Cultivating Critical Thinkers: My Approach to Teaching Literature

Cultivating Critical Thinkers: My Approach to Teaching Literature

As an educator, I've always been passionate about instilling critical thinking skills in my students. It's a topic that I recently had the opportunity to reflect on during a professional development session, and I want to share with you the insights and strategies that I believe are essential for deep engagement in the classroom.

Challenging the Status Quo

During a recent PD session, I found myself in a bit of a controversial spot. I questioned a fellow teacher's approach to curriculum, which led to a broader discussion about our roles as educators. It's crucial for us to think like our students and to prioritize deep critical thinking over simply entertaining them. We need to focus on developing skills that lead to deeper critical thinking and provide opportunities for students to engage authentically with the material.

Teaching Literature Beyond Comprehension

When it comes to teaching literature, my approach might be a little unconventional. I steer clear of recall-based or plot-based activities. Instead, I encourage students to seek out summaries on their own and focus on the bigger issues at hand. It's about letting go of the minor details and teaching students to read for big picture connections. Comprehension is important, but it shouldn't be the primary focus. We should be guiding our students to think critically about broader themes and societal issues.

The Power of Close Reading

Close reading is a significant part of my teaching strategy. It's not about getting through an entire novel; it's about diving deep into passages and analyzing them. This mirrors adult book club discussions where despite different levels of recall, everyone can contribute meaningfully to the conversation. Close reading fosters a collective understanding of the text and teaches students valuable rhetorical and literary analysis skills.

Pairing Texts and Media for Enhanced Engagement

I'm a big advocate for pairing contrasting texts and media to stimulate critical thinking. For instance, combining literature with podcasts or other media that address relevant societal issues can create a dynamic learning environment. This approach encourages students to engage critically with the material and see the connections between the text and the world around them.

Visuals and Hands-On Activities

Incorporating visuals and hands-on activities is another way to enhance metaphorical thinking and create moments for critical thinking in the classroom. These methods help students to visualize and interact with the concepts in a tangible way, further deepening their understanding and engagement.

Conclusion: Prioritizing Deep Engagement

My approach to teaching literature and critical thinking is all about prioritizing deep engagement, critical analysis, and real-world connections. It's about cultivating students' ability to think critically about the world around them. As educators, we have the power to shape how our students perceive and interact with the world, and it's our responsibility to equip them with the skills they need to navigate it thoughtfully and analytically.

In the end, the goal is not just to teach literature but to foster a generation of thinkers who can analyze, question, and contribute to society in meaningful ways.

READY TO TRY TEACHING EQ DRIVEN UNITS?

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Planning a Novel Unit Reading Calendar

Planning a Novel Unit Reading Calendar

The art of pacing out the reading during a novel unit can be tricky, so we’re going to take some time today to talk through the process. Whether you’re teaching a classic or a contemporary YA title, there are special considerations to be made for the design of your calendar and how we backwards plan for ELA. Let’s jump in!

For a while now, I've had the pleasure of guiding countless teachers through the intricacies of curriculum design and instructional coaching. In one of our most recent videos, I delved into a topic that's crucial for any literature teacher: creating an effective reading calendar. Today, I want to share with you the insights and strategies I discussed for building a reading calendar specifically tailored to the novel Fahrenheit 451. You can skim through this post to see the gist and then watch the full video when you’re ready!

Understanding Your Timeframe

The first step in crafting a reading calendar is to get a clear picture of the real time you have available for the unit. It's not just about the number of days on the calendar; it's about the actual class time you can dedicate to reading, discussions, and assessments. This understanding is foundational because it shapes how you'll pace the novel and plan your activities.

Setting Clear Assessment Goals

Before you dive into the reading schedule, it's essential to set your assessment goals. What do you want your students to achieve by the end of the unit? How will you measure their understanding and engagement with the text? These goals will guide you in structuring your calendar and ensuring that each activity aligns with your objectives.

Structuring for Engagement and Ownership

A well-structured reading calendar does more than just outline what to read and when; it fosters student ownership and engagement with the text. I advocate for backward planning, which means starting with your end goals and working backward to determine the steps needed to get there. This approach ensures that every part of your calendar is purposeful and directed towards your learning outcomes.

Decentering the Text for Broader Discussions

In our discussion, I emphasized the importance of decentering the text to allow for broader analysis and discussions. This means assigning larger chunks of reading at a time and not getting bogged down by focusing solely on the text itself, and instead, focusing on the essential question. By doing so, you create space for students to connect the novel to larger themes and ideas, which enriches their learning experience.

A Week in the Life of a Reading Calendar

PIN ME!

Let me give you a glimpse into how I structure a reading calendar. Mondays are for assigning reading, which sets the tone for the week. Tuesdays are reserved for small group activities, which encourage collaboration and deeper understanding. Wednesdays and Thursdays are perfect for close reading exercises, allowing students to dive into the text's nuances. This structure balances guidance with autonomy, giving students the framework they need while empowering them to take charge of their reading.

Flexibility and Adaptation

One of the most important lessons I've learned is the value of flexibility. Every classroom is different, and what works for one may not work for another. It's okay to adjust the reading schedule based on your school's timetable and to be open to rearranging assessment, small group, and close reading days as needed.

Final Thoughts

Creating a reading calendar for Fahrenheit 451 or any novel is a balancing act between structure and flexibility. It requires an understanding of your timeframe, clear assessment goals, and a willingness to adapt to your students' needs. I encourage you to use the template I've provided as a starting point and to check the description box for additional resources.

I wish you all the best in planning your reading calendar. Happy teaching!

Shop my complete Fahrenheit 451 unit plans

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Does Taylor Swift have a place in the ELA Classroom?

Well, let's get this out in the open:  I'm NOT a Swiftie.  I hope we can still be friends, but Tay Tay doesn't have a hold on me in pure Swiftie fashion.  To be clear, I'm also not a hater.  I'd call myself “Taylor-Neutral”.

Whether you are a die-hard fan or completely out of the scope of Swiftie life, it's impossible to ignore the continually rising wave of her cultural power.  Named 2023's Person of the Year by TIME Magazine, Taylor has more than earned her spot in a national conversation – and I bet you she's part of many conversations in your classroom.

And here's the thing:  if your students are talking about Taylor, then so should you.  This is an open door into engagement and skill building that is not to be missed. 

In some ELA teacher circles, I see a hesitation to bring the world of pop culture into our sacred space of literature and critical thinking, but here’s the thing: pop culture and trending icons of the moment are vital tools in getting our students to cross that bridge from their worlds into the deep thought and skill practice that we want so much for them. It may be Taylor today, but keep your eye on other trends that can work in a similar fashion: to create a connection and start a deeper conversation.

Here are three ways to pull the power of Taylor into your classroom and spike engagement among your students:

I already LOVED teaching my annual Person of the Year assignment, but holy smokes, this year will lead to some exciting debate.  Did Beyonce get the honor a few years ago?  Nope.  Did Taylor?  She sure did.  Last year's award went to the President of Ukraine as a war raged on, and this year's award goes to Taylor…as the world continues to fall apart.

The conversations and writing possibilities around this assignment are endless, but perhaps the most interesting conversation I've ever had with students was determining the criterion for “Person of the Year”.  How can a pop icon win it one year, but political leaders earn it in another?  What should be considered when choosing the “Person of the Year”?

Taylor Swift's commencement address at New York University has been a favorite of teachers for a long time.  This assignment is a highly engaging way to get students to practice their rhetorical analysis skills and break down Swift's approach in sending off a class of graduating students.  It’s inspirational for our high school students to envision this stage of their lives - whether or not students are college-bound. The speech is about moving into adulthood and holding firm to one’s identity - a message that will resonate with all students.

This lesson is wonderful to do as an introduction to rhetorical analysis (although it is a bit longer than I’d like — I suggest cutting it a bit) or to use independently as students are reviewing what they’ve learned about SPACE CAT and rhetorical analysis.

Here's what one teacher had to say about this lesson: 

“My students LOVED this activity and had some really rich, analytical discussions as a result. I did end up modifying some questions, but this resource was invaluable. The kids were super engaged because Taylor Swift is either super loved or super hated.”

— Elizabeth E

If either of those two ideas aren't what you need right now, maybe this podcast episode will give you the inspiration you're looking for.  A few months ago, I had the delight of collaborating on a Taylor-Made episode of The Spark Creativity Podcast.  In the episode, I share an idea for using my rhetorical triangle graphic organizer with some of her songs for a quick and engaging lesson.  Many more fabulous ELA authors contributed, so make sure to give it a listen!

I hope you've got some ideas now to capitalize on the Taylor energy that seems to always be around.  Have a wonderful week at school!

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5 Ways to Look at the Magic of Clarisse in your Fahrenheit 451 Unit

Now, more than ever, we need to have Fahrenheit 451 in front of our students. From the new onset of AI technology to the daily threats of our intellectual and academic freedom, Fahrenheit provides windows, mirrors, and doors into our present and our future. While Montag’s transformation, the working symbolism, and general dystopian world-building are all incredibly important pieces to focus on, I’d like to argue that it’s possible we need Clarisse McClellan the most.

Clarisse.

The enigma.

The one character my students always feel collective sorrow for losing.

She brings us so much in this story but in the chaos of teaching and planning, her magic can be looked over. I’m here to help! Here are the most powerful places to let Clarisse step into the moonlight (too cheesy?):

SKILLS: CHARACTERIZATION - FOIL AND/OR STATIC

One of the very first close reading lessons that we do is a side-by-side close reading between the first introduction of Montag and the first introduction of Clarisse. Between the imagery drawn from nature to the colors used in their description, this is a great place to clearly teach the purpose of a foil or static character. Clarisse’s constancy — her unwavering commitment to being exactly who she is and refusing to conform — is what allows us to see Montag’s transformation. There is a distinct “Montag before Clarisse” and “Montag after Clarisse”. Not all literature gives us such a clear angle to teach this piece of literary craft and I highly recommend using close reading to do this.

SKILLS: FIGURATIVE LANGUAGE - SYMBOLISM

Clarisse is nature. She is water. She is the dew drops on the grass. She is the wind. As we learn about symbolism and track it throughout the novel, Clarisse’s symbols connect our readers to hope and humanity. Clarisse's appreciation for the natural world and her desire to connect with it on a personal level stand in stark contrast to the technology-obsessed, disconnected world of the novel. Clarisse (and her many objects) are a symbol of hope and resistance against a dystopian society. Her existence and actions inspire the protagonist Montag, and by extension, readers, to consider the possibility of change and a better future.

THEMES: HUMAN CONNECTION

If you’ve ever looked around your classroom, I bet you’ve seen phones peeking out of hoodie pockets, fingers flipping through TikTok, and wondered: what on Earth does the future have in store for us? Clarisse is our character to bring everyone back to our humanity (while Mildred does a fine job of warning students of the consequences of continued obsessive technology behavior). Clarisse seeks genuine human connections and meaningful conversations in a world where people are more interested in mindless entertainment and shallow interactions through screens. Her character highlights the importance of real, face-to-face relationships, and every year that I’ve taught this, students DO connect to her. Students DO express the feeling that they’d much rather a world full of Clarisses than a world full of Mildreds.

All of the contrast provided by Clarisse gives us ample opportunity to close read and discuss the roles of other characters. When we look at the Montag and Mildred’s marriage, it is one thing by itself, and an entirely different thing when we consider Clarisse’s impact. Beatty and Montag also have a distinct relationship, and that is shifted entirely as Clarisee’s impact works its way between them.

THEMES: INDIVIDUALITY & QUIET REBELLION

In my Fahrenheit 451 unit, we examine the Essential Question: To what extent is rebellion a requirement for society to progress? Again, Montag typically sits at the center of this conversation, but none of his transformation would be possible without Clarisse. Clarisse values her individuality and refuses to conform to the mindless consumerism and thoughtlessness of her society. Her character serves as a reminder of the importance of maintaining one's unique identity in the face of societal pressures - something that is becoming increasingly harder to do for us as adults and especially for students. She thinks deeply and critically about the world around her. She questions the conformity and superficiality of her society, encouraging readers to do the same in their own lives. Her love for books and the ideas they contain represents a rebellion against a society that burns books to control information and thought. This underscores the importance of literature and the free exchange of ideas.

THEMES: THE POWER OF FEAR

Clarisse might be the first person that Montag has ever heard ask a question, much less questioning authority. She challenges the oppressive government and the censorship of books - and in doing so, is killed. The cost of her quiet rebellion, the cost of keeping the lights on, having conversations, and asking questions…the cost was her life. This underscores the power of fear: when we are afraid of what we don’t understand, fear can convince us to take extreme action in an effort to protect our comfort zone. This might be one of the most important themes for students to take away from studying the novel. Clarisse made Montag uncomfortable, but she also brought him out of the dark and into the light. As we work through Beatty’s speech in Part 1, I like to ask students what Clarisse’s reaction would be to what Beatty is reporting. In so many of Montag’s major close reading moments (moments of transformation), his last trailing thought always comes back to Clarisse and the feeling of her closeness and the painful reality of her loss.

Ready to go all-in on Fahrenheit?

If you’re ready to take the leap and transform the way you’ve always taught Fahrenheit or start teaching it for the first time, I have you covered. My complete unit is designed to take you through 5-6 weeks of inquiry driven, student-centered learning. Learn more about the unit here and be sure to click PREVIEW to take a look inside!

RHETORICAL ANALYSIS RESOURCES

20 Speeches and Text for Introducing SPACE CAT and Rhetorical Analysis

When it comes to introducing rhetorical analysis for the first time, choosing texts can feel like an intimidating task. But before you get bogged down with which text to pick, let’s talk through a few initial steps to help ensure your success.

TIP #1: Begin with a Framework

When I first was told to “teach rhetoric”, I had virtually no training or support. I resorted to what I knew from my undergrad: an overview powerpoint about ethos, pathos, and logos. This is exactly the path that I would actively AVOID if at all possible (I’ve written about that more here), and instead begin by introducing students to the framework that you’ll use in order to do the work of analysis. For me, I’ve found SPACE CAT to be my favorite ( BTW, I also do this with poetry using The Big 6).

TIP #2: SKIP ETHOS, PATHOS, LOGOS IN YOUR INTRO

Okay — hear me out. I’m not saying don’t teach ethos, pathos, or logos. I’m saying don’t use that as an INTRODUCTION to rhetoric.

Here’s why:

Whatever the first thing is that students learn is going to be the thing that they think is the most important. And to be perfectly honest — the appeals alone are NOT the most important part of rhetorical analysis.

So what to do instead? Introduce the RHETORICAL TRIANGLE.

The Rhetorical Triangle sets students up to see the ways in which an argument moves from one person to another. It centers students on their role as analysts and the need to be inside of the argument - not outside attacking it with a highlighter.

For two more in-depth discussions and lesson examples on the rhetorical triangle, start here:

1. “Be Our Guest” from Disney’s Beauty and the Beast

2. “Mother Knows Best” from Disney’s Tangled

TIP #3: TEACH ON REPEAT

If you’ve not started “template teaching” let me encourage you to make this the day that you start. As you browse through the list below, try to think of these texts as opportunities to teach and reteach the same skills over and over — not a daunting list of individual lesson plans.

Begin by introducing the rhetorical triangle and situation using either of the two lessons listed above. During those lessons, introduce students to the rhetorical triangle graphic organizer template and help them become well acquainted. This graphic organizer will be the TEMPLATE to print and repeat for every lesson hereafter.

Once students are ready to move to more challenging texts, start movin’. What’s the lesson? It’s all baked in to your graphic organizer template. Using just that one handout, students can do a huge variety of tasks all with varying levels of challenge and independence. Here are a few ideas:

• In small groups, bullet point details about the speaker. SHUFFLE GROUPS, and in the new group, bullet point details about the audience, SHUFFLE GROUPS, and in the new group bullet point details about the context. Repeat as needed for each element of SPACE.

• Read/watch the text together. Complete S - P - A together and assign C - E to work on in pairs

• Put students in small groups. Designate areas/tables around your room as S, P, A, C, and E. Have students move through each station with their group and their handout to analyze the text.

• Have students choose any text from a provided list and complete the graphic organizer independently for homework / individual work

This template allows you to flex the details of your lesson without having to prep brand new handouts for every single new text!

THE LIST YOU’VE BEEN WAITING FOR: THE BEST TEXTS FOR INTRODUCING SPACE CAT

This list comes both from personal experience and teacher recommendations. If you have experience or more ideas, please feel free to add them to the comments at the end of this post!

1. “The Other Side” from The Greatest Showman

2. Battle speeches from Queen Magra and Baba Voss from the Apple TV Series See

3. “Be Prepared” from Disney’s The Lion King

4. “I’ll Make a Man Out of You” from Disney’s Mulan

5. “Under the Sea” from Disney’s The Little Mermaid

6. “How to Mark a Book” by Mortimer Adler

7. “Farewell to Baseball” Lou Gherig

8. Challenger Speech from Ronald Reagan (and grab my close reading template for this speech here)

9. 9/11 Address from George W. Bush

10. “Offensive Play” by Malcolm Gladwell

11. Op Ed: Deb Haaland

12. Op Ed: Brittney Griner

13. Opinion: 4- Pound Fur Ball of Destruction

14. Colin Kaepernick Nike Commercial

15. Verna Meyers: How to overcome our biases?

16. Food Label Fear Mongering

17. Back to School Commercials

    1. Amazon Back to School

    2. Back to School - Back to Walmart

    3. Superheroes

What would you add to this list? I’d love to hear it in the comments below!

Happy teaching!

RHETORICAL ANALYSIS RESOURCES

Teaching Short Story Units with a Modern, Contemporary Twist in Secondary ELA

If you’ve ever found yourself searching the internet for “contemporary short stories” or “modern short stories” because you’re tired of teaching the same classic stories over and over again, I have THE HACK to change everything for you!

I won’t even make you wait until later to hear my little secret. I’m just gonna spill the beans :)

Stop searching for short stories and start teaching NOVEL EXCERPTS!

THE BENEFITS OF USING NOVEL EXCERPTS

Let’s get something clear from the get-go. This blog post is not advocating for exclusively teaching excerpts all year long. Some context here is very important: my suggestion is to use novel excerpts to update the outdated short stories that we find anthologized so frequently. This is a suggestion for the teacher in a short story unit rut that wants more voices, more styles of writing, and something that’s both easily accessible and FREE. Almost all of our favorite YA and adult novels have sample chapters available online, oftentimes directly from the publisher’s website.

All this is to say, we NEED full-length works in our curriculums. But that is a blog post for another day and not what you came here for. So let’s proceed.

1. DIVERSE VOICES

When we talk about the kinds of texts our students need, the conversation should always come back to representation. Are the life experiences, family dynamics. racial histories, gender identities, and other ways that make our students’ lives unique and important need to show up in the stories and protagonists that we include in our curriculum. Using publisher’s websites and Goodreads is a great way to research titles for the voices that you think your short story unit is missing. Once you’ve found a title, search the novel title and the word “sample” or “excerpt” in Google, and more likely than not, you’ll come up with a result!

Not all excerpts are created equal, of course, so read through what you’ve got and make a call.

Need more insight on representation and our classroom libraries? Check out this guest post from my friend John Rodney about inclusive LGBTQ+ stories and protagonists.

2. VARIED WRITING STYLES & GENRES

Here is another thing that is easier to search with novels as opposed to short stories: searching by genre! So often I see teachers lumping a bunch of stories together and naming their unit the “short story unit”. In this case, all that the stories have in common is that they’re, um, short? Not novels? So thinking through the idea of genre, not only can we find stories with general commonalities, but it sets us up nicely the opportunity to build Essential Questions.

3. FREE, HIGH-QUALITY TEXTS

I love book shopping just as much as the next English teacher, but when it comes to picking up anthologies, skimming the table of contents, and then reading each and every story, it can become a cumbersome task when rewriting a unit. Is it worth it? Absolutely — but only if you have the time and the budget. If you’re out of time and have zero budget, follow the tips above and start with your favorite novels that you think speak to each other. Start layering your excerpts underneath the umbrella of an Essential Question until you have a rich, varied, interesting, and most importantly, FREE brand new set of texts.

TWO SHORT STORY-EXCERPT UNITS TO TRY

If the above info was enough for you to take this idea and run with it, by all means, go and run! But if you’re wishing that you had a model to look at before getting started, I have two units to share with you here. I’m happy to share the gist and outline with you here, and if you’d like to purchase either, they’re only $8 each in my TpT store.

START WITH YOUR ESSENTIAL QUESTION

To me, this is the most vital part of the short story unit makeover. Units that are driven by inquiry and curiosity beyond the texts provided create a natural engagement that’s hard to achieve otherwise. So here are two EQs that I’ve used with short story units:

• Which is more important in defining "family": blood or belonging?

• Through which lens is it better to view others: trust or skepticism?

Each of these questions sets up an interesting task for the creator (you!). What kinds of voices can I find to shed light on this question? What are the various branches that lead back to this EQ? How can I share a variety of perspectives and experiences across time, gender, race, ethnicity, and genre? Or even — would one of these questions set me up to explore various ways of exploring one genre?

BUILD YOUR TEXT SET

So for the first question about family, I decided to treat this text set thematically: each text will offer a different perspective on the idea of what makes a family a “family”. I started with a few novels that came to mind right off the bat: Where the Crawdads Sing by Delia Owens, Far From the Tree, and . To find a few more, I went to Goodreads and searched “family”. After reading a few summaries and checking out their corresponding excerpts, I decided that Take Me With You When You Go by David Levithan and Jennifer Nevin and From Here by Luma Mufleh would be a perfect fit. This grouping offers us fiction, memoir, multiple narrator style storytelling, a novel in verse, a story about pregnancy and adoption, a refugee perspective, and so much more. No matter how different and varied these stories are, they all come back to the same thread: how do we define family?

For my other question, I had in mind a mystery and suspense genre focus even before writing the EQ, so I knew I wanted to have the texts be connected by genre. I pulled a few thrillers, a few mysteries, and was sure to include a YA crowd favorite: One of Us is Lying. My complete text set list includes excerpts from:

• One of Us is Lying by Karen M. McManus

• Monday’s Not Coming by Tiffany D. Jackson

• The Box in the Woods by Maureen Johnson

• In a Dark, Dark Wood by Ruth Ware

The goal of this particular unit is to give students the opportunity to explore the genre of mystery and thriller while trying to find out what these kinds of stories tell us about how we should approach our own view of the world.

BACKWARDS PLAN YOUR UNIT

With short stories, it’s important to backwards plan the same way we backwards plan any other unit. Here are a few questions to ask yourself as you sit down with your planner (I use Artful Agenda: a pretty, digital planner that syncs up with my Google Calendar):

• What is your goal for this unit?

• What should students be able to do by the end of this unit?

• What assessment tool will be used to measure students at the end of the unit?

• What can I use regularly during this unit to give students plenty of practice?

• Which skills need direct instruction and which need review and practice?

The true danger of any unit is trying to plan starting with day one and forgetting about the end until you get there. Short stories can take a surprisingly long time to read and discuss, so by backwards planning, you can avoid being blindsided by your own story selections (I’ve been there — “The Lottery” and I have a long history of ups and downs). In my short story units, I plan backwards using templates (similary types of lessons on repeat). Every unit I teach must have:

• A gateway activity (something to spark curiosity and get them excited about the EQ)

• An anchor tool (a graphic organizer or handout that is used on EVERY short story to help students focus on the most important skills of the unit)

• Formative assessments

• Summative assessment

From that starting point, I begin to fill things in little by little keeping in mind the realistic pace that I’d like the unit to have.

MORE SHORT STORY UNIT IDEAS

My co-host of the Brave New Teaching podcast, Marie Morris, has a wonderful short story unit that’s entirely made up of folktales and fairy tales. She walks through the unit in this episode here:

Are you excited about the idea of threading together your short story unit with Essential Questions? I have an entire blog post dedicated to even more ideas for EQs and text set suggestions. Check it out here!

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How to Create Book Club Magic Using Essential Questions {Part Two}

Lackluster literature circles? Boring book clubs? The remedy: lose traditional “role” sheets, declare freedom from organization by topic or genre, and build essential question-focused literature circles or book clubs instead. An EQ as the throughline for your lit circle/book club unit kicks up the impact that comes from having kids talk about what they read in a way that just does not happen with any other method.

This is the second blog post in a series dedicated to this kind of magic. Make sure you catch Part One when you finish reading here!

REASON # 3 – BUILD COMMUNITIES WITHIN A COMMUNITY

Lit circles like “real” life book clubs

One of the great things about lit circles and book clubs is how they build communities within your larger classroom community. 

In “real” life, we join book clubs to find community – to have a social outlet where we share a common interest. And even though lit circles have always had a cooperative learning element built in by design, using an EQ focus takes it beyond a learning strategy. 

• First, kids choose their book in a more authentic way, so regardless of how well they might know other students in their group, they have an immediate connection. 

• Second, like in “real life” book clubs where discussion is not dictated by a “role” but with genuine questions, connections, and a desire to understand, an EQ provides a touchpoint for question creation and passage selection. It also offers a way for groups to come back to center and ground discussions if focus waivers. 

• The work with supplementals and text pairings also offers students opportunities to build community as they try to make connections and develop understanding between texts, looking at “big” ideas through different lenses. Jigsawing between groups is a community builder, and EQs offer more opportunities for this because the text is not centered. 

• An EQ offers the opportunity for students to easily connect digitally. With no shortage of apps for virtual meetings, book groups can even be created between classes, providing alternative ways to foster and develop community. 

As students share their thinking and debate and consider one another’s ideas, whether it is within their “home” lit circle or during a jigsaw, they learn from each other. They consider new perspectives. They lean on each other to understand and analyze the texts they read, creating a sense of belonging at a different level. 

CHECK OUT AMANDA’S FAVORITE BOOKS TO USE IN An AMERICAN DREAM EQ UNIT:

REASON #4 – EASE OF ASSESSMENT

EQ = lit circle/book club assessment special sauce 

How to assess students and what to assess them on is an often-cited source of frustration. You are not alone if you’ve worried about any/all of the following:

• What if I haven’t read all the books?

• How do I keep them accountable individually? As a group? 

• How do I know if they are reading? 

• Should there be a group assessment? 

• Projects? Writing?   

But when your book clubs or lit circles are EQ-focused, they are skills-based, not text specific.  And an EQ and backwards planning – knowing what your summative will be at the beginning of the unit – develops students’ skills throughout the unit so they can find success. 

The focus of assessment, simply put, is to answer the essential question using whatever texts they encounter throughout the unit whether it is their novel, pairings or supplementals. Depending on your skills focus – developing interpretive-level questions, providing strong evidence to support thinking/writing/speaking, connecting concepts across multiple texts, paragraph writing – the summative could be: 

• a student-run Socratic with student-developed questions 

• a podcast

• an analytical paragraph or essay

• a synthesis essay 

• a one-pager 

Throughout the unit, individual and small group check-ins could include: 

• written reflections 

• creating discussion questions and choosing passages for each meeting

• write-arounds

• hexagonal thinking activities

• choice-board activities   

• and Sesame Street quizzes 

that focus on the skills students need to practice as they work toward their summative. 

EQ-focused book clubs and lit circles, like other EQ-based units, prioritize understandings about life that are bigger than the text/novel alone, making assessment more authentic and simpler to plan using backwards design.  

CONCLUSION 

EQ-focused lit circles or book clubs, by design, create an authentic, choice and skill-based, rigorous shared reading experience that your students will benefit from and you will enjoy guiding.

What have your experiences with book clubs/lit circles been like as a secondary English teacher? What questions do you have about EQs, backwards design, or EQ Adventure Packs? Let me know in the comments!

Curious about how the thought process goes into an EQ unit? Listen in here to get a feel for how I break down this EQ and the levels of complexity available to teachers and students with just this one question: Why do relationships matter?

Believe it or not, there are even MORE reasons to lean into an EQ-centered appraoch to lit circles, and there’s a PART ONE to this blog series! Did you miss it?

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How to Create Book Club Magic Using Essential Questions {Part One}

Lackluster literature circles? Boring book clubs? The remedy: lose traditional “role” sheets, declare freedom from organization by topic or genre, and build essential question-focused literature circles or book clubs instead. An EQ as the throughline for your lit circle/book club unit kicks up the impact that comes from having kids talk about what they read in a way that just does not happen with any other method. Here’s why:

REASON #1: CHOICE, BUT LIKE, FOR REAL

Fundamental Tenet of Lit Circles and Book Clubs 

Fact: choice boosts student engagement. And even in the “passage picker, summarizer, questioner, illustrator” role sheet days of early lit circles, students selected books that most interested them – usually within a specific genre or topic. 

Great, right?  

Sort of. 

What about students who: 

• detest dystopia? 

• hate historical fiction? 

• can’t stand “coming of age”? 

They have choice. Among titles they wouldn’t otherwise pick for themselves.😕  

When lit circles and book clubs focus on essential questions (more info on essential questions and inquiry-based learning here and here), novel options for students – unbound by any constraints other than shedding light on the question – grow exponentially! 

For example, if your book club/lit circle essential question is why do relationships matter? book choices could include:

• The Outsiders 

• The Hunger Games

• and The Crossover 

or 

• The House on Mango Street

• Long Way Down

• and The Children of Blood and Bone. 

Classics. Novels in verse. Realistic fiction. Fantasy. Dystopia. 

Something for every student's interest and background, and this is just a short list of possibilities for tackling this EQ! The EQ focus makes the book selection more authentic for the kids. Instead of “the least worst option,” their choice becomes something that truly speaks to their personal preferences as readers thereby creating more emotionally engaged lit circle/book club participants who are ready to tackle the EQ! 

CHECK OUT AMANDA’S FAVORITE BOOKS TO USE IN A RELATIONSHIPS EQ UNIT:

REASON #2 – RIGOR 

EQ-focused lit circles and book clubs elevate rigor!  

While choice certainly helps open the door to student engagement, rigor plays a role, too. By rigor, I do NOT mean offering only complex texts, accelerated reading calendars, or piling on assignments.   

As high school reading and writing gurus Kelly Gallagher and Penny Kittle say in their latest book, 4 Essential Studies, rigor does not equal text difficulty.  

““Book clubs motivate us to read. They deepen our understanding of not only the book but how others read and interpret the same text … rigor is not in the book itself, but in the work the students do to understand it” (45-47). ”

— Gallagher & Kittle

And the work students do with EQ-focused book clubs or lit circles encourages this work.  

Sure, in a genre-based book club, the kids can examine what elements show up in their book and how. They can compare how one author achieves this versus another. 

But an EQ, like Which is more powerful: hope or fear? immediately asks students to sit with uncertainty and consider possible answers and solutions rather than identify more correct ones. 

EQ-based lit circles or book clubs meet students where they are – literal, theoretical or anywhere in between – and provide opportunities to scaffold toward analysis, synthesis and more abstract thinking.

How? 

One way is to use supplemental texts and pairings! 

These texts are not novel-specific but EQ-connected, so every book group can use them:

• articles

• poems

• songs/lyrics

• art pieces

• videos 

• stories

• book excerpts 

Supplementals and pairings can be used to create whole-class, lit circle-based, or jigsawed skill-focused lessons that students can then practice independently. Check out my EQ Adventure Packs for supplementals and pairings AND a choice board that can also be used for this purpose.

What might such a lesson look like?

• Your EQ:  what is more powerful: hope or fear? 

• Skill focus: writing analytical paragraphs (students hyperfocus on literal aspects of plot) 

• Whole group: listen to one of the songs, give kids a copy of the lyrics

• Whole group: model identifying where you notice hope or fear in the lyrics; think-aloud  noting which felt stronger and why

• Small groups: kids continue identifying examples of hope & fear in the lyrics

• Small groups: kids note whether “hope” or “fear” was stronger in each example

• Small groups: select two lines/stanzas that best illustrate hope or fear

• Post on Padlet 

• Whole group: debrief; model what a “good” reflection looks like; show a skills progression 

• Independently: kids draft a paragraph reflection on whether they felt fear or hope was a more powerful idea in song and why, using evidence from any of the groups’ findings. 

This is just one way EQ-focused lit circles or book clubs can be rigorous while meeting kids where they are. The work they do in a lesson like this does not have a right or wrong answer; the kids discuss and rehearse their ideas and thinking aloud before they put pen to paper. The EQ requires kids to think beyond plot and surface-level similarities to do this work; it pushes them to consider ideas that are bigger than a text alone.

Listen in here to get a feel for how I break down this EQ and the levels of complexity available to teachers and students with just this one question:

Believe it or not, there are even MORE reasons to lean into an EQ-centered appraoch to lit circles, and there’s a PART TWO to this blog series! Are you ready for more?

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Teaching Rhetorical Analysis: Using Film Clips and Songs to Get Started with SPACE CAT

Rhetorical analysis: so much more than commercials and appeals

Rhetorical analysis can get a stuffy reputation.  Sometimes, we reserve it only for “serious” classes and students and we focus on monumental, world-shaking types of speeches.  While this approach accomplishes a few of our long-term goals for education, it’s not doing enough to reach the masses of students who need these skills.

I hope you’re here reading this because you want to try RA with seventh graders.  You want to introduce rhetorical analysis to your struggling 10th graders.  I hope you’re here because you’re trying to do RA even though you haven’t been deemed worthy and been exclusively anointed as an AP Lang teacher.  I hope you’re an AP Lang teacher here looking to do things with a broader scope and new entryways into conversations about complexity and sophistication. 

Really, I’m glad you’re here.

RHETORICAL ANALYSIS:  THE BASICS

Here’s where we need to start:  the triangle.

Rhetorical analysis is less about appeals and more about the unique connection between three points:  the speaker, the audience, and the message.

When we start RA zeroing in on ethos, pathos, and logos, we are playing a bit of a dangerous game.  Teaching terms can be a comfort zone for teachers (we do this with figurative language, too).  In our field, there are so few direction instruction content types of lessons, that it can feel cozy to snuggle up with a list of terms we understand and deliver them to our students.  Without realizing it, we’ve created a pretty deep hole, jumped in, and forgot to throw down the rope ladder for when we need to get back out.  

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When we start with terminology, we’re sending the message to students that this is the primary focus of analysis:  identification.  We’ve armed them with dozens of terms, so the goal of analysis must be to slap these labels all over a speech and call it annotation.  Then?  It ends.  Students falsely believe that they’ve accomplished the task because they did exactly what you taught them.  They found the rhetorical questions.  They found a simile.  They found an example of ethos.  

And then?  We get really frustrated when they can’t tell us WHY, HOW, or SO WHAT when we probe them deeper about what they’ve identified.

This is my very long way of telling you this:  DON’T start with terms, or, if you do, be ready to pivot quickly!

RHETORICAL ANALYSIS:  WHERE TO BEGIN

START with the rhetorical triangle or a framework that you like (I like SPACE CAT) and a conversation around the rhetorical situation (SPACE).  By emphasizing the importance of understanding the components of the broader context of the argument, we help students start the probing question why? in the back of their heads as we go deeper and deeper into the argument itself.

One of my favorite pieces to use for practicing the rhetorical situation is looking at Lumiere’s plea to Belle in “Be Our Guest”.  In another blog post, I outline how much there is to the situation -- there is so much to consider in terms of the speaker, the purpose, the audience, the context and the exigence.  In the slide deck for this lesson, we spend a great deal of time listing as many details as possible before even looking at a single lyric.  Why?  Because once we get into the argument, we’re seamlessly moving through true analysis.

Ms. C?   I think I found a simile.

What similie is that?

Well it says ____________.

Hmm.. You’re right.  So why does this particular simile hold weight knowing what we know about who Lumiere is and what he’s trying to achieve in this moment?

Wheels turning…

RHETORICAL ANALYSIS:  GETTING INTO THE ARGUMENT

So we’ve got a handle on the rhetorical situation.  That’s a win.  In fact, that might be the entire goal of a unit if you’re just beginning.  If your school is taking their time and truly working on vertical articulation, this is a great skill to introduce at 9th grade and build toward mastery in 10th.  

But let’s say we’re moving on a bit and ready to analyze the argument.  You might have a speech, a commercial, another song, or another type of  fictional scenario, and now we need to look at the techniques used and do the analysis work.

This is where we come back to our analysis framework.  I like using SPACE CAT, so this stage is where I rely on CAT:  choices, appeals, and tone.

Rhetorical choices include just about everything, so it’s up to you to narrow the lane of what each argument is doing well.  A rhetorical choice might be the structure or organization of the argument, an extended metaphor, the use of personification, or even a particularly interesting use of parallel structure.  Appeals are what you think they are:  ethos, pathos, and logos.  And of course, tone is exactly what you think it is, too.

Not all choices, appeals, or potential tone words are important to talk about in every speech, so fully embrace your right to decide ahead of time which choices are on the table for discussion (this is called scaffolding and if you need help with it, I have a training in my Mastering Close Reading Workshop that you might find very helpful!).

Let’s Look at an Example: “Mother knows best”

Here’s a quick example from “Mother Knows Best” in Disney’s Tangled for each of the components in CAT.

Mother Godel opens her song referring to Rapunzel “as fragile as a flower; still a little sapling, just a sprout”.  She’s comparing Rapunzel to an undeveloped, extremely young plant.  

She then uses the refrain “Mother Knows Best” along with other overly-assertive physical behaviors to assert her own ethos and Rapunzel’s lack of life experience.

The song also gives students the chance to look at tone, especially in the verse where Mother Godel tells Rapunzel that she won’t survive as a “sloppy, underdressed, immature, clumsy” and “gettin’ kinda chubby” girl out in the real world.  This demeaning tone further underscores Mother Godel’s authority and increases the fear in Rapunzel about leaving her tower.

RHETORICAL ANALYSIS:  SO WHAT?

Well, we’ve arrived back where we started, friends.  There’s a whole lot of highlighting, lots of phrases and details identified as one thing or another, but here comes the real work:  SO WHAT?

So, Mother Godel uses a demeaning tone toward Rapunzel.  So what?

She compares her to a “sapling” that has just sprouted from the ground.  So what?

Here’s where we send students back to the rhetorical situation.

Support them through their “so what” with questions referring back to SPACE:

• Why is this tone effective given what we know about the audience?

• How does this metaphor create a sense of fear in Rapunzel?

• How does Mother Godel’s use of hyperbole help her achieve her purpose?

• Given the context of the situation, why would Mother Godel rely on the emotion of fear in this particular argument?

Once you’ve gotten through the SPACE, the CAT, and now arrived at the analysis part, remember that you can do this a few ways.  Students oftentimes will write a paragraph of analysis, but if you’d prefer, you might have students complete a one-pager or just have a discussion that outlines what students could write about.  It’s okay for some lessons to be heavier on the process than on the result.

SOME FINAL THOUGHTS…

RHETORICAL ANALYSIS: TRUST THE PROCESS

This is the process.  It takes time, practice, and more practice.  But if you are able to confidently lean on a framework that you like, provide the right types of arguments that meet students where they’re at, and stretch their work with rhetoric over multiple years, you’re going to find increasing success.

If you’re looking for more support, I have resources that are ready to help you.  Keep doing the work -- I’m right here behind you every step of the way.

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Three Myths about Close Reading

Three Myths about Close Reading (Busted!)

Wait, what? Close reading? That thing in Common Core everyone says they do but can never actually explain? If these sound like your thoughts, you’re not alone. And here’s why: 

Close reading is often confused or made synonymous with things it most definitely is not, making it seem too scary to even approach. Maybe you’ve tried it, hit a wall of frustration, and abandoned-ship.

Well, it’s time to replace frustration, uncertainty and fear with the truth, and bust three common myths of close reading. 

Three offenders. 

Three stories that have run amok doing what myths do best – attempt to explain what we don’t understand.

But the thing is, close reading CAN be explained and understood, and there is a close reading reality. Let's talk THAT reality, so you can see the power this instructional strategy has to transform both your teaching of reading and your students’ growth and confidence. 

MYTH #1: Close Reading = Reading an Entire Text 

If the thought of figuring out how to teach a close read of an entire short story, or 

an entire chapter OR

an entire article OR

an entire scene

gives you hives, well, that’s fair. It should! 

If telling your classes to “do” a close read of X story results eye rolls, audible groans, and no sense of whether students are actually practicing reading skills –  also fair. 

This idea that close reading means scrutinizing an ENTIRE text is a complete and total, well, MYTH! It is also a recipe for overwhelm for both teachers and students, with little to no benefit for students’ growth as readers. Reading an entire text is just that – reading. And while there is nothing wrong with “just reading” that is not the purpose of close reading. 

HERE’S THE REALITY: Close Reading = Reading a Passage

Close reading is re-reading with intention, with the purpose of practicing skills, learning patterns and deepening understanding. So instead of an entire text, choose passages no more than a page long, maybe going onto the back, for your lessons. 

Begin by having students read a longer chunk: a chapter or chapters, an act, a short story – either for homework or independently during class – of which the passage is part. When the kids come to the close reading lesson, it will be at least their second encounter with said passage.

Pffft, you might be saying. My students aren’t going to read that longer chunk independently. 

That might be true. But they can still do the lesson. 

Close reading lessons are always in-class, skill-focused, teacher-directed experiences. Keeping the passage short allows students to do the lesson whether or not they completed all of the prior reading. The passage is read, and often re-read, in class, so you know, at the very least, even if students read nothing else for an entire unit, they have read those close reading passages and practiced skills. 

Length is critical, and to keep passages short, it is not only ok but necessary to eliminate content that does not help students practice the skill. Consider what is most important and what is necessary for student practice. Then decide how much to include before and after. Context can always be provided by you for the kids in the lesson directions.

MYTH #2: Close Reading Prioritizes Reading the Whole Text 

Your reading curriculum contains four core novels and a Shakespearean play. The best way for students to grow as readers, writers, and thinkers is to make the text central to learning. They must read every page and every word of every novel and the play in order to make progress. Frequent comprehension quizzes are the way to keep them accountable. 

Close reading is reading EVERYTHING – page one to page end. 

Um, no. Just NO. To ALL of that. 

HERE’S THE REALITY: Close Reading Prioritizes Skills 

Close reading DOES NOT – like, to infinity DOES NOT – center the text.

Close reading centers SKILLS. 

The text is the vehicle through which skills are taught. Don’t get me wrong, the text is important, but students are not being assessed on whether or not they “know” the whole text. They will be assessed on the skills you taught and that they practiced during your close reading lessons. 

Skills can run the gamut – from rhetorical situation to recurring symbols, to use of imagery – depending on the type of text, your essential question (more info on this here), and your summative assessment. The skills determine the annotation focus(es). Remember, though, not to get carried away in asking students to annotate for all the things. Less is more.

Make it super clear in your directions what you want them to annotate for. Without this, students end up randomly highlighting and labeling with no sense of how or why it all fits together. Instead of wild goose chase annotation, send students on a purposeful, scaffolded path toward analysis.

MYTH #3: Close Reading Answers A Set of (Text-Dependent) Questions 

You are at the photocopier and find a handout titled, “Close Reading Questions.” You look through it and consider that maybe this is close reading. 

Nope. Not even kind of. 

HERE’S THE REALITY: Close Reading Works with Essential & Analysis Questions

A list of teacher-created questions for students to answer as they read a text – or after they read it – could maybe be considered “guided” reading. But it is not close reading.

Close reading does involve questions, but they are of the essential and analytical variety. And you come up with them before students close read anything. These are the questions that drive your unit and skill focus. They are the questions that inform your backwards planning: what it is you want students to know or do by the end of that unit?

Your close reading lesson passages should all connect to your unit essential question (more on EQs here), so that they build on each other, which results in students building their learning – comprehension, pattern recognition, deep thinking – over time. 

And within each lesson, you create an analysis question for students to work with at the end. When planning a close reading lesson, come up with this question first. Consider what you would look for in the passage to answer it. This will help you come up with student annotation guidelines. Having kids draft a skills-focused analytical paragraph to answer a question using their close reading annotations helps prepare them not only for a summative task, but makes them derive meaning, instead of searching for a “correct” answer.  

So, yes, questions, BUT questions that require students to make meaning using the skills they practiced in that close reading lesson for that particular passage, not to hunt and peck through an entire text to find “the answer.” 

SOME FINAL THOUGHTS…

Close reading is not its mythology! It is not reading an entire text, it is not whole-text centered or answering a set of text-dependent questions. Close reading reality decenters the text, prioritizes skills, and uses essential and analysis questions to drive learning. This instructional strategy has the potential to move mountains for your students as readers, writers and thinkers and for YOU as a teacher of reading. 

If you haven’t tried close reading before in your classroom or if you’d like to revisit it after a less than positive experience, grab this free video where I go into more depth about the what, why and how of close reading. What has been your experience with close reading? What questions do you have?  

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How to Throw a Gatsby Party as PreReading Strategy

How to Throw a Gatsby Party as PreReading Strategy

There is no shortage of blog posts in the world about English teachers throwing Gatsby parties for their classes before or after their study of the great American classic.  What I want to show you here is how you can use this party as a gateway activity to the book and a prereading strategy that sets students up for early success in reading.

WAIT! DO YOU HAVE A COLOR SYMBOLISM TRACKER TO USE FOR YOUR UNIT? GRAB THE ONE PICTURED ABOVE RIGHT HERE AS MY GIFT TO YOU!

SHOULDN’T PARTIES BE FUN?

Yes!  No matter when, where, or how you throw your party, there should be plenty of fun.  Of the many goals of the party, getting students hyped up to read and feeling the energy of the story is a huge priority.  If you have some money to spend, spend it on items that can be reused for a few years -- that makes the investment worth it.  You’d be surprised at how a Dollar Tree raid can add up and then at the end of the party all get thrown away and be completely disposable.  Era costume pieces, tapestries to hang as backdrops, photo props, or even centerpiece items from thrift shops are things that can be packed up and used year after year.  I like these posters ($10) and once they’re laminated, they’ll last forever.  If you’re not going to spend any of your own money, there’s plenty to do to set the mood for free:  YouTube playlist of music from the movie or Jazz Age music, cover your whiteboard in hand-lettered quotes, grab white paper from the supply closet for tablecloths, etc.  I even make my students invitations to the party and hand them out a few days ahead of time.  Most of them look at me and roll their eyes, but enough of them appreciate the dorky gesture.

PREREADING WITH STATIONS

Now that you’ve set up the energy and atmosphere of the party, it’s time to do the behind-the-scenes work of getting students ready to read.  For those of you reading this post who prefer to do your party at the conclusion of the novel, consider moving it to the beginning of the unit instead.  As I set up my room, I create 5-6 large tables that I’ll use as the stations.  This blog post will walk you through everything that I do in my lesson which can be found here completely ready for you to print and use!

Never used stations before? I’ve got a quick and easy guide to using stations here as well as how I use this learning strategy for back to school here!

Designing Stations to Support Readers

Whether you’re doing prereading stations for Gatsby or any other book, you need to consider what students need to support their reading experience.  In the case of Gatsby, I’ve found that the earliest struggle students have with the novel is knowing who is who.  Because of this, four of my stations are designed as “Meet the Character” stations.  I pull a passage of description of Nick, Gatsby, Tom, and Daisy.  At each of these four stations, students read the passage “meet” the party guest, and then jot down a record of their initial impressions of who they just met at the party.

This is a quick (but important) prereading exercise disguised by fun.  In the passage selected for each character, students are getting:

• Familiarized with Fitzgerald’s language

• Context around each character’s personality

• Basic characterization

These may seem like small things, but in the world of reading comprehension, they’re critical.  Imagine reading Gatsby for the first time completely blind to the story.  Now, imagine reading it witht he mood of the party that you’ve created and an initial understanding of the personalities and roles of each of the main characters.  This is a huge win!

OTHER NON-CHARACTER BASED STATIONS

The other stations are flexible.  Here are a few other ideas I’ve used:

• Book Cover analysis:  have students look at various different versions of published book covers.  What does the art reflect about the focus of the story?  How does the artwork make you feel in terms of what mood you’re expecting to encounter?  What are the colors used in each?  How might that be reflective of the story you’re about to read?

• Setting analysis:  Choose 1-2 passages that capture important setting descriptions.  Where will this story take place?  How does the energy of the setting match or seem different from that of our “Gatsby Party” atmosphere?  What are the colors, textures, sounds, smells, and visuals included in the description?  You can even have students attempt to draw exactly what they’re reading in the description for an added “party game”.

• Music/lyric analysis:  Pull a Jazz age song and it’s lyrics for students to read and analyze.  What were the values of this type of music?  What did the music center?  What kind of energy does this music give?

• Trailer analysis:  Set up one table with several of the Gatsby film trailers pulled up.  Students can compare and contrast, make predictions, etc.

If you’ve been partying at the end of reading Gatsby and still love it, by all means, continue to do what brings you joy!  But I do hope that at the very least, these character stations activity will provide a strong foundation for your readers at the start of the study of the novel.  I’d love to hear about your experiences in the comments below!

Ready to think more through the Gatsby reading experience? Watch below!

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Unit Makeover: The Short Story Unit in Secondary ELA

Unit Makeover: The Short Story Unit in Secondary ELA

When is the last time you sat down for a meal where your server recommended a very specific bottle of wine to match the meal you were considering on the menu?  The perfect Argentinian Malbec to compliment the perfect marbled ribeye.  And when is the last time you tasted that symphony of flavors?  The melting, fatty salt of the meat on your tongue is followed by the gentle swirl of the deep red wine just after.

Maybe you’re a vegetarian and ready to never come back here and read another article from me again, and I understand (this is not the first time that I’ve used a metaphor about meat.  Hmmm…), but if you’re willing to hear me out, here it is:

Disjointed experiences are fine, but intentionally, purposefully blended ones are so much more memorable.

This is precisely how I feel about unit planning and especially the notoriously predictable plan that every English teacher since the dawn of time seems to design:  UNIT 1 - SHORT STORIES.

THE DISJOINTED SHORT STORY SCENARIO

The idea for this unit seems logical on paper:  start the year with some shorter texts to warm back up, review everything students need to know for the year coming up, and presto!  Ready to take on the year.  But after experiencing this myself and talking to hundreds of other teachers, there are a few notable problems:

PROBLEM 1: Lack of connection

Short stories don’t naturally connect to one another just because they are short stories. So when we begin these units thinking about the skill review component, we are often blindsided as the unit is in progress feeling like it’s clunky and lacks flow. Without the feeling of connection, these units can be difficult to navigate in terms of pacing and engagement.

PROBLEM 2:  Lack of representation

The most commonly anthologized stores also tend to be Euro-centric, male-authored stories.  We have a responsibility to do better for our students and to have their own voices, stories, backgrounds, and experiences represented and included in everything we do.  This means branching outside of the short stories most frequently recommended by text book companies and doing some of our own research to find new, fresh voices.

PROBLEM 3:  Lack of variety

One teacher wrote to me saying: “I do run into trouble when I try to use short stories that are available on CommonLit. When I've tried to use them in the past--some are amazing short stories, like "The Landlady" and "The Intepolers"--the kids complain that they've already read them! UGH”

Does this sound familiar?  Since starting the year this way is so popular and databases like CommonLit have come around, teachers sometimes find themselves going to the same places for ideas and then repeating stories.  

PROBLEM 4:  Trying to cover too many skills

Sometimes the nebulous goal of “reviewing literary terms” stretches student focus too thin.  Attempting to use one single unit to cover a dozen or more terms ends up giving us more attention to breadth rather than depth.

Specific EQ Unit & Text Set Pairings:

To solve many of these problems with the traditional short story unit, I recommend implementing an Essential Question to drive the unit. Short stories need to be contextualized, and using an Essential Question connects the dots and creates meaning. The art of writing an essential question takes into consideration three key components:  text(s), themes, and skills.  Essential questions should drive genuine curiosity and be exciting for students to explore, discuss, debate, and return to throughout the year.  

Below, I’ve drafted a few examples of EQs that could theoretically be used at the start of a school year. You’ll notice a few things:

1. The question anchors the unit.  From introducing the question to assessment, the question is the driving force that connects all texts and activities.

2. Instead of teaching short stories and a variety of random literary terms, the unit is cohesively driven by a more narrow focus.

3. The EQ gives direction for the unit without being prescriptive.  The suggestions I have here are flexible and adaptable to different grade and difficulty levels.

In each of the example units below, I’ve provided a mixture of the most commonly used short stories that you may have from anthologies or prescription curriculums blended with new ideas, short film, music, and other genres to further address the complexity of the EQ. Be sure to check out Episode 107 of the Brave New Teaching Podcast to see how this method was applied in Marie’s class!

Here are a few example ideas to get started:

Example #1:  Connected by a skill/standard

Unit 1:  Is conflict more likely to make our lives better or worse?

Skill Focus: The shape and arc of stories

• Plot diagram components (with emphasis on conflict)

  • Exposition, inciting incident, rising actions, climax, falling actions, resolution

• Vonnegut’s The Shape of Stories

• Internal VS External Conflict

• Three classical types of conflict:  “man vs man”, “man vs. nature”, “man vs himself”

Text Set:

• “The Most Dangerous Game” by Richard Connell

• Buzz Lightyear Internal Conflict - You are Just a Toy:  Scene 1 & Scene 2

• “Contents of the Dead Man’s Pockets” by Jack Finney

• “The Ones Who Walk Away from Omelas” by Ursula K. Leguin

• All American on Netflix Episode 1

Assessment:  

• Skill Focus:  Cold Read & Written response based on conflict

• EQ Focus:  Synthesis argument writing answering the EQ (utilize personal experience and texts from the unit to answer EQ)

Example #2:  Connected by genre

Unit 1:  To what extent does gothic fiction reveal the human condition?

Skill Focus: The elements of gothic fiction

• Author’s use of tension

• Author’s use of tone/mood

• Setting

Text Set:

• “The Cask of Amontillado” by Edgar Allan Poe

• Excerpt from Mexican Gothic by Sylvia Moreno Garcia

• “A Rose for Emily” by William Faulkner

• Various scenes from The Phantom of the Opera

• Luella Miller by Mary Wilkins Freeman

Assessment:

• Skill Focus:  A project-based assignment where students analyze the connection between tension, mood and setting (a recreated scene and written analysis; a living tableau; an artistic interpretation)

• EQ Focus:  A literary analysis writing that hones in on one of the stories and the gothic elements that reveal the human condition

Need to teach plot elements?

Example #3:  Connected by another genre

Unit 1:  How does dystopian fiction use the present to predict the dangers of the future?

Skill Focus: The elements of dystopian fiction

• Characteristics of a dystopian protagonist

• Author’s use of tone/mood

• Setting

• Imagery

Text Set:

• The Parable of the Sower by Octavia Butler (Chapter 1)

• “The City Born Great” by N.K. Jemisin

• “There Will Come Soft Rains” by Ray Bradbury

• “The Lottery” by Shirley Jackson

• “Harrison Bergeron” by Kurt Vonnegut

• “The Veldt” by Ray Bradbury

• “The Ones Who Walk Away from Omelas” by Ursula K. LeGuin

Assessment:

• Skill Focus:  Cold Read & Write:  How does the author’s use of genre elements / setting / imagery / use of tone/mood in order to warn about the dangers of the future?

• EQ Focus:  Research project:  select a present problem and predict the dystopian future to come from this issue

Example #4:  Connected by a theme

Unit 1:  Which is more impactful in a child’s coming of age:  the influence of family or the physical environment around them?

Skill Focus: Elements of coming of age genre

• Setting

• Characterization (direct & indirect)

Text Set:

• Where the Crawdads Sing (Chapter 1 excerpt)

• “Thank You Ma’am” by Langston Huges

• “Only Daughter” by Sandra Cisneros

• “All Summer in a Day” by Ray Bradbury 

• “The Hawk” by Jules Chung

Assessment:

• Skill Focus:  One Pager - Choose one character to place at the center.  Surrounding the character, add evidence of coming-of-age moments, setting, etc. that have influenced their development

• EQ Focus:  Synthesis Argumentative essay responding to the EQ using the short stories from the unit

Example #5: Short Stories Reimagined in Fairy Tales

In episode 107 of the Brave New Teaching Podcast, I chat with my cohost Marie Morris about the process of tackling a unit makeover with short stories. Listen in to see how we resolved so many of the problems (at the top of this post) and built a Fairy Tale Unit that completely revamped the level of engagement while still tackling all of the skills that mattered the most.

No matter how you tackle your unit makeover, consider the power of that Essential Question to give the context your unit needs. I’d love to hear how you tackled your own makeover, so be sure to leave a comment below!

TRY AN EQ ADVENTURE PACK!

These units are packed up and ready to teach! They are seamlessly aligned with a juicy Essential Question, supplemental texts, and plenty of templates to use in tandem with whatever short stories or novels you have on hand. Check them out right here!

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3 Habits for Happy, Powerful Teachers

Teaching is HARD. These are three habits that helped me ease some of the pressure of the demands of teaching. As with all habits, they take practice and small steps. I hope these help you feel like a boss in the classroom!

HABIT ONE: PLAN YOUR GRADING DAYS

This one took me years to learn, but once it became habit, the stress of grading significantly changed in my life. In backwards planning, we know to start with the assessment and plan our calendar backwards from there. But here’s what I started doing: as soon as I knew what that assessment was going to be, I decided right there exactly how many days I would give myself to GRADE that assessment. I started building my grading days into my plan for the unit. This helped me in so many ways:

• Grading wasn’t happening magically whenever I found a free plan period or weekend hour. Grading was happening in a set time frame. Grading “in bulk” was a massive time saver — the more of the same essay I read back to back the easier it was to detect patterns across my classes of struggles and successes, making the subsequent revision lesson that much easier to plan.

• Grading wasn’t a panic before the end of a marking period. If I knew that a marking period ended on a Friday, I would have decided that I needed four days for grading. Knowing this, I planned the assessment for the Friday BEFORE the end of the marking period, rather than a closer date. This ensured that I had the days I needed to grade and also accommodated any students that required extended time or were absent.

If you’re looking for more grading tips and advice, I’ve got you covered! I did an entire podcast episode about this and you might just hear a little nugget of wisdom to help you on your journey. Give it a listen below!

HABIT TWO: START EVERY PLANNING MEETING WITH ASSESSMENT

Okay, I promise I know how tempting it is to plan the fun stuff. The intro week, the gateway activity…it’s all so exciting and probably the most engaging part of your unit to come. But it’s time to start a new habit — one you might have to very consciously force yourself to practice: start with the assessment. At every team meeting, every time you sit down to plan, check in with the assessment. Are you making progress toward that assessment? Have you introduced and practiced the rubric with students? Are the lessons you’re planning building the skills needed to perform on that assessment?

This is a big switch. I used to start my planning with impulses. With new ideas I found online. It was energizing at first, but after a while, we were scattered and all over the place with tons of ideas, but no direction. Making the little habit switch to focusing on the assessment is one of the best ways I’ve found to help me with decision fatigue. Was it an awesome idea that I found on Instagram? Sure, but does it help students prepare for the assessment? If the answer was yes, then green light! If not, then it goes in the save pile for another unit.

HABIT THREE: PERFECT YOUR MONDAY ROUTINE

The Sunday Scaries are real. The anxiety, pit-of-your-stomach pain of a Sunday night with no idea what’s coming for Monday absolutely destroys any chance at resting on the day that you actually need REST. Here’s the third and final habit that will change your teaching life: create and stick to a Monday routine.

For me? Monday is all about formative assessment. For the most part, students are almost always finishing an assigned reading for Monday. I like to assign reading in large chunks and include weekend time to get that reading done, so Mondays in my classroom are dedicated to formatively assessing that reading.

There are so many benefits to assessing on a Monday:

• Kids are coming off of a weekend which is the most realistic time frame that they have to accomplish reading outside of school.

• The energy level is usually pretty low, so forcing a discussion or something interactive is usually pretty hard. Taking a quiz matches their energy level on a Monday.

• Attendance is usually better at the start of the week than at the end

• Assessment at the start of the week gives me usable instructional information about students to use throughout the week.

All of these are massive benefits to building up the habit of keeping a consistent Monday routine. If Mondays are planned, you are RESTING on the weekend OR using your creative energy for other things. Panicked energy is usually wasted energy, so let’s conserve those sparks of inspiration when you have them to something productive!

I’d love to share more with you about my Monday plans, so when you have a chance, give this episode of the Brave New Teaching Podcast a listen:

If you’ve got your planning down but are still looking for a way to shake up the way you run those formative assessments, take a look at the Brave New Teaching FREE Masterclass: Down with the Reading Quiz! You’ll learn all about my favorite Monday formative: the Sesame Stree Quiz. I promise you’ll never look back!

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Helping Students do Hard Things in ELA

With every inch of my soul, I believe our students can do hard things.

But doing hard things is not the same as assigning hard things. It’s not the same as providing difficult instruction, then expecting straightforward or immediate results.

Raising the bar and increasing rigor in our classrooms must be coupled with purposeful, intentional scaffolding, compassion, a deep knowledge of our students’ lives and backgrounds, and effective teacher-tested strategies. This blog post features a round-up of TWELVE strategies to try that can both push students toward tackling hard things, but still support them and guide their way.

1. SESAME STREET QUIZZES

When we talk about having kids do hard things, we have to look in the mirror and take a hard look at our own assessment practices. Why is something hard? Is it hard because it requires a high level of critical thinking? Or is it hard because the design of the assessment is something students haven’t tried before? Is it hard because the assessment wasn’t truly created with backwards design and students are attempting a skill they haven’t had enough practice using?

When it comes to assessment, we want to challenge our students’ critical thinking, but we also want to make sure that the assessment is an accurate measurement of skill growth. In the masterclass Down With the Reading Quiz, my podcast partner Marie Morris and I break down three types of formative assessments that can be used over and over again to help students master skills. My personal favorite: THE SESAME STREET QUIZ.

It’s about as simple as it might sound: the quiz shows students four items, three of which are connected, and the other is an outlier (one of these things is not like the other!). In this podcast episode, we break down the philosophy behind using our Sesame Street quiz formative assessments as a regular practice in your classroom. I love that this quiz checks off many important boxes for me in terms of what matters in the classroom and asking students to do hard things:

• They promote equity: this is a show me what you can do-type of assessment, not a “gotcha” quiz

• They are rigorous, but can also be scaffolded

• They can be graded on a rubric rather than using arbitrary points

• They help kids understand that you care more about holistic interpretations of learning rather than minute details (unless the details provide commentary on the whole!)

Sesame street quizzes are a HARD THING to ask kids to do, but one that they can get really good at. With scaffolding, practice, and reinforcement, we really can ask our students to do hard things.

2. MAINTAINING EXPECTATIONS THROUGH STUDENT INTEREST

As winter starts to come to an end, many students start to become less enthusiastic about learning as spring nears. Sharena from The Humble Bird Teacher uses student interest to maintain high learning expectations in the classroom through project based learning.  With project based learning, the students learn to think critically and solve real-life problems independently. Most importantly, the students are the captain of their education as they dive into topics that interest them and bring about discussion and collaboration and fun!  In this situation the teacher becomes the passenger, or guide, who steers the students in the right direction. Project based learning can keep behavioral issues low and help with maintaining classroom expectations because when students enjoy learning, they are more likely going to invest in their education rather than not. 

How can you implement this strategy in your own classroom? 

1. Select project based learning assignments that align with district standards.

2. Pick three to four of them and give students a preview of each one. 

3. Allow students to select the project that interests them. Some project based learning tasks require groups. In this case, have students vote as a class. 

4. Let students get creative and solve the problem presented in the project! This is where the fun and learning begins! 

Remember, you are the guide and not the captain. Provide your students with the support they need to be successful, but let them steer the ship.  Do you want to learn more about project based learning? Sharena recommends the blog post  Project Based Learning and Assessment. 

3. ROUTINES THAT CREATE PREDICTABILITY

In order to maintain high expectations and provide support to get there, Samantha from Samantha in Secondary focuses on classroom routines to make sure students feel heard, respected, and supported. It might seem obvious to make sure your routines are intact, but as the year drags on, it can be difficult to maintain that high level of expectation when students are so comfortable in your room. Routines provide stability for your students so they know what to expect from you and your class. Being very explicit about your expectations and routines (even if you find that you’re repeating yourself multiple times) sets the benchmark for student achievement. Evaluating (and maybe resetting) just a few of your classroom routines can make all the difference. Here are just a few to consider.

• Bellringers: How are you starting class? Is it chaos for the first few minutes when students come in? (No judgment—everyone has been there!) Provide a reliable structure that students can anticipate so that they understand how to be successful. Consider visual writing prompts or attendance questions as a routine to start. Giving students something to get them started immediately is an invaluable routine that will set students up for a strong class period.

• Daily Agenda Slides: Are you being explicit about what’s being covered that day and allowing students to see how they can be successful? Make sure you have a daily agenda slide ready to go. (You can put your bellringer right on there as well—win, win!) Listing the activities for the day and the assessment can show your students immediately how they can be successful and allow them time to think about how they might need to be better supported.

• Close Reading: Within your novel units - whether whole-class, book club/lit circle or choice – this powerful instructional strategy teaches students to read with intention and purpose, and it is best achieved as a regular, weekly practiced routine. Whether you are new to close reading or have tried and been frustrated with it, the Mastering Close Reading video (asynchronous) workshop series offers the guidance and support to build a strong routine and effective lessons.

• Do Something Fun: You can do activities that are both fun AND academically aligned. Make sure you are showing your students that you care about them as people and students. Strengthening classroom culture only leads to students wanting to achieve more academically in your class. What can you plan today that will lead to stronger classroom culture tomorrow?

One of the things that makes teaching so difficult is the unpredictability of each day. Students need different things at different times and some of the things they need to be supported and successful are completely out of teachers’ hands. One way you can provide support for them to do hard things is to make sure your class is set up in a way that they know how they can succeed. Classroom routines are something you as the teacher can control that can make all the difference.

4. RUBRIC CONSISTENCY FOR GROWTH

Students need to know what the goal is if they are going to reach it, right? Krista from @whimsyandrigor knows this to be true, which is why she has created one rubric to rule them all. (Ok, technically there are two rubrics-one for creative writing and one for analytical writing, but you get the idea.)  By this “Almighty Rubric”, she means she has created a single rubric that students use ALL year long, from August to May. This is how they know what to reach towards, how to grade themselves on their work, and how to see their progress throughout the whole year. Because students use the same rubric all year, they get to know (and love?) the criteria and, by the end of the year, basically recite each expectation.

At the beginning of the year, Krista knows that students are going to be below expectations on a few of the traits (maybe their command of a comma is still in development or their ability to explain evidence is at the beginning stages), which is why she only grades students on specific aspects (maybe the intro and the use of topic sentences) and not on every single area, until she actually teaches all of the traits on the rubric. However, she does mark the students’ standings on all of the traits so they can see where they currently stand and know precisely in what areas they can grow. As their skills progress and the units introduce each of the traits on the rubric, Krista slowly starts grading more and more.

Speaking of knowing where to grow, built into each rubric is a reflection piece that asks students to reflect on what they did well and what they can improve for the next assignment. This habit of getting students to reflect on both their strengths and weaknesses is one that will serve them well as a student who truly owns their learning.

So, if you have ever wanted to help students see their goal, monitor their own progress, and not have to create a million rubrics, this might just be the solution for you. Click here to check it out and see if this is a resource that would benefit you and your writers!

5. PROVIDING STAGES FOR LARGER PROJECTS

Molly at The Littlest Teacher found that students were often overwhelmed by major projects, such as the research paper. Big projects are hard-but-valuable experiences for students because they challenge students in the areas of organization, time management, planning ahead, growth mindset, and more.

To provide support while still maintaining her high expectations, Molly turned to heavily detailed scheduling and communication. 

The most important way to support students during a big project is by breaking down that project into many smaller steps for students. They need to know much more than “What do we do, and when is it due?”

With a traditional research paper, for example, Molly would break it down into mini milestones, each with their own due date, such as: topic selected by March 5; brainstorm completed by March 6; 5 sources collected by March 9; 20 notes recorded by March 14; etc.

Along with the task and its due date, Molly also included the page number of students’ writing textbook where examples and information for each step could be found. If you’re not using a textbook, consider providing links to videos or webpages that give examples for each step of your project.

Molly compiled all of this information onto a neatly organized and easy-to-read handout that she provided at the beginning of the research project. She put a paper copy of the handout in students’ hands, posted a copy on Google Classroom, and even emailed a copy to parents, along with a brief explanation of the goals of the project.

Building in all these little checkpoints throughout the project helped Molly stay on top of where her students were at in the process, if they were understanding the project and moving toward success, and allowed her to see where students were veering off course from expectations and gave her the opportunity to correct struggles before students got too far into the project. 

What’s more, providing so much detailed information about the project gave parents a tool to support their students through the process. This was especially important for struggling students.

When assigning any project that requires multiple steps, taking the time to break down all the details of the project and schedule out checkpoints for students and provide them with a calendar of the checkpoints will simplify the process for both you and your students.

6. ACADEMIC ART THERAPY

Infertility and postpartum depression had left Olivia in a dark place. As she began her healing process, she realized how many of her students were also struggling. She began to prioritize her students’ emotional health, starting with a concept called academic art therapy. Here are a few of her ideas:

1. When studying Literary Mood, have students illustrate each mood with colors and symbols. This helps students become more aware of their own emotions—and it helps them recognize mood in their reading, too.

2. Before analyzing a story’s plot, lead your students in a body scan. They can close their eyes if they are comfortable and then pay attention to which parts of their bodies feel relaxed and which parts are experiencing tension. Have them draw a body silhouette (or give them a pre-made template) and encourage them to color in the body with colors that represent how they feel. When you’re ready to discuss a plot diagram, encourage your students to analyze the stress or tension in each part of the story to determine the climax of the plot. Be sure to refer often to the body scan and art therapy as you go!

3. Have students trace their hands, then fill one hand with illustrations of their past and one with illustrations of their future. When they finish, have them trace their hands again, but this time have them fill one handprint with quotes about a character’s past and the other with predictions about the character’s future. 

7. KEEP PARENTS CONNECTED

Supporting students and maintaining expectations sometimes means talking to parents. Parent communication doesn’t have to be anxiety-inducing. Yaddy from Yaddy’s Room makes sure students’ parents and guardians are tracking what happens in the classroom in an effort to maintain expectations. Whether it's to brag to parents that their child wrote a phenomenal intro paragraph that she threw up on the board for other students to examine or its to let a grown up know that their student needs a pep talk on appropriate school behavior. 

Parent communication is the foundation of classroom management and the key to reducing nerves when you need to have not-so-pleasant conversations about student behavior or academics. She's found that creating relationships with parents through email and phone calls at the beginning of the year helps to create a dynamic where parents feel they are partners with teachers in their child's education and behavior. 

To make parent communication as painless as possible, Yaddy makes sure to follow the following steps to make every communication a painless one. First, she introduces herself as an ally to student success in an email to all student parents with a highlight of engaging activities she will facilitate for students. Then, she makes sure every follow-up email highlights a student’s positive behavior or performance, and then she dives into whatever the objective of the email is. She finishes all parent communication with an invitation to schedule a phone call to address concerns. If you want to see how she does it, you can check out this blog post or download her email templates here. 

8. UTILIZE CHOICE BOARDS

Katie from Mochas and Markbooks knows that when it comes to maintaining expectations while offering support, choice boards are just the ticket!

Choice boards provide a system for students to demonstrate understanding of specific curriculum in a variety of ways depending on ability level, interests, learning styles, and so much more! 

Essentially, a choice board is a handout or digital slide with a table of boxes offering different options for a task. By offering different choices, students feel empowered and take more ownership of their chosen tasks.

You can direct your students to complete a specific number of options on the choice board, or you can create a Tic-Tac-Toe board where students must complete three tasks in a line, ensuring they hit on specific skills that you have strategically placed. For example, each line in any direction contains a written, verbal and visual option. To check out an example of this type of choice board, click here for a fun freebie! 

Here are some ideas of how to use Choice Boards in your ELA class:

• Pre-Reading Activity Options

• Post Reading Assessment Options

• Novel Study Project Options

• Bell-Ringer Tasks

• Early Finisher Tasks

• Themed Choice Boards for Specific Holiday Activities

• Poetry choice boards organized by themes or types of poetry

• Independent Reading (links to readings and/or after reading response prompts)

The options are really endless - just like a choice board!  

9. PROVIDE OPPORTUNITIES FOR REFLECTION

Doing hard things starts by putting together a game plan.  The game plan for learning is understanding how you learn.  Do your students have the attitude that school is happening to them?  That learning is a chore they have no say in?  Carolyn from Middle School Café has noticed after a year of online learning that many of her students have forgotten how to reflect on their own learning?  They are not really sure how they learn, which makes creating their game plan to do the hard task of learning a difficult one to create. 

Reflection is a life skill, not just an academic skill. As adults, we learn, process, reflect and adjust every day. To help students learn how to reflect, Carolyn has created these reflection sheets to help students think about their own learning.  

By intentionally adding reflection time into her units and lessons, Carolyn’s students have begun to understand how they learn.  Each day, Carolyn asks a combination of these 5 questions: 

1. What did I learn? (Academic concepts)

2. What did I do? (What activities did I do that helped me learn?)

3. Why was it important? (How did the activities help me learn?)

4. How well did I do? (Did these activities help me to learn?)

5. What can I take away from this? (What did I learn about my learning?)

At first students will struggle with identifying how the activities help them learn, however, the more students are given opportunities to make connections between what they are learning and the process in which they learned, the more they will see the role they play in their own education – and stop thinking of education as something that happens to them!

USE INFORMAL CHECK-INS: DURING CLASS, DIGITALLY, & MONTHLY

10. STOP-START-CONTINUE CHECK-IN

Lesa from SmithTeaches9to12 incorporates student voice using a stop-start-continue check in that can be adapted in different ways. At midterm the check-in works for adjustments in how things are being taught to better suit the learners in the class. But it can also be adapted for students to reflect on work habits and behavior. For example, stop procrastinating-start asking for clarification earlier-continue being on time for every class. This can work as an individual element and then as a whole class too. It can help to re-establish class expectations and also opens up dialogue with students to spot those in need of more specific support. 

To make this happen, give students three sticky-notes in different colors (eg. stop is pink, start is green, and continue is yellow). This also makes it easy for teacher review. For whole class input, add in big paper labeled with the three elements and have students place their sticky notes (anonymous works best) or simply wander and build directly on the paper. Students can review what others have written so they can expand their own reflection/feedback. 

To learn more about supporting students’ needs in your classroom check out this post.

11. USE MONTHLY CHECK-IN SURVEYS

In the hustle and bustle of the tightrope balance that is teaching, it’s easy to forget that the most important thing is the kids. And that they are just kids. Simply Ana P is a huge advocate of relationships over content, and while content, rigor, and high expectations are all necessary, SEL focused activities, like check ins, are equally as vital. 

Monthly student surveys are a fantastic way to check for student thoughts/ideas academically speaking, but also a way to check in mentally and emotionally. Life is really hard: heartbreak, trauma, grief, mental health issues, the endings of so many things, etc. - and for youth, they feel things twice fold, or sometimes more, and a lot of times struggle with or simply don’t know how to process or cope.  

It can be really intimidating for a student to go up to a teacher and vent or ask for help. Check In Surveys are not a replacement for guidance counselors or the end all be all solutions, but they can serve an outlet for kids and as invaluable insight for teachers. 

Ana assigns monthly student surveys at the end of every 3 or 4 weeks and then uses the input to guide her monthly one-on-one conferences with students over the following week. It’s significant for students to know that their teacher not only reads their input, but actively cares to discuss it and/or reply to it. 

You can grab one of her surveys HERE  - it is completely editable on Google Forms, so feel free to trash or treasure what you’d like. She hopes it can at least serve as inspiration for your next convo with a kiddo. Don’t forget to check in with yourself, too! 
***Click this link for extra Google Form survey headers :)

12. DIGITAL CHECK-INS

When was the last time you checked in on your students? Check-ins and conferences can make all the difference in supporting students throughout the school year. Staci from Donut Lovin’ Teacher uses digital check-ins to gain a pulse on student wellbeing, interest, and overall level of comfort in class. These short and ongoing check-ins can help you with seating charts, grouping, and general knowledge about students’ lives. You can quickly whip up a Google Form using some of the questions below.

Try scaled questions (on a scale of 1 to 5) such as:

• I feel cared for by my teacher in this class.

• I feel cared for by other scholars in this class.

• I put in my best effort on a regular basis while in this class.

• I can work well with others around me in my current seat.

• I am able to see the board well from my current seat.

Try open ended questions such as: 

• What is one thing going well for you in this class right now?

• What is one thing that is challenging for you right now?

• Who is one person you would like to give a shout out to in this class? Why?

• What are we learning about right now?

• What would help you to feel more supported in this class?

• What’s one thing that has brought you joy lately?

Another tool to guide your work with students might be through Accountability and Support conferences where students reflect on their learning, behaviors, and growth. This allows teachers to work together with a student to make a plan for continued growth with new support in place. They were originally designed for virtual conferences, but work just as great for in-person conferencing too!

Lastly, If you haven’t tried out Student-Led Conferences yet, they can be a vital tool in connecting and supporting students and the adults that support them! They definitely take a lot of planning in advance, but it isn’t too late to start! You can read more about Student-Led Conferences in Staci’s blog post here.

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I’d love to hear about how you are challenging students in your classroom, asking them to do hard things, and providing the needed support along the way. Leave me a comment below!

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4 Authors, Activists and Artists to Highlight During Black History Month

Take it from these student poets: Black history is American history. It's world history. It's ongoing and cannot be reduced to one month, but what February is all about is lifting up Black voices and celebrating the incredible works of Black people.

In the high school ELA classroom, this means that we have work to do to make this month special, memorable, and joyous. There is a rich literary history of Black American voices that can be showcased and I want to share some ideas with you outside of the same few voices that students always hear from.

ANGELA DAVIS

Who: an American political activist, professor, and author who was an active member in the Communist Party and the Black Panther Party (read more).

Check out : “The Gates of Freedom” a speech performed here and free lesson plan here

JAMES BALDWIN

Who: James Arthur Baldwin was an American novelist, playwright, essayist, poet, and activist. His essays, collected in Notes of a Native Son, explore intricacies of racial, sexual, and class distinctions in the United States during the mid-twentieth century (read more).

Check out: “Sonny's Blues" is a moving and important short story. This 1 hour live Zoom call is a bit long, but it's incredible PD for you as a teacher. Farah Jasmine Griffin, chair of Columbia University’s Department of African American and African Diaspora Studies, offers a close reading of James Baldwin’s unforgettable story of a jazz pianist’s struggles with his art and his addiction. And if you have a New York Times subscription, "The Discovery of What It Means to Be an American" is absolutely worth your time, and if you have the space for a novel study, you will love If Beale Street Could Talk.

AVA DUVERNAY

Who: Ava Marie DuVernay is an American filmmaker. She won the directing award in the U.S. dramatic competition at the 2012 Sundance Film Festival for her second feature film Middle of Nowhere, becoming the first black woman to win the award.

Check out: “The Power of Women”, a speech she gave at an awards ceremony with Variety magazine (short) or this other keynote address that she gave at the 2013 Film Independent Forum would be great for any speech or rhetorical analysis unit.

Jordan peele

Who: Jordan Haworth Peele is an American actor, comedian, and filmmaker. He is best known for his film and television work in the comedy and horror genres. Peele started his career in sketch comedy before transiting his career as a writer and director of psychological horror and satirical films. In 2017, Peele was included on the annual Time 100 list of the most influential people in the world

Check out: “How to Turn Fear Into Success”, a talk he gave at the Santa Barbara International Film Festival.

INTENTIONAL REPRESENTATION FOR STUDENTS

If you are all in for sharing more voices but at a loss for how to incorporate them into your regular classroom routine, try using a digital choice board. These choice boards can be used for early finishers, as bell work to start a class period, and even as a once a week lesson plan throughout a heritage month.

And if you STILL are looking for more ideas, I have a blog post featuring 9 incredible poets that deserve a place in your curriculum at any point of the year. You can check that out here! And further still, Marie and I published a podcast episode featuring some wonderful African American writers to feature in your curriculum and you can listen anytime here or on your favorite podcast listening platform.

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Three Reasons You Should be Teaching A Thousand Splendid Suns

*NOTE: THIS BLOG POST MAY CONTAIN SPOILERS

If you have a world literature course, or any upperclassman English course for that matter, A Thousand Splendid Suns should be in your curriculum. Full stop. This is by far and away one of my personal and my students’ favorite novels and if you’re not teaching it, you’re missing out. There are so many things about this novel unit that are perfect for skill-building and ripe for deep, meaningful discussion, but if I had to boil it down to my top three, then here they are:

ONE: THE IMPACT & IMPORTANCE OF RELATIONSHIPS

When we talk about inquiry-driven learning, we are looking for themes and concepts that students feel drawn toward. Relationships, whether they are within a family, romantic, or the bonds of friendship, are something that every student has seen through a variety of lenses. That is one of the strongest common denominators between students and the characters in ATSS. This is why I frame my unit under the essential question: Why do relationships matter?

ATSS has complicated and contrasting family dynamics. Although worlds apart from Afghanistan, my Midwestern, corn-belt students from the US found themselves surprised at how closely their own stories overlapped with Laila and Mariam. From Tariq and Laila’s heart-wrenching love story to the pain of Mariam’s childhood and marriage, there is depth and complexity to explore at every level of difficulty to match what your students are ready for.

One of the activities that I like to do is have students examine Laila’s relationships in a one-page template. This lesson does a great job of summarizing much of the early chapters in Part 2 and helps me see where students are comprehending and where they might be falling off course. The legend asks for students to observe three things: the nature of the relationship, a piece of evidence that showcases that relationship, and an issue, experience, or trauma that connects them. Using the legend, students work in small groups to identify three components of each relationship. I assign each group a different character, give them about 10 minutes to work, then we all come back together to share out and take notes as a whole group.

Using the legend, students work in small groups to identify three components of each relationship. I assign each group a different character, give them about 10 minutes to work, then we all come back together to share out and take notes as a whole group.

We also like to use this question to bring in some supplemental texts from the field of psychology. The impacts of childhood trauma, neglect, war, love, education, abandonment, separation, and bonding moments have a powerful effect on the kind of adult that child will become. We learn a lot about Laila and Mariam when examining The Attachment Theory, and, of course, students learn a lot when they think about this theory in relation to their own upbringing.

TWO: THE STRUCTURE OF CIRCULAR STORYTELLING

Of all the novels in the cannon that I’ve taught and the YA books that make it into our regular lit circle rotation, very few offer the opportunity to teach the narrative structure of circular storytelling. In the past, I’ve used the Disney film Coco to demonstrate this style and it’s a really special moment for students to see OTHER ways for stories to be told. Much of what they read has an exposition, rising actions, a climax, and a resolution far away from where the story began. But in ATSS, the story circles back to the exact place where it began and offers a unique sense of hope and closure that many stories in their experience never have.

This makes for a rich experience in analysis. One of my favorite activities to do toward the end of the novel is have students look at plot events from the beginning and the end of the story and analyze their connection. I start by giving them some movable stickers of important imagery from Part 4 on Google Slides that looks like this:

Then, I have students copy the sticker and past it into the PURPLE circle shown in the diagram below. In the green circle, students (in their own words) describe the connected imagery from the beginning of the novel. Between the two circles, students have space to provide an analysis of the connections - the effect of the circle - in a casual but powerful way. Of course, I start with an example that most would know from a popular movie from their childhood:

We finish this activity by returning to the Essential Question (as always!) and speculate: what does this all have to do with relationships, anyway? What is cyclical about our lives and the relationships that we have? Students have powerful conversations about generational experiences, beginning new stages of life and closing out old ones, and so much more.

THREE: THE POWER OF SETTING & GEOGRAPHY

I can count on one hand the number of students that can name the capital city of Afghanistan. I can also count on one hand the number of students that could point Afghanistan out on a map. Unfortunately, many of my students only have a few connections to Afghanistan — and the majority of those ideas are either stereotypical in nature or abundantly negative in their family’s military experiences.

So what do we do?

A virtual field trip to Afghanistan. Using Google Earth, my students get a two-day virtual tour of Herat, the place of the Buddha statues, Pakistan, and Kabul. Students view maps and videos, listen to interviews with Afghan people, and confront their own biases and stereotypes that they hold about the country. Any chance we get to “leave the walls” of our classroom, even virtually, has always left a lasting and powerful impact on my students (we also do a virtual field trip to London before starting any Shakespeare play!).

PLEASE TEACH THIS BOOK

A Thousand Splendid Suns is the kind of book that very few students would ever pick out as a choice read on their own. And that might be for the best — this book belongs in novel units across the world and is a comfortable and necessary jumping off point for very difficult conversations.

Teaching this book is not easy: the abuse, trauma, horrors of war, and painful experiences of loss in the novel are excruciating. But, ultimately, I believe this novel is about love. And hope. And the future. It’s a love story about Afghanistan and the resilience, beauty, and strength of its people. This story teaches us more about the power of true friendship than the pains of abuse. And while you’ll get parents and admin who complain about some of these scenes, you’ll know quickly who has read a synopsis and who has actually read the entire novel.

I hope you come to love Mariam and Laila’s story as much as I do and that you have the chance to share it with your students. Let me know in the comments your favorite reasons for teaching this novel, and if you’re experiencing pushback, let me know that, too. I’d love to help in any way I can.

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5 Common Mistakes Teachers Make When Teaching Figurative Language

I want to be very honest about this: I struggled writing the title of this article using the word “mistakes” because I don’t want teachers to feel like there’s one more thing I’m doing wrong. That’s not the heart of this at all. And let’s be perfectly clear: I’ve made ALL of these mistakes MULTIPLE times, and the reason I’m writing this now is that time, experience, training, and more experience have taught me more effective ways to do a part of our job. I wish I would have recognized these things about my attempts to teach figurative language earlier in my career. It would have prevented me from a lot of self-doubt and helped me grow my students into much more critical thinkers.

None of these “mistakes” are harmful to students. And if you’re finding these methods to be highly effective for your population, by all means, keep it up! But if you’re feeling like this is the 1,000,000,000th time you’ve tried to get kids to define “metaphor” and it’s still not sticking, stay with me.

Let’s start with our WHY

Always start here. Why do we teach the terminology, examples, functions, and use of figurative language in literature and poetry? For me, it boils down to a few important things:

• These devices create an intentional effect. Analysis of the effect is important in understanding the message, the purpose, and the experience the audience is supposed to have.

• These devices contribute to character development. If we value character complexity and development, being sensitive to the nuances in the details authors use to describe them requires an understanding of figurative language.

• Many of these literary devices overlap with our study of rhetoric. Recognizing the tone of a particular metaphor or simile used in a speech, commercial, or other argument is important, so it’s highly valuable that this practice overlaps into two skill areas.

ONE: Rote Teaching Terminology (in isolation and otherwise)

Raise your hand if the first unit of your school year is a short story unit with figurative language terminology review? Yes? This is unit one in thousands of English classrooms and this makes me wonder…if they’ve done this so many times, why aren’t they experts? How is it that by unit 2, the next time we encounter an example of personification, they’ve forgotten the term altogether?

The thought process here is logical: provide terms, provide definitions, provide examples, practice, practice practice = learning has succeeded. But we see this doesn’t actually happen. So what’s not working?

Well, the first issue here is that language isn’t logical. And what we actually end up seeing is that the amount of time and energy we place on learning terms tells students that this is the most important part of the process. We know this is not the case (go back and look at our WHY), but in our teacher minds, we think: if they can’t identify a metaphor, how can they ANALYZE a metaphor?

I use to think this too. But then, after an Advance Placement Summer Institue, I was convinced to let go of terminology and see what happened. While close reading chapter 1 of The Great Gatsby students pointed out this line: “Two shining, arrogant eyes had established dominance over his face and
gave him the appearance of always leaning aggressively forward.” The students noted the use of the phrase “arrogant eyes” and debated how it should be identified. Was it personification? Eyes are a non-human object and certainly can’t possess the human trait of arrogance. Was it diction? Specific word choice Fitzgerald was using to create an effect?

I interjected and asked, “Tell me this: if you didn’t have to label the device Fitzgerald is using here, what would you say about this phrase anyway? Or if I told you that both labels work equally well, what do you have to say about the effect they have on characterizing Tom?”

I realized in this moment how little the term actually mattered. What mattered was that they did identify a critical description of a character. Call it diction, personification, description, connotation — that didn’t really matter in the end. But what I also realized is that students who get stuck here at this step, choosing the right term, would rarely make it to the next (and much more important) step of analyzing how this orients the reader to Tom’s character.

Releasing the pressure off of students to "correctly” identify figurative language terms might just help us move the conversation into the harder task. I give you permission to take your hands off the wheel a bit and instead of drilling them with terms, give them a word bank. Build a class website full of rich beautiful examples that you see all throughout the year. Correct students when an interpretation is completely off, but only when it has prevented them from accurate and thoughtful analysis.

NEED HELP KEEPING THE BIG PICTURE IN MIND? YOU NEED AN ESSENTIAL QUESTION AT THE HEART OF YOUR UNIT.

THE ESSENTIAL QUESTION ADVENTURE PACKS ARE HERE TO HELP.

TWO: Assessing Definitions

Let’s go back to our WHY again: if the goal of teaching figurative language is to move students toward rich analysis, then what does assessing definitions do to help us reach that goal? Let’s look at these two definitions as an example:

EXTENDED METAPHOR: a metaphor introduced and then further developed throughout all or part of a literary work, especially a poem

SYMBOLISM: the practice of representing things by symbols, or of investing things with a symbolic meaning or character.

By definition, these two devices seem to have clear differences but put into practice, students have some good questions about the blurry line between the two. In Julia Alvarez’s novel In the Time of the Butterflies, the butterfly serves as an extended metaphor (or is it a motif?) throughout the novel. Students asked me every year, “But isn’t the butterfly a symbol for the girls and the rebellion?” And year after year I carefully explained that metaphor was a better term to use because metaphor requires comparison whereas a symbol is more of a stand-in. The layers of meaning are comparative to the sisters and their experiences and metamorphosis as they grow into rebels.

The famous “Green Light” of Gatsby’s world is a symbol, though. It’s an object that pretty much means the same thing throughout the text and represents a wide variety of interpretations of ideas and emotions for Gatsby.

So here’s the mistake I realized I was making: this level of understanding how language devices function, especially in long works (as opposed to poetry), cannot be assessed by asking kids to define terms. Also, as outlined above in Mistake One, does it really matter? Does it really matter if a student discusses the butterfly as a symbol instead of a metaphor? Or the Green Light as an extended metaphor instead of a symbol? If the analysis in the sentences that come after are spot-on, insightful, accurate, and lined up with the rest of the work, I think we should let it go. I’d rather spend time here, in the text, having hard conversations, than reviewing terms or assessing students on the definitions of terms.

THREE: Teaching Too Many Terms

If you’ve ever bitten off more than you can chew, you’re in good company here. I am notorious for getting super excited about a poem or a book and trying to teach ALL THE THINGS. My excitement and enthusiasm will make the kids engaged, write?

Oof. I couldn’t be more wrong. Too many terms in the lesson or even in the unit is a recipe for disengagement and burnout. This happened to me often with close reading things like Shakespeare or even other types of poetry. Repetitiotition here! Metaphor there! Synecdoche here! Allegory everywhere! Crash and BURN.

FOUR: FORGETTABLE EXAMPLES & Lack of “Flashbulb” Moments

If you haven’t yet read Keeping the Wonder, then maybe you haven’t stumbled across the concept of a “flashbulb” moment or memory. The authors write, “When we think about the moments that stand out in our memory, it’s clear that our minds hold onto the unusual or unexpected. By tapping into students’ innate curiosity, you can design memorable, meaningful learning experiences that captivate their interest and ignite their imaginations.” (Keeping the Wonder, 2021)

This concept is vital in our instruction of particularly important literary devices. I found that when I was scraping for examples to teach definitions or make flashcards on Quizlet, the examples were often unoriginal and oversimplified. Slowly but surely, I started building up a bank of device examples that were so powerful that they were unforgettable. My favorite flashbulb literary device lesson was in teaching juxtaposition, of all things.

This was our juxtaposition flashbulb moment: the ballet scene from The Phantom of the Opera. I haven’t taught the film in a long time, but the memory of this juxtaposition lesson is still crystal clear all these years later. I even get Facebook messages from former students every now and again about this, and it cracks me up! In the scene, the Phantom is chasing the stagehand (who knows too much) back and forth across the rafters of the stage. Below them, a spring ballet, complete with sheep, goats, and baby’s breath, is underway. As the Phantom closes in on his victim (darkness, impending death), the ballet swiftly picks up pace (spring, light, and full of life). The scene ends with a shocking murder of the stagehand, giving students the perfect moment to examine WHY the juxtaposition as an artistic decision works in the scene.

Trigger warning: This scene ends with a hanging

The success of this moment, of slowing down and spending almost two class periods on one literary device (which was not the original plan, by the way!) taught me, once again, that less is more. Did I cram through a huge list of lit terms that year? No. But did my student have a life long impression, memory, and deep analysis practice with one challenging device? Yep. And we still remember it.

FIVE: Missing the Structure of Spiraling

Vertical alignment might be one of the biggest struggles for English departments across the globe. In the coaching work I’ve done with schools, I’ve found that the single-most source of frustration for teachers is that they don’t actually have a hold on what students learned before they got to them or where exactly they’re headed after their class. Teachers crave autonomy, and rightfully so, but autonomy can quickly lead to isolation and problems with skill-building.

The instruction of literary devices and figurative language analysis should ideally be spiraled across grade levels with intentionality. When grade levels select texts, standards, and essential questions are built in curriculum design, this is a layer to consider adding. Here’s an example of what that could look like and figurative language focal points that would work nicely:

FRESHMEN:

• Metaphor: Long Way Down

• Imagery: Children of Blood and Bone

• Point of View: Frankenstein

SOPHOMORES:

• Juxtaposition: The Phantom of the Opera

• Extended Metaphor: In the Time of the Butterflies

• Personification: Fahrenheit 451

JUNIORS:

• Symbolism: The Great Gatsby

• Paradox: Macbeth

• Parallel Plot Structure: A Thousand Splendid Suns

SENIORS:

• Allegory: The Life of Pi

• Point of View: Homegoing

• Flashback: The Handmaid’s Tale

Clearly, these aren’t the only things that each particular unit would cover, but having in mind the flashbulb memory opportunities that naturally exist in each text helps spiral the skills. Now, each teacher knows where each of these devices is highlighted (we’re not skipping everything else, just giving extra attention to these each year), and can align their expectations of students accordingly.

LET’S GO SHOPPING

30 Poems to Teach Using The Big Six

“More than the fuchsia funnels breaking out
of the crabapple tree, more than the neighbor’s
almost obscene display of cherry limbs shoving
their cotton candy-colored blossoms to the slate
sky of Spring rains, it’s the greening of the trees
that really gets to me. When all the shock of white
and taffy, the world’s baubles and trinkets, leave
the pavement strewn with the confetti of aftermath,
the leaves come...”

— from "Instructions on Not Giving Up” by Ada Limon

I love this poem. I love the imagery, the title, the metaphor, but most of all, I love how teachable it is. The poem has a great deal of mystery and room for debatable discussions about author’s intent, but it’s also accessible to students who might feel intimidated by poetry - or even just intimidated by language.

That was the goal I had in mind while making this list: I wanted to find poems that were challenging and worth discussing in class, but also poems that could be tackled by students in one or two class periods. As a guide, I used The Big Six as my foundational analysis tool. If you’ve never used it, get on board!

THE BIG SIX

The Big Six is a tool that I developed in graduate school to help teachers take a consistent, rigorous, and focused approach to teaching poetry analysis. When teaching poetry, the goal for teachers is simple: GET OUT OF THE WAY. The worst damage we can do as teachers is setting the stage for teacher-led and teacher-dictated conversations about poems, what they mean, and how they should be interpreted. Yes, there are ways that students can veer of into wildly off-base territory, but for the most part, if the can be anchored by a few key concepts, most students are more than capable of discussing and thinking their way through a poem.

The Big Six components are meant to be entry points, or doors, into analyzing a poem: students can enter from any place they choose or feel most comfortable. Let’s stay your students just read the above poem by Ada Limon. One student might be curious about the title’s relevance and impact on the rest of the poem, another student might be laser-focused on the use of color imagery, and yet another student might have picked up on some of the themes suggested in the subtext of the piece. Now, those three students have three different places to start: title, tools, and theme.

TEACHING WITH THE BIG SIX

Here are my favorite ways to use The Big Six:

• STATIONS: This couldn’t be any easier - create six stations, one for each of the components. Assign or keep a single colored marker at each station (title - yellow; turns - blue, etc.). Have students move through the stations annotating for each different element in the designated color. Once students have moved through all six stations, come back as a whole class and start the conversation!

• SMALL GROUPS: Put students into six different small groups. Assign each group a different element of The Big Six. Read the poem together as a whole class at least twice (be sure to define difficult language and answer preliminary questions), then, have each group analyze for their element. Come back together as a whole class and have a spokesperson from each group share out their findings.

30 POEMS TO USE FOR ANALYSIS WITH THE BIG SIX

After lots of thoughtful consideration and practice in the classroom, I’ve found these to be my thirty favorite poems to use when analyzing with the Big Six. The poems I’ve selected are poems that I would use to specifically teach ONE element of the Big Six. When you’re introducing the tool, it’s critical that students are able to practice the tool, not just glance at it and start discussing all six elements from the get-go. Spend a few days and poems working on title. Dig into the nuances and subtle (and not so subtle!) ways that title can impact a poem. Do the same for the other elements! Then, once students have really LEARNED the tool (not just been handed a copy of it), the best analysis conversations and writing are ready to take place.

TITLE:

• “Design” by Robert Frost

• “Oranges” by Gary Soto

• “Instructions on Not Giving Up” by Ada Limon

• “How to Be a Person” by Shane Koyczan

• “In a Station of the Metro” by Ezra Pound

SPEAKER:

• “Shooter” by Lamar Jorden

• “Pig Song” by Margaret Atwood

• “Skinhead” by Patricia Smith

• “Totally, Like, Whatever, You Know?” by Taylor Mali

• “Facing It” by Yusef Komunyakaa

THEME:

• “Remember” by Joy Harjo

• “Ode to the First White Girl I Loved” by Jose Olivarez

• “B” (If I Should Have a Daughter)” by Sarah Kay

• “Phenomenal Woman” by Maya Angelou

• “New Clothes” by Julia Alvarez

TOOLS:

• “Ode to a Lemon” by Pablo Neruda

• “Invisible Workforce” by Bobby LeFabre

• “Shoulders” by Shane Koyczan

• “My Papa’s Waltz” by Theodore Roethke

• “Chicago” by Carl Sandburg

MORE POETRY IDEAS FOR YOUR CLASSROOM

TURNS:

• “Stopping By Woods on a Snowy Evening” by Robert Frost

• “You Fit Into Me” by Margaret Atwood

• “We Real Cool” by Gwendolyn Brooks

• “‘Hope’ is the thing with feathers - (314)” by Emily Dickinson

• “Awkward Scars” by Robbie Q. Telfer

PARAPHRASE:

• Queen Mab speech from Romeo and Juliet

• Prologue from Romeo and Juliet

• “Her Kind” by Anne Sexton

• “One Art” by Elizabeth Bishop

• “Let America Be America Again” by Langston Hughes

I hope you found these poems to be useful as you work on your essential question units or your poetry unit! Let me know which ones you taught, how The Big Six is helping you teaching poetry, and what you’re up to in your classroom these days!

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