Draws from stories from classrooms, examples, of student writing, and illustrations.

    And you'll look into the authors' own teaching minds and hearts as they unpack the moves and decisions they make to design and implement instruction that allows every student to make significant and personally relevant meaning of texts. Along the way, you'll learn how to: notice and name what students are doing as readers to build their identity and agency move beyond simple strategy instruction to step students into more complex texts show students how readers draft and revise as they read to promote engagement, self-monitoring, and deeper comprehension.Filled with student voices and classroom examples including read-alouds, small groups, and conferences, What Readers Really Do will challenge, inspire, and empower you to become the insightful, independent teacher your students need you to be. And it will remind both you and your students why and how we really read.

    When we take children's key strengths and immerse them in an intellectually invigorating, emotionally nurturing, literature-rich community, we grow "super readers"—avid readers who consume texts with passion, understanding, and a critical eye.Organized around the 7 Strengths inherent in super readers (belonging, curiosity, friendship, kindness, confidence, courage, and hope), this powerful resource helps children:• Develop reading, writing, speaking, and listening skills • Learn comprehension strategies• Build a robust vocabulary• Deepen analytical prowess and an ability to talk and write about text• Develop empathy, a strong identity as a reader, and an expanded understanding of the worldFeaturing stirring reading and writing lessons, robust assessment tools, ready-to-share Family Guides, and embedded videos that illuminate the 7 strengths and more, Every Child a Super Reader shows teachers, parents, caregivers, and out-of-school providers why reading is the ultimate super power, opening a world of possible for every student.

    In Not Light, But Fire: How to Lead Meaningful Race Conversations in the Classroom, Kay realizes we often never graduate to the harder conversations so in this text he offers a method for getting them right, providing candid guidance on:How to  recognize  the difference between meaningful and inconsequential race conversations.How to  build  conversational “safe spaces,” not merely declare them.How to  infuse  race conversations with urgency and purpose.How to  thrive  in the face of unexpected challenges.How administrators might  equip  teachers to thoughtfully engage in these conversations. With the right blend of reflection and humility, Kay asserts, teachers can make school one of the best venues for young people to discuss race.

    Newkirk convincingly shows that effective argument is already a kind of narrative and is deeply entwined with narrative. --Gerald Graff, former MLA President and author of Clueless in AcademeNarrative is regularly considered a type of writing-often an easy one, appropriate for early grades but giving way to argument and analysis in later grades. This groundbreaking book challenges all that. It invites readers to imagine narrative as something more-as the primary way we understand our world and ourselves. To deny the centrality of narrative is to deny our own nature, Newkirk explains. We seek companionship of a narrator who maintains our attention, and perhaps affection. We are not made for objectivity and pure abstraction-for timelessness. We have 'literary minds that respond to plot, character, and details in all kind of writing. As humans, we must tell stories.When we are engaged readers, we are following a story constructed by the author, regardless of the type of writing. To sustain a reading-in a novel, an opinion essay, or a research article- we need a plot that helps us comprehend specific information, or experience the significance of an argument. As Robert Frost reminds us, all good memorable writing is dramatic.Minds Made for Stories is a needed corrective to the narrow and compartmentalized approaches often imposed on schools-approaches which are at odds with the way writing really works outside school walls.

    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

    But how can you teach the "how" without the "why?" In his new book, Igniting a Passion for Reading, Steve Layne shows teachers how to develop readers who are not only motivated to read great books, but also love reading in its own right. Packed with practical ways to engage and inspire readers from kindergarten through high school, this book is a "must have" on every teacher's professional book shelf.Well known for his children's books, young adult novels, and keynote speeches across the nation and around the world, Steve, aka Dr. Read, offers teachers everywhere a plan for engaging even the most reluctant reader. From read-alouds to creating reading lounges to author visits and so much more, this book will help schools create a vibrant reading culture. The book also includes reminiscences from many of today's well-known children's and young adult authors—Mem Fox, Sharon Draper, Steven Kellogg, Candace Fleming, Eric Rohman, Neal Shusterman, and Joan Bauer—about the teacher who ignited their passion for reading.Written with humor, grace, and poignancy, Igniting a Passion for Reading will have a profound effect on the teaching of reading in our nation's schools.

    The Growth Mindset Coach provides all you need to foster a growth mindset classroom, including:A Month-by-Month ProgramResearch-Based ActivitiesHands-On Lesson PlansReal-Life Educator StoriesConstructive FeedbackSample Parent LettersStudies show that growth mindsets result in higher test scores, improved grades and more in-class involvement. When your students understand that their intelligence is not limited, they succeed like never before. With the tools in this book, you can motivate your students to believe in themselves and achieve anything.

    The Passionate Teacher draws on voices, stories, and successes of teachers in urban, suburban, and rural classrooms to help you become, and remain, a passionate teacher despite the obstacles. This edition includes a new chapter for teachers beginning their careers

    But you will also see a high degree of variability among classrooms—much higher than in most other industrialized countries. Today we are asking schools to do something they have never done before—educate all students to high levels—yet we don’t know how to do that in every classroom for every child.Inspired by the medical-rounds model used by physicians, the authors have pioneered a new form of professional learning known as instructional rounds networks. Through this process, educators develop a shared practice of observing, discussing, and analyzing learning and teaching.

    Pose the same question to students and many will use words like "boring", "useless", and even "humiliating". In  Becoming the Math Teacher You Wish You'd Had , author Tracy Zager helps teachers close this gap by making math class more like mathematics. Tracy has spent years working with highly skilled math teachers in a diverse range of settings and grades. You'll find this book jam-packed with new ideas from these vibrant classrooms.  How to Teach Student-Centered Mathematics: Zager outlines a problem-solving approach to mathematics for elementary and middle school educators looking for new ways to inspire student learningBig Ideas, Practical Application: This math book contains dozens of practical and accessible teaching techniques that focus on fundamental math concepts, including strategies that simulate connection of big ideas; rich tasks that encourage students to wonder, generalize, hypothesize, and persevere; and routines to teach students how to collaborateKey Topics for Elementary and Middle School Teachers:  Becoming the Math Teacher You Wish You'd Had  offers fresh perspectives on common challenges, from formative assessment to classroom management for elementary and middle school teachersAll teachers can move towards increasingly authentic and delightful mathematics teaching and learning. This important book helps develop instructional techniques that will make the math classes we teach so much better than the math classes we took.

    Reckless. Impractical. Insecure. Distracted. These are all words commonly used to describe adolescents. But what if we recast these traits in a positive light? Teens possess insight, passion, idealism, sensitivity, and creativity in abundance--all qualities that can make a significant positive contribution to society.In this thought-provoking book, Thomas Armstrong looks at the power and promise of the teenage brain from an empathetic, strength-based perspective--and describes what middle and high school educators can do to make the most of their students' potential.Thoroughly grounded in current neuroscience research, the book explains what we know about how the adolescent brain works and proposes eight essential instructional elements that will help students develop the ability to think, make healthy choices, regulate their emotions, handle social conflict, consolidate their identities, and learn enough about the world to move into adulthood with dignity and grace.Armstrong provides practical strategies and real-life examples from schools that illustrate these eight key practices in action. In addition, you'll find a glossary of brain terms, a selection of brain-friendly lesson plans across the content areas, and a list of resources to support and extend the book's ideas and practices.There is a colossal mismatch between how the adolescent brain has evolved over the millennia and the passive, rote learning experiences that are all too common in today's test-obsessed educational climate. See the amazing difference--in school and beyond--when you use the insights from this book to help students tap into the power of their changing brains.

    It looks at what it means to be a teacher and a student in urban America, and deals with the critical moral issues teachers must face.

    It's like sitting next to a skillful, experienced, focused teacher in a real classroom. Kristi and Christine draw on their years of teaching and their dedication to educating children to help students become more empathic and act more thoughtfully and to prepare them with the essentials for success in an uncertain future."-Arthur Costa, author of Learning and Leading with Habits of MindWe know how to teach content and skills. But can we teach the habits of mind needed for academic success, a love of learning, and agency in the world? We can, and A Mindset for Learning shows us how."We want our students to take on challenges with zeal," write Kristi Mraz and Christine Hertz, "to see themselves not as static test scores but as agents of change." Drawing on the work of Carol Dweck, Daniel Pink, Art Costa, and others, Kristi and Christine show us how to lead students to a growth mindset for school-and life-by focusing on five crucial, research-driven attitudes:optimism-putting aside fear and resistance to learn something newpersistence-keeping at it, even when a task is hardflexibility-trying different ways to find a solutionresilience-bouncing back from setbacks and learning from failureempathy-learning by putting oneself in another person's shoes.A Mindset for Learning pairs research-psychological, neurological, and pedagogical-with practical classroom help, including instructional language, charts and visuals, teaching tips, classroom vignettes, and more."This book holds our dreams for all children," write Kristi and Christine, "that they grow to be brave in the face of risk, kind in the face of challenge, joyful and curious in all things." If you want that for your students, then help them discover A Mindset for Learning.

    Look at good writing in any genre, and you'll find these traits. Think of them as the fuel that stokes the engine of writing. With this book, teachers will learn how to assess student work for these traits and plan instruction. And they'll be amazed at how the writing in their classroom improves. Includes scoring guides, focus lessons, and activities for teaching each trait.