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It is teaching towards each student's strengths, and allowing their weaknesses to develop into future strong points.

Quite frankly, the course of action begins with the very basics of how you run your classroom. Begin the year by getting a grasp of the strengths and weaknesses of your students through the use of the available data, like benchmark testing results, standardized test scores, pre-tests, student inventories, portfolios, guidance folders, and/or classroom grades from the previous year; although those important items are just the beginning of your learning process. They give results and information, but they do not tell you how the student got there.

a responsive classroom that differentiates is one where the teacher prides him or herself on getting to know the students as individuals. From my own experience, once you tap into that resource, you can more easily find ways to connect with everyone in the classroom.

To claim that there is now such a thing as “Web 2.0 storytelling” invites risks. For one, some media reports suggest that this type of storytelling could be either hype or a danger. In addition, trying to pin down such a moving target can result in creating terminology that becomes obsolete in short order. Moreover, claiming that storytelling is happening online and is developing in interesting ways contradicts some current assertions about a decline in reading.Accepting these risks, we suggest there is most certainly a new form of expression that is compelling to educators. Starting from our definitions, we should expect Web 2.0 storytelling to consist of Web 2.0 practices.

Lonelygirl15 (http://www.lonelygirl15.com/), which started as a series of short videos on YouTube, grew to include a large number of comments, blog posts, wiki pages, parody videos, response videos, and a body of criticism. In each of these cases, the relative ease of creating web content enabled social connections around and to story materials.

Web 2.0 narratives can follow that timeline, and podcasts in particular must do so. But they can also link in multiple directions. Consider the possibilities facing a reader (or a viewer or a listener) who approaches Postmodern Sass. One timeline follows blog posts in chronological order. Another follows comments to a single post. A third follows links between posts, such as when the author refers to an earlier situation or references an old joke. Web 2.0 creators have many options about the paths to set before their users. Web 2.0 storytelling can be fully hypertextual in its multilinearity.

Rubrics provide clear criteria for evaluating a product or performance on a continuum of quality.  Rubrics are not simply checklists with point distributions or lists of requirements.  Well designed rubrics have the following in common: 1. They are task specific: The more specific a rubric is to a particular task, the more useful it is to the students and the teacher.  The descriptors associated with the criteria should reference specific requirements of the assigned task and clearly describe the quality of work at each level on the rubric. The rubrics to the left are all posted as Word documents so that teachers can tailor them to a particular task. 2. They are accompanied by exemplars: The levels of quality described in the rubric need to be illustrated with models or exemplars.  These anchor papers help both the students and the teacher to see and understand what quality work looks like as it is described in the rubric.  These models or exemplars can come from past student work or the teacher can create a model to share with the class. 3.  They are used throughout the instructional process: The criteria used to evaluate student work should be shared as the task is introduced to help students begin with the end in mind.  Rubrics and models should also be referenced while the task is being completed to help students revise their work.  They should also be used after the task is complete, not only to evaluate the product or performance, but also to engage students in reflection on the work they have produced. Ideally, students should be involved in the process of generating rubrics through the careful analysis of exemplars; by studying the models, students draw inferences about the criteria that are important to a successful product and then describe different levels of performance for each criterion.

Using Short Stories to Teach Literary Elements and Reading ComprehensionTheme, symbolism, foreshadowing … there are so many literary elements for readers to understand in order to comprehend and appreciate what they read! Novels are great for reinforcing this knowledge, but may be too lengthy to introduce and teach specific elements properly. Students need multiple examples of literary elements being used in writing in order to understand them and identify them on their own, so the short story is perfect for this! Below are some resources to help you use short stories to teach literary elements. Additionally, you will find ideas for using short stories to develop students' reading comprehension, including active reading and vocabulary skills. The brevity of short stories can keep struggling readers from feel overwhelmed with the comprehension process, and teachers will find them easy to modify and organize for different audiences. For these reasons, teachers using stories to raise reading comprehension may also find these links helpful. Teaching About Theme Teaching About Foreshadowing Teaching About Symbolism Teaching Multiple Literary Elements Teaching Vocabulary with "The Lottery" Teaching Vocabulary with Stories of Your Choice Graphic Organizers to Help Understanding Listening Activities for ESL Students

Welcome to the Google Sites version of my e-portfolio. I am exploring the capabilities of using this system to maintain electronic portfolios as part of my research on implementation of online electronic portfolio systems. Of all the systems that I have tried, this Google Site as my presentation portfolio, with my own domain name, with my Blogger blog as my reflective journal, is my favorite example, and the one that I will continue to update.

'In other words,'' says Dr Sue Thomson, of the Australian Council for Educational Research, ''larger proportions of students can be described as 'strong performers' in the digital medium than in the print medium.''

If anything, what the new technologies will do is provide more opportunities to engage with long-form texts. The distribution mechanism will allow greater access. If you wanted to read almost anything on anything, I can almost guarantee there'll be 5000 words that someone's written about it somewhere, that you can get your hands on in an instant.'

''Everybody's either on a Kindle, emailing, texting, reading the news on their iPads. The digital revolution is not destroying reading. It's changing the shape, the form, the context and maybe how we do it, but I don't think it's diminishing it.''

The Rap Points will be based around the themes: RP 1 - 22nd Oct. (Read Chapters 1-2) Striving to be your best. RP 2 - 29th Oct. (Read Chapters 3-4) Being different. RP 3 - 5th Nov. (Read Chapters 5-7) Bullies. Pay backs etc. (Perhaps an art based activity.) RP 4 - 12 Nov. (Read Chapters 8-10) Friendship. Family. RP 5 - 18 Nov. (Read Chapters 11-13) The Bridge to Terabithia. Wrap up - 26 Nov. (Final emails farewelling this BR.)

what is a writer?" (I must admit I didn't come up with this brilliant idea, but adapted it from a suggestion from another instructor.) Students would always come up with different ideas about what that meant, but more often than not they never talked about themselves as writers. They thought of published authors as writers. They thought of people who sat in a sunlit room all day with a stack of white pages (or in front of a computer) as writers. They thought of people who were paid to write as writers. My students often did not think of themselves, or their instructors, as writers.

tell students on a regular basis that writing isn't only important because they need to graduate or pass a class but because it is the key to engaging other scholars in conversation. Even in informal media such as Twitter or Facebook we write to get our ideas across or to interact with other academics. And even though we can argue that academic writing is not the same as tweeting, the rules of engagement are similar: we value clear, well-argued writing in each case. We value thoughts that are well articulated. We value creative, interesting posts that steer away from the clichés. Therefore, I think the most important advice I can share with my writers is this: think of yourselves as writers.

I believe that thinking of yourself as a writer can change the way you feel about writing in general