Lets Begin Level 2 Workbook with Online Practice 5th Edition
Learn how to level books the easy way for your classroom library, home library, or school library. This works for Fountas and Pinnell, DRA, Lexile, and more.
Last year we really enjoyed using All About Reading Pre-reading and Level 1. My daughter liked Level 1 so much that she begged me to get Level 2 for this year! I'm amazed with the
Here's a list of Accelerated Reader levels by color. Find AR books according to your child's reading level and purchase them for less here too!
In The Charisma Myth summary, we'll outline the 3 ingredients behind charisma, with specific strategies and tips to master and apply them.
The levels of higher consciousness comes from the ability to see and be with what is, for who you are. Not from changing anything.
Costa's levels of questioning feature three tiers of questioning designed to promote higher level thinking and inquiry.
Too often when I pull up a chair with teachers to confer with students during independent reading, we come to the same conclusion: With some stellar exceptions, the students aren’t doing a wh…
If you’re teaching a split class (multi-grade or combined class) and need advice on classroom management and organization, you’ve come to the right place! You’ll find practical tips from teachers who have taught in multi-level classrooms and combined classes at all different grade levels. Tips and tricks from teachers in combined class schools I’ve invited … Continued
We've started learning about the reading comprehension strategy, Inferring, this week. I L.O.V.E teaching inferring!! It's so fun to see the kids' gears turning and putting the pieces together to figure out what's really going on!
Learn how to shift your awareness through the six levels of higher consciousness as explained by world renowned spiritual teacher Mary O'Malley
Discovery what a contagonist is and why your story definately needs one. All the markings of a killer contagonist to take your story to the next level.
Norse Cosmology contains ‘nine homeworlds’ (Níu Heimar in Old Norse) in which all beings inhabit. These worlds are centered on the World Tree, Yggdrasil, which lies at the centre of the cosmos. E…
How we dress has a substantial spiritual impact on us. Choosing a proper wardrobe helps our spiritual practice and protects us from negative energies.
© Report abuse Family and Friends 2 Class Book 2nd Edition
Hi Friends… I hope this post finds you well and enjoying your summer break. I just returned home from a relaxing vacation in Punta Cana! It was a ton of fun and I really needed the R & R 🙂 I actually wrote this blog post on the plane there…BUT… the flight didn’t have any … Science FUN with Interactive Notebooks! Read More »
HI — I no longer update this page ~ but “MULTIPLE INTELLIGENCES in COMICS ED” is available at my NEW COMICS WORKSHOP site HERE >>… ~ Marek … AND ALSO: Psst! Tea…
Looking to improve your English language level? Our comprehensive guide will help you identify where you are & how to reach a higher CEFR level.
A LOOK AT LEXILES and Text Complexity While delivering PD yesterday, a teacher asked me, "What's a Lexile?" I wanted to say, "where have you been?" But the reality is--I commend her for not being afraid to ask what we think is such a basic question. We forget that some people have been so busy working in the trenches that they haven't been able to keep up. (They've been too busy administering tests, Student Learning Objective assessments, state exams and more.) So, listed below are the basics of LEXILES 101. Essential understandings: The Common Core has defined where "college and career ready" (CCR) students should be reading and it's a 1450 Lexile. Therefore, they scaffolded in reverse levels to graduate students at the appropriate level. These Lexile levels are more difficult than where typical students are reading. Lexile is an algorithm. It is a mathematical assessment of a linguistic product. Lexiles (and other readability statistics) are fallible. (For instance, it is not valid for prose or drama and is less valid for fiction in 1000+ Lexile range.) The parent organization to the CCSS, (CCSSO formally called the Governor’s convention) recently released a white paper verifying the validity of text complexity. Therefore, we have to pay attention to this essential shift to embrace "rigor" in reading. To read the recent white paper from the Council of Chief State School Officers click here. This article compares a number of algorithms and the summarizes text complexity for the CCSS. Text complexity formulas were meant for instructional purposes. Pleasure reading should be allowed at any level and this is validated in the Common Core, Appendix A, page 9, paragraph 1: It is very interesting, to compare the variables used among the six different "approved" complexity measures. Metametrics (Lexile) uses the simplest measure of only word count and sentence length. (Lexile.com provides a search tool for books, but many are missing.) Other companies including Accelerated Reader (ATOS) and Pearson, DRP, etc... add additional measures of review such as punctuation, a 100,000-word vocabulary match, and more. Therefore, we would conclude that the ratings of the latter companies would be more accurate picture of complexity and appropriateness. This quote from page 17 of the white paper puts it diplomatically: "There is no clear "gold standard" measure of text difficulty against which to compare the various metrics. Instead, we compared each metric against various reference measures based on grade level and student comprehension data for five sets of passages gathered for the study. These are defined and discussed in the sections following. Although there are limitations in the validity of these indicators as measures of text difficulty, the variety in their construction allows us to observe the robustness of the metrics and consider how different reference measures might affect their performance." Be sure to note that Microsoft Word's Flesch-Kincaid measure has also been proven valid. This picture shows how to "turn on" readability statistics within Word: Readability statistics, is only one characteristic to examine for instructional materials. Please see the charts below to identify correct grade levels and Lexiles - or level of complexity. The Common Core has asked teachers to evaluate classroom materials for quality as well as quantity. Complexity is only one piece of the puzzle. In addition, a teacher, librarian, or educator, has to pay attention to: • Complexity - Lexile, vocabulary • Qualitative measures -value • Reader and the task -is there enough in the text to foster good discussion, value -added assignments, and begin a knowledge exploration. How can I use this novel or passage to foster critical thinking skills? Every reading program (F and P, AR, Reading Counts, etc.) uses as its baseline, some metric to measure difficulty or "readability". Here is a chart by Perma-bound, which correlates the different reading measures:
Bloom’s Taxonomy Cheat Sheet ❓🤔💡 (by @WCPSS) #edchat #education #elearning #edtech #engchat #mathchat #satchat #ukedchat
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copyright 2008 by Gary L. Pullman The four primary elements of fiction are plot, character, setting, and theme. Associated with most of these is a cluster of related components: plot is divisible into exposition, inciting moment, rising action, turning point, falling action, moment of final suspense, and (depending upon whether the narrative is a comedy or a tragedy) resolution or catastrophe. Of course, all plots are also derived from, and developed upon, conflict. Likewise, setting is not merely a matter of a specific time and place, but it also entails the particular cultural milieu that exists in this particular time and place. Victorian London, for example, is quite different than nineteenth-century Tombstone, Arizona. Similarly, character involves motivation, various personality traits, and, usually, interrelationships among several fictional persons. Only theme is simple, rather than complex, having no subordinate constituents. Since any of these four elements is a potential starting point for a story, a writer may generate an idea for a story by considering plot, character, setting, or theme. Some writers, among them both C. S. Lewis and Stephen King, have been inspired by mental images of characters in specific situations or settings. C. S. Lewis specified the image of a fawn, or satyr, carrying an armload of parcels, as the mental picture that launched The Chronicles of Narnia, and Storm of the Century, King says, began with his imagining a strange man incarcerated in a jail cell. The placement of a character in a particular situation or setting is not a story, of course, but it is (possibly) the beginning of a story that could start by considering an interesting character. It is the starting point from which a series of questions can begin to be asked. The choice of a protagonist or an antagonist can also suggest, or even determine, the story’s counterpart as well. Once William Peter Blatty decided upon a demon—maybe Satan himself—as his story’s antagonist, an exorcist became the most logical choice of a protagonist. (Although The Exorcist is said to be based upon a true story, Blatty, as an author of fiction was free to select a character other than a priest as his protagonist, had he wished to do so; fact does not determine fiction, even when the latter is based upon the former.) Dean Koontz says he begins many of his stories by involving a character in a bizarre situation that compels him or her to react to the incidents that ensue therefrom. Many of Jesus’ parables begin as answers to his disciples’ questions concerning the meaning of the law or of right conduct in regard to particular situations. They are stories told, in other words, to impart wisdom. Their purpose is not primarily to entertain, but to instruct. Therefore, they originate as a means for expressing, in concrete terms, abstract ideas or values. They are theme-driven. The Parable of the Prodigal Son illustrates the meaning of forgiveness. The Parable of the Good Samaritan shows the meaning of loving one’s neighbor. The Parable of the Mustard Seed shows the meaning of faith. Horror stories, as cautionary tales, also often drive home a theme. Beowulf teaches the destructive and deadly effects of intertribal vengeance. The Shining shows the terrible consequences of self-absorption, self-indulgence, and child and spousal abuse. Cujo is not only about a rabid dog, but also about the devastating effects of adultery upon one’s marriage and family. Sometimes, a setting will suggest a story. It is no accident that many horror stories take place in isolated environments, total institutions, or confining spaces. What other monster but the strange troglodytes could have inhabited the cavern into which, as if into Satan’s maw, the female spelunkers enter in The Descent? What better foe could beachgoers encounter in the finny deep than the gargantuan white shark with which Peter Benchley confronts his readers in Jaws? Likewise, the rain forest in which Special Forces soldiers first encounter the camouflaged extraterrestrial in Predator fairly cries out for such a monster as its antagonist. Edgar Allan Poe’s essay, "The Philosophy of Composition," is the quintessential document, perhaps, alongside Aristotle’s Poetics, for the point of view that it is the plot that matters more than other elements (a point not always conceded by other authorities). Poe argued that a writer should commence not at the beginning of his or her story but, on the contrary, with its end, working backward in determining the sequence of actions and other details that will best lead, inevitably, toward the narrative’s climactic finale, using his own narrative poem The Raven as an example of the process. Many writers share Aristotle’s and Poe’s respect for plotting, so much so that they find themselves at a loss to put pen to paper (or, more commonly, finger to keyboard) until they have plotted the whole tale, from “A” to “Z.” (Others, such as Mark Twain, write the same way that the Who’s “Pinball Wizard” plays his game, blindly, as it were, purely “by inspiration.”) The fact that a writer can generate a story from any of the four primary elements of fiction quadruples his or her opportunities for inspiration. It does more than this, however: it also provides the writer with a way of considering, and deciding, which element he or she wants to emphasize. The author must consider whether the story highlights an individual’s actions in the face of fate (plot); personal limitations, abilities, and will (character); the effects of time, place, and culture on the understanding and development of character and the limitations imposed upon one by his or her environment (setting); or the lesson that the main character learns as a result of his or her experience, as recounted in the story (theme). The choice that the writer makes at this initial point will affect the story as a whole and how the reader understands the tale. In this sense, four possible stories confront the writer, and he or she must choose which of the four to tell. For horror story writers, Poe suggests a solution to this dilemma: pick the element that will best sustain and heighten fear and trembling. After all, that’s what horror is all about.
Runes will shed light on possible outcomes and clarify aspects of a situation. By interpreting the runes correctly they will aid you in making decisions.
A solid grasp on plot and structure will help you add suspense to your stories, and grip your readers until the end.
