Dublin Leadership 2012 Minilessons

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Dublin Leadership 2012 Minilessons

  1. 1. Planning Minilessons
  2. 2. A Lifelong ConversationAround Books and Reading
  3. 3. What aremybeliefs about Minilessons?
  4. 4. #1 Designed with a vision of helping students gain the necessaryskills, strategies, and behaviors to become independent readers.#2 Scaffolded across time to deepen and enrich understanding of concepts.They are not activities delivered in isolation.#3 Part of larger conversations that we as a community have about our readinglives and that these conversations build over time.#4 Interactive. Students should be the ones doing the thinking, not the teacher.#5 Planned with the needs of current students in mind. They cant becanned, scripted or duplicated year after year.
  5. 5. #6 The right length to match your teaching point. There is no magic number ofminutes for an effective minilesson.#7 Organized in a way that makes the most sense to the teacher, school, ordistrict. There is no one right way to organize lessons.#8 Based on what we know about teaching and learning. No matter themandates and pressures of state testing, there is no reason to compromise bestteaching practice.#9 Designed to teach the reader not the book.#10 Designed by the teachers who is doing the teaching, not corporations.
  6. 6. Big Questions for Minilesson Planning Why do we teach this? How does it fit into the bigger picture? What are the big goals I have? Which books might I use? How will I provide for students to enter at own level? What will I be assessing? Does assessment match the big picture goals?
  7. 7. Minilesson Cycles Can Be Lots of Ways to Plan Strategies—comprehension, word work Behaviors and Habits—book choice, stamina Literary Elements—character, theme Genre—nonfiction, mystery, historical fiction
  8. 8. What Are We Assessing?What we don’t do, however, isuse our experience to director guide towards our ownunderstanding of any giventext…..we need to teach eachstudent the way readers thinkas they read, not what tothink, helping them toexperience texts asreaders, rather that puttingspecific thoughts about textsinto their heads.
  9. 9. The Stranger
  10. 10. Unpacking Standards: Plot K-Retell or re-enact a story that has been heard. 1-Retell the beginning, middle and ending of a story including its important events. 2-Retell the plot of a story. 3-Retell the plot sequence. 4-Identify the main incidents of a plot sequence, identifying the major conflict and its resolution. 5-Identify the main incidents of a plot sequence and how they influence future action.
  11. 11. 6th+ Distinguish between main and minor plot incidents. Pace, subplots, parallel episodes, and climax Compare and contrast stories/characters with similar conflicts How do voice and narrator affect plot
  12. 12. PlotA story with veryobvious problem and solution
  13. 13. Plot Two stories with similar plots todiscuss parts of a story.
  14. 14. Plot Same ProblemDifferent Solution
  15. 15. Unpacking theCommon Core
  16. 16. Character Cycle Big Goals/Learning -Authors let us get to know characters in a variety of ways. -The more we know about a character, the better we can predict and understand his/her actions. -Important characters often change over time. -Understanding how a character sees the world is critical to understanding their thoughts, relationships, and actions. -There are words that readers use when they think and talk about characters in fiction. These words give us ways to think and talk at a deeper level.
  17. 17. Scaffolding with a Menu of Books A book that is more character-based than plot based and might be a good one for this cycle. Several books that focus on the same character/characters Books with 2 characters who are great friends or who are siblings. These often make for the best conversations about relationships. Books that include several short stories about the same character(s) Characters that the students love and talk about on their own.
  18. 18. Characters We learn aboutcharacters throughtheir relationships with others.
  19. 19. Character We learn about acharacter from the way he/she behaves and reacts in a story.
  20. 20. Character Readers learnabout charactersby the things they say. (voice)
  21. 21. CharacterThe more we know about acharacter, the betterwe can predict and understand his/her actions and behaviors.
  22. 22. Character Important characters in abook often changeover the course of the story.
  23. 23. Big Picture of Theme Cycle: What Am I Setting Up?Understandings I Want My Students to Come Away With in this Cycle *Readers have the power to determine the theme in a text. Authors often write a story with a bigger message about life to the reader. There is often more than one theme in a book. There are universal themes that appear often in books. A theme works across an entire piece.
  24. 24. How do they get there from where they are now?Plot vs. ThemeStated vs. Implied ThemeWhen Two Storylines Come TogetherRepeated LanguageSymbolism/MetaphorsGeneral vs. Specific ThemeUniversal Themes
  25. 25. YouTube Video Clipshttp://www.youtube.com/watch?v=dv015LtqA0A
  26. 26. Stated Vs.Implied Theme 29
  27. 27. A Circle of Friends Wordless Book A Good First Look at TitleSignificance of word “circle”
  28. 28. The Enormous Turnip Traditional Tales with obvious and accessible themes are a great way to introduce the concept of theme as well as universal themes to students.
  29. 29. Artie and JulieHow do Storylines come together?
  30. 30. Many Stories of Friendship
  31. 31. Wanda’s Roses/The Curious Garden
  32. 32. A Menu of Options Titles are often a metaphor and aclue into the theme of the story.
  33. 33. Walk On!A Guide for Babies of All Ages By Marla Frazee Dedication“to my son, Graham, off to college”
  34. 34. “Any of these details….are, in effect, entryways into deeper meanings of the text. None is inherently more important than the other and no one inference about them is necessarily “right”…What’s important is not which detail readers notice but what they do with them…..what they can make of what they notice.” What Readers Really Do
  35. 35. Share Timeme
  36. 36. Readicide by Kelly GallagherIf we are to find our way again--if students are to becomeavid readers again--we, as language arts teachers, mustfind our courage to recognize the difference between thepolitical worlds and the authentic worlds in which weteach, to swim against those current educational practicesthat are killing young readers, and to step up and do whatis right for our students.We need to find this courage. Today. Nothing less than ageneration of readers hangs in the balance.

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