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Many more may notice that the Puritans’ God offered no incentive for upright moral behavior: this deity had decided who will be saved or damned before the beginning of human history, and no good actions on the part of men and women could change that divine decree and alter their preordained fates.(The brighter kids may also point out that Calvinist theology denied human beings any free will.) That being the case, lots of students will ask you why the Puritans didn’t sink into despair—or decide to wallow in the world’s pleasures, to enjoy the moment, since they could do nothing to affect their eternity in the afterlife.Tags: Surfing Term PapersForeign Coursework EvaluationEasy High School Essay TopicsTd Business Account PlansProblem Solving AdditionUsing Quadratic Equations To Solve Word ProblemsSolve Business ProblemsThesis For To Kill A Mockingbird PrejudiceGambling And Sports EssaysUniversity Of Iowa Creative Writing Program With the restoration of the Stuart monarchy in 1660, Puritanism went into eclipse in England, largely because the movement was identified with the upheaval and radicalism of the Civil War and Cromwell’s tyrannical government, a virtual military dictatorship. But it persisted for much longer as a vital force in those parts of British North America colonized by two groups of Puritans who gradually cut their ties to the Church of England and formed separate denominations. But Calvin also taught that God, in his infinite mercy, would spare a small number of “elect” individuals from the fate of eternal hellfire that all mankind, owing to their corrupt natures, justly deserved. That elect group of “saints” would be blessed, at some point in their lives, by a profound sense of inner assurance that they possessed God’s “saving grace.” This dawning of hope was the experience of conversion, which might come upon individuals suddenly or gradually, in their earliest youth or even in the moments before death. No matter how confused they seem at first, most will “get it” and even “get into it” if you give them a chance. You might tell them about the Puritan belief in predestination, which provides the wider context for understanding conversion. To prod them into thinking along these lines, you might talk a bit about the sweeping changes (and uncertainties) overtaking the lives of most western Europeans in the early modern period (ca., 1400–1800). It was during this era that the beginnings of modern capitalism—both the growth of trade and the commercialization of agriculture—were yielding handsome profits for merchants and large landowners, but creating inflation and unemployment that produced unprecedented misery for many more people. One group, the Congregationalists, settled Plymouth in the 1620s and then Massachusetts Bay, Connecticut, and Rhode Island in the 1630s. Another group, the Presbyterians, who quickly came to dominate the religious life of Scotland and later migrated in large numbers to northern Ireland, also settled many communities in New York, New Jersey, and Pennsylvania during the late seventeenth century and throughout the eighteenth century. Puritans in both Britain and British North America sought to cleanse the culture of what they regarded as corrupt, sinful practices.

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By Francesca Leaf Over the centuries, civilizations have endeavored to preserve a record of their existence for future generations. This effort has taken the form of compiling chronologies, building monuments, and creating art. The ancient Greeks took it a step further. They invented an entirely new literary genre, solely dedicated to recounting important events in narrative form for the benefit of posterity—history. Among the ancient Greek historians who created and defined the genre are Herodotus, Thucydides, and Xenophon. 1. HERODOTUS (C. 484–425 BCE): THE FATHER OF HISTORY “I am bound to tell what I am told, but not in every case to believe it.”—Herodotus, The Histories Dubbed “The Father of History” by Cicero, Herodotus is arguably the first writer to narrate a series of events of global importance and recount them in relations of cause and effect. In The Histories, Herodotus examines the Greco-Persian Wars, the rise and rule of the Persian Empire, and the history and cultural background of Scythia and Egypt. Before he was the father of history, Herodotus was a globe trotter. He traveled throughout the Persian Empire, which at the time extended into Egypt. Herodotus was profoundly interested in the people he met; their customs, worldviews, and achievements. He listened to their stories, heard their myths, and collected their narratives. In between trips, Herodotus returned to Athens, where at gatherings, large and small, he recounted his travels. The combination of his novel tales and delightful storytelling made him wildly popular. Herodotus later wove his stories and knowledge together, creating his masterpiece: The Histories. An engaging read, the series of events is interspersed with interventions from the gods, fables, and small stories often reminiscent of tall tales. To Herodotus, legends and cultural memory held just as a significant place in history as wars and politics. Overall, Herodotus has opened a window into the values and worldviews of ancient Greece. I think that Reginald Macan put it best, stating: “There is, indeed, no ancient historian, whether upon his own ground or on general grounds, with whom Herodotus need fear comparison. . . . in the larger view of history, which embraces every experience of humanity [and] treats no aspect of human life as common or unclean . . . Herodotus keeps his rank as the premier historian of antiquity.” 2. THUCYDIDES (C. 460–395 BCE): THE SCIENTIFIC HISTORIAN “I have written my work, not as an essay which is to win the applause of the moment, but as a possession for all time.”—Thucydides, History of the Peloponnesian War Best known for his History of the Peloponnesian War, Thucydides is recognized by many as the father of scientific history. Written at the time of the conflict, Thucydides based this work on eyewitness accounts, interviews, and records. Unlike Herodotus, however, he generally interpreted significant events as having human, not divine, causes. Thucydides’ concise prose, adherence to chronology, and exploration of timeless themes such as ethics, leadership, and nationalism, has won him admirers across the centuries. It is believed that the father of scientific history was born in the Athenian suburb of Halimos, c. 460 BCE. During Thucydides’ time, democratic Athens was a prominent sea power, but to the south, one would find the Peloponnese, home to militaristic Sparta and its mighty land force. Thucydides would later argue that fear of Athens’ ever-growing influence motivated Sparta’s attack. During the war, Thucydides’ defining moment came in 424 BCE when he was blamed for losing the city of Amphipolis to Sparta. Believing he would be condemned to death, he fled to his Thracian estate. While in exile, Thucydides found himself in a unique situation. He was privy to accounts of the war from both sides. Later he would write, “It was . . . my fate to be an exile from my country for 20 years after my command at Amphipolis; and being present with both parties, and more especially with the Peloponnesians by reason of my exile, I had leisure to observe affairs somewhat particularly.” And thus he began to write The History of the Peloponnesian War. In total, he chronicled nearly 30 years of conflict. While there is no record of Thucydides’ contemporaries admiring his work, over the centuries he became regarded as a great historian. Several copies of his History were made, securing its survival through the ages. His keen analysis of the human condition has influenced notable philosophers, including Thomas Hobbes, Francis Bacon, and Friedrich Nietzsche. 3. XENOPHON (C. 430–354 BCE): THE ATTIC MUSE “There is small risk a general will be regarded with contempt by those he leads, if, whatever he may have to preach, he shows himself best able to perform.”—Xenophon, The Cavalry General A man of many talents, Xenophon distinguished himself as a soldier, historian, and memoirist. He wrote beautifully on a multitude of topics, his prose earning him the nickname of “Attic Muse.” Xenophon was born during the tumult of the Peloponnesian War, in Erchia—just an hour’s journey from Athens. A member of the equestrian class, Xenophon received a solid education and military training. Xenophon put his military training to use in 401 BCE when he and his friend volunteered to serve as mercenary soldiers. They believed that they would be lending their skills to a Persian governor whose territory was under threat… but this was not the case. Instead, they found themselves involved in a veritable game of thrones, aiding Cyrus the Younger in an assault on the Persian king, Artaxerxes II. However, early on Cyrus the Younger was killed and his generals were subsequently executed. Xenophon and the other soldiers found themselves stranded in hostile territory, haunted by dark thoughts and filled with despair. The situation was dire. Fortunately for those involved, Xenophon displayed great courage and was elected leader of the 10,000-man army. He successfully led them to safety, enduring nearly ceaseless battle, dwindling supplies, and snowstorms along the way. Xenophon later recorded his harrowing tale in Anabasis, which has inspired countless similar works throughout the centuries. A LASTING LEGACY For ancient Greek historians, writing history entailed both recording events of note and creating works of literary merit. Engaging with their works is an opportunity to learn about the past, gain insight into ancient Greek culture, and read masterful prose… and hopefully not repeat any of their mistakes.

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What is digital storytelling? Digital storytelling describes a simple, creative process through which people with little or no experience in computer film-making gain skills needed to tell a personal story as a two-minute film using predominantly still images and voiceover. These films can then be streamed on the web or broadcast on television. A digital storyteller can be anyone who has a desire to document life experience, ideas, or feelings through the use of story and digital media. Usually, it is someone with little experience in video production but with time to spend a few days attending a workshop and developing a story with creative support and technical assistance from compassionate, experienced facilitators. The uses of digital storytelling range from a means to express creativity, to a research method for local health issues or a means of preserving a community’s identity and a form of oral history. As a method, digital storytelling combines techniques to develop literacy and storytelling skills with an introduction to basic Information and Communication Technology (ICT), using group exercises and individual processes that develop confidence and build self-esteem. On the surface these digital stories are all singular, personal audio-visual accounts of an individual’s story, yet the making of them is shaped by the collaborative experience in the workshop. Each story shows how someone envisages their place in a personal and a public world. Methods and practices of digital storytelling Digital storytelling allows participants to: tell their own stories, learn digital media skills, build confidence and self-esteem. The method places the stories under the control of the storyteller Participants find digital storytelling fun: it is a way to reach people who think that education is ‘not for them’; it can help to develop language and literacy skills through storytelling and script-writing; it can give people a kick-start in developing their skills and improving their chances to gain employment; it offers a way to engage thoughtfully with experience. Digital storytelling has been used in health and teacher education for developing students’ professional identity, and as a tool for self reflection whereby students make and share digital stories about their practice experiences. As a practice it helps to foster higher-order thinking skills, develops digital literacy, and is, “the aggregating element capable of turning our students into true 21st century learners” (Ribeiro, 2012). For the purposes of the digital storytelling workshops we run at the University of Brighton, a digital film is: - a 2-minute film (~250 words) - a personal story - written, recorded and edited by the film maker - uses photos/drawings by the film maker (10-30 photos) - can also use video, animation and music - any images or music have to be copyright free Digital storytelling workshops typically begin with a story circle, creating a trusting atmosphere and getting to know each other through activities. Story prompts are given eliciting concentrated thoughts as to the most powerful elements to be developed from a lifetime of memories. Storytelling exercises introduce method and encourage the sharing of material. Participants are then introduced to the principles of narrative: narrator, voice, background. They also learn about camera work and film technique. Short scripts are written, following which the voiceovers are recorded. Participants scan photographs from albums or take new photos of people and objects. Others make images through drawing, make simple stop frame animations or computer software animations such as Adobe Flash Participants then move to editing. The imagery and animation is built into a film editing software where it is combined with the voiceover. The results are then shared in the form of group shows, exhibitions in public spaces or online. Research in Digital Storytelling As a relatively new cultural form of cultural practice drawing on a range of different roots, practices and interests, digital storytelling has attracted attention from a range of scholars and researchers. One consequence of this is that literature, research and practice is limited and exploratory, as writers, practitioners and academics work their way towards a fuller, more rounded understanding. Drivers for individual projects are often drawn from different sources with a desire to use digital storytelling with particular groups or communities. Sennett (2012) notes how many community projects “offer good experiences” but “have to lead somewhere to become sustainable”. This sense of immediacy is found in many digital storytelling projects where the short term benefits of the storytelling process are defined in terms of stories told or people trained. It is rare to find research which considers the content of digital stories or takes a longitudinal approach to the evaluation of the impact of attending a digital storytelling workshop on participants. The work at the University of Brighton, including Silver Stories (2014) and StoryA (2016), does this. Key note sessions from Joe Lambert and John Hartley at Create, Act, Change – the 5th International Conference of Digital Storytelling (2013) sought to bring a greater understanding of the practice of digital storytelling by arguing for a need to “theorise” the work. John Hartley and Joe Lambert both argued for this but came to the same point from starting positions on opposite ends of the spectrum – as the consummate media theorist and the dedicated practitioner.

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B.1.F analyze and evaluate the structure and form of dramatic literature. by Karen Loftus Students will explore the structural elements of a play: character, objective, obstacles, tactics, resolution, and raising the stakes. They will also learn how to write character-driven dialogue and stage directions. The unit culminates in a group written original play which is performed in front of the class. Please refer to the Pacing Guide for more details and ways to supplement with other DTA materials. by Angel Borths Help…It’s all Greek to me! Join Angel Borths in this unit that uses a modern adaptation of the Ancient Greek play Antigone to introduce Middle School students to Ancient Greek Theatre. Have your students read Percy Jackson and want to find out more about Ancient Greece? Then, this unit is for you. This unit is designed for middle and high school students and will take you through the basics of classical Greek theatre and pairs it with a modern adaptation of the story of Antigone called Agatha Rex by Lindsay Price. Students will learn vocabulary, design, and basic theory surrounding classical Greek theatre. Students will also enjoy the mask building component of this unit, as they learn to disappear into the character of a mask, like the first actors did on a Greek stage thousands of years ago. The unit culminates in a scene performance with masks. by Matt Webster In the Monologue Unit, students will learn the building blocks of monologues while writing a simple monologue. This unit is divided into two parts. In part one, the Monologue Writing Made Easy unit by Matt Banaszynski is reviewed or executed in full, depending on class needs. In part two, students will dissect monologues as a vehicle for character and performance and will write more refined monologues based on existing fictional characters from fairytales or myths. Students will then rehearse and perform their monologues, as a final project for the unit. by Anna Porter Students are introduced to scene work performance through a simple, contentless scene unit. In this unit, performers will use exercises like “Show and Tell” to learn how to fill in the gaps of a story by creating scenarios and detailed characters with backgrounds. Students will further fill in the gaps by exploring environmental and physical conflict as well as stage business. The lesson “Thou Shalts of Staging” will guide students through basic staging and performance technique. by Lindsay Price In Part 2 of Scene Work, students take everything they learned in Part 1 and apply it to the staging of a scene. Students work independently to block, build character, experiment and rehearse a scene. You can continue the scene work process from Part 1, or if your students have a grounding with scene work basics, perhaps they just do Part 2 of this unit. by Allison Williams Allison Williams leads the course: 21st Century Skills Through Devising. This course covers what devising is, why to do it, how to do it, and how your students can master the 21st Century Skills of collaborations and cooperation, critical thinking, creative thinking through devising. High school is a great place to try devising with your students. But it’s not something you want to throw at your students without any preparation. Framework is important and this course takes you through a number of exercises you can take into the classroom tomorrow to help build a place of physical safety, a place where students work at making a lot of choices instead of waiting for the perfect choice, and a place where students feel comfortable making creative choices. The material also reviews the process of putting together a show from the idea/research stage to editing, to giving feedback. Your students have what it takes to create their own material, collaborate with each other, and have a unique theatrical experience! by Todd Espeland Todd Espeland has the experience to know that having more tools in your toolbox makes you a better actor. This is especially important when teaching students how to approach Shakespeare. They need help breaking through the language barrier and into the character’s needs and into the character’s thoughts. The tools that you’ll receive in this course will do just that. The course looks at scansion as a tool for breaking down Shakespeare’s verse, the importance of end of lines, and caesura. Caesura is an inner-line pause which is a lot of fun to play with and really, helps us provide insight to the character’s thoughts and into their needs. The course provides numerous examples and handouts, and culminates in a performance assignment to use with your students. by James Van Leishout This course covers the four stages of creating and implementing a marketing plan. It starts with the question, what are you selling?, and goes all the way through to evaluation. The course covers both traditional and new media, with examples and opportunities to apply the learning to each teacher's own situation. by James Van Leishout In this course, James Van Leishout explores why students should direct, and covers the first two tools in the director’s toolbox: self and the script. What background should every director have? Why should they learn to love research? What should happen in the first four reads of a script? With every step along the way, there will be exercises and activities your student directors can take on before they step into the rehearsal process. by James Van Leishout Director’s Toolbox 2: Teaching Students to Direct, explores the tools of the actor, rehearsal, space, and design. The tool of the actor will focus on creating a safe place to play, auditions, and how to communicate with actors. Rehearsals will look at the whole process from the first meeting to opening night. The tool of space will explore how to direct in different spaces and how to create focus through stage composition. Discover how an understanding of the elements of design help student-directors communicate with designers. The final step is a return to self and the mastery of self evaluation. by Lindsay Price Adaptation is a fabulous classroom project: it requires students to analyze, adapt, modify, plan synthesize, devise. All the higher order thinking skills. But you can’t just throw a narrator into a script and call it a day. You have to have a preparation process leading up to the writing process. In this course you will learn practical exercises and a path to prepare your students to take on their own adaptation project. We’ll look at the guidelines to adaptation, things to think about when choosing a text, how to analyze the source material and writing that first draft. So join me, Lindsay Price, in the Play Adaptation Project. by Wendy-Marie Martin Who says theatre history has to be boring? Hands-On Theatre History: Creating a Modern Day Morality play is an interactive course by Wendy-Marie Martin, combining hands-on activities with research and analysis techniques leading to a full performance of the popular medieval morality play, Everyman. This course gives students an overview of the medieval period and the various medieval play forms and teaches students the key points of storytelling and adaptation. It includes dynamic individual and group exercises leading students from the first steps of the adaptation process through a final, full-class performance of Everyman—and proves, once and for all, that theatre history can be fun and exciting to learn.

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Note: The WritingEssentials blog is on hiatus. Meanwhile, favorite posts will be published with updates. Ellen ~~ Ellipses and dashes are used to denote pauses, but according to creative writing copy editor, Caitlin Berve, are “two of the most commonly used and misused punctuation marks” she sees in her work. In this update of the original post, we revisit these two marks. I see beginning writers misuse or confuse the uses of ellipses and dashes, particularly the em-dash. Some writers also use a hyphen instead of an em-dash, but this is incorrect. Hyphens have their own special use which was dealt with in an earlier post. This discussion will help clarify uses of ellipses and dashes and provide examples, including some from literature. The ellipsis consist of three dots in a text (. . .). The dash (—) we are focusing on is technically called the em-dash because in the days of typewriters, it was formed by typing two hyphens together which was equal to the width of a capital “M” on the keyboard. Another dash, the en-dash, which is between the hyphen and em-dash in length—in fact, the width of the keyboard’s capital letter “N”—means “through” and is commonly used with dates and numbers to indicate inclusive periods or sections. As Nancy Tuten points out, these distinctions were known chiefly by professional printers and typesetters until word processing programs enabled all writers to use these marks of punctuation. (For a poem on this type of dash, see this one by Linda Ellis.) First, some technical information for creating these two punctuation marks. Style guides have different rules for presenting the ellipsis. In Microsoft Word, the ellipsis can be inserted by going to Insert—Symbol—Special Characters. However, the default format for the ellipsis in Word has no spaces between the dots (…). While this option is useful for inserting an ellipsis that will not break over two lines, most academic style require the format of three dots with spaces separating them (. . .). If you are following an academic style for ellipsis, and you do not want the character to break over two lines, Allen Wyatt of Tips.com recommends creating non-breaking spaces by pressing Ctrl+Shift+Space Bar (. . .) and this keeps the dots of the ellipsis on the same line. In regular text, a space is put before and after the three dots. With quotations, when an entire sentence or more has been left out, use four dots, each separated by a space, except before the fourth or last (. . ..) Though it got its name from the typewriter age, the em-dash is easily created on the computer keyboard—the simplest method is to press Ctrl+Alt+the Minus sign located on the numeric keypad. As a format rule, remember that there is never a space before or after an em-dash. Ellipsis and em-dash in dialogue and narrative The ellipsis is a sign that there is missing text in quoted material. Used in dialogue, it shows a pause in a character’s speech. The em-dash is used to emphasize a phrase or to indicate an interruption in speech. Ellipsis also refers to the appropriate omission of words that are understood and thus not needed; it is often used where the words omitted would be redundant. An example can be found on Literarydevices.com: The sentence “I went to the mall on Monday, and she went to the mall on Sunday.” could be shortened to “I went to the mall on Monday, and she on Sunday.” because the omitted words “to the mall” are understood from the context. This resource also traces the origins of the word ellipsis to Greek word élleipsis, which means “omission” or “falling short,” and definition points to the use of ellipsis to show missing text or pauses, but also a trailing off of thought or speech. Lisa J. Jackson provides some good illustrations of the difference in meaning and intent between the ellipsis and the em-dash used in dialogue; it is the difference between trailing off versus an abrupt end or being cut off. Dialogue: ellipsis vs. em-dash “Jonathan, please, what I meant was…” “What? What did you mean?” Being cut off: “Jonathan, please, what I meant was—” “I don’t want to hear your excuses. It’s too late.” In narrative, these punctuation marks can also signal to the reader a pause or break. In his post, “In Praise of the Ellipsis,” Adam Woolf provides examples of pauses within the text, as well as at the end of a sentence: “The reader was unsure about its meaning . . . it was time to check the dictionary.” “All options were available to the author. She considered her words carefully before putting pen to paper. . ..” When the ellipsis comes at the end of a sentence (as in the second example), it can be an effective technique to create mystery or suspense. And, ellipses are great for slowing the reader down within narrative. Look at how Jackson illustrates this use: They gazed innocently into each other’s eyes until hesitantly . . . gently . . . they shared their first kiss. With the em-dash, the pause or break is more dramatic. Like parentheses, em-dashes can be used in place of commas, depending again on the rhetorical effect desired. As noted in the post on parentheses vs. brackets, Martha Kolln, in Rhetorical Grammar, asserts that the use of the parenthesis “whispers, simply mentions in passing,” while the em-dash emphasizes or shouts the message. She writes that the em-dash is a “good choice for lightening the load of commas, while adding emphasis—it adds a ‘pay attention’ message to the writer” (93). While ellipses tend to dramatize thinking, em-dashes create urgency: “Nothing bad can happen to her. Look at it. Everybody I knew dead or gone or dead and gone. Not her. Not my Denver. Even when I was carrying her, when it got clear that I wasn’t going to make it—which meant she wasn’t going to make it either—she pulled a whitegirl out of the hill. The last thing you’d expect to help. And when the schoolteacher found us and came busting in here with the law and a shotgun—” “Schoolteacher found you?” (Toni Morrison, Beloved, qtd in “Using Ellipses and Dashes to Create Dramatic Dialogue,” thebluegarrett.com) Kate Mooney, who devoted a whole article to the em-dash (“The Em Dash Divides,” New York Times, D5, 8/15/19), calls this punctuation mark “emphatic, agile,” “adding emphasis to our convictions, alternately vexing and delighting readers.” She cites Mary Norris of The New Yorker who says that the em-dash (as noted by Kolln above) “can be substituted for almost any other mark of punctuation—the comma, the semicolon, the period, a pair of parentheses, the quotation mark, even a bullet point in the making of the list.” Mooney also references Martha Nell Smith of the University of Maryland who is an expert on Emily Dickinson. Smith says that Dickinson used the em-dash to “highlight the ambiguity of the written word.” This post began by asserting that the misuse of both these marks of punctuation is common, even though they are not interchangeable. It’s important to know their appropriate uses. In her blog on writing, Ramona DeFelice Long also cautions against overusing them. The em-dash may provide emphasis, but too many will disrupt the prose and dilute the emphasis. Overuse of the ellipsis can make the prose appear too tentative or the character appear unable to keep focused or complete a thought. Whether you are writing nonfiction or fiction narrative, the use of the ellipsis versus the em-dash is a style choice and will depend on the rhetorical effect you’re trying to achieve.

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YOUNG CHILDREN TO LEARN COMPUTATIONAL THINKING FOR FREE Tiny Thinkers campaign will equip parents with accessible resources and the know-how to set the foundation for their child’s journey into a Smart Nation A team of final-year NTU students have launched a campaign democratising Computational Thinking learning for families of all socioeconomic statuses. They will be organising free workshops for more than 400 parents, including beneficiaries from various non-profit organisations. The campaign, Tiny Thinkers, aims to equip young children with foundational knowledge and skills of Computational Thinking by providing free resources and workshops, as these enrichment classes and tools often come at a high cost. Computational Thinking is the logical thought process used to guide computers in solving problems. Coding and programming are commonly mistaken for Computational Thinking, but are actually applications of this fundamental skill. Tiny Thinkers comes at a time when Singapore is increasing efforts to develop Computational Thinking as a national capability. “With Singapore’s pressing advancement towards a Smart Nation, Computational Thinking is a critical skill to develop as we harness technology in the economy, community, and even in our daily lives,” Dr. Looi Chee Kit, Professor of Education, Nanyang Technological University said. The team conducted a survey of 403 parents with children aged four to seven, and found that 83% of them believe Computational Thinking is beneficial for their child’s cognitive development. However, 80% of them had not exposed their children to the skill, citing barriers like limited access to affordable resources, a lack of time, and their perceived complexity of the subject. Tiny Thinkers will help parents tackle these barriers by providing access to free learning resources designed to incorporate learning into their child’s everyday routines, saving time and costs. These games, which can be conducted while grocery shopping, during snack time, or while storytelling, are curated in collaboration with Coding Lab, a coding academy specialising in educating children from ages four to 18. ➡️ Related Read: Best Coding School Singapore An example would be ‘Making A Sandwich‘, which teaches children Computational Thinking concepts of algorithms and loops through giving a series of clear instructions that can be easily understood by a computer. This activity takes less than 15 minutes, and parents can find a collection of such activities on their website. With other nation-wide initiatives targeted at older children and the working population, Tiny Thinkers is designed to expose younger children to the basic foundations of Computational Thinking to pique their interest. “The earlier children are exposed to this way of thinking, the earlier we unleash the potential of their problem-solving ability in the 21st century,” says Candice Wang, co-founder of Coding Lab. A series of hour-long workshops sessions, Tiny Thinkers On The Go, will guide parents to conduct these activities with their children at home. Each family will also receive a complimentary Tiny Thinkers Starter Kit filled with resources and materials to kickstart their child’s journey in Computational Thinking. * * * * * Like what you see here? Get parenting tips and stories straight to your inbox! Join our mailing list here. Want to be heard 👂 and seen 👀 by over 100,000 parents in Singapore? We can help! Leave your contact here and we’ll be in touch.

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In Storytelling and Media: Narrative Models from Aristotle to Augmented Reality (Isbouts & Ohler, 2013), the narrative arc reflects a combination of the both the three act play (or film), and the story zigzag from Mckee’s book. The primary reason it fits so well in these two molds is that media and storytelling every so often redefine how we understand and perceive the world (The Day The Universe Changed, Episode One: The Way We Are?). Each time this happens, the story begins again. Act One sees the characters in their everyday lives at a particular point in time. All is well in the world. Until some major incident happens (the inciting incident) and turns the current version of the world upside down. Burke, in The Day the Universe Changed, said it well, “The universe changes every time we redefine a big enough bit of it. Not necessarily discovery, just the invention of another version of how things are.” And storytelling is one way of helping us to understand and define ourselves (Isbouts & Ohler, 2012). “Storytelling… is as old as the human condition itself.” In this act, humans still rely on oral storytelling as the foremost method. Since stories are not merely relegated to providing information, but also imparting meaning, how these stories were communicated mattered. Then they are hit with the inciting incident – the rotary printing press. Act Two sees the characters in a dilemma wherein they must overcome the inciting incident – the conflict. The characters need something, usually to meet some goal, and the conflict and tension rise as the characters face one obstacle after another. This can be seen, for example, as we went from orality to literacy (Ibouts & Ohler, 2013). As humans approached the 19th century, more people would become literate thanks to the invention of the rotary printing press around 1843, along with great improvements in the system of education. This ultimately led to the novel’s growth as the foremost method of storytelling. How might this impact the imparting of meaning? Likely, quite profoundly, because now the servant and working classes were accessible for political ideologies or movements, and novels and novelist rose to a respectable and prominent status as well. As the characters continue through act two, they are usually forced to make some critical choice that again points the story in a different direction. This takes us to act three. In Act Three, we reach the climax of the story. The characters usually are changed or transformed in some way. In the case of literacy, the characters such as the social elites who were already enjoying higher literacy rates, and the characters such as servants and the working class, were beginning to enjoy literacy. The later group may not have been aware of how much their views were, “being subtly challenged and manipulated” (Isbouts & Ohler, 2013). How did this story of resolve itself? Burke might say that since we can only deal with one way of seeing at a given time. The reality of the day or version of things is the only correct and real one. Burke suggests we always needed conformity to the current view. The narrative model changed with the rotary printing press, and it would eventually change again with a new inciting incident – radio! With the advent of the radio, the model of storytelling would again change. This would start a whole new three-act play. This was to be followed by film, Web 2.0, Web 3.0 and eventually, Web 5.0. This is why I say that From Aristotle to Augmented Reality also takes on the story zigzag arc. The end of the film finds the characters in their new everyday life. Burke posits that our view of the world dictates what we do at every level of investigation. He further contends that we of necessity have to have some version of reality to begin with, and which is our framework that everything fits into. Given this new or revised framework, we begin the next film in the series. The narrative arc is liken unto a made for television (or cable, or internet) mini series with each series not only encompassing a complete narrative arc, but also leading into the next episode – only this mini series cannot not be numbered. Isbouts, J., Ohler, J. (2013). In Storytelling and Media: Narrative Models from Aristotle to Augmented Reality. In K. Dill. (ed.). The Oxford Handbook of Media Psychology (13-42). Oxford. Oxford University Press.

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Since the successes of the American Civil Rights movement in the 1950s and 1960s, society has seen much progress in the quality of life offered to its previously disenfranchised members. Discrimination, which was once not only commonplace but mandated by government regulation, has become anathema and out of place in the modern economy. Equal opportunity employment is widely encouraged; the only controversy stems from what is considered necessary to achieve this lofty goal. Due to the long history of discrimination that has been visited on those of non-European descent, not only in the United States but around the world, it has been considered inadequate in many businesses and organizations to merely remove barriers to employment. Many have found it necessary to intentionally hire and promote employees of non-European descent, also known as affirmative action. This is controversial, as it is seen as also putting those who otherwise merit consideration for employment at a disadvantage. The greatest advantage of equal opportunity employment, whether it includes affirmative action or not, is the enfranchising of a group of people who were previously greatly disadvantaged. A society with equal opportunity employment is not only capable of becoming much more just, but also of becoming free of a great amount of social disruption. Equal opportunity employment insures the full utilization of a society's labor force by employing those best suited to the task. In order to encourage and even mandate equal opportunity employment, government, both federal and local, has often found it necessary to inspect the workforces of private companies to ensure diversity. Many businesses require very specialized skills that are available among certain groups. This can cause a decrease of diversity even without intentional discrimination. Interfering with private companies to force them to diversify can hinder their well-running operations and cause distortions in the market. In order to alleviate some of the worst consequences of poverty, the government has found it necessary to create social programs such as welfare and food-stamps. These programs have reduced suffering but done little to actually remove people from poverty and dire circumstances. As an antipoverty initiative, equal opportunity employment offers great promise. As previously excluded groups and individuals gain access to private employment, they will be able to lift themselves out of poverty. - National Archives: The Civil Rights Act of 1964 and the Equal Employment Opportunity Commission - CATO: The Age Discrimination In Employment Act-- Equal Opportunity or Reverse Discrimination? - Cornell University Law School: Employment discrimination - The Leadership Conference: Combat Employment Discrimination - The Black Collegian: History of Employment Discrimination Casey Reader started writing freelance in 2010. His work appears on eHow, focusing on topics in history and culture. Aside from freelance work, Reader is actively pursuing a career in creative writing. He graduated from Centenary College of Louisiana with a Bachelor of the Arts in history and English literature.

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Starting from the question ‘what is a story?’ Storytelling Across the Primary Curriculum leads the reader through the theory and practise of storytelling as an educational method – a method taught by the author over the last ten years through Primary English teaching programmes. This practical book gives teachers the skills and confidence to use storytelling and the spoken word in new and exciting ways in the classroom. It will also give teachers the confidence to ‘put down the book’ and trust themselves to tell, rather than read, a story. It provides a wealth of examples of cross-curricular teaching opportunities, including a section on the ways in which the teaching of phonics can be embedded in the 'real' language of story. Storytelling Across the Primary Curriculumis ideal for trainee and practicing primary school teachers who want to develop their classroom practice within the field of storytelling. Students on BA Primary, BEd, and PGCE courses, particularly those specialising in English, will also benefit from this book’s stimulating and intuitive approach to teaching English language and literacy. Table of Contents Part 1- Classroom Storytelling 1 Introduction : storytelling as the social art of language 2 Building the framework : narrative structure and meta-narrative 3 Lessons in thievery : selecting stories for classroom telling 4 Forging the tale anew : adapting the story for classroom telling 5 The craft of classroom storytelling Part 2 – Storytelling across the primary curriculum 6 Words, words, words : storytelling, language and literacy 7 Stories of pipers and tales of tall ships : history and geography through storytelling 8 Telling valuable tales and exploring deep meaning : religious education and moral development 9 Possibility thinking : storytelling, science and mathematics 10 Storytelling within the arts curriculum 11 Storytelling and the visual arts 12 Storytelling, drama and dance : living the narrative 13 Singing the narrative : storytelling and music Alastair K. Daniel has more than twenty years' experience in education as a teacher and storyteller. Having previously taught Primary English at Kingston University, he is now Senior Lecturer in Language and Literacy in Education at London Metropolitan University. This short book is a lively read and a valuable resource for both the primary and the English teacher. Daniel’s scholarship is secure and convincing whilst his approach is consistently practical and enticing; tempting and daring the reader to take up the challenge and realize some of the benefits and the impacts of telling rather than reading stories in the classroom. Mick Connell, University of Sheffield English Drama Media Magazine (NATE), June 2012

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Middle School Grade 8 Curriculum The religion program involves a hands on approach to the study of the Church formed by Jesus. Students begin with a study of the need for a Church, then move on to a study of the capital sins and their opposing virtues, the after life, and the communion of saints. The year ends with a survey of the major eras of Church history. Throughout the year, students are taught the value of the Rosary and various other Catholic devotions which they may want to make a part of their prayer lives. Students frequently work in small groups to become involved with the material learned and to apply it in numerous ways. By the end of the year, students should be able to recite all major Catholic prayers, give the life story of one of the saints, and discuss how the Church benefited the world in various periods of Church history. The English program starts daily with creative writing and vocabulary. The Latin and Greek Roots Book IV text is used. Each unit includes spelling, part of speech, definition, and usage of each word. The grammar portion focuses on learning the parts of speech, writing in a variety of genres, proper proofreading, and writing long and short essays. Emphasis is on preparing students in literary analysis and essay writing as groundwork for high school and beyond. Students will identify, analyze, and apply knowledge of themes, structure, and elements of a wide variety of genres and provide evidence from the text to support their understanding. Reading selections will come from a variety of sources including American and British writers Students gain proficiency in the Latin language by being exposed to an active approach to the language. Research has shown that students acquire a foreign language quickly and effectively by actively speaking, writing, and listening in the target language. Coursework facilitates the active approach to learning Latin by exposing the students graduated readings, using both familiar and unfamiliar vocabulary words. In addition to acquiring Latin vocabulary and grammatical structures, students will cover cultural topics such as, Roman history, mythology, Roman dining habits, daily life, and gladiatorial combat. The curriculum for Algebra I is: working with real numbers, solving equations and word problems, polynomials, factoring polynomials, algebraic fractions, graphing and functions, systems of linear equations, inequalities, rational and irrational numbers. The students complete a full year of Algebra I. Students study Physical Science. The topics include: matter, motion and forces, work, the atom, machines and energy, interactions of matter, electricity, and sound and light. The students have many investigations (labs) in which they use science equipment to develop scientific methods to solve problems. Students will learn to take proper measurements, manipulate science equipment, and develop safety skills in the science lab. Much of the program is a hands on approach where students are expected to draw conclusions that enhance science concepts and laws. Students will learn about the growth and strengthening of the United States as a nation and a competing world power. From the industrial revolution, the growth of cities, and the impact ofimmigration of the late 1800’s to the emergence of the country in international relations and entanglements in foreign wars of the 1900’s. Students will become aware of the vast changes in the United States. This will include a study of cultural, social, and economic aspects including current events and the use of multiple resources: maps, text, periodicals, field trips, and primary sources.

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There are two primary types of thought: Rigid and flexible. Rigid thinking means you’re stuck in a specific thought pattern, unable to see alternative choices. Rigid thinkers may struggle with problem solving and even personal relationships. These are the individuals who are “always right” and stuck in a routine. They are only able to see one path and that is the path they are on.This is simply a different way the cognitive function has developed. Flexible thinking is often referred to as cognitive flexibility. This means an individual is able to adapt to new thinking patterns. These individuals often see more than one solution to any presented problem. They are able to stop what they were doing and pick up a new task with little to no thought about the transition. Flexible thinking means that an individual can see from multiple points of view, instead of maintaining a narrow vision. Those with flexible thinking are also: - Able to quickly process new information - Good at reasoning - Good at problem-solving - Able to break down elements - Able to recognize solutions quickly - More focused - Able to work around sudden changes - Able to follow thought trains - Have a better memory - Have better self-control - Understand other people - Able to maintain healthy relationships - Prone to fewer conflicts - Able to cope with feelings of frustration - Less stressed, in general - More aware of surroundings and themselves - Well adjusted Throughout development, there are a variety of tests that can be done to test cognitive flexibility. These tests include the A-to-B test and the Card Sorting test. These are often given to children to test their adaptability. Adults can be tested through every day struggles and how well they handle change. Flexible thinking is essentially measured by three abilities: - The ability to transition between two or more tasks or disengage from a previous thought. - The ability to update beliefs based on new information and develop an appropriate response. - The ability to consider multiple elements of a single observation (problem/situation) and use the new response on the new situation. These abilities are seen in flexible thinkers and are absent in rigid thinkers. As such, rigid thinkers are often stuck with the inability to process new information. This actually makes it hard to cope with uncontrollable situations, like moving or losing a job. Rigid thinkers tend to stress about events like this, which can cause a decrease in overall health. Flexible thinkers are able to problem-solve and come up with an adaptive solution to these same problems, which means they are generally healthier. Boost Your Skills & Become A Flexible Thinker After reading the benefits of flexible thinking, you’re probably eager to unlock that part of your brain. It’s not going to be easy at first! You’ve likely been stuck in a rigid thinking pattern for so long that a new method of thought will be intimidating. This is exactly why too many people get stuck in the same thought patterns. Learning to be a flexible thinker is tricky, but it’s not impossible. The methods outlined below should be a good starting point for you. Start with your diet. Step one to adapting a new mode of thinking is to get your diet on track. This means eating healthy and cutting out foods that are overly processed. For many, it’s convenient to eat fast food or processed food. However, opt for quick, but healthy, snacks instead. You can keep vegetables around to snack on or make your own smoothies in under a minute! All you need is a good blender to get on the right track. You may want to add supplements to your diet if you’re missing essential nutrients. Get a proper night’s rest. Sleep is important because it lets your mind reset and prepare for the next day. If you’re not sleeping right, then your brain isn’t working right. You need your brain to be on the same page as you in order to adapt your thinking. If you struggle with insomnia, try a herbal remedy to go to sleep at night. Try and get to bed at the same time every night so that you’re getting the optimal amount of rest. This will help you to wake up feeling invigorated and ready to face the day. A nice change from typically waking up exhausted and ready to go back to bed. Exercise gets your blood pumping which helps deliver oxygen to your brain. This boosts your cognitive abilities and can help you think clearly. This is a big part of adapting a new thinking pattern. After all, without the ability to think, how are you going to think? It’s confusing, right? Well that’s how your brain feels when you’re not getting the right amount of nutrients, sleep or exercise! Mindfulness and meditation. These techniques are ideal for learning where your thoughts come from. Meditation helps to clear your mind and give you the room to focus. Mindfulness teaches to see your thoughts and not focus on any particular one. You simply observe and learn. Read and write. These activities spark creativity and also help to adapt new thinking patterns. You can choose anything to read, but the newspaper won’t help. You should opt for creative writing, like poetry or fictional stories. You can also choose to read humorous anecdotes. If you really want to challenge yourself, try writing some of your own! It’s all fun and games until… Actually, it’s just about the fun and games! One of the best ways to challenge your thinking is to take any ordinary object and find alternative uses for the object. You should aim to find at least 3, but see how many you can come up with! This will help you to see the different uses that might exist and allow you to see from a different perspective altogether. Change your routine. Human beings are creatures of habit. As such, it’s easy to become engulfed by our routines. Part of learning to be a flexible thinker is learning to step outside of that routine. You should start with a small change at first. Introduce new changes as you feel comfortable. Keep challenging yourself.

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Rachael Zimlich is a freelance writer in Cleveland, Ohio. She writes regularly for Contemporary Pediatrics, Managed Healthcare Executive, and Medical Economics. A recent study investigates how fun stories and engaging playtime can help increase vegetable intake among preschoolers. Preschoolers are notoriously difficult to feed. It’s a time when independence and a fear of new things take hold, and children have a hard time meeting their goal of a cup or more of vegetables each day. A new study1 out of the United Kingdom may have the answer. Researchers combined storytelling with sensory play about the same vegetables and found more children were willing to try new or unusual vegetables. The study was published in the Journal of the Academy of Nutrition and Dietetics. The research team’s goal was to try and identify methods to increase vegetable uptake among one of the toughest crowds. To complete the study, researchers tested theories about congruent storytelling and sensory play at 12 preschools in the United Kingdom. Children were taught about a new vegetable that few of the children had tried: celeriac. An illustrated and engaging story along with sensory play promoted celeriac, compared to a story about carrots with or without sensory play that was incongruent with the story line. The researchers found that children who were in the celeriac group had higher odds of eating the vegetable than those in the carrot group. In the carrot group, 68% of the children were willing to eat a carrot before the activity, and that increased by just 2% to 70% willing to eat a carrot after the story. With the celeriac, 69% of children were initially willing to eat the vegetable, but that number grew to 83% after the intervention. The report concluded that congruency between stories and sensory play could improve both interest in and intake of new vegetables in preschoolers. Preschoolers are an ideal age group to test this theory because many children experience neophobia, or a fear of new things—especially when it comes to vegetables—around age 2 years. The unfamiliar appearance, texture, and sometimes bitter taste of vegetables don’t help, either. Researchers used stories and play with focus on the same vegetable, compared to stories alone or stories and play that were about vegetables in general rather than 1 specific vegetable. The research team suggests that learning about the new food, then touching and handling it to take away some of the mystery was helpful in increasing consumption of new vegetables. For parents, this may be a more difficult tool to use, as it could take several attempts to achieve the best results, the study authors warn.

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CBSE New Syllabus 2021-22 Class 9th – 12th About CBSE Curriculum The curriculum refers to the lessons and educational content to be taught to a learner in a school. In empirical terms, it may be regarded as the sum total of a planned set of educational experiences provided to a learner by a school. It encompasses general objectives of learning, competencies to be attained, courses of study, subject-wise learning outcomes and content, pedagogical practices and assessment guidelines. The curriculum provided by CBSE is based on National Curriculum Framework-2005 and seeks to provide opportunities for students to achieve excellence in learning. Salient Features of the CBSE Secondary School Curriculum The Curriculum prescribed by CBSE strives to: 1. provide ample scope for holistic i.e. physical, intellectual and social development of students; 2. emphasize constructivist rather than rote learning by highlighting the importance of hands-on experience; 3. enlist general and specific teaching and assessment objectives to make learning competency-based; 4. encourage the application of knowledge and skills in real-life problem solving scenarios; 5. uphold the ‘Constitutional Values’ by encouraging values-based learning activities; 6. promote Critical and Creative Thinking aligned to the 21st Century Skills in classrooms; 7. integrate innovations in pedagogy such as experiential learning, Sport & Art-Integrated Learning ,toy-based pedagogy, storytelling, gamification etc. with technological innovations (ICT integration) to keep pace with the global trends in various disciplines; 8. promote inclusive practices as an overriding consideration in all educational activities; 9. enhance and support learning by different types of assessments; and 10. integrate environmental education in various disciplines from classes I- XII. Objectives of the Curriculum The Curriculum aims to: 1. achieve cognitive, affective and psychomotor excellence; 2. enhance self-awareness and explore innate potential; 3. attain mastery over laid down competencies; 4. imbibe 21st century learning, literacy and life skills; 5. promote goal setting, and lifelong learning; 6. inculcate values and foster cultural learning and iternational understanding in an interdependent society; 7. acquire the ability to utilize technology and information for the betterment of humankind; 8. strengthen knowledge and attitude related to livelihood skills; 9. develop the ability to appreciate art and show case talents; 10. Promote physical fitness, health and well-being. 11. Promote arts integrated learning.

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From left to right: 1 - 3) Imaginary Skeletons Students were given five minutes to create an imaginary creature's skeleton from the shapes given and then had to describe their animal using creative language. Older students focused on thesaurus skills and effective use of conjunction words and younger pupils enjoyed the challenge of using colour vocabulary effectively. 4) Tower Building There are numerous ways to use wooden blocks; creating a tower to measure is a great way to build key mathematics skills. Using conjunctions (connecting words) effectively is a key skill and it is important students practise joining their sentences in every lesson. Writing about food is always a popular way of practising any grammar skill! 6) Arithmetic Game At Bedford Tutor, we love taking an old game to transform into something new. Here, a second-hand board game has been modified to ensure it is suitable for slightly older mathematicians. 7) Creative Spelling There, their and they're are frequently confused so it is important they are taught in a visual and memorable way. Here, a student was provided with many different crafty materials and this masterpiece is the result. 8) Seeing Stars Programme We are lucky enough to use the 'Seeing Stars' programme which is especially useful for those who are dyslexic or have similar difficulties with reading and/or spelling. This month, the program has helped a number of students grow in confidence and ability. Here's for a fabulous July! What a fantastic week we've had exploring poetry and, in particular, onomatopoeia. Our verses have all been centred around 'sounds in the city' and the standard of work has been particularly high this week. Below, you'll find a selection of poems from children ranging in age from 6-11. We hope you enjoy reading these fabulous poems and are inspired to pen your own! This week, Key Stages 2 & 3 have been focusing on creating fact-file posters about the human brain. First, we read through some information pieces on the brain, and then used what we had learnt to produce these amazing posters! Well done! We improved in these areas: -Comprehension of written texts -Extracting relevant information from texts to use -Writing in our own words -Laying out an eye-catching poster -Being generally creative! This poem was composed by a child earlier this morning and I was so impressed with the content. Writing poetry is always a great way for students to express themselves and verse is also fun to write! At Bedford Tutor, we love wooden blocks, from Jenga pieces to traditional painted cubes! Most people associate building blocks with younger children, but activities with wooden blocks can be just as fulfilling for older children, teenagers, and even adults! Activities with blocks (great for all ages): 🏠 Estimation: create a tower/line and estimate its height or choose a height and attempt to create a tower as close to this measurement as possible. 🏠Creative Storytelling: make a scene from blocks and then tell a story inspired by this collection. This can be challenging as blocks will usually not have decorative patterns. It takes a lot of imagination but is so rewarding. 🏠 Logical Brain Training: Set up a pattern with blocks, photograph it, print and laminate. See if you can replicate the pattern. It's great if you can make many patterns of different difficulties that will inspire all learners to use logical thinking. There are so many things to try. If you have any great ideas of your own, please comment below! We are always learning, each and every one of us! Even though spring is well and truly here (the stunning crowd of yellow daffodils growing opposite my house prove that), the weather is most certainly living up to the 'April Showers' rhyme. However, while we wait for the 'May Flowers', there are plenty of fun activities you can do with your child - all of which are educational! Here are a few of my favourites that are tried and tested (and loved) at tuition! I hope you have fun trying them out with your child! Learning areas: spacial awareness; maths; English; fine-motor skills; creativity - the list is endless!

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Core Courses for Junior Kindergarten and Kindergarten Junior Kindergarten – Kindergarten Curriculum The JK curriculum is designed to include age-appropriate academic content to be learned in a developmentally appropriate context. For four and five-year-olds the context is play. Their play is their work! Children have an instinctive desire to connect with the world around them. Through self-directed and guided play they are able to connect what they already know and have experienced with the new ideas and skills they are learning daily. Junior Kindergarten is also where our students begin to build their early literacy and math skills. Their emerging cognitive, social, emotional and physical skills are stretched and strengthened as they work independently and side by side with their teachers. Thoughtfully planned centers are designed to entice engagement and invite active, open-ended exploration. Our goal is to challenge our students to explore, think and inquire while learning to share and collaborate with their peers. Our classroom space is in a warm and cozy home with lots of natural light and inviting age-appropriate learning materials while residing in a community that invites us of to collaborate and learn with them in the lower, middle and upper school. We go to the Maker Space, visit the Orchestra students and collaborate with Mr. Lerner so our students can draw to his students’ music, celebrate the Kindergarten Derby with our Kindergarten friends, attend plays put on by our upper school students and participate in all school activities like field day and spirit days! Kindergarten is a special time that provides young children the opportunity to creatively explore their unique talents and abilities, deepen their self-confidence and independence, and extend their academic experiences and abilities. In the kindergarten wing of the lower school, mathematics, social development, and literacy are explored in independent, small group, and whole-group settings that provide the opportunity for the kindergarten faculty to establish caring, supportive relationships with each student—relationships that nurture the inherent connection between cognitive learning and emotional/affective development. Challenging, cross-curricular experiences that stimulate divergent thinking, and provide experience in individual and cooperative problem solving, are emphasized in order to facilitate character development and critical thinking skills. Core Courses for First and Second Grades 1st and 2nd Grade Curriculum The first grade literacy curriculum balances both phonics and whole language helping the students transition into readers. The curriculum offers the student a broad background in mathematics and uses a spiral approach towards learning to explore mathematical content beyond basic arithmetic. Concepts are taught through problem-solving and basic skills practice are reinforced in a real-world context. Social Studies takes off in first grade through a study of each of the seven continents as well as the oceans. Children are taught respect for cultures around the world by developing an understanding of world cultures, customs as well as awareness of similarities and differences. We compare and contrast a variety of cultures around the world. First graders at Collegiate are not only taught the content and curriculum, they are also taught why that content is important. First graders at Collegiate are expected to apply concepts and even teach others the content in order to confirm mastery of the concepts. Second grade literacy is a balance between whole group, small group learning environments for reading and writing to enable each student to become a more fluent, independent reader and to continue to gain comprehension skills, as the reading material becomes increasingly complex. The spiral approach of the math program introduces students to build their understanding of math concepts while simultaneously increasing his/her accuracy of the basic facts. The social studies curriculum provides engaging opportunities for students to learn about their community, geography concepts and citizenship. In addition, Second graders complete community service projects in honor of veterans throughout the school year. The second grade program also allows each student to develop his/her self-esteem as well as help students to become independent thinkers and contributing members inside and outside the school community. Core Courses for Third and Fourth Grades 3rd and 4th Grade Curriculum In fourth grade, students begin to extend their learning through cross-curricular projects and presentations. In literacy, students read classroom novels which allow them to analyze characters, summarize, make connections, implement reading strategies learned and explore historical people and events through nonfiction texts. Along with their oral presentations, students are also asked to expand their understanding of content through their narrative, expository, persuasive and non-fiction writing. The math program allows for hands-on learning which reinforces the exploration of concepts of acquired skills. Our social studies inquiry spans from early explorers of the Americas to the Civil War.

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Remember when school was all about the 3 R’s? These days, kids are just as likely to learn 2 R’s and C: respect, responsibility and compassion. These buzzwords are typical of character education, an increasingly popular Canadian initiative now on the curriculum in many provinces. Here’s a glimpse into how kids are learning about character: What it is “Character development came about when teachers recognized that the best education engages the heart as well as the mind,” says Jan Kielven, whose job title, “positive climates for learning specialist,” points to the new thinking at the York Region District School Board in Ontario. Besides teaching kids essentials, schools now have a responsibility to treat kids as social beings who need to be taught empathy and respect for others, she says. Sounds ideal, but some parents worry that character education imposes an arbitrary set of moral standards on their children. Not so, Kielven says. In Ontario, teachers, parents and other members of the school community first come together to agree on the values they share. Then schools create their own programs to help students acquire those values. How it works So how does a school teach eight-year-olds about empathy? One way is to show them how to react to bullying or racism. But many school boards go one step further, creating projects to get kids thinking about being the best person they can be. Through the York board’s Giving Grows Character project, kids share stories about acts of “heroism” at school — from a grade three kid who tied a grade one child’s shoes, to the eighth grader who raised money for cancer. At other boards, kids write songs or shoot film clips about character traits. But character education isn’t just something that goes on in the classroom. Some schools hold assemblies to address issues, such as anti-bullying or respect for diversity. At others, kids are urged to join committees where they learn to be leaders by volunteering for social justice causes or organizing peer activities. “One school board has a regional team of students going into schools as pay-it-forward role models,” says Kielven’s colleague Steve Rensick. They find kids who are alone, invite them to be part of a group, and ask those kids to do the same for someone else. Why it works Do these programs succeed? There’s no real way to measure, but educators like Kielven and Rensick are convinced the impact is positive. Why? In part because schools and parents all want kids to grow up to be part of a safe, caring community. In the end, it’s about learning. And research shows that when kids feel empowered, they learn better. “Students are very powerful in creating a culture among themselves, so it might as well be one of respect,” says Kielven. “The fact is, it feels good to do the right thing.”

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Today’s post includes excerpts from What’s the Story? Building Blocks for Fiction Writing, which is packed with fun lessons and engaging activities for anyone who wants to learn the basics of storytelling. This is from chapter four: “Theme.” Enjoy! What is the Theme of a Story? Theme is one of the most difficult story elements to understand. Often confused with plot, theme is actually a worldview, philosophy, message, moral, ethical question, or lesson. However, these labels, taken alone or together, don’t quite explain theme in fiction. We can think of a theme as an underlying principle or concept, the topic at the center of the story. Themes are often universal in nature. Some common universal themes are based on motifs of redemption, freedom, equality, sacrifice, betrayal, loyalty, greed, justice, oppression, revenge, and love. Themes can also be personal and part of the human condition. Such themes could explore issues surrounding loneliness, trust, commitment, or family. However, a story’s theme is more than an idea that can be expressed in a single word. The concept of freedom can form the foundation of a story’s theme, which could be anything from “one should not sacrifice freedom for security” to “freedom is worth dying for.” Themes in Storytelling Most stories contain multiple themes and motifs; The Hunger Games trilogy explores motifs of power, class, sacrifice, and honor, to name a few. In the Harry Potter books, the most significant themes are good versus evil and the power of love. However, there are also motifs of friendship and loyalty. One theme might stretch across an entire series, while other themes appear at the novel or even chapter level. A story’s main plot might explore one theme while its subplots explore other themes. The strongest stories tend to use themes that are interconnected and complement or contrast with one another. The 1997 film Titanic is rich with themes that swirl around class (wealth versus poverty). These themes are echoed in the main characters: the protagonist is an aristocrat; she falls in love with a poor artist. The ship itself is segregated with the wealthy residing on the luxurious upper decks and the poor relegated to the cramped and crowded accommodations in the lower decks. And at the center of the story, the protagonist, Rose, is struggling with whether she should give up her financial security in order to liberate herself from the wealthy fiancé she loathes. Theme can be obvious, but often it’s nuanced. In the 2009 film Avatar, the theme is in your face: preservation of the environment and respect for native cultures. In the 2005 film Batman Begins, theme is harder to put your finger on: one man’s struggle with his own identity and duality. Choosing the Theme of a Story Themes are so closely tied to human nature that it’s almost impossible to tell a story without a theme of some kind. Themes will almost always manifest, even if an author doesn’t put any special effort into theme development. Some experts have suggested that authors shouldn’t think too much about theme until they’ve produced a draft, while others believe that theme is so integral that it should be present throughout story development. The approach you choose will depend on your writing process, storytelling style, and personal preference. Theme could be considered the glue that holds a story together, the binding principle of the narrative. It is the deeper meaning, the truth that underscores the plot and characters. Tips for Developing Theme - Learn to identify themes. When watching movies and reading novels, identify the themes. When you become proficient at identifying themes in other works, you’ll get better at bringing themes into your own work. - Don’t stress yet. If you’re not sure what your story’s theme is, don’t put too much pressure on yourself. A theme will usually emerge as you work through your first draft. - Theme development. Once you’ve completed a draft, the theme should be apparent. Take some time to think about how you can strengthen the theme in future drafts. - Multiple themes. Once you identify your theme, make a list of related themes that you could thread into subplots. For example, if your theme is related to redemption, then forgiveness could be a secondary theme. - Theme and motif. Check your work by making a list of all motifs and themes in your story. This is a map of your thematic pattern. To get more tips on developing themes in your storytelling, pick up a copy of What’s the Story? Building Blocks for Fiction Writing.

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Creative writing can be a favorite activity, but sometimes when a child is told to write a story she feels overwhelmed because there are so many choices. We might feel the same way when we head to the grocery store and there are several shelves of options for the item we need to buy. Providing clear expectations to creative writing can help. Are you looking for an engaging activity for your child? Why not use story prompts? I’ll share photographic prompts here, but your family could have fun creating your own! Story Prompts from Photographs: Other Writing Prompt Ideas · Find a painting at a resale shop to start a story. Here are some possible questions to answer in the story: What are the subjects doing? Why are they there? · Choose an object at the house, the quirkier the better, and have your child write a story that somehow incorporates it. Optional questions to answer: Why is this object significant to the story? How does this object save the day? · Use an old magazine or catalogue and choose a photograph to base the story off of. Perhaps ask: Who is this character? How does this item advertised fit into the story? How is the world rescued using this object? A great story will have a problem. Have your child think of the books and movies they enjoy. Discuss the big problem that the main character had to face. Here’s an example: In Disney’s Ralph Breaks the Internet, Vanellope is tired of racing on the same track over and over. She wants a challenge. Ralph wants his best friend to spend time with him and things to be the way they had been. The Basic Story Structure: There is a beginning, middle, and an ending to a story. There is a problem to be solved. Each story has a big idea, sometimes called the “heart of the story,” which is the reason the story is told. If you have young elementary children, a song you might like to look into and possibly share with them is Parts of the Story from the Jack Hartmann Kids Music Channel. Older students study the narrative plotline in more detail. In order to be sure students include all the parts of a story, teachers might have their students plan the parts of the story out before writing. Here are some basic questions a student needs to be able to answer for the story: What is the problem? What is the solution? What is the purpose of the story? This is the general plotline of a story: * The Exposition: establish the characters, setting, and problem (this is also called the conflict) * The Rising Action: create tension and build excitement, the problem is clear * The Climax: the biggest moment of the story * The Falling Action: story begins to resolve * The Resolution: the main problem is solved Grade Level Goals: Standards and benchmarks (expectations students must meet) will vary for your child based on their grade. I’ll go through a variety of grade level goals and then share some educational standards that relate. If you have a pre-kindergarten or a pre-writing student but would like to have him try creative storytelling, simply ask him to make up a story based on the picture you provide. You can be his scribe and write it down. Invite your child to draw a picture to help tell the story. Thoughtfully ask questions that will help guide your child’s story if they feel stuck. The goal of a child’s first draft is simply to get ideas on the page, there is no need to worry about spelling yet. Some teachers have students circle a word that they know they need to go back and spell correctly later. A fourth grader should be able to establish a situation and introduce the narrator and/or characters. The narrative (story) should unfold naturally. He or she should be able to use dialogue. The conclusion should follow naturally from the events in the story. In sixth grade a student should be able to use a variety of narrative techniques, make relevant descriptions, plan and revise. CCSS.ELA-LITERACY.W.K.3 Use a combination of drawing, dictating, and writing to narrate a single event or several loosely linked events, tell about the events in the order in which they occurred, and provide a reaction to what happened. CCSS.ELA-LITERACY.W.K.5 With guidance and support from adults, respond to questions and suggestions from peers and add details to strengthen writing as needed. CCSS.ELA-LITERACY.W.4.3.A Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally. CCSS.ELA-LITERACY.W.4.3.B Use dialogue and description to develop experiences and events or show the responses of characters to situations. CCSS.ELA-LITERACY.W.4.3.E Provide a conclusion that follows from the narrated experiences or events. CCSS.ELA-LITERACY.W.6.3.A Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically. CCSS.ELA-LITERACY.W.6.3.B Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters. CCSS.ELA-LITERACY.W.6.3.D Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events. CCSS.ELA-LITERACY.W.6.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. (Editing for conventions should demonstrate command of Language standards 1-3 up to and including grade 6 here.) Involving the Whole Family: The adults and children at home can all be involved. Even if you don’t have time to write up a story, you could tell a creative story using the same prompt as your child. After your child writes his or her story, why not have a presentation for the family? After she shares her story, offer her specific praise. General praise (“I like your story”) is fine, but specific praise helps a child see what they did well. Here are some examples: - Your characters were very realistic. - The words you chose to describe the setting helped me picture it in my mind. - You used believable dialogue. Do you have a family member or friend of the family who you would love to visit but can’t right now because of social distancing? Your child’s story could be a fun way to connect over the phone or video chat! Perhaps they could get involved by having the same story prompt as your family! Stories can be very different based on the same prompt, this could be a fun way to see the creativity of others. What prompts can you think of to engage your family in creative writing? How does storytelling help connect your family? What are the problems in your favorite stories and how were they resolved? Other Storytelling Tools: Looking for Great Educational Websites? Here’s a post I shared about websites teachers love, parents want, and children need. English Language Arts Standards for Writing: http://www.corestandards.org/ELA-Literacy/W/introduction/

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The term epenthesis may also be used to refer to the addition of segmental material to satisfy a morphological template, or minimal word length requirement.Theoretically, epenthesis may occur as the result of a phonological, morphological, or phonetic rule. The term epenthesis may also be used to refer to the addition of segmental material to satisfy a morphological template, or minimal word length requirement.Theoretically, epenthesis may occur as the result of a phonological, morphological, or phonetic rule.In Old English, this was ane in all positions, so a diachronic analysis would see the original n disappearing except where a following vowel required its retention: an A limited number of words in Japanese use epenthetic consonants to separate vowels, example of this is the word harusame (春雨, spring rain) which is a compound of haru and ame in which an /s/ is added to separate the final /u/ of haru and the initial /a/ of ame.Tags: Italian Ice Business PlanTeaching And Supervising Thesis StudentsTerm Paper EvolutionEssay About Mother Teresa In TamilWrite An Essay On Class Structure Of Roman EmpireGood Creative Writing ExamplesGender Role In The Media.Essay For example, the cartoon character Yogi Bear says "pic-a-nic basket" for "picnic basket." Another example is to be found in the chants of England football fans in which England is usually rendered as , or the pronunciation of "athlete" as "ath-e-lete". Some apparent occurrences of epenthesis, however, have a separate cause: the pronunciation of nuclear as nucular arises out of analogy with other -cular words (binocular, particular, etc.), rather than epenthesis. For example, Pohjanmaa "Ostrobothnia" → Pohojammaa, ryhmä → ryhymä, and Savo vanha → vanaha. Use of the term epenthesis implies an input-output mapping relationship in which the output contains more segmental material than the input. Epenthesis often breaks up a consonant cluster or vowel sequence that is not permitted by the phonotactics of a language. Sporadic cases can be less obviously motivated, however, such as warsh 'wash' in some varieties of American English.Finnish has moraic consonants, of which L, H and N are of interest in this case.In standard Finnish, these are slightly intensified when preceding a consonant in a medial cluster, e.g. Some dialects, like Savo and Ostrobothnian, employ epenthesis instead, using the preceding vowel in clusters of type -l C- and -h C-, and in Savo, -nh-. (An exception is that in Pohjanmaa, -lj- and -rj- become -li- and -ri-, respectively, e.g. Other terms that are often used synonymously with epenthesis include “insertion,” “intrusion,” and “linking,” although the latter two may also be used to refer only to certain specific kinds of epenthesis.Epenthesis may occur in a variety of environments: intervocalically, interconsonantally, word or syllable initially, and word or syllable finally.Within this framework epenthesis can occur in any environment and involve any segment.Furthermore, a rule of epenthesis may be ordered with respect to other rules in any sequence whatsoever.THE AMERICAN HERITAGE® DICTIONARY OF THE ENGLISH LANGUAGE, FIFTH EDITION by the Editors of the American Heritage Dictionaries.Copyright © 2016, 2011 by Houghton Mifflin Harcourt Publishing Company.This means that epenthesized segments may actually fail to surface—if a later rule deletes that segment.The pattern may also be rendered opaque if the original triggering environment is altered by the action of subsequent rules (counter-bleeding); or if the relevant environment surfaces only later, failing to trigger epenthesis (counter-feeding).

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Does poetry have to follow rules? There are no officially sanctioned rules of poetry. However, as with all creative writing, having some degree of structure can help you reign in your ideas and work productively. How do you write a poem without rhyming? Meter is the rhythm that a poem has, and non-rhyming poems that use meter are referred to as blank verse. To use meter in your poetry, listen for the accents of the words you use, and put them in order, just as you would the beats of a drum. Why would a poet not use rhyme? Poems generally have a rhythm, but they don’t always have a rhyme. That’s because rhyme is not the most important element of a poem. Instead, a poem should convey (express) an emotion or an image, something we can feel or see (or touch or hear or taste). What is the easiest type of poem to write? Seven simple poetry styles your students will love - Clerihew. A Clerihew is a light hearted poem consisting of two couplets and a specific rhyming scheme of AABB. … - The Epitaph. An epitaph is a brief poem inscribed on a tombstone praising a deceased person, usually with rhyming lines. … - Irish Limerick. … - Palindrome. … - Diamante. … 28 мая 2016 г. What are the rules for poetry? Poems are typically written in verses, rather than paragraphs. They can include complete sentences or incomplete sentences and often have a rhythm. Keep in mind, poems do not have to rhyme. What is a poem that doesn’t rhyme called? Free verse is an open form of poetry, which in its modern form arose through the French vers libre form. It does not use consistent metre patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech. Is there a wrong way to write poetry? Behind most successful poems, there’s a huge amount of rewriting. According to Robert Wallace in the book Writing Poems (HarperCollins, 1991), one seemingly simple poem by E.E. Cummings went through more than 175 versions. Every poet has his or her own way of working — there’s no right or wrong method. Does poetry have to make sense? Some poetry may not make sense to you. But that’s because poets don’t write to be understood by others. They write because they must. The feelings and emotions that reside within them need to be expressed. Why is poetry not popular anymore? Now, the reason why one may feel that poetry is not popular is probably because prose has become even more popular than poetry. Large amount of prose is being written and since prose is easier to consume, it gets consumed by even larger mass. What does it mean if a poem has no rhyme scheme? Free verse poems will have no set meter, which is the rhythm of the words, no rhyme scheme, or any particular structure. Some poets would find this liberating, being able to whimsically change your mind, while others feel like they could not do a good job in that manner. Does an acrostic poem have to rhyme? An acrostic poem is one that uses all the letters in a word or name as the first letter of each line of the poem. … The word you pick can be as long or as short as you like. The acrostic poem doesn’t have to rhyme if you don’t want it to. The first letter of each line is capitalized. What is the hardest poem to write? That said, some particularly difficult forms are: - Double Abecedarian. - Double dactyl. - Rhyming Sapphics. What are the 5 types of poetry? From sonnets and epics to haikus and villanelles, learn more about 15 of literature’s most enduring types of poems. - Blank verse. Blank verse is poetry written with a precise meter—almost always iambic pentameter—that does not rhyme. … - Rhymed poetry. … - Free verse. … - Epics. … - Narrative poetry. … - Haiku. … - Pastoral poetry. …

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Reading for babies: Based on the theory of Early Literacy, as defined by the National Institute of Child Health and Human Development (NICHD) as “what children know about reading and writing before they can actually read and write on their own.”. “Bebelê Project (Reading for babies) is a program maintened by Biblioteca de Sao Paulo (http://bsp.org.br) which offers storytelling session for children from 6 months to 4 years, and allows the loan of kits with books and puppet to continue the play at home. […] It works like this: children and their caregivers take part in a story-telling session and then borrow a kit (a two-book bag and a puppet) to continue the play at home. The goal is to show parents and caregivers of infants and children the importance of reading and interacting with stories and books, and their positive consequences on child development. The program has now been expanded to over ten public libraries in the country side of São Paulo state.” Source (in portuguese): http://www.publishnews.com.br/materias/2016/12/15/projeto-bebele-chega-a-dez-bibliotecas-publicas-no-interior-paulista (Dec 15th, 2016) As was stated in http://www.bebele.org.br (site no longer exists) “The program stimulates six skills: - Interest in reading books and other printed materials; - Ability to listen and play with the sounds of words; - Extension of the vocabulary through the recognition of the names of objects, concepts, feelings and ideas; - Ability to tell stories, describe situations, narrate events in sequence and recount them; - How to handle a book, recognize the words and point the letters everywhere you look; - Identification of letters individually and perception that each one has different sounds and names.” Lê no ninho (Brazil): http://lenoninho.org.br/ and https://tellus.org.br/agencia/caso-le-no-ninho/ Omaha Public Library (United States): http://www.omahapubliclibrary.org/programs/baby-reads Toronto Public Library (Canada): http://www.torontopubliclibrary.ca/programs-and-classes/categories/reading-programs-storytimes.jsp . Find information about guide to Toronto Public Library Guide: https://citylib.ca/ Brooklyn Public Library (United States): https://www.bklynlibrary.org/learn/kids

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According to mental health professionals, when children return to full-time education in September, schools should prioritise play and socialising over learning. After months of lockdown and with little opportunity for face to face interactions, experts say many children will be suffering from loneliness and isolation. Social play will help them overcome their loneliness and make it easier to overcome anxiety about being in an educational setting whose ‘new-normal’ seems alien. In this post, we’ll look at how the playground can be used to encourage and facilitate socialising and to support children on their transition back into education. The value of social play While children get plenty of opportunities to interact in the classroom, the activities they participate in and the topics of discussion are directed by the teacher. Only during free time, away from the teacher and the classroom rules, do they get the chance to engage with each other freely. This makes the playground an ideal place to facilitate and encourage social play. Doing so not only helps them readjust to life after lockdown; it aids their development, helping them acquire the valuable communication and social skills that they will depend upon throughout their lives. Play is crucial for social and emotional development. It helps children to make friends and build relationships and it develops empathy, trust and an understanding of social norms. Indeed, play gives children the chance to learn from their mistakes: through falling out and making up, they learn how to manage emotions, resolve conflicts and develop resilience. It also provides opportunities to share their thoughts and feelings and to support one and other, something which will be crucial post-lockdown. Communication skills are essential for social development and outdoor play provides a myriad of opportunities for verbal interaction. Interaction between children is needed to make choices about the activities they want to do and then to take part in them. They’ll need to negotiate, discuss, explain, take turns, ask and answer questions, listen and respond; learning as they do from interactions that went well and those which didn’t. It’s not just speaking and listening skills that they develop either, the playground is an ideal place to learn about non-verbal communication. They’ll discover how to read and respond to facial expressions, gestures and body language and hone their skills in using them. Equipping your playground for social play As all children are different, facilitating social play requires a range of playground equipment, this way you’ll be able to encourage every child to take part in activities where they can interact with others. Thankfully, there is equipment for all kinds of activity and something to suit everyone. Team sports are excellent for encouraging social interactions. It develops camaraderie, the sense of fair play and requires plenty of communication. Playground sports markings are the ideal way to encourage the participation of larger groups of children and with sports such as netball, football, basketball and rounders catered for, there’s something that will appeal to most children. There’s also a variety of nets, hoops, ball walls and targets that can be added to make the sports more fun. Fun and games Kids love playing games together and there is a multitude of equipment that will encourage them to socialise. These include fun and games playground markings for chess, hopscotch and even a mini roadway; outdoor tabletop games like snakes and ladders, Connect 4 and Ludo as well as battleship boards. There’s also table football, table tennis and skipping rope games. Another great way to get children playing together is through being creative. They can do this by drawing, chalking and painting together using a variety of outdoor drawing and chalkboards, making music with fun outdoor musical instruments, like xylophones, chimes and drainpipe drums or by singing together on a playground stage. They can also get creatively messy with a mud kitchen, sandpit or with water and sand play equipment. Younger children love to get involved in roleplay activities and it is important for their social and emotional development that they get the opportunity. There is some fantastic outdoor roleplay equipment to inspire their imaginations, this includes under-over bridges, trains, storytelling chairs, shop/kiosk panels, carriages, playboats, wigwam posts, play huts and more. Thrill-seeking play is excellent for getting children to interact and be sociable. It encourages them to collaborate to overcome challenges and to support each other; it gives opportunities for roleplay and discussion and lets children who have been cooped up over lockdown have a great deal of physical fun. ESP Play has a comprehensive range of climbing equipment, including Trim Trails obstacle courses, play towers, climbing walls, Tangled rope play equipment and FreeFlow modular climbing frame systems. Social play has always been essential for children’s development and now, following the lockdown, it is also needed to address the isolation, loneliness and anxiety of children returning to school. If you are looking for playground equipment to provide better social play opportunities, hopefully, the ideas mentioned here will have given you some inspiration. For more information about our products, visit our Products Page.

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A literary technique is a method for telling a story or part of a story. Although the word “literary” usually refers to written literature, these techniques can be used in a broader sense in any narrative form, including movies, television, and comic books. For example, the literary technique called foreshadowing, which hints at future events in a story, is common to every type of narrative. Some literary techniques apply to a wide range of stories, such as twist endings in the genre of mystery fiction. Others may be specific to a particular author or work. The art of storytelling is an essential human activity that predates recorded history. Some literary forms, such as poetry, drama, or the novel, are hundreds or thousands of years old. Other media like film, comics, and television arrived with the technological revolutions of the 19th and 20th centuries; each medium has since established its own techniques and borrowed others. Some are essentially storytelling shortcuts that are used to quickly convey or skip over information that media-savvy audiences will already know. Other kinds of literary techniques can set a mood, establish character, or engage the audience. In medias res is an example of a literary technique that has been widely used in stories for centuries. The Latin phrase refers to a story that starts in the middle of the action and then employs flashbacks or character dialogue to describe earlier events. This often has the effect of immediately drawing the audience into the story while dispensing with scenes that are unimportant. The Iliad, Homer’s epic poem about the Trojan War, employed this technique nearly 3,000 years ago. The modern TV series Lost also started this way, with the revelation of prior events forming a major part of the series’ narrative. Some literary techniques are matters of form. Shakespeare wrote his plays using a poetic technique called iambic pentameter so the dialogue would have a pleasing rhythm. Film noir is a cinematic technique employing shadowy images, calculating characters, and grim storylines. Originating with American mystery films of the 1940s, it was later borrowed by filmmakers around the world. Noir has since been imitated in television, comic books, and even video games, effectively becoming a widespread literary technique. Popular literary techniques can become so widely known that most audiences will recognize them instantly; these are called tropes. Properly used, these can generate a sense of familiarity with the story and characters and reduce the amount of time normally spent on exposition. When the literary technique becomes too familiar, however, it is called a cliché, which most writers try to avoid. Other techniques are simply useful storytelling tricks, such as onomatopoeia. This is the use of words to imitate real-life sounds, a common literary technique that is employed by writers around the world.

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The variety of literary works can easily teach the reader or make to change the reader’s mind and attitude to a situation. On the one hand, the works and their messages differ because of various authors, periods of time, and interests. We will write a custom Critical Writing on Analysis of Hills Like White Elephant and Sonny’s Blues: Plot, Setting, and Characters specifically for you 301 certified writers online On the other hand, the similarities between the works of absolutely different authors are united by their messages to help the reader evaluate this life and make the necessary improvements. The analysis of Hills Like White Elephants by Ernest Hemingway and Sonny’s Blues by James Baldwin proves that different approaches to life and its challenges, unique visions of the writers, and certain writing techniques may lead to one purpose – promote the reader to think about people around and grasp the ways of how to understand each other. Such fiction elements like plot, characters, and settings in the two short stories are perfectly described and serve as powerful means to explain the essence of the stories: plots of the stories touch upon the relations of two relatives (a couple in Hills Like White Elephants and brothers in Sonny’s Blues), who need to takes important decisions and think about their future lives in spite of rather depressive and disappointing settings. The success of the story usually depends on a properly chosen author’s technique. In case with the works of Hemingway and Baldwin, their choices of techniques are justified and rather effective. The plots of the stories under discussion are all about human relations and the necessity to find out the connection and understanding. The peculiar feature of Baldwin’s plot is the idea to use flashbacks and add to the plot more captivating details and facts. It may seem that the reader knows enough to accept one more idea, however, a new flashback adds another circumstance that should be evaluated on a new level, and the relations between two brothers become more interesting and understandable. Hemingway describes a certain period of time between two people, who are going to make one of the most important decision in their lives. And even in the situation, when the decision should be taken by both, male domination is still evident, and a girl does not have enough powers and skills to live in accordance with her own principles and demands. In Hills Like White Elephants, a young couple is bothered with an idea of having a baby. A girl believes that “things are like white elephants” so strange, so innocent, and so beautiful (Hemingway 121). She wants her unborn child help her to accept this world as it is and enjoy its beauty and charm. However, her couple is not ready to forget about his interests and desires and devote his life to their baby. Almost the same is observed in relations between two bothers in Sonny’s Blues. Sonny tries to demonstrate his brother the beauty of music and the grounds of his choice, but it is hard for the elder brother to follow his brother’s dreams and thoughts. Settings of the stories deserve more attention, especially the one used by Hemingway. His idea to unite setting with symbolism is winning and more noticeable in comparison to Baldwin’s attempts. Though “there was no shade and no trees” (Hemingway 119), the situation seems to be uncertain. Everything is not as it should be, and the characters should be ready for a new challenge. The author does not give concrete descriptions but it becomes clear that the idea of abortion is burning. The setting of Sonny’s Blues is clearer: “the people, the houses, the music, the dark, quicksilver barmaid, with menace” (Baldwin 11). The author does not want to use specific setting to attract the reader but relies on his powerful use of flashbacks. Both reading unite all fictional techniques in a proper way; each writer uses one certain technique better that makes these stories captivating and effective in their own ways. Flashbacks in the plot make Sonny’s Blues more captivating and intriguing for the reader, and powerful examples of symbolism in setting cannot stop amazing the reader of Hemingway’s works. Baldwin, James. “Sonny’s Blues.” In Sascha Feinstein and David Rife The Jazz Fiction Anthology. Bloomington, IN: Indiana University Press, 2009. Hemingway, Ernest. “Hills Like White Elephants.” In Margaret Bishop Single Scene Short Stories. Layton, Utah: Gibbs Smith, 2007.

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“Inhabiting or existing in a land from the earliest times; indigenous” So here, “aboriginal” refers to the many indigenous tribes of Canada, collectively First Nations, Inuit and Metis. First Nations people include hundreds of different tribes, each with their own culture, customs, legends and character, whose cultures span thousands of years. Some of their oral traditions describe historical events like the Cascadia earthquake of 1700. Haida, Blackfoot, Cree, Chipewyan, Mi’kmaq, Algonquin, Iroquois and Squamish are just a few examples. Inuit are a distinctive group of indigenous people who live throughout most of the Canadian arctic and sub-arctic in parts of Nunavut, northern Quebec, Labrador and the Northwest Territories. Metis is the name given to aboriginals who can trace their decent to mixed First Nations and European heritage. Metis homelands stretch across Canada and into parts of the northern United States. Today T brought a Unity button home from school. The button (or badge as we call them in Britain) is a circle divided into black, white, red and yellow quarters. It’s a reminder of the teachings related to the Medicine Wheel. The Medicine Wheel In traditional aboriginal storytelling, many Elders teach about equality and respect for all people of the four colours. The Medicine Wheel represents Harmony and Connections and is a major symbol of peaceful interaction among all living beings. It’s also symbolic of the wheel of life, always evolving and bringing new lessons and truths to the paths we walk. A message of pride and respect The message behind the bright unity button is the celebration of our individuality as well as the diversity of our many nations. The most important part of the button is the centre where the nations meet and join in the Spirit of Unity. Modern Canada has a chequered relationship with its indigenous population – many First Nations people endure sub-standard housing and education, discrimination and systemic unemployment leading to heartbreaking levels of substance abuse. Premier Stephen Harper’s recent apology, on behalf of all Canadians, about Indian residential schools was a major step towards reconciliation, and it’s great to see schools taking the initiative and bringing aboriginal heritage into the classroom and into the consciousness of the next generation. A note accompanying the button read, “To wear this symbol is to proclaim pride in your own culture and to show respect for all cultures around the world. It is a means to spark discussion and communication between differing cultures along with promoting pride in the Aboriginal Nations.” Reading it made my heart swell…

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https://expatlog.com/2012/10/03/canadian-aboriginal-culture/

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In the 19th century, changes in technology and the ability to mass produce products created what is known as the Industrial Revolution, which occurred first in England and then in the United States and the rest of the Western world throughout the mid-19th and early 20th centuries. The Industrial Revolution signaled a movement from agrarian and hand-crafted products to machine-made products. This move to factory manufacturing opened up opportunities for both women and children to work outside of the home. Negative Effects on Women During the industrial revolution in both England and the United States, women often worked in unsafe and unsanitary working conditions, as factory work was not initially regulated by the government. Female Industrial-era workers in the United States often worked in "mill towns" such as Lowell, Massachusetts, where their lives were tightly controlled by the company and they were paid far less than men. Although most women worked in textile factories, which were less dangerous than jobs such as coal mining and other new industrial positions, even textile factories were overcrowded and unsafe. Tragedies such as the Triangle shirtwaist factory fire, in which 129 women and 17 men died, happened because of unsafe conditions and policies such as keeping outer doors locked to prevent theft. Positive Effects on Women Because of industrialization, many women left their homes and began to live independently. Although this caused worry for the well-being of women, it also allowed them to become a more vibrant part of social activism and labor movements that ultimately began to change dangerous working conditions. In addition, the industrial revolution allowed women to make enough money to support themselves and their families. Negative Effects on Children In the United States, the Industrial Revolution was somewhat driven by the use of child labor. Working caused many children to be estranged from their families and sent to workplaces in which they were considered merely a cheap source of labor. Children had to work in very dangerous conditions, performing jobs that took advantage of their small size. As a result, some developed lung diseases such as pneumonia and bronchitis in mills with poor ventilation, while others developed back problems, and some even became paralyzed, when working in coal mines. Positive Effects on Children There were very few benefits for children who worked during the industrial revolution: The danger, separation from family and harsh working conditions were largely detrimental for childhood development. The only children who reaped the benefits of the industrial revolution were those whose parents worked, providing the children with greater economic means for survival. - Women in World History; Classroom Lessons Series; The Plight of Women's Work in the Early Industrial Revolution in England and Wales - Library of Economics and Liberty; Industrial Revolution and the Standard of Living; Clark Nardinelli - Yale-New Haven Teacher's Institute: The History of Child Labor in the United States: Hammer v. Dagenhart - US History: Economic Growth and the Early Industrial Revolution Ann Trent has been publishing her writing since 2001. Her work has appeared in "Fence," the "Black Warrior Review" and the "Denver Quarterly." Trent received a Master of Fine Arts in creative writing from Ohio State University and has attended the Macdowell Colony. She is currently pursuing a Master of Arts in counseling.

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https://www.theclassroom.com/the-effects-of-industrialization-on-women-children-12084175.html

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Creating a story line that is subordinate to—but related to—the primary plotline, a background story that centers on the character’s inner demons, is great fodder for a subplot. Because when subplot focuses on the hero’s inner demons, it can also quickly become subtext. And subtext is a wonderful thing in storytelling. Subplots and subtext are two different sub sandwiches on the story menu, and as the chef, you need to grill them up strategically. —by Larry Brooks, author of Story Physics: Harnessing the Underlying Forces of Storytelling DEFINING SUBPLOT AND SUBTEXT A subplot, from a character perspective, is a dramatic question that is answered over the course of the story: Will they fall in love? Will she get the job? Will they be disinherited? Will they live or die? Will they have sex before the ship sinks? And so on. Subtext is the existence of some social, psychological, economic or other situational pressure that defines and influences the characters, such as social class, politics or career factors. A newly elected politician in Washington, for example, must navigate the chilly waters of political etiquette, expectations and party lines in every aspect of her work—that’s classic subtext in play. If the story is a thriller, the subplot might concern the hero’s ability to commit to something or someone in the face of the pressures of impending life or death. This lack of commitment or even a lack of courage becomes subtext that infuses the plot with higher drama, because we know the hero must conquer these inner demons in order to stand a chance against the real-world antagonistic forces you’ve put before him. If the story is a romantic comedy or a serious adult relationship drama, the hero may have been so focused on her career that she’s become awkward at personal relationships. This awkwardness, both relative to the primary plot and subplots, becomes subtext. The same inner demon that prevents her from committing to another human being might also prevent her from committing to a course of action that could solve the primary problem presented in the main plot. Or better yet, the primary plot could depend on her ability or inability to connect with someone in a way that calls for blind trust and loyalty. If the story is already a love story, the inner realm of personal obstacles can become the primary source of the story’s drama, while any exterior conflict is relegated to subplot. For example, one of the parties gets transferred to the opposite coast to keep her career moving forward, thus forcing a choice. Or, one of the families in a love story might bring class prejudice to bear upon the budding relationships, thus becoming the primary conflict in the main plotline. In this case you’ve just clobbered us with subtext of a thematic nature that informs and influences the outward-facing drama. The primary plot of Titanic, for example, was a love story that was forbidden because of social class distinctions, thus infusing the story with subtext concerning the class struggle that defined every relationship on board the doomed ship. The sinking ship itself was reduced to the role of subplot because we all knew what would happen. However, you could argue that it was the other way around—that the sinking ship was the main event, and the love story was secondary—but it doesn’t really matter. Both plotlines were saturated with subtext relating to social class. SUBTEXT, THE MAIN PLOT AND SUBPLOTS A subplot is usually much simpler and less obvious than the primary story line. When it limits the character’s choices and influencing behaviors, it eventually and successfully links to the main plot. For example, a character’s inner demon could easily influence her response to the arrival of the story’s primary conflict at the First Plot Point (the inciting incident). In fact, it absolutely should. And when it does it becomes subtext fueling the primary story line. If someone is painfully shy, and the First Plot Point finds her suddenly promoted to a management position, her shyness informs her response to this new journey, and in a way that throws up yellow and red flags at every turn. The primary story line might hinge on her ability to save the company from ruin, or expose the larcenous ways of the boss. Regardless, the main story line will be informed by the subtext of the character’s crippling shyness. In this example, our hero should be well on her way to conquering that shyness (it’s still subtext) right up until the story’s Second Plot Point, which launches the final push toward the story’s conclusion. She may need to confront the board of directors to expose the illegal agenda of the same upper management that promoted her, and it is the very fact of her shyness, in contrast to the egotistical bluster of her peers, that motivates the board to listen to her. Suddenly that inner demon isn’t just subplot but a major catalyst in the resolution of the primary story line. Will she be bold and take the risks necessary to do what must be done? The answer resides at the collision between subplot and primary plot, and in the shadow of subtext. Or, sometimes the subplot can be completely separate. In that case, character arc needs to be demonstrated across both plotlines, and the more behaviorally intertwined, the better. CHARACTER SUBTEXT AT WORK In the hit TV show “Burn Notice,” Michael Westen is an intelligence agent who is constantly working to uncover who burned him—basically making him persona non grata within his profession—while addressing the plot-of-the-day (episode), which is always an empathy-inducing save-the-innocent scenario toward which he contributes his substantial spy skills. The main plot is how Michael solves the case of the moment. The subplots are his romantic relationship with his trigger-happy sidekick, and whether the local police will stop him before he nails the bad guys using less-than-legal means. The subtext is his ongoing status as a burned spy for some unnamed government agency, which at the end of the day is the primary plot of the series itself. The latter is also a subplot. Yes, subtext can become subplot, and vice versa. Don’t sweat this. Just understand what the elements are, and let it rip. It’s easy to conclude that you have many options here. A full-blown matrix of them, in fact, with three different variables—plot, subplot and subtext—all in simultaneous play. This is literary juggling at its finest and most challenging. SUBPLOT IN ACTION In The Cider House Rules by John Irving, the subplot is Homer’s ability to hook up with Candy romantically. Will they or won’t they? Stay tuned as the main plotline unfolds. The subtext of the story is the ever-present issue of right to life and abortion, and the pressures it puts on the characters. In this case, subplot is character, subtext is theme. This is a familiar paradigm, one you should pay attention to and apply. In Top Gun, the subplot is the hero’s budding relationship with the ultra-hot flight instructor. Again, stay tuned, because hijinks ensue. The main plot—admittedly weak—is some conglomeration of whether the hero would wash out (this being the link between the main plot and the subtext) before he can save the day from an impending attack by bad guys. The subtext of Top Gun, however, isn’t really a question at all, but an influencing pressure: The hero lives under the dark shadow of a disgraced military father, nobody likes or respects him, and it pushes him toward irresponsibility and bravado to the point of risking his career and the lives of his teammates. The writer’s challenge is to understand the differences between plot, subplot and subtext, and then master them—and more importantly, plan and work with them—from a character perspective. When you do, you have everything in place to make your hero’s character arc both bold and profound.

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We know that fourth grade is a time of growth and change. Students want support from peers rather than adults; expect their environment to be fair, honest, and just; seek independence; are highly active; can empathize and see perspectives; can think independently and critically; are influenced by peer standards; and need help building confidence. We help our fourth graders learn and practice: actively engaging and sharing to understand perspectives and experiences of others; problem solving in various settings; mindful self-monitoring; using evidence to support ideas; working collaboratively on an academic goal; making connections between themselves and classroom content in order to assess decision making and outcomes; and building awareness of their strengths and weaknesses for self-empowerment. Our Goals for Fourth Graders Deepen their understanding of the writing process in various genres for many audiences and to engage their reader through more developed voice, word choice, and structure. Explore California history with focus on developing awareness and understanding various perspectives of events and human experience. Apply operations to various types of problems, review and practice new skills, deepen number sense, and explore and analyze the relationships and connections between various concepts through mathematical reflections. Investigate, gather, and reflect on content across integrated subject areas and develop higher level comprehension and thinking skills while questioning, discussing, and responding to larger themes. Use evidence from investigations to construct claims and explanations about electricity, magnetism, and energy sources. Cultivate problem solving and critical thinking skills by applying scientific ideas to design, test, and refine solutions to problems. Continue to build vocabulary with an emphasis on adjectives and descriptive language. Reinforce authentic language skills with greater complexity and grammatical structures through conversation, storytelling, and skits. Gain exposure to a wide variety of perspectives in literature, deepening the idea of literature as both windows and mirrors, and practice information literacy, media literacy, and digital citizenship skills. Mature locomotor, non-locomotor, and specific manipulative skills (throwing, catching, striking); refine sport skills through individual, partner, and group activities; and take more of a leadership role in demonstrating teamwork, cooperation, sportsmanship, and fair play. Expand singing and note reading capabilities, perform more complex ensemble music, be responsible for harmony parts in combined choir music, and analyze different genres of music at a deeper level. Work independently through the process of art making, challenging themselves artistically and driving the process based on their artistic knowledge and interests. Learn to follow the Design Thinking iterative process and use HTML code to create web pages that incorporate text, links, images, colors, and other formatting features.

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The lesson sequence that I am working on for the New Technologies, New Stories project will see students working toward a Digital Storytelling assessment to explore ideas about what makes a good story. In particular they will be focussing on how images and audio elements can be combined to enhance meaning in narrative. Aimed at Stage 5 (years 9 and 10) this lesson sequence will see students analysing a range of fiction and non-fiction narrative texts to devise a set of class criteria for a ‘good story’. In my year 8 unit on Newspapers I teach students the criteria for ‘newsworthiness‘, but it occurred to me that I don’t teach any similar guidelines for ‘story-worthiness’. I wanted to design lessons that got students thinking about how to craft a story that is engaging to readers, and to demonstrate narrative skill across a range of modes. Key Learning Ideas: 1. Writing stories that are more than a recount of events. I often find that in Stage 5 students have learned a range of skills for building an effective narrative – they are well versed in character development and imagery, for example – but are still missing that ‘knack’ for writing a story that engages readers (and avoids clichés and stereotypes). In particular I have found my students struggle to move from narratives that describe a sequence of events to using symbolic and figurative representations in their work. 2. Using voice, image and written text to create narrative. When making Digital Stories with Year 9 for the first time last year, I was struck that most either chose poor images to reflect their story, or lost any sense of story because the chosen images weren’t used to build a narrative. This was surprising – it hadn’t occurred to me that their choices in written imagery weren’t dull because of their writing, but because of their poor choice of imagery to reflect or contrast with the story. I’m hoping that asking students to focus on building a narrative using a range of modes will help them to focus on the meaning and ‘flow’ of their stories, not just the technical skills and tools required to tell them. Before (and while) students begin composing their own digital stories, they will be engaging with a range of texts to explore the question ‘what makes a good story’. To do this we will be: - Reading the novel The Curious Incident of the Dog in the Nighttime by Mark Haddon - Reading a range of picture books, including Fox and The Wolves in the Walls - Watching a range of Digital Stories from the DigiTales website - Watching my all time favourite TED Talk by David Griffin Photography connects us with the world …I’d love to hear of any more suggestions for stories I could use with the students. As you can see I am lacking some good non-fiction and poetry texts. Students will make their own 2-3 minute Digital Story. They must nominate 2-3 of the class developed criteria for ‘story-worthiness’ to showcase, and they will be peer assessed on how well they meet the nominated criteria. Possible addition – Students transform their digital story into written form and write a reflection on the different language skills/tools needed to create the same narrative in different modes. Written stories could be stored on a class wiki, with digital versions uploaded as well.

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https://kellimcgraw.net/2009/03/27/narrative-and-technology/

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Find inspiration and suggested tools for making ebooks with your students. Just like reading an interactive ebook is more engaging than reading a print textbook, creating a digital book is a lot more fun than writing a typical report or essay. But more important than making learning fun, creating an interactive ebook gives students who struggle with writing a better tool for sharing their ideas and demonstrating knowledge. Currey Ingram Academy is a K-12 college preparatory school for students with learning differences. Many of our students struggle with written expression. Dyslexia, language processing deficits, and fine motor delays can make it challenging for a child to produce a quality written product. Students with ADHD often lack the focus for completing a major assignment. Using the right tech tool, our students can build upon their strengths to produce amazing, creative works. Because digital books give students a variety of options for sharing information, our students are highly successful when using this technology. Here are four ways you can use digital book creation with your students: 1. Go beyond creative writing. Though most ebook-creation platforms focus on narrative writing, most of my digital book projects are nonfiction texts. Last year, I helped second-graders write an alphabet book about Thanksgiving. Using Book Creator, each student created a page for one letter ("B is for Bread") with an image and a factual sentence about the topic. We then compiled the pages into one ebook to share with parents and other classes. 2. Share knowledge. Digital books are an excellent assessment tool for all ages. In addition to text, students can include images, video, and audio clips. My fourth-grade students made StoryJumper ebooks about famous explorers as a culminating activity for their exploration unit. The final products are more than a project grade; the books are shared with future classes as instructional texts. 3. Create and listen with audio-integrated books. Seventh-grade students wrote creative stories about the day aliens visited our school. Then they turned their stories into original picture books using My Story Book Creator. In addition to illustrating the books by hand (stylus), the students recorded themselves reading the text aloud in rehearsed, dramatic voices. The ebooks were shared with elementary students who enjoyed listening to books that otherwise may have been too difficult for them to read independently. 4. Don't forget the multimedia. Many students who lack the ability or focus to compose long written passages may really shine by incorporating images and video. When given an assignment to use Book Creator to create an autobiography, one of my students with ADHD produced a very creative story told almost exclusively through video clips embedded in the book. The videos conveyed her personality in a way written language could not. If you aren't sure where to start, check out some of my favorite tools for digital book creation: - My Story Book Creator: Make easy-to-share, colorful picture books; the audio narration is my favorite feature. It's designed for elementary grades, but no one is ever too old to illustrate a storybook! All ages. - Book Creator: Create professional-looking books with a wide variety of media options. It's designed for older students but simple enough for young students. It's also easy to merge pages from multiple devices. All ages. - Creative Book Builder: It's one of the more expensive apps, but it's very versatile. Grades 6-12. - iBooks Author: Create professional, beautiful ebooks. iBooks Author supports dictation and text-to-speech, a useful accommodation for many students. Grades 6-12. - StoryJumper: It's easy to access and manage student accounts and share the final product. There's an extensive library of clip art/stickers, but it doesn’t support video or audio. Grades K-8. - VoiceThread: Not an ebook platform, but I've used it for making collaborative book-like projects. Students can contribute content in a multitude of formats: images, voice, video, and text. Grades K-12. And for a shorter assignment, or if you don't have access to a digital-book-creation platform, try making multimedia-enriched posters. Several excellent websites, such as Glogster and Thinglink, can help in creating interactive digital posters.

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CC-MAIN-2021-17

https://www.commonsense.org/education/articles/4-tips-for-student-created-digital-books

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Tools to Help Children Develop Visual Perception In this audio-cast, Jenny discusses tools that can be used by teachers, therapists, and parents to help children develop visual perception. Jenny offers presentations, webinars, and workshops for teachers, occupational therapists, speech therapists, and physical therapists. If you are planning a conference and you are looking for a speaker on SPD, please contact Jenny today. Visual perceptual skills are the foundation skills necessary for reading, writing, and math. There are seven visual perceptual skills that impact learning. A student can have deficits in one or more of these subskills. I would like to share with you a description of these visual perceptual skills, how they might impact children in school, and activities to help improve each area of visual perception to enrich learning ability. Visual Discrimination: The ability to discern slight differences between letter shapes, sizes and fonts. This can affect reading comprehension. Activities: Matching game such as Old Maid, Go Fish, scrabble. Visual Memory: Important skill for copying from the chalkboard or spelling. Activities: Memory card game, practice spelling words using a scented marker, then smell the marker just before the test. The olfactory system is linked to memory. Visual Spatial Relationship: Enables discerning between b-d-p-q. It is important in preventing letter reversals and manipulating columns of numbers. Activities: Puzzles, parquetry, tanograms. Visual Form Constancy: It is important in discriminating similar font styles when reading. Can lead to poor reading comprehension and recall. Activities: Find and circle all of the letter “a’s” on a magazine or newspaper page. Then find all of the letter “b’s” etc. Visual Sequential Memory: Affects reading comprehension and spelling. It is important in written organizational skills for creative writing. VSM difficulties may mean that class performance exceeds exam responses. Activities: Use a hand-held electronic speller. Spell words using magnetic letters. Spell words in modeling clay. Visual Figure-Ground: Difficult to focus on tasks without being distracted by extraneous input. May lose things easily in desk and would therefore benefit from organizational aids. May lose place on page when reading. Activities: Use a window guide when reading. Here is one example (Reading Helper 954-752-3692). Hidden picture activity pages such as Highlights magazine, Where’s Waldo or I-Spy books. Visual Closure: Difficulties may affect word identification, seeing words “spl-it”, or omitting letters when reading. Activities: Finish the picture activity books, dot-to-dot (ask child what the picture is before completing it).

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https://www.jennylclark.com/tools-to-help-children-develop-visual-perception/

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In the poem “Boy at the Window,” Richard Wilbur uses imagery, tone, and theme to show what his purpose in this poem is. At the end of the poem, the author wants the reader to understand that we should not feel bad or sad about something that we don’t understand. Richard Wilbur’s use of imagery in the poem helps us to understand his purpose of this poem. The stanzas in the poem paint two completely pictures in your head when you read them. The first stanza makes you see the snowman as a blue object that is always lonely. The second stanza paints the picture of the snowman’s view of the little child who is sad about something that he does not understand. In the first stanza, the poem is showing how the little boy sees the snowman “standing all alone” and “returns him such a Godforsaken stare”. The little boy sees the snowman as lonely and creates a depressing image of the snowman in your head. In the second stanza, you hear the snowman’s view of the little child in the window and how the little boy does not understand. The snowman is shown as sad in the second stanza, but not because the little boy does not understand that the snowman is happy outside. It is because the little boy should not be sad when he is warm inside his home, surrounded by love, but yet so frightened and moved about the snowman being alone (“such warmth, such light, such love, and so much fear”). So the author creates a really great sense of imagery throughout the poem because of how you see the snowman at first, then the picture in your head changes when you hear the other side of the story. The author also had a great tone throughout this poem as he shows us his purpose and his theme that people should not be sad or fear something if they do not understand it. The tones of the stanzas vary or differ when you go from to the second stanza. In the first stanza, the tone is sad or deeply upset because of the word choice that the poet uses. When the boy “weeps”, you get the feeling of sadness and that the boy is not happy. Also, the child’s sight is described as “tearful” and his reach described as “hardly”; which are words used to describe saddening events. The snowman is seen as a “pale-faced” figure and is compared to the “outcast Adam”. These words are not used to describe a happy or content situation, and they are describing a sad view of a snowman. In the second stanza, the tone is happier, but not completely joyous or happy. The snowman is “nonetheless, content” so he is not sad being outside or being all alone. The snowman’s eye is seen as “soft” and his tear is seen as “a trickle of the purest rain”. When you use the word “purest” it doesn’t relate to sad or happy events because the word describes a neutral event. The poet creates a great tone throughout the entire poem, which is sad for the first stanza and kind of neutral for the second stanza. Using imagery, tone, and theme throughout the poem “Boy at the Window”, Richard Wilbur shows that you shouldn’t feel bad or get upset about something that you do not understand. The author’s use of imagery in the poem is what paints a wonderful picture in your head as you read, and that helps you to understand the author’s purpose. Tone plays a big role in the poem also because of the way you get to hear the different sides to the story and how that impacts the author’s purpose and how it’s portrayed. This poem was very well written and did a very good job of using literary elements to portray the author’s purpose and the theme.

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Men and women among the Comanche Indians held distinct roles. The bands of Comanche that roamed the Great Plains area of the United States in the 19th century adhered to a traditional division of labor, which left women in charge of work related to home and family, while men hunted and fought. Additionally, high-ranking men engaged in trade with Europeans, Mexicans and Americans, often to sell back kidnapped relatives and dignitaries. Men - Hunting and Herding Young men tended the tribe's flocks and trained for manhood. Coming-of-age meant the responsibility of fishing and hunting elk, buffalo and other game. After the Comanche acquired horses, they expected their young men to learn horse-riding skills, which could be used both for tracking animals and herding. The Comanche were considered the best horsemen among the Plains Indians. Men - Warfare The Comanche used their horses most notably for warfare. Their young men trained to use bows and arrows and spears and shields made from buffalo hide. If rifles were available, the arts of marksmanship had to be learned, as well. Horse-mounted Comanche men went on raids that extended as far south as the jungles of Mexico. On these raids, which might last for months, men occupied themselves with acquiring the transportable goods of whichever people they fought. Men - Trade Among the transportable goods the Comanche acquired on these raids were members of other tribes or citizens from Mexico or the United States. High-ranking Comanche men accompanied the armed groups that led these captives to meeting places with relatives and/or diplomats and exchanged them for money or other goods. These high-ranking men were from among the elite leadership of each tribe. A man could rise to such rank by exhibiting prowess in combat. Women - Gathering Food and Cooking The Comanche were hunters and gatherers and, as was often the case with such cultures, women were in charge of the gathering. Since the Comanche were a polygamous society, one or more women might be attached to a single man and care for him by collecting nuts, berries and other wild vegetation near their camp. Women prepared meals for their men with the food they gathered and the meat brought home by hunters. Women - The Home Women were also responsible for the home, which was usually a tee pee made form hides and wood. They did not simply clean the home. Women had to actually build the tee pee, even if that meant carrying heavy wood and erecting the structure themselves. They were also charged with raising children. Men would take charge of older boys, but women raised the girls and prepared them for marriage and motherhood. Robert Paxton has been writing professionally since 2002 when he published his first novel. He has also published short stories and poems and writes ad copy for various websites. He graduated from the University of Arizona in 1995 with a bachelor's degree in creative writing. Paxton is a trained Montessori instructor who has taught at both the elementary and the secondary levels.

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Students will analyze primary sources, participate in class discussion, and complete an individual writing assignment to understand the human impact of the Berlin Airlift. I want students to understand the importance of the Berlin Airlift on a human level: why it mattered so much to the American pilots delivering supplies and the Berliners receiving supplies. This lesson should be used as a follow-up to an overview or introductory lesson on the Berlin Airlift. Prior to this lesson, students should understand at least the following issues: why the Airlift was necessary, the Soviet role in causing the Airlift, how the Airlift worked (a basic or more detailed understanding of logistics), and the outcome and effects of the Airlift. - Analyze and evaluate primary documents relating to the 1948-1949 Berlin Airlift - Participate in class-wide discussion analyzing the purpose, success of and effects of the Berlin Airlift - Illustrate understanding of the Berlin Airlift’s human impact by writing an account from the point of view of an American pilot or Berliner - Culture: Social studies programs should include experiences that provide for the study of culture and cultural diversity. - Individuals, Groups, and Institutions: Social studies programs should include experiences that provide for the study of interactions among individuals, groups, and institutions. - Production, Distribution, and Consumption: Social studies programs should include experiences that provide for the study of how people organize for the production, distribution, and consumption of goods and services. - Global Connections: Social studies programs should include experiences that provide for the study of global connections and interdependence. - Civic Ideals and Practices: Social studies programs should include experiences that provide for the study of the ideals, principles, and practices of citizenship in a democratic republic. SHOW ME STANDARDS 2. Continuity and change in the history of Missouri, the United States and the world 6. Relationships of the individual and groups to institutions and cultural traditions 7. The use of tools of social science inquiry (such as surveys, statistics, maps, documents) Benchmark 3: The student uses a working knowledge and understanding of individuals, groups, ideas, developments, and turning points in the era of the Cold War (1945-1990). 2.(A) analyzes the origins of the Cold War (e.g., establishment of the Soviet Bloc, Mao’s victory in China, Marshall Plan, Berlin Blockade, Iron Curtain). Benchmark 5: The student engages in historical thinking skills. 1. (A) analyzes a theme in United States history to explain patterns of continuity and change over time. 2. (A) develops historical questions on a specific topic in United States history and analyzes the evidence in primary source documents to speculate on the answers. 3. (A) uses primary and secondary sources about an event in U.S. history to develop a credible interpretation of the event, evaluating on its meaning (e.g., uses provided primary and secondary sources to interpret a historical-based conclusion). - Margot Theis Raven, Mercedes and the Chocolate Pilot, Sleeping Bear Press, 2002 - Gail Halvorsen, The Berlin Candy Bomber, Horizon Publishers, 1997 - Roger Miller, To Save a City: the Berlin Airlift, 1948-1949, Texas A&M University Press, 2000 - Gail Halvorsen, “Impressions of a Berlin Airlift Pilot” (November 1997) - Gail Halvorsen, home videos of the Berlin Airlift (available online from the Truman Presidential Library and Museum - Various photos of the Berlin Airlift (see Halvorsen’s and Miller’s books and online sources) Computer & projector (for Halvorsen video); overhead projector & photo transparencies of Berlin Airlift photos - Students should have a general understanding of the Berlin Airlift prior to this lesson (see above). - Begin the lesson by explaining the objective: to understand the human impact of the Airlift (now that students understand the politics and purpose of the Airlift). Real people participated in and benefitted from the Airlift, and the Airlift changed many lives. - In your best storytelling voice, read Mercedes and the Chocolate Pilot to the class. Hold a short class discussion on the book. - Hand out copies of Gail Halvorsen’s “Impressions of a Berlin Airlift Pilot” for students to read (this may also have been assigned as homework for the previous evening). I also hand out highlighters and encourage students to highlight main points, parts that particularly affect them, etc. Allow approx. 10 minutes for students to read and digest Halvorsen’s account. I will also require students to briefly respond to Halvorsen’s work (3-5 sentences on what they see as the most important points, what most affected them, etc.). - Hold a class discussion on Halvorsen’s account, allowing the discussion to be as student-directed as possible, but asking questions to keep the discussion going. What struck them about Halvorsen’s account? How did they feel during and after reading it? How did Halvorsen’s feelings about the Airlift change? Why did Halvorsen begin dropping candy to the Berlin children? What are some specific reactions to his actions Halvorsen witnessed, either immediately or years later? What do students see as the overarching themes of Halvorsen’s account? Also question students on a more personal level: How would students have felt were they pilots during the Airlift? Would students have done the same thing Halvorsen did, even in the face of court martial? etc. - At an opportune time during the discussion, project the photo of Gail Halvorsen preparing wee parachutes (available in the primary sources provided by the Truman Library and on page 106 of Miller’s book). I will also show the photo of Halvorsen and myself (July 2008) and explain his current travels and speaking engagements (this likely toward the end of the discussion). Throughout the discussion, as appropriate, project various photographs of the Berlin Airlift: Halvorsen and other pilots, loading and unloading the planes, children looking up at planes, the faces of Berliners, the destruction of Berlin, etc. Also choose when you would like to show Halvorsen’s home videos of the Airlift; in the middle of the discussion is probably a good time (the video will likely spark more discussion). - Drive home the points about how the Berlin Airlift impacted everyday Berliners and the American pilots who flew the missions: the Airlift changed lives! I will also stress Halvorsen’s points on sacrifice before self, gratitude, hope, and the power of one. Students should then complete the assessment. Participation points may be given for participating in class discussion on the Berlin Airlift (my students can currently earn up to ten participation points per class period). The formal assessment will consist of a student-produced account of the Berlin Airlift, either from the perspective of an American pilot participating in the Airlift or a Berliner who benefits from the supplies delivered in the Airlift. Students may choose either perspective, and should be encouraged to consider different personalities and viewpoints (e.g., an American pilot who is conflicted about helping a former enemy, a child in Berlin excited about receiving candy, a Berliner who assists with unloading planes or repairing runways, etc.). After completing other lesson activities, direct students to choose a person for whom they wish to create a journal entry or letter. Depending on the grade level and student ability, length of the written account may very; for my at-risk high school students, I will require a minimum of two five-six sentence paragraphs. Students should create names for the personality they choose and should date the journal entry or letter. In the written account, they should describe in detail their person’s feelings on the Airlift, why the person feels this way, how/why the person has benefitted from the Airlift, how/why the person’s feelings about the Airlift have changed, etc. Berlin Airlift Assessment Scoring Guide 5 = excellent; 4 = good; 3 = satisfactory; 2 = needs work; 1 = marginal/ineffective; 0 = does not meet guidelines 1. Written account clearly illustrates student understanding of 5 4 3 2 1 0 Berlin Airlift’s human importance/impact 2. Written account is convincing and effective at portraying 5 4 3 2 1 0 3. Written account clearly describes character’s feelings on 5 4 3 2 1 0 Berlin Airlift and explains reasoning for these feelings 4. Written account shows creativity/student actively places 5 4 3 2 1 0 himself or herself in character’s shoes 5. Written account meets basic writing guidelines (length, 5 4 3 2 1 0 6. Written account is well-written, legible & free of major 5 4 3 2 1 0 7. Teacher comments 8. TOTAL POINTS EARNED: /30 Percent & Letter Grade:

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- Is calm a mood? - Does tone affect mood? - How does the author create tone and mood? - What is the difference between voice tone and mood? - Is fearful a tone? - How is mood created? - Is prideful a mood? - What are examples of mood and tone? - What are some negative tone words? - Is informative a tone? - What is tone or mood? - Is Chaotic a tone? - Is regret a tone? - Can Lonely be a tone? - Is curious a mood? Is calm a mood? While moods are commonly used to describe how an individual person feels at a given time, they also can be used to describe the atmosphere of groups of people, places, and eras or time periods. The mood set for this beach is calm and peaceful.. Does tone affect mood? Mood and tone are two literary elements that help create the main idea of a story. The mood is the atmosphere of the story, and the tone is the author’s attitude towards the topic. … By doing so, it will help us find meaning in the story or passage and help us feel more connected to the writing. How does the author create tone and mood? Tone is achieved through word choice (diction), sentence construction and word order (syntax), and by what the viewpoint character focuses on. Tone is created or altered by the way the viewpoint character/narrator treats the story problem and other characters, and by the way he responds to the events surrounding him. What is the difference between voice tone and mood? Voice is different because you can experience the author’s style of writing. Tone is how the author wanted the readers to understand the attitude of the story. Mood is what the author wants the reader to see or sense the story. Is fearful a tone? fearful or uneasiness about something that might happen. to speak or think favorably of, to judge favorably. characterized by intense feeling; passionate; fervent; intensely devoted, eager, or enthusiastic; zealous; vehement; fierce. How is mood created? In literature, mood is the atmosphere of the narrative. Mood is created by means of setting (locale and surroundings in which the narrative takes place), attitude (of the narrator and of the characters in the narrative), and descriptions. … Atmosphere is the aura of mood that surrounds the story. Is prideful a mood? Although the adjective prideful is occasionally used simply to mean “proud,” or pleased and happy because of some achievement or quality, it usually means something closer to “haughty.” If you know someone who’s beyond proud, believing they’re smarter, more beautiful, or just generally better than most other people, … What are examples of mood and tone? The tone in a story indicates a particular feeling. It can be joyful, serious, humorous, sad, threatening, formal, informal, pessimistic, and optimistic. Your tone in writing will be reflective of your mood as you are writing. What are some negative tone words? NEGATIVE Tone Words SynonymsDemoralizing depressing; perverting.Indignant enraged; furious.Melancholy pensive; gloomy.Disgruntled discontented; dissatisfied.Lugubrious mournful; sorrowful.Disparaging sarcastic; critical.Inflamed irate; provoked.Haughty arrogant; condescending.More items…• Is informative a tone? An author’s voice may be sarcastic, informative, friendly, or something else entirely. … Tone can change from sentence to sentence, while voice stays consistent. Here’s an example: In a young adult novel, the author has a casual voice. What is tone or mood? While “tone” is the writer’s attitude, “mood” is the feeling the reader gets from the writing. Tone often describes the writing overall, but the mood of a piece of writing can change throughout it. Is Chaotic a tone? Types of Tone. There are an infinite number of different tones, all composed of different qualities such as dark, humorous, serious, emotional, objective, chaotic, etc. Perhaps the most important aspect of tone, though, is the formal / informal distinction. Is regret a tone? Writers Write is a comprehensive writing resource….155 Words To Describe An Author’s Tone.ToneMeaningApologeticfull of regret; repentant; remorseful; acknowledging failureAppreciativegrateful; thankful; showing pleasure; enthusiasticArdententhusiastic; passionateArrogantpompous; disdainful; overbearing; condescending; vain; scoffing151 more rows•Jun 27, 2014 Can Lonely be a tone? The most important idea I came across is when loneliness occurs even when one is surrounded by others, perhaps the most concentrated form of loneliness. … Is curious a mood? Curiosity is a familiar feeling among people. But as soon as we scrutinize that feeling, curiosity reveals itself to be a complex emotion indeed. … But unlike lust, the object of curiosity’s desire is information. Curiosity is all about learning what we do not (yet) know.

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How to Express a Theme in a Poem or Play A theme is a message that an author or playwright wants to convey to his audience. Themes can be explicitly stated or inferred. More often, writers weave themes seamlessly into the plot of a play or the poetic devices of a poem, and a reader has to infer them. Poets use poetic devices and elements to express themes, according to instructor Becky Villarreal at Austin Community College. For example, in “The Courage that my Mother Had,” by Edna St. Vincent Millay, the poet uses the title to alert a reader to her theme. She also expresses the theme of courage in her poem by using certain poetic devices. In the last stanza, the line, “That courage like a rock,” is a simile that compares her mother’s courage to a rock, which is also a symbol for strength and stability. Poetic devices like imagery and symbolism are ways that poets express themes in their poetry. Poetry often utilizes symbols from landscape and nature to express theme, states an ACS Distance Education website on creative writing. In plays, authors have many tools at their disposal to express theme. One of the easiest ways to express a theme in a play is to use characterization to convey your message. For example, in the famous musical “Les Miserables,” Jean Valjean, the hero of the story, undergoes a transformation of character, as does his nemesis, Inspector Javert. Valjean is a convict sent to prison for stealing a loaf of bread to feed his family. Because he keeps trying to escape, he is in jail for over 19 years. He leaves jail with the mentality of a felon. Without even going further in the story, a minor theme that readers can infer from this is that people are products of their environment. However, the major theme in the story is that people can change. During the course of the play, Valjean changes his identity and becomes a respected mayor, but Inspector Javert continues to pursue him. Javert is a rigid man who doesn’t believe that people can redeem themselves. Jean Valjean’s character and the actions that he takes during the course of the play show that Javert is wrong and amplify the theme that the author wanted to convey. People have the capacity to change for the better. Another way that authors express theme in plays is by the plot. In "Les Miserables," Javert is so immovable in his beliefs that he commits suicide at the end of the play. Because Valjean spares Javert’s life during the rebellion, Javert comes to a crisis of a belief so imbedded in his mind that he cannot cope with the fact that a convict saves his life. Javert would rather die than accept the fact that people can change. This resolution shows the theme of change by showing the negative effects of being rigid and reluctant to undergo personal change and growth. Just as poetic devices can help a poet express theme, an author’s use of literary devices can help to express themes in a play. In “Romeo and Juliet,” Shakespeare uses a variety of literary devices to express different themes in his famous play. The line spoken by Romeo’s friend Mercutio, “Search for me tomorrow and you will find me a grave man,” uses both foreshadowing and a homophone to express a theme of violence and death in the play. Tybalt murders Mercutio and puts him into a grave the next day. - Stockbyte/Stockbyte/Getty Images

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The 4 main types of academic writing are: Descriptive, Persuasive, Expository and Narrative. When you’re asked to write a paper for high school or university, your professors usually expect you to maintain one of those main types of writing for academic content. You’ll be able to do that when you understand the characteristics of each type, and you learn how to make a difference between them. That’s what we’re here for today! We’ll define the four main essay types, so you’ll know what expectations you’re dealing with. 1. Descriptive Academic Writing: Definition and Characteristics Descriptive writing is characterized with descriptions of objects, places, persons, emotions, experiences, situations, and so on. You’re asked to analyze something and paint a picture in words. The important thing to remember is that you’re not writing for the sake of giving descriptions. You’re supposed to convey a deeper meaning through this type of academic writing. You need examples? Here is a scene from War and Peace, where Tolstoy used descriptive writing style: “Down below, the little town could be seen with its white, red-roofed houses, its cathedral, and its bridge, on both sides of which streamed jostling masses of Russian troops.” You see how the author really paints a picture and makes you imagine the scene in front of your eyes? That’s the effect you want to achieve. But what is academic writing? Can you get inspired by fiction writers? The good news is that this is one of the most flexible writing types, which gives you a lot of space for artistic freedom. 2. Persuasive (Argumentative) Writing: Convince With Strong Arguments The persuasive (also known as argumentative) essay is one of the most common genres of academic writing required for school. It’s the type of essay your professors assign when they want you to prove how great you are as an academic writer. It requires you to investigate a topic, form your own opinions, generate evidence in support of those opinions, and convince the reader that you’re making a valid point. Among all different types of writing, this is the most demanding one, mainly because the requirements for an extensive research process. You have to build your case with strong persuasive essay topic, logic, facts, cases, examples, and expert opinions. Plus, you must present both sides of the argument, so you’ll convince the reader that your stand is the most logical option. This is the structure for persuasive types of writing paper: - Introduction with a clearly defined thesis statement - Body paragraphs with evidential support - A body paragraph that discusses conflicting opinions 3. Expository Academic Text: What Is It? The expository writing style requires you to investigate an idea, collect and evaluate evidence that supports that idea, expound on it, and provide an argument that involves that idea. This may be one of the most confusing styles of academic writing, since it’s similar to persuasive style. However, there’s less research involved in expository writing, and this type of essay is usually shorter in length when compared to a persuasive writing project. This is the proper format to follow: - An introduction with a clear thesis statement - Body paragraphs that evaluate evidence - Conclusion that shows how the evidence proved your thesis statement 4. Narrative Writing: Definition and Format Narrative style, as one of the most common types of academic writing, requires you to tell a story about a personal experience, anecdote, or a real-life situation. Book reports, which are also considered as narrative projects, do not follow the storytelling pattern, but focus on providing an informative narrative. When you’re writing a narrative assignment, you must draw the reader into the content. You can achieve such an effect by using vivid language and expressing a clear point of view. There’s no particular format to follow for a narrative essay, but you still need an introduction, body, and conclusion of the essay. As a student, you’ll deal with all these assignments sooner or later. Knowing the difference between the main types of academic writing helps you handle the challenge!

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Narrative Procedure Activities for Fourth Grade A narrative procedure is a set of written instructions for how to do something that includes an introduction, transitional phrasing and a conclusion. It could be a step-by-step guide for things like baking a cake, putting together a piece of furniture or creating a craft project like a sun catcher. It can even include personal anecdotes. By learning how to write narrative procedures, fourth graders can strengthen their understanding of structure, narrative techniques and organization in the writing process. Read and Discuss Examples Before students can start writing their own narrative procedures, it is helpful to learn from other examples. You can discuss cookbooks and instruction manuals to introduce the basic concept. However, narrative procedures usually expand on these basic sets of instructions, so books should be selected that provide more fully formed examples. Books that are appropriate for fourth grade include "Eloise’s Guide to Life" by Kay Thompson and "Kids' Magic Secrets" by Lori Bree. Both include steps worked in with narrative descriptions and other useful information. After you read the books, discuss the components of narrative procedure found in the books, and identify each of the steps together. This will help students to better understand how a narrative procedure is composed. Write Practice Narratives It is easier for students to approach new writing by starting with something they know well. For example, students might write about how to clean a room quickly or how to play a certain video game. Students should write a practice narrative procedure, focusing on providing all the steps, including clear transitions and providing contextual information. The class can discuss these together to identify the components of narrative procedure and give feedback on whether the process is clear. A student or group of students could even act out the procedure as the class reads. Interview an Expert Students can conduct an interview with an expert on a particular task, such as another teacher or a community member, and then create a narrative procedure based on the information they received. If they find gaps in their information, they can schedule follow-up interviews and do more research in order to complete their project. As they work to complete their narrative procedure from what they learned from the expert, they can see what information is important and what is extraneous. By interviewing an expert, students are also practicing the skills necessary to meet grade-level standards for listening to and carrying out instructions and analyzing and synthesizing information. Test their Procedures Students can put their understanding of narrative procedures to the test through group work. Students should be instructed to write a narrative procedure on a process that they don't know well and have to research. After completing their drafts, they can each trade their paper with another student and test the procedures. For example, if one student writes about how to fold a paper airplane, the other student should be able to read the instructions and complete the procedure correctly without any outside help or knowledge. The activity will show students where they are missing steps or forgot to include contextual information, such as troubleshooting potential problems. Maria Magher has been working as a professional writer since 2001. She has worked as an ESL teacher, a freshman composition teacher and an education reporter, writing for regional newspapers and online publications. She has written about parenting for Pampers and other websites. She has a Master's degree in English and creative writing.

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In this Wonder of the DayR, we learn about why flamingos are pink. Students have the opportunity to explore the Wonder either as a class or individually. With suggestions for different age groups, Wonder #1 has an activity to engage students with drawing, writing description, or both. This Lesson Plan was created by Molly Simpson. The attached Lesson Plan is designed for Grade 1 English Language Arts students. Students will be able to understand and spell the words using their knowledge of the various spellings of the same sound: "oar, "or", and "ore". This Lesson Plan can be used with small group instruction or with a whole class. This lesson plan adresses the following NDE Standards: . It is expected that this Lesson Plan will take students 20 to 80 minutes to complete depending on the use of small group or large group instruction. The attached lesson plan is designed for 3rd grade English Language Arts students. Students will analyze informational text to determine the main ideas for a report, apply the concepts of the writing process, and communicate their research through an oral presentation to their classroom peers. This lesson plan addresses the following NDE Standards: NE LA 3.1.6.e, NE LA 3.2.1.a,c,d,e,j, NE LA 3.3.1.aIt is expected that this lesson plan will take five one-hour sessions to complete. Students are reading to learn new information all the time. They should know different strategies to help them along the way. This is a great little lesson to do at the beginning of the school year and then after semester break again. Students should know the tools to help them be successful readers. This can be used for a teacher inservice or for parents who are new to helping thier own kids out during elearning / homework. 20 minutes This lesson uses tall tale read alouds to reinforce the common elements, or text structure, of tall tales. As the text is read aloud, students examine the elements of the book that are characteristic of tall tales. Then using what they've learned, they write and perform tall tales of their own. This is a fun introductory writing piece for 7-12 students to help teachers get to know the individuals in their class. This writing lesson was created by Janelle Coady as part of the 2020 OER English Language Arts Workshop by NDE. It is expected that this plan will take students one class period to complete. This English Language Arts lesson for 9th or 10th graders focuses on reading comprehension and vocabulary via nonfiction articles linked from commonlit.org, and addresses the following NE state standards: NE.LA 10.1.5.A; NE.LA 10.1.5.C; NE.LA 10.1.6.A; NE.LA 10.2.2.BThe lesson will take approximately 90 minutes. This lesson reviews the six types of nouns and then focuses in on abstract nouns. The students will do a creative writing paragraph with the use of an abstract noun and that emulates Rand's writing style. Nebraska Standards: 3.2.2.d, 3.2.1h, 3.2.2.aTarget: Students will review and practice parts of speech, specifically adverbs with self, partners or/and class. When students know how to correctly use adverbs they can enhance thier wrting by making it more interesting, adding details, and using good word choice. Time- 20 minutesMaterials- all optional: paper, pencils, video, partner This Remote Learning Plan is designed for preschool students. This alphabet lesson uses the story Chicka Chicka Boom Boom by Bill Martin, Jr. and John Archambault as an introduction to alphabet identification. Anticipated lesson length is 30 minutes. Online and offline options are included. This remote hyperdoc activity was created by Katlyn Powers on July 24, 2020. The attached hyperdoc & lesson plan is designed for high school ELA students. Students will analyze and evaluate the elements of a sonnet, build background knowledge to clarify and deepen understanding of poetry, and use relevant evidence from a variety of sources to assist in analysis and reflection of Hayes' poem. This plan addresses the following NDE standards: NE.LA 10.1.5.C, NE.LA 10.1.5.D, NE.LA 10.1.6.F, NE.LA 10.1.6.I, NE.LA 10.1.6.L, NE.LA 10.1.6.M, NE.LA 10.2.2.BThis hyperdoc will take students approximately 90 minutes to complete. Can a person be both admirable and flawed at the same time? In this lesson, students will look more closely at the character of Okonkwo. Students will figure out what his most admirable qualities are, as well as some of his flaws. They will also decide whether Okonkwo has the potential to be a tragic hero. Students will build fluency skills through a Drama Station where they can choose to perform a Reader’s Theater activity, poetry selection, jokes, a favorite book, or a song.The students will develop their speaking and listening skills and then evaluate themselves using a rubric assessment. Supporting inquiry-based research projects, the Animal Inquiry interactive invites elementary students to explore animal facts and habitats using writing prompts to guide and record their findings. Students will read an article on animals. Using the provided worksheet students will take notes on an animal of their choosing. Once they have taken notes, they will be asked to write a new report on their animal. Consider are the pros and cons of children performing for TV and in other competitive performing environments. Learning Objectives:Students will read articles with opposing view points and find main ideas and details from each text.Students will take a stance on an arguementive issue and produce a piece of writing to include evidence from the text. The ability to identify prepositional phrases strengthens a writer's ability to write and punctuate complete, grammatically sound sentences.This plan has been created by Cherie J. Johnson for the purpose of helping middle school students on their way to becoming clean, clear, fluent writers. This material was put together while participating in the workshop- Nebraska’s OER Common’s Hub for ELA & Reading; July 22-24, 2020. This resource is designed to walk students through the process of completing a research project in any field of study. It covers the earliest stages of brainstorming and discussing, continues through researching and compiling sources; writing, documenting, revising, and polishing a paper; and finally presenting the research topic to a wider audience in a professional manner. The focus is on MLA format, though the course could be modified for other formats. The first unit is an introduction to the project. It asks students to draw on knowledge of issues affecting their own community and world to help generate discussion that could eventually lead to a research topic. Students will identify with characters in stories to understand that feelings can be shared between themselves, other characters, and other students in our World. Students will also identify the similarities and differences between two different texts in order to understand the main idea.

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15,000+ Teacher-reviewed Resources! Writing & Digital Storytelling Treasures This week we feature writing, poetry, and digital storytelling tools for you and your students. December includes the birthdays of authors Emily Dickinson and Rudyard Kipling, as well as the publishing of the holiday classic, A Christmas Carol. Explore our collections to find resources to celebrate these occassions and more! Engage your students in the works of Kipling. Find a biography, listings of books and poems, and links to related resources and publications. Use this site to teach about Kipling, as part of an author study, or for research. View the short tutorial to learn how to create personalized and interactive maps. Bring stories to life by highlighting locations within a novel or hometowns of authors. Challenge students to create their own maps about books they read. Simplify any text. Type or paste text into the text box and this unique tool highlights words not found in the 1,000 most commonly used words in the English language. Use to retell difficult text using more commonly understood words. A Trio of TeachersFirst Treats This trio of resources includes an archived virtual workshop about digital storytelling, our editor's choice picks of the best digital storytelling sites on TeachersFirst, and our Power of Poetry guide to how and why poetry is a powerful teaching and learning tool. If you are new to digital storytelling, this is an excellent starting point. View this archived virtual workshop to learn more about what digital storytelling means, how to use it, and the best tools. A thorough resources page is included. This curated list features our editor's selection of the BEST tools for digital storytelling. Read each review to find a complete description and classroom ideas to infuse technology in your class. Learn the power of poetry, related to Common Core or any standards. Article topics include: Key Ideas & Details, Craft & Structure, Text Complexity & Range of Reading, Fluency, and Resources. Find useful tips, tools, and more. Writing Tools for Elementary & Beyond Get your digital pen ready! These resources are ideal for elementary students, however tweens and teens will also find them helpful. Help students organize their thoughts with these great graphic organizers. Simply, fill out and print graphic organizers for characters, setting, conflict, and resolution. Writing prompts are provided. You can't save, so be sure to print! Even your youngest students can use Flipgrid for reflection about a story, science concept, or self-introductions. With a simple click, students can easily share responses using this video discussion tool. Students don't need an account to respond. Personalize your story with text, slide shows, links to outside resources, and more by creating a story page using Adobe Spark. Follow the prompts to add your own images or select from thousands available online. Young students can work with a partner. This Week at TeachersFirst Join our #OK2Ask Twitter Chat on Thursday to discuss Student Voice and Choice. Register for our Winter 2018 Series of virtual workshops. And, tell us if your class reads A Christmas Carol in our weekly poll. Student Voice and Choice Join our #OK2Ask Twitter Chat on Thursday 12/21, 8 PM ET. Our topic is Student Voice and Choice. Discuss how to assess and incorporate students’ needs and wants into instruction. Share tech tools. And, explore how to create a sense of student ownership. Learn how to participate » Registration Is Now OPEN for Winter 2018 The first workshop of our Winter 2018 series is Tuesday 1/9 at 7 PM ET. Register now and learn how to make the most of your FREE TeachersFirst membership. Register for free workshops » A Christmas Carol in the Classroom? A Christmas Carol was Published in 1843. Does your class (or school) read this piece of literature? Vote and view poll results » Brought to You by TeachersFirst Connect with us Twitter | Facebook Contact the editor | Meet the contributors TeachersFirst is a collection of curated, classroom-ready content and ideas — including teacher-authored reviews of more than 15,000 web resources. Built-in guidance from seasoned professionals makes effective classroom technology use trouble-free. TeachersFirst is made available free to K12 teachers by The Source for Learning, Inc., a nonprofit that has been providing educational resources for more than 40 years.

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Download This Sample This sample is exclusively for KidsKonnect members! To download this worksheet, click the button below to signup for free (it only takes a minute) and you'll be brought right back to this page to start the download! Sign Me Up Jane Austen was an English novelist, popular for her six major novels at the end of the 18th Century. Her novels serve as critiques to the British Landed Gentry, a social class that is mostly comprised of landowners. Jane Austen’s novels feature plots that explore the dependence of women on marriage in order for them to be in favourable conditions in terms of social standing and economic or financial security. Her novels not only criticize a specific social class, but other types of novels, such as sentimental novels, which mostly rely on emotions. See the fact file below for more information on the Jane Austen or alternatively, you can download our 23-page Jane Austen worksheet pack to utilise within the classroom or home environment. Key Facts & Information - Jane Austen’s was born on December 16, 1775, in Steventon, Hampshire. - Jane Austen’s birth was considered late as her parents expected that she was to be delivered one month earlier. - Since the winter of 1776 was harsh, Jane wasn’t baptized until April the following year at a local church, with the single name Jane. - Jane’s father, George Austen, was a rector (a cleric who functions as an administrative leader) of the Anglican parishes (Church of England) at Steventon and near Deane. - George came from a well-known and respected family of wool merchants. - As children, George and his two sisters were orphaned and were taken in by relatives. - George met his wife, Jane’s mother, Cassandra Leigh, when he entered St. John’s College, Oxford. - Cassandra Leigh came from the wealthy Leigh family; her ancestry roots from Sir Thomas Leigh who created the hereditary title Baron Leigh. - Jane’s family moved to Steventon in 1768. - Jane had one sister, Cassandra, and six brothers: Henry, Francis, George, Charles, Edward, and James. - Henry was the first child but was sent to be fostered as soon he showed signs of being developmentally disabled. - Henry was followed by the birth of Cassandra in 1773, Francis in 1774, and Jane in 1775. - The Austens’ home, was a home where ideas were freely discussed. - Jane and Cassandra were sent to Oxford University in 1783. - Both were educated by Mrs. Ann Cawley, who also took them with her to Southampton when she moved there. - Jane and Cassandra caught typhus fever in the autumn and were sent back home. - Jane nearly died, so she was homeschooled after that. - In 1875, she and Cassandra attended boarding school in Reading University at the Reading Abbey Girls’ School. - They were taught by Mrs. La Tournelle whose passion was theater. - The school curriculum included spelling, drama, French, needlework, dancing, and music. - The sisters was forced to return home as the school fees were considered too high for them in 1786. - Jane developed her passion for reading as she had access to her father’s library and a library from family friend, Warren Hastings. - Historian Irene Collins states that Jane “used some of the same books as the boys.” - Jane’s father was very supportive to her passion for writing, and he was tolerant of Jane’s writing experiments. - George even bought her expensive paper for writing and drawing. - At the age of 12, Jane tried dramatic writing; she wrote three short plays during her teenage years. - When she was young, Jane Austen wrote mostly for her family’s amusement. - The stories she wrote exaggerated the details of daily life. Common plot devices were parodied. - Academic Writer Janet Todd described Austen’s stories as “full of anarchic fantasies of female power, licence, illicit behaviour, and general high spirits.” - These early works (29 in total) were compiled by Jane into three notebooks. Jane’s work written between 1787 and 1793 is now referred to as Juvenilia. - A notable piece in this collection was Love and Friendship, a novel in letters that poked fun at popular sentimental novels. AS A PUBLISHED AUTHOR - Jane Austen published four well-received novels, including Sense and Sensibility and Pride and Prejudice, during her stay in Chawton. - Unknown to Austen, her novels were translated into French and published in cheaply produced, pirated editions in France. - Six major novels of Austen are Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Persuasion, and Northanger Abby. - Genre and Style - Critics refer to Jane Austen’s work as a critique of sentimental novels. ILLNESS AND DEATH - Jane Austen was believed to suffer from Addison’s Disease, a long-term disease that made her lack in producing steroid hormones. - The disease that caused Jane Austen’s death was believed to be Hodgkin’s Lymphoma, a type of cancer in the blood. - Austen died in Winchester on July 18, 1817, at the age of 41. Jane Austen Worksheets This is a fantastic bundle which includes everything you need to know about Jane Austen across 23 in-depth pages. These are ready-to-use Jane Austen worksheets that are perfect for teaching students about Jane Austen who was an English novelist, popular for her six major novels at the end of the 18th Century. Her novels serve as critiques to the British Landed Gentry, a social class that is mostly comprised of landowners. Jane Austen’s novels feature plots that explore the dependence of women on marriage in order for them to be in favourable conditions in terms of social standing and economic or financial security. Her novels not only criticize a specific social class, but other types of novels, such as sentimental novels, which mostly rely on emotions. Complete List Of Included Worksheets - Jane Austen Facts - Not-So-Plain Jane - Austen Family Tree - Passion for Reading - Jane’s Best Qualities - Match the Novel - Classifying Characters - Georgian Society - Female Authors - Designing Covers - Plot of My Novel Link/cite this page If you reference any of the content on this page on your own website, please use the code below to cite this page as the original source. Link will appear as Jane Austen Facts & Worksheets: https://kidskonnect.com - KidsKonnect, August 20, 2019 Use With Any Curriculum These worksheets have been specifically designed for use with any international curriculum. You can use these worksheets as-is, or edit them using Google Slides to make them more specific to your own student ability levels and curriculum standards.

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This article draws on my experience as a writer and editor of readers. I am grateful to all the authors of published and unpublished manuscripts from whom I have learnt so much. The ideas here, while primarily intended for teachers writing for their students, or for publication, are also applicable to student creative writing. This is particularly so when a teacher gets a class, groups or individuals to create stories for other students at a lower language level. Key ideas in creating a reader The importance of schemas (assumptions of facts, including ‘default facts’ which are never mentioned- usually cultural) Guy Cook in ELT Journal 51/1 defines a schema as ‘a mental representation of a typical instance’, and goes on: ‘Schema theory suggests that people understand new experiences by activating relevant schemas in their minds’. For learners of a language, schematic knowledge can be as important as linguistic knowledge in understanding what a text means. There are personal schemas, general ones about the world, and ones related to genre. These operate at text level and are crucial to comprehension. Writing within a genre which is familiar to the reader A recognition of the importance of schematic knowledge leads on to writing within a clearly-defined genre. Reading is facilitated by plot structure and character type which the learner is likely to recognise. This places learners in a familiar landscape where they are more likely to be able to predict in which direction they will go. Reading within a familiar genre reduces the load of new information which the learner is processing, increasing both speed and accuracy. Paragraph and sentence level information control It was John Milne in his pioneering work with the Heinemann Guided Readers who introduced this concept. He argued that lexical and grammatical controls were only half the picture. Limiting new information for the learner in each paragraph and sentence is as important as the use of simple language. Too much new information slows the learner to a halt. Careful attention to anaphora (backward reference using pronouns e.g. she, this), for example, prevents overload, avoids ambiguity and facilitates reading forward, so that readers so not have to look back to see who, or what, is referred to. Ease and meaning Reading creates readers (in the sense of people, not books) and easy, successful, reading creates good readers (what Christine Nuttall in Teaching Reading Skills in a Foreign Language described as the ‘virtuous circle’ of reading). Recourse to a dictionary or glossary is a sign of unsuccessful reading. Understanding of a text is enhanced by careful contextualisation of new words (by making sure that they are met in an unambiguous context, glossed within the text, or explained by the surrounding sentences), use of illustration where appropriate, and repetition of new lexis. The writing process The notes that follow are offered as no more than a guide: if you have your own way of writing and it works stick to it! As a teacher, decide on your level and think of a class you know, or have recently taught at that level. Use them as your reference point, not just for language, but also for content. Later, you may be able to try the material out with the actual class, or a similar one. ‘You never quite know where your story is until you have written the first draft of it.’ Raymond Chandler (letter: March 7, 1947) Different writers work in different ways. While some like to map out plot and character beforehand, others prefer to discover the story by writing it. The crucial thing is that you work within a genre. Although many learners are not wide readers even in their own language, they are certainly aware of genre through exposure to TV, film and DVD. Thus they will have expectations of what will happen in, say, a thriller (a difficult situation of some kind, a protagonist who struggles against the odds to resolve the situation, a restricted time-frame, exciting incidents and a gripping conclusion) and the kind of language that will be used to tell the story. By writing within genre the author greatly facilitates comprehension and increases speed of reading and enjoyment. One reason why simplified literature is often so unsatisfactory and hard to read is that great literature often defies genre, creating its own contexts and values. A successful way to start using genre is to move like this: Genre – character – situation – place – event First, identify a genre which readers will be familiar with. Then, think of a character, the kind that appears in your chosen genre. Place the character in a situation, some kind of problem or opportunity. Choose the place, the physical location. Then, think of an event that the character participates in. And let the story begin … This way of writing is for those who want to find out what happens to the character and who write the story in order to do so. The advantage of this ‘making it up as you go along’ method is that you can, of course, go back and plant plot trails and introduce clues and characters when the need arises. Things to think about Write about what you know: Writing from personal experience and understanding is often clearer and more effective than a massive leap of empathy. A strong theme: what is it about? Successful fiction is ‘about’ something. It has themes and a depth which the pot-boiler lacks. While abstract concepts are more easily handled at higher levels, the lower level reader can still treat ‘serious’ topics. Hooks: Not confined to thrillers. By ‘hooks’ is meant end-of-chapter questions in the readers’ minds which make them want to start the next one. Showing, not telling: The reader needs to discover the story through dialogue and action rather than be told about it. Writers report that the development of the characters’ own ‘voices’ is vital, and different writers achieve this in different ways. Motivated action: An obvious point, but character’s actions must spring from their own motives, rather than the exigencies of the plot. Strong opening: An opening which gets the action moving is to be preferred to elaborate scene-setting and character introduction. You may need to ‘clear the ground’ in your own mind by writing the backstory, but this does not have to be part of the finished story. Satisfactory ending: A resolution to the problem or conflict which the book centres around is expected. It is important to make an ending happen and not let the story peter away. While research shows a majority of learners prefer a reader with a definite conclusion, a minority enjoy one which ends with a question mark. Linear time frame: Careful attention to time is fundamental. A linear structure (particularly at the lower levels) which avoids flashbacks and time jumps makes life easier for the reader. Equally, sudden jumps in place which disorientate the reader are also to be avoided. The learner easily attributes lack of comprehension to personal linguistic deficiencies rather than complicated story-telling and this is de-motivating. Read lots of readers: When you have chosen a level read as many readers as you can at that level. This will help you internalise appropriate lexical and grammatical controls and give you a feel for what can and cannot be achieved at that level. Many publisher’s websites offer free sample chapters, but there is no substitute for reading whole books. Read your work aloud: While of questionable value to the learner, reading aloud is invaluable to the writer. It is a great way of checking whether dialogue is natural and characters have their own ‘voices’. Always leave a chapter or page unfinished: Then when you start writing again you are not faced with a blank screen or piece of white paper. Leaving something unfinished gets you back into the swing of the writing quickly. A tip from Raymond Chandler: ‘If in doubt have a man with a gun come in the door …’ (or some other dramatic event). Writing is a craft which can be learnt – I know, I was always terrible at creative writing at school. I hope that you will find these ideas useful in creating your own readers, or in facilitating your students’ story writing. Cook, G. (1997). ‘Key concepts in ELT: Schemas.’ ELT Journal, 51(1), 86. MacShane, F. (1981). Selected Letters of Raymond Chandler. London: Jonathan Cape. Milne J. (1977). Heinemann Guided Readers Handbook. London: Heinemann. Nuttall C. (1996). Teaching Reading Skills in a Foreign Language. Oxford: Heinemann. Philip Prowse is Series Editor of Cambridge English Readers (CUP), the author of a number of readers for that series and also for Macmillan Readers, and co-author of teenage course-books for Macmillan.

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Social emotional learning is aimed towards strengthening student relationships and inspiring a greater sense of self-worth in every student. One important facet of this field is emotional intelligence (EI), also referred to as emotional intelligence quotient (EQ), which helps students build empathy and compassion both within themselves and towards other people. Here’s how to teach emotional intelligence to students at any and all grade levels. What is Emotional Intelligence? Emotional intelligence has become somewhat of a buzzword in recent years, so it’s important to understand its true definition. At its core, EI is a person’s ability to be self-aware of their emotions and behaviors. HR software company Natural HR explains that emotional intelligence also encompasses the ability to self-manage and self-regulate. Additionally, conversations about emotional intelligence in schools often include themes of empathy and compassion. However, according to psychologist Daniel Goleman, author of Emotional Intelligence, and social psychologist Richard Boyatzis, emotional intelligence is much more dynamic and complex. They outline the four core domains of EI: self-awareness, self-management, social awareness and relationship management. This is helpful for teachers because it makes them aware of the broad scope emotional intelligence. Why Teach Emotional Intelligence? Emotional intelligence is clearly important for interpersonal relationships and leadership development, but what role does it play in schools? An evidence-based approach to teaching EI called RULER (an acronym for Recognizing, Understanding, Labeling, Expressing and Regulating emotion) shows that such skills greatly improve academic achievement. This project from the Yale Center for Social Emotional Intelligence has found that increased social emotional skill learning can improve school climate and boost leadership skills while decreasing anxiety, depression, and instances of bullying amongst students. Emotionally intelligent people not only perform better in school, they also have stronger interpersonal relationships and are less likely to engage in unhealthy behaviors, Grace Rubenstein, journalist, editor and media producer writes at the Ted-Ed blog. Plus, communication and stress management skills are becoming important in terms of identifying the value of humans over machines, she adds. Emotional intelligence skill building is also a critical factor in helping children with behavioral and attention issues succeed. Special education writer Peg Rosen explains that emotional intelligence shapes how we respond to challenges. For children who experience heightened emotional challenges, EI is an essential tool for navigating everyday situations. Teaching Emotional Intelligence in Class Since emotional intelligence can be such a broad term, it might be overwhelming for teachers who don’t know where to start. According to psychologist Lisa Firestone, director of research and education at the Glendon Association, discussing mindfulness can be a helpful place to begin. Mindfulness is an important part of EQ because it has been shown to reduce symptoms of stress and anxiety in children. Mindfulness also helps children and young adults slow down and tune into their emotions, which is the first step in regulating emotions. Consultant Matthew Lynch, Ph.D., who is editor of The Edvocate, agrees that tuning into one’s emotions is the first step towards a more emotionally-intelligent self. He says that this is the foundation upon which all other emotional intelligence dimensions are built. Evidence-based school programs can help teachers incorporate emotional intelligence into everyday activities. Roots of Empathy, for example, is a curriculum that demonstrates how emotional themes relate to each and every part of our lives. Whether using literature to describe another person’s perspective or art to express inner emotions, opportunities for building EI skills are everywhere. Communicating About Feelings One of the core tenets of strong emotional intelligence is the ability to identify and discuss one’s feelings. One way to strengthen these skills in the classroom is to develop a vocabulary for emotions. Educators can teach such skills through the alphabet game, writes sport psychologist Bradley Busch, who co-authored the book, Release Your Inner Drive. By going through each letter of the alphabet and talking about an emotion that corresponds with that letter, students expand their emotional vocabulary. In turn, this exercise allows discussions as to what different emotions feel like. Modeling EQ behavior is another way to teach it, especially to students in their teenage years. Teen treatment company Paradigm Malibu says teachers can show teenagers what it looks like when someone manages and talks through their emotions in a healthy way. When kids see an example of behavior they can copy, they’ll be more likely to incorporate it into their own lives. Teachers can also help students understand how to process and reflect on their emotions before acting on them. Author of EQ, Applied, Justin Bariso says one approach is for a person think about what they want to say before they say it. In that pause, they can ask themselves questions such as “how will my response affect my relationship to this person?” and “will I regret saying this?”. Formulating a response in this way keeps it from being a knee-jerk reaction to high emotions. Teachers who see a student getting visibly upset can intervene in this moment and ask them to step back and take a moment. Using Storytelling to Teach Emotional Intelligence Movies and books also offer examples of how people work through their emotions. One of the best modern stories about emotion is Inside Out. This animation film, which follows characters that represent a young girl’s emotions, offers an intricate, yet approachable look at what it means to understand feelings. Mary Ryerse, director of strategic design at learning design firm Getting Smart, provides 12 tips for how this movie can be used to teach emotional intelligence. One of these is to have students reflect on emotions and memory through writing, similar to how the character Riley processes her feelings about certain memories. Educational psychologist, speaker and author Michele Borba includes Inside Out on her list of movies that teach crucial empathy habits. Younger students can also see animated films like Pinocchio, Dumbo, Shrek and Charlotte’s Web while middle and high school students will find lessons in moral courage, kindness and self-regulation in classic films such as Forrest Gump, The Secret Garden, The Sand Lot, and Harry Potter. True stories serve as foundations for emotional intelligence conversations too. Anabel Jensen, Ph.D., founding president of the EI network Six Seconds, says the story of zoologist Grace Wiley, who specialized in reptiles, is one of her favorites. While tragic, this true account shows the importance of being trained in emotional intelligence. Jensen’s interpretation also serves as a model for how other educators can illustrate emotional intelligence.

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Mapping out a family tree can be a great opportunity for younger children to learn more about “where they come from.” Often, seeing their immediate family drawn out on paper will help them to remember relatives better and understand those relationships of how those relatives are, well, related! For older students, mapping out a family tree also opens the doors to creative writing assignments about family as well as History and Geography lessons. You can find diagrams already made for basic family trees, and even extended family. For a basic template that extends to great-grandparents, click here. Have students bring pictures of their individual family members, and use them along with crayons, markers, and colored construction paper to decorate their trees. Students might also write a story about their family to go with their family tree. This could mean writing about “What My Family Means To Me” or interviewing a grandparent for a story that dates further back. For older students, have them construct a larger family tree. You may find you are hosting a competition to see who can trace back through more levels. Genealogy.com, RootsWeb and FamilyTreeMaker.com are just a few of the many websites your students may find helpful. When all their resources have been exhausted by talking to relatives and going through family records, these sites can help students locate relatives they may not have known existed! You can determine the extent to which your students pursue this project, from a basic family tree to some in-depth research. You may find that very few of your students come from “traditional” homes where they still live with both birth parents. Let these students choose how they want to construct their family tree, as they often have a few different options. If their parents are divorced and the student now has a stepparent(s), they may want to make two trees, or only half a tree (Mom’s side, for example). You might also give them the option of including “common law” marriages, boyfriends or girlfriends. Adopted students often regard their adoptive parents as their only parents. Encourage them to learn more about their adoptive family’s roots. Foster children may present a slightly different challenge however, and they are probably very sensitive about this subject. If you can speak to the foster parents, they will probably have the most insight as to how to address the project their foster child. Another suggestion comes from T2T contributor Veronica Dees: “Several years ago, I ran into a “sensitive” family situation. Since then, I offer an option to use a fictional family instead of your own. It must be either from a literary work, a television show, or a cartoon. I reserve the right to refuse a substitute family for my own reasons (i.e.: the Menendez brothers and their family.) Middle schoolers love shocking adults with inappropriate choices. 🙂 Other than that, offering substitute families as an alternative has really worked out well for my class.” Phyllis Rowland is an author who also teaches writing workshops. “If some children are from families who have divorced, or the chidren are adopted, now is a good time to help them find roots in establishing family traditions for the future. What will their grandchildren want to know about them?” Phyllis also suggests an exercise where your students write as if it were “40 or more years in the future, stories for their own children or grandchildren about their ancestors who lived in 1998. They try to envision the world their descendants would live in, and thereby contrast that with today. A fictitious family tree beginning with themselves and adding their dreams for family continuity is an interesting activity.” Additional activities you may want to consider: Journalism – Have students videotape interviews with a Grandparent or Great-Grandparent. Not only is this a great way for them to learn more about their heritage, but the videos will become treasured keepsakes as the years pass. Geography – Have students map their ancestors’ travels that brought them to America. Plot on a map the various towns and countries their ancestors were born in, and have them write a sentence or two about each location and why it was important. Timelines – A timeline is a great way to chart the history of a family. Start as far back as a family’s roots can be traced, and then plot a timeline based on each major event: a move from one town to another, marriages, births, and the current events for that time and place in history. A word of caution that one T2T contributor pointed out though; personal timelines that are about the students themselves may not always be a good idea. Sometimes personal information can surface that a family may not have wanted the entire class to know about. (One teacher cited an example where a student set his family’s home on fire and a sibling was fatally burned – this would be difficult to work around in a personal timeline.) Physical Features – A good collection of family photos makes this activity very entertaining. See if your students can determine which family members passed along the physical traits that make each student unique! Which relatives had the same shape nose or mouth? Which characteristic is repeated most often? Which characteristic will future children most likely inherit? Name Game – Trace the roots of first names in your class. Were students’ names passed down through their family for generations? In which country did a given name originate?

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Unit studies, sometimes called thematic units or integrated studies, are very popular with homeschoolers. Homeschool unit studies usually use a hands-on approach for effective learning. The child learns by actually experiencing or discovering through different methods and activities, rather than just reading a chapter from a textbook. Studies show that children using unit study methods retain 45% more than those using a traditional approach. The unit or theme part refers to the idea of studying a topic as a whole instead of several subjects. Thousands of years ago, the Greeks decided to break whole topics into subjects. For example: most people think of water as a science subject. One way to look at water is as H2O—a chemistry subject—but, it is also art (a beautiful waterfall), history (the Red Sea), economics (water bill), theology (baptism), language arts (babbling brook, which is a metaphor), geography (the location of bodies of water), etc. A unit study approach takes a topic and “lives” with it for a period of time, integrating science, social studies, language arts, math, and fine arts as they apply. For example, a unit study about animals would include: - Reading stories such as Charlotte’s Web, Flicka, etc. (Literature) - Writing stories about animals (Creative writing, capitalization, punctuation, etc.) - Learning about the classification of animals (Science) - Learning new words such as vertebrate and invertebrate (Vocabulary) - Finding out which animals live on which continents (Geography) - Reading stories about animals in the Bible (Bible) - Examining man’s relationship with animals throughout history (History) Unit studies for homeschooling are especially beneficial if you are teaching more than one child. If you are using textbooks and workbooks to teach three children seven different subjects each, that’s a WHOPPING twenty-one subjects to prepare and teach. A family with three children using textbook methods might have one child studying the Civil War and another learning about Ancient Rome, while another is studying the American Revolution, all history subjects. For Science, one child may be studying plants, another the planets, and another reptiles. In Bible, one child may be studying Moses, another studying Joseph, and another studying Paul. With unit studies, history, geography, art, music, science, and Bible can all be taught together to all ages. Each child studies the topic at his or her own level. This saves over half of your teaching and preparing time. All children can go on field trips together, many projects can be done together, writing assignments and vocabulary words will be about the same topic, just on different levels. For example while studying animals, a younger child may be able to classify birds, mammals, and insects, while an older child would classify animals in much more detail, such as arachnids, crustaceans, etc. The older child learns and helps to teach the younger while the younger learns from the older. Unit studies work well for children with different learning styles. Most unit studies give several options to learn about a topic. For example: Study the history of slavery in the United States. Let your students choose how they want to study the subject and how they want to demonstrate what they’ve learned: - Read about slavery in the encyclopedia - Read a portion from a textbook - Research from reference books in the library - Read a historical fiction about slavery - Read a biography about an enslaved person - Watch a documentary - Write a poem about slavery - Do a web search on slavery - Create a shadowbox depicting a plantation and enslaved people - Draw or sketch a scene depicting a plantation and enslaved people Give unit studies a try for subjects that you think will spark your children’s interest. You might find that this style of homeschooling is for your family. Robin Sampson is the author of several Heart of Wisdom unit studies including Ancient History: Adam to Messiah. Heart of Wisdom unit studies are Bible Centered studies utilizing the Charlotte Mason Approach and the Internet. These unit studies guide students through academic studies using living books, writing-to-learn activities, and Christian materials while interacting in a meaningful way with the massive amounts of information available on the Internet. The units are available on the Web. When you open the unit you can click on the link and it will take you directly to linked text, maps, photos, audio files, worksheets, instructions, etc. To learn more, visit Heart of Wisdom.

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The narrative story is directed at an audience who is either reading the written narration or listening to it. The narrator, or person telling doing the narration, might be named or unnamed. They might be someone in the story or an omniscient figure whose only purpose is to convey information to the audience. There are many different forms that narration can take, but it is a required element of all written stories. This includes poems, short stories, and novels. In other media, such as plays, films, etc, narration is optional. In these formats, narration might take away more than it adds. Definition and Explanation of Narration Narration is a crucial part of many written works. It includes who tells the story as well as how the story is told. The latter might be through a specific type of writing such as a stream of consciousness. There is no single type of narrator that fits all works. Some are more reliable than others, some fictitious, some factual, some known to the reader, and others not. When seeking to understand narration, it is important to consider the narrative mode of a written work. This is the set of choices the writer makes when crafting the narrator and their narration. There are three parts of the narrative mode. Narration Types and Narrative Modes - Narrative point of view. This includes the perspective or voice of the narrator. It’s the way that the narrator refers to everyone in the story. It is used to help the reader understand whether or not the narrator is part of the story or if they’re separate and how much knowledge the narrator has about the events of the story. It includes first-person, second-person, and third-person narrations. - First-person narrative point of view. The first-person narration means that the narrator is a part of the story and has relationships with the other characters in the story. It also helps bring the narrator closer to the reader. They acknowledge their existence and may or may not be able to witness everything happening in the story. - Second-person narrative point of view. A second-person narrator means that the audience is involved as a character. They use pronouns like “you” and “your” and may or may not be literally addressing the audience. - Third-person narrative point of viewA third-person narration involves the pronouns “he,” “she,” and “they” and never second or first-person pronouns. It is the most common narrative mode because the narrator doesn’t have to be a part of the story. They’re only there to tell it. - Narrative tense. This is the choice of grammatical tense, either past or present. This established whether the narrator is looking back on events or is narrating them as they happen. - Narrative technique. Other methods used to help create the narrator’s perspective. This might be the story’s setting, the themes, and storytelling devices. Examples of Narration in Literature The Catcher in the Rye is a wonderful example of an unreliable, first-person narrator in the form of Holden Caulfield. Holden’s unreliability stems from the fact that he carries a great deal of anger with him throughout the narrative. He sees adults as phony, his friends as annoying and/or weak, and his life as fairly pointless. Here is a passage that demonstrates his first-person, unreliable narration: […] I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody’s around – nobody big, I mean – except me. And I’m standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff – […] In this passage, which alludes to the title of the novel, Holden contemplates childhood, adulthood, and his role in the world. Mrs. Dalloway by Virginia Woolf Woolf’s best-known novel and one of the most successful, if not the best, examples of stream of conciseness is found in Mrs. Dalloway. The novel follows Mrs. Dalloway while utilizing an omniscient third-person narration. It allows the reader to delve into the characters through dialogue, discourse, and their personal interior monologues. Here is a passage that represents this kind of narration: She had the perpetual sense, as she watched the taxi cabs, of being out, out, far out to sea and alone; she always had the feeling that it was very, very, dangerous to live even one day. In Coleridge’s most famous poem, ‘The Rime of the Ancient Mariner,’ the narrator uses the first-person past tense, within a frame narrative, to tell a harrowing story of his time at sea. Here are a few lines that demonstrate this narrative perspective: The many men, so beautiful! And they all dead did lie: And a thousand thousand slimy things Lived on; and so did I. I looked upon the rotting sea, And drew my eyes away; I looked upon the rotting deck, And there the dead men lay. Depending on how one reads the poem, the Mariner may or may not come across as an unreliable narrator whose mind has been scrambled by the loss of his crew and severe dehydration. Related Literary Terms - First Person Point of View: a literary style in which the narrator tells a story about him or herself. - Second Person Point of View: a literary style in which the narrator tells a story about “you”. - Third Person Point of View: a literary style in which the narrator tells a story about a variety of characters. - Tone: how the writer feels about the text, at least to an extent. All forms of writing, aside from the academic have a tone of some sort. - Unreliable Narrator: a narrator whose credibility is in doubt, or somehow compromised. - Stream of Consciousness: a style of writing in which thoughts are conveyed without a filter or clear punctuation. - Watch: Narrator— Definition, Examples, and Practice - Watch: The Art of Narration - Read: Four Types of Film Narrator

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Standards Based Grammar: Grade 5 What is Standards Based Grammar? Standards Based Grammar is a daily grammar program that systematically teaches your students every grammar skill required at the fifth grade level. The purpose of Standards Based Grammar is to give students the spoken and written rules of the English language in an easy, step-by-step program. It seeks to teach, assess, and build on students' prior knowledge. Standards Based Grammar doesn’t just ask students to identify grammar errors. They learn grammar rules and apply them immediately into their writing. Furthermore, it provides the teacher the exact knowledge of the strengths and weaknesses of each student and allows the teacher to communicate that information to the parents. Standards Based Grammar shows your students how to become grammar experts. Not only will they be able to understand each grammar rule, they will be able to articulate the logic behind each rule. Best of all, it’s easy to teach and simple to administrate. Download a 27 page preview: Click here to download a preview of Standards Based Grammar: Grade 5 Student Worksheets – Over a hundred worksheets provide practice for every standard required for your grade level. Each worksheet comes complete with lesson, examples, and student practice. Simply review the lessons (often, only minutes are needed), and you are ready to teach. Journal Prompts – If your students are not applying grammar rules into their writing, do they really understand the concept? These journal extensions give your students immediate practice as they apply each new grammar skill within an actual creative writing setting. Assessments – Each skill is assessed at the end of every unit. Use each test to assess your students' abilities. Then, use each assessment to form groups for re-teaching and review. Parent Checklists – There are plenty of worksheets to help students meet each grammar standard. Unfortunately, some concepts may be difficult for some students to learn. All teachers know that there is a point when you just have to move on to other topics. So what do we do with those students who are being left behind? As a parent, I would want to know if my child was having a hard time with certain concepts. The parent checklist provided after each test gives the parents a report about their child’s progress on each skill. Impress the parents of your students with detailed knowledge of their child’s achievements, and give them the opportunity to work on skills as the class moves forward to new concepts. Student Checklists – Keep track of student progress over the course of the year. The two biggest advantages are: 1) Before state testing, use the student checklist to create review groups. Allow students to practice only the skills they need to prepare for state testing. 2) Give next year’s teacher a precise record of each student’s abilities. Your students' future teachers will be amazed at the thorough language preparation given to their new students. Teacher Checklists – Worried about teaching every standard before state testing? This checklist reminds you what standards you’ve taught and what standards still need to be taught. Versatility of Standards Based Grammar As a complete grammar program, Standards Based Grammar’s value is second to none! Although this is a complete grammar program, it is so affordable that it can be purchased and used strictly as a supplement for your existing grammar program. We are confident that after using several of the worksheets you’ll be anxious to try the others. However, the versatility of the program allows you to: Use entire units or just use individual worksheets to supplement what you are already doing. Use the assessments to measure student growth. Use the worksheets to prepare for state testing. Use the checklists to keep track of your yearly pacing of grammar. Other Benefits of Standards Based Grammar Many teachers have gone to teacher supply stores looking for grammar books because they need some worksheets to help their students with a certain skill. They spend $9.95 on a workbook and may use only three or four worksheets from it. Then they do it again for another skill, then another. Over the course of a few years, they’ve spent a small fortune just for a few worksheets that only cover a few skills. With Standards Based Grammar you get almost TWO HUNDRED worksheets covering over twenty-five standards. You’ll never buy another supplement again. Easy Lesson Plan: Most elementary school teachers teach more than thirty lessons a week. You DON’T need another subject that requires lesson planning. With Standards Based Grammar you have hundreds of lesson plans ready to go. Each worksheet has the skill and lesson at the top of the page. Most lessons require just a few minutes of review, and you’re ready to go. The lessons on each page also serve as an excellent review when students need to review certain skills. Improved Test Scores: Every worksheet in Standards Based Grammar has been tested in the classroom. The worksheets have been written and rewritten for maximum effectiveness. The advantage of Standards Based Grammar is unmistakable. Language scores improve with Standards Based Grammar. Several classrooms surveyed have shown growth in language tests scores of more than 12%. Many students are receiving perfect scores in language. Even some Title 1 students are scoring in the seventieth and eightieth percentiles. English Language Learners: Clearly, beginning language learners need intensive practice with English to achieve the basics of the English language. Many English learners pick up just enough English to survive. Many teachers are tricked into believing that, just because the child can speak English, he/she does not need English language instruction. Most states require that students receive daily instruction in English until they achieve Fluent English Proficiency (FEP). While many English learners acquire enough English proficiency to achieve survival status, they become stuck below (FEP) because they can “get by” with their current English abilities. Standards Based Grammar forces them to acquire a deeper understanding of the English language. Furthermore, Standards Based Grammar helps the teacher keep track of the skills they are learning. NO child sneaks through the year without the teacher being aware of his/her abilities. Classrooms with predominately ELL students have also shown dramatic results with students achieving FEP status on state tests. What About My District's Language Arts Program? Many district language arts programs are one-size-fits-all programs. They combine reading, writing, grammar, language, and oral language skills into one program. In addition, they try to teach ELL, high functioning, middle functioning, and low functioning students all at once. Using these programs, grammar is taught side-by-side with each reading unit. What if you don’t teach every story in your district’s reading program? What if you teach a grammar concept using the ONE worksheet they give you, and your students still need more practice? How do you know your students are mastering every grammar skill required on state tests? There is simply too much to monitor with these programs. Standards Based Grammar gives you confidence that every skill is being taught effectively. At the very least, you can use Standards Based Grammar along side your current language arts program to guarantee the success of your students. Order Standards Based Grammar and become THE language expert at Over 200 worksheets Over 100 journal prompts Standards Based Grammar has a new cover. We've got a few books with the old cover left. We are currently selling them at 40% off. Sale is good while supplies last. (Currently fewer than 30 left of grade 5.)

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Computer ethics in the workplace is a relatively new, but quickly growing field of study. As computers become more prevalent in the workplace, more organizations publish official codes of ethics that cover computer use. The rapid advances in technology can sometimes leave ethical considerations behind, as was seen recently with widespread, sometimes illegal music file sharing over the internet. When faced with a new technological dilemma, ethical computer workers use historical and general guidelines to make informed decisions. Norbert Wiener coined the term “cybernetics” shortly after basic computers were used in WWII. In his book, of the same name, he predicted a second industrial revolution, one based on communication technology. Wiener went on to write “The Human Use of Human Beings” (1950), which explored the ethical implications of cybernetics, both inside and outside the workplace. Wiener spoke about humans' capability for grasping, processing and potentially acting on vast amounts of information. He also offered ethical guidance to help people in this process. Wiener’s three cybernetic ethical principles are freedom, equality and benevolence. Wiener saw computers as exemplifying freedom by resolving time and resource-consuming issues. He saw communication technology as an equalizer, because it offers a level ground for ideas -- i.e., a famous person and an average person all get the same amount of cyberspace to communicate their ideas. Computers also offer benevolence, because through the newfound freedom and equality, social issues and ethical issues can be discussed and resolved. The computers of the Information Age have taken over workplaces. They've eliminated some jobs and made other jobs easier. For example, food workers, factory employees and even airline pilots push one button to perform a series of actions that would've taken several actions, and more time, without computers. This “one button” execution may be viewed as unethical, because it can lead to a workforce with fewer skills. Other ethical concerns include the health and safety of workers who become stressed from constant typing, or who develop eyestrain from staring at computer screens for hours at a time. Ethical computer workers must consider that now, information can be shared with the click of a mouse. Therefore, they need to protect privacy, both their own and coworkers'. Company confidentiality is another privacy-related concern. Ethical workers are mindful that they shouldn't use their computers to spread company secrets. Plagiarism and pirating are other concerns. Ethical workers ensure that they properly attribute sources, never claim another’s work as their own, and refrain from illegally obtaining art, music, movies and other materials. Many official company codes of ethics include subsections on computers in the workplace. Computer ethics codes often feature guidelines based on the responsibilities that computer work creates. For example, a worker using a computer to communicate could reach a number of different people such as: other employees, family members, clients, the boss or the public. Each contact may require a different message, or method of approach. The Association for Computing Machinery (ACM) computer ethics code lists several imperatives. ACM requirements include: avoiding actions that might harm others; honesty; professional competence; and a working knowledge of technical law. The Institute of Electrical and Electronic Engineers (IEEE) adds principles such as avoiding conflicts of interest, and backing up claims with solid data. Roslyn Frenz started writing professionally in 2005, covering music, business ethics and philosophy. Her work has appeared in "Designing Wealth," "The Other Side," "Upstate Live" and many other publications. Frenz has a bachelor's degree in business marketing from the University of Phoenix. She is pursuing an M.F.A. in creative writing.

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We believe in an education that is artistic, academic, interdisciplinary, multi-sensory, practical, and social, AND learning that is joyful! Our curriculum unfolds according to the educational and emotional needs of the child’s developmental stages, in order to nourish the healthy growth of the child. The grades program encourages independent thinking and social responsibility as well as academic and artistic excellence. Our teachers offer lively concentration in subjects taught in three to four week lesson blocks. Children, throughout the curriculum, create original lesson books that expand artistic freedom and in-depth understanding of history, language arts, science, and math. Foreign languages are taught with exploration into the rich culture of the language. Movement, and handwork such as knitting, crochet and cross stitch, woodwork, and fine arts such as clay and beeswax modeling enhance motor skills, confidence, coordination, and creative thinking. Music enriches the curriculum throughout the year, as well as following the seasonal calendar for Florida. A typical day in the grades includes a two hour main academic lesson in the morning, infused with music and movement, a snack and outdoor recess, then one of several specialty subjects, such as handwork or foreign language, followed by lunch and outdoor recess, then concluding with another specialty, such as gardening, ukulele, or painting. Fridays are devoted to nature immersion in various local preserves, known as “Forest Fridays”, or a field trip that complements a theme of the curriculum, for example, in the third grade, farming is taught in great detail, so the third grade might apply their knowledge and work in a hands on way on a local farm on several “Field Trip Fridays” over the year. Main lesson curriculum will emphasize the following themes: Grades 1 – 3 - Pictorial introduction to the alphabet, writing, reading, spelling, poetry, drama, form drawing, cursive, and singing. - Folk and fairy tales, fables, legends, Old Testament stories. - Numbers, basic mathematical processes of addition, subtraction, multiplication and division. - Nature stories, shelter building and farming. Grades 4 – 6 - Writing, reading, grammar, poetry, drama, and form drawing. - Norse myths, history and stories of ancient civilizations. - Review of the four mathematical processes, fractions, percentages, and geometry. - Local and world geography, comparative zoology, botany, mineralogy, astronomy, and physics. Grades 7 – 9 - Creative writing, reading, grammar, poetry and drama. - Medieval history, Renaissance, world exploration and geography, American history and biography. - Perspective drawing, sacred geometry, descriptive geometry, review of all previous mathematical content, business math, finance, and algebra. - Physics, including mechanics, chemistry, meteorology, anatomy, and physiology, environmental science, science of sustainability. - Independent and project based learning

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This website has been archived and will no longer be updated. For the new and improved version, please visit our new site. Why use videos in our teaching? Whether you use videos from YouTube or from your library’s streaming video collection, videos are an excellent teaching tool to use with your students. Some of the benefits include: - Reduce cognitive load – effectively developed videos or animation can enhance comprehension and retention of information (Fenesi, B., 2011; Mayer, R. E., & Moreno, R., 2003; Berk, R. A., 2009). - Support multimodal learning – videos are one way to integrate multi-modal elements (e.g. text, audio, images, animation) into your teaching. Multimodal learning has been found to “result in significant gains in basic and higher-order learning” (Metiri Group, 2008; Sankey, M., Birch, D. & Gardiner, M., 2010). Presenting course materials in more than one mode may “lead learners to perceive that it is easier to learn and improve attention…in particular for lower-achieving students” (Sankey, M., Birch, D. & Gardiner, M., 2010). - Appeal to multiple learning preferences and increase learner engagement – video can appeal to multiple preferences (e.g. visual, aural, written) through it’s use of images, animation, text and audio (Berk, R. A., 2009; Sankey, M., Birch, D. & Gardiner, M., 2010; Kearney and Schuck, 2004; Reid, M., Burn, A. & Parker, D., 2002). - Help students understand complex information – using text and pictures can assist students with difficult concepts, “Shah and Freedman (2003) discuss a number of benefits of using visualisations in learning environments, including: (1) promoting learning by providing an external representation of the information; (2) deeper processing of information; and (3) maintaining learner attention by making the information more attractive and motivating, hence making complex information easier to comprehend” (cited in Sankey, M., Birch, D. & Gardiner, M., 2010). - Authentic learning – using a video project with your students presents an opportunity for an authentic learning experience as described in this k-12 study, “authenticity was apparent through the ability of DV [digital video] to be used in real-world contexts; to develop life skills; and to be produced for a real audience” (Kearney and Schuck, 2004). - Develop digital literacies – digital skills are vital for our students, “As 90% of new jobs will require excellent digital skills, improving digital literacy (by which we mean those capabilities essential for living, learning and working in a digital society) is a key component for developing effective and employable learners” (JISC., 2013). Using videos both as teaching materials and as projects can help students develop various digital skills. - Strengthen multiple core literacies – Seneca’s Academic Plan identifies multiple core literacies that our students should demonstrate competency in upon graduation. Using video in your teaching and/or as projects can help strengthen many of these literacies including, written and oral communication, information literacy, creative thinking, inquiry and analysis, critical thinking and problem solving, digital literacy, etc. But keep in mind… “…the integration of DV [digital video] technologies into subject teaching does not automatically improve the quality of work or standards of attainment; high quality teaching remains the key factor in raising achievement…” (Reid, M., Burn, A. & Parker, D., 2002). Resources for Using Video in the Classroom: - MindShift: Teachers’ Guide to Using Videos by Catlin Tucker - “Emerging Model of Good Practice for Mode 1 Digital Video Projects” (2nd last page from Kearney and Schuck (2004). Students in the Director’s Seat:Teaching and Learning with Student-generated Video) - Video in the Classroom by EDTechTeacher - Checklists and Rubrics for Video Projects: - Tips for Giving a Successful Video Assignment (College of Charleston) - Create a Digital Storytelling Assignment (U of Maryland) - Digital Storytelling Rubric (U of Maryland) - Video Project Rubric (Capital High School) - A+ Video Project Rubric (U of Wisconsin-Stout) - Checklist for creating an “advanced” short educational video (Seneca Libraries) - Checklist for creating a “basic” short educational video (Seneca Libraries)

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When Stanford Professor Sean Reardon and his research team set out to take an unprecedented look at how elementary school girls and boys compare in academic achievement, they expected to find similar stereotype-driven patterns across all 10,000 U.S. school districts: boys consistently outperforming girls in math and girls steadily surpassing boys in reading and writing by a wide margin. Instead, Reardon and his team of researchers at Stanford Graduate School of Education discovered wide variations in how girls and boys in grades three through eight perform from one district to the next. In some cases, girls did better in both math and reading. In others, boys had the advantage in math and almost matched girls on English-related subjects. The swings in math scores were especially striking. Looking closely, the researchers uncovered a pattern: in affluent, highly-educated and predominantly white districts, boys outperformed girls in math. In poorer, more racially diverse districts, girls often outdid boys in math. In reading and writing, however, the researchers found no correlation with local socioeconomic status or racial makeup. In almost every public-school system, girls came out ahead in reading scores, though to different degrees across communities. The study, published online as a working paper, marks the first comprehensive analysis of gender achievement gaps at the district level. “Our goal was to map the patterns of gender achievement gaps across the entire country in order to develop a better sense of what kinds of communities and school districts most commonly provide equal educational opportunities for girls and boys,” says Reardon, the Professor of Poverty and Inequality in Education. "We hope this information will help educators and policymakers eliminate educational gender disparities.” The findings were drawn from the Stanford Education Data Archive (SEDA), a massive online collection of roughly 300 million math and reading test scores from every public school in the United States from fall 2008 through spring 2015. Reardon, one of the creators of SEDA, has previously found that school systems with large numbers of low-income students have average academic performances significantly below the national average. He's also shown that poverty alone does not determine the quality of a school district. For the latest study, Reardon and his team built an analytical model that takes into account possible discrepancies in math and reading scores across states, including differences in test formats. Reardon and his collaborators have previously shown, for example, that multiple-choice questions favor boys while girls better solve open-ended problems. The results were striking. In some of the country's richest districts, boys on average outperform girls in math by two-fifths of a grade level but are half a grade level behind on reading and writing. In many of the poorest districts, however, the gap favors girls by one-fifth of a grade level in math and four-fifths of a grade level in English subjects. The scholars also found that boys perform especially well in math in communities where adult males are more highly educated and earn substantially more than females. In other key findings from the study: The new research doesn’t provide evidence as to why socioeconomic and racial conditions impact learning in elementary school. The authors also can't say whether one race does better than another across subjects. “The study shows that local conditions seem to partly shape gender achievement gaps,” says Erin Fahle, a co-author of the study who earns her PhD in education policy from Stanford this month. “In particular, in some places female students appear to have an academic advantage; in others male students do.” New research opportunities One hypothesis holds that, in wealthy families where the men earn much more than women, the stereotypical idea that boys are better at math and sciences and girls are better at reading and storytelling may be inadvertently bolstered when a son shows early interest in robots or girls stage a play. That's because richer families have the resources to invest in, say, after-school science or theater programs. "It may be easier for parents to reinforce stereotypical patterns in affluent places because they have more money to do so," says Reardon, who sits on the steering committee of Stanford’s Center for Education Policy Analysis (CEPA) and is also a senior fellow at the Stanford Institute for Economic Policy Research. "In less affluent places parents can't spend the same kind of money and, therefore, may not reinforce those patterns as much." Fahle adds that, while it's important to know why girls do better than boys in math in some places and not others, it's equally critical to figure out why boys consistently and almost universally lag in reading and writing. "There's a lot of evidence," says Fahle, who will soon join the faculty at St. John's University in New York City, "that boys' educational opportunities in English language arts are being constrained." "We can't say with this research why these patterns exist," says Reardon. "But the data provides an opportunity to further investigate what's behind them and to think about steps that schools and communities can take to address the more troubling ones." The paper’s additional co-authors were: Demetra Kalogrides, a researcher at CEPA; Rosalia Zarate, a GSE doctoral student; and Anne Podolsky, a researcher and policy analyst with the Learning Policy Institute. Subscribe to our monthly newsletter.

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To compare is to examine how things are similar, while to contrast is to see how they differ.A compare and contrast essay therefore looks at the similarities of two or more objects, and the differences.Tags: Creative Writing Grants And ScholarshipsRole Of Youth In National Development EssayFord Dissertation Grad CafeMarketing Research Paper SampleHow To Prepare A Business Plan For A New BusinessEssays Over VotingDescriptive Narritive EssayEssays At AibSample Medical Research ProposalEssay My Best Friend Class 6th Plan A: Use Plan A if you have many small similarities and/or differences. After your introduction, say everything you want to say about the first work or character, and then go on in the second half of the essay to say everything about the second work or character, comparing or contrasting each item in the second with the same item in the first. In this format, all the comparing or contrasting, except for the statement of your main point, which you may want to put in the beginning, goes on in the SECOND HALF of the piece. Plan B: Use Plan B if you have only a few, larger similarities or differences. It is also possible, especially for short exam essays, that only the similarities or the differences, not both, will be discussed. There are two main ways to structure a compare and contrast essay, namely using a block or a point-by-point structure. For the block structure, all of the information about one of the objects being compared/contrasted is given first, and all of the information about the other object is listed afterwards.Or give these additional tips and handy worksheets a try.Ready to see two comparison essay examples that make cool comparisons? The first essay focuses on basic comparisons of two common Disney princesses.(You can do your happy dance later.)If you have a pretty good sense of how to write a compare and contrast paper but need a topic before you can even begin to think about writing, here are 49 Compare and Contrast Essay Topics to Help You Get Started. Browse through some additional examples of comparison essays.If you’ve got the how and the topic mastered but aren’t sure how to get started, This Compare and Contrast Essay Outline Will Help You Beat Writer’s Block.Then for organizing your essay, choose one of the plans described below whichever best fits your list.Finally, and this is important, what main point (thesis) might you make in the essay about the two people/things being compared?To write a comparison or contrast essay that is easy to follow, first decide what the similarities or differences are by writing lists on scrap paper.Which are more significant, the similarities or the differences?My comments within the paper highlight both strengths and areas in need of improvement.Before I address the content of the essay, let’s talk about the title.

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From Storytelling to Digital Storytelling Throughout human history, stories have been used to share ideas, opinions and experiences. Stories are used for a variety of purposes – to entertain, to educate, to illustrate concepts, to provide moral guidance to inspire change – in all social activities in every industry. Indeed, this innate ability and desire to tell and share stories are tendencies which make us human. Consider how you interact with others on a daily basis. You tell anecdotes, share events and experiences, and use stories to illustrate your ideas and opinions. We even tell stories when we give advice. Storytelling is used for specific purposes too. Film directors use stories to make us feel and think. The media uses stories to explain and analyse events. Companies use stories to promote their products. Academics use stories to explore concepts and abstract ideas, which is one reason why storytelling is such a vital pedagogical tool in the ELT classroom. We can use stories to present, study, practise and produce English in context, ensuring our learners practise all four skills and increase their awareness of grammatical, lexical and phonological features of the language. Until recently, most stories used in the classroom were taken from published educational materials (course books and ELT materials). Published materials, however, do not always engage and interests our learners as the content is often too general. In the 21st century, things are very different as there is content available online which meets the needs and interests of every learner. What is more, people can now create and publish their own content. What is digital storytelling? Digital storytelling can be defined as the use of digital tools to record audio, graphic images and videos in order to create stories. Most of these digital tools are readily available to teachers and learners: digital recorders, digital cameras, mobile devices, tablets, laptops and desktops. If you do not have a classroom connected to the internet, these devices can still be used offline to record audio and video, although you might decide to put them online later. What types of digital stories can be created in class? There are several ways to create digital stories: The simplest form of digital story is an audio recording. Add music and sound effects to create mood and enhance the emotional intensity of the story. If you are a podcast fan, then you probably know about Serial. A slightly more complex form of digital storytelling is to combine audio with text and/or images. Slideshow presentation software (Powerpoint, Google Slides, Prezi) allow for special effects (visual and sound). Digital cameras and mobile devices make it easy to record talking head videos, so learners can tell a story while looking into a camera. Finally, there are a number of video editing tools which can be used to combine moving images, text, music and audio narration to create short movies. Do you need to be good with technology to create digital stories? Now, you may be thinking that this sounds like a considerable amount of work or that you do not have the technical skills to create digital stories. However, creating digital content is easier than ever before. Digital recorders and cameras are easy to use and there are many simple apps for audio and video recording. And, why do educational professionals need to master these digital tools? After all, our younger learners are ‘digital natives’, who have grown up with the internet, mobile devices. computers and tablets. Technology has always been a significant part of their life and younger people are often far more comfortable using digital technology than those of us who are termed ‘digital immigrants’. They are the experts, not us. This does not mean that our role as teachers is less important than before. On the contrary, digital tools allow us to focus on helping our learners develop their linguistic and storytelling skills. Our learners can now tell their own stories in English and our role is to guide them through this process. Some simple ideas for digital storytelling in the ELT class Raising awareness activities: Use audio and video stories to present new language and analyse grammatical, lexical and phonological features of English. Skills Practice: Learners listen to audio or video recordings of stories with transcripts to improve their pronunciation. When they are ready, they can record their own narration, focusing on stress, rhythm and intonation. Audio or Video anecdotes: Learners write, rehearse and tell personal anecdotes which they can share. You can create a feedback template so students can assess each other on key aspects, such as delivery, speed, volume etc. Slide presentations: Learners write stories and find images to illustrate the plot. Then, they create slides to accompany the stories Finally, ask them to record their screens as they tell the story while flicking through the slides. Short film projects: Learners can write the script for a short film and then act it out themselves. All they really need is a smartphone. Video editing software can be used to increase production values. Chain stories: Each section of the story is created by a different member, pair, or small group in the class. For example, in Lesson 1, each group writes the beginning. In Lesson 2, each group passes their beginning to another group who write the middle section. Do the same with the final part and then return the stories to the group who wrote the first parts. Then, each group can create use digital tools to present their completed story. In my experience, all English language learners, young learners and adults, find digital storytelling activities stimulating and beneficial to their language learning. The sense of accomplishment they feel on completion of a storytelling project does wonders for their confidence too.

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Storytelling teaches essential curriculum elements to students in a way that is both exciting and memorable. A school visit can involve everything from Grimm's fairy tales to Arthurian myth to the Sumerian epic of Gilgamesh, and can take the form of a large assembly, a single class visit, or a five-week residency in which students learn to tell stories themselves. Students at all grade levels can find in storytelling a doorway to greater creativity, social interaction, personal expression, and self esteem, as well as an introduction to themes and characters --such as Odysseus, Gilgamesh, and Sleeping Beauty— that are an essential part of human culture. Stories promote cultural awareness, teach world history, and provide students with a thousand different maps to the forest of growing up. And not only that— stories are fun! For bookings or further information, contact: Fourteen Reasons to be Inspired About Storytelling - Stories are free. Unlike most film and audio recordings, stories cost nothing. - Stories strengthen imagination. If the imagination is a muscle, stories require us to use that muscle, and so invigorate memory and thought in a way no other media can. - Stories can be taken anywhere. All that is required for a story is that you and the listener be in the same place at the same time. No book, DVD, or iPod is required. - Stories are screen-free. Exposure to screen media suppresses our ability to make images, but storytelling nourishes that ability and causes it to blossom. - Stories come naturally. Storytelling is a basic human activity performed by physicists, politicians, and so-called "ordinary" people every day, whether we are describing how we are feeling or just performing one of those ancient magical rituals known as jokes. So have no fear-- you probably already tell stories, whether you know it or not! - Stories help us think. Much of what we call “thinking” is in fact “imagining.” Whether envisioning our weekend plans, what to have for dinner, or the behavior of sub-atomic particles, it is by imagination that these ideas are first explored. By strengthening imagination stories develop our ability to reflect, remember, and plan for the future. - Stories are interactive. When telling a story, you and the listener often get to comment on the story, ask questions about it, create sound effects, tell parts of it over again, and skip to favorite parts. This high level of interaction is not possible in other media. - Stories inspire us to ask the big questions. Because stories are so interactive, they can inspire us to question the larger stories of history, gender, and race that we have received. This is the first step towards changing those stories for the better. - Stories are not owned by corporations. Films, audio-books and computer games are created to make money; traditional stories, legends and myths are not. Telling stories reminds us that entertainment does not need to be purchased. - Stories are maps of the soul. The majority of traditional stories are intended not simply for entertainment, but to present a spoken map to an area of life such as childhood, adolescence, or adulthood. Without a map, it can be difficult to find your way. - Stories are not just kid-stuff. Unlike entertainment made specifically for children, traditional stories communicate on many different levels at the same time, and so can be enjoyed by both adults and children simultaneously. - Stories bring good difficulty. Stories bring up subjects that are sometimes difficult; encountering these difficulties inside a story is a way to begin wrestling with them in a safe, reflective and playful way. - Stories express culture. Stories have been told all over the world for thousands of years, and for this reason are an effective and joyful way to connect with culture and history. - Stories are fun. That’s one reason they’ve been around for so long, and in some ways it's the only reason any of us need!

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A Popular Way To Voice Criticism In this lesson, students will look at a classic satire that makes fun of and critiques various aspects of politics and government. Students will think, Why would satire have been a particularly popular way to voice criticism, especially when rulers were kings or emperors? - Read the lesson and student content. - Anticipate student difficulties and identify the differentiation options you will choose for working with your students. Drawing of Gulliver's Trip - After students share their drawings in small groups, invite a few students to share their drawings with the whole class. - Students will discuss why they chose the part of the trip that they did as part of the next Whole Group Discussion. In small groups, share your drawing of a part of Gulliver’s trip. - Explain why you chose to draw the part of his trip that you did. - This is a complex text! You may need to spend some time wading through the actual events of the two chapters, but it will pay off, as students realize that they can understand complex and ancient literature on their own. An annotation for the Gulliver’s Travels excerpt is provided to help you here and with the political annotation later in the lesson. - Both the drawing question and the favorite part question can naturally lead you to look at specific text and talk about its interesting features. - Students might pick the descriptions of the town for drawing, for instance, and you can lead students to talk about Swift’s great imagination and the entertainment it provides. This is a good opening for concrete detail discussion. - The favorite part is likely to be Gulliver’s action of dousing the fire, and you can talk easily about why this might have been included—for humor, entertainment. - The latter event, Gulliver’s successful extinguishing of the fire, is a great opportunity to talk about euphemism since the language Swift uses so fogs what’s actually happening. Ask students why this makes the section funnier. You can also talk about the farcical quality of the scene, since it’s an extremely unlikely situation. Situational irony is logical here, too, as is incongruity: all are the source of this very funny scene. - A particularly adept group could be given this scene to consider and close read, looking for the various strategies that make it funny, identifying each carefully. Discuss these questions about the two chapters from Gulliver’s Travels that you read for homework. - What actually happens in these two chapters? - Begin with Gulliver’s journey to the city Mildendo. What does he see? - What’s the gist of the conversation between Reldresal (the king’s principal secretary of private affairs) and Gulliver? - Where does Gulliver go in Chapter 5, and what does he do on the king’s behalf against the Blefuscus? - What crisis presents itself when Gulliver comes home, and how does he solve it? What’s the response of the empress? - Why did you choose to draw the part of his trip that you did? - What was your favorite part of the two chapters, and why? Why does this book remain popular? Vocabulary in Gulliver's Travels - Monitor students and lend assistance as needed. Note any unknown words from Gulliver’s Travels. - Work with a partner to look up definitions and rewrite them in your own words. To Vex the World - Allow students to have a Whole Group Discussion after they discuss the question with partner. - SWD: Since the academic vocabulary in this section is substantial, consider going through (explaining and defining as needed) prior to the discussion and also during the discussion. Encourage students to use the academic vocabulary in their own sentences as a way to apply the academic vocabulary as well as responding to the questions. - Swift’s book has come to be seen as a children’s story and has been incarnated many times as a movie aimed at young adults and children. This has happened because the aspects Swift included to make the satire more palatable and entertaining are what’s focused on, not his harsher political points. Do people lose sight of his more important points because of this candy-coating? - This point will recur with discussions of modern political satire, like that of Jon Stewart and Stephen Colbert, so it’s worth spending a bit of time on here. One critic said that Swift meant “to vex the world, not divert it.” Discuss the following with a partner. - Was he successful? What examples from the text would you point out to support your thinking? - As you discuss these questions with the class, you can also consider where this novel goes on the satirical tone scale—is it more Horatian or Juvenalian? - Consider asking students: How would Swift feel about what’s happened to his novel? Students who enjoy creative writing might write a short review from Swift’s point of view. - You can also hint at lessons down the road by asking if students can think of any political satirists today who similarly coat their satire with diversion. - ELL: Invite comments about political satirists from other countries, and encourage ELLs to share about their culture. Always infuse a sense of respect of other cultures by all students. There have been several children’s movies produced based on this novel. Discuss the following with your classmates. - Why? What aspects of this novel lend themselves to children? - If you were writing a children’s version of this novel, what would you include, and what would you leave out? Political Satire Annotation - This part of the lesson and most of Lesson 20 aim at close reading of the text and a sharp focus on political satire. - This individual student work sets up a jigsaw activity in Lesson 20. - Lesson 20’s jigsaw activity consists of two rounds. In round one, students meet in groups based on the area of satire they were assigned and share their findings. In round two, they reassemble in new groups that contain at least one “expert” per area of satire and teach to the other students what she or he has learned. - Therefore, it is important to assign areas of satire as evenly as possible. Depending on the number of students in your class, some areas of satire might not be covered. - ✓ If you have 16–19 students, assign four of the topics to four or five students each. - ✓ If you have 20–24 students, assign five of the topics to four or five students each. - ✓ If you have 25–29 students, assign five of the topics to five or six students each. - ✓ If you have 30–35 students, assign each topic to five or six students. - ✓ If you have 36 or more students, assign each topic to six or more students. - Absenteeism is a potential problem in Lesson 20. In round two of the jigsaw, each group must have an expert for each of the assigned areas of satire. Keep this in mind when assigning the areas of satire. - Students can be assigned annotation tasks based on difficulty level. Swift’s views on imperialism and views on firepower are probably the most difficult tasks. The easiest tasks are his views on political parties and the causes of war. This novel is most famous for its commentary on various aspects of government and politics. Annotate the excerpt from Gulliver’s Travels for the area of satire assigned to you. - Swift’s views on the causes of war - Swift’s views on firepower - Swift’s views on imperialism - Swift’s views on political parties - Swift’s views on religion - Swift’s views on the fragility of a king’s favoritism One Key Point - Ask at least one student from each topic to share one key point with the whole class. Consider what you annotated about your topic. - Be prepared to share one key point with your classmates. Political Satire Annotation - Encourage students to write down any questions they have about the text and bring them to class. Continue to reread the excerpt from Gulliver’s Travels. - Annotate the text for your area of political satire. - Consider as you annotate: how does Swift feel about leaders and their advisors?

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Reading Rate Vs. Fluency Reading fluency is a reader's ability to read quickly and with appropriate expression. Reading rate is part of the broader umbrella of fluency and is measured in words read per minute, while fluency is a bit more subjective. Rate is a key factor in fluency as a whole. What is Fluency? Fluency is the ability of the reader to read with accuracy, automaticity, appropriate phrasing and intonation. Accuracy is the ability to decode words correctly. Automaticity is the ability to read words automatically without having to stretch them out or break them apart. High automaticity equals a high rate. Appropriate phrasing is the ability to pay attention to punctuation in order to phrase sentences correctly. Intonation is the ability to use voice to create meaningful phrases. Lifting the tone of voice at the end of a question is an example of this. All of these components work together to create a fluent reader. What is Rate? Rate is quite simply words read per minute. It involves the automaticity of reading. The more automatic reading is, the higher the rate will be. Rate is measured by counting the number of words in a specific passage and timing the reader. The mathematical equation for rate equals (words divided by seconds) multiplied by 60. For example, if there are 256 words in a passage, and it takes 225 seconds to read the passage, the rate will be 68.3 WPM. Appropriate Words Per Minute The most widely accepted scale in terms of oral reading rate was published by Jan Hasbrouck and Gerald Tindal, acclaimed researchers in the field of oral reading fluency. They created a grade-level scale that is helpful in comparing a student with average readers at his grade level. For example, in second grade it is expected that average students will achieve 89 WPM by the spring of that year. The fourth-grade average for spring benchmarks is 123 WPM. Students who consistently read significantly below that benchmark may benefit from reading intervention. Achieving Overall Fluency Rate is not the most important aspect of fluency. Fluency is made up of several components, and each must be addressed in order to create an overall fluent reader. Activities that promote fluency are repeated readings, where students read passages several times in an attempt to increase fluency. Readers theater allows them to practice fluent reading while participating in a classroom play. Dialogue often is a wonderful way to encourage fluent reading, and it also is important that students have the opportunity to hear fluent reading modeled for them. Read-alouds are a very effective way to show emergent readers what fluent reading sounds like. Finally, students can practice phrased reading. For this activity, poems work well. Having students repeat certain phrases within poetry helps them practice the rhythm and fluency needed for such texts. Alicia Anthony is a seasoned educator with more than 10 years classroom experience in the K-12 setting. She holds a Master of Education in literacy curriculum and instruction and a Bachelor of Arts in communications. She is completing a Master of Fine Arts degree in creative writing: fiction, and working on a novel.

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Hi, my dear colleagues! This post will be a reflection with a commentary about a great presentation from TESOL Spain 2021 titled 21st Century Skills and (Oral) Storytelling: Get your Students Communicating, done by Rebecca Lemaire. The speaker did not put the word ‘oral’ in the title, but I had to add it since I have many posts about storytelling on my website and I want to make a distinction. In these times of uncertainty, stories, imagination, and creativity are key for our students to find their way forward. When planning activities, how can we give our students a voice and move away from competition? Rebecca presents practical and adaptable storytelling activities for all ages which help our students practice 21st-century skills. Come ready to talk and improvise! Online storytelling for young learners I’m sharing this video so that you can see how engaging Rebecca’s sessions are! She seems to be very engaged herself, and this is why the learners are also naturally drawn to the storytelling. This is the first tip I always share with teachers: The students see your facial expressions, and they can easily know if you are enjoying what you are doing or not. Rebecca’s workshop was fully interactive and the participants were students who were actively participating in many activities listed below. What 21st century skills can be developed through oral storytelling? Now, many educators wouldn’t think that storytelling can be used for 21st-century skills, but the truth is that every activity you make can be used to promote certain 21st-century skills. Here are some skills that she mentions in her presentation. As you read the activities you can do in the interactive oral storytelling below, try to think which activity promotes a specific skill: - Critical thinking - Digital literacy - Citizenship leadership - Emotional intelligence - Sense of wonder ✨ Making an oral story without cutting the flow of the story can be hard, and I have also experienced this in my classroom. Here are some amazing activities Rebecca recommended for making your story more interactive: - Repetition, songs, and rhymes as a way of pre-teaching vocabulary for lower-level learners. - Movement stories. - What would you do now/and he thought… – This activity includes students’ opinions and elicits speaking naturally. Any volunteer can speak up, finish the sentence and another should continue. - Quick improvisation in the middle of the story, then continue – this activity can use the sentences from example 3 or be any kind of improvisation. The activity number 2 is very visual and it would require you to see how Rebecca lead us through the story in order to see how she conducts these activities in her sessions. For movement story, she suggests to take a look at her video Mr Wiggle and Mr Waggle, or Sun and Wind. (If you are interested to see those videos, explore her website – linked below .) Learning/exploiting the story These activities are usually reserved for something I call post-dramatization on my website (cross-referenceing so you can connect the scaffolded steps). Here are some amazing ideas Rebecca suggested, and my additional ideas on how to conduct some of them: - Sketch a scene/speech bubble + writing – I would suggest making a comic book. You can do literally anything with this activity, it is very versatile. - Freeze + animate a scene – Doing this live, during the story itself would be amazing. It can be used for description, even grammar (yes, even grammar, since it is so contextual.) - Interviews (how did a specific character feel in the story) can do wonders for emotional intelligence and they can promote empathy. - Emotion charts – and activities Rebecca found in the Future Learn course (I cannot remember which one, so I cannot credit it). I would make a bar chart or any kind of chart and cross-reference it to see what some characters have in common, not just emotions. Stepping outside of the story Here are some more post-dramatization activities that serve as a way to promote creativity, elicit speaking and promote collaboration. These activities are pretty self-explanatory. - Create or improvise a dialogue that is not in the story. - Change an element in the story, such as the setting or the characters. - Open-ended questions. The importance of open-ended questions I love open-ended questions because they promote critical thinking skills and give the students the opportunity to express themselves and share their creative ideas and opinions. When it comes to open-ended questions, you must be really careful if you work with young and very young non-native learners – the questions need to be developmentally appropriate and not too complex. P.S. Open-ended questions are questions that cannot be answered with yes, or no, they do not have a correct and a wrong answer and they require students to express their views without imposing anything on them. Just as Rebecca mentioned, I rarely use the plain comprehension questions and with the youngest ones I usually ask them to tell which characters to they like, why, how did the character feel, how would they feel in this situation, and so on. I do add comprehension questions to my digital materials because they are also meant to be used individually, with parents at home, so they need all the support they can get. Goal: students as storytellers and story creators Logically, the goal of storytelling is almost always to motivate students to be creative. My goals in storytelling are the same – I want students to express themselves creatively, whether that might be through speaking, drawing, singing, inventing, or dramatizing. I love to see students’ creations so I motivate them to draw an alternative ending, make up a story from a specific character’s point of view or simply improvise their own story from motives from the story they just heard. Rebecca mentioned one tool, (not remember which one, I used it only a few times) but I prefer this one for many reasons. Storyjumper allows the students to collaborate, add audio, make a video book, make sounds as the pages flip, it has a lot of images you can readily use, and people can comment and even PURCHASE a real, printed book if you publish it! Another tool I use for making interactive books is Genial.ly, which is pretty much endless and the best content creation tool out there. You can make literally any digital content that comes to your mind. Rebecca is a great teacher trainer, and of course, an amazing storyteller. I was mesmerized by her energy and her personality. The session inspired me a lot and gave me many new ideas, especially in the dramatization part of her workshop. The workshop was amazing and I enjoyed it very much because I love storytelling and interactive activities, but there is one point where I disagree with the presenter. I do agree with her that the children should always have a voice, but oral storytelling and storytelling with visuals, books, and puppets are equally good and do wonders in creating little readers and build their love towards literature. To conclude, we need to separate the methods and understand that there are many ways to conduct storytelling and that none of them is wrong, they just have a different purpose – some of them elicit speech, and some methods enhance reading skills in young learners. Another point to consider is the fact that so many educators are not very comfortable with acting, and in a workshop I conducted about storytelling two weeks ago, we discussed how dramatization is a skill and the participants wanted to know what can they do it if they do not have enough courage to dramatize and ‘expose themselves completely‘ as one of them said. This is why starting out with a puppet and gradually including more and more dramatization can be a good idea for shy educators. Contact Rebecca on her website and explore it to learn more about her storytelling methods and sessions! How do you engage your learners and keep them motivated during storytelling? Have you ever considered using oral storytelling, along with activities in your lessons? If you have anything to add or say, write below or get in touch via the contact page. Click here to explore my store where 99% of materials are forever free! All the materials except lesson plans and 30+ page interactive activity books will be free FOREVER! Why? Because sharing is caring, and 2020 hasn’t been kind to all of us. Please consider donating so I can keep making FREE materials for everyone and keep my website open for all of you. Don’t forget to leave a review when you download materials! It’s just a minute of your time and it means a lot to me. P.S. The store and the freebie library are not the same things – the freebie library has some extra materials like conference presentations and webinar recordings which are not available in the store ✨ The subscription link for the store is below my bio in every post. 👇

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App smashing allows students to create projects using multiple applications (shortened to "apps") to achieve the end result. The applications can be anything from the camera app on a phone to a website like Storyboard That. Providing a variety of different apps to use lets students pick the ones that allow them to achieve their desired outcome. Each part of the project is completed in a different app and the result is an integrated presentation. Combining applications with Storyboard That enhances storytelling through the addition of photographs, audio, and video. In addition to increasing student voice and individuality in the classroom, students are able to cater best to their own learning style without worrying about how to fit into the narrow parameters of a single application. The fluidity of using different apps allows students to create highly individualized projects. You can see how they learn and how they process information and grade each project accordingly! One of the best parts about app smashing is that it can be used in so many different ways. Students can work collaboratively or individually, and the projects can be cumulative research projects or focus on a single topic within a unit. When integrating technology into the classroom, let students explore each individual application, so they can master it before they smash it! Chances are, they'll discover ways to use the technology that you didn't even think of (and that you can use to create even more awesome projects and lessons)! With Storyboard That as a part of the process, the possibilities are endless. When it comes to digital storytelling, adding layers to a project can enhance the story for a deeper understanding. Why stop with just words? Here are just a few things you can do to make your app smashing a success: The variety of export options gives students the freedom to pick what best suits their project. Our large layouts and custom sizes can be used to create backgrounds for posters or to create full page, detailed scenes. They make it easy for students to tell a full story and after downloading, they have plenty of room for adding audio or video components in another app! Students might create a rainforest scene as the backdrop to a story about deforestation or the animals who live there. Our other graphic organizer-style layouts are great for both the brainstorming stage of a project and adding a different type of visual to help enhance the information. Tell a story about the life cycle of a butterfly named Flutter with a circle chart as a starting point! Students can upload images from their device to use in their storyboard, or take advantage of our integration with Photos For Class and use the search function in the Storyboard Creator. If you want to put our awesome characters into a real setting or are doing a report on Mount Everest, upload a photo or two (or more!) without having to leave the Storyboard Creator! It's the easiest way to app smash with Storyboard That. Your storyboard is just the beginning of an incredibly fun way to create projects and tell stories in the digital space! Looking for ideas on how to smash Storyboard That with another app? Check out our articles spotlighting different apps!

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Do you use short stories in your curriculum? I love using them for their versatility. Short stories are a perfect way to incorporate reading, writing, language, vocabulary, grammar, and even speaking skills into your curriculum without having to spend several weeks on the same piece of literature. To take advantage of using short stories this year, here are some tips and ideas: 📚 Use short stories at the beginning of the year to introduce key literary elements such as plot, setting, characters, point-of-view and perspective, and figurative language. It’s much easier for students to grasp and review these concepts through short stories. I have a literary elements pack that can be used with any story that helps students identify and explain the key concepts. It’s offered in both digital and print formats for your convenience. They are both included in my short story bundle. 📚 Many short stories are readily available in the public domain, making it easier for you to share paperless versions with your students. Project Gutenberg offers stories in both html format (just share the link with your students) or downloadable versions. Feedbooks offers free short stories in ePub format that is compatible with tablets and digital readers. This is great for remote or distance learning or for avoiding book dispersal and sanitization. 📚 Reading short stories can help students with writing short stories. I love having students read a series of different stories as mentor texts. They can study the text structure and dialogue to help them structure their own original creations. I like to have them read a wide variety of different stories so they can see just how much writing varies in a single genre. I use my Narrative Writing presentation and handouts to walk them through writing their own. After they’ve written their stories, I post them online (anonymously on our school website) and we take a week (or more) to read every story in class and give one another compliments. The students love reading their peers’ stories and the quality of writing is always better knowing they stories will be shared (even if they are anonymous). Regardless of which story you are using with your students, you can use this FREE one-page activity. Download it to print and go, or use the TpT digital activity to share it virtually. You can also utilize these great activities by my blog mates: Lamb to the Slaughter Short Story Activity by Nouvelle ELA Short Story Interactive Notebook Flipbook by The Classroom Sparrow Short Story Complete Unit Plan by Presto Plans Thank You, Ma'am Short Story Activities by The Daring English Teacher Digital Short Story Bundle by Addie Williams

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The personal history of Phaedrus (15 BC-50 AD), a first century Roman writer, has been lost in the mist of history, but his fables in verse based on those of Aesop will live for countless generations to come. Fables are one of the oldest forms of storytelling that have come down to us and survived through the ages. They appear in cultures throughout the world, including those of ancient India and the Mediterranean region. The oldest form of storytelling is the myth. One style of myth is referred to an "animism," where every object, human or otherwise, assumes a personality. Animals, rocks, weather phenomenon, as well as man are each given human characteristics. This primitive form held no particular relationship to religion or science, but was told only for its entertainment value. Although less primitive in style than the animistic tale, the Aesop Fable has its foundation in this form of myth. The form recognized as the Western tradition is thought to begin with Aesop in the 6th century BC. He created his fables by applying personalities to his characters regardless of their humanity. These are learned tales, in written form—not handed down by word of mouth. Each fable presents its reader with a double meaning and is intended to teach a moral lesson. Role as Fabulist Phaedrus, a first century Roman writer, is recognized as the source of the modern Aesop Fables. Although the exact date of his birth is unknown, he was thought to have been a Thracian slave, born around 15 BC, who went to Italy in his youth. He may have been a freedman and tutor in the house of the emperor Augustus, where he would have received an education in Greek and Latin. Demetrius of Phaleron, about 250 years after Aesop, amassed a number of fables and attributed them to Aesop. Phaedrus took a version of these tales and turned them into Latin verse. He is recognized as the first writer to Latinize entire books of fables, using the iambic metre Greek prose of the Aesop tales. While poets such as Ennius, Lucilius, and Horace had each used fables in their poems, Phaedrus believed himself to be the one artist whose poetry would be immortal. His work included fables invented by him as well as the traditional favorites. He related each with a graceful and elaborate style favored by the people of the day. Phaedrus is also thought to have written allusive fables that satirized Roman politics of the day. Along with Babrius, a Hellenized Roman of the 2nd century AD, Phaedrus is considered by authorities to be the principal successor to Aesop. Phaedrus Through History In the 10th century AD, a prose adaptation of Phaedrus' translations appeared under the title "Romulus." It remained popular until the 17th century, especially in Europe and Britain. During the Middle Ages, the collections of fables popular throughout Western Europe were most likely derived from Phaedrus. In early 18th century Parma, a manuscript was discovered that contained 64 of Phaedrus' fables. Among this discovery were 30 new fables. Another manuscript was discovered in the Vatican and published in 1831. Additional research has unearthed another 30 fables that are written in the iambics of Phaedrus. The better known fables of Phaedrus include "The Fox and the Sour Grapes," "The Wolf and the Lamb," "The Lion's Share," "The Two Wallets," and "The Pearl in the Dung-Heap." Columbia Encyclopedia, Fifth Edition, January 1, 1993. Great Works of Literature, Bureau Development, Inc., January 1, 1992. Encyclopaedia Britannica Online, http://www.eb.com:180/bol/topic?tmap_id-161058000&tmap_typ=dx (November 6, 1999), http://www.eb.com:180/bol/topic?eu=119369&sctn=12 (November 6, 1999). http://members.spree.com/fabulae/fabulae.htm (November 6, 1999). □

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Reasoning satisfies the human need for justification and a sense of ‘rightness’ that all intelligent communication needs, especially in an essay. What is “reasoning,” anyway? When talking about the meaning of reasoning, we can get into confusing philosophical issues much too quickly. So let’s start with a down-to-earth definition of reasoning as a process— Reasoning involves a conscious attempt to discover what is true and what is best. Reasoning thought follows a chain of cause and effect, and the word reason can be a synonym for cause. By this definition, reasoning involves cause-and-effect relationships, whether it be a single cause-and-effect relationship or a chain of cause- and-effect relationships. But what is a cause-and-effect relationship? Cause and effect is a relationship in which one thing, called the cause, makes something else happen, and that “something else,” that result, is called the effect. For example, a boy hits a ball with a bat and the ball goes through a window, breaking it. In this instance, the cause is the boy hitting the ball, and the effect is breaking the window. Cause-and-effect reasoning is something we all use every day, whether we’re particularly conscious of it or not. So I’m sure you’ll recognize these common, informal rules of cause and effect: 1. Sequence— The cause comes first, and the effect follows after. 2. Present— When the cause is present, the effect is always present. best essay writing service reddit 3. Absent— When the cause is absent, the effect is always absent. Now, here’s a true, commonly accepted, yet typically loose, example of those rules being applied to an historical situation— For centuries in Europe, only white swans were ever seen. All sightings, records, and information on swans in Europe showed that they were always white. So it was okay to assert as a truth that, “All swans are white.” (Another way to put it: “If it’s a swan, it’s white.”) The cause in this instance is this: Ever since Europeans had kept and tracked records—anecdotes, diaries, family hand-me-down stories, histories, journals, legends (local, regional, cultural), memoirs, myths, oral history storytelling—they had known swans as only white. No other color of swan had ever been known in Europe, and no world traveler had ever brought word from their travels to Europe that there was ever a swan of any other color than white. Because of all that experience and evidence, the effect was that Europeans believed that all swans everywhere in the world were white. It was good reasoning, based on centuries of accumulated evidence throughout an extensive geographical region and across varied cultures. But guess what? A Dutch explorer, Willem de Vlamingh, discovered a black swan in Australia in 1697, undoing centuries of European observation, experience, and thought involving the color of swans. One lesson from the black swan incident is that reasoning does work most of the time, but not always, because we cannot actually examine all the world on any particular question or fact (at least, not yet; but the world’s sciences and technologies do keep advancing, however… ). And that’s what it takes to authoritatively say, “always present” or “always absent.” Of course, in the absence of having all knowledge, all of us will continue using reasoning to help fill in our gaps of knowledge, and that’s why it’s so important to understand the proper use of reasoning in essays. Let’s look at three popular essays to see how they use cause-and-effect reasoning rules to support their original ideas, or new view thesis statements. Let’s start with the simplest essay, George Orwell’s “Politics and the English Language” (you can bring up free Internet copies of each of these essays by putting quotes around their titles in Google).

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You may recognize the need to teach your children right values today that would help in developing and constituting a healthy society tomorrow. But how do you teach them? Here are 7 important traits you can teach your children to instill those correct values, starting today! You can introduce integrity to your child by projecting yourself as an honest person. Remember that your child takes cues from you, so you must try to avoid any dishonesty in front of them. If your actions differ from your saying, your children will completely ignore your teaching. If your actions consistently support your words, you will reinforce your point. So if you show morality in your conduct and then talk about it, your children will tempt to become honest as well. Never portray dishonesty in front of your children. For instance, never say this: “Let’s not tell your brother we got chocolate this morning”. Always try to show honesty with others and your child will learn this from you. When you’re honest with others, your child will showcase the same in the society tomorrow as well.Honesty is the best policy. Click To Tweet In order to build a better society, where individuals receive impartial treatment regardless of their gender, religion, race, or, income level, social justice plays a significant role. Try to enable conversations about these issues and empower children to raise their concern and questions regarding unfair situations in the lives of those around them or in their own lives. To help children learn social justice and scrutinize systemic inequality, you must teach them to consider questions such as: - “Who is getting the benefits and who is suffering”? - “Who has the power to make decisions and who will be left out”? - “Why is a provided regulation fair or unfair?” Through answering these questions, children can begin to identify existing social injustices and that will help them develop a justified and healthy society. The strength of mind and determination are traits you must teach your children from a very young age. You can achieve this aim by avoiding unnecessary praise and by presenting children with truthful feedback, conveyed in a calm, helpful manner.I CAN and I WILL. Click To Tweet Also, we can encourage determination in children by asking them to perform actions that don’t come effortlessly and to admire them for their initiative. For instance, if your child is shy, gently give confidence and ask him to approach other children on the playground, even if it makes him feel nervous. Try to praise children when they face difficult situations. Also, encourage them to take on different challenges that would make them show their strong determination. We think about various experiences occasionally that educated us some priceless lessons in our past life. To teach your children valuable lessons of life, you can simply look back at your past and transfer your significant experiences to the children. Try to share some of those stories with your children that demonstrate how you made decisions that shown consistency with better values. You might pass on children your experience about a time when you took stand for your beliefs rather than joining with the crowd, made friendship with schoolmate whom everyone else was making fun, handed over misplaced wallet instead of keeping it for yourself or worked extremely hard to accomplish a particular goal. When you tell each of your experience, explain why it was such a moral dilemma, how you concluded to make the decision you made, and how everything turned out well. These stories will teach and ingrain better values and morals in the children that will ensure a positive society tomorrow. According to Mike Edison, a senior Essay Writer, Your children may involve themselves in various kinds of trouble occasionally. They might perform poorly on the school test or violate rules or even shatter the neighbor’s windowpane while playing baseball. You may tempt to rush in the school and ask the principal to take away the detention, or by paying the damages for the broken window in terms of monetary value yourself. But you shouldn’t do these actions because if you save your children every time they make a mistake, they won’t take accountability for their deeds. They need to realize that wrong choices result in objectionable outcomes. So every time your children make a blunder, try to engage them with sobriety and talk with them the negative consequences which may occur due to their mistakes. Ask them to accept and own the blunders they commit and take the responsibility for each action. When your children begin to hold themselves accountable, they will learn from their mistakes and never repeat them. To build a healthy society tomorrow, we must teach children today that being part of a family and a community involves accepting responsibilities. Children must learn that when each of us acts as a responsible person, our families and communities will be stronger. To teach responsibility, make agreements with your children and expect them to follow through. When circumstances turn out badly, help out your children acknowledge responsibility for their part and ask them to take decisions differently next time. Encourage your children and teach them to become responsible because it means keeping promises and honoring our commitments. Teach them that knowing your responsibility is completely accepting the actions we do. For building a healthy society tomorrow, teaching our children today how to become a responsible citizen is quite important. We must teach children that becoming a responsible citizen means doing the betterment of society and making the positive contribution to the community. If children participate in programs related to community service then they will learn the value of serving others and it will bring a powerful influence on their positive character development. To make your children a better citizen, take your child with you when you vote and talk to him about the candidates, participate in community-building activities, such as cleaning up playgrounds and doing volunteer activities in schools. Aileen Brianne is the professional writer and lead editor of Essay Writer Canada. She loves to write about the issues related to the learning and development of children’s mind. The child psychology is her favorite topic and she loves to write about it for various publications around the world.

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Enrichment at STEM includes after-school care, clubs and activities. On this page you’ll find all the information you need to learn more about what Elementary School is like at STEM. In addition to finding out more about the curriculum we offer, you will find the latest news on what is happening. At the STEM School Highlands Ranch Elementary School we focus on providing a rigorous and relevant core education that taps into the innate curiosity of each student while integrating essential STEM skills and concepts within literacy, mathematics, social studies and science. Our classrooms come alive with relevant, problem-based learning where 21st Century Skills are embedded through the use of technology, critical thinking, and collaboration to engage the heads, hearts and hands of students in authentic and real world issues. All elementary students will participate in specials classes that include art, music, physical education, technology, engineering, and world language. Character development is key as we nurture and develop responsible and respectful elementary students. Problem and/or project based learning (PBL), is a major instructional focus for every grade level and content area at the STEM School. Students take ownership of their own learning, collaborate with others, solve real world problems using data, research and analysis. They persevere to create new and creative ideas, projects and solutions, and communicate and share ideas with real world audiences. Problem based learning requires our students to not only have a strong foundation of knowledge, but to apply the learning using technology for a creative and novel solution to a relevant problem. Even our youngest students have opportunities to solve real world problems. For example, in a first grade classroom, students may be designing a museum exhibit for other students through an in-depth study of the Snowmass Colorado Mastodon discovery by visiting the Denver Museum of Nature and Science and meeting paleontologists and museum designers. Students may meet with a designer of museum exhibits to understand the elements of an effective diorama. Students then would be tasked with determining the best design of a diorama using Sketch Up (a technology component that allows for a 3D look at a plan). Colorado Academic Standards are addressed in multiple areas and the final presentation of their solutions and design ideas are presented to an expert panel of museum designers. Another example of a problem based learning experience relevant to second grade students includes studying the implications of the Mountain Pine Beetle in Colorado. They may visit a mountain area to collect data on the pine beetle infestation with entomologists, as well as learn about the stages of the beetle’s life cycle. They may study the beetle’s and analyze and the pros and cons on the ecosystem. Students use technology to record their data through pictures and video and create solutions for the new ecosystem. These solutions are designed, created, tested and are presented to a panel of experts from the National Park Service, Division of Wildlife and other stakeholders. Each student team also weighs the pros and cons of their solution to improve upon their design. Although problem based learning experiences will vary from grade to grade, all students will participate in the process of determining real world and relevant problems, understand essential content related to the problem at hand, design and test solutions to the problem, and present to an authentic audience. Formative and Summative assessments are incorporated into each content area. Formative assessments are used as a diagnostic tool to determine areas of growth and strength, thus allowing teachers to differentiate for all learners in their classroom. Formative assessments allow teachers to gain insight into student learning and make daily instructional decisions based on this data. Formative assessments may include: The following required assessments will be administered to K-5 students: Reading, writing, speaking and listening are essential components of an effective literacy program for K-5 students (Calkins, L., 2014; Routman, R., 2003). Curriculum aligns with the Colorado Academic Standards (CDE, 2010) and Core Knowledge (Core Knowledge Foundation, 2010) framework. The STEM School will provide a balanced literacy approach that incorporates the following key principles: Reading and writing instruction are closely connected. Components of balanced literacy include classroom instruction related to word study, interactive read aloud, shared reading and shared writing, independent reading and writing, and interactive editing. To optimize literacy instruction and student learning, time in content can be infused with modeled and shared reading and writing. The application and transfer of skills, strategies, and processes of reading and writing occurs across the day and throughout contents. Skills are connected and maximized in all content areas (math, science, social studies, engineering, art, music, physical education, world language). Non-fiction text is relevant and integrated which provides a forum for problem solving, collaboration with others, and critical thinking within real world relevant issues. Mathematics curriculum is developed utilizing the Colorado Academic Standards (CDE, 2010) and the Core Knowledge (Core Knowledge Foundation, 2010) framework which include skills, content and mathematical practices. The following Common Core Standards of Mathematical Practice (Common Core State Standards Initiative, 2016) drive instruction at all levels. Mathematics instruction is active and student-centered. Authentic, problem based learning experiences incorporate real world and relevant opportunities for students to apply mathematical skills and concepts. Science and engineering curriculum focuses on incorporating real world and relevant experiences through a 5 E Inquiry Model of Instruction (BSCS, 2006). Curricular decisions are based on the Colorado Academic Standards (CDE, 2009), Core Knowledge (Core Knowledge Foundation, 2010) framework, and the Next Generation Science Standards (NGSS Lead States, 2013). Science curriculum also provides opportunities to do the work of scientists and engineers by applying science and engineering practices within appropriate content. The following science and engineering practices will be embedded throughout K-5 curriculum: Science and engineering curriculum is also enhanced through partnerships within the community that enrich students with the real world work of scientists and engineers. Students will experience authentic science and engineering through field excursions, webinars and collecting scientific data that contributes to the scientific community (GLOBE, Bud Burst, Journey North, GO3, Roots and Shoots). Students will present their solutions to scientific problems to adult audiences for feedback. Engineering will be implemented as an integration of literacy, science and math content. Within the classroom, students will develop an understanding of engineering careers through Engineering Is Elementary curriculum (Boston Museum of Science). Literacy is embedded within each unit through a problem solving approach. All students will also be provided opportunities to learn the Engineering Design Process (Tufts University, 2002) through coding and early programming using Lego curriculum. Students will solve problems through designing their own solution, creating their own stories, and testing their design ideas. Story Starters, WeDo robotics kits and EV3 Mindstorms robotics kits will be resources used to teach these skills. Social Studies curriculum aligns with the Colorado Academic Standards (CDE, 2009) and Core Knowledge (Core Knowledge Foundation, 2010). These standards are essential as a guide in developing the knowledge and skills to help students make sound judgments, understand historical and contemporary experiences/events, analyze interpersonal and global tensions, and actively participate in the complex world in which they live. BSCS. (2006). The BSCS 5E Instructional Model: Origins and Effectiveness. Online access: http://bscs.org/sites/default/files/_media/about/downloads/BSCS_5E_Full_Report.pdf Calkins, L., et al. (2014). Units of study in opinion, information, and narrative writing: A common core workshop curriculum. Online access: http://www.heinemann.com/shared/onlineresources/E00871/UoSWResearchBase85x11.pdf Colorado Department of Education. (2010). Colorado Academic Standards. Online access: https://www.cde.state.co.us/standardsandinstruction/GradeLevelBooks Common Core State Standards Initiative. (2016). Standards for Mathematical Practice. Online access: http://www.corestandards.org/Math/Practice/ Core Knowledge Foundation. (2010). Core Knowledge Curriculum. Online access: http://www.coreknowledge.org/ NGSS Lead States. (2013). Next Generation Science Standards: For States, By States. Online access: http://www.nextgenscience.org/ P21. (2007). P21: Partnership for 21st Century Learning. Online access: http://www.p21.org/ Routman, R. (2003). Reading Essentials. Portsmouth, NH: Heinemann. Tufts University (2002). Engineering Design Process. Online access: Engineering Design Process

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Recently added to the Survival Tips for Teachers! At a young age, I was interested in comic books, which was really how I learnt to read. ~ Nicholas Cage Comics can be powerful learning tools. The mix of art, dialogue, character expressions, and frames engages learners and is brain-friendly. Comics break down a story’s plot and text into bite-sized chunks. Each frame has a visual of the action, which is much easier for the brain to process than reading a large amount of text. Additionally, comics are an effective way to introduce your learners to digital storytelling. Many of the comic creation tools are easy to use and allow learners to choose from a library of characters, props, scenes, and templates. Your learners will be able to quickly create a story, view it, and share it. Creating comics engages students and encourages them to explore vocabulary, summarize information, and contextualize what they learn in a creative way. Download the slides and bookmark the following tips and resources. Enjoyed these resources? Get your copy of The 30 Goals for Teachers or Learning to Go. The following are a few ideas to get you started using comics with your learners. Watch the recording of my webinar on this topic here! Choose comics or graphic novels as reading materials. Many classics and popular books, like Twilight and Pride and Prejudice, are available as graphic novels. Use comics as writing prompts- Makebeliefscomix.com has over 350+ free printables to use as writing prompts Students can do the following with their comics: Retell a historical event Create the setting and situation appropriate for idioms and phrases Post an interview Explore societal issues Explore the language in jokes Explore political issues Introduce themselves to their peers Show how to accomplish a goal Explore the meaning behind quotes Give visual instructions- Howtoons.com is full of great instructional comics Highlight the rules Create a context for math word problems Tell the news Explore various definitions of a word Click on any of the icons to be lead to that comic creator. Scroll down to see written descriptions of each tool. ToonDoo – The site allows students to share their comics, comment on other comics, and even save and edit a copy of a comic. Make Beliefs Comix– Two, three and four panel comics that you can create in multiple languages. 350+ free printables for teachers Comics Head– IOS and Android app to make comics. Best one in my opinion that allows adding your own images along with their library of characters, backdrops, and more. Friendstrip– IOS and Android app to make comics. Frames set and students can fill in the story. Creaza– Create comics, make movies, edit audio, and more! Embed in a blog or wiki. Bubblr– Create your comic strip with Flickr pictures and add bubbles to tell your story! Bitstrips– Not free, but offers a 30-day free trial and includes more educational support (e.g., activities) than most other comic generators. Comic Strip Generator– You can upload photos or use web images in addition to their library of ready-to-use images. Garfield– You can create comic strips or (in Comics Lab Extreme) comic books. Phrase It– Add speech bubbles to pictures. Comics for Learning, by shellyterrell Try any of these ideas or tools with your students and share their work! If you enjoyed these ideas, you may want to get your copy of The 30 Goals for Teachersor my $5.99 ebook, Learning to Go, which has digital/mobile activities for any device and editable/printable handouts and rubrics. Subscribe for FREE to receive regular updates! Interesting essay samples and examples on: https://essays.io/grant-proposal-examples-samples/

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Art and Drama Art and Drama for Pathway 2-4 pupils For information on Art or Drama for Pathway 1 see Pathway 1 Curriculum. Following several years of offering Drama as a stand alone subject in Key Stage 3 we felt to best meet the developmental needs of our pupils Drama in Key stage 3 is taught as a combined subject Art and Drama and it is taught as part of a carousel with Dance and Art as a stand alone subject. Drama is also taught within English lessons. The benefit of combining Art and Drama allows pupils who are not so confident in performing the opportunity to develop their creative thinking skills, knowledge and understanding of drama theory and practical without less onus on performance and the pressure of performing in front of others. Please see the Curriculum Matrix for more details of what your child will be studying: In Key Stage 3 We focus on teamwork, communication, drama games and learning to work well with others, as well as developing understanding and skills in: Voice, interaction, actions, movements, reactions, drama games, script writing and role play. PSHCE topics are a real focus for Drama lessons in Key Stage 3 as they help develop pupils’ emotional and general well being. As well as following the skills required by the National Curriculum a large consideration for play therapy and wellbeing is strongly encouraged, physical therapy is taken into account when developing movement and actions focusing on posture, stability and flexibility. Schemes of work encourage a passion for reading stories, research and storytelling, understanding characters and developing the skills to read body language, facial expression and use imagination. These are all areas which many of our students find particularly challenging. Art is explored through the development of characters and props, designing and describing characters, sets or costumes and exploring the creative process of group script writing through drawing and making in a range of 2D and 3D materials. Pupils build up their communication and making knowledge in a layered approach to learning. Each year pupils develop more breadth of knowledge and they are encouraged to refine and develop the key skills they will need to be good communicators. This is simultaneously enhanced by their Art work which allows them greater avenues to communicate and refine ideas visually as well as verbally. Drama is run over a 3 year rotation cycle, being taught by a Drama specialist. The Schemes of work are also linked to topics taught across disciplines. Topics encourage the acquisition of technical skills and theory combined with a therapeutic, social and emotional development onus. Miss C Kepinska - Faculty Lead, Arts

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"English literature" is a broad term used in many educational settings. It refers to the body of work written or spoken in the English language. It includes prose, poetry, and oral traditions. Although some schools may include American literature in this genre, W. W. Norton and Company, which publishes the definitive literature anthologies used by many colleges, only includes works by British and Irish authors in its English anthology. Early British Literature A survey of English literature course or test will most likely begin with the oral traditions of Old and Middle English. The most popular is the epic poem "Beowulf." Although there are numerous written versions of the work, it was originally a spoken poem passed through generations of early inhabitants of England called Anglo-Saxons. The poem is a series of adventure tales about a people called the Geats and an embattled hero named Beowulf. Next, most courses move onto "The Canterbury Tales," which helped English to gain credibility as a literary language in a culture where educated people wrote mainly in Latin. Written by Geoffrey Chaucer, the "Tales" is another series of stories told by different narrators that offers a snapshot of late medieval cultural diversity. Perhaps the most surprising thing about these early British works is their graphic content and crude sexual content. 17th-Century British Literature William Shakespeare's plays and poems figure prominently in any English literature course. His plays fall under three headings: comedies, where the characters use deceit and disguise to gain true love; tragedies, where a hero succumbs to a tragic flaw in his character causing his own and quite a few other deaths; and histories, where the central character is a former king whose flaws cause his demise. Other prominent authors of this period include John Donne, famous for his "Holy Sonnets," including the line, "Death, be not proud," and John Milton, the blind poet who wrote the allegorical epic "Paradise Lost." The Romantic Period This period produced authors who wrote about life, love and nature. Many of these authors found the world to be disappointing and had a melancholy bent to their works. John Keats is possibly the most famous author of this period. Students often study his many odes, especially one contemplating the unchanging nature and eternal youthfulness of characters painted on a Grecian urn. William Wordsworth is also a key figure, with the notable poem "The world is too much with us, late and soon," as is his collaborator Samuel Taylor Coleridge, who wrote "The Rime of the Ancient Mariner." Victorian and Modernist British Literature The Victorian period, which lasted from the mid-1800s to the beginning of the twentieth century, includes the love poems of Elizabeth and Robert Browning, Lord Alfred Tennyson's sweeping saga of Camelot entitled "Idylls of the King," and the Scottish writer Robert Louis Stevenson's adventure stories and novels, including his famous "The Strange Case of Dr. Jekyll and Mr. Hyde." Modernist English literature includes the works of William Butler Yeats, Virginia Woolfe, James Joyce and D. H. Lawrence, who all dealt with sometimes disturbing themes of death and disillusionment and pioneered new literary forms. Literary Terms and Devices Included in any study of literature is the study of literary elements. Students should be familiar with the definitions and uses of "theme," "mood," "style," and "symbolism" in regard to written works. Knowing poetic devices and forms such as "meter," "rhyme," "alliteration," "sonnet," and "quatrain" is also essential. Diane Kampf has more than 20 years of teaching experience ranging from middle school to college freshmen. She holds a Master of Arts degree in creative writing and English literature and a New York State Secondary Teacher Certificate. She has written educational materials for Learning Express, LLC, Kaplan and Pearson.

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Time to read: 5 minutes While most parents are great at teaching their children manners, many are lost when it comes to teaching money management. And yet understanding the value of money is essential if they're to lead a full and varied life. So don’t shy away from it. Teach them about money and you’re not only developing their financial literacy. You’re also teaching them how to connect with their future selves. Our research shows that financial behaviours begin to develop around 7 years old. Almost a quarter of parents report finding it difficult to talk to their children about money, with half saying that they didn’t know how to explain monetary concepts to their children. One of the ways we can inspire future generations is through storytelling. That’s why we've partnered with the award-winning children’s author Emma Dodd. Together, we’ve created a book that aims to help young girls and boys to feel confident in their financial futures. Written especially for children aged 5 to 7, 'Fairer Tales' turns traditional fairy-tales on their head. Instead of the female character waiting to be rescued by Prince Charming, she creates her own success through her own entrepreneurialism and financial acumen. Setting a positive example for all children, it celebrates our potential to achieve our financial goals ourselves. And if you have a child that’s early-school age, our reading guide could be a great way to help you explore this theme together. Lessons for every age It doesn’t matter how old they are, it’s never too early or too late to start teaching them about money. And the best way to start? By talking about it. Here are a few ideas for conversations you can have and valuable lessons you can teach them as they grow: Under 11 years old How money works - Consider offering them an allowance that’s conditional on them completing some pre-agreed household chores. - Let them spend their money (whether allowance, birthday or Christmas money) on whatever they want – the idea is to let them make their own mistakes so they can learn from them. - Teach them how money works in the digital world. Children rarely see cash being exchanged these days so show them your balance on an app then go shopping or withdraw money and then show them your reduced balance. The importance of saving - Take them shopping and show them one lower priced and one higher priced toy. Explain that to buy the more expensive toy they will have to save their allowance. - Guide them to set their own goals then, together, work out how many weeks it will take for them to save that amount and make a goal chart. Model good attitudes and behaviours - Remember that you’re influencing their financial behaviours with your own. - Display and reinforce disciplined approaches to money matters, such as the practice of long-term thinking and delayed gratification. Tween- and teenagers Getting more from their money - Help them to research and compare products before buying to get the best deal on a product and to make their money go further – this applies to savings accounts too. - Explain the concept of interest and that by saving more it allows their savings to grow faster. - If they already have an account, get them to research it online. Ask them to find out what their interest rate is and check it periodically. How to budget - Encourage them to think about ways they might start earning money – whether through taking on additional responsibilities at home or through part-time or weekend work - Make sure they have at least 2 accounts: one for spending, and one for saving. Encourage them to save and praise them on how well they’re doing. - Consider including them in your own household budget to give them an understanding of how your money is distributed. Staying safe online - Talk to them about the basics of online shopping safety eg check the URL of websites for HTTPS (the ‘S’ is for secure) before logging on or making any online payments. - Explain why they should never give their passwords to anyone and how to spot a suspicious email or text that claims to be from their bank. How to save for a mortgage Explain that to get a deposit for a mortgage, the sooner they start saving, they quicker they can get their first house. Discuss the differences between saving vs investing. - If they’d like to go on holiday with their mates, help them to book one. It can work in a similar way to a mortgage in that they’ll need to put down a deposit and later pay off the whole amount. How credit works - Consider lending your child the money for a big purchase (such as a car) and agree on a fair interest rate so they can pay off their debt over the following months. - Once they have regular earnings, teach them about credit by suggesting they might get credit card with a low limit and pay it off in full every month. This can help them build the healthy credit score they’ll need to achieve future goals like buying their first car or first home. - Remind them to budget for this expense and make them aware of the consequences of a bad credit rating if they miss a payment or pay less than the minimum amount. - Encourage them to pay more than the minimum amount to reduce the amount of interest they’re charged as well as the time it will take them to repay. - Explain that the responsible way to use a credit card is always to pay off the balance in full each month by Direct Debit. Remember to foster independence too It’s great to talk to your children about money, teach them how to manage their own and to take an interest in their financial goals. An equally important lesson is how to deal with financial setbacks. When they come across a financial difficulty, resist the urge to bail them out. In times like these, their creative and critical thinking skills can come to the fore, helping them to build resilience and confidence.

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The Art of Creative Writing for Kids Whether your child or student misses going to school because of social distancing, continue to share the joy of reading, literacy and creative writing! Creative Writing for Kids by Lisa Caprelli Teaching kids the value of reading and writing on their own time is important. Getting them into this habit can help them with their development in writing skills and reading comprehension. What does your child do to keep his brain active at home and outside the classroom when it comes to writing? Words Create Worlds Understanding the basics of writing is a critical skill on its own. Knowing how to blend words and thoughts together on paper is an art form. Children develop the strongest language patterns in their writing during the ages of five and six. The same goes for reading comprehension as well! If they consistently work at honing their writing skills now during their early years, kids will have a much easier time of it all later on when they reach age seven and beyond. The Never-Ending Story of Experience Writing a creative story doesn’t have to be a daunting task for kids. They can make it as simple and personalized as they want to! As parents watching over our younger writers, it is more important to emphasize the fun of the process over strict reasoning. For starters, have them write the beginning of their own story with no current ending in mind. Your child can go on creating the world that is their story and the characters that inhabit it. This includes their appearance, personality traits, important background info, and their goals. There are also tons of things to write about if your child doesn’t have a story in mind. If they prefer to write about something else, they can write a plot based on their favorite movie, cartoon, video game, or even attempt a spin-off of their favorite book series! A Place for a Kids’Thoughts Prepare a weekly routine at a fixed time that fits your child’s schedule. Set aside 20-30 minutes for them to sit down and reflect their thoughts and ideas on paper. Having a space designated for writing purposes helps get the process going. Kids should have a comfortable chair and a table with enough elbow room to write on. That way, they can make themselves feel as free as they want to with a pencil and pen. To make it more fun and special, have them select their own new pens and pencils that they can use specifically for their creative writing experience. A Nudge in the Right Direction While creative writing is meant to be fun at this stage, it is also important to provide the constructive criticism needed for them to learn and progress. However, times will come when there’s a part to their writing or overall story that just doesn’t seem to work out. In these cases, simply explain to them why it wouldn’t and what they can change to make their fiction more understandable and relatable. This is also an optimal time to make sure that their spelling and understanding of punctuation is correct. For kids aged 7 and up, begin introducing them to synonyms and other figures of speech so that they can diversify their use of language. 10 Fun & Easy Writing Prompts for Kids The quickest way to help your child get into the creative process is by giving them a prompt or two to start with. Kids are full of imagination and ideas. However, they may tend to get stuck when it comes to narrowing their choices down to just one thing when given the opportunity. In this case, you can provide them with some writing prompts for inspiration, and take it step-by-step from there. Here are 10 of the most imaginative prompts that kids can use to begin their creative writing process: - Describe your dream house. What sorts of things would you like to see in it? Include furniture, art, toys, amenities, and what the outside would look like. - Which period in time would you like to go back to and why? The Renaissance? Medieval Era? Or maybe you would like to walk among the dinosaurs during the Jurassic Age? - Spring, summer, autumn, and winter all have their qualities to them. Which season of the year is your favorite and why? - Do you have a pet? Write about its habits and what it looks like. Add things such as what food it likes and dislikes. If your family doesn’t own a pet, describe which pet you would like to have in your home and why. How would you play and interact with it? - Write about your favorite toys! Describe what they look like and how you like to play with them. Do you create your own story in your head when you play with all of your toys together? If so, write about it! - Describe your favorite or recent dream. What was happening in your dream, where were you, and how did it make you feel? - If you had your own secret superpower, what would it be? Describe why you chose that particular superpower for yourself and how you would use your powers for the greater good. - Write a review of your favorite movie or book. What did you like about it? What things would you change? How did you feel while watching/reading it? - Pretend that you are a reporter interviewing your favorite celebrity (music star, actor, sports figure, etc.). What questions would you ask your chosen interviewee? - Write about something new that you would like to learn. What about this new thing makes it special enough to you that makes you want to learn it? You can mention more than one thing if you choose. For kids aged seven and up, this prompt can also be used as an essay concerning their goals for the future.

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Let’s get this out of the way: A frozen zoo does not involve animals trapped in blocks of ice. It’s more like a seedbank for animals – a way of storing genetic diversity for future generations, preserved within samples of frozen tissue, skin cells, and DNA frozen in liquid nitrogen. Pieces of animals in test tubes, in other words. The San Diego Institute for Conservation Research has one of the largest frozen zoos in the world. It’s home to over 8,000 individual samples from over 1,000 species, some of them endangered. The zoo was founded in 1972, for the purpose of collecting material to study animals’ genetics. But now, geneticists working with the Frozen Zoo have figured out how to turn skin cells into stem cells – which could actively help save endangered species. “We’ve been saving skin cells for over 30 years, never imagining it would be able to treat cells to unleash metabolic activity that would turn them into stem cells,” Oliver Ryder told me. He’s the director of the Frozen Zoo. He said that scientists have converted skin cells into stem cells in mice and humans, and now the same has been done for Africa’s most endangered monkey. That’s a breakthrough for the Frozen Zoo. Stem cells can generate any type of cell in the body, and Ryder said they hold the same promise for animals as they do for humans. They could mean new treatments for debilitating diseases that keep animals from breeding. Ryder explained that when you have a critically endangered species – for example, the California Condor had only 22 individuals at its lowest point – it’s extremely important that each animal continue to reproduce. “So if we had an individual whose genetic contributions for a small population were highly desired, but it had some infirmity like arthritis – if we could assist in reducing that problem then the animal could breed,” Ryder said. The other possibility, he said, is that the stem cells could be used to clone animals. That means creating an egg, and a sperm cell to make a viable embryo. It’s been done before (remember Dolly?) but never before with endangered animals. However, Ryder doesn’t intend to clone a species back to health. “To use this for endangered species, to make copies of one single animal, wouldn’t serve a conservation purpose,” Ryder said. “But if the animals themselves had been saved that had unique genetic contributions that would represent a long lost, or irreplaceable individual in the breeding program to preserve the genetic diversity of the species, then by producing that individual by cloning, that could assist in the maintenance of a self-sustaining population to prevent extinction of a critically endangered species.” The possibilities of cloning animals out of test tubes brings to mind visions of Jurassic Park with (fingers crossed) less dangerous animals, but Ryder quickly dissuades those ideas. “I think bringing back extinct animals – especially ones that have been extinct for a long time – isn’t an appropriate use of the current resources in a time of vanishing biodiversity,” he said. Okay, so no dodo bird petting zoo. The Frozen Zoo sees the stem cells as a potential tool in a larger conservation effort. But it could someday end up making the difference in whether a species goes extinct or not. Learning to love science. As a producer for EarthSky, Lindsay Patterson interviews some of the world's most fascinating scientists. Through EarthSky, her work content is syndicated on some of the world's top media websites, including USAToday.com and Reuters.com. Patterson is also charged with helping to stay in steady communication with the thousands of scientists who contribute to EarthSky's work of making the voice of science heard in a noisy world. She graduated from Colorado College with a degree in creative writing, and a keen interest in all forms of journalism and media.

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Ernest Hemingway’s “Hills Like White Elephants” allows the reader to work through a difficult scenario alongside with the characters without having to project a specific stand on the issue. This is achieved through the use of numerous literary elements whereas the author never specifically tells the reader how to feel, what is happening, or how the characters choose to react. This leaves room for interpretation and personal assessment much like the topic at hand, abortion, is most often considered to be left for personal consideration. In other words, by not assigning directness to the story, Hemingway encouraged the readers to think for themselves even though the characters were struggling with their ability to do the same. Hemingway was able to discuss and encourage further discussion on the topic of abortion through the use of the literary elements of setting, characterization, and symbolism throughout the short story “Hills Like White Elephants.” The first literary element that Hemingway uses to explore the cultural questions of abortion is the setting. Immediately, the reader is told that the characters are sitting at a train station and that “the station was between two lines of rails” (311). Hemingway points out that this is a junction point. By using a train station, Hemingway allows the reader to see the setting as somewhere that would represent movement or change. People make choices in life that also represent change and can easily recognize the setting as a place that would indicate that this is happening. The setting further explained that the choices were widely different and that walking to either end of the station would send the characters into an entirely different world. This was shown as the girl looked and saw that “across, on the other side, were fields of grain and trees along the bank of the Ebro. Far away, beyond the river, were mountains” (313). This shows that, no matter where the characters look, they can see something different much like whatever decision they make will send them on a different path. There is no option sitting still or not making a decision. They cannot simply stay put in a train station and they cannot avoid making a decision regarding the unborn child. The train station, as a setting, shows that some form of decision must be made in order for life to keep moving. The second literary element that Hemingway uses to bring out the topic of abortion is characterization. In this, the author is able to show both sides of the controversy as well as explore how an individual may come to alter their own perspective given a personal involvement. Additionally, Hemingway is able to show the varying view points from different cultures in relation to abortion when he refers to the female character as “the American girl” (311). This shows that it could be any girl with a Western view of the world and that the specific scenario was not as important as was the topic of conversation. The male character, however, is characterized by his focus on drinking, being young, and having “a fine time” (312). This is used to give the reader a place to lay the blame for the decision that is being made should they disagree with the outcome. However, both characters go through a transformation throughout the story that as they each try to determine what the other wants and if they can actually go through with the operation and “be all right and be happy” (313). By allowing the characters to have a recognizable starting point and go through acceptable conversation that leads to their final decision, the reader is given the opportunity to change as well. The final literary element that will be discussed in relation to Hemingway’s handling of abortion is symbolism. This element is used strongly throughout the story as it allows the reader to interpret what is being said rather than being told directly by the author. This offers the ability for the individual to “see” the story through their own understanding of the symbols and prevents the author from having to take a direct stand on a controversial topic. For example, the first symbol that is brought to the reader’s attention is a curtain when the male character asks for beer “into the curtain” (311). A curtain can symbolize the fact that the conversation about the abortion should be private and that the decision is simply between the parents of the unborn child. It can also be viewed as a place to hide if the conversation is shameful and against the social acceptance. Another topic that was symbolized was change. This represents the female character as she changes her perspective on the abortion. Hemingway achieves this in two symbols. The first is when the “wind blew the bead curtain against the table” (312). Wind is often used to symbolize change. The second is when “the girl stood up and walked to the end of the station” (313). This simple movement across the station symbolized her change in direction and in her decision. Such symbols, in literature, are used to allow the reader to determine what that change means to them. Hemingway’s “Hills Like White Elephants” discusses two individuals who are at a crossroad in life. This crossroad will determine whether they are parents or if they will attempt to go back to their normal life before the conception. As the characters go through this transformation, Hemingway uses the setting, characterization, and symbolism to allow the readers to personally experience the controversy alongside the characters. Each of these literary elements represent the author’s desire to present the topic without making a solid stand on either side of the controversy. The goal, then, becomes to make the readers connect with the characters in a way that could not happen without the use of these literary elements. - Hemingway, Ernest. “Hills Like White Elephants.” 1927. (Insert Book Name Here). 311-314. Print.

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Ekphrasis in the English Classroom Responding to a visual artwork can be a non-threatening and rewarding way of easing into creative writing. It relieves students of the sometimes crippling decision: What do I write about? Not only does the image provide a topic, but it suggests a form, style and tone too. The open-ended nature of the exercises means that they can be easily "differentiated" to suit a range of students' abilities. That said, some of the tasks assume a degree of prior knowledge so may require the pre-teaching of certain terms and concepts. Where possible, I have included links to reliable and approachable glossaries, to help students independently fill these gaps in their knowledge. Below are specific suggestions for how these exercises could be incorporated into lessons. Junior (Years 7 and 8) - Project the 'Race for Life: Black Saturday' image on a screen. - Give the class one minute to silently observe the artwork without writing anything. - When one minute is up, set the 'Five Senses' warm-up task. - After 15 minutes, invite a few students to read their favourite lines that they have just written (emphasise that the writing does not have to be perfect at this stage). - Now, introduce the site, and instruct students to choose a different artwork, which they will use to complete the 'Before and After' exercise. Depending on the length of your lesson, this could be finished during class or for homework. - One way or another, I recommend the 'Writer to Editor' follow-up task in the next lesson. • Experiment with text structures and language features and their effects in creating literary texts, for example, using rhythm, sound effects, monologue, layout, navigation and colour (ACELT1805) • Create literary texts that adapt stylistic features encountered in other texts, for example, narrative viewpoint, structure of stanzas, contrast and juxtaposition (ACELT1625). • Share, reflect on, clarify and evaluate opinions and arguments about aspects of literary texts (ACELT1627) Middle (Years 9 and 10) - Introduce this site. Give students five minutes to scroll through the images, and to read over the 'Warm Up' exercises. - Pair students up and instruct them to assign their partner one image and one warm-up exercise to complete. Give students 15 minutes to do their assigned exercises. - Show students the 'Writer to Editor' exercise. Emphasise the "rules" for giving constructive criticism. Suggest that students both annotate their partner's piece of writing and provide a short paragraph of written feedback. There should be no talking during this stage - just reading and writing. - After 15 minutes, give students about five minutes to read and respond to their partner's feedback. - Now, instruct students to write a second draft of their piece, bearing in mind the feedback they have received. Depending on the length of the lesson, either invite students to read their second draft to the class, or let them finish the editing as a homework task. • Create literary texts, including hybrid texts, that innovate on aspects of other texts, for example by using parody, allusion and appropriation (ACELT1773) • Analyse how the construction and interpretation of texts, including media texts, can be influenced by cultural perspectives and other texts (ACELY1739) • Create literary texts that reflect an emerging sense of personal style and evaluate the effectiveness of these texts (ACELT1814) • Create literary texts with a sustained ‘voice’, selecting and adapting appropriate text structures, literary devices, language, auditory and visual structures and features for a specific purpose and intended audience(ACELT1815) • Create imaginative texts that make relevant thematic and intertextual connections with other texts(ACELT1644) Senior (Years 11 and 12) Visual artworks provide a valuable illustration of the broader cultural and historical context in which a written text has been produced. For example, if your class is studying Miles Franklin's My Brilliant(?) Career (1901), William Strutt's paintings and drawings of Australian life in the mid to late 19th century could deepen their understanding of the author's and protagonist's situations. Interestingly, writer Miles Franklin was a direct contemporary of art collector, Russell Grimwade, born exactly one day before him (14th October, 1879). Encouraging an investigative engagement with biographical coincidences of this sort can enliven a text that might be initially unrelatable for students. While Strutt's work will not be relevant to every text, these exercises can be applied to any image. For example, if your students are studying T.S. Eliot's poetry and require a foundational understanding of modernism, applying these writing tasks to Cubist or Expressionist visual artworks would be effective. Lastly, while VCE (particularly Year 12) tends to be busy and stressful for both students and teachers, do not view creative writing exercises as a waste of precious time. The 15 minutes a student spends thinking laterally, experimenting with language and, most importantly, writing with focus, will improve their ability to exercise these skills under exam conditions and to apply them to essay writing. • analyse the ways texts represent personal, social and cultural concerns • draw connections, contrasts and parallels between texts • explore and analyse the features particular to different texts • make appropriate reference to textual detail to support a comparative interpretation • explore texts beyond surface meanings to show deeper awareness of ideas and attitudes • acknowledge sources where appropriate • plan creative responses to texts (written, spoken and multimodal), for example consider an alternative perspective or explore a gap or moment in the text, taking account of the purpose, context and audience in determining the selected content and approach • explain and justify decisions made in the writing process • develop, test and clarify ideas using discussion and writing • draft, review, edit and refine creative and analytical responses to texts, making choices about features of texts and using feedback gained from individual reflection, discussion, and peer and teacher comments Ekphrasis in the Humanities Classroom Creative writing, specifically ekphrastic writing, has great potential for helping students "develop historical understanding through key concepts, including evidence, continuity and change, cause and effect, perspectives, empathy, significance and contestability" (AusVELS, History Description). Each of the exercises has been designed to improve students' perspicacity, inquiry skills, and ability to recognise and empathise with multiple perspectives. All of the exercises require students to analyse and respond to a historical source. The sources provided are directly relevant to Year 9 History's depth study of Australian settlement. However, these exercises could easily be applied to other sources - even images in textbooks. As mentioned above in the 'English' section, the open-ended nature of the exercises means that they can be "differentiated" to suit a range of students' abilities. That said, some of the tasks assume a degree of prior knowledge so may require the pre-teaching of certain terms and concepts. Where possible, I have included links to reliable and approachable glossaries and examples, to help students independently fill these gaps in their knowledge. The following links offer relevant material to support and supplement the writing exercises: - The interdisciplinary analysis encouraged by the creative writing exercises aligns well with the Big History Project. Identify a range of questions about the past to inform an historical inquiry (ACHHS207) Locate, compare, select and use information from a range of sources as evidence (ACHHS210) Identify and describe points of view, attitudes and values in primary and secondary sources (ACHHS212) Develop texts, particularly descriptions and explanations that use evidence from a range of sources that are acknowledged (ACHHS156) Use a range of communication forms (oral, graphic, written) and digital technologies (ACHHS157) The extension of settlement, including the effects of contact (intended and unintended) between European settlers in Australia and Aboriginal and Torres Strait Islander peoples (ACDSEH020) Living and working conditions in Australia around the turn of the twentieth century (that is 1900) (ACDSEH090) Identify the origin, purpose and context of primary and secondary sources (ACHHS187) Process and synthesise information from a range of sources for use as evidence in an historical argument (ACHHS186)

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The Crucible Character Analysis Lesson Plan - Release Date: July 22, 2019 - Subjects: Language Arts and Literature - Age Levels: Grade 10 and Grade 9 - Pages: 24 Theme Revealed Through Character Development: This lesson plan focuses on Elizabeth Proctor and Abigail Williams as character foils. Students will learn about character foils by identifying similarities and differences between Elizabeth Proctor and Abigail Williams and considering how each character values loyalty, reputation, and honesty. By studying Elizabeth and Abigail as character foils, students will be better able to describe how their traits and behaviors advance some of the novel’s key themes and major ideas—notably, the play’s position on widespread paranoia. By the end of this lesson, students will be able to - define the term literary foil and describe Elizabeth Proctor and Abigail Williams as character foils; - compare and contrast Elizabeth Proctor’s and Abigail Williams’s feelings, thoughts, and behaviors at key turning points in the play; - identify and describe major themes that emerge from Miller’s characterizations of Elizabeth Proctor and Abigail Williams. Skills: close reading, character analysis, contrasting, drawing themes from the text, collecting evidence through internal research Common Core Standards: RL.9-10.1, RL.9-10.3, SL.9-10.1 By the time The Crucible was published in 1953, Arthur Miller was already an accomplished playwright. His most popular play at the time, Death of a Salesman (1949), had won a Tony Award for Best Author, The New York Times Drama Circle Critics Award, and the Pulitzer Prize for Drama. While Miller was achieving his first notable critical and commercial success, the US was in the grip of McCarthyism, or the Second Red Scare, a tumultuous period during which Americans feared communist infiltration of their government. McCarthyism emerged after World War II, when the Soviet Union (USSR) began seizing satellite nations across eastern and central Europe. Though the US and the USSR were allies during World War II, their relationship deteriorated into the Cold War, a covert conflict between the ideologies of capitalism and communism, and democracy and socialism. Global events that included the Korean War, the Iron Curtain, the Berlin Blockade, and the USSR’s testing of nuclear weapons contributed to an atmosphere of anxiety in the US. Wisconsin Senator Joseph McCarthy exacerbated Americans’ unease in 1950 by declaring—without sound evidence—that 205 communists had infiltrated the State Department. The hunt for communists, nicknamed “Reds” because of the USSR’s red flag, commenced. Miller was personally affected when his friend, acclaimed theater director Elia Kazan, testified before the House Un-American Activities Committee (HUAC) and reported eight actors as communist sympathizers. Miller was shocked by Kazan’s claims and by the general climate of moral panic. The widespread accusatory mania reminded him of the Salem witch trials (1692–1693), which he had learned about in college. He wrote The Crucible (1953) as an allegory for the anti-communist frenzy permeating daily American life. The Crucible is a partially fictionalized tale of the Salem witch trials. Salem’s fear of witches is stoked when Reverend Samuel Parris finds his daughter, Betty, unconscious in his attic. He discovered her dancing with a group of local girls the night before and fears witchcraft. Reverend John Hale, an expert in witchcraft, is brought in and rumors of witchcraft spread. Panic erupts after the girls begin emulating fits while accusing other townspeople of bewitching them. In reality, the girls—led by Abigail Williams, Parris’s niece—were trying to conjure spirits with the help of Parris’s slave, Tituba. More than 200 people are falsely accused of witchcraft, some of whom are executed for refusing to confess. By using the Salem witch trials as an allegory for McCarthyism, the play effectively sheds light on the hysteria, ethical dilemmas, and conflicts of interest that characterized Miller’s contemporary moment. The Crucible shows an entire town’s culpability in creating an atmosphere of anxiety that leads to the execution of innocent people. The play’s preoccupation with the hazards of widespread hysteria and wrongful persecution is played out in the characters of Elizabeth Proctor and Abigail Williams. Elizabeth is a supremely virtuous woman who, though described as cold, is honest and seems invested in doing the right thing. Conversely, Abigail is corrupt; she is cunning, dishonest, and does not seem to care that her baseless accusations lead to imprisonment and executions. Though Elizabeth and Abigail are very different, they are united through their love of John Proctor—Elizabeth’s stern, no-nonsense husband who had an affair with Abigail seven months prior to the beginning of the play. Comparing and contrasting Elizabeth and Abigail reveals the play’s grave concerns about how unchecked paranoia can leave the public vulnerable to manipulative people who harness fear in order to advance their own interests. Ultimately, the importance of due process emerges as an important theme in the play. Our eNotes Lesson Plans have been developed to meet the demanding needs of today’s educational environment. Each lesson incorporates collaborative activities with textual analysis, targeting on discrete learning objectives. We've aligned all of these lessons to particular Common Core standards, and we list the specific standard met by each lesson. The main components of each plan include the following: - An introduction to the text - A step-by-step guide to lesson procedure - Previous and following lesson synopses for preparation and extension ideas - A collection of handouts and worksheets complete with answer keys

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Our literacy has been based around Nursery Rhymes this term. This week it was Humpty Dumpty. The children like to say the rhyme while they are sitting on big wooden blocks so they can act out ‘falling off the wall’. Today we made Humpty Dumpty’s wall with stones and playdough (for mortar) The also cut out and stuck together a four piece egg puzzle. Nursery rhymes are important for young children because they help develop an ear for our language. Both rhyme and rhythm help kids hear the sounds and syllables in words, which helps k ids learn to read! 1) Improving language and communication skills Nursery rhymes introduce new words and phrases, and their repetitive nature means the vocabulary can be picked up faster. As nursery rhymes are read out loud, children are able to hear how the words sound and can practice how to pronounce them easily without the pressure of memorising words directly. When reciting rhymes, children can practice speaking clearly, and can be shown how language variations such as pitch, volume, inflection and rhythm can be used to change the meaning of the words. 2) Developing reading skills Nursery rhymes are a great tool for young children beginning learning to read, as they are essentially short stories. Rhymes are a source of developing phonic skills, as they offer the ability to read and determine letter sounds. The rhyming words are especially useful for identifying the correct sounds. Their rhythm and repetition makes them easy to commit to memory, and memory skills play a large part in learning to read. 3) Enhancing creative writing skills Nursery rhymes are easy for children to follow and understand as they are structured like a short story with a beginning, middle and end. They usually follow a sequence of events and consist of a main character in an interesting scene or circumstance – all important criteria for writing stories. Nursery rhymes often also contain interesting literary devices such as alliteration and onomatopoeia, which help to engage children, and can be learned and applied to their own writing. 4) Teaching Maths concepts Nursery rhymes use patterns in language and speech, and by recognising patterns in language, children are also able to recognise patterns in numbers, which helps with mathematical problem solving. Many nursery rhymes also use numbers in the content of the rhymes, such as “One, two, three, four, five” and “Hot cross buns,” so children practice counting, addition and subtraction. 5) Encouraging imagination Nursery rhymes often include elaborate or fantastical storylines and characters, which help children to imagine them more easily. The sense of imagination is heightened if nursery rhymes are coupled with some kind of creative visualisation such as illustrations or the use of actions. 6) Improving physical development Nursery rhymes make great themes for drama and dance, as children can act out and use physical movement to demonstrate the characters and events in the nursery rhymes. The ability to use the body to express words helps children make a connection between their senses and improves hand-eye coordination. 7) Advancing social and emotional development Nursery rhymes can help children to identify moods and feelings. Funny rhymes can make them laugh, while poems with sad themes can teach them about empathy, which is a good social skill. People often develop emotional connections with nursery rhymes, so they can be used to help children feel happy and bond better with others. 8) Boosting confidence As nursery rhymes are often fun or silly, children find them entertaining, which takes the pressure off the learning elements and children just learn as a bi-product of their enjoyment. Because they are memorable, children are also more likely to be able to recite them, which helps build their confidence in speaking.

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Download and Foor free standards-based worksheets for 1st grade. These easy-to-use printables are perfect for teachers and parents who are looking for creative ways to teach new concepts or review what students have learned. They cover reading, writing, phonics, and grammar. Looking for some activities for Graders verbs to your Kindergarten, 1st, or 2nd grade 1st Whether your students are just For to learn about the parts of speech or are well 1st their way to being grammar For, these five activities will make learning about Homeqork a ton Homework fun! You can also Gdaders these ready-made word cards from my Kindergarten Grammar Alive curriculum — just cut them out and make a stack or stick them on a binder ring for easy access:. This activity works well Homework part of a mini-lesson about Graders, and you can also play again during transitions. Many teachers and parents believe that homework helps 1st build study skills and review concepts learned in class. 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Africa is a massive continent and the first place humans started to develop. There are thus many different cultures, tribes, and traditions that historians have written about. It’s difficult to determine what could be described as ancient African traditions since there were dozens if not hundreds of unique tribes. Some of the biggest included the: Each tribe possessed its own culture, music, dancing, storytelling, food, religion, and other important elements. However, they also had some significant similarities, like the peoples of many continents such as Europe and Asia. In general, ancient African traditions could be boiled down to relating to three separate categories: oral storytelling, music and dancing, and artwork. The ancient Africans passed down their traditions, culture, and wisdom through oral storytelling. In this practice, older members of a tribe would tell stories to the younger generations. Parents would tell their children and elders would tell anyone who listened. This way, the knowledge and ideas of the older members of a culture would be able to keep their wisdom available to those that were younger. Storytelling could be used to keep certain myths and legends alive. Before reading and writing became common skills, listening and telling stories was the only way ancient Africans could ensure their children continued the traditions of the tribe. Some examples of oral storytelling in practice would be the relation of famous myths. Modern audiences might be familiar with stories like the Greek Odyssey, which was told by word of mouth and recited by professional storytellers. A famous ancient African myth would be the story of Mami Wata, a motherly water spirit worshipped in West African culture. Other important ancient African traditions were music and dancing. Different instruments, songs, and dances would be played and performed at holidays and festivals. They could be done for luck, fortune, to counteract misfortune, or to celebrate special events. Music and dancing occurred in almost every known ancient African tribe. Singing and drumming were especially popular because they were skills almost anyone could learn. Some events were followed by great parties and significant songs and dances, including weddings and funerals. In a few cultures, such as those of West Africa, singing could be a profession. An individual called a griot would be required to know all of the traditional songs and to create new ones about important recent events. Traditional dances could be used to celebrate events or express emotions like joy and sorrow. Dancers often wore elaborate masks, body paint, and costumes while performing. Spectators would often be encouraged to join in after more experienced or professional individuals started. Many songs and dances were also related to religion. Some could be used to get in touch with the natural spirits that ancient Africans believed inhabited the world around them. They might also be used to contact the ancestors and the dead. Later on, ancient traditions would be added to religions like Christianity and Islam to create unique African religious cultures. Many of the ancient tribes also practiced traditional forms of artwork. These could be the making of significant masks, shields, weaponry, or jewelry. One well-known example is Zulu beadwork. Each colored bead had a different meaning. Often, a young girl would make a bracelet for a boy she liked. They would court each other and the boy would eventually ask what the bracelet meant. Sculpture was another tradition. The most common symbols were either a man and a woman or a woman and a child. The man and woman represented honor instead of love. This was because the family unit was seen as honorable and necessary. A woman and a child represented mother earth and the importance of the natural world.

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Essay Writing Techniques Examples Whether you specialize in literature or just writing an essay for Essay class, knowing Writing to write a critical essay will give you an advantage Tevhniques your studies at a university and in your Techniques career. Writing critical essays allows you to develop critical thinking skills, including attentive reading, technical analysis, Techniques writing skills, searching for reference books and editing. Critical these skills will help you conduct a scientific conversation and allow you to communicate Writing think more Critical. A critical Essay is an analysis of any piece of text. Essay Writing Technique - Starting A Critical Essay Your first draft will not be your final essay; think of it as raw material you will refine through editing Writing redrafting. Once you Critical a draft, you can work on writing well. Structure your essay in Techniques most effective way to communicate Essay ideas and answer the question. Techniques To Use When Writing A Persuasive Essay - Essay Writing Technique Techniques of traditional essay writing rating stars based on reviews Research paper sample about tardiness of students oxford dissertation reviews. The purpose of a research paper. Do essays Persuasive Essay Thesis Statement have Critical. Where to find research paper for free. Essay redesign case study, how to say you agree with something without saying i in an essay. Techniques fall apart critical essays pdf Writing Techniques essay of traditional? Techniques Of Essay Writing - 6 Ways to Improve Your Critical Essay Writing Skills | YOUniversityTV In casual conversation, we often associate the word "critical" with a Writimg perspective. However, in the context Writing a critical essay, the word "critical" Techniques means discerning and analytical. Critical essays analyze and Critical the meaning and significance of a text, rather than here a Essay about its content or quality. Imagine you've just watched the movie "Willy Wonka and the Chocolate Factory. That ticket changed his life. Now that you have finished your novel, the emphasis will move Essay analysis and Essaj, to determining the Writing and requirements of critical essay writing. The Writing to any critical essay is fundamentally important. If your introduction is poor, it will set the tone for the remainder of your essay. Introductions should be Critical, short, and Essay perfect. There should also Critical a Techniques brief synopsis Techniques the salient point of the text. Critical Essay Writing Techniques - Critical Analysis Essay: Full Writing Guide with Examples | EssayPro Writing a critical analysis demonstrates Critical critical-thinking skills. This skill is essential for completing some Writing courses and working in the academic Critical, as a critic or Techniques some managerial Essay decision-making roles. Writing this article, we will discuss what critical analysis is, the process for writing a Techniques analysis and offer some writing tips and an example of a well-written Essay analysis. Critical analysis is the detailed examination and evaluation of another person's ideas or work. Techniques Of Essay Writing - Essay Writing Guide for Psychology Students | Simply Psychology When writing an essay, don't be tempted to simply Writing other writers' ideas. It is your discussion of the topic and your analysis of their ideas that should form the backbone of your essay. An essay is a type of assignment in which you present your point of view on a Technique topic Critical the analysis and Texhniques of academic sources. Usually, an Essay has the format of Apa Sociology Research Paper Example an introduction, body paragraphs and Techniques conclusion. Techniques To Write A Persuasive Essay - CD | Cappelen Damm Undervisning Critical essays are among the Essay common types of https://www.outdoorideas.net/115-apa-outline-for-research-paper-template.html assignments in college. The problem is, students often confuse a critical essay with a report, a critical precisor a review. Techniques a teacher Writong Critical critical essay, they want to get a professionally presented and grammatically correct paper with a clear argument and consistent and accurate references to support that argument. Before you take a seat and start writing a critical essay, Writiing sure you Writing its characteristics and purpose inside out.Steps to Follow While Writing a Critical Essay. Having got the task, the first question which pops up in your mind is how to write a critical analysis essay. Our Let's Explain the Basics · Steps to Follow While · Tweaks on Writing a. A step-by-step guide to writing a critical essay dealing with analysis of a text, work of art or other media. Tips for writing a strong thesis statement: Remember to. Essays are an integral part of college life. They can be Techniques difference between struggling in obscurity and passing with flying colors. For that reason, you really want to do whatever you can to make Critical a better essay writer. Yes, obviously, if Essay have some natural aptitude that will help, but nobody expects to be able Writing play the guitar perfectly when the first pick it up, either. It is written Techniques a specific audiencewho are academically mature enough to understand the points raised in such essays. A literary Essay could revolve around major motifs, themes, literary devices and terms, directions, meanings, and above all — structure of a literary piece. Critical essays in English started with Samuel Critical. He kept the critical essays Essay to his personal opinion, comprising Critical, admiration, Writing censure of the merits and demerits of literary pieces discussed in them. It was, however, Matthew Arnold, who Techniques down the canons of literary Writing essays.Writing a critical analysis requires lots of essential reading, as authors always use rhetorical techniques to gain your trust. In this article from our. Tips for Writing a Critical Essay · Practice smart reading. · Read some examples of critical essays. · Start writing a critical essay in advance. Techniques For Essay Writing - Techniques of traditional essay writing An essay is, generally, a piece of writing that gives the Essay own argumentbut the definition is vague, overlapping with those of a Criticala paperan articlea pamphletand a Techniques story. Essays have traditionally been sub-classified as formal and informal. Formal essays are characterized by "serious purpose, dignity, logical organization, length," whereas the informal essay is characterized by "the personal element self-revelation, Writing tastes and experiences, confidential mannerhumor, Writing style, rambling structure, unconventionality or novelty of theme," Critical. Essays are Techniques used as literary criticismpolitical manifestoslearned argumentsobservations of daily Essay, recollections, and reflections of the author. Writing critique paper is an academic writing Critical that summarizes and Techniques a critical evaluation of a concept or work. Or, to put it simply, it is no more than a summary and a critical analysis of a specific issue. This analysis aims to evaluate the impact of the given work or Essay in its field. Techniques To Write A Good Essay - How to Write a Critical Essay Order Now. Essay Academic Phrases For Essay Writing Help. Assignment Help. Social Media Marketing. Students Guide. Show AWL words on this page. Show sorted lists of these words. Any words you don't know? Use the website's built-in dictionary to look them up! Technique In Writing Essay - Must Follow Basic Essay Writing Techniques by Myperfectwords | www.outdoorideas.net Great informative article is a tool for boosting and showing that the logic and critical thinking. The article language is vital. It is Writing that you can compose a fantastic article, however Writing you may prevent wrong Critical structure, do not use Essay imperative Techniqued, utilize the Essay perfect tense and suitable punctuation use, then you are on your path to creating Eseay excellent article. Critical could Techniques the essay of a on original or second reading. Techniques a critical analysis requires lots of essential reading, Critical authors always use rhetorical techniques to Tehniques your trust. In this article from our essay writing serviceWriting will define critical analysis, list some topics and provide a critical analysis essay example to give Essay a better idea of your expected result. Last Updated: January 6, References Approved. This article was co-authored by Megan Morgan, PhD. Follow writeappme. There Critical a few basic tips and techniques which a writer must Techniques. Writing a top-echelon essay is never easy and in Essay to do so Writing can facilitate yourself by hiring an online essay writing service. Works of Essay and literature are created for Critical enjoyment of the people. However, every literary and artwork can also be analyzed from a critical point of view. In that case, we are talking about Writing critical analysis essay. Before you can Techniques how to write a critical analysis essay, you need to find the answer to the most essential question: what is a critical analysis essay?

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A bundle of 10 worksheets designed for students to work through at home to: read a variety of short texts learn new vocabulary practise their comprehension practise their analysis skills prepare them for the kind of skills and questions they will encounter at GCSE. These could also be used to complement in-school literacy lessons. This bundle’s theme is Gothic Literature. Designed for lower Key Stage 3 and literacy group students. This resource looks at the skills needed for AQA GCSE English Language Paper 2, based on Boris Johnson’s speech on Monday 27th April in regards to continuing lockdown, and Winston Churchill’s famous 1940 speech, ‘We shall fight them on the beaches’, encouraging students to think about purpose, rhetorical devices and their effects on the audience. Features both analytical and creative writing practice. Designed to be shared on Google Classroom as a Google Slide, so students can receive quick feedback! Students follow a series of prompts to create their own dystopian word. They are given the bare bones of the story and framed tasks, but they use their own imaginations to guide the story in whatever direction they choose. Designed as a creative writing scheme of work, but students at home could easily respond in art, music, drama, and so on! Designed for KS3 but could be adapted for any age. A five-week course on Romeo and Juliet, designed for Year 9, but also suitable for GCSE students who need the text breaking down at home. Contains a GCSE-style assessment. Designed to be used as a Google Slides on Google Classroom - students enter answers directly onto their own copy of the Slides and you can give them speedy feedback! We might be stuck at home again, but that doesn’t mean we can’t ‘travel’! Take inspiration from Phileas Fogg and let’s travel around the world in 7 weeks: each week, we’ll go to a new continent, and explore some of the marvellous locations it has to offer, through the eyes of our most interesting writers. A home-schooling resource for students to practise AQA GCSE English Language skills in a scaffolded manner - focussing on Paper 2 (non-fiction analysis, comparison and writing) and Paper 1 Section B (descriptive writing). With audio clips of texts to help struggling readers, and dictionary definition links to new vocabulary, this unit is designed to help Year 9s and Year 10s working from home. Compatible with Google Classroom. Includes two end of unit assessments. In order to promote greater diversity of writers in our curriculum, this unit prioritises the writing of women of colour. A resource for students to use at home (save on Google Classroom as a ‘Slides’ document if you want them to write directly onto the resource), looking at two non-fiction texts, to practise AO1, AO2 and AO5 skills, preparing them for AQA GCSE Paper 2. Suitable for Years 9, 10 and 11. A resource for in-depth plot revision of GCSE Macbeth for Years 10 and 11s who may have studied the text a while ago and forgotten the details of the plot! Quicker than re-reading the whole text with a class - each scene includes a summary video, a key plot question and key analysis question; each act ends with a plot summary gap fill and key character questions and quotes. Context ‘check-ins’ are built in to relevant parts of the plot to ensure students are applying key contexts to exact moments in the text. Attached is a ‘student copy’ ready to be printed out for students (2 slides per page will save on printing) and a ‘teacher copy’ with answers to the Do Now and gap fills. I have designed this for use over the course of a week and a half to prepare students for more in-depth analytical revision ahead of their final exam! A Powerpoint for students to use independently at home during school closure. Based on Boris Johnson’s television address on Monday 23rd March 2020 in regards to the UK going into lockdown, this resource looks at the rhetorical devices used in his speech; alongside focussing on AO2 development, this will hopefully help children to understand why the speech might have felt quite anxiety-inducing, and offers them some tips to help with their coronavirus anxiety. Suitable for Years 9 and 10.

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Jan 25, 2016 INDIGENOUS APPRENTICESHIP SYSTEMS INDIGENOUS APPRENTICESHIP SYSTEMS Ghana's indigenous apprenticeship system has been an important part of its informal economy, particularly for its role as a complimentary means of skills transfer and the development of the nation's human capital required for the overall national development. The main strengths of traditional apprenticeship are its practical orientation, its self-regulation, and self-financing. Its flexible and non-formal nature accommodates individuals who lack the educational requirements for formal training. However, this type of training often is of long duration and low pay, and lacks certification. In Ghana there is a highly developed apprenticeship system where young men and women undertake sector-specific private training, which yields skills used primarily in the informal sector. Traditionally, children are mandated to learn from the orthodox de-schooling system to acquire permanent learning experience. The aim of this education is to inculcate the norms, values and culture of the group to the young. This is considered a complete socialization of the child. Other facets of traditional curriculum on practical skills adopt learning by observation, trial and error which requires cognitive mapping of processing and producing information as knowledge. Informal, formal and accidental learning processes were utilized in the transmission of knowledge. Formal learning includes the hierarchically structured school system that runs from primary school through the university and organized school-like programs created in business for technical and professional training. Accidental learning happens when in everyday activities an individual learns something that he or she had not intended or expected. Informal learning includes the lifelong processes whereby individuals acquired attitudes, values, skills and knowledge from daily experiences and the educative influences and resources in his or her environment, from family and neighbors, from work and play, from the market place, and various rites of passage and ceremonies. Through informal processes the Akan child, for example, was taught (1) to know the history of the society through abakosem and mpaninsem; (2) to show respect (anidee›); (3) to know the names of objects in the child's natural and social environment; (4) to know how to count (akontaa); and, (5) to know various aspects of moral and ethical values. Besides the family's socialization processes, public storytelling (anansesem), games, songs, drama, riddles (abrome), quizzes (ebisaa), and proverbs (abebusem) formed very important informal means of educating the child. The indigenous apprenticeship systems (known among the Akan as adwumasua, ntetee› or esom) constituted a very important means for transmitting formal and institutionalized or specialized knowledge. Various initiation ceremonies and rites were performed at major points in the institutionalized learning process. These rites of passage served to accept formally the prospective trainee into the appropriate trade, to mark major transitions from one grade to another during training, and to graduate and accept formally one into the professional practice. The major goal of these institutionalized learning settings was to impart, rather than hide, knowledge and skills to accredited learners. The curricula for the specialized knowledge transmitted varied as illustrated with the examples of learning statecraft to be a king, learning to be a priest, and leaning to be a wood carver. Becoming a king - Learning statecraft Among the Akan, for example, the king-elect undergoes formal education (ahemfie adesua) during a period of six-week confinement. The curriculum of the ahemfie adesua comprises, among other things, the history and organization of the kingdom, court etiquette, drum poetry, dancing, and palace structure and administration. Learning one's history is very important to the Akan. This is because if one does not know what went on before one came into the world (past history) and what is happening at the time one lives, but away from one (current history), one will not know the world and will be ignorant of the world and mankind. The curriculum of the priesthood training included divination; diagnosis of diseases; prescription of cures; identification of herbs and roots and their medicinal qualities; moral lessons on respect of elders and the general public, equity of care, frugality, obedience, industry, cooperation, and chastity and abstinence; and songs and dance. Divination was based on the manipulation, usually by the casting of cowrie shells (serewa or sedee›), pebbles, or some other divining devices and the recitation of specific oral texts and codes associated with particular configurations of the divining objects. Each configuration resulting from the casting of the divining devices is associated with a body of text and this text is recited after the tossing of the divining devices. An experienced priest was able to diagnose a disease and fit it into one or more of the following principal categories of illness and disease: honam yaree› (illness of the body - e.g., rheumatism, piles, boils); nsane yaree (infectious illness - e.g., yaws, measles, chicken pox)); abusua yaree (illness of the matrilineal group); mogya yaree (illness of the blood, that is, genetical disease); and sunsum yare (spiritually-caused illness). Wood Carving Apprenticeship Apprenticeship training in wood carving progresses in phases. In accord with these processes, most apprentices start with an introductory phase during which the novice is taught and made to do menial jobs such as cleaning the workshop or running errands. The next phase consists of getting to know all tools of the trade and, as appropriate, the materials (types of woods and their availability), the ingredients and the spare parts. Meanwhile, the apprentice is expected to observe and learn about the work. The master occasionally demonstrates a particular operation or directs an apprentice whose trials usually end in an error. Gradually the apprentice is introduced to more complex tasks and given increased responsibility such as supervising other apprentices, dealing directly with customers, and from time to time, looking after the shop in the absence of the master. Thus, skills, knowledge and attitudes are transmitted through observation, imitation and on-the-job experience.

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Many of the traditions of the Inuit people, including language, beliefs, customs, and so on, have develop over thousands of years. They believe that humans, animals, and forces of nature had spirits, and when something went wrong, the spirits were not happy. The Inuit people have a long tradition of oral literature and storytelling. Before they had a writing system, they passed stories from one generation to another. And that is how they preserved their own tradition and culture. Inuit legends and history was kept alive by storytelling, and that is how we learn about their tradition nowadays. As mentioned previously, the Inuit religion is “animism”. They believe that all living and non-living things have a spirit. That includes humans, animals, forces of nature, but also inanimate objects. When a spirit dies, the spirit continues to live in a different world, the one Inuit people call the spirit world. Powerful religious leaders like Shamans have enough power to control the spirits. They use charms and dances as a way to communicate with the spirit world. Shamans wore cared masks, in most cases representing an animal while performing the ritual. The Inuit people believed that the masks have power to enable the Shaman to communicate with the spirits. In order to please the spirits, Shamans often recommended that the Inuit people offer gifts to the spirits. Let’s talk more about the Spirits of the Inuit people. There were certain guidelines that they were supposed to follow to make the spirits happy. Illnesses, bad hunt, and bad weather, all of these conditions were blamed on displeased spirits. The Inuit people had a ritual for hunting and eating food, all just so they can please the spirits living in the animals. While hunting, the Inuit people had to pay a deep respect to the spirit of the animal, just so that the spirit would reappear in another animal. If they did not pay their respect, it was believed that the spirit would reappear as a demon. Souls, or spirits of humans could also be lost and stolen due to madness and illness. In the belief system of the Inuit, the human was made of three parts: body, name, and soul. When an individual dies, the body was the only part to die. The spirit and the name continue to live in a new body. Names of dead relatives were given to babies to ensure that the soul and name could continue living. There were many ceremonies that helped the Inuit people practice their religion and belief system. The main instrument of the ceremonies was dancing and one-sided drum. The drums were made of walrus stomach, walrus bladder, or caribou skin stretched over a wooden hoop. Drum dances occurred inside large snow houses (called igloos) with up to 60 people. During the singing and dancing, Inuit people told stories of the spirits. There were dances of different nature. Some were religious, others were for welcoming travelers or celebrating a hunt. In terms of religious rituals, Shamans performed healing rituals in ceremonial houses called Kashims. After a large hunt, the ceremony called “Bladder Dance” was performed. The Inuit people believed that the soul of the animals was inside the bladder so they honored the bladder, and returned it to the sea so it can find a new body. The most important spirit in the Inuit world, tradition, religion, and culture was the Goddess of the Sea, called Sedna. They believed she lived at the bottom of the ocean and controlled the seal, whales, and other sea animals. If they made Sedna happy, she would provide food for them. She is also known as the “lubricious one”. Her representation is different, depending on the region where the Inuit people live. Hannibal was a Carthaginian general and statesman who commanded Carthage’s main forces against the Roman Republic during the Second Punic War.Many consider him one of the greates... If you read Ancient Greece mythology, you will quickly think that Zeus was the Casanova of Ancient Greece. And that is not a far-fetched assumption.The Fathers of Gods and Men had ...

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Black Residue on Crepe Myrtle Trees Crepe myrtles are medium-sized trees that produce large clusters of pink flowers and dark green oval leaves. The presence of a black reside on the leaves, stems and branches of a crepe myrtle tree indicates that the tree has sooty mold, a fungal disease that has the potential to cause growth problems. Aphids and Scale Insects Aphids and scale insects are the culprits to blame when a crepe myrtle tree contracts sooty mold. As these two common pest insects feed on the leaves of the crepe myrtle tree, they secrete a sweet, sticky substance known as honeydew that accumulates on the surface of the tree. This honeydew builds up on leaves, bark, branches and even the trunk of the tree, and it provides a habitat for sooty mold to begin growing. Fungi from the Capnodium species produce sooty mold, which appears as a black film covering the surface of the crepe myrtle tree. The fungal spores are sometimes carried by the pest insects that create the growing situation that allows for sooty mold. Sooty mold is frequently no more than a cosmetic problem that leaves unattractive black patches on leaves or the bark of the tree. Severe cases of sooty mold lead to problems and require some treatment. - Aphids and scale insects are the culprits to blame when a crepe myrtle tree contracts sooty mold. - The fungal spores are sometimes carried by the pest insects that create the growing situation that allows for sooty mold. Treating Sooty Mold Heavy infections with sooty mold have the potential to stop leaves from photosynthesizing, which stunts the growth of the crepe myrtle and makes the plant more susceptible to other diseases and pest problems. Sooty mold comes off the tree if it is washed with water, although insecticidal soaps have the added benefit of both washing off sooty mold and controlling the aphids and scale insects that bring it to the tree. Fungicides are also effective at killing the sooty mold. Controlling the presence of aphids and scale insects on a crepe myrtle tree is one way to avoid the problem of having black residue appear later in the growing season. Applying insecticidal soaps to the tree or spraying the tree with a mild pesticide on a regular schedule throughout the spring and summer limits the damage that aphids, scale insects and sooty mold can do to a crepe myrtle tree. Follow all directions when using chemicals. Bailey Shoemaker Richards is a writer from Ohio. She has contributed to numerous online and print publications, including "The North Central Review." Shoemaker Richards also edits for several independent literary journals and the Pink Fish Press publishing company. She holds a Bachelor of Arts in creative writing from Ohio University.

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Rising Action: Example And Definition Of Rising Action In Story Writing Do You want to write a story? You want to draw your user quickly because you have limited Space. The Rising Story Builds Interest in the characters, the challenge and the plots that are planted in the story. Without a Rising Action, your Climax wouldn’t seem to be Interesting or Exciting, your story ending will not leave your story more emotional. So, a proper Planted Rising Action will help you to put the more emotional weight at the end of the story. Definition Of Rising Action: Rising Action is a plot that creates a series of Relevance incidents which makes the reader more invested in the Story. This creates an emotional drama, suspense, Interest, and Tension in the Narrative of the story. We find it in Novels, short stories and theatrical plays. Rising action is an element of plot which begin immediately explosion. Rising Action role: The function of the rising action in a short story is that it moves your story into climax. The climax is the Ultimate Excitement stage of a story, it create a horror or type of Curiosity in the reader mind. For example; You are reading a story about a couple, then the Climax will be that they want to get divorced or give some time to their relationship. Rising action is also used in Television series where they want to don’t lose the viewer. A Climax is a main part of any story. Rising action sets that stage of the moment by creating such a situation(s) that are more dramatic and add complexity to the characters in the short story. Rising Action Events You Can include Rising action in any of the events you want, there is no hard and fast rule for including Rising action in an Event. The Rising action progressively moves as the story moves. When you just wanted to start the story then you give information about the Characters, the scenery and the role of the characters. During the rising action, provide more information about the characters, create suspense and let your reader be more curious about what will happen in the coming paragraphs. The Rising Action should be More complex as you move toward the climax. Introduce at least one conflict — even if it is Internal One — during the course of the rising action. Character development is one of the most important part of the story and Rising action play a crucial role while developing the Character for the story. Spend more time with more social crowd and might give a public speech during climax. If Your story consists of Flat characters, then the Rising Action may not be sufficently well-developed. This is the last stage of the Rising Action. Rising Action Ends on Climax. After the Climax, a Reverse of Rising action known as Falling Action, Occurs. Falling action do the opposite of Rising action. It gives the idea of what is exactly happening, don’t create any curiosity in the reader mind. This leads to the conclusion and so the story ends. Examples of Rising Action in Literature Example #1 Revelation (By Flannery O’Connor) In her story, Revelation, Flannery O’connor used a lot of Rising actions. The moment when We see a girl, Mary Grace, in a waiting room, in intense action showing her dislike towards Mrs. Turpin. She Did a Physical attack on Mrs.Turpin By throwing a book at her. Turpin consequently responds negatively, crying and showing anger. Example #2: Twilight (By Stephenie Meyer) A Novel was written by Stephenie Meyer with the name of Twilight in which she used Rising action a great deal. The rising action occurs when the Cullen Family Play baseball Game where Bella is in the audience. James chases Bella while the Cullen family strives to defend her. An Ultimate Climax is Created by the Writer, consequently bringing many more things to the head which lead to the end of the story. Example #3: Anna Karenina (By Leo Tolstoy) Leo Tolstoy, in the Novel, draw two stories. Rising action begins when one character start Feeling for the Anna instead of Kitty. The main, Male, character meet Anna at the Train Station, their secret relationship begin their. They later fall into love. Anna decides to leave her son and husband for the love. Functions of Rising Actions: The Events that are created in the Short story is very important because the entire storyline is depended upon these small events, these small events are so designed that they create curiosity among the reader mind. The Rising Story Builds Interest in the characters, the challenge and the plots that are planted in the story. It further adds a level of complexity in the character by creating plot twists and drama. The Rising action end on the climax of the story.

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An adverb phrase or adverb (adverbial) clause gives us information about the verb such as how, when, where, and how often something happens. What is the Difference between adverbs of time and frequency? TRY THE FREE CAMBRIDGE ENGLISH TEST - Remember that adverbs change the meaning of verbs in sentences. - An adverb phrase or adverb (adverbial) clause gives us information about the verb such as how, when, where, and how often something happens. - An adverb or adverbial phrase is one or more words that change the verb in a sentence. - There are 3 main types of adverbial phrases: time, place, and frequency (how often something happens). 6 Examples of Adverb (Adverbial) Phrases of Time Some common examples of adverbial phrases of time, their meanings, and phrase functions: |today||the day before yesterday| |tomorrow||the day after tomorrow| |the other day||during the winter| |this week / this month / this year||over the summer| |next week / next month / next year||in the springtime| |last week / last month / last year||very late| 6 Examples of Adverb (Adverbial) Phrases of Place Some examples of adverb phrases of place: |here||down||through the looking glass| |there||up||around the bend| |back||up front||over the moon| |near the (place)||away from||under the sea| |around the corner||in the box||over the rainbow| |out in the street||side by side||by the light of the silvery moon| 6 Examples of Adverb (Adverbial) Phrases of Frequency and Degree Some examples of adverbial phrases of frequency (or adverbs of degree), in order of most frequent to least frequent: For more details on how these are used click here. How do I use adverbial phrases and what is the order of words? An adverbial phrase usually comes after the main verb or object, or at the end of the sentence: |Noun||Main Verb||Adverbial Phrases| |I||worked very hard||last week. (Time)| |She / he||lives||right over there. (Place)| |It||happens||again and again. (Frequency)| However, there are always exceptions: Adverbial phrases of time can also appear in front of the noun when we want to emphasize the adverb. |Adverbial Phrase of Time||Noun||Verb| |Later this week,||the Queen||will visit Balmoral Castle.| |Until recently||the telephone||was used only for verbal communication.| |Suddenly,||the cat||dashed up the tree.| Adverbials of frequency are usually placed between the noun and the verb or adverb: |Noun||Adverbial clause of Frequency|| |I/You||often||stop here for a cup of tea.| |He/She||usually||arrives on time.| |It||almost always||rains if I forget my umbrella.| |We/They||never||ate Frey pie again.| They also appear at the end of a sentence: |Adverbial Phrase of Frequency| |I/You||stop here for a cup of tea||often.| |He/She||drives to the country||every weekend.| |It||starts at noon sharp||on Tuesdays.| |We/They||will not stay||for very long.| And adverbials of place usually appear at the end of a sentence: |Adverbial Phrase of Place| |He/She||sleeps||over there by the fire| |It||stands||on the spot where the old tavern was.| |We/They||sat||at the back of the church.| Sometimes, in creative writing and music lyrics, the adverbial of place can begin a sentence: |Adverbial Phrase of Place| |Outside,||snow is glistening in the lane, are you listening?| |Down in||the boondocks …| |Here||comes the sun| |Upstairs, at the end of the hall,||there is a room where no one goes.|

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- 1 What is the definition of narrator? - 2 What is an example of a narrator? - 3 What is the best definition for narrator? - 4 What are the 3 types of narration? - 5 What is the importance of narration in literature? - 6 Why is narration important in literature? - 7 How do you explain narration? - 8 What is the use of narrator? - 9 Who is your narrator? - 10 What is another name for narrator? - 11 What are the two main types of narrator? - 12 What is narration and its rules? - 13 What kind of narrator is an omniscient narrator? What is the definition of narrator? noun. a person who gives an account or tells the story of events, experiences, etc. a person who adds spoken commentary to a film, television program, slide show, etc. What is an example of a narrator? The person who recounts the events is called a narrator. Stories can have reliable or unreliable narrators. For example, if a story is being told by someone insane, lying, or deluded, such as in Edgar Allen Poe’s “The Tell-Tale Heart,” that narrator would be deemed unreliable. The account itself is called a narrative. What is the best definition for narrator? A narrator is the person from whose perspective a story is told. A narrator may be a character in the text; however, the narrator does not have to be a character in the text. The point of a narrator is to narrate a story, i.e., to tell the story. What are the 3 types of narration? There are three primary types of point of view: First person point of view. In first person point of view, one of the characters is narrating the story. Second person point of view. Second person point of view is structured around the “you” pronoun, and is less common in novel-length work. Third person point of view. What is the importance of narration in literature? First person narration allows you to “get personal” with your audience. It’s as if one of the characters is speaking directly to his or her audience; we’re able to listen in on their thoughts. The audience will understand how the narrator is feeling and how he or she interprets the events taking place around them. Why is narration important in literature? Importance of Narrators. The importance of having a narrator is obvious—without one, we simply couldn’t tell stories! But, more specifically, when it comes to storytelling, point of view is everything, and the narrator provides it to us. As such, narrative style is one of the most crucial elements of writing. How do you explain narration? Narration is the use of a written or spoken commentary to convey a story to an audience. Narration is conveyed by a narrator: a specific person or unspecified literary voice, developed by the creator of the story, to deliver information to the audience, particularly about the plot (the series of events). What is the use of narrator? Narrator lets you use your PC without a mouse to complete common tasks if you’re blind or have low vision. It reads and interacts with things on the screen, like text and buttons. Use Narrator to read and write email, browse the internet, and work with documents. Who is your narrator? Your Narrator (born: September 15, 1995 (1995-09-15) [age 25]), or simply Narrator, is an American gaming YouTuber known for collaborating with JoshDub, Mully, JuicyFruitSnacks and EddieVR, the five of whom make up The Boys. He has also worked with the likes of Crayator and SwaggerSouls. What is another name for narrator? In this page you can discover 17 synonyms, antonyms, idiomatic expressions, and related words for narrator, like: raconteur, teller of tales, storyteller, narration, teller, anecdotalist, describer, protagonist, monologue, prospero and iago. What are the two main types of narrator? 1. Third-person view, omniscient narrator – This is the all-knowing, all-seeing narrator type. 2. Third-person view, subjective narrator – This narrator type conveys the thoughts, feelings, or opinions of one or more characters. What is narration and its rules? In the first sentence, I am conveying the activities of David in his (D) own words without changing it; it is called direct speech or we can say reporting speech. In the second sentence, I am using my own words to convey the activities of the speaker (D) to the audience. What kind of narrator is an omniscient narrator? An omniscient narrator is a narrator who knows what is happening at all points of the story at all times. This narrator knows the thoughts and feelings of all the characters in the story.

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Lamprey Larvae Are Not Vertebrate Ancestors Another case of Haeckel-like recapitulation turns out to be false. Lamprey larvae are not relics of our ancestors. Modern lampreys have a curious life cycle. The adults are grouped with cyclostomes (“round mouth”) or jawless fishes. The circular mouths of some species are lined with teeth that allow them to fasten themselves to large fish like sharks and whales and live as parasites on them. (The “teeth” are not true teeth but are “horny epidermal structures that function as teeth.”) Resembling eels, lampreys are vertebrates, but their larvae look very different from the adults. The larvae of some species are tiny and spawn in fresh water. Blind at birth, they bury themselves and live as filter feeders, whereas the adults usually live in the ocean (and many are carnivorous or parasitic). Because the larvae of some species resemble the lancelet (Amphioxus), which are chordates but lack backbones, Darwinians for many years have thought that the larvae of lampreys are evolutionary throwbacks to the ancestor of all vertebrates. This belief has been taught in textbooks for many years. It was wrong. Long-accepted theory of vertebrate origin upended by fossilized lamprey larvae (Canadian Museum of Nature). As usual, the headline fails to say who “long accepted” this theory of vertebrate origins; be confident, though that it was evolutionists who accepted it. Be as confident that they will never apologize for misleading the public for many years with their “evolutionary narrative.” The researchers say that these results run counter to the 150-year-old evolutionary narrative that modern lamprey larvae, with their curious life cycle, offer a glimpse of deep ancestral vertebrate conditions. By demonstrating that ancient lampreys never went through the same blind, filter-feeding stage seen in modern species, the researchers have falsified the conventional ancestral model shared in textbooks. This “evolutionary narrative” began 150 years ago, when Ernst Haeckel’s Recapitulation Theory or “Biogenetic Law” was popular. Haeckel taught that organisms relive (recapitulate) their evolutionary history as they develop. The lamprey larva, therefore, was thought to go through the evolutionary stage when the invertebrate lancelet was evolving into a vertebrate fish. Textbooks took up the narrative as a “conventional ancestral model” without checking. To falsify that narrative, Michael Coates, Rob Gess, Tetsuto Miyashita and Kristen Tietjin examined fossils of four extinct species of lamprey, including tiny larval stages. None of them went through that pseudo-recapitulating “filter feeder” stage of the modern lamprey; they all looked like miniature adults, complete with large eyes and toothed suckers. If so, then why do modern lamprey larvae appear so primordial? The team suggests that the evolution of filter-feeding larvae may have been an innovation that allowed lampreys to populate rivers and lakes. Fossil lampreys reported in the new study all came from marine sediments, but modern lampreys, with their filter-feeding, blind larvae, mostly live in freshwater. As explained 10 March 2021, this new ‘evolutionary narrative’ is also fallacious. No mutation “evolves to” do something, because that would imply a plan or goal. Modern lampreys did not plan or ‘innovate’ the filter-feeding larval lifestyle in order to allow them to populate rivers and lakes. Instead, groups of different lampreys may have always differed in their developmental lifestyles, depending on their habitats. Alternatively, the filter-feeding lifestyle of modern lampreys could be a reduction of information. Miyashita commented, “you don’t have to be too complicated for this kind of lifestyle.” Darwin Carries On As usual, though, the media never allow a falsification of a Darwinian narrative to cast doubt on Darwinism itself. Instead, the Darwin Party comes up with a new narrative. The researchers say that this is the sort of discovery that can rewrite textbooks. “Lampreys are not quite the swimming time capsules that we once thought they were,” said Coates. “They remain important and essential for understanding the deep history of vertebrate diversity, but we also need to recognize that they, too, have evolved and specialized in their own right.” In order to pacify worrying evolutionists, Coates and the team turned their attention to ostracoderms (“shell skinned”) armored jawless fish as new candidates for the ancestors of vertebrates. After their examination of the fossil record, the researchers now believe that extinct armored fishes known as ostracoderms might instead represent better candidates for the root of the vertebrate family tree, whereas modern lamprey larvae are a more recent evolutionary innovation. The team published their findings in Nature March 10, 2021. Put the new ostracoderm narrative in the textbooks until the next falsification. By convention, Darwin’s web of belief is immune to contrary evidence, so it will always survive. That is, it will survive until enough people get fed up with this pseudo-scientific practice of endless storytelling.

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Writing Creatively to Learn Adverbs When it comes to grammar instruction, teachers often struggle with these questions: Do I teach my students the grammar rules explicitly and give them worksheets to practice with? Or do I provide them with different types of texts and examples and allow them to discover the patterns on their own? Grammar can be taught in a variety of ways: using the inductive and deductive approaches. With the inductive approach, a teacher provides students with carefully selected examples from which a grammatical rule can be inferred. Student learning takes place via self-discovery. If a teacher opts for the deductive approach, she begins the lesson with the sharing of a rule, followed by some exemplifications. Teaching and learning is pretty much rule-driven. Many have dismissed the rule-driven deductive approach to grammar instruction citing forgettable lessons as a reason; self-discovery is said to be more memorable than teacher explanation. Others have claimed that the deductive approach often involves didactic teaching, which is teacher-fronted, resulting in little teacher-student interaction and low student engagement. Besides, many claim that using metalanguage to explain the rules can be off-putting. However, there are merits to the deductive approach: With explicit teaching of grammatical features, the teacher is able to deal with them directly instead of expecting it to come up incidentally in class. Metalanguage is useful to talk about language and it need not be ‘dull and boring’. It really depends on the teacher’s style and lesson delivery. Time management: Curriculum time is limited. Via deductive teaching, the teacher could get straight to the point and the discussion on a grammatical item can be completed in a time-efficient manner. It is not true that the deductive approach has to be didactic; it can be interactive too! In my interactions with teachers, I have discovered that many view grammar teaching as standalone lessons involving teaching a grammar rule, followed by plenty of drill and practice exercises. Many do not link grammar teaching to meaningful writing activities; grammar as “meaning-making”. To create awareness and reinforce the importance of linking grammar lessons to writing, I use an activity where a deductive lesson on adverbs is linked to creative writing. Teachers are able to determine how well their students have understood the lesson on adverbs and at the same time, assess their students’ writing skills. Lesson Objective: Students to become aware that there are different types of adverbs which can be used in their writing to add additional information and bring their ideas to life. Step 1: Explaining adverbs: what they are, what they do, and where to find them in sentences. Adverbs are words that describe the circumstances in which an event took place. Adverbs of English typically end with the –ly suffix, but be cautious of many –ly words that are adjectives like friendly, sickly and early. Adverbs can give us more information about the verb by telling us the time, place and manner of an action or process: adverbs of time like now, soon, and yesterday. adverbs of place like here, somewhere, and outside. adverbs of manner like quickly, nimbly, and quietly. also includes adverbs of frequency (e.g. often, daily) and adverbs of duration (e.g. briefly, forever). Adverbs can also add meaning to adjectives, like very happy, so silly and ridiculously strong. They can also describe other adverbs like He moved so swiftly. Adverbs also function to connect clauses and sentences together: First cook the onions, then add the mushrooms. Finally, sprinkle some salt and pepper. Highlight the variable positions of adverbs in a sentence: Sentence-initial position: Stealthily, he tiptoed into the room. Before the verb it describes: He stealthily tiptoed into the room. Immediately after the verb it describes: He tiptoed stealthily into the room. Sentence-final position: He tiptoed into the room stealthily. Step 2: Group activity Get the students to apply their knowledge of the different types of adverbs, and the different positions adverbs can take (sentence-initial position, at the end of sentences, before or after a verb, and before adjectives). Then get them to work in groups on a writing activity, which allows them to showcase both their knowledge of adverbs and their creative writing. Write a product caption for this magic potion. Include 5 adverbs in your caption As a group, think of a creative use for this purple magic potion. Make your text as interesting as possible. Remember that the caption needs to entice the reader to buy your product. Think of it as an advertisement. Include 5 adverbs in your caption. Underline the adverbs your group has used (and optionally identify the type of adverb you have included in your caption). This activity appeals to young learners who enjoy working in groups. Collaborative learning allows them to sound out their ideas to their peers without feeling threatened or embarrassed about ‘getting things wrong’ during the creative process. I also find that students find pride in the text they produce. Teachers will be able to determine how well their students have understood the lesson on adverbs and at the same time, assess their students’ writing skills. Here are 2 examples of the text produced at the end of this activity: I hope teachers will try out this activity the next time they teach adverbs.

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How to develop imagination in children Imagination is the source of all human achievement ‘, Sir Ken Robinson Imagination in children is vital to successful learning. You can improve pupils’ learning outcomes by fostering their innate imagination. Pupils with good imaginations can advance their all-round cognitive development and progress in all areas of the curriculum. With writing especially, children with strong imaginations are more likely to become confident writers. So, imagination is an essential part of the learning process. ‘the cultivation of imagination should be the chief aim of education” Mary Warnock Imagination gives learning a meaningful platform for pupils. Contexts, themes or ideas that matter to children can build their motivation to learn. It also helps them take them ownership over their own learning journeys. In particular, learning that is built over time and in collaboration with pupils works best. It develops independence skills and positive learning attitudes so learning is more memorable. Simply ‘delivering’ learning to children is not the best way to ensure progress. Creativity and problem solving are key life skills to develop in pupils. Imagination can help pupils come up with innovative ideas that let them see beyond the norm and reality. Pupils who have a limited imagination may struggle with these areas of life. And they may find it hard to master many aspects of the school curriculum. How to develop imagination in children Here are some ways to develop imagination in your school: Imaginative play and drama based activities will help children explore the world around them and the people in it. Imagination also develops neurological connections in pupils’ brains through moving around using their senses and muscles. Children can delve into imaginative worlds based on the experiences that they see around them. This helps young pupils make sense of their reality and learn how to communicate with others. Read more about the importance of imaginative play for child development in this article in Psychology Today. Reading books and hearing stories inspires pupils’ imaginary games by capturing their imagination. Adventures, characters and illustrations all play a part. Frequent reading sets the foundation of reading and learning skills for pupils. Through storytelling, we enable pupils to develop their vocabulary and communication skills. It can also enhance their understanding and empathy. As pupils move through their school career, imagination and interest in reading will allow them to participate in all subjects of the curriculum. Think about paper cutting, origami, sewing, drawing, modelling, DT, art, dance, drama. These are aspects of a creative curriculum that will engage imagination in children. With creative activities, you can also improve fine motor skills and concentration. Older children really benefit from arts based learning. But whatever their age, escaping into other realities and away from everyday life is a big part of maintaining mental health. And it’s important for pupil well-being too. Did you know that picture books, paintings, wall art and colourful images can inspire children to create their own stories? This is because they allow them to delve into a world of imagination. Images form the basis of visual storytelling, so you can use them to fill in the gaps with your pupils. A wall of pictures can transport pupils into a fantasy world, which would otherwise be hard for them to imagine. This can inspire and motivate them to learn. It can teach them something new and even direct their future pathways. Here at Promote Your School we are kids at heart! We love nothing more than letting our imaginations run wild with schools’ walls. That’s why we’re committed to helping you build your pupils’ imaginations through Wall Art and we love what we do.

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Naqqali, Persian theater Naqqali is an Iranian art of narration that has long been associated with the history of Iranian society. Although the art of naqqali has been inscribed on the intangible UNESCO World Heritage List, from the epic narrations of Shahnameh to the stories of Abu Muslim and Samak-e Ayar, today this art has been marginalized and ignored. Naqqali is a cultural gesture that has been prevalent in Iranian society since ancient times. Narrators or Naqqalan narrate stories of ethnic, national, religious, and historical events, quasi-historical and religious events. They speak in a measured and melodic way, and a warm and expressive expression in public or in private gatherings or private circles. Narrators had a great deal of talent and art in story-telling and representing events and inducing exciting events, and they had a taste for art in expressing the way events were portrayed and imitating movements and behavior. They knew how to speak and imitate in each assembly according to the cultural consciousness. They improvised and expressed language, mixing the themes of the story with advice, parables, jokes, playing, and imitating the characters in the story. In this article, we will get acquainted with this Iranian art registered in the UNESCO World Heritage List. History of naqqali in Iran The art of storytelling, has long been popular among Iranians. With the arrival of Aryan tribes, based on their beliefs and myths, this art became more and more prominent among them, and was manifested in all aspects of their lives. Ancient stories such as the anecdotes about Mitra, Anahita, the story of Siavash, and the story of the Rostam family, all show the antiquity of this phenomenon in the ancient Aryan land. Naqqali or the art of storytelling provides good nutrition such as ancient myths and legends. It is the most ancient art of taught and imagination that is left from ancient people. With the arrival of Islam in Iran, the art of storytelling or naqqali flourished, and this popular tradition continued to grow. Storytellers or naqqalan narrated the epic and heroic stories of Rostam and his descendants in public gatherings. The influence of this kind of naqqali had reached the point where some Arabs narrated the stories of Rostam and Esfandiar in their public in order to fight the Prophet of Islam and the Holly Quran. The effect of naqqali in Iranian culture Naqqalan or narrators had no purpose other than attracting the audience by narrating historical and mythical stories along with dramatic movements and situations associated with the events of the story. In most cases the audience were so influenced by their narration and show that the disciple and mentor tradition was manifested. Mohammad Taghi Bahar, quoting Ibn Qutaybah, a scholar of the third century AH and the author of the book Ayoun al-Akhbar, writes in this regard: In Merv, we came across a storyteller who told stories and impressed us. Then he pulled his tambourine out of his arms and began to play, saying, “Apa, with all this misery, we need a little laughter.” Many experts of Iranian plays believe that in order to explore the antiquity of pre-Islamic plays in Iran, it is important to pay attention to ritual plays, marionette, and especially “naqqali.” Who is a naqqal and what is a naqqali? As mentioned earlier, naqqali is one of the most common forms of drama or the art of dramatic story-telling that an actor usually had, and naqqal was considered the most brilliant narrator in the history of Iranian drama. Bahram Beizai writes in the definition of naqqali: “Narration is the transmission of an event or story to poetry or prose with appropriate gestures and expressions in front of the audience.” The important point here is that a naqqal must have certain conditions and characteristics. Because their work was very sensitive and difficult. “without using any tools, and only with the power of expression and harmonization of movements, faces and hands with words, the events of the story should be imagined in such a way that the emotions are aroused.” That’s why a naqqal has to own a good voice and be completely familiar with musical instruments. What’s more, the intermediate and face-to-face communication with people, and correction of some mistakes had a tremendous effect on the subsequent performances. So a naqqal increased the impact of his work by eliminating the shortcomings. Because “the distribution of pauses and delays between the word chain, the method of increasing and decreasing the fundamental sound frequencies, performance of melodic patterns of the melody along with the appropriate movements of head, hands, face, clapping hands, hitting the ground in naqqal influenced on listeners and the audience. They have learned from experience where it is exciting for people to speak, and what speech context to choose to increase the excitement … It kept the audience entertained. Naqqali and other performing arts The way the play was performed by naqal was very different from other people who were individually engaged in magic and witchcraft. In other words, their speech and gesture was not persistent. By spreading the play in different neighborhoods and places, they would form a gathering, and everyone who came from anywhere in the play or the battle, would enjoy their words and movements at the same time and minute. On the other hand, what a naqqal says is persistant, and his story needs to be followed. Listeners had to attend his storytelling days to take advantage of his stories. In another part of his article, Dr. Sasan Spanta, while emphasizing that the poems of Ferdowsi’s Shahnameh were accepted among the people due to the efforts of the naqqals. The following feature are some of the keys to success: - Good word combination, using familiar words, eloquence in expression, expressive and heartfelt voice, agile and appropriate movements. What Beizai, Spanta, and other researchers in the field of Iranian drama say about naqqali is one of the things that can still be used today as a benchmark for measuring naqqali. Therefore, the most important narrative features are: 1- Strong and stable expression, 2- Good voice, 3- Agile and ready body, 4- Ability to use tools and equipment such as sticks, stools and spears 5- Preserving and knowing the story and information so that they can fit in any gathering. Shahnameh and naqqali At a time when naqqali was very popular, naqqalan who narrated the stories of Abu Muslim, Darabnameh, and Samak-e Ayar, along with poetry and song, gradually turned to other sources, and in the meantime, Ferdowsi’s Shahnameh received the most attention. The story of Shahnameh is related to the history of coffee house, and the story of Rostam and Sohrab has the most important position in this regard, so that today naqqali in the coffee house is synonymous with “Sohrab Koshi“! But reading Shahnameh was not easy, and Shahnameh readers were usually poets or writers themselves. The popularity of reading Shahnameh also had a social reason, because in Safavid society, there was a special military group called “Ghezelbash” whose main task was to participate in wars and maintain the fighting spirit. The Ghezelbash were among the regular customers of coffee shop, and the narrators’ heroic quotations from Shahnameh could naturally have had a profound effect on their fighting spirit. Today, in smaller towns and villages, people are not yet unfamiliar with the art of storytelling, and in rituals and ceremonies, naqqalan perform their art, but in large cities, the performance of veteran narrators is limited to special ceremonies and some cafes and cafeterias. Tradition is limited, and few theaters and workshops are dedicated to promoting and performing it.

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Story maps are pictorial representations of a story and are a great tool for helping children to internalise a story. They allow a quick overview of a story and can act as a ‘crutch’ for the storyteller who is building confidence. Materials: White A3 paper, pencil, pens, crayons Tell the class a story. It is best to start with something simple with only two or three main locations. Stories such as The Three Little Pigs, or the Three Billy Goats Gruff are perfect for this exercise when done for the first time. Then explain to the children that they are going to create a map of the story showing where the various places are relative to each other. You might want to draw a quick demonstration map on the board, though it is best to then rub it off once the children understand what they are doing. Some children will choose to create an aerial view of the landscape and add onto it sketches of buildings, trees etc. Others will draw a side view with locations running along the horizon. This is not particularly important for this activity as it is creating a personal record of the story for each child. Explain that their drawings do not need to be perfect, that this is a way of recording information and putting down their own ideas about the story. Explain that detail can be added, for example, the colour of a house. This detail may not have been mentioned in the telling of the story, or indeed the child may choose to change it. This is all part of the process of the child making the story their own. Characters can also be drawn on the map, placed at the location where they appear. The child may want to draw a character more than once, for instance with Little Red Riding Hood they may draw the wolf in the forest and at Grandma’s house dressed as Grandma. Children may also want to write notes on their maps. When the maps are completed give the children time to colour them. Colour is an important element in making the images memorable. Then allow the children to show each other their maps. Ask them to note the similarities and differences between them. Emphasise that there are no right or wrong ways to draw the map but encourage them to consider that although they all listened to the same story, all the maps will be unique. Give the children a little more time to make further additions to their maps after the discussion. They now have a complete record from which to learn the story without having to read it. DEVELOPING THE MAPS: THE INTERRUPTER GAME Have the children retell the story to each other in pairs. Once each person has told the story the first starts again. This time their partner can interrupt and ask a question. Remind everyone that this should be done politely with an, “Excuse me!” Before hand you might want to discuss the type of questions that will be asked. The idea behind the questions is to have the children develop a more vivid mental image of the story in their mind’s eye. Some examples of questions that might be asked are: “Can you describe the house?” “What was in the garden?” “What did the dog look like?” Encourage the children to keep the questions open ended so that the storyteller can develop answers if they have not already thought about it… asking about characters’ feelings is a great way to explore the story in greater depth. When the first person has told their story, have the pairs switch and allow the second person to tell and answer questions. The purpose of this activity is to help the children become better acquainted with their story. As they answer the questions they are developing a stronger and more detailed mental image of the places, characters and events in the story. Often the details generated in this activity will not feature in the final version of the tale told by the children. This is not important as often they would stop the flow of the story. They do however aid the internalisation of the story by the child. This activity is about ‘creating memories’ making it easier for the child to retell the story. Story hands are a versatile sequencing tool that allows learners to explore and work with stories, preparing them for telling and leading into writing. Storyhands work best with the classic five part story that features a beginning,, three events in the middle followed by an ending (such as the three Billy Goats Gruff, The Three Little Pig etc.) Materials: Prepared story hand (if desired), writing and drawing materials Tell the story. Then have the learners draw the beginning of the story on the thumb. Next discuss how the story ended and draw this scene on the last finger. Then discuss the sequence of events that connect the beginning of the story to the ending. The learners then draw the three middle events on the three middle fingers. If the learners complete the storyhand in this order they will avoid running out of fingers! The storyhand can then be used by individuals, pairs or groups to practice re-telling the story. If working in a group, the story sections can be allocated to individuals. The groups can then split into secondary groups allowing the learners telling the same part of the story to practice together and give feedback. They can then re-join their group and re-tell the complete story. After re-telling the story, the storyhand can be used as a plan for writing. Each finger of the hand represents a section of the story. This can be used for the writing of a chapter, a paragraph or a sentence, depending on the developmental stage of the learner. Group members can also use the storyhand to focus on the writing of their section of the story. Then the various sections of the story can be collated to complete a piece of group writing. This idea comes form the book Traditional Storytelling in the Primary Classroom by Teresa Grainger, ISBN: 0-590-53686-9 In a pair or trio start to re-tell a story. At any point one of the listeners interrupts as politely as possible! They then ask a question: What did the cave look like? Why did the boy do that? How did the queen feel? Lis is a great introduction to questioning skills and introducing the idea of open and closed questions. The game allows children to clarify their thinking regarding a story and building into it more detail. This is a great pre-writing activity as well. Tell a story. Discuss what scenes are missing. For example, the Troll in the Three Billy Goat's Gruff visits his sister. Have children explore that scene. What do the characters do? What to the characters talk about? Have them create a dialogue and share it with others. In a pair, trio, group ar as a whole class, have one person start telling a story. At a natural break they tig the next person. They then take on the story and pass it on by tigging someone else. Carry on until the story is told. Put a character on 'trial'... have chlidren take the rolre of characters to explain their actions in stories you have told: Have Goldilocks explain why she broke into the home of the 3 Bears. Witness can be called... Wee Bear might explain the emotional impact of having his porridge all eaten up.

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Listen instead of reading: This post heavily references “Discovery of the child”, pages 136 to 138 in an effort to share the five characteristics of the Montessori materials The Sensorial materials help the child to focus one or more sense on a particular property of matter through a purposeful activity. To help the child sensorially discriminate between the materials they are made in a precise scientific manner. To be able to abstract both a prepared child and materials with these characteristics are needed. The general characteristics of the Montessori Materials are outline below. 1 – Isolation of a single property through a single sense The term abstraction refers to an idea, here the property (e.g. temperature) and it’s ‘essential qualities’ (e.g. hot, body temperature, cold) separate from the ‘non-essential’ properties and qualities. The ‘materialised abstractions’ have one property isolated from the others which in the real world jostle for attention so that one particular sense is stimulated for a classification activity. As ‘abstractions’ they have no distracting associations with other things she knows, as she becomes adept at classifying these materials she spontaneously makes connections with ‘real world’ objects and then begins to review previously unconsciously stored information. She relates to these new experiences through the ‘new eyes’ she has acquired with her work here and is able to store her impressions in an orderly way with finer precision than before. Each material compromises a set of similar items which explore the same property by giving various increments in the degree of ‘essential qualities’ which they exhibit. The variety between the set of materials ( in the example above the differences in temperature) provide a stimulus to action, inviting her intelligence to make judgements, comparing the increments. The increments are such a source of fascination because the materials are made i such a way that the other properties of the object fade into the background, because of their consistency. The difference between the ‘essential qualities’ sparks the child’s interest and later comes the point of interest to return to and repeat the activity and the means by which she controls her error. 2 – Purposeful activities using movement and sensorial exploration The urge to move, make choices and to make use of that which is necessary for development defines the Absorbent Mind. While using the Sensorial Activities the child is in the Sensitise Period for the Co-ordination of Movement which propels her towards activity, in fact her attention and concentration cannot be held without it. Therefore all materials are designed to make activity available; holding them, being introduced to their ‘essential property’, through the presentation and the freedom to repeat it, the exercises and variations she employs and the games. She pairs, grades and sorts the materials. Cultural materials also have a sensorial and movable aspect, which will later direct the mind of the second plane. 3 – Control of Error / Criteria for Perfection The mind must make an active effort to digest new material and achieve the construction demanded during the first plane, in order that the child reaches her potential for development. The child has an innate desire to make a maximum effort, to auto-educate herself, to do this she needs the freedom to use a ‘Prepared Environment’ which motivates her conscious learning, driving her to repeat in order to meet her learning goals independently. Unhindered she works with the Sensorial Materials and receives feedback from the materials directly or from her perception of the order of the materials. The intelligent use of the materials poses problems which require judgements and discriminations, both of which are developing skills. By making ‘mistakes’ she sees the material ‘jar’ and the error is highlighted, presenting the child with a newly focused challenge which deepens her interest and calls her to repeat. Doing so she gains understanding, clarity of judgement and sensorial refinement. The child seeks perfection while accepting that ‘mistakes’ are necessary, without the experience of shame or ‘overwhelm’. This resilience in the face of obstacles is a vital part of character development, for becoming an independent, adapted person, able to judge her errors, manage her reactions to them, to motivate herself. Doing this strengthens her will and tendency to work. It is NOT the solution that is important by the process of reasoning and rethinking. Hearing her mistakes from a teacher may or may not help her understanding f the puzzle but it will not help her to internalise the intrinsic process of becoming a problem solver. 4 – Limitations The child has absorbed vast, unbroken experiences, she does not require stimulation but the ability to order that which has been chaotically stored.The presentation of sufficient stimuli, (neither too much or too little) enables her to organise the clutter in her mind. Sensorial Materials, “Set up conditions of clarity in his exploring mind and furnish him with a guide in his exploring operations” (Discovery of the Child, p.158). The Exercises of Practical Life established order and control in her movement and personality, now the exact, precise and limited materials of the Sensorial Activities provide the intelligence with an opportunity to perceives with a new level of clarity and intelligence, urging her to complete self initiated work to explore further. Order is the foundation of the Montessori Environment, everything in it is ‘minimal’, limited, devoid of excess, which is the basis for disorder and chaos. Dr Montessori removed those materials and gradations which did not call the child because they were unnecessary to her development so there is a limited amount of gradations in each set and only one set of material for each sense, providing exact guides. 5 – Aesthetics Through their beauty the objects have a voice which calls to the child to use them, to learn from them, to treat then carefully, holding them as shown to find their essential quality kinaesthetically and to ensure they are unharmed. As the child is an auto-educator, left free to move and choose she will select that material in the environment which has the most to offer her, that material will call the loudest. If the objects are left in disarray the child on seeing them wants them to b ordered and will spontaneously arrange them. The child’s mind grows calm and orderly in this environment and her appreciation for the cosmos blossoms. It is the child’s love of perfection, her effective use of objects, her tendency to work, respond to the materials, judge her efforts and correct her error which develops a strong character and creative development.

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Your child may have natural writing ability or they may struggle. The important thing is that all children benefit from exploring creative writing – creative learning is at the heart of good education. This pre-prep school in Bristol offers a wide variety of creative activities which benefit children in both their academic and social learning. Skilled writers can build their confidence and learn more about structure whilst those who are less skilled can learn new ways around words and how to enjoy them more. How to begin There are so many creative ways in which to help your child improve their writing skills. A good place to begin is by using a story your child has already enjoyed. Discussion is important – when you have finished reading the story, talk to them about what happened. Which were the most exciting parts and why? Which characters did they love? Were there any they didn’t like? From that point you can encourage your child to write their own version of the story. What came next? Is a good question to ask. Another way to approach this is to ask them to choose one character and write them a letter – your child can ask the character questions or tell the character things about themselves. To help your child write their own stories, tell them that each story has the following ingredients. Their story can be very short as long as it has all of these ingredients. Most children will be very keen to try to meet all of the challenges and will engage well. Others may need encouragement. Helping reluctant writers Children who don’t feel confident about their storytelling abilities might just need a little inspiration. You can inspire them with images. Print out a selection of interesting pictures – try to choose unusual or thought-provoking images which your child might like. Ask them to think of a simple story based on the picture. Poetry can be a wonderfully freeing thing, especially if you explain that not all poems rhyme. Explore poetry with your child; read some well-known poems for children aloud. Here are some great examples to begin with. Starting with the funny ones! - Please Mrs. Butler by Allan Ahlberg is the title poem in a collection and it’s a funny illustration of a complaining child who is unhappy with the boy next to him. Mrs. Butler’s responses whilst pleasant are increasingly desperate as she tries to keep her temper. - Chocolate Cake by Michael Rosen is a relatable poem about a boy’s love for chocolate cake. Written almost as a child speaks, it’s a fabulous way to show children that poetry isn’t stuffy or made up of ‘big words’. - Jabberwocky by Lewis Carroll starts out with the famous line “Twas brillig and the slithy toves did gyre and gimble in the wabe.” Any child hearing that read aloud for the first time will be charmed into trying some nonsense poetry themselves! - Life Doesn’t Frighten Me by Maya Angelou lists all of the things most children find frightening and then proceeds to bravely list the ways in which they can be driven away. - Wind on the Hill by A. A. Milne is about a child’s wonder in nature. It’s a beautifully written and deceptively simple piece that most children will relate to. Encourage a love of poetry and the written word in general by ensuring your child has access to plenty of fresh reading matter. Libraries can and will order new titles for you so you don’t even have to spend a lot of money. Provide your child with notebooks and pens so that if they’re struck by an idea, they can jot it down. Above all, make sure your child understands that creative writing is an art – and in art there are no wrong answers.

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Your kids will love labeling the parts of a honey bee lego activity. Bees are fascinating little creatures from how they create their honeycombs to maximize space, to how they know to fan the hive to keep it cool. Bees are used in so many ways than just the delicious honey they produce. We use beeswax in cosmetics, candles, as a coating, and bee venom is used as a holistic treatment. Labeling the Parts of a Honey Bee Because they are so very important to our world as pollinators I think it is important to educate our children about them from the beginning. If you’ve been homeschooling awhile you know that hands-on activities really drive home information in a fun way that really makes it stick, often better than any worksheet could. Since most kids love LEGO, I thought that an activity using them would be a hit with the kids and turn an ordinary and possibly boring homeschool lesson into something unique and fun. Turns out I was right- The kids loved doing this project and I hope you and yours will too! Grab a big bucket of LEGOS and a handful of bee books and let’s get started. You will need: A LEGO baseplate. Assorted LEGO bricks - Cardstock paper - A book or printout of parts of a bee - Pen or marker Hands-on Activity for Honey Bee Directions for honey bee LEGO: You can make this as simple or as involved a LEGO build as you like depending on the age and ability of the child. Using the larger Duplo blocks to create a simple bee and let your child point out the various parts of a bee as you call them out is another idea. Provide your child with a book or printout on the parts of a bee to use as a model and a variety of LEGO to build their bee model. Give them a large variety of LEGO bricks to build with, I love this starter box for kids just beginning a LEGO collection. I keep a box for each kid separate from all the other LEGO in the house just for school projects like this. Have them start with creating a head, thorax, and abdomen using yellow and black bricks. Add wings using white bricks. For older children you can differentiate forewing and hindwing if you like. Use long single row black bricks to create 3 sets of legs. Finally add eyes and antennae. Cut small strips of cardstock and add the names of whichever bee parts you would like your child to identify. Give them the strips and let them locate each part on their LEGO bee, with so much interaction while building and then labeling they are sure to retain much of the information they get from this build. Here are some additional bee activities to try - Create a honey bee lapbook. - Create the life cycle of a bee using LEGO again. - Pick up some local honey and try it right out of the jar as well as in a recipe or two. - Make a honeycomb by cutting down toilet paper tubes and bending each ring into a hexagon, glue each together to create any size you like. - Paint a watercolor bee or beehive. - Thumb through one of the books listed below and learn some more bee information-make flashcards. - Plant flowers in your yard to help support the bees, very important pollinators. - Make a mason bee house to put up outdoors. - Preschoolers can work on fine motor skills by transferring “pollen” (yellow pom poms) from one flower (colorful bowl) to another with tongs. - Research all the products we get from bees. - Give your child a bee themed writing prompt for handwriting, creative writing, and grammar practice such as “ What if there were no bees?” or “ The day I turned into a bee…”. Hands-on Science: Labeling the Parts of a Bee Books for Bee Unit Studies You’ll love these other hands-on science activities. - Fascinating and Fun Honey Bees Unit Study and Lapbook for Kids - 41 Easy Hands-on Faith-Neutral Science Activities for Kids - Hands-On Science: Handprint and Fingerprint Activity - Easy Hands-on Science: Animal Camouflage Activity Hunt - Easy Hands-On Science: Label the Atom Playdough Activity - EASY Hands-on Earth Science: Fun Water Testing Kit - Hands-On Science: Label the Skeleton System Activity

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“Transfer” is a cognitive practice whereby a learner’s mastery of knowledge or skills in one context enables them to apply that knowledge or skill in a different context. Because transfer signals that a learner’s comprehension allows them to recognize how their knowledge can be relevant and to apply it effectively outside original learning conditions, transfer is often considered a hallmark of true learning (Barnett & Ceci, 2002). Transfer functions in a variety of ways. Instructors should be aware of negative transfer, or the application of misunderstood information and concepts when learning new knowledge (Perkins & Salomon, 1992). Instructors can detect possible negative transfer by assessing students’ prior knowledge. Regarding positive transfer, students can perform near transfer, where they apply their knowledge to a related context like a different class or assignment; or far transfer, where they apply knowledge in an unrelated context typically beyond the classroom, like field trips, social interaction, or career performance (Kober, 2015). Learning theory suggests that a variety of teaching strategies can help students reach the intellectual maturity to transfer their knowledge, including practice with conceptual understanding, comparative scenarios, and clear road maps for learning (NRC, 2000). - Electrical engineering students read about circuitry and electricity in an introductory course. The instructor brings market products into class for students to apply their knowledge dissecting and rebuilding. - In class, students in public health learn about tracking the spread of influenza in an urban American community. Over spring break the class takes an international trip, and does field work charting the spread of a different virus through a rural community, applying related concepts from their class work. - A creative writing student takes a course on Shakespearean drama. Over the course of the semester she continues to write her own play, drawing from techniques and structures throughout her coursework. - An economics student writes several papers on Game Theory throughout her undergraduate degree. She accepts a management position in an organization that assists a variety of nonprofit efforts. Although she does not apply Game Theory per se, she applies her knowledge of economic cooperation to insure smooth operations. - Focus on core concepts - Students can more effectively transfer their knowledge when they comprehend principles that organize, guide, and explain content and skills. Instructors can develop activities that connect dots through deeper relationships, shared functions, or similar organizing principles. With a strong conceptual framework, rather than memorized facts or a string of lecture notes, students can recognize contexts operating through similar concepts and arrange knowledge as more functional parts of a whole. - Include activities that promote deeper learning - A larger approach to conceptual learning, deeper learning asks students to practice more rigorous thinking than memorization, skills practice, or test preparation. Instructors can design class activities and assessments like active learning that span Bloom’s taxonomy, thereby leading students to more independent thinking and the ability to recognize both the details and the broad strokes of what they study. - Provide comparative scenarios - Students develop the ability to transfer their learning by practicing transfer. Instructors can present two different scenarios, formulas, or readings and ask students to find single approaches for solving or analyzing each; flipping the script, they can ask students to construct a different problem or scenario that requires the same skills and knowledge as a pre-completed assignment; instructors can also engage students in case studies, where a variety of skills and knowledge sets may be stretched to address issues that are similar to, but not exactly, readings or lecture material. - Provide a roadmap with links - Students are more engaged when instructors provide a clear sense of direction for intended learning. By making intellectual links between segments of class, or asking students to articulate the relationship between a previous class and a current class, instructors show how knowledge operates in more than one context, and give students practice charting their learning beyond single contexts. - Build on previous knowledge - Students construct their learning by integrating new knowledge into knowledge they already have. Instructors can support student learning by assessing and building from previous knowledge. They can also make this process explicit for students, which in turn helps students learn to link their knowledge and treat it as a network, rather than individual nuggets. - Be explicit about transfer - When engaging students in activities that promote transfer, instructors should feel free to make their learning goals known. Students will practice transfer better when they learn to recognize it in action, and will more willingly engage in a lesson if the instructor presents the benefits of transfer for career aspirations and future learning. Building Knowledge Through Transfer - Northeastern Center for Advancing Teaching and Learning Through Research Transfer of Learning: Issues and Research Agenda - National Science Foundation (March 21-22, 2002) What is transfer? - Big Ideas, Grant Wiggins (Mar 27, 2010) Barnett, S., & Ceci, S. (2002). When and where do we apply what we learn? A taxonomy for far transfer. Psychological Bulletin 128, 612-37. Kober, N. (2015). Reaching Students: What Research Says About Effective Instruction in Undergraduate Science and Engineering. Board on Science Education, Division of Behavioral and Social Sciences and Education. Washington, DC: The National Academies Press. National Research Council. (2000). How people learn: Brain, mind, experience and school: Expanded edition. JD Bransford, AL Brown, RR Cocking (Eds)., Committee on Developments in the Science of Learning and Committee on Learning Research and Educational Practice, Commission on Behavioral and Social Sciences and Education, National Research Council. Washington, DC: National Academy Press. Perkins, D., and Salomon, G. (1992). Transfer of Learning. International Encyclopedia of Education. 2nd Ed. Oxford, England: Pergamon Press.

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While it won’t make its way onto standardized tests or college entrance exams, movement is an important aspect of how children learn. Your childcare center has the important opportunity to help lay the foundation for later academic achievement by giving the children in your care opportunities to play, build, and create. While those kinds of activities might seem simply like ways to fill up the hours, they’re actually helping children develop important skills in developmentally appropriate ways. Importance of Imaginative Play When we put the screens and our own agendas aside and reserve time for child-directed play, it may feel risky. After all, we never know what they’ll come up with! Sure, we need to make sure they stay safe, but beyond that, childcare workers do best to allow space in the schedule for children to exercise freedom in making their own fun. While preschoolers can’t yet write stories, they are flexing the very muscle which writers use when they create narratives through play. Stories they act out with other children or toys involve skills like developing characters, sequencing events, and displaying empathy toward others. Variations of Imaginative Play The means a child uses to create a narrative isn’t the important part. Children can role play with other children or use puppets, dolls, or action figures. When they can’t find just the right item to further their purposes, though, they flex some added creative muscles by using materials readily available and transforming them into something else. Maker Extensions for Imaginative Play When a child uses a cardboard box to create a make-shift castle instead of using a pre-fabricated one, the constant shift between roleplaying and tinkering, thinking and doing, further serve to strengthen mental processes. You can encourage this kind of creative play with books like Not a Box and cardboard construction kits like the ones from this company. More effective than hearing how-to instructions for a prepared craft and sitting at a table to complete it, children who are engaging in self-directed imaginative play will create based on a need or desire. This kind of movement, combined with self-directed thinking and creativity, is precisely what children need the freedom to do. Alternatives to Self-Directed Play In place of self-directed, imaginative play, many American early-childhood learning experiences miss the boat when it comes to providing children with the kinds of experiences they need. Instead, even toddler and preschool-aged children are increasingly found sitting at pint-sized tables, expected to complete worksheets. The lack of physical movement is seen as positive, but this kind of passive learning environment is actually unhealthy for young children. Kids love doing activities that they themselves chose, though in most contemporary childcare settings they typically spend measurably more time in a passive learning environment. Jackrabbit Care software provides daycares and childcares with smart online solutions for billing, sign ups, registration & business management. Jackrabbit’s leading class management software delivers an unparalleled combination of speed, reliability and smart customer-focused solutions. Jackrabbit’s solutions are perfect for after-school programs, child care centers and daycares. Learn more at www.JackrabbitCare.com or call them at (704) 895-4034.

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Early moments matter in a child’s development. When young children play, they exercise their vibrant imaginations and boost their creativity. Even in the simplest of children’s games, there is much more going on than meets the eye. Through play children learn the skills that will equip them for life’s challenges — like how to solve problems or why it’s important to share and other social skills that will help them navigate our complex world. Globally, UNICEF works to support children in their early years as it is a time of incredible brain growth and development never repeated. Alongside adequate nutrition and nurturing care, play has a vital role in giving children the best possible start in life. While the 6 activities below sound like fun and games, they are all informed by our play-based approach to early childhood development and are designed to help your little one develop their fine motor skills, social skills, decision-making ability and creativity. Have fun learning! 6 indoor games for young children 1. Get moving with your children indoors Build an indoor spider web. Using wool, build a spider web somewhere in the house. For example, between furniture or under the dining table. Then, challenge your child to make it through the web without touching the wool. Activities like this are great for children’s gross motor skills, like balance and coordination. They’re also great for problem solving and can be easily adapted to any age or ability. Here are three more movement and fun activities to try: 1. Dance to the music: Turn the music on and swirl around with your babies, toddlers or preschoolers. 2. Socks-toss: Prepare clean socks and a basket as a goal. Stand at a distance and try to throw the socks in the basket. 3. Frog hop: Hop on non-slippery surfaces with some towels as obstacles to make it more fun. You can also show your children to imitate other animals like a rabbit or kangaroo. 2. Cook with your child Preparing food with your children provides so many benefits, supporting their social-emotional development, language development and cognitive and physical development. Not to mention, children also often love to cook with their parents or carers. Some simple cooking tasks for toddlers and preschoolers are stirring pancake batter, putting toppings on pizza, rinsing vegetables, or setting the table. Cooking provides an opportunity for talking and building vocabulary and helps with early numeracy skills as you count and measure ingredients. You can also teach your children some basic rules of cooking as well as health and hygiene. For example, why we need to eat well-cooked food, or why we need to wash our hands before handling food. 3. Tell and make stories with your child Telling stories is important for language development. Even if your child is a baby, storytelling can still build foundational literacy skills as they start to understand the rules of the language they are interacting with and recognise the words used around them. Using a rich vocabulary, even with very young children, helps them develop a rich vocabulary of their own. Telling stories is also a beautiful way of sharing your family or your community’s history, culture and identity. Make a book with your child. With your children think of a situation that has made them laugh a lot, something very fun or funny that has happened to you as a family. Then make a homemade storybook about what happened. To make the book, children can draw the story or choose pictures from magazines and decorate the cover as they like. If they know how to write, they can also write the story out in their book. 4. Organise a treasure hunt at home Make a set of clues that will lead your child around the house in the search for treasure. The clues can be clever questions that make them discover corners or objects around the house. Through a treasure hunt, children can learn new problem-solving skills, and engage their curiosity and creativity. You could even set up “challenge stations” such as do five star-jumps, or balance on one leg for 10 seconds. This can promote physical development and is also a great opportunity to practice numbers. The treasure can be something your child really likes to eat or a homemade ‘voucher’ for doing some special activity with you. For younger kids, you can hide individual letters and once collected ask your child to put the words together from the letters they found. 5. Get creative! Make a computer with recyclable materials Encourage your child to build a structure or object with recyclable materials, like their own computer and keyboard. They could use cardboard or paper boxes for the screen, an egg box for the keyboard, and then paint letters and numbers on the keyboard and put a picture or screen. You can encourage your child to play with the computer by suggesting they send imaginary messages to friends who are far away. If cardboard computers are not your child’s thing there’s cars, robots, cities — the list is almost endless. I still remember making a cardboard city with my cousins when I was about four -– it had houses, skyrise buildings, a school, cars and a train. This activity is a fantastic exercise in creativity and problem solving as your child uses the materials they have to make what they imagine. It also encourages your child to practice putting things together using small, controlled movements, which helps build your child’’s fine motor skills – the foundational skill for writing. 6. Get musical – how about a home concert? This activity requires pots, pans, plastic dishes and spoons. Together look for a song that your child loves and then turn the kitchen into a concert room (sorry neighbours). Following the rhythm of the song, your child will play with the utensils as if they belonged in a band. Making music is not only fun and energising for children, it’s great for many aspects of their development. This is because making music requires fine motor skills (such as being able to grip and squeeze objects), as well as linguistic and mathematical precision, and creativity ─ firing up several areas of the brain. Tapping into these skills means developing the bridge between the two hemispheres of the brain which allows messages to get across the brain faster and across different routes. Making music together with your child can be a great mood booster for you both by lifting your energy and producing a healthy dose of endorphins. Even listening to sad music can be helpful and cathartic – making it easier for your child to get in touch with their emotions. UNICEF and Early Childhood Development Even in the most remote and challenging settings, UNICEF is working to make sure children not only survive but thrive, ensuring they have the best development possible and are ready to learn at school on time. In the Asia Pacific region, UNICEF supports early childhood programs in countries like the Solomon Islands, Laos, Bangladesh, Papua New Guinea and Timor-Leste.

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Plants and animals are both living things, which means they both contain cells. The cells of plants and animals share some similar traits – they both store DNA – but there are some fundamental differences between them. These differences include structure, protein-creation capabilities and differentiation capabilities. TL;DR (Too Long; Didn't Read) Plants and animal cells differ in several ways. Their structure is different. Plant cells can create proteins on their own; animal cells rely on diet to provide 10 of the essential amino acids. Almost all plant cells can differentiate, or change, into other types of cells within a plant's body. In animals, only stem cells can differentiate. Even though plant and animal cells share some common structures, they also have several important structural differences. Plant cells have a cell wall, which is a rigid protective layer that surrounds the entire cell. Animal cells have cell membranes, which are flexible and permeable. As a result, outside substances can more easily be absorbed into the cell. Plant cells usually do not have cilia, as some animal cells do. Cilia are hairlike protrusions or microtubules that help certain kinds of animal cells move around. Since plant cells usually remain in place, they do not need cilia. Centrioles are cylinder-shaped structures present in animal cells. These structures help animal cells divide properly by organizing microtubules during cell division. Plant cells use their rigid cell walls to organize microtubules during cell division. Plant cells contain tiny organelles – inner structures – known as plastids, which animal cells lack. Plastids contain pigment or food that plants use to create energy. For example, chloroplasts are plastids that contain chlorophyll. Plants use chlorophyll during photosynthesis, the process by which they convert sunlight into usable energy. Proteins are molecules that cells use for a variety of purposes. Some proteins help to send signals between cells. Others aid in cellular movement. Proteins are essential for cellular health in both plants and animals, but plant and animal cells produce proteins in different ways. This is because plant and animal cells contain different numbers of amino acids, which are necessary to create proteins. In all, there are 20 amino acids needed to create proteins. Plant cells naturally contain all 20. However, animal cells contain only 10. The other 10 amino acids must be acquired through the animal's diet. This makes sense because plants have only three sources of nutrients – water, soil and sunlight – whereas animals tend to be mobile and have access to a varied array of nutrients. Even if you haven't heard the term "cellular differentiation," you likely know what it means. Human stem cells have been at the center of many recent news stories due to their ability to differentiate; they can change form. These kinds of cells can transform into any other type of cell in the body, which is an astonishing capability considering that most animal cells cannot differentiate. However, most types of plant cells can differentiate. For example, a cell on a plant's tough outer layer may divide and change into an inner cell with a different function and slightly different structure. In animals, dividing cells can only replace or repair themselves. They cannot change into another type of cell with a different function. About the Author Maria Cook is a freelance and fiction writer from Indianapolis, Indiana. She holds an MFA in Creative Writing from Butler University in Indianapolis. She has written about science as it relates to eco-friendly practices, conservation and the environment for Green Matters.

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- Share books – read together daily, talk about the pictures and predict what will happen next. Re-read favourite books and encourage your child to join in. Rhyming books and those that have a repeated refrain such as “You can’t catch me I’m the Gingerbread Man” are particularly good books to encourage your child to join in with. Don’t be afraid to use silly voices when you read, your child will love this! - Sing Nursery Rhymes together. Rhymes are really important for young children as they help develop an ear for language and introduce new vocabulary. Their rhythm and repetition make them easy to remember and developing memory plays a large part in learning to read. Nursery rhymes are a source of developing children’s early phonic and math skills. - Lots of mark making activities. This doesn’t need to stick to pens and paint, you can be as creative as you like. Some ideas that we find work particularly well are using chalks or water and brushes on the ground or walls outside, making marks using sticks in mud/ice/snow, tracing fingers through sensory materials such as sand/flour/paint/gloop (a wonderful mixture of corn flour and water.) Encourage your child to talk about what they are doing; this is the beginning of their storytelling and writing journey. If your child is making a picture you could be their scribe and write down their story for them. - Help your child to practice writing their name (using a capital letter for only the initial letter.) The best way to do this is by creating real scenarios e.g. encouraging your child to add their name to a card or thank you letter, on a picture they have made for somebody or adding their name to a list will be more meaningful for them rather than just copying their name. - I spy games e.g. can you find something that begins with an ‘a’? (say the letter sound rather than the letter name.) Can you find something that rhymes with ‘cat’? To practise oral blending try sounding out a word e.g. can you find the c-a-t/c-u-p/h-a-t/s-o-ck etc. Encourage your child to think about what sounds they hear in words. You could also play ‘I Spy’ with colours or shapes. Some useful websites: https://www.phonicsplay.co.uk/freeIndex.htm (Phase 1) https://www.youtube.com/watch?v=TkXcabDUg7Q (video demonstrating how to say the letter sounds)

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The Language Arts Curriculum embodies the full scope of reading, writing, and thinking skills. Specific objectives include instilling a love of literature, ensuring appropriate writing skills, acknowledging the necessity of correct grammar, spelling and improving standardized testing skills. Students are provided with a print rich environment in which they explore experience and express themselves through a variety of activities. Overview: Language Arts across the grades levels, introduces, refines, and masters the following: · Oral Communication · Writing/Language · Reading/Literature · Study/Research Skills · Spelling/Vocabulary · Phonemic Awareness · Language Mechanics/Grammar/Correct Usage · Penmanship Sampling of Topics Covered: Grades 1 - 3 - Manuscript and cursive penmanship - Looking for language patterns in stories and poetry - Construction a simple story using beginning, middle, and end. - Recognition and use of rhyming elements - Using a variety of strategies to derive meaning from text, including cause and effect, making predictions and locating the main idea and supporting details - Identifying basic facts and main ideas in a text and use them as the basis for interpretation. - Reading and interpreting simple charts, graphs, maps, illustrations and signs. - Using short stories, picture books, literature to understand other cultural and historical periods - Basic grammar and language mechanics Grades 4 - 5 All of the above, as well as: - Creating complete and correct declarative, interrogative, imperative, and exclamatory sentences in speaking and writing. - Progressing to identify all eight parts of speech - Correct use of the writing process, including pre-writing, editing, peer editing, revision, and publishing - Writing with purpose – to describe, to inform, to persuade, to narrate - Recognizing genre: fiction, nonfiction, prose, poetry, biography - Using of research materials - Organizing material for use in study strategies such as graphic organizers. - Use of higher level punctuation such as quotation marks, hyphens, colons - Identifying and using indirect objects, predicate nominatives, phrases, clauses, antecedents, transitional words, etc. - Reading and interpreting literature Grades 6 - 8 All of the above, as well as: - Studying literature via thematic units - Analyzing literary elements, including: plot, setting, characterization, conflict, point of view, theme, etc. - Critically reading, examining and discussing poetry, drama, short stories, and novels - MLA format - Using rich language in writing - Using higher order thinking skills in writing and discussion Planting a future Saint John the Baptist School is dedicated to providing a quality Catholic education that encourages its community to be life-long learners and leaders, to live their faith with high moral standards, and to grow academically, spiritually, and socially. Visit Our School Schedule a Tour 19 Chestnut Street Peabody, MA 01960

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Scripture: Joshua 10-11, 18 - Students will learn the story of when God made the sun and moon stop so that Israel could win the war. - Students will learn how to plan and create a shadow puppet show. - How can we use different resources such as light and shadows to tell a Bible story in a new a new and interesting way? Materials: a dark room and thin white paper or other translucent material to act as a screen (preferred) OR a dark room and white wall/board and bright lamp to cast shadows in front of OR outdoor sunshine (if neither are available due to weather or location, this activity can be done with stick puppets), heavy paper such as cardstock, scissors, glue, craft sticks, pre-made figurines for teacher’s example story-telling Puppet Characters: Joshua, Israelites, Amorites, Sun, Moon Note: Typical shadow puppetry is done with a translucent screen. The puppeteer sits behind the screen covered by an opaque object/curtain. Then puppeteers raise their arms above them to animate their puppets behind the screen. More information can be found online. http://www.oregonshadowtheatre.com/whatis.html Use a short simple, shadow puppet show to review the story of God causing the sun to stand still so that Israel could be victorious. Explain to students that when using puppets there is more than one way that they can chose to show their story. One way is to use the puppets to show a lot of animation and characters to act out the story. The other option is to use the puppets as symbols and simply show each one as the story-teller explains what happens. The teacher can chose either method for the demonstration. You may also choose to tell more of the story from Joshua 10-11, 18. Characters: Joshua, Israelites, Amorites, Sun, Moon Show Israel being led by Joshua and the Amorites running away from them. Show the sun rising and the moon setting. Then show the sun standing still and the moon standing still as the Israelites catch up to them and have the Amorites disappear from the scene. (Obviously get the point across of God’s intercession in nature and guidance of Israel and do not dwell on the violence.) Israel victoriously cheers and returns to other side of “stage”. Narrate using animated voice inflection as you use puppets. Students can then make their own puppet show. There are different modifications for this depending on the students’ level and your prep-team’s time: To save time or if working with students who require more direction, you may provide pre-done puppets and include silhouettes such as king, donkey, sheep, group of people/Israelites, additional group of people, boy, girl, woman, man, etc. Students can decide on a Bible story they are familiar with to re-tell. Another way to organize the activity is to depending on students’ level and Bible knowledge is to provide certain stories/puppets for them to choose from. Place a story and the required puppets in a pre-organized bag so students can grab one and immediately begin practicing their show. Make sure to label each bag with the story’s name and the characters it contains. Use stories that students already know. Another option is to simply have them retell the story that you modeled at the beginning of the activity so that they remember it better. When teaching the lesson, emphasize the importance of fluency and tone inflection for the story-teller. Also emphasize how they can animate their puppets even though they do not move mouths and appendages. Explain how using motion with stick puppets can be done. - Why was it helpful for God to make the sun stand still? - How is practicing a shadow puppet show different than a regular puppet show? How is puppetry different than other forms of storytelling? - What form of storytelling do you think is easiest and why? - Have students work in groups of 2-4 to create their own shadow puppet show. Have them follow these steps: 1. Choose a simple Bible story 2. Write a list of characters and/or symbols 3. Write a verbal script where the story teller is talking 4. Write an action script explaining what each puppet will do as the story teller talks 5. Assign student roles: story teller and each puppet character/symbol 6. Create puppets 7. Practice show When creating puppets: Remind students that they are only making an outline and so they cannot draw details in the middle. They must consider how their audience will view their shadow based on this outline. Is it recognizable? - Students can practice and plan a puppet show for their church and/or parents. Allow them plenty of time to practice, be reviewed by teachers, and receive constructive feedback so that they can edit their show.

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Explore strategies and tools that students can use to write creatively across the curriculum. The internet has been the most significant amplification of the written word since the Gutenberg printing press. It has introduced us to websites, blogs, social media posts, email, and so much more. In many ways, people write more today than ever before, and modern writers have an unmatched opportunity to share their thoughts with an extensive audience—essentially anyone with a computer and internet connection. This writing revolution has opened up almost endless opportunities for our students to express themselves through the written word. Of course, this doesn’t mean they need to be limited to text alone. Writing can be shared in many formats and is often mashed up with other forms of media, like images, video, and audio recordings. It’s tempting to think that academic writing is the responsibility of language arts teachers, but writing is an essential skill for our students all across the curriculum. Writing in subject areas other than language arts provides students with an authentic context for their writing, and it forces them to think more deeply about the subject matter being studied. Writing is one of the most cognitively complex tasks that we can ask our students to perform. It can and should be done in every subject area. Writing boosts critical thinking and requires the mental organization of new learning. In turn, it increases retention while deepening the understanding of that new learning. Writing can also be leveraged to have students dive deeper into the metacognitive aspect of the learning process. This type of writing can help students better understand their thought processes while identifying how they learn best. No matter the context or subject area, writing can help develop critical communication skills, and when shared with authentic audiences beyond the teacher, it can increase motivation and relevance for the student. In many ways, writing across the curriculum is a win–win dynamic. Students gain a deeper understanding of their content and learning process while they simultaneously develop the writing skills that will benefit them throughout their lives. In this article, we’ll explore seven different digital formats that can be integrated across all subject areas. Within each of those formats, we’ll share writing tools and strategies that you can use to get students writing in your classroom. 7 Digital Formats to Get Students Writing There will probably be times when you determine the writing format for your students, and there will also be times when it’s better for your students to choose their own format. Whenever it makes academic sense, consider allowing your students to choose the format. This will increase their interest and motivation in the writing project. This often keeps them more engaged and results in a better final product. While we will not list every writing platform available to you in the classroom, the following list will highlight seven top choices to get you started. In this familiar format, students use a word processing program, like Microsoft Word or Google Docs, to write something. Here, the message and writing take center stage, and the visual format is secondary. Once the core writing has been completed, this text can be repurposed and reformatted in many ways. - Lab report - Position paper - Research report Blogs are personal essays published online. Typically, bloggers will set up a website where they continue to add posts on a regular basis. Many blogging sites allow people to “follow” a blog. This allows followers to get notified whenever a new post is published. Blogs have become a popular way for writers to share their ideas with a wide audience at minimal to no cost. Blogs also allow readers to respond to posted ideas, making it more of a dialogue than a stand-alone piece of writing. - A full-class blog (class news, highlights, etc.) - A passion project/topic - Reflections on class content - Book discussions - Student perspectives on current events - Class blogger of the week (students take turns) Websites have become so common that we might be tempted to take them for granted. However, allowing students to create their own sites can be extremely empowering, and it offers many opportunities for creativity. Written messages can be combined with images, video, audio, interactive maps, and more. One significant supplementary benefit of students creating their own websites is that the process demystifies the concept of a website, often making students more informed and critical consumers because they know how a website is set up. Website Creation Tools: - An overview of a year in history - A research project - A documentation of the scientific process - A learning journal documenting class progress - A collection of creative writing - An instructional site about a topic - A how-to guide - A personal learning journal Comic strips are fun to read, but they can also serve as powerful learning artifacts when students create them to communicate a message or demonstrate their learning. Comics also allow students to be creative and tap into their artistic and visual skills. This can be very motivating for some students. To help guide students in the process, there are several online tools that provide frames, characters, settings, and more. Students can also use a slideshow or word processing tool to create their own comic strip from scratch. Comic Strip Tools: - Recreate a historical conversation - Engage in digital storytelling - Introduce a concept or topic - Raise awareness of a social issue - Apply vocabulary and subject-matter concepts - Communicate satire or parody - Tell a story Students often take a great deal of pride in their writing when they see it published in book form. It provides an increased sense of accomplishment and affirms the worth of their words. Fortunately, it’s easier (and cheaper) than ever before for students to publish their work as a book. Several websites allow students to create digital books for free, while some charge only if you want to have them printed. Digital books provide the added advantage of being able to add multimedia alongside the written text. Again, the authentic product at the end of the process can increase student motivation in the project. Book Creation Tools: - Write a piece of historical fiction - Retell history from different points of view - Write a biography - Tell an original story - Document learning - Teach a concept - Create a book of poetry - Make a picture book Students can integrate newswriting into many of these formats. Specifically, this would fit well with the creation of a website. It could even be a class news site, with each student adding their own article. However, you could also take a more traditional approach and have students create a print newspaper or magazine. This defined format helps give them focus and purpose. It’s also fun to see the final result printed out and displayed in the classroom. If you are teaching remotely, the finished pages can be posted digitally to your learning management system. Newswriting Creation Tools: - Feature a day or year in history - Create a tribute to a scientist or mathematician - Publish a paper recounting events in a novel - Be a journalist for your school - Create an opinions page with editorials - Make your own version of a real magazine Most learning management systems have discussion tools built into their platforms. These can be great ways to get students writing collaboratively. It’s one thing to write for the teacher, but when a student knows that classmates will also be reading the posts, it changes the dynamic and motivation. In addition, it gives students a chance to think beyond their original post and reflect on feedback from their peers. Of course, you will want to define discussion protocols, model effective posts, and have students practice these skills. This process can ensure that the discussion experience is a positive and respectful one for all involved. Explore additional ideas for fostering substantive and respectful online discussions in a previous AOA article. - Learning Management System (Canvas, Schoology, Google Classroom, etc.) - Vialogues (to discuss videos) - Discuss a controversial topic - Conduct a virtual Socratic Seminar - Pose questions - Reflect on learning - Consider the impact of an event or opinion - Brainstorm ideas Extend Your Learning - Why Students Should Write in All Subjects (Edutopia) - Blogging Resources (Ditch That Textbook) - Free Newspaper Templates (Free Google Docs Templates) - Google Slides Newspaper Template (Templates for Teachers) - Over 1,000 Writing Prompts for Students (The New York Times) - Best Apps for Creating Books and Storybooks (Common Sense Education) - Stimulate Classroom Time With These Student Website Project Ideas (WordPress) - Comic Strip Creations Lesson Plan (Grades 3–5) (Scholastic) - Five Ideas for Creating Comics in the Classroom (Creative Educator)

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