He tells jokes with the kind of mocking humor that gets a laugh, yet can be safely shared in school. After all, even great schools have bad days -- when lesson plans fall through, disgruntled parents complain, kids throw temper tantrums because they have to use the same spoon for their applesauce and mashed potatoes, and of course, dealing with...The Horror! The Horror!...dreaded assessments. Ranging from practical topics like social media use in the class­room and parent-teacher conferences to more lighthearted sections such as "Pickup and Dropoff: An Exercise in Humanity" and "School Supplies: Yes, We Really Need All That Stuff," Go See the Principal offers comic relief, inspiration, and advice to those who need it the most.

    Included are practical, classroom-tested strategies and step-by-step instructions for how to use them. The new edition provides information on using technology for accelerated learning, managing cluster grouping, increasing curriculum rigor, improving assessments, boosting critical and creative thinking skills, and addressing gifted kids with special needs. Already a perennial best seller, this guide’s third edition is sure to be welcomed with open arms by teachers everywhere. Digital content provides a PowerPoint presentation for professional development, customizable reproducible forms from the book, additional extension menus for students in the primary and upper-elementary grades, and a special supplement for parents of gifted children.

    Award-winning educator Felicia Rose Chavez exposes the invisible politics of power and privilege that have silenced writers of color for far too long. It’s more urgent than ever that we consciously work against traditions of dominance in the classroom, but what specific actions can we take to achieve authentically inclusive communities? Together, we will address how to:· Deconstruct our biases to achieve a cultural shift in perspective.· Design a democratic teaching model to create safe spaces for creative concentration.· Recruit, nourish, and fortify students of color to best empower them to exercise voice.· Embolden our students to self-advocate as responsible citizens in a globalized community.Finally, a teaching model that protects and centers students of color, because every writer deserves access to a public voice. For anyone looking to liberate their thinking from “the way it’s always been done,” The Anti-Racist Writing Workshop is a clear, compelling guidebook on a necessary step forward.

    She shows us how to teach students to manage all the thinking and questioning that precedes their putting pen to paper. More than that, she offers us smarter ways to have students write about their reading that can last them a lifetime. She demonstrates how students' responses to reading canstart in a notebook, in conversation, or in a read aloud lead to thinking guided by literary criticism reflect deeper text analysis and honest writing processes result in a variety of popular genres--book reviews, author profiles, commentaries, editorials, and the literary essay. She even includes tools for teaching-day-by-day units of study, teaching points, a sample minilesson, and lots of student examples-plus chapters on yearlong planning and assessment. Ensure that your students will be readers and writers long after they leave you. Get them enthused and empowered to use whatever they read-facts, statistics, the latest book--as fuel for writing in school and in their working lives. Read Angelillo.

    How many authors would travel coast to coast on a bus to get their book into as many hands as possible? Not many. But that's just what Ron Clark, author of The Essential 55, did to keep his book and message in the public eye. And it worked. After his Oprah appearance, sales skyrocketed: we've sold more than 850,000 copies in six months! The book sat tenaciously on the New York Times bestseller list for 11 weeks. Ron Clark was featured on the Today show, and in the Chicago Tribune, Good Housekeeping, and the New York Daily News--not to mention the calls we've received from teachers and parents who want to get their hands on Ron's guidelines for teaching children. Now in paperback, The Essential 55 will be the perfect book for parents and teachers to slip into their own backpacks, to read on the train or at lunch, and to highlight the sections that resonate for them. And with an author who is truly a partner in getting his message to the masses, we just can't lose.

    While some fourth-to-ninth-graders come to see books as a lifeline for understanding a changing world, too many experience “the fourth-grade slump”—a marked decline in interest and achievement in reading. Without help, many become middle and high school students who have stopped reading for pleasure, and only slog through what is assigned.Teri draws on her extensive experience as a teacher and consultant to examine ways that educators can help interest kids in books and keep them reading during this crucial period. She looks at:developmental attributes of tweens;emerging interests for tweens;themes and plots tweens find most engaging;annotations for scores of children's and YA literature most appropriate for tweens;practical classroom activities for sparking tween engagement in reading.As in her previous book, Making the Match, Naked Reading is loaded with specific titles to help you connect kids with books that will interest them the most.

    This updated edition of the best-selling book Because Writing Matters reflects the most recent research and reports on the need for teaching writing, and it includes new sections on writing and English language learners, technology, and the writing process.

    In ReadWriteTeach, Linda offers the what, how, and why of a year's worth of reading and writing for middle and high school students with a framework that is as flexible as it is comprehensive....This book isn't a compilation of tear-out reproducibles designed to help us replicate Linda's practices, writes Maja Wilson in the foreword. Instead, it's the most powerful gift that a master teacher can give us: the story of her thinking and feeling as she teaches. Linda's insights and beliefs are woven throughout a comprehensive overview of best literacy practices, which include:essentials in the reading-writing workshop grounding our choices in our beliefs getting to know ourselves and our students as readers and writers. Students' voices, through examples of their writing, drawing, and thinking, resonate throughout the book and characterize the thoughtful readers, writers, and citizens of the world that they become under Linda's guidance.Online companion resources include all of the handouts that Linda uses in her own classroom. Download a free sample chapter!

    With the introduction of the rigorous Common Core State Standards, diverse classrooms need a proven framework for optimizing student engagement and facilitating deeper learningCulturally responsive pedagogy has shown great promise in meeting this need, but many educators still struggle with its implementation. In this book, Zaretta Hammond draws on cutting-edge neuroscience research to offer an innovative approach for designing and implementing brain-compatible culturally responsive instruction.The book includes:*Information on how one’s culture programs the brain to process data and affects learning relationships*Ten “key moves” to build students’ learner operating systems and prepare them to become independent learners*Prompts for action and valuable self-reflectionWith a firm understanding of these techniques and principles, teachers and instructional leaders will confidently reap the benefits of culturally responsive instruction.

    George combines clear, intelligent, and functional advice on fiction writing with anecdotes from her own life, the story of her journey to publication, and inside information on how she meticulously researches and writes her novels. George's solid understanding of craft is conveyed in the enticing manner of a true storyteller, making Write Away not only a marvelous, interesting, and informative book but also a glimpse inside the world of a beloved writer.

     -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.

    Lifelong readers need passion, agency, and a sense of inquiry in their reading lives. They also need books.In It's All About the Books, Tammy Mulligan and Clare Landrigan share the systems they have developed over the last 15 years to create classroom libraries and book rooms that support both student choice and instructional goals.Getting started with designing and provisioning classroom libraries and bookrooms to support lifelong readers involves collaboration, planning, and some elbow grease! It's All About the Books is a practical yet detailed guide to creating a system where classroom libraries and bookrooms work seamlessly together to make it easy for teachers to find books to engage and scaffold all students in a school community. Each chapter includes photos, resources, book lists, and a step-by-step outline of the process so you can get started right away. From design, to inventory, to organizing, purchasing, and using these books in the classroom-they demonstrate how to make the most of what you have, and how to get what need on a budget.Every child deserves the opportunity to become a lifelong reader. It's All About the Books will help you transform how you organize books across the entire school to make each teacher's book supply seem endless in the eyes of a reader. Teachers must have easy access to what they need, when they need it, because in the life of a reader the right book at the right time makes all the difference.-Tammy and Clare want this book to impact the lives of teachers and students directly so they are donating all author royalties it generates to the Book Love Foundation.Book Love is a not-for-profit organization founded by Penny Kittle with one goal: to put books in the hands of teenagers. Our book will now expand that goal and put books into the hands of elementary and middle grade students as well. Thank you, Penny, for allowing us to bring the heart of this book to life through your hard work and vision.-Tammy and Clare

    How you, as an educator, respond to students’ natural curiosity can help further their own exploration and shape the way they learn today and in the future.The traditional system of education requires students to hold their questions and compliantly stick to the scheduled curriculum. But our job as educators is to provide new and better opportunities for our students. It’s time to recognize that compliance doesn’t foster innovation, encourage critical thinking, or inspire creativity—and those are the skills our students need to succeed.In THE INNOVATOR'S MINDSET, George Couros encourages teachers and administrators to empower their learners to wonder, to explore—and to become forward-thinking leaders. If we want innovative students, we need innovative educators. In other words, innovation begins with you. Ultimately, innovation is not about a skill set but about mindset.THE INNOVATOR'S MINDSET is for you if: •You are a superintendent, district administrator, or principal who wants to empower your staff to create a culture of innovation.•You are a school leader—at any level—and want help students and educators become their personal best.•You are a teacher who wants to create relevant learning experiences and help students develop the skills they need to be successful.THE INNOVATOR'S MINDSET includes practical suggestions for unleashing your students’ and teachers’ talent. You’ll also read encouraging accounts of leaders and learners who are innovating “inside the box.” You'll be inspired to:•Connect with other innovative educators•Support teachers and leaders as learners •Tap into the strengths of your learning community•Create ongoing opportunities for innovation•Seek more effective methods for measuring progress •And, most importantly, embrace change and use it to do something amazing

    It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult.) The Story Grid is a tool with many applications: 1. It will tell a writer if a Story "works" or "doesn't work." 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story...the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation. Shawn Coyne is a twenty-five year book-publishing veteran. He's acquired, edited, published or represented works from James Bamford, John Brenkus, James Lee Burke, Barbara Bush, Dick Butkus, Harlan Coben, Nellie Connally, Michael Connelly, Robert Crais, Ben Crenshaw, Catherine Crier, Brett Favre, David Feherty, John Feinstein, Tyler Florence, Jim Gant, Col. David H. Hackworth, Jamie Harrison, Mo Hayder, William Hjortsberg, Stephen Graham Jones, Jon Krakauer, David Leadbetter, Alan Lomax, David Mamet, Troon McAllister, Robert McKee, Matthew Modine, Bill Murray, Joe Namath, John J. Nance, Jack Olsen, Scott Patterson, Steven Pressfield, Matthew Quirk, Anita Raghavan, Ian Rankin, Ruth Rendell, Jerry Rice, Giora Romm, Tim Rosaforte, William Safire, Dava Sobel, Michael Thomas, Nick Tosches, Ann Scott Tyson, Minette Walters, Betty White, Randy Wayne White, Steven White, and Don Winslow among many others. During his years as an editor at the Big Five publishing houses, as an independent publisher, as a literary agent both at a major Hollywood talent agency and as head of Genre Management Inc., and as a bestselling co-writer and ghostwriter, Coyne created a methodology called The Story Grid to teach the editing craft.

    Here is a brief overview of each part: Part 1, Seeing the Big Picture Connections First, defines curriculum in terms of rigor, provides the background of this model, connects curriculum design to the big picture of standards, assessments, instruction, and data practices, previews the step-by-step design sequence, and introduces end-of-chapter reader assignments. Part 2, Building the Foundation for Designing Curricular Units, explains the five steps that must first be taken to lay the foundation upon which to build the curricular units of study, and provides explicit guidelines for applying each step. Part 3, Designing the Curricular Unit of Study From Start to Finish, gives the nuts and bolts directions for designing a rigorous curricular unit of study, from beginning to end, and concludes with an overview of how to implement the unit in the classroom or instructional program. Formatively assessing students along the way, educators analyze resulting student data to diagnose student learning needs and then adjust ongoing instruction accordingly. Part 4, Organizing, Monitoring, and Sustaining Implementation Efforts, addresses the role of administrators in beginning and continuing the work of implementation. These final three chapters provide first-person narra - tives and advice to administrators from administrators who have personally led the implementation and sustainability efforts of curriculum redesign and related practices within their own school systems. I have endeavored to pull together all of the elements necessary for designing a rigorous curriculum, to position these elements in a sequential order, and to provide a step-by-step approach for constructing each one. My hope is that this road map will not only show you the way to design your own curriculum, but also allow you the flexibility of customizing it to fit your own purpose and needs. As with the realization of any lofty vision, it will take a great deal of time, thought, energy, and collaboration to create and revise a single curriculum, let alone multiple curricula. The best advice I can offer is to regard whatever you produce as a continual work in progress, to be accomplished over one, two, or three years, or even longer. As my friend and colleague Robert Kuklis points out, curriculum designers shape and modify the process as they move through it. It is important that they know this is not a rigid, prescriptive procedure, but rather an opportunity for learning, adapting, and improving. This preserves fidelity to the process, encourages flexibility, and promotes local ownership. Whenever people s spirits need lifting because the work seems so demanding, remind everyone that it is a process, not a one-time event. You are creating something truly significant a comprehensive body of work that is going to serve your educators, students, and parents for years to come!"