What’s the Difference Between a Teacher & a Packaged Program?

Now that most of us have settled into the new school year, my corner of the blogosphere is buzzing with the first student responses to curricula designed to meet the Common Core through a steady diet of close reading. Last week, for instance, Chris Lehman shared some of the trove of tweets he discovered, like the one I found below, from students who were flummoxed, frustrated and furious with their close reading assignments. Clare Landrigan and Tammy Mulligan over at Teachers for Teachers shared the notebook entry of a student who confessed, “I find myself so focused on how to annotate that I’m not really thinking about what I’m reading.” And Kim Yaris, of Burkins & Yaris, shared a cautionary tale of her own after her fifth grade son came home from school, brought to the brink of despair and tears by a two-week-long close reading of a document that Kim’s research suggest is actually more college than lower school fare.

Close Reading Tweet2

I can’t verify that all these tweets and confessions are connected with packaged programs, though Kim’s son’s story definitely is. But I seriously suspect that in one way or another they reflect the effects and consequences of a document written by the authors of the Standards known as “The Publisher’s Criteria.” According to the authors, “These criteria [were] designed to guide publishers and curriculum developers” in creating Common Core aligned instructional material “to ensure that teachers receive effective tools.” And it’s here that some of the ideas and language that have taken over classrooms first appear, such as:

  • Whole class instruction should be focused on short texts on or above a grade’s complexity band throughout the year 
  • Students should be engaged in close reading of those texts, which include multiple readings
  • Those close readings should be guided by a set and sequence of text-dependent questions

What’s important to remember is that these criteria weren’t aimed at teachers, only those in the business of marketing products. Yet many a teacher has been forced, persuaded or enticed to follow, having been told, perhaps, that they’re the only way to raise test scores or meet the Standards. That’s not to say that teachers shouldn’t expose their students to challenging texts, nor have some text-dependent questions up their sleeves that encourage reading closely for deeper meaning. But providing texts, questions to ask, answers to look for and worksheets to pass out is pretty much all a program can do. And because teachers are living human beings, with active minds and hearts, they can do things programs cannot, beginning with the most obvious: A program cannot not know the students, only a teacher can.

Teachers know which students come from families who struggle and which come to school sleepless or hungry. They know which ones are wizards at math but feel defeated by reading and which are precocious but avoid taking risks. They know which don’t talk because they’re shy and which don’t because they’re lost. And knowing all this, they also know that not every student needs every question the program tells them to ask, nor will every student manage to read complex texts by the end of the year (which is what the Standards actually say) by constantly being thrown into the deep end of the pool.

Teachers know all this because they watch and listen to their students, which leads to another critical distinction between a program and a teacher: A program can tell you what to say, but it cannot tell you what you’ll hear if you’re listening for more than what the program deems an acceptable answer. I think this kind of listening is just like the way we want students to read, attending closely to the details of the text to think about what the author might be trying to show them, not just to ‘get’ a particular answer but to understand more deeply. And that close, attentive listening allows teachers to make all sorts of moves that programs simply can’t capture in scripts, let alone actually make. Teachers can, for instance, do all of the following, none of which a program can:

  • Seize a teaching moment when it presents itself
  • Tuck what you’ve heard into your pocket to consider its instructional implications
  • Probe student thinking to better understand what’s behind their responses
  • Respond in a way that helps students build identity and agency as readers
  • Welcome and value out-of-the-box thinking

Several of these moves were visible in a classroom I worked in last week, where teachers were using some of the scaffolds that Dorothy Barnhouse and I share in What Readers Really DoA seventh grade ICT class, for instance, began reading Shirley Jackson‘s story “The Lottery”—in which a community engages in an annual tradition of stoning the winner The Lotteryof a lottery to death—by asking students to fill out their own text-based Know/Wonder charts. As the teachers and I walked around the room, we were thrilled to see how many students had noted the odd details about stones in the first three paragraphs and had wondered why characters were putting them in their pockets and stacking them in piles.

But I also saw this: One of the boys had copied a sentence from the second paragraph in full: “School was recently over for the summer, and the feeling of liberty sat uneasily on most of [the children].” Aware of how many of these students had plucked lines from texts for evidence on the test without seemingly understanding them, I asked him what he thought that meant. “They’re not comfortable with the freedom they have now that school’s out,” he said in a way that allayed my concern. And when I then asked him what he thought about that, he said he thought it was weird. No kids he knew were uneasy with summer. And thinking that, he decided to add a new question to his chart: “Why did most of the kids feel uneasy when school was out?”

Probing this student’s thinking this way not only revealed that he understood more than I first suspected; he was, in fact, the only one who picked up on the current of unease that runs throughout the story. But it also allowed me to name for him both the way that texts operate and the work he’d done as a reader, which increased his confidence.

And on the other end of the spectrum, there was this: As the teacher asked the class to share what they’d learned and wondered about, one student said she learned that the children were talking about planting, rain, tractors and taxes, from this line in the text:

“Soon the men began to gather, watching their children, speaking of planting and rain, tractors and taxes.”

Clearly she’d miscomprehended the sentence because of its construction, and initially I saw this as an opportunity to seize a teaching moment by asking the class who they thought was speaking and why. But when I debriefed that moment with the teacher, who’d noticed the mistake as well, she said she didn’t want to call her out in front of the class because it was the very first time that student had shared her thinking. Rather, in what I thought was a wise move, she wanted to think about how to address it in a way that would empower, not deflate, the student, and so she tucked what she’d heard in her pocket to think about her next steps.

And this leads to one final difference between a program and a teacher: Packaged programs teach curriculums and texts. Teachers teach real, live students. And I wonder, if we kept that distinction in mind, whether we’d stope feeling as frazzled and frustrated as the students sometimes do when we march them through a series of pre-determined questions in an achingly hard text.

From Demonstration to Orchestration: Some Thoughts on Mini-Lessons


Last week I read a piece in The New Yorker titled “Slow Ideas” by the surgeon and writer Atul Gawande, whose articles about medicine seem full of implications about teaching and learning to me. In this piece, for instance, Gawande looks at how to speed the spread of important innovations, such as institutionalizing hygienic hospital practices in order to avoid infections, and along the way he discovers something that I think has implications for mini-lessons: that people are most prone to lastingly learn things not if they’ve seen it demonstrated by an expert but if they’ve had the chance to try to do it themselves.

Rockin' Reading WorkshopThe by-now standard structure of a mini-lesson has the teacher explicitly naming a teaching point that’s connected to the unit of study, then modeling it as students watch. This is followed by a few minutes of active engagement, where students are invited to participate, sometimes by trying out the teaching point themselves or sharing what they saw the teacher doing. Then there’s a link that acts as a segue to independent reading, where students are explicitly or implicitly expected to apply what’s been taught in their independent reading book.

I can’t say enough about how important it was to me, in my own practice, to become adept at articulating a clear, concise teaching point, which this mini-lesson structure forced me to do. I learned an incredible amount doing that—sometimes, I believe, more than the students watching those lessons did. For while there are certainly stellar exceptions, I often see students zoning out as teachers—including me—demonstrate, and too often I don’t really see students transferring what’s been taught into independent reading.

As I explored in an earlier post on the pros and cons of modeling, this may be because of the passive nature of watching someone else do something—especially if it’s not something you’re burning to know. It might also be that the time allotted to active engagement simply isn’t enough for many students to get the teaching point—let alone to see what it can do for them as readers, which might motivate more students to transfer the thinking. Furthermore I think that all of this is compounded by the practice of teaching a new mini-lesson every day, regardless of whether students got what was previously taught or not, which may unintentionally send out the message that we don’t really expect you to understand.

Confucius Quote 2The ideas I explored last week from Matt Glover and Mary Alice Berry’s “Planning for What You Can’t Know,” specifically address this last issue by encouraging teachers to be flexible and responsive to student needs. But what about the mini-lesson itself? For a while now I’ve done my most critical teaching not during independent reading but during read aloud (or a hybrid of read aloud and shared reading, where I project or provide students with a copy of the text). And while I often begin that with a teaching point, I’m more likely to set students up to practice it, rather than demonstrate it myself—knowing that, as Gawande (and Confucius) said, the learning will be more meaningful and lasting that way.

IThe Name Jarn the example I shared in that post about modeling, I set the students up to read The Name Jar by Yangsook Choi by asking them to try to do what readers usually do in their heads whenever they begin a book: They try to keep track of what they’re learning and what they’re wondering about both because beginnings can be confusing and because they know that some of what they’re curious about will be answered as the story unfolds. And to help them make that work visible, I used a text-based Know/Wonder chart to keep track of their thinking.

Unlike the teaching points found in many mini-lessons, this wasn’t exactly a strategy or skill, though it positioned the students to employ many strategies and skills we might otherwise teach separately as they automatically—and authentically—started questioning, monitoring their own comprehension, and connecting details within the text to infer everything from the character’s nationality to the problems she faced. And moving the main teaching point from independent reading to the read aloud gives students more time and space to wrestle with meaning by engaging in what Gawande calls in another great article “‘deliberate practice’—sustained, mindful efforts to develop the full range of abilities that success requires.” It also gives us a window into different students’ minds, which can help us and students in several ways.

By studying The Name Jar, for instance, I was aware that there were several problems readers had to tackle in the first few pages, including navigating a flashback, which, as you can see below, is signaled only by small textual clues that include a subtle shift in verb tense.

TheNameJar 1

TheNameJar 2

TheNameJar 3

I anticipated that that might be tricky for some students, which it proved to be, as students had different views on where and when things were happening. But rather than solving the problem for them by either confirming the ‘right’ answer or explaining the time shift myself, I asked a student to explain her thinking, which accomplished several things. The student who walked the class through her thinking benefited in ways that are described in a recent Education Week article called “Students Can Learn By Explaining,” which cites new research that shows that “students who can verbally explain why they arrived at a particular answer [are] more able to catch their own incorrect assumptions and generalize what they learn to other subjects”—or, in this case, other texts. The number of ‘ah’s’ heard in the room also meant that other students were listening and now saw what she had seen (though anticipating that here might be problems here, I already had a small group lesson up my sleeve that would give the students I could now identify more time to practice this kind of thinking).

Additionally as I noticed and named what that student had done in more general terms, we’d arrived, as a class, at another teaching point: that writers sometimes signal a shift from the present to the past through small words and clues like “had said” and “remembered,” and so readers try to attend to those clues in order to not get lost. This teaching point and the other about keeping track of what we’re learning and wondering about could now be imported to independent reading where, instead of modeling, we could remind students of what they’d already done, how they’d done it, and how it had helped them as readers. Building the mini-lesson around student thinking this way not only builds on strengths instead of deficits, it also ensures that time-wise the lesson stays mini so that students have more time to read, without being shortchanged on the time really needed to experience the thinking work first hand.

And if and when I do see the need to model, the students are more apt to see the need for it, too, because they’ve developed a different sense of themselves as thinkers and readers—having played the notes of the symphony themselves.

Student Orchestra

To Model or Not To Model: That Is the Question

Art Emulation

In addition to the numerous treats I shared from this year’s NCTE convention, I also had the privilege of hearing Ellin Keene talk about talk—specifically about what kind of teacher talk enhances or impedes student understanding. Drawing on some of the work from her most recent book Talk About Understanding, she shared some trends and patterns she’d noticed during a year she spent viewing and analyzing teachers’ talk in classrooms. Among the things she noticed and named that all too often we do were the following:

    • Cut students off before they have a chance to fully develop their thinking
    • Accept students’ first thoughts without probing for deeper thinking
    • Move on before we label students’ descriptions of thinking (i.e., naming for them what they’re doing) so that the thinking can be transferred
    • Segue from modeling to student responsibility too quickly

The first three points I see all the time—and have been guilty of doing myself. And seeing them named so clearly reminds me of both the power of naming and the importance of giving students enough time to develop and test out their thinking. But the last point made me pause, because increasingly in my own practice, I’ve found myself moving away from explicit modeling in reading.

Mini LessonAs Dorothy Barnhouse and I both noticed and discussed in What Readers Really Do, when we model how readers use strategies through a think aloud, what students too often take away is what we thought, not how. And they can be left (as I sometimes am in the wake of a great think aloud) feeling dazzled but daunted. Additionally, a mini-lesson based on a “Today I’m going to teach you” teaching point, followed by a “Now watch me do it” demonstration and a “Now you do what I do” link puts students in a passive role and re-enforces a vision of student as empty vessels in need of teacher filling.

In his great book on teacher talk Choice Words, Peter Johnston shows how this positioning can have even more consequences, which he describes as the “hidden costs in telling people things”:

“If a student can figure something out for him- or herself, explicitly providing the information preempts the student’s opportunity to build a sense of agency and independence . . . When you figure something out for yourself, there is a certain thrill in the figuring. After a few successful experiences, you might start to think that figuring things out is something that you can actually do. Maybe you are even a figuring out kind of person . . . When you are told what to do, particularly without asking, it feels different. Being told explicitly what to do and how to do it—over and over again—provides the foundation for a different set of feelings and a different story about what you can and can’t do, and who you are.”

Peter Johnston2For Johnston, the key to learning isn’t explicit teacher modeling but student engagement. And from 2008 to 2010 he was involved in a research study that yielded compelling proof of that. As he shared in a recent blog post titled “Reducing Instruction, Increasing Engagement,” he and his colleague Gay Ivey looked at four 8th grade classrooms where the teachers decided to put engagement front and center by cutting back on explicit instruction and modeling and offering instead edgy young adult fiction with adolescent-relevant themes that the students could read without strings attached—i.e., no book reports or quizzes. The results? In addition to reading an average of 42 books a year and becoming more open, responsible and empathic, the students increased their standardized test scores, in some cases by more than 10%. (A paper on the study can be found here.)

In our current age of anxiety, however, where accountability and data collection rule, it’s hard to image this study being replicated in any systemic way. But what if instead of modeling, we moved students more quickly into problem-solving mode by orchestrating experiences for them that positioned them to feel the thrill of figuring things out?

This was what I did the other day in a fourth grade bilingual room that was embarking on a thematic unit of study about overcoming adversity. These were students who could easily be seen as deficient—who ‘couldn’t’ infer, ‘couldn’t’ summarize, ‘couldn’t’ find the main idea. But as we began to read Yangsook Choi‘s The Name Jarwithout a shred of modeling and no more support than a chance to turn and talk and a T-chart to record what they were learning and what they wondered about, their thinking was amazing.

The Name JarFrom the cover, they wondered what a name jar was, why the book was called that, who put the names in the jar and why, and was the girl putting something in or taking something out? With these questions in mind and their curiosity sparked, I started reading, pausing periodically to let them turn and talk and share out what they were thinking out.

What they noticed was that on almost every page, something about names came up: the girl’s grandmother gives her a wooden name stamp when she leaves Korea; children on the bus make fun of her name; she lies about her name to her classmates; the Korean grocer says her name is beautiful; and she tries out various American names as she brushes her teeth. They also had two more burning questions: Will she decide to change her name? and Will she manage to make friends?

As they wrestled with these questions half-way through the book, they demonstrated a deep understanding of the girl’s predicament in a way that also showed their ability to refer to details when explaining what the text said explicitly and when drawing inferences from it (Reading Literature Standard 4.1) and to draw on specific details from a text to describe in depth a character or event (RL. 4.3). They were also well on their way to determine a theme of a story from details in the text (RL.4.2)—and none of that had been explicitly taught or modeled (though I did ask them to share what made them think what they did and ended by naming the work they’d done).

It’s possible, of course, that what allowed them to do this was the explicit modeling their teacher had done. But what if, as Johnston and Ivey conclude of the students in their study, “Being fully engaged and facing problems, they became strategic”? What if they automatically generated strategies because they were invested in what they were reading, not because someone told them that’s what good readers do? And what if in delaying the release of responsibility, we risk becoming helicopter teachers, hovering over our students heads to make sure they get it right in a way that deprives them of the opportunity to learn by their mistakes?

For the record, I do keep explicit teaching and modeling in my toolkit of teaching moves. But it’s not automatically the tool I first pull out, because sometimes less is more.


Superficial or Significant: The Challenge of Comparing

Compare Contrast Vegas+Reggio

When a friend and colleague heard I was going to Las Vegas for NCTE so soon after being in Reggio Emilia, she thought it might be interesting for me to compare the two places. My initial thought was no, that’s too easy. The light, the noise level, the language—all different. The money, the history—all different as well, with Las Vegas, as we know it, a virtual newborn in the span of human time and some buildings in Reggio standing in place for more than one thousand years.

making-thinking-visible-ritchhart-ron-9780470915516But then I thought of quote another friend and colleague recently sent me from Ron Ritchhart, Mark Church and Karin Morrison’s book Making Thinking Visible. Here the authors take a look at skills and thinking, like comparing, that appear in classification charts such as Bloom’s Taxonomy and Webb’s Depth of Knowledge, and they offer this advice:

“Rather than concerning ourselves with levels among different types of thinking, we would do better to focus our attention on the levels or quality within a single type of thinking. For instance, one can describe at a very high and detailed level or at a superficial level. Likewise . . . analysis can be deep and penetrating or deal with only a few readily apparent features.”

With Las Vegas and Reggio, I think I was simply ticking off “readily apparent features” without being terribly insightful, just as I described many students doing in last spring’s post on the limits of graphic organizers. Of course, sometimes a student will come up with something that does seem “deep and penetrating.” But I don’t think we always teach toward that, aiming instead at just teaching the skill without that attention on quality. Or put another way, we teach the concept of comparing without teaching the concept of significance.

The Common Core Standards, however, have dramatically upped the ante in ways that I think are important. In the case of comparing, for instance—a.k.a. Anchor Reading Standard 9—the focus should be on significant, not superficial, comparisons. But how can we instructionally help students move beyond what’s readily apparent to what’s more penetrating but often less visible—a step which often requires readers to look beyond the specifics of any one text to something that’s more abstract and general? Thinking about this, I’ve developed a theory that, when comparing, it’s often useful to focus exclusively on similarities between two things or texts that, on the surface, seem different, and explore differences when similarities are more apparent. Then once those have been mapped out, the next step is to dig into the differences within the similarities or the similarities within the differences.

ClaudetteColvinCoverI tested this theory out last spring with a group of middle school teachers who had gathered for two days to explore ways of helping students read complex nonfiction texts on a common topic or theme. To make this concrete, I asked them to read an excerpt of Philip Hoose‘s Claudette Colvin: Twice Toward Justice, which combines transcripts of interviews with Colvin with more expository text, using a text-based Know/Wonder chart to see how it could help students connect details within the text (e.g., figure out why the number ten was detested, which is mentioned on the first page below).

Claudette Colvin Excerpt

Then we read an excerpt of Ann Petry‘s biography Harriet Tubman: Conductor on the Underground Railroadwhich appears in the Standards Appendix B as a middle school informational exemplar text. Here’s the beginning of the excerpt:

Harriet Tubman Excerpt

HarrietTubmanCoverRather than handing out Venn Diagrams, I asked the teachers to take out their notebooks and jot down as many similarities they could think of or patterns that recurred across the books, without judging any of their ideas—that is, nothing should be deemed too obvious or, conversely, too far-fetched. This helped them move beyond the most apparent similarities that both books were about African-American girls who as children experienced inequality based on race, to more insightful noticings such as these:

    • Both girl’s parents were addressed by their first name by white people.
    • Both girls learned lessons about the social structure they lived in very early in life.
    • The social structure was enforced through threats of violence, insults and humiliation.
    • Both girls felt fear, uncertainty and confusion.
    • Both girls saw the adults around them afraid.
    • Both girls were expected to take responsibility for something that was done to them, not by them.
    • Neither girl’s parents could protect them.
    • Both girls felt that there were unstated rules “in the air”.

As these were shared, I invited teachers to add ideas they hadn’t thought of before to their list. Then I asked them to look at their expanded list and think about which similarity seemed the most  important or significant to them and on another page of their notebook to briefly explain why. Using another think-to-write strategy, the Write-Around, from Harvey Daniels, Steven Zemelman and Nancy Steineke‘s Content Area Writing, I then had everyone pass their notebook to the person on their right. That person would then read what the other person wrote then write a quick response, extending, commenting, questioning, and probing what the writer before them had said, before passing the notebooks yet again to the right.

After several passes, the notebooks were returned to their owners who were eager to see how their original thinking had traveled and evolved. And at that point, they felt they would be prepared to have a more formal discussion or even to begin planning out a piece of writing. But perhaps, most importantly, they saw how this process could help lift their students’ thinking beyond the obvious or the superficial in ways that would help them, not just meet the Standards, but understand the undercurrents of a topic in that deep, more penetrating way.

Which brings me back to Vegas and Reggio. After giving myself some time to brainstorm, I did come up with something that was similar and more significant than the fact that both cities had two-word names that were often shortened to one. Both cities revolved around public spaces where people congregated and socialized. In Las Vegas, it was the casinos; in Reggio, the piazzas. And what seemed different within this similarity was the purpose of those spaces. In Reggio the piazzas helped the community connect and strengthen their social bonds, while the casinos were there to make money—with visitors like me forced to walk through the casinos just to get water or coffee.

These differences led to a final similarity: The purpose of these spaces reflected the cultural values of each of the cities, with those values again being different. Anyone want to place a bet on which one I liked best?

Reggio Piazza Las Vegas Casino

A Close Look at Close Reading

As teachers and schools continue to wrestle with implementing the Common Core Standards, I hear more and more talk—and more and more questions—about the term ‘close reading’. Interestingly enough, the term doesn’t appear in the actual Standards, though it crops up repeatedly in many Standards-related material, including the now famous—or infamous—videos of Standards author David Coleman dissecting Martin Luther King’s “Letter from Birmingham Jail.” And Text Complexity co-author Douglas Fisher has said that close reading is “the only way we know how students can . . . really learn to provide evidence and justification,” as the Common Core requires.

So what exactly do we mean by ‘close reading’? According to Timothy Shanahan, who’s become something of a spokesman for the Standards, close reading is “an intensive analysis of a text in order to come to terms with what it says, how it says it and what it means.” I agree completely that close reading allows a reader to understand what a text says and what it means, with what it means directly related to the author’s decisions about detail and language and structure—i.e., how it says what it says. But for me, analysis is an off-shoot of close reading, something I can produce, if I’m asked to do so, after I’ve read closely.

I think this because, by definition, analysis involves thinking about how the parts contribute to the whole, which presupposes an understanding or vision of the whole. Putting analysis in front of understanding seems a bit like putting the cart before the horse. And asking students through a text-dependent question to analyze a part before they’ve had a chance to consider the whole risks putting them in the position of the blind men in the old Indian tale who sought to understand what an elephant was by attending to its parts. One man touched the trunk and thought an elephant was like a snake; another felt the tail and concluded it was like a rope; while a third stroked the ear and thought it was a fan. None was able to make sense of the whole when asked only to consider a part.

My own vision of close reading is better captured in some of the guidelines colleges provide students. The Purdue Online Writing Lab, for instance, advises ‘tracking’ your understanding of a text through margin notes that often consist of questions, with an example that bares more than a passing resemblance to the kind of questions that come up when students are using a Know/Wonder chart, noticing patterns across a text, and wondering what the writer might be trying to tell them through the details he’s chosen.

Example of close reading annotation using Doris Lessing’s short story “A Woman on a Roof,” from the Purdue Online Writing Lab

Harvard also provides a “How to Do a Close Reading” guide to students, which breaks close reading down into a two-part process: First the reader observes facts and details in the text, then he interprets what he’s observed through inductive reasoning—that is, he builds an interpretation bottoms-up from the details, rather than by deductively starting with a claim and then finding evidence to support it. And they offer the following tips, which sound similar to the kind of thinking the fifth graders I described in a recent post engaged in (with the teacher transcribing their thoughts in lieu of annotating the text):

1. Read with a pencil in hand, and annotate the text, noting anything that strikes you as surprising or significant, or that raises questions.

2. Look for patterns in the things you’ve noticed about the text—repetitions, contradictions, similarities.

3. Ask questions about the patterns you’ve noticed—especially the how and why.

This two-pronged process has always seemed to me a lot like the scientific method. The reader attends to the details an author gives just as a scientist attends to the details of whatever phenomena he’s studying. And from those observations, each develops a hunch that attempts to explains what they’ve noticed, which in science we call a hypothesis. Then just like the scientist, the reader continues to probe and observe, testing her hunch out as she encounters new details and looks back on ones she’s read, revising, refining and developing her ideas until all the pieces fit—at which point she comes to a final understanding, which is like a scientist’s theory. Only then, I would argue, can the reader’s thinking be turned into a claim whose validity can be proved in a deductive fashion using many of the same details that helped her understand as evidence.

Unfortunately, however, some of the approaches that aim to support close reading rob students of the opportunity to notice and to develop ideas of their own—which, as Harvard says, “is central to the whole academic enterprise.” Take Achieve the Core’s 8th grade Close Reading Exemplar for “Long Night of the Little Boats” by Basil Heatter, which recounts an incident from the Battle of Dunkirk when a ragtag flotilla crossed the English channel to rescue soldiers who were stranded on a beach during World War II.

My hunch is that the exemplar writers followed a process similar to Harvard’s to arrive at their own understanding of the piece (noticing, questioning, and interpreting, perhaps, automatically in their heads). They then rephrased their understanding as a question for the final writing task: “How did shared human values, both on the part of the little boat rescuers and the soldiers, play a part in the outcome of Dunkirk?” With that in place they then designed a series of questions and steps that would focus the students’ attention on details that were key to their own understanding’s development, such as:

The students neither own the noticings here, nor the development of the ideas. And the ‘help’ that teachers are asked to provide in order that students ‘see’ what they’re supposed to runs the risk of being as much an act of spoon-feeding as some of the pre-teaching practices that have come under fire are. Of course, it does increase the likelihood that students will meet the Standards. But they’ll do so by plugging in someone else’s language about details someone else has noticed to support an idea someone else has formulated. And that’s a far cry from the independent thinking that colleges want students to have.

To support that kind of independence, we have to design instruction that engages students in both components of the close reading process: to first be observers and questioners and then to use their observations and questions to, as Harvard puts it,  “reason toward our own ideas.” That may, indeed, involve asking students questions, but those questions need to be open enough for students to engage in real close reading, not an overly-prompted knockoff.

And so to ensure that we don’t put the cart before the horse, let’s remember this when it comes to close reading:

Questions before Answers

Hunch before Claim

Understanding before Analysis

Some Questions about Text Dependent Questions

As the school year finally begins to wind down here in New York City, a new term is the air: text dependent questions. I first encountered the term in the Common Core Standards Publishers Criteria, which recommends that Standards-based instructional material includes a sequence of “rigorous text dependent questions that require students to demonstrate that they not only can follow the details of what is explicitly stated but also are able to make valid claims that square with all the evidence in the text.” And now Student Achievement Partners, the group founded by several of the Common Core authors, has issued a “Guide to Creating Text Dependent Questions” along with an ever-growing number of “Close Reading Exemplars” that show this method in action.

These text dependent questions stand in contrast to some of the common kinds of questions often heard in classrooms, such as questions about students’ own feelings or experiences and questions related to strategies or skills, like “What’s the main idea?” I agree that these kinds of questions are problematic and should be used sparingly. The first kind can shift students’ attention away from the text to their own thoughts, while the second can turn the act of reading into a scavenger hunt, as I explored a few weeks ago in my post on basal readers.

But text dependent questions seem problematic, as well. The Student Achievement Partners’ guide says that text dependent questions aim to “help students see something worthwhile that they would not have seen in a more cursory reading.” This is a goal I completely share. But the text dependent question approach relies on teachers directing and prompting students to what they want them to see, not on teaching in a way that empowers students to more independently notice what there is to be noticed through their own agency. And in this way text dependent questions run the risk of creating teacher dependent students instead of strong, flexible readers.

To see what I mean, let’s look at one of the Close Reading Exemplars from the Student Achievement Partners’ Achieve the Core site. Here eighth graders are asked to dip into a passage from Narrative of the Life of Frederick Douglass an American Slave, Written by Himselfwhich begins like this:

Like all the Exemplars, this one asks students to first read the passage silently to themselves, without any introduction or instruction. They then follow along for a second go through as the teacher reads the text aloud in order to offer “all students access to this complex text.” Then the questions start:

This read-listen-then-answer-questions sequence seems to almost guarantee that some, if not most, students will read and listen to the passage passively, waiting for the teacher to tell them what to do. It also seems to mirror standardized tests, where students don’t often begin to think until they hit the questions, rather than the moment they first begin to read.

The questions themselves also seem test-like; you can almost imagine them being followed by a choice of four possible answers. That’s because there seems to be one right answer, and the questions are seeing if you ‘got it’ or not. In this way, the questions are assessing comprehension, not helping students build it, which means that students who are able to comprehend will probably do fine, while those who can’t, will not. And one can only imagine how those answers might be pulled and yanked like a tooth from those struggling students through continued prompting.

But what if, instead, we taught students that every reader enters a text not knowing where it’s headed, and because of that they keep track of what they’re learning and what they’re confused or wondering about, knowing that they’ll figure out more as they both read forward and think backwards? This vision of what readers do acknowledges that reading is just as much a process of drafting and revising as writing is, with readers constantly questioning and developing their understanding of what an author is saying as they make their way through a text. And it supports the idea that readers are actively engaged and thinking about how the pieces of a text fit together, beginning with the very first line.

To make this process more visible to students, Dorothy Barnhouse and I developed our text-based Know/Wonder chart. Depending on students’ familiarity with the chart, we might briefly model how we use it in a way that encourages students to acknowledge their confusion by reading the first two sentences and noting the following:

Students who had noticed the title, might say that the narrator was a slave, which would help answer the first question and also raise a lot more, including how a slave got to be friends with white boys; where, exactly, was this taking place; how old is/was the narrator; and, as they read further on, how did he manage to get a book and was he allowed to take the bread or had he stolen it.  Reading forward on the lookout for answers to these student-generated questions, the students would pick up clues that engaged them in considering the third text dependent question about how Douglass’s life as a slave differed from those of the boys. And those students who hadn’t caught the title could hold on to the question, made visible by the chart, until later on in the passage where they’d encounter more clues. And at that point they’d need to think backwards to revise whatever they’d made of the text so far in light of this realization.

Thus, all this could happen the first time the students read the text with virtually no teacher prompting, because they’d be reading closely from the get-go, fitting details together like puzzle pieces to see the larger picture they revealed. And doing so without any prompting would contribute to an increase in both their engagement and their ability as readers. It would also be an experience they could transfer to the next complex text they read.

Additionally all this drafting and revising would eventually enable students to “make valid claims that square with all the evidence in the text,” in a much more independent way than the text dependent question method permits, because so much more of the thinking is theirs. So let’s not jump so quickly on the text dependent question bandwagon and consider, instead, making the process of meaning making more visible to our students, by offering instruction not directions and giving them time to practice–and perhaps remembering that asking a question doesn’t constitute teaching, nor does answering one always mean learning.