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Copyright Carol Tomlinson 2010 1
Differentiating Instruction inSecondary English
Orlando, FLApril 23, 2010
Carol TomlinsonUniversity of Virginia<[email protected]
We have: More students speaking more languages than ever beforeIncreasing numbers of students identified with learning problemsMore students who need assistance with reading and writingMany advanced learners who need to continue their growthA growing economic divide reflected in and aggravated by
segregated classesA need for virtually all students to leave school as thinkers,
flexible and independent learners, and producers ofknowledge
And:We live in a rapidly shrinking and interdependent world where our divisions are increasingly a threat to both security and economy.
Copyright Carol Tomlinson 2010 2
A large body ofresearch is clearthat students:
•Learn at differentrates
•Need different degreesof difficulty
•Have different interests•Learn in different ways•And need different
support systems…
Teaching a room full of learnersThe same thingIn the same wayOver the same time spanWith the same supportsAnd expecting good resultsHas never happenedAnd it never will.
Copyright Carol Tomlinson 2010 3
To what degree isstandardized
teaching alive &well in your school?
How standardizedare your students?
What evidence suggeststhat standardized
teaching does not workwell for a notable
segment of students?
“That students differ may be inconvenient
but it is inescapable. Adapting to that
diversity is the inevitable price of
productivity, high standards, and
fairness to students.”
Theodore Sizer
Horace’s Compromise: The Dilemma of the American High School
Copyright Carol Tomlinson 2010 4
Varied levels of reading materialOpportunities for personal and cultural relevanceHelp with academic vocabularyTime with the teacher for filling gaps or re-teachingTime with the teacher for extended challengeOpportunities to connect learning with their lives/experiencesVaried ways to explore and express learningVaried amounts of practiceOpportunity to build on strengthsVaried modes of teacher presentationOpportunities to plan with the teacher for
academic growth
Please tell a colleague who the students are (pseudonymsare fine!)—and why they don’tflourish in one-size-fits-allsettings.
What is Differentiation?(Making Sure We’re on the Same
Page…)
Copyright Carol Tomlinson 2010 5
SHHHH/SHARE…
Write a
definition of
differentiation
you feel
clarifies it key
intent,
elements,
and principles.
Explain to a newteacher what differentiation isin terms of what he/she would bedoing in theclassroom—& why.The definitionshould help the newteacher develop animage of differentiationin action.
Develop a metaphor,analogy, orvisual symbolthat you thinkrepresents andclarifies what’s important to understand aboutdifferentiation.
1. Pick a column2. Write or think silently3. Be ready to share when time is called
Sternberg’s Three Intelligences
Analytical Practical
Creative
What is differentiation?
Differentiation is
classroom practice
that looks
eyeball to eyeball
with the reality
that kids differ, and the most effective
teachers do whatever it takes to hook
the whole range of kids on learning.-Tomlinson (2001)
Copyright Carol Tomlinson 2010 6
Differentiation is responsive teaching rather than one-size-
fits-all teaching.
At its most basic level,
differentiating instruction
means “shaking up” what
goes on in the classroom
so that students have
multiple options for
taking in information,
making sense of ideas,
and expressing
what they learn.
Copyright Carol Tomlinson 2010 7
Differentiation is
a sequence of common sense decisions
made by teachers
with a student-first orientation
Adam Hoppe, 2010
Copyright Carol Tomlinson 2010 8
Absolute clarity about the learning destination,
Persistently knowing where students are in relationto the destination all along the way,
Adjusting teaching to make sure each student arrives at the destination (and, when possible, moves beyond it),
An environment that is invitational to learning for eachstudent.
Quality Differentiation
Addresses student readiness, interest,
and learning profile.
What’s the Point?
Readiness
Growth
InterestLearning Profile
Motivation Efficiency
Copyright Carol Tomlinson 2010 9
Some Ways to Address Student Readiness
Books/materials/resources at different readability levelsHighlighting textsMaterials in a student’s first languageContent digestsSmall group instructionPeer teachingVaried homework assignmentsPacing adjustmentsMini-workshopsBooks on tapeModels of quality at the student’s readiness levelExperts of the dayLearning stationsComputer tutorialsLearning contractsTieringContemporary Lecture
BOOK REPORT/ BOOK REVIEW VS.
Visual images, printed text, soundtrack
To introduce or “sell” the book to areal audience
Or to develop a scene that wasn’t in the book but might have been
Begin with storyboards (need teacherapproval to proceed)
Uses i-Movies, digital video cameras,or video cameras
Can work alone or with a team
Words
To analyze or critique a book
Teacher is typically the audience
Uses pen/paper or word processing
Seldom includes intermediateinput from teacher
Generally work alone
Copyright Carol Tomlinson 2010 10
Highlighted Texts
About 15% of a chapter—e.g.Introduction
ConclusionCritical passagesKey graphics
Intended for English language learnersAlso helpful for students:
with ADHDwith learning disabilitieswho have difficulty making meaningwho are weak readers
East Chapel Hill High, Chapel Hill, NC
Copyright Carol Tomlinson 2010 11
Movie Time
In this High School Class:
What is the classroom environment like?
Why does it work like it does?
What does that have to do with the teacher?
What do you think would change in this class if the environment were markedly different than it is?
Copyright Carol Tomlinson 2010 12
During Silent Reading/Work Time:
Students could:
• Work at their desks,• Lie on carpet squares around the perimeter of
the room,--Heads toward the front of the room--Two square rule
Katie Carson’s High School English Class
1. Our stories as a window to literature and writingWhat makes a good story? (a bad story)?Does it matter to be a good story teller?
2. The story arc 1) Once upon a time….. 2) And every day……. 3) Until one day…….. 4) And then……. 5) And then……. 6) Until finally…….. 7) And ever since……..
3. What have been your golden ages?4. Analysis of literature through critique of art and music5. Personal journals
“Apart from two or three over achievers in each class, my studentshave zero interest in learning more about grammar and literature.The students’ lives are bridges to learning. I have to know about their lives in order to build the bridges between them and what’s important to learn. And I’ll start building the bridges from wherever they are.”
Fortune Lines
Novels, plays, epic poems, music, history & other subjects all present a story that unfolds as a sequence of scenes or events.
Fortune lines probe learners’ understanding of the story by requiring them to graph a pattern of events.
For example, the story of little Red Riding Hood can be separated into ten scenes:
Little Red Riding Hood sets off from home
Little Red Riding Hood enters woods
Little Red Riding Hood meets wolf
Little Red Riding Hood escapes from wolf, continues through wood
Little Red Riding Hood comes to grandma‟s cottage
„What big eyes you have‟
„What big ears you have‟
„What big teeth you have‟ wolf unmasks, pursues
Hunter enters, kills wolf
Grandma found unhurt in cupboard
Copyright Carol Tomlinson 2010 13
WHAT?• Teach the few vocab words on
which the topic pivots (6-8)
• Teach them before the unit begins (to students who need them)
• Keep them in plain sight throughout the unit
• Refer to them often during the unit and afterwards as relevant
• Teach root words and derivatives as possible
Front-Loading VocabularyWHO?
• English language learners
• Students with learning disabilities
• Students who have trouble with words
• Students who benefit from direct instructional contact with the teacher
• Students with generally weak academic vocabulary
• Students who don’t know the words on the pre-assessment
Reading Homework Coupon
Name:
Date:
Please ask your child to tell you
the story in the book he or she brought
home today by looking at the pictures.
Reading Homework Coupon
Name:
Date:
Please echo read the book your
child brought home. (Echo reading
means you read a line, then your child
reads or echoes the same line.)
Ask your child to show you some
words in the story he or she recognizes.
Reading Homework Coupon
Name:
Date:
Ask your child to read with
expression as if he or she were reading
to entertain someone,
Ask your child to give you several
reasons why he or she likes (or dislikes)
the book.
Have your child tell you what
feelings the character in the book has.
Ask for evidence from the book.
Reading Homework Coupon
Name:
Date:
Ask your child to read with a
different voice for each character
After the reading, ask how your
child decided on how his/her voice could
help you know the various characters
better.
Ask your child to tell you which
character would be most fun to spend
time with. Ask for reasons for his/her
choice.
Adapted from Managing A Diverse Classroom by Carol Cummings - by Tomlinson ‘02
Copyright Carol Tomlinson 2010 14
Nancy Brittle’sEnglish students
& their“parallel” odysseys
Janet Allen (1999) Words, Words, Words, • Stenhouse • p. 146
Word Jars
Words that tickle my ears! Words that warm my heart!
Words I’ve heard someone say!Words that make me feel smart! Words that can calm my ears!
Words that make me wonder!
Calling on Students in a High School Class
Bag ofNames
Volunteers NewVoices
Copyright Carol Tomlinson 2010 15
Writing BingoTry for one or more BINGOs this month. Remember, you must have a
real reason for the writing experience! If you mail or email your product,
get me to read it first and initial your box! Be sure to use your writing goals
and our class rubric to guide your work.
Recipe A note of
appreciation
Letter to the
editor
Directions to
one place to
another
Rules for a
game
Invitation Email
request for
information
Letter to a pen
pal, friend, or
relative
Skit or scene Interview
Newspaper
article
Short story FREE
Your choice
Grocery or
shopping list
A 5-part blog
Advertisement Cartoon
strips
Poem Important
Instructions
Significant
lyrics
Letter to your
teacher
Proposal to
improve
something
Journal for a
week
Design for a
web page
Book Think
Aloud
Movie Time….
In Rick’s Classroom, Look For:
The nature of the learning environment,
Quality of curriculum,
The nature and uses of assessment,
Ways in which he attends to student differences,
Your own questions.
Copyright Carol Tomlinson 2010 16
Large
Tepid
Linda Eiler
Sara Kajder used a wide range of approaches to engage adolescents turned off to reading.
In using the ideas, she engaged their strengths andinterests, kept them thinking, and proved to them thatthey were indeed thoughtful and capable readers.
There is also a high degree of relevance involved inthe strategies because they tap into literacies centralin the students’ worlds.
It’s likely that there is often a link between a student’s interests and/or learning preferences andwhat that student finds to be relevant.
Kajder, S. (2006). Bringing the outside in: Visual ways to engage reluctant readers. Portland, ME: Stenhouse.
Copyright Carol Tomlinson 2010 17
In thebeginning:
From noresponse
toReading
as tearingthingsapart,
Destructive,
Overwhelming
Iconic representations of self as readerGraphic notes (storyboards or comics w/ summaries)Visual read alouds/think aloudsDigital word wallsImage flash cards with digital word collections (including
international contributions of images fromepals.com)
Digital essaysOn-line logs with images, video, and sound to interpret
and communicate ideas about text (blogs, vlogs)On-line yearbook of learners’ journeys
“I don’t know what it is about this assignment but I have never taken so much time to read something before. I think maybe it’s because I’m taking the time to let the picture unfold in my head.”
“Part of me thinks I was tricked a little into this, but in watching my video, I see myself as a reader. It isn’t pretty, but it’s there in ways that I don’t see it if I just read through these notes. Don’t know what’s up with that, but I’m going to keep coming so I can figure it out.”
“It’s the author’s words working with my pictures and my words. I understand in a completely different way.”
“What I think about reading is like the pencil sketch under a painting. What I hear and see when I read provides some of the layers. And I’m adding layers all the time when I think about something new, or something happens that changes the me that is doing the reading. To me, this is real reading, and I finally see what it looks like.”
Later in
theYear…
Copyright Carol Tomlinson 2010 18
DOUBLE ENTRY JOURNAL(Basic)
As You Read, Note:
• Key phrases• Important words• Main ideas• Puzzling passages• Summaries• Powerful passages• Key parts• Important graphics• Etc.
After You Read, Explain:
• How to use ideas• Why an idea is important• Questions• Meaning of key words,
passages• Predictions• Reactions• Comments on style• Interpretation of graphics• Etc.
DOUBLE ENTRY JOURNAL(Advanced)
As You Read
• Key passages
• Key vocabulary
• Organizing concepts
• Key principles
• Key patterns
• Links between text & graphics
After You Read
• Teacher
• Author
• Expert in field
• Character
• Satirist
• Political cartoonist
• Etc.
As/After You Read
Why ideas are important
Author‟s development of elements
How parts and whole relate
Assumptions of author
Key questions
R.A.F.T.
Role
Audience
Format
Topic
Copyright Carol Tomlinson 2010 19
RAFTs can…
• Be differentiated in a variety of ways: readiness level, learning profile, and/or student interest
• Be created by the students or Incorporate a blank row for that option
• Be used as introductory “hooks” into a unit of study
• Keep one column consistent while varying the other columns in the RAFT grid
RAFT:
ROLE AUDIENCE FORMAT TOPIC
RAFT Assignments
Grade 10 EnglishKnow: Voice, Tone, Style
Understand:
• Every writer has a voice
• Voice is shaped by life experiences and reflects the writer
• Voice shapes expression
• Voice affects communication
• Voice and style are related
Be Able to Do:
• Describe a writers voice and style
• Mimic a writer‟s voice and style
• Create a piece of writing that reflects a writer‟s voice and style
Role Audience Format Topic
Edgar Allen Poe 10th grade writers Letter Here‟s how I found my voice
Garrison Keillor 10th grade writers E mail How I came to sound like I do
Emily Dickinson Self Diary entry Looking for my voice
10th grader English teacher Formal request Please help me find my voice
Teacher 10th graders Interior monologue Finding a balance between voice
and expectations
3 authors The public Visual symbols/logos
annotated
Here‟s what represents my voice
3 authors from different
genre
One another Conversation What shaped my voice and style
Copyright Carol Tomlinson 2010 20
LITERATURE: R.A.F.T. Homework Activity Acts I and II, Macbeth
CONCEPT: Characterization
Step inside a character’s shoes and produce evidence of your understanding of his or her feelings.
Your work will be evaluated not only for creativity & completeness but also for evidence that you understand character action & motivation in Macbeth.
Have you taken on the role of the character, replicating the concerns (issues, ideas, motives important to the character) and the voice (the attitude and tone)?
Have you written in Shakespearean language?
ROLE AUDIENCE FORMAT TOPIC
Macbeth the Witches Missed Connections
Advertisement in
Local Paper
When Will I See You
Again?
Witches Hecate, Head Witch Report Mischief Made of
Late: How We‟re
Messing With
Macbeth
Lady Macbeth Macbeth Diary Entry, left open
on her bed for
Macbeth to see
Nice Guys Finish
Last
Banquo Macbeth Email Patience is a Virtue
Duncan His Scottish subjects Newspaper editorial You Win Some, You
Lose Some: The
Past is Past and
Here‟s What‟s Next
Macbeth Self Diary It‟s Time to Be Two-
Faced
Copyright Carol Tomlinson 2010 21
East Chapel Hill High, Chapel Hill, NC
Copyright Carol Tomlinson 2010 22
Writing
Group 1• Meet with teacher
• Brainstorm for hot topics
• Web ideas for possible inclusion
• Develop a word bank
• Storyboard a sequence of ideas
• Make support ladders
• Begin writing
Group 2• Alone or in pairs, develop a topic
• Make a bank of power ideas
• Web or storyboard the sequence
and support
• Meet with teacher to “ratchet”
• Begin writing
• Paired revision
• Paired editing
Hot Topic
Know:
Part/Whole
Elements of a story
---plot
---setting
---characters
---conflict
Understand:
Authors use tools to develop images and ideas.
Careful use of seemingly unimportant details add up
to big ideas.
Do: Analyze a story to see how parts unite to make a greater
whole
Tomlinson ‘02
Story Parts & Wholes
Copyright Carol Tomlinson 2010 23
STORY MAP
Title:_______________________________
Setting:
Characters: ___________ ___________
___________ ___________
___________ ___________
Problem:
Event 1______________________________
Event 2_____________________________
Event 3_____________________________
Event 4_____________________________
Event 5_____________________________
Solution:
DETAILS
+___________________________
=
Main
Idea
Copyright Carol Tomlinson 2010 24
Novel Think-Tac-Toe basic versionDirections: Select and complete one activity from each horizontal row to help you and others
think about your novel. Remember to make your work thoughtful, original, accurate, and detailed.
Create a pair of collages that
compares you and a character from
the book. Compare and contrast
physical and personality traits. Label
your collages so viewers understand
your thinking
Write a bio-poem about yourself and
another about a main character in the
book so your readers see how you
and the characters are alike and
different. Be sure to included the
most important traits in each poem.
Write a recipe or set of directions for
how you would solve a problem and
another for how a main character in
the book would solve a problem.
Your list should help us know you and
the character.
Draw/paint and write a greeting card
that invites us into the scenery and
mood of an important part of the
book. Be sure the verse helps us
understand what is important in the
scene and why.
Make a model or map of a key place
in your life, and an important one in
the novel. Find a way to help viewers
understand both what the places are
like and why they are important in
your life and the characters‟.
Make 2 timelines. The first should
illustrate and describe at least 6-8
shifts in settings in the book. The
second should explain and illustrate
how the mood changes with the
change in setting.
Using books of proverbs and/or
quotations, find at least 6-8 that you
feel reflect what‟s important about the
novel‟s theme. Find at least 6-8 that
do the same for your life. Display
them and explain your choices.
Interview a key character from the
book to find out what lessons he/she
thinks we should learn from events in
the book. Use a Parade magazine
for material. Be sure the interview is
thorough.
Find several songs you think reflect
an important message from the book.
Prepare an audio collage. Write an
exhibit card that helps your listener
understand how you think these
songs express the book‟s meaning.
Ch
arac
ter
Sett
ing
Them
e
Copyright Carol Tomlinson 2010 25
Novel Think Tac-Toeadvanced version
Directions: Select and complete one activity from each horizontal row to help you and others think about your novel. Remember to make your work thoughtful, original, insightful, and
elegant in expression.
Write a bio-poem about yourself and
another about a main character in the
book so your readers see how you
and the character are alike and
different. Be sure to include the most
important traits in each poem.
A character in the book is being
written up in the paper 20 years after
the novel ends. Write the piece.
Where has life taken him/her? Why?
Now, do the same for yourself 20
years from now. Make sure both
pieces are interesting feature articles.
You‟re a “profiler.” Write and illustrate
a full and useful profile of an
interesting character from the book
with emphasis on personality traits
and mode of operating. While you‟re
at it, profile yourself too.
Research a town/place you feel is
equivalent to the one in which the
novel is set. Use maps, sketches,
population and other demographic
data to help you make comparisons
and contrasts.
Make a model or a map of a key
place in your life, and in important
one in the novel. Find a way to help
viewers understand both what the
places are like and why they are
important in your life and the
characters‟.
The time and place in which people
find themselves and when events
happen shape those people and
events in important ways. Find a way
to convincingly prove that idea using
this book.
Find out about famous people in
history or current events whose
experiences and lives reflect the
essential themes of this novel. Show
us what you‟ve learned.
Create a multi-media presentation
that fully explores a key theme from
the novel. Use at least 3 media (for
example painting, music, poetry,
photography, drama, sculpture,
calligraphy, etc.) in your exploration.
Find several songs you think reflect
an important message from the book.
Prepare an audio collage. Write an
exhibit card that helps your listener
understand how you think these
songs express the book‟s meaning.
Ch
arac
ter
Sett
ing
Them
e
Movie Time….
In Chad’s Classrooms, Look For:
The nature of the learning environment,
Clarity about curriculum goals,
Uses of assessment to inform instruction,
Attending to student variance,
Your our own questions.
Copyright Carol Tomlinson 2010 26
It is no use saying
„We are doing our best.‟
We have got to succeed
in doing
what is necessary.
Supporting English Language by Farin A. Houkr • Heinemann, Portsmouth, NH • p.58
Because of the kids in the chairs,
We can take some
gratification at having
come a certain
distance…
…but it should be a
deeper satisfaction,
even an exhilaration, to
realize that we still
have such a distance
to go.
Lewis Thomas Late Night Thoughts on
Listening to Mahler’s Ninth Symphony
You miss 100 percent of the shots
you never take.
Wayne Gretsky, 1991
Copyright Carol Tomlinson 2010 27
I am teaching. ...It‟s
kind of like having a
love affair with a
rhinoceros. Anne Sexton
Quotations on Education • Compiled by Rosalie Maggio
Prentice Hall, Paramus, N.J. p. 40