ICAV Paragraph Structure

Quite some time ago, we're talking about 10 years, I attended some Professional Learning run by Emily Bosco and Anthony Bosco of Into English. This PL was focused on Nineteen Eighty-Four but the thing that stood out to me was a paragraph components activity where four different elements were highlighted to help students understand the purpose of each part. 

(Full disclosure: I've since gone on to write for Into English but this was back when I'd only been teaching English for a couple of years and didn't know Emily or Anthonyyet). 

Anyway, the activity in the Nineteen Eighty-Four PL was focused on vocabulary and crafting a paragraph with enough relevant detail. I'm not here to talk about this today. I want to look instead at how the four different elements can be used to prompt students to think about writing structure. 

I don't personally invest myself as a teacher in any particular paragraphing acronym. Off the top of my head, I'm familiar with or have taught (or been required to teach): PEEL, TEEL, CLACEL, PEAL, TEAL, ALARM, PETAL, SEAL, OREO and I'm sure there have been some others. To be honest, it doesn't matter which of these get used, the point is whether a student understands it and if they're able to use the acronym to build an effective framework for writing about texts. With this in mind, I tend to use whatever each particular class is likely to 'get'. If the school is an ALARM school then it makes sense to use ALARM because students should (hopefully) already understand it. If some students are really struggling and have some literacy deficits, then I'll probably aim for something as simple as PEE (Point Example Explanation) just to get them started. If I have a class of skilled reader/writers then I might tell them to just write freely without thinking about paragraph formulae at all and then go from there. And if a student has a tutor who's taught them a completely different way of writing a paragraph that I hadn't even considered, then who am I to stop that if it's working? My point is that I've come to realise that there's no definitive way of doing it. 

This brings me to ICAV. I don't use this all the time but I've found that sometimes, with some particular students who are a bit stuck, that it helps them to think about things in a different way. 

What it is: Something that can kickstart a student's thinking and get them writing, which is often the biggest hurdle. 

What it isn't: A formula for writing HSC examination essays (...unless, of course, it seems to work within this context for a particular student!) 

Here is a quick explanation of the acronym:

• Idea. Same as concept, topic sentence, thesis, or point. What is the main idea that your paragraph is exploring?
• Context. Provide some background for your idea. Expand on your initial sentence by adding some contextual details. 
• Analyse. Provide an example from the text with analysis of an identified technique.
• Values. What conclusions can be drawn about the values being explored in the text? What stance or position is potentially being suggested by the author?

I like it because it builds-in a relevant way of talking about context. The values bit at the end also helps students reconceive their overall paragraph in a new way so that they're not just repeating their main point.

Here are examples of how it can be used with a preamble for students to read. The first is a general example and the second a specific one.

Poetry

ICAV (Ideas Context Analyse Values) is a way of structuring and writing paragraphs. The first step is to pick a poem, any of the ones we've looked at this term, and to write at least four sentences using the guideline below so we can start practising paragraph writing.

1. Write a sentence or two explaining the main IDEA of the poem. Don't forget to mention the name of the poem and its composer.
2. What is the CONTEXT behind this poem and idea? Think about how they connect.
3. Give at least TWO examples from the text that explore the idea. Use 'inverted commas' to quote each example, identify the techniques used, and ANALYSE how this technique highlights or enhances what the poet is trying to say.
4. Link back to what the poet VALUES and how the poem explores this.

Writing about Fritz Lang's Metropolis

Examine a range of Metropolis screenshots and select one to form the basis of your paragraph. 

• Write down an IDEA that's relevant to what you see.
• EG. Capitalist control of the means of production.
• EG. Dehumanisation resulting from capitalist exploitation of workers.
• Expand upon your topic sentence by giving further CONTEXT.
• EG. Marxism, industrial expansion after WWII, influence of German industrialists like Hugo Stinnes.
• ANALYSE techniques - deconstruct the screenshot in terms of what connects it to the context.
• EG. The close-up of the clock is symbolic of the amount of time workers are required to work, and the way that their time has been turned into a commodity to be exploited. 
• What conclusions can you draw about the VALUES of the composer?
• EG. Lang establishes the value of the individual by calling the viewer's attention to the process of dehumanisation visited upon the workers. 

It's not a revolutionary approach but it can be a useful way to mix things up a bit. I've found that it works best with the outliers at either end of the bell curve - students who find it difficult to write paragraphs altogether and students who are quite high ability but need that spark to get them started.

Credit to Emily Bosco and Anthony Bosco for the initial Idea, Context, Technique, Values approach to paragraph vocabulary. 

Scaffolding Paragraph Construction

If there's one thing I was never explicitly taught as an English student back in the 1990s, it was how to write an essay. Even in my time as a senior student, I don't remember ever being conscious of how to write one... I wrote them, of course, and I got good enough marks to justify my later life choices, but essay and paragraph structure weren't ever focused on in my days as a student. 

This presented me with a challenge when I became a teacher. The day I became an English teacher was the day when I first had to start thinking about how essays were written. I observed my fellow teachers and backwards-engineered A range student responses, learned about PEEL paragraphs for the first time and, a bit later, ALARM. I've since come across a range of acronyms that help to formularise and quantify the process of paragraph writing in English... PEAL, TEAL, PEEEL, ICAV, CLACEL, OREO. 

I don't begrudge any of these. Whatever works, right? I just don't have the experience of learning these as a student, and I think it's important for teachers to have such experiences to call upon. Being inside the learning process as student is very different to constructing it as teacher.

I've since tried my hand at writing in the aforementioned formulae for this precise reason, sometimes under fake student names so that I can get an honest appraisal from my teaching peers (a daunting process, let me tell you!). Thankfully, my essays have received appropriately high marks when I've done the 'fake student' thing, but I have to admit that I don't think I do my best writing in the context of using paragraph formulae and scaffolds. When I meet students who have an instinct for writing I encourage them to avoid squeezing themselves into the acronyms, at least as much as our system allows.

That's enough reflection for now. Below is a task that I wrote a couple of years ago while I was thinking about paragraph writing. I've since used it with Stage 5 classes (both Year 9 and Year 10) and it works pretty well. 

It relates to the documentary Blackfish and aims to familiarise students with the idea of supporting a concept statement with relevant examples and analysis. The task does not require students to come up with said examples and analysis as I wanted to explicitly and specifically hone in on the actual construction of the paragraph. As I've explained before on this blog, I think we sometimes get too open-ended as teachers and become afraid to show students exactly how things are done because we don't want to be seen as doing the work for them. Unfortunately, this approach can leave students completely in the dark and they can become unwilling to attempt tasks that they perceive as just too complex.

Here is my thinking:

• Academic paragraph writing is complex. It requires the synthesis of multiple skills - conceptualising, judicious selection of evidence, the ability to write sentences in a variety of structures, use of appropriate vocabulary in a high modality, use of a wide and subject-specific vocabulary (IE. Metalanguage), the use of a paragraph structure that makes internal sense whilst also operating within the wider context of an essay, and memorisation of detailed content that can be recalled in essay-writing contexts that may not allow for notes to be on hand.  
• In order to get students to even start doing the above, I need to remove some of those skills from the playing field. I need to zoom-in on just one or two things and make sure students are confident with these first, and I need to do it in a way where students have the ability and confidence to complete the task whilst also still learning new things (that zone of proximal development we're all familiar with from our university pedagogy days).
• In this particular task below, students are being taught TWO things - the ordering of information within a paragraph, and how to generate a concept based on two different examples from a text. 

The task:

1. Students are given this worksheet.
2. Students pick two pieces of evidence from the worksheet that they think are similar, or that they like the look of. Higher ability students can fill in details about the point being made by each piece of evidence.
3. Students think of something they could say that brings these two pieces of evidence together. What common idea is within them? How are they similar? What argument do they both support? This is then written onto the top of the sheet.
4. Students then write a paragraph that starts with the concept statement they have created and copy the two examples in after it. This is done under timed conditions (9 or 10 minutes for Year 9, 8 minutes for Year 10).

There are three things to watch for when students construct the paragraph. These are things we may take for granted, or things that have not been explicitly taught to students before.

• Make sure the students are putting their sentences one after the other in the paragraph. Some students will start a new line for every sentence which makes the paragraph look like three small separate paragraphs. It can mean a couple of things when students do this, the most worrying of which is that they may not think of all these separate sentences as being part of something cohesive that belongs together. Some students won't learn this through being told ahead of the task, they will need to physically write it wrong first and then have the teacher correct it in front of them in person. 
• The two examples will need some adjusted wording or a connective clause of some sort between them. EG. Additionally, In addition to this, A further example of this is, Moreover, etc. Not all students will instinctively know this, especially if they haven't done a lot of (or any) academic reading. 
• For students who have no trouble assembling the paragraph quickly and understanding all of the above, this could be the time where you introduce the idea of a linking sentence at the bottom that consolidates the concept of the overall paragraph and ties things back to a bigger idea (the thesis). Stronger English students will be able to do this quite well in Stage 5.  

Happy paragraphing!

Disclaimer: The above resource was created specifically for this blog in my own spare time. 

Women on the Australian Home Front in WW1

Part of the NSW Stage 5 History syllabus (the 'Australians at War' study) includes a dot point highlighting the role of women in WWI and WWII. I was led down a rabbit hole while researching this for WWI in particular and came up with the following lesson, which seemed to work well with my class last week. 

Anyway, here's the lesson:

1. Start with a definition activity for the word 'home front'. I actually do this for nearly all of my classes - History and English alike; I feel that improving metalanguage and general vocabulary is one of the key building blocks for learning. There's a lot of research in literacy that suggests that the best way to teach a new word is to get the students to use it in context, so I simply chuck the word up on the board and tell students to put it into a sentence, any sentence that makes sense, and I try to walk around checking on individual students to see how they've gone. It's a good settling routine.

2. After reinforcing the idea of the home front and what it is, have the class contribute to the construction of a mindmap that covers the lives of pre-war women in Australia. Branches of this mindmap could include things such as:

• Division of labour - men worked, women ran the household. In poorer families, women helped with work. It was considered important to keep the father well-fed as he was the only 'working' parent a lot of the time. 
• Women were housewives and their workload was intense - nearly all food was made from scratch and lots of clothes were too. Discuss things like the lack of refrigerators and how this might impact on home life, what would happen if clothing ripped, what a washboard was, etc.
• Women were mothers - it was common in this era to have an average of 10 to 12 children.
• Women's rights - women had gained the right to vote, state by state, only quite recently. The last state that established the right for women to vote was in 1911, only 3 years before the war broke out. 

This can then pivot into a class discussion of how the above might have changed once all the men went off to war. How would women have been impacted by this? 

3. Organise a lottery =- students draw letters (A to L) out of a hat or box [you'll need to just write these onto little slips of paper]. Students then search for their corresponding description in the following document; The Role of Women in WWI. After finding out what 'their' role might have been as a woman in WW1-era Australia, students should read the accompanying detail and respond to the following questions:

4. The Role of Women in World War I

A. What role did you get?

B. What was your role in World War I?

C. How did your role come about?

D. How helpful do you think you were in comparison to the other roles that have been listed?

E. How appreciative do you think people in Australia were of you at the time?

F. If there was a war like WWI today, do you think you would be needed in the same way? Why or why not?

G. Create a poster that advertises your role's contribution or belief. 

The above questions start at the simple and then move into the evaluative and empathy-based, with explicit regard given to context, thus highlighting continuity and change over time. 

I didn't plan it this way but this activity was timed well to coincide with ANZAC Day!

We will remember them. 

Lest we forget. 

Guided Storywriting

Hi, how's it going?

I hope you're well, and I really do mean that - this has been a tough year for everyone and being a teacher in the public system looks like it might only become more challenging as we move into 2021. I've long been a big believer in free education for all but I know how hard it is not to feel demoralised and disillusioned sometimes when working within this system. What's that adage... nothing worth doing was ever easy? 

Teaching isn't easy. 

So, fellow teachers, I hope you're all kind on yourselves as we move into Term 4 of 2020. I hope I can be kind on myself too! Today I thought I'd share a stand-alone worksheet that worked well with my mixed-ability Year 8 classes in that nebulous part of the year where we were all trying to get students back on track after everyone isolated during NSW's first COVID wave. This lesson was designed to focus the students on building their literacy skills, and it bought me some time so I could continue planning some longer term work for my classes.

Guided Storywriting - Worksheet.

The first half of the lesson involves students filling in an open-ended cloze passage that comes with annotations that 'guide' the sort of answers that will work best. This is useful for students who aren't yet at the point where they can generate ideas in sufficient number, and helps them ascertain what categories of words work well in particular contexts.

The second half of the lesson contains some Super Six Strategies to extend student comprehension, and this includes visualisation, connection, and monitoring/summarising activities.

Have a nice term! :)

Teaching Context for Stage 4

One of the key components of understanding a text is consideration of its context. We can see this idea echoed over and over again in a range of material related to teaching English and literacy, consider:

• The NSW English K-10 Syllabus, which specifies in the Rationale for students to "examine the contexts of language to understand how meaning is shaped by a variety of social factors".
• Outcomes EN3-5B, EN4-3B, and EN5-3B across Stages 3, 4, and 5, which all mention a need for recognition of different language contexts.
• Content points in the syllabus, which take it a step further through requiring students to "develop and apply contextual" knowledge by describing and analysing the context of texts (EN4-3B). Or for students to "critically consider the ways in which meaning is shaped by context" (EN4-5C).
  
• The English Textual Concepts, which includes Context as one of the twelve concepts - specifying the way in which context changes meaning in the way we read things, the way texts are shaped by outside factors, and the way values can change over time.
  
• The Literacy Progressions, which map the need for contextual understanding of words in both the Understanding and Creating Texts sub-elements from Levels 5-10.
  

For NSW High School English we start with Stage 4, where context becomes an important factor in modifying meaning when writing, or when recognising the parameters of meaning while reading.

It's easy for English teachers to start looking at context by considering the cultural or personal factors of an author, or how texts are reinterpreted and adapted over time (think Baz Luhrmann's Romeo and Juliet, or Clueless as an adaptation of Emma) but sometimes I find jumping straight into this can leave some students behind. It took me a couple of years of teaching before I realised that context wasn't something explicitly taught in Primary School English, at least certainly not to the extent that the metalanguage term of 'context' had become embedded in student thinking. I can say, "What's onomatopoeia?" to a Year 8 class and, without fail, students will start shouting things like "BANG!", "CRASH!", and "CRACKLE!" If I ask, "What's context?", I usually get blank looks from the same group.

A good starting point is to break the term down into four parts:

• Who wrote it and/or to what audience?
• When was it written?
• Where was it written?
• Why was it written?

I want to get students understanding the impact of these elements on a text and, as with learning vocabulary, it's more effective for students to do rather than copy. So the starting point is to consider a single sentence delivered identically in two very different contexts:

"Stop falling asleep"

Who: said to a student vs. to an airplane pilot.

When: in the daytime vs. during a flight.

Where: in a classroom vs. on a plane.

Why: they should be doing their work vs. they should be flying the plane!

Once students understand this, give them a series of sentences and have them devise their own contexts to go with each one. They should create two separate contexts per sentence with the challenge being that these contexts should be as different as possible. Once they've finished, discuss as a class and compare the responses students came up with, exploring the idea of just how much context can matter. Considering this for single sentences is the building block of considering larger extracts of text, to short stories or articles or films, to whole novels, to whole genres or literary movements. The advancement through the progression will depend on the sophistication of the student as they work their way through the stages and courses towards their final year in High School.

Here's a worksheet that lays out the above-described context activity for students to complete: Context Worksheet.

Focus on Reading and Super Six Strategies

I have to admit that I'm finding it difficult to think pedagogically at the moment. What I mean by that is that I'm usually trying to think and plan ahead into the next term or two. I always want to backward map as much as possible, to frontload students so that when they get to the tricky part of their learning they feel as prepared as possible. It also helps diminish my own anxiety and gives me a clear roadmap to work to - everything is transparent and students know exactly what's coming up throughout each term. Assessment tasks can be given to students far in advance of due dates, and it usually frees up my spare periods to concentrate on head teacher responsibilities, or welfare troubleshooting, helping students 1:1, or any other long projects I might be working on. 

In the age of COVID-19 it just feels impossible trying to plan for anything. Our goalposts are getting moved almost daily... and it isn't anyone's fault, it's just kind of how it is. Being able to plan far ahead has become a privilege rather than a necessity. 

I hate it.

Whenever I get stuck like this I tend to favour a back-to-basics approach. When times are complicated then the work should be simpler. Maslow's Hierarchy of Needs (pictured above) makes it pretty clear that students are less likely to be able to engage with curriculum if their basic needs aren't being met and, as this pandemic provokes and fertilises a seemingly neverending range of issues straight out of a post-apocalyptic science fiction novel, I don't blame them. A lot of students are going to find it difficult to take complicated course content on board in order to "become the most that one can be" if they feel that their safety needs are being threatened by a pandemic.

I always come back to the Super Six Literacy strategies. 

Some time in the past, I think it might have been 2013 or 2014, my school undertook the Focus on Reading professional development modules. Others will be able to tell you about this literacy initiative more than me... what I will say instead is that this particular professional learning galvanised my appreciation for teaching literacy skills. The Focus on Reading modules just felt so wonderfully practical and I'm glad to see that the Department of Education is currently working on a new version of it.

I replicate some of the Super Six-related strategies below in the absence of their current availability. 

Here's an example, from Page 8 of Module 1, drawing upon Teaching for Comprehending and Fluency by I. Fountas and G. Pinnell (2006, pp.463-464). This demonstrates some ways in which students can practice independent writing in relation to their reading:

Writing and Drawing About Reading

Using words, phrases or sketches on stick-on notes or in the notebook to note:

• Place where you made a personal prediction
• Predictions
• Place where you found out something about a character
• Wonderings
• Place where you learned new information
• Place that you found confusing
• Place that you found interesting
• Memorable language
• Place that reminded you of another book

Short writing activities - a few sentences or paragraphs produced quickly in a notebook or a long stick-on note that is placed in a notebook:

• Reaction to the writer's style
• A prediction
• Response to a selected quote
• Response to a peer's thinking
• Reaction to a character
• Thoughts about the writer's craft
• Thoughts about the writer's message
• Comments on the writer's point of view
• Thoughts about how the text reveals life issues
• New understandings or insights
• Using knowledge of the genre to think about character, plot, theme, setting
• Links to other texts
• Story map

Graphic organisers - words, phrases, sketches, or sentences on graphic organisers or drawn in a notebook:

• Web
• Time sequence chain
• Comparison/contrast chart
• Cause/effect chart
• Problem/solution chart
• Grid for comparing elements or taking notes
• Outline
• Letter to the teacher with reply (ongoing dialogue about texts)

Longer responses in the notebook elaborating on thinking about one or several texts

• Double-column entry (two-column responses with material from the text, a category or questions on the left and response or comments on the right)
• Expansion of thinking from the notes, sketches, short writing, or graphic organisers
• Letter to author or illustrator study
• Book recommendation
• Book review 

Published work - more formal responses to texts that are shared publicly

• Poem related to a text
• Picture book on a topic or subject (EG. Biography)
• Opinion essay
• Report of an author or illustrator study
• Examination of a particular theme across texts
• A character analysis or companion
• A book critique  

This particular Focus on Reading module notes go on to discuss the interrelated nature of reading and writing - the way in which learning to write should take place alongside learning to read, as one strengthens the other and vice versa.

I came to realise in light of all this that the explicit teaching of reading and writing right up to the end of Year 12 it is a fundamental part of our ongoing ability to understand complex and sustained text. Indeed, even adults need to make these processes explicit to themselves if they are to develop their own critical faculties in relation to the wider world. Learning never stops.

Super Six Literacy Strategies

The strategies mentioned above can be categorised as examples of the Super Six - to be honest, all comprehension essentially fits into this paradigm. The Super Six, in brief, are the following:

Questioning: Learners formulate and respond to questions that clarify meaning. This allows for greater depth of understanding when drilling down into texts.

Visualising: Learners create a mental image from a text. Visualising isn't necessarily a natural skill for everyone and is something that needs to be developed so that imaginative skills are engaged.

Making Connections: Learners make personal connections with the text by linking it to themselves, another text, or the wider world. This process makes use of our ability to recall information from our broader understanding of things - building pathways between different kinds of knowledge and prompting development of our ability to synthesise information.

Monitoring: Learners interrupt the reading process by stopping to check their understanding. This is an important part of comprehension as it forces the learner to develop strategies to cope with obstacles or disrupted meaning during the reading process.

Summarising: Learners identify and gather together the most significant parts of a text, restating this information in their own words. This is another valuable part of the comprehension process as it helps develop our ability to synthesise information, sort and categorise ideas, and discard irrelevant details.

Predicting: Learners use information from one part of the text to construct an idea of what will happen later in the same text. This is a valuable part of our critical thinking in that it makes explicit the way in which we adjust expectations based on the available information.

I always find myself assured that I'm doing something useful by falling back on the above six domains of comprehension while designing learning activities. Students never fail to be able to engage with these strategies and it's almost always useful in a wide range of contexts.

Food for thought :)

Stand-Alone Lesson: Parents Just Don't Understand

The last few weeks have been challenging for just about everyone. As Term 1 wound down, and the era of COVID-19 descended upon education, teachers found themselves needing to adapt to online learning platforms as a substitute for face-to-face teaching.

I don't have enough time, space, or inclination to go into my experiences in moving to Google Classroom during the last three weeks. There have been some failures, some ongoing challenges, and (I hope) some small successes. I'm still feeling my way through it all and learning about what I do and don't like, what I think might work, and how I might force things to work.

Suffice to say, this is still a teething stage. As it is for many teachers.

During the transition stage at the end of Term 1 I created the following Junior lesson in order to test a few things out. It may or may not be useful in your context if you need to fill a lesson separate to your current scope and sequence.

Firstly, students will need to watch the following music video. This was chosen in response to some Year 8 students who love rap/hip-hop... do you know how difficult it is to find family-friendly rap music? Luckily Will Smith was on hand to help me out. 

As it's a music video it would be remiss to only cover the lyrical content so I provided the students with a worksheet that covered their comprehension in terms of both written and visual literacy. The use of the table format to project questions alongside the relevant parts of the text is an adaptation of the Cornell note-taking method and is part an ongoing effort I've been making to get my Year 8 and Year 9 students to internalise the annotation process.

There are two versions of the worksheet - one for Stage 4 and one for Stage 5.

Parents Just Don't Understand - Stage 4 (Year 8 version)

Parents Just Don't Understand - Stage 5 (Year 9 version)

Note that the Year 9 version includes a question comparing this song to a previous song the class had studied. This can be adapted to suit your context.

Literacy and the Orca

Screenshot from the documentary Blackfish

Prospective English teachers (student teachers at university) are often told that the English method can be applied to every kind of text. One of the few parts of the senior syllabus that pays lip service to this is the Craft of Writing module in Year 12, in which informative texts are mentioned as one of the genres of writing that students will explore. Strangely though, despite this being mentioned in the module descriptor, there are no informative texts in the Module C prescriptions list nor is it expected for students to interact or engage with informative texts in the HSC Examination.

So why is it there?

If we consider that the HSC Examination implies the endpoint of what a student is expected to learn (in my mind it's the only truly summative assessment in the entire course of a student's primary and secondary schooling) then the logic follows that the curriculum for each stage should be backward-mapped from here. Yes, we don't asses informative texts in the HSC Examination, but the inclusion of this idea in the module descriptor is intended to support the literacy of our students. 

There is no specific Literacy subject in Stage 6 yet literacy is an integral part of our learning. The public is fixated on it, the government is fixated on it, and the media is fixated on it. We have NAPLAN and Minimum HSC Standards and PAT Testing but all of these things exist outside of the KLAs. We're often told that literacy should be taught in all subjects (and to some degree it is) but it often falls onto the shoulders of the English subject to show leadership in relation to it because reading and writing is our area. And it is - inescapably - embedded into the content dot points of our syllabus outcomes in ways that it isn't for other KLAs. 

The point I'm making here is that we should be building the understanding of our students in regard to reading informative texts because it's a key part of literacy. Having a sophisticated understanding of informative texts and how they work isn't going to be assessed directly in the HSC Examinations but it will be assessed indirectly in the sense that this kind of understanding is of invaluable benefit to students when they undertake a range of examinations across a range of KLAs. 

Where the Orcas Come In

In Year 10 at my school we have a unit of work called 'Charity and Change' that focuses on students identifying a charitable cause and pitching their own charity for a fictional sum of funding. In preparation for their project on this, the students are currently undertaking a case study on the documentary Blackfish and the issues it examines in relating to Orca captivity. In order to contextualise this it's necessary for students to have an understanding of what Orcas are and what their historical relationship with humans has been. 

In a sociology subject it would be fine to just have students examine the information directly, however, in English it becomes harder to link something as straightforward as this to the outcomes for Stage 5, especially if you've already created an assessment task that's tied into particular outcomes (in this case, EN5-1A, EN5-2A and EN5-8D). In order to make good use of a context lesson like this it can become a case of combing through the English syllabus content dot points in order to find windows into the requisite skills that will assist students in reading this genre of text.

So, before I get to the reading skills, I wanted to first have an information sheet supports the watching of Blackfish by covering the following content:

• What an Orca is and how it operates in the wild
• What makes them 'special' in terms of their intelligence
• The relationship between Orcas and the Yuin Aboriginal people of the South-East Australian coast
• The broader relationship between Orcas and human societies
• The current ecological status of Orcas 

All of this is included in this sheet: Orca Information

Then in terms of the skills that students would be using to read the text this is where the English outcomes needed to come in. I ended up finding the following content dot points to support this:

• EN5-2A: use comprehension strategies to compare and contrast information within and between texts, identifying and analysing embedded perspectives, and evaluating supporting evidence
• EN5-8D: examine how language is used to express contemporary cultural issues
• EN5-8D: explain and analyse cultural assumptions in texts, including texts by and about Aboriginal Australians

These have been used to construct some questions that will scaffold students in gaining a greater awareness of the processes we employ when reading informative texts. These questions should redirect student focus into using particular reading skills, such as:

• The strategies used to comprehend informative texts - such as the conventions used to structure said texts
• The ability to recognise perspectives
• Identifying where evidence has been used to support an argument or point
• Looking more closely at word choices and why they've been made
• Examining the Aboriginal perspective and contrasting attitudes that relate to it

A sheet of these questions can be found here: Orca Questions

The questions are broken up paragraph by paragraph so students don't get lost in the text. As 'whole text' comprehension isn't one of the skills being taught here it therefore becomes a waste of time not to direct student attention to specific parts of the text.

Happy reading!

Some Further Reading:

Eden: Paradise and Purgatory by the Sea - my visit to the Eden Killer Whale Museum 

Killer Whales Learn to Speak Dolphin - an interesting article on the concept of dolphin 'accents' and 'dialects' 

Defenders of Wildlife: Orca - a site with a lot of information about a specific Orca population 

The History of Whaling in Twofold Bay - the curious story of 'Old Tom', the Orca that worked alongside human whalers in Eden and Boydtown

Galway Man: Stage 5 English

Hello and how are you? It feels like only yesterday that the 2019 school year was just starting and now here we are in Term 4. Before you know it, the last assessment tasks will be done and dusted, reports will be written, and students will start thinking about building forts in the woods and riding their BMXs down to the river (kids still spent their summer holidays doing that, right?)

In the last few weeks of Term 4 I usually find myself needing a few stand-alone lessons. It's important that these lessons don't feel like 'throw-away' content... when students cotton on that you don't attach value to what they're doing then they'll tend not to value it either. The antidote to this can be to work on the skills needed for ongoing success in English.

This lesson below is a Stage 5 activity that I usually use for Year 9 as part of a genre unit focused on creative writing. It can also double, however, as something that can be used to help students develop specialised literacy skills at any point in Stage 5 - for example, the ability to identify genre through recognition of common motifs and generic conventions used, the ability to monitor a text for adjectives and adjectival groups, and utilising comprehension skills to predict the direction a text will go in.

Context

Teaching Stage 5 English in a mixed ability classroom often means working with a broad range of students. Differentiated curriculum can take many forms when we teach and, perhaps most often, it tends to come into the classroom in a flexible rapid-response form via the teacher adapting to the fluctuating levels of ability exhibited by individual students. 

One of my favourite forms of differentiation is the the lesson planning process adapted from the Gagne model and used by GERRIC. This involves creating material that targets three separate tiers of ability within the classroom - mainstream material for the core of the class, adapted material for those who may be struggling to meet outcomes, and extension material for those who may be considered gifted. It's important to acknowledge here that 'extension' doesn't mean extra work, it should instead take the place of work undertaken by the main core of the class.

Another thing to acknowledge is that it's near impossible to differentiate every single lesson of work in this way as it essentially means doing three times the work. Instead, it's worth aiming to just do this every now and again so that you can assess what level your students are working at and evaluate how they cope with material that more specifically targets their ability level.

The Lesson: Galway Man

The crux of this lesson is a short horror story called Galway Man. This piece has been designed as something that should be suitable for a Year 9 class exhibiting a range of different abilities and behaviours.

What this means is - it's relatively short to allow for engagement of students who struggle with attention in the classroom, and it's written in a way to allow accessibility for students who may have reading levels as low as those typically encountered in Stage 3. It's important to push student reading levels by exposing them to material that will challenge them but this is something that should be done purposefully and not all the time. If we're looking to build things like vocabulary, sustained understanding via extensive comprehension of cohesion, or an ability to parse sophisticated sentence structures then, of course, we should be challenging students with texts beyond their usual reading scope. However, if we want to work on introducing students to other skills like understanding symbolism and imagery, or the ability to explain genre, then we need simply-constructed texts that can allow for these things to be the focus.

Resource: Galway Man - short story.

The Lesson: Pre-Reading

Before reading the text it might be worth doing a quick check of student understanding regarding the phenomenon of bog bodies as this is the main idea behind the 'horror' of the text. These bodies are human remains that have been accidentally preserved for thousands of years after being submerged in swampy peat-heavy marshland. Bog bodies tend to occur in Western Europe and date from the Bronze Age.

Resource: Pre-Reading - PowerPoint Presentation.

The Lesson: Post-Reading

Students can undertake one of the activity sheets after reading the short story. There are two ways to approach determining who does which sheet:

1. Hand out the three different levels of sheets according to which students you think fit into the 'core', 'adjusted', and 'extension' groupings of ability. If any students question why they can't have a different sheet then, by all means, let them have a go at the sheet they prefer. If they find it too easy then you've both learned something, if they find it too hard then at least they challenged themselves.
2. Let students pick the sheet they want to do - I usually place the sheets on a table underneath the whiteboard with arrows pointing down to the three piles labelling them as 'Regular', 'Hard', and 'Hardest'. It can very educational for the teacher to see which students pick which one. 

The sheets roughly correspond to the same pattern of learning broken into 4-5 sections.

• Prediction: After students have been taken through the pre-reading PPT, ask them to think about what a short story called Galway Man might be about. Students then compare their prediction to how the story turned out.
• Adjectives: Monitor the text to locate and isolate adjectives/adjectival groups.
• Character or Flashback: Students actively consider the process of characterisation. This looks different on each sheet - ranging from a visualisation activity to an opportunity for students to draw explicit connections between a character and his purpose in the text. Some sheets may add or replace this with an examination of the story's use of a flashback as a structural narrative device.
• Genre: Students identify the ways in which the story fits into a specific genre, developing increased awareness of the significance of code and convention.

Resource: Adjusted Activity sheet
Resource: Core Activity sheet
Resource: Extension Activity sheet

English Textual Concepts: Point of View

In my teaching adventures last year I had the privilege to teach a Year 8 class with additional learning needs and I can say (and have probably already said on this blog before) that it was one of the most rewarding teaching/learning experiences I've had so far in my career. Teaching such a diverse range of little people helped me re-frame a lot of teaching strategies in a way that would make them more accessible and inclusive for those with learning difficulties. At this point I had already been experimenting with integrating the English Textual Concepts into my programming for a few years and the resources below represent one of these forays in relation to the aforementioned Year 8 class. 

For some additional context: the English Textual Concepts have been in development for quite some time. When I first heard about them at the 2014 ETA Conference they were referred to as the 'English Concept Continuum' and after this it popped up in various English-related professional learning scenarios and I kind of made it my mission to attend as much of PD sessions as possible. These days it is now being taught at Western Sydney University and is endorsed by the Department of Education as an invaluable resource for English programming - it isn't a mandatory part of being an English teacher but it's certainly a helpful one! When I get stuck in the formative stages of programming I find it's useful to have a squizz at the Textual Concepts and locate a concept that might work as a way to pull everything together.

So, anyway, I wanted to teach Point of View to my Year 8 class because I'd noted some of the students struggling to comprehend how writers establish a relationship between narrator and audience. Here's what the framework says in regards to teaching this particular concept to Stage 4:

Point of View - Stage 4

Students understand that choice of point of view shapes the meanings, the values and the effect of the text.

Students learn that

• a narrator can tell a story, comment on a story or break out from the story to address the responder, directly
• point of view is a device for persuading 
• point of view directs the responder to the values in the text

The Qinling Panda, with its brown fur, is one of the most endangered mammals in the world

Animal Conservation

At the start of 2017 the unit my school was teaching Year 8 focused on endangered animals and text types, which works well with Point of View if you want to look at how different text types utilise first, second and third person for particular effect. Anyway, here's a breakdown of the lesson:

1. Start the PowerPoint Presentation on Point of View. On the second slide brainstorm with students the language used for first, second and third person (IE. 'I, 'Me', 'Myself' for first person; 'You', 'Your', 'You're' for second person; 'He', 'She', Proper Nouns', 'His, etc. for third person). This explicitly identifies and classifies the sort of language the students will be looking for in the next part of the lesson.
2. Students are then shown three pieces of writing about the American Bison in the PowerPoint Presentation; hand out these extracts as a separate sheet and have them highlight the language that differentiates the pieces as first, second and third person.
3. On the 6th slide students are asked to consider the implications of how point of view affects the relationship between writer and responder. Think about: the first person text could be either non-fiction or fiction, however, the third person feels more resolutely like fiction and the second person example moves into a different realm altogether (it can be seen as an instructional text of some kind, perhaps even a travel guide). The questions build upwards ala Bloom's Taxonomy, starting with the 'what' questions before asking students to engage with some basic evaluation (which version appeals the most and why?)
4. The last slide gives students a first person piece of writing that they must rewrite as third person. It's a fairly straightforward activity that allows a struggling class a reasonable degree of success. The scaffolding of analysis before this final activity should also prepare students to discuss their piece of writing afterwards in relation to the way shifting point of view can help the responder to see the content of the text in new ways.

Sometimes I think we (the teacher) underestimate the value of explicitly teaching what we might take as obvious - there are some students who come to high school with a very real need for continued support in developing key comprehension skills that some students can already access unconsciously. In any event, it certainly doesn't hurt to let students achieve success in regards to exploring Point of View before moving forward to more advanced English processes.

Categorising Heroes: Literacy, the Soviet Union, and Differentiation in the Modern Classroom

The Khirgiz, once part of the Soviet Union, are still renowned for practising the ancient art of Eagle-hunting

A key part of early literacy for children is the development of a schema or model for understanding the world around them. We construct meaning by ordering new experiences and words into our own self-constructed epistemologies, and we can decode the unfamiliar with increasing confidence as a result. In simpler terms, a child's extending of vocabulary is made possible through their ability to classify words into self-determined categories based on what they already know. 

This now-commonly accepted theoretical underpinning of literacy was supported by the groundbreaking work of the Soviet neuropsychologist Alexander Luria in the 1930s.

(What follows is an explanation of the way that thinking is tied to literacy. Skip to the end if you just want the 'Heroes'-based Stage 4 resource, but read on for some interesting stuff on how literacy works!)

Luria hypothesised that some cultures understood the world differently if they were non-literate, and thus used the Soviet-controlled Central Asian states of Uzbekistan and Kyrgyzstan to support his work. The research that the Soviet socio-scientist conducted in these places revealed very strong links between literacy and the ability to think abstractly. 

Luria, circa the 1940s.

Context

As Luria's fieldwork was conducted in the 1930s, when Stalin's hold over the Soviet Union was at it's most stifling, this meant that several factors contributed to him being in the right place at the right time. The country was undergoing a process known as Collectivisation, in which farms and other peasant holdings were grouped together to allow for easier control by the state. Joseph Stalin was undeniably one of the most brutal and totalitarian dictators to ever walk the Earth but one upswing of his regime was a historically-unparalleled rise in literacy. Luria's studies in remote Uzbek and Khirgiz societies were therefore quite serendipitous as they came at a point in Russian history that allowed for observation of completely non-literate communities prior to rapidly-increased literacy. 

It would probably be most accurate to identify Luria's work as something firmly grounded in a Marxist context reliant on class distinctions rather than cultural ones. This is most clear in the way that the neuropsychologist delineates between the literate and the non-literate on the basis of the 'old' non-literate peasantry vs. the newly-educated and unified Stalinist proletariat (working class). 

(I should note here that Luria's writing on this matter is very much a product of its time in terms of the attitudes portrayed therein - he often uses the word 'we' to refer to mainstream Russian society and marginalises minority groups such as the Uzbek and Khirgiz in the process. He also, problematically and Eurocentrically, uses the word 'primitive' to describe non-literate societies). 

The Research

Luria examined five different groups in his field study, roughly half of whom were completely non-literate. I use the term 'non-literate' here rather than illiterate as 'illiterate' implies the option of literacy; these societies were non-literate in the sense that they had not even been exposed to writing (as opposed to illiterate members of Western societies). 

Luria conducted extensive interviews in the native languages of these groups, concentrating on three central questions:

• How do people linguistically code basic categories of experience as colour and shape?
• How do they manage classification and abstraction?
• And then, what about verbal problem-solving and self-analysis?

Results

The Soviet researcher found that the non-literate groups were able to classify drawn shapes only by referring to them as objects from their everyday life (EG. A circle was a 'plate', a triangle was a 'tent'). They did not have abstract terms for these shapes that could be used to classify all circular or all triangular objects. If pressed to arrange two shapes together, they did not classify them through shared shapes but by shared use (EG. Two objects might appear to be tools and classified as similar in this way despite being different shapes). 

This appears to reveal that a lack of written language means that the non-literate groups lacked the language skills/tools for abstraction. The written alphabet is, after all, a series of symbols and therefore an abstract concept. By learning how to work with the abstract concept of written language, literate societies are able to develop a greater level of abstraction in their thought, and can therefore categorise ideas in more complex ways. 

For the Khirgiz and Uzbek groups, colour was even more problematic than shapes. Instead of assigning a name to things that literate groups might classify as 'green', they would instead describe certain things as 'the colour of grass in the spring'. When challenged, they lacked the ability to group colours in any way whatsoever.

When forced to group objects together, the subjects always needed to theorise a shared situation that had a practical use. For example, a log and some tools would go together because they could be used together to build a house. It seemed impossible for the subject to separate one of these things from the other because they could only think in practical terms.

Developing Taxonomies in the Classroom

In Stage 4 English the teacher will often still come across students who struggle with abstraction and this is almost always tied to the students' lower literacy levels. In order to deal with this in English the teacher can combine symbolism with categorisation so students can begin to experiment with building their own taxonomies for better understanding.

The activity here is in connection to a visual literacy unit on Heroes and Villains. Before starting, get students to brainstorm as many different fictional and real life heroes as possible. This should be done independently.

Click here for the Categorising Heroes activity.

In the activity, students use the symbols attached to categorise the list they've created and then assign themselves a 'diversity' score using the criteria. This can then be used to prompt discussion about things such as:

• Representation of heroes in the media.
• Who can be a hero?
• What makes a hero?
• How aware are we of the kinds of heroes in our world?

A while back I wrote about using an Assessment for Learning task in connection to this same Heroes and Villains topic. This diagnostic assessment can be used to differentiate students into streams of ability. The activity above can be targeted towards the 'mainstream' portion of the class, whereas students identified as more gifted can be targeted with an 'extension' version of the activity.

Click here for the Extension version.

In this version it's left up to students to create their own symbols/categories, and their own criteria to judge them against. This requires more independence, imagination, and willingness to take risks in one's learning.

Alternatively, here is the Adjusted version for the students with typically lower levels of achievement.

In this version the students are given a higher level of scaffolding; an array of heroes are provided in case these students have been unable to put a diverse-enough list together. This works well for students with low literacy as they can then monitor and interact with the lesson without having to write.

For more on Luria's research on literacy, see the chapter 'Cultural Differences in Thinking' from his book The Making of Mind.

A Monster Calls - Book Annotating

I got around purchasing an entire class' worth of little post-its (which can get expensive) by just cutting up the bigger post-its.

Mid-way through last year I attended the AATE/ALEA National English Conference in Hobart and was particularly taken with American educator Cris Tovani's work on getting students to engage with active-reading. In particular, Tovani spoke about bringing the focus back on reading during a class novel study through the use of independent annotating. She termed these as 'V.I.P.s' aka 'Very Important Points'.

In this lecture, Tovani explained that the students are given a range of coloured post-it notes, with each colour corresponding with a kind of annotation, and the examples she gave from her own teaching demonstrated a wonderful array of student-led discussion points. Inspired by this, I decided to give it a go with a novel study in one of my own classes.

The book in question was A Monster Calls, which I matched up with my mixed ability Year 10 class. Instead of leaving the annotating as homework I decided to eschew the use of comprehension questions in favour of dedicating more time to reading in class, and then letting the students annotate after each chapter was completed with the use of a pre-provided schema to guide them.

Cris Tovani, pedagogue extraordinaire

On this schema I outlined 6 different categories to correspond with the 6 different coloured post-it notes supplied. These were:

• Connect: Note when something from the book reminds you of something from your life, or something you have seen/read, or connects to a prediction you have made about the novel. 
• Question: Write down questions you have about the novel as you think them up while you read.
• Infer/Predict: Flag bits where you have used examples from the text to figure out something in relation to the novel, or have made a new prediction.
• Conflict: Note parts of the text where conflict occurs (this particular novel study was part of a larger unit on texts that deal with conflict)
• Monitor: Highlight parts that didn't make sense to you at first, or at all, or words that were unfamiliar to you.
• Evaluate: This can be your opinion about things happening in the story, things you like/dislike, or just general thoughts. 

The schema can be downloaded here.

A sample from class.

I was surprised (and happy) at how enthusiastically a lot of students got into this. One student seemed to take it as a challenge to see how many flags he could put into each chapter. The upshot of this, besides increased engagement with the text, is that the students were able to use their own annotations to call upon examples to use in their own independent analysis of the novel later on. 

While we're talking about novel study, here are three simple and relevant pointers I've picked up over the last 8 years in regards to teaching novels with mixed ability junior classes:

• Keep the novels in the classroom. If the students take them home then you might not see them all again, and it becomes difficult for these students to stay on-task in lessons that require them to have the books in front of them if they've forgotten to bring them.
• For mixed ability classes, read the entire text aloud while the students read along. This will ensure that you can stick to some kind of schedule/timeframe... a novel study can become messy if students are left to read on their own; some will finish the book in the first few days, others will never get past the first few pages. I know there are very strong arguments against this practice, however I was wholly converted last year by Steven Layne's fantastic lecture on reading aloud, which turned out to be perfect for my own Western Sydney context. 
• Pick a novel of shorter length. The reading ages of junior students vary more the closer they get to senior school, you could have some students who would read a 900 page Game of Thrones novel and others who would need help focusing on finishing one of Roald Dahl's wonderful children's novels. You typically only have 50-70% of a term to get through a novel and the lower ability students will lose focus if they are asked to sustain engagement with an adult-length novel. By all means, extend the more literate students with extra texts that they can read on their own - chances are that they already have a love of reading if they are this literate - but it's also important not to leave the rest of the class behind and to give them every chance of appreciating what reading can offer.
  

There will be detractors in regards to the above, but keep in mind that there are also students who often get to Year 11 and are able to say, "I've never read a single book, not even in previous years of English when the rest of the class read the class novel". By reading aloud during class time, and ensuring that it's a novel that the whole class can get through, the aforementioned disengaged students will get to Year 11 and be able to say, "Actually, I read an entire book, along with the rest of the class".   

On a final note, I also highly recommend A Monster Calls because it's a poignant, highly engaging read that will prompt discussion and stay with the reader long after it's finished.

Using Text Chains

Text chains show the way that authors bring great books, like A Monster Calls (above), to life

Today I am lucky enough to be heading to a TeachMeet out at Camden Primary School. I love TeachMeets because they provide an opportunity for teachers to share ideas in a concise and useful fashion - each teacher is usually restricted to 7 minutes or so to keep things snappy. In the spirit of this snappiness I'm also going to keep this blog short. 

The content of the presentation can be found here: Using Text Chains.

I've written about text chains on this blog before, and these posts can be found by clicking the 'Text Chains' label attached to this post.

Anyway, I'd love to write more but, being Term 3 and all, I'm a bit pressed for time. Hope you find it useful nonetheless!

Cutting Edge: A Report

Plenary Hall on Day 1

I attended the AATE/ALEA Cutting Edge conference in Hobart about two weeks ago and my head is still giddy with the pedagogical possibilities I experienced there. Each morning, I stepped out into the bracing stillness of the harbour's Southern Ocean air, looked up at the looming snow-specked rockface of Mt. Wellington, and smelt the collective woodfire of the street's chimneys.

The walk to Wrest Point Convention Centre was chilly but the scenery and ambience always made up for it.

View of Mt Wellington from Wrest Point

Where does one start with a conference attended by 1100 delegates, a conference that went for four days, a conference where 260 separate teachers and educational specialists shared their knowledge and ideas with one another? Many times I felt like a kid at a music festival with multiple stages, wrestling with the agonising need to make a decision about which bands to see. Gnashing my teeth whenever I noted that two or three or even four great workshops were up against each other.

Like many other attendees, I was spoilt for choice.

Day Zero: The extended pre-conference sessions gave me a chance to engage more closely with the pedagogy of international speakers Linda Hoyt and Steven Layne, who were both such enthusiastic presenters that one couldn't help but get swept away in the positive and constructive methodology they shared. Dr Layne spoke wonderfully about using feedback and community-styled classroom environments, and modeled how this works by getting those of us who attended the session to generate creative writing pieces and accompanying feedback.

Day One: My highlight for the second day (the first day of the conference-proper) was a session in which South Australian teacher and researcher Sarah McDonald discussed the problematic stereotyping that has contributed to the timbre of boy-focused literacy initiatives in Western education. Her ongoing research was both useful and thought-provoking. Another highlight for the day was the keynote from American high school reading specialist Cris Tovani, who turned the focus back onto the teachers in the room by asking them to consider what it is that makes learning compelling for them, and then showed the lecture theatre some useful strategies to get students interrogating the texts they read for greater depth of understanding - alluding to Super Six-styled skills of connecting, monitoring, questioning, etc.

Cutting Edge talk on the 100 Story Building

Day Two: Wayne Sawyer started the day with his inspiring delivery of the Garth Boomer address on 'Low SES contexts - What could they mean for 'English'". Among the many insightful points made, Professor Sawyer highlighted the concentrations of disadvantage in those of low socio-economic status, asserting that deficiencies in performance within the subject of English are always about class. I'm not going to do justice to his keynote address in the space of a paragraph, however, the inclusion of the Motivation engagement Education (MeE) framework - and it's 'Fair Go' principles - provided a lot of intellectual grist for the audience. Later in the day, I was also fortunate to attend a session on the Seven Steps to Writing Success presented by its creator, Jen McVeity, and in the space of just 35 minutes she managed to convey enough material for several lessons' worth of creative writing instruction. It was fantastic.

Day Three: The last day of the conference was another big one, with Israeli educator Dr. Adam Lefstein sharing his research on classroom practice. Dr Lefstein made the case for repositioning Professional Learning as something that should happen on the job rather than outside it, and spoke illuminatingly about the way discourse shapes our thinking as teachers, as well as the need for educators to focus on positive practice when observing each other (rather than the usual things in the classroom that can go wrong). Dr Lefstein lectured about a lot that really spoke to me, and I can see myself blogging more about him more extensively in the future. The final day of the conference was also the one in which my colleague Kira Bryant collaborated with me on presenting our own materials on teaching explicit creative writing skills in the classroom. I enjoyed it a lot. 

Presenting on Creative Writing strategies

I had to take this photo - I couldn't help myself!

I met so many great teachers at Cutting Edge and learnt a lot of great stuff. I'd like to once again thank the Copyright Agency for granting me a 2017 Scholarship to attend the Cutting Edge conference. I blogged a few times about it, and the links can be found here:

Engaging Writers in the Classroom by Steven L. Layne

Gender and Literacy by Sarah McDonald

Sizzling Starts by Jen McVeity

Write Right: Authentic Engagement with Creative Writing

That's Wrest Point on the right

Some links of interest related to some of the presenters can be found here as well:

Linda Hoyt - Excellence in Literacy Instruction
Steven L. Layne - Passionate about Reading
Cris Tovani - Reading Comprehension Specialist
Elizabeth Birr Moje - Dean of the School of Education at the University of Michigan
100 Story Building - Creativity and Literacy for Young People

Wayne Sawyer and Larissa McLean Davies - Investigating Literary Knowledge in English Teachers
Angela Meyer - Flash Fiction
Jen McVeity - Seven Steps to Writing Steps
Rosie Kerin - Write Me: Workshops on English and Literacy
Adam Lefstein - Some useful articles on his research around classroom management and professional learning