Here are five notebook strategies that can support your poetry unit. They also fit or could be adapted to other units of study. In fact, it’s not a bad idea to teach the same notebook strategy in multiple units—that demonstrates how valuable the strategy is across genres, subject matter, audiences, purposes, etc.
To me, endings are all about the take-away. What do you want readers to know, feel, do, think or wonder about after they finish reading your story? You can’t write an ending until you decide that.
When I first read stories with students and ask them to identify the climax, they tend to point to a small amount of text, often two sentences or less. This is one of a handful of common phenomena that still baffles me — where did so many of us get the idea that climaxes are small?
More accurately, the climax is often the most important part of the story, and, consequently, it gets the most space.
After my post about “Beginnings, Middles and Ends” a few weeks ago, a teacher-friend reached out to me. […]
The best touchstone texts are sophisticated enough to work across multiple grade and comprehension levels. One of the first—and still one of the most frequent—touchstone texts that I used was THE LEAVING MORNING by Angela Johnson. Here are just a few of the brilliant craft strategies my students and I have discovered in it:
Readers and writers have strong – and disparate – opinions about the “right” way to read a poem. Worse yet, there’s wide disagreement among accomplished and highly educated poets, too. There’s really only one point we all agree on—poems are meant to be read aloud. Beyond that, it gets dicey, but here are some things to consider.