"Teachers self-promote. In that, we're no different than everyone else: proudly framing our breakthroughs, hiding our blunders in locked drawers, forever perfecting our oral résumés. This isn't all bad. My colleagues probably have more to learn from my good habits (like the way I use pair work) than my bad ones (like my sloppy system of homework corrections), so I might as well share what's useful. In an often-frustrating profession, we're nourished by tales of triumph. A little positivity is healthy. But sometimes, the classrooms we describe bear little resemblance to the classrooms where we actually teach, and that gap serves no one. Any honest discussion between teachers must begin with the understanding that each of us mingles the good with the bad. One student may experience the epiphany of a lifetime, while her neighbor drifts quietly off to sleep. In the classroom, it's never pure gold or pure tin; we're all muddled alloys. I taught once alongside a first-year teacher, Lauren, who didn't grasp this. As a result, she compared herself unfavorably to everyone else. Every Friday, when we adjourned to the bar down the street, she'd decry her own flaws, meticulously documenting her mistakes for us, castigating herself to no end. The kids liked her. The teachers liked her. From what I'd seen, she taught as well as any first-year could. But she saw her own shortcomings too vividly and couldn't help reporting them to anyone who'd listen. She was fired three months into the year. You talk enough dirt about yourself and people will start to believe it. Omission is the nature of storytelling; describing a complex space-like a classroom-requires a certain amount of simplification. Most of us prefer to leave out the failures, the mishaps, the wrong turns. Some, perhaps as a defensive posture, do the opposite: Instead of overlooking their flaws and miscues, they dwell on them, as Lauren did. The result is that two classes, equally well taugh

"We live in a world where communication is evolving faster than the speed of sound. Modern technology has changed the way written communication works on a fundamental level. And yet, many of the grammar rules taught today still cling to antiquated formatting. After consulting with writers from Walrus Publishing, authors J.R. Bowles and Mark Baker, and professional book reviewers from the Book Bloggers Do It Better group, I'm confident in presenting this list of the top eight grammar rules that are no longer requirements for good writing:"

"The Times's standards editor, Philip B. Corbett, invites readers to correct grammatical errors in recent New York Times articles."

"Forty-four years later, I wonder how he would have responded to my paper, and I am still singing the five-paragraph-theme blues, having fought the template's rigid lessons ever since.  I also know, from what scores of college students have reported to me (and from students Jennifer Gray interviewed), that it also gets in the way of other writers. Conversely, students tell me that what interests them in writing is teachers engaging them in real composing problems: Giving choice in topic; experimenting with different kinds of writing for a variety of audiences and purposes; and providing opportunities for thoughtful, in-process feedback from multiple sources-teachers, parents, peers, and others. (See post by  Ken Lindblom for more suggestions.) And the more students are interested in writing, the more motivated they are to improve, just as my neighbor who spends hours, weeks, and months on his skateboard wants to get better at his skateboarding skills-falling off, sometimes dramatically, but always getting back up and trying again.  He's interested in skateboarding, is willing to concentrate on that, and has gotten pretty good.  In the same way, if we get our students interested in their writing, they too will develop their writing skills.  From amazing teachers like Donald Graves and Donald Murray, Nancie Atwell, Kelly Gallagher, and Penny Kittle, we have a wealth of ideas about how schools can nurture joy and purpose in novice writers and how we can bring authentic writing experiences into our classrooms."

"Teaching Mockingbird suggests a central question around which a class's study of Harper Lee's novel can be organized: What factors influence our moral growth? What kinds of experiences help us learn how to judge right from wrong?  As students read and reflect on the novel, they return to this question and can begin to make deeper and broader connections between the novel and their own moral and ethical lives. They begin by considering the pivotal moments in their lives that shape who they are and their senses of right and wrong.  Then they analyze how the characters in To Kill A Mockingbird change over the course of the story, identifying pivotal moments in the story that influence how the characters think about morality and justice.  The complete Teaching Mockingbird guide also introduces models of moral development that have emerged from the field of developmental psychology, which students can use as the basis for even deeper character analysis."

Doing an argument unit? This works well. There are three years of award winning student models, and it comes with a rubric you can adapt to your needs. Contest deadline is April 4. "The challenge is pretty straightforward. Choose a topic you care about, gather evidence from sources both within and outside of The New York Times, and write a concise editorial (450 words or less) to convince readers of your point of view.

"Unfortunately, students are expected to learn how to avoid plagiarism by some kind of osmosis. As they progress from grade to grade, they are expected to already know how to weave research into their writing in original, elegant, and ethical ways, but far too often, they don't have this skill set. Not at all. We need to explicitly teach these skills, and we need to do it more than once if we want good results. How? First, we need to help them identify plagiarism. When students are shown different examples of plagiarism and taught-even through basic lecture-the many forms it can take, their understanding of what constitutes plagiarism gets much more sophisticated (Landau, Druen, & Arcuri, 2002; Moniz, Fine, & Bliss, 2008). Then we need to give them practice in correctly citing their sources. When students get hands-on practice with paraphrasing and correctly citing sources, especially if that practice comes with instructor feedback, plagiarism is significantly reduced (Emerson, Rees, & MacKay, 2005). Below I have outlined five exercises you can do with students in grades 7-12 to give them a much better understanding of what plagiarism is and how to correctly integrate research into their own writing."

""Writing is rewriting," says everyone all the time. But what they don't say, necessarily, is how. Yesterday, Tor pointed me in the direction of this old blog post from Patrick Rothfuss-whose Kingkiller Chronicle is soon to be adapted for film and television by Lin-Manuel Miranda, in case you hadn't heard-in which he describes, step-by-step, his revision process over a single night. Out of many, one assumes. It's illuminating, and I wound up digging around on the Internet for more personal stories of editing strategies, investigating the revision processes of a number of celebrated contemporary writers of fantasy, realism, and young adult fiction. So in the interest of stealing from those who have succeeded, read on."

"Whole-class novels are the white powdered doughnuts of the education world. We eat them when they are all that's available, but virtually no one would choose them when given other choices like chocolate eclairs, bear claws, or lemon-filled pockets of gooey goodness. No one bites into a white powdered doughnut and rolls back their eyes because of the taste explosion in their mouths. And are there any white powdered doughnuts in existence that are not completely stale? I think not."

Some interesting ideas on how to handle late work and other issues involving grades.

To mark the 200th birthday of "Frankenstein," we have updated our older Learning Network lessons with recent Times resources to pair with the text. We also provide teaching ideas related to theme and suggest activities for students. Continue reading the main story Lesson Plans English Language Arts AUG 31 Social Studies AUG 31 Science & Math AUG 31 E.L.L. & Arts AUG 31 Current Events AUG 31 See More » "

"Teachers are taking up the challenge to change that. NPR Ed put out a social media call asking how educators are teaching fake news and media literacy, and we got a lot of responses. Here's a sampling from around the country:"

"Empathy is often confused with sympathy, which is a pretty extraordinary error depending on how tightly wound you are about these things (and whose definitions you stand behind). Dr. Brené Brown offers a divisive take on the difference: "Empathy fuels connections, sympathy drives disconnection." Teaching someone to feel what others feel and sit with emotions that aren't their own couldn't be any further from the inherent pattern of academics, which is always decidedly other. Teaching always begins with detachment -- learn this skill or content strand that is now apart from you. Empathy is the opposite -- it starts in the other, and finishes there without leaving. Here's one way to consider it. Without empathy, you're teaching content instead of students. The concept of teachers as primarily responsible for content distribution is a dated one, but even seeking to "engage" students misses the calling of teaching. To teach a child is to miss that child. You must understand them for who they are and where they are, not for what you hope to prepare them for. "Giving knowledge" and "engaging students" in pursuit of pre-selected knowledge are both natural processes of formal education -- and both make empathy hard to come by. So where to start doing something different? How should you "teach it"? How will you know it when you see it?"

"The longer I teach (I'm now in my 32nd year) the more I'm convinced that the best thing we can do for our students is help them learn to think for themselves. That involves explaining what critical thinking actually means - a step I fear we often skip - as well as equipping them with the requisite skills. That's why I recommend talking to students on the first day of class about critical thinking. What is it? Why is it important? How can they learn to do it? What follows is an example of my opening-day remarks. For graduate students and Ph.D.s new to teaching, if this talk resonates with you, feel free to adapt it for your own classrooms."

"Sommers has been researching teacher response to writing for decades. "If teaching involves leaps of faith," she says, "responding is one of the greatest leaps because we have so little direct evidence of what students actually do with our comments, of why they find some useful and others not." Her key advice? A teacher's response to a student's work can play a leading role in the student's development as a writer - but to leverage that potential, a teacher needs to understand where and how much to comment, and how to engage the student in the feedback process. GETTING IT WRITE: SIX WAYS TO TEACH THROUGH COMMENTS To avoid these issues - and to stave off comment overload - Sommers suggests that teachers begin by asking themselves, "What do I want my students to learn, and how will my comments help them learn?" A teacher can write seventeen comments on a short draft, but a student probably won't learn seventeen different lessons. Sommers advises teachers to:"

"Transform how you teach Harper Lee's classic novel "To Kill a Mockingbird" with this multimedia collection.   Our study guide and lesson plans will help you use Mockingbird's setting as a springboard for engaging students in issues of justice, gender, and race. This collection also offers African American voices, which are absent from Mockingbird's narration, so you can deepen student perspectives of this classic novel."

"Roosevelt's brevity exposes the rhetorical devices leaders often use in times of crisis. Take the five-step structure so popular with speechwriters it now has a name: Monroe's Motivated Sequence. In "Infamy," Roosevelt uses all five. First, win attention. Second, present a problem. Third, offer a solution. Fourth, envision the future Fifth, utter a call to action"

"Modern Love is a series of weekly reader-submitted essays that explore the joys and tribulations of love. Each week, an actor also reads one of the essays in a podcast. Though the stories are often about romantic love, they also take on love of family, friends, and even pets. This teacher finds their themes universal and the range of essays engaging models to help her students find their own voices."

"1. Survey students about our school's writing atmosphere What role do you expect writing to play in your life during the next 5-10 years? What do you think colleges/universities expect in terms of student writing? What writing do you think is valued at your high school? What does your teacher value in terms of writing? How do you know what writing is valued at your school and in this class? In the last 2-3 years, what has positively influenced your writing? What feedback is most helpful to you as a writer? How does grading influence your writing? My colleague and I turned these questions into a Google form survey, and the results will give us lots to think about in the months ahead. This is a great opportunity to talk with students about what they value about writing and help them find ways to make their writing reflect what they value and what readers might need.  2. Separate my reading roles At the symposium, participants discussed how rarely we simply read student work as readers. 3. Create opportunities to switch "modes""

"Inquiry or interrogation? What if you asked your students which of these best describes their experience with classroom questioning? How do you think they would respond? My colleague Beth Sattes and I have posed this question to a wide range of students. The majority choose "questioning as interrogation" as the best fit for their experience. What makes them feel this way? Many believe that teachers ask questions to surface "right" answers, which students fear they don't know. Others think teachers ask questions mostly to find out who is paying attention - or not! Almost all students view follow-up questions as attempts to keep them on the "hot seat" and embarrass them for not knowing. And most perceive classroom questioning to be a competition that pits students against one another - Whose hand goes up first? Who answers most frequently? Very few students understand questioning as a process for collaborative exploration of ideas and a means by which teachers and students alike are able to find out where they are in their learning and decide on next steps. This is one of the primary themes running through our work."