Margin Notes

FROM RESEARCH TO THE CLASSROOM: CLASSROOM DISCUSSION

Jan
30

What Do I Say Next? Using the Third Turn to Build Productive Instructional Discussions by Evelyn Ford-Connors and Dana A. Roberston (Journal of Adolescent & Adult Literacy, 2017)

“After an initiating question or remark and subsequent student response, the next turn in the discussion typically belongs to the teacher, and it is at this juncture that teachers can extend students’ thinking as they probe, clarify, provide feedback, prompt elaboration, or hold the ideas up for others to consider. By picking up on students’ ideas, teachers explicitly connect them to lesson content and important concepts while also maintaining a cumulative progression of relevant ideas rather than vaguely connected student remarks. Simultaneously, teachers’ uptake of student contributions positions students as capable participants in academic life. Thus, through this strategic use of the third turn, teachers have the opportunity to help students build new knowledge; if we want to use classroom discussions as sites for new learning rather than displays of what students already know, we need to talk to them differently.”

Summary

In this article, Evelyn Ford-Connors and Dana A. Robertson share the findings from their research into the specific types of teacher talk that promote productive discussions. They define discussions as “the instructional exchanges that occur between teachers and students” and talk moves as “the various ways teachers can use talk within these discussions.”

Classroom discussions frequently follow an IRF pattern: the teacher initiates, a student responds, and the teacher follows up. The effectiveness of this pattern depends on “the purposes it is used to serve on particular occasions, and upon the larger goals, by which those purposes are informed.” Ford-Connors and Robertson look specifically at the third turn—teachers’ follow-up responses in this pattern—to identify the ways it can be used strategically to positively impact classroom discussion.

Third-turn talk moves fall into two categories. No single talk move is considered better than another. When teachers combine them with intention and base them on students’ ideas, discussion becomes more rigorous, and student learning is strengthened.

  1. Questioning: Although it is not limited to the third turn, research has shown that using certain types of questions in the third turn correlate with deeper understanding and higher learning outcomes.
  • High-Press Questioning- These questions are often open-ended and can be used in the third turn to probe students’ ideas, push for elaboration and clarity, foster critical analysis, and support deeper thinking about content. Research reveals that teachers’ use of high-press questioning impacts the rigor of a lesson and the degree of engagement and high-level thinking, especially when students are asked to relate their ideas to the text or to contributions from their classmates and to support their responses with text-based evidence. Longer periods of student engagement and more elaborated responses are associated with four questioning strategies:
    • Socratic Questioning (Prompting and guiding the discussion as it progresses)
    • Pumping (prompting for additional explanation and ideas)
    • Reflective toss (shifting an idea back to students for further consideration)
    • Constructive Challenge (questioning a students’ statement by asking for additional evidence or revision)
  • Low-Press Questioning- These are leading or narrowing questions that can be used in the third turn to scaffold students’ participation or to focus students’ attention on important information. Low-press questions often seek literal responses or offer choices.

The effectiveness of teacher questioning doesn’t depend on the use of high-press or low-press questioning. It results from the teacher’s questions being linked to what the student has said. The authors also note that the teacher is not solely responsible for forming questions and responses. When provided with models and opportunities to practice questioning, students will take the initiative to contribute to discussions with questions and comments on texts and content, becoming co-constructors of knowledge.

  1. Teacher Uptake: This quality of effective teacher talk in the third turn is associated with more productive discussions. Through uptake, teachers build on what has been said by incorporating a portion of the previous comment into their response.
  • Revoicing- When used as a third turn strategy, the teacher incorporates an aspect of the students’ comment to create a connection, elaborate on the student’s idea, recast the response in more academic terms (for example to model technical terms or vocabulary), or to open the discussion to further comments from others.
  • Elaborative Feedback- this type of response during the third turn includes some form of explanation or strategic information, redirection, or clarification to help students modify their performance. This type of feedback is most effective when it focuses on students’ correct or practically correct responses and adds to their previous attempts rather than focusing on incorrect responses.

Conclusions

“Using a broader repertoire of teacher talk moves in the third turn that includes high- and low-press questioning and uptake to revoice and elaborate students’ participation but also fosters students’ productive engagement with content, connects new vocabulary to essential concepts, and heightens the intellectual rigor of the classroom (Ford-Connors, 2011; Hattie & Timperley, 2007; Web et. al., 2008). This repertoire of talk moves and the flexibility with which skilled teachers employ them during discussions weave together students’ contributions with content and scaffold the learning e4xperience. At the same time, the language-rich interactions that occur when students and the teacher productively discuss content and grapple with ideas develop students’ capacity to think deeply about content and define the kinds of talk and thinking that are sanctioned in the classroom (Nystrand, 2006). In other words, as they manage their classroom’s discourse, teachers set the stage for how knowledge will be generated and shared, which in turn strengthens students’ opportunities to learn.”

Takeaways For the Classroom

  • Tune into what talk moves you currently use in the third turn during large-group, small-group, and one-on-one discussions and identify patterns.
  • Use high-press questions to probe ideas, encourage critical analysis, invite elaboration or clarification, and build new knowledge.
  • Use low-press questions to activate students’ background knowledge, scaffold students’ participation, focus students’ attention on specific information, and facilitate practice with vocabulary.
  • Incorporate a blend of high-press and low-press questions into the third turn. Write question starters on a post-it note or index card as a visual cue.
  • Revoice students’ comments to build connection, elaborate on their ideas, or model vocabulary and technical terms.
  • Offer elaborative feedback to provide explanation or offer strategic information, clarify misconceptions, or guide students to make corrections.
  • Explicitly name and model third-turn strategies for students and encourage them to intentionally practice using third-turn talk moves in discussions.
  • Be conscious of not taking full responsibility for the third turn. Use wait time to give students the opportunity to use talk moves to keep the discussion flowing.

GUEST WRITER JOSEPH PRICE RECOMMENDS LION OF THE SKY BY RITU HEMNANI

Jan
28

“He says when the British leave, India will be sliced in two. Broken, by a line to be drawn on a map by a British man… The British man who’s never been to India is coming for the very first time, and he will decide.”            

Lion Of The Sky is the story of a young Hindu boy named Raj who dreams of winning the local kite flying completion with his best friend, a Muslim boy named Iqbal. Muslims and Hindus had lived in coexistence in India for many lifetimes, but this all changes for Raj and his family when they get the news that India is going to be partitioned, and Muslims and Hindus are going to be separated. For Raj and his family, as well as countless others, this means they are about to be torn away from everything they have ever known.

This starts a long journey for Raj and his family where they must start over and battle horrific conditions just to survive. Raj must grow quickly into the person he needs to be for his family, if he is to help them survive and also earn his fathers approval.  He must adapt to his now ever-changing environment, and it is through this journey that he discovers himself, and unites his family like never before. Lion Of The Sky is a story of resiliency in the face of great uncertainty, and it is a story that was, unfortunately, was a very true story for millions of people who lived in India. In fact, Raj’s story is inspired by Hemnani’s own grandparents’ story.

Through this story, Hemnani shows that even in the face of the most daunting challenges, where all odds are stacked against you, there is a way forward, while also highlighting a part of history that may not be known to many students. She introduces students to this horrific part of colonial history through a story in which they can  they can envision themselves by having characters of all ages struggle through the journey. Additionally, she uses many true historical events to bring the story together, and uses the description of many traditional Indian foods and recipes to add care and craft to this book.

Hemnani chose a unique style to bring Raj to life – unrhymed verse. Through this medium she is able to take advantage of the blank space on the page and it makes many words and events tug at the heart strings a little more. Along with her effective use of blank space, is her great use of titles, with each section lasting a maximum of 3 pages, there is 100+ titles throughout the book, and none felt out of place. The author is able to effectively use all the space on the page (or the lack thereof in some cases) to her advantage, in doing so really tells an amazing story.

Joseph Price is a BEd student at the University of New Brunswick who is mainly interested in history and literature. He is very passionate about Canadian history and also loves to play hockey.

TRY THIS TOMORROW: THE 54321 BOOK CHALLENGE

Jan
23

Next week, high school teachers will meet their second semester students, and the 54321 Book Challenge is a fun way to get to know students’ reading identities. 

A current trend on social media, the 54321 Book Challenge engages readers and inspires book discussions by sharing both new and favorite titles with others. For my book challenge I used:

5: List 5 of your favourite books

4: List 4 books on your TBR list

3: List 3 books you always recommend

2: List 2 recent 5-star reads

1: List 1 book you are currently reading

 

There are variations to this challenge, such as one on bookstagram asking for:

5- List 5 books you love

4 – List 4 Autobuy authors

3 – List your 3 favourite genres

2 – List your 2 favourite places to read

1 – List the next book you are going to read

Whichever variation you choose, this is a fun activity that can be used for students and teachers to share their reading lives.

Thank you to Franki Sibberson for the inspiration! 

 

 

 

GUEST WRITER BRIDGET FINLAY RECOMMENDS HOPELESS IN HOPE BY WANDA JOHN-KEHEWIN

Jan
21

“I live on the wrong side of town

On the wrong side of the river.

No one can find me deep in the

Heart of the hopeless in hope.” (p. 41)

Wanda John-Kehewin’s novel, Hopeless in Hope, follows the story of Neveah (Eva) Brown, an Indigenous teenager navigating her own personal challenges of poverty, bullying, and family struggles. Eva lives with her Nohkum (grandmother), 4-year-old brother Marcus, and occasionally her mother, Shirley who battles alcoholism. The Brown family’s struggles to break cycles of abandonment and addiction form an empowering narrative of heartache, resilience, and reconciliation, likely to emotionally move any reader.

Eva, at only 14 years old, faces multiple struggles, including bullying, extreme levels of food insecurity, and a strained relationship with her mother. When her grandmother falls and ends up in hospital, Eva is placed in foster care, separated from her brother and grappling with her fragmented life. Through this, Eva embarks on a journey of understanding and perspective, realizing that everyone faces struggles of their own and that pockets of hope can always be found.

Wanda John-Kehewin, an Indigenous author, does an excellent job in portraying the intergenerational trauma from Residential Schooling on Indigenous people and their families. She introduces readers to a ton of new vocabulary and insights behind different Indigenous cultures and traditions, allowing the reader to be educated on the culture as well as read this beautiful story. The author allows for each character to be understood for their actions, not placing blame on anyone for negative behaviours, but rather emphasizes the consequences of the harm inflicted on Indigenous peoples.

The story contains mature themes such as substance use and domestic violence, making it an emotional, but powerful read, while keeping the content appropriate for a young adult audience. This book will certainly go into my classroom library and will be a great addition for readers wanting to deepen their understanding in aspects such as intergenerational trauma, residential schooling, family struggles, and overcoming adversity (even when it seems impossible).

Bridget Finlay is an aspiring teacher and author, who focuses her time reading, writing, dancing, and spending time with family. Bridget was born and raised in Saint John, New Brunswick, a city full of history and creativity. She hopes to inspire students one day to believe that anything can be achieved if you have the desire!

TRY THIS TOMORROW: “JUICY” SENTENCE PROTOCOL

Jan
16

The “Juicy” Sentence Protocol by Dr. Lily Wong Fillmore is a great strategy teachers can use to help students make sense of challenging text. In this activity, teachers pull one “juicy” sentence from a text. Through examining this one sentence, students learn to deconstruct sentences and better understand how different language features contribute to meaning. This can become a routine practice in your ELA class; one that you can use for any “stretch text”.

Here is an example of the protocol in action using a sentence from David Suzuki’s speech “30 Years of Global Warming”:

“We now are the most numerous, ubiquitous large mammal on the planet, but we are like no other animal that ever existed, because we are armed with the incredible muscle power of science and technology.”

Chunk the sentence into meaningful parts and then discuss (possible discussion points in brackets¹):

We now are

(The subject of the main clause is “We”…

Who is “we”? 

“are” is a linking verb to the subject complement. )

the most numerous, ubiquitous large mammal on the planet,

(This is the subject complement…

Discuss the word “ubiquitous”, which means “present, appearing, or found everywhere”…

Discuss the word “numerous” and the -ous suffix (characterized by; of the nature of)

Alliteration: “most numerous, ubiquitous.” The repetition of the “u” sound creates a pleasing sound pattern and emphasizes the extent of human presence.

What mammal is he is referring to?

Is this an example of hyperbole?)

but we are like no other animal that ever existed,

(The main clause’s subject is “We,” and its predicate is “are like no other animal.”

“Like” is a preposition introducing the comparison.

“No other animal” is the object of the preposition “like.”

“That ever existed” is a modifier of “animal.”

Use of Parallelism: “We now are the most numerous, ubiquitous large mammal on the planet, but we are like no other animal that ever existed.” This structure creates balance and rhythm in the sentence by presenting two contrasting ideas in parallel form.)

because we are armed with the incredible muscle power of science and technology.

(The subordinate clause’s subject is “we,” and its predicate is “are armed with the incredible muscle power of science and technology.”

“Because” is a subordinating conjunction introducing the reason for the comparison.

“We are armed” is the main verb phrase of the subordinate clause.

With” is a particle indicating the tool or instrument

“the incredible muscle power” is the direct object of the verb phrase

“of science and technology” is a modifier of “power.”

“armed with the incredible muscle power of science and technology.” This metaphor  compares humans’ possession of scientific and technological advancements to being equipped with physical weaponry.

This is the opening sentence in the speech. What do you think the main thesis of his speech is going to be? )

Here are some things to look for in a “juicy” sentence:

The sentence should contain some of the following: complex noun phrases (nouns that are modified or expanded by other phrases), adverbial clauses, the use of passive voice, includes linking phrases, or introduces a metaphor.

Not every sentence is going to contain all things, nor does it need to. You just want to ensure that the sentence you choose for this protocol is complex enough to spend time discussing. It should also help you teach the skills you are focusing on in the curriculum.

Additional suggestions for implementing the “Juicy” Sentence Protocol can be found here and here. And, Dr. Wong Fillmore explains the protocol in detail in this presentation.

This protocol will give students the tools they need to make meaning in sentences that use the same syntax, grammar, and vocabulary…opening access to even the most challenging of texts. Try this tomorrow!

 

¹I used ChatGPT to help me chunk the sentence, label parts of speech and name the literary devices. 

 

 

GUEST WRITER BRIAN DIXON RECOMMENDS THE SWIFTS: A DICTIONARY OF SCOUNDRELS BY BETH LINCOLN WITH ILLUSTRATIONS BY CLAIRE POWELL

Jan
14

“We are blessed. Normal people go their whole lives trying to find themselves. Once we are named, we know ourselves, our role, from birth to death. Good or bad, we just…are.”

The Swifts follows the misadventures of Shenanigan Swift, a young girl on a journey to discover whether or not she can overcome expectations and her presumed destiny. This book, while suitable for younger readers, contains plenty of murder and mayhem, as well as thought-provoking questions of identity.

I was excited to sit down with this recent book by Beth Lincoln. As her debut novel, I was curious if she would be able to capture the magic of other favorite middle level/YA authors like Michelle Lovric (The Undrowned Child) or V.E Schwab. As it had been a good while since my last middle level or YA book reading, I was also concerned that the story might be too simplistic and not hold my interest.

I’m happy to report that I had no cause for concern. The Swifts exemplified all that makes middle level literature so appealing. Fun, quirky characters, imaginative setting, and a romping story filled with twists. The story is, on its face, a murder mystery. Victims fall and a killer runs loose as our heroes search for clues and confront dangerous situations. The narrative is far from simple, however, as the characters take center stage in the storytelling. As the book’s subtitle alludes, the Swift family members are all named after a dictionary word, chosen at birth. Our main protagonist, Shenanigan, finds herself surrounded by family members of all stripes attending a reunion.

Uncle Maelstrom, Aunt Inheritance, Atrocious, Candour and Aunt Dither form part of the cast of characters, sporting their name’s characteristics. The book’s themes become apparent in this naming convention. Are we bound by our names, by our past? Are we destined to become what we came from? Shenanigan struggles with these questions. She is determined to see whether she can overcome her dictionary name, which presumes her to be a “walking disaster” who creates chaos wherever she goes.

The Swift family story serves as an allegory for a person’s quest for identity, regardless of age. Younger characters explore assumptions of who they are expected to be, while older characters confront the confines of their supposed destinies. I truly enjoy exploring and discovering with the Swifts and have no doubt that readers young and old will find plenty to enjoy.

Brian Dixon is a pre-service teacher in the Education program at UNB in Fredericton. He plans to teach social studies and English and can’t wait to meld the disciplines together where they belong!

CRAFT STUDIO: AWAY BY MEGAN E. FREEMAN

Jan
09

What I was reading:

Megan E. Freeman’s Away is the much-anticipated companion to her bestselling novel Alone—you can check out the recommendation for Alone here and Away here. While Alone is written beautifully in verse, Away takes on several text forms with each perspective bringing their own particular format. Readers will see letters, newspaper articles, radio announcements, text messages, poetry and, the focus of this Craft Studio, scripts.

Text:

FRIDAY

1:15 P.M.

Interior. Midday. FADE UP on Teddy’s bedroom. Movie posters cover the walls. Some are from old black-and-white films, but others are more contemporary. All are classics. Biographies of filmmakers and film history fill a bookcase.

CUT TO Teddy sitting in front of a huge computer monitor, wearing headphones and editing video footage.

GRAM

(calling from the doorway)
Did you finish school already?

She walks over and lifts one headphone off his ear.

GRAM

Did you finish school?

TEDDY

Yep. Just logged off.

GRAM

Is it my imagination, or am I right that this
new curriculum isn’t challenging you, either?

TEDDY

It’s easy, but I’m learning, don’t worry.

GRAM

Have you made any friends in the group chat?

TEDDY

Gram, please. I’m fine. And it gives me
more time to do my real work.

Gram leans over Teddy’s shoulder and looks at the monitor. On the screen, Dorothy and Scarecrow dance on the yellow brick road. Teddy freezes it.

TEDDY

That’s where he flubbed the lyric. I’m going to dub
over it with the audio from last night.

GRAM

(squeezing his shoulder and turning to go)

Well, lunch is ready, so come and get it.

TEDDY

Would it be okay if I eat in here?

GRAM

(hands on her hips)

Seriously, Teddy?

TEDDY

(looking at her)

I bet Giuseppe Tornatore didn’t
have to stop for lunch when he was
making Cinema Paradiso.

GRAM

I’m sure Giuseppe Tornatore had an
Italian grandmother who loved him and
would never let him miss a meal.
Come on. It won’t kill you to take a break.
Too much time staring
at that thing is bad for your eyes, anyway.

TEDDY

Okay, okay. Be there in a minute.

Gram leaves the room and Teddy leans forward again, concentrating.

On the screen, Dorothy and Scarecrow remain frozen, their feet off the ground mid-dance, their mouths wide open in song.

 Craft Moves I Noticed:

  • Setting as Character: Teddy’s room, filled with movie posters and film history books, reflects his passion for film, revealing his interests and personality without needing explicit description.
  • Cinematic Language: Freeman uses film terminology like “FADE UP” and “CUT TO,” mirroring Teddy’s world and passion for film. This integrates his interest directly into the narrative style, making his love for film part of the story’s structure.
  • Blending Narration, Dialogue, and Action: The text smoothly transitions between description of the scene, his dialogue with Gram, and the ongoing action of what the characters are doing as they speak.
  • Font and Page Setup: The script format uses a typewriter font, with scene descriptions aligned to the left and dialogue centered with the action of the characters in

Invitations for Writers:

  • Build Character through Setting: Describe a personal space for your character (like their room). What does it reveal about their interests, personality, or secrets?
  • Write Natural Dialogue with Actions in Parentheses: Craft a dialogue between two characters. Use parentheses to describe what they do while speaking. Consider how their words and actions reflect their relationship.
  • Experiment with Form: Borrow a structure from a medium your character loves (e.g., film, music, visual art). How can the form reflect their passions? Think of a new story or one you’re familiar with—what format would best match the characters’ personalities?

ARTIFICE BY SHARON CAMERON

Jan
07

“Artifice” by Sharon Cameron is a historical fiction novel set in World War II, offering perspective on the Dutch resistance and the intricate world of art forgery. The story follows Isa de Smit, a young girl whose family owns an art gallery that has been looted when the Nazis invade Amsterdam. Faced with the impending loss of her home due to unpaid taxes, Isa plans to sell one of her father’s forged paintings to none other than Adolf Hitler himself. Her plan becomes complicated when friends reveal plans to save Jewish children from the Holocaust and a German soldier asks for her help.

Cameron excels in character development, presenting a complex protagonist in Isa de Smit. Raised in the world of art, Isa’s recklessness and determination make her a compelling lead. The relationships, particularly Isa’s dynamic with Michel Lange, an old friend turned German soldier, add layers of tension and uncertainty. The romantic tension is palpable, infused with an ever-present element of danger, keeping readers on edge throughout the narrative.

Cameron’s writing style is prose with attention to historical detail including descriptions of Amsterdam, art forgeries, and general wartime life. The book ends by outlining the real people and historical events that the book used to tell the story. Although the book is considered historical fiction, many aspects of the story are true and add an additional layer of understanding to the time period.

I recommend “Artifice” to historical fiction enthusiasts, particularly those interested in World War II narratives with a focus on art, espionage, and the resilience of individuals in the face of oppression. It’s a story of courage, sacrifice, and the individuals who risked everything to save Jewish children from the horrors of the Holocaust.