As someone with a unique name, it is disheartening–though sometimes comical– to hear my name mispronounced. My name, Eowyn (pronounced ay-oh-win with an emphasis on the “ay”) comes from The Lord of the Rings. I am Korean American, so when people can’t pronounce it, many automatically assume it is a cultural name, and I have to awkwardly correct them as I explain that my name has Old English roots. However, when my name is pronounced correctly, it is a joy to bond over The Lord of the Rings or a sweet indication that I am seen and known. What power does a name hold? A name is often the first thing we learn when we meet someone new; it is a word to identify a complex human being. Names are far more nuanced than being just regular words. A name is how one holds on to the legacy of a loved one, reflects family values and hopes, and holds languages and culture. A person’s name is unique, a distinct part of one’s identity. Names matter. In her striking novel Ode to a Nobody, Caroline DuBois follows the story of Quinn, an 8th grader in Nashville, TN. During the month of April, her teacher has assigned her to write a poem a day. This assignment ends up being a critical avenue for Quinn to process the 2020 Nashville tornado, which rips through her neighborhood and changes her life. The tornado leaves disaster in its wake, destroying part of her home and reflecting the unsteadiness of her parents’ impending divorce. As she processes the tornado, Quinn also tries to fully understand her identity, as a friend, daughter, sister, and student. Part of understanding her identity begins with the exploration of her name. Her name is Quinn, but her dad calls her Quinnie. How should she sign her poems? Choosing either seems to be her picking a “side” between her fighting parents. Her name is a battle. In one of her first poems, she writes:
 
EXPERT OF NOTHING
It's another Monday
and I'm still the student
I was on Friday. Worse,
my pencil's gone dumb in my grip
and I begin to sweat.
I head my paper Quinnie.
Easy enough! Deep breath.
Erase that, write Quinn.
Erase that, write Quinn(ie).
Erase that-and rip
a jagged hole in my paper
that I want to slip
in-
To.
 
Reflecting on one’s name is a powerful way for students to think through their identity. It allows them to consider the role of parents/adults in shaping their identity, and process the emotions of how they feel about themselves. For Quinn, the battle over her name echoes a lifelong journey of people making decisions for her and about her. As she processes the history of her name, she simultaneously processes a step in maturity of deciding her name for herself. Personally, I love the story behind my name. I have two older sisters and when my mom was pregnant with me, my dad had really hoped for a son. In the movie The Return of the King, which had just been released,  Eowyn is able to slay the witch king of Angmar, simply because she is a woman. The witch king taunts, “You fool, no man can kill me” to which Eowyn replies, “I am no man” as she rips off her helmet, reveals her identity, and slays the witch king. Watching that scene was a powerful moment for my dad to get excited for his daughter’s role in the world as he named his daughter Eowyn. I was born later that year on his birthday, and my name sweetly connects me to my dad. Through a range of activities, students can not only reflect on their names and the past, but also how they seek to portray themselves in the future.
 
Hello, My Name Is
For the first task, students will be given time to reflect on the backstory of their names. Using this poem as a mentor text, students will be given time to write a poem about the story behind their names. The goal will be to creatively express the history behind their names. By using a mentor text, the students are given an understanding of the poetic style, allowing them to focus closer on the content rather than the skill of writing poetry itself. This specific poem allows students to set up contrasting ideas about their names. If there is more of a story to share, students are also free to create their own poetry. Through their poems, they can think through questions such as:
What is your name? Who gave it to you?  Were you named after someone? Does your name have a meaning?
 
Mentor Poem:
 
Mom Thought I Was Going To Be A Boy
Mom's ultrasound and intuition
convinced her
I was born to be a boy.
So my parents chose a name
and for nine long months
called me Quinn.
 
When I turned out a girl,
Mom still liked Quinn.
'It's gender-neutral,'
she insisted.
 
Dad disagreed
and has always called me
Quinnie. So it's Quinn on paper,
but out loud mostly Quinnie
and sometimes Quinn,
depending on
who's speaking.
 
Hello, This Is Who I Am:
After the students reflect on the backstory of their names and how they feel about it, the students will then creatively engage with their identities. This would make a strong beginning of the year activity as students can not only express who they are, but learn more about their classmates. Students will be offered a range of activities in which they can use writing, videography, illustration, or music to reflect how they see their identity.
 
They will have to the option to:

• Create a minimum 2-4 page newspaper article reintroducing yourself to the world- get creative! You can include a crossword puzzle, pictures, etc.
• Write or type (11 pt. Font, double spaced, Times New Roman) a 2-4 page letter to whoever gave you your name with the proposal of a new name. What name would you want to name yourself and why? How does your new name more accurately reflect who you are?
• Create a 3-5 minute video where you reintroduce yourself to the world.
• Design a 1 page character collage that represents yourself. Attach a minimum 1 page description of why you chose some of your favorite images.
• Write and record a 3-5 minute rap about yourself. Be sure to include your rap artist name!

 
Names are discussed in many ways throughout literature. However, this does not diminish its importance. As the students reflect on their names through these activities, they will be able connect their names to their author and learner identity. Students not only reflect on their past and their formation of identity, but are empowered in thinking about identity going forward.
 
 
EXAMPLE 1: POEM
My parents named me Eowyn
after a woman who rode into war
when no man could.
A shieldmaiden with fire in her lungs,
fierce enough to face death
and call it by name.
They loved her defiance,
her wild-hearted courage,
and so they gave her to me.
 
But I am Korean American.
And when strangers see my face,
they stumble over the word,
hearing foreignness
where there is none.
They ask if it is my Korean name,
their voices soft with caution,
as if they might offend my history
by misplacing it.

I often say,
“No, it’s Old English.”
I try to smile through the confusion,
tell them about The Lord of the Rings,
about Rohan and the White City.
But now,
when someone gets it right--
Ay-oh-win--
I know, in that moment,
they are speaking my name
the way it was meant to be spoken.
 
 
EXAMPLE 2 TEXT:
I chose a picture of the mountains as my background because I find a lot of peace in nature. Throughout my collage, there are other pictures of how I engage with nature, like through the enjoyment of flowers or through a hobby of scuba diving. My family is also incredibly important to me. Little Women is one of my favorite books because I have three sisters. A big part of my identity is also my desire to teach! I added a picture of a classroom and a stack of books because I hope to one day be an English teacher. I also really value my cultural identity. I am Korean but I grew up in Japan, so I ensured to add pictures that nodded to both of those identities. My name, Eowyn, is also a big part of my identity. I love what it stands for and the powerful female character that Eowyn is in The Lord of the Rings, so I included a picture of her as well.
 
EXAMPLE 3 COLLAGE:

Six students sit around a table in the front corner of the classroom. Today we are discussing their “choice” books. These students selected Blood Moon and, while they are college students, it is clear that they are a little uncomfortable by the topic of the novel.  “I wasn’t sure what to expect,” Lola says, “I have never seen a book that talked about a girl on her period that wasn’t in a science class.”  The other students nod.  “I’m not gonna lie; I felt a little embarrassed reading it. Like it was supposed to be private.”

“The phrase, ‘It’s only blood’ stood out to me,” Mark states. “I think that it resonated with me because I didn’t…” He pauses for a while clearly searching for words. “I didn’t know what to think or how to respond or how to get my head around what I would do in that situation.”  Three of the other students nod.  Carly agrees and then says, “I got mad.  I got mad that I was uncomfortable reading about this. I got mad that I had to be reminded that it is only blood. It is a normal, natural thing. Then I got pissed off about how it was used against her.”  The students nod and continue their discussion on the novel. They focus on the role of shame and how it is used in the novel to target the characters. They talk about how the anonymity of what can happen online, whether it is posting a meme, trolling someone, or sharing something allows for the worst of people to come out.

“It’s easy to be mean and hateful when you know you won’t get caught.” Lola states. 

“Social media can bring out the very worst in people.” Cara adds. The students nod.

“It’s because you can hide and throw your verbal bombs and attacks. Things that you wouldn’t say in person.” Mark continues.  “It lets you put up a wall and lob things over while you are safe in your space.”

“You don’t have consequences, not real ones.  The only people that feel it are the ones who are attacked.” Carly says quietly.  Students not. “Lucy suffered because of the posts and memes. She is the one who cried while others got to laugh and be mean and smug and hateful.”

Blood Moon by Lucy Cuthew is a new novel in verse that tells the story of a high school girl, her first sexual experience, her period, her best friend, and a very vicious meme.  Frankie, the main character, is a high school girl who loves physics and science; she has a best friend that she trusts and a boy that she is falling for.  Then, she has her first sexual experience with the boy and her period starts.  They both agree that it is only blood.

But then, a vicious meme goes viral. This meme turns what was an intimate moment between Frankie and her boyfriend into a public spectacle.  It makes Frankie’s first sexual experience and her period something mortifying and shameful.   The meme weaponizes shame and uses the expectation that Frankie should be ashamed of having sex and having a period to attack her, to publicly shame her. 

Frankie’s world implodes. Who told? The boyfriend? The best friend? Who created the meme?  The online attacks and online shaming takes on a life of its on. Frankie begins to wonder who she can trust, if her life will ever be normal again.  Frankie decides that this will not be her life; she will fight to take her life back.  This novel in verse chronicles her taking her the steps to get her life back.  It also shows the dangers of online attacks and public shaming.  Shame is used to try to control Frankie, to manipulate her, to make her feel inferior.  The viral meme makes Frankie’s experience public; part of the threat of public shaming is the idea that it change how people see the person. This shame initially separates her from the people who provide her with support and strength.

The three activities for this novel focus on analyzing specific poems and then creating something in response. Symbolic Difference examines the role of meaningful objects and their symbolic weight in a character’s life.  It then asks the students to consider something that has a symbolic meaning for them. The Weaponization of Shame examines the way that shame makes Frankie feel and asks the students to write about a time when they felt shame.   Moments in Time focuses on the poem Forever as a counterpoint to the viral meme that tries to destroy Frankie’s life.

Click here for Teaching Resources. 

As someone who is passionate about using comics in the classroom, I know the standard pair-up. It goes something like: To Kill a Mockingbird is a difficult book for some students. Why not have them read the graphic novel instead? (A similar conversation usually involves the film, as well, and results in reading the book, then watching the film – or saving the film as an end-of-unit prize.)

This post is not to diminish the work of using a graphic novel adaptation of a classic to build connections – I would applaud anyone with comics in their classroom library. Instead, I am hoping to problematize and complicate the relationship of texts to help teachers (including myself) think about the many ways that books and media can be implemented in instruction.

Yes, And, Plus
Should I use the graphic novel, traditional novel, and film? 

The answer is yes to all of these, at least for me. I also want to take it another step with my students. I want them engaging with interviews featuring the author, book reviews, essays about parts of the texts, short stories, poems, and contemporary songs that resonate with the themes, memes that illustrate the vocabulary and concepts, action figures that represent the characters…the list could go on.

Now, one limitation I admit is that there is not nearly enough time to do all of this work. I was inspired today when I did learning walkthroughs at my school, taking part in observations of my colleagues whose classrooms I rarely have occasion to enter. I watched as students engaged with the multimodal text about a sewing machine and then turned to their design journals to take notes; next, I watched students work in teams to shape lumps of clay into muscles, which were then pressed onto skeletal models. These students were using checklists, notes, Google Images, and other forms of information to accurately add heft to their otherwise emaciated learning tools.

This is, of course, a side pitch for the learning walkthrough, a practice my principal has put in place since I have been teaching in this setting. However, it is also a way to think about the creative tools that my colleagues use – and evidence that students are, indeed, doing a lot of textual activity in their personal and classroom lives.

Here is a rundown of some ideas I have tried and want to try using a variety of texts.

• Action Figure Design
  
  • Whether it is the classic novel Things Fall Apart or a more recent read (thinking of Tristan Strong), asking students to design a figure – or even create one out of found materials will require rereading, engaging, discussion, description, design, and several other steps, depending on the extent that the teacher wants to explore (again, a factor dependent on time).
    
  • I have tried the initial stages of this activity with class readings and my recent trip to a science teacher’s classroom makes me want to press further in.
    
• Adaptation (Not To Replace)
  
  • ​Instead of using film and comics to supplant the original text, why not ask students to engage with a range of texts as they go? When reading a few pages in Long Way Down, for example, why not pull in an interview with Jason Reynolds? Perhaps add in a dash of the graphic novel? Then, read a bit more of the graphic novel to introduce the next section of the verse novel? 
    
  • Rather than seeing one text as a static replacement or ice cream sundae party for finishing the book, why not play with the ways stories are told across forms? This kind of connected and complicated work invites comparison, evaluation, and even responsive creation.
    
• Building on the Image
  
  • Returning to my love of comics, in a recent tutoring session with middle school students, I invited the class to collect three images that represent their experiences. Never one not to model the task when possible, I selected three images that represented important places and ideas in my life.
    
  • As this is a writing-focused class, I asked students next to select three images that represented the characters they had created for their narratives. We next compared these for overlaps – in what ways did my students lives inspire their characters? How did they make creative choices that intentionally opposed their daily routines and familiarity?
    
  • This initial step into images now has me thinking about introductions to books and characters using more image-based resources, media collages, and video editing processes. 
    
• What Is Your Vision?
  
  • We have talked about using the already-existing adaptations of works, but what about fashioning adaptations before ever encountering a text? I write this idea on the eve of introducing Romeo & Juliet to a group of ninth graders. To my knowledge, this will be their first direct experience with this text.
    
  • At the same time, our school has positioned informational text as an area of continued work for our students. We are in the midst of reading about branding.
    
  • Tomorrow, my students will engage with the prompt of designing a logo, tagline, and product idea aimed at two teenagers in love. The intended audience for this product will be the parents and legal guardians who are trying to put an end to this relationship.
    
  • Will this include a fair amount of conversation? I think so. Will there be an occasional eye roll as I attempt to use slang as a means of appealing in an example? I surely hope so.
    
  • In any case, I want my students to see a time-stained tale not as another swamp they have to crawl through on their way to the final steps of public education. I want them to engage with the ideas and vibrant heart of a work that makes it something that comes back over time.
    
  • And, of course, we will also read parts of the graphic novel by Gareth Hinds and even watch the zombie film remix, Warm Bodies.

I am continuing to work across these ideas and approach each day in my classroom as a new challenge and opportunity to make connections. As my colleagues have demonstrated, there are a wide range of texts to engage with a host of tools to consider and use.

The fences I used to place around end-of-the-year novel units are starting to look more like carousels, wheels, and multifaceted landscapes. I have not yet arrived, but I am going to keep playing with pedagogy.

One of the go-to strategies that I think about as a first step in literacy for readers, regardless of age, is using visuals along with words to build connections. When I find a new graphic novel text, I think about helping readers see their stories as important – indeed, vital – to the world of ideas. It is my goal to help students realize that their experiences are worthy, and that there are a range of ways to share their ideas. 

Additional Note: I am co-authoring the introduction with my first block class of the Spring 2024 year to share some ideas for ways to effectively use texts like graphic novels. (I also recommend this work of co-authoring with classes as a Monday Morning strategy for the brave and those who are willing to write on the spot).
​
For this post, I am centering the graphic novel The Effects of Pickled Herring by Alex Schumacher. The book focuses on twelve-year-old Micah Gadsky as he prepares for his B’nai Mitzvah with his sister, Alana. The book is a coming-of-age story rendered in colorful cartoon format, and features a glossary of vocabulary words for readers who might not be familiar with the Jewish culture presented in the text.

Annotations and Initial Thinking
I love what interacting with a text opens up for readers, but the comics page can be a bit busy for those who have not encountered it before. Readers might also hesitate to mark up the aesthetic picture-scape of a graphic novel page – and perhaps rightly so. 

I recommend a small number of annotations rather than a time-consuming mini-lesson on the many marks students can make on the page, and I recommend sticky notes or reader notebooks for this interaction. As a reader, I often use two to three marks, including underlining and question marks, to respond to the page. This implementation of a small number of possibilities for responses can be quick-on-the-go work. By annotating, students can take close notice of what is on the page and add their inferences and thinking as they go.

A page or panel (narrative box) that features only responses and images can be a ripe place for adding notes and questions, including inferences, as is the case with page 116 – the two main characters in the graphic novel are sharing a meal and burst into laughter as a callback to dialogue on a previous page.

Prediction Points
As with many examples of literature, there are possibilities for thinking about ways to set up thinking about what is ahead in the narrative. Like Jerry Craft’s New Kid, The Effects of Pickled Herring features full page introductions to mark chapters. By discussing the names of chapters, as well as the typography used to introduce them, readers can make educated guess about the unfolding story to come.

Working at a symbolic level, the seasonal nature of the chapters can also help readers tap into the mood that might be part of each chapter or section as seasons are changing. Students can trace the movement of the story and look for these seasonal markers (I am always nervous when I encounter winter as a season in the story). The symbolic can be explored through text and images in cases like this, including the ways colors and character design/illustration can indicate emotions.

Using sticky notes with the text is also a way of marking spots in the text that might indicate a motif or moment that seems significant and potentially impactful.

With Schumacher’s book, questions might include:

1. Why did the author choose to use two floating word bubbles above a half-page image on page 19?
2. What do you notice about the use of language and words at the top of page 21 and what effect does this create for the story?
3. What might the character be feeling who is split into three panels on page 23?
4. Why are the pages in black and white and why is the art so different on pages 45-49?

These are first-glance questions and there are many opportunities for exploring pages, artwork, and narrative as the book progresses. Students can also frame their own questions as they annotate.


Prose Responses and Character Creations
Attending to the creative, students can use examples like this graphic novel to think about how characters are designed visually – linking to concepts like aptronyms and physiognomy. Students can illustrate characters based on what they would expect and descriptions from other characters and the narrator in a text.

Readers of the graphic novel will discover one of my favorite text features in comics – the reveal that aspects of the story are based on the author’s lived experiences. This feature is a natural lead-in to exploring the kinds of storytelling that are possible in comics, from the realistic and grounded to the otherworldly.

As with all strategies and ideas, these approaches can (and should) be changed in any way, including trying them out with different types of texts. Annotations for video and musical/sonic texts could lead to interesting and creative possibilities, especially when using tools that allow for students to pause and comment. 
I conclude with some additional recommended graphic novel texts.

More Recommended Texts
Call Me Iggy by Jorge Aguirre and Rafael Rosado | Published by First Second

• An exploration of identity focused on a young Colombian American teen who is grappling with love along with issues of citizenship. The book includes some mystical and fantasy elements. (You can hear an interview I did with the author here).

Lies My Teacher Told Me: A Graphic Adaptation by James W. Loewen and Nate | Published by The New Press

• A visual adaptation of the 1990s text that has served as a learning point for many students interested in investigating the nuances and injustices of history.

Youth Group by Jordan Morris and Bowen McCurdy | Published by First Second

• A comedic and satirical look at what happens when a church youth group turns out to be a secret army of demon hunters.

​Family Style: Memories of an American from Vietnam by Thien Pham | Published by First Second

• A visual depiction in graphic novel memoir form of a young Vietnamese boy traveling from place to place and making memories through foods.​

Here are some recommended YA and MG texts that feature some of the Summer Olympics Sports:

• Fast Girls by Elise Hooper (2020):

Fast Girls explores the lives of three female athletes who competed in the 1936 Olympics. Elise Hooper blends history and fiction, focusing on their determination and resilience amidst societal obstacles and global upheaval. The novel highlights their legacy and the challenges they faced in breaking barriers. Recommended for ages 14 and up.

• Gold by Chris Cleave (2012):

Gold examines the friendship and rivalry between two competitive cyclists as they pursue Olympic glory. Chris Cleave delves into their personal struggles and triumphs, offering insights into the intense world of elite sports. The story underscores the complexity of balancing ambition with personal relationships. Recommended for ages 16 and up.

• Don't Tell Me You're Afraid by Giuseppe Catozzella (2016):

This novel tells the true story of Samia Yusuf Omar, a Somali girl with Olympic dreams. Giuseppe Catozzella narrates her journey from war-torn Mogadishu to the 2008 Beijing Olympics, highlighting her spirit and the challenges she faced. It is a poignant account of the obstacles athletes encounter beyond their sport. Recommended for ages 14 and up.

• The Flying Horse by Sarah Maslin Nir; Illustrated by Laylie Frazier (2023):

The Flying Horse follows the journey of a young girl training for the Olympics and her encounter with a magical horse. Sarah Maslin Nir weaves a story of ambition and courage, complemented by Laylie Frazier's illustrations. The narrative captures the determination and dreams of an aspiring Olympic athlete. Recommended for ages 8-14.

• Breath Like Water by Anna Jarzab (2020):

​Breath Like Water delves into the life of a competitive swimmer aiming for the Olympic trials. Anna Jarzab presents the protagonist's struggles with pressure, injury, and self-discovery. The novel explores the resilience required to pursue athletic dreams amidst personal challenges. Recommended for ages 14 and up.

• Tumbling by Caela Carter (2016):

Tumbling follows the lives of five gymnasts competing for a spot on the Olympic team. Caela Carter examines the personal and professional challenges they face, offering a look into their dedication and sacrifices. The story provides a perspective on the emotional journey of elite athletes. Recommended for ages 12 and up.

• The Flip Side by Shawn Johnson (2016):

The Flip Side, written by Olympic gymnast Shawn Johnson, explores the double life of a teenage gymnast training for the Olympics. The novel balances the protagonist's high school experiences with the demands of elite sports. Johnson offers insights into the world of gymnastics from an insider's viewpoint. Recommended for ages 12 and up.

• Code Red by Joy McCullough (2022):

Code Red addresses the topic of menstruation with humor and sensitivity, touching on the protagonist's interest in the Olympics. Joy McCullough's protagonist navigates the stigma surrounding periods while also engaging in athletic pursuits. The book aims to break taboos and promote understanding. Recommended for ages 10 and up.

• Coming Up for Air by Miranda Kenneally (2017):

Coming Up for Air focuses on a competitive swimmer on the verge of a significant decision. Miranda Kenneally portrays the protagonist's balance between Olympic aspirations and personal desires. The novel captures the pressures of growing up and pursuing athletic goals. Recommended for ages 14 and up.

• Rush for the Gold: Mystery at the Olympics by John Feinstein (2012):

Rush for the Gold follows two teenage reporters covering the Olympic Games. John Feinstein combines elements of mystery and sports journalism, providing a glimpse into the world of competitive sports. The narrative highlights the excitement and challenges of the Olympic experience. Recommended for ages 10 and up.

• Break the Fall by Jennifer Iacopelli (2020):

Break the Fall examines the world of elite gymnastics through the eyes of a young athlete. Jennifer Iacopelli's protagonist deals with injury, team dynamics, and personal setbacks on her path to the Olympics. The story highlights the strength required to overcome obstacles in pursuit of athletic success. Recommended for ages 14 and up.

• Gravity by Sarah Deming (2019):

Gravity tells the story of a young female boxer aiming for the Olympics. Sarah Deming explores themes of identity, perseverance, and the reality of the sport. The narrative focuses on the protagonist's journey and the challenges she faces in achieving her goals. Recommended for ages 14 and up.

• The Knockout by Sajni Patel (2021):

The Knockout follows a teenage girl balancing her cultural heritage and her passion for Muay Thai boxing. Sajni Patel's protagonist navigates family expectations and her aspirations, with the goal of competing in the Olympics. The novel addresses themes of identity, ambition, and determination. Recommended for ages 12 and up.

The goal of the activity is to get students to work collaboratively to develop a deep understanding of at least one word on the list above and teach it to their classmates. First, students choose a word that is interesting to them thus making small  groups of 3-4. In these groups, students are to develop a vocabulary skit. Performing skits is a fun way for students to engage in collaborative and kinesthetic learning in a format that isn’t common in classrooms. Make sure to explain what a skit is so that students are clear on what their final product will look like. Teachers could also show this example video of the word “ritual”. The teacher can assign each group a word (or words) or  in addition to the interesting word chosen by the students. Teachers may challenge students to incorporate more than one word into a skit. Using this worksheet, students will explore synonyms and actions related to the word, as well as decide who will talk and in what order. After students have been given sufficient time to create and develop their skits, they will perform them in front of the class. Encourage students not to say the exact definition in the skit, instead using synonyms and actions to describe the definition. At the end of their skit, students can say their word together or hold up a sign, like they did in the example video. 
The reflection portion of this activity is also key for student understanding. Since one of the goals of this activity is to get students to be able to help their classmates understand their word, the reflection piece can help gauge student understanding. There are a multitude of ways that students can reflect on the skits. Students in the audience could do a simple fist to five to show how well they understood the definition of the word based on the skit or write down their own definition of the word using context clues from the skit. If there is any confusion, performing students should be able to clarify definitions and contexts. 
Skits can be recorded and stored in a shared class dictionary that students have access to, or photos can be taken during skits to put up on a class word wall. Students who perform a skit on a word can be named as the “expert” on the word in case any students have questions about the word, its definition, or pronunciation. This will allow students to maintain access to the words and their meanings as they read the book, giving them resources to refer back to when they come across the word while reading. 
Now armed with a strong and deep understanding of the words in the wordbank, students will be able to confidently read, comprehend, and appreciate Strong as Fire, Fierce as Flame, without having to rely on the glossary in the back of the book. 


Today's post is written by Elizabeth Seeker. Elizabeth is a recent graduate of Vanderbilt University's Secondary English Education Program. This summer she started her masters degree in Reading Education. She hopes to teach middle school next year!