Brain Research Shows Reading Literature Matters! Some Practical Implications

I've written before about the amazing capabilities of the brain, in particular, the capacity that the brain of the young child has to learn and change rapidly in the first years of life (here). A number of research projects have shown that babies and the very young can know, observe, imagine, explore and learn more than we previously thought possible. In a second post (here) I explored the place of 'deep practice' in learning and the increased plasticity that we now know the brain possesses. In this post I want to comment on a third area of inquiry that has demonstrated some amazing new connections between 'real life' experiences and those encountered via the experiences of human intellectual activities like reading.




Have you ever heard people say things like:

"I was lost in the book"
"I was so moved by that book I couldn't talk about it"
"After finishing the book I simply sat gripping it lost in a moment of devastating pain"
"Books are my escape into a world that is less painful than my everyday life"
"I hated that character"
"The book changed my life"

For many of us, the experience of literature can have quite profound impacts on us. Recent neuroscience research is beginning to give us some sense of why this might be so. This research has used MRI brain scans to help us understand the way the brain reacts when the subjects read certain things. Of particular interest has been what happens to brain activity when we read about experiences, compared to how it reacts when we have firsthand experiences. In short, the weight of various projects suggests that the brain doesn't behave that differently whether we read about experiences, or actually have real life experience. Whether read, or experienced, the same regions of the brain appear to be stimulated. Annie Paul wrote an excellent excellent overview and introduction to this area a couple of years ago (HERE).

In varied research projects brain scans are revealing much about brain activity as we read texts with detailed description, evocative metaphor and event emotional exchanges between characters. Just as readers have experienced while reading, science is showing how stories stimulate the brain and can even change how we act in life.

It isn't a new concept that the language regions of the brain like Broca’s and Wernicke’s are involved in the way the brain interprets written words. Research now shows that narrative activates many other parts of our brains as well. The experience of reading can feel as if it is real life. For example, experiments have shown that words like “lavender,” “cinnamon” and “soap” don't just elicit responses from the language-processing areas of our brains, they also elicit those dealing with smell.

Other research has shown that reading tastes and topics impact on how readers self-identify. For example people who read the Harry Potter self-identify with wizards, while those who read Stephanie Meyers 'Twilight' vampire themed fantasy romance novels self-identify as vampires.

Studies on the psychology of fiction increasingly provide the evidence for why we often experience deeply emotional experiences with books. Books influence our emotions and ideas and in fact can change us! It's worth thinking about what we read, as well as what our children read (and as an aside, what they watch).

Novelist and professor of cognitive psychology at the University of Toronto Keith Oatley, suggests that reading can produce vivid simulations of reality. Rich descriptions, emotionally gripping texts and vivid human encounters offer a type of passage into the real world. Fiction he suggests offers a rich replica of life! You can read some of his work HERE.

Applying this research

Most teachers of literature and avid readers will tell you that this all makes sense to them and matches their experiences. But it does underline a few basic things that teachers and parents should note:

1. Reading fiction matters and it must NOT be neglected
2. Variety in fiction is important for children as they learn about their world and themselves
3. Teachers and parents should give attention to trying to connect children to varied and good literature.
4. Persist in trying to connect our children with special books

Some Practical applications

1. Work hard to connect children with varied books that they will enjoy  2. Help children to manage their time so that they have time to read - this might require us to restrict screen time for activities those activities that offer only limited reading opportunities.
3. Provide opportunities for children to experience all forms of literature (novels, plays, poetry as well as film)
4. Show interest in the things children read - talk to them about their reading, ask them to share what they are reading and why, engage with them concerning the content of their reading and their interests.
5. Encourage opportunities for children to share their reading interests - try discussion groups, one-on-one reading conferences, 'dining room table' discussions with small groups of students (as developed by Nancie Atwell).
6. Help children to become writers as well - reading feeds writing and writing feeds reading. Get children excited about both by allowing them to take greater control and by supporting them at every step. Encourage them to write for real readers and try to establish ways for others to read their writing as well.

Sketching and imagination as tools for close reading and comprehension

*This is a revised version of a post I wrote a couple of years ago.

Every teacher wants to help children to read deeply, to grasp the richness of characterisation, the devices the author uses to create mood and tension, the intent and purpose of the writer and the language devices employed. We also want them to be moved by the text and able to reflect and respond critically to it. I've written lots of posts about comprehension, but in this one I want to revisit a previously discussed strategy that I've used with children aged 3 to 12 years and which I continue to see as one of the most powerful comprehension strategies I have used.

‘Sketch to Stretch’ is essentially a strategy that involves asking children to sketch in response to reading, hearing or even viewing a story. It requires them to use drawing to 'stretch' or enhance the meaning as they are reading. You can do it during and after reading and there is even a place for drawing as an ‘advance organizer’ before reading, but that’s another post. It can involve varied directions including:

Sketch what just happened.
Sketch what he/she [insert character name] did, lost, saw, heard etc.
Sketch how this [insert and event] makes you feel.
Sketch a picture that shows what might happen next.
Sketch a picture of [insert character].

The sketches on the left are from my book 'Teaching Reading Comprehension', and show just some of the responses from a group of 10 year-old children I had been teaching as part of a research project. I had interrupted a reading of the graphic novel ‘The Wedding Ghost’ (1985) written by Leon Garfield and illustrated by Charles Keeping.

Garfield's book is set in the late 19th century, in a small village in Hertfordshire in England. Like all of Garfield’s books it is rich in historical detail and a depth of language and mastery of storytelling that few children’s authors have ever achieved. The book tells the story of a young couple (Gillian and Jack) who are about to be married. It follows the normal sequence of events for a wedding in the 19th century, beginning with the invitation, preparations, then the rehearsal, present opening, more preparations and eventually the wedding.

Much of the story centres on a journey taken by Jack after he opens an unusual gift addressed only to him. This is the first moment of intrigue. Jack sets off armed with an old map sent by an unknown person, and the events and discoveries that lead ultimately to the dramatic events of the wedding and the outcome.

On the occasion that sketches above were drawn I had introduced the book by sharing the title, showing the cover and then explaining a little about the author. I told the class that Leon Garfield usually wrote what is known as historical fiction, and that this is the writing of fictional stories that are inspired by real events, setting and characters.

I interrupted my oral reading after a few minutes at a point where Jack is to open the mysterious present. This is just a few from the start of the story and the guests are gathered around watching the groom to be. People are making jokes and speculating about the gift and why it might just have his name on it.

I asked my students to quickly sketch what the gift might be. As you can see from the sample of the sketches, the responses varied greatly and included a ghost, map (an uncanny prediction), book, hourglass (suggesting time), a genie’s lamp letter and so. The sketches offer an insight into the level and depth of children’s comprehension of this complex picture book up to this point. As well, they illustrate that they are trying to make sense of what’s going on, where the story might go next and the extent to which they are picking up on the themes in Garfield’s book. As well, they show something of their literary history and the background knowledge that they bring to the reading and the sketching.

Even when children drew the same object there was great diversity. For example, a number of students drew ghosts probably basing their prediction upon the book's title (there had been nothing explicit in the text to suggest this); and yet, the drawings showed a diverse range of ghosts. One student drew a genie type 'ghost' emerging from lamps, several drew 'Casper like' ghosts and others drew ghosts more human in form. Each reflected different literary histories and background knowledge. Where they were at the point of the sketch involved each in a different literary journey and experience of this book.



Summing up

'Sketch to Stretch' as its name implies, stretches children’s understanding, and their knowledge of and appreciation of literature. It is enhanced of course by discussion and skilful teaching, as sketches are shared and responded to by students as well as the teacher. It isn't really an easy strategy; in fact it is a very sophisticated multimodal strategy that requires reading, discussion, response, drawing and sometimes writing in association with it. It can also be used with film in a similar way to the way I used it with the 'Wedding Ghost'.

One of the strengths of Sketch to Stretch and in fact drawing generally, is that it offers an alternative to word-based strategies for heightening engagement. Each response whether it is written, spoken, drawn or displayed in any form, helps children to read more ‘deeply’. The sketches also help us to understand how our children are empathizing with characters, evaluating the text, what they are predicting will come next, how they are reflecting upon earlier events, how they are connecting with life situations and so on. This offers us greater insight into our children’s comprehension as they read and it helps us to enrich the mental journey children are making as they read a book.

Related Resources

Previous posts on 'Comprehension' (here)

'Pathways to Literacy', Trevor H. Cairney (1995). This is a book I wrote and which has more material on reading comprehension and 'Sketch to Stretch'. 

Questions, Exploration & Learning

Children ask lots of questions. Sometimes their questions don’t move beyond repetitive “Why?” questions that can be annoying. But as well as helping them to learn, children's questions can also teach us a great deal about them and their learning. 

• Children’s questions usually show us how keen they are to learn – We see that there are gaps in their knowledge, new areas of interest, & things that puzzle them.
• Questions offer us a window into children’s learning – We discover what they are interested in, their learning styles, and how well they learn best.
• Questions are also one way that children try to take control of their own learning - As they ask questions they try to set an agenda and focus for their learning.
• Questions are a way for children to test their existing knowledge - They assess what they know and test their own hypotheses.

In short, questioning is a critical tool for children’s learning, and needs to be encouraged.

Above: One of my grandchildren discovers a pistol shrimp. This stimulated lots of questions!

1. How can I ask better questions to stimulate learning?

Questioning is a vital tool for parents and teachers. As well as answering questions, we should also try to ask a variety of questions, but NOT just to test learning. The best use of questions is when they are used to stimulate curiosity, problem solving, imagination, a quest for knowledge and as a result, learning. A good tool for asking better questions is a simple taxonomy. There are many ways to classify questions but Bloom's Taxonomy is still one of the most useful frameworks for helping us to get better at it. These include:

• Questions that test knowledge or seek basic recall of knowledge – “Why might the pistol shrimp have one claw larger than the other?” “What did the first pig build his house from?”
• Questions that seek some level of interpretation – “If it was a sick or damaged claw how could we test this"? "How come Max's food was still hot when he went back to bed? (Where the Wild Things Are)"? “Why was Pinocchio sad?”
• Questions that require application of knowledge or problem solving – “Okay, we've found three pistol shrimps with one big claw, what might the claw be for?" Why didn’t the stepmother let Cinderella go to the ball?”
• Questions that require analysis – “Where did we find the pistol shrimps? Why might they be living there"? “Why do you think the 3rd little pig got up before the time he told the wolf?” “Was Fern’s father mean to want to kill Wilbur?”
• Questions that require synthesis of knowledge – "We've notice the clicking noise the pistol shrimp makes. What could this be for"? "So which animal sank the boat and how do you know (from 'Who Sank the Boat')?” “What do you think is going to happen when the 3rd Billy Goat crosses the bridge?”
• Questions that require some type of evaluation  (opinion, values, critique, judgement) – "Let's find some information on the pistol shrimp and test our answers to the last question. What is the claw all about and is their a link with where it lives?“ Was Max naughty"? "Should his mother have sent him to his room?”

You can find a more detailed overview of Bloom's categories here.

2. How can I encourage children to ask questions? 

As I have already said above, it is important for children to make good use of questions. To help them learn what good questions are you can model questioning for them. There are a variety of ways that you can do this.

• Ask questions of children that encourage learning and thinking
• Avoid over-using questions that just test learning, or that simply channel learning in directions that you want it to go.
• Try to give honest answers to children’s questions.
• Don’t be frightened to say “I don’t know”, but use this to demonstrate that not knowing the answer should lead to further learning “Let’s try to find out…”
 

In Australia we have a very funny advertisement for an Internet company that has a sequence of exchanges between a boy and his Dad. In one the boy is doing some research for school on China. He asks his Dad, “Dad, why did they build the Great Wall of China?”

His Dad suggests, “That was during the reign of Emperor Nasi Goreng - to keep the rabbits out – too many rabbits in China”.

I'll say it again, we should never be afraid to say, “I’m not sure, but I’ll think about it and let you know” (view the video HERE).

3. Here are 4 strategies to help children ask better questions
 
I wrote a whole book about comprehension strategies some years ago ('Teaching Reading Comprehension: Meaning Makers at Work') but here are just four question strategies that can be adapted for use with children of varied ages. In these examples, I'm assuming a grade 5 (10-11 year-olds).

a) Question frameworks

Make a chart that has a simple framework for questing complete with examples. The one above based on Bloom's Taxonomy is an example. An even simpler example is one developed by Nila Banton Smith and has proven helpful for many teachers:

Literal - These ask for details or facts you can find in the text, e.g. 'What was the rat's name in Charlotte's Web?'
Interpretive - These require the reader to supply meaning not directly stated, e.g. 'Why did Fern's father want to kill the runt pig?'
Critical - These require the reader to evaluate something, e.g. 'Do you think Templeton was honest?'
Creative - These require readers to go beyond the text, to express new ideas, solve a problem etc, e.g. 'What other words might Charlotte have used in her web to save Wilbur?'

Use the chart to discuss the varied type of questions we can ask about stories, use the categories at times when asking questions of the class, model the varied forms in group work, and use them for some set work. I offer further information on the above questioning strategy in my book 'Balancing the Basics'.

b) Visual Comprehension

You can use images, cartoons or a short video segment to stimulate and model questioning. The example below shows how a simple template for group work can be used to direct attention at images and generate good questions and insights (see my post on 'Visual Comprehension' HERE). The grade 4 students were looking at a series of newspaper images.
  

c) Talk-to-the-author
 
I developed this strategy many years ago and wrote about it in 'Teaching Comprehension: Meaning Makers at Work'. It is a very simple strategy designed to get young readers thinking about the implied author and meaning that is beyond the literal. The technique is applied like this:

Step 1 - prepare some passages of 300-1000 words in length (from magazines, school readers, newspapers etc), or identify a passage in a class reader or book.
Step 2 - demonstrate the technique using a smartboard and explain that the idea of this technique is to encourage us to ask questions that we might ask if we had the author in the room.
Step 3 - have your class help you with a second passage on the smartboard.  
Step 4 - provide a passage and ask them to read, making note of at least 6 questions they might ask of the author and also at least 4 comments they might offer.

d) Character Interview

I developed this strategy while working with gifted children, but it can be used in any primary classroom. It requires readers to select a character from a book and interview them. You can do this in several ways. The simplest, and perhaps the best way to start this strategy, is to ask children in pairs to come up with ten questions that they would ask of a character in a story if they had the chance. They can then act this out with one being the interviewer and the other the character.
An alternative to the above is to have one student prepare a series of questions to which another student, filling the role of the character, has to answer. Once again, it is helpful to give some guidance about the need to ask varied questions that include interpretive, critical and creative questions, not just literal ones.

Other posts on comprehension

You might like to have a look at the following posts on comprehension:

'Teaching and Supporting Children's Reading Comprehension' (HERE)
'Reading to Learn Using Text Sets' (HERE)
'Improving Comprehension: Sketch to Stretch' (HERE)
'Improving Comprehension: Map Making' (HERE)
'Improving Comprehension: Advance Organisers' (HERE)
'Emergent Comprehension in Children Under Five' (HERE)

Helping toddlers to develop reading comprehension

Introduction

I've written a number of times about comprehension on this blog and have also written books and articles on the topic (see some references at the end). This post is a revised version of one I wrote in 2013. My claim in many of these publications is that comprehension begins early; in fact, in the first years of life. By comprehension I mean the ability "to understand, interpret, appreciate and critique what we read, view, hear and experience." This might not sound like something preschoolers do, but it is! Young children begin to make sense of their world and all that is in it from birth.

As distinguished literacy researchers Ken and Yetta Goodman said many years ago (in 'Learning to read is natural', 1979):

"The beginnings of reading often go unnoticed in the young child".

For the young child meaning making occurs from birth, and reading comprehension as we recognise it emerges over the first 5 years of life. In fact, for most children, it begins before they can decode print.

The emergence of comprehension

Caitlin McMunn Dooley wrote an excellent article in The Reading Teacher (Oct 2010) in which she described her observations of a group of children aged 2-5+ years in an early childhood classroom over a three year period.  Her observations suggested four broad phases in their emerging comprehension. These are not neat stages (hence the use of the word phase):

Book as prop (<2 to 3) - When choosing books children pay minimal attention to the topic and content of the book and instead use books as a prop, treating them like other play things. The book can symbolize story time or can be used to simulate reading.

Book as invitation (2+ to 3+) - Eventually, children begin to consider the book holistically as a complete unit of meaning. They begin to recognise the topic of the book mainly through images, colour, shape etc. They start to bring books to adults and expect them to read them. They might also volunteer to 'read' the book to others.

Book as script (3+) - Eventually, children begin to show an understanding that text carries meaning, as do the many features of the book.  Dooley found that many 3 year olds begin to treat the books more like "..scripts, memorising and calling out the texts in books..".  They point to the print and attend to text content, images and sound including voice intonation and inflection.

Book as text (4+) - Most four year olds begin to attend more to the print, pointing to the words and recalling (generally from memory) word by word what is on the page. They are still just as interested in content, images and sound, but there is an emerging sense of integrated comprehension where the reader can see consistencies and inconsistencies between print and other elements such as image and sound.

Comprehension emerges with other people

What needs to be understood about emergent comprehension is that the ability to make meaning as children encounter books, films, objects and experiences, develops as children try to make sense of their world. It also happens as an extension of their relationships within families and in other learning situations both informal (play with others) and structured (a preschool classroom or playgroup).

The following description of a preschool class gives some sense of what I mean:

Even when the teacher was not initiating reading or writing, the classroom was filled with literate behaviour. In the dress-up corner several children were including story reading in creative play. Children took turns as mother reading to her baby. Genevieve was asking her pretend mum to explain why the dog in I'll Always Love You (Wilhelm, 1985) had such a sad face (this is a book about death). Mum was doing a wonderful job explaining the relationships within the story. Another group playing shops was using a receipt book to record purchases. Receipt books were often referred to in the home corner. 'Mum' and 'Dad' were reading the newspaper and later flicking through the pages of the telephone book (Cairney & Langbien, 1989).

It is in varied social settings that children make meaning and begin to acquire a more sophisticated understanding of how written language works. Over time, the foundations of comprehension are laid.

What parents can do to help comprehension emerge? 

Here are 10 simple tips

Read regularly (at least daily) to your children and talk about the things that you read.

Try to read the book with emotion, with invented sound effects, with different voices for characters and the narrator, changes in voice volume and tone - much meaning is communicated this way.

Support their emerging understanding of what they read or hear by encouraging them to look at pictures and images and relate these to the words that you read. Emphasise key words or repetitive patterns in the book “But don’t forget the bacon”, “But where is the Green Sheep?”

Encourage them to relate ideas, language and knowledge that a book introduces to other areas of learning or life – “You’ve got a teddy too”, “His puppy is like Darren’s puppy”, “We saw an elephant like this one at the zoo”.

Encourage them to draw, sing, talk about, act out, make things, dress up and so on, in response to the things that you read to them or they read themselves (creating meaning in response to books).

Encourage them to use other tools to make meaning (playdough, toy animals, dress-ups, Thomas trains, drawing, craft etc) and relate these as appropriate to books (creating meaning leads to books).

Encourage them to memorise and learn things from the books they read or listen to. You can’t read “Wombat Stew” without reciting over and over again “Wombat stew, Wombat stew, Gooey, brewy, Yummy, chewy, Wombat stew!”

Encourage them to make connections between the things they read, view and experience – “This story is like in the television show Shaun the Sheep when he…..”.

Read varied books – different story types, factual books as well as fiction, poetry and prose, different forms of illustrations and so on.

Watch TV shows, videos and movies with your children and talk about them, explain things, try to make connections with stories they have read, encourage response with art, drawing, play dough, puppets, dressing up, acting out and so on.

 
Summing Up

Comprehension is ultimately the highest goal of reading, we read to understand things, to work things out, to make meaning.  Its foundations are laid in the first 5 years of life, not through structured activities, but through the use and experience of language and in particular, story.

Comprehension emerges over time as children are encouraged to encounter and use written language and to integrate this with other avenues they have for making meaning.

Other blog posts related to this topic

'Teaching and Supporting Children's Reading Comprehension' (HERE)
'Reading to Learn Using Text Sets' (HERE)
'Improving Comprehension: Sketch to Stretch' (HERE)
'Improving Comprehension: Map Making' (HERE)
'Improving Comprehension: Advance Organisers' (HERE)
'Why Kids Re-read Books' (HERE)
'Making Books Come Alive' (HERE)
'The Power of Literature' series (HERE)
All posts on 'Children's Literature' (HERE)
All posts on 'Comprehension' (HERE)

References cited in this Post

Cairney, T.H. (2010). 'Developing Comprehension: Learning to make meaning'. Sydney: e:lit (formerly Primary English Teaching Association).

Cairney, T.H. (1995). 'Pathways to Literacy', Cassell: London.

Cairney, T.H. (1990). 'Teaching Reading Comprehension: Meaning Makers at Work', Open University Press: London.

Cairney, T.H. & Langbien, S. (1989). Building Communities of Readers and Writers, The Reading Teacher, Vol. 42, No. 8, pp 560-567.

McMunn Dooley, C. (2010). Young children's approaches to books: The emergence of comprehension, The Reading Teacher, 64, 2, pp 120-130

Goodman, K.S and Goodman Y.M. (1979) Learning to read is natural. In L.B. Resnick and P.A. Weaver (Eds), Theory and Practice of Early Reading (Vol 1),  Hillsdale, N.J.: Lawrence Erlbaum Associates, p 137-154.

* This is a revised version of a post I wrote in November 2013

Why dialogue is important to comprehension development

This is a reprise of a post I wrote in 2011, which was based on an idea I first devised in the 1980s. Back then I was challenging teachers to consider the importance of what I called 'Text Talk'. I wrote about it at the time in a number of publications, including my book 'Teaching Reading Comprehension: Meaning Makers at Work' (Continuum). I was trying to challenge teachers to consider using more than just the classic IRE form of questioning. The Initiate-Response-Evaluate (IRE) approach is probably the most common approach to comprehension. Typically, the teacher leads a discussions and asks questions to which a response is elicited and then evaluated by the teacher (and sometimes students). It is useful to test factual knowledge, or recall. It can also be used to attempt higher order questioning, but it rarely seems to in classrooms. I've written other posts on questioning (see HERE) that you might consider. But in this post I simply want to remind teachers and parents that testing comprehension doesn't do much to enhance or improve comprehension.

What do I mean by 'Text Talk'?

Above: Reading to my grandchildren. Lot's of Text Talk here

'Text Talk' means more than the teacher or parent talking to children about books, or asking them questions designed to elicit information. Rather, Text Talk requires the teacher or parent and children to have dialogue or conversation about reader understanding or meanings as they share a book, watch a film, observe some event and so on. It is used to tease out the knowledge and meaning that a text, image, movie or event offers. It's about tussling with, interpreting and even critiquing what the creator of the book or film has sought to communicate. 

Text Talk as an alternative to IRE questioning offers more space for children to share ideas and meanings, and offers them opportunities to grow understanding beyond a single idea or focus. The role is varied, but in essence, still simple and if led by the teacher involves:

a) Providing background information if necessary and appropriate.
b) Eliciting responses from readers to the text.
c) Suggesting alternative strategies for making meaning.
d) Sharing insights about reading and language.
e) Supporting and assessing student efforts to construct meaning.
g) Asking questions that expand knowledge and insight, rather than simply testing it. 
g) Introducing new forms of language and alternative purposes for reading.

Of course, while such discussions often need a facilitator, there is a place for students to fill this role. In this way different voices and ideas are sometimes heard and more students tend to engage rather than the most vocal few.

When teachers try to support comprehension, they can assume varying roles, ranging from some which are heavily teacher-centred and text dependent, to those that are child-centred and reader dependent. At times teachers will adopt a questioning role, but at other times they will provide support in the form of knowledge, alternative strategies etc. These roles are not mutually exclusive, nor is one approach right and the other wrong (although implementation of both can be good and poor). What is needed is balance and, above all, true conversation about books.

How should teachers talk to students about text?

One illustration of 'text talk' in action that I've used a lot is actually to be found in a children's novel 'The Great Gilly Hopkins' (Paterson, 1978). This story revolves around Gilly's struggles to adjust to life in yet another foster home, come to greater understanding of herself, and experience love for the first time. Within the story there is a delightful exchange between Gilly, Mrs Trotter (foster mother), Mr Randolph (a blind man who lives next door) and William Ernest, a younger mildly disabled foster child who lives also with Mrs Trotter.

After dinner one evening Mr Randolph asks Gilly to read some of Wordsworth's poetry to him. She reluctantly agrees, and finishes William Wordsworth's 'Ode on Intimations of Immortality from the Recollections of Childhood'. She sits down lost in her own inner anger and frustration. But Mr Randolph interrupts her thought:

'Well, what do you think of Mr Wordsworth, Miss Gilly?' asked Mr Randolph interrupting her angry thoughts.
'Stupid,' she said.....................A look of pain crossed his face. 'I suppose,' he said in his pinched, polite voice, 'in just one reading, one might....'
'Like here' - Gilly now felt forced to justify an opinion which she didn't in the least hold - 'like here at the end, "the meanest flower that blows". What in hell - what's that supposed to mean? Whoever heard of a "mean flower"?
Mr Randolph relaxed. 'The word mean has more than one definition, Miss Gilly. Here the poet is talking about humility, lowliness, not' - he laughed softly - 'not bad nature.'
Gilly flushed. 'I never saw a flower blow, either.'
'Dandelions.' They all turned to look at William Ernest, not only startled by the seldom-heard sound of his voice, but by the fact that all three had forgotten that he was even in the room. There he sat, cross-legged on the floor at the end of the couch, a near-sighted guru, blinking behind glasses.
'You hear that?' Trotter's voice boomed with triumph.
'Dandelions? Ain't that the smartest thing you ever heard? Ain't it?' W.E. ducked his head behind the cover of the couch arm.
'That is probably exactly the flower that Mr Wordsworth meant,' Mr Randolph said. 'Surely it is the lowliest flower of all.'
'Meanest flower there is,' agreed Trotter happily. 'And they sure do blow, just like William Ernest says. They blow all over the place.'

This extract provides a perfect example of people talking about text and in the process increasing shared knowledge of the world, and their grasp of language.  As well, it creates interest and appreciation of an unfamiliar and more complex work than they could encounter and understand alone. Within it we see:

• Mr Randolph providing access to a text beyond Gilly's experience.
• How interaction and dialogue between individual people can facilitate learning.
• How a 'teacher' can exercise quiet control through questioning and comment without stifling other voices and views (or just testing knowledge).
• That the 'teacher' is not the only person with knowledge, and that insight can come from unlikely places (William Ernest).
• Mr Randolph providing new knowledge in response to the Gilly's questions.
• The excitement of Trotter as she witnesses the insight of William Ernest, and her affirmation of support for him as a person and a learner.

Text Talk and a more dialogic approach to reading comprehension, results when a teacher or parent has the sensitivity and insight to spot the teachable moment, to grapple for the right question, to know just when to provide new knowledge, or when to probe and prompt children to grasp new things.It can be used incidentally, or as the focus for whole lessons or group activities.

Related Posts

'Guiding Children's Learning' HERE
 Other posts on comprehension HERE

Questions Matter! Helping Children (& Teachers) to Ask Good Ones

Children ask lots of questions. Sometimes their questions don’t move beyond repetitive “Why?” questions that can be annoying. But as well as helping them to learn, children's questions can also teach us a great deal about them and their learning. 

• Children’s questions usually show us how keen they are to learn – We see that there are gaps in their knowledge, new areas of interest, & things that puzzle them.
• Questions offer us a window into children’s learning – We discover what they are interested in, their learning styles, and how well they learn best.
• Questions are also one way that children try to take control of their own learning - As they ask questions they try to set an agenda and focus for their learning.
• Questions are a way for children to test their existing knowledge - They assess what they know and test their own hypotheses.

In short, questioning is a critical tool for children’s learning, and needs to be encouraged.

Above: Two of my grandchildren on a trip to the Australian Museum with me. A great stimulator of questions!

1. How can I ask better questions to stimulate learning?

Questioning is a vital tool for parents and teachers. We should try to ask a variety of questions, but NOT just to test learning. Rather, the best use of questions is when they are used to stimulate curiosity, problem solving, imagination, a quest for knowledge and as a result, learning. A good tool for asking better questions is a simple taxonomy. There are many ways to classify questions but Bloom's Taxonomy is still one of the most useful frameworks for helping us to get better at it. These include:

• Questions that test knowledge or seek basic recall of knowledge – “What colour is the frog?” “What did the first pig build his house from?”
• Questions that seek some level of interpretation – “How come Max's food was still hot?” “What was the story about?” “Why was Pinocchio sad?”
• Questions that require application of knowledge or problem solving – “Why didn’t the stepmother let Cinderella go to the ball?” “Why are there so many worms in this bit of the compost heap?”
• Questions that require analysis – “Can you show me all the animals that live in water?” “Why do you think the 3rd little pig got up before the time he told the wolf?” “Was Fern’s father mean to want to kill Wilbur?”
• Questions that require synthesis of knowledge – “So which animal sank the boat and how do you know?” “What do you think is going to happen when the 3rd Billy Goat crosses the bridge?”
• Questions that require some type of evaluation (opinion, values, critique, judgement) – “Was Max naughty? Should his mother have sent him to his room?”

You can find a more detailed overview of Bloom's categories here.

2. How can I encourage children to ask questions? 

As I have already said above, it is important for children to make good use of questions. To help them learn what good questions are you can model questioning for them. There are a variety of ways that you can do this.

• Ask questions of children that encourage learning and thinking
• Avoid over-using questions that just test learning, or that simply channel learning in directions that you want it to go.
• Try to give honest answers to children’s questions.
• Don’t be frightened to say “I don’t know”, but use this to demonstrate that not knowing the answer should lead to further learning “Let’s try to find out…”

In Australia we have a very funny advertisement for an Internet company that has a sequence of exchanges between a boy and his Dad. In one the boy is doing some research for school on China. He asks his Dad, “Dad, why did they build the Great Wall of China?”

His Dad suggests, “That was during the reign of Emperor Nasi Goreng - to keep the rabbits out – too many rabbits in China”.

I'll say it again, we should never be afraid to say, “I’m not sure, but I’ll think about it and let you know” (view the video HERE).

3. Here are 4 strategies to help children ask better questions
 
I wrote a whole book about comprehension strategies some years ago ('Teaching Reading Comprehension: Meaning Makers at Work') but here are just four question strategies that can be adapted for use with children of varied ages. In these examples, I'm assuming a grade 5 (10-11 year-olds).

a) Question frameworks

Make a chart that has a simple framework for questing complete with examples. The one above based on Bloom's Taxonomy is an example. An even simpler example is one developed by Nila Banton Smith and has proven helpful for many teachers:

Literal - These ask for details or facts you can find in the text, e.g. 'What was the rat's name in Charlotte's Web?'
Interpretive - These require the reader to supply meaning not directly stated, e.g. 'Why did Fern's father want to kill the runt pig?'
Critical - These require the reader to evaluate something, e.g. 'Do you think Templeton was honest?'
Creative - These require readers to go beyond the text, to express new ideas, solve a problem etc, e.g. 'What other words might Charlotte have used in her web to save Wilbur?'

Use the chart to discuss the varied type of questions we can ask about stories, use the categories at times when asking questions of the class, model the varied forms in group work, and use them for some set work. I offer further information on the above questioning strategy in my book 'Balancing the Basics'.

b) Visual Comprehension

You can use images, cartoons or a short video segment to stimulate and model questioning. The example below shows how a simple template for group work can be used to direct attention at images and generate good questions and insights (see my post on 'Visual Comprehension' HERE). The grade 4 students were looking at a series of newspaper images.
  

c) Talk-to-the-author
 
I developed this strategy many years ago and wrote about it in 'Teaching Comprehension: Meaning Makers at Work'. It is a very simple strategy designed to get young readers thinking about the implied author and meaning that is beyond the literal. The technique is applied like this:

Step 1 - prepare some passages of 300-1000 words in length (from magazines, school readers, newspapers etc), or identify a passage in a class reader or book.
Step 2 - demonstrate the technique using a smartboard and explain that the idea of this technique is to encourage us to ask questions that we might ask if we had the author in the room.
Step 3 - have your class help you with a second passage on the smartboard.  
Step 4 - provide a passage and ask them to read, making note of at least 6 questions they might ask of the author and also at least 4 comments they might offer.

d) Character Interview

I developed this strategy while working with gifted children, but it can be used in any primary classroom. It requires readers to select a character from a book and interview them. You can do this in several ways. The simplest, and perhaps the best way to start this strategy, is to ask children in pairs to come up with ten questions that they would ask of a character in a story if they had the chance. They can then act this out with one being the interviewer and the other the character.
An alternative to the above is to have one student prepare a series of questions to which another student, filling the role of the character, has to answer. Once again, it is helpful to give some guidance about the need to ask varied questions that include interpretive, critical and creative questions, not just literal ones.

Other posts on comprehension

You might like to have a look at the following posts on comprehension:

'Teaching and Supporting Children's Reading Comprehension' (HERE)
'Reading to Learn Using Text Sets' (HERE)
'Improving Comprehension: Sketch to Stretch' (HERE)
'Improving Comprehension: Map Making' (HERE)
'Improving Comprehension: Advance Organisers' (HERE)
'Emergent Comprehension in Children Under Five' (HERE)

The Shape of Text to Come: How Image & Text Work

Unfortunate placement can change everything! (Image T.Cairney)

Australian colleague Jon Callow has published an excellent book for teachers and teacher education students that considers the role that image plays in meaning making. He writes:

'Visual images are hard to ignore. They pervade our waking hours and sometimes our sleep. Even when we are focusing on a particular task, our eyes are taking in all sorts of visual cues, interpreting them, choosing to notice or ignore them. Even before the advent of paper, books and computer screens, the world for most people was a visual text.'

The book practices what it teaches by beautifully combining image and word to communicate its message. It opens with consideration of the way image and word work together, in fact, the way that the visual presentation of the word itself can change meaning. It then follows with an excellent chapter that offers a framework based on linguistic register (field, tenor & mode) for teachers to explore the multimodality of texts: What's happening? How do we interact and relate? How do design and layout build meaning?

A photo I took in Athens in 2000. There is intent in the photo & interplay of image & words

A photo I took in the UK

Chapter three considers how the visual is used to express actions, ideas, present characters and participants and show the circumstances. Chapter four considers how images can show feelings, attitudes, credibility and power. How does gaze to viewer change things in an image? How is authenticity and credibility communicated? Chapter five explores the use of visual resources and devices like design and layout for organising logical and cohesive texts. Finally, chapter six considers some practical principles for selecting texts and activities in the classroom.

Jon Callow and the publishers the Primary English Teaching Association Australia (PETAA) have done a wonderful job with this book. Its message is timely, the design is beautiful supporting and contributing to the message, and it combines good theory and practice in a way that teachers will find accessible, challenging and practical. It's available from PETAA.

Readers' Theatre: A great way to build fluency, expression & comprehension

What is Readers' Theatre?

Photo courtesy 'Ultimatetomball.com'

Readers' Theatre is a simple method that presents literature in a dramatic form.  Essentially, it involves oral dramatic reading in groups of one kind or another. You need nothing more than some scripts and a few basic hints about the implementation of the strategy. You can adapt the scripts from published stories or can obtain many scripts in book form, as reusable masters or simply by downloading hundreds that are free online (more on this below).

Readers Theatre allows repeated reading without monotony and boredom. We have known for some time that repeated reading improves fluency and comprehension. The work of LaBerge & Samuels (1974) on automaticity in reading was one of the earliest studies to present evidence for its effectiveness, but in recent times Young & Rasinski, (2009) and Vasinda & McLeod (2011) have reminded us of the benefits in helpful papers. Many teachers have found that the research is backed up with results in their classrooms. As a strategy it can be used regularly on a weekly basis (e.g. one day per week) or it can be used intensively for a block of 8-10 weeks. Teachers' experiences reflect the research findings that suggest that just 10 weeks of Readers' Theatre can lead to significant gains in reading fluency and comprehension.

Key Elements of the Strategy
 

#1 - Readers' Theatre does not require any props or costumes, although sometimes children will enjoy having one item to identify their part, such as a hat or simple object or piece of clothing.

#2 - Children can sit in a circle facing one another, sit on stools facing an audience, or secure their script on a clipboard and hold it in one hand allowing them to move their body and make basic gestures as they read dramatically.

#3 - Make sure that all participants have their own script that clearly identifies their character. You might also allow them to underline, add phrase marks, or circle punctuation as appropriate. You can allow children to share a character or you can have multiple narrators to allow greater participation.

#4 - Try to have varied parts, some more demanding, and others less demanding. This allows children of varying abilities (and even ages) to participate together.

#5 - Encourage children to practise their parts before trying to perform as a group.

#6 - A good pattern to use in introducing Readers' Theatre is to spread it over a week. On day 1 hand out the scripts to all children and explain how it works. Some teachers have the whole class working on the same material, but my preference is to see 2-3 groups used, allowing children of varying abilities to be 'stretched'. On day 2 take the groups one at a time for turns reading the script. This is effectively just round robin reading to help familiarise them with the script and story line. On days 3 and 4 allocate characters and practice. Allow children to try different parts in lesson 3 before making final choices. On day 5 perform the plays by each group for the whole class.

#7 - If you need more guidance Laurie Henry has four excellent lesson plans that show how Readers' Theatre can be introduced for the first time (here).

#8 - Don't forget that while literature is most commonly used for Readers' Theatre that poetry, history and biography also work well.

Readers' Theatre Scripts

As I said above, there are many resource books that contain scripts, but there are also hundreds of scripts available FREE and online. Here are some of the best resource sites:  

'Dr Young's Website' with almost 200 scripts (HERE)
'Teaching Heart' has a section on 'Reader's Theater Scripts and Plays' (HERE)
'Aaron Shepard's Free Scripts' (HERE)
'Timeless Teacher' site (HERE)
Some quirky science scripts on 'Adrian Bruce's Free Educational Resources' site (HERE)
'Stories to Grow By' Scripts (HERE)

One of the largest collections of Reader's Theatre scripts is at 'Dr Young's Website' where you'll find almost 200 scripts ready to use at school or at home. Some are simple like 'The Three Billy-Goats Gruff', while other are more complex like 'Sadako and the 1000 Paper Cranes'. There are some wonderful scripts here including 'Bad Case of Stripes', and classics like 'Chicken Little', 'Cinderella', 'Hansel and Gretel' and the 'Magic Porridge Pot'. Great scripts for children aged 6-10 years.

Aaron Shepard also has some good general tips on Readers' Theatre, including scripting, staging and reading (HERE).

How Drawing Can Improve Reading Comprehension

Every teacher wants to help children to read deeply, to grasp the richness of characterisation, the devices the author uses to create mood and tension, the intent and purpose of the writer and the language devices employed. We also want them to be moved by the text and able to reflect and respond critically to it. I've written lots of posts about comprehension, but in this one I want to revisit a previously discussed strategy that I've used with children aged 3 to 12 years and which I continue to see as one of the most powerful comprehension strategies I have used.

‘Sketch to Stretch’ is essentially a strategy that involves asking children to sketch in response to reading, hearing or even viewing a story. It requires them to use drawing to 'stretch' or enhance the meaning as they are reading. You can do it during and after reading and there is even a place for drawing as an ‘advance organizer’ before reading, but that’s another post. It can involve varied directions including:

Sketch what just happened.
Sketch what he/she [insert character name] did, lost, saw, heard etc.
Sketch how this [insert and event] makes you feel.
Sketch a picture that shows what might happen next.
Sketch a picture of [insert character].

The sketches on the left are from my book 'Teaching Reading Comprehension', and show just some of the responses from a group of 10 year-old children I had been teaching as part of a research project. I had interrupted a reading of the graphic novel ‘The Wedding Ghost’ (1985) written by Leon Garfield and illustrated by Charles Keeping.

Garfield's book is set in the late 19th century, in a small village in Hertfordshire in England. Like all of Garfield’s books it is rich in historical detail and a depth of language and mastery of storytelling that few children’s authors have ever achieved. The book tells the story of a young couple (Gillian and Jack) who are about to be married. It follows the normal sequence of events for a wedding in the 19th century, beginning with the invitation, preparations, then the rehearsal, present opening, more preparations and eventually the wedding.

Much of the story centres on a journey taken by Jack after he opens an unusual gift addressed only to him. This is the first moment of intrigue. Jack sets off armed with an old map sent by an unknown person, and the events and discoveries that lead ultimately to the dramatic events of the wedding and the outcome.

On the occasion that sketches above were drawn I had introduced the book by sharing the title, showing the cover and then explaining a little about the author. I told the class that Leon Garfield usually wrote what is known as historical fiction, and that this is the writing of fictional stories that are inspired by real events, setting and characters.

I interrupted my oral reading after a few minutes at a point where Jack is to open the mysterious present. This is just a few from the start of the story and the guests are gathered around watching the groom to be. People are making jokes and speculating about the gift and why it might just have his name on it.

I asked my students to quickly sketch what the gift might be. As you can see from the sample of the sketches, the responses varied greatly and included a ghost, map (an uncanny prediction), book, hourglass (suggesting time), a genie’s lamp letter and so. The sketches offer an insight into the level and depth of children’s comprehension of this complex picture book up to this point. As well, they illustrate that they are trying to make sense of what’s going on, where the story might go next and the extent to which they are picking up on the themes in Garfield’s book. As well, they show something of their literary history and the background knowledge that they bring to the reading and the sketching.

Even when children drew the same object there was great diversity. For example, a number of students drew ghosts probably basing their prediction upon the book's title (there had been nothing explicit in the text to suggest this); and yet, the drawings showed a diverse range of ghosts. One student drew a genie type 'ghost' emerging from lamps, several drew 'Casper like' ghosts and others drew ghosts more human in form. Each reflected different literary histories and background knowledge. Where they were at the point of the sketch involved each in a different literary journey and experience of this book.



Summing up

'Sketch to Stretch' as its name implies, stretches children’s understanding, and their knowledge of and appreciation of literature. It is enhanced of course by discussion and skilful teaching, as sketches are shared and responded to by students as well as the teacher. It isn't really an easy strategy; in fact it is a very sophisticated multimodal strategy that requires reading, discussion, response, drawing and sometimes writing in association with it. It can also be used with film in a similar way to the way I used it with the 'Wedding Ghost'.

One of the strengths of Sketch to Stretch and in fact drawing generally, is that it offers an alternative to word-based strategies for heightening engagement. Each response whether it is written, spoken, drawn or displayed in any form, helps children to read more ‘deeply’. The sketches also help us to understand how our children are empathizing with characters, evaluating the text, what they are predicting will come next, how they are reflecting upon earlier events, how they are connecting with life situations and so on. This offers us greater insight into our children’s comprehension as they read and it helps us to enrich the mental journey children are making as they read a book.

Related Resources

Previous posts on 'Comprehension' (here)

'Pathways to Literacy', Trevor H. Cairney (1995). This is a book I wrote and which has more material on reading comprehension and 'Sketch to Stretch'.