The Missouri Reader Vol. 43, Issue 2 - Page 28

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ture, and technology.

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Children throughout their lives develop four kinds of vocabulary: listening vocabulary, speaking vocabulary, reading vocabulary and writing vocabulary.

Introduction

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workshop, but the planning is worth the effort. Writing workshops are a time-tested approach to increase student engagement with texts and increase writing skill.

References

Alexander, K. (2018). The write thing: Kwame Alexander engages students in writing workshop

(and you can too!). Huntington Beach, CA: Shell Education.

Alexander, P.A., Graham, S., Harris, K.R. (1998). A perspective on strategy research: Progress

and prospects. Educational Psychology Review, 10 (2), 129-154

Anderson, C. (2018). A teacher’s guide to writing conferences. Portsmouth, NH: Heinemann.

Bomer, K., & Arens, C. (2020). A teacher’s guide to writing workshop essentials: Time, choice,

response. Portsmouth, NH: Heinemann.

Calkins, L.M. (2000). The art of teaching writing. Portsmouth, NH: Heinemann.

Calkins, L. (2013). Guide to the common core writing workshop: Intermediate grades.

Portsmouth, NH: Heinemann.

Del Nero, J.R. (2017). Fun While Showing, Not Telling: Crafting Vivid Detail in Writing. The

Reading Teacher, 71 (1), 83–87

Dorfman, L.R., & Shubitz, S. (2019). Welcome to writing workshop: Engaging today’s students

with a model that works. Portsmouth, NH: Stenhouse.

Dorn, L.J. & Soffos, C. (2001). Scaffolding young writers: A writers’ workshop approach. Portland, ME: Stenhouse.

Fletcher, R. (2013). What a writer needs. Portsmouth, NH: Heinemann.

Fletcher, R. & Portalupi, J. (2001). Writing workshop: The essential guide. Portsmouth, NH: Heinemann.

Graham, S., & Harris, K. R. (2016). A path to better writing: Evidence-based practices in the

classroom. The Reading Teacher, 69 (4), 359–365.

Graham, S., & Perin, D. (2007). A meta-analysis of writing instruction for adolescent students.

Journal of Educational Psychology, 99, 445–476.

Hall, A.H. (2014). Beyond the author’s chair: Expanding sharing opportunities in writing. The

Reading Teacher, 66 (1), 27-31.

Hetland, L., Winner, E., Veenema, S., & Sheridan, K. M. (2007). Studio thinking: The real

benefits of visual arts education. New York: Teachers College Press, Columbia University.

Hicks, T. (2009). The digital writing workshop. Portsmouth, NH: Heinemann.

Hodges, T. S., & Matthews, S. D. (2017). Picture books aren’t just for kids! Modeling text

structures through nonfiction mentor books. Voices from the Middle, 24(4), 73–79

Johansen, D., & Cherry-Paul, S. (2016). Flip your writing workshop: A blended learning

approach. Portsmouth, NH: Heinemann.

Leander, K.M. (2009). Composing with old and new media: Toward a parallel pedagogy. In V.

Carrington & M. Robinson (Eds.), Digital literacies: Social learning and classroom practices (pp 14-163). Los Angeles: Sage.

Rief, L. (2014). Read, write, teach: Choice and challenge in the reading-writing workshop.

Portsmouth, NH: Heinemann.

Rodgers, C., & Raider-Roth, M. (2006). Presence in teaching. Teachers and Teaching: Theory

and Practice, 12, 265-287.

William Kerns is an Assistant Professor of Education at the University of Arkansas-Little Rock. Prior to entering higher education, William worked as an English teacher as

well as a reading teacher and reading specialist. His university teaching specialties are in the areas of English language art and literacy.

Amanda McCaleb is a Literacy Intervention Specialist with Springfield Public Schools. She is also a Ph.D.-Candidate in Reading at the University of Arkansas at Little Rock

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