Strategies
When I ask my students questions about comprehension I often find that they do grasp certain elements of literature but lack the proper vocabulary to really let that comprehension be known. I also see that certain types of elements are more challenging to grasp. There are ways that I have found particularly useful in addressing both issues.
Scaffolding Student Learning
When teaching these concepts it is important to remember to start with the simplest ideas and build on them. Many elements of literature have a natural progression, such as setting to mood, and main idea to theme. Start with the simpler elements of a concept and move into the more complex ideas gradually.
For example, before students can discuss resolution in a story they must be able to identify the problem that is resolved. To start students on the road to understanding this concept, I have them identify the character's big problem in the story. So when I have my students discuss Dr. DeSoto by William Steig, for example, I ask them what Dr. DeSoto's problem was. The problem, that he is afraid he and his wife will be eaten, is stated very clearly in the text. The first time I read a book like Dr. DeSoto, if the students are able to identify a problem on their own, I have them think of possible solutions before we find out the ending of the story. This not only helps them begin to understand what a solution is, but is also an exercise in prediction. After our responses are completed, we then find out whether any of the solutions were the solution that actually transpires in the story. I reinforce this lesson with more stories with clear problems and solutions like Dr. DeSoto, and the students are soon able to identify not only the problem, but also the solution in works of literature independently.
Read Aloud Book Talks
For all literacy concepts to be understood by young children it is essential that they be exposed to many different stories. They need to hear many stories and be able to discuss them. In order to make this possible for my students I read at least one book a day that has an interesting and rich storyline, and have a book talk afterwards. I will choose books that are either particularly useful for teaching a specific concept or are in line with a current theme in the class.
During this time I can begin to guide my students in using a vocabulary that enables an effective discussion of literature. When students are given a framework in which to discuss books, their discussion is much more precise. Therefore I give students a structured environment and specific terminology to use during our discussions. I base this framework on the book talk model that Columbia University created to be used in conjunction with their reading and writing workshop models. I was trained in this method during my tenure as a New York City school teacher, and although I do not use the model verbatim many of its elements are used in my approach.
I use this book talk time to have the students talk about the stories in as many ways as we talk about books as adult readers. I often let the students' conversation or interest guide the talk. But, aside from a brief explanation of how I set up my book talk time so that it is successful, I will focus on how to teach the students to talk about specific story elements during book talk.
When I introduce the students to structured book talk I first instruct them in the etiquette in which they need to behave for the discussion to be fair and productive in a group discussion. I teach them how to listen and respond to each other in a respectful way.
I make sure that these guidelines are clear and understood and that students adhere to them. As with all classroom management, if this behavior is not in place then this type of learning will not proceed successfully.
With all these strategies the key is to start simply and gradually increase the complexity of the task. When I introduce the words that we will use to discuss each concept I start with instruction that is simple and explicit. I find that this is the type of instruction many students need to begin this process. Although they are able to achieve the results that I expect at the end, many have absolutely no communication skills that would enable them to begin the process on their own. This is why the structure of the talk is so pronounced and why, as I explain in the next few paragraphs, the students are given a specific outline to structure the dialogue concerning each story concept around.
When I teach students to identify the main idea of a story I begin by having them practice simple retelling. Teaching the sequence of a story allows me to eventually have the students discriminate between details and the whole idea of a story. For example, I would first use a simple book like The Hungry Caterpillar by Eric Carle. I would have the students explain to me what happens first, next, next, etc. and in the end. I would have them use this framework to tell me the progression. As they become more comfortable with talking about sequencing, I will then begin to explain the difference between details and big ideas. I give them the vocabulary to discuss each concept, using phrases that not only will help them in the oral and written assessments of their comprehension of the concepts in our class, but also allow them to succeed when they use them on the state standardized tests. For example I will tell them a detail in this story is that the caterpillar ate a slice of pizza, a big idea or main idea is that the caterpillar was hungry. I then have students identify details and main ideas in this and other stories.
When teaching all concepts in literature I make sure that the framework of pertinent vocabulary will be as useful as possible for my students. I make sure to consult with teachers of the upper grades, as they know what type of vocabulary will best serve the students when they eventually take tests. For example, they need to know that the big ideas in a story are the main ideas because that is the terminology on the test. I also get a working knowledge of what the tests my students will be taking focus on. For instance, one area that I am especially careful to have my students use the correct terminology for is in making connections to text, as that is a central feature of the writing portion of our standard test in Connecticut.
One of the first things I teach students to do in book talk is to explain how the book reminds them of their own life. This text to self connection is extremely powerful in having students return to books, and nurturing a love for books within them. It also will help students begin to understand story elements such as theme, point of view and problem and solution. When I first introduce this concept of relating text to self I use a picture book that is realistic fiction. Knowing my class dynamic, I try to find a book that will have circumstances that are within the realm of their experience. I have found that all the books in the Jamaica series by Juanita Havil are successful with this. I usually begin with one of my three favorites. Jamaica Tag Along, Jamaica's Find, or Jamaica and the Blue Marker. Each of these books deals with things my students can relate to. When I introduce the book I tell the students what I want them to be thinking about during the story. I explain that I want them to think about a time when something happened to them that was like what happened to Jamaica. After the reading and before I start the discussion I explain to the students that they need to explain why they were like Jamaica by reminding us what happened to her as well. I will then give them a framework in which to set up their response. I will write on a board or chart paper: I was like Jamaica because I (blank) and Jamaica (blank) too. This is simply a matter of taking a writing prompt and translating it to dialogue. We found that in order to be successful in text to self connection in the older grades, students had to relate back to the text. This was true of many of the writing prompts in the comprehension section of the standardized test. So I make it a point to have my students do this with all of their responses to text. Once the students are using this relation of text to self easily, I make it more complicated by having them begin to compare and contrast their experience to that of the characters. They of course can have used the same framework to talk about how they are not like Jamaica. Eventually, then, they are able to discuss both resemblance and difference. I was like Jamaica because (blank), but different because (blank). They also begin to relate to each other: I was like so and so and Jamaica. When given this tool in discussion it is easy for them to translate it into written work, as you will see in the next strategy.
The following are some of the frameworks I use for some literature elements in both book talks and on the graphic organizers that I discuss in the following section.
For main ideas and eventually themes, I have the students start their statement with "The whole book is about…." Using the word whole allows students to evaluate whether or not what they are saying is indeed true. For main idea I will also have the students rename the story and design a cover as an assessment.
When talking about sequencing I have the students first use a beginning, middle, end format. They then can move to first, next, next, next, last.
When learning about setting and mood I have the students use "The story took place at/in (blank)." They then move on to "The story feels, or made me feel (blank)". They then move to "The story makes me feel (blank) because (blank)."
When talking about characters, I first have the students identify main characters and secondary characters. I then have them describe character traits simply using the "(the character) is (description)". I then have the students explain the trait by using "(the character) is (description). I know this because (detail from the story). "After they have been taught this, the students can move to point of view by using "(The character) would feel/think (blank) because (blank). "
I use these phrases consistently in the book talks and graphic organizers so that students feel comfortable using them, and know what element of literature we are discussing when such phrases are used.
Creating Graphic Organizers for Literary Elements
After we have had practice using a somewhat scripted dialogue within the book discussions, I have my students begin to use it in their writing. I find that the more assistance and direction they have written down for them when they begin this process the more successful they are. So I create a form for each of the story elements so that the students will be familiar with them and reference them throughout the year. These forms are graphic organizers that are designed specifically for the students to illustrate specific literary elements. The organizers usually allow plenty of space for writing and drawing. As the year progresses the students will be given less and less assistance on each of the organizers so that eventually they are able to execute the same task on simple writing paper. Again I will use a book from the Jamaica series called Jamaica Tag Along to explain how I set up this format by relating text to self. After having used the wording that I indicated in the previous explanation of book discussion, I have the students begin to communicate this type of connection through the written word. The form that I initially give them is full of guides to allow them to organize their writing in a comprehensive fashion. The paper is divided in half, each side having room for writing and drawing. The bottom of the page is a few lines for writing that go across both pages. On one side I have my students draw and write what happened to the character. On the other side they draw and write about something in their own experience that the text reminded them of. On the bottom lines they create the phrase to join the two. I was like/not like Jamaica, because x happened to Jamaica and x happened to me. In this way they are able to show their ability to make a text to self connection, thus showing their understanding of this literary concept.
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