Writers in every field play with words each time they sit down at their desks. In his newest book, Ralph Fletcher demonstrates how playful craft can energize student writing and breathe new energy into the writing workshop. Children have a natural affinity for language play; Pyrotechnics on the Page demonstrates how writing teachers can tap into it. This book provides a wealth of resources for teachers: Information on the roots and developmental importance of language play; A how-to on using the writer's notebook as a playground for students to explore and experiment with verbal pyrotechnics; An in-depth look at the kind of language play commonly used by writers, including chapters on Puns and Double Meanings, Idioms and Expressions, Inventing Words, and Harnessing the Supple Power of Sentences (these chapters end with a Bringing It to the Writing Workshop" section that includes explicit classroom connections) Twenty-four brand new craft lessons to bring pyrotechnics into the classroom An extensive bibliography of relevant mentor texts that make it easy to model language play for students. Pyrotechnics on the Page is vintage Fletcher: personal, anecdotal, and practical. It represents the latest chapter in Ralph's efforts to widen the circle in the writing classroom, make it a more engaging place for student writers and, in the process, lift the quality of their writing.

The colorful boyhood of a popular author comes to life in this personal account

Imagine learning from a nosy classmate that your mother is having yet another baby. To Ralph's classmates, news of one more Fletcher baby is just "scuttlebutt." But for Ralph, the oldest of nine, being part of a large family means more kids to join in the fun--from making tripods in the woods and "snicking" up the rug to raising chicks and even discovering a meteor (well, maybe). It doesn't feel like there's life beyond Marshfield, Massachusetts. Then one day Dad's new job moves the family to Chicago, and there's so much Ralph has to leave behind. In this humorous and captivating memoir, Ralph Fletcher traces the roots of his storytelling.

Do you have students whose nonfiction writing is formulaic, devoid of energy and voice? In Making Nonfiction from Scratch bestselling PD and children's book author Ralph Fletcher offers a candid critique of how nonfiction writing is often taught in schools and gives teachers the inspiration and strategies they need to help their students write authentic nonfiction. Skilled nonfiction writers draw on strategies, techniques, and craft found in other genres: poetry, comedy, even mystery. Without those elements, nonfiction would be dry and dull. Making Nonfiction from Scratch helps bring all of those aspects together and shows how each genre can enrich nonfiction writing. Ralph emphasizes the power of choice, mentor texts, and nonfiction read-alouds in making nonfiction an everyday part of classrooms. "Classroom Connection" sections throughout the book suggest immediate, practical strategies for putting the ideas in the book to use. Two case studies and a chapter on the dos and don'ts of nonfiction writing instruction round out this short, practical book. Any informational writing should be insightful, accurate, and well organized - but it doesn't have to be boring. Ralph invites you to make your classroom a place where students can create delicious nonfiction full of passion, voice, and insight.

"A visual and linguistic pleasure." --Publishers Weekly While tired farmers and their families are in bed, the harvest moon silently climbs into the sky and starts working its magic. For some, it is the nightly signal to rise and shine. It is time to hunt, to work, or to play in the shadows. For a little girl and her cat, it is an invitation to enjoy the wonders of the night and a last flood of light before the short days of winter set in. With an evocative text and radiant illustrations, this companion to Twilight Comes Twice offers a glimpse of nature's nightlife long after bedtime.

Writing nonfiction represents a big step for most students. Most young writers are not intimidated by personal narrative, fiction, or even poetry, but when they try to put together a "teaching book," report, or persuasive essay, they often feel anxious and frustrated. JoAnn Portalupi and Ralph Fletcher believe that young nonfiction writers supply plenty of passion, keen interest, and wonder. Teachers can provide concrete strategies to help students scaffold their ideas as they write in his challenging genre. Like the authors' best-selling Craft Lessons: Teaching Writing K-8, this book is divided into sections for K-2, 3-4, and middle school (grades 5-8) students. These divisions reflect various differences between emerging, competent, and fluent writers. In each section you'll find a generous collection of craft lessons directed at the genre that's most appropriate for that particular age. In the K-2 section, for example, a number of craft lessons focus on the all-about or concept book. In the 3-4 section there are several lessons on biography. In the 5-8 section a series of lessons addresses expository writing. Throughout the book each of the 80 lessons is presented on a single page in an easy-to-read format.Every lesson features three teaching guidelines: Discussion - A brief look at the reasons for teaching the particular element of craft specifically in a nonfiction context. How to Teach It - Concrete language showing exactly how a teacher might bring this craft element to students in writing conferences or a small-group setting. Resource Material - Specific book or text referred to in the craft lesson including trade books, or a piece of student writing in the Appendixes. This book will help students breathe voice into lifeless "dump-truck" writing and improve their nonfiction writing by making it clearer, more authoritative, and more organized. Nonfiction Craft Lessons gives teachers a wealth of practical strategies to help students grow into strong writers as they explore and explain the world around them.Be sure to look at the When Students Write videotapes too.

Since its publication in 1998 "Craft Lessons" has become a mainstay of writing teachers, both new and experienced. Readers value the pithy, practical lessons--each printed on one page--and appreciate the instructional language geared to three grade-level groupings: K-2, 3-4, and 5-8.

In the decade since "Craft Lessons"' publication the world has changed in many ways, yet one thing has remained constant: teachers continue to feel starved for time. With new curriculum mandates, daily specials, "pull-outs," and precious time devoted to test preparation, the situation has never been worse, and the need for a succinct resource like "Craft Lessons" has never been greater.

The features that made "Craft Lessons" so valuable have been augmented. This edition includes: Seventeen brand new craft lessons; many based on veteran teachers' observations about typical student writing. Revisions to other craft lessons: model texts that have gone out of print have been replaced with current titles, and the resource materials sections have been expanded.New thinking about teaching elements of craft and the reading-writing connection.Two new indexes: a handy subject index to make it easier to find specific craft lessons, and an index that shows how these craft lessons can be integrated into Ralph and JoAnn's curriculum resource on the "qualities of writing"--Ideas, Design, Language, and Presentation.

The 95 lessons in this book provide a wealth of information for teaching leads, character, endings, stronger verbs, and much more. This new edition reestablishes "Craft Lessons" as the crucial "desert island book" for harried writing teachers everywhere.

Its misleading to think of writers as special creatures, word sorcerers who possess some sort of magic knowledge hidden from everyone else. Writers are ordinary people who like to write. They feel the urge to write, and scratch that itch every chance they have. Writers get their ideas down on paper using particular strategies that seem to work for them. These strategies are available to anyone who wants to be a writer

There is no secret. But there is a process. If you like to write, there are definite steps you can take to help you reach your goals. Good writing isn't forged by magic or hatched out of thin air. Good writing happens when human beings follow particular steps to take control o their sentences-to make their words do what they want them to do.

This book will show you how writers work, how you can become a writer, and how you can find a process that works for you

Writing test scores indicate that boys have fallen far behind girls across the grades. In general, boys don't enjoy writing as much as girls. What's wrong? How can we do a better of job of creating "boy-friendly" classrooms so their voices can be heard?

"In Boy Writers: Reclaiming Their Voices" Ralph Fletcher draws upon his years of experience as staff developer, children's book author, and father of four boys. He also taps the insights from dozens of writing teachers around the US and abroad. "Boy Writers" asks teachers to imagine the writing classroom from a boy's perspective, and consider specific steps we might take to create stimulating classrooms for boys.

Topic choice emerges as a crucial issue. The subjects many boys like to write about (war, weapons, outlandish fiction, zany or bathroom humor) often do not get a warm reception from teachers. Ralph argues that we must "widen the circle" and give boys more choice if we want to engage them as writers. How? We must begin by recognizing boys and the world in which they live. "Boy Writers" explores important questions such as: What subjects are boy writers passionate about, and what motivates them as writers?Why do boys like to incorporate violence into their stories, and how much should be allowed? Why do we so often misread and misunderstand the humor boys include in their stories?

In addition, the book looks at: how handwriting can hamstring boy writers, and how drawing may help; welcoming boy-friendly writing genres in our classrooms; ways to improve our conferring with boys; and more.

Each chapter begins with a thorough discussion of a topic and ends with a highly practical section titled: "What can I do in my classroom?" "Boy Writers" does not advocate promoting the interests of boys at the expense of girls. Rather, it argues that developing sensitivity to the unique facets of boy writers will help teachers better address the needs of all their students.

Is the writing workshop the only way to teach writing? No. There are a variety of approaches or programs, but none of them matches the writing workshop when it comes to growing strong writers. That's why, despite the pressures of testing, the writing workshop has endured and even flourished in thousands of schools across the country.

Today we face a time when as many as ten million new teachers are entering the profession. It is for these teachers, and others who are unfamiliar with writing workshop, that Ralph Fletcher and JoAnn Portalupi wrote this book - as a way to introduce and explain the writing workshop . . . to reveal what a potent tool the writing workshop can be for empowering young writers.

Above all "Writing Workshop" is a practical book, providing everything a teacher needs to get the writing workshop up and running. In clear language, Fletcher and Portalupi explain the simple principles that underlie the writing workshop and explore the major components that make it work. Each chapter addresses an essential element, then suggests five or six specific things a teacher can do to implement the idea under discussion. There's also a separate chapter entitled "What About Skills," which shows how to effectively teach skills in the context of writing. The book closes with practical forms in the appendixes to ensure that the workshop runs smoothly.

Fletcher and Portalupi's twenty-plus years working with teachers have convinced them that there is no better way to teach writing. This important book is the culmination of all their years of effort, a synthesis of their best thinking on the subject.

Kaavan grew up in captivity in a Pakistani zoo. For years, he lived in poor conditions with only one friend, an elephant named Saheli. After Saheli died, Kaavan was overcome by grief and his health worsened. When animal rights activists around the world were alerted to Kaavan's deteriorating condition, Dr. Amir Khalil visited the elephant to see what could be done. Thanks to the virality of Kaavan's story-and with the publicity and fundraising efforts of pop culture icon Cher-Dr. Khalil was able to orchestrate moving Kaavan to the Cambodia Wildlife Sanctuary, where he now lives with other elephants. Because of the care and help of so many, Kaavan is no longer the world's loneliest elephant. And that is the best news of all.

Friday, April 28, 9: 00 a.m.
Opportunity is knocking at the door of Mr. "Fab" Fabiano's sixth-grade class. Mr. Fab is absent and a substitute never arrives. The class wants to prove that KIDS RULE, so they decide to run the class on their own. Super smart Karen leads the way in the class routines and most of the kids join in. But for Rachel White, this isn't just any other day. Rachel's been silent for six months and communicates by writing notes. Rachel knows today is exactly six months since their classmate Tommy Feathers died. In her own way, Rachel reminds the class about this--and for the first time, Mr. Fab's students reveal their true and sometimes hurtful thoughts. Where is Mr. Fab's class headed now? The school day isn't over yet. Will they keep flying solo or crash?

A Handbook for first time caregivers for people with Alzheimer's disease, Dementia, and other Memory Loss Disorders.