80 Matching Annotations
  1. May 2016
    1. There was some indication that the boys' interactions with the books within the liter- ary events in this project did increase their devel- opment of literary understandings. They made both textual and inter-textual connections, indications that they did look for connections to their lives including, but not limited to, school, family, and community experiences

      This genre seems to really have impacted this group of boys and their learning. It's great to see the power of literature on a student's learning.

    2. The boys' responses reflected a clear sense of the responsibility of the community to act when drugs in neighborhoods was the issue

      Not only were the boys learning and working on their literacy skills but they were also getting a more well rounded education. They were able to think about the environment and their responsibilities.

    3. As the boys began to ask the "why" rather than just the "what, who, and where," the door was open to also construct the "how." For instance, they began to ask why there are drugs in their neighborhood, which moved them toward asking more complicated questions about how we can rid the neighborhood of drugs.

      This is amazing. I'm thoroughly enjoying this article. I love to see how these boys have gone from criticizing fairy tales to really engaging in realistic fictions.

    4. As the boys responded to the literature as a community of readers, they began to think about serious problems in their communities, and to make suggestions to address those problems. This evolved into preliminary enactments of personal, commu- nal, and civic social action

      This is great. The boys were thinking about real life situations and the problems their communities face. This is something that is very important for kids of this age who will be at the top as generations pass.

    5. "This kinda reminds me of my dad and my sister, he always teases her and likes to [play] these weird teasing games too, like this Daddy."

      This little boy was able to make sense of something he read. When a child can do this, you know that they are understanding the information.

    6. hey began to scrutinize and interrupt the information through cause and effect, hypothesizing ideas and predictions, inferring or deciphering character traits or identifying the author's purpose, as well as bringing personal insight and their own experience to their literary interpretations.

      Without the unrealistic features, these boys were able to actually listen to a book and learn. They were able to relate to real life and hypothesize, compare and contrast, etc. This is the type of literature that really got through to them.

    7. ooks such as these can provide a literary framework for the develop- ment of a sense of personal and civic competency, and the ability to make improvements in our own lives and the lives of others.

      This is an important point. To have and be civically competent is crucial in todays society. Improving our lives and the lives of others should be a goal in peoples eyes.

    8. contempo- rary realistic literature is defined as picture books that are fictionalized narratives based on socially significant events. The classification of realistic fiction is given to stories that are convincingly true to life and that help children see their own lives, empathize with other people, and see the complex- ity of human interaction.

      This is a great way to discuss picture books when you have students who see the unrealistic features in a fairy tale. Some students need this in order to learn, such as these African American males in the group.

    9. I share their responses to contemporary re- alistic fiction and the ways in which the tying of this literature to events in the boys' lives had the potential to move them toward social action.

      Literature that is relatable to a student's life can be very interesting and create an engaged child. Everything always makes more sense when we can relate it back to something in our life which we have understood at one point.

    10. I know that a mind "turned off' to literature is a mind often ignored in traditional classrooms, and therefore a mind that will have fewer venues for expression.

      I really like this quote. It is so meaningful and really explains the importance of students being "turned on" to literature versus "turned off".

    11. As an elementary school teacher, I always found a small group of students in my classes who were not the least interested in the suggested chil- dren's literature listed in the core curriculum. L

      I agree with this point the author makes. When a teach is given children's literature in the core curriculum, chances of every student being engaged is extremely slim.

    12. Therefore the student's lack of engagement could lead to boredom at the very least, and aca- demic failure at worst

      A child's interest is crucial to their learning. If a student isn't engaged, you will see this in their academic work.

  2. Apr 2016
    1. hildren could check the sources to determine if the author has included real letters, dialogue, or opinion

      This would be a fun activity for students. I feel that they would become excited if they found real letters, dialogue or opinion. It would make the story/event even more real to them and some students would love this.

    2. tudents should also be cautioned that the person telling the story is acting as an observer and an interpreter of emotions and events

      This is crucial. Students need to understand what these actually are. They must be aware that the person who is telling the story is not the actual person but rather an interpreter of the emotions and events.

    3. arrator is talking directly to them. This feeling is not usually found in the third person narratives employed in nonfiction biographie

      Especially for students, this could be very engaging. For a child to feel that the narrator is talking directly to them can give them a sense of being important. Rather than a third person narrative where they don't seem this way and can be a harder read for some students.

    4. Readers should understand that such stories are not meant to replace factual material but are aimed at sparking interest in what is real and what can be substantiated

      I agree with this because factual information is still important. The things that we were always taught to look for: the setting, characters, plot, etc. are still very important.

    5. nts for its accuracy and authenticity. Chil dren can distinguish fact from opin ion, determine whether an author has any bias, and draw inferences about historical climates, settings, or events.

      This is crucial to a students development. These skills are important ones that are heavily enforced in school. If we know a fictional biography can do this, then we need to utilize them.

    6. shift to this different type of reading. For instance, in social stud ies, students may be able to pick out facts (names, places, events), but they often overlook the deeper aspects of such information

      I can agree with this point because I feel as though I struggled with this in my education. I was so trained to look for the important pieces that it became hard to look deeper than this.

    1. With the continual reinterpretation of classic fairy tales, upper elementary or middle school readers can glean new insight into traditional literature and develop an appreciation for literature-based book discussion as they watch their old familiar charac-ters come to life in new, innovative, and provocative portrayals. So bring out those fairy tales and start your fantasy book club for tweens.

      Fantasy book clubs for "tweens" seems to be a great idea. Within different meetings, they can really analyze and get to know a story much better. By picking their favorite stories and comparing them to the new ways they're portrayed can create interesting conversation.

    2. Contrasting, comparing, and making text-to-text connections with various versions

      Contrasting, comparing, and making text-to-text connections for various versions can really help someone to understand a story better. It would give the student a better idea of the story as a whole including the characters, meaning, etc.

    3. Kellogg’s comically expressive paintings delineate and extend the original story told by Jacobs, while, as he asserts in his author’s note, keeping the retelling “faithful to the spirit of Joseph Jacobs’s language.

      This is a great example of the stage in the meeting where they compare the original story to the new one. It explains how the paintings extend the original story while they keep the same retelling.

    4. Comparison with earlier read picture book versions. What do illustrations add to the original story?

      Comparing to the earlier read picture book versions is a great idea. This is great to introduce fantasy and make connections to really understand the story.

    5. Making the transition from fairy tale to fantasy requires the development of characters faced with particular situations or concerns who ultimately must rely on their initiatives to solve or work through a conflict. T

      This is interesting to me. Fantasy is not a topic that I'm particularly familiar with so I'm enjoying reading this article.

    6. children between the ages of five and ten are the prime audi-ence of literary fairy tales, concludes well-known fairy tale expert Jack Zipes.1 Children at this stage of development enjoy these stories for their magical elements, sense of justice, tri-umphs of good over evil, easily defined characters and plot, and clear-cut themes relatable to their own experiences.

      I definitely agree with this statement. Children of these ages enjoy fairy tales. The only question that I would have is why the prime audience begins at age 5? I would've thought that much younger, maybe 3 would be more like it. It's interesting.

    1. The fact that our educational system does not place a heavy emphasis on mythology and folktales does not address the reality that they nevertheless play a large part in our culture.

      I agree with this. Culture is very important for students to learn and know about various ones. In fact, mythology and folktales play a large part in culture and should be addressed in school.

    2. But awareness of mythological archetypes and themes enables a teacher to see how a particular literary work fits into a cultural heritage. For instance, a knowledge of tricksters and their varied incarnations throughout history throws further light on a discussion of The Adven- tures of Huckleberry Finn

      This is an important point for future teachers to know. I remember in high school, I was never introduced to myths and never had a class on them in my four years. There are ways for these to fit into curriculum and they should be taught.

    3. Following a review at the end of the unit, I give an open-note test. Success on the test is directly related to students' ability to take accurate notes

      I think that this is a great idea for assessment. If students are paying attention in class and taking notes, then everyone should be able to pass the test. For people who decide not to take notes, they will learn the importance of note taking in the higher grades (high school and eventually college).

    4. The sheet also lists the categories and stories from which the students may select.

      Allowing the students to select from a predetermined list is a brilliant idea. The teacher has some control being that they created the list but then the students are allowed to choose on their own from there.

    5. My ninth-grade unit on mythology requires stu- dents to learn and tell stories to the class. As part of the unit students rehearse skills in outlining and notetaking as well as develop dramatic skills.

      This sounds like a great introductory unit for mythology. It forces students to learn stories and rehearse them to the point where they can elaborately present them to the class. I feel as though the kids would be interested and this would help them to learn the topic at hand.

    6. come more aware of cultures that have often been better educated about us than we have about them. Knowledge of other people's cultural bases increases both respect for others and an apprecia- tion of our own place in the world.

      This is a great point. In today's society as future teachers it is crucial to be aware and educated on a variety of different cultures other than our own.

    7. Because few un- dergraduate degrees require instruction in my- thology and its related fields, most teachers ac- quire a BA without coming near them. Conse- quently, few high-school curricula require myth instruction because (in a tautological stance) few colleges require undergraduate coursework in it.

      This would explain why I don't have much knowledge in these two areas. It's something that should be reconsidered and maybe students should be acquiring some knowledge in these areas.

    8. That such an approach to myths and folktales is rarely taken stems from the lack of background most teachers have in these areas

      Personally, I would agree with this because as a future teacher I feel as though I have very little to no knowledge in myths and folktales.

    1. Older children can even be asked to offer their own "what if" questions.

      This is also a great way to adapt using fables for critical thinking in the higher education levels.

    2. The different perspective is the catalyst for critical thinking, and it helps the child realize that "it depends."

      An example such as this a great way to explain there "it depends" to the student.

    3. What if the shepherd boy actually saw the wolf each time he cried for help? What if the wolf was cunning and hid from the villagers? When we ask these questions, the meaning of the fable changes drastically.

      These are all great questions to get a student thinking and looking at the situation from a different point of view. With this example, I can really understand what they're trying to say about the use of fables to aid critical thinking.

    4. In this way, fables provide the framework in which the concept of "it depends" can be introduced to young children. Introducing the concept is as simple as asking a question that causes the child to view the story from another perspective. It is imperative, however, that the child fully understands the message of the fable as presented from the original point of view.

      This is a great point and fables would be a great way to teach the idea of critical thinking. You could have the child view the story from a different point by asking a question as the story mentions. Fables are something that I'm not extremely familiar with so I'm enjoying reading about them.

    5. As we all know, young children are most comfortable with clear rules and "black and white" thinking. The idea that a situation may have multiple answers that depend upon variables and context is a foreign and complex notion to children (and even many adults).

      This is so true. Most children that I've worked with prefer and are used to "black and white" thinking. When asking students to think about something, the idea of multiple answers could confuse them. It's something that definitely needs to be worked on and kids should be pushed to their highest potential.

  3. Mar 2016
    1. what inspires kids to write is their teacher's dedication and attitude to ward the process" (p.

      This short quote stands out to me. I find this so meaningful as a future teacher. I have a strong belief that if a teacher isn't motivated to teach something, then why would the students be motivated? A teacher must have a passion for teaching the information, a passion so great that it reflects on the students learning in a positive manner.

    2. though simplistic, these two poems show the stu dents' deep understanding of William Carlos Williams's short-lined style and casual manner. Rather than just responding to a prompt, the stu dents were able to mimic Williams's intent

      It's fascinating that by digging into a child's thinking, you could lead to them creating poems where they're able to mimic the original poems intent. Children are capable of much more than we give them credit for.

    3. I have found through trial and error that even a first grader can write poetry in the style of a favorite author, and that modern, unrhymed poetry gener ally works best.

      I've always had the misconception then, that first graders would only be rhyming to write poems. The fact that they have this ability should be taken advantage of. We should push our students to be the best that they could be.

    4. at happens all too often when teachers choose to only read poems with students is that the students become confused by the complexity of the poetry, which often makes them reluctant to try writing their own poems.

      This is so true. I agree with this 100% because this is my exact experience with poetry. We never really had to read/write poems so on the rare occasion when we were asked, we would all become instantly fearful.

    5. I can clearly remember the fear I felt when one such instructor asked me to voice my opinion about the meaning of a particular poem. Even worse, I can remember being asked to write in the style of that poet. I also recall that I failed miserably in my at tempts to mimic the poet's rhymed meter. T

      I find this interesting because I can totally relate to this! I remember as a high school student being so confused about poems and terrified when asked to read/write one. People shouldn't be afraid of poems and I'm beyond excited to read about and be educated on teaching poetry.

    1. whole, teacher judgment must be exercised. The instructional progression detailed in this article should not be used for all phonic elements, with all children, or with all literature selections. Therefore, use the ap proach selectively, and only for high utility phonic elements or skills

      I'm glad that they made this point. This might be an effective strategy sometimes but definitely not all of the time. It's important to know your students and meet their needs.

    2. Essentially, the whole-part-whole framework connects learning to pronounce words with real read ing

      This is a great point to be made. By teaching phonics through real literature is going to accomplish to things at once. The student will be learning about whatever the literature is and will also decode the words for themselves.

    3. hat through repeated readalongs, assisted reading (Hoskisson, 1975), and shared-book experiences (Holdaway, 1982), many children will begin to read spontane ously

      This is something that I know is not true. A student isn't going to just start reading spontaneously. To begin reading requires a great amount of phonics instruction and no child is just going to start reading solely because they've been read to.

    4. hat is needed is an approach that combines the two in a complementary manner?a method that presents the two as mutually supportive and taught in a manner that makes the interrelationships clear to chil dren.

      I agree with this comment. I'm currently taking SED 435 so I'm learning the importance of explicit phonics instruction in developing a students reading ability but I also know that it's very important that students are read to, participate in assisted reading, etc. Any exposure is sure to be beneficial when combined with the right phonics tools.

    1. Acknowledge differences in the points of view of characters, including by speaking in a different voice for each character when reading dialogue aloud

      This standard is a step up from grade 1 because now they aren't just identifying the different voices in the story but must read themselves in a different voice to demonstrate their understanding of the switching voices. Again, any 2nd grade appropriate book with switching voice roles would work.

    2. Recognize common types of texts (e.g., storybooks, poems).

      Kindergarten students must know different types of texts and be able to recognize these. For this young of a grade, the focus is on common types such as storybooks, poems, etc.

    3. Describe characters in a story (e.g., their traits, motivations, or feelings) and explain how their actions contribute to the sequence of events

      As a 3rd grader, the student must be able to identify the ways that individual characters could affect the story with their actions. The book that comes to mind is Giraffes Can't Dance because there are certain characters whose actions change the sequence of the story.

    4. Identify who is telling the story at various points in a text.

      A 1st grade student is to be able to identify who is telling a store a various points. This means that the student must know the different view points and know that sometimes the speaker in the story changes. Any 1st grade appropriate book where the speaker changes would be a good way to demonstrate this.

    5. With prompting and support, ask and answer questions about key details in a text

      It's important to notice the gradual increase in student work and the decrease in support. As you can see, in kindergarten the students are to ask and answer questions about key details in a text with prompting and support. In grade 1, they are expected to ask and answer questions about key details in a text but without the prompting and support. Next, in second grade it becomes even more difficult and they are then expected to ask and answer questions such as who, what, where, when, why, and how to demonstrate their understanding of key details. If you pay attention to most standards, they work in an increasing demand such as this as you go up in grades.

  4. Feb 2016
    1. prove literature circles we video recorded group meetings and then watched these with individual members, whole groups, or the whole class to discuss how the conver sations went and what could be improved.

      This is something that I've been learning about in one of my other education courses. The value students have in being able to actually watch and see themselves grow as learners is fascinating. It might not seem like it, but students love recording themselves periodically to watch their growth. This really interests me and I hope to use this technique one day in my classroom.

    2. ack of poker chips to each group member. The rule was that each time a member spoke he or she had to place a poker chip in the middle of the table. When a student's poker chips were gone, he or she was out of the conversation.

      This is an interesting way to share speaking time. I've never heard of this exact technique but I do find it interesting. It is a way that not only addresses who gets to speak but it also shows who is talking a lot and who is barely talking. This is also important information for the teacher/students to see.

    3. ne difficulty was the "revolving door" of students who entered and exited her classroom

      In some districts, you will face situations such as these where there's a revolving door. This makes the teachers job 10X harder when it comes to literature circles because when kids are always being switched in and out of groups, it becomes harder to create a sense of security.

    4. wever, as we realized, even the best laid plans and intentions can be fraught with what sometimes appears to be insur mountable hur

      Sometimes, a teacher can plan so much but then certain obstacles such as these high poverty children's lives greatly affect their learning. Sometimes, you can do something about this but then other times the hurdles seem like they're just too big. Being a teacher requires passion, empathy, and knowledge on ways to adapt your plans for your students.

    5. ecause a main goal of literature circles is to promote trust and respect for multiple voices and opinions, one of its significant foundations is providing a supportive and safe environment.

      This main goal shows how unsuccessful the literature groups were in the beginning of this reading. By bullying, students were completely defeating the purpose and not promoting a "supportive and safe environment".

    6. y educators saw the need to move away from traditional teacher centered instruction in favor of creating more student centered opportunities for learning in their classrooms.

      This is something that we hear an incredible amount as future teachers. We all talk about the desire/need for a shift to student centered learning rather than teacher (only) directed. To keep up students interest and further their learning, it's important for them to indulge themselves as deep as they can in the material.

    7. he boys in this group were supposed to be dis cussing their role sheets that they had prepared on Freak the Mighty. Instead, however, Evan used this op portunity to bully Dale about his shoes.

      This is good point and it raises awareness to how easily kids could get off track when not provided sufficient instructions/directions. Instead of completing their role tasks, the students then turned it into a bullying session. Close monitoring and strict structure is important.

    1. a daily closing activity in the RW, we recommend a sharing time where teachers and children come together for a few minutes to share with the group the activities, books, po etry, projects, etc., w

      This is an important point because as we all know, with new common core state standards, students aren't only expected to learn information but they also must reflect on their learning now to deepen their understanding. Also, RW could make students feel separated but when you come together at the end to share information, then they could feel the sense of community again.

    2. udents make appointments on a sign-up board at least one day prior to the conference. (Three conferences per quarter, for each student, are suggested.) If students forget or avoid conferences, the teacher in forms them of their next appointment. S

      This is important to note. Even though the students are given the responsibility of signing up for individual reading conferences, the teacher still overlooks these sign ups. For example, if the teacher wasn't watching who was signing up then there could be students avoiding meetings. If the teacher didn't monitor these then some students could fall behind.

    3. RGs are made up of students who come together by choice, not assignment, to read and respond to a chosen piece of literature and develop re lated projects. T

      This touches on the statement I made before regarding how important it is for students to be able to make decisions for themselves sometimes rather than the teacher ALWAYS telling them every single thing they have to do. This way, in the LRG's, the students are ones who want to be there. They're not there because they're being forced but rather they get to decide.

    4. minutes) State-of-the-class has the purpose of in forming the teacher and individual students of their responsibilities and progress during t

      State-of-the class is incredibly important. I'm currently learning about this in my EDU 330 class about informing students on the purpose of lesson and the importance of doing so. My professor explained that a student has to sit in school for 6 hours a day and be told what to do ALL day long. And this is true. If they're going to be told what to do (write an essay, read this book, do this, do that), shouldn't we tell them why? Shouldn't we tell them the purpose? This is crucial to a kids interest and motivation.

    5. econd, with basal programs children are al most always placed into ability groups for reading instruction, a practice which can be detrimental to self-esteem and reading devel opment. Mini-lessons offer a wonderful way out of this dilemma

      This is interesting to read because I remember learning about ability groups back in EDU 200 and it's something that could really hurt a child's self esteem and that's the last thing you want to do as a teacher. It is crucial to keep up student motivation and by showing them that they're "less smart" than other peers will only hurt them and their motivation more.

    6. haring time (5-10 minutes) The initial block of sharing time in the RW is a time when teachers can share new discoveries they have made in literature (e.g., folktales, short stories, nonfiction, poetry). For example, the teacher may have been look ing for spooky stories for the Halloween sea son and discovered Jack Prelutsky's (1976) collection of poetry called Nightmares: Poems to Trouble Your Sleep. W

      This is definitely an important component of the reading workshop because it gives the children a chance to hear about their teachers readings and not just them reciting what they read. This would show students that what they are doing is important because even their teacher has to do the same things.

    7. he classroom routine should invite children to write, respond, discuss, and become throughly involved with books?not to com plete worksheets in social isolation. T

      Many teachers believe that independent worksheets are the answer but more and more it's proving to not be the answer. Reading is not just sitting and reading a book, it can also relate to writing, responding, discussing and getting involved. It doesn't have to be, "Sally, go sit at your desk and read this." How is that fun for the student? We need to open up the minds of teachers regarding reading and let them see that there is much more to it.

    8. rst, students should have own ership of their time (Atwell, 1987). This im plies that students be given opportunities to make choices about how they will spend their reading time.

      This is a very important concept. I can relate to this personally because I remember growing up different situations with reading. When independent reading, a student wants to be able to make decisions for themselves. When this happens, they're more interested therefore there's more motivation. When a student is given something to read with no choice, they won't be as motivated because they didn't get any say. And when students don't like something, they're also less likely to understand it.

    9. know that children's reading fluency and consequent enjoyment of reading are re lated to sustained encounters with interesting texts (Smith, 1985). In the Becoming a Nation of Readers report, various research studies in dicated that children in typical primary grade classrooms read independently only 7 to 8 minutes per day; and intermediate grade chil dren typically spent only about 15 minutes per day reading independently (Anderson, Hiebert, Scott, & Wilkinson, 1985). Goodlad (1984) also points out that junior high school

      This is something that really surprises me. I'm currently taking SED 435 on reading instruction and we're learning how important reading is to a child and their development. Reading these statistics was scary because these kids should be spending much more time, in my opinion.

    1. Each theoretical perspective supports a particular set of reading practices or pedagogies. These practicesvary according to the amount of time allocated to reading instruction and reading of self-selected texts,the way that reading is defined, the epistemological assumptions about where knowledge is located andwhether it is “found” or “constructed,” and the emphasis placed on the role of the text, the reader, andthe context in the reading process.

      This made me realize that as teachers, you must know these different theoretical perspectives and know how to implement them in a classroom even though you may not always be able to express your stand.

    2. First, without extensive understanding of literature and literary theory, teachers may reduce therole of children’s literature to that of an instructional device used to help children learn how todecode more effectively. Instead, literature can be used as a way of understanding the world, orappreciated as a work of art that has value in and of itself

      I'm glad that this point was made because as a future teacher, if I hadn't taken this course and seen the ranges of literature then I might have been held to the same belief regarding decoding.

    3. Responding to political pressures, elementary teachersfrequently are forced to adopt instructional practices and commercialprograms that focus on decoding and comprehension strategiesdesigned to raise standardized test scores (Putney, Green, Dixon, &Kelly, 1999, online document). In fact, many commercial publishershave advertised their reading programs based solely on their purportedability to increase test scores

      This is something that makes me upset. Schools and teachers shouldn't be choosing publishers/texts solely based on the "test raising ability". Students should be in reading programs where they're learning everyday important things rather than learning only to raise a score.

    1. Identifying texts that can shape positive life outcome trajectories for African American males—who constitute 7 percent of the school-age population (4 million of 53 million)—is a significant challenge.

      It's important to do this but it's also important to know that while it would help, it is still a challenge.

    2. A meaningful program should include texts that shape a positive life trajectory and provide a roadmap that can help students resist nonproductive behaviors.

      Texts such as these would be very beneficial to our students. To have texts that show a positive route in life that would help them avoid unwanted behaviors, is to provide a student exposure. Exposure is key for someone to learn and do something. It gives examples and could encourage students.

    3. This is problematic because educators who are seeking to identify ways to engage African American males in reading-related tasks have little guidance in doing so. For example, a high school administrator recently e-mailed me on behalf of a 9th grade teacher. They were both “looking for a piece of literature that may teach [respect and civility] without doing so in an explicit fashion.”

      This piece goes along with my first point in teachers needed the resources or knowledge for African American males. Especially, with reading sources, it's important for teachers to be aware of how to choose literature that is appropriate.

    4. These students are often subject to disproportionate and sometimes unfounded grade retentions and suspensions because teachers and administrators misinterpret these behaviors and find them offensive

      I believe that it's extremely important for teachers to try and understand where behaviors are coming from before being quick to suspend, etc. If you know a students' history, then you might be lead to insight as to why they're acting out the way they are. By creating an environment where teachers are looking out for all students, ALL students would feel more comfortable.

    1. Use illustrations and details in a story to describe its characters, setting, or events.

      I believe that the Three Little Pigs would be a great text to reach this standard. There are detailed illustrations that could help describe the characters, setting, and events.

    2. Use illustrations and details

      First graders must be able to utilize illustrations and details in a story in order to describe the characters, setting, or events.

    3. characters, setting, or events

      First graders must know the definitions and understand the terms character, setting and event.

    4. Describe characters, settings, and major events in a story, using key details.

      I think that the Three Billy Goats Gruff would be a great text in order for a student to meet this standard.

    5. using key details.

      Grade 1 students must be able to use key details in order to describe the characters, settings and major events.

    6. Grade 1 students must know the definitions of characters, settings and major events.