I'm in a book club right now, for the first time ever. (Yeah, I know, gasp. But I've always had so much to read for so many reasons that I've never sought out a book club). It's a pretty great concept - reading a book you want to read with your friends. A concept that I've thought about for a while now should really be part of every single ELA curriculum. Book clubs allow us to offer students curated choices, present more diverse voices as part of our curricula, and expand on themes and genres to give students a wider range of experiences through their conversations with classmates. Win, win, win. Today on the pod, I want to show you how easy it is to wave your book club wand and easily turn part of your curriculum into book clubs.

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When you boil down the essentials of so much writing, what you get is the need for vivid, original detail. In a college essay, the story comes alive when a student goes way past the generalities and gives specific examples. In an argument essay, the intricate examples and counterargument that is explained with depth makes the most impact. In any kind of research, carefully exploring the core of the ideas with the most interesting possible language will hook and hold the reader's attention. And in narrative - as we've seen, eminently transferable to other areas of writing - it's the details.

I took a copywriting class once where they boiled this concept down to a sandwich. Never say someone ate a sandwich. Say it was a pastrami on rye with extra mustard and a sheaf of pickles. Say it was a PB & J positively oozing J. Say it was a double-decker smash burger with Jimmy's special sauce and extra crispy sweet potato fries.

See the difference?

But here's the thing. When you tell a kid they need more details, that doesn't exactly come alive for THEM. You need more details in your request for details. They need to SEE and FEEL what you mean, just like you need to see and feel the world of their writing. So today on the pod, let's dive into six strategies you can use with your students to help improve their narrative writing detail. Your students may already have some of these down, but others may be new, or areas that will help with something causing them to struggle. As with any set of writing strategies, teach what they actually need. Apply it to their current writing projects.

Links:

41 Authentic Audiences for Student Work: https://nowsparkcreativity.com/2026/02/41-authentic-audiences-for-your-ela-students.html

Find the new narrative unit on TPT here: https://www.teacherspayteachers.com/Product/Narrative-Unit-Digital-Editable-3-Weeks-15700216

Hillocks Jr., G. (2007). Narrative Writing: Learning a New Model for Teaching. Heinemann.

Graham, S., MacArthur, C., & Hebert, M. (Eds). (2019). Best Practices in Writing Instruction. The Guilford Press.

Stockman, Angela. (2015). Make Writing. Hack Learning Series.

Zinsser, W. (2004). On Writing Well. Harper.

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This week would be my Dad's birthday. If he was still here, spice cake with thick caramel frosting would be in order, and a beautiful cross country ski outing through the snowy forests of Duluth.

He taught sociology at the University of Minnesota when I was growing up. Once, while teaching a weekly three-hour Monday-night class, he dressed as a different famous sociologist every week to help get his students interested in the history of his discipline.

Isn't that nice?

Over the course of his career, he was voted both adviser and professor of the year at the university by his students.

There was always a new sociology book lying around our house, with half the text underlined and his untidy notes scrawled in the margins. Whatever had just come out, he had it.

He crafted new courses about the civil rights movement, religion in Northern Minnesota, and corporate corruption, to name a few, trying to make sure his classes taught both what he thought was important for students to know more about AND what was current and interesting to them.

He took his students to Chicago by train over spring break many times to study the city and its neighborhoods, arranging police ride-alongs (since many of his students were planning to become police officers) and museum visits.

He offered extra credit to anyone who would challenge social convention and stand up on a public bus to sing the National Anthem. More than one student boarded a bus with a friend ready to videotape and then changed their mind, realizing just how strong the pull of convention really is.

He invited students to examine the role of technology in their lives - way before rejecting screens was all the rage - with his assignment to watch someone else watching T.V. for an hour.

I thought about Dad this month as I read Harvard School of Education professor David Perkins' book, Make Learning Whole. Perkins asks educators not to let school become "a bag of information" (173). It's easy to see how that could happen. Students can graduate in a voluminous swirl of facts. Facts from five or six subjects times twelve years. Facts that often got crammed into corners of the mind awaiting tests. Kids could easily leave high school, or even college, with a backpack of facts and very little understanding of how to use them.

My Dad didn't let that happen. He had his Sociology of Religion students out in the community visiting different centers of faith and learning about their history and practices. He had his criminology students riding in police cars to learn from actual police. He had students questioning and challenging social norms on buses and in living rooms as they learned about how sociology works. When he had to lecture late on a Monday night to quickly cover the history of sociology, he did so in a costume, trying to help the voice of a historic sociologist come to life through his impersonation.

Perkins calls for the idea of learning in a real context, devoting his book to a framework in which students experience the real-world work of a discipline on a level that's reasonable for them. Throughout his book, he calls it "playing the whole game at the junior level." There's a lot to it, and I'd really recommend the book, but at the crux, it's this: kids practice baseball skills so they can play the game. They're willing to play catch, step in the batting cage, and practice their slide because they know they're building up to something that matters to them. In school, we can offer the same thing. Skill practice embedded in a context that's meaningful to our students.

Maybe that means researching ethical AI use and presenting solutions to the teaching faculty.

Maybe it means writing narratives they eventually enter into the New York Times memoir contest.

Maybe it means interviewing local business leaders, learning about graphic design and website construction, and then creating a tourism website for their small town.

There are so many ways to bring the real-world work of English into the classroom, and this week, I just want to highly recommend that you plan a whole game of your own.

Source:

Perkins, David. (2009). Making Learning Whole. Jossey-Bass.

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Today on the podcast we're digging into student agency and the lessons Dr. Annalies Corbin has learned from her work pioneering microschools and portable innovation labs. Who is Dr. Corbin, you ask?

Well, she's the CEO and founder of the PAST Foundation. "From a single school partnership in 2006, Annalies has grown PAST's supporters across the nation, building a reputation for both transforming teaching and learning by understanding tomorrow's education needs. In 2015, Annalies' commitment to transforming schools led to the development of PAST Innovation Lab. Connecting directly with teachers through online professional development courses, MAEd program and on-site workshops, PAST Innovation Lab impacts more classrooms and expands learning opportunities for teachers and students everywhere. In 23 years, PAST has impacted more than 2,300,000 students, over 20,000 teachers across 42 states, hosting nearly 20,000 visitors and building hundreds of partnerships" (Foundation Website).

To connect further after the show, you can find Annalies hosting the podcast, Learning Unboxed, or read her new book, Hacking Schools: Five Strategies to Link Learning to Life.

I think you're going to be really intrigued by the programs the PAST foundation has put into action, and the ways they can be applied to ELA. So let's dive in.

Connect with Dr. Annalies Corbin:

Find out more about her new book, Hacking School, here.

Learn about The Past Foundation.

Say hello to Annalies on Instagram.

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A few weeks ago I shared my dream American Lit curriculum here on the pod, and soon after I heard from a British Literature teacher who was hoping for some new unit ideas for her curriculum too. She shared her starting point, which sounds like a highly engaging set of texts: "Our long reads," she wrote, "are The Princess Bride, Macbeth, Hitchhiker's Guide to the Galaxy, and Beowulf- a hero's journey theme!" So today I'd like to brainstorm with you, throwing out ideas for a British Lit curriculum, based on some of these starting texts and a few more I'll throw into the mix. Get ready for a Holmes-inspired True Crime podcast project, Shakespearean book clubs, a mashup of dystopia and contemporary street art, and more. Whether or not you teach a British Literature course, I think you'll find some fresh ideas and inspiration for new unit possibilities today.

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The word audience conjures up a crowd, perhaps people watching an opera late at night at the Santa Fe outdoor amphitheatre, as the moon rises over the spectacle of Cosi Fan Tutte. Or wearing sparkles and friendship bracelets as they scream themselves hoarse at the Eras tour. Or packing a stadium as they stomp their feet and cheer at a Lakers game.

But audiences don't have to be so huge, or dramatic. When it comes to students, what they need is to know they'll pretty often have one for their best work. A friend, the kids walking through the hallways every day, the school principal, the 2nd grade class at Wilson elementary down the street... it matters.

It changes the way they work, and helps their work parallel the writing they'll do one day across a wide variety of careers, in which their emails will go to someone, their presentations will be to a room full of co-workers, and their social media posts will make the difference between their small business making it or not.

An authentic audience brings engagement and motivation, helping students be successful at school and beyond. So today, let's talk about where to find it (hint... around every corner!).

One quick note before we begin - for any of these audiences that exist online, keep in mind that you would need appropriate parent and/or school permission for students to submit to be published, and that students should never share their personal information or photos of themselves.

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Sources:

Landay, Eileen and Kurt Wooton. A Reason to Read. Harvard Education Press, 2012.

Warner, John. Why They Can't Write. John Hopkins University Press, 2020.

Zemelman, Daniels and Hyde. Best Practice. Heinemann, 2005.

American Lit has the potential to be an engaging, broadening, fascinating course. We're in what I consider an in-between era, where many schools are still providing the historical American lit canon to teachers, while other schools or independent teachers going around the system have moved into teaching a broader swirl of America's diverse stories.

The American Lit curriculum I was handed twenty years ago was 98% written by dead white men. Since then, I've learned about the impact on our students when they can (and can't) see themselves in the books they read.

When they can and can't see their identities. Their communities. Their problems. Their hopes.

I learned from Dr. Rudine Sims Bishop's call for books in which students can see themselves and learn to understand others in her appeal to our collective humanity in her landmark essay, "Mirrors, Windows, and Sliding Glass Doors."

I learned from Felicia Rose Chavez, author of The Anti-Racist Writing Workshop, who shared her personal experience as a young reader: "It's startling as a young person of color to stare down the spines of literacy and note the neat annihilation of most of the world" (29).

I learned from Dr. Claudia Rodriguez-Mojica and Dr. Allison Briceño, co-authors of Conscious Classrooms, that using culturally relevant texts can improve student outcomes by helping improve their comprehension, motivation & engagement.

I learned more about pairing contemporary texts to the canon from the #distrupttexts movement, about "completing" the canon from Chavez, and about layering multicultural, multimodal texts from Dr. Gholdy Muhammad's Cultivating Genius.

For me, it feels so clear. And yet I still see so many curriculums either still cleaving to the classics for the most part or abandoning books altogether in favor of textbooks and " short selections."

So today I want to offer my American Lit dream. If I had an unlimited budget, and didn't have to worry about book challenges, this is an outline of the American Lit curriculum I would love to teach today. If you're an American Lit teacher, I hope you find an idea for a new unit or two or five that you'd be excited to try out. If you don't teach American Lit, I think you'll still get a lot of ideas about curriculum possibilities in terms of structure and balance from this episode, which you could remix with any authors you choose.

Go Further:

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Sources:

Chavez, Felicia. The Anti-Racist Writing Workshop. Haymarket Books, 2021.

Bishop, Rudine Sims. "Mirrors, Windows, and Sliding Glass Doors." Perspectives: Choosing and Using Books for the Classroom. Vo. 6, No. 3, Summer 1990. https://scenicregional.org/wp-content/uploads/2017/08/Mirrors-Windows-and-Sliding-Glass-Doors.pdf Accessed November 2, 2025.

Graham, S., MacArthur, C., & Hebert, M. (Eds). Best Practices in Writing Instruction. The Guilford Press, 2019.

Hillocks Jr., G. Narrative Writing: Learning a New Model for Teaching. Heinemann, 2007.

Kittle, Penny. Micro Mentor Texts. Scholastic Professional, 2022.

Muhammad, Gholdy. Cultivating Genius. Scholastic, 2020.

Potash, Betsy. "Students Need Diverse Texts and Choice, with Dr. Claudia Rodriguez-Mojica and Dr. Allison Briceño." The Spark Creativity Teacher Podcast, Episode 204.

Resolution on Grammar Exercises to Teach Speaking and Writing. NCTE online: National Council of Teachers of English Position Statements: https://ncte.org/statement/grammarexercises/, Accessed January 2026.

Schoenborn, Andy and Troy Hicks. Creating Confident Writers. W.W. Norton, 2020.

Zemelman, Steven, Harvey Daniels and Arthur Hyde. Best Practice. Heinemann, 2005.

Let's talk about an incredibly adaptable project in which students experiment with creative ideas across modes. It's easy to plug into a variety of units and times of year, and ready to tap at a moment's notice. It remixes easily for Valentine's Day on the horizon, but it could also work well at Halloween, or as part of a creative writing unit, or when you're reading any verse novel or graphic novel.

This project starts with fiction, moves into verse, and lands in a multimodal combination of verse and imagery. I call it a multimodal flash verse project, informed along the way by the brilliant mode collaborations of Jason Reynolds. Let's dig into it.

Links Mentioned:

Jason Reynolds' Interview with the Kennedy Center: https://www.youtube.com/watch?v=cuXNsJvNaFs

Book Trailer for Ain't Burned all the Bright: https://www.youtube.com/watch?v=EjqvOyAh36Y

Reynolds on his collab with Novgorodoff: https://www.youtube.com/watch?v=0ErpAXd7Swg

There was a Party for Langston Read-Aloud: https://www.youtube.com/watch?v=m4MYO4WmR9s

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The more time you spend writing, the more you know that revision is everything. Let me cite writing superhero John Green on this one, who discusses his drafting processin the FAQs on his website: "...I'm a big believer in revision: I almost always delete most of my first drafts (often as much as 90%). But there are many mini-drafts along the way, so it's hard to talk about the process quantitatively. I do try to save the file with a different name each time I've made some dramatic changes I fear I might later regret, so that's some measure, maybe, of how many drafts there are. The final copy of Katherines on my hard drive is called aok284; the final copy of TFiOS is called okay192." If I'm understanding John correctly, that means he wrote 284 drafts with dramatic changes for just one of his novels.

Let's let that sink in for a moment.

Let's be sure to mention that to students sometime soon.

I tried to demonstrate some of this to my students back when I was at the Bread Loaf School of English in the summers (find out more about that fabulous program here in episode 223), and teaching in the school year. I photocopied every phase of one of my major papers, from random thoughts on paper to sort-of-organized thoughts to outline to research notes to draft to draft to draft to final paper. The booklet I passed out to students literally looked like a book. I wanted them to understand that writing isn't a matter of freewheeling a draft and then cleaning it up.

Recently, I spent twenty or so hours over winter vacation (soooo much travel time) reading up on the most current best practices in writing instruction. It was a good time. There's nothing quite like reading classroom stories about integrating sensory detail at 3 a.m. over the Atlantic while the plane around you sleeps. (Yep, stop laughing. You always knew this about me. Pedagogy is my jam). A lot of it felt familiar, but there were also things that sparked new connections for me, and a few surprises, too. So today, let's tackle a huge topic together: student revision. We'll dive into the challenge and some solid solution options, and I'll hand over a curriculum booster pack to help you put it all into action.

The visual walkthrough of this episode:

Make a copy of the curriculum that goes with this episode: https://docs.google.com/presentation/d/1TIxaV1lgaAJMZipDt6hgoPC6-Tz7wAi2P4KF2uSd_pE/copy

Sources:

Green, John. "FAQs." John Green Books: https://www.johngreenbooks.com/where-i-get-my-ideas-inspiration-and-general-writing-stuff. Accessed January 2026.

Hillocks Jr., George. Narrative Writing: Learning a New Model for Teaching. Portsmouth: Heinemann, 2006.

"How to Teach Authentic Writing in the Age of AI." Edutopia: The School of Practice Podcast. https://podcasts.apple.com/us/podcast/how-to-teach-authentic-writing-in-the-age-of-ai/id1840474338?i=1000736252749. Accessed January 2026.

"Improve Students' Evidence Analysis: Meet Mr. Skeptical." The Spark Creativity Teacher Podcast. https://nowsparkcreativity.com/2025/05/improve-students-evidence-analysis-meet-mr-skeptical.html. Accessed January 2026.

MacArthur, Charles. "Evaluation and Revision" (Chapter 12). Best Practices in Writing Instruction. Ed. by Steve Graham, Charles MacArthur, and Michael Hebert. New York: Guilford Press, 2017.

Wilson, Joshua. "Assessing Writing" (Chapter 14). Best Practices in Writing Instruction. Ed. by Steve Graham, Charles MacArthur, and Michael Hebert. New York: Guilford Press, 2017.

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We know we want kids to have choice. As much choice as possible in creating the education that is meaningful and helpful for them. That choice can come through choice over content, medium, expression of ideas, types of discussion, seating in the classroom, what to work on when, when to take a break...there are so many possibilities! If you make it a professional challenge to start seeing the possibilities for choice, you'll find them everywhere!

As I've been working on choice as a theme for The Lighthouse this month, I knew that I wanted to create a final choice board project adaptable for any text that would provide a range of options for students. But I also knew I wanted to avoid the pitfalls of some of the choice projects I designed for my own classroom, when I ended up having to create seven different rubrics and rewire myself for a huge range of requirements on my different project options as I graded them. While I was glad to give my students those choices, it was frustrating how long it took to complete my comments.

So I took some of my favorite types of projects, what I've learned about creating linked hyperdocs, and my strong desire for an easy grading situation and mashed it all up into an adaptable final project with nine choices, including one that allows students to create their own way to make meaning from what they've studied (so really, a million choices). I'm going to walk you through the process today, so you can do the same next time you'd like to create a project full of options, gifting your students agency as they synthesize what they've learned and create something new.

Let's dive in.

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Sources Considered:

Beghetto, Ronald. "Does Assessment Kill Student Creativity?" The Educational Forum, 2005.

Beghetto, Ronald. Killing Ideas Softly: The Promise & Peril of Creativity in the Classroom. Information Age Publishing, 2017. Accessed Online through the Ebesco Database.

Chavez, Felicia. The Anti-Racist Writer's Workshop. Haymarket Books, 2021.

Gabriel, Elise. "Six Ways to Help Kids Grow their Creativity." Greater Good Magazine Online: https://greatergood.berkeley.edu/article/item/six_ways_to_help_kids_grow_their_creativity. Accessed 28 October 2025.

Gonzalez, Jennifer. "Meet the Single Point Rubric." Cult of Pedagogy Online: https://www.cultofpedagogy.com/single-point-rubric/. Accessed May 2025.

Pringle, Zorana Ivcevic. The Creativity Choice. Public Affairs: 2025.

Wiggins, Grant. "Creative." https://grantwiggins.wpcomstaging.com/wp-content/uploads/2012/02/creative.pdf. Accessed 28 October 2025.