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"Technology tools also have value beyond teaching the core curriculum. Here are our recommendations for research-proven tech tools that can enable more comprehensive assessment and better collaborative discussions. We also explore the best resources for teaching digital literacy in the classroom."

"If one of your goals for 2017 is to become a better or more frequent writer, there are plenty of tools you can use to help you along the way. We scoured Product Hunt to curate some of our favorite apps for writers at every level. Whether you're looking to improve your grammar, overcome writer's block, or publish your writing anonymously, there's something on this list for you."

"There are plenty of resources out there that can speed the editing process up and make you more confident about the work you're submitting. For today, I went though Product Hunt's newest Tools for Writers collection and chose my seven favorites. Use them all, and you'll be a stronger writer faster than you can say, "How did I ever live without these?"

"Like so many of the people he writes about, McPhee is a consummate craftsman. There are many aspects of his craft that a fellow writer can envy, from his keen, loving ear for the quirks and rhythms of American speech, to his arsenal of tools - including shifts of tense you only notice on the second reading - for nimbly hopping about in time."

"English teachers, I ask that you incorporate more sci-fi into your curriculum. Librarians, bring books into your libraries that include protagonists of all shapes, shades, and perspectives. Other educators, think about the following: how other books beyond 1984 can help us examine polities; how books set in the distant future can help us teach evolutionary biology; what dystopian novels about despotic regimes can teach children about a school's zero-tolerance policies. We shouldn't be in the business of fostering mindless containers of knowledge, and science fiction can be an invaluable tool for examining and improving the learning environments we create for our students."

"Language merely reflects our way of trying to make sense of the world. - Frank Smith Frank Smith (1982) says 'writing touches every part of our lives'. One of the first reasons we write is because it is a tool for communication in culture. It gives us the ability the share information over time and space with multiple individuals (explaining, recounting & opinion). It can also be used as a permanent record or as a statement e.g. in history, geography  & science genres. The third cultural aspect for writing is artistry (narrative and poetry). Finally, there is also the personal aspect to writing. Writing allows us all to reflect, express our perceptions of self, to socially dream or to be critical (memoir). By writing, we find out what we know; what we think. Ultimately though, writing is a means for us to express ourselves in the world, make sense of the world or impose ourselves upon it. The question now is why do children write at school? For these purposes? - Not often. There is a massive discrepancy between the writing done in the real-world and that of the classroom. Donald Graves says 'all children want to write'. It is just a case of allowing them to write about the things they are interested in. As Frank Smith says, 'all children can write if they can speak it.' If they can talk about it, they can write it down. The transmission of narrow decontextualized writing skills; that English is just a formal system to be learnt. The insistence on task-orientated writing. The insistence on teacher-chosen writing tasks. The insistence on the use of external stimulus (literature units, film-clips, topic-writing) at the expense of children's knowledge, interests, loves, talents and idiosyncrasies. The formal rather than functional teaching of grammar. These examples embody the 'commonsense' assumptions which claim an authority which is supposedly natural and unshakable. Writing in classrooms at present isn't seen by children as important

An examination of the impact of digital tools on society 

How do we make schools more relevant to students? Teach them the skills they need in the real world, with tools they use every day. That's exactly what Esther Wojcicki, a teacher of English and journalism at Palo Alto High School in Palo Alto, Calif., is attempting to do with the recent launch of the website 21STcenturyli

One tool with potential for improving students' ability to convey thoughts and ideas effectively through text is classroom-based writing assessment. Such formative assessments allow teachers to gauge the effectiveness of their instructional practices, modify instruction as needed, and provide students with feedback on writing strengths and areas in need of further development. Watch video of the event or listen to it below.

"A recently published game called "Gone Home" is testing the traditional progression of learning by flattening the story. Players have questioned whether it qualifies as a game since it doesn't include traditional points, prizes and leveling up (the game is self-titled as "a story exploration video game"). Critics have praised "Gone Home" as a new way of storytelling, and it's beginning to make its way into the classroom, as a viable substitute for traditional text. The game is non-linear and players have a great deal of agency for filling in the gaps to arrive at their conclusions.*"

At present, the Syllabus Explorer is mostly a tool for counting how often texts are assigned over the past decade. There is something for everyone here. The traditional Western canon dominates the top 100, with Plato's "Republic" at No. 2, "The Communist Manifesto" at No. 3, and "Frankenstein" at No. 5, followed by Aristotle's "Ethics," Hobbes's "Leviathan," Machiavelli's "The Prince," "Oedipus" and "Hamlet." Writing guides are also well represented, with "The Elements of Style" by William Strunk Jr. and E. B. White at No. 1, as are major textbooks, led by Neil Campbell's "Biology" at No. 4. What about fiction from the past 50 years? Toni Morrison's "Beloved" ranks first, at No. 43, followed by William Gibson's "Neuromancer," Art Spiegelman's "Maus," Ms. Morrison's "The Bluest Eye," Sandra Cisneros's "The House on Mango Street," Anne Moody's "Coming of Age in Mississippi," Leslie Marmon Silko's "Ceremony" and Alice Walker's "The Color Purple." Top articles? Garrett Hardin's "The Tragedy of the Commons" and Francis Fukuyama's "The End of History." "

"For years, we've thought that the answer to boosting adolescent reading comprehension lay in building students' vocabulary. Teens often struggle with the jargon and advanced terminology they encounter as they move into middle and high school, so educators have designed curricula and interventions that explicitly teach these complex words. But these strategies aren't always fully effective, according to literacy researcher Paola Uccelli. As she writes, many of these interventions have yielded "significant growth in vocabulary knowledge yet only modest gains in reading comprehension." Too many teens still struggle to understand assigned texts. Uccelli's research explores a new approach. By focusing on how words connect in academic texts - and by recognizing that this connecting language is a possible source of difficulty for adolescent readers - teachers may be better able to equip middle and high school students with the tools to comprehend the texts they're reading for higher-order learning. Her work identifies a set of language features that are common in academic text but rare in informal spoken language. She's found that many of the most common language features of middle school texts are unknown to large proportions of students, even by eighth grade. "

"Concept fuels mix of confusion, frustration, and optimism Personalized learning seems like a simple concept-basically, customize teaching and learning to students' individual academic strengths and weaknesses and even their personal interests. But the reality is that the concept is creating quite a bit of confusion and frustration in the K-12 world. What is (and isn't) personalized learning? How much control should students have over when, how, and what they learn? And what about the potential overuse of digital tools in personalized learning programs?"

"Here's a look inside the tools and methods Preston, who currently teaches three Advanced Placement English and Composition courses, finds essential to his open source learning pursuit:"

"Low-stakes writing is a tool to help students build comfort with sharing and developing their thoughts through writing. A defining element of low-stakes writing is how it's graded -- the grade doesn't carry a lot of weight. This removes much of the pressure from having to do the assignment a certain way, putting value instead on student thought, expression, and learning, rather than punctuation, grammar, or getting a correct answer the first time. "The most important thing about it for me is that it's not censored, and it's not too highly structured," explains James Kobialka, a UPCS seventh-grade science teacher. "Students aren't being told exactly what to do. They're allowed to have freedom, and they're not so worried about it that they try to write what they think they want me to see, or that they're tempted to plagiarize. It's about them getting their own ideas down, and then being able to interact with those ideas, change them, and revise them if they're not correct." Low-stakes writing: Increases students' comfort with expressing their ideas and empowers student voice Creates more investment and ownership in student learning Prepares students for high-stakes writing and testing Is adaptable for any subject Allows for differentiation"

"One of our strategies that teachers enjoy using at the end of the school year is a practical, easy-to-use tool we call Celebrating Learning With Year Mapping. This activity gives your current students a chance to feel good about what they've learned and provides incoming students an opportunity to see real evidence that they can be successful learners in the coming school year. And it gives teachers a chance to enjoy seeing students share what they've learned and to internalize their successful teaching."

"The 10 young Black writers in this project - talented poets from Oakland, Houston, St. Louis, Chicago, New York, Nashville, New Orleans and Los Angeles - are using the tools at their disposal, whatever they have. There's the "Black vernacular" of Akilah Toney's poem, the unshakable end rhymes of Alora Young, the expansive lines of Nyarae Francis's sestina and the stunning yet harrowing fragments of Samuel Getachew's "justice for -." These fledgling June Jordans and Robert Haydens, who are youth poets laureate and organizers and rappers, examine and fight back against an America that threatens to swallow them. They redefine themselves ("I wish I understood what it is like to be a black girl / To know myself like a dictionary definition," begins Madison Petaway in her poem) and cite their own wisdom and traditions, even building their own gods ("I've come to learn that my Grandmother's God is not my own," Jacoby Collins writes)."

"Varya Kluev, a NJ high school student and winner of our 2019 Personal Narrative Contest, tells us why metaphor is her "go-to tool" whenever she wants to add flair to her writing."