Understanding Our Gifted · University of Southern Mississippi Elinor Katz, Associate Professor Educational Leadership University of Denver ... Musings: Concealment, Camouflage, or

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Bridging to the Classics

The Rewards of Writing

Fast Track: A Language Arts Program for Middle School Gifted

Gifted Language Arts: Filling the Canvas with Quality

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A former classroom teacher, teacher of gifted children, and counselor of gifted adolescents, Jim Delisle recently retired from Kent State University where he served as Director of undergraduate and graduate programs in gifted child education for 25 years. He is the author of numerous articles and 14 books, including The Gifted Kids Survival Guide: A Teen Handbook, with co-author Judy Galbraith.

Parents, Teachers & Counselors HOLD THIS DATE!

February 20, 2009

Beyond Giftedness XVI ConferenceArvada Center for the Arts, Colorado

Keynote Topic: Highly Gifted, Barely Served:

Educating Gifted Children in the Era of Inclusion

Breakout Session: 10 Top Lessons for Teaching & Reaching

Gifted Students

Keynote SpeakerJim Delisle

Professor Emeritus, Kent State University

President, Growing Good Kids, Inc.

Publisher Dorothy Knopper

EditorCarol Fertig


Design/Desktop PublishingAnn Alexander Leggett

Online PublicationDana EchoHawk

Editorial Advisory Board

Alexinia Baldwin, ProfessorUniversity of Connecticut

Sandra BergerEducational Consultant, VA

George Betts, Professor Special Education / Gifted and TalentedUniversity of Northern Colorado

Barbara Clark, ProfessorCalifornia State University

Jaime A. Castellano, Visiting ProfessorLynn University, FL

James Delisle, Professor EmeritusKent State UniversityPresident, Growing Good Kids, Inc.

John Feldhusen, ProfessorPurdue University, IN

Maurice D. Fisher, PublisherGifted Education Press, VA

Jerry Flack, Professor EmeritusUniversity of Colorado

Donna Y. Ford, Professor Betts Chair, Education/Human Development Vanderbilt University, TN

Julie GonzalesEducational Consultant / Advocate, CO

Miraca Gross, ProfessorGifted EducationDirector, Gifted Education Research, Resource, and Information CentreUniversity of New South Wales, Australia

Pat HollingsworthUniversity School for Gifted ChildrenUniversity of Tulsa, OK

Frances A. Karnes, ProfessorSpecial EducationDirector, Karnes Center for Gifted StudiesUniversity of Southern Mississippi

Elinor Katz, Associate ProfessorEducational LeadershipUniversity of Denver

Bertie KingoreProfessional Associates Publishing, TX

Joel McIntosh, PublisherPrufrock Press, TX

Sheri Nowak StewartCoordinator, Enrichment ServicesBlue Valley School DistrictOverland Park, KS

Rick Olenchak, ProfessorPsychologistDirector Urban Talent Research InstituteUniversity of Houston, TX

Jeanette ParkerProfessor Emeritus University of Louisiana at Lafayette

Ann Robinson, ProfessorUniversity of Arkansas at Little Rock

Beverly Shaklee, ProfessorGeorge Mason University, VA

Dorothy Sisk, DirectorConn Chair for Gifted EducationLamar University, TX

Joan Franklin Smutny, DirectorCenter for GiftedNational-Louis University, IL

Joyce VanTassel-Baska, ProfessorCollege of William & Mary, VA

Sally Walker, Executive DirectorIllinois Association for Gifted Children

Susan WinebrennerEducation Consulting Service, CA

Understanding Our Gifted encourages a wide range of viewpoints on education and the gifted. Authors have the flexibility to express individual opinions, which are not necessarily those of the Editor, Publisher, or Editorial Advisory Board. We welcome reader feedback.

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Understanding Our Gifted, Spring 2008 1

Between the Lines ........................................................................................... 2• Publisher’s PerspectiveDorothy Knopper

FeaturesBridging to the Classics ................................................................................... 3• Consider the purpose of the study of literatureBob Seney

The Rewards of Writing ................................................................................... 6• Writing does not always come easilyMark Overmeyer

Fast Track: A Language Arts Program for Middle School Gifted ..................... 9• Using critical thinking to create a high level language arts programJean Schneider

Gifted Language Arts: Filling the Canvas with Quality ...............................14• Parents can both assess and encourage a good background in language artsLou-Lloyd-Zannini

Classroom Teachers: It Matters What They Know About Gifted Matters ...18• Classroom teachers must become familiar with issues in gifted educationJulie Lamb Milligan

ColumnsMusings: Concealment, Camouflage, or Clarity—Decisions for the Verbally Gifted ..................................................................23• Hiding or revealing one’s giftednessMiraca U.M. Gross

The Affective Side: Overcoming Obstacles to Writing the College Essay ..26• Understanding potential problems and planning effective strategiesJean Strop

Software Updates: Role-Playing Software ..................................................28• Motivating students with quality computer softwareGregory C. Pattridge

Surfing the Net: Validity of Internet Sites ...................................................30• Using Internet sites appropriatelySandra Berger

Book Bag: When Artists Speak......................................................................31• Discover the backgrounds of book illustratorsJerry Flack

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2 www.openspacecomm.com Understanding Our Gifted, Spring 2008

Between the Lines

Publisher’s Perspective

Dorothy KnopperLanguage Arts....a common term in education....but what does it include, especially for gifted youngsters? Lou Lloyd-Zannini defines it in his article on p. 15 of this issue of Understanding Our Gifted, as follows:“...that broad K-12 overarching nomenclature for studies in reading processes, literature, writing, grammar, vocabulary acquisition, and even oral expression.”

In Best Practices in Gifted Education (2007, Prufrock), Ann Robinson, Bruce M. Shore, and Donna L. Enersen state, “Even before 2 years of age, some children exhibit indications of advanced language development. Throughout their school years, they excel in language arts: they read widely, write well, and understand and appreciate the nuances of literary works” (p. 145).

Long before I became a professional in the field of gifted education, I experienced that scenario with my own gifted children. My three sons read, comprehended, and had verbal ability several years beyond their age and grade levels. One of them read fluently at 18 months and at age 3 didn’t understand why the 4th grade books in the library were on a high shelf where he couldn’t reach them. Another son, at age 12, flawlessly edited my graduate thesis and typed it on a portable typewriter (Computers were not yet available for public use.).

In Miraca U.M. Gross’s column in this issue, she discusses verbally articulate children who felt “uncomfortable with their gifts” and hid their “differences” for peer acceptance. “To speak out clearly and articulately, in their ‘true voices’ was just too great a risk” (p. 25).

One of my boys prided himself on his large vocabulary, frequently using “big” words. However, he soon realized that his 5-year-old age peers did not use or understand those grownup words, so he developed a plan. With adults or other bright children, he utilized his extensive vocabulary, but when he was with friends who were average or slow learners, he dumbed down his word usage.

According to Joan Smutny and Sarah Fremd (2004, Differentiating for the Young Child, Corwin), “Some children seem to love words from a very early age. Children who have an environment where books are readily available, where someone reads to them often, and where opportunities to interact with books and words are abundant, develop a special interest in all things about language.”

As always, we value your feedback and opinions. Contact Editor Carol Fertig: [email protected] v



Bob Seney

ContentsHow can we make the classics relevant to kids today?

I am an enthusiastic supporter of using young adult literature in the classroom with gifted learners—so much, that I have been accused of being against the classics. Not so, but I do ask about and challenge teachers to tell me if our classroom use of the classics is appropriate. Do the classics provide the kind of interaction that evokes a positive response from our high school readers? In my classroom experience, I have not found this to always be the case. So, I turned to young adult literature. If you have not been keeping up with this growing field, you will be surprised by the quality and sophistication of this genre. I believe that it is not only a great source for quality literature, but it is a rich resource for gifted students. Young adult literature speaks to their world, reflects their interests, and has the power “to evoke in students the kind of literary experience that will keep them reading and lead them to a deeper understanding of literature in general and the relationship between literature and life in particular” (Monseau, 1996).

The first question that we must ask is: Why are we teaching literature? Next is: What is the purpose of literary study? Unfortunately, many high school teachers of English approach these questions as if they are personally responsible for creating and training the next generation of literary critics. But few of us will have that honor. I suggest that our purpose for the study of literature in secondary schools is to create lifelong readers—those who eventually will build an appreciation for all literature. Unfortunately, whether we like it or not, the classics are not the literary resource that will help create many lifelong readers. Too often, students, especially gifted students, report that they are not only “turned off’ by the classics, but enforced reading in that category turns them off to all reading (Carlsen & Sherrill, 1988).

The reasons are fairly obvious. In my workshops I have used the following list gathered from research, my experience in reading, and discussing reading with teenagers.• The classics were not written for adolescents. Our students do not have the life experiences and literary expertise that help them relate to the plots, subtleties, and themes of the classics.• The classics do not speak directly to the developmental needs of teens and their concerns. Nor do they reflect the reality of the adolescent world.• The classics use a language (syntax) and vocabulary that are no longer commonly used.• The very element, stylistic prominence, that makes a piece of literature a classic is the very element which makes appreciation and understanding unattainable for most young adults.• The classics do not represent women and minority writers.


Bushman and Parks-Haas (2001) point out that many students are not cognitively or emotionally ready to read and to understand many of the classics. The case that they present is well worth considering. They also ask the question, “Have the classics withstood the test of time because they are great literature? Or have they withstood the test of time because they are required reading in college English classes and because they are included in the anthologies?” The arguments on using or not using the classics in the secondary classroom are interesting. My major concern is to guide our students into becoming lifelong readers. I have found that the classics are usually not the best tool for this goal. In short, they come from another world, and their nature and level of difficulty tend to turn students off of reading, which is just the opposite of our goal. This is not to say that for some students, as we guide them into more sophisticated reading, the classics might not be appropriate reading. No one size fits all.

With all this said, for one reason or other, teachers will continue to teach the classics in the secondary classroom. It may be because of district curriculum, personal choice, or as studies have shown, “great notes from students’ favorite college English professor.” If we continue to use the classics in the classroom, my suggestion is to read and study more contemporary literature that “bridges” to the classic piece. In this way, students find that they are capable of handling text in terms of literary analysis, and they have a greater understanding of the role of theme, style, and symbolism in literature. We build a positive experience on which we then base our study of the selected classic. When we are teaching literature, the first questions that we must ask are: “Why are we teaching this particular selection?” “Why have we chosen it, and what specifically do we want our students to derive from this study?” “Are we looking for the use of symbolism or the treatment of a particular theme or period of history?” “Is it the author’s use of character development or an especially clever plot structure?” “How are we relating it to the elements of fiction?” We must make these decisions recognizing that we cannot cover the whole

Classics, continued

“…my suggestion is to read and study more contemporary literature that ‘bridges’ to the classic piece. “

world with just one piece of literature. Once the “goal” of our study has been identified, we can begin to design our objectives, secure additional materials and resources, and create a classroom experience that will actively involve students and bring the selected literature alive for them. With that in mind, I suggest the following general guidelines for bridging to the classics:

• Precede the study of the classic by using a specifically selected young adult literature novel that is similar in theme or focus to the classic.

• Provide students with the tools of response analysis set forth by Robert Probst (1988) in his book about teaching literature in secondary school.

• Identify as many “parings” or “bridges” as possible.• Investigate time and place setting of both the piece

and the author. What are the historical, political, and social issues of the period?

• Use videos, performances, and/or films to help bring the selection alive.

In pairing young adult novels with classic novels, we look for books that have similar themes, situations, and issues. A good source for finding these related novels is Herz and Gallo’s From Hinton to Hamlet (2005). These authors provide many connections through what they call “theme connectors.” Sometimes the bridge book may be an easy and quick read for many students, thus reducing the time in preparation for the study of the classic novel.

Table 1 shows several paired pieces of literature that may be helpful. For example, in a study of Hawthorne’s The Scarlet Letter, I have used Cynthia Rylant’s A Kindness (1990, Laurel Leaf) as the bridge novel. In this book, 15-year-old Chip has a very close relationship with his artist mother, Anne. His father had left them soon after he was born. Since his mother is not very good at following through on practical matters, Chip has taken the responsibility for running their household. When his mother becomes pregnant and refuses to tell anyone who the father is, Chip must deal with several issues: his own anger, his possessiveness of his mother, and his loss of control over their lives. Rylant has handled this emotionally demanding and sensitive subject beautifully. The parallel between The Scarlet Letter can readily be seen but with a decidedly modern twist. A discussion of A Kindness leads very well into a consideration of The Scarlet Letter.

The classics can provide important insights into the ways we view our world and define who we are. If the decision is made to use them, the teacher should be aware of the hurdles that must be faced in bringing the literature alive for students. The teacher’s own personal love of a specific work is not enough. It must also relate to the world of our students. v


Table 1Bridging to the Classics

Modern Traditional

House of Stairs (Sleator) 1984 The Giver (Lowry) Gathering Blue (Lowry) Eva (Dickinson)

Home Before Dark (Bridgers) Grapes of Wrath Out of the Dust (Hesse)

Through the Hidden Door (R. Wells) Catcher in the Rye

Dear America (Edelman) For Whom the Bell Tolls Farewell to Arms

In Country (Mason) All’s Quiet on the Western Front

Summer of the Swans (Byars) Of Mice and Men

King of Shadow (Cooper) Shakespeare (especially Midsummer’s Night Dream)

A Kindness (Rylant) Scarlet Letter

The Man Who Was Poe (Avi) Works by Edgar Allan Poe

The Eyre Affair (Fforde) Jane Eyre

The Jane Austin Book Club (Fowler) Works by Austin

References

Bushman, J. & Parks-Haas, K. (2001). Using Young Adult Literature in the English Classroom. Columbus, OH: Merrill, Prentice Hall.Carlsen, R. & Sherrill, A. (1988). Voices of Readers: How We Come to Love Books. Urbana, IL: National Council of Teachers of English.Herz, S. & Gallo, D. (2005). From Hinton to Hamlet: Building Bridges Between Young Adult Literature and the Classics. Westport, CT: Greenwood Books.Monseau, V. (1996). Responding to Young Adult Literature. Portsmouth, NH: Boynton/Cook .Probst, R. (1988). Response and Analysis: Teaching Literature in Junior and Senior High School. Portsmouth, NH: Boynton/Cook.

Bob Seney is Professor Emeritus in Gifted Studies at Mississippi University for Women.

Classics, continued



Mark Overmeyer

In Bird by Bird, Anne Lamott compares writing to a tea ceremony: “That thing you had to force yourself to do—the actual act of writing, turns out to be the best part. It’s like discovering that while you thought you needed the tea ceremony for the caffeine, what you really needed was the tea ceremony. The act of writing turns out to be its own reward” (Lamott, 1994, p. xxvi).

Lamott’s ideas resonate with me as both a writer and as a teacher of writing. When I think of the many students I have worked with over the years, I remember their writing in particular. I remember laughing out loud when I read pieces by Camden or Rebecca, and I remember being moved to tears by Hannah’s story about the death of her mother’s best friend. I often call my friends to share examples, amazed at how writing from elementary and middle school students can elicit the same reaction as the writing of a beloved novelist or poet. Lamott is right: The act of writing is full of rewards, and I think this is true about the teaching of writing as well.

But I worry a bit in these days of high stakes testing that we are more concerned about product than process in the writing classroom, and this can have a negative impact on all our students. I have worked with hundreds of advanced learners and gifted students over the years, and the subject they tend to struggle with most is writing. One message that is clear in every book I have read by novelists and poets is that writing, even for professionals, does not come easily. Or to state it more clearly: It does not always come easily. Some days, the words and ideas flow, and other days they do not. Writing is different from other subjects because it can be like starting over again every day. One year, my advanced 6th graders read the novel Watership Down by Richard Adams, and each day we had rich discussions. Although sometimes we had to work harder to understand the text, my students were never unable to read the book. But some days, these same literate, eager students could not find the right words to express themselves in an essay or a story. It almost seemed as if they had “forgotten” how to write. I understand now that this is not because students aren’t trying—it is because we may be too product oriented.

Writing as a Process If we forget Lamott’s idea of ceremony—the rituals and routines—of a successful writing classroom, we may send the wrong message to our students about the very nature of writing as a process. If we focus our attention only on the product, we will forget the rich processes that lead us to a product we will want to share. And since there is not one process for all writers, we need to build in rituals that enable students to discover what works best for them.

ContentsShould we be more concerned with process or product?


I clearly remember over the years some of my more advanced writers balking at my lessons regarding planning. They just wanted to begin writing. I realize now that they were right. While I think it is important to plan, I do not believe that it is absolutely necessary to the success of a piece of writing, especially if the genre does not require a plan. Sometimes, students plan best by just beginning their pieces—by getting their ideas on the page. Other students plan best by thinking deeply about a topic for a bit, or by “daydreaming” as my students like to call it, until an idea comes. Stephen King (2000), in his powerful memoir On Writing, believes the best way to write is to just do it. He recommends that you come up with an idea for a character first if you want to write a novel, and then see where the character takes you. He does not always know how his narratives will end, and he keeps a consistent schedule of writing to make sure his progress can be measured. Other novelists, especially mystery writers, advocate for careful planning, but the lesson here is that each writer must have a process that works.

I was talking with a group of advanced middle school students recently about their writing processes, and one 6th grader mentioned that she had a difficult time with planning because she felt she had to stick with her original plan, and this caused her to be less creative. She admitted that she sometimes wrote to the plan even if it was not effective because she thought she was “supposed to.” In other words, she did not understand the purpose of the plan. The plan is meant to be a guide, but if the guide takes you off track, then it is fine to change the plan. Once her teacher cleared this up for her, she was relieved. After having dozens of conversations with students about their processes, I am convinced that one of the best ways to uncover methods that may help students become better writers is to talk with them. Some possible questions that can jumpstart a discussion follow:• How do you come up with ideas for writing?• What can you do to effectively get ready to write? Do you like to create a plan, or do you just like to write?• In what environments do you write most effectively? Do you like music, or do you need it to be quiet? Do you like to be alone, or are you okay with others being around?• Do you like to talk about your ideas before you write, or would you prefer to get started first?• What do you do when you are assigned a piece of writing to which you must respond, and you do not like the prompt?• What do you do when you get stuck while you are writing? It is important to keep in mind that when discussions about

these topics happen, the teacher must act as a researcher and then respond to the thoughts students bring to the table. For example, when I discussed these very topics with a group of 6th graders, the class was split on the idea of music. Some thought music helped them to think, while others were distracted by it. We decided together that the most logical compromise at school was to have no music during sustained writing times because the music might distract others. Since some liked to talk prior to writing, and others liked to just think, we timed the talking block so that those who liked to talk could do so, and those who needed quiet knew that their time to think and process would come soon. But since writing is done at home as well as school, all the discussions helped students to think about what might help them in multiple environments.

So what do we do about products? How can we help our students become more effective at producing writing once they become comfortable with a process?

Writing as ProductOne of the worst enemies some of our gifted students bring to writing is perfectionism. I think one reason many gifted students are more prone to this difficulty may lie, paradoxically, in books. Many of my most gifted students seem to inhale books. They read two or three books a week. These same students have not necessarily been my best writers, and I wonder if this is because they don’t allow themselves time to practice. They are too product oriented and set out to write the next great Harry Potter fantasy. Because their vision is so overwhelming, they give up before they get much of a start.

One of the foundations of good lesson planning is to ask students to activate schema or background knowledge. Some students struggle because they have too little background knowledge, but some of our advanced students may struggle because they have too much schema about books and writing. In other words, when a teacher asks them to write a narrative, they immediately associate fiction with the books they are reading, and this seems like a nearly impossible task. I am not suggesting that our students cannot write books. Christopher Paolini famously began his dragon trilogy with the book Eragon when he was a teenager and has since become a very successful writer. However, the reality is that most of our students, no matter how gifted, will probably not write novels in our classes, and we are probably not equipped to

Writing, continued

“One of the worst enemies some of our gifted students bring to writing is perfectionism .”


Writing, continued

help them write large amounts of text.

So how can we balance this mismatch between what our students read and what we ask them to do in school?

I turn to writer and teacher Natalie Goldberg for advice. She recommends that we be kind to ourselves. When we put too much pressure on ourselves, we often shut down. I do not believe our advanced writers mean to create a negative environment for their own writing, but they often have such high expectations for themselves that they shut down. The bulk of writing our students do should be seen as practice. Much like a soccer coach works with a team for weeks before the first game, we need to allow our students time to engage in meaningful, short exercises that will help them to become stronger writers. They should talk about their writing with others often, write and revise frequently, share regularly, and publish to perfection only rarely. I am suggesting here that in the writing classroom we should consider paying more attention to the rituals of practicing than the rituals of publishing.

Writing as a SurpriseAbove all, we owe our students the truth. We need to let them know that writing is different from other subjects. Math and science can help us wrap our minds around the patterns in the universe, and reading can help us understand the human condition.

But writing is unique because it always involves the creation of something new. And because writing is always an act of creation, we may often find ourselves surprised.

These surprises become the norm when students are asked to practice writing regularly. During one visit to a 1st grade classroom last spring, the teacher and I took the children outside and spent time drawing what we noticed. When we returned, we talked about the many ways we might write down our thoughts. During sharing time, many students focused on the concrete nature of their observations with sentences like these: I see a tree. The car is noisy. I see clouds.

Our surprise that day came from a student who has not lived in America for very long. She wrote and shared the following sentence: The flrs r lking for lit (The flowers are looking for light.).

When I asked this child to share how she came up with this idea, she was unable to tell me, partially because she had limited English but also because she wasn’t truly sure. This student exemplifies one of my strongest beliefs about writing: Sometimes we not only surprise the reader by what we write, but we surprise ourselves. We can actually learn what we really think, or what we really want to say, by writing it down. We aren’t always sure how the words will fall, and we may even feel lost, but like the flowers in the 1st grade piece above, if we know our own process—and if we believe in writing as ceremony—we can always find our way. v

References

King, S. (2000). On Writing. New York: Scribner.Lamott, A. (1994). Bird by Bird. New York: Random House.

Mark Overmeyer has taught grades 2-8 for 19 years, and he has also been Coordinator for Gifted/Talented at the middle school level. He is presently literacy coordinator for Cherry Creek Schools in Colorado, adjunct professor at University of Colorado-Denver, and the author of When Writing Workshop Isn’t Working.

“The bulk of writing our students do should be seen as practice.”



Jean Schneider

Conditions at a horse race can greatly alter the outcome of the race. Most horses are able to maximize their speed on a fast track. A fast track is when the track is completely dry and firm, without being overly dry and hard, enabling horses to run most efficiently. Therefore, it is usually on a fast track that horses record their greatest speeds. If we want gifted students to perform at their highest levels, we must work to provide a learning environment, rigorous curriculum, effective instruction, and appropriate pacing that promote maximum development.

Lucy was a 7th grade student who initially resisted entering Fast Track, a pseudonym for an accelerated, advanced language arts program for verbally gifted and high potential students in grades 6-8. Her California Achievement Test score was 150 in the verbal realm—the top score possible. Due to that score, plus other gathered data, Lucy was invited into the advanced language arts class. When her signed permission slip wasn’t returned, she was questioned about it. She explained that she didn’t like the gifted label. The Fast Track teacher argued, “You might find a good ‘fit’ in the class.” Lucy agreed to give it a try, understanding that she could transfer to a regular language arts class later, if she chose. While in 8th grade, she expressed her feelings about the advanced class:

I was wary about coming into the Fast Track program, but now that I’m here, it’s home to me. I hear some of the things the regular...classes are doing. I find my subconscious saying, “[I am thankful] you begged me to come into Fast Track.” I am a lot stronger in all of the areas of communication now. Acceleration in this area has improved me as a whole. Not only do I have greater knowledge, but my self-confidence has risen. I don’t have to feel stupid about being smart anymore.

Lucy’s comments verify the importance of a demanding, challenging language arts program for verbally gifted middle school students. What does a rigorous, Fast Track language arts program look like for gifted students, and how is it qualitatively differentiated from the norm? The skills involved in reading, writing, listening, and speaking are presented at advanced levels for gifted learners and at a faster pace than the norm. Although this program is described as a separate, advanced class, many of the ideas and methods described could also be applied to more inclusive language arts classrooms through differentiation.

Foundation: Critical ThinkingThe central purpose of education is to enable youngsters to think and reason. Language allows us to develop and express ideas, to communicate with others, and to enhance critical and creative thinking skills. The critical thinking model used for Fast Track was gleaned from Coalition of Essential Schools founder Ted Sizer’s Habits of Mind: significance, evidence, connections, perspective, and supposition, as practiced by faculty and students at Central Park East Secondary School (CPESS) in New York City. The habits permeate every aspect of the school,

What are some specific ways to maximize the learning environment at middle school?


Fast Track, continued

from curriculum to behavior management. [Editor’s Note: Visit www.essentialschools.org/ for more information.]

In Fast Track, students are taught Habits of Mind. They use them in discussions, in responding to reading, and in writing. The students learn that the habit of significance answers the question, “Who cares?” and is the most important habit. They learn the difference between preference (an idea that is not arguable, since it is one’s opinion) and reasoned judgment (an idea that is arguable). Whenever thinking is assessed in their writing, the significance of their ideas is given extra weight. Once the students express their good ideas, they need to support those ideas with evidence. “How do you know that?” is the guiding question for supporting evidence of an idea or a position. Students connect ideas to their own personal lives, families, experiences, and feelings. Perspective is prefaced with the question, “Whose point of view?” or “How does this person’s perspective compare with your own?” Supposition centers on the question, “What if things had been different?” Creativity was added as a sixth habit of mind to remind students that originality, individualism, and uniqueness is valued.

After using the Habits of Mind for three years, discussions were more student than teacher driven. Similar to Socratic Seminars, children are not hindered by raising their hands, but respectfully present their ideas and listen to others. They discuss their own significant thoughts, often developed through their reading, and challenge one another to provide clear evidence for their impressions. They question each other’s perspectives or ask, “What if….?” Often, without prompting, students connect ideas to their own lives or point out unique twists. They learn that thinking people can change their minds to take new and better positions, given clear, solid, persuasive reasons. The Habits of Mind help them realize the power of critical thinking.

District standards for the Fast Track program are based on those developed by the Northwest Regional Educational Laboratory (NWREL). For more information, visit www.nwrel.org/index.php.

How does one teach reading to young people who already perform at advanced levels? The students learn that when they “read the lines,” they decode conventions and establish comprehension. They “read between the lines” when they consider the context and interpret the text. They “read beyond the lines” when they synthesize and evaluate what they have read.

Reading the LinesIn 7th grade, young people read The Tale of Two Cities by Charles Dickens. The class begins with one of the most famous lines in literature, “It was the best of times; it was the worst of times.” Together, the class reads and interprets the meaning for Chapter 1, line by line. For Chapter 2, students paraphrase each paragraph through discussion. For Chapter 3, they are paired to paraphrase the text together. Significant points are recorded on each student’s Reading Guide sheet. At the end of Book One, the class discusses the significance of the theme, “Recalled to Life.” They are all thrilled to realize that they now understand the mystery term and its significance!

All middle school students, including the gifted, need a supportive environment to tackle challenging tasks. Reading The Tale of Two Cities is hard. Dickens is not always easy to understand. So a homework system was developed. Each night, students read one chapter and answer questions posed on their Reading Guides. For this homework, they use a particular pen color for the notes they take independently. They use a different color ink for notes they add in class to distinguish between what they have comprehended independently and the significant points discussed in the classroom. If the discussion includes something on which the student has taken notes, he underlines that part with the “in-class pen” and gives himself a “pat on the back.” If not, the students add that piece of the story to their notes. This process allows youngsters to gain confidence in their ability to read difficult texts and increase their comprehension skills. They feel proud of themselves when they underline a significant point they find independently while completing homework.

Establishing comprehension for easier texts can be challenging, even for gifted readers. Consider the last major scene from the book, To Kill a Mockingbird, by Harper Lee, read by 8th grade Fast Track students. In the scene, Scout, the 10-year-old main character and narrator of the story, is unable to see through her Halloween costume. She and her older brother, Jem, are returning home from the school party. The scene is dark and frightening because the children are being followed. They are viciously attacked by Bob Ewell, the book’s antagonist, and he attempts to kill them with a knife. There is a scuffle, and it turns out that Bob is the one

“That is a significant idea! Can you provide some evidence that supports your idea? Can you make some connections to your own life?”


of the metaphor, “to kill a mockingbird.” Telling the truth would have “killed a mockingbird” by exposing Boo to a hero’s fame which, with his shy ways, would not have been kind to a quiet man who saved the lives of two children.

Reading beyond the LinesThe students read “beyond the lines” when they integrate for synthesis. For this, they need to use multiple elements from the text to create an integrated analysis. In To Kill a Mockingbird, they are asked, “Who are most clearly the two mockingbirds in this story? Why are they the mockingbirds?” For the purposes of increasing thinking and reading skills, it doesn’t matter which two characters the students select. What matters is how well they defend their choices. According to the rubric, an advanced reader should be able to do the following: • Thoroughly answer the question indicating insightful understanding of synthesis skills.• Give specific, well chosen examples from the text to show in-depth understanding of synthesis. • Use synthesis language to indicate insightful understanding of trait skills.

Students are asked to critique for evaluation with the general question, “What is your judgment of this text and the author’s handling of this topic?” For this trait, youngsters are expected to challenge the text or the author. Here are examples from three books, read by 6th, 7th, and 8th graders:

• After reading The Westing Game by Ellen Raskin, how do you feel about the method Sam Westing used to find an heir? Do you agree or disagree? Cite references from the novel to support your answer.• After reading Separate Peace by John Knowles, challenge the author’s stereotypes of teenage boys in the novel, using Gene and Phinny as the basis of your critique.• Challenge the author of Little Prince, Antoine de Saint Exupery, on a point you feel strongly about. Evaluate the author on that point, showing thoughtful judgment. Back up your opinion with clear evidence or quotes that support your position.

Much of the assessment is formative and not graded. Jewel became concerned when she was first exposed to the criteria on the rubrics. She was relieved to learn that rubrics would be used to provide criteria to increase skills, not used to determine students’ grades.

WritingBoth the reading and the writing traits require knowledge of conventions, so students begin their 6th grade year with a diagnostic assessment. Joey’s score on the pre-assessment indicated that he entered 6th grade in Fast Track with a

who is killed. Scout mistakenly assumes Jem killed Bob, but the reality is that Jem passed out after having his arm broken by the villain. When Scout finally manages to discard her costume, she realizes that another person, Boo Radley, the town recluse, is present. She sees that he has Jem in his arms and is carrying him home.

Many advanced readers have difficulty comprehending the details of the scene. They are asked, “Who killed Bob Ewell?” Most initially answer incorrectly. Having no clear consensus motivates a search for the truth. Through guided discussion and by listing the events chronologically based on the evidence the text provides, it becomes clear to each student that Boo Radley killed Bob Ewell with a kitchen knife, saving the children. At the end of the discussion, every student is able to answer the question correctly and provide supporting evidence. Youngsters are given a second chance to answer the question and observe improvement in their scores on the rubric for the category of comprehension.

Reading between the LinesThe students read “between the lines” when they realize context. The Habits of Mind connections are at work here because the young people are asked to visualize wider connections to what they read. For Tale of Two Cities, they are asked to compare the time and setting of the story with their own time and setting. In To Kill a Mockingbird, they are asked to discuss the impact that the setting and time have on the story. Scout and Jem’s father, a lawyer, defended a black man against a rape charge in their small town in Alabama in the 1930s. The reason the man was found guilty, despite his obvious innocence, is strongly connected to the context of the story.

When students use clues and evidence from the text to explain what is happening, they are able to better interpret the stories. These discussions are especially rich. To Kill a Mockingbird provides an example when young people discuss the questions, “How does Atticus, the children’s father, interpret Bob Ewell’s death? Why does he interpret it that way? How and why does Sheriff Tate change Atticus’s interpretation? What does Scout think about it?” Atticus thinks that Jem has killed Bob Ewell in self-defense. He wants Jem to face up to it as soon as he is able. Sheriff Tate knows the truth, that Boo Radley killed Ewell. Tate insists that Ewell fell on his knife and argues with Atticus regarding this interpretation. Only when Tate shouts that he is not thinking of Jem does Atticus realize who the real killer is. Then he, too, realizes that the truth cannot be told. The interpretive levels rise dramatically in students’ minds as they consider Scout’s interpretation



cursory knowledge of conventions. He could not distinguish between a sentence and a sentence fragment. He took no care in beginning a sentence with a capital letter or ending a sentence with a period. Despite Joey’s low starting point, he thrived under the rigorous, challenging, yet supportive environment. During his 7th and 8th grade years, he took the ACT and SAT tests. On the ACT, in the English area, he improved his initial score from 23 to 32, an increase of 11 points. On the verbal section of the SAT, he improved his score 100 points. This young man finished the middle school language arts program being able to communicate well, which will benefit him in the future, regardless of the field of study that he chooses.

Elements of Style (Strunk & White, 2000) guides the teaching of writing conventions. However, the rules and explanations are simplified. Student “ideas” are emphasized in student-teacher conferences and weighted most heavily when writing is assessed. After all, if the young person can implement conventions perfectly, who cares if she has little or nothing to say? Here, too, the Habits of Mind are reinforced: “That is a significant idea! Can you provide some evidence that supports your idea? Can you make some connections to your own life?” Then, one of the conventions is discussed. When conventions are the second focus, sentences containing an error are marked, but the student has to find the actual error and determine the rule that was broken. Sometimes a student meets with the teacher several times before the piece is edited to perfection.

Word choice is coupled with vocabulary study. Often the vocabulary is based on a book the class is reading. Other times vocabulary centers on words frequently seen on the SAT. The SAT words are taken from various books, including those listed in Up Your Score: The Underground Guide to the SAT (Berger, et al., 2007-2008).Voice, sentence fluency, and organization are taught using writing examples from actual student work.

The most difficult writing trait is organization. At the 6th grade level, students write and revise “perfect paragraphs.” With an emphasis on the richness of their ideas, they share their perspectives of the significance of the book, Where the Red Fern Grows, by Wilson Rawls. Since a well written paragraph is a mini-essay, the perfect paragraph serves as a foundation for later essays.

Steven tried his best to write well, but each time he wrote a piece he either had great ideas not supported by evidence or plenty of evidence not supporting clear ideas. Midway through 7th grade, he finally put it all together. Reading his teacher’s complimentary feedback, he was ecstatic. “I got it! I got it!” Steven never again needed to be told that he lacked supporting evidence during his time in Fast Track. He had, indeed, finally understood critical thinking. During high school, he wrote a winning essay on the lesson he learned in Fast Track through the formative assessment approach.

Listening and SpeakingThe skill areas of listening and speaking have been addressed in many ways, from giving oral presentations and speeches to viewing films. One part of the Fast Track program, Mock Trial, is rigorous and provides practice in these areas. Formal Mock Trial competitions are common in many states at high school level and even middle school level. Fast Track students take advantage of this program to enhance listening and speaking skills.

Mock Trial teams are made up of seven to ten students. Three students take on the roles of lawyers and three assume the roles of witnesses. At least one student serves as an alternate. Teams have to prepare the case from different perspectives: • defense and prosecution for a criminal trial • defendant and plaintiff for a civil trial

Students learn the complex rules for the competition, prepare questions, and prepare for their roles. The Fast Track teacher serves as a coach and, in practice, the judge. Local lawyers volunteer their time to help students with the finer points of courtroom etiquette and strategies.

Given learning opportunities that truly challenge, the responsibility to exercise meaningful choice, and respect for their ideas and dignity, youngsters are capable of tremendous commitment and dazzling originality. Fast Track students become highly motivated to perform at extraordinarily high levels. Not only do they spend class time on preparation, but they are willing and eager to engage in extra time in school and at homework.

On the day of the competition, adults sit in the galleries in the county courthouse to view the trials while middle school


“ Just as a fast track enables the greatest speed for race horses, a good language arts program, qualitatively differentiated from the norm, encourages top, sometimes awesome performances. ”


a difference, not just with students’ communication skills, but within the students themselves, both cognitively and affectively. v

References

Berger, L., Colton, M., Mistry, M., Rossi, P., Huang, J. (2007- 2008). Your Score: The Underground Guide to the SAT. New York: Workman Publishing.Strunk, W. & White, E.B. (2000). Elements of Style. Needham Heights, MA: Allyn & Bacon.

Jean Schneider is associate professor at University of Northern Iowa in the Department of Curriculum and Instruction and serves as Coordinator of the Middle Level Educational Program. She has been in public education for 20 years, with 9 years as a teacher of middle school language arts for verbally gifted students.

teams compete against one another inside real courtrooms. Students dress up to look as adult as possible. The real wonder is that the young adolescents sound like adult lawyers: “Objection, Your Honor! Hearsay!” “Please state your name for the court.” “May I approach the bench, Your Honor?” The teens take on witness roles: A “mother” quietly dabs her eyes as she waits for her turn to testify. A “young man” appears nervous as he is questioned about his role in a wrongful death. A “policeman” explains his actions when he arrives at the scene of the crime.

When the trial is over, the judges comment on student performances, providing genuine feedback for the young lawyers and witnesses. The two judges who presided over the trial complete score sheets to determine a team’s total score and which team will move on to the next level of competition. One Fast Track team has won the honor of advancing to the state level almost every year.

During the Mock Trial competition, students learn to speak loudly, slowly, and clearly, so their good ideas and points can be heard by their teammates, competitors, and judges. They also learn to listen keenly. A lawyer’s question or a witness’s answer might be worth an objection, might play into trial strategy, or might solidify one’s own case. They learn to view critically. What is the body language of the witness saying? What is the body language of the judge saying? How might a witness use her body language to convey emotion?

Most importantly, students gain self-confidence in their communication skills. When first introduced to Mock Trial, Callie complained, “I don’t get it.” When asked which parts, she replied, “All of it.” The Fast Track teacher assured her that she would understand, and that it would all make sense eventually. It did. Callie’s team won the honor of competing at state, and she was proud to receive one of the most prestigious awards for being an outstanding lawyer at that competition.

Like a fast track for race horses, the entire Fast Track language arts program provides opportunities for optimal performance within a safe environment. Any of these standards, methods, or materials could be adapted to other situations or environments to increase language arts skills in gifted learners. The stories of the students illustrate rigor within a safe, encouraging environment and the power of formative assessment. Just as a fast track enables the greatest speed for race horses, a good language arts program, qualitatively differentiated from the norm, encourages top, awesome performances. The Fast Track program makes



What does a good language arts curriculum for the gifted look like?


Lou Lloyd-Zannini

When the curriculum and expectations extend beyond the ordinary, gifted students truly can make original contributions to knowledge. Tannenbaum (1981)

“How can I tell if my gifted 10th grade daughter’s curriculum is appropriate for her needs?” the anxious mother asked me, adding hastily, “After all, I’m not a professional educator like you.”

“Easily,” I responded almost automatically. “Just check the number of text messages she sends during classes.” My comment was met with a look of bewilderment. “Let me explain, I continued,” as I thought back to the experience that had prompted my response….

Typically, I work one day a week from my home office because there are fewer interruptions, and I can concentrate on my writing. One day, as I struggled with a difficult piece, my train of thought was derailed by a noise from my desk. The cell phone was ringing. As soon as I heard the tone, I knew that a text message had dropped into my mailbox. I read the text on my screen: “Hey. Wat R U up 2?” The message was from Josh, the kid next door, and that made it very curious. At 10:00 in the morning, Josh should have been in school.

I typed on the tiny keypad: “Not much. & U? No school today?” Within a minute the response was back: “In school. Death by boredom.”

My response was swift. “Get to work, you clown :0) We’ll talk tonight.” Josh and I have a strong relationship built on nearly a decade of mentorship. I knew that our conversation that evening would be frank, interesting, and informative, and as it turned out, it was all of that and more.

Josh’s message was sent from his honors English class. That was scary because Josh reads constantly, loves to play with words, and is always willing to take on writing challenges, whether it is a new type of poetry, a short story, or even a screenplay. As a young child, Josh was verbally precocious, and even in his elementary school days, it was clear that his gift was in language arts. “Death by boredom” in his favorite class? How could this be?

Initially, I thought that Josh’s experience was an anomaly. After all, I’m a teacher, too, and none of us has a hit every class. But early in the conversation that evening, it became clear that there was no honor in this English course. In fact, as Josh described typical class activities, I realized that the course really wasn’t appropriate for a gifted kid. It wasn’t even close. Worse yet, the boredom that day was not uncommon


for Josh or his colleagues in the class. One of Josh’s friends had described it as “brain numbing tedium.”

Even more egregious, this lack of challenge had been going on for years.

Subsequent conversations with Josh and other gifted students caused me to realize that in many cases, what is presented as appropriately differentiated language arts curriculum for gifted/talented students is nothing more than general education curriculum with additional work at the same level as the regular curriculum. If everyone else is writing a 300 word essay, gifted students are assigned 500 words. If everyone else is reading one book per semester, gifted kids are expected to read two. Brain numbing tedium indeed, and hardly appropriate for gifted kids.

Obviously, “more of the same,” “brain numbing tedium” is not the kind of (allegedly) differentiated curriculum we want to see in our gifted children’s language arts curriculum—or any other for that matter. What, then, do we want? What does a good language arts curriculum for the gifted look like? How will we know it when we see it—whether or not we’re professional educators? In order to answer this question, we need first to get a sense of the overarching features and components of a quality curriculum for high ability learners.

For starters, let’s agree on the meaning of a few terms. Typically, when I talk about curriculum, I’m speaking of two things: a set of clear learner goals that form the target at which we aim and the pathway to those goals. I’d like to broaden the term a bit by including two other pivotal pieces in the formal learning process: appropriate assessment and authentic facilitation of learning (what we used to call “teaching”). So, curriculum is the “where we’re going,” the “how we’ll know we got there,” and the “road map from where we are to where we need to be.”

Another term we need to agree upon is language arts. Let’s consider language arts as the broad swath of learning experiences focused on mastery of, and facility with, English. In early grades, these experiences are typically included in one class. As children grow older, we begin to separate the contents into different courses so that more specialization may occur. Language arts, then, is that broad K-12 overarching nomenclature for studies in reading processes, literature, writing, grammar, vocabulary acquisition, and even oral expression.

Finally, let’s agree on a definition of gifted (You may be participating in a first for our field if you agree to this proposition!). For our conversation, a gifted learner is one who has been self, family, and/or teacher identified as a high ability learner; whose identity as such has been confirmed by one or more assessments utilizing valid and reliable instruments; and whose innate abilities and/or productivity place her within the top 15 percent of age peers—what Françoys Gagné (1991) calls “gifted and/or talented.”

Now that we’re speaking the same language, let’s take a moment to think about this thing we call curriculum for the gifted. What makes a curriculum for the gifted “good,” no matter what the subject discipline? What criteria should we utilize in our consideration of quality?

Over the past 40 or so years, many theories have been proposed, and many opinions advanced, but for me, the essential elements of VanTassel-Baska’s (1986, 1996) Integrated Curriculum Model (ICM) provide the most comprehensive yet concise framework for considering curriculum quality. According to the ICM, curriculum for high ability learners should have three tightly interwoven dimensions: advanced content, high level processes and products, and intradisciplinary and interdisciplinary concepts. In the case of our language arts curriculum, these three criteria certainly provide a solid basis for distinguishing a properly differentiated curriculum for gifted learners from the regular curriculum offered to all students.

This is where it all begins—with appropriate content. Research tells us that gifted learners need a qualitatively different learning experience which includes material that will continue to challenge them.

What might the content include? First, the obvious: reading and literature. Gifted students often begin reading prior to kindergarten and read voraciously thereafter. Their curriculum, then, should reflect the cognitive complexity with which their minds operate. Classical works should play heavily within the reading “menu” for gifted students. Newer books, especially those which have earned awards for their quality, should also be included. Gifted students should be prodded to read widely, across disciplines and cultures, and to dissect and discuss what they have read so that they become familiar with a broad range of literature.

“Classical works should play heavily within the reading ‘menu’ for gifted students.”

Quality, continued


Quality, continued

Remember, too, that students often see reflections and shadows of their own lives in the characters of literature. Young people glean encouragement and hope from their reading, as well as a strong sense of what to do and what not to do. Maximum exposure to excellent literature is essential to good curriculum for the gifted.

Another standard aspect of the language arts curriculum should be writing. Properly differentiated curriculum should provide regular opportunities for learners to communicate what is important to them. Assignments don’t all need to be formal expository pieces; instead, they can include learning logs or journals, letters to the editor or to elected representatives, short stories or plays, poetry or narrative. The point of a differentiated gifted curriculum is the level of writing quality expected and delivered, across a wide range of styles and types. One aspect of the language arts curriculum that has fallen into disuse, but which is vitally important to gifted learners, is the study of grammar. Grammarian extraordinaire Michael Thompson says it best: “Grammar is a way of thinking about language. It is an untouted, but superb, form of higher order thinking” (1996, p.151). He is quick to note that grammar for its own sake isn’t a great benefit, but when grammar is utilized to analyze word patterns and meter, employed in discovering and building vocabulary, and used to interpret and clarify a writer’s intent, then grammar becomes a meaningful and important tool for the mind and for expression. As Thompson points out, “…words and sentences are the substance through which our ideas glide” (p.150).

No good language arts curriculum can be without multiple forms of oral expression. Gifted learners at all levels need to develop not only the ability to speak well, but to do so “on their feet” (extemporaneously) if the situation requires it. Oral expression not only allows the gifted student to discover his own voice but also provides an opportunity to learn to use that voice effectively on behalf of others. A properly differentiated curriculum for gifted learners will include not only typical recitations but also improvisation, debate, theatre, and even mime—a wide range of opportunities for communicating effectively with a broad spectrum of audiences.

A good language arts curriculum should also include the use of music and art. The arts, in all forms, are essential as a source of enrichment and as a mode of self-expression. When gifted learners study the literature of the Civil War, they should be critically listening to the music of that period,

viewing and critiquing the art, and reading and seeing the drama of the time. They should also be encouraged to create or recreate music, art, and drama in the same style of the period under study.

Because the pace of learning is significantly faster for the gifted, appropriately differentiated language arts curriculum will be distinguished by careful ability grouping, acceleration, and compression of content via diagnostic-prescriptive instruction.

Advanced content and high level processes and products train our learners to think critically and creatively and to generate products which are of high quality. But if we restrict these behaviors to a single discipline, we have only barely begun to engage the gifted learner.

Thought processes like metacognition (thinking about our thinking), problem finding and problem solving, critical and creative thought, and the self-discipline which allows for excellence, are not discipline specific. Rather, they are tools for learning in all disciplines. That’s why it is important for gifted language arts curriculum to be based on broad, foundational concepts common to all areas of human learning, and indeed, the human condition. Often, within the conceptual and thematic crossover between subject disciplines, learning takes on lifelong meaning.

Obviously, a language arts curriculum for gifted learners that incorporates these three dimensions—advanced content, high level processes and products, and intradisciplinary and interdisciplinary concepts—will be one which consistently and completely engages its participants. There will be no text messages going out of class, no “death by boredom,” no “brain numbing tedium.” Perhaps the anxious parent’s question at the beginning of this conversation rings true for you: “How can I tell if my gifted child’s curriculum is appropriate for her needs?” Perhaps you’re wondering how you, as one who is not a professional educator, can tell if your child’s gifted language arts curriculum meets his needs and what you can do to encourage your gifted child to excel in language arts.

How can you tell? Investigate. Ask the teacher what your

“One aspect of the language arts curriculum that...is vitally important to gifted learners, is the study of grammar.”


child is reading, what activities go on in class, what sort of thinking processes are being learned, what type of products are emerging. Ask whether language arts stands alone, or whether it is integrated with concepts and vocabulary from other subject disciplines. Compare what you see and hear to what you have just read in this article. Is there a match? If so, great. If not, then your first responsibility is to advocate for change—to require that your child’s learning needs be met appropriately—whether or not it’s convenient for the school/district. v

References

Gagné, F. (1991). Toward a Differentiated Model of Giftedness and Talent. In N. Colangelo & G. A. Davis (Eds.), Handbook of Gifted Education (pp. 65-80). Boston: Allyn & Bacon.Paul, R. (1992). Critical Thinking: What Every Person Needs to Survive in a Rapidly Changing World. Rohnert Park, CA: Foundation For Critical Thinking,Tannenbaum, A. (1981). A Curricular Framework for Differentiated Education of the Gifted. In A. H. Cramer, D. Biten, N. Butler-Por, E. Evyatar, & E. Landau (Eds.), Gifted Children: Challenging their Potential (pp.155-164). New York: Trillium.Thompson, M. (1996). Formal Language Study for Gifted Students. In J. VanTassel-Baska, D. Johnson and L. Boyce (Eds.), Developing Verbal Talent (pp. 149-173). Boston: Allyn & Bacon.VanTassel-Baska, J. (1986). Effective Curriculum and Instructional Models for Talented Students. Gifted Child Quarterly, 30, 164-169.

Lou Lloyd-Zannini is a former teacher of language arts and parent of a gifted child. He is Associate Professor of Education at Regent University in Virginia Beach, VA.

How to Encourage Your Child’s Excellence in Language Arts

• Support reading. Set aside time inyourlifetoreadsothatyourchildknowsyouvalue the practice. Ask your child for bookrecommendations.Thisnotonlyconveysthatyou respect your youngster’s judgment butalso establishes a basis for communication,allowingyoutoencouragecriticalthinkingandexpression.

• Playgameswithwords.Wordsarethebasic unit of language. Facility with words,coupled with an expansive vocabulary isoften gained through reading widely andplaying with words themselves. The sheerdelight ofmanipulating language encouragesgifted children to value language andcommunication.

• Keepajournal,andpromotejournalingbyyourchild. It is the regularpracticeof thewritingcraftwhichempowerswriterstodosowithexcellence.

• Gocreative.Maketimetocreateoriginalstorieswithyourchild.Startoffwithaleadingline or two, and then ask your child to takeover. Go back and forth, adding onto whateachothersaysuntilyoureachaconclusion.It may be serious, ridiculous, funny or sad,but it isashared languageexperiencewhichhelpsbuildcreativeexpression,promotesorallanguage,andgivesyouinsightintohowyourchildthinks.

Onelastthing:Checktoseehowmanytextmessagesyouryoungpersonissendingduringclasstime.Youmightbeverysurprised!

Quality, continued


What are some specific ways to help classroom teachers learn about gifted students?

Classroom Teachers: It Matters What They Know About Gifted Matters

Julie Lamb Milligan

Classroom teachers play an important role in the success of gifted programs. During the past two decades, researchers (Bigelow, 1993; Bransky, 1987; Milligan, 2001; Tomlinson, 2001) consistently reported more support from classroom teachers for gifted programming when the teachers had a greater understanding of giftedness. On the other hand, when classroom teachers were unaware of characteristics of gifted and appropriate program services, the chance for successful cooperation in matters of identification and services greatly diminished.

In a study by Starko (1990), teachers selected to provide services for the gifted through enrichment and acceleration strategies reported a lack of knowledge about giftedness and ownership in the process. The reason for their selection, given by the administrators, was because those teachers were creative, young, and or “gung ho.” One teacher reported, “I knew nothing. I had no preparation. Nobody sent me anywhere. Nobody gave me any clues” (Starko, 1990, p. 35). According to those same classroom teachers, the school district was unable to maintain a program for the gifted due to the lack of teacher preparation and knowledge about giftedness.

Historically, even when classroom teachers are asked to assist with identification of the gifted through a nomination process while a specialist provides all program services, classroom teachers’ perceptions and knowledge of giftedness greatly impacts programming for the gifted. In one study (Hickey, 1990) 27 teachers were surveyed and asked to identify major problems with gifted programs and make recommendations regarding services for gifted students. Classroom teachers from the study described problems with gifted programming in the following areas: • disruptions related to gifted students being pulled from class for program services

• conflicts about the definition of giftedness

• complaints by teachers and students that program participants behave arrogantly

• complaints by teachers and parents that tracking is detrimental to lower performing students

Hickey also reported that when teachers lacked training related to gifted children, they were less likely to make any accommodations in the classroom to differentiate curriculum for the gifted.

In a study conducted by Milligan and Campbell (2003), teachers of a summer program for gifted students reported the positive effects of


communication and co-teaching with other teachers. As they participated in team teaching, a sense of camaraderie and security developed. Sharing ideas during planning made co-teaching more than just shared teaching of a lesson. The experience became a source of shared decision making and professional growth.

Classroom Teachers’ Knowledge of GiftednessOver the past two years, candidates for a master’s degree in gifted education conducted interviews with classroom teachers. The purpose of this activity was to assess and compare the classroom teachers’ knowledge of (a) characteristics of giftedness, (b) identification procedures for their school district, and (c) strategies for differentiating curriculum for the gifted. Over the course of two academic years, a collection of approximately 200 classroom teacher responses were compared.

Characteristics of Gifted LearnersEighty-nine percent of the classroom teachers interviewed reported that gifted students are those who make all A’s, are highly motivated, self-directed, and outgoing. While this does fit the profile of many gifted children, not all the gifted are perfect students (Hertzog & Robinson, 2005; VanTassel-Baska, 2006). Using academic performance exclusively as an indicator of giftedness becomes problematic for those students who are underachievers, twice exceptional, or lack the desire to conform.

Another interesting opinion by classroom teachers emerged from the interviews described herein. The teachers who used creativity as an indicator of giftedness linked it to visual arts. When asked how they determined if students in their classrooms were exceptionally creative, they mentioned drawing as the primary indicator. Therefore, when students were artistically talented, they were labeled highly creative. Consequently, when classroom teachers limit creativity to visual arts, there is the possibility of missing students who are creative problem solvers or think in unusual ways.

Identification ProceduresIn interviews with 200 classroom teachers, 15 percent

“...classroom teachers were more aware of identification procedures when they had been involved in the selection process.”

reported understanding the gifted identification procedures. Of all the teachers interviewed, those who understood the kinds of assessment tools used to measure potential and ability had previously served on identification committees. Further, those same teachers were the ones who knew what kinds of criteria were used to place students in the program for the gifted.

Classroom teachers do not always know about assessment tools or placement procedures unless they are taught these things. They need to become acquainted with both traditional standardized and performance based methods. For approximately half a century from the 1920’s to 1980’s, traditional assessments or standardized tests were the predominant tool used to identify gifted students. It has only been within the past 20 years that researchers and educators have questioned the use of IQ to determine giftedness. With expanded definitions of intelligence, broader definitions of giftedness emerged. Within more current theories, a performance based identification philosophy is apparent. Performance based assessment for determining giftedness includes observation by trained specialists to recognize certain student actions as above average and examination of student products as exceptional.

In 2003, Pfeiffer conducted a survey of 64 experts in the field of gifted education. He asked them about the three greatest identification, assessment, and/or definitional issues in gifted education. Interestingly, all of their responses emphasized the shift from traditional to a more performance based view of giftedness. With this shift and as gains are made in the use of performance based guidelines as a viable option for assessing giftedness, classroom teachers have become our greatest asset. They are with the students the majority of the school day and should be instrumental in observing student behaviors in terms of potential giftedness.

Strategies Used in Programs for the GiftedIn the interviews with classroom teachers, only 8 percent reported awareness of the G/T frameworks used by the facilitator of the gifted for program planning and services. Approximately 12 percent reported the use of some varied or different teaching strategies for those who were identified as gifted, talented, or creative.

These statistics are especially disconcerting when we consider the benefits of cooperative efforts between classroom teachers and educators of the gifted. When programs are structured with pull-out options, the teacher of the gifted may have the students for three hours per week. The rest of the academic week, the gifted receive academic instruction from the classroom teacher. Curriculum changes must be made in the regular classroom.

Classroom Teachers, continued


Conclusions Drawn from Interviews From the interview results with classroom teachers in this report, some conclusions may be drawn. First, most classroom teachers used academic success as a key factor in determining which children might be gifted. While this may be an indication of giftedness, it is just as important for teachers to understand that many highly intelligent and creative children find school boring, uninteresting, or unnecessary and do not perform well academically. Services for these children are just as, if not more, important than for those who fit in with the regular school curriculum and routine.

Secondly, classroom teachers were more aware of identification procedures when they had been involved in the selection process. It may be a good policy to have teachers serve on the identification committee on a rotating basis so that more of them have the experience of reviewing student profiles for placement purposes.

Thirdly, classroom teachers were rarely aware of curriculum required, mandated, or delivered to gifted children. Teachers should receive copies of goals, objectives, and frameworks for gifted education. They should also learn differentiated strategies to incorporate into their curriculum.

Educating Teachers through Staff DevelopmentIn a recent study, researchers (Bangel, et al., 2006) reported the positive impact of professional development on classroom teachers’ awareness of curriculum appropriate for gifted learners. A cohort of preservice teachers were assessed prior to a practicum. Interviews, classroom observations, and lesson planning were used to evaluate the preservice teachers’ understanding of appropriate curriculum for the gifted. At the end of the practicum, it was reported that an increased level of knowledge and preparation improved the comfort level and confidence of teachers to identify and teach the gifted.

The results of a study by Milligan (2001) revealed that each teacher in grades K-4 at one elementary school changed something about the way she defined giftedness following a yearlong systematic plan for staff development related to giftedness. In conjunction, each teacher increased the numbers of students nominated for assessment following staff development. The staff development included demonstration lessons presented by the facilitator of gifted children and four formal inservice sessions presented by a variety of speakers.

Knowing which students to recommend for assessment and identification of giftedness as well as how to accommodate for their learning needs is based on teacher knowledge about giftedness. Staff development, as a global plan with a specific process, should be comprehensive, including • inservice training to expand knowledge and increase teacher effectiveness.

• organization planning to improve programming and solve problems.

• consultation in the form of workshops, inservices, clinics, and special projects.

• provisions for resources, coordination, and assistance with inter-building communications.

• assistance with researching, implementing, and evaluating new practices and procedures.

• evaluation of staff development efforts and organizing feedback.

Educators of gifted children have an obligation to offer staff development sessions which inform teachers about characteristics of giftedness, assessment procedures, identification processes, appropriate curriculum, and program options. For staff development, gifted specialists have an obligation to model multiple ways to serve gifted children in the classroom.

Suggested Staff Development for Classroom Teachers Regarding Giftedness

• Present a 20 to 30 minute inservice at a faculty meeting at the beginning of the school year.

• Invite an expert guest speaker from a university, nearby educational cooperative, or school district to present.

• Have a year-end meeting with all classroom teachers to receive feedback on the year’s efforts to make G/T identification and services a cooperative effort.

• Co-teach with classroom teachers to demonstrate

“Building good public relations may be one of the most important roles of a gifted facilitator or administrator.”

Classroom Teachers, continued


enrichment. Provide a newsletter, periodic updates, and information to all teachers regarding program events or current issues in gifted education

• Invite classroom teachers to attend state meetings and conferences related to gifted education.

Staff development about giftedness can occur in several forms. Teachers of the gifted may discuss assessment procedures and prospective student nomination and conduct demonstration lessons while classroom teachers document potential giftedness. More formal staff development may occur in the form of inservice sessions providing information and issues related to giftedness. It is the responsibility of the teacher or administrator of the gifted to provide this training to classroom teachers.

Building good public relations may be one of the most important roles of a gifted facilitator or administrator. The more comfortable classroom teachers feel working as a team and the more they know as a result of effective teacher training, the better the chance that accurate identification and services will occur. The success of the education of gifted children is best achieved by gifted facilitators and classroom teachers working together. v

References

Bangel, N. J., Enersen, D., Capobianco, B., & Moon, S. M. (2006). Professional Development of Preservice Teachers: Teaching in the Super Saturday Program. Journal for Education of the Gifted. 29(3), 339-361.Bigelow, R. (1993). Developing and Implementing a Program to Improve School Success for Minority Students. Nova University: Practicum Report (ERIC Document).Bransky, T. (1987). Specific Program Information: A Key to Attitudes about Gifted Education. Gifted Child Quarterly, 31(1), 29-32.Hertzog, C. & Robinson, A. E. (2005). Metacognition and Intelligence. In O. Wilhelm & R. W. Engle (Eds.). Understanding and Measuring Intelligence , 101-123. London: Sage.Hickey, M. G. (1990). Classroom Teachers’ Concerns and Recommendations for Improvement of Gifted Programs. Roeper Review, 12(4), 265-267.Milligan, J. (2001). Effective Staff Development in a Low Socio- economic Rural Setting: A Microethnography of Teacher’s Perceptions of Giftedness (ERIC Document).Milligan, J., & Campbell, D. (2003). It’s a Fit: Collaboration and Gifted Education. Understanding Our Gifted, 15(3), 18-21.

Classroom Teachers, continued Pfeiffer, S. I. (2003). Challenges and Opportunities for Students Who are Gifted: What the Experts Say. Gifted Child Quarterly, 47(2), 161-166.Starko, A. J. (1990). Life and Death of a Gifted Program: Lessons Not Yet Learned. Roeper Review, 13(1), 33-38.Tomlinson, C. (2001). Differentiated Instruction in the Regular Classroom: What Does It Mean? How Does It Look? Understanding Our Gifted, 14(1), 3-6.VanTassel-Baska, (2006) Serving Gifted Learners Beyond the Traditional Classroom: A Guide to Alternative Programs and Services. Waco, TX: Prufrock.

Julie Lamb Milligan is an assistant professor in the Department of Educational Leadership, Curriculum, and Special Education at Arkansas State University. She has been a public school educator for 18 years, including a facilitator for gifted children K-12. She is the author of Assessment of Giftedness: A Concise and Practi-cal Guide.



ContentsColumns

Musings

Concealment, Camouflage, or Clarity—Decisions for the Verbally Gifted

Miraca U.M. Gross

One of my favorite articles in gifted education literature was written 13 years ago by Mary Ann Swiatek of the Carnegie Mellon Institute for Talented Elementary and Secondary Students (Swiatek, 1995). It is as relevant now as it was then. It outlines the “social coping” strategies used by gifted adolescents in an attempt to deal with their “differentness” from others and, if they are lucky, make themselves more socially acceptable to their age peers.

What do we mean by “peers”? Swiatek points us to a simple and useful definition which describes a peer group as one in which “members are of similar (chronological) age and regard each other as acceptable associates” (Dunphy, 1983, p. 376). However, as Swiatek ruefully points out, the second part of this definition may be difficult to apply to gifted students because they may not always be regarded by their classmates as “acceptable associates.”

Intellectually gifted students differ from their age peers not only in the way they think about learning but in the way they feel about it. They actively seek out and thrive on the stimulation of learning. Many have a true passion for it—what Dante called “the mind in love.” That’s so uncool—not the kind of love that interests most adolescents. While adolescents may accept high ability in their classmates, they’re much less likely to accept someone who delights in using it! Additionally, the interests of gifted students are often significantly different from those of their age peers; they delight in problem solving and enjoy exploring concepts that are abstract and complex. A further problem arises from the preference of many gifted students to work and socialize with older students. Classmates can interpret this as rejection—or even arrogance. Either way it’s not likely to gain friends.

Many gifted students are caught in what I once called a “forced-choice dilemma” (Gross, 1989). Does a youngster

moderate his achievements and conceal unusual interests for the sake of having friends, or does he risk social exclusion and possible isolation by giving way to a passion for learning and letting peers see how different he is?

Not surprisingly, Swiatek found that gifted adolescents use a variety of strategies to minimize the visibility of their differences from age peers. These can include • throwing oneself into a range of extracurricular involvements, particularly those that classmates regard as “cool,” in an attempt to emphasize the similarities and distract other students from the differences. • underachieving in the classroom, not dramatically but enough to bring achievements down to a level where they won’t stand out as much. • pretending one doesn’t care about what the other students think. • actively denying giftedness to oneself, as well as to others. • moderating vocabulary so as not to sound different to the other students, making it easier to blend in.

Which students did Swiatek find were most likely to deny that they were gifted? The most highly gifted of all! If this seems surprising, consider that it is the most highly gifted students who often experience the greatest difficulty in social relationships. Swiatek perceptively points out that the most highly gifted students may feel under the most pressure to achieve academically. If these two stressors combine, it might be reasonable to expect highly gifted students to feel considerable pressure to deny their abilities.

One of the most interesting and disturbing finds of Swiatek’s research is that students with high verbal abilities reported lower levels of peer acceptance than students who were mathematically gifted. When one thinks of it, there is certain logic in this. If you are mathematically gifted, and you want to conceal or moderate your achievement for peer acceptance, you only need to dumb down in math class. You can be yourself (to an extent at least) in other classes. But if you are verbally gifted and desperately trying to camouflage your difference, you have to keep a guard on your tongue every class period, every day.

Jenny, Who Chose ConcealmentWhen I first read about Swiatek’s study, I was reminded of Jenny, a little girl I taught some years before. I had a mixed ability class of 5th grade students who were a delight to teach and who learned well. I gave them lots of enrichment activities. I worried a little about Jenny because she so very rarely spoke but her mother told me that she was shy and didn’t socialize much with other children. I put her quietness down to personality rather than to anything in the class or


Musings, continued

school environment.

One day, I introduced the class to “Tom Swifties.” Tom Swift is a boy who always speaks in adverbs and the challenge of the game is to create dialogue for him. It’s a great vocabulary-expanding exercise and students enjoy it, especially kids with a talent for language.

“Put the ice cream back in the freezer,” said Tom coldly.

“Pass me the scissors,” ordered Tom cuttingly.

“I hate lemons,” muttered Tom bitterly.

The children enjoyed the game, and Jenny joined in the laughter and the acclamation of good suggestions. But otherwise she didn’t contribute. However, a little while later, when I passed her desk, she slipped into my hand a piece of paper—and as she did so she caught my eye and mouthed, “Please don’t read it out.” I was a little surprised but I nodded and when I returned to my desk I opened the paper and read Jenny’s amazing Tom Swiftie.

“I am just born,” said Tom, becomingly.

I honored Jenny’s wish and didn’t read it aloud. The next day I had a quiet chat with her, and she haltingly explained why she did not feel able to show to the class what I later found was an amazing talent for writing.

The year before, Jenny had been more outgoing in class. She was never a “chatterbox,” but she did contribute to class discussions. Her language was quaint, a little “mannered” and old-fashioned. The other kids would sometimes laugh at the things she said, but she adored her teacher and she was reasonably happy in the class.

One morning she was walking in the schoolyard and accidentally heard the teacher discussing her with a colleague. “You know little Jenny Moore? Now she’s a queer kid. Talks like an old granny. Weirdest kid I’ve ever taught.” Jenny was mortified and deeply hurt. She saw the incident as a betrayal by her teacher whom she had loved and trusted. She responded by drawing into herself and taking no further part in class activities. She literally did not speak in the classroom for the rest of that school year. Creating a Tom Swiftie, which displayed the richness of her vocabulary and the wealth of her imagination was, for Jenny, an act of great courage and the beginning of the healing process.

Ian, Who Chose CamouflageA few years later, I completed a masters degree in gifted education at Purdue University and went on to obtain a PhD. I had a special interest in highly gifted children and began a longitudinal study of 60 young Australians of IQ 160, young people who appear in the population at a ratio of fewer than 1 in 10,000. One of the first children to be identified for the study was Ian Baker.

I told Ian’s story in my book Exceptionally Gifted Children (Gross, 1993, 2004). He was an astonishingly gifted young man who was reading books by the age of 3 1/2. When he entered school at age 5, he had the reading ability of a 10-year-old. Although he had been assisting his preschool teacher by reading to the other children, he disliked having to read aloud in class and would mumble and stumble over words.

Ian didn’t help the situation by choosing to conceal his ability from people he distrusted. One day when he was 6, after his advanced skills had finally been recognized by the school, I spontaneously said, “Ian, I can’t understand why your teacher last year didn’t realize that you’re very bright. I enjoy our conversations so much. It’s like talking to some of the 6th graders I teach.”

He looked at me in horror. “I didn’t use my real vocabulary last year. I wasn’t going to do that!”

“Well, what did you do?’ I asked.

“I used my camouflage vocabulary,” he said matter-of-factly, and then noticing my look of shock, he said, “You know what camouflage is, don’t you?”

“I’m not sure,” I said, carefully. “Tell me.”

“Camouflage is what an animal puts on when it’s hunted,” he said, and I had to turn away so that he would not see the tears in my eyes.

Clarity? Some Things Don’t ChangeMy longitudinal study is now in its 25th year. The young people are in their 20s and early 30s. Many of my findings echo those of Swiatek. One of the things I find very sad is that my subjects whose talents lie in math and science have received much more appropriate educational provisions than those whose talents are in language. In elementary school and even in middle school, teachers tended to leave the verbally talented students to “entertain themselves” through silent reading rather than giving them extension or enrichment work. The math students, by contrast, went to special programs or were accelerated.


The math talented students who were allowed to accelerate or who were placed in ability grouped classes thrived both academically and socially. There was little pressure to “dumb down” for peer acceptance. Their talents were accepted by both their teachers and their classmates.

By contrast the students who were verbally articulate very often felt uncomfortable with their gifts. The pressure to hide or moderate their “differences” for peer acceptance was considerable and, for some, overwhelming. To speak out clearly and articulately, in their “true voices” was just too great a risk. Concealment or camouflage was so much safer than clarity. v

References

Dunphy, D.C. (1983). The Social Structure of Urban Adolescent Peer Groups. In W. Damon (Ed.), Social and Personality Development: Essays on the Growth of the Child (pp. 374- 387). New York: W.W. Norton.Gross, M.U.M. (1989). The Pursuit of Excellence or the Search for Intimacy? The Forced-choice Dilemma of Gifted Youth. Roeper Review, 11, 189-194Gross, M.U.M. (1993). Exceptionally Gifted Children. New York: Routledge.Gross, M.U.M. (2004). Exceptionally Gifted Children. London: RoutledgeFalmer.Swiatek, M.A. (1995). An Empirical Investigation of the Social Coping Strategies Used by Gifted Adolescents. Gifted Child Quarterly, 39(3), 154-160.

Miraca Gross is Professor of Gifted Education and Director of the Gifted Education Research, Resource, and Information Centre (GERRIC) at the University of New South Wales in Sydney, Australia.

Musings, continued


The Affective Side

Overcoming Obtacles to Writing the College Essay

Jean Strop

For many bright, high achieving seniors, the college essay is the bane of their final year in high school. Because of the competition for college admission and for scholarships, students often need to complete many applications; this translates to more essays. The majority of students who apply to competitive schools have high test scores, good grades in academically challenging programs, and experience with community service and extracurricular activities. Consequently, the admissions essay becomes an important distinguishing factor in the application process. However, to write compelling essays, students need to overcome several emotional obstacles.

Knowing the Obstacles

For many students, the focus in advanced classes is on expository writing (i.e., essays, reports, biographies, and nonfiction). Thus, these young people may have little experience writing first person pieces, and when the stakes are high, as in admission to a college of choice, emotional obstacles are often amplified. Potential college students may have to deal with the following factors:

1. Concern about Bragging—Many gifted students have been taught to be humble. They often feel that writing about themselves, their experiences, and/or their accomplishments might be perceived as bragging. This concern often manifests itself in an essay that discloses very little personal information in an effort to curb boasting.

2. Fear of Rejection—High achieving students may struggle with exposing their true selves in the college essay, for fear of rejection. They may be haunted by thoughts such as, “If I write a truly personal essay, and I don’t get admitted to the college, I will feel rejected or devalued as a person.” This fear often results in the inability to complete what is perceived to be a satisfactory essay.

3. Fear of Failure—For some students, wanting admission to a certain college causes an intense fear of failure, bringing about a variety of responses. The student may

• feel that nothing that he writes will pass the inspection of his critical mind.

• overthink the essay topic so that writer’s block sets in. Or if the essay does get written, it may sound stilted or overintellectualized.

• procrastinate, thinking, “If I had more time to spend on the essay, then I would have been admitted, but I am rushed so it’s not really my fault if I don’t get in.”

4. Lack of Self Esteem—A student with fragile esteem may try to second-guess the admissions committee, writing an essay that says what she believes the committee people want to hear. This often leads to a “false voice” in the writing. Such students frequently resist feedback from parents, teachers, and/or peers. Consequently, their essays may lack the polish necessary to captivate the attention of the admissions committee members.

5. Fear of Independence—Some students fear the independence that comes with moving away from home. This can cause the application and essay completion to stall.

6. Reaction to Parental Pressure/Expectations—Some parents have very defined goals for their children (e.g., colleges they want their students to attend, professions they should pursue, etc.). Sometimes these desires are so strong that students feel pressured and become immobilized in their efforts to not disappoint parents.

Strategies for Overcoming the Obstacles

The following strategies will assist in overcoming barriers to essay writing:

1. Practice—Have all senior English students work on admission essays with editing and feedback from the teacher and peers. Even better, if students practice and get feedback at the end of the junior year, they can then spend time on essays during the summer months. This is especially valuable if young people plan to apply to several top colleges in the fall.

2. Self-Esteem Strategies—It is important to work on building a positive self-image through a personal journal. If students write daily and list three to five things for which they are grateful and proud, this positive self-image will, hopefully, transfer to the college essay.

3. Yearly Counselor Meetings—Students should work with high school counselors to formalize long-range plans


and to consider strengths, weaknesses, preferences, goals, and interests. This will develop confidence when writing their essays. Young people should also be instructed in personal time management to aid them in completing college applications and essays while still maintaining strong academic work.

4. Parent Programs—Parents can benefit from strategies on how to support student goals, how to deal with separation issues, and how to help students move forward if they freeze in fear.

It is not a question of whether emotional obstacles will arise during the college application and essay writing processes. Rather, it’s a matter of which issues will arise and how well the student is prepared to handle them. A bit of prevention and preparation will make the essay writing process more enjoyable and validating, rather than stressful and toxic. v

Affective Side, continued

Jean Strop, long-time psychologist, gifted resource teacher, and counselor, is currently a consultant and writer in affective educa-tion and college planning for gifted students.


Software Updates

Role-Playing Software

Gregory C. Pattridge

I spent part of my career as a teacher of gifted students in a full-time magnet program. Many of the students were reluctant learners. Much of my planning time was spent on motivation strategies for these students, and some of the most successful strategies involved role-playing games and activities.

The original Oregon Trail software and the Stock Market Game started my interest in this genre. I ended up creating many in-classroom games that were received enthusiastically by even the most underachieving students. The only drawback I experienced was that some students would come to school when they were sick because they didn’t want to miss a day of their favorite role-playing activity.

Today solid role-playing software titles continue to inch their way into homes and classrooms. The prescription is one that includes continuous elevated challenges, rewards for making the right choices, and cooperation.

Four good role-playing software titles are Descartes Cove, Age of Empires, Age of Mythology, and Zoo Tycoon. They are each available on both Windows and Mac platforms. Students often do not realize that they are learning.

Descartes Cove (Johns Hopkins Center for Talented Youth) Best for Ages 11 -14 cty.jhu.edu/cde/cove/

This is a 6 CD set that uses the scenario of being marooned on an island once inhabited by Rene Descartes. With clues left by Descartes, the user solves puzzles and other math challenges leading up to a final quest to escape the island. Each of the six adventures is matched to NCTM (National Council of Teachers of Mathematics). Areas covered include Measurement, Numbers and Operations, Data Analysis &

Probability, Algebra, Geometry, and Reasoning and Proof. Over 600 problems challenge middle school learners.

The program tracks progress and also generates a detailed report for each student. A personal journal can also be used to record strategies used to solve each problem.

Much research went into the development of this software, and new versions will be published as feedback is gathered. It is not a complete math curriculum, but it does encourage the user to learn the concepts needed to solve the adventure. Although it is quite an investment ($150), the time it will take to get through all six activities will make it seem worthwhile.

Age of Empires III (Microsoft) Best for ages 13 and up www.microsoft.com/games/empires/

There is no denying the success of this series from Microsoft since it was first introduced in 1997. The numerous awards and accolades it has received, along with record-breaking sales, have fueled the fire for continuous sequels.

Players start by building a basic European Colony in the New World spanning the time frame of 1421 to 1850. The two main points of emphasis in play are the economy and military as your empire grows. You play in one of eight different civilizations that vary in difficulty. Expansion packs recently released have added six new civilizations.

The game requires good problem solving skills. This is not so much a game that takes expertise in eye hand coordination; instead it requires the use of personal cognitive resources to think things through. Most of the actual game play is a mix of fiction and history, so don’t expect an accurate curriculum on European colonization.

The biggest problem with this particular game is the time spent trying to create a successful civilization. It can be addictive. A good rule is to alternate the game with physical activity so that an hour of playing Age of Empire is then matched with an hour of exercise or other physical pursuit.

Age of Mythology (Microsoft) Best for Ages 13 and up www.microsoft.com/games/ageofmythology

Mythology is almost always a favorite of bright, inquisitive students. One can play as the ancient Greeks, Norse, or Egyptians (An expansion pack added the Atlanteans.). You help your side to control the world by arranging armies,

“Students often do not realize that they are learning.”


Gregory C. Pattridge is a consultant working with both school districts and private schools. He teaches technology classes nationally for Lesley University and presents on technology, gifted education, and differentiated instruction through his own staff development company IDEAS LLC.

handling diplomacy, and managing trades. Players can use mythological creatures like Minotaurs and Cyclopses to bolster their armies’ strength. Players may also call upon the gods for assistance in destroying enemy towns with meteors or harassing opposing troops with lightning storms.

Released more than five years ago, this title still generates much enthusiasm and excitement. The graphics are spectacular and bring an artistic quality to the screen. The main knowledge gained by playing this game is about the various gods of the mythological world.

As with previous titles discussed, it takes a long time to play the game and become a ruler of the world. Teens who are interested in mythology will find this title to be fun and challenging.

Zoo Tycoon (Microsoft) All ageswww.microsoft.com/games/pc/zootycoon.aspx

This is a good role-playing game for those with an interest in animals. In Zoo Tycoon you are challenged to build, manage, and maintain a zoo with over 200 animals, exhibits, buildings, scenery, and other zoo materials. The first version came out in 2001, and a sequel, Zoo Tycoon 2, was released in 2004. Numerous expansion packs (Dinosaur Digs and Marine Mania) have kept this title fresh and exciting.

The challenge in this game is to keep the guests happy and the animals thriving. The animals do well in exhibits that are planned for their needs. The guests also want amenities to make their experiences worthwhile in each building or outside area they visit. Economics plays a big role in the successful zoo, including lessons on investing money wisely.

The series is more popular with students up to about 7th grade but is worth considering for all ages.

“A good rule is to alternate the game with physical activity so that an hour of playing Age of Empire is then matched with an hour of exercise or other physical pursuit.”

Software Updates, continued Most of today’s role-playing software can be found in video games, but thanks to Microsoft and Johns Hopkins the genre is being kept alive in educational circles, too. These titles are engaging and worthwhile learning experiences, effective use of students’ time and effort. v


an elephant, held on to a different part of the animal and thus “saw” it differently, depending on which part he touched. To find out what an elephant is really like, they had to put the parts together.

After much work on the part of the National Leadership Conference, a definition arose: Media literacy is the ability to access, analyze, evaluate, and create messages in all media forms (Aspen Institute, 1992). v

Resources for Determining Validity of Internet SitesEvaluating Online Resources Notebookpeople.uis.edu/rschr1/valid.htm

Evaluating Web Pages: Techniques to Apply & Questions to Askwww.lib.berkeley.edu/TeachingLib/Guides/Internet/Evaluate.html

Criteria for Evaluating Internet Resources www.library.ubc.ca/home/evaluating/

The Good, The Bad & The Ugly: or, Why It’s a Good Idea to Evaluate Web Sourceswww.lib.nmsu.edu/instruction/evalcrit.html

Evaluating Internet Sources & Sites: a Tutorialwww.lib.purdue.edu/ugrl/staff/sharkey/interneteval/

Reference

Aspen Institute Report of the National Leadership Conference on Media Literacy. Washington, D.C. (2002).

Surfing the Net

Validity of Internet Sites

Sandra Berger

My 10-year-old granddaughter was working on a report for school and doing her research on the Internet. Her father remarked that when he was a child, research meant a trip to the library if one’s parents were available to drive, followed by a conversation with the librarian and use of the card catalog. This took time—often hours—because the material usually had to be carefully copied from reference books. But not now.

My granddaughter Googled her report topic. We looked at the results together and talked about each reference and its relevance to the report. Next, she wanted to know how to tell if her references were accurate. That was an important question that could not be answered in one evening. In the mid 90s, we answered such questions by explaining the URL suffix (e.g., edu, gov, org, com, etc.). Anything ending in “.com” was suspect. Anything ending in “.edu” could be trusted as a reliable source. And “.gov” and “.org” fell somewhere in between.

Today children are exposed to the Internet not only through informational websites, but also through the use of blogs, RSS feeds, wikis, podcasts, and social networking websites. Following the successes of MySpace and Facebook, similar sites have popped up catering to specific interests, backgrounds, professions, and age groups. How does one know which uses of the Internet are valuable education tools and which are not?

Because of advances in technology, skills in information literacy/media literacy have a growing importance. It is not enough for bright children to be able to read several years ahead of their age-mates or be able to write elegant prose. They also need to be savvy about the many types of information that are now readily accessible.

In the early 90s, the National Leadership Conference on Media Literacy put the topic on the United States educational agenda. However, there was little agreement on how to define the term. The Center for Media Literacy (http://www.medialit.org/) described the disparate views of this subject by reminding us of the folk tale from India, “The Blind Men and the Elephant.” Each blind man, when asked to describe

Sandra Berger is an educational consultant in Virginia. She is the author of College Planning for Gifted Students.


Book Bag

When Artists Speak

Jerry Flack

Precocious readers often want to learn how artists have created visual masterpieces; they want to know “how it is done.” Two new books satisfy such curiosity with profiles of 30 great book artists.

Artist to Artist: 23 Major Illustrators Talk to Children about Their Art Eric Carle New York: Philomel Books, 2008

This book, recommended for ages 9-12, features 23 renowned book illustrators from all over the world. Included are Mitsumasa Anno, Tomie dePaola, Alice Provensen, Rosemary Wells, and Paul O. Zelinsky. The artists talk directly to young people via informal letters about such topics as their motivation to become artists, techniques and media they utilize, special challenges they face, methods and procedures they practice, and how they use their time to create classic books. They convey all of this information while never talking down to young readers.

This book’s design is particularly noteworthy. Artists are represented by four-page features with special gatefold pages that are highlighted by self portraits. The gatefold pages open to show childhood photographs of the individual artists and their earliest artistic efforts. The interior pages disclose the stages artists use to move from first concepts to elementary sketches to their final published works. No space is wasted.

All of the profiles in Artist to Artist are exceptionally colorful and informative. Jane Dyer’s chapter is one exemplary example. Dyer notes how much she loved the books her mother shared. While the stories Dyer’s mother read to her were grand, the pictures were especially enthralling. “I liked to pretend I could climb right into them and live in imaginary worlds” (p. 34). She notes that she was an especially shy child and that her imagination, fueled by beautiful picture books, motivated her to dress up as her favorite story characters (e.g., Mary Had a Little Lamb) and move beyond her timidity.

Dyer likes to be surrounded by objects that remind her of the importance of childhood innocence. In addition to her professional art supplies, she fills her studio with stuffed animals, flowers, fun photographs, brightly decorated pillows, and lots and lots of wonderfully illustrated children’s books.

The artist’s glowing self-portrait positioned directly opposite her encouraging letter to young book creators conveys the sense of innocence that her artwork represents. Dyer portrays herself at work in her studio using pens, pencils, and paints to fashion a new picture book painting, and she is ably assisted by her beloved dog, Scuppers, plus a collection of helpful mice dressed in colorful costumes. All the while her craftsmanship is being observed and admired by two miniature children poised upon her shoulders.

The artist shares the “homework” in which illustrators must engage. A visual lesson is communicated by three images Dyer created for Amy Krouse Rosenthal’s Cookies: Bite-Size Life Lessons (HarperCollins, 2006). An initial pencil sketch is accompanied by the fully painted book jacket cover Dyer first created, and the final revision that her editor ultimately chose. The message is clear. Even professional artists often have to edit and revise their presumed “best” work.

Readers learn that Jane Dyer began her career as a kindergarten teacher, moved on to a brief interval as a commercial artist, and ultimately found her path to becoming a notable children’s book illustrator.

Artist to Artist is a special book that deserves a prominent place in the home or classroom and should be read slowly, deliberately, and purposefully. In addition to sharing the stories and skills of the 23 artists, the book also encourages and inspires youth to create their own books.

A Caldecott Celebration: Seven Artists and Their Paths to the Caldecott Medal Leonard S. Marcus New York: Walker & Company, 2008

Leonard S. Marcus is an esteemed historian of children’s literature. A Caldecott Celebration opens with an introduction to the origins and history of the American Library Association’s annual Caldecott Medal, which is awarded to the illustrator of the most outstanding picture book published in the United States during the previous year.

The Caldecott Medal is now entering its eighth decade. To celebrate the previous 70 years of Caldecott Medal winning books, Marcus selected one notable illustrator from each decade. He discusses the value of the Caldecott Medal and


Book Bag, continued

how books are selected.

A Caldecott Celebration profiles Robert McCloskey, Marcia Brown, Maurice Sendak, William Steig, Chris Van Allsburg, David Wiesner, and Mordicai Gerstein. None of these artists work in precisely the same fashion, so seven unique approaches to the creative process are highlighted.

Robert McCloskey’s profile is particularly memorable with the inclusion of anecdotes about how he created one of the most beloved of all picture books, Make Way for Ducklings (Viking, 1941). Early in his career as an artist, he took particular delight in a newspaper story about a mother duck that stopped traffic as she paraded her young family across one of Boston’s busiest streets. Here was serendipity boldly presenting itself to the young artist. He now had a story: the lives of Mr. and Mrs. Mallard and their search for a safe home for their eight offspring.

Working as any dedicated creative person should, McCloskey plunged into an intensive study of ducks. He reasoned that in order to create a memorable book about the “Mallard Family” he would have to think like a duck. He needed to learn everything he could about the anatomy and behavior of mallards. He drew them from every conceivable angle and perspective. He consulted noted ornithologists and studied mallard specimens in the American Museum of Natural History. He even went to a farmers’ market and purchased four squawking mallards that came to live with him in a small Greenwich Village apartment!

His apartment bathtub became his guests’ “duck pond,” but McCloskey allowed his models total freedom to explore their new home as he crawled on hands and knees beside, in front of, and behind the ducks waddling about his apartment. He made hundreds upon hundreds of sketches from every conceivable perspective and position.

Today’s gifted readers can learn much from master book illustrators, but the most valuable collective advice is to begin creating books, comic strips, graphic novels, and other artwork NOW. v

Jerry Flack is Professor Emeritus of Education and President’s Teaching Scholar at the University of Colorado. He is a reviewer of children’s literature and the author of 10 books and numerous articles on creativity and curriculum development.


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Publisher Dorothy Knopper

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Design/Desktop PublishingAnn Alexander Leggett

Online PublicationDana EchoHawk

Editorial Advisory Board

Alexinia Baldwin, ProfessorUniversity of Connecticut

Sandra BergerEducational Consultant, VA

George Betts, Professor Special Education / Gifted and TalentedUniversity of Northern Colorado

Barbara Clark, ProfessorCalifornia State University

Jaime A. Castellano, Visiting ProfessorLynn University, FL

James Delisle, Professor EmeritusKent State UniversityPresident, Growing Good Kids, Inc.

John Feldhusen, ProfessorPurdue University, IN

Maurice D. Fisher, PublisherGifted Education Press, VA

Jerry Flack, Professor EmeritusUniversity of Colorado

Donna Y. Ford, Professor Betts Chair, Education/Human Development Vanderbilt University, TN

Julie GonzalesEducational Consultant / Advocate, CO

Miraca Gross, ProfessorGifted EducationDirector, Gifted Education Research, Resource, and Information CentreUniversity of New South Wales, Australia

Pat HollingsworthUniversity School for Gifted ChildrenUniversity of Tulsa, OK

Frances A. Karnes, ProfessorSpecial EducationDirector, Karnes Center for Gifted StudiesUniversity of Southern Mississippi

Elinor Katz, Associate ProfessorEducational LeadershipUniversity of Denver

Bertie KingoreProfessional Associates Publishing, TX

Joel McIntosh, PublisherPrufrock Press, TX

Sheri Nowak StewartCoordinator, Enrichment ServicesBlue Valley School DistrictOverland Park, KS

Rick Olenchak, ProfessorPsychologistDirector Urban Talent Research InstituteUniversity of Houston, TX

Jeanette ParkerProfessor Emeritus University of Louisiana at Lafayette

Ann Robinson, ProfessorUniversity of Arkansas at Little Rock

Beverly Shaklee, ProfessorGeorge Mason University, VA

Dorothy Sisk, DirectorConn Chair for Gifted EducationLamar University, TX

Joan Franklin Smutny, DirectorCenter for GiftedNational-Louis University, IL

Joyce VanTassel-Baska, ProfessorCollege of William & Mary, VA

Sally Walker, Executive DirectorIllinois Association for Gifted Children

Susan WinebrennerEducation Consulting Service, CA

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A former classroom teacher, teacher of gifted children, and counselor of gifted adolescents, Jim Delisle recently retired from Kent State University where he served as Director of undergraduate and graduate programs in gifted child education for 25 years. He is the author of numerous articles and 14 books, including The Gifted Kids Survival Guide: A Teen Handbook, with co-author Judy Galbraith.

Parents, Teachers & Counselors HOLD THIS DATE!

February 20, 2009

Beyond Giftedness XVI ConferenceArvada Center for the Arts, Colorado

Keynote Topic: Highly Gifted, Barely Served:

Educating Gifted Children in the Era of Inclusion

Breakout Session: 10 Top Lessons for Teaching & Reaching

Gifted Students

Keynote SpeakerJim Delisle

Professor Emeritus, Kent State University

President, Growing Good Kids, Inc.

Documents

Understanding Our Gifted · University of Southern Mississippi Elinor Katz, Associate Professor Educational Leadership University of Denver ... Musings: Concealment, Camouflage, or