INDIANA UNIVERSITY Department of Language Education Practicum in Language X425/L525 Dr. Hope Elkins, Ph.D.
Syllabus HOME PAGE	MODULE 5: INTEGRATING READING AND WRITING
	1. In this module we will learn about: *Integrating sign systems. *Comprehension. *Process writing. _________________________________________________________ 2.We will: *Take the learner through the publishing process. *Develop personalized comprehension strategies. *Guide the learner in making a progress chart based on interests and goals. __________________________________________________________ 3. Possible Extra Credit. This assignment is an extra credit assignment for those who are interested. (Non-ESL students may choose a or b. ESL students may choose a, b, or c.) a. Guide the learner through the publishing process (generating ideas, creating initial writings, choosing a piece to publish, sharing and initial editing, revising, creating a final draft, formatting, making and presenting the final product). Write a paper describing the process. From the experience, what do you believe are the advantages of process writing over skill practice, or are there advantages? Did you include skill practice in the process, and how was that accomplished? What was your overall opinion of the experience? Did the student make learning gains, and if so, what kind? Would you revise the process in the future? Why and how? Be as detailed as possible in your discussion. In addition, review your learner's interests and the goals you've set for him. With the learner, design a progress chart to indicate some aspect of learning, i.e., amount of books read, stories written, materials collected -- whatever best fits with your tutoring agenda and shows progress has been made. At the bottom of the process writing discussion, draw a rough sketch of the progress chart, and in one paragraph explain how you came to make it the way you did.   b.Find four articles detailing writing activities or strategies that would be appropriate for your learner. Write a paper describing the strategies, telling how you expect them to benefit your learner. Be detailed in describing the strategies. In addition, review your learner's interests and the goals you've set for him. With the learner, design a progress chart to indicate some aspect of learning, i.e., amount of books read, stories written, materials collected -- whatever best fits your tutoring agenda and shows progress has been made. At the bottom of the writing strategy paper, draw a rough sketch of the progress chart, and in one paragraph explain how you came to make it the way you did.   c.Reflect on your theme unit topic. Think of the kinds of materials you will use. No doubt some of them will be too difficult for your ESL learner. After reading the assigned articles for this module, write a paper telling how you could adapt the unit materials to fit the tutee's needs and learning style. In addition, review your learner's interests and the goals you've set for him. With the learner, design a progress chart to indicate some aspect of learning, i.e., amount of books read, stories written, vocabulary learned -- whatever best fits your tutoring agenda and shows progress has been made. At the bottom of the adapting materials paper, draw a rough sketch of the progress chart, and in one paragraph explain how you came to make it the way you did. __________________________________________________________ 4.Discussion Topic: Share an interesting experience or an important question or concern about your tutoring experience. Responding to another student's posting will also count as class participation. __________________________________________________________ 5.Comments: INTEGRATING READING AND WRITING Can you imagine speaking, and no one hears or writing, and no one reads? Can you see yourself reading the words in a book with no thought as to the intent of the text or the connection to your life or interests? This is what we sometimes force our students to do when they fill in countless worksheets endlessly flowing down the instructional assembly line. How much more relevant instruction is when it integrates all aspects of language so that as students learn to write, they learn to read. As they speak, others listen, and they learn to listen to those around them. Language systems in the real world are integrated, constantly reinforcing one another in positive ways. It is extremely important for struggling readers and ESL students to receive much additional language practice, not in unending repetition of failure-driven practice exercises, but by being engaged in and continually immersed in reading, writing, speaking, and listening along with other sign systems. Language is a social process. Good teaching can build on the social aspect of language in many ways. Anabel Newman (1) gives a number of suggestions in her L525 manual: *Written conversations are a good way to begin the tutoring session. Begin by writing a question to the tutee. State the question so it cannot be answered with a yes or no answer. The learner will answer the question and ask you one. Since no oral conversation is allowed, the learner gains practice in putting her thoughts into written form. Don't focus on mechanics. The experience should be risk free. Later, if you and the learner wish to edit the conversation, you can talk about mechanics. *Journaling is another strategy that can increase learner confidence while at the same time provide writing practice. Again, when working with struggling readers and ESL students, it is best not to focus on mechanics and style until the student gains enough confidence to feel good about editing. Be cautious when implementing journaling, however, because it can become a stale routine no more desirable than worksheets. Be sure the journal has personal relevance to the student. You might start the journal with a question: How did you feel when . . .? What happened when. . . .? Can you describe . . . .? Journals can be private or public depending on the learner's need. Atwell (2) discusses dialogue journals in which the teacher responds to students' comments on the materials they've read in terms of her knowledge of how they read, think, and know. Atwell says her comments do three things: affirm, challenge, or extend the reader's thinking, and comments take various forms such as gossip, questions, recommendations, jokes, restatements, arguments, suggestions, anecdotes, instruction, and what she terms "nudges." In my work with at-risk struggling readers, I've found they handle themselves extremely well when discussing materials they've read. I have to give them support and confidence, however, in their discussions, especially if they are written. In the very beginning, I often have my students discuss the topics orally; then we make a list of major comments on the board with the students helping me clarify what they've said. I then type up a final copy for all. Once students feel comfortable talking about books, they can write in their journals, and I can respond individually. The following useful comments are taken out of IN THE MIDDLE and can be adapted easily for ESL students and struggling readers:  I'm still learning how to authoritatively and helpfully respond to my students' letters about their reading. So far I've learned some crucial lessons. In brief: 1. As Toby Fulwiler reminds teachers, the subject of an academic journal is not "I," as in a diary, but "I-it," the relationship between the student and the subject at hand. In this case the subject is books, authors, reading, and writing. The purpose of the letters is not to invite kids' personal problems or offer counsel. 2. Readers' most perfunctiory letters to me were responses to letters that read like a teacher's manual. When I bombarded kids with teacher questions, I turned the dialogue journals into a test. One good, thoughtful question is more than enough. 3. 1 received students' most interesting letters when I responded as a curious human being, asking about something I really wanted to know, but also when I leveled with readers about my own experiences, tastes, and opinions, sharing freely and frankly, agreeing and disagreeing. 4. The letters were conceived as first-draft chat, not polished pieces of writing. I make no corrections on students' letters, but I do comment if I'm having trouble reading them. 5. Everyone keeps a dialogue journal and everyone writes in his or her own log at least once a week as the bare minimum for passing the course. 6. Grades are based on fulfillment of this requirement as well as depth of response, use of classroom independent reading time, and progress made toward a few, individual goals set at the beginning of each quarter.   Kinds of Talk About Books 1. How the Author Wrote   Topic: What was the book about? Description and Detail: Could we see it happening? Feel it? Hear it? Too little description? Too many details? Dialogue: Is the talk realistic, full of voice? Could we hear the characters'voices? Too much dialogue? Too little? Lead: How did the author bring readers into the story? Conclusion: How did the author leave readers? Was the ending satisfying? Flashbacks and Foreshadows: How the author used shifts in time and why. Humor/Sadness: Did you laugh? Cry? Why? Setting: Where and when did the story take place? Specific Information: what the reader learned about the world through the narrative. Character Development: How were the characters' actions, thoughts, and feelings depicted? Were they believable? Could the reader enter the characters' hearts and minds and see through their eyes? Main Characters: Who are they? What makes a main character a main character? Titles: Was it appropriate? Was it a grabber? Realism: Could the reader believe in this plot? In these characters Did it matter? Suspense: Did the reader wonder what would happen next? Action: Was there enough happening to hold a reader's interest? Too much action and not enough character development? Theme: What was the author showing about life and living through the story? Formula: Could the reader tell too easily what was going to happen in this book? Conventions: Ex: Did the reader notice all the extremely short paragraphs in Sooner or Later? Why did the Harts write this way? Information: Were there enough specifics about character, action and setting in this book? Too many? Brevity/Length: Was this book too long? Too short? Narration: Who told the story? Was it first person? Third person? Why this point of view? Did the author switch between narrators? To what effect? Grace of Language: Did the sentences flow? Were they choppy? Did the reader notice him- or herself thinking about how well particular lines were written? Metaphors? Imagery? Plot: Did the story hold together? Ring true? Go on and on? Come to a point? Epigraphs and Epilogues: How were these special introductions and conclusions used, and to what effect? Prefaces and Introductions: How used, and to what effect? In-Jokes: Did the reader pick up on X?   11. The Author Speculations on or accounts of the author's process Titles of other books by a particular author, including sequels Comparisons with other books by this particular author Drawing on biographical information on the author or the author's published comments on his/her work to open up the text Idle gossip about the author Ways authors use elements of their own knowledge and lives in their fictions Other ways authors might have researched their subjects (for example, reading a particular kind of fiction) Finding authors' addresses and initiating correspondence Reviews of an author's works New releases by particular authors Similar books (in terms of topic or theme) by other authors   III. Concepts of Genre and Mode Novels (What makes a novel a novel?) Short stories (What makes a short story a short story?) Poetry (What makes a poem a poem? In what ways does poetry differ from prose?) Fiction and Non-Fiction (How do we classify?) Autobiography Biography History Science Fiction/Fantasy Adventure Animals and Wildlife Kids' Lives and Problems Love Stories and Romances Humor Westerns Sports Urban Life Horror/Gothic /Supernatural Historical Fiction Movie/TV/Book Tie-Ins Death and Dying Mystery /Suspense War and Espionage Other kinds of writing one might try to read   IV. The Reader's Process Skimming and skipping: How to and to what effect Abandoning: How and when a reader makes this decision Rereading particular parts of a book Re-reading whole texts: Reasons for; differences noted a second time through Planning ahead: Anticipating reading a particular book Predicting: Imagining what will happen next Revising: Considering other ways the author might have written Length of time it took to read a particular book Reading "easy" books, and why Strategies when a book is difficult (and too difficult) Where a book was read When a book was read How the reader is learning about himself/herself as a reader; about writing, about reading, about books How the reader learned to read How the reader decides what to read Whether the reader buys/owns /collects books Problems a reader is encountering and possible solutions   V. The Reader's Affect How the book made the reader feel What the book made the reader think Connections between a book and the reader's own life What the reader thinks that he/she didn't think before The reader's degree of involvement with the characters and their actions Comments about other readers' reactions What the reader learned/learned about through the story What the reader liked/didn't like about the book Best and worst aspects of a book Readers' various rating scales and how the rating systems work   VI. The Reader's Own Writing What the reader is writing and how it's coming Ideas for current and future pieces of writing Ways the reader might use (or has used) elements of others' writing in his/her own Connections and comparisons between an author's style or subjects and the reader's   VII. Recommendations Whether a book is worth recommending Others who might enjoy a particular book Reactions of other readers to a particular book Titles of other good books by this author or dealing with a similar subject or theme Names of good authors Titles of good books Arranging to borrow, lend, and return books Where to find a particular book other classrooms other students the town library where to find appropriate titles within these collections the school library good bookstores   VIII. Book Publishing How a book is published What editors do What agents do Advances and royalties Remaindering First editions How and when hardcovers become paperbacks   IX. The Letter Writer's Style When necessary, comments on conventions: legibility all elements that affect the readability of the letters punctuation spelling spacing of words and letters how to indicate titles of books (caps and an underline) and titles of stories and poems (caps and quotes) When necessary, comments on content: too "book-reportish", too much recounting of plot (boring if the teacher has read the book in question; maddening if it's a book the teacher anticipated reading) too brief (postcards rather than letters) unclear as to the reader's meaning   X. Miscellaneous Residue Format appropriateness of jacket copy appropriateness and effectiveness of cover and other illustrations about-the-author information copyright date size of type length of chapters index table of contents Books vs. movies, plays, and television programs based on books Anecdotes about readers' own lives and experiences, and jokes, cartoons and drawings   *Newman also mentions learning logs as a way to integrate reading and writing. It is suggested that a learning log be written during the last few minutes of the tutoring session. The log can contain the learner's reactions to the session, what was learned, and any problems that were encountered in understanding the content of the lesson. Learning logs can be helpful to the learner by helping him sum up what was learned and practice putting ideas into words. The tutor can learn more about the learner's writing and use the log to evaluate her teaching. *Last Newman talks about letter writing as a way to integrate. Letters are often appealing to learners, allowing them to make social connections with family and friends. Formal letters can be written to apply for a job, request information, order items, or relay one's opinion such as in a letter to the editor. While the initial letter may be written with content in mind, the tutor can later support the learner while he learns the proper format for letters and edits the material. How can speaking and listening be integrated into these lessons? By using them as a basis for conversation. Students will enjoy sharing in literature circles what they've said in the dialogue journals. They can use their learning logs as a basis for review and lesson evaluation. Journal discussion will be another avenue to reinforce language through speaking and listening.   INTEGRATING OTHER SIGN SYSTEMS One of the most successful lessons we had with my adolescent students at the juvenile center had to do with combining art and writing. The students were having difficulty creating a storyline. We decided to create a story with picture. Each person went to the dry erase board and added one part of the picture. The first person drew a simple rectangle on the board. As each person in the group added something, a baseball card emerged. The students talked about the card and what it meant. A story emerged from the experience. When Nancy Atwell began teaching at Boothbay Grammar School, she believed that the purpose of the teacher was to set the curriculum and make sure students followed it. One of Nancy's eighth-grade students, Jeff, was a severely delayed reader who could barely read or write. His previous teachers had "done all they could" for Jeff and sent him on to the next grade. One of the class assignments involved uncovering personal memories, talking about them, choosing one, and writing. All the students worked through the process except Jeff, who spent the class period whispering to himself and drawing a picture of a boy kneeling by a boat. The next day Jeff came to school with a completed story about his brother drowning in Mexico. This behavior became the pattern. Jeff drew a picture during school hours and came to school with a story the next day. Nancy became frustrated with Jeff's constant drawing and often asked him to stop and get to work. Not until she read Donald Graves' work did she realize that writers sometimes draw to plan their writing. Harste (3) noted in young children that writing and drawing are often interconnected as children learn formal language skills. Don't be afraid to include music, art, drama, and other sign systems in your lessons. Work with the learner in turning a story into a play. Make book posters and advertisements, have students illustrate notes in their science journals, write plays, illustrate diaries, make scrapbooks with accompanying text, use illustrated handouts for presentations, write skits, puppet shows, TV commercials, plays, radio programs, song lyrics, coloring books with text, captions and labels, illustrated games and puzzles, movie and TV reviews. Think of ways to put math concepts into language. For example, make a bulletin board with each day's weather, a calendar, the lunch menu, and other interesting bits of information. Summarize this information in graphs and charts. For example ask students to graph how many days it rained during the month; how many days were sunny. Talk about this information and write it in a journal. Analyze what foods students eat during the week. Do they eat more pizza than vegetables? Do they drink eight glasses of water each day? These kinds of questions can lead to some interesting student research while teaching vocabulary and math skills. Your learners will benefit from a well-balanced language curriculum effectively integrating language systems and other sign systems. You will also benefit by teaching in a creative, exciting classroom where students discover the joys of active engagement in language.   PROCESS WRITING If any of you play a musical instrument, you know that a piece of music is not learned overnight. Often we learn by playing, and we continually revise our interpretation of a piece even after the performance. Writing is the same. We learn to write by reading what others have written and by the act of writing. Yes, we learn the mechanics of writing, but these are only one part of the overall process. We continue to revise many times, and if we're honest, most of us can say we wish we could revise even after a piece is published. The beauty of process writing for ESL and struggling readers is that they can gain confidence and support while learning to write, they can come to see themselves as writers, and gain a voice in the classroom setting. In process writing the teacher focuses on how the student's writing develops rather than on the grading of a single end product. How does one address the mechanics of writing in a non-intimidating way? Mini-lessons have proven effective in combining skills instruction with process writing. Rather than teaching mechanics as a separate entity, the mini-lesson allows the teacher to teach the skill needed for the writing task at hand. As the name implies, the mini-lesson is a short lesson designed for a specific learning need. For example if students are writing dialogue, a mini-lesson on the use of quotation marks is in order. I have found it is good for the teacher to think ahead in lessons and ask himself where struggling readers and ESL students might have difficulty. Prepare highly supportive mini-lessons in advance, so that when the need arises, the lessons will be ready. If the class as a whole already knows the skill, make up small groups of students who need the mini-lessons and organize the class so there is time for these students to receive the support they need. Sometimes review lessons are appropriate with one or two students. Continue monitoring and supporting until the concept is understood. The authoring cycle was described in CREATING CLASSROOMS FOR AUTHORS AND INQUIRERS, and since that time the idea of readers/writers workshops has come into the literature. Both terms, with variations, include: some type of prewriting experience (which should include reading the works of other authors) when students begin to think about what to write, writing a discovery draft or drafts which can be kept in a writer's portfolio, sharing writing ideas with others, choosing a piece for publication, sharing this piece with others, revising, sharing the revised draft, and going through the editing process. Last the final draft is published. The extent of the experience is determined by the purpose for writing. For instance, every piece of writing might not be published, but the learner could share, revise, and edit for his own use. Sometimes, additional revision must be carried out. Publication could include displaying a piece on the classroom bulletin board, or it could entail making a book to be included in the classroom library. The process is determined by writing purpose and student needs. The important point to remember is that in the writing process, ownership is retained by the author. While peer editors can make suggestions, the author decides what changes will be made. The final editor is then responsible for conventional spelling, grammar, and punctuation. If given proper encouragement and support during the process, struggling readers and ESL students can blossom and come away feeling good about themselves as writers. Most teachers have found that it is good to set aside a fairly large block of time for process writing. If you work in a skills-oriented curriculum, it might be good to begin by taking two mornings per week to do process writing. Be prepared to be a resource, and closely monitor students to insure they are on task. Sometimes struggling students have trouble focussing during the initial stages of process writing, but continue to support and monitor them, and you will see some wonderful results.   LITERATURE CIRCLES Literature circles are another way to integrate language and give struggling readers and ESL students a chance to practice in a non-threatening environment. In CREATING CLASSROOMS FOR AUTHORS AND INQUIRERS, the authors give a beautiful description of literature circles and tell how to implement them in the classroom. Click literature circles to learn more.   COMPREHENSION STRATEGIES The definition of comprehension is often determined by one's philosophy of language development. Some would suggest comprehension is constructing meaning from text while others believe it is the mastery of certain ordered discrete skills. It is commonly believed that readers move from factual knowledge to critical reading and from literal comprehension to inference. In working with struggling readers, one of my greatest teaching surprises was to find that even though my adolescent students struggled with words in text and remembering specific facts about the story, they had the ability to think critically about literature and the issues surrounding it. In observing in Title 1 labs, I found the same to be true with children. From my observations, it seems that students thoroughly enjoy thinking critically about text. Facts are brought in to support critical thinking, with students looking up the specifics they might have missed when reading. Do not limit instruction to literal comprehension when working with struggling and ESL students. Include not only discussion of facts, but inference, understanding of relationships, critical analysis, and the text's relevance to the student's life. Literature circles are wonderful places to build comprehension if they are affirming places. It is up to the teacher to maintain an environment of trust and sharing where all children can feel a part of the learning community. Newman suggests a number of comprehension strategies in the L525 manual. Newman mentions the importance of formulating thought-provoking questions that ask how, why, or when. Self-questioning is encouraged. Ask students to write out questions as they read -- possibly one per paragraph. Also, have students begin the reading by looking at pictures and headings. Have them develop questions; then read to answer them. Before the reading, ask yourself, "Why would my learner what to read this?" Think of a creative way to set a purpose that will maintain reader interest throughout the text. Have readers make predictions about the text. I sometimes have students make predictions from the book cover. Read part of the text and ask what students think will happen next. Predicting is a non-threatening way to keep learners focussed on the meaning of the text. Modeling is one of the strongest ways of teaching. Try modeling for your learner how you get meaning from unknown text. This strategy can be very effective as it shows the student that you also can encounter unknown text, and modeling sets an example for the learner to follow. Be sure the comprehension strategy you select is appropriate for the learner's needs and ability. Again, continually monitor the learner and adjust teaching to give the support needed to understand the text. Vocabulary development is a necessary ingredient to comprehension. Newman suggests a number of ways to increase vocabulary: 1) Provide meaningful experiences. First-hand sensory experiences are helpful and can include: trips to points of interest, using visuals in the classroom, story-telling or read alouds, bringing in interesting visitors, and other possibilities. 2)Provide the possibility for wide reading. Bring books to the learner that are easy enough so that new words can be understood through context. Picture books are also good ways to increase vocabulary. 3) Select the right words to teach. Before reading discuss words that might give the learner trouble. Maybe you will need to look at various meanings of a word or look at a word in a new way. Look at the word in context and talk about its meaning. 4)Individualize word study. Have students develop their own dictionaries, word banks, word walls, word games. Students enjoy playing with words. Study affixes and roots. Build new words with them. Illustrate the new words and even write stories using them. Teach students that words are wonderful! Comprehending text will open doors for the learner and greatly increase reading interest.   BOOKMAKING Students of any age and ability enjoy making personal books. Included are Newman's directions for boomaking. Experiment with different ways to make books. I've made small autograph books from index cards. File folders can provide backing for books. Let students make the paper for their books from recycled materials. Decorate books with meaningful mementos. You will not be disappointed with the results when you allow your learner to publish her story in her own book.  Learners Make Their Own Books: Tangible Respect for Learner's Writing "What's that word?," third grader Sam asked, pointing to the ABC book he held In his hand. "Go ask Jerry," the teacher replied; "it's his book, you know." Sam crossed the room to where Jerry was working on a poem for a collection that was to be his next book. "What's that word, Jerry?," Sam said, pointing. "Ouija," Jerry answered. "It's a kind of mysterious game I've seen my big sister and her friends play. It's supposed to give answers and messages to people." The conversation continued as Jerry explained further what the word means. Soon they were in deep discussion about superstitions and the mysterious. What happened between Jerry and Sam is just one example of many language exchanges that occur in classes where learners author and bind their own books -- a time-proven approach to writing that they respond to with enthusiasm. When learners see their written language carefully bound in an attractive cover of their own making, they realize that what they have to say is worth preserving and sharing.  Often, making a book will motivate a learner who has been an infrequent writer. In turn, the book can become a stimulus to reading. Learners take pleasure in exploring their own ideas, wishes, and dreams, as well as those of their classmates. Also, learner-made books offer them the opportunity to bring together in a meaningful context a great deal of what they are learning. In making books, learners usually want their writing to be neat and appealing. some will want their writing typed in order to give it a professional look. Others will want to accompany their poems or stories with drawings, paintings, linoleum-block prints, straw-blown designs, and so on. A few may want to create a collage effect by pasting on real hay, cotton, leaves, string, and so forth to add realism and dimension. And for some, spelling and the right choice of words will be a real concern. Obviously, many skills are involved in creating a book. Learners quickly notice the need for learning some writing conventions when they see their work in the public light of book publishing.   How Learners Can Make Their Own Books Books can be bound with contact paper over strong cardboard, in snap and ring binders, or simply by stapling the pages between colored cardboard and running a piece of opaque tape down the edge to cover the staples. Each of these methods is useful, but each lacks the permanency and professional appearance that many of the learner's products deserve. The most durable and attractive school-made books are created by binding sewn pages between cloth-covered cardboard held together by dry-mounting tissue or dry-backing cloth and masking tape. The books are not only sturdy and handsome, but are often more striking than commercially published books. In addition, learners' books that are this securely bound can circulate without much fear that they will fall apart. Making cloth-bound books will prove relatively simple after one has practiced a few times following the directions outlined below. The process should not take more than - twenty minutes, and this can be reduced if a dry-mounting press is used. With experience, a teacher should be able to show some of the learners how to bind their own books.   Bookbinding Procedure Materials a. Book pages (preferably sewn, but they can be stapled about 1/4" from the edge) b. Cardboard (medium weight posterboard, heavier for larger books) c. Dry-mounting tissue or dry-backing cloth (any good photography shop will have these) d. Cloth (dress-making ends, remnants, etc.) e. Construction paper (12" x 18" is the most economical) f. Masking tape g. Scissors h. Paper cutter i. Electric iron (and ironing board if possible)   Operation 1. Cut cardboard: 2 pieces, each 1/2" longer and 1/4" wider than the book pages. 2. Place cardboard pieces on cloth, leaving a space between covers wide enough for the pages to fit; leave at least a little finger's width so the covers will close flat. Taping the cardboard pieces in place will make cutting easier. 3. Cut cloth about one inch from outer edges of cover pieces. (See diagram on next page.) 4. Cut dry-mounting tissue the same size as the cloth. 5. Place tissue between cloth and cardboard. 6. Begin securing cloth to cardboard by folding in and pressing the corners first. (Turn on iron to synthetic setting.) 7. Fold in and press (iron) edges. 8. From construction paper cut end pieces (2) the same length as the book pages but more than twice as wide -- at least one inch wider. 9. Cut tissue the same length an book pages and about 2 inches or more wider than the book pages. 10. Place tissue between an end piece and inside of book cover, matching the outside ends. The end piece should be about 1/4" from the edges of cover. Press just the end edge right now. Fold end piece and tissue back even with inner edge of cardboard. Repeat at other end of cover. (See diagram on next page.) 11. Place pages in center. In two or three places tape from front page (must be blank) to cardboard (under end piece and tissue). Repeat from back page (beet If It is also blank) to cardboard. 12. Be sure pages are well fitted into middle section. Close book, tap the back binding on the table, straighten pages and end pieces. Put book flat and press front surface; lift rather than scoot iron from place to place (ca. 5 minutes). Repeat on back surface -- this step secures cloth and end pieces to cardboard and pages. 13. To be sure the tissue is securing book pages to end pieces, open the book and gently press end pieces. 14. Trim end pieces so the are even with the pages.  15. It is a good idea to adhere the end pieces to the front and back pages along the outer edges. Use strips of tissue or double stick tape.  16. Titles and author's names written on scraps of the end pieces or cut from material can be adhered to the cover with tissue cut to match.*  *The above bookmaking procedure was prepared and written by Dr. Michael C. Flanigan of Indiana University. STORY BOARDS CREATING CLASSROOMS discusses making storyboards as part of the publishing process. A story board allows students to think through the formatting of a book before it is published. Put several large pieces of newsprint on a table or tape them to the wall. Each piece should represent a page of the book. Have the learner plan where the text and the illustrations will go on each page. Next the learner should print in the text and rough sketch the illustrations. After critically examining the story board, the learner might want to create a more finished product on another set of papers. The story board not only gives support in planning for publication, but it supports the writer with additional practice.   Footnotes 1) Newman, A. (1986). L525/X425 Practicum in Language Manual. Bloomington, IN: Indiana University.   2) Attwell, N. (1987). In the Middle. Portsmouth, NH: Heinemann.   3)Short, K., Harste, J., with Burke, C. (1996). Creating Classrooms for Authors and Inquirers. Portsmouth, NH: Heinemann. Comments: disted@indiana.edu Copyright 2004, The Trustees of Indiana University