Last Friday, I suddenly found myself without a document camera after a Listen & Draw with our first One Word Image (OWI). Realizing my error, I scrambled to snap a pic of just one student drawing, send it to my email, sign in, download and orient, turn on the projector, etc. all just to discuss student artwork. No bueno. Not only did I lose a few kids during the shuffle, but I avoided repeating the process, meaning we looked at just one student’s work. No bueno mas. With a document camera, we used to look at several different drawings easily, keeping interest high throughout class. That absence was obvious, and I was unhappy with how things went. Still, I was determined to use the stack of hilarious drawings somehow…
**Updated 11.20.19 with StoryGuessing**
See this post for all the input-based activities you can do with a text. But how do we end up with a text in the first place?! Here are all the ways I’ve been collecting:
**N.B. Many interactive ways to get texts require you to write something down during the school day, else you might forget details! If you can’t create the text during a planning period within an hour or two of the events, jot down notes right after class (as the next group of students line up for the Class Password?), or consider integrating a student job.**Continue reading
Before having the opportunity to present a couple workshops, my mind was blown quite sufficiently during the week. Overall, the Advanced Track with Alina Filipescu and Jason Fritze got me thinking about aaaaaaaall the things I’ve forgotten to do, or stopped doing (for no good reason) over the years. Thankfully, most of them are going to be soooooo easy to [re]implement. As for the others, I’ll pick 2 at a time to add—not replace—until they become automatic. This will probably take the entire year; there’s no rush!
Jason referred to high-leverage strategies—those yielding amazing results with minimal effort (i.e. juice vs. squeeze), and I’m grateful that he called our attention to everything Alina was doing while teaching us Romanian. ce excelent! I’ll indicate some high-leverage strategies, and will go as far as to classify them as “non-negotiable” for my own teaching, using the letters “NN.” I’ll also indicate strategies to update or re-implement with the word “Update!” and those I’d like to try for the first time with the word “New!” I encourage you to give them all a try. Here are the takeaways organized by presenter:
I was just with Von Ray—the man, the myth, the legend—at a TPRS workshop in Manchester, NH. It’s been several years since I’ve seen anyone do the 2-day workshop, and I was impressed with the updates. I was also impressed with how magical the experience still was, given my familiarity with all the strategies and techniques of a basic skills workshop, while observing first-time TPRS participants in the room simply dazzled by the experience.
In my last post, I mentioned the importance of parallel stories. Recycled Readings (RR) is my new idea on improving textbook stories known for not providing enough repetitions of new vocabulary. To create a Recycled Reading (RR), just add a parallel character, and recycle the vocabulary from the original as you compare. In the example below, the bold text is my parallel character—Katy Perry.
Ecce Rōmānī – I (Two Roman Girls)
ecce! in pictūrā est puella, nōmine Cornēlia. in pictūrā nōn est puella, nōmine Katy. Katy est puella Americāna quae in L.A. habitat. Cornēlia est puella Rōmāna quae in Italiā habitat…etc.
This isn’t a panacea—the textbook still introduces TOO MUCH vocabulary TOO SOON, but at least now there are more repetitions and something to relate to—instant Personalized Question & Answer (PQA) material. In addition to Recycled Readings (RR), I’ll be creating Embedded Readings (ER) for each chapter using a parallel story. You can read about what I learned at NTPRS about ERs from Michele Whaley, (co-creator of Embedded Readings), here.
So, my plan is to ask a class story, read those parallel stories I shared in the last post, then read the Ecce Rōmānī parallel ERs, and finally look at the RR. From there, we might actually read the original Ecce Rōmānī text, or just move on. I’ll update the document with each chapter throughout the year:
Click here for Ecce Rōmānī Parallel Stories (ER & RR). Feel free to make a copy (under “file”), and change the details to suit the interests of your students.
The latest Tea with BVP episode was “Teaching Without Textbooks.” Whether you’ve already ditched the textbook, or still work alongside one, parallel stories are important. Parallel stories include the same language found in a narrative, but the details (maybe plot) change. This year, I’ll be using a mix of parallel stories that compliment a textbook’s narrative, and co-created stories via TPRS.
For years I used TPRS story scripts to ask a story and then type up and read the exact story as a class. I’m now sold on parallel readings that include all the language found in the class story during acting, but now in a new context with details unknown to the students. Following Michele Whaley’s current practices on Embedded Readings, each of our stories will have at least three versions—this builds interest along the way by withholding information (vs. knowing exactly how the class story ends).
There will be more on how I adapt a textbook’s narrative later, but for now, here’s a link to our Latin 1 parallel stories (updated throughout the year in this single document).
After attending Michele Whaley’s presentation on Embedded Readings at NTPRS, I was convinced that we’ve been playing a game of Telephone since she and Laurie Clarcq began sharing the concept back in 2012. It turns out that it’s “yes and no,” but there is an important distinction that is being made in current Embedded Reading practice. Whereas many of us THINK we’re creating Embedded Readings, most of us might be just adapting authentic texts, class stories, or textbook narratives. Those products are fine, but aren’t necessarily Embedded Readings. Most of us are missing two key features in our adapted readings that make them better:
- Parallel Stories
- Withholding New/Tantilizing Information (not just more words)