10 ways to get the most out of silent reading in schools



Children need time and space to enjoy the books they choose to read in schools.
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Margaret Kristin Merga, Edith Cowan University

Reading aloud can help young children learn about new words and how to sound them. There’s great value too in providing opportunities for children to enjoy regular silent reading, which is sustained reading of materials they select for pleasure.

But not all schools consistently offer this opportunity for all of their students. We regularly hear from teachers and teacher librarians who are concerned about the state of silent reading in schools.




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Read aloud to your children to boost their vocabulary


They’re worried students don’t have enough opportunity to enjoy sustained reading in school. This is important, as many children do not read at home.

For some young people, silent reading at school is the only reading for pleasure they experience.

Silent reading silenced

Research suggests silent reading opportunities at school are often cancelled and may dwindle as students move through the years of schooling.

Where silent reading opportunities still exist, we’re often told that the way it is being implemented is not reflective of best practice. This can make the experience less useful for students and even unpleasant.

Yet regular reading can improve a student’s reading achievement. Reading books, and fiction books in particular, can improve their reading and literacy skills.

Opportunity matters too, as the amount we read determines the benefits we get from reading. Regular reading can help with other subjects, such as maths.

So, what should silent reading look like?

Silent reading in school should be fun.
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Here are ten important things we need to do to make the most of silent reading in our schools.

1. Enjoyment is the focus

Enjoyment of reading is associated with both reading achievement and regular reading.

If we want young people to choose to read more to experience the benefits of reading, then silent reading needs to be about pleasure and not just testing.

2. Students choose the books

Young people should not be prevented from choosing popular or high-interest books that are deemed too challenging. Books that are a bit too hard could motivate students to higher levels of achievement.

Students have reported enjoying and even being inspired by reading books that were challenging for them, such as J.R.R. Tolkein’s The Lord of the Rings.

Silent reading of text books or required course materials should not be confused with silent reading for pleasure.

3. The space is right

Like adults, children may struggle to read in a noisy or uncomfortable space.

Schools need to provide space that is comfortable for students to enjoy their silent reading.

Children need space to enjoy silent reading.
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4. Opportunities to chat (before or after)

Discussion about books can give students recommendations about other books and even enhance reading comprehension.

But silent reading should be silent so all students can focus on reading.

5. Inspired by keen readers

If students see their teachers and teacher librarians as keen readers this can play a powerful role in encouraging avid and sustained reading.

School principals can also be powerful reading models, with their support of silent reading shaping school culture.

6. Students have access to a library

Even when schools have libraries the research shows students may be given less access to them during class time as they move through the years of schooling.

Not all students are given class time to select reading materials from the library.

All students should be encouraged to access the school library.
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7. It happens often

This is particularly important for struggling readers who may find it hard to remember what they are reading if opportunities for silent reading are infrequent.

These students may also find it difficult to get absorbed in a book if time to read is too brief.

8. Paper books are available

Reading comprehension is typically stronger when reading on paper rather than a screen.

Screen-based book reading is not preferred by most young people, and can be associated with infrequent reading. Students can find reading on devices distracting.

9. There is a school library and a teacher librarian

Teacher librarians can be particularly important in engaging struggling readers beyond the early years of schooling. They may find it hard to find a book that interests them but which is also not too hard to read.

Librarians are also good at matching students with books based on movies they like, or computer games they enjoy.

10. We need to make the school culture a reading culture

Reading engagement is typically neglected in plans to foster reading achievement in Australian schools.

Practices such as silent reading should feature in the literacy planning documents of all schools.

Allowing students to read for pleasure at school is a big step toward turning our school cultures into reading cultures. Students need opportunities to read, as regular reading can both build and sustain literacy skills.

Reading should be part of the culture of a school.
Shutterstock/wavebreakmedia



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Unfortunately, literacy skills can begin to slide if reading is not maintained.

We need people to continue to read beyond the point of learning to read independently, though research suggests this message may not be received by all young people.

Where children do understand reading is important, they may be nearly twice as likely to read every day. So silent reading is important enough to be a regular part of our school day.


This article was co-authored by Claire Gibson, a librarian who’s studying a master in education by research at Edith Cowan University.The Conversation

Margaret Kristin Merga, Senior Lecturer in Education, Edith Cowan University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

From crime fighters to crime writers – a new batch of female authors brings stories that are closer to home


Lili Pâquet, University of New England

In Dervla McTiernan’s book, The Scholar, published earlier this year, women are consistently used as the “fall guys” for men with high aspirations. Two young women are killed when they uncover fraud. Another female colleague is then framed for the murders.

Before writing crime fiction, McTiernan worked as a lawyer for 12 years, for international companies like the one in The Scholar. Her background lends her book authority, even though it’s fiction.

McTiernan joins a batch of crime writing women bringing professional clout to their books. Others are Kathy Reichs, Patricia Cornwell, Marcia Clark, Alafair Burke, Anne Holt, and Lisa Scottoline. This list is a tiny fraction of the trailblazing authors.

Crimes close to home

Last week, Elizabeth Farrelly wrote that “crime fiction is the morality drama of our time” that can “heighten and dissect the battle of good against evil enacted daily in our living rooms, cities and streets”. She compared crime books about violence against women with Australia’s deplorable record on domestic violence and rape.


Macmillan

In books written by ex-justice professionals, we are asked to examine our cultural and moral compasses. These authors don’t just write about serial killers – who are thankfully more common in the pages of crime books than in real life – they more often focus on murders by spouses, family members or colleagues of the victim. Some push for changes to how rape trials are prosecuted. They focus on the justice system problems that women face, as victims and as professionals.

The stories also ask us to question how we perceive professional women. These authors’ characters, who often have much in common with their creators, face a barrage of harassment on the job. Lisa Scottoline’s fictional all-women law firm is consistently targeted by abusive prank callers. In her latest book, Feared, the firm is sued for “reverse” sexual discrimination.

What’s the appeal?

Australians are avid readers of crime fiction. In a 2017 study, 48.5% of respondents read crime fiction, making it the most popular genre for enjoyment.

While researching my book on the topic, I had the opportunity to read Dorothy Uhnak’s fan letters, held at the Howard Gotlieb Archival Research Center at Boston University. Readers (many of whom were prison inmates) repeatedly told Uhnak that her books touched on inequalities in the justice system that rang true for them, and reading her work was therapeutic.

Cosy vs hardboiled

Female crime writers have historically been pigeonholed as writing “cosy crime” novels as opposed to more graphic masculine representations of “hardboiled” detectives.

We are used to reading about women as amateurs, from Agatha Christie’s spinster sleuth, Miss Marple, to Janet Evanovich’s bumbling and untrained bounty hunter, Stephanie Plum. Since the 1970s, more authors have written about women as hardboiled private detectives.

Agatha Christie is acknowledged as the grande dame of crime fiction.
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Now, we are increasingly seeing women characters in professional roles. When the author is also a professional, she has even more authority. She has “insider knowledge.” Priscilla Walton and Manina Jones surveyed women who read feminist crime series and found that readers identify with the struggles of characters who are realistic professional women. Often, the fictional investigations have similarities to real ones the author has worked on. Central Park 5 prosecutor turned crime author Linda Fairstein received pointed criticism about these similarities.

Ruth Rendell and other authors remember being discouraged from writing crime.

The force


Penguin

In Australia, ex-police officer Y.A. Erskine’s debut The Brotherhood tells the story of rookie cop Lucy Howard who is blamed when a senior sergeant is killed on a routine call-out. She can’t join the brotherhood of the Tasmanian police force, because, in her words, she doesn’t have the “standard-issue penis”. She is an outsider inside the system.

In Erskine’s follow-up, The Betrayal, Lucy is raped by a colleague. When she makes a complaint, she is vilified and blamed for tarnishing the reputation of the police. The complaint is briefly investigated before being dropped.

Another Australian ex-cop writing crime is P.M. Newton. Her debut, The Old School (notice the theme in the titles?), follows Australian-Vietnamese officer, Nhu “Ned” Kelly. She deals with the racism and corruption of her male colleagues before being shot by one of them.

Newton’s following book, Beams Falling (a reference to Dashiell Hammett’s Flitcraft parable within The Maltese Falcon), tracks Ned’s struggle with post traumatic stress disorder. While fictional detectives usually bounce back quickly after violence, Ned never fully gets over the trauma, and her work offers little support.

Ex-cop Karen M. Davis, has also created a character damaged by her policing experience. Davis’ Lexie Rogers has been stabbed in the neck, and fears facing her attacker in court – a fear exacerbated by her insider knowledge of the justice system. Davis has spoken about how she retired from the police because of trauma, and began writing as a kind of catharsis. Erskine has spoken out about how the rape of Lucy in her books is based on her own unreported rape by a colleague.

These authors have seen the inside of the criminal justice system, its flaws and the experience of women within it. They bring this cachet of lived experiences to their crime fiction. Bestsellers by Marcia Clark or Anne Holt could spark moral reflection, validate women’s experiences, and be part of the cultural shift needed to end violence against women.The Conversation

Lili Pâquet, Lecturer in Writing, University of New England

This article is republished from The Conversation under a Creative Commons license. Read the original article.