With clear and accessible language, Carl guides you through the three main parts of a writing conference, and shows you the teaching moves and intentional language that can be used in each one. He helps you understand: - how to get started with conferring, or improve your existing conferences - how to use conferences to meet the diverse needs of your student writers - how to fit conferences into your busy writing workshop schedule. More than 25 videos bring the content to life, while Teacher Tips, Q&A's, and Recommended Reading lists provide everything you need to help you become a better writing teacher.

    Real hard. In The Unstoppable Writing Teacher she takes on the common concerns, struggles, and roadblocks that we all face in writing instruction and helps us engage in the process of problem solving each one.From dealing with writing workshop skeptics to working with students both gifted and challenged, and of course combating that eternal barrier-lack of time-Colleen offers tried-and-true strategies to address and overcome obstacles.For the struggles unique to you, she includes a "Name Your Monster" section that helps you identify your own individual roadblocks and even offers sustainable support through her blog, colleencruz.com. "We can't solve all the problems we're faced with in writing instruction," Colleen promises, "but we can choose how to respond to them. And our responses will make all the difference."What makes you unstoppable, or what's stopping you? Connect with Colleen on her blog at www.colleencruz.com/blog.htm or on Twitter, #unstoppablewritingteacher.

    If you want to be a writer, you begin by carefully observing the work of accomplished writers. Recognizing the importance that modeling plays in the learning process, high school English teacher Kelly Gallagher shares how he gets his students to stand next to and pay close attention to model writers, and how doing so elevates his students' writing abilities. Write Like This is built around a central premise: if students are to grow as writers, they need to read good writing, they need to study good writing, and, most important, they need to emulate good writers. In Write Like This, Kelly emphasizes real-world writing purposes, the kind of writing he wants his students to be doing twenty years from now. Each chapter focuses on a specific discourse: express and reflect, inform and explain, evaluate and judge, inquire and explore, analyze and interpret, and take a stand/propose a solution. In teaching these lessons, Kelly provides mentor texts (professional samples as well as models he has written in front of his students), student writing samples, and numerous assignments and strategies proven to elevate student writing. By helping teachers bring effective modeling practices into their classrooms, Write Like This enables students to become better adolescent writers. More important, the practices found in this book will help our students develop the writing skills they will need to become adult writers in the real world.

     -Lucy Calkins, Author of Units of Study for Teaching WritingHidden Gems will transform the way we read student work. -Thomas Newkirk, Author of Holding On to Good Ideas in a Time of Bad OnesYou don't get true, fire-in-the-belly energy for writing because you fear getting a bad grade, but because you have something to say and your own way of saying it. -Katherine BomerIf you're like Katherine Bomer, you've grown weary of searching for what's wrong in student writing, and you want better ways to the respond to pieces whose beauty and intelligence doesn't shine on the first read. Now she shares how she learned instead to search-sometimes near the surface, sometimes deep beneath-to find, celebrate, and teach from writers' Hidden Gems.My hope is that as teachers we can respond to all students' writing with astonished, appreciative, awe-struck eyes, writes Katherine. Through protocols, sample assessments, and demonstrations with actual student work, she shows how to bring the brilliant facets of your writers to the surface as you:spot hidden stylistic gems in writing that is unconventional or vernacular uncover content and organizational gems even when you don't find the subject matter engaging or significant respond by naming and celebrating writers' gems instead of hunting for mistakes give lasting compliments using the inspiring language of published writers that motivate students to keep writing, revising, and polishing their gems. Accept Katherine Bomer's invitation to read work by young, unseasoned writers the way we would inquire our way into a poem by Nikki Giovanni, Jimmy Santiago Baca, or Naomi Shihab Nye and to notice the quirky brilliance and humor, the heartbreaking honesty, and surreal beauty in even the slightest bits of writing. You'll soon discover that student writers often perform remarkable feats in the craft of writing, and that you can achieve remarkable results with them when you uncover theirHidden Gems.

    Using three main revision toolboxes - words, structure and voice - it offers dozens of specific revision tools.

    While every aspect of writing workshop is geared to support children learning to write, this kind of teaching is often challenging because what writers really do is engage in a complex, multi-layered, slippery process to produce texts. The book confronts the challenge of this teaching head-on, with chapters on all aspects of the writing workshop, including: * day-to-day instruction (e.g., lesson planning, conferring, assessment and evaluation, share time, focus lessons, and independent writing) * classroom management (e.g., pacing and scheduling, managing the predictable distractions, and understanding the slightly out-of-hand feeling of the workshop) * intangibles (e.g., the development of writing identities and the tone of workshop teaching)The Writing Workshop is a book about being articulate—being able to think through what we are doing as we are doing it so that we can improve our practice. It's a book to go back to when things are getting hard. A book that helps us think through, "Now why was I doing this?" Woven between the chapters on teaching are the voices of published writers, followed by short commentaries from Lester L. Laminack. These voices remind us how writers do what they do, thus lending authenticity to what Katie Wood Ray shows us in the classroom, and thoughtfully helping us frame our instruction to match the complex process of writing.(source:http://www.ncte.org/store/books/writi...)

    Based on literacy learning and motivation research, they created a structure called The Daily Five which has been practiced and refined in their own classrooms for ten years, and shared with thousands of teachers throughout the United States. The Daily Five is a series of literacy tasks (reading to self, reading with someone, writing, word work, and listening to reading) which students complete daily while the teacher meets with small groups or confers with individuals.This book not only explains the philosophy behind the structure, but shows you how to carefully and systematically train your students to participate in each of the five components.Explicit modeling practice, reflecting and refining take place during the launching phase, preparing the foundation for a year of meaningful content instruction tailored to meet the needs of each child.The Daily Five is more than a management system or a curriculum framework; it is a structure that will help students develop the habits that lead to a lifetime of independent literacy.

    Most young writers are not intimidated by personal narrative, fiction, or even poetry, but when they try to put together a "teaching book," report, or persuasive essay, they often feel anxious and frustrated.JoAnn Portalupi and Ralph Fletcher believe that young nonfiction writers supply plenty of passion, keen interest, and wonder. Teachers can provide concrete strategies to help students scaffold their ideas as they write in his challenging genre.Like the authors' best-selling Craft Lessons: Teaching Writing K-8, this book is divided into sections for K-2, 3-4, and middle school (grades 5-8) students. These divisions reflect various differences between emerging, competent, and fluent writers. In each section you'll find a generous collection of craft lessons directed at the genre that's most appropriate for that particular age. In the K-2 section, for example, a number of craft lessons focus on the all-about or concept book. In the 3-4 section there are several lessons on biography. In the 5-8 section a series of lessons addresses expository writing. Throughout the book each of the 80 lessons is presented on a single page in an easy-to-read format.Every lesson features three teaching guidelines:Discussion--A brief look at the reasons for teaching the particular element of craft specifically in a nonfiction context.How to Teach It--Concrete language showing exactly how a teacher might bring this craft element to students in writing conferences or a small-group setting.Resource Material--Specific book or text referred to in the craft lesson including trade books, or a piece of student writing in the Appendixes.This book will help students breathe voice into lifeless "dump-truck" writing and improve their nonfiction writing by making it clearer, more authoritative, and more organized. Nonfiction Craft Lessons gives teachers a wealth of practical strategies to help students grow into strong writers as they explore and explain the world around them.Be sure to look at the When Students Write videotapes too.

    It opens with a clear research-based rationale for teaching oral reading, word recognition, fluency, and comprehension. From there, Rasinski provides the strategies themselves - read aloud, repeated reading, performance reading, and many more. The strategies are fun, easy to implement, and -- most important -- effective in helping children read with ease, confidence, and understanding.Praise for The Fluent Reader:"What I find remarkable about The Fluent Reader is the way Timothy Rasinski leads us from the theoretical to the practical...I suspect that teachers who read this book will be quick to take the ideas and apply them in their classrooms." ---From the foreword by James Hoffman, University of Texas at Austin

    That year, she discovered that some of the students in her seventh-grade language arts classes could pronounce all the words, but couldn't make any sense of the text. Others couldn't even pronounce the words. And that was the year she met a boy named George.George couldn't read. When George's parents asked her to explain what their son's reading difficulties were and what she was going to do to help, Kylene, a secondary certified English teacher with no background in reading, realized she had little to offer the parents, even less to offer their son. That defining moment sent her on a twenty-three-year search for answers to that original question: how do we help middle and high schoolers who can't read?Now in her critical and practical text "When Kids Can't Read - What Teachers Can Do: A Guide for Teachers 6-12," Kylene shares what she has learned and shows teachers how to help struggling readers with comprehension vocabulary fluency word recognition motivation Here, Kylene offers teachers the comprehensive handbook they've needed to help readers improve their skills, their attitudes, and their confidence. Filled with student transcripts, detailed strategies, reproducible material, and extensive booklists, this much-anticipated guide to teaching reading both instructs and inspires.

    In it, Jennifer Serravallo narrows the distance between assessment and instruction. She maps the four fiction and four nonfiction comprehension goals she presented in The Reading Strategies Book to fourteen text levels and shares sample responses that show what to expect from readers at each.Jen simplifies text complexity and clarifies comprehension instruction. She begins by untangling the many threads of comprehension: Levels, engagement, stamina, the relevance of texts, and much more. Then level by level she:calls out with precision how plot and setting, character, vocabulary and figurative language, and themes and ideas change as fiction across levels specifies how the complexity of main idea, key details, vocabulary, and text features increases in nonfiction texts points out what to expect from a reader as text characteristics change provides samples of student responses to texts at each level shares progressions across levels to support instructional planning. Even if you haven't read the book your reader is responding to, you'll have the background necessary to make great teaching decisions for all your readers. Understanding subtle shifts and increases in demands from level to level, writes Jennifer Serravallo, can guide what a teacher asks a student, what the teacher expects of the student, and what the teacher, therefore, teaches the student.Want to become a master of matching kids to books? Looking to take the difficult out of differentiation? Or do you want to dramatically increase the power and responsiveness of Jen's Reading Strategies Book? Understanding Texts & Readers shows you how to move forward when students need to make progress.

    And after 30 years of studying her students' growth in the writing workshop, Lucy Calkins knows one of the most powerful ways to support good writers: clear, purposeful writing conferences.In One to One Calkins and her colleagues Amanda Hartman and Zoe White show you the practices and principles that create effective conferences. They dispel the myth that master teachers have a magic touch and show you that effective teachers do not reinvent the conference with each student, but rather use predictable, principled interactions that follow a few simple frameworks. In One to One, you will learn:repeatable conferring frameworks that are the foundation of effective conferring specific teaching methods that you can match to your students' needs strategies for tailoring conferences to English language learners ways to use conferring across the content areas on-the-run record-keeping systems that are efficient, powerful teaching tools. Good conferring, like good teaching, relies on your ability to communicate effectively with children, and the skills you develop as you learn to confer will improve your teaching abilities in all areas, including developing curriculum, leading strong minilessons, and untangling the classroom chaos that can derail a smoothly running workshop. Read One to One to improve your conferences and your teaching. But most important, read it to improve your students' writing every day.

    But it is also the planning, the thinking, the writing, the journey: all I've been putting into my teaching for the last two decades. This is the book I wanted when I was first given ninth graders and a list of novels to teach. This is a book of vision and hope and joy, but it is also a book of genre units and minilessons and actual conferences with students." -Penny Kittle What makes the single biggest difference to student writers? When the invisible machinery of your writing processes is made visible to them. "Write Beside Them "shows you how to do it. It's the comprehensive book and DVD that English/language arts teachers need to ensure that teens improve their writing. Across genres, Penny Kittle presents a flexible framework for instruction, the theory and experience to back it up, and detailed teaching information to help you implement it right away. Each section of "Write Beside Them "describes a specific element of Kittle's workshop:Daily writing practice: writer's notebooks and quick writes Instructional frameworks: minilessons, organization, conferring, and sharing drafts Genre work: narrative, persuasion, and writing in multiple genres Skills work: grammar, punctuation, and style Assessment: evaluation, feedback, portfolios, and grading. All along the way, Kittle demonstrates minilessons that respond to students' immediate needs, and her Student Focus sections profile and spotlight how individual writers grew and changed over the course of her workshop. In addition, "Write Beside Them" provides a study guide, reproducibles, writing samples from Penny and her students, suggestions for nurturing your own writing life, and a helpful FAQ. Best of all, the accompanying DVD takes you right inside Penny's classroom. Its video clips explicitly model how to make the process of writing accessible to all kids. Penny Kittle's active coaching and can-do attitude alone will energize your teaching and inspire you to write with your students. But her strategies, expert advice, and compelling in-class video footage will help you turn inspiration into great teaching. Read "Write Beside Them "and discover that the most important influence for all young writers is their teacher. Write Beside Them debuts as the field's most comprehensive, contemporary, and practical book on high school writing. Kittle not only tells how a skillful writing teacher operates, she shows you on the accompanying DVD, with clips of kids at work in every stage of a writing workshop. And all this glorious teaching happens with real, sometimes struggling kids who remind us of our own classrooms and students. Write Beside Them "is the whole package." -Harvey Daniels Author of "Content-Area Writing" and "Subjects Matter" Click here to view a sample video from the DVD.

    One of the rare breed of teachers who do know this is Nancie Atwell. - The New York TimesReading this book can be revolutionary. . . . Atwell leads us to new understandings of teaching and learning in a workshop classroom. - Voices from the Middle When first published in 1987, this seminal work was widely hailed for its honest examination of how teachers teach, how students learn, and the gap that lies in between. In depicting her own classroom struggles, Nancie Atwell shook our orthodox assumptions about skill-and-drill-based curriculums and became a pioneer of responsive teaching. Now, in the long awaited second edition, Atwell reflects on the next ten years of her experience, rethinks and clarifies old methods, and demonstrates new, more effective approaches.The second edition still urges educators to "come out from behind their own big desks" to turn classrooms into workshops where students and teachers create curriculums together. But it also advocates a more activist role for teachers. Atwell writes, "I'm no longer willing to withhold suggestions and directions from my kids when I can help them solve a problem, do something they've never done before, produce stunning writing, and ultimately become more independent of me."More than 70 percent of the material is new, with six brand-new chapters on genres, evaluation, and the teacher as writer. There are also lists of several hundred minilessons, and scripts and examples for teaching them; new expectations and rules for writing and reading workshops; ideas for teaching conventions; new systems for record keeping; lists of essential books for students and teachers; and forms for keeping track of individual spelling, skills, proofreading, homework, writing, and reading.The second edition of In the Middle is written in the same engaging style as its predecessor. It reads like a story - one that readers will be pleased to learn has no end. As Atwell muses, "I know my students and I will continue to learn and be changed. I am resigned - happily - to be always beginning for the rest of my life as a teacher."

    There are a variety of approaches or programs, but none of them matches the writing workshop when it comes to growing strong writers. That's why, despite the pressures of testing, the writing workshop has endured and even flourished in thousands of schools across the country. Today we face a time when as many as ten million new teachers are entering the profession. It is for these teachers, and others who are unfamiliar with writing workshop, that Ralph Fletcher and JoAnn Portalupi wrote this book - as a way to introduce and explain the writing workshop . . . to reveal what a potent tool the writing workshop can be for empowering young writers.Above all Writing Workshop is a practical book, providing everything a teacher needs to get the writing workshop up and running. In clear language, Fletcher and Portalupi explain the simple principles that underlie the writing workshop and explore the major components that make it work. Each chapter addresses an essential element, then suggests five or six specific things a teacher can do to implement the idea under discussion. There's also a separate chapter entitled "What About Skills," which shows how to effectively teach skills in the context of writing. The book closes with practical forms in the appendixes to ensure that the workshop runs smoothly.Fletcher and Portalupi's twenty-plus years working with teachers have convinced them that there is no better way to teach writing. This important book is the culmination of all their years of effort, a synthesis of their best thinking on the subject.