Here are two videos I have made that teach how and why to do single stroke printing. Single stroke printing has several advantages over other methods, such as stick and ball.
- Single Stroke allows for more consistent letter formations, because most letters are structured around some basic, well practiced strokes.
- The repeated directionality of each basic stroke helps to eliminate reversals of letters, such as b and d.
- Single stroke printing naturally evolves into handwriting, or at least a hybrid of handwriting and printing.
Or you can watch them below.
Please feel free to share the videos with the educators and parents you know who are concerned about good penmanship.
Winnie Finn, Worm Farmer
Winnie is not your stereotypical picture book heroine. She is industrious, creative, and she has a penchant for slimy things that eat chicken droppings. She is an expert on everything worm, thanks to the hours she spends studying them, rescuing them, and racing them.
Now, Winnie has a dilemma. She needs a new wagon, her efforts at repair being stop-gap at best. She’d love to win some prize money at the local fair, but there are no prizes for worms. Only for corn crops, chicken eggs, and puppy litters.
No matter. Winnie also knows a thing or two about business. Look for a need and fill it. And, as the saying goes, if you can make money doing what you love, you will never have to work a day in your life.
Winnie Finn is a great example of childhood ingenuity and resilience, as well as a role model for delaying gratification and setting goals. With her worm farm and her diligence, she helps her neighbours achieve their dreams, and then she shares in their success.
New wagon, here she comes!
Adding to the story and character building, the illustrations by Ard Hoyt are cartoony and quirky. He fills in the gaps that must be left out from a picture book manuscript, such as the fact that Winnie’s parents own a flower shop, and that Winnie isn’t all tom-boy. She likes a bit of bling too. Plus, Ard likes to put a few sight gags into his work, letting Winnie’s cat provide some background comic relief.
Winnie Finn, Worm Farmer was selected for the 2014 Illinois Reads literacy initiative. Carol Brendler is also the author of Not Very Scary, and the novel Radio Girl. Check out her web page.
In The Garden
by Peggy Collins
Published by Applesauce Press
This is a joyous concept book that takes us through three seasons and the life cycle of the backyard garden. It stars a preschool-aged boy who is discovering the wondrous changes that happen between putting seeds in the ground and enjoying the fruits of his labours.
This book is full of big, bright illustrations. Each mixed media drawing teems with life, every page crawling with the little and large creatures that we share our small corners of paradise with. The art is cartoony and exaggerated, fun and energetic.
The writing is full of gentle humour, in a voice that is easily grasped by young children, but still holds appeal for the adults doing the read aloud. And it has some lovely observations that reflect a real understanding of the way a little person sees the world.
Teachers, use it in units that explore life cycles, plants, the interaction between man and the environment, and our food sources. It is also great for studying descriptive language, and text features like the creative use of font colour and size.
Collins has another book in this series called In The Snow, and several others that she has authored and/or illustrated. Her blog is listed in the side menu.
Reading Chapter Books
Reading chapter books is different from reading picture books. At the heart of it, there are two reasons to read fiction: comprehension and entertainment. To help your child/student understand and enjoy chapter books, there are a few things to think about.
First, chapter books are more complicated than picture books. Many picture books are simply concept books. This means there is no story. There are just some ideas about a topic, like counting or feelings. Chapter books are almost always stories, and the reader has to know how a story is put together. So, the reader has to know about the setting, the characters, and the time. The reader also has to know about story beginnings, middles, and ends. As well, in chapter books, the problem and solution part of a story is very important, and it takes much longer for the problem to be fixed. Many chapter book series are quite formulaic, even beyond the typical progression of the story arc in a novel. Beginning and reluctant readers will often latch onto a series because this familiarity makes reading each successive book easier.
Second, there can be two stories that happen at the same time. This means that there are two problems to think about, and sometimes two main characters. Keeping these problems straight can be hard for people just starting to read chapter books.
Third, the length of a chapter book needs good memory skills, so that the story events and details can be remembered for the whole time it takes to read the book.
Fourth, depending on the book, there can be a lot of extraneous, superfluous, and diverting information that the reader has to filter through. The more descriptive the writing, the more outside of the reader’s experience, and the more purposely obtuse details (in the case of mystery and suspense), the more difficult (and one might argue more enjoyable) the read.
The increased complexity and depth of chapter books makes them a challenge, but the plot complications, older subject matter, and rich language make them an experience for all young readers to aspire to. And each experience makes the next one better.
Here are some tips for kids reading chapter books.
Talk about what you are reading as you read. When you talk about your reading, you give your brain extra practice remembering what happens. This will help to keep the whole story in the memory for the whole time it takes to read the book.
Visualize (picture) the characters and setting as you read about them. The pictures will help you remember these important parts of the book.
As you start each chapter, think about what you read in the chapter before. This is really good if you have just picked the book up again after a break. If you can’t remember what happened before, reread the last few paragraphs you read, to remind you.
Make sure you understand what is happening. Books are supposed to make sense. If things don’t make sense, you probably read something wrong, or remembered something wrong (or you’re reading a badly written self-published book – or a badly written professionally published book authored by a “celebrity”). Go back and reread the part that is confusing you. If that doesn’t help, reread the part that makes you think the new part is confusing. For example, if you read a part that says your character is angry at his friend, but then you read a part where he and his friend are happily playing together, maybe you missed something, or misunderstood something you read. Read both sections again, to figure it out.
Always remember that the character has a problem to solve. If you think about that problem and how everything that is happening helps to solve the problem or makes the problem worse, the story will be easier to remember and more enjoyable to read.
I am in awe of Mem Fox. I find that she has an almost solitary voice in a market glutted with books that star TV characters and snotty brats, and almost devoid of any kind of positive adult/child relationships. Fox does not write books for the sole purpose of entertaining children. Her books handle weighty topics and convey deep messages.
WGMcP is about a young boy, barely in school, and his relationship with the folks who live in the old age home next door. He and his neighbours have a mutual appreciation, despite, or maybe because of living at the far ends of time’s ever swinging pendulum. But he has the greatest connection with Miss Nancy Alison Delacourt Cooper (who also has four names).
Poor Miss Nancy has lost her memory, an idea that makes no sense to WGMcP. What kind of a friend would he be if he didn’t help her find her memories again? If only he knew what a memory was, so he knew what he was looking for.
With the counsel of his wise neighbours, Wilfred learns the nature of memories, and he sets about collecting objects that he thinks fit the bill. A warm chicken egg, some sea shells, a puppet, a football, and a medal are all presented to Miss Nancy, one by one.
And this is where you start to cry.
Conditions like Alzheimer’s and Dementia touch us all more and more. Beautifully written, Fox uses the special and necessary relationships that can form between children and adults to present the topic gently, giving parents and teachers a resource that will provide opportunities to discuss and learn about the effects of what is happening to their loved ones.
The Spider and the Fly by Tony DiTerlizzi Based on the poem by Mary Howitt Published by Simon & Shuster Caldecott Honor Book Mary Howitt’s cautionary tale about falling for the flattery of strangers was first published in 1829. I’m not sure how many iterations it has seen since it was first released, but this version is really something to behold. DiTerlizzi made an interesting choice in doing the illustrations in radiant black and white, making it stand out against the super-saturated colour usually found in the children’s book department. The mixed media artwork is exceptionally detailed, right down to the lashes on the damsel fly’s innocent eyes. Yes, an anthropomorphized damsel fly, attired in a long flapper dress and cloche, is the protagonist and inevitable victim of a mustachioed, slick-haired, sweet talking spider with, shall we say, an appetite for the ladies. Set in a creepy victorian dollhouse full of furniture that looks suspiciously like it once lived under a tree stump, the poem is brought to life with melodrama and gravitas. And the entire thing is framed beautifully in the style of a 1920s silent movie, with title cards and all. The only thing missing is the guy playing piano off to the side as you read. Of course, Howitt’s words are wonderful. They are full of great visuals and some chilling metaphors. And she really managed to create a fantastic allegory for stranger danger. Teachers looking to teach about poetry, descriptive language, and metaphor will find this book invaluable. It is also excellent for those who want to encourage their students to fill their artwork with detail. It goes without saying that lessons about personal safety and street proofing can’t be avoided when reading this book with a class. P.S. Last year was the 10th anniversary. Here is a link for the artist’s blog post about. Go to his parlor.
This entry talks about a method I developed for using flash cards to teach sight words. If you want the background and justification for this method, please read Part 1.
While working with my struggling readers, I made a few observations. Nouns and verbs are easier for them to learn than other kinds of words. The more abstract the words, the harder it is for these students to learn them.
By abstract, I don’t mean Cubism or Dadaism, though those are pretty hard to get your head around. I mean pronouns, and adverbs, and the words we, as adults, would have trouble defining. Give it a stab. Try telling yourself what the word ABOUT means. How about OF?
Anyway, when my students have no problem recognizing the words PENGUIN and NINJA, but can’t tell if they are reading IT, AT, IF, or IS, then I think it’s clear that the nature of a word holds sway over the ease of its acquisition.
To this end, I designed my flash card program so that the meaning of the word and its role in a sentence are given just as much importance as the look of the word. Three things to learn instead of one, yes, but three things that put the word into context, and allow for connections to be made beyond the dolch word list.
To make the flashcards, here’s what you do.
On the front of the card, as with any flashcard, write the word nice and big. With me so far? 😉
Now, on the back, write examples of other words that have a similar phonic structure, or make a note about the exceptionality of the word.
For example, you might note that the word WHAT starts the same way as other questions words like WHY, and WHEN. You could also note that the H is silent, and other words like WHITE and WHALE have a silent H.
The next thing to do is write a definition of the word. A good definition will explain what the word means, and how it works in a sentence. It will convey the purpose of the word. This is the REALLY difficult part, because you don’t want a dictionary definition. You want something the student can relate to and understand. And don’t use the word itself in the definition!
BAD: “What is what we use to ask what something is.”
GOOD: “WHAT is a word we use to ask the name of something.”
Or, “We say WHAT when we want to know about something.”
And last, you have the student come up with a sentence that uses the word. Write this sentence on the card, highlighting the word. It is important that your student makes up these sentences. First, because it will immediately tell you if he has any concept of the word – of course he won’t be able to read the word if he doesn’t even have it in his lexicon. Second, the sentence will be something he can connect to, so he can access his schema later. Third, it will be at his vocabulary and grammar level. Fourth, there is a current way of thinking that says students should encode before we ask them to decode. This is encoding at the sentence level.
Keep in mind that these are intended for use with students who need remediation. You can certainly use the methodology in a whole class lesson, but the cards themselves are too involved to have a class set, especially since they include generating personalized sentences.
Now, let’s use the cards.
First, see if she can read the word when she sees the front of the card.
Then, flip it over, and discuss the spelling of the word. Point out the features, exceptions, and similar words. After several visits to the card, see if the student can recall the spelling pattern on her own, or if she can read the other words you’re associating.
Next, review the meaning of the word and how it’s used. Again, see if the student can eventually define it herself. It’s okay if she just gives an example of its use, rather than a definition. Remember how hard it was for you to define them when making the cards.
Last, have the student read her sentence from the card. Have her point to each word though, so she isn’t just parroting her words. You can make a new sentence later, if you need to use the cards often.
Run through several cards repeatedly, over days. As the student becomes more familiar and shows that she has memorized the appearance, features, and use, you can move on to new cards. Remember to revisit old cards to reenforce the learning over time.
Now, I can’t guarantee that this method will work for all students, and students with severe learning disabilities may not benefit from this at all. But I have had success, especially with children who do not learn grammar patterns through osmosis.
As always, you will have to try the method, give it a few weeks, and then test to see if it’s working. If you try this out, please let me know how it went. If you came up with any tweaks, or have a particularly good definition for one of the trickier abstract words, please share.
In the past, I was an Early Literacy Intervention teacher. I worked with the weakest readers, half an hour a day, in small group sessions. One of the things I had to do was improve their sight vocabulary. I used the standard Dolch lists (words selected for their frequency in child centered texts and their irregular spellings), doing what most primary teachers would do; I wrote the words on flash cards, and drilled, drilled, drilled.
We went through each deck of cards, a few at a time, reading and spelling the words over and over. We played games like snap and memory, and whatever else I could think of, to get these words into their heads and out of their mouths.
What a waste of six weeks.
No matter what I did, whenever those same words appeared in the books I assigned, my students almost never read them properly. They never read them fast. And sometimes they didn’t even recognize them as words they had studied.
So, after permanently altering my hairline, I had to reflect and find out why this ‘tried and true’ technique didn’t work for these kids (all the time wondering if it ever has).
Here is the conclusion I drew from these results. The students I was working with could not transfer the discrete skill of simple recall to the act of reading meaningful sentences. They were perfectly fine at recognizing and naming these words in the context of a meaningless list, but they couldn’t recognize, name, or even guess at those same words outside of the specific drill activity.
Now, in this role, I became somewhat of a self-proclaimed expert on conducting and analyzing running records (having the child read aloud from an unfamiliar text while I manually record everything that the child says and does, so as to determine strengths and weaknesses in the child’s reading behaviours). The most important component of a running record is determining which cuing system(s) the child uses, be it phonics (visual), grammar (syntactical), or context (meaningful), or any combination of the three. A strong reader will use all three systems, seamlessly switching from one to another, depending on the demands of the text.
And duh, sight word flash cards only focus on the visual cuing system, and poorly at that, as there is no focus on the phonic relationships at all. It’s just, “Here’s a word, say it.” No wonder these kids don’t recognize these sight words in contexts that demand grammatical and semantic knowledge!
How did I address this? In Part 2, I will describe a sight word flashcard method I developed, which incorporates all three cuing systems, in order to teach the whole word, not just how it looks on paper.