We’ve all been in a discussion hurtling off the track and into the canyon, far, far below. Chances are, you’ve been in this type of discussion as a student AND as a teacher, and it’s no fun in either scenario. So how do we prevent it? And what do we do if it’s already happening and glaze is washing over our students’ eyes? In today’s episode, the fifth in our discussion series, we’re diving into how to deal with discussions that go off the rails. Because even if YOU prepare in all the ways, those days happen. And it doesn't mean all is lost.  Ooh, by the way, do you have my free discussion toolkit yet? It contains many of the tools we'll be talking about today. Go Further:  Grab the free Better Discussions toolkit Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!   

Remember in elementary school, how some kids were so excited to answer a question that they would wave their hand back and forth in the air, lifting ever so slightly from their seat? The Hermione Grangers of 2nd grade. Yeah, that was me.  So I have real sympathy for students who become discussion dominators. Though on the outside, this appears to make them successful students, it’s really just as important for them to adjust their approach to group dynamics as it is for students who are completely silent in class. Both groups present a challenge for educators looking to use student-led discussion methods, and today on the podcast, I’m sharing everything I’ve learned about helping kids on both ends of the participation spectrum.  Because in fact, helping one is helping the other. Quieter students won’t have a chance to participate until dominant students take a step back. Dominant students won’t understand why it’s important to step back until quieter students begin to use their voice. The first steps are the hardest on both sides of this story, but it IS possible, and the results ARE so worth working for. This is the fourth episode of our discussion series, maybe the one you’ve been waiting for. Because we’ve all been in discussions carried by three kids while the rest watch, turning their heads like they’re at a tennis match. But not anymore. Key Points: Try brainstorming with the class about ways to get into the discussion if you’re feeling a little nervous or you like more time to prepare: ideas might include… be the first person to start a discussion or topic because you can read your question, quote, or answer to the warm-up, write down an idea as you read that you want to bring up, arrange with a friend to turn the floor over to you as they finish a comment, like “Jenny, we were talking about this before class. What were you saying?”, folks talking more have to make room for other voices Remind everyone of the bean bag story we talked about in the last episode - the discussion is incredibly enriched when everyone contributes their personal history and knowledge, their curiosity and questions Use the observer with nuance, asking them to think about how they can chart the discussion and report back with suggestions in a way that will help everyone improve the dynamics of balance Individual conversations -  you might try gently inviting a dominator to try limiting themselves to three contributions or even just listening for a day to see what others say. You might talk with a quiet student and suggest a goal of one comment on a single day, and brainstorm together how to make it happen. It’s a push and pull. As one group start to make small adjustments, the other group is affected. It never looks the same in any class! Try the ABC Game Think about all the group situations you’re in day after day: faculty meetings, dinner tables, school board meetings, neighborhood potlucks. Chances are you know dominators and silent observers in your adult life too. Maybe they never had the chance to explore these group dynamics issues in school. This process is a gift you can give to a student for their future. In an increasingly partisan world, where everyone is talking about the bubbles we live in, what could be more important than learning to talk to each other? Whether you use Harkness, Socratic, or your own twist on student-led discussion, I believe these messy life lessons of student-led discussion are worth the complicated emotions and conversations they require.    Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Grab the free Better Discussions toolkit Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!   

Welcome back to our ongoing discussion series. If you missed the first two episodes, covering five types of discussion worth trying and introducing the Harkness method for student-led discussion, you might want to pause and go back to the last two episodes before continuing with this one. Today we’re diving deep into student-led discussion, specifically setting up a structure that will let you be successful. I’ll be sharing both highlights from what I learned at the Exeter Humanities Institute about helping students be successful - which, by the way, I couldn’t recommend more as a summer PD opportunity - and also, what I learned personally working with twenty-five different classes of students as their skills with the method evolved over the course of our year together. You’ll walk away from this episode ready to run your first student-led discussion, whether you choose the full Harkness method or create your own twist on student-led discussion. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Grab the free Better Discussions toolkit  Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!   

Today we’re talking about a model that influenced every discussion I ran in my classroom from my first year to my last, across grade levels, years, and countries. I’ve run hundreds of Harkness discussions - terrible ones, experimental ones, pretty ok ones, good ones, and absolutely incredible ones. Today I want to tell you how Harkness discussion changed the way I see group dynamics and why I can’t talk about class discussion without centering this model. I want you to try Harkness, or some spin off of it that fits your classroom space and size, and here’s why. Maybe you’ve heard me talk before about the new teacher conference I attended in Northern California when I was 22. At some point during that loaded weekend, someone handed me a sheaf of papers labeled “Harkness Discussions.” Inside, I found some example discussion charts, a summary of the model, and a dream.  Harkness was originally developed at Philips Exeter Academy, where a philanthropist named Edward Harkness made a gift to the school that was channeled into creating and implementing a model of discussion centering student voices. It sounds pretty simple - students sit in a circle, ideally - but in practice rarely - around a large oval wooden table, and talk to each other in class. They face each other, look at each other, acknowledge each others’ ideas, rather than all facing toward the teacher leading the way. By the time I started flipping through my packet in 2004, more than seven decades after that initial gift, teachers had been experimenting with and improving the model for a long time. I read everything I could find online, then decided to roll out a one month experiment in every class. I was waaay into experiments at that point, and my students were used to seeing my metaphorical jazz hands as I rolled out poetry slams, performance projects, transcendental showcases, and whatever else I cooked up late at night and on the weekend while I was working all. the. time.  So they were game enough when I explained what we’d be doing. I showed them a picture of a discussion chart and explained that a student observer would chart each discussion and give a compliment and a recommendation for improvement at the end of the discussion (not mentioning specific names). I explained that my role would be to help them prepare in advance for the discussion but not to moderate it during the actual conversation. I warned them about the vast potential for awkward silence, promised that they’d get through it, and also promised not to ruin everything by rescuing them. We talked about what could make a student-led discussion go well. And then we started.  During that first month of Harkness, I watched four different classes go through four very different evolutions.  F block skipped the floundering stage and went right to the “we’re awesome and we can rock this” stage. They had lots of kids who did the reading and wanted to talk, so after the initial observer comments that not everyone was talking (which is pretty much always the observer comment in every class in the first few Harkness discussions), things progressed quickly. With a little bit of help from me in chatting with observers before class, observations became more nuanced, and the class moved into the common next stages of Harkness, like helping students work on not interrupting each other, finding ways to subtly invite and support comments from students who were reluctant to speak, bringing more specific textual evidence into the conversation, making better transitions, and asking good questions. B block, on the other hand, floundered with the best of them. Maybe the trickiest transition into good Harkness that I ever saw over 25 different classes. Still, not to ruin the ending, but they got there by the end of the month. In D block I learned a lot about how to work with a slow-starting class. I integrated strategies like careful warm-ups to give students plenty to talk about, staring down at my notebook and writing “this is awkward” over and over again with careful focus during awkward pauses so that kids would know I wasn’t going to rescue them, and helping guide my observer in positively reinforcing the smallest improvements and giving a specific focused goal that was achievable for the next discussion.  That first month built the foundation to continue for the rest of the year, though we stopped integrating the method every single day. Harkness became our go-to discussion method, more like once or twice a week, which is how I continued into the next years. But that sense of the method as a living experiment, an evolution that never ended, stayed with me. The next year I surveyed my students about their experience with Harkness, and here are some of their comments:  “I think I’ve always been able to share my thoughts, but I’ve definitely changed as a listener. I’ve learned how to pay attention.” “I have changed. I seem to like to talk a lot more than I thought I would have. Harkness has allowed me to gain confidence in myself and what I believe is right.” “Harkness teaches hesitant speakers to be more confident with their ideas. Conversely, it shows talkative people the value of listening to their peers’ opinions.” “I have yet to feel like sleeping during a discussion.”  “I’ve learned to think before I speak.” Over the years, I watched powerful transformations. Learned how to help silent students break in. Learned how to help dominators step back. Learned how to team up with my observers to chart dynamics relating to ever more complex factors in the room, like gender, friend groups, types of question, and topic transitions. I watched a brave young woman, our student body president, break down in tears after class as she realized for the first time that quieter peers she didn’t think had anything to say had rich contributions to make when space was made for them. I watched emerging bilingual students realize others cared about their opinion and were willing to make space to hear it. Awkward silence became funny instead of scary. Wide-ranging student-led discussion became the norm. And that’s where we’re going to leave it today. Next week we’re digging into specifics. Expect to see one episode in your feed Tuesday on setting up success and the role of the observer, and another on helping discussion dominators and silent students. I’ll be coming at it through the perspective of Harkness, because that’s the discussion country where I’ve got my citizenship, but you can apply similar ideas to Socratic Seminar or whatever spinoff of student-led discussion you prefer.    Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Join our community, Creative High School English, on Facebook. Come hang out on Instagram. Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

Discussion. Theoretically it’s the bread and butter of the English classroom, but sometimes it feels like all crusts and crumbs. How can you get students excited to talk about voice and theme, metaphor and symbolism, when they have a million other things going on? How do you inspire them to dive in together to the ways that literature illuminates life and life speaks back to the page, when they’re already nervous about speaking up in class and afraid they’ll look bad in front of their friends? If a good discussion feels like a distant dream to you on rough days, and a tantalizing almost-there vision on good days, the new discussion series is here to help. We’re starting today with five types of discussion that can work for you, and in the coming episodes, we’ll be going much deeper. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!   

The late afternoon sun filtered through the windows of our tiny English department office as I ran in to grab the papers I’d just printed. As I waited for them to finish, I examined the old books stacked on the shelf above the printer, brought to our school in  Bulgaria by another ex-pat teacher many years ago, judging by the dust. One caught my eye - William Zinsser’s guide to writing nonfiction - On Writing Well. I snagged it with my papers and headed upstairs. Little did I know, I had just picked up my new favorite writing book, and the one that would give me my most consistent improvement for my own writing. It’s the switch that made me start this podcast with “The late afternoon sun filtered through the windows” instead of “It was late one afternoon.” Did you spot it?  Welcome to the Thursday edition of The Spark Creativity Teacher Podcast, a podcast for English teachers in search of creative teaching strategies. Today we’re talking about a simple but highly impactful piece of writing advice you can give to every student. I heard it first from William Z all those years ago, and now I want to share it with you. OK, here’s the simple rule. English students need to watch out for the verb “To be.” Sure, it’s useful. I just used it. But it’s actually too useful. It can quickly become the driver of any piece of writing with constant lines like: “He was bored,” “they were hungry, “she was late,” “we’re tired.”  When we see writing like this, we might be tempted to launch into a fairly complex explanation of show don’t tell. But it’s even easier to give students a highlighter and ask them to find all the “to be” verbs in their piece. Have them highlight “was,” were,” and “are,” then pause to take in the fact that their whole piece is now bright yellow. Then show them how to flip the switch. Let’s take “he was bored” as our model. How can a kid write “he was bored” without the “to be” construction?  How about this: “After six hours of waiting at the airport gate, Ben had finally mastered the art of sleeping standing up.”  Or we can try “They were hungry,” switching in “Jen and Jenny felt sure they could eat a dozen of the salted caramel cream donuts immediately. Each.”  As you can see, in general the switch away from “to be” leads to far more specific descriptive writing. It’s like a game, shifting writing from black and white to full color.  Will there still be times when “to be” makes sense? For sure. You don’t want kids to change it every single time. But making them aware of the potential can make a huge impact on their writing. I know it has on mine over years of writing for you!  If you’re looking for a way to help students remember this tip, try spending fifteen minutes on a poster project. Invite every student to create a poster featuring a boring “TO BE” sentence in black and white, with the “To be” verb construction in red. Then have them make a second poster for a new version of the sentence with more vivid description matched by more vivid, colorful imagery. Put the best ones up on your wall as a reminder of this tip, then refer back to your models when students are editing their writing.  Such a simple rule, but it makes such a big impact. Remind your students that “to be” can BE boring, and you’ll help them level up their writing game across genres.    Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!   

Want to teach a multigenre essay project? Good! Our students see story splashed across so many platforms these days. Video, audio, visuals, and words all mixed up together in a daily swirl. Understanding how to tell a story across mediums is a highly relevant skill for students, and one they can quickly see the relevance of every time they switch on their phones or pop in their airpods. Enter, the multigenre essay project - a chance for students to tell a story of their own through multimedia details that bring it to life. A multigenre essay project can work in your identity or memoir unit, or provide an alternative path for students who don't want to write a college essay because they've chosen another path. Today, let's break down how you might structure a project like this so the tech doesn't feel intimidating and student stories have a chance to shine. Mentor Texts Mentioned:  Good Morning, my Wife in Heaven, by YingFei Liang and Shumin Wei Enryo, by Jessica Bukowski and Kristin Sato "I've been on a Mission for seventeen years. It's my holy grail." From Humans of New York. Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Join our community, Creative High School English, on Facebook. Come hang out on Instagram. Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

Welcome to the Thursday edition of The Spark Creativity Teacher Podcast, a podcast for English teachers in search of creative teaching strategies. Tell me if this sounds familiar. You sit down to write a rec letter  after a long fall day of teaching, meetings, coaching, and everything else on your plate. Maybe it’s 9 pm and you’re trying to remember all of Erica’s shining moments from the last three months. But they’re a bit jumbled together in your head with your grocery list, your toddler’s sleep training regimen, and your other 120 students. Your eyes start to droop. The latest episode of Bake-Off just dropped and you are soooo ready to fall asleep on the couch. So you decide to push the college rec to the next day. Ugh. It’s a terrible cycle that can start to feel like it’s dominating your life. And I’ve been there so many times. Today I want to tell you about  the simple switch I pulled that made a big difference.  I hope will help you too. Early in my career, writing rec letters began to feel like my second full-time job. I taught all juniors. I liked them and they liked me, and it seemed like every time I turned around another student was standing in front of me hopefully, eyes wide, waiting to ask me to write their rec.  I found myself sitting in front of my computer at all hours staring at my blinking cursor. Combining dozens of rec letters with my role as varsity tennis coach in the fall soon left me sleepless and strained. I asked for a meeting with my talented colleague in college guidance to find out what was most important to include in my letter, hoping to streamline my process and make my work more effective for my students.  As an English teacher who has probably told your students a million times that they need specific evidence to back up their points, it probably won’t surprise you to hear that the top tip I received was to load my college recs with specifics. Of course, college admissions folks want us to paint them a picture of  our students with anecdotes, project descriptions, amazing moments in class when the student shone. And of course, you want to do your student justice by doing just that.  But adding more specifics was hardly going to save me time. So I started asking every student who wanted me to write their rec to fill in a sheet FULL of specifics. I asked things like: What are you most proud of from my class? When did you feel like you had a breakthrough with your writing, and how did you show it? Can you share about a specific day in class where you really felt like you shone? What’s one project that you feel like showed your ELA skills in top form?  I asked them to be as specific and detailed as possible, to help me be as specific and detailed as possible. And of course, I used their details to remind me of my own take on their work, using my own perspective ultimately to describe their success. But those sheets made all the difference as a shortcut to more effective, quicker recs.  Did all of my student love doing this? No. Some of them complained a bit, but it was a non-negotiable. It helped me write them a better letter, and it helped make it possible for me to fit it in on top of all the other things I was doing in my job. I didn’t feel even slightly guilty about it, and I don’t want you to either.   Grab your copy of the ELA Reflection Sheets Here: https://spark-creativity.ck.page/a8ec1e39d1  Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Join our community, Creative High School English, on Facebook. Come hang out on Instagram. Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

It's no fun announcing an argument paper and being met by groans. If your English students have arrived at your class afraid of essays, you're not the only one. And we all know, buy-in matters. When students are confronted with a task they're horrified by, it's hard for them to access their skills and motivation to do their best work. So what are you supposed to do when you hit the groan skid? Today I want to talk about some on-ramps and side paths to the argument highway. Visual tools and modern mediums to help you help your students realize argument isn't so scary. By the way, an extremely step-by-step process with lots of modeling is a classic go-to for breaking down the essay writing process and making it feel manageable, and I don't want to ignore that. Brainstorming. Outlining. Drafting. Peer editing. Self editing stations. Final drafting. That's all wonderful. But probably you do that already, and you're still here. So let's explore some other approaches you can use to complement that oh-so-valid step-by-step process that just doesn't always work to help ELA students get past their paper-writing fears.   Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Join our community, Creative High School English, on Facebook. Come hang out on Instagram. Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you! 

If you’ve ever felt like you were stuck in a rut doing the same thing day after day, I’ve got a quick mindset shift to help. I do NOT want you to give up on whole class novels, so let’s talk about how to make them work.  In theory, whole class novels are the bread and butter of the English classroom. But if you struggle to get students to read at home and you’re finding the daily routine of covering a few pages every day a total slog, I hear you. You might have heard me talk about this with Amanda from Mud & Ink Teaching last year on the pod, and I really appreciated her ideas, which, combined with hearing from lots of teachers trying to figure out how to run a whole class novel unit successfully, have led me to think even more about this. So here’s my suggestion - create days of the week that are focused on different things, and give that whole class novel a break sometimes. Sounds pretty simple, right? Too simple? Hear me out.  I’ve always been amazed at just how many things English teachers are supposed to cover, and going through every standard from 7th grade ELA to 12th grade ELA last year when I was creating planning materials for The Lighthouse just drove that point home. No doubt you’re trying to figure out how to advance your students’ work in vocabulary, writing forms, reading comprehension, public speaking, and listening. Plus, you’re a creative teacher who wants them to be engaged in real world work with an authentic audience.  Making a shift away from covering each night’s reading the next day in class will help you move forward across your priorities, and give your students more time to read in between text-centered classes.   Maybe on Mondays you spend fifteen minutes on choice reading and then you’re working on podcasts related to the essential question of your whole class novel. Tuesdays you’re doing a quick reading check-in activity and then a Harkness discussions on the chapters students have read across the previous few days on their own. Wednesdays might be focused on 15 minutes of choice reading and then  writing practice, trying a variety of creative prompts around short stories, poems, audio clips, and articles related, again, to the themes of the whole class novel but read right there in class so you know everyone is on the same page. Thursdays might be a deep dive into the whole class novel with small groups or partners engaging in activities like close reading, reader’s theater, mini-debates, theme one-pagers, or whatever else you’re excited to do related to the novel. Then Friday could be for First Chapter Fridays, 15 minutes of choice reading, and some vocabulary work.  This is just one imagined example of how you could structure a week with plenty of variety. The bottom line is, you don’t need to talk about your whole class novel every day to DO a whole class novel.    Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!