The the past five years The New York Times has hosted an editorial contest for middle and high school students. Students are asked to submit 500 word opinion editorial about an issue that matters to them. The newspaper’s website actually invites teenagers to share their opinions about questions NYT pose — and hundreds do, posting arguments, reflections and anecdotes. The contest is a bit more formal and open to all students ages 10-19. You can find the complete rules to the student contest HERE.
This NYT writing contest is a great teaching tool for writing and reading units of study. Persuasive writing is a key standard and learning target within the Common Core and Next Generation Literacy Standards. We are ending the school year with a mini-inquiry into editorial writing. First, students were immersed in a variety of NYT student writing contest winners and then students will write their own 500 word editorial.
The assignment has been adapted from the contest requirements and I have provided students with a graphic organizer to help start their writing. The student’s editorial is based on a culminating social studies podcast project that my humanities colleagues have created:
Task: Create a podcast with a team of students (of no more than three) that finds a thread in history and follows that thread through. Explore a current events topic and trace the history of that topic throughout time.
What is a “Throughline”?
A Throughline is a theme, plot, or characteristic that connects stories together. Throughlines help the viewer or reader do a few things: understand the theme/character better over time, layer experiences, make predictions, and become invested in the story.
For example: Take the enduring issue of inequality and the topic of Black representation in Congress. Look all the way back to Reconstruction to the first African American man in Congress and trace the story of Black representatives and senators throughout our history and discuss why this unequal representation exists.
Utilizing the research completed for the podcast project, students are taking a particular stance on their podcast project.
For example: If students are researching and creating a podcast on the similarities between George Floyd and Emmitt Till, their editorial might address how history repeats itself or the failures of the American justice system, students might write about how racism still exists and Black Lives Matter.
Each student brainstormed five different perspectives about their podcast topic. Together, social studies and English are working collaboratively to support student research, writing, speaking, listening, reading, and digital literacy skills. Research must be done, facts are collected, evidence is weighed and carefully selected. To strengthen an argument further, a counter point is added and debunked. Students are motivated by topics they have selected and are using their voice to persuade others.
The One-Pager is a single-page response that shows a student’s understanding of the text. It is a way of making representation of one’s individual, unique understanding. It is a way to be creative and experimental and respond to reading imaginatively and honestly. The one pager assignment is a perfect summative assessment for students to showcase comprehension, synthesis, analysis, and evaluation skills.
The requirements for the one pager are up to the teacher. I try to change up the one pager requirements with each assignment. Students complete two one-pager assignments in my class during the school year, I do not want to assign more than that because it loses it luster. Below are some examples of what students can include in their one pager. Also note the different one pager assignments I have shared in this blog post.
Elements of the One Pager:
Write the title and author so that it stands out on the page.
Answer three (3) of the response questions from the question bank (see back) citing textual evidence to support your claims. – Sometimes I provide a question bank with higher level thinking questions for students to respond to where as if I am assigning the one pager later in the school year, I might have students create their own question and provide a short response answering the question.
Pull out two (2) “notable quotes” or phrases that jump out at you, make you think or wonder, or remind you of something.
The quotes must pertain to an aspect of the central idea/theme in the text. The quotes must emphasize key points to be remembered or used to explain the major concept. Write them down anywhere on your page.
Use different colors and/or writing styles to individualize each “quote” or phrase.
Include a visual image or illustration, which creates a visual focus; these images need to illustrate what pictures you have in your mind from reading.
Make a personal statement about what you have read–what does it mean to you personally? What is your opinion, final thought, big question or personal connection?
FILL THE PAPER UP with your words, images, and symbols.
What Not to Do
• Don’t merely summarize–you’re not retelling the story.
• Use unlined paper only, to keep from being restricted by lines.
• Don’t think half a page will do. Make it rich with “quotes” and images.
Want More . . . check out this blog post on NCTE providing more description and samples. My co-teacher provides specific students with PDF templates and checklists to help students with the visual layout of a one pager and also break down the assignment into smaller parts.
Can one pagers be digital for your students who do not like or think they have artistic abilities, of course. Additionally, I have even had students work in groups to make collaborative one pagers for chapter notes when we are reading an whole class novel like Animal Farm. Working together helps break down the assignment into smaller pieces and also encourages discussion about the key elements of the reading and assignment.
One pagers can be meaningful as an assessment tool, creative response to literature, and or check for understanding. One pagers are a powerful way to ask students to reflect upon what they have read. ISTE Standards for Students require students to be creative communicators as well as literate humans. One pagers are an invitation for teachers and students to consider alternative formats and opportunities to be creative communicators and design thinkers while at the same time, foster literacy learning in both a traditional and a blended learning environment
I just finished reading (Me) Moth by Amber McBride. The debut YA novel-in-verse is about a teen girl who is grieving the deaths of her family, and a teen boy, Sani who moved in with his mother and her new family. Moth lost her family in an accident and although she lives with her aunt, she feels alone.
Until she meets Sani, a boy who is also searching for his roots. If he knows more about where he comes from, maybe he’ll be able to understand his ongoing depression. And if Moth can help him feel grounded, then perhaps she too will discover her own history.
Moth and Sani take a road trip that has them chasing ghosts and searching for ancestors. The way each moves forward is surprising, powerful, and unforgettable. This is a powerfully uplifting novel about identity, first love, and the ways that our memories and our roots steer us through the universe.
Half way through the book Moth lists the places she and Santi have planned to stop and visit on their road trip. The book continues with details about their road trip and the landmarks they explore. I love the idea of students creating a literary travel guide of the books they read.
So many of young adult books explore cities and the unique spots that’s propel the story. Consider the trip to Amsterdam Hazel and Augustus take in John Green’s Fault in our Stars trip or the importance of Central Park in New York City in The Catcher in the Rye. In fact, in Booked, author Richard Kreitner explores literary destinations filled with literary landmarks and destinations.
The assignment would require students to become the tour guides leading their fellow students on a trip through a young adult book they have read. Students are reading closely for the importance of setting in the story. Students might consider the following questions:
How does place shape your understanding of a story?
How do the places in your lives impact your life?
How can place/setting impact the mood of a piece of writing?
How does place/setting shape a character’s life?
What works of literature have you read that you remember having an important setting?
How does place/setting interact with other literary elements such as style, symbols and tone to create meaning for readers?
The final assignment might be a choice of a travel essay, brochure or even a television-style infomercial for their story. This project would entice would-be travelers to visit the both the physical place described in the story, as well as the literary world created by the author.
More than twenty years ago I spent my summer at the Teachers College Reading and Writing Workshops for teaching reading and teaching writing. My teachers, Katherine Bomer, Pam Allyn, Isoke Nia, and Lucy Caulkins left an indelible impact on my teaching over the course of two decades. My classrooms still is still guided by Reading and Writing Workshop.
Earlier this month I attended a three day summit with #TCRWP on teaching writing in the high school. Interestingly, in all my years teaching and working with TC, reading and writing workshop was for K-8 and it was enlightening to be working among high school teachers to see the possibilities of bringing this model of teaching into high school. This particular workshop focused on teaching memoir and narrative writing in high school. Despite being geared towards high school, many of the ideas and texts presented in the workshop are adaptable across grade levels.
Let’s start: “Writing is hard and the hardest part is getting started.”
Why start with narrative and memoir?
When students tell their stories we are building relationships (culturally relevant teaching)
We teach storytelling with passion and grace we help students make meaning from life
Launching memoir and getting students ready to begin writing is “having the courage to tell your own stories.”
We began with listening and viewing Renee Watson’s “This Body,” a poem from her book Watch Us Rise.
We started with the video, rather than a dense text as a mentor text to provide an accessible text for our students to discuss and write off of. One way to get started as a writers is getting inspired by other writers. Teachers can help students begin memoir by writing poems and vignettes.
Writers need time to write, lots of mentor texts, choice, and responses from a community of writers. One great move that my workshop leader showed was not to just provide one mentor text, but she actually offered us a Padlet with multiple mentor texts and had each of us pick one to read and study it and record the writing moves we noticed the writer using. What moves dis this writer make that inspired me? We use mentor texts to move our writing forward. After reading and discussing the mentor text students are able to build a vision how their own memoir can go based on the study of the mentor text.
Within the memoir lessons we were talking and thinking about what our memoir is really tell us? We focused and wrote around issues (Is there an issue hiding in a story that is big in your life?, change (Is there a critical change that happens in the story that means something to you?), and identity/relationship (Does the story arise a question about your relationship or identity?). We stretched our writing by talking and creating time lines. We also created some storyboard and story maps, and creating our own story arcs. We even used poetry to elevate our writing. We wrote poems off scenes in our memoirs to think deeper about our piece and place that we think needs more clarity or imagery.
Teaching students to write memoir can be a powerful start to the school year and launching of writing workshop. Memoir and narrative helps to celebrate the diverse voices in your classroom and provide choice and agency. By modeling our own stories and writing alongside our students, they can come to learn that their stories matter.
The amazing Reading Specialist who is new to our school this year shared a poetry bracket with me last week when I mentioned doing a poetry unit with my students. I was familiar with poetry brackets from Kelly Gallagher and NCTE. This poetry immersion activity that is modeled after the NCAA Final Four Basketball Tournament.
Charles Steltenkamp described in an article for the Language Arts Journal of Michigan in 2001, “The main objective of the Poetry Tournament is to expose students to many poems in a short amount of time. Through allowing them to choose which poems “survive” as the tournament goes on, we give them control and freedom over their responses. This sense of individual choice and power over their reading creates a more intense focus for students as they read the poems.”
I selected the poems and arranged them by themes of love, life, family, sports, and overcoming obstacles. I specifically selected a diverse collection of poems and include more contemporary poets or diverse backgrounds. Students were provided an entire digital booklet with all the poems and then reflection pages to write a short response on student selections. This short response is an exercise in literary analysis and the ability to articulate elements of the author’s craft and structure. Students discover the craft and meaning in the poem through collaboration and discussion. Through the collaboration, discussion, and writing reflection students will be able to . . .
• Evaluate the structure of a poem and analyze how it adds to the meaning of a poem.
o How does a poem’s structure contribute to its meaning?
• Contrast and evaluate the mood and tone of a poem. o What words did the author use to convey a specific feeling?
• Choose and interpret figurative language within a poem. o How does figurative language enhance your understanding of the poem?
• Analyze poetry using close reading strategies to gain a deeper understanding of the meaning of the poem.
o How do multiple readings and marking text help you to have a deeper understanding of poetry?
• Rate different types of poems using an elimination bracket . o What qualities did this poem have that made you want to vote for it to move on?
If you have created and taught a poetry bracket assignment I would love to know more how it went. My students will spend three days a week in Reading and Writing Workshop reading and creating their own poems and then two days a week work on the poetry bracket and close analysis of the poems selected. This will require students to read the poems more than twice and mark up they thinking about the poetry as they are reading and interpreting the prose on the page.
Setting is an important part of any story because it explains where and when the events take place. The setting helps create the mood and set the tone for the literary piece. We often ask students to analyze the setting by examining the surrounding environment, background, historical place in time and geographic location and notice how the setting impacts the character and conflict in the story.
Studiobinder.com defines setting as, “A setting is the time and place of a story. Setting is either outwardly articulated to us, or discretely suggested to us. It can be suggested by weather, clothing, culture, buildings, etc. In screenwriting, setting is written into the slugline of a scene heading. But setting isn’t just the location of a scene, it’s the time in which it exists as well.”
My students will be starting our mystery unit and I want to help use more descriptive language so we will spend the next two weeks focusing on setting in film, stories, and their own writing. I have created this playlist to help students understand the depth of setting in literature.
This unit is an introduction to understanding author’s craft and structure.
Craft and Structure:
CCSS.ELA-LITERACY.RL.8.4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including analogies or allusions to other texts.
CCSS.ELA-LITERACY.RL.8.5 Compare and contrast the structure of two or more texts and analyze how the differing structure of each text contributes to its meaning and style.
CCSS.ELA-LITERACY.RL.8.6 Analyze how differences in the points of view of the characters and the audience or reader (e.g., created through the use of dramatic irony) create such effects as suspense or humor.
The New York Times published a video that is a perfect introduction to an argumentative essay writing assignment. Check out the video below:
This opinion piece was fascinating and very informative. It offered multiple perspectives and was also interesting to watch. I used the video to introduce an argumentative writing assignment this week. Students first watched the video and took notes in their Writer’s Notebooks. Then, we discussed the key ideas in the video and students shared whether they would eat insects or not.
The next day I provided students two different articles about eating insects. One article I paired down from a Time Magazine article by Aryan Baker titled “They’re Healthy. They’re Sustainable. So Why Don’t Humans Eat More Bugs?” (February 26, 2021). The second article from EatCrickster.com, “Edible Insects: The Good, The Bad And The Ugly” by Amy Gardner, I also edited to provide more of the cons for farming and eating insects. Students read the articles and coded the text. Then we created a PRO/CON chart on the Smartboard collaborating the findings from the article.
Now students will write an argumentative essay about whether food companies and restaurants should introduce insects into the Western diet for daily consumption and an alternative source of protein.
Writing Assignment: Eating Insects
Eating Insects Argumentative Writing prompt
Write an argumentative essay about whether food companies and restaurants should introduce insects into the Western diet for daily consumption and an alternative source of protein.
Write a multi paragraph argumentative essay in which you take a stance on the topic of whether food companies and restaurants should introduce insects into the Western diet for daily consumption and an alternative source of protein.
Make sure you establish an argumentative claim, address potential counterarguments, and support your claim from the sources you have read.
Develop your ideas clearly and use your own words, except when quoting directly from sources.
I am currently participating in a study to understand more about Self-Regulated Strategy Development (SRSD) as a model for struggling writers. The goal is to teach the strategies that students need in order to write clearly and concisely.
According to Graham, Harris, & McKeown, 2013, the SRSD approach consists of explicit teaching of:
general and specific writing strategies, such as:
using the right vocabulary,
being mindful of the intended reader,
creating interesting introductions and conclusions
the knowledge required to use these strategies;
ways to manage these strategies;
the writing process; and
one’s behaviour as a writer
Just like we teach students the habits of proficient readers, teachers need to articulate the habits of good writers. Writing researchers identified what good writers do: plan, monitor, evaluate, revise, and manage the writing process. These strategies should be taught explicitly for learners to apply them to a writing task.
Elements of SRSD Instruction
Instructor modeling of strategies is essential to SRSD and must explicitly show learners how to create meaning. Graham and Harris (2005) describe a five-step process. By completing the following scaffolded instructional sequence, teachers can help learners gain confidence in the strategy and learn to use it automatically for more independent learning.
Discuss It. Develop and activate background knowledge. Discuss when and how learners might use a strategy to accomplish specific writing tasks and goals. Talk about the benefits of becoming a more proficient and flexible writer. Address any negative self-talk or negative beliefs the learner holds, and ask the learner for a commitment to try to learn and use the strategy. Discuss how the learner should track progress to document the use and impact of the strategy.
Model It. Model the strategy using think-alouds, self-talk, and self-instruction as you walk through the steps. Discuss afterwards how it might be made more effective and efficient for each individual, and have learners customize the strategy with personal self-statements. Ask students to set specific writing goals. Model the strategy more than once with various sample texts; for example, use a graphic organizer to demonstrate how to comprehend various texts of a similar genre (persuasive arguments or editorials). The Modeling stage is a key component for students. When students can read strong and poorly written writing and discuss it they are able to name and identify elements of good writing. Similarly, when teachers demonstrate writing and think aloud throughout the process, students are able to monitor their own thinking and improve their own writing.
Make It Your Own. Strategies are composed of multiple steps, similar to a checklist. When steps are captured in a mnemonic or acrostic sentence, they are easier to remember. Paraphrasing or re-naming the steps in a mnemonic or creating a new mnemonic is fine, provided that the learner is able to remember the steps that the names represent. Customizing the checklist or mnemonic helps learners make it their own.
Support It. Use the strategy as often as possible, in as many ways as possible. Instructors and other students can be supports, offering direct assistance, prompts, constructive feedback, and encouragement. When you introduce a new type of application (a new genre or writing frame, for example), it may be appropriate to model the strategy again. Learners can rely on charts and checklists too, as they learn the strategy and make it their own, but all of this should fade as learners become familiar enough with the strategy to set their goals, monitor their use of the strategy, and use self-statements independently.
Independent Performance. Learners come to use the strategy independently across a variety of tasks. For example, learners may begin to draw graphic organizers without being prompted as a means to help them comprehend and plan.
Strategies like Acronyms are also helpful for students to remember the steps of the writing process and can act as a guide or checklist for students to write well. For example, the POW+TREE strategy helps writers approach an essay-writing task and check their work as they become more independent (Harris, Graham, Mason, & Friedlander, 2008).
POW, represents and emphasizes the importance of the planning process:
Pick my idea and pay attention to prompt
Write and say more
The TREE acronym is a memory and visualization tool that helps writers structure their essays: the Topic sentence is like the trunk of the tree that supports the whole argument; Reasons (at least three) are like the roots of the argument; Explain is a reminder to tell more about each reason; and finally, Ending is like the earth that wraps up the whole argument. Think sheets or graphic organizers shaped like stylized trees that learners write in as they brainstorm and plan can prompt the internalization of this strategy.
Graham, S. (2006). Strategy instruction and the teaching of writing: A metaanalysis. In C. A. MacArthur, S. Graham, & J. Fitzgerald (Eds.), Handbook of writing research (pp. 187–207). New York: Guilford Press.
Graham, S., & Harris, K. R. (2005). Writing better: Effective strategies for teaching students with learning difficulties. Baltimore: Paul H. Brookes Publishing Co.
Graham, S., & Perin, D. (2007). Writing next: Effective strategies to improve writing of adolescents in middle and high schools – A report to Carnegie Corporation of New York. Washington, DC: Alliance for Excellent Education. Available at http://www.all4ed.org/files/WritingNext.pdf.
What are the core units of study that you teach in your English Language Arts class? Essays, Literature, Poetry, maybe argumentative writing? In Penny Kittle and Kelly Gallagher’s newest book 4 Essential Studies: Beliefs and Practices to Reclaim Student Agency (Heinemann, 2021), there is a deep dive into teaching essay writing, poetry, book clubs, and digital composition.
Now for a disclaimer, I am a HUGE!!!!! Kittle and Gallagher fan. Ever since I participated in a workshop 18 years ago with Kelly Gallagher at Manhattanville College in Purchase, New York I was hooked. I have read every one of his books, adopted Article of the Week in my middle school classroom, and even use many of his texts in the college classes that I teach. If I am at NCTE or ILA, I will go to a Gallagher and Kittle workshop because I know that the information they provide is practical and timely. So, this book was something that I was eager to dive in. Let me highlight the key points presented in each section.
How do we as teachers bring students’ voices to the forefront of essays. So much of essay writing that is taught in school is bland, rote, and formatted in a constricting five paragraph essay. But that is not the types of essays that we read outside of school. Check out Sam Anderson’s essay in The New York Times, “I Recommend Eating Chips.” or John Green’s collection of essays in The Anthropocene Reviewed. These writers write compelling and insightful essays that make readers pay attention to the insight, perspective, and point of view. Teachers want to provide opportunity for students to write meaningful essays that honor and amplify their voice and agency. We might need to experiment with form — while throwing out the five paragraph essay template to write authentic essays that blend forms and hone in on craft and structure.
Some teaching moves one can make to help students with their essay writing include providing lots of model and mentor texts and have students complete a WRITE AROUND to notice and name the writing craft moves. Additionally, providing students with lots of TIME TO WRITE and low stakes opportunities to develop their writing and voice. Kittle and Gallagher write, “A volume of ungraded practice gives them opportunities to play with their ideas – some which they will develop into polished essays using craft moves they learn in this study. We know that the quantity of writing will move more writers towards proficiency.” (page 13) Teachers must MODEL THE WRITING PROCESS for students and write along side students. Have students read, analyze, and IMITATE WRITING PASSAGES, Kittle and Gallagher call this writing activity, “kidnap the structure and style”. Don’t forget to allow time for students to conference, work in writing groups, and opportunities to revise, reflect, and evaluate their own essays.
Similar to writing, volume is key when teaching reading and readers. Kittle and Gallagher write, “Book clubs motivate us to read. They deepen our understanding of not only the book but how others read and interpret the same text. Books stretch out thinking, and they expose us to books and authors we may not have otherwise missed.” (Page 45) Students practice the habits of life long readers when they engage in book club conversations, books encourage readers to talk about the topics addressed in these texts. More importantly, “rigor is not in the book itself, but in the work students to understand it.” (pg. 47) It requires teachers to choose books that are relevant and provide opportunities for students to reflect and by writing daily in their Reader’s Notebooks.
“Professor Thomas C Foster notes, poetry “offers a window into the human experience.” (page 80). Kittle and Gallagher call poetry, “little mysteries.” There needs to be a balance in poetry analysis and poetry writing. Inviting students to create and write their own poems and “start with playing, wondering, free writing, reading and listening to poems, creating notebook lists and phrases, and imitating. ” (page 82) Again, volume is key when teaching poetry. For poetry lists you can find more on Penny Kittle’s website.
Here are two poetry writing exercises to try out with students and lots more in the book:
Spine Poems – students collect books from the classroom library or their own personal library and stack in combinations so that the titles on the spines make poems.
Crowd Source Poetry: Using a Google Form, a teacher can crowd source poetry lines to build a community driven poem about an event, person, theme, or central idea.
Additional poetry lessons and activities include teaching figurative language, having students emulate a poetry form, host a poetry tournament to immerse students in a poetry study by theme or genre. Host a poet of the day – I actually do something similar to this with my poetry playlists providing students with a menu of poets, poems, and poetry forms.
In terms of assessment, Kittle and Gallagher created an “Excellence in Poetry” Grading Menu where poems are not graded individually but students are provided with choices and each student turns in a poem for inclusion in a classroom anthology. There were also six different poetry analysis assignments/exams.
We live in a digital and visual saturated culture and to think that literacy and texts does not blend digital media. Kittle and Gallagher state, “Digital composition is not just engaging, it is necessary.” (page 117) Let’s put our students interest first and support them as content creators and creative communicators while practicing digital citizenship. Possible digital composition assignments include: designing public service announcements (PSAs), create a movie from a notebook entry, make a podcast, and analyze digital texts.
If you are looking for practical ideas to implement in your English Language Arts classroom tomorrow than Kittle and Gallagher’s book with give you four unit of study that support deep students learning and at the same time help students to practice essential skills needed to be critical thinkers and consumers of information while at the same time honoring student voice, choice, agency, and creativity.
NCTE 2021 was virtual this past fall and although the in person experience of the conference feeds my creativity and teaching practices, there were still many gems online that I am still musing over. Below are the top four take aways that interest me right now.
1. Opening Session with Chimamanda Ngozi Adichie, author of A Feminist Manifesto in Fifteen Suggestions, Americanah, and much more, offered a hopeful beginning to this year’s Convention at the opening general session. Here are some of the amazing quotes and ideas she shared:
“To be a good teacher is often not just about teaching the curriculum. It is also about those things that are harder to quantify: teaching confidence; making a child feel seen as an individual. Because when we value a student, we teach that student to value herself.”
“I want to argue that it’s important for us to make peace with discomfort. That there’s something perverse about expecting always to be comfortable. Life is messy. Sometimes discomfort opens us up to growth and to knowledge and to meaning.”
“There’s a certain kind of excessive ‘safeness’ that concerns me about what we think children should read or not read. We don’t need to be overly safe. We can afford to be uncomfortable.”“There’s something wonderful and affirming about reading about your own reality and reading what is familiar to you. And that particular pleasure should never be denied anyone. But it is equally important to read about people who are not like you.”
One of my favorite artists today is the fabric artist, Bisa Butler. She participated in an engaging webinar with Dr. Gholdy Muhammad, author of Cultivating Genius: An Equity Framework for Culturally and Historically Responsive Literacy. These women spoke about teaching culturally and historically responsive education through 5 pursuits:
Identity – teaching students to know themselves and others;
Skills – teaching students the proficiencies needed across content areas;
Intellectualism – teaching students new knowledge;
Criticality – teaching students to understand and disrupt oppression; and
Joy – teaching students about the beauty and truth in humanity.
3. Poetry with Penny Kittle & Kelly Gallagher Penny Kittle and Kelly Gallagher just published a new book which is a MUST READ for all English teachers. The new book, 4 Essential Studies covers essay writing, poetry, book clubs and poetry – discussion of this book is for a different department meeting. Kittle and Gallagher spoke on a poetry panel and here is a list of their favorite poems to check out. Why poetry? It’s short and accessible for students. Don’t just teach students to read and analyze poems but to write their own poems and emulate/imitate craft moves and styles of poetry. Here is what Kelly learned when Penny challenged him to write a poem.
4. Using Digital Texts to Deepen Understanding: Elevating Critical Thought
It is not about digital vs. print text, teachers need to read and create a variety of texts. Let’s consider multimodal texts for our English classrooms that include podcasts, digital text, and visual texts. Brandon Abdon (@BrandonAbdon), Alice Wu, Andy Schoenborn (@aschoenborn), and Troy Hicks (@hickstro) discuss how to use “Snow Fall: The Avalanche at Tunnel Creek” from The New York Times as a multimedia mentor text, as ways to give students a choice in topic and approach. Although this was geared for APLit and APLang teachers, it is relevant for all teachers to help students prepare for the thinking process. Communicate ideas in digital ways to diver audiences beyond the walls of our classroom for civic engagement.