The Complexities of Simplicity: The Importance of Common Core Aligned Curriculum Planning and Implementation

Comic by Scott Adams

It stands to reason that the simplest explanation for some unknown phenomena is probably the best explanation.  This concept, known as Occam’s Razor, has been used to eschew excesses from theories, and was even used as an explanation for the existence of God. This reliance on simplicity however, can sometimes be lost on the true application of the idea:

“Occam's razor is often wrongly applied. The key is the the phrase "praeter necessitatem" in the Latin formula. Not all complications are forbidden. On the contrary, complications necessary to cover the facts are not only allowed but required. However simple or even beautiful a theory may be, if it does not cover the facts, it is not viable. A complex theory may be a sign that the thing it is trying to explain is not yet deeply understood. But it may also be the correct explanation of a genuinely complex phenomenon” (The Principle of Simplicity).

While it is tempting to view the planning of curriculum as a simple, step-by-step process, it is important to not lose focus on the fact that proper curriculum planning is an incredibly important, and incredibly complicated task. The design and implementation of curriculum is a highly difficult and nuanced process that requires an understanding of student learning styles, proper implementation and review, and an evaluation system that tracks efficacy. While the introduction of the Common Core State Standards may seem to be a panacea in the process, thorough work must still be done at both the educational and administrative levels for it to be implemented properly.

The topic of learning styles, and the many different approaches that have been taken over the years, have given educators a wealth (perhaps and overabundance) of psychological and philosophical approaches to instruction.  This makes the planning stages of the curriculum especially difficult when we take a standards-based approach.The educators and supervisors involved in the decision making process must take into account the idea that not all students learn in the same manner, and therefore, the curriculum must reflect both this understanding, as well as guide the construction of frameworks that provide this necessary differentiation. There is a general consensus in education that “Learning theorists and researchers have not arrived at a universally accepted, precise definition of learning” (Parkay, et al., 189). This is a potentially disturbing admission for those that consider themselves educators.  What must be understood by curriculum planners, before anything else, is that the curriculum will be implemented upon students of vastly different backgrounds, shema, and learning styles. “A program should strive for the optimal match between learner capacity and level of experiences provided. Some children have greater facility with abstract thought, critical reasoning and meta–cognitive skills than others (Braggett et al., 1999). This means that to avoid underachievement a curriculum needs to be developed that will both challenge and stimulate students appropriately” (Differentiating the Curriculum). To not take this into account, is to guarantee the weakening of any curriculum that is produced.

The supervisors in charge of the curriculum design process must be sure not to simplify or overly downplay the significance of each curricular decision, as it is there job to ensure proper implementation of the curriculum after it has been accepted.  Failure to act in the developmental design stages of the curriculum will almost certainly result in a flawed and therefore ineffective document. The Common Core Standards are able to fill an important gap in the implementation and design of the curriculum.  As most school districts use a “Backwards Design” model of curricular planning, the standards become the jumping off point.  The more clear and precise these standards are, the more likely the prescribed curriculum becomes the enacted curriculum. Too often, this process is short-changed. “Jumping from the standards to create lesson plans misses a crucial middle step of developing a coherent curriculum. The absence of this more complex work of creating a local curricular framework for the district, which informs the sequence and breadth of instruction (usually referred to as “scope and sequence”), will result in weak implementation of Common Core” (Honig).  Using the CCSS correctly, and determining them as the basis for subsequent discussion of scope and sequence at each grade level subject simplifies the process of planning, and makes the implementation more clear for those tasked with using it on a daily basis.

In order to determine the success of the curriculum, supervisors need to be vigilant in collecting data that concerns the efficacy of the program.  Is it being properly implemented?  Are their benchmark assessments? Are PLC’s functioning in making the curriculum stronger? Do teachers understand that the curriculum is a document that by all means evolves over the course of its existence? The state of New Jersey released a Powerpoint to principals and supervisors during a recent professional development. In addition to the many pages of common sense approaches to CCSS and curriculum evaluation, they recommended a prioritized list of goals for every school district in terms of curricular evaluation:

“On the three highest priorities:

1. Ensure that a coherent curriculum with standards selected by a team of teachers is actually taught and tested with common assessments.”

Clearly, the State takes great interest in the supervision of instruction as it relates to curricular alignment, as well as the use of Common Assessments to achieve this end.  Teachers will do themselves a great service by routinely discussing in their Professional Learning Communities the type of instruction they are using, and the data that backs its efficacy.  So to must administrators be present in these meetings as a way to guarantee that this work is being done, and has become an accepted practice in their building.

While the Common Core provides us with a useful and unifying framework at the start of the curriculum planning process, it must not be seen as the curriculum itself.  That work must be undertaken by group of educators, administrators, and community members tasked with its success.  Only by starting off with and understanding of student learning styles, developing and implementing the curriculum through shared outcomes and common assessments, and ensuring the implementation is occurring through proper supervision, will the curriculum designed by these stakeholders do what it has been tasked with, namely, increasing the education of the students it serves.

References

"Differentiating the Curriculum." Differentiating the curriculum. NSW Department of Education and Communities, n.d. Web. 12 June 2014. <http://www.curriculumsupport.education.nsw.gov.au/policies/gats/programs/differentiate/>

"Shifting Gears! Using the CCSS, PARCC and Educator Evaluation to Drive Student Achievement." . State of New Jersey, n.d. Web. 12 June 2014. <http://www.state.nj.us/education/sca/ppt/gears/MSUPricipal.pdf>.

"Understanding History | The Principle of Simplicity." Understanding History | The Principle of Simplicity. N.p., n.d. Web. 12 June 2014. <http://www.umass.edu/wsp/history/outline/simplicity.html>.

Honig, Bill. "Coherent and sequenced curriculum key to implementing Common Core standards." EdSource Today. EdSource, 29 Jan. 2014. Web. 12 June 2014. <http://edsource.org/2014/coherent-and-sequenced-curriculum-key-to-implementing-common-core-standards/56704#.U5kFXZSwIjA>.

Parkay, Forrest W.. Curriculum Leadership: Readings for Developing Quality Educational Programs. 9th ed. Boston: Allyn & Bacon, 2010. Print.

Writer's Workshop Conferencing Tips

My class workshop/studio focuses on 3 major "Process" papers, with additional supplementary papers that emphasize full student choice.  The following are tips for conferencing with students during the supplementary paper process, but they have direct applications for conferencing in general with students as well.

The supplemental papers can cover a very wide range of genre, lengths, and subjects.  Frequent conferencing, particularly on the front-end of the paper, is key to student success.  The following is a brief overview of the path students might take through the supplemental paper process.

I.               Topic/Genre Generation

a.     The main issue at the beginning of the process is helping students to face the “white page.”  This can often be a daunting task, especially for students who may not consider themselves writers.  The most important question to ask the students during conferences at this point, is whether their topic or genre interests them.  Failure to attach themselves to a topic of importance will doom the product to failure, as it will neither engage the students, nor make their writing exciting and valid.

b.     “But it’s Hard!”: Allow students to flounder here.  There is no rush to find a topic, and it may take students time to make a decision.  This is the best time to give students a chance to explore their desires, wants, and interests.  Do not confuse a student struggling at this point with a student “not doing,” give them the time they need to find something worth saying.

II.             Outline/Planning

a.     This step will be different according to genre and topic (as well as the student’s level).  Remember to gauge the steps in a way that is authentic and meaningful, not simply arbitrary.

b.     Start Small, Go Big:  Remember that planning is the act of creating a paper’s skeleton.  We will add the muscle and skin later, but now we need a strong foundation.  The outline and planning provides this.  Allow students to create plans that help them to look at the document as a whole, and help them to see all of the moving parts, before we ask them to compose.

c.     No One Way:  Use your knowledge of the individual students to determine what steps you’d like them to consider in their plan.  Make sure that they also have authorship in these plans, and that they understand each step, and why they are doing them. Without the buy-in, the paper will end up being for you, and not for them.

III.           Text Generation

a.     The Simplest Step:  Get out of their way and let them write.  Let them write for extended periods of time, and stress the need for getting everything down, not simply the bare minimum.

b.     The More the Better:  Writing is sculpture, we start with a large chunk of rock, and we will eventually cut away from it and shape it to our desires.  Text generation is building the rock.  There must be enough to cut away from when we’re done, so urge students to write as much as possible.

c.     No Arbitrary Rules:  Don’t tell the students that paragraph must be a certain length.  It isn’t true.  Don’t tell them that a persuasive essay is five paragraphs.  It isn’t true.  Don’t tell them that you must provide a counter-point in every argument.  It isn’t true.  Avoid any type of arbitrary rule that is not indicative of authentic writing, and certainly don’t tell them that there are writing rules, which are in fact designed by you to guarantee certain types of outcomes.

IV.           Drafting/Editing

a.     Once the student has generated the requisite amount of text, they should begin a typed draft.  Students should be cognizant of self-editing during this process, but understand that this is not relegated to getting rid of the red and green “squigglies.” Before they begin a formal, “hard edit” they should print the document, which will force them to look at the paper in a different way.

b.     Don’t Overwhelm:  When editing a printed piece, resist the urge to correct every mistake.  Odds are that this will result in a paper filled with red marks.  Rather, read the piece looking for a pattern of errors.  Once you recognize the pattern, stop reading the document, bring the pattern to the student’s attention, and teach a mini-lesson if necessary.  Ask the student to go forward through the remainder of the document and find other examples of this mistake, and have them corrected when they bring it back to you.  If the student is recognizing the mistake, great!  If not, re-teach accordingly.  Try not to mark for more than three areas of improvement per draft, as this will allow the student to manage the drafting and editing process.

V.             Publishing/Performance

a.     Make sure students know that they are not simply writing for their teacher.  By requiring the students to either publish or perform their work, it forces them to take pride in their endeavors, and to write for themselves. The added pressure of “getting it right” falls on them, and placing the writing in the public arena is a powerful motivator.

Things to Remember:  these  papers are about creating buy-in, and opening up students to a writing life, where self-expression is sought and encouraged.  As teachers, we can provide individualized instruction that is student-directed, and still cover the curriculum requirements we are responsible for.  For formal, class-wide pieces, we can still have process-driven papers, but supplementary papers can allow additional opportunities for individual growth.

Talking about Poetry with Middle School Students

  As my classroom begins to roll over into full workshop for the rest of the year, I know that many of my students will be attempting poetry, many for the first time.  It's important as teachers that we have authentic discussions with students surrounding our expectations.  Middle school students generally come into poetry with similar misconceptions or issues.  Here is a list of the most common:

-       -Poetry has “No Rules”

-       -Poetry must rhyme

-       -Poetry must be short

-       -Poems must be on a serious topic

-       -Poetry should be difficult to understand or vague

-       -Poetry only needs to make sense to the writer

None of these things are true, and helping writers through these assumptions is key to getting them to write poetry well.  There are a few general ways you can attack these conceptions, and create a more meaningful and authentic experience for children.

1.     Poetry is not Anarchy:  As with any other piece of prose, poetry must be created with intent behind it.  This intent can be shown through many different ways, but unless the student is writing poetry that purposefully assaults the conventions of Standard English, poetry should be grammatically and conventionally sound.  This is the most common mistake kids make when starting middle school poetics.  To address this, have he students redraft their work in paragraph form, or ask them to compose in this manner.   This will allow them to make sure that the poem follows standard conventions without confusing them in terms of line breaks.

2.     Poetry is written for Performance:  Poetry has historically been a spoken art form.  As such, the use of commas and periods in the poem must be used with intent, directing the reader as to how the poem should sound when read aloud.  This is also an opportunity to teach mini-lessons around the use of Alliteration, Assonance, Metrics, and Rhyme (although these are higher level concepts).

3.     Poetry is not from Concentrate:  A poem is as long as it “needs” to be.  In some cases, this is predetermined, as in Sonnets or Villanelles.  Other poems have their length determined by subject alone.  In either situation, the economy and functionality of words is paramount.  There should not be any words or phrases that amount to excess baggage, and students should be able to justify why things are included on the page.

4.     Poetry is not all Dirges:  Neruda wrote about fruit and salt, Whitman and Ginsberg wrote about their bodies, and Bukowski wrote about his own depravity.  There are no “set” topics for poetry, the desire to write alone is the key, the need to capture, to “Name the World.”  If the student wants to create a Haiku, make sure they research the form, understand the subtleties it provides, and not focus on the fact that it is only 3 lines. Choosing a topic is important, but not limited to what we would typically define as “momentous” or life altering events.  A good poem adds grace to the mundane, meaning to normalcy.

  This post is as yet unfinished, what would you add to it?  What issues do you see when students attempt poetry?