1. art and entertainment
2. books and literature

Overview &
Sample Lessons
Common Core
State Standards and
Nonfiction Texts
Nonfiction texts govern as much as 90% of the reading
and writing done by literate adults and comprise more
than 70% of standardized assessments. For our children
to succeed in school and beyond they need to know
how to plan, compose, revise, edit, and publish
a range of nonfiction texts.
The Common Core Standards (2010)
emphasize the importance of having
our youngest students read and
write informational texts.
— common core state standards
for english language arts
WR I TI N G
K
G RADE
1
G RADE
2
G RADE
3
G RADE
4
G RADE
5
Professional Support
Special resources introduce, support, and extend Explorations in Nonfiction Writing’s core lessons.
A Guide to Teaching Nonfiction Writing equips you to launch a nonfiction writing program and
embed nonfiction writing throughout your curriculum. —page 2
Resources for Explorations in Nonfiction Writing CD-ROM provides a wealth of printable
resources to support your teaching throughout the year. —page 3
Lesson Book
— common core state standards for writing
“To build a foundation for college and career
readiness, students need to conduct short as well
as more sustained research projects based on
focused questions, demonstrating understanding
of the subject under investigation.”
While exploring a range of real-world nonfiction texts, this new writing series by acclaimed educators Tony Stead and
Linda Hoyt will support you as you guide your students to work collaboratively as researchers and develop their skills
as writers. In addition to learning how to access, interpret, and publish informational texts, your students will also
consider ways to activate their voice and make their nonfiction writing clearer, more authoritative, and better organized.
G RADE
“Primary students should be able to write
informative/explanatory texts in which they
name a topic, supply some facts about the
topic, and provide some sense of closure.”
R ES EA R C H
and Explorations in Nonfiction Writing will help your students make the most of it
—Tony Stead and Linda Hoyt
R EA D I N G
“Preparation for reading complex informational texts should begin at the very
earliest elementary school grades.”
Nonfiction writing fills our lives
Organized around 5 major purposes for writing nonfiction—to inform, to instruct, to narrate, to persuade,
and to respond—the lesson book supports your nonfiction writing instruction in two ways.
Extended Writing Units are in-depth studies that comprise 10 or more sequential lessons that
involve students in the complete research-to-presentation writing process. —pages 4–7
Power Writes are single 30- to 40-minute teaching sessions that encourage students to analyze and try
their hand at a wide variety of nonfiction texts from across the curriculum. —pages 4–5 and 8–9
— common core state standards for writing
Mentor Texts
C O L L A B O R ATI O N
“Students must learn to work together, express and
listen carefully to ideas, integrate information from
oral, visual, and media sources, evaluate what they
hear, use media and visual displays strategically to
help achieve communicative purposes, and adapt
speech to context and task.”
— common core state standards for speaking
and listening
Provided in a big book format for grades K–2 and as blackline masters and posters for grades 3–5,
a collection of mentor texts:
◗
show how engaging and vibrant nonfiction texts can be
◗
include different nonfiction genres and formats
◗
build vocabulary and knowledge in numerous content areas
◗
promote visual literacy through compelling graphics and illustrations.
—pages 10–11
For sample lessons and additional
information visit Heinemann.com
Additional Resources
Crafting Nonfiction offers
ready-to-use minilessons that
support your entire
curriculum.
—page 12
Nonfiction Writing DVDs provide
live-from-the-classroom video clips
to support teacher professional
development.
—page 13
1
A Guide to Teaching Nonfiction Writing
Resources CD-ROM
The Resources CD-ROM provides a wealth of printable resources to support
your teaching throughout the year. These include all of the mentor texts;
writing tools for students such as picture alphabet cards, editing and
revising checklists, and self-assessment forms; and teaching tools such
as daily planners, instructional charts, and ongoing monitoring sheets.
A Guide to Teaching Nonfiction Writing equips you to integrate nonfiction
writing throughout your school day. After providing a rationale for teaching
nonfiction writing to elementary students, Tony and Linda describe how to
equip your classroom and establish routines that engage students in
reading and writing informational texts. In addition to detailing the
management systems of meaningful nonfiction writing instruction, special
chapters describe the architecture of effective minilessons and conferences.
e
riting Tim
W
g
in
r
u
D
Linda and Tony outline how various instructional approaches
can be used to lift the quality of your students’ writing.
40
ng
to Teachi
A Guide
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Setting the Stag
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Setting the
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ENT
In a nonfictio
n writing clas
sroom, the en
system ffoor wr
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iter developm
n essential su
ent. The ffoollow
smoothly ope
pport
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rating worksh
ments that sc
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nonfiction tex
affold a
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t.
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the teacher.
with writing
the teacher
2. Think
31
Setting up you
r classroom a
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your writers s
orkshop mana
tay
ay fo
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gement tools
nriched durin
can help
g nonfiction w
riting time.
LE
DENTS’ RO
observ
Listen and
Writing tools for students like this writers workshop
agreement establish simple expectations and routines
that help your writers workshop run smoothly.
A GA
AT
THERING S
PA
ACE
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ce with a carp
et ffoor the stud
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ents and a low
ly see the enti
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L EVALUATIO
N RE CO RD
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AL TE XTS
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dent
Date Asses
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Purpose
Understands
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2: With assista e
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own
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ce
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on research
and prior kn
owledge
Includes facts
and details fro
m research
Gathers and
incorporates
information
from multip
Organizati
le sources
on/Text Fe
atures
Includes a titl
e that tells wh
at is to be ma
de or done
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of materials
Presents steps
in a logical seq
uence
Supports the
text with illu
strations or dia
grams.
Language/St
yle
Uses descript
ive words to
make direction
s clear.
Includes tim
e-order words
(first, next, the
n, last)
Begins each
step with an
action verb (pu
t, mix, cut, tak
Conventio
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trol of
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tion
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ain
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Tony and Linda describe the teaching tools and routines
that support effective nonfiction writing instruction.
: Individ
ua
and Presenta
Begins senten
e, etc.)
tion
ces with cap
Assessment rubrics and monitoring forms
help you plan and implement a focused,
balanced nonfiction writing program.
ital letters
Uses correct
end punctua
tion
Begins each
step in the pro
cess on a ne
w line
Immersion in nonfiction writing does not happen by chance. It requires a dynamic teaching
environment in which nonfiction writing is regularly and explicitly taught. The unique
features and thinking that go into creating nonfiction texts demand teacher modeling
and gradual release of responsibility for writing and learning to the students.
To optimize your teaching of nonfiction writing, you will want to plan your space, set up
a system for keeping track of your writers’ work, find and organize resources to support
research, and establish “thinking partners” to give each student a writing buddy.
—Tony S t e a d a nd Li nda Hoy t
—Tony Stead and Linda Hoyt
2
For sample lessons and additional information visit Heinemann.com
P ROFESSIONAL S UPPORT: A Guide to Teaching Nonfiction Writing and Resources CD-ROM
3
Lesson Book
Young writers need to learn that nonfiction authors write for specific purposes.
They write to describe, to entertain, to provide instructions, to explain, and so on.
When we write informational texts, it is important to understand the purpose for
which we are writing and then to select a text type to match our goals.
The lesson book contains all of the core resources you’ll need to plan,
teach, and assess nonfiction writing. Organized around 5 major purposes
for writing nonfiction—to inform, to instruct, to narrate, to persuade, and to
respond—the lesson book supports your nonfiction writing instruction with
Extended Writing Units and compact Power Writes. A concluding section
provides all of the research tools and assessment forms you’ll need to
support and monitor your students.
—Tony Stead and Linda Hoyt
PURPOSE
The lesson book includes research tools
like this R.A.N. (reading and analyzing
nonfiction) chart that teach students
how to collect information and
organize their ideas.
CHARACTERISTICS
TEXT TYPES
INFORM
to provide information: describe,
explain, give the reader facts, tell
what something looks like,
summarize
Expository or other topic-centered
structure, title, opening statement,
information organized in logical clusters,
conclusion or summary
Informational report, descriptive report, explanatory report—
telling how or why, observation log, scientific description,
comparison, news article, question-and-answer, poem, photos
with captions, sign, letter, note, list, email message, postcard,
presentation, interview, speech
INSTRUCT
to tell the reader how to do
something; to outline a process
Title and/or goal, materials or equipment
list, steps are numbered, verb-first
sentences or presented using time-order
words (first, second, third; now, next, then,
finally)
Recipe, science experiment, directions, instructions or manual,
safety procedure, health procedure (washing hands, covering a
sneeze), itinerary/schedule, rules, steps in a process such as a
math operation, art project, steps in a fire drill, writing process,
map with directions
NARRATE
to draw the reader into an event
or sequence of events that provide
insights into a situation or the life
of a person or other living thing
Well-developed setting, sensory images,
sequential (usually time-ordered) structure,
relevant details situating events in a time
and place, significance/importance of
situation, distinct ending
Personal narrative, narrative nonfiction (factually accurate writing
infused with craft elements and imagery), eye-witness account,
news/magazine article recounting an event, nonfiction storyboard,
diary, autobiography, biography, historical account, photo essay
(sequential), observation log, narrative poetry, retelling
PERSUADE
to influence the reader to take
action or to subscribe to a belief
Overview of the topic, statement of
author’s position/argument, supporting
facts/evidence, an appeal to the reader,
a conclusion or summary
Letter, advertisement, poster, essay, brochure, review (movie or
book), speech (e.g., political), debate, poem, pro/con argument
RESPOND
to express ideas about a text
or topic; to engage in analytical,
critical, evaluative thinking;
may include a specific prompt
or format
Clear reference to a text or prompt created
by an outside agent; specific examples,
including analysis
Response to literature: reflective, analytical, or evaluative
analysis, critical review, character study, author study
Response to an academic prompt: essay answer, response to
a test prompt
Response to personal communication: letter, note, email
Each purpose for nonfiction writing is explored in two ways:
Extended Writing Units and Power Writes
4
For sample lessons and additional information visit Heinemann.com
L ESSON B OOK
5
Lesson Book: Extended Writing Units
An extended nonfiction writing unit is filled with deep and long-lasting learning
because, over time, children take on many roles. They cast themselves as observers,
as careful listeners, as researchers, and most importantly as writers as they take
notes, draw sketches, create drafts, and experience all phases of the writing process.
Extended Writing Units are in-depth studies—two weeks to a month in length—that give children a chance to
explore a particular type of nonfiction text more deeply. Following a gradual release of responsibility framework,
extended writing units first guide writers to discover a specific text structure and its features; then model the writing
process through collaborative class projects and discussions; and finally turn the process over to students to publish
their own individual projects.
178
—Tony Stead and Linda Hoyt
PERSUADE : Extended Writing Unit
Session 6 : PERSUADE
S
SESSION
ESSION 6
The lesson title and a brief
description provide a concise
overview of the lesson.
Revising for Varied Sentence
Beginnings
Students revise their articles and add variettyy by experimenting
with different ways to begin sentences.
SESSION
SES SION SN
SNAPSHOT
N A PSHOT
Process Focus: Drafting, Revising
Traits: Sentence Fluency
Mentor Text:
Text: Just Do It!
J
Support writers as they attempt to revise for varied sentence beginnings.
Some will benefit from guided practice in identifying repetition and
finding alternatives for repeated words and phrases. You might also
provide a brief lesson on pronouns and encourage students to use them
to identify the subjects of their sentences.
J
Encourage students to reread their draft articles for sentence variety and
to use the tally technique you introduced at the start of the session to
identify repeated words and phrases.
J
Some students may be ready to look beyond repeated words and phrases
to identify repetition in sentence structure. Help these students identify
monotonous use of the typical subject-verb-object sentence pattern and
begin to experiment with different patterns and sentence lengths.
Review the learning goals from the previous session. If time allows, have
students turn and talk about what they have learned so far.
Summarize the learning goals: Writers, today you’ll experiment with
different ways to begin sentences as you start to revise your articles. This
will make your writing smoother and more pleasing to the ear.
TIP Work with students to
Using the Mentor T
Text
ext
generate a list of words and
phrases that make great sentence
beginnings. Be sure to have
several high-quality nonfiction
texts available for reference, and
have students use them to identify
effective sentence openers to add
to the list.
Display the mentor text and explain to students that you will be reading
only the first word or phrase of each sentence in this article. Ask students
to keep count along with you as you tally up the number of times the
author uses the same sentence beginning. Guide writers to see that there
is very little repetition in this mentor text.
TURN Writers, why does this author vary the way she begins her sentences?
T
TALK Why should we vary our own sentence beginnings when we are
&
Modeling
J
J
Writers, I’ve heard some of you say that how a piece of writing sounds
should be as important as what it says, and that varying sentence
beginnings can make
our writing sound better. I am
m
going to pay attention
atte
to sentence variety as I revise
my article.
Continue modeling how you vary sentence beginnings to give your
writing rhythm and cadence and to make it more interesting.
Encourage students to read their
drafts aloud to writing partners as
often as necessary for them to
hear how their sentences sound.
Emphasize that good writers write
with their ears as much as with
their minds and pencils.
SHARING and REFLECTING
Teaching tips provide explanations,
advice, and ideas for managing the
lesson and tailoring instruction.
Through regular Turn & Talks
writers consolidate and share their
new understandings.
TURN Share your draft with your partner and talk about places where you
&TALK
added sentence variety. Ask for feedback on places where your
writing might still sound choppy or repetitious.
Give students time to share their thoughts and talk about what they might
do in the next session to improve their writing.
When the session is over, gather the writer’s notebooks drafts and analyze
your students’ attempts to vary sentence beginnings. Identify students
who would benefit from additional modeling as well as those who are ready
to experiment with different ways to add rhythm and cadence to their
writing.
Carefully Sequenced Units of Study
Listen to this paragraph: “Our library was built
in 1933. Our library was built at a time when the
population of our town was only 3,750. Our library is
not up to the job of serving a growing community.”
J J
Extended Writing Units comprise 10 or more sequential lessons that guide students through
the complete research-to-presentation writing process.
T
TURN
Writers, what do you think of my writing? Do the
&TALK
TIP This session may be noisy!
WRITING and COACHING
FOCUSED MINILESSON
writing? Talk it over with your partnerr.
Bulleted teaching moves in regular
type and teaching language in
italics offer an instructional blueprint
on how to teach the lesson.
J
179
sente
encess sound ple
easing to the ear? Does the
writing flow smoothly? What could I do to improve
this paragraph?
In the five lessons preceding this lesson, students analyze the features of a strong persuasive
article and research facts that add muscle to their argument. Then they learn how to use
graphic organizers to plan their argument and linking words to connect their facts.
I co
ompletely agr
gree that this paragr
graph is dull and
sounds ch
hoppy when I read it out loud. I need to add
some variety to my sentence beginnings. Here I go:
“Our library was built in 1933, at a time when th
he
population of our town was only 3,750. The population
of Springffiield has grrown to 73,000 sincee th
hen and will
continue to rise. Clearly, th
he existing library is not up
to the job of serving a growing community.”
J
J
In the four lessons that follow this one, students draft, systematically revise, edit, and publish
persuasive essays that present an argument and call readers to action.
— from Grade 3, Persuade: Extended Writing Unit
6
For sample lessons and additional information visit Heinemann.com
L ESSON B OOK : Extended Writing Units
7
Lesson Book: Power Writes
The three-part lesson structure shared by Extended Writing Units and Power Writes
follows a gradual release of responsibility framework.
Power Writes are compact minilessons that encourage students to analyze and try their hand at a wide variety
of nonfiction texts from across the curriculum, such as signs, letters, labeled diagrams, reports, poetry, directions,
and interviews. Targeted and easily adaptable, Power Writes can be slipped into your day as a natural part of
your science, social studies, math, and language arts classes.
198
The lesson title names the writing
form to be taught and samples of
actual student work illustrate
the type of nonfiction writing your
students will produce during the
lesson.
2
Power Write : DEBA
ATE PLAN
which you briefly reiterate the main points of the argument and end with
a strong call to action. Notice that I ended with an exclamation point. I
definitely want to urge my listeners that plain milk is the way to go.
Work with a partner to plan for a
persuasive debate.
Summarize the features: Have students work in groups to generate
checklists for a debate plan. Circulate to be sure groups have included all
the important features.
2
s 4ITLE
s )NTRODUCTIONOFTOPIC
s 3TATEMENTOFOPINION
s !TLEASTTWOPOINTSOFSUPPORT
FOROPINION
s 3UMMARYANDCALLFORACTION
,INKINGWORDSOFCOMPARISON
howeverbuttalthough
althoughon
dsimilarlyy
d
the other hand
likewisein contrast to
A debate is a discussion of two different points of view. Right now, we can
purchase chocolate and plain milk in our cafeteria. What if our cafeteria
could only serve one? I think it might make sense to serve only plain milk.
Others might think it might make sense to serve only chocolate milk.
If I wanted to convince others in a debate, I’d need to prove my point
to convince listeners. Today I will craft an argument that supports my
position about plain milk.
T
TURN
Writers, I want to start by introducing my topic. Think together. How
&TALK
might you start an argument about plain milk?
I am going start with a strong statement that shows what I believe. To
show that this is my opinion, I am beginning with I believe: I believe. . . .
Now my position is clear. It’s not a fact. It’s an opinion. To support an
opinion in a debate, it’s imp
portant to ch
hoose facts
that make that opinion strong.
believe
plain milk
milk should
should be served
served
I beli
eve that
that plain
iinstead
nstea
ad of chocolate
ch
hocola
o ate milk.
milk.
Our cafeteria
cafeteria
milk
a already
alr
rea
ady serves
serves more
mor
re
e plain
plain milk
th
an chocolate
chocola
ate milk.
ate
milk. We will
will save
save money
money if we
than
only buy pla
in milk.
milk.
plain
Cho
ocola
ate milk
milk contains
cont
ta
ains more
mor
re sugar
sugar than
than plain
plain
Chocolate
m
ilk, making
making plain
pla
ain milk
milk a healthier
hea
althier choice.
choice.
milk,
We sh
ould serve
serve only plain
plain milk
milk from now on.
should
Pla
ain milk
milk is healthier
healthier for
for kids
kids and
and a better
better
Plain
choice f
or our
ou school.
school. Let’s
Le
et’s
t’s make
ma
ak
ke the
the switch!
switch!
for
Plain
Pla
ain milk
milk today!
toda
da
ay!
-ODELED7RITING
ASSESS THE LEARNING
Analyze the drafts to identify
writers who need assistance to
prove an opinion in a debate.
Identify students who may be
ready for additional levels of
sophistication in their writing,
such as adding linking words to
compare.
Teaching language in italics
models how you might think
aloud, summarize, or guide
students’ participation.
As writers develop their drafts, confer with individuals or small groups
to support and scaffold understanding. Y
You
ou might pull together a small
group for direct instruction on facts and opinions. Explain that opinions
often have clue words, such as believe. Assist as students add facts to the
framework to support their opinions.
SELF-ASSESSMENT
SELF-ASSESSMENT
3
SHARING and REFLECTING
Sum it up! Writers, you wrote a clear statement of opinion and included
two points of support for each one. Your arguments are so strong
because you’ve carefully considered how to support them. I’m sure your
listeners were convinced!
T
TURN
You are going to present your debatess to a new set of partners. Be
&TALK
prepared to talk about how you developed your debate
e plans. Wh
What
features of persuasive debates do you want to be sure to mention?
Think together about the most important features.
YES
NO
1. Title
F
F
2 . I n t ro d u c t i o n o f t o p i c
F
F
3. Statement of opinion
F
F
4. At least two points of support for
opinion
F
F
5. Summary and call for action
F
F
6 . L i n k i n g w o rd s o f c o m p a r i s o n :
h ow e v er, b ut, a lt h o u gh , on t h e
ot h er h a n d, simi la r ly, li k ew is e, in
contrast to
F
F
T
TURN
Writer
riters, make a case for plain milk! Identify a
&TALK
fact that would support my opinion.
I am listing two facts about plain milk. These facts
should convincee listeners in a debate that plain milk
is, indeed, the best choice. I could write: Plain milk
is delicious! But I’m not sure that would support
my opinion. Not everyone thinks th
hat plain milk
is delicious. So I am going to ch
hoose points that
are easier to prove. Facts are easier to prove than
opinions. Model writing faacts as you think aloud.
Explain how these points support your opinion.
I want to leave my listeners with a strong
impression. I am going to summarize my
arguments to end the debate and make a call to
action. That means that not only will I sum up my
arguments, but I’ll tell my readers that plain milk
is the best! Model creating a strong summary, in
Self-assessment checklists,
provided on the Resources CD-ROM,
refocus students on the lesson’s key
learning and help them monitor
their personal progress.
Debatte Plan
PERSUADE
Chocola
Chocolate
ate Milk vs. Plain
Plain Milk:
Milk:
Which should be ser
served?
ved?
WRITING and COACHING
During Sharing and Reflecting
students summarize what they have
learned and consider next steps.
199
It’s your turn! With a partner, plan a persuasive debate. Choose a topic
such as “Which is better—fruits or vegetables?” or “Which pet is the
best—a dog or a cat?” Each of you will use the debate planner together
to identify points for your answer. Then present your debate to another
pair.
FOCUSED
MINILESSON
Watch as I begin with a title that shows the topic: Chocolate Milk vs. Plain
Milk: Which should be served in our school’s cafeteria? Notice that I start
with a question. The abbreviation vs. means “versus.” That means it’s a
competition—one kind of milk against the other!
3
During Writing and Coaching children
research and write independently and
work with partners.
Debate Plan
FEATURES
F
EATU R E S
Modeled writing samples
illustrate the strategy you will be
introducing during your thinkaloud and serve as mentor text
for the lesson.
The teacher-directed Focused Minilesson
highlights a specific learning task and
models a new strategy.
PERSUADE : Power Write
1
The features list calls out the key
characteristics of the writing form
you will want to emphasize for
writers.
1
TA K E
I T
F O R WA R D
Model how to use linking words of comparison in developing a debate. Linking words to consider include howeverr,
but, although, on the other hand, similarlyy, likewise, and in
contrast to. Model how to weave these words into a debate
to consider the point of view
w, such as “Although many students like chocolate milk, the added sugar in chocolate milk
is bad for your teeth.”
A debate is a fantastic tool for developing students’ confidence as speakers. Discuss topics that will lead to success
in presentation, such as making eye contact, using a strong,
steady voice, and so on.
Have students make a plan for a more controversial debate,
such as how to save polar bears, how to reduce energy
consumption, or how to combat bullying. Students can work
in groups and create a framework to address both sides of
this issue. Present the debates for another class or parents.
Watch a debate in class and evaluate it. Identify the opinions and the facts that were presented. Discuss which
person, or point of view, did a betttter job of explaining their
perspective.
The generative Supporting and
Extending feature suggests ways
to apply the new learning across
the curriculum with increasing
sophistication.
— from Grade 3, Persuade: Power Write
8
For sample lessons and additional information visit Heinemann.com
L ESSON B OOK : Power Writes
9
Mentor Texts, Grades K–2
Mentor Texts, Grades 3–5
In grades K–2, each Big Book of Mentor Texts provides an anthology of
exemplar nonfiction texts in an expansive format (28" × 18" spreads).
Each mentor text supports one or more lessons. The carefully crafted
text and dynamic visuals show how engaging and vibrant nonfiction
texts can be and set a high standard for young writers.
Washington,
D.C.
Where can
you come fac
e to face wit
out rocks tha
h a panda,
t came bac
check
k from the mo
amazing spo
on, cheer on
rts teams, and
some
see histor y
being made
right in front
of your eye
s?
In Washingt
on, D.C.— a
city
unlike any oth
er!
At the
Learning on
Vacation? Ye
s!
Do you thin
k that learning
and vacatio
n don’t go
together? Thin
k again!
Washington,
D.C. is a plac
e
where you
can learn whi
le
you have fun.
Internatio
nal Spy
Museum,
you’ll see
the amazin
g tools
and cool gad
gets
that spies use
. And
you’ll be surp
rised to
learn how imp
ortant
spies have
been in
history.
Mentor texts model how nonfiction articles
can be used to inform, to instruct, to narrate,
to persuade, and to respond.
Dolphin
a
w
a
r
D
How to
Up! Up! and
Away!
If you are fasc
inated
by airplane
s, rockets,
and other thin
gs that
fly, you’ll wan
t to visit
the Nation
al Air and
Space Museu
m.
You can see
the Write
Brothers plan
e and a
command mod
ule that
landed on the
moon.
s
Direction
htly
ncil to lig
.
lf circle
a big ha
In grades 3–5, mentor texts are provided as posters and as reproducible blackline
masters. The six posters (20'' x 30'') at each grade level model how visuals and texts
can work together to effectively present information. Easy to photocopy and share,
the blackline masters encourage students to analyze the various text structures and
features used in informational texts.
Ideal for shared reading and
discussion, each pack of posters
addresses real-world topics and
promotes visual literacy
The laws of
the nation star
t
here. The Uni
ted States
Capitol was
built over 200
years ago,
and people
all
over the wor
ld recognize
this
famous buil
ding. If you
visit
Washington,
D.C., you’ll
see this
place where
history is ma
de!
draw
a pe
1. Use
38
39
beak
dorsal fin
e end
rve at on
a big cu
2. Add
lf circle
w the ha
llo
fo
d
d
an
other en
ave the
back. Le
open.
flipper
e flukes
Materials
r
✔ pape
ncil
✔ a pe
flukes
er
od eras
✔ a go
ayons or
cr
ay
✔ gr
pencils
colored
w th
3. Dra
Enlarged print and beautiful visuals
help young writers access high-quality
linguistic features, text features,
visuals, and nonfiction content.
at the
d.
open en
e
look lik
ch one
Make ea
ith a lit tle
iangle w
m.
tto
a big tr
bo
e
th
cut into
square
25
Each book of blackline masters provides a library of
engaging informational texts that build background
knowledge on a range of cross-curricular topics.
24
Resources CD-ROM
10
All of the mentor texts in grades K–5 are provided in full color
on their respective CD-ROMs. Print them for individual student
use or project them for group analysis.
Critical literacy—reading, hearing, or viewing to analyze, synthesize, and evaluate content—
and visual literacy—inferring meaning from pictures, photographs, diagrams, and other
graphic forms—are the cognitive underpinnings of nonfiction writing. Without the ability
to construct meaning from a variety of contexts, writers have nothing to write about.
PLUS: The Resources CD-ROM also includes additional mentor
texts for guided and independent practice.
—Tony Stead and Linda Hoyt
For sample lessons and additional information visit Heinemann.com
B IG B OOK OF M ENTOR T EXTS and R ESOURCES CD-ROM
11
Additional Resources
Crafting Nonfiction
Nonfiction Writing DVDs
Lessons on Writing Process, Traits, and Craft
Intentional, Connected, and Engaging
Crafting Nonfiction’s ready-to-use minilessons provide:
Through these DVD companions to their Explorations in Nonfiction Writing series,
Linda Hoyt and Tony Stead invite you to eavesdrop as they and other master teachers
teach elementary students how to craft informative and engaging nonfiction texts.
◗ explicit techniques for teaching the complete research-to-presentation writing process
◗ strong models of the traits of good writing from ideas and organization to authentic voice
◗ effective strategies for using conventions to pace and clarify the message
In both of these DVD sets, Linda, Tony, and their colleagues:
◗ meaningful ways to integrate nonfiction writing across your curriculum.
◗ model ready-to-use strategies for supporting excellent nonfiction writing
Plus a CD-ROM of printable resources includes shared readings, science and social studies
visuals, student writing samples, and an assortment of teaching tools.
◗ show how to support young writers as they work with various recording
techniques
◗ model the planning and the payoffs involved in teaching extended writing units
◗ demonstrate writing lessons for math, science, and language arts.
Nonfiction writing does
not need to sound like an
encyclopedia. It can be
richly constructed with
a wide variety of sentence
patterns. Craft elements
and literary devices should
be highlighted and employed
in nonfiction selections
just as carefully as we
implement them
in fiction.
Short and targeted, each lesson
can be completed in 15 minutes so
that writers have time to do what
they most need to do—write!
Offering rich opportunities for group analysis and discussion, these live-from-the
classroom DVDs are ideal tools for teacher professional development.
Tony walks you through a
collaborative, whole-class
unit on report writing.
Young children need control
over the various types of
nonfiction texts. They need
to take these into their lives.
In these DVDs we model
powerful ways to achieve
this with real children in
real classrooms.
—Tony Stead and
Linda Hoyt
— Li nda Hoy t
Linda demonstrates
craft lessons that lift
the quality of writing.
Minilessons can be slipped into your
writing workshop or your science, social
studies, health, and mathematics classes.
Learn how to organize
and implement effective
research stations.
12
For sample lessons and additional information visit Heinemann.com
A DDITIONAL R ESOURCES : Crafting Nonfiction and Nonfiction Writing DVDs
13
ISBN-13: 978-0-325-04621-1
ISBN-10: 0-325-04621-2
9 0 0 0 0>
361 Hanover Street
Portsmouth, NH 03801-3912
9 780325 04621 1
Linda Hoyt is a nationally recognized consultant who
creates environments in which engaged children are active
participants in their own learning. In addition to being a staff
developer and a curriculum specialist, she has authored several
books for teachers, including Revisit, Reflect, Retell: Time-Tested
Strategies for Teaching Reading Comprehension; Snapshots: Literacy
Minilessons Up Close; and Make It Real: Strategies for Success with Informational Texts. Most
recently, Linda has authored the Interactive Read-Alouds series (K–7).
Tony Stead has taught at both the elementary and
university level and is the author of several publications on
teaching reading and writing, including Is That a Fact?: Teaching
Nonfiction Writing K–3; Reality Checks: Teaching Reading
Comprehension with Nonfiction K–5; Good Choice!: Supporting
Independent Reading and Response K–6; and Should There Be
Zoos?: A Persuasive Text. He is also the author of two video series: Time for Nonfiction
and Bridges to Independence: Guided Reading with Nonfiction.
Easily adaptable, Explorations in Nonfiction Writing will support you whether you are integrating nonfiction writing into
your established literacy block or developing a new nonfiction writing program that supports your entire academic curriculum.
Explorations in Nonfiction Writing: Grade K / 978-0-325-03142-2
2011 / teacher’s guide + lesson book + big book + CD-ROM / $110.00
Explorations in Nonfiction Writing: Grade 1 / 978-0-325-02681-7
2011 / teacher’s guide + lesson book + big book + CD-ROM / $110.00
Explorations in Nonfiction Writing: Grade 2 / 978-0-325-03143-9
2011 / teacher’s guide + lesson book + big book + CD-ROM / $110.00
Explorations in Nonfiction Writing: Grade 3 / 978-0-325-03784-4
2012 / guide + lesson book + mentor texts + CD-ROM / $110.00
Explorations in Nonfiction Writing: Grade 4 / 978-0-325-03785-1
2012 / guide + lesson book + mentor texts + CD-ROM / $110.00
Explorations in Nonfiction Writing: Grade 5 / 978-0-325-03786-8
2012 / guide + lesson book + mentor texts + CD-ROM / $110.00
The K–5 Explorations in Nonfiction Writing Series Bundle
P L U S PA C K S
Nonfiction Writing PLUS Pack: Grade K / 978-0-325-04223-7
2011 / ENFW, Grade K + Crafting Nonfiction, K–2 / $134.30 Save $23.70
Nonfiction Writing PLUS Pack: Grade 1 / 978-0-325-04224-4
2011 / ENFW, Grade 1 + Crafting Nonfiction, K–2 / $134.30 Save $23.70
Nonfiction Writing PLUS Pack: Grade 2 / 978-0-325-04225-1
2011 / ENFW, Grade 2 + Crafting Nonfiction, K–2 / $134.30 Save $23.70
Nonfiction Writing PLUS Pack: Grade 3 / 978-0-325-04622-8
2012 / ENFW, Grade 3 + Crafting Nonfiction, 3–5 / $134.30 Save $23.70
Nonfiction Writing PLUS Pack: Grade 4 / 978-0-325-04623-5
2012 / ENFW, Grade 4 + Crafting Nonfiction, 3–5 / $134.30 Save $23.70
Nonfiction Writing PLUS Pack: Grade 5 / 978-0-325-04624-2
2012 / ENFW, Grade 5 + Crafting Nonfiction, 3–5 / $134.30 Save $23.70
978-0-325-04625-9 / Includes all six ENFW sets / $594.00 Save $66.00
ADDITIONAL
RESOURCES
Crafting Nonfiction, Primary / Grades K–2 / 978-0-325-03147-7 / 2011 / 368pp + CD-ROM / $48.00
Crafting Nonfiction, Intermediate / Grades 3–5 / 978-0-325-03722-6 / 2012 / 340pp + CD-ROM / $48.00
Nonfiction Writing DVDs, Grades K–2 / 978-0-325-02797-5 / 2011 / 120 minutes / 2 DVDs + guide / $195.00
Nonfiction Writing DVDs, Grades 3–5+ / 978-0-325-02798-2 / 2012 / 120 minutes / 2 DVDs + guide / $195.00
These are school prices and reflect a 20% discount off list price. Prices subject to change without notice.
CALL
800.225.5800 ✹
FAX
877.231.6980 ✹
WEB
Heinemann.com