A First Timer’s Guide to Registering for the Literacy for All Conference

We’re excited to announce we’ve opened registration for the 28th Annual Literacy for All Conference, co-hosted with The University of Maine, and the University of Connecticut. This year the conference will be held October 22–24, 2017 in Providence, Rhode Island. While we know many of you are veteran LFA attendees, each year we have more and more new faces joining us in Providence. Welcome to all first timers!

We have made it even easier to register for the Literacy for All Conference! Simply visit www.regonline.com/lfa2017 and enter your email address to begin your registration process. We’ve put together a little guide to our online registration system to help make the process as quick and painless as possible.

An Important Note

We have created an online registration process that seamlessly guides you through the steps of registration. Please do not use your Internet browser’s “back” button if you want to go back and make a change, as it will cause errors and you will not be able to complete your registration. Instead, if you need to change something, complete your registration and then email us at literacy@lesley.edu, and we will make the changes for you.

Before You Register

First, you should make a list of all the sessions you want to attend. You can find the full list on our website. Each time block is listed with a letter, ie: LCA, LCB, etc. Then, each session within that time block is numbered. So, the full session code will read something like LCA-1 or LCC-4. You can only choose one session per time block, so you should have one LCA, one LCB, and so on.  Please note, that on our online registration system, RegOnline, the sessions are listed with only the code and the presenter name, not the session title, as shown below.

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The only variation is in the In-Depth sessions, which occur either in the C or F blocks. In-Depth sessions are three hours long, not the normal 90 minutes, so if you choose an In-Depth session for your C or F, you will not be able to choose a D or G, respectively, as the In-Depth session will run through that time.

If a session doesn’t appear on the drop-down menu that means it is sold out and you will have to choose another session. Sessions do sell out, so we recommend registering as early as possible to ensure you get all your first choices.

Second, know your method of payment. If your district will be paying for you with a purchase order, you don’t need to know the purchase order number to register. If your district will be paying for you with a credit card, you can still register yourself. When you get to the checkout screen, simply choose “Pay with Purchase Order” and then have your district call us with the credit card number, or fax or email us the PO within ten business days of registering.  Please note, if you are paying with a purchase order (PO), we require that you submit a copy of your PO to secure your registration.  If your PO has not been received by the opening of the institute, you will be required to provide a credit card in order to attend the institute.

We recommend that all attendees register themselves. The process begins with an email validation– you’ll receive an email with a secure link, which you’ll need to click on in order to continue your registration. Forwarding these emails can sometimes be tricky, so we recommend you register yourself to avoid confusion.

If someone else has to register for you, we recommend that you choose your sessions ahead of time and give the list of sessions, including session code and presenter name to the person registering you.

When entering in your personal information, please note that there are separate spaces to enter your school district and your school name, as shown below. When entering your district, please don’t use abbreviations like RSD or UFSD– if the district has a separate name (ie: Oxford Hills School District) please use that; alternately, please spell out the words Regional School District. This will help us keep uniformity in printing name badges, and help match up registrants to purchase orders when we receive them.

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Confirmation

When you’re done registering, you will see a screen confirming that your registration is complete. If you don’t see that screen, you haven’t finished registering yet! Once you get to that screen, be sure to read it thoroughly, as it contains details about which sessions have required readings and materials, a list of conference policies, your own detailed agenda based on the sessions you selected, and other helpful links.

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In addition to the confirmation page, a confirmation email will be automatically sent to the email address you provided. If it doesn’t appear within an hour of you registering, check your spam and junk folders, as some email providers mark emails from RegOnline as spam by mistake. In the past, many were not able to receive RegOnline emails, because many schools block emails from RegOnline, so if you have a personal email address, we encourage you to use it, instead of your school email, when registering.  If you don’t receive your confirmation email at all, please email literacy@lesley.edu and we will re-send it to you.

Please help us be environmentally conscious! Do not print out your confirmation message to mail in with your check or PO. Instead, just make sure your full name and district are written on the PO or in the item line of the check. That’s all we need to match up your payment with your record in the system.

Conference Events, Exhibit Fair, and Other Information

The conference registration desk hours are as follows:

  • Sunday, October 22, 2017: 10:00 am–6:00 pm
  • Monday, October 23, 2017: 7:00 am–5:00 pm
  • Tuesday, October 24, 2017: 7:30 am–9:00 am

The conference help desk will be open 7:00 am – 6:00 pm each day.

Literacy for All also includes an exhibit fair with booths showcasing classroom services and products for all grade levels and subjects. Exhibit hours are 4:00-6:00 on Sunday, 10:00–6:00 on Monday, with the Exhibit Fair from 5:00–6:00; and 7:30–3:30 on Tuesday. During the Exhibit Fair on Monday, you can enter to win something from our prize raffle, and get books signed by some of our featured and keynote speakers.

Please visit the conference website, www.lesley.edu/literacyforall, for information on hotels, parking, attendance policy and certificates of attendance, and sessions with required readings/handouts/materials.

Have questions? You can contact us anytime at literacy@lesley.edu or by phone at 617.349.8402.

Looking forward to seeing you all in October!

Save the Day with Flipped Lessons: Our Superheroes in Reading and Writing Workshop

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by Guest Bloggers and Literacy for All Conference Speakers Dana Johansen and Sonja Cherry-Paul

Are you like us? Do you occasionally turn to YouTube for tips and tutorials? From baking salmon so that it’s flaky and crispy to changing a flat tire, we turn to YouTube to learn. It has also helped us in the classroom. If we have a tough grammar or writing concept that we’re going to teach, we might refer to TeacherTube and YouTube as resources. These online tutorials have been like superheroes to us as adults, and we began wondering how we could create online lessons to help our students too.

Over the past few years, we have been thinking deeply about the pedagogical approach known as flipped learning. Traditionally, flipped learning has been defined as a learning environment where students learn new content independently. Such learning has typically occurred outside of the classroom for homework, and this approach has been used primarily with high school students in content areas such as science or math.

We were intrigued. And yet, we had questions. Does flipped learning work for elementary and middle school students? How could we incorporate flipped learning in reading and writing workshop? Could we design lessons to be used in the classroom, as well as out? Could we use flipped lessons to teach new content and to review previously taught material? But mostly, would flipped learning truly benefit our readers and writers in elementary and middle school and if so, how?

Picture a reading or writing workshop with a whole-class minilesson and the teacher conferring with students one at a time after the minilesson. Now, add to this image a few students learning additional reading and writing strategies from a flipped lesson on their own after the minilesson. In this blended-learning environment, students can take ownership of their learning and access instruction on reading and writing concepts that have been previously taught or concepts that are new. Flipped learning allows each student to move at his or her own pace. We discovered additional benefits as well.

  • Individualized Instruction – We love the gentle chaos of the reading and writing workshop. By gentle chaos, we mean the individualized learning that is taking place. Our students are not in lockstep and our instruction is differentiated. Flipped learning helps our students access the instruction they need, when they need it. How many times have we had students who say, “I’m done!” during the first week of a unit? And how many times have we had students who need to review strategies over and over throughout the course of the year? When using a flipped learning approach in writing workshop, students can set goals at the start of the workshop, mid-way through the workshop, or at the end. In these ways and more, flipped lessons can be used to foster individualized learning in the classroom.
  • Efficiency – How many times in our classrooms have we wondered aloud, “If there were only two more of me…” or exclaimed, “If only I could just clone myself!” In the reading or writing workshop, teachers are juggling multiple balls in the air on any given day. Flipped learning can be used to help our workshops run more efficiently. Picture this. On any given day, some students need help with a revision strategy. Others need practice inferencing. And still others need help getting started with selecting a book or an idea to write about. All of this is happening while you’re trying to confer with students or teach a minilesson to a small group. Flipped lessons function as superheroes who save the day! Flipped learning helps all students get the specific instruction they need, when they need it.
  • Engagement – Flipped learning is a way to increase motivation and student engagement in reading and writing workshop. These short, creative lessons capture students’ attention and they feel encouraged to apply what they have learned to their reading or writing. We want to encourage our students to become active participants in their learning. Flipped learning helps students take initiative and become engaged learners.
  • Assessment – Flipped learning requires rich, iterative assessment to move students forward. It is not a replacement for face-to-face interactions with teachers, and neither is it the panacea for all writing ailments in the classroom. Our role as teachers is critical. Our students NEED us to teach, guide, and follow up. As a result of accessing a flipped lesson, a pathway for students to assess themselves and receive additional support is key. Also, students should have a clear understanding of exactly how their teacher plans to assess their progress. This assessment can take many forms from conferring with students, to reviewing their reading or writing notebook or drafts, to completing an entrance/exit ticket, and more.

For these reasons and many others, we began using flipped learning in our reading and writing workshops. If you’re intrigued about flipped learning in your writing workshop, a great place to start is to think about 3-5 lessons that would be good to flip. Ask yourself, “Which lessons do I find myself reteaching during the school year?” These might include: a lesson about how to write a single paragraph, a lesson about how to identify a theme in reading, or a lesson about dialogue punctuation. Then ask yourself, “Are there any lessons that my novice readers and writers might want to refer to over and over throughout the year?” “Any for my advanced readers and writers?” Reflecting on questions such as these along with the needs of your students can help you to brainstorm your first lessons to flip.

We’re looking forward to talking much more about flipped learning at the Literacy For All conference in October. If you’re curious about flipped learning in the reading and writing workshop and would like to start making flipped lessons, come join us!


Dana Johansen and Sonja Cherry-Paul, authors of Flip Your Writing Workshop: A Blended Learning Approach & Teaching Interpretation: Using Text-Based Evidence to Construct Meaning, are speaking at the Literacy for All Conference being held October 23-25, 2016 in Providence, RI. You can also find Dana and Sonja on Twitter at @LitLearnAct and on their Facebook Group called LitLearnAct.

Dana and Sonja’s session at the conference is:

Monday, October 24, 2016

10:30 pm – 12:00 pm- “Flipping Without Flipping Out in Reading and Writing Workshop”  (Grades 5-8)

Science Writing for Children Made Simple

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by Guest Blogger Steve Jenkins who is presenting a session at our upcoming 2016 Summer Institute entitled, “Writing About Science for Children: How Content Dictates Structure”

Writing, of course, is not simple. Writing about science is not simple, and writing about science for children is perhaps even less simple. So my title is just a questionable journalistic device to attract readers. But I have managed to come up with a few guidelines that I try to apply to my own non-fiction writing.

Since my own professional background is originally in graphic design and illustration, it feels a bit presumptuous to write about writing for an audience of literacy experts. When I began making books for children, I was inspired in part by my lifelong love of science — especially the science of the natural world. But I mainly wanted to explore the visual possibilities of the picture book. I’m still not completely comfortable with thinking of myself as a writer, though I’m getting there.

This story begins almost 30 years ago. I was reading piles of books to my baby daughter — my wife and I took turns reading to her every night, starting when she was too young to even sit up. Reading and looking at all those children’s books got me thinking that making a book might be fun. I say “making” rather than “writing,” because my first books were really about the illustrations. From the beginning, I was drawn to nonfiction about the natural world, and I quickly realized that words would be necessary if I wanted a book to convey much actual information. Or get published. I did make one wordless picture book, but most of the subjects I wanted to explore required some annotation.

Today, having published more than 30 titles, I find that writing has become my central preoccupation when I’m working on a book. I love the visual part of the process, and I’m always confident that — one way or another — a book’s visual challenges can be solved. Creating the illustrations is my reward for figuring out the structure and voice the subject demands. But the writing doesn’t get any easier. Just the opposite, in fact. In my early books I was blissfully naive about the writing process. I just wrote down what I thought would explain the image on the page. I didn’t rewrite as much. I didn’t spend all day on a sentence.

As I gradually recognized that getting the words right was as important (more?) as perfecting the images, writing became more and more of a focus. I remember being surprised and a little bemused that teachers and librarians I encountered at schools and conferences were reading my books and analyzing the way they were written, often recognizing patterns that had never occurred to me.

This may be more background than is really necessary, but I want to create some context for sharing a few of the informal writing “rules” I’ve developed for myself. These are rules that apply to my own writing — I’m not suggesting that anyone else should follow them (OK, maybe one or two of them):

Don’t underestimate the ability of young children to understand complex relationships and abstract concepts if they are properly explained.

New facts and information should be presented in a context that makes sense to children. Use metaphors or comparisons with familiar things. Even most adults can’t readily grasp large sizes, quantities, or spans of time.

Don’t mix different units of measurement or meaning in the same comparison. This is an unfortunately common practice in writing for adults: “There are only about 5,000 snow leopards left in the wild, and the population of Amur leopards has decreased by 80%.”

Clarify terms that seem simple but have multiple interpretations. This is a common problem with scale-related information: “Animal A is twice as big as Animal B”. What does ‘big’ mean? If it’s based on linear dimension, and if the animals are similarly proportioned, then animal A weighs eight times as much as animal B.

Introduce a few terms and vocabulary words that are probably unfamiliar, but not too many for the reading level of the audience. If possible, use new terms without formal definition in a context that makes their meaning clear. It’s more fun for kids to figure out for themselves what a word means.

Don’t anthropomorphize. Remember that these rules are for me. There are lots of good science books that use the first-person voice of animals, natural forces, even the universe. But these books make it clear from the beginning that there is poetic license involved, and that the reader is being invited to use their imagination to see the world from the perspective of some other entity. I’m more concerned about casual references to how animals “feel,” or what they “want,” in what is presented as an objective examination of their behavior.

If possible, anticipate the questions suggested by the facts being presented and answer them. This can be a never-ending sequence, one answer suggesting another question, so at some point one has to move on, but if we point out that an animal living in the jungle is brightly colored, it’s great to be able to say how color helps the animal (as it must, in some way, or it would have been selected out). Does its color warn off predators, attract a mate, or — counter-intuitively — help it hide? A colorful animal that lives among colorful flowers may be hard to spot.

Try to avoid the standard narrative. For many subjects, a typical story line seems to have developed. Often the same creatures or phenomena are used to illustrate a particular concept. Symbiosis: the clown fish and anemone. Metamorphosis: butterfly, frog. Endangered animals: rhinoceros, panda.

Don’t oversell science as entertaining, or make it goofy or wacky. Science is not primarily about making things smell bad or explode. There is thinking involved, and work. The fun and satisfaction come from understanding new things and seeing new connections.

Don’t confuse the presentation of facts with the explanation of concepts.

Finally, don’t follow lists of rules.


Summer Literacy Institute:

Tuesday, July 12, 2016 through Friday, July 15, 2016

8:00 AM – 4:00 PM

Making the Writer’s Craft Visible: Teaching Purposeful Decision- Making in a Writers’ Workshop (Grades K–8)

Teach your students how to learn to write from Carl Anderson, Steve Jenkins, Nikki Grimes, and Jack Gantos!

Location: Lesley University – University Hall, 1815 Massachusetts Avenue, Cambridge, MA 02140

 

 

 

 

Writing Matters- Teaching and Learning from the Heart

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Guest blog post by Peter Catalanotto and JoEllen McCarthy, 2014 Literacy for All Conference Speakers

Unless we reach into our students’ hearts, we have no entry

into their minds.”

-Regie Routman

Getting at the core of what matters most to all readers, writers and thinkers, is the “heart” work of education. As Regie Routman said, we need to reach into their hearts in order to reach their minds.

Children live what they learn. Young writers learn from explicit instruction, modeling and emulating what they see strong writers do. Studying these authors inspires creativity, and supports a vision of what is possible for kids to do.

Books touch the hearts and minds of all readers. Powerful picture books serve as mentor texts to lift the quality of student writing, but more importantly they can also have the “power” to lift students up. Books can connect us as members of a growing community of learners. Books can leave heartprints: they can touch our lives and leave lasting impressions on our hearts. That’s why it isn’t enough to choose the mentor texts for the what, but it is also important to think about the why.

“Mentor texts are more than just craft coaches for writers- they can also offer inspiration and life lessons.”

– Georgia Heard

To teach is to touch a life.

When Peter started school, he wrote backwards and upside down, a condition called dysgraphia. Because he wrote backwards, he never aspired to be a writer. Several teachers had him practice writing. More importantly, his third grade teacher, Miss Dunn, put into practice the belief- allow a child to lead with their strengths.

When she noticed Peter’s struggle with writing, she suggested for a book report that he simply read the book and draw a series of pictures. When she saw his drawings she said it was clear that he read and understood the story. Then she asked if there was a way she could know what the characters in the pictures were feeling and thinking, or what they might do next. Peter looked up at her and said, “I could add words.”

“That’s brilliant!” she exclaimed. “Yes, you can add words to your pictures!”

Powerful words: “Yes you can.”

Yes we can in fact, reach into the hearts and minds of our students. We reflect on the what and why of our students’ needs. Isn’t that what matters most? Now, more than ever, we need to practice kindness, practice patience, and practice love. Because children won’t remember most of what you say and do. But they remember how you made them feel. What matters most in writing, (in reading, in life—) touching the hearts of all learners.

Miss Dunn touched Peter’s heart and mind. Who is your Miss Dunn? More importantly, whose Miss Dunn will you be?

Mentor author/ illustrator Peter Catalanotto and educator, JoEllen McCarthy offer an invitation to connect with them, collaborate, and celebrate what matters most to reach the heart of all learners.

Join the conversation at the Literacy for All conference session LCF-9 Tuesday, November 4th: Writing Matters: Learning From and With Mentor Authors (Grades K-5)

Effective Lessons For Everyone

by Guest Bloggers and 2013 Literacy for All Conference speakers, Lynne Dorfman, Co-Director of the Pennsylvania Writing and Literature Project, and Rose Cappelli, Reading and Writing Consultant

Pulling Onions graphicOn his website, Pulling Onions (www.gardendigest.com/laws.htm), Michael Garofalo says of gardening that, “Gardeners must dance with feedback, play with results, turn as they learn. Learning to think as a gardener is inseparable from the acts of gardening. Learning how to garden is learning how to slow down.” We think the same often holds true for writing. Writers must learn to think like writers as they practice craft. Sometimes this means slowing down a bit in the writing workshop to give every writer a chance to discover what writers do, try something out first in collaboration with other writers, then individually, and finally reflect on what was learned to let others’ thinking in and deepen individual understanding.

This gradual release structure for lesson design and workshop management has been voiced by many literacy giants including Regie Routman, Margaret Mooney, and Lev Vygotsky and is part of the thinking behind the kinds of lessons we conduct with students. When we teach writing using mentor texts or mentor authors, we begin by returning to a portion of a familiar text (picture book, novel, article, song lyric, poem, etc.) to engage in closer reading. With guidance, students discover and discuss the technique or strategy the author used.

The point of the lesson then becomes clear and purposeful as students understand exactly what they will do. They brainstorm situations, words, ideas, whatever lends itself best to the lesson. Modeling, of course, is essential. Teachers of writers should be teachers who write, and writing in front of your students will help them see the invisible writing process that is going on inside your head. Some students may be itching to write, but many need the shared or guided experience to build confidence for writing and deepen their understanding of the task at hand. This shared writing time is vitally important for non-writers (students who can write but choose not to), struggling writers, and English language learners. A writer’s notebook is a great place for students to try things out with a partner or small group. Sometimes the whole class participates in a shared experience, offering ideas and revisions as the teacher scribes. At this point in time most students are ready to write independently. Sometimes a small, flexible group may need another shared experience in order to be successful.

Reflection is an important part of the lesson and writing workshop. By providing a focus question (How did you build setting into your narrative? What strategies did you choose to help you create an effective introduction? When do you plan to use this strategy again?), students will be better prepared to discuss their reflections at the close of writing workshop.

In order to be part of your writing community, you must be a writer, too. Writing with and for your students will help you learn how to problem solve and try out the strategies and craft you want your students to embed in their writing across the day. To paraphrase Michael Garofalo, learning to think as a writer is inseparable from the acts of writing: brainstorming, drafting, revising, reflecting.  Learning how to write is learning how to slow down and savor the moment. Writers must dance with feedback, play with results, and grow as they learn.

Rose Cappelli is a fellow of the Pennsylvania Writing and Literature Project and serves the Project as a teacher consultant. Lynne Dorfman is a co-Director of the Pennsylvania Writing and Literature Project at West Chester University. Lynne and Rose are the authors of Stenhouse’s Mentor Texts (2007), Nonfiction Mentor Texts (2009), and Poetry Mentor Texts (2012).

Lynne and Rose are presenting several featured workshops at this year’s Literacy for All Conference in Providence, R.I., November 3–5, 2013.

Pre-Conference Workshop, Sunday, November 3,2013 (4 hours):

Mentor Poetry: Making Reading and Writing Connections (Grades K–5)

Monday, November 4, 2013 (90-minute sessions)

  • Creating Successful Writers With Mentor Texts (Grades K–2)
  • Creating Successful Writers With Mentor Texts (Grades 3–6)

Tuesday, November 5, 2013 (90-minute sessions)

  • Nonfiction Mentor Texts: Crafting Content (Grades K–2)
  • Nonfiction Mentor Texts: Crafting Effective Introductions and Conclusions (Grades 3–6)

September Days

by Liz DeHaven, Intermediate/Middle School Grades Trainer at the Center for Reading Recovery and Literacy Collaborative

***Note- prior to joining the Intermediate/Middle School team this past February, Liz taught third, fourth, fifth, and sixth grades and worked as a Literacy Coach in a Title I school in Fairfax County, Virginia.

pink smurfette lunchboxThirty years ago I started kindergarten as a small, shy 4-year-old clad in a blue and white seersucker jumper, a crisp white button down shirt, and unscuffed, barely broken-in saddle shoes.  I waited for the bus at the end of the street with my pink Smurfette lunch box, a little bit of courage, and my mom.  I don’t remember much about kindergarten, except for a girl named Amy, who had the same lunch box, which when you’re 4 is an unmistakable sign you are kindred spirits, and naptime.  I remember naptime because I didn’t sleep.  Instead I spent twenty minutes—an eternity to a small child—lying on my cot and staring at the ceiling.  If only it were possible to reclaim all those unused, wasted naps.

It’s hard to believe this is the first September in 30 years I won’t be heading back to school.  I won’t have the first day jitters.  I won’t set up a classroom or plan professional development for my colleagues. This summer I shopped at Target without hyperventilating as I walked by the Back-to-School section that appears sometime in June, either on or just after the last day of school. A moment far worse than discovering the mall has decorated for Christmas…in October.

As I think about my former colleagues preparing for this upcoming year, I think about the freshness that September brings and the opportunity to make this an important year for students. So much of the first month is centered on building community in the classroom and creating a safe environment in which students feel comfortable taking risks with their learning.

September might be one of my favorite months for reading and writing workshop.  It’s a time to talk about books through interactive read aloud and conferences and to learn about new ones through book talks.  It’s a time to share stories and plant seeds in the writer’s notebook.  It’s a time to lay the foundation for the authentic work our students will do this year as readers and writers.  It’s exciting and it’s fun.  There’s so much content to cover in one year that it’s easy to forget the important work meant for September. I encourage you to protect this time and build a strong foundation that will serve you well throughout the year.

Though I won’t miss the night before the first day of school when I revert back to the 4-year-old version of myself that doesn’t sleep, I will miss the energy permeating the hallways and classrooms during September.