Every week, this ongoing class will focus on a different poem. We will enjoy listening to it, discussing it and reflecting on it. We will draw out the great ideas expressed in classic poetry and the amazing techniques used by poets. Finally, there will be a guided writing activity so that students can develop their ability to write about poetry at an Advanced Placement level.
Whilst each lesson stands alone, ongoing attendance will mean that students will develop a wide-ranging knowledge and appreciation of poetry, which will be an excellent supplement to an Advanced Placement English Literature course, or alternatively a great preparation for those who intend to study literature at college level.
Every week, this ongoing class will focus on a different poem. We will enjoy listening to it, discussing it and reflecting on it. We will draw out the great ideas expressed in classic poetry and the amazing techniques used by poets. Whilst each lesson stands alone, ongoing attendance will mean that students will develop a wide-ranging knowledge and appreciation of poetry.
C. S. Lewis’ friend and fellow writer, Roger Lancelyn Green, asked him how a lamppost ended up in the middle of a wood in ‘The Lion, the Witch and the Wardrobe’. This was the starting point for ‘The Magician’s Nephew’, which gives a fascinating insight into how the travels between Narnia and our world began, and even how Narnia itself came into existence.
In this eight-week course, we will enjoy and appreciate Lewis’ exciting and inspiring storytelling skills through a mixture of class discussion and writing activities, as well as plenty of quick quizzes to help the knowledge stick and build confidence.
Find out more about this and other online courses I am offering here:
A reader got in touch to ask whether I would be able to offer my online literature courses to adults. I thought that was a great idea! I’ve now added this to my website. You can find details about my first offering, on Macbeth, here:
I’ve just launched a new online course on C. S. Lewis’ perennially popular classic, The Lion, the Witch and the Wardrobe, aimed at 9-12 year old readers. The course runs over eight weeks, with one lesson per week. There is also a taster lesson available for this course. Follow the links below to find out more.
I’ve just launched a new online course on Tolkien’s miniature masterpiece, The Hobbit, aimed at 9-12 year old readers. The course runs over ten weeks, with one lesson per week. There is also a taster lesson available for this course. Follow the links below to find out more.
I’m excited to announce that I’m starting a new adventure as a teacher with the 2021-2022 academic year, which is completely freelance. I have begun offering courses on Outschool, and as part of this new project, I am building a new website, which you can find here:
The best way to understand proper use of data and assessment is to look at an intricately designed course that makes use of it faultlessly. In other words, look at a Direct Instruction course. Within Expressive Writing, for example, there is a lot of data generated within each lesson, but it is not the teacher who makes use of it; it is the students. In other words, the students get the chance to self-correct when they find out during the ‘Check Your Work’ section of an activity that they have got some of it wrong. But there is no action for the teacher here, other than circulating and checking that the students are in fact self-correcting. There is no instruction in the DI script for the teacher to gather data about how many mistakes students have made and re-do the activity if there are too many. Evidently, the authors of the programme have judged that this is not a useful time for gathering that sort of data. The focus here is not on data-gathering but on repeated practice with rapid feedback.
The authors of Expressive Writing have judged that the time for gathering data about mastery and reteaching where necessary is not lesson by lesson, but at regular, well-spaced intervals. It is done through the mastery tests, which are every 10-15 lessons or so. It is at this point that the teacher makes decisions about what to reteach based on specifically identified gaps in student knowledge. These are the interim assessments of the programme. But they are not designed to look like any final assessment, such as American AP exams or English GCSEs. They don’t even look like the final mastery test at the end of Expressive Writing. Instead, these interim assessments are precisely designed to test the components of writing that the programme has taught up to that point.
What we have here is a highly effective programme for improving the accuracy and effectiveness of students’ writing that looks nothing like an English Language GCSE or an American AP exam. But there is no doubt that it will help students do better in such exams, because it will mean that they are able to punctuate correctly and write clearly, keeping control of their tense. It will mean that they are able to lay out speech correctly. It will mean that they are able to structure their writing effectively into paragraphs. It is courses like this which are the best antidote to the tedious and ineffective method that has become so common in England and America, whereby teachers believe that the best way to improve performance in summative tests is by repeatedly doing mocked-up versions of such tests.
DI courses are also an excellent remedy for the idea that teachers have to be continually gathering data and acting on it in every lesson. When a course is well designed with repeated practice of multiple strands built into it, there is no need for this sort of frenetic data gathering. It may well be that some students are getting some things wrong some of the time, but instead of trying to act on that in the moment by adjusting our lesson plan on the fly, we should have a robustly designed programme of instruction which takes this into account by building in lots of practice along with rapid feedback and opportunities for student self-correction.
And even when all students are getting everything right, that doesn’t necessarily mean it’s time to move on, because a well-designed programme of instruction will continue practice beyond this point in order to make things really stick through overlearning.
There are no DI programmes available for much of what we need to teach. For example, there is no DI English literature course. But we should be looking to DI as the gold standard for how to design our own programmes of instruction. Whatever question we have about designing instructional sequences — whether it is how often to assess, or how to design assessments, or how to analyse assessments, or how much practice students need — we will find answers if we carefully study the masters at work by considering how these things are done by the authors of DI programmes.