SERRAVALLO TEACHING STRATEGY: Strategy 4.3, Find the Heart.

I can use Mr. Mintz’s Blintzes to teach students to stretch out the most important part of their story or the heart. I find that students often devote the same amount of writing to every part of the plot, or they even spend more time on minor plot events. They need mentor texts that show them how to move through minor events and focus their writing efforts on the heart of the story. And they need guidance on how to FIND the heart of their stories.  I can use Mr. Mintz’s Blintzes to show students how to emphasize or “find the heart” to focus and develop the key parts of the story.

Section(s) of Mr. Mintz’s Blintzes I would use:

In this section of the story, all the neighbors decide to come together. They all want to help out Mr. Mintz like he has always done for them. This emphasizes the key parts of the story and brings together the main topic.

The text section I would use reads:

When Mr. Mintz returned home the next day,

the house was dark and still.

“How will I manage?” he worried,

His voice echoing in the empty rooms.

Then he had another thought:

“I’m really hungry.”

But it was a long, long, long way to the kitchen.

Mr. Mintz heard the doorbell ring. “Come in!” he called.

“Door’s open!”

A parade of neighbors marched through.

One neighbor helped him to the sofa and fluffed his pillows.

Another brought him a cup of hot tea with honey.

And a pair of purring kittens settled in his lap.

“You always take care of us,” his neighbors told him.

SERRAVALLO TEACHING STRATEGY: Strategy 4.21, Focus on an Issue.

I can use The Black Hole Debacle to teach students to generate ideas on the main issue in the story. I find that students often devote most of their time using filler information rather than focusing on the main issue in the stories. They need mentor texts that show them how to focus on an issue that can help the reader generate ideas on what may happen next. I can use The Black Hole Debacle to show students how to focus on an issue and further develop it in the story.

Section(s) of The Black Hole Debacle I would use:

On pages 9-11 everything takes a turn when the black hole begins to grow larger. This causes a problem to arise as the black hole starts to suck everything into the hole. During this time, the main character is presented with a problem. Her dog was sucked into the black hole, and she must now find out how to get him back. This is part of the story that presents the main issue and allows the readers to begin to generate and develop ideas on the issue.

The text section I would use reads:

Meanwhile, back in Jordie’s room,

things had gone from tricky to troublesome…

The black hole had gotten bigger and was now spilling out of her closet.

Then the situation went from troublesome to terrible…

The voracious began pulling things off her shelves and drinking the light!

A soccer trophy whizzed past Jordie’s head as the room grew dimmer.

Then things went from terrible to truly tragic...

On the floor… in the middle of her room… lay Neptune’s empty collar.

“Did you eat my dog?” Jordie shouted into the void.

In response, the black hole let out a polite burp.

SERRAVALLO TEACHING STRATEGY: Strategy 5.35, Coming Full Circle.

I can use Apple Pie Tired to teach students how to bring their story back to their main idea. I find that students tend to get off topic when writing and often forget how to connect the beginning of their stories to the end. They need to focus on determining what is true about the beginning of the story and how it can relate to the end of the story.  And they need guidance on how to connect the ending to the beginning.  I can use Apple Pie Tired to show students how to relate the different sections (beginning and ending) of their story to make it circle back to one central idea.

Section(s) of Apple Pie Tired I would use:

On pages 2, 21, & 22, the story begins with Lola deciding to help her parents by preparing Thanksgiving while her parents prepared the pies. Although Lola planned to make Thanksgiving dinner, she kept having other tasks that she needed to do to help her parents. This prevented Lola from being able to help her parents. By the time Thanksgiving came, Lola was disappointed that everything didn’t go as planned and thought the family would be disappointed in her. However, when they came over, everyone was prepared to help Lola cook Thanksgiving dinner. This is how the story connects the beginning to the end and comes full circle.

The text section I would use reads:

Lola’s parents sold hundreds of apple pies at their family farm.

This year, Lola wanted to help.

She has an idea.

While her parents prepared the pies,

She’d prepare Thanksgiving dinner!

Mom and Aunt Mary set the table.

Dad and Uncle Mark cooked the turkey.

Cousins Lucy and Jack helped Lola peel potatoes,

Snap green beans and cut carrots.

SERRAVALLO TEACHING STRATEGY: Strategy 5.8, Uh-Oh… UH-OH…Phew.

I can use The Good Egg to teach students to elaborate on the problem in their stories and build suspense in their stories. I find that students are eager to wrap up their story quickly rather than give the reader time to ponder and think about what might happen next and build that suspense in the story. They need mentor texts that show how a story can gradually build up before finding a solution.   I can use The Good Egg to show students how to create a story line that builds up suspense and makes the reader feel for the character(s) in the story.

Section(s) of The Good Egg I would use:

On pages ___ the good egg begins to become overwhelmed with trying to make sure everyone and everything is good around him. This causes him to feel under a lot of pressure with such big responsibilities and eventually crack. This part of the story shows the first problem that arises throughout the story and starts to build the suspense of what may happen next. The good egg then decides to leave the other eggs and go off on his own, what do you think will happen next? The good egg leaving continues to build up the suspense of the story and leaves the reader wondering what’s yet to come.

The text section I would use reads:

Meanwhile, I tried to take charge.

I tried to fix their bad behavior.

I tried to keep the peace.

Because I was a good egg.

Nobody seemed to care, though.

Every night, I was exhausted.

My head felt scrambled.

My doctor said it was from all the pressure I was putting on myself.

The pressure of making sure everybody was as good as me.

I told Meg and Peg and Greg and Clegg and Shel and Shelly and Sheldon and Shelby and Egbert and Frank and other Frank that I was leaving.

SERRAVALLO TEACHING STRATEGY: Strategy 5.30, Problem-Solution Structure for Persuasive Writing.

I can use The Day the Crayons Quit to teach students how to structure persuasive writing around a clear problem and solution. I find that students often struggle with focusing on their arguments. They may present ideas without fully developing or emphasizing the main problem or the solution they want to propose. The students need guidance on how to identify the key issue(s) and offer a clear, convincing solution.

Section(s) of The Crayons  I would use:

On pages 10-15, the crayons each share their letters expressing their frustrations. This section is the heart of the story because it's where the problem is fully revealed and the conflict between the crayons and their owner begins to unravel. This is the turning point where the crayons’ issues are present, and the reader begins to wonder how the little boy will respond and how he can resolve the problem.

The text section I would use reads:

Hey Duncan,

It’s me

 RED crayon.

We need to talk.

You make me work harder than any of your other crayons.

All year long I wear myself out coloring

FIRE ENGINES, APPLES, STRAWBERRIES AND EVERYTHING ELSE that’s RED

I even work on holidays.

I have to color all the Santas at Christmas and all the hearts on Valentine’s Day!

I NEED A REST!

Your overworked friend,

Red crayon

SERRAVALLO TEACHING STRATEGY: Strategy 6.13, Show, Don’t Tell: Using senses to describe places.

I can use Memory Jars to teach students to be elaborate when setting the scene for their story. I find that students often have a hard time creating the setting and putting the reader in their shoes. They need mentor texts that show them how to be descriptive when writing what they feel rather than just stating it. You want to take the readers through the same experience that you went through to help them with a good idea of where the story is taking place. They need guidance on how to think outside of the box and be creative in their writings. I can use Memory Jars to show students how to be creative with their word choice and elaborate on the character's feelings and thoughts while setting the scene.

Section(s) of Memory Jars I would use:

As the story begins, Freda immediately sets the scene for the readers. On pages 1-3 Freda describes what she is seeing and feeling using her senses. She shows the reader what she is feeling rather than just telling us. Freda describes her setting and helps the reader get a better understanding of where she is.  

The text section I would use reads:

"On a hot, sweet, sticky July day, Freda went blueberry picking with her gran.

Deep among the bushes full of fat blue fruit, Freda ate as many as she picked.

They tasted like sweet sunshine.

They were the best right then, and they’d never be better.

She ate until her fingertips were purple and her stomach felt like a giant blueberry.