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Journal BIG Ideas Inspired by Books

Taking notes is a foundational skill that will accompany your student through their entire educational journey and beyond. Even though there is no right way of taking notes, it is important to learn how to extract relevant and pertinent information from a text in a neatly organized, concise manner. This takes practice. As students are encouraged to practice over time the art of capturing the most important details from their reading, they will begin to recognize how the intricacies of a story fit into a larger picture. This is precisely how a Habit of Being is established.

When readers take note of character development, trace a setting, and watch a plot thicken, they are learning more than just the skill of recording facts, they are actually beginning to realize the potential of storytelling. Teaching students to dig into a story, to do the work of reading for meaning, enables them to discover how language has the power to communicate significance. Learning to take notes helps to lay the foundation for rich, clear, and organized writing.

Some might argue, when faced with a classroom of 30 students, or even when faced with one student sitting at a kitchen table stubbornly refusing to write, that teaching from a textbook that tells the student what to learn is an easier method than pulling teeth trying to nurture the independent skill of note taking. We would argue that learning to extract information from a story trains students to do the hard work of, not only attending to the details of reading, but more importantly to develop the skill of integrating knowledge into life outside of the book.

As students discover the details and framework that make a story great, they will apply this new-found knowledge to broader academic pursuits in all subject areas.

~Kimberly

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Haiku for the First Day of Spring

Spring3

On this first day of spring step outside, celebrate the blossoming and craft a haiku greeting.

How to craft haiku:

 

five syllables

s e v e n  s y l l a b l e s

five syllables

 

1. Haiku poems consist of a three-line stanza—16 to 18 syllables total—written in the following pattern:

Line 1: 5 syllables
Line 2: 7 syllables
Line 3: 5 syllables

*Slight variations in syllabication is appropriate as this helps the poet maintain “one thought in three lines”

2. Haiku poems are typically observations of nature (though the form welcomes other topics), often making reference to the seasons.

3. Haiku poems are tiny snapshots capturing moments in time.

 

So, a  “haiku moment” describes a scene that leads the reader to a feeling.

But, remember, your three lines should be woven to a single thought:

 

and I croon in the

scent of Spring’s dotted song, swoon

in her blossoming colors

Spring4
Spring2
 -Kim

 

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after Robert McCloskey

McCloskey

During the fifth week of Discovery, Section 5 encourages each reader to develop a creative culminating project with options that provide a variety of ways to demonstrate deep understanding of the book. Your students will not only have a chance to demonstrate their originality, organization, clarity of purpose, and critical thinking skills, more importantly this culminating endeavor will allow them to show off what they have learned in their own, uniquely creative way.

Students really love sharing their culminating thoughts about great stories. Encouraging readers to create Section 5 projects with a high level of execution teaches them that their ideas are valuable and builds integrity into their work.

This sweet and yummy final project was sparked by our Robert McCloskey Earlybird literature discovery guide. After reading Blueberries for Sal, this student was inspired to do a little research on blueberries and bake muffins for his friends! Learning over great books is so rich!

Take a look at our Flickr page for some great examples of culminating activities. We’d love for you to share your ideas.

-Tracey

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Worth 5-minutes of Your Time

DrawContour
Do you want your hands to learn to see?

Not possible you say?

Read on…

Wherever you are this very moment, look around, hone in on a cluster of objects.

First, look. Trace the edges with your eyes.

Next , grab a chunky marker and a piece of paper. Beginning with your eyes focused at the bottom of one of the objects, begin to follow the outline edges (very  s l o w l y),  moving the pen at the same speed and direction as the eyes. Do not look at the paper—keep your eyes off the page! No peeking! And, do not lift the pen! Try to make the pen in your hand "see" all the curves and bumps that your eye sees. 

Don't rush. Making a connection between the eyes and the hand is a slow motion exercise. Only when your eyes are back where you began can you lift the pen from paper to see with your eyes what your hand saw.

You might giggle the first time you try blind contour because it takes a few tries to sync the sped of eyes and the hand. But when you stop giggling, you will see that the lines achieved during a blind contour are unique, beautiful in their own way.

Remember, the ultimate goal of blind contour drawing is to practice "seeing" the world with your hands. If you practice often, you will begin to notice moments when these drawings are more realistic than the drawings you made using eyes only.  

DrawContour2

-Kim

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Flying Fish

 

Creech

In her book Walk Two Moons, Sharon Creech repeatedly uses the phrase “trying to catch fish in the air” to mean trying to achieve the impossible, when disillusionment is a much more likely situation. And as a writer with an idea, she doesn't just leave us there, no. Sharon Creech takes this concept of "trying to catch fish in the air" and gives it the form of a picture book (her first) in collaboration with the wonderful art of Chris Raschka. Inside the pages of Fishing in the Air, the world of imagination becomes a place where the similes and metaphors of memory are the storytellers of the mind's eye.  

Now let's write.

Visit our Pinterest Write it board and scroll through until you find a boy flying through the air on a shimmering orange fish. Start imaging. Where is the boy on the fish headed? What might his "fish in the air be"? What impossibility is he trying to make possible? Now, choose one of your personal "fish in the air" and describe it in a poem or vignette. What would happen if you actually caught one of those "fish in the air and rode" it where you pleased? Write about what would happen if you caught your singular fish in the air? What would happen if you caught five of your fish in the air? What kind of day would that be like?

 

Example:

Daydreaming

 

I usually think of it when I’m in line

usually somewhere in the steaming depths

 

of an amusement park in the summer,

somewhere in the crush of bodies slippery

 

with sweat and sunscreen. Or I think

of it somewhere in the musty belly

 

of the library basement, when I look up

from radio static of black words

 

on pallid page, into the one dim bulb

flickering like a sleepy eyelid.

 

When it’s been ten hours driving down

a straight road, and the car’s air

 

is a soup brought to a slow boil,

I shift in my place between the luggage

 

and the door, stare out the window

at particularly inviting cloud,

 

climb its towering pillar as my feet

make deep imprints in its soft stairs,

 

and perch on the very tip, where birds

pass each other with a faint rustle of wings.  

 

 

-Constance

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Lovely Lines

Matisse3

Did you know that, when it comes to art, every line has a personality? That the lifework of the master artist has a particular voice?

When it comes to the lines of Matisse, spare, weightlesswhimsical, and articulate come to mind.

Line is a foundational element when it comes to the language of art.

For this reason we invited Matisse, virtually of course, into the Guild and invited the master artisan to help our apprentices explore the rich potential of line.

You can too.

Matisse

 

Matisse2

 

-Kim

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Added Value

Shell

“Drawing is based upon perspective, which is nothing else than a thorough knowledge of the function of the eye.”     -Leonardo DaVinci

We are designed to see and understand an object based on the relationship between the play of light and dark on its surface. Value is the term used to describe the lightness or darkness of an object. As light is reflected off objects, we interpret its attributes. When we draw a three-dimensional object in two dimensions, we are creating an illusion.

Over the years I’ve encouraged many a child to “look closely” by developing a specific Habit of Being—the Observation Journal. 

It is always best to begin observational drawing exercises by encouraging the Observer to see the contours or the “lines” of an object. To capture natural organic lines on the page is a lovely skill.

  Value1

As soon as this becomes a comfortable task, its time to encourage the Observer to look beyond lines that five the object its flat shape toward a close observation of the light and darks of an object. To accomplish this task, begin with a light contour adding a light value or tone by smudging then adding patches of medium darks and dark darks according to what the seer is seeing. The transformation is simple and stunning!

  Value2

And it’s never too early or too late to start. A six-year-old executed these drawings of the wonderfully sea-tumbled mollusk. Anyone can add value to an observation. 

-Kim

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Breaking the Rules in Good Company

 

I have been discouraged when people don’t like my writing—when people don’t like my voice.

I’m sure this is true for all writers.

The truth is, it’s hard to be yourself when people disagree with what you personally find interesting and beautiful.

Authenticity is a lesson that is almost never taught in school but is integral to being an artist. The truth is, sometimes, people won’t like your writing.

Now, sometimes that friction between differing opinions is definitely healthy and necessary. Dozens of blog posts could be written about the value of knowing the rules before you break them, and the importance of having the humility to listen to other artists’ advice.

But, sometimes, when the choice between two kinds of line break or two uses of allusion seem substantially subjective. As writers, we have a choice between doing what people approve of and doing what they find aesthetically satisfying. One lesson that students need to learn is that, throughout their writing careers, they will have a choice between being recognized and having painfully genuine integrity.

And that is the real-life choice between being normal and being divergent, the choice between being a people-pleaser and being a literary mutant.

The good news is that the greats were often literary mutants. Literary mutants who, no doubt, knew the rules and broke them well. Think Walt Whitman, e. e. cummings, Charlotte Bronte, Jane Austen—all of these people were literary freaks when they first unveiled their writing. Each of these writers faced critics who thought that their writing was careless, boring, or just plain weird. These writers were extremely talented and willing to take risks, but that means that they were also ahead of their time. These writers were the hippies, the revolutionaries, the weirdos, the outliers.

But it’s hard for me to remember that being a hippie is ok when people tear my writing to pieces in the workshop.

So I have a very important question.

Again.

To what extent are we willing to let young writers raise their voice?

~Constance

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I’m Thankful for Sandra. What about You?

Eggs

This is not a typical high school project.

This is a watercolor composition, a gift from a friend.

This is the prized possession that hangs in my kitchen with Mona Lisa’s ubiquitous gaze following my paces patiently, “Kim, you can.”

Lore has it that Sandra’s high school watercolor teacher offered an automatic “A” to anyone in the class who anyone who could paint an egg—a trememdously difficult task to accomplish well.

Now I’ve never imagined this teacher’s comment as a dare, but rather something more like an Eeyore-under-the-breath-utterance that he hoped might someday come to pass. I’ve never imagined snarky, or cynical, but more someting akin to longing, the longing to motivate.

And I’ve never imagined Sandra’s tackling of this teacher’s offering as anything other than a response to the Muse, a delighted response to the spark of imagination. Sandra simply said, “I can.”

The sheer whimsy of the composition is my proof. There is not one guile puddle in sight.

Thing is, you might look at this painting and respond, “No, I can’t.”

But you probably said that about tying your shoe, reading The Cat in the Hat, or adding five apples and three plums. But you can, right?

Not all children will grow up to paint like Sandra. Not all children will grow up to hypothesize like Einstein.

But many children who might have will not because they are not inspired to try. All children have precious potential. And this is why I spend my days encouraging children to press into their important work.

Children who are encouraged to engage in the right kind of practice over time develop Habits of Being and habits of being give us the gumption to say, “Yes! Yes, I can!.”

Who would have imagined that, all these years later, a teacher’s nudge and Sandra’s creative response would continue to resonate, “You can.”

I’m so thankful for my dear friend Sandra.

-Kim

 

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A Telephone of Cardboard.

Telephone

Thanksgiving is a terrific time to connect with friends and family across the miles. But it’s also a perfect time to help young writers creatively communicate thankfullness. Visit our Pinterest page and let the writing begin:

Telephones come in all shapes and sizes.

Imagine a telephone.

Now, imagine a telephone made of cardboard.

Imagine someone trying to make a call, but the only telephone is a telephone of cardboard.

Does this person realize that the telephone is made out of cardboard? Does s/he want it to be made out of cardboard, instead of being fully functional? Why? Does the narrator know why this person is using a cardboard phone? Or is s/he just as confused as the reader? Or, what if the character in the story or poem happens upon the phone, picks up the receiver on a whim, and the cardboard telephone actually works? Who is on the other end? Is that person using a cardboard telephone too, or a standard phone?

Imagine the possibilities and then craft your ideas into a story or poem.

 

Example:

The Girl with The Cardboard Phone

 

There is a girl who talks on a cardboard phone

every day during recess.

 

Past the thwacking of jump rope

on cement, past the many grabbing hands

 

at the monkey bars, below the cracked tube

of the playground slide,

 

you’ll find her clutching the cardboard receiver,

stroking the thin fringe of its ripped edge

 

with a white finger. We used to wonder

what secret messages were being passed

 

into the thick brown strip, soggy with dew

and wet leaves, and whether

 

anyone was replying. We wondered

until one day, we wandered by and caught these words:

 

“I love you too”— accompanied by a smile

like a warm cup of tea on the greyest day.

 

-Constance