3/30/16 Sandi Gillam
&
Ron Gillam
Intervention to improve comprehension
and production of discourse skills for
school-age children
Translating theory into evidenced-based
practice
2
Disclosures
n
Financial
n
n
n
Ron Gillam is a co-author of the Test of Narrative Language (with
Nils Pearson), Dynamic Assessment of Narratives (with Linda Miller
and Liz Peña),
Sandi and Ron Gillam are co-authors of SKILL: Supporting
Knowledge in Language and Literacy
Nonfinancial
n
Sandi Gillam is the ASHA Vice President for Clinical Practice
n
Ron Gillam is her devoted husband
Today’s Presentation
n
Describe a contextualized language instruction program designed to
improve discourse comprehension and production for several special
populations of preschool children:
n  Those with language and learning impairments
n  Those with autism spectrum disorder
n  Those who are learning English as a second language
n  Those who are at risk for academic failure
n
Review cognitive and language development that affects narration
n
Discuss procedures for reducing cognitive and memory load to strengthen
discourse comprehension and production
3
At the culmination of this session, participants will be able to:
n
Describe aspects of cognition and language that contribute to narration
n
Describe story grammar elements used in contextualized instruction
n
Describe ways to improve the complexity and quality of children’s narratives
n
Describe ways to improve children’s use of mental state and causal language
in discourse
1 3/30/16 4
What is Narration?!
n Accounts
of real or imagined events!
n  series
of actions or events that unfold over time
according to causal principles!
n Five
critical aspects!
actions directed toward goals!
n Sequential order is established and maintained!
n Causal relationships!
n Consistent with well-established patterns of
discourse!
n Perspective!
n Agent
5
Why are narratives important?
n  Narratives
settings
occur often in preschool and school
n  Narratives
require the integration of
knowledge of multiple language domains
(semantics, syntax, pragmatics)
n  Oral
narrative development has clear ties to:
(Fujiki et al., 2008)
n  Early literacy (Cook & O’Brien, 2014;
Vandewalle et al., 2012; Zucker et al., 2013)
n  Socialization
6
Common Core State Standards
n
As early as first grade, students are expected to be able to retell
stories including key details, and to demonstrate their
understanding of the central messages or lessons contained
therein (CCSS.ELA-Literacy.RL.1.2; CCSS, 2010).
n
By 2nd grade, students are required to describe how characters
respond to the events and challenges they face, which requires
knowledge of isolated story elements (character, setting,
initiating events), but also the causal relationships between the
goals and motivations of characters and the subsequent actions
that they take (CCSS.ELA-Literacy.RL.2.3).
n
These proficiencies require sophisticated discourse level
competencies that involve the use of complex cognitive
processes.
2 3/30/16 7
n
Students must be able to describe characters, settings, and
major events in stories, using key details (CCSS.ELALiteracy.RL.1.2);
n
to acknowledge differences in points of view of characters
(CCSS.ELA-Literacy.RL. 2.5)
n
to describe character traits, motivations and feelings
(CCSS.ELA-Literacy.RL.3.3)
n
and to describe character’s “thoughts, words and
actions” (CCSS.ELA-Literacy.RL. 4.3)
The Language of Narration
n
Macrostructure – story structure
n  Episodes
n  Story
n
propositions
Microstructure – language structure
n  Sentence
complexity
and types of dependent clauses
n  Number
n
Narrative content
n  Causal
relationships
n  Coherence
9
Story Grammar Elements
(propositions)
n
Setting
n
Initiating Event
[time and place]
[take off]*
n
Internal Response
[feelings]
n
Plan
[thoughts]
n
Attempts
[Actions]*
n
Consequence
[landing]*
n
Reaction/Ending
[wrap up]
3 3/30/16 The Lost Dog – Episode 1
Initiating
Eventto pet her dog, Fluffy.
One day, Sally went
Attempt
When she went to the backyard, she didn’t
Attempt
see Fluffy. Sally yelled, “Fluffy, come here!”
Fluffy didn’t come. Sally looked all over the
backyard for Fluffy. She saw a big hole in the
fence. Fluffy was gone.
Consequence
The Lost Dog – Episode 2
Initiating
Event
Sally ran into the house and
told
her mom
Internal
Response
that FluffyPlan
was gone. She started crying
because she was so sad. Her mom
said, “Oh
Attempt
no! We
have to go look for her.” Sally and her
Consequence
mom ran down the street yelling for Fluffy.
Just then, Fluffy came running
Reaction toward them.
They took Fluffy back home. Sally was very
happy to have Fluffy back. Sally and her
mom fixed the hole in the fence so Fluffy
wouldn’t get out again.
Ending/Moral
Cognitive Development Related to
Narration
n
Short-term memory
n
n
Immediate recall of information
Working memory
n
n
n
Ability to hold multiple pieces of information in an active state while
performing a cognitive task
Holding propositions in an active state while adding new ones
Long-term memory
n
n
Scripts: Situation models for common events
n
Who does what in what order
n
Who says what to whom and in what manner
Recognizing proposition similarities across stories
4 3/30/16 Development of Temporal Concepts
n
Emergence of talk about displaced events (past and future) –
late age 3
n
Narrating autobiographical memories through memory
conversations – age 4
n
Ability to construct correctly ordered sequences of everyday
events – ages 4 and 5
n
Sequence terminology (before, after, next) – common in the
input to children at age 4, used in stories by 5- and 6-yearolds
n
Clock terminology (3 hours passed before…) not understood
or used until age 7
Development of Causal Concepts
n
Sensitivity to simple causal structure of motion – 7 months of age
(Saxe, Tzelnic, & Carey, 2005)
n
Causal predictions and causal explanations – beginning at 2
years of age (Gopnik et al., 2004)
n
Causality
n
n
n
n
n
n
In response to questions such as, What should he do?
Sequence – 3-year-olds
Physical – 4-year-olds
Motivation – 6-year-olds
Psychological operations – 8-year-olds
High levels of variability – perceptual, conceptual, linguistic, and
contextual factors
Development of Text Structure
n
Details (descriptions and actions):
n
n
Very common between 3 and 4 years
Rare after age 5
n  Descriptions: 3–4
Sally liked her dog and she liked her mom.
The dog liked
Sally and the mom. The dog was nice.
n  Action sequences: 3–4
The dog got something to eat. He ran around
the yard.
He jumped up on the girl. The girl laughed.
5 3/30/16 Development of Text Structure
Text organization (basic episodes – IE, At, Con)
n
n
n
n
Begins to appear between 3 and 4 years
50% of stories told by 5-year-olds
Basic episodes: 4
Sally went to pet her dog in the backyard, but he wasn’t
there. Sally and her mom looked for him all down the
street. They found him and took him home.
Conceptual frameworks (beyond the basic episode)
n
n
n
50% of stories told by 5-year-olds
90% of stories told by 7-year-olds
n
Complete episodes: 5–7
n
Complex episodes: 6–7
Development of Sentence
Complexity
n
Tense
3- to 4-year-olds tend to mark tense (present, past, future) consistently
in conversation but not in narration
n  Stories are usually told in past tense, but mixed tense is common until
age 7
n
n
Syntactic devices
3: Simple coordination (and)
n  Sequential markers (then, after, next): 4- to 9-year-olds
n  Subordinating clauses (while, because, since): 7- to 9-year-olds (>10%
of clauses)
n  Relative clauses: Canonical (SVO) before non-canonical word order
n
(Berman, 1988; Berman & Slobin, 1994; Heath, 1983; Hudson, 2006; Kemper, 1984; Peterson
& McCabe, 1992; Rice, 2010; Stein & Glenn, 1979; Tapiero, van den Broek, & Quintana, 2002)
Micro-Macro Integration
n
Basic lexical and grammatical development in conversation
(3)
n
Period of high variability as children learn discourse rules
and begin to use a variety of story propositions (4–5)
n
Children use more single-episode stories that follow
canonical organization (6–7)
n
Gradually, children begin to use complex vocabulary and
sentence structures within stories with chained and centerembedded episodes (7–9)
6 3/30/16 Factors That Contribute to
Complexity
n
Memory limitations
n
n
n
n
n
Coordinating clauses common but fewer subordinating clauses
Content limitations
n
n
Sequences of highly predictable events (and, then) are easier
Perceptual and physically related causal relations are easier than motivation
and psychological relationships
Linguistic limitations
n
n
Shorter stories with little planning are easier
Conceptual limitations
Stories about highly familiar events will be easier to comprehend and
produce than stories about unfamiliar events
Structural limitations
n
Stories with details (descriptions/actions) are easier than basic episodes,
which are easier than complete and complex episodes
Cultural Similarities
n
The complexity of oral narratives produced by African-American
children is similar to those produced by same-age EuropeanAmerican children (Curenton, 2011; Reese et al., 2010)
n
When the two groups are carefully matched for SES (GardnerNeblett & Iruka, 2015)
n
n
When traditional stories are modeled before elicitation (Gillam et
al., 2012)
Middle class Hispanic, European-American, African-American, and
Asian children tend to tell stories that are comparable (GardnerNeblett & Iruka, 2015)
Economic Differences
n Economic
factors contribute to differences in
narration
n
n
n
Latino-American and African-American children are more likely to come
from lower-SES homes, which has been linked to vocabulary
development (Gardner-Neblett & Iruka, 2015; Snyder & Dillow, 2013)
and literacy (Lonigan et al., 2013; Snyder & Dillow, 2013)
Book sharing differences related to low SES that affect narration
n
Less access to books at home
n
Read books with parents less frequently
n
Exposed to less complex language (Raikes et al., 2006; Rowe, Pan, &
Ayoub, 2005)
When SES is controlled, many language differences related to narration
disappear (Gardner-Neblett & Iruka, 2015)
7 3/30/16 Linguistic Differences
n Linguistic
factors contribute to differences
in narration
n
Structural features of children’s stories differ somewhat across
languages during the preschool and early school-age years
(Berman & Slobin, 1994; Encisco, 2011; Green, 2010; Miller et al.,
2014)
n
Bilingual children with higher amounts of experience with English
tend to tell more complex stories in English than Spanish (Squires
et al., 2014)
n
Children’s general language knowledge in Spanish mediates the
literate language experiences they have in English
Cultural Differences (SES
Controlled)
n
African-American children added more fantasy elements to
their stories
n
European-American children provided more information
about character relationships
n
Latino children were more likely to name the characters in
their stories (Gorman et al., 2011)
What do we know? n  Children
with language impairment are often “poor
comprehenders”
n  Answer fewer comprehension questions (explicit, implicit)
n  Recall fewer story details
n  Have more difficulty identifying and resolving anomalies in text
n  Less successful in genera@ng inferences n  Macrostructure
Difficulties (less sensitive to text structure)
variability across stories
n  Fewer story grammar propositions
n  Lower holistic scores
n  Greater
n  Microstructure
Difficulties
n  Vocabulary
n  Complex
sentences
n  Grammaticality
n  Incomplete
references to characters and story contexts
n  Conjunctions
8 3/30/16 What do we DO??
n A
focus on isolated language skills
(morphology, phonological
awareness, vocabulary, inferencing..)
will not translate into functional
outcomes
n Why
not?
Example – 002
Discussion: What changed? How
did it happen?
Narra@ve discourse instruc@on n Why does teaching story structure (story elements + causal framework) translate into func@onal outcomes? n Imposes an organiza@onal framework upon exis@ng “fuzzy knowledge” and amorphous representa@ons of story elements & structures that children must then “accommodate” into their exis@ng schema n It is through the accommoda@on process that the new framework is clearly established and stabilized n Unlocks the poten@al the child already possesses 9 3/30/16 Profiles of learners
n  Some
knowledge of story structure (elements,
causality); not stable
n  Amorphous
n  No
knowledge of story structure
knowledge of story structure
There once was a twelve year old Melissa Wilson had been working on how
to practice soccer and football.
Her most favorite was soccer.
She used to play with her best friend Ung, he was named after his head.
His parents thought that it was a great name for him because he was born
without any hair.
So they named him Ung, known for the boy, the last avatar or known as the
last air bender.
Melissa was practicing on her soccer lesson, then Ung suddenly fell down
and just broke his leg.
Then she tried to run past, and she jumped way over him.
And she almost tripped, but she didn't trip.
And then Melissa suddenly tripped when she made a goal, and she won the
game.
It was the actual game.
So Melissa helped the wounded boy as he was going to be driven to the
hospital.
Amorphous representation of SGEs
One girl and a girl were playing football.
And the orange shirt girl fell over.
And the other girl tripped on her.
And then they did it all day.
Until then the black girl he jumped over the orange girl.
Which was true in>
Then she made a goal.
They love playing football.
The end.
(Unspecified characters 004)
10 3/30/16 Virtually NO knowledge of SGEs
n  There’s
n  And
n  They’re
n  And
a lot of kids and parents at the beach
they like to be at the beach.
trying to find seashells
they’re getting wet.
n  002s_videos
(first clip)
32
Critical Components in Narrative
Discourse Instruction
1)
Teaching story grammar elements and the causal and
temporal connections between them
2)
Providing multiple opportunities for students to practice
using tier 2 vocabulary and complex morphology and
syntax in authentic discussions
Using language facilitation strategies to model targets
3)
Incorporating visual icons, graphic organizers,
pictographic planning, retelling, and parallel story
development to reduce cognitive load and support
learning and generalization
4)
Theore@cally sound learning principles of narra@ve instruc@on n  Explicit
ü
n  Explicit
ü
instruction in story structure (Macrostructure)
Explicit instruction in story elements + Explicit instruction in causal
connections (why?)
instruction in language structures (Microstructure)
(eg., mental verbs, causal adverbs, coordinated & subordinated
conjunctions)
Procedures:
1. Practice in authentic contexts (wordless then literature)
2. From whole-to-part-to-whole (activate world knowledge but place focus on
“discourse”)
3. Practice answering questions and generating stories
a.
Reduce cognitive load (eg., graphic organizers, icons, verbal and/or
gestural cues)
b.
Provide scaffolded experiences (most to less support)
11 3/30/16 Narra@ve discourse instruc@on n Why does teaching story structure (story elements + causal framework) translate into func@onal outcomes? n Imposes an organiza@onal framework upon exis@ng “fuzzy knowledge” and amorphous representa@ons of story elements & structures that children must then “accommodate” into their exis@ng schema n It is through the accommoda@on process that the new framework is clearly established and stabilized Supporting Knowledge in
Language and Literacy
n
Phase 1: Teaching Story Elements
n  Learn
and use critical story elements for simple,
1 episode stories – graphic organizers for
support
n  Phase
2: Connecting and Elaborating Stories
n  Teach
linguistic structure, content and
vocabulary necessary for creating more
elaborate stories
n  Phase
3: Creating and Editing Stories
n  Create, edit/revise, retell
multi-episode stories with
and without graphic organizers
Study
Delivery
Dosage
Elements
Effect
size
1
RCT
Individual
20 min of
narr (100
total), 5x/wk,
4 weeks =
33.33 hours
Multiple targets,
pictographic planning,
retelling, parallel stories,
literature units, recasting
0.04
2–
Small
Quasi-Exp Group
50 min, 3x
wk, 6 weeks
= 6 hours
All of above + reading and 0.43
writing
3
Small
Quasi-Exp Group
90 min, 4x/
wk,4 weeks
= 24 hours
No written language,
explicit training on SGPs
(Berman, 1988), wordless
picture books,
1.41
4
RCT
40 min, 2x/
wk,6 weeks
= 8 hours
Comprehension units
1.45
Small
Group
12 3/30/16 90 003 Spontaneous Follow Up 35 MISL 30 70 25 60 MISL Score Number of Different Words Treatment Baseline 80 50 20 40 15 30 10 20 NDW 10 5 0 0 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 63 65 67 69 002 Spontaneous 200 35 180 30 Number of Different Words 160 MISL 140 25 MISL Score 120 20 100 15 80 60 10 40 5 20 NDW 0 0 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 63 65 67 69 Treatment Baseline 50 MISL 40 Follow Up 006 Spontaneous 25 NDW 20 MISL Score 35 30 15 25 20 10 15 10 5 5 0 0 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 63 65 67 69 Spontaneous 007 70 30 60 25 Number of Different Words 50 MISL 40 15 30 10 20 5 10 0 20 MISL Score Number of Different Words 45 NDW 0 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47 49 51 53 55 57 59 61 63 65 67 69 13 3/30/16 Reduce demands on memory, and load
Icons, reduce cognitive load
Character
Plan
Reduce cogni@ve load by using graphic organizers (and/or gestures, verbal cues) story_board_story board 10/2/11 7:15 PM Page 1
Supporting Knowledge
in Language & Literacy
Character
Setting
Take-off
Feelings
Plan
Action
Complication
Plan Again
Action
Complication
Plan Again
Action
Landing
Wrap-Up
New schemas for processing and organizing informaBon Copyright © 2011 by Utah State University
14 3/30/16 Story Structure Instruction
Reduce cognitive load by providing
instruction in groups
Reduce cogni@ve load using key words, phrases to cue SGEs Character
Person, animal, toy, many, name
A character is a person, animal, toy (etc..) How many characters can a story have? Our characters need names.
SeDng
Place, city, @me of day, many
Seang can be a place, @me or city. What “@me” of day or night was the story? How many seang elements can a story have?
Take-­‐off
Scary, funny, problem, All of a sudden
Name something _____ that gets the story going. Might say “All of a sudden…” to cue.
Feelings
How did the character FEEL about the take-­‐
off?
Plan
Decided, wanted, planned, thought
What did the character THINK about doing? What did he WANT to do?
AcBon
Use SO and BECAUSE to explain ac@ons in response to Ini@a@ng Events (take offs)
What did the character DO because of the take-­‐0ff?
ComplicaBon
Ah-­‐Oh
Might say “Ah – Oh!” to cue. Something got in the way.
Landing
The problem was solved when… Finally..
What happened to make the story end? What did the character(s) do to solve the problem?
Wrap-­‐up
In the end…
Remind us about what happened and how do you think the character(s) felt about it?
Supporting Knowledge in
Language & Literacy
Phase 1: Teaching Story Grammar Elements
Phase 2: Elaboration: Making Stories Sparkle
Phase 3: Independent Storytelling
15 3/30/16 Phase I Phase I: Teaching Story Grammar Elements Character
Setting
Initiating Event
•  Agents
•  Time & Place
•  Take Off
Internal Response •  Feelings
Plan
•  Thoughts
Attempts
•  Actions
Consequence
•  Landing
Explicit Instruction of Story Elements
Phase 47 I n  Story
Element introduction (Whole)
with dogs
n  Introduce the whole story with icons
n  Example: 3 Hungry Mice
n  Camping Trouble
n  Lessons: (Part)
n  Character, setting, initiating event (take off), internal response (feeling), plan,
action, consequence
n  Co-telling
(Camping Trouble) (Whole)
n  Re-telling
(with Bingo cards)
n  Parallel
story development
n  Parallel
story re-telling
n  Literature
Unit
n  Mini-lesson
(before, after)
3/30/16 n
Strategies to reduce cognitive load
n
Language facilitation techniques (70% and higher, gradually
reduced over time; Gillam et al., 2008)
n
Explicit instruction in microstructure
n
Icons, key phrases, graphic organizers, working in groups
16 3/30/16 Session Check:
1. Use language facilitation techniques for 70-75% of child utterances
a. Demonstrations+#
i. Definition:#repeated#but#variable#use#of#a#sentence#or#text#pattern#
ii. Example:##
1. Sentence#pattern:#The#girl#walked#home.#The#cat#walked#home.#
Everyone#walked#home#[emphasizing#the#past#tense#‘ed]#
2. Text#pattern:#The#girl#saw#the#spaceship#(take#off).#She#went#to#
meet#the#aliens#(action).#They#became#friends#(consequence).#
The#boy#found#a#boat#on#the#lake#(take#off).#He#went#to#get#in#
the#boat#(action).#He#rode#around#on#the#lake#all#day#
(consequence).#
b. Expansions##
i. Definition:#contingent#verbal#responses#that#increase#the#length#or#
complexity#of#the#child's#utterance.#
ii. Example:#Child:#Doggy.#Teacher:#That#is#a#doggy.#[The#utterance#is#
contingent#because#it#incorporates#the#word#the#child#used;#doggy;#It#
is#an#expansion#because#it#increased#the#length#of#the#utterance.]#
c. Expatiations+#
i. Definition:##Contingent#verbal#responses#that#add#new#but#relevant#
information#to#the#child's#utterance#
ii. Example:#Child:#Doggy.#Teacher:#That#is#a#friendly#doggy.#[The#
utterance#is#contingent#because#it#incorporates#the#word#the#child#
used;#doggy;#It#is#an#expatiation#because#it#added#new#information#to#
the#child’s#utterance.]#
d. Vertical+structures:##
i. Definition:##Clinician/teacher#asks#questions#to#construct#a#
syntactically#complete#sentence.##
ii. Example:#Child:#doggy.#Teacher:#What#is#the#doggy’s#name?#Child:#
Bubba.#Teacher:#The#doggy’s#name#is#Bubba.#
e. Prompts+–#Questions:##
i. Definition:##Comments#and#questions#that#serve#to#extend#what#the#
student#has#said#or#written.#
ii. Example:##Child:#doggy.#Teacher:#What#does#the#doggy#like#to#do?##
Note:#Recast#grammatical#errors#that#children#make#modeling#the#correct#
usage.#You#may#choose#to#ask#the#child#to#repeat#the#sentence#correctly,#but#this#
imitation#practice#is#not#necessary.###
1. Example:#Child:#Doggy#eat#cake.#Teacher:#Yes,#the#doggy#ate#the#
cake.#Yum.#
2. Tie “Take off” story element to 1) feelings, plans, actions, complication, landing
3. Use “why” questions as much as possible and where appropriate.
4. Follow the IOC as closely as possible
5. Have a copy of the Key Teaching Phrases handy
Story element instruction
n
Camping Trouble with Dogs
n
Read story, highlighting the story elements as you go
n
Ask comprehension questions about the story elements
n
Example: Three Hungry Mice (demonstration)
51
Individual lessons for each story
element
n
n
Character Example
n
Talk about who, what characters can be
n
n
Discuss the characters in the wordless book (Camping Trouble
with Dogs)
Discuss whether they have names
n
Summarization review questions
Each story element is taught in the same way
n
Whole, part, whole strategy
17 3/30/16 52
n
Co-telling
n
Re-telling
n
Bingo
n
Parallel story development
n
Parallel story retelling (with and without icons)
n
Literature Unit
n
Mini-lesson (before-after)
n
Comprehension extension activity
Phase I Exit Checklist In order to move to Phase II, a student must be able to: n iden@fy by name, all of the icons, n give sa@sfactory examples and/or defini@ons for each one, n be able to create a story (using a storyboard) that contains all of the elements with minimal assistance, n and answer comprehension ques@ons related to the story elements. Phase II
Phase 2: Stabilization of Story
Structure and Explicit
instruction on multiple
linguistic targets (elaborated
noun phrases, adverbs, mental
verbs, linguistic verbs,
subordinated and coordinated
clauses, causal language)
18 3/30/16 Phase II Elaboration: Making Stories Sparkle
n  Introduc@on to elabora@on n  Comparison of simple & elaborated stories n  Dialogue n  Elabora@on using Plan, Ac@on, Complica@on, Sequences (PACS) n  Prac@cing complexity using PACS through parallel story development n  Parallel Story Retelling w/Icons n  Parallel Story Retelling w/No Icons n  Elabora@ng on Ac@on with adverbs n  Ac@on adverbs Mini-­‐lesson Comprehension Literature Unit n  Tacky the Penguin n
Strategies to reduce cognitive load
n
Language facilitation techniques (70% and higher, gradually
reduced over time; Gillam et al., 2008)
n
Icons, key phrases, graphic organizers, working in groups
Story 1
Story 2
Character
Hamster, girl, dog, cat
Snoopy where are you, Ouch
SeDng
House, cage, home
Snoopy, Jenn, Jack, Fluffy; Added dialogue “go away from my family, ouch”
Utah, RedWood forest, in the middle of the night
Take-­‐Off
Snoopy snuck out
Snoopy snuck out
Feelings
Sad, happy
Afraid, surprised, shocked, disappointed, angry
Plan
Yell for snoopy
Yell, look, go home to see if he was there
AcBon
Yell
Yell, look, go home
ComplicaBon
Dog fell on cat; got in way of yelling for Snoopy
Jack fell on Fluffy, gopher bit Jenn’s nose, Jack barked at birds; got in the way of ac@ons to find Snoopy
Landing
Snoopy was found
Snoopy was found
Wrap-­‐Up
Happy that Snoopy was home
Happy Snoopy was home, decided to lock his cage in future
19 3/30/16 Story Review for PACS What was their first plan? [Answer: decided to Yell for Snoopy]. What action
did they take? [They yelled for Snoopy.]
n
Then what happened? Was there a complication? [Answer: yes, Jack fell on
top of Fluffy and got in the way of their yelling.]
n
How did they “plan again?” [Answer: decided to LOOK for Snoopy in the
forest]. What action did they take? [Answer: they looked and looked in the forest
for Snoopy].
n
Then what happened? Was there a complication? [Answer: Yes, a whole
bunch of complications got in the way of their LOOKING for Snoopy]. Note* talk
briefly about the complications.
n
Turn to page 11; Did they make another plan? (Answer: Yes, they decided to
go home and see if Snoopy was there]. What action did they take? [Answer: They
walked home to see if Snoopy was there].
n
Did the story land when they got home? [Answer: Yes, they found Snoopy
sitting on the couch eating popcorn. Snoopy ran away, they yelled and looked for
him, then they found him at the house! Thank goodness!] Landing!
n
Parallel story development
Say,
Character
“The first square on your grid has a character icon or symbol in it. Let’s
think up some characters for our story. When kids brainstorm the
characters, say, “Let’s think of a name(s) for our character (s). Most
characters have names. Draw a quick picture of the character(s) and
write their names under their pictures on the board. Give the children
just a minute to draw and write on their grid.
Setting.
Say, “The next square on your grid has a setting icon or symbol in it.
Let’s think up some setting words for our story. [As children are
brainstorm], say, “Let’s think of a city for our story to be in. [brainstorm
cities nearby]. Most stories are set at a certain time of day or night.
What time of day or night should our story be set in? [allow
brainstorming]. [Draw a quick picture of the setting elements, represent
time of day with a sun and a clock, and time of night, with a moon and a
clock] and write their names under their pictures on the board. Give
the children just a minute to draw and write on their grid. ]
PracBcing complexity using PACS through parallel story development ObjecBve: To teach children how to elaborate on the plans they include in their stories. Materials: plan & plan again icons, StoryBoard w/one complica@on and two plans (one plan, one plan again) Parallel Story Retelling w/Icons then without
Instructions: Pass out story grammar “Bingo” cards and tokens. Tokens
are to be used to place over the icons once a child has included that story
element in their re-tell of the story.
Each child should take turns telling the story while the other children
“mark” the story elements on their Bingo cards.
Some elements will have more than one token on them.
One child tells the story using story grid, and the other children monitor
the story, placing tokens on the Bingo icons.
The Teacher should hold up any icon that represents a story grammar
element that the child telling the story has forgotten.
20 3/30/16 Elabora@ng on Ac@on Elabora@ng on Seang Mini-­‐lesson for Seang Elabora@ng on Feelings Feelings Mini-­‐Lesson using “Ver@cal Structuring” Action mini-lesson
Objective: To give
children practice
using adverbs that
related to actions in
stories.
Materials: Action and
story sparkle icons;
single scenes
Key adverbs: quietly,
quickly, loudly,
tightly, slowly
The gorilla is holding on to the
horse. How is holding on?
Tightly! Or loosely?
The horse is running. How is he
running? Quickly or slowly?
[Make sentences with the words.]
Setting minilesson
Objective: To give
children practice
elaborating on
settings in stories.
Materials: setting
icon, story sparkle
icon, single scenes
Look at this picture.
Let’s make up a setting for it.
Where do you think the baby
could be? [Answer: Facilitate a
conversation to assist children
in generating multiple,
descriptive words to describe
the settings; be sure to
encourage the use of specific
names for cities, states,
locations]
21 3/30/16 Ver@cal structuring u.sing feeling words Teacher: The children dug a really deep hole in the snow. How do you think they
feel?
Child: thrilled, exited
Teacher: Why do you think they are so excited?
Child: because they found a treasure in the hold
Teacher: The children are excited because they dug a deep hole in the snow.
65
n Literature
Unit
n
Phase II, lesson 9 Literature Unit: pre-­‐story presenta@on. n
Phase II, lesson 9 Literature Unit: vocabulary 22 3/30/16 Picture walk with icons (retelling):
n  Ask
the children to retell the story page by page.
n  Highlight
and discuss vocabulary and story grammar
elements.
n  Hold
up the appropriate icons as children talk about each
page to highlight story elements.
n  Highlight
the “main” character (Miss Nelson and/or Viola
Swamp).
n  Highlight
the setting.
n  Highlight
the problem in the story.
pg 9, Tell me about Tacky’s shirt
pgs 12-13, Tell me about Tacky’s song
pgs 16-17, What do the hunters look like?
pg 27, What was Tacky’s dive like?
n
Video, 005 “reading” Tacky (embedded vocabulary
instruction) 36 m
23 3/30/16 Phase&II&Exit&form&
In&order&to&move&to&Phase&III,&a&student&must&be&able&to&create&a&story&(using&a&complex&storyboard)&that&
contains&all&of&the&elements&with&minimal&assistance,&answer&comprehension&questions&related&to&the&
story&elements,&and&recall&important&details&in&the&story.&
&
Student&Summary&&__________________________&&&Date&_________________________________&
&
Ask$child$to$create$story$using$Storyboard$
Answers$comprehension$
Story$recall$
(below)$
questions:$
Includes&at&least&1&
Includes&because,&
Identifies&at&least&1&
Recalls&at&least&1&
when&or&so&in&story
character&by&name& &
Character& &
character& &
&
Includes&at&least&1&
Includes&2&or&more&
Identifies&at&least&1&Setting&
Recalls&at&least&1&Setting&
setting&using&proper&
feeling&words&in&
&
&
name& &
story& &
Includes&2&or&more&
Recalls&at&least&one&Take&
Includes&takeHoff& &
Take&off&
mental/linguistic&
off&
(ghost chasing)&
verbs&in&story& &
(ghost chasing, scaring
ghost)&
Includes&feelings&of&
Includes&1&or&more&
Recalls&at&least&1&feeling&
Feelings&
characters&that&are&
adverb&in&story& &
word&
(afraid, scared of ghost, happy
clearly&RELATED&to&the&
ghost was gone)&
(afraid, scared of ghost,
take&off& &
happy ghost was gone)&
Includes&plans&of&
Includes&an&
Plan&
Recalls&at&least&1&Plan&
characters&that&are&
elaborated&noun&
(to get away, to hide, to scare
(to get away, to hide, to
clearly&RELATED&to&the&
phrase&(ie.,&big&
ghost)&
scare ghost)&
horse,&big,&white&
take&off& &
horse)& &
Includes&actions&of&
&
Recalls&at&least&2&actions&
Action&
characters&that&are&
(states any action related to
clearly&RELATED&to&the&
getting the ghost to go away,
(states any action related
take&off& &
or escaping from ghost)&
to getting the ghost to go
away, or escaping from
ghost)&
Includes&a&complication&
&
Recalls&the&complication&
Complication&
&
(ghost wouldn’t leave)&
(ghost wouldn’t leave)&
Includes&a&landing&that&
&
Landing&
Recalls&the&Landing&
clearly&RELATES&to&the&
(ghost leaves)&
(ghost leaves)&
take&off& &
Summarizes&the&story&
&
&
WrapHup&
and&includes&character’s&
(happy because they were
feelings&about&the&
safe, ghost gone, good team)&
events& &
&
&
Phase II Exit Checklist
Phase III: Becoming Independent Story Tellers
Phase 3: Metacognitive instruction
(internalizing story structure and linguistic targets)
Literature Comprehension Unit (Miss Nelson is Missing) If-­‐ then with Miss Nelson Using the self-­‐scoring story board/rubric w/Miss Nelson Co-­‐creaBng sequenced stories Using the self-­‐scoring story board/rubric to edit co-­‐created stories from sequenced pictures Co-­‐creaBng stories from single scenes Using the self-­‐scoring story board/rubric to edit co-­‐created stories from single scenes CreaBng independent stories from single scenes (or prompts) Using the self-­‐scoring story board/rubric to edit independent stories n
Lesson 1: Literature Unit
n
Pre-story presentation
n
Word review
n
Picture walk
n
Comprehension questions
n
Story retelling (with and without icons)
24 3/30/16 n
Lesson 1: Literature Unit
n
Pre-story presentation
n
Word review
n
Picture walk
n
Comprehension questions
n
Story retelling (with and without icons)
n
Mini-lesson (if-then)
74
Using the self-­‐scoring story board/rubric w/Miss Nelson Co-­‐creaBng sequenced stories Using the self-­‐scoring story board/rubric to edit co-­‐created stories from sequenced pictures Co-­‐creaBng stories from single scenes Using the self-­‐scoring story board/rubric to edit co-­‐created stories from single scenes CreaBng independent stories from single scenes (or prompts) Video example (on CD Rom)
Summary
n A
relatively short intervention (20 weeks)
n Rapid
changes in length and complexity of
stories (for students who started in the
lower group)
n Notable
improvements in:
organization
n Establishment of causal coherence
n Use of mental state and causal language
n Story
25 3/30/16 Take home
n It’s
not the teaching of story grammar
elements that improves comprehension and
composition of narrative discourse
n It
is the explicit teaching of story structure
(SGE + causal connections) that is the key
to successful outcomes.
n Results
in functional, long-term outcomes
related to academic, social and career
status
26