Time to Catch Up With Nellie

If you’ve been postponing reading Nellie and the Coven of Barbo, my YA adventure novel about preteen angst, new beginnings, and witches, now would be a good time to get caught up on the first 15 short chapters. 

Nellie will return on MONDAY, MAY 18, after I’ve plowed through all this test preparation, essay grading and research proposal writing.  While you’re waiting, check out the shenanigans of Nellie and her friends as they try to work out where two of their schoolmates have disappeared to, and why.

Let me know what you think!

Ten Chapters In: Thoughts on Online Serial Novel Writing

What are you going to do with your long weekend? Maybe you’d like to read the first ten short chapters of a serialized novel about a twelve-year-old girl who suspects something funny is going on in her small town of Gale Harbour, Newfoundland.  If so, you will find this novel, Nellie and the Coven of Barbo, over here.

So far, the process of serializing a novel has been 1. inspiring and 2. discouraging, in about equal measure.  I’m considering taking a break from the serial in order to reassess my decision to self-publish in serial form.  Here are some of the considerations.

1. Publishing in installments, giving myself deadlines, and knowing that someone is reading what I write as I write it: this is an approach that works very well for me.  Having struggled with long manuscripts throughout my writing life, I know that I become easily bogged down and demotivated. A slow and steady pace, out where people can see me working, is ideal. Blogging here on Classroom as Microcosm taught me this, and for some time now, I’ve been wondering if blogging a novel would have the same effect.  It has.

2. It is hard not to be a bit disappointed with the lack of response that an online novel receives in contrast to, say, a blog about education and pedagogy.  To give some perspective: when I was publishing posts weekly on Classroom as Microcosm, hits averaged at about 10,000 views a month; even now, the blog receives about 300 random views of archived posts per day, despite the fact that new posts are rare.  This is a drop in the bucket in the blogosphere, but it’s enough for me to feel that the blog is meaningful to others and not just me.  In contrast, when I publish a new chapter on Nellie and the Coven of Barbo, it receives about 30 hits that day, and a sprinkling in the days following.  The novel has 30 subscribed followers, most of whom are family and friends.  I am extremely grateful for these views and followers, and for the occasional encouraging messages I get through email, Facebook and face-to-face conversation.  At the same time, I feel that there MIGHT be other people out in the world who would enjoy this little story, and I have no idea how to get it to them.  Yes, I’ve built Classroom as Microcosm over many years and I’ve been blogging my novel for only a couple of months, but I realize now that I was expecting a bit more cross-pollination.

3. This leads to the question of promotion.  I am not comfortable with self-promotion, and I know I need to just suck it up and do it.  I share the links on StumbleUpon, Facebook and Twitter, and I’ve tried listing the novel with curators of serials, like Muse’s Success, WebFictionGuide, and Tuesday Serial. Some friends have kindly shared and retweeted links to the novel, and this has brought in some new readers, but none of these methods have been successful in increasing readership very much.  I have searched in vain for blogs that review self-published online serial fiction; they must be out there, and I’ll keep looking.  I’m even toying with the idea of starting my own, but I can only stretch myself so thin.

4. For the above reasons, I’m considering moving my online novel to a platform like Jukepop or Wattpad, forums that exist exclusively for publishing, promoting and communicating about serial online fiction.  It’s fantastic that sites like this exist, and I know a lot of writers get a huge boost from them. Here’s the catch, though: I have explored these platforms and browsed their offerings, and a lot of what is published there is…just not my thing.  I click on book covers and summaries and I have not yet felt the impulse to read more; when I’ve made the deliberate decision to read a first chapter, it’s felt like a duty rather than a pleasure, and I’m struck by how different the aesthetic is from mine.  I’m not sure my story fits in these places. On the surface, there’s no reason why not: it is, or will be, a genre novel, a YA/middle-grade adventure novel with a fantasy bent – but it’s quiet, slow and character-driven, in contrast to the most popular Jukepop and Wattpad stories, which seem to be big on plot and not so concerned about, say, the quality of the prose.  I’m SURE there are stories I’d love on these platforms, but I haven’t found them yet, which suggests that they may be…hard to find.

5. On a similar note: I should be reading lots of serialized online fiction, to get a sense of that community, but as a writer, I can’t invest my hours in reading fiction unless it’s really good, and finding the really good stuff seems to take an enormous amount of time.  I have a coffee table and a Kobo full of awesome library books; I need someone out there to put all the terrific online fiction in one place so I don’t have to waste my reading hours combing through everything ever published online.  Again: if I were a better person, this would be me. It probably won’t be me.  Has someone else done it?

6. Why don’t I just submit the novel to a traditional publisher, you ask? Don’t even get me started.  Well, do, if you’re really interested; I’ll be happy to get into it in the comments if you want.

7. One response to all this could be: why are you so concerned about who is/how many people are reading? Why not just write because writing is fun, and audience be damned? Well, that’s a good question.  The answer is: I have spent many years writing stuff and putting it in a drawer, and it is NOT satisfying, it is NOT fulfilling, and it is killing my desire to write fiction at all.  As I tell my students sometimes: the tool of writing did not arise so that people could indulge themselves in self-expression in their own little isolated caves. We learned to write so we could communicate.

8. Of course, it’s possible that the novel is just not all that good.  The positive feedback has mostly been from people who know me, and anyone who makes art knows to take “Great job!”s from loved ones with big grains of salt.  That said: my friends and family are intelligent, discerning and artistically accomplished people. I take their good opinions seriously. This novel is flawed, for sure; I would love to have a professional editor polish every chapter before it goes up.  That said, I think there’s something there. If you read some of it and you agree, I’d love to hear your thoughts.  If you read some of it and decide it’s a big pile of garbage…well, my skin may not be thick enough to take that kind of commentary right now, but I’ll let you know when it is.

Do you have advice? If you’ve self-published online, or know something about that process, or have any thoughts at all about what to do with a novel like mine in the bizarre world of publishing today, or know of terrific online fiction that is well worth the investment of my and your precious reading hours…please give us your thoughts on any of this. Even if you have read some of my novel installments and think they’re terrible (again: please don’t tell me), I’m sure there are other fiction writers struggling with these questions who would like to hear your ideas. I feel like there are terrific opportunities about to open up in the world of online fiction, but they aren’t quite there yet, and I want to know which direction we should all face so we can see them as soon as they blossom.

To read Nellie and the Coven of Barbo, go here.

 

 

My Other Blog is a Novel: Introducing “Nellie and the Coven of Barbo”

Dear readers:

Where have I been? I’ve been writing a little novel. It’s about half done. I’m going to post it, as a serial, on a blog. If you’d like to read it, it starts here.

The working title is Nellie and the Coven of Barbo. It’s an adventure story about being a twelve-year-old girl.  There will be some witches.

Here’s the (temporary) blurb:

Cornelia (Nellie) Pike has always believed that she’s an extraordinary person meant to accomplish important things.  As she begins seventh grade, she’s haunted by the feeling that something’s not right with the world, especially with her friend Lake – and that maybe it’s her destiny to make things right. But one strange event follows another, and Nellie begins to wonder if her friends, and not she, are the extraordinary ones. What’s a girl to do if she suspects that she’s nothing special, and that this might be her greatest gift?

Chapter One is just a few pages long; I hope you’ll go read it.  If you like it, I hope you’ll subscribe, and send the link to other people you think might like it, and “Like” the post, and then read Chapter Two.

The story will progress by a chapter or two each week until summer vacation, when I’ll pick up the pace.

I’d love to hear what you think!

My Top 10 Books of 2014

sigofallthingsIt’s time again for the list of books that I enjoyed most this year.  As always, only some of these books were published in 2014, but they were all a part of my 2014 experience.

This year’s list is compromised slightly by the introduction of the Summer Book Club, a totally fun summer project in which I posted about the best books I read each week.  Accordingly, I have linked back to reviews of Summer Book Club favourites, rather than repeating myself.  However, there are a few new entries here – I got a little bit of reading done even when I wasn’t on holiday!

1. The Signature of All Things: Elizabeth Gilbert’s blockbuster manages to be a thrilling 500-page adventure story about a 19th-century moss expert.  It is amazing.  Full review here.

2. Can’t We Talk About Something More Pleasant?: New Yorker cartoonist Roz Chaz has written and drawn one of the finest graphic memoirs ever, about her struggle to care for her aging and loony parents.  Will make you cry; will also make you laugh until you fall off the couch.  Full review here.

3. Astonish Me: On the surface, a book about ballet, but really a book about the many manifestations of unrequited love.  Full review here.  Maggie Shipstead is my best discovery of the year; Seating Arrangements also blew my socks off.

4. The Middlesteins: Jami Attenberg’s family saga about how hard it is to love people, especially when they’re intent on destroying themselves.  Full review here.

thesecretplace_us5. The Secret Place: I was surprised not to see this book get more attention – it did not, for example, show up in the NY Times’ top 100 books of the year – but I may be a bit blind when it comes to Tana French.  As I’ve said before, I don’t read a lot of mysteries, but she is a consistent exception. This book is one of my favourites of hers, although that may be due to some of my other biases: I love stories about cliques of teenage girls, and have been a sucker for boarding-school stories since I was a child reading Enid Blyton.  In this installment in French’s Dublin Murder Squad series, Holly Mackey – whom we first met as a six-year-old in Faithful Place, which I reread immediately after finishing this one – is now a sullen teenager, and she shows up at the police station with information about a year-old cold case, the murder of a boy her age on her school grounds.  The Secret Place unfolds over a single day of interrogation, replete with lots of flashbacks.  The thing to love most about French’s books is her characters: Holly, her friends and enemies, her father, the police officer she turns to and his belligerent partner are all seductively drawn, and the atmosphere of menace that hangs over the school is due in large part to the very real teenagers within, and the lengths they will go to to be themselves, regardless of what it will do to others.

6. Asterios Polyp: A dreamlike graphic novel about an architect who floats out of his unraveling life and into a job as a car mechanic in the middle of nowhere.  Mysterious and moody, it has haunted me ever since.  Full (if brief) review here.

7. The Property: I love Rutu Modan’s graphic novels, and this one is no exception. Her bright, colourful, meticulous panels and her sharp sense of humour illuminate challenging subjects: in this case, a woman and her grandmother visit Warsaw on a mission that turns out not to be what the granddaughter expects.  Full review here.

the-dinner8. The Dinner: I sometimes say that I’m no longer capable of enjoying a book that doesn’t have a sense of humour.  I’m not sure whether The Dinner contradicts me or not.  If it does have a sense of humour, it’s a very bitter one.  It’s difficult to talk about the book without giving too much away, and it’s difficult to put my finger on just what’s so wonderful about it, aside from the easy, clean, yet unsettling narrative voice.  Perhaps its greatest strength is its ability to tap into the most unappealing thoughts we’ve ever had.  For example: imagine you walk into the only ATM in your neighbourhood, to find your path to the cash machine blocked by a sleeping homeless person and the air to be filled with an odour so vile you have to back out the door.  What is your first emotional response, the one you then tamp down because you are a good and empathetic person?  What if you were the sort of person who didn’t tamp down this response?  That’s what this book is about.  It’s impossible to put down.

bark9. Bark: If you’re a reader and also a writer, you already love Lorrie Moore and don’t need to hear too much more about her.  Birds of America is for my money the greatest short story collection of the 20th century.  Bark is also great.  The conceit – that of the various meanings of the word “bark” – was a bit thin to me, but it doesn’t matter; I kept falling over because of her turns of phrase and wry asides, gems like “My brain’s a chunk of mud next to hers” or “It wasn’t he who was having sex.  The condom was having sex and he was just trying to stop it.”  (I found those by just opening the book open to random pages.  It’s astonishing.)

nathp10. The Love Affairs of Nathaniel P.: I picked up this book in bookstores a couple of times and put it down again because I thought, Really?  We need more books about self-important young male writers dating in Brooklyn? Then I had to go into the hospital for a bit, and for some reason, it struck me as exactly the book I wanted to read.  I read the first 100 pages lying in bed waiting for surgery.  Then, when I got home, I didn’t pick it up again for several months, until one day I finished a book and didn’t have another new one handy; I plowed through the remainder of it in no time flat.  It is the classic problem of the unsympathetic narrator who is revealing truths that may or may not be important – if nothing else, anyone who’s ever been a young heterosexual female artist will recognize Nathaniel and be impressed by Adelle Waldman’s ability to render his inner life so convincingly.  I had to admit, once I’d put it down, that I’d really liked this book in spite of myself.

What books did you love this year?  Tell me so I can read them!

A Book Blog For Teachers

Friend and reader Tara Warmerdam just pointed me to her wonderful blog, A Reading Corner for Teachers and Writers. I’m so glad she did: she writes about books in a way that is meant to be helpful to teachers, and it  really is.  Some recent posts discuss

If you are a teacher interested in using books in the classroom – whether you’re a literature teacher or not, and no matter what your grade level – I think you’ll get a lot out of Tara’s blog.  Go check it out!

What’s the Use of the Academic Paper?: Blogiversary Post #9

I’m still asking myself this question – “Is the academic paper the best way for students to demonstrate their learning?” – three years after publishing the original version of this post.  In the interim, I’ve listened to the audiobook of Now You See It (discussed below), and I’m still not sure whether I’m onside with Davidson’s perspective.  It seems to me that the academic paper has got to go, but something just as rigorous needs to take its place.  Do you have thoughts on this?

When this post first appeared, it was chosen as a WordPress “Freshly Pressed” feature and received 178 very interesting comments.

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Is the academic paper the best way for students to demonstrate their learning?  Will learning to write papers help students develop the skills they will need later in their lives?

In Now You See It, Cathy N. Davidson asks “whether the form of learning and knowledge-making we are instilling in our children is useful to their future.”  Davidson examines the roots of our contemporary education culture and suggests that we need to look back to pre-Industrial-Revolution models and forward to the murky future.  As Virginia Heffernan explains, in her review of Davidson’s book (“Education Needs a Digital-Age Upgrade“) in the New York Times:

The contemporary American classroom, with its grades and deference to the clock, is an inheritance from the late 19th century. During that period of titanic change, machines suddenly needed to run on time. Individual workers needed to willingly perform discrete operations as opposed to whole jobs. The industrial-era classroom, as a training ground for future factory workers, was retooled to teach tasks, obedience, hierarchy and schedules.  That curriculum represented a dramatic departure from earlier approaches to education. In “Now You See It,” Ms. Davidson cites the elite Socratic system of questions and answers, the agrarian method of problem-solving and the apprenticeship program of imitating a master. It’s possible that any of these educational approaches would be more appropriate to the digital era than the one we have now.

This is old news – education needs to be skills-based, collaborative, constructivist, blabla.  However, Heffernan focuses particularly on Davidson’s discussion of the academic paper.  After reading insightful, well-written student blogs and then being appalled by the quality of the same students’ research papers, Davidson began to wonder whether it was the form, not the students, that was at fault.  After some research, Davidson concludes that, in Heffernan’s words,

Even academically reticent students publish work prolifically, subject it to critique and improve it on the Internet. This goes for everything from political commentary to still photography to satirical videos — all the stuff that parents and teachers habitually read as “distraction.”

I’m not, at first glance, convinced by this argument – we’ve all read the “work” published every day on the Internet, and in many cases its “prolificness” is one of its many problems.  That said, I have students keep blogs in some of my courses, and I love them – you can SEE the learning happening as students wrestle with course topics and literature and relate them to their own experiences.  I don’t do blogs in every course because a) I’m required to have them write a certain number of papers, and it can all get to be a bit too much for me, and b) the majority of my students have not received the time-consuming training in digital communication that Davidson says they need.  However, if more space were made in the curriculum for online forms of writing, and we could limit the number of formal papers and make them an outgrowth of the online work, we might be on our way to something resembling “authentic learning tasks.”

I’ve been saying for a while that the research paper is going the way of the dinosaurs, and that we need to develop viable academic approaches to the blog and other online forms so that students can learn to write things that people actually read.  (The fact that no one reads academic papers isn’t a new phenomenon, of course, but now we have an alternative that gives researchers a real potential audience.)

What is the place of the formal academic paper in the future of education?  Should it continue to look the way it does now, or is it time to ask students to do something new?

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Tomorrow: my all-time #1 most shared post, on succeeding through failing.

Image by kristja

The Art of Cold Calling: Blogiversary Post #7

I’ve had some heated discussions about whether “cold calling” is good practice.  When I posted about it a couple of years ago, the post got a lot of comments and got passed around a lot.  What are your thoughts?  Is it a good idea to spring questions on students out of the blue?  Does it help them demonstrate mastery, or just provoke unnecessary anxiety?

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oGmlilgAre you willing to put your students on the spot?

A reader, Damommachef, has asked me to discuss the problem of the Constant Commenter.  She says, “Some kids want to constantly comment, but the smartest are often the quietest. How can we get them more involved? How do we subdue the chronic commenters?”

One solution is the cold call.  We call on students randomly (or perhaps not so randomly, but it may appear random to them.)  If students raise hands or call out, we say, “I’m cold calling for this one, so no volunteers.”

A few years ago, a Masters teacher of mine said that she never cold-calls students because when she was a student, the idea of being “picked on” without warning made her sick with fear.  She never put her students through it because she hated it so much.  At first I was puzzled by this – Really?  You never ask students for answers unless they volunteer? – but I then realized that I rarely cold-call in its strict sense.  I often call on students, but usually they’ve had a chance to prepare responses beforehand, often with a partner or group so they don’t bear sole responsibility for their answers.

I’ve been reading Teach Like a Champion by Doug Lemov (thanks to my friend Sarah for the recommendation!) and he believes in real, honest-to-God cold-calling, asking students to demonstrate in no uncertain terms that they are mastering the skills and content they’re being taught, at a nanosecond’s notice.  This technique, he explains, has several benefits.

…it allows you to check for understanding effectively and systematically…increases speed both in terms of your pacing…and the rate at which you cover material…[and] allows you to distribute work more broadly around the room and signal to students not only that they are likely to be called on to participate…but that you want to know what they have to say.

Lemov also encourages teachers to use techniques like “No Opt Out,” in which a student who answers with “I don’t know” must eventually give a correct answer, and “Format Matters,” meaning that students need to respond in complete, grammatical sentences whenever possible.  In Lemov’s world, there is no escape: you need to be present, engaged and ready to respond at any time.

I am more inclined to Lemov’s view than my former teacher’s.  At the beginning of the semester, I use the excuse that I need to learn their names, and call on them randomly from the attendance list to answer questions.  As time goes on, though, I find myself getting soft, and allowing a few eager students to dominate discussion.  And, as I said, I rarely ask students to think on their feet – if they’re nervous, they can just read answers they’ve prepared with their group, although they may have to stretch themselves if I ask for further explanation.

I feel like I should do it more.  I believe that if students know they can be called on at any time, they will be more engaged and feel more responsibility for the material.  I’d like to create an atmosphere in which students feel that it’s safe to make errors, but that they at least have to take a stab at things, and that they need to be ready to do so at all times.  But I don’t want students to sit stewing in fear, petrified that they may be asked to speak.

Do you cold-call in your classroom?  If so, how do you make students fell okay with that?  If not, why not?  Does cold-calling improve the classroom dynamic, or is it a detriment?  I want my students to rise to the demands cold-calling creates, but I don’t want to poison their learning with terror.

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Tomorrow: Top Ten Student Excuses for Missing Class.

Image by Prawny

A Course Plan for Literary Appreciation and Analysis: Blogiversary Post #6

I struggle with conflicting philosophies about my job.  I teach English literature (as well as language and composition) as core curriculum in CEGEP, a transitional/professional college that all Quebec students must attend before moving on to university or to many professions.  My classes are therefore comprised of students of wildly varying levels of ability and interest when it comes to reading literature.

One element of my job is teaching students how to analyze literary texts.  One challenge of my job is that a large number of my students have little experience reading literary texts; a surprising number have never read a novel, for example, that wasn’t assigned to them in school.  This creates two important problems:

  • A student with little practice in reading literature has much more difficulty developing analytical reading and writing skills.
  • A literature class that focuses solely on analysis is unlikely to inspire a student to read more widely, thus perpetuating the problem.

Is it more important for me to teach students literary analysis, even if they’re not ready for it, or to help them discover pleasure in reading that will then lead them to develop basic intuitive skills that will help them analyze?  The latter seems like the obvious answer to me, but I still have a duty to prepare them explicitly for their English Exit Exam, which requires them to analyze a text.  In wrestling with this problem, I developed the course that I outline below.  My original post on this course is the fifth-most-widely-shared post in the history of this blog.

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Module 1: Literary Analysis Review

Text: The Glass Castle by Jeannette Walls

In the first part of the course, we all read The Glass Castle and discuss the genre of the personal narrative.  We review elements of narrative (theme, plot, setting, character, imagery/symbolism) and they apply them to the memoir.  We then do a short analytical essay in class based on a choice of unseen texts (I like using the “Lives” section of the New York Times magazine as a source for excellent very short personal narrative texts.)

Module 2: Book Talks

Texts: students have a course pack containing copies of the front cover, the back cover or inside flap, and the first chapter of eight book-length memoirs.  I ask them to browse this pack and then tell me the three books they’d most like to read.  For example, one term, I included the following texts:

I assign one book to each student, taking their preferences into account whenever possible. Each book is therefore read by a group of 4-5 students.  Their major assignment for this module is a “book talk,” in which they must, as a group, present the book to the class and argue that their classmates SHOULD or SHOULD NOT choose this book as their final reading for the course.  Each person is responsible for a 5-7 minute presentation on one of the following topics:

  1. Theme: Identify an important theme in the memoir.  Make sure you state your theme clearly and precisely.  Then give evidence from the memoir to support your theme, WITHOUT GIVING THE WHOLE STORY AWAY.  Why does the theme make/not make the book a worthwhile read?
  2. Historical, geographical or social/cultural information: Describe the historical, geographical and social/cultural setting of the book (where, when, and in what social context it happens).  Make sure you make direct connections between the facts you provide and the events of the book. Why does the setting of the memoir make/not make the book a worthwhile read?
  3. Another element of the narrative: You may wish to discuss the author’s use of another literary element such as conflict, characterization or imagery, and how it helps us understand and appreciate the story. Why does the author’s use of this element make/not make the book a worthwhile read?
  4. Personal connection: Choose a scene, character, event or idea in the memoir that you found particularly interesting and discuss why you related to it.  Tell us about how this aspect of the book reflected events in your life, and why other people in the class might relate to it too.  Make sure you are comfortable discussing this personal connection, and consider whether your audience will be comfortable hearing about it.  Why do the personal connections we might make with this story make/not make the book a worthwhile read?
  5. Other important information you learned: Tell the class about an important topic you learned about from reading this book. Why does learning about this topic make/not make the book a worthwhile read?
  6. Difficulty: Tell the class about a challenge you had, and that they might have, in reading this book.  Is it worthwhile for readers to take on this challenge and read all the way to the end?
  7. What you loved: Tell the class about something else you loved about this book.  Be detailed, but again, don’t give everything away.  Why does this aspect of the book make/not make the book a worthwhile read?

At the end of each week, students must write a Book Talk Report about one of the two books presented that week. They explain what they learned about the book from the excerpt in their course pack and from the Book Talk.  They must identify at least one important similarity between the book they saw presented and the book they are reading with their group. Will they consider choosing the book they saw presented as their third course reading?

Module 3: Comparison

Text: each student chooses another book from the list above.

Students must write an essay comparing the memoir they presented in their Book Talk to the memoir they have chosen for their third reading.  In this module, we also look at examples of personal narrative in film (for example, Persepolis or Stories We Tell) and in radio/TV (This American Life).

Essay Structure: The Cake Analogy: Blogiversary Post #5

Here’s a nice little post with a link about using a “layer cake” analogy to explain essay writing to students.  I’ve never actually used this analogy, but apparently a bunch of other people have, because the original post got a LOT of shares.  So if your students aren’t getting how to put an essay together, this might be something to try.  You also might want to check the comments on the original, wherein readers share their own favourite tips for teaching essay structure.

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This week, I am working on essay structure with my post-intro students.  After 22 years of teaching essay structure in various forms, I am, as you can imagine, sick of it.  But then I came across this little analogy: how to bake your essay like a cake!  It’s cute.  It’s tasty.  There are things here they might actually remember.

This got me thinking.  A lot of you out there must have analogies that you use over and over in your classroom, because they work.  Or maybe a teacher gave you an analogy years ago that you’ve never forgotten.  Could you please share some of them here?  That way, the rest of us can learn, steal, or just admire your ingenuity and  that of the teachers you’ve known.

Image by Jonathan Fletcher

Triumph Over Burnout: Blogiversary Post #4

At the beginning of the new school year, some of us feel refreshed and eager; others, not so much.  If you’re filled with dread at the thought of vacation’s end (not the ordinary oh-I-wish-I-could-read-novels-on-the-deck-forever dread, but the more acute why-am-I-doing-this-with-my-life dread), then maybe it’s time to re-evaluate: is teaching really what you want to do?

For a while, I wasn’t sure.  I started this blog as a tool to help me wrestle with this question.  Seven years later, I’m still teaching, but my perspective on the profession has changed.

In 2009, Sarah Ebner, then of the Times UK’s School Gate blog, asked me to write a series of guest posts; I chose to write about my journey through burnout and out the other side.  A few years later, she gave my permission to re-print those posts here on Classroom as Microcosm, and those posts are among the most shared in CaM’s seven-year history.  I collected them on this page; you will also find the links below.

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Are you burnt out?  Demoralized?  So was I.  I did some stuff.  It helped.  Now I love my job again.  Maybe you can too!

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Tomorrow: a useful analogy to help students understand essay structure.

Image by VooDoo4u2nv