Identificación de proteínas que interactúan con GIP mediante

Of course, the goal is not only for children to envision and lose themselves in the books that youread aloud. The goal is also for children to do this for themselveswhen they read. You’ll want to teach children to envision by every means possible. During independent reading and partner reading, you’ll probably encourage children to develop their mental pictures through discussion. Prompt kids to ask each other: “What do the places in the book look like?” and “What has the reader seen before that can help him or her picture the character, the character’s home, or the locale in which the book is situated?” You might also encourage a reader to quickly sketch a character or a setting as he or she reads, and then in his or her partnership conversation, to talk through the reasons for this par- ticular image. They might ask: “What’s going on around the character?” and “How is your character standing or moving in this scene? What do you see his face looking like in this moment?” and “Who else is there? What’s the scene like?” The reader’s job is to draw on all we have read and then guess—imagining as best we are able.

Although talking, sketching, and writing are all wonderful scaffolds for readers in envisionment, many teachers have found that allowing kids to quite literally step into their characters’ shoes is a way to promote even more thoughtful understanding of their characters. Incorporating improvisational drama, both into read-alouds and part- ner work, is another way for children to envision their stories. Session II of Following Characters into Meaningdescribes the thin line between reading and drama. In class- rooms that piloted these books last fall, again and again we saw children become more engaged and thoughtful as they went from reading to acting out small sections of texts and then back to reading. This informed not only their partnership talk, but also their independent reading and jotting.

If you incorporate drama into your read-aloud, you might pause, and, instead of con- ducting a turn and talk, you might say: “Partner A, be Opal standing in front of the preacher, trying to convince him to let her keep Winn-Dixie. How do you feel, as Opal? Are you using the scraggly dog next to you to plead your case? Where are you looking? What’s your body doing? And Partner B, you be the preacher, ready to say no to your daughter. What do you look like? How are you holding your body? What expression is on your face?”

With your support, children will find what strategies work best for them. As they come to understand how they envision best, you might want to encourage them to return to passages that matter in a text, rereading those, pushing themselves to envi- sion. You may suggest that they reread, almost acting each scene out. Alternatively, you could suggest a child try little bits of fast writing. You could say: “Sometimes it helps to use writing to get us pretending we are the characters in a story we are reading. Try it, for just a second. What are you thinking right now? Jot your thoughts.”

At this point in the unit, you’ll want to teach prediction with the same gusto you taught with envisionment. You’ll want to clarify in your mind what skilled predictors do so that you can lay out a learning pathway for readers. Then, you will want to conduct informal assessments to help you determine students’ proficiency with prediction. If you have a clear goal of how students should predict, you will be able create a plan to help readers develop their current predicting proficiencies. You will also want to be mindful of kids’ current reading levels. Children who are reading texts at level K/L/M can predict by relying on knowledge of simple, straightforward story structure. A char- acter has a problem and tries, tries, tries to resolve that problem. Readers who are work- ing with texts at level U/V/W will need to do quite different work as they predict, asking themselves, “How might all the subplots come together into something cohesive at the end? Which characters that seemed minor or subplots that seemed tangential at first might return to bring this story toward its conclusion?”

You may want to turn to Session VI of Following Characters into Meaning. This ses- sion explains how readers can deepen their prediction work when they push them- selves to see not just what the character will do next, or what is yet to happen, but also how those events might unfold. Will the shy boy take small steps toward his dream of starring in a school play—even if doing so means risking embarrassment? Will the girl who longs to be accepted by a particular clique begin dressing in different clothes, talking in new ways, disowning friends that the group dislikes—all in the hopes of being accepted? This sort of prediction work is essential to learning how to read books and characters with an eye toward complexity. People, and characters too, don’t just do one thing, then another, then another in an automated way. There are reasons behind their motivations and actions, and, usually, these are linked to who they are as people. Readers who can anticipate what a character will do next, and how, have a deeper understanding of that character. Some of your more advanced readers will also draw on their sense of the lessons a character has learned or is in the process of learn- ing, or has yet to learn, to predict next steps. You might want to teach readers that they can make predictions too, by building not only on their sense of how stories tend to go, but also on how this particular story line is unfolding. At the same time, you’ll teach children that readers read expecting to be surprised, knowing that they will sometimes have to revise their predictions—or grow new ones—based on new infor- mation they learn as they read. If children need another day of practice predicting in more detail, you might draw on Session V in Bringing Characters to Life and Developing Essential Reading SkillsinConstructing Curriculum, which asks readers to “draw on all we know to predict in graphic detail.”