ESL Consulting Services
Project GLAD™
(Guided Language Acquisition Design)
Orange County Department of Education
National Training Center
Acknowledgments
Al Mijares, Ph.D., County Superintendent
Lynn April Hartline, Deputy Superintendent
Division of Instructional Services
Sherry Opacic, Ed.D., Associate Superintendent
Sandra Lapham, Director, Curriculum & Instruction P-16
Stacey Larson-Everson, Administrator, Services for English Learners and Specialized Instruction
200 Kalmus Drive
Costa Mesa, CA 92626
Phone: (714) 966-4156
Fax: (714) 662-2314
Email: projectglad@ocde.us
Project GLAD™
(Guided Language Acquisition Design)
“A Program of Academic Excellence developed by educators
Marcia Brechtel and Linnea Haley”
National Training Center Staff
Nicole Chàvez, Coordinator – nchavez@ocde.us
Diana Hernandez, Coordinator – dhernandez@ocde.us
Susan McCoy, Coordinator – smccoy@ocde.us
Kelley White, Coordinator - kwhite@
Donna Becerra, Administrative Supervisor – dbecerra@ocde.us
Debbie Phillips, Administrative Assistant II – dphillips@ocde.us
Bernadette Gutierrez, Administrative Support – bgutierrez@ocde.us
Orange County Department of Education Values: The Orange County Department of Education (OCDE) is a public education organization based on fundamental human values of honesty, commitment, responsibility, respect, integrity, and professional ethics. Our priority is service to students, districts and the community who look to us for support and educational leadership. We believe that the public deserves our complete candor and objectivity in our delivery of all services.
We provide a safe, caring, courteous and professional environment in a climate that fosters collaborative work and individual development for our employees. We hold each other and ourselves accountable for the highest level of performance, efficiency, resource management and professionalism. (ocde.us)
Vision: The Project GLAD™ National Training Center (NTC) of the Orange County Department of Education provides and supports a systemized collaborative organization of certified educators.
Mission: Project GLAD™ is a curricular model of professional development dedicated to building academic language and literacy for all students; especially English learners.
Project GLAD™ Demonstration Outcomes
• Deepen understanding of the theoretical research base of Project GLAD™.
• Plan instruction using knowledge of the curricular model as an integrated, balanced language approach to language acquisition.
• Expand repertoire of effective strategies used to promote language acquisition and academic literacy.
• Commit to application differentiation that modify the amount and type of listening, speaking, reading and writing in a language functional environment.
• Reflect and engage in dialogue and discussion around effective pedagogy in relationship to current practice.
• Experience the joy and excitement of teaching and learning when using an integrated, balanced language approach.
Project GLAD™ Learning Agreements
Show Respect
• Respond to Signals
• Minimize Distractions
Make Good Decisions
• Be Present
• Enjoy the journey
Solve Problems
• Take Care of personal needs
| | |
| |Project GLAD™ |
| |Demonstration Week |
| |AGENDA |
| |Welcome & Housekeeping |
| |Learning Structures |
| |Morning Preview |
| |Demonstration |
| |Lunch |
| |Debrief |
| |Planning |
| |Closure |
| | |
| | |
| |Project GLAD™ Trainer Information |
| | |
| |Dates: _________________ Times: _________________ |
| | |
| |Certified Project GLADTM Trainers: |
| | |
| |Name: Jody Bader Email: gladbader@ |
| |Name: Kate Lindholm Email: kate@strategic- |
| | |
GLAD DEMO
Supplemental (Generic) Materials
Table of Contents
Key Strategies that Make Student Generated Text Work 2
Managing the Writer’s Workshop 9
Shared Reading 11
Guided Reading 13
Guided Reading Coaching Suggestions 15
Processing Literature Circles 17
Scaffolding for Literacy: A Reading/Writing Model 18
Process for Group Frame or Coop Strip Reading 20
Phonemic Awareness 21
Cognitive Content Dictionary (CCD) 24
Team Task Materials 31
Parent Letters 36
Exploration Report 38
Using the Narrative Input with the Literature Series
for Struggling Readers/English Language Learners 39
Story Maps 40
Clunkers and Links 43
SQ3R Study Method/Modified DRTA for Non-Fiction 44
Learning Log (Text and You) 49
Memory Bank 50
The Important Thing – Big Book Frames 51
Process Grid Template 53
Editing Checklists 54
Golden Pen Award Cover Sheet 56
Brainstorming/Planning Pages 57
Sample Daily Plan 40-60 minute blocks 60
Rubrics 62
Project GLAD Supply List 64
Collaborative Planning Guidelines 66
Evaluation Sheet 67
LANGUAGE AND LITERACY
Marcia Brechtel
KEY STRATEGIES THAT MAKE STUDENT GENERATED TEXT WORK
This section will describe the strategies that enhance and assist in the successful authorship of our students.
1. OPPORTUNITIES FOR TEACHER AND WHOLE CLASS MODELING
• The creation of living walls and a "living wall" in the classrooms. In a language functional environment, every chart, or poem, presented in the class, is left on the walls to be read, processed and added to on a daily basis. The wall becomes "alive" because they grow with the unit and the students. They are read daily, by "walking the walls" or focused reading, and processed almost daily, highlighted and discussed, and added to, so all students feel ownership with the walls, and the poetry. Every unit is started with blank walls and grows with a narrative, pictorial and graphic organizer input chart. As the unit progresses, the walls get filled with the language of the students as they acquire the content of the current unit. Within this living environment, comes a "living wall". Usually stemming from a narrative or pictorial input chart, a living wall is a blend of pictorial, artistic and linguistic input from teacher and students reinforcing a theme. The pictorial or narrative, student art, and student language come together to represent a theme in the content, making a living wall.
• The use of the narrative input chart by the teacher models other genre of teacher generated text. We have used this kind of chart in science, social studies and literature. This input chart uses the narrative genre to teach many concepts or to introduce a literature piece, a visual preview, if you will. A teacher could also develop one for science using a narrative genre to cover scientific facts. Thus, a teacher might also sketch the background of a gold mining camp with assay office, stamp mill and smelter. The narrative or story might be the experience of one family in a mining town. Many important aspects of the Gold Rush can be delivered, as well as comprehensibly delivering new vocabulary. The teacher can also embed new concepts or vocabulary in narrative form. The narrative is told using grade level concepts and vocabulary, with lots of patterning. The use of patterning gives the narrative input the feel of a free form poem.
In developing a narrative input within your content area, think of the new concepts or vocabulary to be embedded. Sometimes this can be the retelling of a book, as with the Seahorse, by Robert Morris. Sometimes it can be the introduction to characters, setting and plot for a literature piece, as with Ira Sleeps Over. Sometimes it can combine the story of the hardships of the miners with key items like assay office, for which the students have little background information. It takes advantage of the strong oral tradition of many of our students to introduce comprehensibly, new ideas and vocabulary. It seems to some, like a large flannel board. However, content level concepts and vocabulary make it acceptable and useful for all grade levels. We have used it K-8. After you have decided the ideas and vocabulary to be taught, sketch an appropriate background. This can be as simple as Earliest Americans or as complicated as the Gold Rush or the Seahorse. The Seahorse is an example of providing yet another model of an art medium that might be used by the students in their closure. Then develop the figures you will use to tell the story. These can be as simple as coloring books or copies (with permission) from a book or drawn by teacher or student. As the story is told, the figures are put on the background. If you write the words you will say on the back of each picture, you won't have to hold notes or worry about forgetting. In true narrative fashion, tell the story all the way through first, then ask for responses, questions and discussions with a 10/2 or Personal Interaction.
During Reading/Writing Workshop, you will find students retelling the story to each other, changing names, characters, en' lings etc: In short, everything we try to get them to do after reading a piece. Here they have the opportunity to do it orally first. The emphasis on patterning that remains around the room provides yet another example for students of non-rhyming free form poetry, or another example for the students of the narrative development and the development of fictional characters. There is a direct transfer from Teacher Made Big Books, to the narrative, to student generated text. During mini-lessons in Writer's Workshop, the teacher can share how he/she developed the fictional character or the plot.
The writing process itself is taught through the Group Frame and Cooperative Strip Paragraph. Following the whole to part model, the Group Frame allows the teacher to teach and model the conventions of writing. The class follows the teacher's lead of a topic sentence for an expository piece, a lead in for a narrative or framing for poetry. Whatever genre the teacher wishes to model is the basis for this frame. The teacher provides a topic sentence thus setting the stage for a comparing and contrasting paragraph, a sequential, or cause and effect paragraph. The planning can occur through mind mapping, sketching, listening, or just talking. Gathering ideas from other writers in the room is encouraged here. The group frame can be taken with dictation (for younger writers or emergent writers), or cooperative strip paragraphs for the groups where at least one person in the group is able to write the thoughts of the group. With cooperative strip paragraphs, each team, after the students plan and agree, orally first, each group is given 1 to 2 sentence strips. The agreed upon sentence or stanza is written out in marker on the strips. The sentences are collected and put in a see through blue pocket chart in no particular order except as given to you.
From this point on, the process is the same with dictation or cooperative strip paragraphs. The students read the piece together and highlight the things that are "high level", that they like, or that they think makes the writing interesting or compelling. They can also share their response, in general terms to the writing. (the responding part of the writing process).
The students then read to see if it makes sense or if there are any suggestions. This is revising - the most often ignored part of writing and the most crucial to develop quality writers. As Krashen said, 'Merely writing does not make one a better writer, thinking about your writing (metacognition) makes one a better writer.' In the beginning, the teacher suggests that perhaps the order can be changed to make better sense, some words or sentences added or combined, perhaps some taken out. All of these suggestions can be followed through with a pair of scissors, extra sentence strips, and markers. The teacher models with suggestions he/she might make and discusses the reasoning with the students. The emphasis is on metacognition, the ease of revising, and how the writing often improves with suggestions from others. Although, at the beginning of the process, the teacher does the majority of the modeling, the reasoning is why changes are made. As the students become more comfortable with the process, they will have more and more input on the revisions.
The last step is to teach and model the editing process. Taking one skill at a time (e.g., spelling, or punctuation), the class reads and makes suggestions.
This has a direct correlation with the editing checklist used by the students during the Writer's Workshop. The key here is to not expect your students to edit for any skill that they have not been taught. In other words, your first grader may not be able to check for certain spellings or grammatical structures. This sounds elementary, but how often do we red line a first grade student's paper, punishing them for failing to do correctly something that they have not been taught.
They will utilize this modeling of responding, revising and editing with their editing checklist during the Writer's Workshop. The value of the cooperative strip paragraph is that no one person has possession of this poem or paragraph, thus, there is less resistance to changing it.
We then recopy the Group Frame, whether dictation or cooperative strip, after it has been responded to, revised, and edited. Once copied on the computer, each student gets a copy and this becomes important reading practice for the student, with silent, partner, and directed reading. In flexible reading groups or with individuals, the teacher can teach and reinforce any appropriate reading skills in context and help the students develop their own personal spelling list, directly tied to their writing. It can also be used for repeated readings for automaticity and fluency. Then with emergent readers, at grade level, take the students through the last five steps of the Language to Literacy Cycle.
- Teacher writes student dictated paragraph or coop strip paragraph, matching colors used by students on original, incorporating any agreed upon editing, on sentence strip with students watching, verbalizing various mechanics (capitals, periods etc.). They reread, mix up sentence strips, then the students put the paragraph back in order with original chart always showing. Reread.
- Teacher and students reread paragraph. Teacher cuts sentences into phrases, mixes them up, students put the paragraph back in correct order and "proves it" by reading the sentences.
Asking the students, "Are you right?" or Are you correct?" and "Prove it to me?" becomes a metacognitive aspect of the reading cycle. Too often, we make students too teacher dependent, we affirm if they are right or wrong. Here, they can "prove it" by reading it back aloud and matching with the original chart when necessary. This builds feelings of confidence and self-efficacy. However, the first time you ask "Are you correct?", they will change their answer, because so often We only ask it when they are wrong. Instead, it should become a stock question whether the student is right or wrong. It encourages students to think about their answers and how they found them.
After manipulating the phrases several times, the teacher cuts phrases into word cards, mixes them up and students put them back in order and "proves it" by reading aloud. Original chart is still visible to students.
- Teacher and students reread chart. Students put word cards in order to form original paragraph or part of the paragraph. One of the many emergent-reading activities we use is the modified cloze technique for words in context. Students close their eyes, the teacher removes one word, students open eyes and guess which word is missing. Students again, prove it by reading the sentence aloud. Repeat this several times, allowing the students to take turns removing the word. Going from whole to part allows the students to develop the concepts of sentences and words. This also allows discussion of skills in context and words in context as well as developing vocabulary and spelling words. Many other reading activities can be done here.
- Student and Teacher review all that has been acquired and decide whether or not to add to the paragraph or poem or to illustrate, etc. Students dictate, or, if capable, write their own paragraph.
Thus, the Group Frame is a vehicle for teaching and modeling of the process of writing in the various genres, from planning to editing, and used as a reading tool once developed.
2. OPPORTUNITIES FOR GUIDED OR SMALL GROUP PRACTICE
• The cooperative strip paragraph, which is a variation on the group frame. As mentioned above, the students can develop the supporting details/sentences in cooperative groups. Each team can develop a paragraph, sometimes each group comes up with one supporting sentence for a topic sentence provided by the teacher. Alternately, they can come up with the topic sentence and supporting details. Each team can come up with one stanza or each team can come up with one phrase of a stanza they have developed from a preexisting poetry frame or one they have developed. This strategy allows for a lot of negotiating for meaning and an anxiety free environment for practice in developing any kind of text. Follow suggested directions above.
• Guided and shared reading from Big Books, Group Frames, the Poetry Booklet as well as text books. These can include; partner reading, ear-to-ear reading, reading the walls, choral reading, etc. The key here is to make sure any reading or writing groups are truly flexible. Sometimes for skill, sometimes for a shared need, sometimes for modeling and sometimes for heterogeneity and cross-cultural respect.
• Team tasks, or opportunities for team reading and writing - expert groups, team problem solving tasks, team frames, team explorations, etc. If set up with care, and for success, these tasks become important ways to practice strategies, -develop cross-cultural respect, and build habits of positive interaction. If developed with little or no pre-planning, they can result in one student feeling he/she is carrying the whole. group.
3. OPPORTUNITIES FOR INDIVIDUAL/FREE CHOICE READING AND WRITING
• Whole to part with required writing genre. The following is a process to actually teach students how to develop fictional characters when writing in that mode. It is a process that goes from teacher modeling to individual writing. This is a natural progression from a Narrative Input chart. During the Narrative Input chart, you have modeled the genre orally for the students. This is not a beginning of the unit strategy. Students must have some content information already or you need to develop expert groups for the information. Here you will model how to write it.
First, set up Interest Corners around the room. For example, if you are studying Native Americans, you might have 5 pieces of butcher paper in different areas of the room. (Anasazi, Mound Builders, the Clovis People, pre-Clovis, and Western Coastal). Students read each and write their name on the piece of paper they would like to write about and write one reason why. Pictures on each paper can remind students about each group. Each paper is then read out loud at the end.
Second, students get together by groups of people with the same interest. They brainstorm facts they know about the period and the people. Individuals write these facts on their own graphic organizers. Basically, these can be separated into Facts About the Period: Weather, Time, Culture, Development, People, and Facts About the People: Clothing, Jobs, Food, Housing, etc.
Next, using facts from the first two organizers for the setting and background, the students each do a quick write for their character. Students return to their original group of four (not interest groups) and do quick read arounds. Teacher makes these read arounds move quickly. Students pick out one specific thing from each paper that they agree makes it authentic or vivid (or any other writing skill you are working on). The group reads that section to the class.
Third, students develop a graphic organization for their own character: Character: Name, Likes, Dislikes, Friends, Enemies, Sisters, Brothers, Role in the Clan or Tribe. Then in Interest Groups or individually, do a quick write where they put their character into the setting and develop the plot. If this is being written as Observational Writing (memoir or autobiographical) review characteristics from the Narrative and have students start the rough draft.
When finished, return to original seats and read around with yellow highlighter of positive language or ideas. Read around for revising suggestions, write on separate post-it or paper. Teacher makes sure that these are done quickly, do not belabor this. Final editing can be done with read-arounds or three before me editing.
• Personal explorations - where students choose the means of exploring an issue in greater depth, usually, but not always, used for assessment. Students often choose something they have begun in Writer's Workshop, but this is not required. (Nor is what a student chooses to do for personal exploration to be confused with a personal project they may be developing in Writers' Workshop, which may or may not be chosen by the student for assessment.) Others may chose a variety of ways to show what they have acquired from poetry to hypercard presentations. Teachers and students develop the rubric together. A word of caution: if the rubric is set up ahead of time and well understood, there is no problem. Decide if you are developing the rubric on content or form. It is difficult for a student who writes a piece of personal poetry for their personal exploration to be assessed on form, unless that was understood to begin with and students knew they were writing to that form. For example, the two raps on the American Revolution were assessed based on the content rubric: students had to demonstrate an understanding of the causes of the revolution and some of the individuals involved. Students were not graded on the quality of the rap or the rhyming.
• Personal reading and reading responses-opportunities for free choice reading and a time to share, orally, their personal opinion or response to the readings. In his original work on silent sustained reading, Krashen found that the growth nearly doubled in reading when silent sustained reading was combined with oral sharing. He also found that written book reports had a negative effect on amount read and enjoyment of reading. Also, many times, this is where students develop their concept of writing and writing styles.
• Most important of all, is the Writer's Workshop. The majority of student's most incredible poems and chants (as well as other personal writings) come from the Workshop. We basically, but not totally, follow Lucy Calkins model. We do like Donald Graves recommendation, however, when he said, "If anyone tells you that there is only one way to do it, walk out". Many teachers have their own variations. The key points that encourage writing are:
all writing during this time is free choice. We do not use prompts or trigger words. We find that when your walls drip with language and modeled writing, prompts are unnecessary and limiting. Remember, you have the Group Frame or Learning Logs for students to respond to prompts.
the short mini-lesson, of no more that 5-min., provides lots of modeling. Remember, the mini-lesson is not a time to teach the 19 things you think the students don't know about writing - use your Group Frame to teach those skills. Keep to the five-minute rule. This part is important for modeling quality of writing. This can be done by reading published authors, kids writings from other years, or your writing. The mini-lesson can also be for prompting, modeling of choice, kinds of writing, class discussion on the workshop itself and its process or other short aspects of writing. You might remind the students on a revising or editing skill that you worked on with the Group Frame. You might notice that several students are having trouble ending their story. You might model how several different authors ended their stories in different way.
lots of time for the actual writing. It is important to note that we encourage sketching and mind mapping at all ages. If sketching becomes a part of prewriting, both sides of the brain combine to produce language. We encourage students at all grades and English ability to sketch (not draw - drawing is for art, sketching is for the brain) not as just a prewriting step, but also a way to remember information and add to the writing. Conferencing by the teacher occurs at this time. Conferencing is another opportunity for the teacher to foster that metacognitive aspect of writing. This is where the teacher discusses the progress of a student's writing. The emphasis is on the "nudging" forward of a student's writing. Remember, as teachers, we can nudge, hint, and make suggestions until the students' writings match the ideas in our heads, and what have we accomplished? We have taught them to depend on us and our evaluations and suggestions. The-underlying concept is that the students need to become more critical readers of their own' work. - That is why we work so hard at modeling the metacognitive aspect of writing. That is also why we encourage a peer editing or "three before me" editing (from the UCI Writing Project). Students utilize the modeling done during the Group Frame to make suggestions for each others writing. Authors, of course, have the- right to accept or decline a peers suggestions. Just as with revising, responding and editing, conferencing can occur with one student or a few, if all involved are interested in discussing the same aspect of writing, e.g., the beginning or ending of a narrative. It can also occur with two students together.
Author's Chair, with the emphasis on the metacognitive aspect of the chair, becomes a key item in the workshop. We share unfinished work in Author's Chair, work in progress. As such, no one claps because the purpose is not show and tell, but rather helping each other become better writers. Also, the teacher has no part in the front of the room. He/she takes a seat with the audience. In order to respond or ask a question of the author, the teacher also, must raise his/her hand and wait to be called upon. The sharing of work in progress encourages others to try types of writing they normally might not have tried. Some people, Lucy Calkins included, express some difficulty in getting children to write poetry. We believe, as does Gabrielle Rico, that we have a more instinctive ability to write poetry than expository. Because it is modeled by the teacher, is present on the walls, used daily by the students, presented in Poetry Booklets and encouraged through the mini-les on, our students find poetry a natural expression of themselves and the content.
MANAGING THE WRITER'S WORKSHOP
Don't try to do everything at once. Add conferencing and publishing after the students are in the routine of mini-lesson, planning/writing, and author's chair.
Keep your mini-lesson to 5 minutes. Do not try to "teach" the kids every writing skill in one session. Model and remind students of choices and/or skills previously taught.
Response guide for author's chair: "I like the part where… ", "I think you might try…", "I'd like to know more about…, "I was confused where …", "If you add the descriptive words _____, _____ or _____, I could visualize the scenes better." (The emphasis on "I" indicates that the suggestion is the listener's issue and not the author's problem.) "Will you be adding more?" "What gave you the idea for this piece?" Remember, stress the metacognitive - the purpose is to make us better writers. Save clapping etc., for your publishing parties. Remember, the author does not have to take any suggestions. The author just responds with "Thank you."
Have a writing corner with paper (of all kinds), scissors, and pencils. markers. staplers, sentence strips, strips of construction paper. Train your students to use it as needed, without having to ask you.
Conferencing is an important part of assessing your students' progress and providing meaningful "nudges" to your students in their early drafts. If students are choosing to tell their story in-pictures, use the same kind of nudges that you would with writing. "Tell me what your story is about", "I think another picture here might help me see that more clearly" etc.
In older grades, encourage students to keep a folder where they revisit previously written items to extend, shorten, change etc. Teach revising and editing with your group frames and cooperative strip paragraphs, practice with "three before me" editing, during publishing time. Have a parent or older student help with publishing once or twice a week. Students get used to the flow. Students can also be encouraged to develop read around groups when a number of them are ready at the same time.
Have lots of reading/writing choices available; pocket poetry (or ring poetry), narrative input charts, coop strip paragraphs, poetry around the room and in the poetry booklet, a research corner with all content focused books and magazines such as Zoo Books or National Geographic, picture file cards, frames, and for younger writers, opportunities for literacy events around the room: message pads by the telephone in the housekeeping corner, a grocery pad on the refrigerator, checkbooks (name and number blank, of course), cash register and order blanks for the store corner, subscription blanks and prescription blanks for zoo or doctor's corners. In other words, provide lots of opportunities for authentic writing.
Enjoy and appreciate the wonderful authorship of your students. (It is the most important part of the process.) Share what you have written as well.
The following are a few examples that have been developed by students during Writer's Workshop. They willingly shared them in the Author's Chair. One first grader was experimenting with changing "I Know An Unusual House" to " I Know an Unusual Dog". He got stuck after the first verse, shared his start during Author's Chair, asked for suggestions and was bombarded with excited offers from numerous other authors. Of" course, rather than listen to others in the Author's Chair, he immediately wanted to incorporate most of the suggestions. Because Writer's Workshop is free choice writing, sometimes the response to poetry is prose and sometimes poetic. These are some student samples of responses to poetry frames, narrative inputs and Big Books.
Truly, Writer's Workshop helps the students discover the voice within.
Excerpt from Discovering the Voices Within: Effective Literacy for English Language Learners Chapter 5, Brechtel '99
SHARED READING
Adapted from Leanna Traill and Andrea Butler
1. Introduce the story. Show the cover, discuss the illustrations and title. Elicit predictions from students on what it will be about. Read book aloud, with feeling. Do not stop for further predictions unless it happens naturally, without interfering with the integrity of the story. Allow free comment and questions at the end. THIS IS A PERFECT TIME FOR A PERSONAL INTERACTION OF 10/2! Ask the students to retell the story, use the pictures to assist them to change or confirm predictions. The teacher here may focus on the repetition, or rhyme for all students to join in when it is read. The teacher should point to the conventions of print. The point here is reading for enjoyment and interest. Undue pressure should not be put on students to respond verbally if they prefer not to, especially your second language learners.
2. Re-read a familiar story. After you have done step one with five or six books, children choose an old favorite to reread. During this and other rereading, the teacher's purpose is to achieve:
- increased participation - hand action, instruments, read along.
- teaching the conventions of print and the characteristics of books - front and back covers, title, page, words, spaces, page turning, pictures support the text, left to right, top to bottom, the fact that the words are read, not the pictures, one-to-one correspondence between written and spoken word, letter sound relationships (phonemic awareness and phonics), the fact that punctuation aids in reading.
- teaching reading strategies - reading to discover meaning, prediction and self correcting using cues such as - context of story, semantic cues, syntactic cues and grapho-phonic cues (meanings of words, knowledge of language and letter/sound relationship); sampling print to confirm predictions, reading with expression and fluency, words in context.
- developing a sight vocabulary of "doozers" (McCrackens' term) - words that cannot be sounded out, like the a is, and (the Dolch words). These words-are much easier learned in context than isolated flash cards.
- teach phonics students do need to learn letter/sound relationships. This however, does not mean that they stop reading until they do. They can learn this while reading. The sounds are taught after the book is read.
3. Independent reading. Books introduced and read to student in Step 2, should now be available for the students to read for themselves. This is why multiple copies of small books of the Big Book should be available to the students.
4. Follow up - creating student made Big Books, creating student generated text from innovations on the book. Make a frame from the original pattern or repetitive phrase and encourage students to insert their own thoughts. Students can illustrate and text can be copied and enlarged for creating a wall story.
5. This school of thought believes that gaining meaning from text is a complex combination of actions the reader takes - SAMPLES (visual information based on semantic and syntactic expectations, it's real, authentic, patterned, rhythmic and makes sense); PREDICTS (structures vocabulary and ideas); CHECKS (for graphophonic match, semantic and syntactic sense); and CONFIRMS (if confirmed, read on, if not, reprocess); then the cycle repeats.
Some key attributes to look'for in books for "shared reading are: a strong story line or riveting facts; characters and situations with which students relate; attractive illustrations which support and enhance the text; humor and warmth; rich and memorable language features which ensure predictability, such as rhyme, rhythm and repetition.
Marcia Brechtel `97
GUIDED READING
(Adapted from Leanna Traill and Andrea Butler)
This is the time when the teacher works with small groups of students to delve deeply into books and ideas. It is the time to do direct teaching. At first the teacher will assign books to a group of children to read independently, then they come together for a reading conference. Once this pattern is set and the students are familiar with guided reading, more choice in book selection is given to the students.
During this time, the teacher can: match children and books at their level, help students gain a deeper comprehension of what they have read, explore questions, ideas and feeling, help students understand the parts of an author's craft, challenge their thinking, explore important themes, demonstrate metacognitive questions and strategies for the students to use themselves at a later time, teach reading strategies and language conventions, increase students competence in using these at an independent level, and show a variety of ways to respond to literature.
Steps:
1. Planning the possibilities and purpose - decide on what the focus will be, from introducing an author to exploring a theme, to discussing literary devices, focus on reading skills or strategies, focus on language conventions to comparing stories with similar themes or authors.
• Decide how and why you will group the students - remember flexibility - sometimes it will be by homogeneous ability groups, sometimes by heterogeneous groups.
• Select materials and books that support your purpose
2. Set the scene-remember your purpose and do some predicting and discussion with students
• Send students off to read alone or in pairs. Remind them of what they can do if they meet an unknown word (try sounding it out, read to the end of the sentence and use context, check starting letters to see if they match, leave word out and see if it effects the meaning (for example strange names can be a problem), note any words they are not sure of for discussion in group).
Reading the text - alone is preferred before orally with a partner, but can use pairs. Sometimes we have had pairs to an Anticipation/Prediction guide here or an adapted SQ3R for pairs before reading. .
Group reading conference-initial discussion deals with student's response to text, format is normal talking and questioning and answering. Teacher's role is to participate and model on how to ask questions, how to interact with other readers, how to listen with respect, how to react if you disagree, how to ask for clarification. Model open-ended questions, require students to relate text to own life, require them to think, require an opinion, deal with emotions and feelings, discuss author's craft and conventions of language.
Responding to text-there are many activities for this. Written, oral, art, and further reading on the subject are just a few. Structure the activities so that students need to refer to the text to seek information or clarification.
Share responses to text with group.
We use another form of guided reading with the group frame and cooperative strip paragraph (student generated texts). See under "Key Strategies".
Project GLAD 98
COACHING SUGGESTIONS
Guided reading is reading by the students with the teacher as expert coach. The teacher's purpose is to provide statements or questions that require the students to use various cueing systems to make meaning. This must be with a piece of text that provides enough support to keep the students reading using previously acquired information, but also interesting and challenging enough to keep the students engaged in practicing new skills and strategies. At this stage, careful observation by the teacher can result in student's strengths and preferred cueing system.
Some suggestions:
- What do you see?
- What does it look like?
- What do you think it could be?
- Does that make sense with what you have read?
(examples of semantic questions-using knowledge and experience):
- Look at the word
- What letter does it start with?
- Put your finger on it.
- Get your mouth ready.
- Say it out loud.
- What did you hear?
- Say it again slowly.
- What do you think it could be?
- Say the first sound.
- Does it sound right?
(examples of graphophonic questions-using phonemic and letter-sound associations):
- Does that work (in that sentence)?
- Does it make sense? Does it look right.
- Howdo you know?
(examples of syntactic questions using structure, of language, sentences, or stories)
Suggestions for teachers to encourage developing self correcting behaviors:
- Don't overemphasize speed in oral reading.
- Don't always immediately supply the correct response or allow prompting from peers.
- Don't ignore the kinds of corrections a reader makes. They can indicate which cueing systems are used.
- Encourage readers to regress and allow them think-time to reflect on the meaning of a miscue, ask whether the miscue "fits" and makes sense. Encourage self-monitoring and metacognition.
Marcia Brechtel '97
adapted from Traill, Butler
PROCESSING LITERATURE CIRCLES
(or certain reading groups)
1. Preview reading and make predictions
2. Read and write ideas or "things you were wondering about" on post-its (these, later, can be extended to journals)
3. Get back together and talk. Using your post-its:
1. tell whether you liked the story or not, and why
2. what was your favorite part or character
3. how did the story make you feel
4. ask questions about the story - ask these to the whole group
5. listen to classmates responses, listen and respond to their questions
6. link events in the story
7. link your experiences to the story
8. link your ideas to those of your classmates
(Dugan calls this RQL2, Reading Teacher `97)
4. Choose one of the issues and ideas that have been brought up and respond to it in writing (this is brainstorming, or rough draft in nature - no editing yet). If you wish, share ideas with others.
5. Review what was learned, how the initial predictions went, etc.
adapted from Transactional Literacy M. Brechtel `97
SCAFFOLDING FOR LITERACY: A READING/WRITING MODEL
M. BRECHTEL ‘01
An Effective Balance
TOTAL CLASS MODELING: All genres
Direct teaching of writing skills
Direct teaching of essential elements
Modeling of writing/reading genre
Examples:
Group frame
Coop strip paragraph
Poetry
Story map - narrative
SMALL GROUP/FLEXIBLE GROUP: Provides scaffolding
Practice of teacher modeled tasks
Low affective filter/guided practice
Meeting student needs
Examples of flexible groupings:
Reading groups - leveled
ELL - student and self-generated texts* (ELD standards)
Expert groups
Literature circles - modified for non-fiction/transactional
Primary language reinforcement (preview/review)
Coop strip paragraph
Team tasks
Examples of Team Tasks:
Team flip chants Team story map Team time line
Team “farmer in the dell” (an oral language to reading/writing strategy)
Team map Ear to ear reading
Team coop strip Team Process Grid Team “research read”
paragraph
Team SQ3R Team mind map Team map
Team listening and Team map Team sentences from discussing center “sentence patterning
Chart”
Team action plans Team interviews
Team blends from words on walls Team rhyming banks
Team words from unifix cubes Team “reading game” (modified cloze) with
coop strip
These are only a few examples.
The power here is the language functional environment. All things lead to reading and writing, including the walls. The walls “drip with the language” that the students are
acquiring.
INDIVIDUAL: Practice/application
Anything modeled by teacher and practiced in groups
Examples:
Team tasks become individual tasks
Journals/logs
Writers’ workshop
Research reading
Free choice, silent sustained reading
PROCESS FOR GROUP FRAME OR COOP STRIP READING
Used to Model Writing and for Emergent Reading
- Teacher develops topic sentence to help teach genre or domain
- Teacher directs and models how to find supporting details from the Process Grid
- Teams get “heads together” to come up with supporting details orally first
- Group Frame variation - teacher takes dictation from groups
- Coop Strip variation - (at least two students in each group must be able to
write for this variation) teams write agreed upon sentence(s) on sentence strips
with markers
- Teacher takes students through writing process
• Respond (What did we like? How did it hit us?)
• Revise (Does it make sense? Could it be clearer? Could we add/subtract or combine sentences? reorder?) This is the hardest part of the writing process for teachers and kids
• Edit
• Teach any skills from the frame or coop strip
- Copy: each student gets one completely edited copy
- Pull flexible group reading groups
- Write matching sentences to frame or strip paragraph (written in the same
colors as original). Original always stays visible with emergent readers
- Pull struggling/emergent reading groups
• Compare original in chart with new sentence strips, which are edited copies of the original-matching colors
• Pass out the paragraph by sentences and have students put sentences back into paragraph format
• Cut into phrases. As you cut, ask students how many words there are in that phrase. Discuss difference between sentences, phrases, and words. Have students put back into paragraph format
• Cut into words. Have students put back into paragraph format
• Play the “reading game” which is modified cloze activity. “Shut your eyes and I will remove one word, then you will open your eyes and tell me which one is missing.” Ask students “How you do know?” The person who guesses gets to remove a word while others close their eyes. Then play the “clue” game. “I’m thinking of a word that _____________.” Here you can use sounds, letters, synonyms or antonyms as your “clues.” At this time, you can work on any reading skills activities. Students then get the typed up copy to read to 7-10 adults, who sign it. This is an opportunity for “repeated readings for automaticity & fluency” with grade level, standards – based, student – generated text.
Remember: At all times during this process, ask students: “Are you sure?” “How do you know?” “Prove it to me.” “Show me how you knew that.” “Why did you think that?”
Work with students to become metacognitive, using their cueing systems, and confident in their interpretations, rather than teacher-dependent for approbation and correctness.
Kinds of information you can get: cueing systems used, self-corrections made and why, how they approach problems or new situations in reading.
NOTES ON PHONEMIC AWARENESS
Adapted from Reading Teacher and H. Yopp
Marcia Brechtel -- 2/02
1. Nature of phonemes makes them difficult to
separate/teach.
- they are abstract units of speech
- vary with phonological context
ex. the phoneme /d/--researchers tried to isolate.
It became di or doo
the same with /s/. Where your tongue and mouth are are different depending on the following vowel.
2. Many times kids don't understand the task. Low readiness pre-readers can hear the difference between phonemes as well as high readiness readers. However, they are unable/unprepared to analyze sound structure. (apple analogy). Therefore, if you
want to test for phonemic awareness, practice the test, and model-before, so you are testing the phonemic awareness and not the understanding of directions.
LEVELS AND KINDS OF TASKS
1. "an ear for the sound of words"
nursery rhymes
2. comparing/contrasting sounds
rhyme/ alliteration
which word is the same/different - pig, hill,
pen -- use of first or last sound
3. blending and syllable splitting
be familiar with the idea that words can be subdivided into meaningless sounds
break off 1st phoneme of a word (bear - b b b) m-a-p - put the sounds together to make a word
4. phoneme segmentation
be able to analyze a set of phonemes
tap out a syllable into phonemes
5. phoneme manipulation
move, add, delete phonemes
hill without /h/ is ill, monkey without the /k/ is money
PHONEMIC AWARENESS
HOW TO TEACH
1. Decide on the task you want
2. Pick an activity:
storytelling, word games, rhymes, riddles, tongue twisters, books, poems with alliteration, familiar songs, guessing games
3. Emphasis on spoken word and say the sound, not the name (a)
EXAMPLES FROM H. YOPP
1. SOUND MATCHING
- kids have pictures - hold up one that begins
with /s/
- Jimmy cracked corn and I don't care is a
good tune for:
Who has a /d/ word to share with us
Who has a /d/ word to share with us
Who has a /d/ word to share with us
It must start with the /d/ sound
Dog is a word that starts with /d/
2. Sound isolation
- to the tune of Old MacDonald
What's the sound that starts these words?
turtle, teeth and time (wait for kids response)
/t/ is the sound that starts these words
with a /t/ /t/ here and a /t/t/ there
here a /t/ there a /t/, everywhere a /t/ /t/
3. Blending activities
- I'm thinking of an animal /k/ /ow/
kids respond. (can use a picture, toy box or grab bag to show item after kids guess)
- If You're Happy and you know it:
If you think you know this word, shout it out
If you think you know this word, shout it out
If you think you know this word,
Then tell me what you've heard
If you think you know this word, shout it out
m-a-p
4. Sound addition/substitution
- Fe Fi Fiddley o
now becomes ZE ZI ZIDDLEY O
- SOUND OF THE DAY - replaces the first letter of each name
ex. Peter becomes Teter
5. SEGMENTATION
- K K K KATIE
- Pop Goes the Weasel (ppp pop)
- to tune of Twinkle, Twinkle Little Star
Listen, listen to my word
Then tell me all the sounds you've heard
(race)
/r/ is 1 sound
/a/ is 2
/s/ is last in race, it's true
(use only words with two or three sounds)
Cognitive Content Dictionary (CCD)
and Vocabulary Self-Collection Strategy *(VSS)
Each student writes one word on chalkboard (making best spelling attempt “sp”) that they’ve seen or heard, they think would be a good word for the class to learn, and tells where they found the word. Student then predicts the definition. The class votes on the 20 words that will be the vocabulary/spelling words for the week.
Project GLAD adaptation:
DAY 1:
- Teacher models the use of the CCD using the signal word
- Writes the word on CCD
- Tells where it came from
- Why the class should learn it
- Gets prediction of meaning from class, being sure to ask what clues they used to come up with the prediction (this removes it from guessing), help students with prompting about what kind of clues they might have used.
- Uses a gesture or synonym with students whenever signal word is used.
DAY 2:
- Asks teams if they now know final meaning (no voting, this meaning must be correct). If some teams get part of it, validate them and piece together final meaning. Add sketch, L1. Do word study with the word in New Word box.
- Have teams get heads together and come up with an oral sentence.
- Repeat this process until you are sure that students have the pattern (this will vary by grade level).
THEN;
DAY 1 of student selected words:
- Teams put heads together to select word for the CCD
- Teams vote on which word to use
- Teacher rolls die to determine who shares team word
- Students (primary can use interactive writing) add word to CCD
- Tells where the team found the word
- Shares why team thinks the class should learn it
- All teams predict meaning
- Team whose word was chosen suggests gesture or synonym
DAY 2 of student selected words:
- Teams come up with final meaning and sketch
- Teacher does word study with word
- Teams come up with oral sentence
- The whole process is repeated
DAY 3:
- CCD is added as a team task
DAY 4:
- Team CCDs are compiled as class vocabulary/spelling list for following week
Any time after this CCD can be used individually.
*Adapted from: “Extraordinary,” “tremendous,” “exhilarating,” “magnificent”: Middle School at-risk students become avid word learners with the Vocabulary Self-Collection Strategy (VSS) by Martha Rapp Ruddell and Brenda A. Shearer//Journal of Adolescent & Adult Literacy 45:5; February, 2002; pp. 352-363.
Project GLAD 9/05
COGNITIVE CONTENT DICTIONARY
|New Word | |Final Meaning: | |
|H — Heard it before |Prediction |Example, Primary Language or |How I Would |
|N - Never heard it before |(Clues) |Sketch |Use It (Sentence) |
| | |(How did I find out?) | |
| | | | |
| | | | |
| | | | |
| | | | |
TEAM DICTIONARY
|New Word | |Final Meaning: | |
|H — Heard it before |Prediction |Example, Primary Language or |How I Would |
|N - Never heard it before |(Clues) |Sketch |Use It (Sentence) |
| | |(How did I find out?) | |
| | | | |
| | | | |
| | | | |
| | | | |
INDIVIDUAL COGNITIVE CONTENT DICTIONARY
|New Word | |Final Meaning: | |
|H — Heard it before |Prediction |Example, Primary Language or |How I Would |
|N - Never heard it before |(Clues) |Sketch |Use It (Written Sentence) |
| | |(How did I find out?) | |
| | | | |
| | | | |
| | | | |
| | | | |
DICCIONARIO DE CONTENIDO COGNITIVO
| | | | |
|Palabra Nueva |Predicción |Significado |Oración |
|N = Nunca he escuchado | | | |
|E = He escuchado | | | |
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PICTURE DICTIONARY
Project GLAD
TEAM TASK KEY
______________
TEAM COLOR
COLOR NAME
_______________ _______________
_______________ _______________
_______________ _______________
_______________ _______________
TEAM SHEET
Action Plan
Define what one problem is.
Brainstorm causes.
Brainstorm solutions. Pros + Cons –
1
2
3
Choose one solution and write a plan of action for you and your team.
Solution Reason
Project GLAD 9/04
TEAM SHEET
Team Analytical Summary Sheet
Reading Assignment:
Think about and record:
1. List of key words. (Words that other teams will need to know.)
2 . Details/important facts, ideas, or important quotes
Summary or mind-map.
Team's favorite part.
TEAM NAMES
Team Member: Personal Rating:
Positive Group Participation:
5 = Active 2 = A Little
4 = Most of the Time 1 = "I was on the moon today!"
3 = Some of the Time
-------------------------------------------------------------------------------Project GLAD '98
Team Member: Personal Rating:
Positive Group Participation:
5 = Active 2 = A Little
4 = Most of the Time 1 = "I was on the moon today!"
3 = Some of the Time
------------------------------------------------------------------------------- Project GLAD '98
Team Member: Personal Rating:
Positive Group Participation:
5 = Active 2 = A Little
4 = Most of the Time 1 = "I was on the moon today!"
3 = Some of the Time
------------------------------------------------------------------------------- Project GLAD '98
Team Member: Personal Rating:
Positive Group Participation:
5 = Active 2 = A Little
4 = Most of the Time 1 = "I was on the moon today!"
3 = Some of the Time
------------------------------------------------------------------------------- Project GLAD '98
TEAM EVALUATION SHEET
Team: _______________________Date: ________________________
Activity: ____________________ Rating:_____________________
Identify two team strengths:
Identify one problem area:
Team Members:
________________ ________________ ________________
________________ ________________ ________________
________________ ________________ ________________
Dear Parents, Date:
This week we studied about
My favorite activity was Five important words
Dear _________________,
This week we learned about _____________________________________
______________________. I learned that ______________________________
__________________________________________________________. Another interesting thing I learned was ________________________________________
_____________________________________________________________. The most important thing I learned was _____________________________________
_________________________________________________________________
_________________________________________________________________
_______________.
However, I still have one question. _______________________________
_________________________________________________________________
__________________________________________?
Love,
Scientist's Name: Date:
EXPLORATION REPORT
Observations: What are you wondering?
What are your predictions?
USING THE NARRATIVE INPUT WITH THE LITERATURE SERIES FOR YOUR STRUGGLING READERS OR YOUR ENGLISH LANGUAGE LEARNERS
The following is a ten day cycle (these could be periods, not days) using basal-based student-generated text. This process meets ELD standards at the Beginning, Early Intermediate, and Intermediate levels for story retelling, comprehension, beginning reading, writing and listening/speaking.
Day 1 – Develop a narrative input from a pivotal story out of a unit from your reading series. Take the same story; copy the pictures and words. Glue the words to the story on the back of the pictures. Tell the story with pictures as if you were truly story telling. Attach to a background with tape.
Day 2 – Review with word cards, using key vocabulary from basal. Make this a shared story telling.
Day 3 – Review the narrative input with conversation bubbles.
Day 4 – Review the story with a story map.
Day 5 – Small group (leveled, struggling readers) dictation of a story retell. Do this in Group Frame style with students telling and teacher writing.
Day 6 – Review, retell and do any editing/revising that is within the capabilities of the students. Remember, the focus for this strategy is emergent reading, not the writing process, so this needs to be their language, not yours. Why? Emergent reading skills, like one-to-one correspondence are modeled and taught this way.
Day 7 – Copy story retelling on a sentence strip and follow steps for reading as with the cooperative strip paragraph.
Day 8 and 9 – Guided Reading lessons with the story retelling strips.
Day 10 – Open the basal and have a Guided Reading with the basal text. Meanwhile, your at/above grade level readers have finished reading all the stories in the unit. This group has finished only one, but it is a grade-level story. You have taught all the reading skills from the basal TE for that grade level. You have gone into great depth with one, rather than dragged your non-readers through four.
Project GLAD `01
STORY MAP
CHARACTERS:
SETTING: (TIME & PLACE)
WHAT HAPPENED: 1.
2.
3.
4.
HOW DID IT END?
STORY MAPPING
WHISLER/WILLIAMS
CHARACTERS:
SETTING:
Place:
Time:
THE PROBLEM
THE GOAL
EVENT 1
EVENT 2
EVENT 3
EVENT 4
EVENT 5
EVENT 6
EVENT 7
THE RESOLUTION:
Developing Fictional Characters
- looks like
- family
- friends
- likes/doesn't like
- looks like
- family
- friends
- likes/doesn't like
- looks like
- why angry?
- what does he/she want?
CLUNKERS AND LINKS"
This approach is designed for the `at or above' level, independent reader, although, many of the strategies can be used with other levels with more scaffolding. It actually is a combination of several reading strategies designed to promote thoughtful, metacognitive reading when reading from grade level texts, especially in the content areas.
Step 1: Pull group together and let them know they will be reading a grade level piece (example: a chapter from the social studies text about the American Revolution). Ask them if they have any predictions of ideas, concepts, or vocabulary they think they will find in that chapter. Record all responses on chart paper.
Step 2: Introduce "clunkers and links". These are sticky notes to put a question mark on if they find a word that stumps them (hence, clunker, it makes you go "clunk" when you're reading). Clunkers can be words that you cannot decode, or can decode but do not know what it means, or you know one meaning but it doesn't fit in this situation.
Likewise, if they find a word or concept that they bad predicted, or have read about or heard about previously, they put a star on the sticky note and put it by the word. This is encouraging them to make connections and links between what they are reading and prior knowledge and build metacognition. This is also known as `text to self, text to world, text to text". Part of the metacognition is that if I think that this chapter is going to be about Abraham Lincoln and I start reading about G. Washington, I need to realign my thinking and recognize that there is something missing, some piece of information that I need to be successful here.
Step 3: Introduce and model partner SQ3R, with clunkers and links. We usually do this with only the first page or so. Process clunkers and links from that page. Go back to predicted words/concepts you had put on chart paper and revise predictions. Send students off to read and fill in the SQ3R worksheet together.
Step 4: At a later time, call that group back for a discussion of their clunkers, links, and SQ3R. Do any word study or vocabulary work here. With links, encourage further reading in the areas that students have put stars by. This is an excellent time to have more challenging reading in this subject for your gifted students. The SQ3R is optional and we usually don't use it below fourth grade. (SQ3R on next page)
Brechtel, Project GLAD `04
Project GLAD 5/03
SQ3R STUDY METHOD
adapted from Francis Robinson
NAME of TEXT:______________________________
Pages:_________
S = SURVEY Read title, subtitles, pictures, maps, diagrams,
and key words.
Q = QUESTION What do you think the text will be about?
(Prediction) What do you think you will learn?
1.
2.
3.
4.
R = READ Read quickly, focus on the important words.
R = RECITE Write the answers to your predictions:
1.
2.
3.
4.
R = REVIEW Go back, read and check your answers in the text.
1. What was the most interesting thing you read?
2. What was the most important thing you read?
3. What was new information for you?
4. What will you do with this text and information?
Partners: ________________ ________________ Date:____________
MODIFIED DRTA FOR NON-FICTION
(Modeled First)
1. Overhead of text
• Title/pictures showing predictions--what will you be learning about?
2. Subtitles
• Confirm or refute predictions “how do you know”
(teacher can list any predictions)
3. First paragraph - Read Aloud
• Confirm or refute prediction
• Has anything in your personal experience confirmed or refuted this?
• What were new words? Words you didn’t understand.
• Where will text go from here?
4. Read either to end (short text) or 3 or more paragraphs.
• Confirm/refute predictions
• New ideas, vocabulary, AHA’s
• Did/does this make sense with what you know?
End Article
• Student summarizes
• Decide fact/opinion
• Does it fit with your background/experience
Teachers
• Listen non-judgmental (not--what a great answer)
• Remind students that evidence moves them forward, not right or wrong
Brechtel
Project GLAD
ORANGE COUNTY DEPARTMENT OF EDUCATION
STEPS IN A DIRECTED READING-THINKING ACTIVITY
STEP ONE: Making predictions and setting purpose from title clue only
1. Locate title in table of contents.
2. Ask an open-ended question such as;
“What do you think this story is about?” or,
encourage divergent thinking.
3. Allow sufficient time to think and reflect.
4. Try to involve each student in the discussion.
5. Avoid interjecting your own ideas and value judgments.
STEP TWO: Examining illustrations and reading the test--perhaps the first page
1. Direct student to open their books to the page, look at the illustrations and read.
2. Remind the students not to look ahead in their books until directed to do so by the teacher.
3. Observe students to note difficulties and help when requested.
Encourage the students to follow appropriate self-help steps where possible; but do not distract group by interjecting a word recognition lesson.
STEP THREE: Appraising of predictions and purposes: adjusting, extending, refining or rejecting original purposes and predictions
1. Begin the discussion by asking questions such as, “Who was right?” or “Did you find the answers to the questions you raised?”
2. Check with each student to see how he has dealt with his original purposes and predictions.
3. Ask each student to orally reread the lines that prove the validity of his predictions.
4. Give students an opportunity to adjust their predictions and purposes in light of what they read.
STEP FOUR: Directing students to read to the end of the story and initiate needed follow-up activities
1. Continue repeating steps two and three as often as needed to complete the story. Usually passages read later are longer than the first one.
2. Initiate the final discussion by asking on open-ended question.
Have students read aloud parts to prove or disprove predictions.
Help students discover those clues which may have misled them.
3. Conduct follow-up activities where needed, such as word recognition practice, vocabulary meaning exercises, projects, creative writing and discussions.
Presented by Martha Alvarez-Martini
Information by Dr. Russel G. Stauffer
OCDE: C/I 050186092
READING PARTNERS Partner 1 Partner 2
1. Look at the title and pictures.
What will the story be about?
2. Read the first paragraph ear-to-ear.
3. Predict what words you will see in this story.
What will happen?
__________ __________ __________
__________ __________ __________
Put anything else on the back.
4. Read silently or ear-to-ear. Stop your
reading one page before the end.
- use your post-its for “clunkers” or “links”
5. Share any changes you and your partner
had in their predictions.
****************** Back to Group ********************
6. Read ending in group.
Did you like it? Why? Why not?
I liked _____________________________
I’d like to know more about _____________
___________________________________
Were the characters believable? Why?
Why not?
How did you feel?
I would change ______________________
I want to know more about _____________
7. Put a link post-it by one part of the story you
want to know more about.
Page 1 of 2
Project GLAD 5/03
READING PARTNERS WITH RECIPROCAL TEACHING
• Model whole class (with overhead or Big Book) the process of partner reading.
• In small groups, introduce a literature piece by modeling the partner read checklist with first page, or chapter.
• Send students to read silently or ear-to-ear. Remind them to use their ”clunkers and links” post-its.
• Pull group back together to facilitate the reciprocal teaching discussion the first few times. See sheet.
• Train students to take turns using the frames to ask each other about the story. The students will quickly pick up on the language of the questioning and move beyond those questions written there.
• It is optional to stop one page before the end. This can be used to predict ending and is not always necessary or wanted.
Page 2 of 2
Project GLAD 5/03
NAME: ___________________________________ Date: ______________________________
[pic]
MEMORY BANK
The Important Book Frame
The important thing about __________________
is _____________________________________.
• ____________________________________
• ____________________________________
• ____________________________________
• ____________________________________
However, the most important thing about ________
is ______________________________________
Project G.L.A.D. ‘97.
THE IMPORTANT THING ABOUT
_______________ is _______________.
• _____________________________
• _____________________________
• _____________________________
• _____________________________
BUT, THE MOST IMPORTANT THING
ABOUT _______________
IS _________________________.
Project G.L.A.D. ‘99
Process Grid Project GLAD
|Primary Writing Checklist |Author |1 |2 |
|1. I read my paper out loud | | | |
|2. Author's name | | | |
|3. Date | | | |
|4. One thing I liked was: | | | |
|5. One suggestion is: | | | |
|6. Editing skills: | | | |
|Capitals | | | |
|Periods | | | |
|Spelling | | | |
|7. Title | | | |
|Writing Checklist |Author |1 |2 |
|1. I read my paper out loud | | | |
|2. Author's name | | | |
|3. Date | | | |
|4. Responding | | | |
|(What did I like?) | | | |
|5. Revising | | | |
|(Any suggestions?) | | | |
|(Did it make sense?) | | | |
|(Is it clear?) | | | |
|(How about beginnings and | | | |
|endings?) | | | |
|6. Editing skills: | | | |
|Capitals | | | |
|Punctuation | | | |
|Spelling | | | |
|Grammar | | | |
|(Is it a complete sentence?) | | | |
|7. Title | | | |
|page numbers, if necessary | | | |
P
[pic]
Fountain Valley School District
Project GLAD
BRAINSTORMING - PLANNING PAGES
| | |GUIDED ORAL | |EXTENDED | |
|FOCUS/MOTIVATION |INPUT |PRACTICE |READING/WRITING |ACTIVITTES |CLOSURE |
|• Music |• Discussion |• T-Graph |• Mind Mapping |• Fun Food Fiesta |• Tell me again about the |
|• Songs |• Overheads |• Songs |• Vocabulary |• Celebration |night I was born. |
|• Special Visitor |• Charts/Diagrams |• Charts |• rubric |• Making Big Book |• Interactive Journals |
|• Picture Files |• Draw/Sketch |• Raps |• patterning |• Food |• Portfolio |
|• Realia |• Guided Practice |• Music |• Poetry |• Diorama |• Show What You Know |
|• cook something |• Vocabulary |• Finger Plays |• Cartooning |• Expert Teams |• Rubrics |
|• dance |• Visually Present |• Discussion |• Writer's Workshop |• Posters |• Personal Exploration |
|• games |• Realia |• TPR |• Script Writing |• Murals/Bulletin Boards |Projects |
|• science experiment |• Literature |• Brainstorm |• Class Books |• Talk Show |• Presentation |
|• KWL |• Pictorial Chart |• Reader's Theater |• SSR |• Plays |• Big Books |
|• Proems |• Graphic Organizer |• Process Grid |• read to/with kids |• Video |• Tests |
|• Read Aloud |• Modeling |• Echo Read |• Venn Diagram |• Hyper-Studios |• Role Play |
|• Personal Experience |• Guest Speakers |• Puppet Show |• Trace books |• 20 Questions/Jeopardy |• Unit Folders |
|• Bulletin Board |• Maps/Patterning |• "Farmer In The Dell" |• Write/Sketch |• Games |• Running Record |
|• Sketches/Drawing |• Manipulatives |• Role Playing |• Newspaper |• Interviews |/Write Inventories |
|• Field Trip |• Coop Groups |• Choral Calling |• Scholastic Weekly Reader |• Field Trips |• Thematic Celebrations |
|• Dressing Up |• Flannel Board |• Interviews |• Living Books |• Visitor |• Poetry |
|• Teacher made Big Books Books |• Positive Reinforcement |• Surveys |• Proofing |• TPR |• Family Involvement |
|• SQ Observation |• Hands On Exploration |• 10/2 |• Prediction |• Overheads & Write Stories |• Showcase |
|• Secret Sac (item in sac) |• Demonstration |• Sharing |• Time Magazine for Kids |• Readers Theater |•Show A Tell |
|• Inquiry Charts |• Narrative Input |• Personal Interact |• "Farmer In The Dell" |• Role-playing |• Celebrations |
|• Concept Attainment |• Big Books |• Sentence Frames |• View Point |• Puppets |• Multi-Cultural Feasts |
|• Literature |• Mnemonic Device |• phonemic awareness |• Overheads & Write Stories |• Clapping |• Poetry Reading |
|• Book Look |• Question/Answer |activities |• Group Paragraph |• Art |• Experiments |
|• Immersion |• 10/2 |• Read Arounds |• Collaborative Stories |• Dance |• Learning Log |
|• Picture File Cards |• Read Aloud |• Guided Reading |• Book Boxes |• Movement |• District Tests |
|• Videos/Laser Disks |• Songs |• tape recording |• Interactive Writing |• Listening Center | |
|• CD ROMs |• Videos |• Author's Chair |• Pocket Charts |• Tape Recorder | |
|• Flannel Board |• Comparisons |• Expert Groups |• Concept Maps |• Computer | |
|• Role Playing |• Diagram |• Heads Together |• Found Poems |• Sandpaper | |
|• Dress for Success | |• sharing | |• Hands-on | |
|• Discussion | | | | | |
|FOCUS/MOTIVATION |INPUT |GUIDED ORAL |READING/WRITING |EXTENDED |CLOSURE |
| | |PRACTICE | |ACTIVITIES | |
|• Observation Charts |• TPR |• Cross-Age-Tutoring |• Language Example Stories |• Visualization | |
|• TPR |• Meet the Masters |• Retelling of Living -partner interaction-wall |• Making Words |• Imagery | |
|• Reader's Theater |• Modeled Reading |• Calendar Activities |• Pen Pals |• Felt Boards | |
|• Word Walk |• Lecture |• Retelling Stories -partner read |• Little Books |• Guest Speakers | |
|• Interactive Journal |• Question asking by teacher & |• Parrot Reading |• Guided Writing |• Sharing | |
| |discussion. | | | | |
|• Hands On |• Modified speech |• Paired Oral Activities |• Double Entry Journal |• Chalkboards | |
|• Games |• SDAIE Strategies |• Chants |• Class Newspaper |• All | |
|• Imagery |• Sing/Chant |• Experiments |• Five Minute Phonics |• Chants | |
|• Sharing |• T-Graphs |• Ask questions/How they got to answers. |• Student Big Books |• Partners | |
|• Guest speakers |• Living Walls |• Poems |• Coop Strip TP | | |
|• Visiting Library |• Games |• Kid Created Games |• Clipboard On Walking Trip | | |
|• Sentence Strip |• Directed Role Playing |• Teachers taking dictation from children. |• Listening Center | | |
|• Food |• Obsetpadon Charts |• Daily News |• Reading Buddies | | |
|• Slide Show |• Experiments |• Interactive Journals |• Dictation | | |
|• Dancing |• Guided Reading |• 10/2 |• Clothesline Books | | |
|• Puppets |• Story Telling |• Inquiry Charts |• Learning Logs | | |
|• Word Web |• Wad Walls |• Big Books |• Journals | | |
|• Post-Its |• Maps |• Story Frames |• Story Extensions | | |
|• Pondering or leading questions. |• Ditecsed Art with discussion. |• Picture Files to stimulate conversation, higher-level|• School Mail | | |
| | |thinking | | | |
|• Sensory Walks |• Time Lines |• Learning Log |• Hands-On Demo | | |
| |• Writer's Workshop |• Poetry Frames |• Poetry Books | | |
| |• Preview-Review |• Author's Chair |• Computers | | |
| |• Mini-Lessons |• Mind Mapping |• Warm-Up "Quick Writes" | | |
| |• Outlines |• Individual and small group reading. |• Picture Prompts | | |
| |• Story Mapping |• Drama/Readers Theater scripted by kids. |• Story Maps | | |
| |• Taology |• Writer's Workshop |• Comic Strips | | |
| |• KWL |• Guided Oral Practice |• Reading the Room | | |
| |• Sentence Strips | |• Sentence Strips | | |
| |• Pocket Chart | |• E-Mail | | |
| |• Process Grid | |• Cloze Reading Strategies | | |
| |• Raps, Rhymes | |• Big Books | | |
| |• Scaffolding | |• Story - Sentence by Sentence | | |
|FOCUS/MOTIVATION |INPUT |GUIDED ORAL |READING/WRITING |EXTENDED |CLOSURE |
| |• Poetry |PRACTICE |• Strip Books |ACTIVITIES | |
| | |• Last part of KWL chart |• Reader's Theater | | |
| | |• Choral Reading |• Overhead | | |
| | |• Sequencing |• Project/Kids/Interactive Writing | | |
| | |• Group Discussion |• Writing Directions | | |
| | |• Personal Interaction |• Book Reports | | |
| | |• Cooking |• Whole Group Story | | |
| | |• Think Pair, share gestures to show |• Dioramas | | |
| | |comprehension. | | | |
| | | |• Reading & Writing | | |
| | | |• Listening Center-reading along with the story. | | |
| | | |• Framing Thoughts | | |
| | | |• Brainstorming | | |
| | | |• Taping Stories | | |
| | | |• Teacher sharing love for literature. | | |
| | | |• Contests | | |
| | | |• Publishing school newspaper. | | |
| | | |• Magnetic Idler and rubber stamps. | | |
| | | |• Persuasive Writing | | |
| | | |• Process Grid | | |
| | | |• Paired Reading | | |
| | | |• Coop Strip Paragraph | | |
| | | |• Ear to Ear Reading | | |
| | | |• Read the Room | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
| | | | | | |
Sample 40-60 minute lesson plans using GLAD strategies in content and language arts
|Day 1 |Day 2 |Day 3 |Day 4 |Day 5 |
|3 personal standards & awards |3 personal standards |3 personal standards |3 personal standards |3 personal standards |
|Prediction/Reaction guide |Big Book |CCD |CCD |CCD |
|CCD |Poetry or Chant |Graphic Organizer |Review graphic organizer with word |Input: graphic organizer or pictorial |
|Observation Charts |T-graph for social skills |Chant |cards |Learning logs and ELD review |
|Inquiry Chart |Picture File Card Sort |Add to t-graph |Learning Log and ELD review |Chant |
| | | |Add to t-graph |Add to t-graph |
| | | | |Process Inquiry chart |
|Day 6 |Day 7 |Day 8 |Day 9 |Day 10 |
|3 personal standards |3 personal standards |3 personal standards |3 personal standards |3 personal standards |
|CCD |CCD |CCD |CCD |CCD |
|Review input with word cards |Revisit t-graph |Input: Pictorial or comparative |Review input with word cards |Picture file card closed sort |
|Learning log & ELD review |Exploration Report |pictorial |Chant |Process Inquiry chart |
|Process Chant |Narrative |Learning log & ELD review |Revisit Narrative with word cards |Chant or process chant |
|Add to t-graph as needed |Chant |Process chant |Read the walls | |
|Day 11 |Day 12 |Day 13 |Day 14 |Day 15 |
|3 personal standards |3 personal standards |3 personal standards |3 personal standards |3 personal standards |
|CCD |CCD |CCD |CCD |CCD |
|Revisit t-graph |Revisit t-graph |Revisit t-graph |Revisit t-graph |Mind map |
|Team tasks |Team tasks |Team tasks |Team tasks |Process grid |
|Expert group 1 |Expert group 2 |Expert group 3 |Expert group 4 | |
|Add to t-graph as needed | | | | |
| | | | | |
| | | | | |
|Day 16 |Day 17 |Day 18 |Day 19 |Day 20 |
|3 personal standards |3 personal standards |3 personal standards |3 personal standards |3 personal standards |
|CCD |CCD |CCD |Read the wall with personal CCD |CCD |
|Finish Process Grid |Poetry and Chants |Reading & Trading game |Process Inquiry chart |Flip chant |
|Chant |Sentence Patterning Chart |Chant or process chant | |Walk the grid |
|Add to t-graph | | | |Cooperative strip paragraph-drafting |
|Day 21 |Day 22 |Day 23 |Day 24 |Day 25 |
|3 personal standards |3 personal standards |3 personal standards |3 personal standards |3 personal standards |
|CCD |CCD |CCD |CCD |CCD |
|Co-op respond, revise (20 min. daily) |Co-op revise/edit (20 min. daily) |Co-op revise/edit (20 min. daily) |Co-op revise/edit (20 min. daily) |Chants/ Poetry |
|Team or indiv. tasks |Team or indiv. tasks |Team or indiv tasks |Team or indiv tasks |Team or indiv tasks |
|Add to t-graph as needed |SPC grammar lesson |Strip book |Review t-graph |Co-op strip reading group |
| | | | |Process Inquiry chart |
|Day 26 |Day 27 |Day 28 |Day 29 |Day 30 |
|3 personal standards |3 personal standards |3 personal standards |3 personal standards |3 personal standards |
|CCD |CCD |Team Presentations |Jeopardy |Graffiti Wall |
|Personal explorations |Personal explorations |Memory Bank |Personal exploration presentations |Process Inquiry chart |
|Flexible reading groups |Flexible reading groups | | |Read the walls |
|Group Frame |Clunkers and Links | | | |
Strategies to include during reading/writing instruction:
Read Aloud
Interactive Journal
Writer’s Workshop
Narrative Input Chart (10 day plan)
ELD retell
Group frame
Story Map
Class poetry/chants
Listen and Sketch
Ear to Ear reading
Shared Reading
Guided Reading
Jody Bader
Sara Martinez
Student Rubric
| |1 |2 |3 |4 |
|Participation |More than one color is missing. |One color is missing. |All colors are represented but not |All colors are represented equally. |
| | | |equally. | |
|Quality of Work |We did not do our best work. |Some of the time we did our best work. |We took our time and did our best work |We took our time and did our best work. |
| | |Some handwriting and drawing is neat. |most of the time. Most of our |All of our handwriting and drawing is |
| | | |handwriting and drawing is neat. |neat. |
|Content Accuracy |Our work is not complete. We didn’t |Our work is mostly complete but we didn’t|Our work is mostly complete and correct. |Our work is complete and correct. We |
| |check our facts. |check our facts. |We checked our facts. |double checked our facts. |
|On Task |We were not on task. |We were on task some of the time. |We were on task most of the time. |We were on task consistently. |
|Teamwork |We didn’t support each other or make |We supported each other and made |We supported each other and made |We supported each other and made |
| |decisions together. |decisions together some of the time. |decisions together most of the time. |decisions together consistently. |
Team Tasks
I agree with the above: _______________________ _____________________________
_______________________ _____________________________
|Requirement |1 - beginning |2 - developing |3 - proficient |4 - advanced |
| |• Words are not related to|• Not all words are high level OR Some |• Words come from your own research |All of #3 plus |
|Cognitive Content |topic OR |have already been studied |• Words relate to topic |• Predictions show you are using context clues and other |
|Dictionary |• Words have already been |• Predictions sound like they might have |• Words are high level |clues |
| |studied by class |come after the final meaning |• Predictions are your own |• Final meaning is restated in your own words and source is|
| |• Incomplete prediction |• Reader is not sure if final meaning comes|• Final meaning comes from reference materials and |cited |
| |and/or final meaning |from reference materials |source is cited | |
|Inquiry Chart and/or |• Knowledge and /or |• Knowledge and questions are somewhat your|• Knowledge and questions are your own |All of #3 plus |
|Exploration Report |questions are not your own|own |• Knowledge and questions relate to topic |• Knowledge and questions tie directly to important ideas |
| |• Knowledge and/or |• At least half of knowledge and questions |• Answers to questions come from research and |of unit |
| |questions do not relate to|relate to topic |sources are cited. |• Multiple sources of research are cited. |
| |topic |• Teacher cannot tell if answers come from | | |
| |• Incomplete |research. | | |
|Expository paragraph |• Not on topic |• Writing was not enough. |• You wrote the required number of paragraphs. |All of #3 plus |
|or paragraphs |• Incomplete |• Writing looks like a list. |• Writing has a clear main idea. |• Writing has an original introduction & conclusion. |
| |• Doesn’t make sense to |• Writing relates to topic but main idea is|• Writing develops the main idea with accurate |• The whole piece stays focused on developing the main |
| |reader |unclear. |details. |idea. |
| | |• Lots of errors and/or messiness make it |• Writing is mostly correct and easy to read. |• Writing develops the main idea fully with significant |
| | |hard to read. | |details. |
| | | | |• Writing is almost all correct and easy to read. |
| |• Not organized |• Relates to topic. |• Relates to topic |All of #3 plus |
|Input chart |• Copied |• Contains organized pictures and labels |• Contains pictures and labels organized in a way |• Additional interesting facts/categories included |
| |• Incomplete |that present information. |that is easy to learn from. |• Sources cited |
| |• Inaccurate |• Important information may be copied |• Important information is chosen and summarized. |• Organization includes color coding |
| | |instead of summarized |• Research presents accurate information. | |
| | |• Some opinions included | | |
|Chant / poem |• Off topic |• Relates to the topic |• Relates to the topic |• Relates to the topic |
| |• Form is confused |• Uses the form we have studied |• Correctly uses a form we have studied |• Uses a model to create an original form |
| |• Information absent |• Teaches at least some accurate |• Uses the chant to teach a variety of information.|• Information is accurate and expands on what we have |
| | |information |• Information is accurate |already learned |
Project GLAD™ Supply List
The Basics:
This list includes the essential supplies in beginning a Project GLAD™ classroom and instructing a complete Project GLAD™ unit. All of these supplies are not necessary for each individual strategy. Begin with the teacher, student, and team supplies. The research and writing center will grow over time through your teaching of the units.
Teacher Supplies:
• Markers in a variety of colors
• 4 numbered plastic spoons and a cup to put them in
• Post its/sticky notes
• Highlighters
• Pencils
• Masking tape
• Stapler
• Sentence Strips/cut up pieces of construction paper (use for cooperative strip paragraph)
• White paper
• Butcher paper to create charts
• Bright color chart paper for T-Graph for Social Skills (1 per unit)
• Literacy Awards (super scientist, bookmarks, golden pen, scientists notes, pencils, etc.)
• Pocket Chart
• Cut up paper for word cards (1 ½ strips)
Team and Student Supplies:
• White paper for word cards, sentence strips, and adding pictures/facts to the walls
• 11 x17 paper/large sized paper for Team Tasks
• Colored pencils or fine tip colored pens or markers -4 different colors per team of students
• Pencil bags/boxes/large Ziploc bags/boxes- 1 for each team
• Construction paper (used for student portfolios) which includes:
-Learning logs
-Paper for interactive journals
-Poetry/chants
-Personal Cognitive Content Dictionary
Writing Center:
• Books of various genres (bibliography, autobiography, fiction, non-fiction, science fiction, realistic fiction, ABC, Short Stories, Picture, Poetry, Mystery, dictionary, etc.)
• Various types of writing materials (check books, note/message paged, post-its, different sized paper, word cards, lined paper, etc.)
• Pencils
• Editing Check Lists
Research Center:
• Text related to unit of instruction (books, journal articles, magazines, pamphlets, flyers, encyclopedias, etc.)
• Picture file cards
• Realia/artifacts
The Extras:
This list includes additional materials that are helpful for the organization of a Project GLAD™ classroom. However, they are not essential as the items are listed above.
Teacher Supplies:
• Clipboards
• Correction tape
• Colored dots (used to organize teams, portfolios, picture file cards)
• Cardstock (used for more durable word cards)
• Permanent and washable markers
• Push pins
• Lined chart paper
Team and Student Supplies:
• Hangars-1 per team (used to store team tasks)
• Small pocket charts-1 per team (can be handmade)
Collaborative Planning Guidelines
Day 1- Afternoon
o Explore Project GLAD website –
o Join Yahoo Groups: ProjectGLADforTeachers, ProjectGLAD6thru12, ProjectGLADBilingualEducators
o Explore your grade-level standards--Science, Social Studies, ELA, ELD, District Requirements
o Develop a Year Plan, pacing guide integrating social studies, science, language arts and English language development standards
o Begin writing Project GLAD Idea Pages (Unit Theme, Focus and Motivation, Closure, Standards, Vocabulary, Resources)
o Record a list of 30-40 vocabulary words
o Generate Vocabulary Words for Cognitive Content Dictionary—use as a resource for word study
Day 2-4 Afternoons
Plan
o Create Process Grid based on standards
o Write 3-5 Home School Connections
o Write original or download Chants to support vocabulary
o Write original or download Big Book text- embed repetitive frame and enduring understanding
o Develop Cooperative Strip Paragraph topic sentence (expository text structure, categories for Process Grid)
o Revise Editing Checklist – grade level/ content standards
o Compose a Prediction/Reaction Guide for an upcoming unit of study
o Determine Found Poetry, Poetry Frame, DRTA text
o Determine Clunkers and Links text
Create
o Pencil in Input Charts: Graphic Organizers (map, timeline or 6 Kingdoms) and Pictorial
o Chart Chants on paper
o Generate Picture File Cards
o Create Observation Charts and Inquiry Chart
o Determine Narrative Story, create pictures, text and background
o Create Generic Charts (Cognitive Content Dictionary, Exploration Report, Story Map, Sentence Patterning Chart, Mind Map, Process Grid, T-graph and Team Points on yellow)
o Create Literacy Awards: Super Scientist Awards, Notebooks, bookmarks, postcards, Golden Pen Awards
o Find pictures to support text and create Big Book
o Develop or download Expert Group text – (link to standards and Process Grid categories)
o Develop Here, There Chant with Sentence Patterning Chart Noun
Day 5- Afternoon
o Presentations, celebrations, personal commitments
Training Location (School and District): ___________________________________________________ Date: _____________
Project GLAD Training Survey
|What I learned: |
| |
| |
|How can I apply it? (Select a topic from the training) |
| |
| |
|What I still need to know about this topic: |
| |
| |
|Questions I still have: |
| |
| |
|What are you considering as your next step(s) as a result of the 7-day training? |
| |
| |
|Value to me: |
| |
| |
|Comments: |
| |
|Based on your experience in this session, on a 0 to 10 basis, how likely are you to recommend a session like this to a friend or colleague? |
|0 1 2 3 4 5 6 7 8 9 10 |
-----------------------
Project GLAD 3/07
Project GLAD 1/06
Project GLAD 10/09
All of the time
Most of the time
Some of the time
Positive participation
Favorite Character
Project GLAD
Macro Press 1993
Evil/antagonist
Project GLAD 1/01
Three things that will happen:
Country/Time Period
Problem/goal
Heroine/protagonist
Solution
Hero/protagonist
You
Text
Project GLAD
Learning Log
TEXT
The Important Book Frame
Project G.L.A.D. 9/03
Interactive Writing
Clunkers & Links
SQ3R
Pocket Poetry
Co-op strip reading
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Big book activities
Flexible reading groups
Jody Bader
Sara Martinez
Portfolio Rubric – 2nd/3rd Grade Paty Garcia and Eva Thaddeus, Cien Aguas International School
Trainers:_______________________
_______________________
________________________
101207300
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