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Sunday, February 25, 2018

How to Give an IGNITE Talk

Most of us have heard of the inspirational TED Talks.

Slightly less well-known are the Ignite Talks, which allow speakers only five minutes, and the accompanying slides to each talk advance automatically every fifteen seconds.

One of my favorites is Matthew Inman, creator of The Oatmeal, speaking about How to Get 5 Million People to View Your Website:

Another favorite comes from Scott Berkun, author of Confessions of a Public SpeakerWhy and How to Give an Ignite Talk not only gives a cool insight into the Ignite format, but also provides a pretty compact lesson of effective storytelling:

For your next staff meeting or student presentation, give this format a shot. Perhaps just three minutes instead of five. Sometimes less is more.

(This was originally posted at Teaching that Sticks).

Friday, November 3, 2017

How to Instantly Increase Interaction Using Insert Learning

Many of us are enthusiastic to explore opportunities in flipping, differentiating, and screen casting.

One simple Chrome extension called Insert Learning allows you (and your students!) to do all three, on nearly any page of the Internet.

Insert Learning, previously called Docent EDU, provides instant interactivity on nearly any web page by allowing you to add

  • highlights,
  • annotations and definitions (to accompany those highlights),
  • sticky notes (which can contain links, YouTube videos, or screen casts),
  • open ended questions,
  • multiple choice questions (instantaneously graded), and 
  • discussion questions (the responses to which are visible to all students).
The following video demonstrates the ease with which this extension is used.

What's awesome is that when students load the extension onto any page, even those that you haven't assigned with tasks, they can then highlight, annotate, and create sticky notes with screen cast videos. One student, for example, may visit three different sites to research the traits and habits that make the cheetah such an effective predator. Even after the student closes those sites, she can reactivate all notes, highlights, etc. on that same site, even weeks later, by simply launching the Insert Learning extension again while on that page.

The video below shows you how you, as the teacher, will be able to view student-created annotations from the main teacher document which you've assigned. What the video doesn't show is that students can paste a sticky note into the document, and access their device's built-in camera and phone to record themselves. A student-generated video would be a great way for a teacher to hear a student's fluency in reading a passage from the given text, or to simply have the student share an oral versus written response.

The free version allows you to create and store five lessons, which provides ample opportunity to see the power of this extension. Go to Insert Learning and give it a go!

Saturday, September 9, 2017

Figurative Language Posters

Some time ago I shared some Mentor Text Display Cards for both picture books and novels featuring exemplar texts with annotations defining figurative language and literary devices.

While these met with much enthusiasm, several teachers asked if I would consider creating similar cards, but from the opposite perspective. In other words, these teachers wanted the focus on the figurative language itself.

Not a bad idea.

So here you go: a set of Figurative Language Posters (you can also preview them below).

I've provided text examples from poetry, drama, fiction, and nonfiction.

What's wonderful about these posters is that, like the Mentor Text Cards, they can be adapted to your own needs.

Don't care for a text I've chosen? Replace it with your own! Simply make a copy of the Slides provided, and you can edit to your heart's content. Your students might better respond to examples from songs or picture books or familiar class texts, so why not create your own?

Let me know how you'll be using these in your own classroom.


Monday, April 3, 2017

Building Interactive Engagement with Text

In a recent workshop titled "Building Interactive Engagement with Text," I argued that opportunity and motive are two variables needed for students to truly read and comprehend and even enjoy complex texts.

The week prior to the conference, my students were discussing Rick Reilly’s rant on cheerleading titled “Sis! Boom! Bah! Humbug!” For homework the previous evening, students had annotated the article, making note of figurative language and argumentative techniques, and they were now sharing their findings with classmates.

Mary raised her hand and said, “I found something.”

“What is it?”

“Well,” she answered, “I know it’s something, but I don’t know what it’s called.”

She directed everyone to paragraph twelve where Reilly wrote, “If cheerleading is a sport, Richard Simmons is a ballerina.”

“So what’s that called?” I persisted.

“It’s a… It’s a… It’s a literary ratio!” she announced triumphantly, and I immediately burst into laughter. She did as well, because she knew that was wrong. But then I thought about it, and you know what? Her answer was technically right.

“Do you want to know what your ‘literary ratio’ is really called?” I asked. And now the whole class was totally quiet, because everyone wanted to know the real term. Several kids were poised with fingers on their keyboards to add it to their annotations. “It’s called an analogy. But what’s really cool, Mary, is that an analogy is, in fact, a literary ratio. Your answer was genius!”

“I know!” she replied. And it was. But it was also an example of how a shared moment with a text can prime the whole class to receive new learning.

What’s also important to note here is the fact that only this type of wide-open, inquiry-based approach to the text would allow such a discovery. I could have instead asked the class to answer ten very pointed, close-ended questions about the text, and they would have all dutifully, if not enthusiastically, answered them. But the more open-ended approach to the reading and annotation process allowed learners to find things for themselves, even beyond those which I had intended.

In a pivotal scene from Jurassic Park, the terrorized humans are dismayed to discover that more of the prehistoric creatures inhabit the island than they could have ever guessed. This comes as a shock, of course, because earlier in the book we had been assured that an elaborate computerized tally system was tracking the creatures and recording their populations. But Dr. Ian Malcolm (played by Jeff Goldblum in the motion picture) suspected this all along:
"Now you see the flaw in your procedures," Malcolm said. "You only tracked the expected number of dinosaurs. You were worried about losing animals, and your procedures were designed to advise you instantly if you had less than the expected number. But that wasn't the problem. The problem was, you had more than the expected number" (p. 184). 
In other words, the computer program was getting the right answers, but asking the wrong questions. It was limiting the realm of possibilities. Sometimes that happens to us as teachers. We get all the correct answers to the simple questions we ask, but they’re questions that limit student thinking. They aren’t those questions which demand real thought, and our tasks aren’t those that produce authentic learning. Sometimes we simply need to "open the field" to our students and say, "What do you see? What can you make of it?"

In your own teaching, where can you create such opportunities?

Common Texts

Whenever I'm asked, "What’s the number one suggestion you have for teachers who want to engage students in reading?" I respond with "Common texts."

Many teachers passionately advocate for students reading independent texts at their own levels. I’m one of those teachers. But I also believe in the power of shared, common texts as a jumping-off point for engagement. Novels, short stories, nonfiction articles, op-ed pieces, drama, and poetry are a few such sources.

Why common texts? 
  • Texts read as a whole class provide a common culture, or canon, of literature that teachers and students can draw upon throughout the year as exemplars for reading and writing. 
  • Common texts create a community of readers that can “speak the same language.” 
  • Common texts provide a source of cohesion between diverse students who might otherwise feel little connection with one another. 
  • Texts which are read, dissected, and discussed, and then used as writing subject matter, increase the probability of all students experiencing an equally deep and rich exposure to language and literary ideas. This, in turn, creates a firm footing for future building of knowledge and skills. 
  • Using common texts develops a shared foundation of literary terms and academic vocabulary.
Ironically, the two biggest arguments against using common texts in truth reveal additional strengths of the approach.

Some opponents, for example, will argue that common texts don’t differentiate. But by their very complexity, judiciously selected common texts naturally differentiate through each individual learner's experience with them. When you visit Disney World, you see the Magic Kingdom being enjoyed by everyone, from three to ninety-three. Likewise, a well-selected text has something for everyone. Students learn to read in more circumspect and exacting ways by hearing their peers discuss elements of the text which they may have never noticed.
When I assigned another text for independent annotating, most students came in with over a dozen observations, and some with two and three times that amount. One student, who had learned English the year before, came in with just eight. 
But one of her annotations was a truly insightful and original thought, one that no one else had seen in the text. That day was as successful for the student with eight annotations as it was for the student with twenty-eight.
A second argument is that "what we choose may not appeal to all students." Quite frankly, we often we don’t know what is best for us, or what we’ll enjoy, until we are immersed in it. For example, I have never willingly attended a party or backyard barbecue in my life! My wife drags me there, kicking and screaming. But without fail on the ride home, I will sheepishly admit, “That was fun.” 

It’s one of our many responsibilities to expose students to new genres, new forms, new authors, new challenges. Trust me, none of us wanted to be potty trained, but few of us regret it.

Space and Time

As mentioned above, students need motive and opportunity to engage with texts. In Crunch Time: How to Be Your Best When It Matters Most, author Rick Peterson shares this analogy from ice hockey:
When you're carrying the puck and a defender pressures you by taking away your space and time, you're likely to make a poor decision. In contrast, when you can curl away from a defender and get to open space on the ice, you have time to survey the play and make a good decision. The time and space give you time for quick reflection, allowing you to see things you wouldn't otherwise see… If we can just create space and time, we can survey the situation and make a better choice. We can see things we would otherwise miss. (p. 28)
Although he discusses the variables of space and time (rather than motive and opportunity), Peterson would likely agree that students need a release from the pressure to always be right, to always have the correct answer on demand.

He later says:
By creating a series of simple, short-term, bite-sized process goals linked to a larger outcome goal, you get to recognize success more frequently. Every time a goal is achieved, your body releases dopamine, the feel-good neurotransmitter. The resulting dopamine makes you feel confident and productive. We all know focus is required to perform at a high level. Yet, when we cannot keep our focus for an extended period of time, it's easy to get anxious and feel like you're not up to the challenge. Clutch performers don't focus for longer periods of time. Rather, they focus at the right times. They have specific entry and exit points that allow them to focus intensely when needed. (p. 72)
Every time a student shares her own thought, or finds confirmation in one of her own responses in discussion with another student, she feels that same small victory. Any perceived progress, no matter how small, motivates students (and their teacher) to happily work even harder.

If you care to read about more specific way to get students motivated to read, be sure to check out the session notes from my Building Interactive Engagement with Text workshop.

Friday, March 17, 2017

Mentoring, Motivating, and Making It Work!

You may know Tim Gunn as cohost and mentor of the Emmy Award-winning reality show Project Runway. What you may not know, however, is that Tim is also a best-selling author and a former professor of Parsons School of Design in New York City.

On television, we see a snazzy, self-confident professional, but Tim Gunn, like the rest of us, went through many trials to become who he is today. In a recent NPR article and podcast, Tim relates how he had to overcome a debilitating stutter and a paralyzing fear of the classroom before ever realizing his identity as a teacher.

If you haven't seen an episode of Project Runway, you’re missing out on not only great entertainment, but also some moments of master mentoring in action! You can still catch episodes of the latest competition (Season 15) on-demand. Even better, you can discover Tim’s take on teaching and mentoring for yourself in Tim Gunn: The Natty Professor; A Master Class on Mentoring, Motivating, and Making It Work.

According to Tim, good teaching can be determined by five qualities, which he has taken to calling his T.E.A.C.H. philosophy. In brief:

  • T is for Truth Telling. According to Tim, “a key role of the teacher is to inject reality into situations.”
  • E is for Empathy. Along with helping students see reality, we need to discover their individual strengths and limits. “Not everyone has the same toolkit, and so not everyone is going to make the same kind of work. It's only by paying close attention to whom the students are and putting yourself in their shoes that you can truly help them.”
  • A is for Asking. Tim admits, “The single best teaching trick I ever learned was to turn every question back on the student.”
  • C is for Cheerleading. “In the Project Runway workroom, I tell designers to “Make it work…” and I point out areas in which they are strong.”
  • H is for Hoping for the Best. “One of the hardest things for a teacher is to know when to keep quiet and when to let go... We need to have faith that we have done all we can, and then we need to kick our birds out of the nest.”

As a teacher of 25+ years, I continue to seek out methods and motivation to improve my craft, and this book is a satisfying hybrid of both conventional and unconventional schools of thought on the art and science of teaching. Until you get your own copy, here are some of Tim’s thoughts on topics that continue to challenge us all.

Tim Gunn On Good Teaching:
My goal for this book is to start a national conversation about teaching. We talk all the time about the administration of education - test scores and Common Core, classroom size and teachers’ unions - but what we don't talk about nearly enough is the single most important aspect of teaching, the key to determining whether knowledge is actually transmitted: the relationship between teacher and student. There's content and then there's methodology. The content will change, but good teaching is eternal.  (p. xi)
On the Importance of Knowing Your Students:
My view is that good teaching is all about asking questions driven by curiosity. It's about connecting with your students, not only as student but as fellow human beings. In order to give helpful and responsible instruction, you need context - as much information as you can elicit. If you don't know your students, how can you be sure that what you say will be meaningful for them?
On Having All the Answers:
I will add that asking questions of my class removed the sense of obligation I felt early in my teaching career to have all the answers on the first day. I realized over time that it was a journey we were on together. It wasn't up to me to do all the work. I came to realize that a class is a collaboration, as is life!  (p. xii)
On “Teaching Malpractice:”
Shouldn't there be an educational equivalent of the Hippocratic oath? Breaching the oath would hold you accountable for your behavior, as it would with an M.D. Teachers who save us from ignorance should be given the glory (and income!) of open heart surgeons. And yet, being such an unhappy student made me that much more grateful for those teachers who treated me with kindness and respect, or who showed me that I had value. (p. xiv)
On First Impressions:
One thing I learned in the course of my teaching career was to never judge anyone on that first day. When I started out, I was smug about having the students’ characters all figured out at first glance… But students often - I would say, usually - surprise you. As a young teacher, I misjudged so often that ultimately I stop judging all together.  (p. 7)
On the Value of Experience:
There's no substitute for experience. I have the greatest respect for new teachers - their enthusiasm, their eagerness to have a great relationship with their students and to help them learn. At the same time, veteran teachers are great beneficiaries of trial-and-error. Mistakes are so valuable, providing you learn from them. One of the worst things for a teacher is to be stubborn and rigid. (p. 8)
On High Expectations for Students:
When I began teaching, I erred on being overly kind and generous in my assessment of the students’ work. I realized by midterm that it wasn't doing them any favors. What I was really doing was lowering the bar of my expectation to where the students actually were. The trouble with that is, they'll stay there. If the teacher’s expectations are higher than what the students can achieve, they'll keep pushing themselves. It's like running a marathon alone: You can't gauge where you are and so, as I became a more seasoned teacher, I resolved to keep the bar higher. (p. 8)
On Teaching Versus Mentoring:
Teachers and mentors have a common goal: they help students grow into the people they are meant to be. And yet there is a significant difference between being a mentor and being a teacher. As a teacher, I could tell my students what I wanted them to do. As a mentor, that's inappropriate. That's the divide for me. Mentors help their mentees achieve a vision, whatever that vision is. Teachers guide their students toward certain things. Learning to be a mentor after twenty-nine years of being a teacher wasn't a snap for me the way some people assumed it would be. There was a learning curve. (p. 13)
On the Role of the Mentor:
The problem with doing the work for your mentees, or your students, is that they don't learn, yes, but also that you steamroll over their eccentricities when you should be helping them be seen. It's your job to encourage each person's uniqueness, not stamp it out. No two people need the exact same thing from you as a mentor. (p. 15) 
I never tell the Project Runway designers what fabric that should have chosen, or what they should have done with the past three hours, any more than I would tell them that they should be taller. You have to meet people where they are. The questions to keep in the forefront are: What skills do you have? What materials do you have on hand? What's the best thing you can do with them? It's my job to help the designers ask themselves those questions and come up with answers that help them along. (p. 26)
On Creating a Healthy Classroom Environment:
A warning sign to me was when I could hear teachers shouting. If you're shouting, you're in trouble. You hold the power in your two hands. If you have any moment of disbelief about that, who is giving them a grade? You are. You're in charge. You have all the power. There is no reason to raise your voice. You can be angry. You can express disappointment. But never yell. (p. 45)
On Grading and Ranking:
Grading is an important aspect of our job as truth tellers. At colleges, there are often attempts at extortion around grading, such as: “We don't want him to lose his financial aid!” I have no patience for that stuff, at all. I believe testing is democratizing… It’s not a matter of the federal government handing down a syllabus and curriculum. Does anyone feel that education in this nation is adequate? I certainly don't. If we don't have some benchmarks for proficiency, how do we know how well we are really educating people? We've been operating with a blind trust that this is as good as it gets. Well, it's not good enough. 
There's something to be said for rankings. As a competitive swimmer, the first time I came in third instead of fourth, fifth, or last was very motivating to me. Later, I came in second, and eventually one day I came in first. If you work hard, you can achieve practically anything.   (p. 66)
On Empathy:
Empathy is the capacity to understand what other people are experiencing. It's essentially the golden rule: showing others respect and trying to put yourself in their shoes. In our interactions with others, we should always be asking ourselves: "How would I react if someone said or did this to me?" Most teachers of small children are excellent at empathy, and are constantly signaling their role as safe haven, like human lighthouses. (p. 75)
On Giving In to Harassment:
In all areas of life, high maintenance people make me crazy, and I avoid them whenever I can. In my world, the squeaky wheel does not get the grease. People who give into that harassment have only themselves to blame. It's harder in the short-term, but so much easier in the long term. 
Sensitive people often talk about how other people are "triggering" them. Well, someone told me recently that my hairline is receding and I'm getting a bald spot. I didn't mind. It's true! It's a matter of fact rather than their being mean. Being mean, in my view, is teasing someone in a manner calculated to call a shame, or acting hateful because of something they can't change. But stating a fact like “Natalia, your inability to make decisions is causing a problem for us,” is not mean. That's just truth telling. (p. 94)
On Asking Questions:
Socrates figured it out thousands of years ago. Generally speaking, the best teachers are the one to ask their students the most questions. We need to make our students think. We are not mother bird dropping worms into their mouths. We are there to prod them into realizing things on their own.  
There is such thing as being overprepared for a class. You don't want to come in with all the answers. You want to make your students work. You're a guide. You're a mentor and a leader. You're not Google. I confessed to young people when I don't know the answer to something, and sometimes even when I do but want them to find out for themselves: “That’s a good question. Go find out.” (p. 131)
On Being Fully Present:
A chemistry professor wrote to me online and said that he's always believed teaching requires one thing above all others: full human presence. “One cannot pretend that the only thing that matters is the content,” he said. “If you do that you look like an idiot. Instead, one must acknowledge that teaching and learning are both deeply human endeavors that require a lot of mistakes to get right. You have to acknowledge that your students may not want to grow up to be you, and you need to support them in that.” Hear, hear. (p. 138)
On Bad Teachers:
Sometimes... bad experiences can be catalysts. You fight against it. "I won't let that be true!" I have friends who say that teachers - or bosses or in particularly tragic examples, parents, - telling them they were no good was what propelled them on to greatness. I appreciate the value of a good revenge fantasy. I had plenty of naysayers in my academic career. … They did motivate me to prove them wrong… And yet, I don't recommend trying to crush someone's dream as a good teaching strategy. For every student you push forward, how many would you scare away from the field forever?
It's funny, though: I remember teachers were nurturing and inviting and engaging. And then I remember teachers who were hugely off-putting and insulting, and then there are all those ones in between my don't remember at all. And I wonder, is it possible those nameless, faceless teachers who never made any impression at all despite our many months together are in fact the worst ones? (154)
On Differentiated Learning:
I look to students to determine what each needs in order to feel inspiration. As a teacher, I found that the best and worst student in the class were always the two most difficult groups to teach. The middle was easy. The toughest students for me were the ones who were either way ahead of the pack or who were trailing behind. But that's the challenge: to spend each day modulating lessons so that each group moves forward - helping those who are a bit behind catch up, and those who are ahead get even more ahead. (p. 166)
When I studied classical piano, which I did for twelve years, my heroes were Arthur Rubinstein, Vladimir Horowitz, and Van Cliburn. They could play the same piece so differently, even with sheet music. That's one of the most amazing things about teaching: when you see each student bring their own soul to an assignment, you see twenty different right answers. (p. 168)
On Self-Fulfilling Prophecies
One of our most important jobs as teachers is to support our students in whatever it is they want to do, even if it's not what we would do ourselves. As soon as a student enters our class, we must do everything we can to support that student and to make him or her feel believed in and appreciated. It is so depressing when teachers badmouth their students. I always hated to hear complaints in the faculty lounge about how lazy or useless a group of students was.
I work with people who would say after the first day of class, "These students are really going to be great. These other ones are going to flop." I'd say, "Really? That could be a self-fulfilling prophecy." At some point, the burden is on you as a teacher. I similarly cringe when a person complains about how all the people he or she is dating are "terrible in bed." Really? What's the common denominator among all the students and all those dates? You. Maybe you need to take some responsibility for your own experience of those other people. (p. 189)
On Letting Go:
I'd like to talk about how to let go. It can be the hardest thing in the world. Designers don't want to declare a garment done. Parents don't want their kids to leave home. mentors don't want to admit that the ultimate outcome is out of their hands, that they've done all they can and have to cross their fingers and hope it will all work out well for this person and home they've invested so much time and energy. The people we teach become repositories for our fondest hopes. And it can be hard to watch them stroll off into an uncertain future. The last thing I do in a critique is to tell the designer or student, "You're free now! Good luck!" (p. 223)
On Consistency:
One thing I find extremely important in teaching is consistency. If the paper is due on Friday, the paper is due on Friday. We need to be very explicit about what is and isn't grounds for postponing a deadline… . Any solution is fine so long as it's been arranged in advance and does not change randomly.
One easy way to infuriate a student who's worked hard to get something in on time is to then say to other students that it doesn't matter and turning it in the following week is fine. You can have almost any rules you want, but leaving deadlines and boundaries fuzzy is a recipe for disaster. Not to mention, that's not how the real world works, so what fantasy world are you preparing your students for if you don't enforce limits? (p. 226)
Hear, hear.

Thanks, Tim, for your inspiration to so many.