close reading Archives - David Rickert

Many students find annotation a chore. They do it for the teacher and not for their own benefit. They claim annotating makes them hate reading.

I understand where they’re coming from. Annotation is difficult. It slows down the reading process. However, we can’t build active readers without it. We want students to interact with the text and make it their own. Annotation does that.

However, we what can do is reward them for their work. Here are some fun games where students use their annotations to earn points.

Padlet Challenge

This challenge involves the Padlet app. I’m not going to get into the basics of Padlet — you can go to their website and get a good explanation of how it works (it’s easy.) But if you’re already 1:1 it’s easy to implement. Students can also use the app on their phones as well. If you don’t have devices in the classroom — or if you lust want to go low tech for the day —you can do it on large sheets of paper with post-its. I like to do the Padlet challenge when we are about halfway through the novel.

Here’s how to do it.

Before class select a list of items that students might have annotated as they read. Or you might have asked them to do certain types of annotations, such as asking questions or making predictions. Either will work.
Assign point values to each item. For instance you might assign 1 point to things that are relatively easy to find or more common, and 2 points to things that aren’t as frequent or take a lot more effort to spot.
Create a slide to project the instructions in front of the room that allows the students to see the point values (or just draw it on the chalkboard.)
During class divide the class into groups of four or five.
One member of the group will create a CANVAS with the Padlet app and share it with the others members of the group AND the teacher. The students title the canvas with the names of the members of your group.
Students accumulate points by adding a PHOTO OF AN ANNOTATED PAGE to the shared canvas. In order to count for points, annotations must meet the following criteria: they must have a part of the passage highlighted or underlined, and they must have a comment that explains why it is significant.
Total the points. The group with the most points wins.

The Padlet Challenge has worked well for me because it rewards those who annotated well in the first place, while allowing those who didn’t to participate as well because they can still create annotations as they play.

Annotation Euchre

A fellow teacher and I developed this years ago and had a lot of fun with it — especially when we dealt the superintendent in when he came to our classroom for a visit.

This one requires a little more setup, and a basic knowledge of euchre and euchre tournaments work is helpful, but not required. Basically in a euchre tournament you don’t play with a partner. You play by yourself, rotating through a number of different players. You keep the points that you win with your current partner and advance to the next game.

Here’s how it works:

Each student needs to have a copy of the book.
Copy the directions below so each student has them:

Rules/Order of Play

For each round, you are partners with the person across from you, just like in regular euchre.

Choose a page (or a chapter — it depends on the length of your book). You’ll want to choose a passage that is especially rich in content and details. This will be your “hand” for all four games in each round.

For each “game” you will be asked to annotate your passage for a specific topic. For instance, you may be asked to find examples of character development or a specific symbol. You will then mark any examples of this in your passage.

For each example in your passage you will get a point along with any points your partner accumulates.

At the end of each round, the winners will move to the next table and the losers will remain. One loser will move to occupy the chair next to their partner from the previous round so that no one plays with the same person twice. If there is a table of two, those players will play together. If there is a table of three, each player will play individually, the players with the highest scores will move on.

The player who accumulates the most points at the end of the game wins.

Here’s a sample scorecard:

Just like in the previous game you’ll need a list of things that students should look for- I suggest around ten. Then you randomly select one for each hand (or don’t make it random – it’s up to you.)
The trick is to keep this moving quickly or you’ll run out of time. One minute per hand is optimal.
Students need to be on the honors system for this one because they could make up their points or change “hands.” But as long as you aren’t assigning a grade for it, the students don’t have much incentive to cheat. I always like to tell them that in high school we are all winners.

Annotation bingo

Screen Shot 2018-10-14 at 5.27.50 PM — Sample Bingo card with page numbers. You can do chapters as well.

This requires you to use a custom bingo card generator in which you can choose your own columns and numbers. They are easy to find if you search for custom bingo cards or you can find one here.

1. You’ll create these cards by replacing BINGO with things you had them look for as they read. Or if you are using a bingo card generator that won’t allow you to change the BINGO, just assign something to each letter. Because you can customize the spaces as well, you can add page numbers or chapters or whatever you’d like. You can do this game at any point in the novel, but it works best when you’ve read at least a third. I suggest using chapters or a small range of pages instead of individual pages because it will make the game go faster. You may want to use a 4X4 grid because it will make each game go faster as well.

2. Then you play the game like regular bingo. If you get one of the ball cages you’ll be my idol, but it’s easier to write the BINGO categories on small sheets, the squares on the other, and run it that way. (There’s probably a bingo app you could use as well.)

3. Again, you’ll want to keep the game moving or it can drag. Give students enough to locate each item, but that’s it.

4. In order to prove that they have BINGO, they have to show their annotations on the page.

Learning should be fun! Check out my Teachers Pay Teachers store for fun resources like the ones you see below.

I begin class by with a short story. An extremely short story, in fact —it’s called “The Birthday Party” and it’s only three paragraphs long. Reading it with a class is an opportunity to see what my students do when they are asked to do a close read. We’ve trained them well in English classes over the past few years — they grab a pencil or pen because they are ready to annotate.

Close reading is a valuable skill, but how can we teach it so it becomes meaningful work? What are the strategies we can give all readers so that they will be successful not just at reading passages on tests, but also while thinking critically about what they read as adults?

I read about a strategy that Brian Sztabnik uses. He asks his students to answer three questions. The following strategy is based on that. Here’s his blog post.

What, How, Why

I break down the task of close reading into three steps. I call it the what, how, and why of close reading. Close reading consists of analyzing these three components:

What do you notice?

How were you made to notice it?

Why are you noticing it?

Here’s how it works.

Step 1: What do you notice?

The first step is What do you notice? When reading a selection I ask students: what do you know to be true? If we don’t know what happens in a passage, we can’t analyze the rest. Then we move on to things that they saw that they had to figure out (in other words, inferences they’ve made.) They know these things to be true as well, but they had to read between the lines.

Step 2: How were you made to notice it?

The second step is How were you made to notice it? This is when we examine the nuts and bolts or the author’s writing. What literary devices does the author use to call your attention to what’s important? If I have an especially adept group, we might look at how syntax and diction call our attention to certain things.

Step 3: Why are you noticing it?

The final step is Why are you noticing it? Why did the author create this piece? What was their goal? What about human nature did they want to illuminate for us, perhaps?

Begin with a picture

I like to start with a picture to get the ball rolling. Adrian Tomine has some wonderful New Yorker covers that are perfect for this task. Here’s the one I use, but there are plenty of others. I project this image on the screen and give them a photocopy of the image to annotate.

At first I don’t give them any direction other than to annotate the image, writing down everything they notice. I want to see what they do when I don’t give them specific guidelines, open to the possibilities of whatever the picture reveals to them.

After five minutes of annotating we proceed to step one: I ask them to tell me what they know to be true. We cover the basics of the image: there’s a man and a woman reading the same book. They are looking at each other. They are riding a subway. There’s a guy listening to music. It doesn’t take long to get all the basics.

We then move on to step two: I ask them how they were made to notice it. I begin by asking them what the focus of the image is. They all know it’s the man and the woman reading the same book. I ask them how they were made to see that. Eventually some details of the craftsmanship of the image emerges. The books are both white (and they are the only white objects in the picture). The faces of the man and the women are the only faces visible. They are framed by the windows of the subway cars.

I then tell them the title of the picture (“Missed Connections”) and then move on to step three. I ask them why the author made this image. What’s the story the artist is telling? I resist giving them my interpretation, because I’m much more interested in what they have to say at this point (I have my own version of the story, but over time I’ve heard lots of plausible theories, so I’m not sure mine is the correct one anymore.)

Moving on to a short story

After we’ve looked at the image I hand out Katherine Brush’s short story “The Birthday Party” which you can find online (but any one page short story will do.) We repeat the process. The students annotate the story, just seeing what they notice.

I then ask the same question — What do you know to be true? Brush’s straightforward prose makes the details easy to pick out. Then we move on to what they have to figure out, such as: what kind of restaurant is it? What else do you have to figure out because of the point of view? We don’t really know why the man is upset about the birthday cake, or any of their backstory for that matter. We just have to make guesses based on what the narrator observes. But at this point we are thinking about the how — the elements that Brush includes to tell us what’s going on between them.

Finally, I ask them why this story was written. There doesn’t seem to be a moral here, so I lead them to think about what the author might be saying about particular types of people. Many of them get to “some people don’t like to be surprised” and I often throw out that perhaps the story is about how we never really know what goes on behind the scenes in a relationship we observe from afar.

Final Steps

At this point I’m ready to turn them loose on a longer short story. My favorite story to start of the year is “The Necklace” by Guy de Maupassant because there are several opportunities to isolate a few paragraphs to look closely at what’s going on.

And other good follow up strategy is to give them a piece of non-fiction, such as an editorial from a newspaper. The method is the same: What is the author writing about? How does the author make his case? Why is he writing about it?

Final Thoughts

We want our students to leave our classroom with the skills necessary to be good readers and thinkers. Close reading gives them the strategies they need to reliably perform this skill in a variety of settings.