New Plays and Product Updates

Click on the cover to preview at TpTTeachersPayTeachers has grown immensely over the last decade. Back when I first started using it as a secondary market for my plays, products could be pretty simple. In fact, most were in black and white. These days there are a bazillion teacher-marketers selling product, so competition has become pretty fierce. Consequently, I’m constantly trying to update my Read Aloud Play packages and post new ones. Thanks to a couple of snow days here in southern Oregon, I was recently able to revamp several products. I’ve added comprehension activities, teacher notes, and answer keys to The Monkey’s Paw, W.W. Jacobs’ fabulous masterpiece about three wishes, The Birthmark, Nathaniel Hawthorne’s wickedly wonderful “mad scientist” story, and Cyclops, from Homer’s Odyssey. These three plays are perfect for introducing middle-schoolers to the otherwise difficult original stories. Whether you use the play before or after, student engagement and comprehension skyrocket when you pair the original with a play. But they’re also engaging stories for fourth and fifth graders to read and act aloud. (What could be better than your 5th grade Cyclops eating a bunch of 4th grade Greeks?) All three of these plays originally appeared in Scholastic classroom magazines, so they’ve been “vetted” by Scholastic’s professional editors. Add to that the new comprehension activities and they’re a fantastic deal.

I’ve also updated The Secret Soldier, which has previously appeared in both Scope and Storyworks. It’s the true story of Deborah Samson, the first woman to serve in the U.S. Military. Samson disguised herself as a man to enlist in the militia near the end of the American Revolution, was twice seriously wounded, and even performed surgery on herself to avoid being found out. It’s a must-have for any Revolution unit study. Like the other updated plays, it now comes with the additional support material—as do my other plays from the era. Be sure to check out Betsy Ross: Fact or Fiction, Two Plays from the American Revolution, and my newest product, So You Want to Be President. This last one is another “Two for One” pack. It comes with two of my favorite plays from my 2003 Scholastic title, Read Aloud Plays: Symbols of America, which is no longer in print. Both plays cover the history of the presidency and the character traits necessary to serve successfully. Given today’s political climate, they’re important additions to your history and reading curriculum, but they’re also a lot of fun to read and enact.

Finally, MLK Day and Black History Month are already upon us. If you haven’t yet read my earlier post about my Civil Rights and African-American history plays, be sure to scroll down and take a look.

Happy directing!

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Teaching Grit & Resilience

Sybil Cover_ScopeSome of my colleagues were complaining recently that kids today don’t have much in the way of grit, meaning that indefinable resilience that pushes one to overcome hardship. I’ve had enough kids with runny noses whine about needing to call home sick to think maybe it’s true. Then again, as I write this I’m picturing the faces of former students who overcame poverty and homelessness to earn college degrees. Whatever the case, “grit” is an important “soft skill” worthy of our attention. It can be taught, and a great way to teach it is by sharing the story of Sybil Ludington.

Few folks outside upstate New York know much about Sybil–if you’ve ever passed through Carmel, maybe you caught a glimpse of a statue depicting her grit—but she’s considered a hero of the American Revolution.

When General Tryon’s British fleet landed near Danbury, Connecticut, Sybil leapt upon her horse and rode forty miles in the dead of night to call to arms the American troops. She was just sixteen at the time, and her grit and determination is believed to have saved the Hudson Highlands from invasion.

Sybil’s story is a compelling one, and the best way to share it is through a Read Aloud Play. My play about Sybil appeared in the September 2015 issue of Scholastic’s Scope magazine, and this month it makes a reappearance in Storyworks. Imagine your students playing the part of Sybil, or General Washington, or the famous American spy, Enoch Crosby. How much more powerful the story when kids actually get to be Tories and bandits, minutemen, or even Sybil herself?

You can still snag a class set of the Sybil play by becoming a Storyworks subscriber. Storyworks has been providing fantastic language arts content for twenty-four years, and these days it also comes with a host of extraordinary online support material and extensions, all carefully aligned with Common Core standards. On top of that, nearly all my plays appear in Storyworks at least a year before they’re available at TpT. You can check out Storyworks by clicking here.

But Sybil isn’t the only resilient character around whom I’ve built a Read Aloud Play. Deborah Sampson demonstrates grit in The Secret Soldier, as does Sheyann Webb’s character in Gonna Let it Shine and Claudette Colvin’s in The Girl Who Got Arrested. The Newsies, Stolen Childhoods, Box Brown, Jackie Robinson, and Bird Girl are equally great scripts for teaching toughness and determination.

Do any of today’s students have Sybil Ludington’s kind of grit? Let’s hope they never have to face the same conditions. But just in case, consider giving them a bit of training through a Read Aloud Play.

Happy directing!

The End of Standardized Testing?

Click here to watch this TED TalkWe’ve been seeing it for the last year or so: the education pendulum on the verge of swinging. Standardized testing, Common Core standards, standards-based report cards (with all their annoying numbers), all being shown the door—or at least a dingy corner of the room. Enter, stage right, what I’m calling “purpose-driven instruction.” If you’re not familiar with it, check out this TED talk by education expert Sir Ken Robinson. He shows how the “factory model” of education created by the industrial revolution is outdated. The education documentary “Most Likely to Succeed,” which debuted not long ago at Sundance and is now in limited release, takes it a step further. It shows how “soft skills” such as critical thinking, collaboration, communication, and leadership need to be the focal point of instruction. Rather than having students memorize content (which is all readily available at our thumb-tips), we teach these soft skills through purpose-driven instruction.

Purpose-driven instruction involves having an end product. This end product determines the skills that need to be learned and provides the motivation to learn them. A person building a deck, for example, needs to know about the permit requirements, how to prepare the site, footings, measurement, using a chop saw, and a host of other things. Said person learns all this stuff, in a sense, “on the job,” while actually working on his or her deck. And because he or she is motivated to finish the project, said person is willing to learn the skills, even when it’s as uncomfortable as navigating the city’s building permit process. This person gains mastery through authentic application. (Sound like project-based learning, right? Sure, but keep reading.)

To teach those same skills independent of actually building a deck seems rather ludicrous, but it’s what we do in school all the time. For example, we typically teach calculus without any purpose other than that we might need to know it at some point in the future. No wonder kids ask, “Why do I need to know this?” And even when kids do “know it,” they usually don’t. The “Most Likely to Succeed” filmmakers demonstrate how even students who demonstrate assessed mastery forget pretty much everything within just a few months.

What’s all this got to do with Read Aloud Plays? Well, plays, by their nature, are purpose-driven. Simply by scheduling a performance and inviting an audience, a read aloud play becomes an authentic way to teach a host of “soft-skills.” Get this: in “Most Likely to Succeed,” a play performance is presented as the epitome of purpose-driven instruction and with amazing results (I can’t wait for you to see the documentary!). Plays are especially effective in that you can use them even with large classes (a fundamental symptom of our industrialized education approach). In any given month, I have my class of 34 split into three groups, each working on a play. Granted, these are rather simple performances. Sets are kept to a minimum, if at all, costuming is limited to just a few accessories to signify character (a parasol or a certain hat, for instance), and kids can carry their script in their hand if they want. But it remains that students must collaborate and cooperate, they must practice independently and as a team, and they must “finish” (the play must go on) regardless of broken legs, absenteeism, or fire bells. Students learn about subtle forms of communication such as inflection and innuendo, about body language and movement, all while happily developing their core reading skills. Instead of being forcibly required to read a text book, presumably to improve assessable fluency, they’re willingly—even eagerly—honing their fluency to present a successful performance. That’s a significant shift of the paradigm, as Robinson calls it.

With Read Aloud Plays, students can do more than just read and act, too. They can direct. They can build sets. They can write and adapt scripts. They can design and make costumes. They can create playbills. They can create tickets to the show. They can build online promos. They can create posters. They can film and post the video of the play online. They can serve as ushers. They can run a snack bar. They can write reviews. And, of special importance, they can self-evaluate and provide feedback. No letter grade, report card, or standardized test required.

Those of you who’ve been around for a couple decades have probably seen “purpose-driven instruction” under different names. And critical thinking skills certainly aren’t new to the education community. But whether you’re a proponent of project-based learning, student-led conferences, or reader’s theater who has had to fly under the radar of the standardized data miners, Read Aloud Plays are for you. Whether you’re someone looking to try something other than the text book, or someone who remains committed to teaching to the Common Core, Read Aloud Plays are for you. They’re a fantastic purpose-driven way to teach to the reading standards while simultaneously developing those essential “soft skills.”

Click on the Read Aloud Plays tab for access to a wide-variety of plays with focused content. You’ll find great classroom plays about explorers, the Revolution, Civil Rights, and more, or visit my store at TeachersPayTeachers. And if you haven’t yet seen “Most Likely to Succeed,” look for a screening near you.

Happy directing!

Act Aloud Plays

The Lewis Hine photo that serves as an inspiration for the fictional AnielaThat you’re visiting my blog tells me you’re most likely already a fan of reader’s theater, so I needn’t tell you how reader’s theater makes literature class that much more compelling, or how drama is referenced 47 times in the Common Core, or how nearly all my plays are first “vetted” by the editors of Scholastic classroom magazines where they’re published long before hitting TeachersPayTeachers. Instead, let me tell you how my Read Aloud Plays could just as easily be called “Act Aloud Plays.” My evidence? Well, every so often I stumble upon a classroom webpage featuring a videocast of a school play or musical that turns out to be mine. And because most publishers charge a pound of flesh, a fatted cow, and a hefty fee for performance rights, I frequently get emails from polite teachers verifying that such rights are indeed included in the original purchase price (they are). I also get requests to adapt my stories or include them in performances outside the school setting. For example, last year a community theater in Carolina included my adaption of A Christmas Carol in its holiday dinner theater, and the Tshwane Children’s Theatre in Irene, South Africa, performed my Peter Rabbit play in rural African schools. Pretty cool.

I think the popularity of these plays stems from the fact that they’re written to be acted out, not merely read aloud. When I create a play for Scholastic, I imagine students performing it on stage. How will the kids move across the floor? How simple can the set be? What must the characters say and do to help the audience grasp what’s going on? Is the setting consistent throughout the scene? How can I minimize the presence of the narrator? Such questions help build plays teachers can use on the actual stage.

Click on the cover to preview or purchaseSays Officer Lockstock, the narrator in the Broadway musical Urinetown, “nothing can kill a show like too much exposition.” Save for the occasional soliloquy, narration is rare in 3-act shows, yet it’s often necessary in classroom plays. It quickly provides the background information required to reduce a complex story to a 15 or 20 minute performance. Still, as I craft scripts, I ‘m constantly looking for ways to minimize the exposition or find creative ways to deliver it. In my Jackie Robinson play, for example, the narration is delivered by the hot dog and peanut vendors. They set-up Jackie’s story while simultaneously hawking ballpark franks and Cracker Jacks. It’s as if they themselves are characters speaking to a grandstand full of spectators.

Though my latest TpT release utilizes narrators, it was most certainly designed with the stage in mind. The Newsies first appeared in the March 2015 issue of Scholastic’s Scope magazine. It tells the story of the New York newsboy strike of 1899 through the eyes of a 12-year-old Polish immigrant. Aniela Kozlowski goes to work selling newspapers just as the strike unfolds (no pun intended, just questionable blogging). Ani’s character is based upon one of my own students who shares with me a Polish heritage, so I was particularly thrilled to watch her play the role late this past school year. Historically-accurate, rich with dialect, and embedded with great pictures from famed photographer Lewis Hine, The Newsies is unquestionably one of my best plays to date. Not only is it a play about actual kids showing the grit, determination, and unity necessary to overcome some pretty extreme challenges, it’s also a nice reminder that battles had to be fought to establish some degree of balance between the interests of big business and the common laborer, that unionism has played a significant role in establishing the American Dream.

You can preview or purchase The Newsies at TeachersPayTeachers. I encourage you to pair it with Stolen Childhoods, my play from the same era about Lewis Hine’s crusade to end child labor. Or, take The Newsies to a whole other level and make it a musical. I did this very thing with a Br’er Rabbit script this past year. Though initially rather daunting, something magical happened once the kids started singing (and eventually dancing) to Zippity Doo Dah and Sinatra’s High Hopes. Br’er Rabbit ended up being the highlight of our school year. By incorporating songs from the 1890s, The Newsies will be a smash hit, too. You’ll find Ta-ra-ra Boom de-ay, The Sidewalks of New York, A Hot Time in the Old Town Tonight, In the Good Ol’ Summer Time, and My Wild Irish Rose all on Youtube and/or Amazon. I can see places in the script for all of them.

Of course, there are dozens of other “act aloud plays” on my webpage and TpT site. Any one of them might be just what you need to get your students up and active on stage—to bring a little extra magic to your language arts class.

Happy directing!

How to Host an “Old School” Writers’ Festival

Anthology of Public School WritingWhen seven-year-old Kelsey Drake stepped to the microphone, she hesitated. Perhaps she felt nervous about presenting her writing before such a large audience. Then again, maybe it was just the mouthful of prize-winning devil’s food cake she was chewing. After a moment’s pause and a hard swallow, without regard for the goo smeared all over her face, or the chocolate finger prints across her otherwise fresh copy of Yeah Huh!, she calmly clutched the mic and in a sometimes stuttered, sing-songy voice, read her masterpiece:

One day I went hunting with my dad and my big brother and their friends in the woods. I got the biggest deer and it had very big antlers. The big boys cried. We took the deer home and Mom said, “The boys are big babies.” I said, “Maybe next time, babies.”

Though clearly a beginner, in that moment Kelsey received everything real writers want. True, her byline came in a book you can’t buy through Amazon. And her audience was merely a gym full of kids. It’s also unlikely Roald Dahl ever accepted payment in the form of a pecan kiss, a piece of German lebkuchen, or a slice from a cake shaped like a big yellow school bus. But the exhilaration for Kelsey is the same. At that moment, she’s a real writer.

Professionals write to express themselves to a wide audience, to make money, and for that oft-elusive byline. Kids, however, seldom have this opportunity. In fact, rarely do we give them any more motivation to write than to assign a topic and wave their report card at them. These days my students routinely publish their writing on the Web, but while doing so seemed really cutting-edge a decade ago, it now seems to be losing its appeal. The Web appears so vast that a fifth grader’s eloquently-crafted poem about donut holes can quickly disappear in the mud we call bandwidth.

All this has me thinking about simpler days when we used to print real books full of student-writing, books you could hold in your hand and re-read over and over again. I have a number of such books in my classroom. While it would be rare for a current student to go back through the archives of my school webpage to read student-writing from even a few years ago, they still pick up my copies of Fresh Corn, Yeah Huh!, and Mmm!, three lovely little anthologies from more than a decade ago.

I miss those days.

So, I dug out an article I published in Instructor on organizing a school-wide writers’ festival. It’s excerpted below. My hope is that it’ll germinate into getting such an event started at my current school. And, I challenge you to do the same at yours.

At my old school, every student who submitted material–generally about 70% of the k-5 population–became a published author. They also attended a dessert banquet where they scarfed down a smorgasbord of sweets concocted by staff members and parents. They received their contributor’s copy of the anthology, gathered the autographs of their fellow authors, and had the chance to read their work into an open mic. It was all designed to motivate students to hone their skills and reward them for their effort.

“It’s a good feeling,” said then-student Casey C. when recalling the festival. “It’s kind of cool to see your writing in a book.” She credited the event for her enthusiasm for writing. “Before the festival, I didn’t think I was much of a writer. Now I feel like I’m pretty good, so I really enjoy it.”

The anthology validates the kids’ work,” explained fourth grade teacher Matt D. “It makes it more meaningful. Consequently, they put more effort into it.”

Back in those days, the festival went beyond just encouraging young writers. It contributed to a favorable school climate, one that enriched learning in general. Perhaps that’s why those kids were so comfortable with a mic.

“I like reading into the microphone best,” noted one student. Her younger sister Olivia agreed. Unfortunately, she found herself at the end of the line and didn’t get the chance. “It would have been embarrassing,” said Olivia, “but I still wanted to do it.”

Still, are the benefits enough to justify all the work that goes into developing your own festival? Certainly. It promotes a school-wide focus on a subject that, due to its inherent difficulty, is sometimes neglected. The open mike also gives students practice with public speaking, and the anthology itself encourages reading. “I keep the old copies in my classroom,” said one teacher. “The kids like to go back and look for their friends.” Third grader Tim B. admitted to being too scared to read his work aloud. “But I read all the other kids’ when they were up there,” he said. “I was following along.”

If all that’s not enough to convince you to start your own festival, just have a chat with then-third grader Doug V. “When you’re focused on being graded,” said Doug, “you get all worried. But when you’re writing for fun, you do better. The Writers’ Festival makes it fun.”

Ready to give it a shot? Here are the steps we followed:

Promote it. Begin by visiting classrooms. Your personal sales pitch will generate immediate interest. Point out the joys of being published and the gastronomical pleasures of the dessert banquet. You could even share some food samples during your pitch! Also, be sure to send a flyer home with every student. It’s often the parents of a student who most encourage participation.

Give it an identity. Generate extra excitement by holding a school-wide contest to name the anthology. We looked for quirky, easy-to-remember titles that captured the personality and youthfulness of our students. Our first edition, based on a sign along the road near the school, was entitled Fresh Corn. Later additions bore names such as Pinky Toe. Each edition is also subtitled “An Anthology of Public School Writing.” Also hold a cover art contest. In addition to selecting a winner (to whom we awarded a $5 to $10 gift certificate) we also used the best of the rest to dress up the inside of the anthology. Be careful, though, about distracting students from their stories. Wait until after the deadline for written submissions has passed before opening your cover contest.

Enlist the cooperation of your staff. Encourage teachers to devote class time to generating entries. The writing their students do for the festival can double as an in-class assignment, or students can simply select their entry from a portfolio of material they’ve written during the school year. The latter approach promoted reflection and self-evaluation. It also resulted in a broader range of modes appearing in the anthology, though we found we got better material when we encouraged first-person narratives.

Print it. With modern computer technology, publishing a respectable anthology is relatively simple. Still, if you have to type one hundred or more manuscripts yourself, your book may never reach the printing press. Therefore, don’t accept hard copies. Consider using Google Docs or some other mechanism to have kids “drop” their manuscript to a pre-determined electronic location. This will allow you to focus your energies on formatting and editing rather than typing. Because our anthology was produced by a single individual, these requirements were essential. Also allow yourself some time to play with formatting. It’s accomplished with relative ease by adjusting margins and font headings, but in order to get the pages in just the right order and printing front to back, plan on doing some experimenting.

We always wanted our publication to look as much like a book as possible. After reviewing “real” literary anthologies, we decided to avoid spiral binding and instead used a half-sheet format. Standard 8 ½ x 11 inch sheets are turned horizontally and folded, then bound using a binding stapler. The result is a 5 ½ x 8 ½ inch book with black printing. For the cover we used good quality color stock with a grey tone art. If you have an excessive number of entries–more than seventy pages worth–produce two volumes. Be sure to allow plenty of time. Our first year, I had to turn my third grade class into an assembly line to collate, then stayed up nights folding and stapling by hand.

Print enough for every participant—and then print a few more. We put a $1 “suggested donation” price tag on ours. It lent an element of prestige to the book, and the twenty or thirty additional copies we sold in our office paid for some of the printing costs. The kids get excited when their moms come in to buy one for Grandma or to mail to an aunt.

Make the authors’ reception a big event. It’s the payoff for the kids: their name in print, an audience for their work, and a tangible–in our case, edible–reward. If all those sweets worry you, or if your school has a prohibition against homemade baked goods, we discovered that most kids favor watermelon over just about anything. A more formal, evening event with fruit punch or lemonade and lace is another worthy idea. Regardless, this is the time to “release” the anthology and give students a chance to be acknowledged as writers. “It felt good,” said third grader Megan S. when discussing her work in Mmm! “It was the first book I was ever in. But I was also nervous because everybody was reading my story.”

It will feel good for you as well. When the festival is all over, you’ll be as proud of your accomplishment as you are exhausted from your effort, but it’s the joy in the voices of the kids that will drive you to take on the challenges of this project year after year. One of my favorite festival memories took place as I wiped down tables after our first dessert banquet. Everyone had gone back to their classrooms except for one little primary student. It didn’t matter to her that I was the only one who’d hear her story. Perhaps she didn’t even realize it. She stepped up to the mic and belted it out as if reciting to a capacity crowd. It’s as I listened that I began making plans for the next year’s festival.

A Few More Tips:

Don’t hold your festival too early. Give teachers time to develop a writing program with their current students. Give students time to develop a portfolio from which to choose their entry. February is late enough in the year to have honed some writing skills, yet early enough to complete all the printing.

Include everyone. The purpose of your anthology should be to encourage writing and build confidence. Even the one sentence story from the first grader has value.

Establish a maximum length.
We used to tell our students that their hand-written rough draft must be three pages or less. Less tends to be better, as elementary students tend to ramble.

Edit. Published writers have editors, so too should your student authors. Even your most advanced students will submit work needing further polishing, particularly because they’ll be more likely to attempt techniques beyond their developmental level. However, limit your editing to the basics.

Include an index or table of contents. Students get frustrated if they can’t quickly locate their friends’ stories, but creating this page can be a challenge. Wait until all the stories have been processed and the pages numbered, then go through and develop your contents page.

Recruit parents to help with purchasing and/or preparing the items you plan to serve at the reception. Check on your district’s food policy. Some schools prohibit homemade food from being served. Also arrange some help with clean-up.

Limit your mic time. While most of the stories your students will be reading will be short, suggest to your more advanced writers that they read only the first few paragraphs to “hook” the audience into continuing on their own.

Alert the media. Invite your local news people to attend your dessert banquet. Make sure they get copies of your anthology. Favorable publicity is always beneficial to your school and public education in general.

Allow your festival to develop its own personality. All that really matters is that your students have fun becoming “real writers.”

Finally, (here’s my sales pitch), use my book Super Sentences & Perfect Paragraphs to teach your kids foundation writing skills. It’s a complete daily and weekly writing program in a straight-forward, systematic format. Published by Scholastic, it’s available through Amazon, Scholastic, and Teacher Express. You can also pick up a free sample activity from TeachersPayTeachers.

Happy directing, er, emceeing.

What’s Hindering Your Low Readers?

Perhaps many of you have figured this stuff out long ago. Me, after nearly 25 years of teaching, I recently had a couple of instructional epiphanies.

Click here to visit Lauren Tarshis' author pageThe first one was when one of my 5th graders showed me a picture of her mother. “This was at the visitation center,” she said. “The only time I get to see my mom is when we go to the visitation center.” A day later we were on our way to the local science museum when another student pointed out the window and piped up, “I think that’s the safe house we stayed at one time.” Later that same day my admin handed me my latest set of Oral Reading Fluency scores showing both of those students near the bottom. As I looked over the rest of the data, I suddenly realized all my lowest performing students are victims of childhood trauma: violence, tempestuous divorce, drugs, homelessness… Then, taking a look at my top performers, I realized nearly all are from healthy, financial stable, intact families. Thinking back over years of high and low test scores, the correlation is obvious. Early-childhood trauma and neglect may be the most significant factor contributing to academic failure. Politicians who ignore it are insincere in their efforts to “improve schools.”

If you’re like me, you’re constantly wrestling with how to help these kids. What works? We’re not going to undo the trauma or erase their memories. When it comes to reading, however, I’ve landed on three things that appear to hook them, three things that seem to motivate even these reluctant readers to put some “miles on the tongue.”

The first, naturally, is Read Aloud Plays. I write and promote read aloud plays not merely because I want to sell you a script, but because they’re exceptionally effective. I don’t need to belabor the point here. If you want to know more about reader’s theater, including the brain research that supports it, check out my free download entitled, “Why Use Drama?”

Roald Dahl books are also compelling for this group of kids, though admittedly this may be as much about my own enthusiasm for Matilda and The Witches as it is the books themselves. I have so much fun reading aloud sections of Boy or having small groups read Fantastic Mr. Fox, even my most reluctant readers catch the Dahl bug.

But the best thing I’ve discovered lately is the I Survived series. These books are written by my editor at Storyworks, Lauren Tarshis, so it surprises me that it’s taken me so long to start using them in class. This year, having finally amassed enough copies, I was able to assign all my students the task of reading one during silent reading sessions. Yeah, I know: SSR is often a waste of time; many students—especially the struggling ones—only pretend to read. Consequently, I use an approach I call “Directed Silent Reading.” It works with any age-appropriate books, but because these I Survived books have consistent themes, high-interest plots, and conquerable reading levels, they’re particularly fruitful. So much so that even my lowest performing students are begging for more.

I begin by telling my students they’re only going to read for a minute. At the end of the minute, I ask the kids to “turn and talk” to a neighbor about something they found interesting from their minute (or two) of reading. After they’ve had a couple minutes to share, I then ask for three or four volunteers to share out with the class. As the students hear their classmates tell about Hurricane Katrina or Pearl Harbor, the enthusiasm becomes contagious. We repeat the process, this time for three or four minutes of reading, and then again for eight to ten more. You can vary the questioning, too. “Be prepared to tell us something you know about your main character,” or “Provide some details about the story’s setting” are other “go to” questions. By the end of the session, all my kiddos have read for 20 minutes, discussed what they’ve read, and have invested enough in the story that they’ve committed to it. You don’t get such enthusiasm or commitment from homework reading, traditional SSR, or even oral reading, especially not from struggling readers.

There are no easy answers when it comes to overcoming the childhood trauma suffered by our lowest-performing students. But by using plays, Roald Dahl books, the I Survived series, and Directed Silent Reading, perhaps we can help them create a survival story of their own.

Happy directing.

Ten Plays for Black History Month

MLK Plays Preview3 700x900The Daring Escape of Henry “Box” Brown is making a reappearance in the January issue of Scholastic’s Storyworks magazine. In addition to a new look with original illustrations, it means Storyworks subscribers have access to a host of top-notch CCSs comprehension activities via Scholastic’s web-based library. Pretty sweet. Coincidentally, the TpT version also just went through an update that adds a couple of comprehension activities and improved formatting, so you’re in luck either way.

But “Box” isn’t the only reader’s theater title suitable for Black History Month or MLK Day celebrations. In fact, I have a wide assortment. You can quickly preview four of them with my newest product: MLK Plays Free Preview Pack. It includes summaries and the first couple of pages of four MLK reader’s theater scripts including Martin’s Big Dream (The Childhood of Martin Luther King, Jr.), MLK’s Freedom March (lovely historical fiction set against the March on Washington where King delivered his most famous speech), In the Jailhouse with Dr. King (another potent work of historical fiction set during the Bus Boycott), and Gonna Let it Shine (non-fiction about the “Bloody Sunday” events in Selma, Alabama). You can download the free PDF preview at TpT.

But there’s still more. Click on the Read Aloud Plays tab to uncover wonderful reader’s theater about Jackie Robinson, Claudette Colvin, the Greensboro Four, and others. In all cases, $3 gives the original purchaser reproduction rights to copy a full class set each year for use in his or her own classroom. It even includes school performance rights!

In my classroom, my 76 fifth graders will be learning and presenting six of these plays over the next two months. It’s going to make for a memorable Black History Month. Join us. Celebrate the legacy of Dr. King with engaging reader’s theater from ReadAloudPlays.com.

Happy directing!

A Good Time to Say Thanks.

This week I just want to say THANK YOU to all you FANTASTIC teachers who have used Read Aloud Plays in class. I hope they’ve brought you and your students a ton of enjoyment and value. Thank you also for all your positive comments. With 38 fifth graders demanding my attention every day, I simply don’t have enough time to respond to many of them, but here are a few recent ones I think are especially fruitful.

"Twice Toward Justice" play, one of many Civil Rights plays first appearing in StoryworksYour plays are wonderful and they make the original texts more approachable to my students! Thank you! ~ Laura M. (regarding The Monkey’s Paw gothic masterpiece)

I think we can all relate to the challenges of reading a piece of Victorian literature. Why subject yourself to the yawns of middle school readers when you can first wake them up with a read aloud play?

I added songs in between each of the scenes and used this for our Black History Month performance! The children enjoyed it, and learned a lot in the process. Thank you! ~ Linsey P. (Jackie Robinson black history play)

Two of my plays—“We Shall Overcome” and “Gonna Let in Shine”—have the songs built in to the play, but several others are easily adapted. Black History Month is just around the corner, so take Lindsey’s advice and consider staging a Civil Rights musical.

I like how it’s short and to the point. After reading the novel, the 6th grade wants to make a movie and we’re using that script. Thanks! ~ Barbara Ann M. (Ebenezer Scrooge: A Christmas Carol play)

Thank you! Because the majority of my plays were first published in classroom magazines including Scope and Storyworks, they’re specifically designed to be short and to the point. My goal is to capture the essence of the original story while limiting the play to about fifteen minutes in length. Still, I encourage teachers and students to edit and adapt. A few years ago my 5th graders also used this script to make a movie, but they added several short scenes, modernized the setting, and changed several lines to suit what they wanted to portray. I consider that 16 minute movie (which can be viewed here, if you’re interested) as one of the highlights of my career.

Lewis never disappoints. This will be terrific as part of my Spooktober unit for theater class. ~ Lu J. (Hawthorne’s The Birthmark Gothic Reader’s Theater)

What a wonderful compliment! Thank you. And I love the idea of a Spooktober theater event. I’m going to try that next year!

Great resource and student engaging. You can practice RT daily to work on fluency and comprehension. Thank you! ~ Heather W. (Lewis & Clark and Bird Girl: Sacagawea play )

Fluency practice is really the academic justification for reader’s theater, isn’t it? But I think the foundation is that most kids love it. Simply put, Read Aloud Plays make school fun. Admittedly, my plays are geared to intermediate and lower middle school, but when you can find good material, even jaded upper middle school and high school kids enjoy RT.

Excellent play. This tied in perfectly with my Civil Rights unit. ~ Dayan S. (Montgomery Bus Boycott MLK “Twice Toward Justice” Play)

Thank you. I’m particularly proud of my civil rights plays. My editors at Storyworks recently asked me to work on a new one for this spring. To create a consistent “feel,” I re-read some of the old ones. I think the “Twice Toward Justice” play is indeed powerful, but I also rediscovered what I think is a real gem in the play entitled “MLK’s Freedom March.” I highly recommend it.

Next month, I’ll be releasing on TpT my very first Civil Rights play. “I Have a Dream: the Childhood of Martin Luther King, Jr” first appeared in Storyworks sixteen years ago. How fortunate I am that my editors liked it so much. They’ve been feeding me much-loved Black History assignments ever since.

Our high school graciously offered to perform this for my middle school class. To prepare in a jiffy, we did this reader’s theater and the kids loved it – especially the ghost noises. Turns out the HS play was very ‘stylized’ and there is NO WAY my kids would have known what was happening if they hadn’t had this resource as a basis to get the underlying plot. This was absolutely perfect. Many thanks. ~ Michelle C. (Ebenezer Scrooge: A Christmas Carol play)

I love this. Haven’t we all at some point shared a story, taken our students to a performance, or watched a movie that was beyond the developmental level of our students? How nice it is to have a Read Aloud Play to introduce kids to the story or historical event before hitting them with the original text or text book account.

Thanks again, and cheers to a new year of Read Aloud Plays! I have a lot of great items planned for 2016, so stay with me, won’t you?

Happy directing!

Girl. Fighter. Hero.

Sybil Cover_ScopeWomen soldiers? It’s not so unusual in 2015, but back in the 18th century, the very idea would have drawn guffaws from even the most liberal-minded colonist. “A ridiculous notion,” one patriot leader was known to have said. And yet, History provides numerous examples of women performing acts of heroism throughout the American Revolution itself. Lydia Darragh, for example, is considered one of America’s first spies. Then there’s Deborah Sampson. She disguised herself as a man and enlisted in the Continental Army under the name Robert Shurtliff. Twice wounded, she performed surgery on herself to avoid detection. Another heroin was Sybil Ludington, the 16-year-old girl who rode forty miles on horseback through the Hudson Highlands (on a stormy night, no less!) to muster the militia in defense of Danbury. She’s known as “The Female Paul Revere,” and according to Martha Lamb’s 1880 “The History of the City of New York,” George Washington himself personally thanked her for her stalwart effort. Her story is captured in my latest play, “Girl, Fighter, Hero,” which appears in the November/December issue of Scholastic’s Scope magazine. Although it’s available exclusively to Scope subscribers, you can still get it by clicking here.

Whether you use Sybil’s story or not, a kick-in-the-pants way to get kids excited about your American Revolution unit is to build it around a trio of Read Aloud Plays. Start with a FREE download of “Betsy Ross: Fact or Fiction.” It first appeared in Storyworks back in 1999, and then in my book, Symbols of America. It challenges students to examine the facts associated with the first U.S. flag and draw their own conclusions. It’s FREE on my TpT storefront until November 1st. Free. I’m convinced you’ll love it and want to then grab “The Secret Soldier,” a historically-accurate depiction of America’s first female fighter, and “Eagles Over the Battlefield,” a dramatic yet subtly humorous play about how the eagle came to be an American symbol (as opposed to the turkey, the turkey vulture, and the groundhog). Eagles, by the way, is part of a BOGO deal with “A Bell for the Statehouse,” which relives that infamous crack in The Liberty Bell.Cyclops Cover_SW

As with all my plays, these were all carefully-researched, fact-checked by Scholastic editors, and best of all, kid-tested by my own students.

One added note this week is that my play “Cyclops: The Monster in the Cave,” is making an encore appearance, this time in Storyworks. It’s been freshly revised by editor-extraordinaire Lauren Tarshis (author of the I Survived series). Check out the new artwork by Sebastia Serra, too! If you’re not yet a Storyworks subscriber, you should be, but you can also grab the original version of Cyclops off my website.

Happy directing!

You Fancy Me Mad?

Harry_Clarke_The_Tell-Tale_HeartFairies waving candied wands… Goblins drooling chocolate malt… Halloween has such a bizarre place in our classrooms. In my school it’s been informally “banned,” though the kinders still get to parade through the school in their costumes, and the rest of the student body gets to have an afternoon “party” that presumably has nothing to do with ghouls and ghosts. Personally, I like “Monte Carlo Day,” a party in which kids set-up, run, and risk candy tokens at a variety of “probability games” such as Roulette, 21, and the Shell Game. The kids still get their candy fix, but at least there’s a bit of math involved.

An even better approach to Halloween is to replace your parades and parties with a collection of play performances. Kids still get to dress up, you can serve treats at the performance, and it’s not only academically valid, but a fine way to satisfy standards. A trio of plays takes a few weeks to prepare and an afternoon to perform. You can also invite other classes to attend, thereby helping your colleagues with their Halloween alternatives. Though Halloween lands on a Saturday this year, a set of plays will make Friday the 30th a huge hit for all involved!

I have a number of Read Aloud Play titles that are perfect for Halloween. The Birth-mark, which is a classic short-story by Nathaniel Hawthorne, tells the story of a mad scientist who, in his quest to make his already beautiful bride “perfect,” kills her instead. The Monkey’s Paw is W.W. Jacobs’ classic Gothic tale about getting three wishes. The disturbing result will stay with your students long after Halloween has passed. The well-known Legend of Sleepy Hollow is available in my book, Read Aloud Plays: Classic Short Stories (you can purchase and download it instantly at Scholastic Teacher Express). Pair it with YouTubeThe Birthmark scope cover page segments from the original Disney flick. You’ll also find Poe’s The Tell-Tale Heart in the same book, which can be paired with my modernized version, Penelope Ann Poe’s Amazing Cell Phone. (At least one of my reader’s has commented that it’s “too strange,” which I think makes it a lot of fun for Halloween.) Finally, A Piece of String has a ghostly conclusion and Cyclops has a ferocious monster. All of these plays were originally published in Scholastic classroom magazines such as Scope and Storyworks, so you know they’re up to snuff, and they all come with reproduction and performance rights.

Ready to give it a try but unsure how to start? Download my free guide to teaching with plays. It’ll give you tips and ideas on how to use plays to make your language arts block the best section of the day. But get to it right away…those ghouls and goblins are already knocking at your door.

Happy Halloween and happy directing!