Showing posts with label language arts. Show all posts
Showing posts with label language arts. Show all posts

5/16/2012

Reading Comprehension: Helping Your Child Understand What They Read


I'm a middle school special education teacher (English) who faces the same challenge every year: students who are great
decoders - they can sound out words and read aloud like champions - but who, after reading, can't answer even basic questions about what they've read.  Sound familiar?

There are several explanations for this.  Some of the more common include cognitive overload (so much effort is expended on decoding, student doesn't have sufficient cognition "left over" to interpret meaning), attention deficits (students struggle to sustain focus during reading tasks), and a variety of learning deficits.  But another explanation is that some children can't/won't intuitively figure out the strategies that good readers use to create meaning from text.  For these children, one of the most powerful things you can do is to explicitly teach them these tricks.

Following are some of my "go to" strategies for improving reading comprehension.  I use them because they work - for both both "neurologically typical" students as well as students with a variety of learning, emotional, cognitive, and attention deficits.  These strategies are relevant for all grade levels and can be practiced at home (no boring worksheets required!). 

Hope these help parents out there who want to give their students a reading comprehension boost!
  1. Strategy #1.  Preview the text.  Good readers never initiate reading tasks without previewing the text.  "Previewing" means studying all the external text features - the title, subtitles, pictures, subheaders, "blurbs", charts, etc. - and using them as clues to make educated guesses about the content of the text.  Why is this step so important? 
    1. Activates background knowledge - what the reader already knows (or guesses) about the subject.
    2. Facilitates storage of new info in short-term (working) memory, because the reader has already identified "hooks" to link the new information to.
    3. Invests the reader in the text - they want to find out if their ideas/predictions are right
  2. Strategy #2.  Turn on your inner voice.  Good readers interact with (mentally talk back to) text as they read it.  They talk back to mysteries ("I think the butler did it!"), romances ("How can she be so clueless? He's clearly in love with her!") ... even tax returns. ("I can't subtract line 58 from line 57 because line 57 is smaller!  Who writes these $#%?! instructions, anyway?!")  How do you teach children to develop and deploy their "inner voice"?  Pick a television show, movie, or even video game.  As you watch it together, practice talking back to the characters.  Ask them questions.  Make predictions about what will happen next.  Insult their clothes.  Whatever!  The idea is to model how inner voice works, and to help your child understand that they need to interact with literature in the same way  - asking questions, expressing reactions and opinions, and making connections with information they already possess.  If they need further support to transfer the idea into practice, pick a book and have them read it. At random intervals, prompt them to "write down what their inner voice is thinking" on a post-it note and attach it to the page.   
  3. Strategy #3.  Read with inflection.  If your child reads in a monotone, skipping or misinterpreting punctuation, then this is a sure sign they're not interpreting the meaning of the words they are reading.  Reading with inflection (emotion) forces them to do so.  So, how do you teach your child to read with inflection?  The easiest strategy is to model the technique yourself.  Pick a highly interesting text and read it aloud to your child - really exaggerating the emotions being expressed - using word choice, word connotation (the emotional meaning of words), and punctuation as your clues.  Don't be afraid to get goofy - the more relaxed you appear, the more willing your child will be to mimic your example. Another great way to practice reading with inflection is to borrow a book of "readers theater" plays* from your school or local library and take turns "acting" out the parts. (*Plays that are meant to be read aloud rather than acted.)
  4. Strategy #4.  Visualize.  Neurologists believe that about 50% of the world's population processes information through visualization - literally, they think in pictures.  (The others think in words.)  For these individuals, visualization - the process of creating a picture in your head from clues in the text - is a powerful comprehension strategy.  To practice, find a book without pictures.  Pick a random page and sketch/draw what is happening on the page, using clues from the text (sensory language, imagery) as a guide.  (Keep it simple - stick figures only - so that they don't become so involved in the drawing process that they forget the text they're supposed to be processing.) If your child needs further support to transfer the idea into practice, have them turn a few pages/chapters into a comic strip.  The goal is to teach struggling readers to use automatically visualize difficult text.
  5. Strategy #5.  Use context clues.  Good readers accept that there will be words, idioms, maybe whole passages that they don't understand.  How do they cope with this frustration?  Do they throw down the book in disgust because it's "too hard".  Of course not.  Do they reread the text until they've figured it out?  Often, though rarely more than 2-3 times. Do they look up unfamiliar words in the dictionary? Almost certainly not. What good readers do do is use "context clues" (information surrounding the confusing extracts) to make a logical guess about what the words/idioms/passages probably mean, and then they move on.  If they've guessed correctly, the following paragraphs will make sense.  If they've guessed incorrectly, the following paragraphs will almost always provide enough extra information to make sense of the bewildering bits.  Children who allow vocabulary and idiomatical language to frustrate them will have a hard time ever viewing reading as fun or worthwhile. Encourage them not to give up on difficult passages, but to predict what the passage probably says and to move on. 
  6. Strategy #6.  Trust the author.  The "author's compact" is the implied rather than actual agreement between the reader and the author to the effect that any information included by the author in the text is there for a reason.  Adults understand that published texts have gone through countless cycles of revision to ensure that no words or ideas are wasted.  (Well, more or less.)  Children, however, often lack this insight and need to be explicitly taught that if they've just read text that they think is "not important," they've probably missed something.  So, how do you model this for your child?  Once again, I recommend you start with a movie - something highly familiar to both of you.  (Disney movies work well for this, and appeal to a range of ages.)  As you watch the movie together, point out the ways in which scenes that seem unimportant are important - perhaps because they create a mood, establish the personality of a character, or foreshadow events to come.  After you've viewed a few movies together through this lens, your child will start to "trust" authors, which, in turn, will prompt them to pay more attention to detail and to analyze what they are reading as they go along.
This is by no means a comprehensive list.  I may well come back and add a few more strategies as they occur to me.  But I can vouch for the effectiveness of the strategies I've included so far; and if that's not enough, I can provide dozens of students equally enthusiastic about these techniques.  There's nothing as rewarding as the looks on their faces when, after spending the school year practicing these strategies over and over again, they receive the results of their state reading comprehension test and realize that they've passed, often for the first time in their lives.  :-)

4/19/2011

8 Writing/Grammar Rules That Have To Go


As a middle school English teacher, a huge chunk of my curriculum is grammar instruction.  Which places me in the position, every year, of foisting on trusting, naive students grammar rules that even I know to be stilted, antiquated, or just plain silly. 

Below is a list of 10 grammar conventions that I would immediately eliminate if only someone would let me run the Grammar Police.

Consider this my blanket apology to all the students I have necessarily confounded over the years.  Sorry, guys.
  1. Using singular plurals to represent singular/gender unknown antecedents.   Here's what we're supposed to say: "A writer [ANTECEDENT] may edit his or her [PRONOUN] manuscript many times before submittal."  Why the incredibly awkward construct his or her?  Because, technically, the noun writer is singular/gender unknown, which means you're supposed to use a pronoun that is singular/gender unknown: hence, the ridiculously pompous his or her.  Can't we all agree that if we say "A writer may edit their manuscript many times before submittal," we're not automatically assuming more than one writer?  
  2. Given a compound subject joined by the conjunction "or", pronouns must agree with the final noun in the list.   Here's what we're supposed to say: "Either Jim or Susan needs to bring her laptop with her to the meeting."  Why her?  Because grammarians will tell you that when presented with the construct Jim or Susan, the pronoun should match the gender/number of the last item in the list.  Which stinks for Jim, who has now been called her not once, but twice, for no better reason than he happened to come first in the list.  Surely sane people can agree that using a plural pronoun - "Either Jim or Susan needs to bring their laptop with them" - is a lot more natural, and a lot less likely to get you punched in the nose.
  3. Words that end in "one" or "body" should be treated as singular pronouns. Sorry - just can't resist one more rant about pronouns.  Based on the above rule, the sentences "None of them are ready" should be correctly read "None of them is ready"; the sentence "Somebody should claim their cocktail before I dispose of it" should be correctly written: "Somebody should claim his or her cocktail before I dispose of it."  Just when I start feeling a little swollen-headed because we Americans have taken the forefront over other European languages in dropping unnecessary articles and adopting the universal "you" for 1st/2nd/3rd tense possessive, a rule like this comes along and makes me hang my head in dismay.
  4. Who or whom?  Depends on whether you are using the pronoun as a subject or a direct object in the sentence, to which I reply: who or whom cares?  I think it's time we relegate whom to the annals of pronoun forms whose time have passed, alongside thee/thou and one.
  5. Don't split infinitives.  An infinitive is a verb combined with the word "to" - as in, to hunt, to wonder, to spell.  Technically, you're not supposed to insert any words in between the "to" and the verb.  But can you imagine Captain Kirk solemnly intoning, instead of the timeless "To boldly go where no man has gone before," the grammatically correct "Boldly to go where no man has gone before"?  In the first version he sounds like a hero; in the second version, more like the kind of nerd who reads science fiction novels but would never go there himself.  Time for us to accept that sometimes exceptions to this rule are okay.
  6. Don't start sentences with And or But.  But, what if you want to position two sentences in opposition to each other, as I've just done?  (Clever, huh?)  And sometimes you just want to elaborate on a sentence by adding an additional sentence, as I've just done here.  I suspect the reason for this rule is to prevent insecure writers from unwittingly employing sentence fragments.  Having spent years as a middle school English teacher undoing the harm this has done, can't we decided to stop teaching this "non-rule" like it's a rule?
  7. Don't end a sentence with a preposition. Thus, "There's the boy I'm going with" should be correctly written: "There's the boy with whom I'm going." Not only does this sound stilted, but it risks running headlong into rule #6 regarding the use of who/whom. Occassionally ending a sentence with a preposition is not only acceptable, but necessary.
  8. Paragraphs should have 5 sentences.  Speaking of non-rules, here's another one that English teachers consistently foist upon their gullible students.  Meant (I suspect) as a way to force students to elaborate on their main ideas with sufficient detail, what this rule more typically does is encourage writers to invent 1-2 original thoughts, then repeat them using slightly different wording 1-2 more times.  The rule is this, people: paragraphs should contain a main idea and only as much supporting detail as necessary to elaborate on the main idea.  

11/07/2009

Most Common Themes in Literature

Have you ever tried teaching theme to a class of middle schoolers? Trust me, it requires patience and a LOT of examples.  One problem is that there's no widespread agreement on a basic list of "most common literary themes."  (Believe me: I've done a lot of research on this.)  I think one reason is that all but the most primitive tales have numerous themes that can be interpreted in numerous ways, so categorizing texts by theme isn't really possible.  For example, is Don Quixote "mostly" about Man vs. Himself (Quixote's inability to see his own failings), or Man vs. Society (society's inability to recognize his innate nobility), or Good vs. Evil (rescuring people in distress), or the Nature of Love (his chivalric love for Dulcinae)?  See what I mean? 

Over time I've managed to winnow down my nominees for "most common literary themes" to the following. I realize that this isn't an inclusive list, but it incorporates (I believe) the most prevalent themes in classic and popular literature.
  1. GOOD VS. EVIL 
    1. AKA: Courage, Duty, Loyalty, Patriotism, Heroism, Nobility/Honor, Crime Does Not Pay  
    2. EXPLANATION: Most stories exploring this theme feature good triumphing over evil, and all the better if "good" is is vastly outmatched by "evil" but triumphs anyway, a la David and Goliath, The Lord of the Rings, or Harry Potter; though, sometimes, evil ends up triumphing over good (Night). 
    3. OVERLAP:  This category often overlaps with Love and Friendship (since the heroes risk their lives to preserve those they love), Man vs. Himself (since the heroes often struggle with themselves to find the courage to go on), Fate vs. Free Will (since often there is a prophecy or some other supernatural agency that has thrust heroism upon them), and Suffering and Redemption (since they often have to overcome their own demons in order to prevail).
    4. OTHER EXAMPLES: The Iliad, Homer; Le Morte d'Arthur, Malory; Ivanhoe, Scott; The Three Muskateers, Dumas; Treasure Island, Stevenson; The Red Badge of Courage, Crane; The Lord of the Rings, Tolkein; all stories with detectives or superheroes
  2. MAN VS. NATURE 
    1. AKA: Survival, Quest for Immortality 
    2. EXPLANATION:  Includes all stories in which the main character finds himself pitted against weather/environment (To Build a Fire), animals (Moby Dick), or life/death (Frankenstein). Sometimes humans triumph over nature (Swiss Family Robinson); more commonly, nature triumphs over humans (Jurassic Park).  Rarely, man and nature learn to exist together in harmony (Jungle Book); more often, mankind risks destroying nature and themselves with untamed technology (most science fiction).
    3. OTHER EXAMPLES: The Old Man and the Sea, Hemingway; Call of the Wild, London; Robinson Crusoe, Defoe; The Picture of Dorian Grey, Wilde; Flowers for Algernon, Keyes
  3. LOVE AND FRIENDSHIP 
    1. AKA: Sacrifice, Love, Duty
    2. EXPLANATION: Includes pretty much all stories about love, in all its forms: romantic, platonic, godly, unrequited, familial, altruistic.  Usually, love triumphs over the barriers (natural, societal) placed in its way (Pride and Prejudice, Jane Eyre) though, sometimes, love is unable to overmaster the odds set against it (The Hunchback of Notre Dame, Romeo and Juliet, Ethan Frome). The one thing they almost all have in common is the overarching message that a life lived without love is a life half-lived.
    3. OVERLAP: Stories about obsessive love/jealousy (ex: Wuthering Heights) or improper love/jealousy (Sons and Lovers, Lolita) more properly belong under Man vs. Himself 
    4. OTHER EXAMPLES: Little Women, Alcott; The Velveteen Rabbit, Bianco, Of Mice and Men, Steinbeck; The Giving Tree, Silverstein
  4. MAN VS. SOCIETY 
    1. AKA:  Freedom vs. Authority, Individuality, Justice, Social Justice
    2. EXPLANATION:  My entirely unscientific survey of literature suggests that there are, alas, more examples of society conquering man (Catch 22, Farenheit 451, 1984) than examples of man conquering society (Moll Flanders, Tom Sawyer); though sometimes these two forces end in an uneasy draw (To Kill a Mockingbird).  A common subtext is that even society seems to triumph, the human spirit remains unconquered (Scarlett LetterUncle Tom's Cabin; Les Miserables).
    3. OTHER EXAMPLES: Huckleberry Finn, Twain; Tale of Two Cities, Dickens, Cry, the Beloved Country, Paton; Heart of Darkness, Conrad; Invisible Man, Ellison; Native Son, Wright; Diary of Anne Frank, Frank; Animal Farm, Orwell; Grapes of Wrath, Steinbeck; The Hunchback of Notre Dame, Hugo
  5. MAN VS. HIMSELF 
    1. AKA: Obsession, Greed, Pride, Hubris, Corruption
    2. EXPLANATION:  The usual subtext of these stories is that man carries within him the seeds of his own destruction, and the causes of self-destruction are indeed myriad: pride/vanity/selfishness (Hector in The Iliad, Rebecca Sharp in Vanity Fair), greed/ambition (Dr. Faustus, Richard III, Macbeth), obsession (Moby Dick), insanity (The Telltale Heart), desire for revenge (Othello, Count of Monte Cristo), jealousy (Wuthering Heights), cruelty (The Lord of the Flies), etc.  Sometimes, however, "Man vs. Himself" shows up as "You should never give up on your dream, no matter how hard the struggle," a particularly popular theme in teen fiction and movies about sports.
    3. OVERLAP: Stories about the ability of power/money to corrupt the human spirit overlap with Man vs. Society; though allowing themselves to be corrupted is a human failing, the instigating event is often a social inequality (political corruption, as in All the King's Men)
    4. OTHER EXAMPLES: The Great Gatsby, Fitzgerald; Frankenstein, Shelley; Dr. Jekyll and Mr. Hyde, Stevenson; Pride & Prejudice, Austen
  6. FATE/FAITH/PREDESTINATION VS. FREE WILL. 
    1. AKA: Truth, Faith, Fate. 
    2. EXPLANATION: These books explore whether man has the power to create his destiny, or whether his destiny is predetermined, whether by willful gods or fickle fate.  This theme is more common in pre-20th century literature, when believe was more widespread that the gods meddled in the everyday lives of men. However, the theme lives in on literature by worth authors (think magical realism) and in novels that feature reluctant heroes who are somehow "chosen" or "predestined" to save the world. 
    3. OTHER EXAMPLES: Iliad, Homer; Oedipus Rex, Sophocles; Harry Potter, Rowlings; The Lord of the Rings, Tolkein.
  7. SUFFERING AND REDEMPTION 
    1. AKA: Triumph over Adversity, Self-Reliance, Perseverance
    2. EXPLANATION:  These stories typically feature characters who seek to overcome obstacles or redeem past mistakes through courage, sacrifice, remorse, or divine intervention.  Sometimes they succeed (A Christmas Carol, Dickens); sometimes, however, one lapse in judgment haunts them forever (Lord Jim, Conrad; Atonement, McEwan)
    3. OTHER EXAMPLES: Jane Eyre, Bronte, Crime and Punishment, Dostoevsky;  Scarlet Letter, Hawthorne; David Copperfield, Dickens; Les Miserables, Hugo; A Tree Grows in Brooklyn, Smith