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Families must be involved as active, essential participants in the assessment (and literacy learning) process.

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Photos

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The assessment should involve multiple perspectives and sources of data.

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Resources Used By Ms. Owen
California Early Literacy Learning (CELL)
Books for Students in Ms. Owen's Classroom
Randell, Beverley. Mom. From Rigby PM Starters 1. Barrington, Ill.: Rigby Education, 1996.

Rockwell Anne F., and Megan Halsey. Pumpkin Day, Pumpkin Night. New York, N.Y.: Walker Publishing, 1999.
Additional Resources Books and Articles:
Armbruster, B. B., F. Lehr, and J. Osborn. Put Reading First: The Research Building Blocks for Teaching Children To Read. Jessup, Md: National Institute for Literacy, 2001.

Button, K., M. J. Johnson, and P. Furgerson. "Interactive Writing in a Primary Classroom." The Reading Teacher 49, no. 6 (1996).

Campbell, R. Read-Alouds with Young Children. Newark, Del.: International Reading Association, 2001.

Cary, S. Second Language Learners. Portland, Maine: Stenhouse Publishers, 1997.

Fields, M. V., and K. L. Spangler. Let's Begin Reading Right: A Developmental Approach to Emergent Literacy. 4th ed. Upper Saddle River, N.J.: Merrill Publishing Company, 2000.

Fisher, B., and E. F. Medvic. Perspectives on Shared Reading: Planning and Practice. Portsmouth, N.H.: Heinemann, 2000.

Hall, N. "Interactive Writing with Young Children." Childhood Education 76, no. 6, International Focus Issue (2000): 358-64.

Heald-Taylor, G. The Beginning Reading Handbook: Strategies for Success. Portsmouth, N.H.: Heinemann, 2001.

Henry, J., and B. J. Wiley. "Answers to Frequently Asked Questions About Interactive Writing." Classroom Connections. Columbus, Ohio: Reading Recovery Council of North America, Inc. Winter/Spring 1999.

International Reading Association. Second Language Literacy Instruction: A Position Statement of the International Reading Association. Newark, Del.: International Reading Association, 2000.

Miller, W. Strategies for Developing Emergent Literacy. Boston, Mass.: McGraw-Hill Higher Education, 2000.

Neuman, S. B., C. Copple, and S. Bredekamp. Learning To Read and Write: Developmentally Appropriate Practices for Young Children. Washington, D.C.: National Association for the Education of Young Children, 2000.

Opitz, M. F., and M. P. Ford. Reaching Readers: Flexible & Innovative Strategies for Guided Reading. Portsmouth, N.H.: Heinemann, 2001.

Opitz, M. F., and T. V. Rasinski. Goodbye Round Robin: 25 Effective Oral Reading Strategies. Portsmouth, N.H.: Heinemann, 1998.

Parkes, B. Read It Again: Revisiting Shared Reading. Portland, Maine: Stenhouse Publishers, 2000.

Rigg, P., and V. G. Allen. When They Don't All Speak English: Integrating the ESL Student into the Regular Classroom. Urbana, Ill.: National Association of Teachers of English, 1989.

Strickland, D.S. Teaching Phonics Today: A Primer for Educators. Newark, Del.: International Reading Association, 1998.

Strickland, D. S. ed. Beginning Reading and Writing. New York, N.Y.: Teachers College Press, and Newark, Del.: International Reading Association, 2000.

Taberski, S. "Give Shared Reading the Attention It Deserves." Instructor-Primary 107, no. 7 (1998): 32-34.
Web sites International Reading Association National Council of Teachers of English National Association of Education of Young Children
Center for the Improvement of Early Reading Ability (CIERA)

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Becoming Readers and Writers - Annenberg Learner

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Resources Used By Ms. Owen California Early Literacy Learning (CELL) Books for Students in Ms. Owen's Classroom Randell, Beverley. Mom. From Rigby PM Starters 1. Barrington, Ill.: Rigby Education, 1996. Rockwell Anne F., and Megan Halsey. Pumpkin Day, Pumpkin Night. New York, N.Y.: Walker Publishing, 1999. Additional Resources Books and Articles: Armbruster, B.

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Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.

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Biden's Inauguration

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Amanda Gorman recites stunning poem at Biden inauguration

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Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience.

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Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).

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Title 1 Lesson (Grow a Garden)

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Students read a wide range of print and non-print 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.

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Union Practicum 2021

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Orange Cute Pastel Dinosaurs Baby Announcement Event Yard Sign

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Union Practicum 2021

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Student completed with his father.

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Spring 2022

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Found from education.stateuniversity.com

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Models of Language Arts Instruction, Focus on Outcomes, Language Arts Standards

Language arts is the term typically used by educators to describe the curriculum area that includes four modes of language: listening, speaking, reading, and writing. Language arts teaching constitutes a particularly important area in teacher education, since listening, speaking, reading, and writing permeate the curriculum; they are essential to learning and to the demonstration of learning in every content area. Teachers are charged with guiding students toward proficiency in these four language modes, which can be compared and contrasted in several ways. Listening and speaking involve oral language and are often referred to as primary modes since they are acquired naturally in home and community environments before children come to school. Reading and writing, the written language modes, are acquired differently. Although children from literate environments often come to school with considerable knowledge about printed language, reading and writing are widely considered to be the school's responsibility and are formally taught.

A different way of grouping the language modes is according to the processing involved in their use. Speaking and writing require constructing messages and conveying them to others through language. Thus they are "expressive" modes. Listening and reading, on the other hand, are more "receptive" modes; they involve constructing meaning from messages that come from others' language. (For those who are deaf, visual and spatial language modes-watching and signing-replace oral language modes.)

When one considers how children learn and use language, however, all of these divisions become somewhat artificial. Whatever we label them, all modes involve communication and construction of meaning. In effective language arts teaching, several modes are usually used in each activity or set of related activities. For example, students in literature groups may read literature, discuss it, and write about it in response journals. In 1976 Walter Loban published a study of the language growth of 338 students who were observed from kindergarten through grade twelve. He found positive correlations among the four language modes both in terms of how students developed competency in each, and of how well students ultimately used them. His study demonstrated the inter-relationships among the four language modes and influenced educators to address and more fully integrate all four of them in classrooms.

Models of Language Arts Instruction

Many changes in language arts instruction have taken place in American schools since 1980. To understand these changes, one must be conversant with the three basic models that have given rise to variations in language arts curriculum over the years: the heritage model, the competencies model, and the process or student-centered model. Each model constitutes a belief system about the structure and content of instruction that leads to certain instructional approaches and methods. The heritage model, for example, reflects the belief that the purpose of language arts instruction is to transmit the values and traditions of the culture through the study of an agreed-upon body of literature. It also focuses on agreed-upon modes and genres of writing, to be mastered through guided writing experiences. The competencies model, on the other hand, emanates from the belief that the chief purpose of language arts instruction is to produce mastery of a hierarchy of language-related skills (particularly in reading and writing) in the learner. This model advocates the teaching of these skills in a predetermined sequence, generally through use of basal readers and graded language arts textbooks in which the instructional activities reflect this orientation. The majority of adults in this country probably experienced elementary level language arts instruction that was based in the competencies model, followed by high school English instruction that primarily reflected the heritage model. Instruction in both of these models depends heavily on the use of sequenced curricula, texts, and tests.

The third model of language arts instruction, the process model, is quite different from the other two models. The curriculum is not determined by texts and tests; rather, this model stresses the encouragement of language processes that lead to growth in the language competencies (both written and oral) of students, as well as exposure to broad content. The interests and needs of the students, along with the knowledge and interests of the teacher, determine the specific curriculum. Thus reading materials, writing genres and topics, and discussion activities will vary from classroom to classroom and even from student to student within a classroom.

"Authentic" assessment is the rule in these classrooms, that is, assessment that grows from the real language work of the students rather than from formal tests. Clearly the process model leads to more flexible and varied curriculum and instruction than the other two models. While the heritage and competencies models have come under criticism for being too rigid and unresponsive to student differences, the process model has been criticized as too unstructured and inconsistent to dependably give all students sufficient grounding in language content and skills. In actuality, teachers of language arts generally strive to help their students develop proficiency in language use, develop understanding of their own and other cultures, and experience and practice the processes of reading and writing. Thus it seems that the three models are not mutually exclusive. They do, however, reflect different priorities and emphases, and most teachers, schools, and/or school systems align beliefs and practices primarily with one or another model.

Focus on Outcomes

From a historical perspective, marked shifts in language arts instruction have taken place. In the early twentieth century, textbooks and assigned readings, writing assignments, and tests came to dominate the language arts curriculum. Instruction was characterized by a great deal of analysis of language and texts, on the theory that practice in analyzing language and drill in "correct" forms would lead students to improved use of language and proficiency in reading, writing, and discourse. Instruction was entirely teacher-driven; literature and writing topics were selected by the teacher; spelling, grammar, and penmanship were taught as distinct subjects; and writing was vigorously corrected but seldom really taught in the sense that composition is often taught today. In the 1980s a shift toward the process model emerged in the works of many language arts theorists and the published practices of some influential teachers including Donald Graves, Lucy M. Calkins, and Nancie Atwell. In 1987 the National Council of Teachers of English and the Modern Language Association sponsored a Coalition of English Associations Conference. Educational leaders from all levels came together at the conference to discuss past and present language arts teaching and to propose directions and goals to guide the teaching of language arts in the years leading up to and moving into the twenty-first century. The conference report specified the ideal outcomes of effective language arts instruction, in terms of the language knowledge, abilities, and attitudes of students. These outcomes were largely process oriented, as illustrated by the following examples of outcomes for students leaving the elementary grades, as reported by William Teale in Stories to Grow On (1989):

They will be readers and writers, individuals who find pleasure and satisfaction in reading and writing, and who make those activities an important part of their everyday lives.

They will use language to understand themselves and others and make sense of their world. As a means of reflecting on their lives, they will engage in such activities as telling and hearing stories, reading novels and poetry, and keeping journals.

Principles to guide curriculum development evolved from the conference participants' agreed upon student outcomes, and, like the outcomes, the principles were broad and process-focused. For example, two of the original principles are: Curriculum should evolve from a sound research knowledge base and The language arts curriculum should be learner-centered. Elaborations on these and other curriculum goals deviated from earlier recommendations in that they included classroom-based ethnographic research, or action research, as well as traditional basic research in the knowledge base that informs the teaching of language arts. There was also agreement that textbooks serve best as resources for activities, but that the most effective language arts curricula are not text driven; rather they are created by individual teachers for varying communities of students.

Language Arts Standards

During the 1990s a movement toward greater accountability in education gained momentum, leading to the development of articulated standards. Standards grow from the endeavor to link curriculum and instruction with specific outcomes-what students can demonstrate they know and are able to do. In response to this movement, the National Council of Teachers of English (NCTE) and the International Reading Association (IRA), two of the leading professional organizations in the language arts field, joined in developing a common set of national standards for the English Language Arts. These standards are more specific, detailed, and comprehensive than the guidelines from the earlier coalition conference, although that work provided a starting point for the development of the national standards. Advances in technology and communication have been rapid since 1987. In the national standards, the definition of English language arts includes viewing and visually representing as well as reading, writing, listening, and speaking. Perhaps the factor that has had the greatest impact on American schools is the immigration that has led to steadily increasing linguistic and cultural diversity in the population. The changing demographics of school populations are reflected in the newer national standards; students for whom English is not the first language are explicitly considered in the goals and recommendations.

IRA/NCTE Standards for the English Language Arts

The following standards are taken from Standards for the English Language, published in 1996 by the National Council of Teachers of English.

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.

Students read a wide range of literature from many periods in many genres to build an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience.

Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).

Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.

Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.

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 non-print texts.

Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and non-print texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.

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

Students develop an understanding of and respect for diversity in language use, patterns, and dialects across cultures, ethnic groups, geographic regions, and social roles.

Students whose first language is not English make use of their first language to develop competency in the English language arts and to develop understanding of content across the curriculum.

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

Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Evolving Issues

Evolving issues in language arts pedagogy hark back to the three models of instruction described earlier. The IRA/NCTE standards are process oriented, for the most part. Many individual state departments of education have developed their own language arts standards for students at various grade levels; these range from rigidly imposed standards and controlled curricula in the tradition of the skills-based model to process oriented standards and a good deal of local control over the curriculum. Educators are left with the task of reconciling such differences and designing curriculum and assessments that reflect their highest priorities. Issues similar to those in the United States have led to reforms in England-a leader, for many years, in the implementation of meaning-based instruction in reading and writing. Recent reforms in England and Ireland maintain an emphasis on integrating language arts in instruction, while recommending increasingly structured curriculum and assessments geared toward student achievement of specified outcomes.

Large-scale immigration, one of the most important social developments of the late twentieth and early twenty-first centuries, is a global phenomenon, as noted in Children of Immigration (2001). As a result, increasing numbers of districts, schools, and educators in other countries as well as in the United States are faced with the necessity of adjusting the curriculum and the use of standards to make them appropriate for students of multiple language and cultural backgrounds. The tension between students' individual backgrounds and developmental levels on the one hand, and universal achievement goals in the language arts as reflected in standards on the other, provide the largest challenges to language arts teachers of the early twenty-first century.

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Teaching of Language Arts - Models of Language Arts Instruction, Focus on Outcomes, Language Arts Standards

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Models of Language Arts Instruction, Focus on Outcomes, Language Arts Standards Language arts is the term typically used by educators to describe the curriculum area that includes four modes of language: listening, speaking, reading, and writing.

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Spring 2021

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Powerpoint

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Practicum Spring 2021

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Practicum Spring 2021

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Practicum Spring 2021

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Updated as of April 2021

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Updated as of Spring 2019

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Found on readwritethink.org

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Grades

K - 2

Lesson Plan Type

Unit

Estimated Time

Eight 50-minute sessions

Lesson Author

Publisher

Student Objectives Session One Session Two Session Three Session Four Session Five Session Six Session Seven Session Eight Extensions Student Assessment/Reflections
STUDENT OBJECTIVES

Students will

engage in a comparative study of diverse illustrated retellings of a traditional tale as well as modern revisions of this traditional tale.

extend this comparative study by exploring connections with selected realistic fiction and nonfiction texts to expand their understandings of character development.

discover and practice some of the reading-thinking strategies used by experienced readers to comprehend, evaluate, interpret, and appreciate texts.

engage in independent reading experiences at school and at home.

move from an analysis of single texts to a synthesis of the central ideas uncovered in the multiple texts included in the text set compiled for this literature unit.

engage in a collaborative writing project to compose their own retelling of this traditional tale based on the synthesis experience that concluded their extensive comparative study of diverse genres.

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Session One
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1. Before reading the story, ask students to talk about the title and the illustrations on the front and back covers and opposite the major title page. This invitation sets the stage for students to draw on their prior knowledge of this well-known story and to engage in inferential thinking to interpret the traits, feelings, and motives of the central characters, based on clues in these pictures.

2. As the story unfolds, ask students to continue to talk about the textual and visual portrayal of each character in this story: Little Red Riding Hood, her mother, her grandmother, the wolf, and the hunter.

3. At the end of this first read-aloud session, introduce other retellings of this traditional tale included in the text set (see the Little Red Riding Hood Booklist) and ask students to select one for independent reading. Ask them to focus on the way the words and pictures provide clues about the traits, feelings, and motives of the characters in the books that they have chosen.

4. Ask students to identify interesting differences found in these retellings and record their observations in their journals. For example, the last line in Josephine Evetts-Secker's retelling (2004) is provocative: "Little Red Riding Hood told her granny about the birdsong and the beautiful flowers and as she shared these good things, she wondered whether she would ever meet another wolf in the forest, and if so, what would she do then?" (unpaged).

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Session Two
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1. At the beginning of this second group session, give students an opportunity to share discoveries that they found in the retellings that they have explored.

2. Ask students to compare the retellings with Hyman's retelling, which they read in the first session.

3. Read aloud to the class. This older variant of the traditional tale provides a significant contrast with the diverse retellings of the Grimms' version. In this variant, three sisters manage to get rid of the hungry wolf that plans to eat them by drawing on their own inner resources of courage and cunning to take action against the villain in this story.

4. After reading the book, ask students, "What is surprising in this story?"

5. Encourage students to compare this version of the story to the other versions that they have read.

6. At the end of the discussion of this book, ask students to interpret Ed Young's dedication: "To all the wolves of the world for lending their good name as a tangible symbol for our darkness."

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Session Three
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1. Explain that you have another version of the Red Riding Hood story to share with the class.

2. Read the story aloud to the class. This version gives students an opportunity to hear the dialect of Cajun storytellers, who tell this story of Petite Rouge Riding Hood and her cat, who, like Lon Po Po and her sisters, manage to outwit the villain. In this story, the villain is Claude, an alligator.

3. Again, invite students to respond to this retelling in light of the stories they had heard or read independently in this cumulative literature unit.

4. At the end of this session, introduce students to other retellings that represent cultural diversity, such as the following:

Keith Polette's bilingual retelling of "Little Red Riding Hood," Isabel and the Hungry Coyote, is also set in the American southwest. Spanish words are woven into this tale of a brave and clever heroine who outwits the coyote that plans to eat her and her grandmother.

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Session Four
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1. Read the book aloud to the class.

2. Ask students to explore the humor and surprises in this story, the qualities of the central characters, and the changes the author made to create this modern revision.

3. At the end of this session, suggest other modern revisions for independent reading such as Little Red Riding Wolf (Anholt, 2004) and Little Red Riding Hood: A Newfangled Prairie Tale (Ernst, 1995). Other books include the following:

In Yo, Hungry Wolf! (Vozar,1993), "Little Red Riding Hood" is one of three stories retold in rap.

4. Ask students to respond to the stories that they read independently with drawings and/or written comments in their literature journals.

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Session Five
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1. Introduce the first of several fiction and nonfiction texts featuring wolves in order to provide students with another lens for viewing the "villain" in the Little Red Riding Hood tales.

2. Read the book aloud and discuss the story in light of the previous literary experiences in this literature unit. This is a modern animal fantasy about Max and Papa Wolf, who tries to convince his son to become a hunter like other wolf fathers and sons. However, Max refuses to follow the family tradition. He does not like to hunt; he wants to have "a beautiful flower shop" (unpaged). The cartoon drawings portray the exasperated father and the happy son. When Papa tries to show Max how to hunt, Max saves the little rabbit and explains why he does not like hunting: "Hunting is nasty, cruel, and horrible."

3. To reinforce this new perspective, present brief book talks about other examples of fiction featuring wolves to help students select a title for independent reading:

In One Stormy Night (Kimura, 2003), a goat and a wolf take refuge from a thunderstorm in a hut so dark they cannot see what kind of animal the other is. As they talk together, they discover they have a lot in common.

Session Six
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1. After students have time to read at least one additional wolf tale, engage the class in a discussion of the similarities and differences among the various stories. In this comparative discussion, focus students' exploration on the portraits of the wolf characters in the traditional and modern Little Red Riding Hood tales.

2. Following this discussion, read one of the nonfiction texts about wolves in the text set for this literature unit aloud to the class:

Red Wolf Country (London, 1996) is an example of realistic fiction based on studies of wolves. London's poetic narrative allows readers to enter into the world of the wolves, and the artist's paintings capture the beauty of their natural habitat. This is the story of the journey of two red wolves who hunt, eat, and prepare for the birth of their pups. An Afterword tells the true story of the red wolf species that was extinct in the wild by 1980. However, in 1987, "several captive red wolves were released at the Alligator River National Wildlife Refuge in eastern North Carolina...Currently, there are nearly a hundred wolves running free in Red wolf country" (Afterword by Roland Smith, former red-wolf species coordinator for the U.S. Fish and Wildlife Service).

3. At the conclusion of this group session, ask students to select one of the other examples of realistic fiction and nonfiction texts in the text set for independent reading.

4. Additionally, encourage students to search the public library and the Internet for further information about wolves and what is being done to maintain wilderness areas to help the wolf survive.

Dorothy Hinshaw's Dogs: The Wolf Within (1993) is a nonfiction text that compares the physical characteristics and behavior of wolves and dogs and describes how dogs evolved from their wild relatives. This text provides the background for students who read Kimmel's Sirko and the Wolf and wonder why the dog and wolf call each other "cousins."

Some useful factual sites about wolves include Gray Wolf, from the National Wildlife Federation and Wild Wolves, from NOVA.

Session Seven

1. Ask students to share what they have learned about wolves in the realistic fiction and nonfiction books that they are read.

2. Encourage the class to consider this information in light of the other stories they heard or read in this literature unit. Ask questions and reinforce comments that help students move from the analysis of single texts to a synthesis of the central ideas uncovered in the multiple texts selected for this unit.

3. Ask students to discuss the meaning of Young's dedication in light of their additional reading.

4. Reinforce comments that indicate students are synthesizing the information from multiple sources. This discussion prepares students for the collaborative writing project during the next session.

Session Eight

1. Review the traditional retellings and the modern revisions of the "Little Red Riding Hood" tale.

2. Ask students to identify the recurring patterns in these stories as well as the changes made by different retellers and artists. Pay particular attention to the portrayal of the central characters including the helpers and villains.

3. Record students' observations on a chart under the headings SAME and DIFFERENT, or using the online Venn Diagram.

4. Explain that the class is going to write a new story that includes the basic story elements listed under SAME column.

5. Ask students to decide what would be new or different in their original telling of the story.

6. Begin the writing process with the Story Map, or guided by several teacher-initiated questions:

Who are the characters in your story?

What clues will you provide to show the traits, inner feelings, and motives of these characters? [Note: Adapt the phrasing of this question to fit student needs.]

From whose viewpoint will your story be told? [The concept of viewpoint is introduced in Session Five.]

What is the setting (or settings) in your story?

What is the problem (or problems) in your story?

How will the problem(s) be solved?

How will your story end?

7. Have students vote on the new elements they want to include in their story, and they are encouraged to make use of their new understandings of wolves as they compose their narrative.

8. After completing their written or story map, students dictate a collaboratively-constructed narrative.

9. If possible, use a computer and screen to type the story so that students can see their story as it evolves.

10. Read each new segment aloud as their story unfolds on the screen. Make revisions and additions as you go. This process provides an opportunity for students to see how good writers reread and revise their own texts during the composition process.

11. Print out the pages after the story is complete, and ask each student to choose a scene to illustrate. Provide markers, pens, crayons, and so forth for their artwork.

12. Once all the pages are ready, bind the story together along with covers, title pages, a dedication page, and a note about the authors.

13. Share the book with other classes, and display it with the books by professional writers and artists featured in this literature unit.

14. Make copies of the illustrated story available for students to take home.

EXTENSIONS

Share additional Illustrations of Little Red Riding Hood from the SurLaLune Fairy Tale Pages, and ask students to compare the different ways that the heroine has been depicted. Encourage comparisons to the versions of the story that students have during the project.

Ask students to create a book cover or dust jacket for the class book using the Book Cover Creator. The tool does not include an option to save the work, so be sure that students do enough planning that they will be able to complete their covers in one session.

STUDENT ASSESSMENT/REFLECTIONS

Assessment is an ongoing process throughout this literature unit. The objectives that guide the development of the lesson plan also provide criteria for evaluating the students' engagement and understanding as readers, writers, and thinkers as they respond to the cumulative literary/literacy experiences in this unit. Review your observation notes and student work over the course of the unit to determine whether the objectives have been achieved and to inform future planning of literary/literacy experiences.

Pay particular attention to the following opportunities for observing student work:

Monitor students' involvement in group sessions, their contributions to literary discussions, their entries in their literature journals, and their participation in the collaborative writing project. These oral and written responses provide opportunities for students to externalize their thinking as they explore ideas together, build understandings about character development and literary themes and connections, and discover new perspectives through the study of diverse genres.

Listen for details that reveal the the quality of student comprehension in individual teacher-student conferences. Retelling a narrative requires the reader to identify and integrate important ideas and information in the text. Listen for specific responses that indicate the student's grasp of the literary and thematic concepts studied in this unit, that demonstrate student's use of reading-thinking strategies to generate meaning, that identify areas of weakness that need attention, and that offer new challenges to the student who is ready for them.

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Comparing Fiction and Nonfiction with "Little Red Riding Hood Text" Sets - ReadWriteThink

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Grades K - 2 Lesson Plan Type Unit Estimated Time Eight 50-minute sessions Lesson Author Publisher Student Objectives Session One Session Two Session Three Session Four Session Five Session Six Session Seven Session Eight Extensions Student Assessment/Reflections Students will engage in a comparative study of diverse illustrated retellings of a traditional tale as well as modern revisions of this traditional tale.

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From Class

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Last Stop on Market Street - Teaching Children Philosophy - Prindle Institute

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A Teaching Children Philosophy book module for Last Stop on Market Street that explores differences, happiness, and inequity.