This brief edition of the most widely adopted book of its kind offers all of the editorial features of the longer book with about half the stories and writer commentaries in a shorter, less expensive format.

    You’ll discover how to make fundamental changes to your classroom so learning becomes an exciting challenge rather than a frustrating ordeal. Based on the author’s personal experience of transforming her approach to teaching, this book outlines how to:• Build a working relationship with your students based on mutual trust, respect, and appreciation.• Be attentive to your students’ needs and share ownership of the classroom with them.• Break out of the vicious cycle of punishment and reward to control student behaviour.• Use innovative and creative lesson plans to get your students to become more engaged and intellectually-invested learners, while still meeting your state standards.• Limit homework and abandon traditional grading so that your students can make the most of their learning experiences without unnecessary stress.New to the second edition, you’ll find practical tools, such as teacher and student reflection sheets, parent questionnaires, and parent conference tools--available in the book and as eResources on our website (http://www.routledge.com/978113891692... help you build your own classroom of passionate learners.

    I use Words Their Way both in my first grade classroom and with college students as a way to implement word study. ""Kristi McNeal, CSU Fresno" Words Their Way's developmentally-driven, hands-on instructional approach has been a phenomenon in word study, providing a practical way to study words with students. The keys to this research-based approach are to know your students' literacy progress, organize for instruction, and implement word study. This streamlined book and the DVD and CD-ROM that accompany it gives you all the tools you need to carry out word study instruction that will motivate and engage your students, and help them to succeed in literacy learning. Ordered in a developmental format, Words Their Way complements the use of any existing phonics, spelling, and vocabulary curricula." ""Knowing Your Students"Streamlined Chapter 2 provides step by step guidelines for assessing students. NEW Words Their Way Word Study Resources CD: Assessment Planning and Additional Interactive Word Sorts contains computerized assessments to gauge students' developmental levels. Word Study with English Learner sections in each chapter help you organize and adapt instruction to meet the needs of students whose first language is not English. "Organizing for Instruction"NEW Words Their Way DVD Tutorial: Planning for Word Study in K-8 Classrooms reinforces and illustrates classroom organization and management, as outlined in Chapter 3. Word Study Routines and Management sections in every chapter give you practical guidance on managing and implementing word study in your classroom. NEW Tech Notes throughout chapters pinpoint opportunities for you to use the DVD and CD-ROM to prepare for instruction. "Implementing Word Study "Classroom-proven, research-driven activities end each developmental chapter, giving you the instructional practices to get your word study instruction up and running immediately. NEW Words Their Way Word Study Resources CD: Assessment Planning and Additional Interactive Word Sorts provides more than just assessments. You'll also find hundreds of additional word and picture sorts, games and templates, and an interactive Create Your Own section. The Appendix at the back of the book contains a comprehensive bank of word lists, word sorts, picture sorts, games and templates." ""The theory behind and practice for word sorts allows even the novice teacher to understand how to use the assessments to organize instruction. The organization of the last five chapters creates a useful resource for teachers. Each begins with a research-based description and moves into sound instructional practices, giving the teacher a complete understanding of how to meet the needs of students. ""Cathy Blanchfield, CSU Fresno "" ""Meet the Authors"Donald Bear is Director of the E.L. Cord Foundation Center for Learning and Literacy at the University of Nevada, Reno, assessing and teaching students who experience difficulties learning to read and write. A former preschool and elementary teacher, Donald currently researches literacy development with a special interest in students who speak languages other than English, and he partners with schools and districts to consider assessment and literacy instruction. Marcia Invernizzi is Director of the McGuffey Reading Center at the University of Virginia exploring developmental universals in non-English orthographies. A former English and reading teacher, Marcia works with children experiencing difficulties learning to read and write in intervention programs such as Virginia's Early Intervention Reading Initiative and Book Buddies. Shane Templeton is Foundation Professor of Literacy Studies at the University of Nevada, Reno. A former classroom teacher at the primary and secondary levels, he researches the development of orthographic and vocabulary knowledge Francine Johnston is Associate Professor in the School of Education at the University of North Carolina at Greensboro, where she teaches reading, language arts, and children's literature. A former first-grade teacher and reading specialist. Interested in extending your Words Their Way training? Learn more about the new Online Workshop at www.pearsoncourseconnect.com/wtw.

    Georgia HeardHumanity and warmth are the cornerstones of quality nonfiction writing. But how can students create them in genres that at first seem more informational than intimate? In Finding the Heart of Nonfiction, Georgia Heard shows how mentor texts can help students read for seven essential craft tools and then use them to create inviting nonfiction that keeps readers' interest.Lyrical and practical, Finding the Heart of Nonfiction describes how to choose mentor texts, use them, and mine them for exemplary instruction. Between these suggestions and the instructional ideas, Georgia shows how students can write nonfiction that informs and inspires. You'll find thoughtful, immediately useful support as you:introduce nonfiction with her handpicked, reproducible mentor texts get students writing with the instructional ideas in Georgia's Try This sections familiarize writers with nonfiction craft and text features connect nonfiction work to the Common Core State Standards collect mentor texts tailored to your students. My hope, writes Georgia, is that you and your students will be inspired by the mentor texts I've chosen-but also inspired to seek out your own mentor texts and continue to explore the world through nonfiction. Trust Finding the Heart of Nonfiction and help your students write with purpose, voice, and passion.Preview the book. Download and read a sample chapter.

    Contemporary concepts and evidence-based practices prepare new teachers for their roles in the education and well-being of students with disabilities and other special needs. Marilyn Friend combines research-informed concepts and skills with practical information for educators working in this challenging age of high standards and accountability, curriculum access, inclusive practices, professional collaboration, and student diversity. The third edition integrates the requirements of the NCLB and IDEA legislation with evidence-based practices so that readers understand the expectations for educators and students, and learn how critical concepts translate into educational practices. Real People, Real Classrooms:"Chapter Opening Vignettes "describe the experiences of three different students of varying ages as they relate to the topics discussed in each chapter and are referenced at key points in the chapter."Firsthand Account"features real life stories from teachers, students, parents, and school professionals sharing their own experiences and perspectives relating to life and learning with special needs."""Speaking from Experience "features capture the insights and advice of experienced teachers on topics ranging from working effectively with colleagues to finding ways to juggle all the responsibilities of being a special educator to addressing a variety of professional challenges, including those related to student behavior and family concerns.Real Research:Instruction in Action highlight teaching application for intensive instruction delivered by special education teachers in various educational settings.Positive Behavioral Supports illustrates the many positive, proactive ways to address students' behavior/social issues as part of overall classroom teaching and learning.Cutting Edge InformationTechnology Notes features showcase fascinating instructional and assistive technology applications for teaching students with exceptional needs in special educational settings as well as links to information that can help beginning teachers plan their lessons, motivate their students, and keep abreast of their rapidly changing field.Professional Edge features describe conceptual materials and cutting edge information that connect theory to practice.

    Its not utopia by any means; Sharon deals with the same issues other teachers face: limited resources, tremendous diversity, and the constant threat of overcrowding. What makes her exceptional is her clear vision. She is systematic in her thinking, wise in her decision making. Most of all, she understands her role as a teacher and goals for each student. This is why Sharon is on solid ground. In her book, Sharon shares what shes gained in her twenty years of working with children and teachers. Its organized not around a set of prescribed skills, but around a series of interconnected interactions with the learner:Assessment: Sharon begins by describing her procedures for assessing childrens reading and then using what she finds to inform her work. She covers scheduling and managing reading conferences, taking oral-reading records, and using retellings and discussions as tools.Demonstration: Once she has identified strengths and needs, Sharon demonstrates strategies to help her students become better readers. In this section, she explains how she uses shared reading and read aloud as platforms for figuring out words and comprehending texts, and explores small-group workguided reading and word-study groupsand teaching children one on one.Practice: Here, Sharon describes how she uses independent reading as a time for practice, spelling out the very active roles she and her students play. She also devotes a complete chapter to matching children with books for independent reading.Response: Its important for students to know theyre doing well and where they must concentrate their efforts. Sharon explains how her students use writing and dialogue as tools to better understanding themselves as readers.On Solid Ground is informed by current thinking, yet loaded with advice, booklists, ready-to-use reproducibles, andof coursethe words and work of real children. Sharons approach is clear, sensible, timeless. Youll turn to her book throughout your career.

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    One day she intercepted a note with an ugly racial caricature, and angrily declared that this was precisely the sort of thing that led to the Holocaust—only to be met by uncomprehending looks. So she and her students, using the treasured books Anne Frank: The Diary of a Young Girl and Zlata’s Diary: A Child’s Life in Sarajevo as their guides, undertook a life-changing, eye-opening, spirit-raising odyssey against intolerance and misunderstanding. They learned to see the parallels in these books to their own lives, recording their thoughts and feelings in diaries and dubbing themselves the “Freedom Writers” in homage to the civil rights activists “The Freedom Riders.”With funds raised by a “Read-a-thon for Tolerance,” they arranged for Miep Gies, the courageous Dutch woman who sheltered the Frank family, to visit them in California, where she declared that Erin Gruwell’s students were “the real heroes.” Their efforts have paid off spectacularly, both in terms of recognition—appearances on “Prime Time Live” and “All Things Considered,” coverage in People magazine, a meeting with U.S. Secretary of Education Richard Riley—and educationally. All 150 Freedom Writers have graduated from high school and are now attending college.With powerful entries from the students’ own diaries and a narrative text by Erin Gruwell, The Freedom Writers Diary is an uplifting, unforgettable example of how hard work, courage, and the spirit of determination changed the lives of a teacher and her students. The authors’ proceeds from this book will be donated to The Tolerance Education Foundation, an organization set up to pay for the Freedom Writers’ college tuition. Erin Gruwell is now a visiting professor at California State University, Long Beach, where some of her students are Freedom Writers.

    From one of America s most celebrated educators, an inspiring guide to transforming every child s education In a Los Angeles neighborhood plagued by guns, gangs, and drugs, there is an exceptional classroom known as Room 56. The fifth graders inside are first-generation immigrants who live in poverty and speak English as a second language. They also play Vivaldi, perform Shakespeare, score in the top 1 percent on standardized tests, and go on to attend Ivy League universities. Rafe Esquith is the teacher responsible for these accomplishments. From the man whom The New York Times calls a genius and a saint comes a revelatory program for educating today s youth. In Teach Like Your Hair s on Fire!, Rafe Esquith reveals the techniques that have made him one of the most acclaimed educators of our time. The two mottoes in Esquith s classroom are Be Nice, Work Hard, and There Are No Shortcuts. His students voluntarily come to school at 6:30 in the morning and work until 5:00 in the afternoon. They learn to handle money responsibly, tackle algebra, and travel the country to study history. They pair Hamlet with rock and roll, and read the American classics. Teach Like Your Hair s on Fire! is a brilliant and inspiring road map for parents, teachers, and anyone who cares about the future success of our nation s children. "

    This is not an encyclopedic reference book of the past--but rather a cutting edge resource for teachers who want to connect with their techno-savvy 21st century students and in turn connect them to the literature of today. Using themes of exploration and connecting to literature--the authors emphasize actual reading of books, rather than reading about them. The authors also encourage using the Internet to expand our knowledge and interest of literature. Finally, the text contains the most current materials that will get adolescents reading-horror, humor, mystery, science fiction, fantasy, graphic novels and comic books.

    The authors explore picturebooks as a specific medium or genre in literature and culture, one that prepares children for other media of communication, and they argue that picturebooks may be the most influential media of all in the socialization and representation of children. Spanning an international range of children's books, this book examine such favorites as Curious George and Frog and Toad Are Friends, along with the works of authors and illustrators including Maurice Sendak and Tove Jansson, among others. With 116 illustrations, How Picturebooks Work offers the student of children's literature a new methodology, new theories, and a new set of critical tools for examining the picturebook form

    Foster gives tweens the tools they need to become thoughtful readers.With funny insights and a conversational style, he explains the way writers use symbol, metaphor, characterization, setting, plot, and other key techniques to make a story come to life.From that very first middle school book report to that first college course, kids need to be able to understand the layers of meaning in literature. Foster makes learning this important skill fun and exciting by using examples from How the Grinch Stole Christmas to The Adventures of Huckleberry Finn, from short stories and poems to movie scripts.This go-to guide unlocks all the hidden secrets to reading, making it entertaining and satisfying.

    Lots of actual templates, graphic organizers, black-line masters, detailed lesson plans, and student work samples are included, as well as vignettes of mini-lessons, center time, small guided math groups, and share time.This practical, hands-on guide will help you...Understand the framework of Guided Math lessons Gain an in-depth look at the role of assessment throughout the Guided Math process Develop an action plan to get started immediately This is a must-have resource for all educators looking for a structure to teach small groups in math that meet the Common Core State Standards for Mathematics.

    The same charts that Rozlyn creates with students when she models and teaches in classrooms across the nation are all included here. Packed with over seventy photographs, Chart Sense is an invaluable guide for novice or veteran reading teachers who want authentic visuals to reinforce and provide guidance for reading skills. Organized in a simple, easy-to-use format, Rozlyn shares multiple charts for every reading informational text and literature standard. Don't mistake this as just a collection of anchor chart ideas. At over 180 pages, this book is filled with actual charts, step-by-step instructions to create your own, teaching tips, and instructional strategies. This book includes: Over sixty-five photographs of teacher-tested charts and examples Easy to navigate chapters, organized by the 3-8 reading standards Step-by-step instructions to create each chart Teaching notes and instructional strategies Ideas and tips for scaffolding and differentiation . . . and MORE! Not a bunch of theory or philosophy . . . just hands-on, teacher-tested charts that you can use in your classroom . . . TODAY!

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner