Teatro de lectores | Readers’ Theatre

~Thomas DeVere Wolsey

Available in English/inglés and adapted from: 

Lapp, D., Fisher, D., & Wolsey, T. D. (2009).  Literacy growth for every child: Differentiated small-group instruction K-6. New York, NY: Guilford Publishers.

Un teatro para lectores es una actuación informal en la que los estudiantes en grupos pequeños leen un guion en voz alta. El guion puede ser preparado por adelantado por el maestro o los estudiantes pueden crear sus propios guiones. El ensayo les permite a los estudiantes practicar ante una audiencia con sus compañeros de clase. En el proceso, vuelven a leer el texto muchas veces y aumentan su fluidez de lectura.

readers' theatre

Teachers in Guatemala City demonstrate readers’ theatre.

Los puntos fuertes del lenguaje y la lectura se desarrollan a través del teatro de lectura cuando pequeños grupos de estudiantes vuelven a leer los textos en su nivel de lectura independiente y los transforman en un guion de teatro de lectores que pueden representar más tarde para sus compañeros. La relectura, que es importante para la comprensión, también proporciona la seguridad de que los estudiantes hablen públicamente durante la actuación. Todos los estudiantes, incluidos aquellos que son muy competentes, aquellos a quienes todavía les cuesta alcanzar la competencia, y los que son estudiantes de un segundo idioma tendrán un crecimiento positivo a medida que participan en las representaciones teatrales de los lectores (Goodman, 1978). En estos grupos de colaboración, todos los niños aumentan su fluidez en la lectura y el habla al compartir textos con sus compañeros (Martinez, Roser, & Strecker, 1998/1999). Estas actuaciones se pueden compartir dentro de su clase y también con otras clases. Un beneficio para la clase que se visita es que una vez que los oyentes están expuestos a nuevos libros, a menudo claman por leerlos

El énfasis en el teatro de lectores está en apoyar el crecimiento de cada niño en fluidez de lectura y lenguaje oral. Esto sucede naturalmente si los estudiantes, con la ayuda del maestro, seleccionan sus roles y tienen tiempos de relectura y de práctica adecuados. La meta del maestro debe que todos los estudiantes trabajen dentro de sus niveles de comodidad y competencia y que tengan experiencias exitosas. Todo el grupo también puede discutir cómo actuar con el uso de títeres, personajes de fieltro o programas de animación gráfica.

Las ventajas del Teatro de lectores incluyen*:

  • Promoción de la fluidez, incluida la expresión o prosodia
  • Brinda a los estudiantes la oportunidad de elegir, ensayar y presentar guiones cortos de tipo obra ante los compañeros de clase y otras personas sin el estrés de memorizar líneas o usar disfraces o accesorios elaborados
  • Proporciona oportunidades de lectura repetida a medida que los estudiantes practican antes de la actuación
  • Maximiza el compromiso de los estudiantes ya que cada estudiante en el grupo tiene un rol.
  • Aparece menos desalentador que otros textos ya que un alumno lee una parte en lugar de todo el texto solo
  • Se adapta a una amplia gama de habilidades con roles o partes de nivel de dificultad variado.

Los profesores:

  • Seleccionan los textos. Los textos narrativos con mucho diálogo funcionan mejor.
  • Preparan los guiones (las fuentes incluyen guiones preparados comercialmente, sitios web y guiones escritos por el docente o los alumnos); resaltan las partes específicas en los guiones de los estudiantes
  • Modelan leyendo el texto en voz alta
  • Asignan los estudiantes a grupos
  • Proporcionan retroalimentación y monitorean a medida que los grupos pequeños practican

Los estudiantes:

  • Leen el guion en silencio o con un compañero
  • Vuelven a leer en grupo con los estudiantes, leyendo diferentes roles, en turnos
  • Negocian y asignan roles
  • Leen y releen de forma individual, centrándose en la parte o rol asignado (pueden practicar fuera de la escuela y en casa)
  • Practica la relectura del guion con otros en grupo
  • Hacen etiquetas, tarjetas o marionetas que los estudiantes sostienen para identificar a su personaje
  • Deciden dónde se colocarán los estudiantes durante la actuación
  • Actúan con el guion en la mano

El teatro de lectores no es una gran producción y no es necesario que los estudiantes memoricen líneas, usen un micrófono o se pongan disfraces.

* Adaptado de los materiales proporcionados por la Universidad de Texas en Austin. https://buildingrti.utexas.org/instructional-materials/fluency-fourth-grade

Recursos y ejemplos:

Teatro de lectores- 02 La Honestidad

https://www.kinderbilingue.com/collections/reading-activities/products/teatro-de-lectores-01-la-responsabilidad-readers-theater-in-spanish?variant=39500372300

University of Texas at Austin Resources in Spanish and English

https://buildingrti.utexas.org/instructional-materials/fluency-spanish-readers-theater-scripts

Tareas del teatro de lectores

Readers’ Theatre Tasks en-es (descargar PDF)

El coyote y el conejo

http://bibliotecadigital.ilce.edu.mx/Colecciones/index.php?clave=huasteca&pag=7

Ejemplos

https://youtu.be/-2lyNbteztk

https://youtu.be/9i88od41w0s

https://youtu.be/bgd0ieZx4RU

Referencias

Goodman, J. A. (1978).  Teaching the total language with readers’ theatre.  [ERIC document number ED 191321].

Martinez, M., Roser, N. L., & Strecker, S. (1998/1999). I never thought I could be a star: A readers’ theatre ticket to fluency. The Reading Teacher, 52, 326-333.

 

 

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Readers’ Theatre | Teatro de lectores

by Thomas DeVere Wolsey

This post is available in Spanish/español.

Adapted from

Lapp, D., Fisher, D., & Wolsey, T. D. (2009).  Literacy growth for every child: Differentiated small-group instruction K-6. New York, NY: Guilford Publishers.

A readers’ theatre is an informal performance as students in small groups read a script aloud.  The script may be prepared in advance by the teacher or the students may create their own scripts from narrative texts they have read. Rehearsal permits students to practice in advance for an audience of their classmates. In the process, they reread the text many times and increase their reading fluency.  In this post, a rationale and online resources are shared.

Readers' Theatre Teatro de lectores

Screencapture source: https://youtu.be/bgd0ieZx4RU

Language and reading strengths are developed through reader’s theatre as small groups of students re-read texts at their independent reading level and transform them into a readers’ theater script that they can perform at a later time for their classmates.  Rereading, which is important for comprehension, also provides the security for students to speak publicly during the performance. All students including those who are very proficient, those who are struggling toward proficiency, and second language learners will have positive growth as they engage in readers theatre performances. In these collaborative groups, all children increase their reading and speaking fluency as they share texts with their peers. These performances can be shared within your class and also with other classes. A benefit for the class being visited is that once listeners are exposed to new books they often clamor to read them.

The emphasis in readers’ theatre is on supporting each child’s growth in reading fluency and oral language. This happens naturally if students, with the aid of the teacher, select their roles and have adequate rereading and practice time. The teacher’s goal should be that all students work within their comfort and proficiency levels and have successful experiences. The entire group can also discuss how to perform it themselves with the use of puppets, felt board characters, or graphic animation programs.

The advantages of Readers’ Theatre include*:

  • Promotes fluency, including expression or prosody
  • Affords students the opportunity to choose, rehearse, and present short play-like scripts to classmates and others without the stress of memorizing lines or using elaborate costumes and props
  • Provides opportunities for repeated reading as students practice before the performance
  • Maximizes students’ engagement as every student in the group has a part
  • Appears less daunting than other texts since a student reads one part rather than the entire text alone
  • Accommodates a wide range of reading abilities with roles or parts of varying difficulty

Teachers:

  • Select texts. Narrative texts with much dialog work best.
  • Prepare scripts (sources include commercially prepared scripts, Web sites, and scripts written by teacher or students); highlight specific parts on students’ scripts
  • Model by reading text aloud
  • Assign students to groups
  • Provide feedback and monitor as small groups practice

Students:

  • Read script silently or with a partner
  • Reread in group with students taking turns reading different roles
  • Negotiate and assign roles or parts
  • Read and reread individually, focusing on assigned part or role (can practice outside of school and at home)
  • Practice rereading script with others in group
  • Make labels, cards, or puppets that students hold to identify their character
  • Decide where students will be positioned during performance
  • Perform with script in hand

Readers’ Theatre is not a big production, and students are not required to memorize lines, use a microphone, or wear costumes.

*Adapted from materials provided by the University of Texas at Austin. https://buildingrti.utexas.org/instructional-materials/fluency-fourth-grade

Resources and examples:

Teatro de lectores

https://www.kinderbilingue.com/collections/reading-activities/products/teatro-de-lectores-01-la-responsabilidad-readers-theater-in-spanish?variant=39500372300

University of Texas at Austin Resources in Spanish and English

https://buildingrti.utexas.org/instructional-materials/fluency-spanish-readers-theater-scripts

Readers’ Theatre Tasks en-es (download PDF)

El coyote y el conejo

http://bibliotecadigital.ilce.edu.mx/Colecciones/index.php?clave=huasteca&pag=7

Examples on YouTube:

https://youtu.be/-2lyNbteztk

https://youtu.be/9i88od41w0s

https://youtu.be/bgd0ieZx4RU

Webwatch: Teach the Books You Love

Guest post by Literacy Beat friend Susan Lenski at Portland State University

Teach the Books You Love (http://ttbyl.net) is a free online database of books for grades 5 through 12 that are aligned to the CCSS. With many states and districts adopting the Common Core State Standards, it’s becoming harder to teach the books that you love, or books that are not a part of the public school canon. Many school districts only want teachers to teach with books recommended by the Common Core, and often they require in-depth analysis and alignment to teach anything else. Ttbyl.net is a collection of books that have all been aligned with the Common Core. All of the books have qualitative and quantitative text complexity measures listed, along with summaries, rationale for teaching, suggested CCSS, and even some teacher resources. Teachers can then match books to the needs of their students and come up with vibrant new ideas for their curriculum, and justify it to their administration.

TTBYL

Teach the Books You Love

Picture Book Abundance: Will It Ever Happen?

A guest post by Mark Condon

Can you envision book abundance, worldwide?

Given the importance of good picture books to beginning readers, the goal of establishing picture book “abundance” is one that everyone can endorse. Supporting it as a cause and making it happen, however, are two very different things. Do the math. There are over 7 billion people in the world. Perhaps 10% of those people are birth to age 8, the ages for which picture books tend to be most important. That’s 700 million children. Now, many of those have plenty of picture books, but more of them do not.

However, for the sake of conversation let’s say 350 million children who need access to abundant picture books don’t have it.

So, how many picture books qualify as “abundant” enough to support each of those kids in learning even basic reading ability? A convenient and defensible number is 100. That comes from Evans and colleagues(2010) who discuss what they call “family scholarly culture” a terrific concept that describes families that read and discuss books together. In their longitudinal study of 27 countries with data covering 20 years, Evans et al display graphics indicating that almost regardless of parent education or income, the number of books in the home is the best predictor of school success, and each book added to the home, up to just about 100 seems to increase that prospect of academic advancement. So, 100 books is certainly abundant enough.

So let’s see, 350,000,000 kids x 100 books, that’s 35 billion books needed. Oh, and that number increases each year with the addition of another 4 million or so new children added to the world’s population. Sadly, the Bill and Melinda Gates Foundation doesn’t have enough money to make even a small dent in that, even if they could get books (written, edited, printed, bound, stored, and transported) at a cost of $1 apiece, they then have to get the books into those children’s homes.

So, let’s face facts, book abundance – 100 books for every child in the world – will never happen… WAIT!…or will it?

The Digital Solution

The alternative solution to the one I posed above of course is digital books. By leveraging the rapidly expanding digital network system around the world and then populating a library with 100+ creative-commons copyrighted, mostly non-fiction (the intention being to create generally universally interesting content) picture books and then translating and narrating those books in nearly 7000 languages (I know, I know, but stay with me), it could work.

Look at the Global Book Publication Matrix, below.

Global Publishing Matrix

Global Publishing Matrix

Digital books can be created that are offered as a Global Public Good, i.e., A resource that is free for all (no login) and inexhaustible (digital).  That’s the goal of Unite for Literacy, a small “social enterprise” company in Colorado that has a free library that went online in August 2013.


Unite for Literacy to date actually has more than 100 books available in a free online library (www.UniteforLiteracy.com) and each one offers English text and is narrated in up to 18 world and indigenous languages. With the current languages, nearly half the families around the world can access the library and read the English book, listen to the English narration and/or listen to a book narration by a fluent native speaker of their home languages.

Plans include adding books created in collaboration with the content experts at local cultural institutions (museums, galleries, performance groups, sports teams, etc.) and of course adding more languages. Japanese was just added, Turkish and Slovak are on the way and Navajo and Cherokee are in the works. Also, when time and budget permit the books will be readable in the all of the world’s languages of instruction (about 200 by our count) as well.

Unite for Literacy is supported by generous corporate and organizational sponsors, all committed to world literacy and actively advocating for literacy in their communities. It is further being promoted by a growing number of educators, librarians and advocacy groups that take the online library link out to the communities that they serve. Sponsors are publicly recognized in the communities that they serve and on the companies’ websites, as well as in the library. Sponsorships are available for providing existing books for new language communities, for underwriting book authors to create new titles or to advocate for particular books with which they wish to be associated. Community literacy advocates take advantage of additional web resources to promote family readership and the accessing of books at home and school.

Digital Book Readers

Digital Books from Unite for Literacy

Free, digital, narrated, picture books are the game changer. There are efforts well under way as this is written that seek to create inexpensive smartphones and free or nominally priced mobile Internet access around the world. Those efforts, backed by the titans of digital communication, will in a very few years put the riches of the Internet within reach of even those living in poverty. When these digital books become eventually available in all 200+ world languages of instruction and those texts are accompanied by on-demand narrations in the almost 7000 indigenous and immigrant mother tongue languages found in homes that send their children to those instructional settings, then in fact worldwide picture book abundance will be a reality.

Unite for Literacy is working to make a contribution to that effort.

Reference:

Evans, M., Kelley, J., Sikorac, J., & Treimand, D. (2010). Family scholarly culture and educational success: Books and schooling in 27 nations.  Research in Social Stratification and Mobility, 28, pp. 171–197.

All images in this post courtesy of Unite for Literacy.

Goodnight, iPad!

by Dana L.  Grisham

Goodnight, Moon, by Margaret Wise Brown (1947) with pictures by Clement Hurd, is a classic piece of children’s literature often given as a baby shower present in board book form. According to Wikipedia, it was one of the “Top 100 Picture Books” of all time in a 2012 poll by School Library Journal.

The story is about a little bunny who has been tucked in bed and is about to go to sleep. He looks around the room at pictures–a cow jumping over the moon, three little bears, and at real animals such as two little kittens and a mouse. He also looks at a quiet old lady who was whispering “hush.”  The little bunny says “goodnight” to the room; to the moon, the cow, the light and the red balloon (a favorite of my own granddaughters) and the book ends with a goodnight to “noises everywhere.”

Goodnight, Moon

Goodnight, Moon

Let us fast forward to 2011. A new book makes the scene, called, Goodnight, iPad, by Ann Droyd (surely a pseudonym)*, published by Blue Rider Press (Penguin Group).

Goodnight, iPad

Goodnight, iPad

 

In this book, instead of a little old lady saying “hush,” there is a little old lady trying to sleep. Why can’t she sleep? Because in a “bright buzzing room” there are a number of electronic devices being use by critters vaguely resembling bunnies (think baby “minions”) who are wide awake. Even the fireplace is a giant TV with a “virtual” fire. Eminem is singing as a ringtone for a mobile phone and there are taps that signal text messages “with no end.” The old lady has had it! She gathers up their devices and throws them out the window,  saying “Goodnight” to each of them, while ignoring some pretty dramatic protests from the bunnies/minions. She tucks them all in bed and now she can, at last, sleep in peace and quiet.

The last panel is one of the little guys in bed with a book, a flashlight, a cat, and a mouse. What are they reading? Goodnight, Moon, of course!

Last panel

Last panel

 What can we take away from a comparison of these two iconic books?

First, our lives have changed irretrievably in terms of everyday activities. Technology, which Don Leu described as “deictic” or constantly changing over a decade ago (Leu, 2000), has unmistakably gathered momentum and may be seen as revolutionary rather than evolutionary.

Second, EVERYONE, virtually without exception, around the entire planet, is involved in the revolution. Mobile devices, tablets, Youtube, social networking sites, e-games, and LCD HDTVs, ringtones and texting, Twitter, and so on….digital literacies!

Third, we have technophobes who gloomily predict the end of civilization as we know it (Goodnight, iPad seems to fit) contrasted with technogeeks, who want more changes faster and see the resulting energy as a renaissance and a leveling of society (Gorbis, 2013). Who do we believe?

Finally, what does this mean to education? Kevin Leander (2009)  has characterized the responses that educators (and others) have to the changes we are experiencing. He notes four types of response to digital literacies: (1) resistance or steadfast adherence to print-based literacies; (2) replacement, or discounting of print-based literacies; (3) return, or valuing of digital literacies only as they support print literacies; and (4) remediation, or the attempt to redefine  literacy learning through adoption of a “parallel” pedagogy that values both print and digital literacies. I was trying to decide my own stance on “literacies” and found myself in the remediation phase. Interesting that, for the first time in my life, I am in remediation!

But literacies are social as well as academic and the popularization of online communication has brought that further into focus. Are we headed for an era when so-called “school literacies” are denigrated to the resistance phase?

Needless to say, I don’t have the answers, but I do have some observations on how literacy proceeds in the early years and how technology is involved in that development. The observations are of my own children and grandchildren and while that is not at all scientific, there are some semi-respectable precedents for it (think Skinner box).

Example 1.

When my son, who is a pilot in the Army National Guard, was sent on a second tour of duty in Afghanistan in 2012, he left behind his wife and a two-week old baby son. This tour of Afghanistan differed greatly from his first tour in 2003, when letters (pen and paper) and emails were the extent of communication. Once, when a Blackhawk helicopter crashed, he was allowed to phone home to tell his parents that it did not involve him. That was revolutionary at the time.

On this tour, he was able to purchase reliable Internet time in his quarters on the base in Bagram and Apple technology allowed him to Facetime almost daily with his wife. In addition, they purchased a camera system that worked with iPad and iPhone and he was able to observe the baby in his crib. In terms of more traditional literacies and technology, he purchased a book about dads and babies and audio-recorded his voice so that he could “read” to his son while deployed. Attached is a picture of the baby listening to his father “read” the book.

Listening to Dad read.

Listening to Dad read.

Happily, my son came home safely and now reads “real” books to his son, including his favorite Red Truck (Hamilton, 2008). Can Red Truck make it up the hill? Red Truck can! Red Truck will! ZOOOM! Red truck goes to the rescue and when my son reads to my grandson, they make the sounds dramatically together. Incidentally, Red Truck is available as an ebook.

Zooom!

Zooom!

Example 2.

I also have twin granddaughters who are now four and a half. In my September 2012 Literacy Beat blog, I shared a picture entitled “Digital Morning,” which I’m reposting below. You can see Dad on his laptop, and the twins–one on an iPad and one on an iPhone.

Digital Morning

Digital Morning

The twins love to read print books, but they also love to explore literacy online.

Both of them LOVE the iPad and use it for lots of things, such as puzzles, art, coloring, and literacy learning.  Recently, they have been exploring two Apps, Reading Ravens (http://www.readingraven.com/ ) and Hooked on Phonics (https://itunes.apple.com/us/app/hooked-on-phonics-learn-to/id588868907?mt=8).  Both provide experiences with phonological awareness, with phonics, with word patterns, tracing letters on the screen, and with beginning reading. Both are interactive in different ways. Both take very different paths to the same end. Both are very engaging to my four-year-old granddaughters.  In my next post, I will explore these two Apps and provide a list of resources for early literacy development.

I began this column with the book Goodnight, iPad because iPads play an increasing role in literacy these days. One resource that I have found valuable is Using Apps for Learning with Literacy Across the Curriculum, by Rick Beach and David O’Brien (2012). In a review of the ebook, Don Leu termed the increasing use of iPads as “…perhaps the most profound change taking place in literacy and learning today” (p. ii). Naturally, I downloaded this book to my iPad and it offers a useful framework for thinking about how to employ the apps across grade levels and content/discipline areas. They include an Apps for Learning with Literacy website and a resource Wiki for readers. Last each of 12 chapters provides a wealth of resources for educators. Enjoy!

* Actually by David Milgrim, an author, illustrator, and cartoonist, who is “very interested in how we got to be who we are.” Check him out at http://www.davidmilgrim.com.

References

Beach, R. & O’Brien, D. (2012). Using apps for learning with literacy acros the curriculum.

Gorbis, M. (2013). The nature of the future: Dispatches from the socialstructed world. New York: Free Press.

Leander, K. (2009). Composing with old and new media: Toward a parallel pedagogy. In V. Carringtron and M. Robinson (Eds.), Digital literacies: Social Learning and classroom practices (pp. 147-162). Los Angeles, CA: Sage.

Leu, D. J., Jr.  (2000). Literacy and technology: Deictic consequences for literacy education in an information age. In M. L. Kamil, P. Mosenthal, P.D. Pearson, and R. Barr (Eds.), Handbook of Reading Research, (Vol. 3, pp. 743-770). Mahwah, NJ: Erlbaum.

UDL Studio: Deepening response to literature

UDL Studio, a free digital tool (funded largely by the Carnegie foundation) has recently been released by CAST. UDL studio is underpinned by the principles of Universal Design for Learning . UDL Studio  joins other successful digital tools created by CAST. See for example my blog post on LEA Meets Book Builder. UDL Studio enables anyone to create media-rich resources, to actively engage and motivate students, and to respond flexibly to the needs of each learner; thereby ensuring quality and equality in access to learning for all.

UDL Studio offers templates to scaffold you or your students as you create content using multimodal elements, such as text, image¸ video, audio, and animation. You can explore the project library to view previous projects created by UDL studio users.
For example, Katherine Cooper has created a project around Charles Dickens’ classic tale A Christmas Carol. In the screen shot you can see links to audio recording related to character study. Students can also record their prior knowledge of the story through multiple modalities, such as writing, recording, drawing, or uploading a file attachment.

Katherine Cooper

Katherine Cooper

Meanwhile, Matthew Puma has created a resource to support his students while reading SOS Titanic by Eve Bunting. Students can explore historical information relating to the Titanic; inner feelings of the characters; and actions and events within the book. The screen shot below relates to a mind map of themes in the Titanic.

mind map SOS Titanic

My wonderful, final year, elective student teachers have begun to explore the possibilities presented by UDL Studio to encourage immersion in, involvement with, and interpretation of literature (Dwyer & Larson, 2013). We have begun a project around The Boy in the Striped Pyjamas/Pajamas by John Boyne. Our aim is to deepen engagement with the text through close reading to explore the structure of the text; the perspectives of the characters; the use of vocabulary; and historical perspectives relating to the text.

The Boy in the Striped Pyjamas

We really like the tips and resources page which asks you to reflect carefully on how the use of the digital tool enhances children’s understanding of text; enriches the reading experience; and represents information in an engaging manner. The plethora of free digital tools include:

Recording and editing software
Audacity: http://audacity.sourceforge.net/
Free Sound Editor: http://www.free-sound-editor.com/
Audio Pal: http://www.audiopal.com/index.html

Video search engines and editing software
• Blinkx Video Search Engine: http://www.blinkx.com/
• Truveo Video Search: http://www.truveo.com/
• Video editing http://www.stroome.com/

Sources for images
• Pics4Learning: http://pics.tech4learning.com
• Creative Commons image search: http://search.creativecommons.org/
• Free Photos: http://www.freeimages.co.uk

Animation tools
• Gifninja: http://www.gifninja.com/
• Picasion: http://picasion.com/
• GoAnimate: http://goanimate.com/

Reference
Dwyer, B. & Larson, L. (2013). The writer in the reader: Building communities of response in digital environments. In Kristine E. Pytash & Richard E. Ferdig (Eds.). Exploring Technology for Writing and Writing Instruction. US: IGI Global

Expanding the Scope of Digital Writing with iBooks Author

A New Post by Jill Castek

Tools for digital publishing are becoming much more sophisticated. With iBooks Author, it’s now easier than ever to create interactive and visually appealing iBooks for iPad. The Apple-provided templates feature a variety of page layouts. You can add your own text and images using drag-and-drop. Interactive photo galleries, movies, Keynote presentations, 3D objects, and more can also be embedded. Completed books can be submitted iBookstore in a few simple steps. And before you know it, your students can be published authors.

Many teachers are now using the iBooks Author app to create iBooks. Some have used the ePub export option using Apple’s word processing program Pages to create PDFs that can be stored and accessed on iPads (using Kindle Reader for iPad).

Andrea Santilli and her seventh graders at Woodlawn Beach Middle School created a 133 page iBook entitled Creatures, Plants and More: A Kids Guide to Northwest Florida, that includes numerous images of creatures and plants. This book is an interactive field guide of Northwest Florida. The stories and photos are now a published collection that has become top seller in Apple’s iBookstore. For those interested in visiting Florida, or just reading about it, this book will bring you in contact with fascinating interactive photo galleries and videos along with detailed narrative descriptions.

Creatures, Plants, and More:   A Kid's Guide to Northwest Florida

Creatures, Plants, and More: A Kid’s Guide to Northwest Florida

Mr. Smith’s 5th graders created  Two Kids and a Desert Town. These special education students were greatly motivated to write for an authentic audience. The project integrated technology, provided opportunities for collaboration, and gave students the chance to reflect on their learning process. Having published this book, and knowing that individuals all over the world have downloaded it and read it, these students will forever see themselves as writers!

Two Kids and a Desert Town

Two Kids and a Desert Town

After the success of Desert Town, Mr. Smith’s students created a second iBook entitled 5th Grade: Reflections on our Year. This book showcases the growth made by each student across the year.  Reflecting on their progress has encouraged them to see themselves as readers and writers.

5th Grade:  Reflections on our Year

5th Grade: Reflections on our Year

Other creative teachers, such as Chris Schillig, and his students created spin-offs works including It Was A Dark and Stormy Classroom. This book is made up of more than 40 of their collaborations and solo stories — an anthology of crime, murder and clues that proves detective fiction is alive and well in the 21st century.

It Was a Dark and Stormy Classroom

It Was a Dark and Stormy Classroom

Mr. Schillig’s AP English class tried their hands at modernizing The Canterbury Tales and created Canterbury Remixed. As you peruse this book, you can see how engaging this tools in iBooks can really be!

Canterbury Remixed

Canterbury Remixed

If you’re interested in learning the specifics of iBooks Author and are attending the International Reading Association conference in San Antonio (April 19 – April 22), check out Genya Devoe’s session entitled Using iBooks Author to Bring Content To Life with Your Students. The session will include an introduction to iBooks Author and an extensive step-by-step presentation in how participants can use iBooks Author to meet the differentiate needs of students and engage students in literacy in a new, exciting way. This session will take place Sunday April 21st from 9am – 10am in the Grand Hyatt Lone Star Ballroom E.

IRA 2013

IRA 2013

If you’ve used iBook author and have a book or experiences to share, please leave a comment. It would be great to hear from you!

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