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Counternarratives in 6-12 Classrooms: Disrupting Harmful Narratives and Engaging Students in Critical Thinking and Reflection

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Christy Howard returns with additional thoughts through the eyes of a literacy educator who works with preservice and in-service teachers as they navigate the changing expectations of education. Read more about Christy at the end of her blog.

Through my work as a literacy educator, I have the opportunity to work with preservice and in-service teachers as they navigate the changing expectations of education. I also work with school support staff, administrators and district-level curriculum leaders. Through this work I have recently been engaged in many conversations around curriculum materials and text selection for classrooms. Educators want to know how to engage students in the learning process, and how to help them in their journey to becoming critical consumers of texts — especially in a world where they are bombarded with so much information. Many secondary teachers recognize the need to look beyond the textbook for classroom materials, often acknowledging content area textbooks fail to provide all the information needed to support student learning. Many of them also acknowledge textbooks provide incomplete stories. My response to these educators as I nod in agreement is, “Let’s take a look at the role of counternarratives in your materials and text selection process.”

What are counternarratives?

There are many definitions of counternarratives. Here I would like to share the definition from Tricia Ebarvia’s new book, Get Free. She shares:

“A counternarrative is a story that stands in contrast to and challenges the values, beliefs and an established dominant narrative. Often counternarratives do this by focusing on the perspectives that are missing, marginalized, or actively erased from the dominant narrative” (Ebarvia, 2023, p.3).

This definition stands out to me because of the discussion of erasure. When I think about my conversations with educators and their stories of how some of them are dealing with curriculum mandates and banned books in their districts, this is an example of how perspectives are actively erased from the dominant narrative. Curriculum mandates and book bans often minimize access to the ideas, experiences and histories of marginalized groups. This is a clear reason why we need to provide space for multiple perspectives, allowing students to engage with both dominant narratives and counternarratives.

Why are counternarratives important?

Stories that only show the dominant perspective can be harmful. Students need exposure to multiple perspectives. These perspectives are not always readily available in neighborhoods and families. Tatum (2017) reminds us, Many of us grow up in neighborhoods where we had limited opportunities to interact with people different from our own families… Consequently, most of the early information we receive about “others”– people racially, religiously, or socioeconomically different from ourselves–does not come as a result of firsthand experience. The second hand information we receive has often been distorted, shaped by cultural stereotypes, and left incomplete (p. 84).

This incomplete information can lead to harmful actions. For example, incomplete, distorted information shaped by cultural stereotypes has led to physical and emotional harm against people in this country. We have seen this highlighted in news stories about hate crimes against marginalized groups, that in many cases have led to death. These incomplete stories and distorted stereotypes can be addressed through counternarratives in our classrooms, and if we believe dominant narratives can be harmful, it is easy to believe that perhaps counternarratives can be healing.

Counternarratives can also help us disrupt deficit perspectives and harmful narratives about people and places. For so long in the publishing world, we saw so few books written by and about the lives and experiences of people of color. This has been well documented by the Cooperative Children’s Book Center (2018). With this approach to publishing, the lives, experiences, and voices of marginalized people have been silenced. Tatum (2017) describes an experience where a preservice English teacher commented that she had never learned about any Black authors in her English courses and was concerned she would have difficulty teaching them if she had not learned about them in her schooling. A classmate commented, “It’s not my fault that Blacks don’t write books” (p. 85). This narrative is harmful, inaccurate, and is rooted in a deficit perspective. We must provide access to books for students that serve as counternarratives to this mindset, showing that we indeed have successful, amazing, authors across marginalized groups writing award-winning stories and creating award-winning film, art, poetry, music and dance. These counternarratives can show our students they, too, can be successful, amazing creators if they so choose to embrace that identity.

Counternarratives in Classrooms

There are many learning experiences you can provide for students to engage with counternarratives. I believe it’s important for students to read counternarratives. I also think it’s important for them to have opportunities to write counternarratives as well. Christensen (2017) asserts, “In writing about themselves, students learn to praise their beauty that the world overlooks or cannot see” (p. 82). Writing experiences through this lens allow students to write against false or inaccurate narratives, take ownership of their writing and show their beauty to the world. Here I want to share some opportunities for both reading and writing with you.

Children’s Books as Counternarratives

We know that children are often exposed to negative dominant perspectives through children’s stories, cartoons, and movies, where they have seen inaccurate representations of Indigenous People, as women portrayed as needing to be rescued, and People of Color, as lazy or villains. As educators, we have the opportunity to disrupt these narratives by using well-chosen, multi-perspective texts in our classrooms as counternarratives. At the bottom of this post, I have listed picture books, middle grade books, and young adult books that can be used as counternarratives. These are all beautiful stories, several of them focusing on love, joy, and community, while also speaking back to the dominant perspectives of marginalized people.

As we consider using such books in our classrooms, there are so many resources that can guide us in choosing texts, such as Diversifying Your Classroom Book Collections? Avoid these 7 Pitfalls. In addition, Ebarvia (2023) provides some questions to guide our thinking as well:   

  • Can this text provide meaningful insight to students about identities with which they are unfamiliar?
  • In what ways can this text help to develop a positive social identity for my students?
  • How can this text challenge incomplete or harmful dominant narratives about different identities?
  • Does this writer treat their subject with complexity and nuance and avoid stereotypes?
  • What does this text not do or include that I will have to supplement with another text? What counternarratives will my students need after this text?

I hope through these resources, you find some helpful texts to meet the needs of your students and engage them in exploring counternarratives in your classrooms.

Visual Autobiographies

Visual autobiographies are an opportunity for students to engage in creating counternarratives. Students can generate multimodal projects that include items such as photos, drawings, poems, songs, and videos. This type of assignment is open for students in a way that they are able to choose what they want to present and how they want to present it. They are able to share their identity, culture, history, beauty, and brilliance. They begin by exploring the dominant narratives that might be told about them, parts of their identities or their communities. They, then, consider how they can create visual representations as counternarratives to these dominant narratives.

Talking Back

Talking Back is an activity Christenson (2017) shares where she asks students to “criticize commercially produced images about the way they should look, sound, or act” (p. 82) and to speak back to these perspectives through poetry. In her example, she uses the poem, “what the mirror said” by Lucille Clifton. I have also used Maya Angelou’s Still I Rise poem as a mentor text. Additionally, I have created a poem as a mentor text for this assignment so students can see my thinking in this process as well. As an educator, what would you like to “talk back” to? What texts could you use with your students as representations of “talking back?”

Reflections of…

I believe in self-reflection. It is an important piece of all of my instructional practices. When I consider what it means to include counternarratives in my classroom, these are the questions I am asking myself. I encourage you to join me in reflection as you consider integrating counternarratives into your classrooms.

  • What is the role dominant narratives have played in my life?
  • What is my role in promoting the dominant narrative in classroom spaces? How have I believed or accepted deficit dominant narratives?
  • How can I challenge the negative perceptions in dominant narratives?
  • How do I use narratives to help students construct new understandings of the world?
  • Whose experiences and voices are centered in my classroom?
  • Whose experiences and voices are marginalized?
  • Whose voices are missing? What does this mean? Why does this matter?
  • How can I continue to provide space for my students to “talk back?”

Children’s Books and Professional Resources

Picture books

We Are Still Here: Native American Truths Everyone Should Know by Traci Sorell

Something Beautiful by Sharon Denni Wyeth

I Am Every Good Thing by Derrick Barnes

We Are Water Protectors by Carole Lindstrom

My Papi Has a Motorcycle by Isabel Quintero

Ada Twist, Scientist by Andrea Beaty

Middle Grade books

Mascot by Charles Watters and Traci Sorell

Some Places More Than Others by Renee Watson

Indian No More by Charlene Willing McManis and Traci Sorell

Harbor Me by Jacqueline Woodson

Swim Team by Johnnie Christmas

Young Adult books

Clap When You Land by Elizabeth Acevedo

The Silence that Binds Us by Joanna Ho

The 57 Bus by Dashka Slater

Professional Resources

Christensen, L. (2017). Reading, writing, and rising up: Teaching about social justice and the power of the written word. (2nd ed.) Rethinking Schools.

Muhammad, G. (2020). Cultivating genius: An equity framework for culturally and historically responsive literacy. New York, NY: Scholastic.

References

Christensen, L. (2017). Reading, writing, and rising up: Teaching about social justice and the power of the written word. (2nd ed.) Rethinking Schools.

Cooperative Children’s Book Center. (2018). Publishing statistics on children’s books about people of color and First/Native nations and by people of color and First/Native nations: Authors and illustrators. Madison, WI: Cooperative Children’s Book Center, University of Wisconsin-Madison. Retrieved from https://ccbc.education.wisc.edu/literature-resources/ccbc-diversity-statistics/books-by-and-or-about-poc-2018/

DeHart, J., & Staff, L. for J. (n.d.). Countering the narrative. Learning for Justice.

Ebarvia, T. (2024). Get free: Anti-bias literacy instruction for stronger readers, writers, and thinkers. Corwin.

Muhammad, G. (2020). Cultivating genius: An equity framework for culturally and historically responsive literacy. New York, NY: Scholastic.

Tatum, B. D. (2017). Why are all the Black kids sitting together in the cafeteria?: And other conversations about race. New York: Basic Books

Christy Howard has been an educator for over 20 years. She is currently an Associate Professor in the Department of Literacy Studies, English Education, and History Education at East Carolina University where she teaches undergraduate and graduate courses. In her free time, she enjoys traveling and spending time with her family.
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Counternarratives in 6-12 Classrooms: Disrupting Harmful Narratives and Engaging Students in Critical Thinking and Reflection

This webinar features Dr. Christy Howard, Associate Professor in the Department of Literacy Studies, English, Education, and History Education at East Carolina University. She encourages us to be mindful advocates against inaccurate stories, images, and stereotypes about marginalized people.

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Rethinking Disciplinary Literacy: Equity, Expertise, and Inclusive Education

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This week we welcome Heather Waymouth and one of her students, Hery Castro as they share the positive effects of rethinking the relationship between disciplinary literacy and equity, expertise, and inclusive education. Read more about Heather and Hery at the end of the blog

I (Heather) came into the field of disciplinary literacy as an excited doctoral student who finally saw a way that my certifications in science and literacy could make sense together. I’d spent years thinking about science as a science teacher and literacy as a literacy teacher, and never the two should mix. That I could now teach students to read science like a scientist and history like a historian felt like putting on a comfortable, old sweater.

Yet, just as my old, comfortable sweater has some holes, so, too, does disciplinary literacy. Heller (2011) and Collin (2014) encourage educators to question what counts as a discipline and if our intent really is to mold students into “little experts.” Saying that we are apprenticing students into the literacy practices of disciplinary experts should cause us to examine who counts as an expert.

That question didn’t meaningfully exist for me until I watched the movie Dark Waters (Haynes, 2019). At the film’s core is a farmer, Wilbur Tennant, seeking to sue DuPont over environmental contamination. He’s reached out to the company several times, they’ve conducted a study of his land and their nearby disposal area, and DuPont’s scientists have claimed there’s nothing wrong. Yet, Tennant has gathered his own data. When his lawyer visits the farm, there’s a poignant scene in which Tennant pulls deformed cow organs wrapped in tinfoil from his freezer, deformed hooves stored in a jar, and a video of himself conducting his own necropsy. However, because Tennant is “just a farmer,” his lived experience and expertise aren’t initially seen as “expert” enough for the law firm to justify taking on his case.

I began to rethink my devotion to disciplinary literacy. Was our focus on a narrow definition of experts and expertise helping to build and maintain the world in which Wilbur Tennant’s decades of intimate knowledge didn’t count? Rather than seek an answer from literacy scholars, I dove into science education research. After all, the newly crafted Next Generation Science Standards (NGSS) were intended to promote equitable learning opportunities for ALL students (Lee, Miller & Januszyk, 2015).

In science, I found a conceptualization of literacy that gave me hope for a more inclusive disciplinary literacy. The National Academies of Science, Engineering and Medicine published a report on Science Literacy which defined it across three levels: individual, community, and society (2016). Here, literacy wasn’t a form of property able to be possessed by some folks and not others. Sure, individuals’ mastery of reading, writing, and oral discourse is a necessary consideration of literacy within this model, but it isn’t the end goal. Considering how communities – especially those historically denied access to quality science education – engage in literacy as collective praxis (Roth & Lee, 2002) by bringing their diverse voices, experiences, and literacies together – provided me with a vision for disciplinary instruction which could introduce experts’ literacies and value other forms of literacy and expertise as equally valid.

Then I found Windschitl, Thompson, and Braaten’s (2018) Ambitious Science Teaching. My heart sang – here was a framework that balanced attention to equity and rigor. Not only that, it established students’ collective sensemaking as the objective of science learning. Throughout my dissertation, I observed a group of middle school science teachers using Ambitious Science Teaching to breathe life into the NGSS and had the pleasure of hearing, in their words, how this type of teaching was creating space for all students to engage in sensemaking. While even in their expert teaching, opportunities existed for a closer consideration of equity as foundational rather than supplemental to science learning, I knew I had found my soapbox to stand upon.

Now that I work full-time preparing pre-service teachers, I do everything I can to further the possibilities for equity and inclusion in disciplinary literacy. I have taken up equitable sensemaking (Calabrese Barton & Tan, 2019) as the foundation of my undergraduate class on literacy in the content areas. Throughout the semester, preservice teachers work in small groups to craft a unit plan in a content area other than ELA:  science, math, engineering or social studies. We adopt the ambitious science teaching framework (Windschitl, Thompson, & Braaten, 2018), understanding that while this framework was designed for science, it can be applied to any discipline. Preservice teacher teams identify an inquiry question ripe for exploration from multiple viewpoints and for incorporation of social justice and equity, such as “Why do we get sick?” Then, they map an explanation of that phenomenon, incorporating multiple viewpoints and opportunities for students to engage with new ideas, rather than be taught (told) those ideas. As my desire is for authentic learning to drive the bus, I don’t introduce standards until after the ideas mapping process has begun. Students map content area standards first and subsequently “engineer” (Moje, 2015) opportunities for literacy development within their unfolding storyline (Reiser et al., 2021).

Considering equity as foundational is often a new concept for my preservice teachers, given that most are white and from middle class backgrounds. We spend several classes learning what it might look like to incorporate perspectives other than our own early in the planning process. The works of three scholars are particularly helpful to us. While students are developing their unit’s question, we listen to Dr. Danny Morales Doyle’s interview with Abolition Science in which he discussed using social justice science issues, like pollution from a local factory, to ground high school chemistry instruction. Several days into unit planning, students use the twelve questions Dr. Gholdy Muhammad outlined in her AMLE blog post to (re)consider the cultural and historical relevance of  their unit. To illustrate what an equitable sensemaking activity that draws upon diverse voices might look like, I conduct a fishbowl discussion in which each student embodies a chapter of Dr. Robin Wall Kimmerer’s (2013) Braiding Sweetgrass, using three guiding questions: What counts as knowledge/expertise? Whose expertise matters? How do we use the knowledge we are gaining from this text to impact our teaching?

The units my students are ultimately able to build astound me. I’ve seen a math unit on how to affordably feed various sized groups, a social studies unit on why we haven’t yet had a woman elected as president, and all sorts of other units incorporating joyful learning, literacy in service to disciplinary learning, incorporations of diverse viewpoints, and opportunities for students’ identities and experiences to inform ongoing learning. But, as I heard on Reading Rainbow as a child of the 90’s, “You don’t have to take my word for it.” Hery Castro is one of my students currently engaging in planning for equitable sensemaking. I’ll let him tell you what it’s like:

            Including equitable sensemaking in my unit plan caused me to reshape my thinking, and put critical literacy first, alongside relatable science phenomena. Although there was some slight confusion on what exactly Dr. Waymouth was looking for, I loved working on my assignment. As a person of color who has experienced difficulties with teachers understanding where I’m coming from, I’ve always known that I wanted more perspectives like mine included in school. Being told that it’s not only possible, but necessary to include them in this science unit (a subject area I don’t intend to teach), was affirming.

            By reshaping the question of equitable sensemaking into “how can we have this relate to students’ lives outside of the classroom” and “how can we get kids to think about the impact of these scientific phenomena in communities and lifestyles other than their own”, I realized there are countless answers and options for engagement. We started with a universal question: “why do we get sick?” and broke it into more universally experienced questions like “how do diseases spread?” and “what can we do to prevent them?”

            These driving questions are great; however, equitable sensemaking asks that we take a question that could be answered with just a personal tidbit and transform it into something that requires scientific and social research. My group added “why do some diseases affect some communities more than others?” and “How does access impact care?” At this point, I could tell we were approaching equity, as students would get the chance to talk about various perspectives in addition to their own lived experiences.

            I found that I used this equitable sensemaking framework as the basis for each question and activity I planned for my unit. If I knew I wanted students to question why certain areas or groups of peoples are affected by a disease more than others, I knew I needed to have a lesson about how disease spreads and one that requires students to dive deeper, asking and answering the critical questions through activity. Repeating this process for each driving question, and crafting more and more activities that build upon the students’ developing understanding of both biological and social science, led to a unit plan that is rich with equitable sensemaking. This balance of social justice and grounded scientific questioning has led my group to craft something that not only reshaped our ideas of teaching, but will allow us to help create a new generation of critical thinkers in not only science, but across all domains.

References

Calabrese Barton, A., & Tan, E. (2019). Designing for rightful presence in STEM: The role of making present practices. Journal of the Learning Sciences, 28(4-5), 616-658.

Collin, R. (2014). A Bernsteinian analysis of content area literacy. Journal of Literacy Research, 46(3), 306-329.

Haynes, T. (Director). (2019). Dark Waters [Film]. Participant Media.

Heller, R. (2011). In praise of amateurism: A friendly critique of Moje’s “call for change” in secondary literacy. Journal of Adolescent and Adult Literacy, 54(4) 267-273.

Kimmer, R. W. (2013). Braiding sweetgrass: Indigenous wisdom, scientific knowledge, and the teaching of plants. Milkweed Editions.

Moje, E. B. (2015). Doing and teaching disciplinary literacy with adolescent learners: A social and cultural enterprise. Harvard Educational Review, 85(2), 254-278.

National Academies of Sciences, Engineering, and Medicine. (2016). Science literacy: Concepts, contexts, and consequences. National Academies Press.

Lee, O., Miller, E., & Januszyk, R. (Eds.). (2015). NGSS For All Students. NSTA Press.

Reiser, B. J., Novak, M., McGill, T. A. & Penuel, W. R. (2021). Storyline unites: An instructional

model to support coherence from the students’ perspective. Journal of Science Teacher Education, 32(7), 805-829.

Roth, W. M., & Lee, S. (2002). Scientific literacy as collective praxis. Public understanding of science, 11(1), 33.

Windschitl, M., Thompson, J., & Braaten, M. (2018). Ambitious science teaching. Harvard Education Press.

Dr. Heather Waymouth has been an Assistant Professor in the Literacy Department at West Chester University of Pennsylvania for three years. She is a former high school literacy specialist who also holds teaching certifications in middle and secondary sciences.
Hery Castro is in his Junior year at West Chester University of Pennsylvania, in the Middle Grades Preparation program with a concentration in English Language Arts. As an Army veteran from out of state, he brings a new perspective to many of his colleagues and classes.

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Writing to Learn: Strategies to Engage Students in Writing and to Deepen Content Knowledge

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As a follow up to her webinar, Brooke Hardin expands on her resources for using multi-modal writing responses to engage students in writing.

In twenty years of teaching English Language Arts, helping students discover their “writerly life” has remained a passion. To live a writerly life means that individuals write often and with a fair amount of ease, that they see their everyday ordinary lives brimming with writing topics, and that they can use writing to reflect their ideas and potentially gain new ones. In order to begin to live a writerly life, one must be motivated to write. As teachers, engaging students in writing tasks can often be a challenge, but certain elements increase both students’ motivation for writing and their efficacy for writing tasks. Student choice in topic, modeling of strategies and techniques, consistent time to share, give, and receive feedback on writing, and invitations to write in varying modes have all been identified as ways to more likely engage students in writing. This post serves to provide strategies related to the latter idea, using various modes for writing and how these modes might inspire students to write and deepen their knowledge of disciplinary content.

What is Multimodal Writing? What Might it Look/Sound Like?

Multimodal texts are print-based and digital texts using more than one mode or semiotic resource to present meaning; mode is defined as a socio culturally formed resource to make meaning (Kress, 1010; Serafini, 2015). Authors have been exploring multimodal response for over a decade and have seen its potential to engage students in personal response and critical analysis of literature, while also developing their appreciation of genres (Dalton & Grisham, 2013). Expanding students’ literacy palette to include the modes of image, video, audio, and writing offers them more choices for how to develop and express their thinking about reading. When readers write about, interpret, or respond in some fashion to their transaction with a text, a new text is produced as the reader-turns-writer; that is, a writer or creator who seeks to express that experience with the text (Rosenblatt, 1994). Writing in a poetic form or creating a digital design as an aesthetic response to the reading positions the reader-turned-writer to adopt an aesthetic stance in which the student’s attention is focused on the lived-through experience of the reading: the emotions, moods, intuitions, attitudes, and tensions connected to the ideas and characters embodied in the text (Rosenblatt, 1994). Thus, one of the benefits of multimodal writing tasks is their potential to deepen comprehension and/or content learning.

            One strategy for multimodal writing is called a half-and-half portrait (see Image 1). To create this piece, a student would first “write” the portrait about themselves. The portrait is a visual representation of an individual done by drawing one half of the person’s face using physical features (i.e., hair style, eye color, nose shape) and then filling in the other half of the face with images, quotes, or other ideas that relate to the person’s attributes, interests, life experiences. Once a student has created a half-and-half portrait about themselves, they can apply the strategy to a character from text, historical or present-day figure, or any other person. For example, the physical side of the portrait is created using the features visualized by the reader based on descriptions in the text. The other half of the character’s face uses images and other ideas related to the character and inspired by evidence from the text. For example, students might read the middle grades novel Refugee by Alan Gratz, which portrays the refugee experience of three distinct, fictional adolescent characters. Students reading this novel could further explore and demonstrate their understanding of these characters through the creation of a half-and-half portrait (see Image 2).

Image 1: Personal ½ and ½ Portrait (created by author)                  

Image 2: Isabel from Refugee (created by author)

In addition to creating the portraits, students can also create video or audio recordings that explain the thinking behind their multimodal writings. Teachers might ask students to discuss both the materials used to create the portraits and the ideas represented in the portraits. In multimodal writing using a visual art form such as this portrait, selection of materials and images or quotes used should be as intentional as word choice is in written texts. An example of my explanation for my half-and-half portrait can be found using this link.

As with any new genre of writing, students need mentor texts they can reference for ideas and inspiration. Picture books, especially those that have been recognized for their illustrations, serve as some of my favorite mentor texts for multimodal writing with visual art (see Images 3 and 4).

Image 3: Illustrations made with stones in Stepping Stones: A Refugee FAmily’s Journey by Margaret Ruurs

Image 4:

Illustrations made with layered collage featuring book pages,

tattered book covers, neon paints, and cloth in How to Read a

 Book by Kwame Alexander and illustrated by Melissa Sweet

Engaging Students in Writing with Poetry

Poetry is another genre that often engages students in writing tasks. Poetry is subjective and its structure can vary. Some forms, like haiku, have a particular form, but poetry can also be as simples as a collection of a person’s favorite words. The rules of writing become more relaxed in different types of poems, which allows students to tap into their creativity and use their voice to play with words, line breaks, and the appearance of the poem. Many poems are what I call “bite-sized;” thus, they are also less intimidating to write for more reluctant writers.

Definition Poems

Definition poems are a specific type of poetry that follows a form but also holds space for students to use craft moves and have agency with the writing. This form of poetry is inspired by some of the pages from the middle grade novel The Crossover by Kwame Alexander (see Image 5). Written in verse, the novel features several poetic styles, including definition poems, that might serve as mentor texts for students poetic writing. The definition poem invites students to engage in writing while also enhancing their vocabulary knowledge and using learned content to create something new.

Image 5: Definition poem from The Crossover

When teaching students to write definition poems, teachers should use the same principles they would use with teaching any other genre. Reference the mentor text, such as one of Alexander’s poems from The Crossover, and engage students in inquiry by asking them to take notice of how the author wrote the poem – that is, to think about and name aloud the “ingredients” used in the poem and what might be required for someone else to write the same style of poem. For example, teachers would point out how each stanza begins with “As in:” and how the vocabulary term is used in each stanza. Teachers might use a shared writing approach to co-author a definition poem with the whole class and invite students to co-author this kind of poem in pairs before they write one independently. Again, this kind of poem can be used with vocabulary from novels students read and to other content areas. See Image 6 for an example definition poem written about the math term parallel. As seen in the example, the poem offers students the opportunity to sustain their thinking about a word and its meaning and invites them to see how vocabulary terms are relevant to their lives. Additionally, these kinds of poems can serve as a piece of writing in a larger multimodal piece. For example, students might be invited to illustrate each stanza of the poem to add a visual layer.

Image 6: Example definition poem (created by author)

Golden Shovel Poems

Golden shovel poems are a poetic form created by Terrance Hayes and inspired by Gwendolyn Brooks’ poem, “We Real Cool.” To write a golden shovel poem, the writer must do the following:

  • Take a line or lines from a poem you like.
  • Use each word in the line as the end word in each line of your poem.
  • Keep the words in order.
  • Give credit to the original poet.
  • The new poem does not need to be about the same subject as the original poem, but they can be related in some way if the writer chooses to do so.

Inspired by Terrance Hayes, Nikki Giovanni wrote the book One Last Word, which is a book of golden shovel poems about the Harlem Renaissance. Using two of the poems from this book as mentor text (see Images 7 and 8), teachers can help students see how the poem is written and gain inspiration for their own writing.

Image 7: “Storm Ending” from One Last Word 

Image 8: “Truth,” a poem written by Nikki Giovanni using a line from “Storm Ending” by Jean Toomer

Teachers should immerse students in reading many different poems, invite them to bring in poems – including song lyrics – that they admire, to gain ideas and inspiration for writing their own golden shovel poems. Again, teachers may want to scaffold this kind of writing and co-author poems with students in a whole group setting before tasking students with writing one on their own. Golden shovel poems are complex but also provide students an opportunity to play with word choice, syntax, line breaks, and be creative in their writing. Inspired by a poem from Mary Oliver’s Dog Songs, I show students my own attempt at this poetic form (See Images 9 and 10).

Image 9: Excerpt from “Luke’s Junkyard Song” by Mary Oliver                    

Image 10: Golden shovel using the last two lines from “Luke’s Junkyard Song” (created by author)

Final Thoughts

No matter the strategy used, teachers must remember to embrace vulnerability and write alongside of students, both modeling the techniques and making the cognitive side of writing – word choice decisions, art medium choices, etc. – become evident and accessible for students. Writers need to see and hear other writers engaged in writing to discern the process and be inspired. Writers also need room for creativity. Each of the strategies offered here provides space for creativity and the opportunity for students to express themselves while also learning and showing their content knowledge.

References

Kress, G. (2010). Multimodality: A social semiotic approach to contemporary communication. London, UK: Routledge.

Rosenblatt, L. M. (1994). The transactional theory of reading and writing. In R. Ruddell et al. (Eds.), Theoretical models and processes of reading (4th ed). Newark, DE: International Reading Association.

Serafini, F. (2015). Multimodal literacy: From theories to practices. Language Arts, 92(6), 412-423.

Brooke Hardin is an Assistant Professor of Elementary Education at USC-Upstate. Her experience includes elementary and middle grades classroom teaching as as well as curriculum literacy specialist. This webinar reflects Brooke’s special interest in multi-model writing as a response to reading.
Categories
Teaching

Writing to Learn: Strategies to Engage Students in Writing and to Deepen Content Knowledge

This webinar features Brooke Hardin and provides resources for using multi-modal writing responses to engage students in writing.

Click here Download
Brooke Hardin is an Assistant Professor of Elementary Education at USC-Upstate. Her experience includes elementary and middle grades classroom teaching as as well as curriculum literacy specialist. This webinar reflects Brooke’s special interest in multi-model writing as a response to reading.
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Teaching

Creating Student-Centered Social Studies Anthologies

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This week’s blog is by Beth Shaver as she shares how to develop primary source anthologies in Social Studies and History courses. Read more about Beth at the end of her blog.

            When I think about literacy in social studies, my mind is automatically drawn to conversations around the purpose of social studies. There is a consensus that the primary purpose of social studies is to educate our students about citizenship and active participation in our republic (NCSS, n.d.). As teachers, we understand that literacy is a necessity for civic engagement and that literacy, and the social studies, are inextricably linked.

            For our students, however, that connection may not be so clear. I imagine that we would be hard-pressed to find a social studies teacher who has not been asked the age-old questions of ‘Why do I have to learn this?’ and ‘Who cares about a bunch of old dead men?’ Honestly, the root of their argument is valid. Falling back on Mark Twain’s musing that “history doesn’t repeat itself, but it often rhymes” as a rationale is simply not enough to convince our students that social studies generally, and literacy in the social studies specifically, is necessary or that primary sources are useful.

If we, as teachers, are going to ask students to read, think critically, and be willing to participate in critical discussions, they are going to want to know why. Especially in the modern era when we are competing with cell phones and social media in the classroom, our students need to internalize why social studies matters to them. Ultimately, reading in social studies classrooms must be relevant to our students.

Charting a Student-Centered Approach

            While there are many approaches to student-centered, engaging, literacy-based, and relevant lesson plans in social studies classrooms, an approach that I used in my classroom, and had success with, was the individual curation of anthologies. As a White woman who was teaching the African American Studies course, this approach came about because it was important for me that students had the autonomy to research and learn about ideas and issues that were important to them in parallel to the history that they were learning in class. I knew that I did not have the authority or ability to speak to every issue. So, I focused on the history and taught the students how to find voices and experiences of the past in primary source materials, based on what they were interested in and curious about.

            Although the anthology originated in an elective course, it can be easily applied in any history-based social studies course and can be scaffolded or extended based on the needs of the individual learner. Application of state social studies standards to this project can be woven in easily with this project as well. As an example, in North Carolina, our social studies standards ask students to trace ideas and themes throughout the eras as they seek to understand change over time through history. The anthology approach embraces this goal by encouraging students to pull threads throughout history that pique their curiosity.

In my class, students had the opportunity to take the course at the academic (e.g., general education) or honors level which meant that within one classroom, I had a wide range of students representing diverse learning experiences and reading abilities. Each of them approached the anthology project as individuals and at their own level, and by the end of the semester, each student had an anthology to present at a meet-the-author event in our school’s media center.

The Anthology at a Glance

The work to begin a course-long anthology project begins at the beginning of the course and requires patience from both the teacher and the students. Each must understand that this type of project requires learning, adjustments, scaffolding, thoughtful preparation, and structure. To me, this work is the most exciting and has the potential for the greatest rewards! Early in the course, lessons around digital literacy and digital history are crucial for student success and can guide students toward recognizing reliable websites and materials for their projects (Manfra, 2020; Wineburg & McGrew, 2019). My diverse group of learners needed to be provided with a digital library of resources that each learner could use as a starting point. While some were confident and able to find reliable resources independently, others required the scaffolding of more concrete places to start, especially in the beginning.

A second consideration early in the course is how students will source and analyze the primary sources they use. Following a format found in many historical anthologies, we started by asking each student to find the title, author, and date of the source that they found. Then, using different scaffolding strategies depending on the source and the student, we modified an Advanced Placement source reading strategy, HIPP+: Historical context, intended audience, purpose, point of view, and the + represented the student’s interest in the document, theme, or history. This allowed students to work towards understanding each source they chose, unpacking it, and learning to express why they found it valuable.

Finally, the most significant portion of this project is the focus on student choice. Each student had the opportunity to either choose a theme for their anthology or to keep it flexible depending on their own goals and interests. We spent time as a class brainstorming potential themes that could transcend time and thinking about the potential that each theme could hold. Taking this approach gave students agency to trace themes and ideas throughout history, taught them disciplinary literacy skills, and allowed them to find a love of history based on their research interests.

In the end, each one of my students completed an anthology that highlighted two to three primary sources from each unit of study in our class. Each one was different. Each one was special. Each one represented an individual’s unique learning.

The file below is an example of an organizer for identifying and understanding key terms in a reading selection.

Common-Sense-7-Word-SummaryDownload

References

Manfra, M. M. (2020). Digital history 2020. Social Education, 84(2), 118-122.

National Council for the Social Studies. (n.d.). About: The national council for the social studies. https://www.socialstudies.org/about/about#:~:text=The%20primary%20purpose%20of%20social,and%20involvement%20in%20civic%20affairs.

Wineburg, S., & McGrew, S. (2019). Lateral reading and the nature of expertise: Reading less and learning more when evaluating digital information. Teachers College Record, 121(11), 1-40.

Elizabeth (Beth) Shaver is a doctoral candidate in the Department of Teacher Education and Learning Science at North Carolina State University with a concentration in Social Studies. She has taught social studies for fourteen years between California and North Carolina.

Categories
Teaching

Using Student-Learning to Foster Students’ Ability to Curate, Analyze, and Understand Primary Sources

This webinar features Beth Shaver and provides resources for collecting Social Studies resources from multiple perspectives. Click here to access.

Elizabeth (Beth) Shaver is a doctoral candidate in the Department of Teacher Education and Learning Science at North Carolina State University with a concentration in Social Studies. She has taught social studies for fourteen years between California and North Carolina.
Categories
Teaching

Weaving a More Complete Tapestry of Truth with Multiple Perspective Texts in the Social Studies Classroom

Photo by Nareeta Martin on Unsplash

This blog is written by Katie Kelly to remind us how and why to teach a more current and accurate history curriculum. Read more about Katie at the bottom of her post.

Looking Back

For far too long, social studies has been taught (if taught at all) through a teacher-centered model comprised of lectures, note-taking, and task-oriented textbook reading. Students are assigned chapters with questions to answer and are later tested on the content. History becomes rote memorization of key dates and figures without meaningful context or deep learning. Therefore, we should not be surprised that many students lack understanding of significant historical events and find social studies both boring and irrelevant. A 2020 survey of adults under forty revealed that ten percent of respondents were unfamiliar with the Holocaust, and sixty-three percent of those surveyed did not know that over six million Jews were murdered in the Holocaust (Pew Research Center, 2020).

This is frightening and concerning. Not only do we need to ensure that young people are learning history but also that they are learning about it from multiple perspectives in order to weave a more complete tapestry of truth. Dr. Gholdy Muhammad (2020) reminds us to consider how our curriculum and instruction help us understand power, equity, and anti-oppression. Our teaching practices must be responsive to the historical events that shape the present if we aim to help students understand content from marginalized perspectives (Muhammad, 2020).      

Teaching Today

Textbooks remain the primary source of social studies content in many classrooms (Brophy & Alleman, 2009). One problem with relying solely on textbooks is that they are designed as an overview of vast periods of time and lack depth and breadth on specific topics. As a result, textbooks often convey oversimplified information and are frequently told from a single perspective that omits the voices and stories of historically marginalized groups (Yearta & Kelly, 2021). This results in a narrow, biased, white-washed curriculum. Sanitized versions of history induce a sense of patriotism while ignoring the complicated past and present (Demoiny & Ferraras-Stone, 2018). As James W. Lowen writes in Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong (2018),“The stories that history textbooks tell are all predictable; every problem has already been solved or is about to be solved… Textbooks exclude conflict or real suspense. They leave out anything that might reflect badly upon on national character.”  

We cannot ignore our complicated and difficult past if we seek a better tomorrow for future generations. To foster increased engagement in learning a more complete and accurate history, we must build our capacity and willingness to include multiple perspectives and acknowledge that every perspective is true and partial (Hamilton et al., 2020).

Moving Forward

In order to teach a more complete and accurate history, we can incorporate multiperspective text sets including books, articles, primary sources, multimodal resources, etc. featuring the stories and perspectives that have traditionally been silenced or marginalized. Multiperspective text sets help students layer their learning about complex history to develop a more nuanced and accurate understanding of how it influences the present. When students have opportunities to connect the past to the present, history becomes more relatable and relevant to their lives (Kelly et al., 2023).

In our book, Critical Comprehension: Lessons for Guiding Students to Deeper Meaning (2023), we offer a multiple read framework to help students move beyond passive acceptance of information towards a deeper critical analysis of text by questioning the author’s intent, the information included/excluded, how the text positions the reader, and who benefits or is harmed by it. The return read seeks to disrupt and interrupt widely accepted narratives, the writer’s intention, and the reader’s stance to uncover hidden truths. This return read, or critical read, is necessary when examining the ways in which history is presented. As readers deconstruct texts, they think critically about historical and current events to examine power relations revealed in text and mirrored in society (Jones, 2006; Vasquez, 2010).

Sample questions for critical reading:

  • Whose story is being told?
  • Whose stories are being left out?
  • Who benefits? Who is harmed? 
  • How does this perspective position the reader? 
  • What does the author want the reader to think or know?
  • How does the text perpetuate stereotypes?
  • How do your assumptions and associations position you to interact with text?

These questions serve as a framework to help students move beyond the dominant narrative to explore counter narratives and expand their perspectives and understanding of our country’s past and present. History textbooks often center the stories of the victor, the hero, the white male. For example, we think of our founding fathers and our first president and general of the Continental Army who led us toward independence. The Declaration of Independence stated that all men were created equal. We celebrate the Fourth of July with displays of patriotism from waving flags, red, white and blue clothing, parades, and fireworks displays. Yet, history textbooks rarely explain that neither women nor people of color had independence and freedom. In fact, slavery was not abolished for another 86 years when Abraham Lincoln signed the Emancipation Proclamation. Even then, it took three years for this information to reach enslaved people in Texas. On June 19, 1865, federal troops traveled to Galveston, Texas, to bring the news of freedom. This day has been commemorated as Juneteenth, and though Black citizens have long celebrated it, it has largely been overlooked until recently. Juneteenth became a federal holiday in the U.S. in 2021 amidst continued activism and the momentum of the Black Lives Matter movement. Teaching about Juneteenth is one way to help students bridge the past to the present to learn the nuanced and more complete truth of this part of U.S. history. This Book Buzz blog post offers a sample text set to help students deepen their understanding of the importance of Juneteenth.

Our country has a long history of centering the power of dominant voices. This perspective is privileged in the curriculum in our schools as well. Therefore, we must work to ensure that multiple perspectives are included when teaching social studies. Consider your own school experiences. What were you taught? What weren’t you taught? Whose stories were included? Whose were left out? How did that shape your beliefs about the world and your place in it? (Kelly et al., 2023).

Critical comprehension requires deeper reading to consciously question the text, the world, and the stories we’ve been told. Critical readers seek a more nuanced understanding by uncovering silenced voices, omitted narratives, and multiple perspectives needed to weave a more informed and complete tapestry of truth.

References

Brophy, J., & Alleman, J. (2009). Meaningful social studies for elementary students. Teachers and Teaching, 15(3), 357– 376.

Demoiny, S.B. & Ferraras-Stone, J. (2018). Critical Literacy in Elementary Social Studies:

Juxtaposing Historical Master and Counter Narratives in Picture Books. The Social Studies, 109(2), 64-73. 

Hamilton, D.M., Wilson, G.M., & Loh, K.M. (2020). Compassionate Conversations: How to speak and listen from the heart. Boulder, CO: Shambhala.

Jones, S. (2006). Girls, social class and literacy: What teachers can do to make a difference. Portsmouth, NH: Heinemann.

Kelly, K., Laminack, L. & Vasquez, V. (2023). Critical Comprehension: Lessons for Guiding

Students to Deeper Meaning. Thousand Oaks, CA: Corwin Press.

Lowen, J. W. (2018). Lies My Teacher Told Me: Everything Your American History Textbook Got

Wrong. New York: The New Press.

Muhammad, G. (2020). Cultivating Genius: An Equity Framework for Culturally and Historically Responsive Literature. New York: Scholastic.

Pew Research Center, Jan. 22, 2020, “What Americans Know About the Holocaust”. Retrieved from https://www.pewresearch.org/religion/2020/01/22/what-americans-know-about-the-holocaust/.

Vasquez, V. (2010). Getting beyond “I like the book”: Creating space for critical literacy in K-6 classrooms. Newark, DE: International Reading Association.

Yearta, L. & Kelly, K.(2021). Digital Storytelling to Enhance Social Studies Content Knowledge, Explore Multiple Perspectives, and Advocate for Social Justice. In J. Tussey & L. Haas (Eds.). Connecting Disciplinary Literacy and Digital Storytelling in K-12 Education. IGI Global.

Katie Kelly is an Associate Professor at Furman University in Greenville, South Carolina. As a former teacher and literacy coach, Katie’s teaching and research interests include engaging children in meaningful literacy experiences and practices to foster lifelong literacy, equity, and justice. She is widely published in several peer-reviewed journals and has co-authored four books. She can be contacted on Instagram/Twitter @ktkelly14 and by email katie.kelly@furman.edu.
Categories
Teaching

Action! Growing Historical Writing Skills with Video Essays

This blog is written by Tori Young and shows us how to scaffold written essays resulting in a video essay. Read more about Tori at the bottom of her post.

Have you ever caught yourself in the never-ending rabbit hole of online video essays? Conspiracy theories, movie plot analyses, theme park history and so many more topics are explained in a thorough manner with research and analysis weaving together ideas and backgrounds you never would have put together. Even if you have not stumbled into this online phenomenon, I can assure you that your students have. Whether hour long YouTube deep-dives, or short TikTok synopsis series, students are being presented with researched information about a wide range of topics even if they do not recognize it. After noticing this for myself, I asked “why aren’t more essays like this?”

Research papers and argumentative essays are the primary form of essay writing used in my history classroom. I want my students to know how to be informed citizens and communicate their ideas and beliefs in a way that is grounded in historical truth and facts. I typically scaffold this process throughout the year using activities based on the content. Typically, I start out with an exit ticket asking students to pick a side on a tough topic (no in between!) and tell me why they chose their stance. Nothing formal just to get them to practice how to take a stance. Slowly I will make them add facts from a document we read in class to back up their positions and eventually start teaching the research process by having them look for reliable sources of their own to support their side. Eventually, all that information can be used to organize and create a well-written paper for social studies.

The broad goals of this process are to teach students how to make informed decisions and communicate their ideas effectively. While a traditional essay is an excellent way to practice those skills, many teachers like me have seen the difficulties for students that come with that ultimate step of writing the paper. For many students, the formal language or length of the writing assignment can be daunting to approach, causing them to shut down before trying. But we look at them confused; they have already practically written the paper with their summaries and research. Why can’t they just fill in the gaps with just a few sentences?

I found myself asking these questions every year. When I asked my students to verbalize their answers, I got great insight and connections to the content from them. They know this content, in fact many of them get passionate about it when it is time for them to argue. As I pondered this, I concluded that most of my students will only share their research and findings about topics verbally in their futures. Why am I not adding a verbal layer of assessment to this process?

This is where the wonderful world of video essays came into play for me and my classes. A video essay takes on the same structure as an essay but uses visual aids and commentary to present the information. Just like a good historical essay, it begins with background information on the topic and a clear thesis. It is then followed by key points that are supported by examples. And lastly, the video concludes with the creator’s main idea and the topic’s historical impact. Video essays help students practice research skills, organizing ideas and examples, but instead of writing, they are practicing presentation skills! 

An example of this in my high school US History classes is during our unit on the Antebellum era. There are a lot of names of important people during this period; abolitionists, women’s rights activists, and politicians. I let my students pick from a list of key figures to research to share their life story. I give loose parameters on the assignment, asking students to provide the background of the person’s life, their contributions to Antebellum America, and their lasting impact on the United States. Some students may need more guidance, so it may be helpful to provide examples of information you are looking for such as their birthplace, career, and writings to name a few possibilities. I then ask students to record a two-minute video using WeVideo or Screencastify to present their findings using media to support their discussion. 

I have seen my quietest students speak without hesitation in these videos, presenting on topics with great care and speaking skills. The key is that I do not show them in front of the class. Once the fear of being judged by their peers is taken away, students become comfortable with the process. They also begin to get creative with their media. Many will create a PowerPoint to display and follow along with for their video. However, I have seen animations, skits, and eulogies come out of this assignment as students begin to find their creativity with this medium. 

Students are still practicing all the skills I need them to learn for my goals, but by incorporating video essays I have seen higher levels of engagement with historical content. This is not meant to take away from the importance of formal writing. While not all our students will go on to university and academia, they will still need to write important emails and apply for jobs. Formal writing is an important skill, but if you also notice students needing an extra step in scaffolding the writing process in social studies then consider video essays. Students will even surprise themselves with how much they know!

Images courtesy of Pexels

Tori Young is a high school social studies teacher in Anderson, South Carolina. She is currently working on her Master’s in Instructional Design and Learning Technology at Anderson University.
Categories
Collaboration Teaching

Learning about the Events of September 11, 2001, Through Story

This blog is written by Lesley Roessing suggesting that a variety of texts can be used to teach historical events still impacting the world today. Read more about Lesley at the bottom of her post.

No historical event may be as unique and complicated to discuss and teach as the events of September 11, 2001, the day terrorists crashed planes into, and destroyed, the Twin Towers of the World Trade Center. At the time of this event, no child in our present K-12 educational system was yet born, but, in most cases, their parents and educators would have been old enough to have some knowledge of, and even personal experience with, these events, making this a very difficult historic event for many to teach. However, with the devastation and impact of these events on our past, present, and future and as ingrained a part of history these events are, they need to be discussed and understood as much as possible.
 
An effective way to learn about these events is through story. Powerful novels have been written about this tragedy, for all age levels and, fascinatingly, each presents a different perspective of the events. Some take place during September 11, some following the events, some a few years later or many years later, and a few include two timelines. Many take place from the perspectives of multiple characters.
 
On September 11, 2021, YA Wednesday posted my guest-blog “Novels, Memoirs, Graphics, and Picture Books to Commemorate September 11th.”  In this blog, I interviewed authors and reviewed and recommended 24 texts and six picture books.
  Since then, I have read two additional texts:

Yusuf Azeem is Not a Hero by Saadia Faruqi
“Suspicion of those unlike us is common human behavior. We don’t trust who we don’t know. But yes, 9/11 was terrible, and it really fueled the fire of hatred in this country.” (184-5)

Sixth grader Yusuf Azeem was born in Texas and is an American; his mother was also born in America and his father was a Pakistani immigrant who runs the popular A to Z Dollar Store in town (and a somewhat a local hero after capturing an intruder threatening his store and customers). The family is Muslim, but, understandably, Yusuf is shocked when sixth grade begins with threatening notes in his locker. When one says, “Go home,” he is hurt and confused. Frey, Texas is his home. Surely the notes are meant for someone else.

This is a novel that may benefit from some background on the events of September 11, 2001, since the action takes places in 2021 but, read individually, Ausuf’s uncle’s journal helps to fill in information. The importance of this particular novel is that it demonstrates that, for some of our citizens and students, “Twenty years. So much time. But things haven’t really changed at all.” (48) One of the major events in the story—when a little computer in his backpack beeped and, instead of questioning him and investigating, Ausuf is thrown in jail for twelve hours—is based on a real event from 2015 where Ahmed Mohamed, a Muslim 14-year-old, was arrested at his high school because of a disassembled digital clock he brought to school to show his teachers [https://www.cnn.com/2015/09/16/us/texas-student-ahmed-muslim-clock-bomb].

It is vital that our children learn about 9/11 because, as Yusuf’s mamoo says, “History informs our present and affects our future.” (81)

In the Shadows of the Fallen Towers by Don Brown
Don Brown’s graphic novel recounts events following the 9/11 attacks on the Towers and the Pentagon from the moment of the “jetliner slamming into the North Tower of the World Trade Center” to the one-year anniversary ceremonies at the Pentagon, in Shanksville, Pennsylvania, and at Ground Zero. It also covers the fighting of U.S. troops in Afghanistan and the capture and interrogation of prisoners from an al-Qaeda hideout in Pakistan.
 
The drawings allow readers to bear witness to the heroism of the first responders, firefighters, and police as they move from rescue to recovery over the ten months following the attacks and learn the stories of some of the survivors they saved. It is the story of the nameless “strangers [who] help[ed] one another, carrying the injured, offering water to the thirsty, and comforting the weeping.” (23)
 
We learn and view details that we may have not known, such as “Bullets start to fly when the flames and heat set off ammunition from fallen police officers’ firearms,” (11) the “Pentagon workers [who] plunge[d] into the smoke-filled building to restore water pressure made feeble by pipes broken in the attack,” (36) and former military who donned their old uniforms and “bluff[ed their way] past the roadblocks” to “sneak onto the Pile” to help. (50, 52)
 
For more mature readers this book adds to the story of 9/11 in a more “graphic” way.
 
I have taught a unit on NINE ELEVEN through book clubs in multiple schools from grades 5 through 9 in both ELA and Social Studies classes. Children and adolescents have felt comfortable these sensitive and challenging concepts and examining these troubling events and some of the ensuing difficulties, prejudices, and bullying, through the eyes of characters who are around their ages, some readers sharing personal stories in their small collaborative groups. I am thankful for the authors who have allowed our children to experience these events in a safe and compassionate way. I have presented these novels and strategies and lessons for reading through book clubs at local workshops and national conferences. I included my 9/11 Book Club unit as a chapter in TALKING TEXTS: A Teacher’s Guide To Book Clubs Across The Curriculum.

Condensed and reproduced with permission from https://www.literacywithlesley.com/blog posted on September 2, 2023.

Lesley Roessing was a public-school teacher in eastern Pennsylvania for 20 years where she taught high school and middle school ELA, Humanities, and Gifted Studies. In 2010, she founded and directed the Coastal Savannah Writing Project at Georgia Southern University where she also taught pre-service and in-service teachers. The year prior to her retirement, she served as the Literacy Consultant (Coach) for a K-8 charter school. Upon retirement, she continued writing, visiting classrooms to facilitate reading and writing lessons, and posting all things literacy! 

Follow her website, created to support educators—teachers, librarians, and parents, at https://www.literacywithlesley.com/

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