Free Inquiry Week 2; Big Ideas and Research

Through my research, I’ve learned that a defining element of compassionate education is its resistance to traditional systems that prioritize exams over emotional well-being. The Global Compassion Coalition points out that “The pressure of repeated exams is known to correlate with increased stress and anxiety among pupils. A study in the UK reported that 94% of teachers believe pupils are driven toward stress-related conditions during exam season.” The report also speaks to how exams only measure a narrow range of knowledge and fail to capture skills like emotional intelligence, collaboration, or creativity. In this sense, a system centered on testing not only overlooks important dimensions of learning but also encourages competition rather than community. Compassionate education seeks to reverse that pattern. Instead of teaching students to outperform one another, it aims to create conditions where they can thrive alongside one another.

This idea is echoed in Luba Vangelova’s work with Charter for Compassion, as described in To Advance Education, We Must First Re-imagine Society. Vangelova argues that reform efforts often fail because they focus on fixing schools rather than rethinking the values that shape our entire society. She looks to the work of John Abbott, of the 21st Century Learning Initiative in her account. Vangelova asks whether we want a world of independent, community-minded adults or one of consumers who depend on products and authority figures to define their choices. Her view is that our education systems mirror the latter. Built during the Industrial Age, they were designed to produce compliant workers rather than curious thinkers. As a result, students have been conditioned to absorb information and follow directions rather than question, connect, or create.

Vangelova envisions an entirely different kind of learning. One that mirrors biological growth rather than mechanical efficiency. Children, she notes, are “born to learn” and naturally driven to make sense of the world through exploration. When adults step back and create “highly challenging but low-threat environments,” young people develop a genuine desire to understand, not simply to achieve. Compassionate systems of education, then, require trust: trust in children’s intrinsic motivation, and trust in the learning process itself.

She also emphasizes that education should be a community-wide responsibility. Students need to see themselves as valued contributors, not passive recipients. This approach relies on relationships between teachers, families, and communities. Relationships that model empathy, interdependence, and shared responsibility. She quotes, teachers should act as “imaginative, knowledgeable guides” who spark curiosity rather than deliver information. Engaging a class in a spontaneous discussion about war illustrates how real learning emerges from dialogue and connection, not memorization.

While we could critique the system at large, other programs show what compassion can look like in practice. The Global Game Changers (GGC) program, described by Erin Skarda in How Teaching Compassion Empowers Kids to Make the World a Better Place, offers one such example. This initiative uses the equation my talent plus my heart equals my superpower to help children recognize their capacity to contribute to their communities. Students learn that compassion is not a separate moral lesson but a part of who they are. The program has been linked to improvements in academic achievement, self-confidence, and classroom climate. Teachers who participated in the pilot program described more creative, positive, and engaged learning environments, even within the pressures of standardized testing.

What stands out to me about programs like GGC is their belief that compassion can be both a moral compass and a pedagogical strategy. When children learn to give back, they also learn to see themselves as capable, valued, and connected. This sense of belonging and purpose seems to be what traditional education often misses.

In exploring these ideas, I am beginning to see compassionate education as a shift in both mindset and structure. It challenges the belief that success can be quantified through grades and instead focuses on nurturing empathy, community, and curiosity. The more I learn, the more I recognize that compassion in education is not just about kindness, it’s about redesigning the very systems that shape how children see themselves and the world.

Next week, I will be learning about specific compassionate practices and their outcomes, exploring how they look in real classrooms and what effects they have on student well-being and learning.

Free Inquiry Week 1; “What impact do compassionate practices have on student well-being and learning?”

I had my first official introduction to Compassionate Systems on my 6 week practicum. My practicum was at a school where the majority of students were reactive and had high needs. My mentor had been participating throughout the year in monthly meetings for “SEY2KT” (or “Strengthening Early Years to Kindergarten Transitions”). A core concept of these meetings was compassion. The meetings were put on by BC Compassionate Systems Leadership Network. Their website states “Compassionate Systems Leadership (CSL) is an approach to leadership that explicitly builds skills and practices in three interconnected domains: self (building a practice of personal reflection, mindfulness and compassion), each other (building authentic relationships that can support generative conversations), and the system (developing skills and capabilities to use tools that honour the complexity of the work that needs to be done).

There’s quite a few pillars to compassionate systems. Compassion, Diversity or Perspective Taking, Generative Space, Leadership, Present Awareness, Relationships and Reflection, Systems Thinking, and Well-being. All of these components work together to enable teacher, student, administration, community, and systems to operate from a lens of compassion. 

I was so inspired by these meetings. The room was full of primary teachers from the district. Every person there was there for their students and their community. They were advocating for compassionate systems for all of their students in a universally designed way, to have compassionate systems in place to catch their hard to reach students and families, while boosting all families. Looking around that room, I saw the kind of teacher I wanted to be. I wanted to be the teacher who leads with “courageous kindness”. I want to be the teacher who experiences the suffering of my students, and does whatever I can to alleviate it, while also looking after myself. 

I saw the principles of compassionate systems being naturally implemented in my practicum school. And despite the high needs, the people in that building were showing up not just to work everyday, but they were showing up for their students. Throughout this inquiry, I seek to find the real world results of compassionate systems. I’m curious for how exactly compassionate practices have an impact on students, not just their learning but also their well-being. I’ll be interviewing people trained in compassionate systems, as well as people who are not. I’ll be doing research, and trying to find real world applications. 

I’m so excited for this journey, thank you for coming along! 

Epic! Books Review!

When I first discovered Epic Books, I was struck by how easily it could into a modern classroom. Epic is a leading digital reading platform designed for children aged 12 and under, offering access to over 40,000 high-quality books, audiobooks, and educational videos. The platform is free for teachers to use during school hours and provides a paid subscription option for families at home. Its library is curated specifically for kids, which means I can comfortably allow students to explore without worrying about inappropriate or mature content.

Epic’s founders describe their mission in a way that captures what makes it special: “Epic was born out of a single question: How do we make books more accessible to kids? As parents, it always seemed strange to us that our kids could so easily play games and watch videos on their iPhones and iPads, but the same couldn’t be said for books. So in 2013, we decided to build the first ‘epic’ reading experience, designed just for kids. Today, Epic has grown into an award-winning subscription service, which gives millions of families and classrooms instant, unlimited access to thousands of books, videos and quizzes from leading publishers to help kids everywhere read, learn and grow.”

That idea of accessibility resonates deeply with me. As a teacher who is particularly passionate about literacy, I am always looking for ways to make reading feel approachable and enjoyable for every student. Some children naturally gravitate toward books, but others need an entry point that feels less intimidating. I think Epic has lots of potential for bridging that gap. The audiobooks, for example, are a wonderful way to spark a love for storytelling in students who may not yet see themselves as readers. Listening to a story read aloud can build comprehension, vocabulary, and imagination, while also showing that reading is not confined to printed pages. For some students, this can become a gateway into picking up physical books later on.

I imagine using Epic during literacy centers or independent reading time. One student might listen to an audiobook while following along with the text, while another flips through a comic. The platform also offers quizzes and Read-to-Me options, which add interactive elements that help students engage more deeply with what they are reading. It could also work well in a calm corner. If a student needs a moment to regulate, giving them the option to listen to a soothing story or quietly explore a digital book could help them refocus before returning to the group.

Another feature I appreciate is how easy it is to personalize. Teachers can assign specific books based on reading level or topic, or simply let students browse freely. The recommendations adapt to each child’s interests, helping them discover new stories that match their preferences. Because the environment is ad-free and designed for children, I don’t have to worry about what they might encounter, which is not always the case with public digital libraries or open web searches.

There is also potential for using Epic to support cross-curricular learning. For instance, during a science unit, students could explore informational books about habitats or weather patterns. During social studies, they could listen to biographies or historical stories. These connections make reading feel relevant beyond language arts and help students see literacy as a tool for curiosity and discovery.

Here’s a little video of a classmate and I showing you around Epic: 

I can absolutely see myself using Epic in a classroom, it’s very versatile and student-friendly!

My Own Experience With Social Media.

My experience with social media mirrors that of many people my age, shaped by the rapid evolution of digital spaces that emerged as I came of age. I joined Instagram in 2012, when I was starting seventh grade, during a time when the platform still felt experimental and unmoderated. Social media then was a frontier of self-expression. I wish now that there had been clearer boundaries or that my parents had understood how deeply these platforms would shape our understanding of connection, popularity, and self-worth.

In those early years, I posted constantly. My feed was filled with selfies edited to extremes, captions stuffed with hashtags, and photos framed by heavy vignettes. I made and shared Vampire Diaries “memes,” though we did not call them that yet, and sometimes posted thirty in a single day.

ONE OF THE MANY, MANY VAMPIRE DIARIES MEMES I POSTED.
ME, AGE 12. SOMETHING I WISH I HAD NEVER POSTED. EXCEPT IT IS A LITTLE FUNNY.

I was endlessly entertained by my own creations. That changed suddenly in eighth grade, when a classmate casually mentioned that my constant posting was annoying. It was a small comment, but at the time it felt humiliating. That afternoon, I archived my account and started a new one. I can still access the old one, a digital time capsule of 761 posts. Looking back, that moment marked the beginning of my awareness that online spaces are not neutral. They are social environments, shaped by the same power dynamics, hierarchies, and vulnerabilities as real life. It’s fun and silly to have the digital capsule and I’m glad I have a clear snapshot of what was going through my preteen brain, but I’m also so embarrassed I ever posted so much of it to begin with! 

My parents, like many at the time, had strong opinions about online safety but uneven digital literacy themselves. Facebook was off-limits because it was “too adult,” and YouTube was treated as dangerous, yet I had unrestricted access to Instagram, Pinterest, and Kik. It is almost endearing to recall how easily I blurred fantasy and reality. At one point, I became absolutely convinced that Harry Styles had personally messaged me through Pinterest and invited me to his concert in Toronto. I told all my friends we would have fallen in love if only my mother had let me go. That memory makes me laugh now, but it also reminds me how ill-equipped many young people were to navigate online spaces critically. We lacked the tools to discern authenticity, evaluate credibility, or recognize the constructed nature of digital content. 

As I grew older, my relationship with social media became more strategic. I learned the unspoken rules of “coolness.” and what governed what acceptable media usage: post rarely, make it look effortless, and above all, appear curated but authentic. Slowly, my private life and my online life drifted further apart. What I shared became a curated snapshot rather than an honest reflection. My digital persona became more about how I wanted to be perceived than who I actually was.

In 2019, I began working for a small local shop and was responsible for managing their social media. This experience reframed my understanding of these platforms. I learned how to post consistently, design cohesive visuals, and engage with an audience in ways that built community. I discovered how social media could be used not only for self-promotion but for storytelling and advocacy. That position led to a similar role managing social media for the Indigenous Studies program at the University of Victoria during my undergraduate degree. I covered events, created newsletters, and highlighted student and community achievements. Around the same time, I worked as an assistant to a realtor, managing his listings and digital marketing. Through these experiences, I came to see social media as a professional tool, one that can amplify voices and create meaningful visibility when used thoughtfully.

Today, I find myself in a more complicated relationship with social media. I no longer manage it for others, and I use it less actively for myself, though I still spend more time observing than I would like to admit. Since deciding to become a teacher, I have become more conscious of how I am perceived online. In education, public image carries real professional consequences. Digital literacy for educators extends beyond knowing how to use technology; it involves understanding privacy, ethics, and the ways online behavior can shape credibility and trust.

Outside of teaching, I love to cook and host large dinner gatherings when I am home, sometimes for fifteen or more people. I often see creators online documenting similar experiences beautifully, transforming ordinary evenings into visual narratives. A part of me is drawn to share my own gatherings that way, but another part hesitates. I think my early experiences online taught me both the power and the precarity of visibility. I have worked really hard to reach this point in my professional journey, and I want to protect that. For now, I am content to let some moments exist offline. Perhaps that is my most valuable lesson in digital literacy so far: knowing when to engage with the digital world, and when to be in the real one. 

Classroom Takeaways #3

Over the past few weeks, I had the incredible opportunity to immerse myself in a second-grade classroom, designing and facilitating a literacy centre, followed by working with third graders in a Reader’s Theatre activity. As someone who has always been drawn to Language Arts, this experience was both exciting and a little nerve-wracking. I wasn’t sure what to expect, but I walked away with valuable insights into how young learners engage with language and how I can best support them as they build foundational literacy skills.

The Word Strips Literacy Centre: Playful Sentence Building

When tasked with creating a literacy centre for second graders, I drew inspiration from my upstairs neighbors, who keep a set of magnetic words on their door. Every time I walk by, I see what creative and often silly sentences their kids have constructed. I’ve even started leaving little messages for them in return! This small, everyday experience sparked the idea for my literacy centre – I wanted to give my students the chance to play with words in a way that would encourage both creativity and practical thinking about sentence structure.

Developing the word list was an eye-opening process. I had to ensure there was enough variety to keep students engaged while also including keywords that would allow them to form complete sentences. Despite ending up with nearly 200 words, I still felt I could have added more! Handwriting and cutting out each word myself also gave me a deeper appreciation for the intricacies of sentence-building. It made me think about the small but critical decisions students face when forming a sentence, choosing the right subject, verb, and connectors to make their ideas flow.

Curriculum Connections: Grade 2 Language Arts

This activity directly ties into the Grade 2 BC Language Arts curriculum, particularly the Big Idea: “Playing with language helps us discover how language works.” Through hands-on sentence creation, students were not only having fun but also engaging with the core competencies of communication and critical thinking. The activity aligned with key curricular content, such as:

  • Sentence structure – Understanding how words come together to form complete thoughts.
  • Communicating using sentences – Experimenting with different ways to express ideas.
  • Exploring word choice and meaning – Recognizing the impact of different words in a sentence.

I was beyond thrilled to see the students enthusiastically constructing sentences, some humorous, some poetic, and all demonstrating a growing awareness of how language functions. 

Reader’s Theatre: Bringing Stories to Life

The following week, I had the chance to work with third graders on a Reader’s Theatre activity, helping them perform Town Mouse and Country Mouse. This was my first time leading Reader’s Theatre, and I quickly saw why it’s such a valuable literacy tool. The students had fun, built fluency, and improved their reading confidence through performance! 

One challenge that arose was in role assignment—some students selected lengthy parts without considering their reading abilities, leading to moments of hesitation during performance. This made me reflect: should the strongest readers always get the most challenging roles, or should we encourage struggling readers to push themselves? With more rehearsal time, I believe we could have provided extra support to those who needed it, boosting their confidence along the way. Still, the students embraced the experience, and it was rewarding to see them engage with storytelling in such an interactive way.

Curriculum Connections: Grade 3 Language Arts

In the Grade 3 BC Language Arts curriculum, one of the Big Ideas is: “Stories and other texts connect us to ourselves, our families, and our communities.” Reader’s Theatre exemplifies this by making stories come alive and allowing students to explore character, dialogue, and expression. This activity also aligns with:

  • Oral language strategies – Practicing fluency, pacing, and expression.
  • Comprehension strategies – Understanding character motivations and story structure through performance.
  • Collaborative learning – Working together to bring a story to life, emphasizing teamwork and shared responsibility.

The experience reinforced my belief in the power of interactive literacy activities. Whether through sentence-building or dramatic reading, students benefit most when they can actively engage with language rather than passively absorb it.

Looking Ahead: Lessons for My Future Classroom

My time at GT solidified my love for teaching Language Arts and gave me practical insights into how to implement engaging, meaningful literacy activities. I now feel more confident designing lessons that balance structure with creativity, ensuring that students have both the support and the freedom to explore language in ways that excite them. I’m especially excited to refine my word strips activity and continue using Reader’s Theatre as a way to build fluency and confidence.

These experiences have reaffirmed my belief that literacy learning should be dynamic, hands-on, and joyful. Whether constructing silly sentences with magnetic words or stepping into the shoes of a storybook character, students learn best when they are actively engaged and having fun. I can’t wait to bring these ideas into my own classroom someday!

Enriching Diversity in the Classroom with Rudine Sims Bishop’s “Mirrors, Windows, and Sliding Glass Doors”

As a future educator, one of my primary goals is to create an inclusive, affirming environment where every student feels seen, valued, and empowered to engage with the world around them. Literature plays a powerful role in shaping how children understand themselves and others, and Rudine Sims Bishop’s framework of mirrors, windows, and sliding glass doors provides a meaningful way to ensure that all students have access to diverse, representative, and engaging stories.

Bishop describes books as:

  • Mirrors, reflecting students’ own identities, cultures, and experiences.
  • Windows, offering a view into lives different from their own.
  • Sliding glass doors, allowing readers to step into new perspectives and develop empathy.

These three functions of literature can guide how I select and incorporate books into my classroom, in the hopes that all students can see themselves in the stories we read while also broadening their understanding of the world and themselves. 

Mirrors: The Importance of Seeing Oneself in Stories

For many students, particularly those from underrepresented backgrounds, books may be one of the first places they see themselves reflected. Without these mirrors, children may struggle to feel a sense of belonging in the world of literature, and by extension, in broader society.

I recently had a conversation with the Indigenous Education Support Worker at my practicum school that deeply reinforced the importance of mirrors in literature. She shared the story of an Indigenous student who had never seen main characters in books that looked like him. One day, while flipping through a book, he stopped at a picture of an Indigenous woman and asked, “Is that my auntie?” This moment revealed something profound, he was searching for familiarity, recognition, and validation of his identity in books, something he had never encountered before.

The support worker told me this moment was a turning point for her. She began intentionally expanding the school’s library to include more Indigenous literature, ensuring that students like him would no longer have to wonder if they belonged in the world of stories. This conversation reaffirmed my commitment to curating a classroom library where all students can see their identities, families, and cultures represented.

To ensure my students find mirrors in literature, I would:

  • Curate a diverse classroom library featuring books with protagonists from various ethnic, cultural, and linguistic backgrounds, as well as different family structures, abilities, and experiences. In British Columbia, this includes books by Indigenous authors, such as Shi-shi-etko by Nicola I. Campbell or When We Were Alone by David A. Robertson.
  • Encourage students to share personal connections with the books we read through storytelling, journaling, and discussion, reinforcing that their lives and experiences are meaningful, maybe even making their own books! 
  • Incorporate students’ cultural knowledge into learning by inviting families to share stories, traditions, and languages, helping to validate their lived experiences.

Windows: Expanding Worldviews Through Literature

Just as it is essential for students to see themselves in books, it is equally important that they have opportunities to look beyond their own experiences and understand perspectives different from their own. Windows in literature help develop curiosity, empathy, and a broader understanding of human experiences.

To integrate windows into my teaching, I would:

  • Select stories that introduce students to diverse cultures, histories, and perspectives. For example, The Water Walker by Joanne Robertson tells the true story of an Anishinaabe grandmother advocating for water protection, connecting students to Indigenous perspectives on environmental stewardship.
  • Use inquiry-based learning to deepen understanding. If we read a story set in another country or culture, I would encourage students to research its traditions, geography, and history through projects, guest speakers, or virtual field trips.
  • Facilitate discussions about real-world issues. Books like Each Kindness by Jacqueline Woodson can spark conversations about inclusion, kindness, and the impact of our actions on others.

Sliding Glass Doors: Encouraging Empathy and Action

Beyond simply observing different perspectives, students should be encouraged to step through “sliding glass doors”—to immerse themselves in new experiences and actively engage with the world. When students truly connect with a story, they not only understand another perspective but also feel what it might be like to walk in someone else’s shoes.

To make literature an active, transformative experience, I would:

  • Use role-playing and creative storytelling. After reading Stepping Stones: A Refugee Family’s Journey by Margriet Ruurs, students could write letters from the perspective of a character or create illustrated storyboards of their imagined journey.
  • Encourage project-based learning inspired by literature. After reading books about activism and community action, students could brainstorm and implement ways to support causes they care about, such as environmental conservation or social justice.
  • Provide choice in engagement. Some students might connect through discussion, while others might prefer to draw, act out scenes, or create digital projects. The key is allowing them to engage in ways that resonate with them.

Why This Approach Matters

When students see themselves in books, they develop confidence. When they explore the lives of others, they build understanding. When they step into new experiences, they grow in empathy and action.

Integrating Bishop’s framework into my teaching is not just about diversifying bookshelves, it is about creating a culture where students feel valued and empowered to engage with the world. By intentionally incorporating mirrors, windows, and sliding glass doors, I can hopefully help foster not just readers, but compassionate, open-minded individuals who are prepared to navigate and contribute to an increasingly, more diverse society.

This is the power of literature, and this is the classroom I strive to create! 

Classroom Takeaways #2

The last couple of weeks have been so much fun! Unfortunately, I had to miss doing the Wolves in the Walls VR activity because of car problems. However, the previous week, we had practiced in class, and it was my first experience with VR. The best word I have for it is “trippy!” I had never experienced such a strange combination of sensory loss and heightened awareness before—my vision and hearing felt incredibly sharp, yet at the same time, I felt strangely disconnected from my body and physical surroundings. It was an odd but exhilarating sensation. I can definitely understand how some students (especially younger) might find it disorienting or even uncomfortable, but at the same time, it’s such an exciting and immersive experience. I really wish I could have participated in the full activity with the students at GT, but I’m grateful that I at least got to try it out in class.

The following week was another first for me – creating my own teaching resources! We were in another Kindergarten class, and I had the opportunity to lead my own literacy centre. To prepare, I designed a worksheet using Canva, which ended up being a much more time-consuming task than I had anticipated. I quickly realized that I still have a lot to learn about the platform. For example, I struggled with resizing a text box and eventually gave up, opting to create my own lines instead. Looking back, I probably made the entire process harder for myself than necessary. 

The goal of the worksheet was to help students connect images to three-letter words by placing the correct letters in a box below each picture. One of the trickier parts was making sure that the words I chose only included letters the students had already learned. After some trial and error, I finally got everything to work and ended up creating four different worksheet variations. Some of the words had letters pre-filled to provide a bit of support, while others required the students to figure them out on their own.

During the activity, I was inspired by Adrienne Gear’s Powerful Thinking and made a conscious effort to model my own thought process for the students. Rather than simply telling them what to do, I verbalized my thinking: “Hmm, I see a picture of a cat. I know ‘cat’ starts with /c/—what letter makes that sound?” By slowing down and sharing my reasoning step by step, I noticed that students became more engaged in figuring out the missing letters on their own. They started listening more closely to the sounds in words and applying their phonemic awareness to the task, rather than just guessing. Seeing them develop confidence in their own thinking was incredibly rewarding.

I was beyond thrilled with how successful the lesson turned out to be! The students were super engaged, and I could see their excitement as they worked through the activity. The best part was once they finished, a few of them decided to create their own “fill in the blank” words on the back of their worksheets. Seeing them take that initiative and extend their learning beyond the given task showed me just how capable young learners are when given the right scaffolding and encouragement.

Reflecting on this experience, I see clear connections to the British Columbia Kindergarten curriculum, particularly in Language Arts and Applied Design, Skills, and Technologies (ADST). The literacy centre supported the foundational literacy goal of recognizing letter-sound relationships and associating them with words and images. According to the curriculum, students at this level develop phonemic awareness by identifying sounds in words and using strategies to make meaning from text. By engaging in the worksheet activity and thinking aloud, I helped students build these essential early reading skills. Similarly to my previous experience in Kindergarten, I think we were following the Big Idea of “Playing with Language helps us discover how language works”, The curricular competency could be “Use developmentally appropriate reading, listening, and viewing strategies to make meaning”, and the content could be “phonemic and phonological awareness”. 

Additionally, designing my own teaching materials aligns with the ADST curriculum, which emphasizes using digital tools to create content and solve problems. Even though I encountered challenges with Canva, the experience reinforced the importance of persistence, troubleshooting, and refining my approach to designing effective learning materials. In this instance, I was 2x the student (both in my program and my learning following the BC Curriculum!). It also highlighted the value of creating resources tailored to students’ specific learning levels and needs.Overall, this experience deepened my understanding of how young learners develop literacy skills and how modeling thinking can make a huge difference in their ability to approach problems independently. Adrienne Gear’s Powerful Thinking helped me shift my focus from just delivering content to actively demonstrating how to think through challenges—a skill that extends far beyond this single lesson. Moving forward, I want to continue exploring ways to make my teaching more intentional, ensuring that I’m not just providing answers but helping students develop the tools to find them on their own.

The Power of Story Vines in Literacy Development

Storytelling is a deeply rooted human tradition, passed down through generations in various forms. One particularly engaging way to bring stories to life in the classroom is through Story Vines, a strategy that enhances literacy skills while fostering creativity and collaboration. In this blog post, I will discuss the use of Story Vines in literacy instruction, referencing Sometimes Reading is Hard by Robin Bright and additional sources, while also sharing my own experience creating a Story Vine based on Up in the Garden and Down in the Dirt by Kate Messner.

What Are Story Vines?

Story Vines are a visual and tactile representation of a story, created by attaching symbolic artifacts to a braided or woven material, such as yarn or rope. These artifacts—whether handmade, found, or printed—represent key elements of the story’s plot, characters, or themes. The Story Vine serves as a guide for retelling the story, helping students develop oral language skills, fluency, and comprehension.

According to Sometimes Reading is Hard, the concept of Story Vines was introduced by reading consultant Marlene McKay, who used this strategy in rural school communities to make reading and retelling more interactive. McKay’s work, Story Vines and Readers Theatre: Getting Started (2008), highlights how this approach supports fluency, vocabulary development, and sequencing skills. Story Vines provide a hands-on, multimodal way for students to engage with text, making them particularly effective for emergent readers, English language learners, and students with diverse learning needs.

Benefits of Story Vines

Story Vines offer numerous literacy benefits, making them a valuable tool for educators:

  1. Enhancing Story Structure and Sequence Awareness
    Retelling a story using a Story Vine reinforces the understanding of story elements, such as beginning, middle, and end. The physical act of moving through the vine helps students internalize the story’s structure, improving their ability to summarize and recall key events.
  2. Building Oral Language Fluency
    Bright emphasizes that Story Vines help develop oral fluency by providing a scaffolded way for students to practice retelling. Repeated exposure to the language in a text, combined with the use of the vine as a memory aid, allows students to improve their pacing, expression, and confidence when speaking.
  3. Supporting Vocabulary Acquisition
    Since students repeatedly interact with the words and phrases from the book while using the Story Vine, they naturally develop a richer vocabulary. The visual and tactile components reinforce meaning, making it easier to remember new words and concepts.
  4. Encouraging Creative Expression
    Creating and using a Story Vine allows students to engage with stories in a hands-on way. By making their own symbolic representations of story elements, they connect with the text on a deeper level and develop ownership over their retelling.

Fostering Collaboration and Community
Bright highlights the effectiveness of pairing older and younger students to create Story Vines together. This cross-grade collaboration fosters mentorship, strengthens peer relationships, and builds a supportive learning environment.

My Experience Creating a Story Vine for Up in the Garden and Down in the Dirt

For my Story Vine, I chose Up in the Garden and Down in the Dirt by Kate Messner, a beautifully illustrated book that explores the hidden world of a garden, both above and below the soil. The book follows a child and her grandmother as they tend to their garden throughout the seasons, revealing the interconnected lives of plants, insects, and soil-dwelling creatures.

Materials and Process

I used earthy colors to reflect the natural tones of the book. My Story Vine consisted of a braided strand of yarn. With more time and more supplies, I would have made small handcrafted or printed images attached to represent key story elements, including:

  • A sun to symbolize the changing seasons.
  • A watering can to represent the care needed for plants to grow.
  • A tomato plant to highlight the growth cycle of garden plants.
  • A worm to showcase the underground ecosystem.
  • A grasshopper and a ladybug to symbolize the important role of insects.
  • A pair of gardening gloves to represent the teamwork between the child and her grandmother.
  • Peg dolls to create three-dimensional versions of the bugs, plants, and characters from the book.

Connecting the Story Vine to Literacy Instruction

This Story Vine provides multiple entry points for student engagement. For younger students, it serves as a visual and tactile support for retelling the story, reinforcing sequencing skills. For older students, it encourages deeper discussions about ecosystems, the changing seasons, and human impact on nature. The process of creating and presenting the vine allows students to practice oral storytelling, enhancing their fluency and comprehension.

Additional Perspectives on Story Vines

Beyond Bright’s work, other educators and researchers highlight the importance of multimodal literacy strategies like Story Vines. According to literacy specialist Nell Duke, interactive and visual storytelling techniques improve students’ engagement and comprehension by making abstract concepts more concrete (Journal of Literacy Research, 2019).

Storytelling traditions in Indigenous cultures also align with the principles of Story Vines. Many First Peoples use visual symbols, oral retellings, and objects to pass down knowledge, reinforcing the idea that storytelling is not just about reading words on a page but about creating a meaningful and shared experience. Integrating Story Vines with Indigenous oral traditions can provide an even richer cultural and educational experience.

Final Thoughts

Story Vines are a powerful and creative tool for promoting literacy skills in an engaging and meaningful way. They support sequencing, fluency, vocabulary, and collaboration, all while making storytelling a dynamic and interactive experience. My experience creating a Story Vine for Up in the Garden and Down in the Dirt gave me an idea of just how valuable this strategy can be for learners of all ages! 

I will certainly be using Story Vines to enhance my literacy instruction. Not only do they help students develop essential reading skills, but they also make storytelling a joyful and memorable experience, something every classroom can benefit from! I love this idea, we know that cementing learning through retelling is extremely effective, so why not make it fun and inspire creativity at the same time!

References

Bright, R. (2020). Sometimes Reading is Hard. Pembroke Publishers.

Duke, N. K. (2019). “The Science of Reading: Why Multimodal Approaches Matter.” Journal of Literacy Research, 51(2), 123-145.

Kelley, S. (n.d.). How to teach retelling. Understood.org. https://www.understood.org/en/articles/how-to-teach-retelling

Classroom Takeaways #1

On January 14th, I observed a Kindergarten class. On this particular day, the students had a soft start, and then went into calendar time on the carpet. I noticed the class was full of dinosaur resources and completed activities – all their books on display were dinosaur books, their toys were dinosaur toys, the completed work and art on the walls was dinosaur themed, as well as their morning message. I really like the idea of having a whole unit with lessons across subjects that focus on a central theme – in this case, dinosaurs! As a dinosaur nerd myself, I could see how having that unifying content across subjects could keep students engaged, excited, and possibly help with their recall as well. 

During the calendar on the carpet, the students had alternative seating. They were in little bucket chairs that allowed them to rock back and forth, and swivel around. I really liked this because it is hard work to keep any students, especially kindergarteners, stationary on a carpet. Having an alternative like the chairs seemed like it kept their bodies focused on their teacher. 

The students do “letter of the week” (outside of alphabetical order, which I wondered about). For their letter of the week, every day students get to bring in a show and tell item from home that starts with their letter, and the students then get to guess what their peer has brought. As I watched, I could see the students use their critical thinking skills to discover the item, by listening to the clues and sounding out words that could start with their letter of the week. 

This was my first time observing any elements of UFLI – in this class I just saw them going through the action that correlates with the letter and sound (the letter of the week was “g”, so I watched them do “giggling girl”), but it was very interesting to see them engage with that material. 

After the calendar and show and tell, the class broke into literacy centres. This was my first time being involved in literacy centres, and I was so impressed by how quickly the students took to it. I had a centre that was almost like a sound maze. The sheet was full of different pictures, whose words started with different letters. The top of the sheet had a letter, and the students would have to go through the map of icons and find the pictures that started with the given letter to find their way out of the maze. 

This went very well, when I had a rotation of students I would start by going through one maze together, then let them do a maze with a partner, and then on their own. They needed some guidance, but overall the activity seemed to get them very excited about their letter recognition.

Over the next couple of weeks, we followed the same routine of morning calendar, show and tell with items from home that started with the letter of the week, and then literacy centres. We did more hands-on playing with letters and sounds, such as just practicing our printing by writing what we would do with a pet dinosaur, and other activities involving wordplay. 

Connecting what I observed to the BC Curriculum – I believe what I observed this day would fit under the “Playing with language helps us discover how language works” big idea. The students were having fun while learning, through show and tell, silly sayings that go along with letters, and centres like the sound/letter maze. The curricular competency could be “Use developmentally appropriate reading, listening, and viewing strategies to make meaning”, and the content could be “phonemic and phonological awareness”. There was a lot of listening involved, and lots of the students having to make connections between familiar symbols and sounds. I loved my time in this Kindergarten class – a special moment was when at morning drop off a mother and daughter approached me. The girl’s mother told me that her daughter was hoping that for the morning, I could be her “special person”. Considering my time in the class was so short-lived, it felt wonderful to know I had still made a connection with a student, and that she felt safe around me. 

I also learned that literacy centres don’t have to be particularly complicated. They can just be fun, and lots of learning can still happen! I would like to experience centres with fewer adults/teachers in the room, but I’m sure I will experience that soon. 

The “One Book That Changed Everything”

Trying to think of just one book that “changed everything” for me is very difficult. First, I remember a zebra book with crinkly pages that I would read over and over. I remember looking for all the little details in Busytown, I remember a book about Princess Diana and Prince Charles’ wedding, and staring at her wedding dress for hours. I remember Shel Silverstein making me laugh, being both horrified and fascinated by Roald Dahl’s Twits, and an original edition of Nancy Drew and the Hidden Staircase

But if I really HAD to choose, I would pick Anne of Green Gables. I’ll never forget picking it off the thrift store shelf (I was probably around 9 years old), seeing a picture on the cover of Anne with her red hair in a straw hat, liking her hat, and deciding to make it my next book. Anne of Green Gables was the first time I had ever needed to really concentrate on what I was reading. The vocabulary was like nothing I had ever read before, and I fell in love with Anne and all of her whimsy. 

About two years later, I picked it back up off my shelf to read on a long road trip. My second read of the book absolutely blew my mind. I connected so much more, and understood what I was reading on a deeper level. Ever since, I have read Anne at least once a year, if not the whole series. Every time I read, I gain new insight. I love that I can grow up with Anne. 

How do you feel about reading?

I am an avid reader! I have always LOVED reading. I was an only child with busy parents who separated when I was very young, so I had to find ways to entertain myself, and reading was my favourite way to do it. Starting in second grade, I would call my backpack my “library”, because at any given time I would have 5-20 books shoved in there, and was always trying to coerce my friends to borrow my books. I would say I do consider reading to be a form of escapism, but I don’t think that escapism is necessarily a bad thing. 

What types of books do you like to read?

It’s so hard to choose a genre! I would say I gravitate more towards thrillers and mysteries, but I also love a good romance, historical fiction, or dramatic fiction. I especially like novels about women being resilient. 

List some hobbies and things you like to do outside of school.

These days I’m busy with school, but when I can I love to sew, needle felt, cross-stitch, and weave! I also love to cook, bake, and gardening! This last summer I branched into growing flowers, and it was SO rewarding. 

Who are your favourite authors?

I have a preference for female authors. I think it’s because I most resonate with a female-told story, and like to do my best to support women! 

Tell me about the last book you really enjoyed. 

Hmmm, I recently read “A Thousand Ships” by Natalie Haynes. It’s a retelling of the Trojan War, but from the perspective of women. The book was incredibly powerful, and highlighted the resilience of women who come from different backgrounds. 

Tell me a bit about what you’ve been doing over winter break. 

Over the break, I went home to Vancouver Island! I spent as much time with my partner, my family, and my friends as I could. A highlight for me was hosting a holiday dinner party of 15 of my friends – acts of service is definitely a love language of mine and it was so much fun to get to cook for the people I love! I also got to spend a few days with the toddlers I’ve looked after for the last few years, it filled my cup to see them and remember how strong our bond is. 

What topics or subjects do you like to learn about?

Within my Teacher Education program, I’m most interested in my literacy classes! I’ve felt so inspired that I’ve decided to pursue a certificate in language and literacy over the summer. Outside of those classes, I’ve loved courses on Ethnobotany and Environmental Studies. 

If you could read a book about one thing, what would it be?

At this moment, I would love a book that’s a cross between “Little House on the Prairie” and “Great Circle” (by Maggie Shipstead). Or “Little House on the Prairie” and “Harry Potter”. Something wholesome but also a bit dark. In a way that wouldn’t cancel out the two genres!

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