learning principles; in addition, you will be able to connect with the TED-Ed staff and fellow educators from around the world.

How the application process works

The TED-Ed Student Talks application is open all year round. The TED-Ed team reviews and approves applications on April 1, August 1 and December 1. Once approved, you will receive access to our customized virtual learning platform for 12 months after which you will have to re-apply to renew and continue your access.

Identify the elements of a great idea

Thinking curiously and critically of ideas they learn about

Research, develop, and craft their ideas into compelling, spoken narratives

Gain confidence to share ideas with their peers and community

Give and receive meaningful feedback on each other's ideas

Apply here

Frequently asked questions

How does the program work? Who can get involved? What resources does an approved educator receive? What is the recommended group size? How can districts, larger organizations and networks of schools get involved? Are there resources available in languages other than English?

Students work together to identify, develop and share their creative ideas. Use TED-Ed's free, customizable public speaking activities as a guide and to inspire tomorrow's TED speakers and leaders.

Want to learn more? Dive into the details by downloading this information packet OR take a sneak peek at our activities via the Explorations at a glance found in our Leader Guidebook.

If you work in an administrative role of a school or organization and want to have multiple groups of educators and students involved, you can easily indicate that when filling out your application.

When filling out the "Organization Type" question, please select "A group/network of schools" option. Once approved, our team will follow up with you to help ensure all of the educators in your network gain access to our virtual learning platform.

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Bring TED-Ed Student Talks to Your School

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The TED-Ed Student Talks program helps you claim your voice, share your ideas, and participate in a global conversation. Discover the talk that only YOU can give!

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How to Tap Into Students' Interests With a TED Talk Unit

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How to Tap Into Students' Interests With a TED Talk Unit

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How to Tap Into Students’ Interests With a TED Talk Unit

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Creating a presentation about their interests can boost students’ engagement as they develop communication and tech skills.

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Analyzing the Purpose & Meaning of Political Cartoons

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Analyzing the Purpose & Meaning of Political Cartoons

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We have launched the new ReadWriteThink.org and we would love to get your feedback: Give Feedback

The decisions students make about social and political issues are often influenced by what they hear, see, and read in the news. For this reason, it is important for them to learn about the techniques used to convey political messages and attitudes. In this lesson, high school students learn to evaluate political cartoons for their meaning, message, and persuasiveness. Students first develop critical questions about political cartoons. They then access an online activity to learn about the artistic techniques cartoonists frequently use. As a final project, students work in small groups to analyze a political cartoon and determine whether they agree or disagree with the author's message.

Question-finding strategies are techniques provided by the teacher, to the students, in order to further develop questions often hidden in texts. The strategies are known to assist learners with unusual or perplexing subject materials that conflict with prior knowledge.

Use of this inquiry strategy is designed to enhance curiosity and promote students to search for answers to gain new knowledge or a deeper understanding of controversial material. There are two pathways of questioning available to students. Convergent questioning refers to questions that lead to an ultimate solution. Divergent questioning refers to alternative questions that lead to hypotheses instead of answers.

Question-finding is based on the curiosity theory of psychologist Daniel Berlyne. His theory is known as the epistemic theory. The term refers to a behavior exhibited by individuals wanting additional information. Berlyne's theory is designed to encourage students to discover their own critical questions, and this skill will initiate critical thinking and inquiries throughout their lives.

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.

6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.

8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.

11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.

Computers with Internet access and printing capability

Several clips of recent political cartoons from a local newspaper

Overhead projector or computer with projection capability

1.

As preparation for this lesson, you will first need to view the online learning activity at It's No Laughing Matter: Analyzing Political Cartoons. This activity explores five techniques cartoonists frequently use to persuade their readers: symbolism, exaggeration, labeling, analogy, and irony. Students can see how the techniques are used in a few real-world political cartoons.

2.

Visit The Association of American Editorial Cartoonists: Cartoons for the Classroom to find current samples of political cartoons that you may decide to use as part of the lesson. You can also spend several days clipping political cartoons from the local newspaper. Be careful to select cartoons that present a variety of opinions. Create overheads of three to four examples, one for use during the first lesson and two to three for follow-up lessons. For the first lesson, it is most effective to have an extremely interesting, controversial, or timely cartoon that will generate student interest.

3.

Ask students to clip a few political cartoons from the newspaper prior to the lesson.

4.

If you are planning to have students access Daryl Cagle's Professional Cartoonist Index as an extension activity (see Extensions), you may wish to visit this site in advance to evaluate the cartoons for their appropriateness. (Note: The political cartoons on this site frequently change to coincide with recent news, and the site has a few advertisements that may be against your school policy.)

Students will

Develop critical question to explore the artistic techniques used in political cartoons and how these techniques impact a cartoon's message

Evaluate an author or artist's meaning by identifying his or her point of view

Identify and explain the artistic techniques used in political cartoons

Analyze political cartoons by using the artistic techniques and evidence from the cartoon to support their interpretations

Session 2 (may need 2 sessions, depending on computer access)

1.

Begin the second session by having students complete the online learning activity It's No Laughing Matter: Analyzing Political Cartoons. As students work through the online activity they will have the opportunity to learn about the different artistic techniques political cartoonists use and to practice identifying these techniques in some sample cartoons. By the end of the activity, students will better understand the purpose of political cartoons, as well as the persuasive techniques that are common in them.

2.

Once students have completed the online activity, have them return to the questions they generated in the previous session. Ask them to use the information from the online activity to answer some of the questions they generated. For example, if a student asked, "Why did the artist make George Bush's ears so big in this cartoon?", they should be able to realize that the artist is using exaggeration to express an idea.

1.

Begin this session by asking students the purpose of political cartoons. Facilitate a discussion around the students' ideas based on what they have learned from the online learning activity in the previous session. Ask students the following questions:

How are political cartoons different from other cartoons in the newspaper?

How are these cartoons different from news articles?

Based on what you have learned, why might it be important to be able to evaluate these cartoons?

3.

Display an overhead of another political cartoon (as prepared in advance), and ask students to describe what they see.

Are there any images of famous places or famous people? If not, what images are present?

Are any of the images being used as a symbol to stand for a larger concept or idea? If so, what is the meaning of the symbol?

Is the cartoonist using any other artistic techniques (e.g., irony or exaggeration) to express his or her opinion on an issue?

Does the writer label anything in the cartoon? If so, what is the importance of the label?

What message is the author trying to convey in this cartoon?

What evidence in the cartoon supports your opinion?

5.

Distribute the Editorial Cartoon Analysis sheet and a sampling of political cartoons. (For this activity, students can also use the political cartoons they brought to class.)

1.

Invite students to give their class presentations, allowing the class to also comment on each cartoon's message and use of artistic techniques. The Presentation Evaluation Rubric may be used as a general framework for assessment of the presentations.

2.

End by having students reflect in writing on what they have learned about political cartoons. Ask them to:

Explain how their understanding of the artistic techniques used to create political cartoons helps them to understand the author's message.

Evaluate the ways in which an artist uses artistic forms of figurative language (e.g., irony, symbolism, exaggeration) to persuade or manipulate the viewer.

Daryl Cagle's Professional Cartoonist Index and The Association of American Editorial Cartoonists: Cartoons for the Classroom both provide additional lesson plans and activities for using political cartoons as a teaching tool. Students can also access these online political cartoons for additional practice in evaluating their meaning, message, and persuasiveness.

Students can create their own political cartoons, making sure to incorporate a few of the artistic techniques learned in this lesson. Give students an opportunity to share their cartoons with the class, and invite classmates to analyze the cartoonist's message and voice their own opinions about the issue.

This lesson can be a launching activity for several units: a newspaper unit, a unit on writing persuasive essays, or a unit on evaluating various types of propaganda. The ReadWriteThink lesson "Propaganda Techniques in Literature and Online Political Ads" may be of interest.

Student Assessment / Reflections

Assessment for this lesson is based on the following components:

The students' involvement in generating critical questions about political cartoons in Lesson 1, and then using what they have learned from an online activity to answer these questions in Lesson 2.

Class and group discussions in which students practice identifying the techniques used in political cartoons and how these techniques can help them to identify an author's message.

The students' responses to the self-reflection questions in Lesson 4, whereby they demonstrate an understanding of the purpose of political cartoons and the artistic techniques used to persuade a viewer.

The final class presentation in which students demonstrate an ability to identify the artistic techniques used in political cartoons, to interpret an author's message, and to support their interpretation with specific details from the cartoon. The Presentation Evaluation Rubric provides a general framework for this assessment.

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Analyzing the Purpose and Meaning of Political Cartoons

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We have launched the new ReadWriteThink.org and we would love to get your feedback: Give Feedback The decisions students make about social and political issues are often influenced by what they hear, see, and read in the news. For this reason, it is important for them to learn about the techniques used to convey political messages and attitudes.

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association of american editorial cartoonists

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Cartoons for the Classroom :: AAEC - Association of American Editorial Cartoonists

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Cartoons for the Classroom. Cartoons and lesson plans based on cartoons by members of the Association of American Editorial Cartoonists (AAEC). The site also includes editorial cartoon archives, cartoonist profiles and articles about cartoon news & history.

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The Titans of Jazz, produced by Mark Dejong, traces the developments and changes in musical styles as influenced by the most memorable Titans. Teach Jazz 101 also features articles and videos by Jeff Graham that demonstrate everything a young jazz band drummer needs to know, plus suggested listening, videos, playlists, and websites.

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The Titans of Jazz, produced by Mark Dejong, traces the developments and changes in musical styles as influenced by the most memorable Titans. Teach Jazz 101 also features articles and videos by Jeff Graham that demonstrate everything a young jazz band drummer needs to know, plus suggested listening, videos, playlists, and websites.

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Welcome! My name is Barbara Retzko and this is HighSchoolChoralResources.com ! This site is bursting with ideas, projects, philosophies, assessments, worksheets & answer keys for you to use, freely, to enhance the education you are providing the students in your Choral classrooms. It is the culmination of my 40+ years as a Choral Music Educator and my way of paying it forward. Everything is "classroom-tested" and ready to go today ! There is here. Please take a moment to look around! If I can further assist or support in any way, please email Barbararetzko@hotmail.com You will find my complete bio . Thanks, as always, for reading!

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Welcome! My name is Barbara Retzko and this is HighSchoolChoralResources.com! This site is bursting with ideas, projects, philosophies, assessments, worksheets & answer keys for you to use, freely, to enhance the education you are providing the students in your Choral classrooms. It is the

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American Choral Directors Association - The mission of ACDA is to inspire excellence and nurture lifelong involvement in choral music for everyone through education, performance, composition and advocacy.

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Looking for some ideas for lesson plans when you're not running a choir rehearsal. Here are a few!

A History of Black Music in America

Dr. Jeffrey Allen Murdock, 2021 GRAMMY Music Educator of the Year, presented a spoken and sung overview of Black music to high school students at the Arts Institute at Quartz Mountain's Oklahoma Summer Arts Institute. At 35 minutes, it is a great discussion starter, grounded in song.

Voice Tutorials for Use with High School Vocal Students

When the COVID-19 pandemic began, Tesoro High School Choir Assistant Director Mikayla Feldman* began converting a number of vocal technique lectures that she typically did for her classes into a YouTube series to keep her students entertained and engaged during online education. The project evolved far beyond anything she expected: 24 videos on voice technique and vocal health, 13+ videos on music theory, and a 16-video series on performance anxiety, for which she interviewed Dr. Kristina Driskill, DMA.

She wrote the following introductions to each of her playlists and is making the videos available to ACDA members and the public free of charge. You are welcome to use them with your students and classes!

Vocal Technique & Vocal Health

There's so much to vocal technique, trying to talk about it all can seem overwhelming! That's why I broke it down into bite-sized pieces in a vlog-style format specifically catered to teens. Created in consultation with Dr. Rebecca Sherburn, DMA - Director of Voice at Chapman University - this series addresses all the major pillars of vocal technique including breathing, phonation, vocal registration, resonance, and articulation, and pulls from the well-established pedagogical methods of McKinney, McCoy, and Thurman & Welch. I also lay out some practical tools for mixing and belting using some of the latest approaches to contemporary singing from Mary Saunders Barton, Jeanie Lovetri, and more - all in straight-forward language designed to demystify vocal mechanics. The series also includes 9 episodes on vocal health, maintenance, and injury, where I address common questions and myths surrounding these topics.

Vocal Technique & Vocal Health Playlist

Performance Anxiety

Almost everyone has experienced performance anxiety in some way, whether it's on stage, public speaking, taking a test, or otherwise. But many people are surprised to know that there are actually scientific reasons for why it happens. To explain more about the origins of performance anxiety and ways to become more confident, I sat down with Dr. Kristina Driskill, DMA - a veteran performer and teacher who wrote her doctoral dissertation on the subject. Broken into 16 bite-sized pieces that cover topics like symptoms and strategies to navigate performance anxiety, detaching shame from mistakes, learning how to practice effectively, and discovering one's purpose, this series is sure to resonate with young people as they hear their deepest fears destigmatized and gain practical tools to become more self-assured artists and individuals.

Performance Anxiety Decoded Playlist

Music Theory

Music theory doesn't have to be complicated! This series includes videos on a wide variety of music theory topics, and is designed specifically for high school choral singers. Covering time signatures, major scales, key signatures, articulation, tempo, repeats, and more these videos lay out each concept visually and are packed with memory devices to help simplify concepts that students can often find tricky.

* Mikayla Feldman serves as the Assistant Director for the Tesoro High School Choir Department, a nationally recognized program under the direction of 2017 Grammy Educator of the Year, Keith Hancock.

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Resources for K-12 Choral Educators - American Choral Directors Association

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Voice Tutorials for Use with High School Vocal Students When the COVID-19 pandemic began, Tesoro High School Choir Assistant Director Mikayla Feldman* began converting a number of vocal technique lectures that she typically did for her classes into a YouTube series to keep her students entertained and engaged during online education.

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National Gallery of Art (Teaching Resources)

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National Gallery of Art (Teaching Resources)

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The basic definition of visual literacy is the ability to read, write and create visual images. It is a concept that relates to art and design but it also has much wider applications. Visual literacy is about language, communication and interaction. Visual media is a linguistic tool with which we communicate, exchange ideas and navigate our complex world.

The term "visual literacy" was defined in 1969 by John Debes, the founder of the International Visual Literacy Association, as:

"Visual Literacy refers to a group of vision-competencies a human being can develop by seeing and at the same time having and integrating other sensory experiences. The development of these competencies is fundamental to normal human learning. When developed, they enable a visually literate person to discriminate and interpret the visible actions, objects, symbols, natural or man-made, that he encounters in his environment. Through the creative use of these competencies, he is able to communicate with others. Through the appreciative use of these competencies, he is able to comprehend and enjoy the masterworks of visual communication." - John Debes, 1969

Since this definition by Debes, researchers and practitioners have re-defined ever more complex definitions that reflect the breadth of its applications. The term itself takes on different meanings in different contexts and you will therefore encounter new ideas in education, science, graphic design, art, technology, philosophy and so on.

Visual literacy is, by nature, an organic concept that requires us to continually define and re-define its meaning as our world changes. Digital technology has greatly impacted our understanding of visual literacy as we now see children growing up with tablets and computers and what appears to be highly developed visual literacy instincts. But are they instincts, or are they picking up this new 'language' as a result of their interactions with digital technologies? These, and many more, are the questions that we ask and explore on this website. We welcome you to put forth your own definition of visual literacy so that our collective knowledge can continue to inform progress in this important field.

Kristen Harrison, Founding Editor

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The basic definition of visual literacy is the ability to read, write and create visual images. It is a concept that relates to art and design but it also has much wider applications. Visual literacy is about language, communication and interaction. Visual media is a linguistic tool with which we communicate, exchange ideas and navigate our complex world.

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Great Minds integration of visual art offers powerful opportunities to build literacy for students of all reading levels.

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"This Drama Toolkit provides K-12 teachers with high-quality teaching resources that bring the excitement of the theater into the classroom. You’ll find lesson plans, idea cards, glossaries, and many special features. Some of these, such as Kentuckians in Theater, Tour of the Stage, and Will Power, are designed for students as well as teachers."

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Welcome to Drama Toolkit

This Drama Toolkit provides K-12 teachers with high-quality teaching resources that bring the excitement of the theater into the classroom. You'll find lesson plans, idea cards, glossaries, and many special features. Some of these, such as Kentuckians in Theater, Tour of the Stage, and Will Power, are designed for students as well as teachers.

"What is drama but life with the dull bits cut out?" - Alfred Hitchcock

Best of the Best!
In 2005, the Drama Arts Toolkit was named Best Instructional Resource and "Best of the Best" by the National Educational Telecommunications Association-the first non-broadcast product to be named "Best of the Best"!

Contact Us!
If you have a question about the Drama Arts Toolkit or would like to make a comment, e-mail artstoolkit@ket.org.

Resources in this Collection

Request More Information

Want more information about KET's Multi-Arts Toolkits? Register below to receive information and updates when more arts content is available.

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Welcome to Drama Toolkit This Drama Toolkit provides K-12 teachers with high-quality teaching resources that bring the excitement of the theater into the classroom. You'll find lesson plans, idea cards, glossaries, and many special features. Some of these, such as Kentuckians in Theater, Tour of the Stage, and Will Power, are designed for students as well as teachers.

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Yes, this is actual free stuff.

No strings, no sign-ups, just good stuff for you to use in your classroom. You're free to copy and share these documents as long as they are distributed in their entirety.

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Free Resources for High School and Middle School Theatre Teachers

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Yes, this is actual free stuff. No strings, no sign-ups, just good stuff for you to use in your classroom. You're free to copy and share these documents as long as they are distributed in their entirety.

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Interactive Word Wall: Management in the Active Classroom

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Rich Richardson's eighth-grade students at the Expeditionary Learning Middle School in Syracuse, New York, use an interactive word wall to demonstrate their conceptual understanding of words in context. A word wall in the classroom is a powerful instructional tool to strengthen content vocabulary or concepts. A word wall can be an organized collection of words (and sometimes phrases) displayed on a wall or other space in the classroom. In this example, however, the "wall" moves to the floor to allow students to easily connect to one other's ideas and show their collective understanding. It allows both the students and the teacher to see how their knowledge has grown or perhaps where gaps may still exist.

In this video, students and teachers are engaged with a protocol/engagement strategy from EL's grades 3-8 ELA curriculum.

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Using Word Walls Successfully in Social Studies | Social Studies Success

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The Importance of Word Walls Using word walls in Social Studies is not a new strategy, but it has become increasingly important as students struggle with the high demand for vocabulary instruction required by the STAAR. Word walls benefit all of our students - not just our ELL's.

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You will find some math vocabulary on the SAT and ACT: words that may sound familiar and whose meaning may be the key to finding the correct answer. You will definitely come across these words as you study for the ACT or SAT math sections. You'll want to familiarize yourself with them in order to do your best on the math section of either of these tests!

The list of terms below covers the main math vocabulary terms you should know for the ACT or SAT. Use this post as a quick reference while studying, or as a jumping-off point for your own investigations into these math terms!

Math Vocabulary Terms to Know for the ACT or SAT Test

Prime number (composite number)

A prime number is a number that is only divisible by 1 and itself, like 7, 13, or 41. Not all prime numbers are odd: 2 is the only even prime. And not all odd numbers are prime: 51 seems prime but is divisible by 3 and 17. A composite number is a number that is not prime: a number that is divisible by more than just 1 and itself.

Irrational Number

An irrational number is a number that cannot be written as a fraction: it can be written as a decimal but it continues infinitely without repeating. "Pi," the square root of 2 (or the square root of any number that is not a perfect square), and "e" are common irrational numbers.

A perfect square number is the product of a number and itself, thus the square root of a perfect square is an integer: 5*5=25, thus 25 is a perfect square number. The square root of 25 is 5.

Integer

An integer is a positive or negative whole number. So no decimals; but, a fraction could be an integer if it simplifies to a whole: 10/5 simplifies to 2, thus technically 10/5 is an integer... but 5/10 only simplifies to 1/2, thus 5/10 is not an integer.
Strategies for the ACT Math Section
See Math Like a Mathematician
Divisible & Quotient

When was the last time you heard divisible or quotient? Do you remember? Divisible means that a number can be divided by another number "evenly" or without having a remainder. So 18 is divisible by 3 because 18/3=6. The Quotient is the answer to a division problem, so in the previous example, 6 would be the quotient.

Domain, Range, and Restricted Domain

The domain is the set of possible values of x of the function (all possible inputs, or when graphed, any possible value along the x-axis). When looking at a graph, you can determine the domain by examining the graph from left to right, find the lowest x-value and the greatest x-value.

The range is the set of possible values of y of the function (all possible outputs, or when graphed any possible value along the y-axis). When looking at a graph, you can determine the range by examining the graph from bottom to top, find the lowest y-value and the greatest y-value.

The restricted domain is when a function is only defined for certain values. For example, f(x)= square root (x) is only defined for positive x-values; thus, the domain of f(x) is x>=0. Often a restricted domain will affect the range. For example, since the domain of f(x) is x>=0, the range of f(x) is y>=0.

Parallel and Perpendicular Lines

Parallel lines lie in the same plane and do not intersect; the lines also have the same slope.

Perpendicular lines lie in the same plane and intersect to form a 90-degree angle; the lines also have slopes that are opposite reciprocals of one another. For example, if one line has a slope of -2, a perpendicular line would have a slope of 1/2.

What Calculator to Use on the ACT
What Calculator to Use on the SAT
ACT Math Formulas Study Guide
Zeros, Solutions, X-Intercepts

When asked to solve a quadratic equation, there are several words that the question my use. The question could ask for "the zeros of the function" or "the solutions to the equation" or "the x-intercepts " of the graph. In any of these cases the process is the same: set the function/equation equal to 0 and solve. You can solve by factoring then setting the factors equal to 0; using the quadratic formula; or by graphing and identifying where the graph crosses the x-axis.

Exponential

So we know that an exponent is the small number in the top corner of something like x ². Exponential is used to describe a type of function or a type of increase or decrease.

An exponential function is when the variable is the exponent. For example, f(x)=1000(.8) x might represent a population of 1000 frogs that are decreasing at a rate of 20% per year, where x represents the number of years that have passed.

Exponential growth and exponential decay are words used to describe how a function or graph is changing. In the frog example, this is exponential decay because the population of frogs is decreasing and the function used to model this decay is exponential.

Function Notation

Function notation is another way to express a relationship between two variables. (There is such a thing as a Multivariate Function which can express a relationship between more than two variables... but you will not see such a beast on the SAT or ACT.) Take f(x) = 2x+4 - the f(x) part represents the output, similar to the y-values. The x is the input. The 2x+4 part is the function rule; it tells you what to do to the inputted value.

So f(5)= 2(5)+4=14, thus f(5)=14. Or maybe f(3x)=2(3x)+4=6x+4. Or maybe f(x)=20 then 20=2x+4, thus x=8 because f(8)=20.

Just remember that you input whatever is in the parenthesis, and the f(x) part is the output.

Parallelogram (and a quick recap of other quadrilaterals)

A parallelogram is a 4-sided polygon with 2 pairs of opposite congruent sides, 2 pairs of opposite parallel sides, 2 pairs of opposite congruent angles, and diagonals that bisect each other (but are NOT congruent).

A rectangle is an equiangular parallelogram: all angles measure 90 degrees and the diagonals are congruent.

A rhombus is an equilateral parallelogram: all sides have the same measure and the diagonals perpendicular (but NOT congruent).

A square is a regular parallelogram: all angles measure 90degrees, all sides have the same measure, and the diagonals perpendicular & congruent.

Mean, Median, Mode, Range, Standard Deviation, Central Tendency
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Looking at the measures of the central tendency of a set of data can help you to understand trends and draw conclusions. Depending on the data, a different measure of central tendency can be more or less helpful in drawing conclusions.

The mean is the arithmetic average of the data. It is found by dividing the sum of all the values by the number of values.

The median is the middle value when all the data is arranged from least to greatest.

The mode is the data value(s) that occur the most in a set of data.

The range is the difference between the greatest value and the least value in a set of data.

The standard deviation shows how spread out the data is. Thus the standard deviation is low if most of the data points are near the mean value and high if most of the data points are far from the mean value.

Line of Best Fit, Positive Correlation, Negative Correlation, No Correlation

The line of best fit is just like what it sounds like! It is a line that models the way a set of data is increasing or decreasing. The slope of the line will be positive if the data has a positive correlation, trending up. The slope of the line will be negative if the data has a negative correlation, trending down. It is possible for data to have no correlation when the data is so spread out that it neither trends up nor down.

Counting Principle, Permutation, Combination, Possible outcomes/options

You use the counting principle when you are selecting one item from several groups of items.

For example, let's say you are getting dressed and have 4 pairs of pants, 7 shirts, and 3 pairs of shoes. You want to select 1 pair of pants, 1 shirt, and 1 pair of shoes. To determine the number of possible outcomes or possible options, you simply multiply the number of items in each group: 4*7*3=84. Thus, you have 84 possible outfits... though we all know not every pair of pants goes with every pair of shoes!

You use permutation when you are asked to select several items from a group and the order in which you select matters. For example, let's say there are 15 people in your SAT/ACT Prep Club, and you want to elect a president, vice-president, and treasurer. Thus, you are selecting 3 from a group of 15 where ABC is definitely different from CBA... I mean, it definitely makes a difference to Ashish who went from President to Treasure and to Carley who went from Treasurer to President.

Thus, you would use permutation to solve this: P(15,3)=15!/(15-3)!=2,730. So you would have 2,730 possible outcomes or options for electing a president, vice-president, and treasurer out of a 15 member club.

You use combination when you are asked to select several items from a group and the order in which you select does not matter. For example, let's again say there are 15 people in your SAT/ACT Prep Club, and your club has the opportunity to take a canoe ride. Unfortunately, only 3 people can fit in the canoe. Thus, you are selecting 3 from a group of 15 where ABC is NOT different from CBA... I mean, does it make a difference if Ashish gets on the canoe before Carley does??? No! You are either on the canoe or not! Thus, you would use combination to solve this: C(15,3)=15!/3!(15-3)!=455. So you would have 455 possible outcomes or options for selecting 3 members out of 15 members to go on a canoe ride.

I remember the difference between permutation and combination by remembering that I use permutation to find President/Vice President options and use combination for who is on the Canoe!

45, 45, 90 triangle

The 45, 45, 90 triangle is an isosceles (two sides are congruent) right triangle. You can create a 45, 45, 90 triangle by drawing a diagonal on a square. The ratio of the sides of a 45, 45, 90 triangle are 1:1:2. In other words, if you know the sides of the square measure 5, then you know the diagonal measures 52.
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30, 60, 90 and Equilateral triangle

The 30, 60, 90 triangle can be created by drawing a median, altitude, angle bisector on an equilateral triangle (all sides of the triangle are equal in length). The ratio of the sides of a 30, 60, 90 triangle are 1:3:2. In other words, if you know the sides of the equilateral triangle measure 8 then you know the altitude or median measures 43.

Study Tips for Math Vocabulary

In addition to knowing your math vocabulary, if you're taking the ACT, you'll need to have some important formulas memorized. The ACT does not give you a formula sheet during the test! You can find the bulk of the formulas you should know in this downloadable math study guide.

Of course, the best way to learn these terms is through frequent use. Find ACT or SAT math practice questions that use these math vocabulary concepts so you not only know what they mean but how to solve problems that incorporate them!

If you're enrolled in Olive Book's ACT or SAT course, the math section will cover every concept on this list. This makes your study plan easy: just visit www.olive-book.com, open the course, and start working away at the math section!

If you're not enrolled in one of the courses, you can look up these math vocab terms and related practice problems in your math textbook or online.

Further Reading:

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ACT (or SAT) Math Vocabulary Terms to Know - The Olive Book Blog

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You will find some math vocabulary on the SAT and ACT: words that may sound familiar and whose meaning may be the key to finding the correct answer. You will definitely come across these words as you study for the ACT or SAT math sections.

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An inference is an interpretation or an explanation of an observation. The observation is made using our senses. To make an inference, we connect what we observe to prior knowledge and the new...

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literary devices refers to the typical structures used by writers in their works to convey his or her messages in a simple manner to the readers. When employed properly, the different literary devices help readers to appreciate, interpret and analyze a literary work. Below is a list of literary devices with detailed definition and examples.

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Literary Devices and Literary Terms - The Complete List

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Browse through our list of literary devices and literary terms with definitions, examples, and usage tips. Explore each device in depth through literature.

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A glossary of literary terms with a definition.

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A glossary of literary terms with a definition.

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A

Action

Also called " action-adventure," action is a genre of film, TV, literature, etc., in which the primary feature is the constant slam-bang of fights, chases, explosions, and clever one-liners. Action stories typically do not explore complex relationships between human beings or the subtleties of psychology and philosophy.

Ad Hominen

Ad hominem is Latin for "against the man," and refers to the logical fallacy (error) of arguing that someone is incorrect because they are unattractive, immoral, weird, or any other bad thing you could say about them as a person.

Adage

An adage is a brief piece of wisdom in the form of short, philosophical, and memorable sayings. The adage expresses a well-known and simple truth in a few words.

Adventure

Adventure (pronounced ad-ven-cher) was originally a Middle English word derived from the Old French aventure meaning "destiny," "fate," or "chance event." Today, we define adventure as a remarkable or unexpected journey, experience, or event that a person participates in as a result of chance. This last detail, a result of chance, is a key element of adventure; the stories usually involve a character who is brought to the adventure by chance, and chance usually plays a large role in the episodes of the story. Also, adventures usually includes dangerous situations, narrow escapes, problems to be solved through intelligence and skill, exotic people and places, and brave deeds.

Allegory

An allegory is a story within a story. It has a "surface story" and another story hidden underneath. For example, the surface story might be about two neighbors throwing rocks at each other's homes, but the hidden story would be about war between countries.

Alliteration

In alliteration, words that begin with the same sound are placed close together. Although alliteration often involves repetition of letters, most importantly, it is a repetition of sounds.

Allusion

Allusion is basically a reference to something else. It's when a writer mentions some other work, or refers to an earlier part of the current work. In literature, it's frequently used to reference cultural works (e.g. by alluding to a Bible story or Greek myth).

Ambiguity

Ambiguity is an idea or situation that can be understood in more than one way. This extends from ambiguous sentences (which could mean one thing or another) up to ambiguous storylines and ambiguous arguments.

Amplification

Amplification involves extending a sentence or phrase in order to further explain, emphasize, or exaggerate certain points of a definition, description, or argument.

Anagram

An anagram is a type of word play in which the letters of a word or phrase are rearranged to create new words and phrases.

Analogy

An analogy is a literary technique in which two unrelated objects are compared for their shared qualities. Unlike a simile or a metaphor, an analogy is not a figure of speech, though the three are often quite similar. Instead, analogies are strong rhetorical devices used to make rational arguments and support ideas by showing connections and comparisons between dissimilar things.

Anaphora

Anaphora is when a certain word or phrase is repeated at the beginning of clauses or sentences that follow each other. This repetition emphasizes the phrase while adding rhythm to the passage, making it more memorable and enjoyable to read.

Anecdote

An anecdoteis a very short story that is significant to the topic at hand; usually adding personal knowledge or experience to the topic.

Antagonist

In a story, the antagonist is the opposite of the protagonist, or main character. Typically, this is a villain of some kind, but not always! It's just the opponent of the main character, or someone who gets in their way.

Anthimeria

Anthimeria (also known as antimeria) is the usage of a word in a new grammatical form, most often the usage of a noun as a verb.

Anthropomorphism

Anthropomorphism is giving human traits or attributes to animals, inanimate objects, or other non-human things. It comes from the Greek words anthropo (human) and morph (form).

Antithesis

Antithesis literally means "opposite" - it is usually the opposite of a statement, concept, or idea. In literary analysis, an antithesis is a pair of statements or images in which the one reverses the other. The pair is written with similar grammatical structures to show more contrast.

Antonomasia

Antonomasia is a literary term in which a descriptive phrase replaces a person's name. Antonomasia can range from lighthearted nicknames to epic names.

Aphorism

An aphorism is a short, concise statement of a general truth, insight, or good advice. It's roughly synonymous with "a saying." Aphorisms often use or creative imagery to get their point across.

Aphorismus

Aphorismus is a term in which the speaker questions whether a word is being used correctly to show disagreement. Aphorismus is often written as a rhetorical question such as "How can you call this music?"to show the difference between the usual meaning of a word and how it is being used. So, the point is to call attention to the qualities of the word, suggesting that how it is being used is not a good example of the word.

Apologia

An apologia is a defense of one's conduct or opinions. It's related to our concept of "apology," but in many cases it's the precise opposite of an apology! When you apologize, you're saying "I did the wrong thing, and I regret it." But in an apologia, you're defending yourself, either by saying that what you did wasn't wrong or denying that you were responsible for what happened.

Apologue

An apologue is a short story or fable which provides a simple moral lesson. Apologues are often told through the use of animal characters with symbolical elements.

Aporia

In literature, aporia is an expression of insincere doubt. It's when the writer or speaker pretends, briefly, not to know a key piece of information or not to understand a key connection. After raising this doubt, the author will either respond to the doubt, or leave it open in a suggestive or "hinting" manner.

Aposiopesis

Aposiopesis is when a sentence is purposefully left incomplete or cut off. It's caused by an inability or unwillingness to continue speaking. This allows the ending to be filled in by the listener's imagination.

Appositive

Appositives are noun phrases that follow or precede another noun, and give more information about it.

Archaism

An archaism is an old word or expression that is no longer used with its original meaning or is only used in specific studies or areas.

An archetype (ARK-uh-type) is an idea, symbol, pattern, or character-type, in a story. It's any story element that appears again and again in stories from cultures around the world and symbolizes something universal in the human experience.

Argument

An argument is a work of persuasion. You use it to convince others to agree with your claim or viewpoint when they have doubts or disagree.

Assonance

Assonance is the repetition of the same or similar vowel sounds within words, phrases, or sentences.

Asyndeton

Asyndeton is skipping one or more conjunctions (and, or, but, for, nor, so, yet) which are usually used in a series of phrases. Asyndeton is also known as asyndetism.

Autobiography

An autobiography is a self-written life story.

Auto = self

Bio = Life

Graph = print or written

It is different from a biography, which is the life story of a person written by someone else. Some people may have their life story written by another person because they don't believe they can write well, but they are still considered an author because they are providing the information.

B

Bathos

Bathos is text that abruptly turns from serious and poetic, to regular and silly.

Buzzword

A buzzword is a word or phrase that has little meaning but becomes popular during a specific time.

C

Cacophony

Cacophony is the use of a combination of words with loud, harsh sounds-in reality as well as literature. In literary studies, this combination of words with rough or unharmonious sounds are used for a noisy or jarring poetic effect. Cacophony is considered the opposite of euphony which is the use of beautiful, melodious-sounding words.

Caesura

Caesura refers to a break or pause in the middle of a line of verse. It can be marked as || in the middle of the line, although generally it is not marked at all - it's simply part of the way the reader or singer pronounces the line.

Catharsis

Catharsis, meaning "cleansing" in Greek, refers to a literary theory first developed by the philosopher Aristotle, who believed that cleansing our emotions was the purpose of a good story, especially a tragedy. Catharsis applies to any form of art or media that makes us feel strong negative emotions, but that we are nonetheless drawn to - we may seek out art that creates these emotions because the experience purges the emotions from our system.

Character

A character is a person, animal, being, creature, or thing in a story. Writers use characters to perform the actions and speak dialogue, moving the story along a plot line. A story can have only one character (protagonist) and still be a complete story.

Chiasmus

Chiasmus comes from a Greek word meaning "crossed," and it refers to a grammatical structure that inverts a previous phrase. That is, you say one thing, and then you say something very similar, but flipped around.

Circumlocution

Circumlocution means "talking around" or "talking in circles." It's when you want to discuss something, but don't want to make any direct reference to it, so you create a way to get around the subject. The key to circumlocution is that the statement has to be unnecessarily long and complicated.

Cliché

A cliché is a saying, image, or idea which has been used so much that it sounds terribly uncreative. The word "cliche" was originally French for the sound of a printing plate, which prints the same thing over and over.

Climax

Climax is the highest point of tension or drama in a narrative's plot. Often, climax is also when the main problem of the story is faced and solved by the main character or protagonist.

Coherence

Coherence describes the way anything, such as an argument (or part of an argument) "hangs together." If something has coherence, its parts are well-connected and all heading in the same direction. Without coherence, a discussion may not make sense or may be difficult for the audience to follow. It's an extremely important quality of formal writing.

Connotation

A connotation is a common feeling or association that a word has, in addition to its literal meaning (the denotation). Often, a series of words can have the same basic definitions, but completely different connotations-these are the emotions or meanings implied by a word, phrase, or thing.

Consonance

Consonance is when the same consonant sound appears repeatedly in a line or sentence, creating a rhythmic effect.

Conundrum

A conundrum is a difficult problem, one that is impossible or almost impossible to solve. It's an extremely broad term that covers any number of different types of situations, from moral dilemmas to riddles.

Comedy

Comedy is a broad genre of film, television, and literature in which the goal is to make an audience laugh. It exists in every culture on earth (though the specifics of comedy can be very different from one culture to another), and has always been an extremely popular genre of storytelling.

D

Denotation

Denotation is a word' or thing's "dictionary defintion", i.e. its literal meaning.

Denouement

The denouement is the very end of a story, the part where all the different plotlines are finally tied up and all remaining questions answered.

Deus ex machina

Deus ex machina is Latin for "a god from the machine." It's when some new character, force, or event suddenly shows up to solve a seemingly hopeless situation. The effect is usually much too abrupt, and it's often disappointing for audiences.

Diacope

Diacope is when a writer repeats a word or phrase with one or more words in between. A common and persistent example of diacope is Hamlet's "To be, or not to be!"

Dialogue

Dialogue means "conversation." In the broadest sense, this includes any case of two or more characters speaking to each other directly. But it also has a narrower definition, called the dialogue form. The dialogue form is the use of a sustained dialogue to express an argument or idea.

Diction

Diction refers to word choice and phrasing in any written or spoken text. Many authors can be said to have their own "diction," because they tend to use certain words more than others or phrase things in a unique way.

Doppelganger

Doppelganger is a twin or double of some character, usually in the form of an evil twin. They sometimes impersonate a main character or cause confusion among the love interests.

Drama

Drama has two very different meanings. In modern pop culture, it means a genre of film or television that deals with serious, often negative, emotions. It's the opposite of comedy, which is just for laughs. Drama refers only to film and television, not novels or other purely written art forms.

Dystopia

A dystopia is a horrible place where everything has gone wrong. Whereas utopia means a perfect paradise, dystopia means exactly the opposite.

E

Enjambment

Enjambment is continuing a line after the line breaks. Whereas many poems end lines with the natural pause at the end of a phrase or with punctuation as end-stopped lines, enjambment ends a line in the middle of a phrase, allowing it to continue onto the next line as an enjambed line.

Enthymeme

An enthymeme is a kind of syllogism, or logical deduction, in which one of the is unstated.

Epigram

An epigram is a short but insightful statement, often in verse form, which communicates a thought in a witty, paradoxical, or funny way.

Epiphany

An epiphany is an "Aha!" moment. As a literary device, epiphany is the moment when a character is suddenly struck with a life-changing, enlightening revelation or realization which changes his or her perspective for the rest of the story.

Epistrophe

Epistrophe is when a certain phrase or word is repeated at the end of sentences or clauses that follow each other. This repetition creates a rhythm while emphasizing the repeated phrase. Epistrophe is also known as epiphora and antistrophe.

Epitaph

An epitaph is a short statement about a deceased person, often carved on his/her tombstone. Epitaphs can be poetic, sometimes written by poets or authors themselves before dying.

Epithet

An Epithet is a glorified nickname. Traditionally, it replaces the name of a person and often describes them in some way.

Eponym

An eponym refers to a person or thing after which something else is named. A person or thing's name can come to be associated with the name of another character, person, product, object, activity, or even a discovery.

Equivocation

Commonly known as "doublespeak," equivocation is the use of vague language to hide one's meaning or to avoid committing to a point of view.

Essay

An essay is a form of writing in paragraph form that uses informal language, although it can be written formally. Essays may be written in first-person point of view (I, ours, mine), but third-person (people, he, she) is preferable in most academic essays.

Etymology

Etymology is the investigation of word histories. Every word in every language has a unique origin and history; words can be born in many ways, and often their histories are quite adventurous and informative. Etymology investigates and documents the lives (mainly the origins) of words.

Euphemism

A euphemism is a polite, mild phrase that we substitute for a harsher, blunter way of saying something uncomfortable.

Excursus

An excursus is a moment where a text moves away from its main topic - it's roughly similar to "digression."

Exemplum

Exemplum is just Latin for "example." And that's all it is. It's an example, story, or anecdote used to demonstrate a point.

Exposition

The exposition of a story is the first paragraph or paragraphs in which the characters, setting (time and place), and basic information is introduced.

Extended Metaphor

An extended metaphor is a metaphor that is developed in some detail by being used in more than one phrase, from a sentence or a paragraph, to encompassing an entire work.

F

Fairy Tale

A fairy tale is a story, often intended for children, that features fanciful and wondrous characters such as elves, goblins, wizards, and even, but not necessarily, fairies. The term "fairy" tale seems to refer more to the fantastic and magical setting or magical influences within a story, rather than the presence of the character of a fairy within that story.

In literature, a fable (pronounced fey-buh l) is a short fictional story that has a moral or teaches a lesson. Fables use humanized animals, objects, or parts of nature as main characters, and are therefore considered to be a sub-genre of fantasy.

Fantasy

Fantasy, from the Greek ϕαντασία meaning 'making visible,' is a genre of fiction that concentrates on imaginary elements (the fantastic). This can mean magic, the supernatural, alternate worlds, superheroes, monsters, fairies, magical creatures, mythological heroes-essentially, anything that an author can imagine outside of reality.

Farce

A farce is a comedy in which everything is absolutely absurd. This usually involves some kind of deception or miscommunication.

Figures of Speech

A figure of speech is a word or phrase using figurative language-language that has other meaning than its normal definition. In other words, figures of speeches rely on implied or suggested meaning, rather than a dictionary definition.

Flashback

Flashback is a device that moves an audience from the present moment in a chronological narrative to a scene in the past.

Folklore

Folklore refers to the tales people tell - folk stories, fairy tales, "tall tales," and even urban legends. Folklore is typically passed down by word of mouth, rather than being written in books. The key here is that folklore has no author - it just emerges from the culture and is carried forward by constant retelling.

Foreshadowing

Foreshadowing gives the audience hints or signs about the future. It suggests what is to come through imagery, language, and/or symbolism.

G

Genre

A genre is a category of literature identified by form, content, and style. Genres allow literary critics and students to classify compositions within the larger canon of literature.

H

Haiku

A haiku is a specific type of Japanese poem which has 17 syllables divided into three lines of 5, 7, and 5 syllables. Haikus or haiku are typically written on the subject of nature.

Hamartia

Hamartia is the tragic flaw or error that reverses a protagonist's fortune from good to bad.

Homophone

Homophone is when two or more words have the same sound, but different meanings. They may be spelled the same or differently.

Horror

In literature, horror is a genre of fiction whose purpose is to create feelings of fear, dread, repulsion, and terror in the audience-in other words, it develops an atmosphere of horror.

Hyperbaton

Hyperbaton is a figure of speech in which the typical, natural order of words is changed as certain words are moved out of order.

Hyperbole

Hyperbole is a figure of speech in which an author or speaker purposely and obviously exaggerates to an extreme. It is used for emphasis or as a way of making a description more creative and humorous.

I

Idiom

An idiom is a phrase that conveys a figurative meaning different from the words used. In this sense, idiom is pretty much synonymous with "figure of speech," though with a slightly narrower definition: an idiom is part of the language.

Imagery

Imagery is language used to create images in the mind of the reader. Imagery includes figurative and metaphorical language to improve the reader's experience through their senses.

Innuendo

An innuendo is when you say something which is polite and innocent on the surface, but indirectly hints at an insult or rude comment, a dirty joke, or even social or political criticism.

Intertextuality

Intertextuality is a fact about literary texts - the fact that they are all intimately interconnected. Every text is affected by all the texts that came before it, since those texts influenced the author's thinking and aesthetic choices.

Invective

Invective is the literary device in which one attacks or insults a person or thing through the use of abusive language and tone.

Irony

Irony is when there are two contradicting meanings of the same situation, event, image, sentence, phrase, or story. In many cases, this refers to the difference between expectations and reality.

J

Jargon

Jargon is the specific type of language used by a particular group or profession.

Juxtaposition

Juxtaposition is the placement of two or more things side by side, often in order to bring out their differences.

K

Kairos

Kairos in Ancient Greek meant "time" - but it wasn't just any time. It was exactly the right time to say or do a particular thing. In modern rhetoric, it refers to making exactly the right statement at exactly the right moment.

L

Limerick

A limerick is a five-line poem with a strict rhyme scheme (AABBA, lines 1,2, and 5 rhyme together, while lines 3 and 4 rhymes togther) and a reasonably strict meter (anapestic triameter for lines 1, 2, and 5; anapestic diameter for lines 3 and 4). Limericks are almost always used for comedy, and it's usually pretty rude comedy at that - they deal with bodily functions, etc., and could be considered "toilet humor."

Lingo

Lingo is language or vocabulary that is specific to a certain subject, group of people, or region; including slang and jargon. The term lingo is relatively vague-it can mean any type of nonstandard language, and varies between professions, age groups, sexes, nationalities, ethnicities, location, and so on.

Literary Device

In literature, any technique used to help the author achieve his or her purpose is called a literary device.

Litotes

Litotes is an understatement in which a positive statement is expressed by negating its opposite. The classic example of litotes is the phrase "not bad." By negating the word "bad," you're saying that something is good, or at least OK.

M

Malapropism

Malapropisms are incorrect words used in place of correct words; these can be unintentional or intentional, but both cases have a comedic effect.

Maxim

A maxim is a brief statement that contains a little piece of wisdom or a general rule of behavior.

Metanoia

Metanoia is a self-correction. It's when a writer or speaker deliberately goes back and modifies a statement that they just made, usually either to strengthen it or soften it in some way.

Metaphor

A metaphor is a common figure of speech that makes a comparison by directly relating one thing to another unrelated thing (though these things may share some similarities).

Unlike similes, metaphors do not use words such as "like" or "as" to make comparisons.

Metonymy

Metonymy is a figure of speech that replaces words with related or associated words. A metonym is typically a part of a larger whole, for example, when we say "wheels," we are figuratively referring to a "car" and not literally only the wheels.

Mnemonic

A mnemonic, also known as a memory aid, is a tool that helps you remember an idea or phrase with a pattern of letters, numbers, or relatable associations. Mnemonic devices include special rhymes and poems, acronyms, images, songs, outlines, and other tools.

Monologue

A monologue is a speech given by a single character in a story.

Motif

A motif is a symbolic image or idea that appears frequently in a story. Motifs can be symbols, sounds, actions, ideas, or words.

Mystery

Mystery is a genre of literature whose stories focus on a mysterious crime, situation or circumstance that needs to be solved.

N

Narrative

A narrative is a story. The term can be used as a noun or an adjective. As a noun, narrative refers to the story being told. As an adjective, it describes the form or style of the story being told.

Nemesis

A nemesis is an enemy, often a villain. A character's nemesis isn't just any ordinary enemy, though - the nemesis is the ultimate enemy, the arch-foe that overshadows all the others in power or importance.

Neologism

Neologism is new word or phrase that is not yet used regularly by most speakers and writers.

O

Ode

In the strict definition, an ode is a classical poem that has a specific structure and is aimed at an object or person. In the loose definition, an ode is any work of art or literature that expresses high praise.

Onomatopoeia

Onomatopoeia refers to words whose pronunciations imitate the sounds they describe. A dog's bark sounds like "woof," so "woof" is an example of onomatopoeia.

Oxymoron

An oxymoron is a figure of speech that puts together opposite elements. The combination of these contradicting elements serves to reveal a paradox, confuse, or give the reader a laugh.

P

Palindrome

A palindrome is a type of word play in which a word or phrase spelled forward is the same word or phrase spelled backward.

Parable

A parable is a short story used to illustrate a moral or spiritual lesson.

Paradox

A paradox is a statement that contradicts itself, or that must be both true and untrue at the same time.

Parallelism

Parallelism, also known as parallel structure, is when phrases in a sentence have similar or the same grammatical structure.

Paraphrase

A paraphrase is a restatement or rewording of text in order to borrow, clarify, or expand on information without plagiarizing.

Parody

A parody is a work that's created by imitating an existing original work in order to make fun of or comment on an aspect of the original.

Pastiche

Pastiche is a creative work that imitates another author or genre. It's a way of paying homage, or honor, to great works of the past.

Pathetic Fallacy

The pathetic fallacy is a figure of speech in which the natural world (or some part of it) is treated as though it had human emotions.

Peripeteia

Peripeteia is a sudden change in a story which results in a negative reversal of circumstances. Peripeteia is also known as the turning point, the place in which the tragic protagonist's fortune changes from good to bad.

Persona

Persona can refer to the characters in any dramatic or literary work. But it has another special meaning in literary studies, where it refers to the voice of a particular kind of character-the character who is also the narrator within a literary work written from the first-person point of view.

Personification

Personification is a kind of metaphor in which you describe an inanimate object, abstract thing, or non-human animal in human terms.

Plagiarism

Plagiarism is the act of using someone else's ideas, words, or thoughts as your own, without giving credit to the other person. When you give credit to the original author (by giving the person's name, name of the article, and where it was posted or printed), you are citing the source.

Platitude

A platitude repeats obvious, simple, and easily understood statements that have little meaning or emotional weight.

Pleonasm

A pleonasm is when one uses too many words to express a message. A pleonasm can either be a mistake or a tool for emphasis.

Plot

In a narrative or creative writing, a plot is the sequence of events that make up a story, whether it"s told, written, filmed, or sung. The plot is the story, and more specifically, how the story develops, unfolds, and moves in time.

Poetry

Poetry is a type of literature based on the interplay of words and rhythm. It often employs rhyme and meter (a set of rules governing the number and arrangement of syllables in each line). In poetry, words are strung together to form sounds, images, and ideas that might be too complex or abstract to describe directly.

Polyptoton

Polyptoton is the repetition of a root word in a variety of ways, such as the words "enjoy" and "enjoyable." Polyptoton is a unique form of wordplay that provides the sentence with repetition in sound and rhythm.

Prologue

A prologue is a short introductory section that gives background information or sets the stage for the story to come.

Prose

Prose is just non-verse writing. Pretty much anything other than poetry counts as prose.

Protagonist

Protagonist is just another word for "main character." The story circles around this character's experiences, and the audience is invited to see the world from his or her perspective.

Proverb

A proverb is a short saying or piece of folk wisdom that emerges from the general culture rather than being written by a single, individual author.

Pun

A pun is a joke based on the interplay of homophones - words with the same pronunciation but different meanings.

Q

Quest

A quest is a journey that someone takes in order to achieve a goal or complete an important task. Accordingly, the term comes from the Medieval Latin questa, meaning "search" or "inquiry."

R

Rebus

A rebus is a code or reference where pictures, letters, or symbols represent certain words or phrases. Perhaps the simplest and most common rebus in use today is "IOU" for "I owe you."

Red Herring

A red herring is a misleading clue. It's a trick used by storytellers to keep the reader guessing about what's really going on.

Repetition

Quite simply, repetition is the repeating of a word or phrase. It is a common rhetorical device used to add emphasis and stress in writing and speech.

Resolution

The resolution, also known as the denouement, is the conclusion of the story's plot structure where any unanswered questions are answered, or "loose ends are tied."

Rhetoric

Rhetoric is the ancient art of persuasion, in the broadest sense. It is the way you present and make your views convincing or attractive to your audience.

Rhetorical Device

A rhetorical device is any way of using language that helps an author or speaker achieve a particular purpose. Usually, the purpose is persuasion, since rhetoric is typically defined as the art of persuasion.

Rhetorical Question

A rhetorical question is a question that is not asked in order to receive an answer, but rather just to make a point.

Romance

In the strictest academic terms, a romance is a narrative genre in literature that involves a mysterious, adventurous, or spiritual a story line where the focus is on a quest that involves bravery and strong values, not a love interest. However, modern definitions of romance also include stories that have a relationship issue as the main focus.

S

Sarcasm

Sarcasm is a form of verbal irony that mocks, ridicules, or expresses contempt. You're saying the opposite of what you mean (verbal irony) and doing it in a particularly hostile tone.

Satire

The formal definition of satire is "the use of humor, irony, exaggeration, or ridicule to expose and criticize people's stupidity or vices." It's an extremely broad category.

Self-Fulfilling Prophecy

A self-fulfilling prophecy is a prediction that somehow causes itself to come true. The characters may try to prevent their fate, but in the end their actions simply cause that fate to come about.

Setting

Setting is the time and place (or when and where) of the story. It may also include the environment of the story, which can be made up of the physical location, climate, weather, or social and cultural surroundings.

Simile

A simile is a literary term where you use "like" or "as" to compare two different things, implying that they have some quality in common.

Soliloquy

A soliloquy is a kind of monologue, or an extended speech by one character. In a soliloquy, though, the speech is not given to another character, and there is no one around to hear it.

Sonnet

A sonnet is a fourteen line poem with a fixed rhyme scheme. Often, sonnets use iambic pentameter: five sets of unstressed syllables followed by stressed syllables for a ten-syllable line.

Stanza

In poetry, a stanza is a dividing and organizing technique which places a group of lines in a poem together, separated from other groups of lines by line spacing or indentation. There are many important pieces that together make up a writer's style; like tone, word choice, grammar, language, descriptive technique, and so on.

Style

Style is the way in which an author writes and/or tells a story. It's what sets one author apart from another and creates the "voice" that audiences hear when they read.

Subtext

The subtext is the unspoken or less obvious meaning or message in a literary composition, drama, speech, or conversation.

Surrealism

Surrealism is a literary and artistic movement in which the goal is to create something bizarre and disjointed, but still somehow understandable.

Symbol

A symbol is any image or thing that stands for something else. It could be as simple as a letter, which is a symbol for a given sound (or set of sounds).

Synecdoche

A synecdoche is figure of speech which allows a part of something to stand for a whole, or the whole to stand for a part.

Synonym

A synonym is a word that has the same or nearly the same meaning as another word. When words or phrases have the same meaning, we say that they are synonymous of each other.

Synopsis

A synopsis is a brief summary that gives audiences an idea of what a composition is about. It provides an overview of the storyline or main points and other defining factors of the work, which may include style, genre, persons or characters of note, setting, and so on.

T

Tautology

Tautology is defining or explaining something by saying exactly the same thing again in different words.

Theme

Theme is the central idea, topic, or point of a story, essay, or narrative.

Thriller

A thriller is a genre of literature, film, and television whose primary feature is that it induces strong feelings of excitement, anxiety, tension, suspense, fear, and other similar emotions in its readers or viewers-in other words, media that thrills the audience.

Thesis

A thesis is the main argument or point of view of an essay, nonfiction piece or narrative-not just the topic of the writing, but the main claim that the author is making about that topic.

Tone

Tone refers to the "feel" of a piece of writing. It's any or all of the stylistic qualities of the writing, such as formality, dialect, and atmosphere.

Trope

The word trope can refer to any type of figure of speech, theme, image, character, or plot element that is used many times. Any kind of literary device or any specific example can be a trope.

U

Understatement

Understatement is when a writer presents a situation or thing as if it is less important or serious than it is in reality.

Utopia

Utopia is a paradise. A perfect society in which everything works and everyone is happy - or at least is supposed to be.

V

Verisimilitude

Verisimilitude simply means 'the quality of resembling reality' and a work of art, or any part of a work of art, has verisimilitude if it seems believably realistic. A verisimilitudinous story has details, subjects, and characters that seem similar or true to real life.

Villain

A villain is the bad guy, the one who comes up with diabolical plots to somehow cause harm or ruin. It is one of the archetype characters in many stories.

W

Wit

Wit is a biting or insightful kind of humor. It includes sharp comebacks, clever banter, and dry, one-line jokes. It is often cynical or insulting, which is what provides it with its characteristic sharpness.

Z

Zeugma

Zeugma is when you use a word in a sentence once, while conveying two different meanings at the same time.

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Glossary of Literary Terms | Literary Terms

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Also called " action-adventure," action is a genre of film, TV, literature, etc., in which the primary feature is the constant slam-bang of fights, chases, explosions, and clever one-liners. Action stories typically do not explore complex relationships between human beings or the subtleties of psychology and philosophy.

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Follow 5 Steps to Make an Inference (Smekens)

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Follow 5 Steps to Make an Inference (Smekens)

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Step 3 requires listing the relevant details. There were other details mentioned in the text, like the fact that there were half a dozen kids and that one kid hollered when the bus was coming. However, some of these details aren’t relevant to the question “What season is it?” One part of explicit in…

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Follow 5 Steps to Make an Inference

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Use commercials to help students make the connection

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Commercials provide terrific content for assessing author perspective. An easy way to view lots of commercials in one place is to visit iSpot.tv. Within the "Browse TV ads" tab, scroll through the category listings on the left (e.g., Super Bowl, clothing, electronics, health and beauty, etc.) or search for a specific commercial. The site is free and allows the commercials to be shared or embedded.

When using commercials in this way, acknowledge that it's obvious that most commercials entice the viewer to buy their products or services. But more specifically, students need to infer why. Answering these questions will help students to drill down to the specific claim of the company.

What problems/situations does this product/service address?

What is the company's attitude/position on this issue, topic, or situation?

How will this product/service make the owner/user feel?

What are the advantages of this product/service over other brands?

What are the potential consequences if I don't buy this product/utilize this service?

Recognizing that the commercial is the text, teach students how to gather details to infer the claim/perspective. Commercials communicate their claims like any other author communicates his perspective-by utilizing three avenues of information. (Click image below for a blackline master.)

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Infer Perspective with TV Commercials - Smekens Education Solutions, Inc.

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Commercials provide terrific content for assessing author perspective. An easy way to view lots of commercials in one place is to visit iSpot.tv. Within the "Browse TV ads" tab, scroll through the category listings on the left (e.g., Super Bowl, clothing, electronics, health and beauty, etc.) or search for a specific commercial.

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B.U.C.K.S. (Annotation strategy that helps students "breakdown" word problems)

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B.U.C.K.S. (Annotation strategy that helps students "breakdown" word problems)

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4. Align with proof, not preference. Now that students have deemed one side stronger, that is the perspective they should write from. Knowing that their task/assignment is to write a powerful persuasive/argumentative paper, explain that it's much easier to accomplish this if they write from the strongest perspective.

As easy as this sounds, be prepared. Some students may acknowledge that a perspective is stronger on paper, however it doesn't coincide with their personal, emotional, and/or spiritual beliefs. Consequently, they don't want to write from that position. In these cases, explain that they should see themselves like a lawyer. Consider a defense attorney who doesn't like his client and maybe even doesn't believe him. He, too, must present the best argument possible despite his personal opinion.

For those still struggling, clarify the difference between owning the opinion and merely authoring it. In other words, all references to I, me, or my should be avoided in lieu of phrases like proponents believe, advocates think, etc. Students are not sharing a personal opinion in these pieces; they are simply authoring a perspective.

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4. Align with proof, not preference. Now that students have deemed one side stronger, that is the perspective they should write from. Knowing that their task/assignment is to write a powerful persuasive/argumentative paper, explain that it's much easier to accomplish this if they write from the strongest perspective.

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Learning Network_ 18 Warm-Up Activities to Engage Students Before They Read Nonfiction Texts

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Online hub for all things PBL - pblworks.org

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Online hub for all things PBL - pblworks.org

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PBL leads to deeper understanding and greater retention of content knowledge

PBLWorks offers online and in-person Project Based Learning workshops and courses for educators seeking to give their students more. Whether you are new to Project Based Learning, advancing your practice, teaching in-person, or facilitating PBL curricula online, we have a path just for you. Pick your pathway and explore how to get started today...

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Project Based Learning for all. We build the capacity of teachers and school leaders to design and facilitate quality Project Based Learning.

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Discover Explore Create- ELA Project Based Learning Lessons

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10 Ways to Teach Argument Writing with the NY Times

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10 Ways to Teach Argument Writing with the NY Times

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10 Ways to Teach Argument-Writing With The New York Times (Published 2017)

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Ideas for helping students both read opinion-writing closely and write their own effective pieces on the issues that matter to them.