Adopting the Common Core Standards

Rewriting the Advanced Placement Exams

Meeting the Needs of Students in Community Colleges

Spirit Animals is set in the fantasy world of Erdas, where children who come of age go through a ritual to determine if they have a “spirit animal,” a rare bond between human and beast that bestows great powers to both. The series focuses on four kids from different cultures who undergo an annual ritual and discover that they have been chosen for a greater destiny. Each book in the series will unlock expanded gameplay on the immersive Spirit Animals online game site, where kids can customize unique heroes, choose spirit animals, and go on quests to help save Erdas.

“Readers are transported into a whole new fantasy realm with Spirit Animals,” says Ellie Berger, president of Scholastic Trade. “This is 21st century storytelling at its best. We cannot be more excited about introducing this epic series to kids everywhere.”

Brandon Mull is the bestselling author of the Beyonders and Fablehaven series. Award-winning Maggie Stiefvater is bestselling author of The Shiver Trilogy, The Scorpio Races, and The Raven Boys.

Spirit Animals joins Scholastic’s first forays into the multi-platform space, The 39 Clues, a mystery series of books, collectible cards, and an online game that debuted in September 2008, and Infinity Ring, a travel adventure series for readers ages 8–12 that debuted in August 2012. The 39 Clues: Unstoppable, a spin-off cycle from the original series, launches in October.

Districts are using technology to innovate and change the ways students learn and teachers teach. For example, the Vancouver (WA) Public Schools have a roadmap for student learning that includes blended and online courses, Bring Your Own Device, 1:1 programs, and an increasing use of mobile devices by students, teachers, and administrators. We are not alone. Many districts are experimenting with similar initiatives, not to mention learning management systems and the increased use of digital resources in lieu of textbooks and library books.

Given this shift to mobile and personalized learning, teacher librarians must ante up for digital resources to meet the needs of students and teachers. As I look at the survey’s statistics on the use of ebooks and digital resources, I don’t see a widespread or sufficient commitment among school libraries. One of the highest levels of reported technology growth in the 2012 survey was the use of ebooks. Forty seven percent of respondents indicated usage with students and teachers, up from 31 percent in 2011. Additionally, 25 percent indicated that they planned to use ebooks in the next year. If those intentions translate to action, that would mean that in 2013, 72 percent of libraries would have and use ebooks.

But the willingness to play is not matched by a commitment to pay for these resources. When measuring ebooks as part of library collections, data reveals that digital titles remain more a novelty than a core resource. For those with ebooks in their libraries, the average number of titles owned was 265. And only 31 percent reported having reference or noncirculating ebooks in their collections. Many school library collections boast tens of thousands of print titles. This gap speaks for itself.

The survey also suggests that many libraries haven’t transitioned to online. A number of libraries fail to provide (or even provide access to) any digital information resources. Nine percent of school libraries indicated that they do not have a library website of any kind. Among those that do, one in five lacks links to electronic resources on that site. Despite an apparent two-fold increase from 2011, the number of teacher librarians who report using free Web-based resources in 2012 (78 percent), begs two questions: What were they using in 2011, and what are the others using? In many cases, it’s not a digital subscription: only 62 percent of teacher librarians report using digital subscriptions in 2012, up from 54 percent the previous year.

To use another poker analogy, school libraries have no choice but to be “all in” with ebooks, etexts, online databases, and digital resources. In my district and others, 1:1 programs now exist in which students are issued laptops or tablets, which they can use both at home and in school. In many cases, these initiatives include the use of learning management systems, online textbooks, and digital content that provides a wealth of information and content, often embedded in the courses themselves. For the first time, there’s no good reason for a print textbook. More ominously, there are also fewer reasons for a school library, especially one with only 265 ebooks. While we have strong libraries and teacher librarians throughout our district, our newest STEM magnet school opened last fall with no physical library and is currently without a teacher librarian.

Teacher librarians need to learn and master a new game. The knowledge and use of technology and digital resources must be ubiquitous, pervasive, effective, and thorough. The survey clearly demonstrates this is not happening. For every teacher librarian who uses a tablet computer, there are three who don’t. For every school librarian who uses Web 2.0 tools such as Edmodo, Diigo, and Pinterest, many colleagues do not. Aside from ebooks and subscription databases, most teacher librarians report that they play no role in purchasing or recommending purchase of technology for their schools.

Respondents listed several reasons why they haven’t embraced digital resources and educational technology in their libraries and schools—funding, training, and uncertainty. Vancouver has found ways to address these issues so that teacher librarians stay in the game, lead and support student learning, and align their school library programs with the strategic needs and direction of the district.

Funding. Everyone faces budgetary challenges. But teacher librarians have choices about where and how monies are spent. In Vancouver, our teacher librarians have begun several collaborative efforts to invest in ebooks, building on a longstanding district-wide suite of digital resources. There’s a conscious and coordinated effort to build and grow digital collections to support student learning. As iPads become more common, we are now seeking ways to leverage these tools to access ebooks and other online resources.

Training. Vancouver trains teacher librarians to be technology leaders in their schools. Now in its fifth year, this program has built valuable confidence and expertise so that teacher librarians are the first—rather than the last—to learn and adopt educational technologies. Teacher librarians have learned how to use Web 2.0 tools like Google Drive, Wallwisher, and Prezi to lead both building and district training efforts.

Uncertainty. As an early adopter of online resources and now ebooks, I understand the uncertainty associated with digital publishing. With competing platforms, vendors, and formats, there’s a chance of putting money on the table and being dealt a difficult hand. Despite that, I don’t think we have a choice. We’ve placed some bets on promising vendors knowing that our savvy populations require our collections to be mobile, digital, and relevant now, not next year.

As a longtime teacher librarian, I believe that we are perfectly poised to lead, teach, and support students and teachers in 21st-century schools. We have a small pile of chips in the form of information skills, systemic vision, and a longtime role as collaborators and educational leaders. But here’s the hand we’ve been dealt—our students, our teachers, and our schools are digital. And in many cases, our libraries, collections, and skills are not. The average age of survey respondents was 50 years old, meaning that like me, most of us knew libraries when the rules were different. The good news from the 2012 survey is that many teacher librarians are very much in the game. Now all us need to see that bet and raise it. Game on!

Mark Ray is the Vancouver (WA) Public Schools’ manager of instructional technology and library services and a former state teacher of the year.

From kindergartners with truck obsessions to high school students researching the latest inventions, books on technology are always in demand. Some notable topics appear in this fall’s crop of books: simple machines and tools, amazing vehicles, and the development of technology over time. A few of the sets have individual volumes on specific machines, while others compile information on many similar devices. Publishers are creating titles that have great designs and visual appeal with blocks of text broken up by sidebars, diagrams, and vibrant color photos. Browsers rejoice! Most also have helpful back matter such as glossaries, detailed indexes, and lists of further resources that will assist researchers.

Preschool-Grade 4

ALLEN, Kenny. Aircraft Carriers. ISBN 978-1-4339-7159-4; ISBN 978-1-4339-7162-4. LC 2011043220.
–––– . Drilling Rigs. ISBN 978-1-4339-7163-1; ISBN 978-1-4339-7166-2. LC 2011043522.
–––– . Earthmovers. ISBN 978-1-4339-7167-9; ISBN 978-1-4339-7170-9. LC 2011043760.
–––– . Giant Cranes. ISBN 978-1-4339-7171-6; ISBN 978-1-4339-7174-7. LC 2011044025.
–––– . Jumbo Jets. ISBN 978-1-4339-7175-4; ISBN 978-1-4339-7178-5. LC 2011044091.
–––– . Submarines. ISBN 978-1-4339-7179-2; ISBN 978-1-4339-7182-2. LC 2011044223.
ea vol: 24p. (Monster Machines Series). photos. further reading. glossary. index. websites. CIP. Gareth Stevens. 2012. PLB $22.60; ebook $22.60.
Gr 1-3–Machine-obsessed students will gravitate toward these titles, which introduce different vehicles and explain how they work. Each book ends with either an outstanding example of the machine or additional fascinating facts. Unfortunately, in Earthmovers and Cranes the photographs in this section are obscured by the text. On each spread, a few simple sentences are illustrated with a stock photo or diagram. Glossary words are displayed in bold font. Some equipment mentioned in the text is not pictured or labeled (for example, a submarine periscope or the propeller of an aircraft carrier). Aircraft-carrier crew members are referred to as soldiers rather than sailors.

GIFFORD, Clive. Cars. ISBN 978-0-7787-7474-7; ISBN 978-0-7787-7479-2.
–––– . Motorbikes. ISBN 978-0-7787-7475-4; ISBN 978-0-7787-7480-8.
–––– . Planes and Helicopters. ISBN 978-0-7787-7476-1; ISBN 978-0-7787-7481-5.
–––– . Trucks. ISBN 978-0-7787-7477-8; ISBN 978-0-7787-7482-2.
ea vol: 24p. (Machines at Work Series). photos. further reading. glossary. index. websites. CIP. Crabtree. 2012. PLB $22.60; pap. $7.95.
Gr 1-3–These titles explain the mechanics of how vehicles work: what makes them stop, start, or turn, etc. The information is very basic. For example, in Trucks, readers learn that “They are powered by an engine that turns their wheels. As the wheels turn, they move the truck forward.” Cars focuses more on race cars than passenger vehicles. In each volume, the text is arranged in short paragraphs, accompanied by captioned photos and “Zoom In” sidebars that show close-ups of related vehicle parts. All the titles end with a quiz. Unfortunately, some of the stock photos are not helpful. In Cars, the spread on slowing down doesn’t actually show the brakes. An image that shows ailerons in Planes is too small to be elucidating. Though for a slightly older audience, PowerKids Press’s “Machines Inside Out” series has many more details about the workings of cars, trucks, motorcycles, and airplanes.

HARRISON, Paul. Superbikes. ISBN 978-1-84858-563-8. LC 2011051435.
–––– . Supercars. ISBN 978-1-84858-564-5. LC 2011051436.
–––– . Superplanes. ISBN 978-1-84858-565-2. LC 2011051517.
–––– . Supertrucks. ISBN 978-1-84858-566-9. LC 2011051438.
ea vol: 32p. (Mean Machines Series). diags. photos. further reading. glossary. index. CIP. Arcturus. 2012. PLB $28.50.
Gr 3-6–Kids who want to read about the biggest, fastest, or strongest vehicles will quickly grab these titles, each of which features 14-to-16 notable machines. All of the text is contained in boxes and photo captions, with a “Super Stats” table that details specifications about speed, size, power, and even price (for some). The indexes are minimal and words defined in the glossaries are not indicated in the texts, which limits their use for research. However, the large color photos and intriguing covers will draw browsers. Unfortunately, the texts are marred by errors and misspellings (e.g., in Superbikes, “cc” is defined as “cubic capacity” rather than “cubic centimeters”; in Superplanes, maneuverable and maneuverability are misspelled; and in Supercars, one sentence reads, “It has a big trunk and could easily carry home a family’s supermarket shop.”). Some of the books in Enslow’s “Wild Wheels” series (2007) cover the same territory in a more comprehensive fashion, though the format may be less attractive to browsers.

MARSICO, Katie. Inclined Planes. ISBN 978-16147-32730. LC 2012933600.
–––– . Levers. ISBN 978-16147-32747. LC 2012933653.
–––– . Pulleys. ISBN 978-16147-32754. LC 2012933654.
–––– . Wedges. ISBN 978-16147-32778. LC 2012933658.
OWINGS, Lisa. Wheels. ISBN 978-16147-32785. LC 2012933659.
SIROTA, Lyn. Screws. ISBN 978-16147-32761. LC 2012933655.
ea vol: illus. by Reginald Butler. 24p. (Simple Machines Series). photos. further reading. glossary. index. websites. The Child’s World. 2012. PLB $27.07.
Gr 1-3–Each title introduces one of the six types of simple machines, explaining how it works, identifying its parts, and listing examples. The authors have included real-life scenarios that students might encounter when describing how machines make our lives easier. Each spread features colorful illustrations or stock photographs featuring multicultural characters. The simple language is accessible to beginners, and the glossaries contain good explanations of new terms, making them suitable for curricular use. However, there are some spots where an additional photo would have been helpful. For example, in Wheels, there is no picture of a windmill and in the section on doorknobs the photo doesn’t show that a doorknob has an axle. The content is similar to Creative Education’s “Simple Machines” series (2011) and Capstone Press’s “Simple Machines to the Rescue” set (2007).

NELSON, Robin. What Do Pliers Do? ISBN 978-0-7613-8980-4; ISBN 978-1-4677-0071-9. LC 2011039075.
–––– . What Does a Hammer Do? ISBN 978-0-7613-8976-7; ISBN 978-0-7613-8976-7. LC 2011039073.
–––– . What Does a Level Do? ISBN 978-0-7613-8981-1; ISBN 978-1-4677-0070-2. LC 2011039074.
–––– . What Does a Saw Do? ISBN 978-0-7613-8979-8; ISBN 978-1-4677-0072-6. LC 2011039076.
–––– . What Does a Screwdriver Do? ISBN 978-0-7613-8978-1; ISBN 978-1-4677-0073-3. LC 2011039077.
–––– . What Does a Wrench Do? ISBN 978-0-7613-8977-4; ISBN 978-1-4677-0074-0. LC 2011039078.
ea vol: 24p. (First Step Nonfiction: Tools at Work Series). diag. photos. glossary. index. CIP. Lerner. 2012. PLB $22.60; ebook $16.95.
K-Gr 2–Using very simple language and only a few sentences per page, these titles introduce common tools. Each book shows the parts of the subject (which are easy to identify in close-up photos) and explains how the item is used and by whom. All the volumes include a list of safety tips at the end. Color photos show a multicultural cast of boys, girls, and adults using wrenches, hammers, etc,, most wearing the necessary safety equipment. A page at the back of each title explains how the tools are simple machines or why they are important. Unfortunately, though this section is written in simple language and would likely be relevant to school curriculum, the sheer amount of text might deter early readers. These books have more information than Anne Rockwell’s The Toolbox (Walker, 2004), but will appeal to a slightly younger audience than the “Tools of the Trade” series (ABDO, 2009).

OXLADE, Chris. Electricity. ISBN 978-1-4329-6565-5; ISBN 978-1-4329-6570-9. LC 2011038248.
–––– . Garbage and Recycling. ISBN 978-1-4329-6566-2; ISBN 978-1-4329-6571-6. LC 2011038249.
–––– . Heating. ISBN 978-1-4329-6564-8; ISBN 978-1-4329-6569-3. LC 2011038247.
–––– . Water. chart. ISBN 978-1-4329-6567-9; ISBN 978-1-4329-6572-3. LC 2011038250.
ea vol: 24p. (How Does My Home Work? Series). photos. further reading. glossary. index. websites. CIP. Heinemann. 2012. PLB $22.65; pap. $6.49.
K-Gr 2–This series examines the resources that enter and leave our homes. Each title covers where the utilities and items come from, how they arrive at residences, and how they are used. The texts emphasize why we should conserve natural resources and reduce waste, though Garbage neglects to mention composting. Information is presented in a question-and-answer format and follows a logical order. The few sentences on each page are enhanced by color photos or charts. Picture glossaries aid with the comprehension of unfamiliar words, and each title has an activity that students can use to track and reduce their energy use or increase recycling. These volumes lend themselves easily to curriculum use.

VON FINN, Denny. Apache Helicopters. ISBN 978-1-60014-816-3. LC 2012002393.
–––– . F-22 Raptors. ISBN 978-1-60014-817-0. LC 2012002394.
–––– . Predator Drones. ISBN 978-1-60014-821-7. LC 2012007671.
ea vol: 24p. (Epic Books: Military Vehicles Series). photos. further reading. glossary. index. websites. CIP. Bellwether Media. 2012. PLB $22.95.
Gr 2-5–Grabbing readers’ attention from the first sections, these titles all begin with a scenario of military vehicles on missions, then proceed to discuss special features and equipment and the types of undertakings each one is designed to complete. “Vehicle Breakdown” lists in every volume detail specifications, but the font is difficult to read. The books would be ideal for reluctant readers since the reading level is quite low. The large, color photographs (with parts labeled) and minimal text increase browser appeal, but the small quantity of information limits the volumes’ use for reports. Glossary words are distinguished in bold, and random facts are highlighted. Readers looking for more details might be better served by titles that compile information about several types of military machines, such as those in Crabtree’s “Vehicles on the Move” series.

Grades 5 & Up

BINGHAM, Jane. Producing Dairy and Eggs. reprods. ISBN 978-1-4329-6406-1; ISBN 978-1-4329-6413-9. LC 2011037497.
LYNETTE, Rachel. Producing Meat. chart. reprods. ISBN 978-1-4329-6410-8; ISBN 978-1-4329-6417-7. LC 2011037570.
MCMANUS, Lori. Producing Fruits. map. ISBN 978-1-4329-6408-5; ISBN 978-1-4329-6415-3. LC 2011037567.
RAND, Casey. Producing Vegetables. reprods. ISBN 978-1-4329-6407-8; ISBN 978-1-4329-6414-6. LC 2011037566.
SOMERVILL, Barbara A. Producing Fish. chart. map. reprods. ISBN 978-1-4329-6405-4; ISBN 978-1-4329-6412-2. LC 2011037496.
–––– . Producing Grains. charts. reprods. ISBN 978-1-4329-6409-2; ISBN 978-1-4329-6416-0. LC 2011037568.
ea vol: 48p. (The Technology of Farming Series). diags. photos. further reading. glossary. index. websites. CIP. Heinemann. 2012. PLB $32.65; pap. $8.99.
Gr 5-8–Each book begins with a history of how production has changed over time, discusses current methods, and relates how food is processed and brought to market. While the focus is on farming in industrialized nations, the authors also present traditional farming methods used in other countries. In addition to typical American foods, the texts also mention common fare from other parts of the world. For example, Meat mentions emus and guinea pigs and Grains highlights quinoa and millet. Although the authors do raise some of the issues surrounding factory farming, they remain fairly neutral, allowing readers to draw their own conclusions. Some contentious issues are not fully discussed, however; the books refer to cloning and genetic engineering, but don’t mention why they are controversial. With straightforward narratives augmented with diagrams, sidebars, color photos, and reproductions, these titles will be useful for report writers.

BRASCH, Nicolas. Robots of the Future. ISBN 978-1-4488-7885-7; ISBN 978-1-4488-8045-4. LC 2011051536.
–––– . Triumphs of Engineering. maps. reprods. ISBN 978-1-4488-7887-1; ISBN 978-1-4488-8047-8. LC 2011051703.
EINSPRUCH, Andrew. DNA Detectives. ISBN 978-1-4488-7883-3; ISBN 978-1-4488-8043-0. LC 2011048221.
–––– . Life on a Space Station. chart. ISBN 978-1-4488-7884-0; ISBN 978-1-4488-8044-7. LC 2011048224.
–––– . Wired World. reprods. ISBN 978-1-4488-7888-8; ISBN 978-1-4488-8048-5. LC 2011051641.
MCFADZEAN, Lesley. Technology and Treatments. ISBN 978-1-4488-7886-4; ISBN 978-1-4488-8046-1. LC 2011051556.
ea vol: 32p. (Discovery Education: Technology Series). diags. photos. chron. glossary. index. websites. CIP. Rosen/PowerKids Pr. 2012. PLB $25.25; ebook $25.25.
Gr 4-7–These titles vary widely in content and organization. Only a few paragraphs of main text appear on each page, with the remainder found in numerous sidebars and captions for diagrams and photos. Several of the books have a “You Decide” section that provides the pros and cons of controversial issues (e.g., “will robotic research and technology do more good for humans than bad?”) and encourages readers to make up their own minds. The science in DNA is at a higher level than the other titles and covers content often taught in high school biology. The type size is tiny, and because the text is broken up into such small chunks, students might need to consult other sources for more information. Libraries may wish to check and see what stand-alone titles they already own on similar topics before investing in the complete series. For example, Samone Bos’s Super Structures (DK, 2008) and Robots by the editors of Yes Mag (Kids Can, 2008) cover the same ground as some of the volumes in this set.

GREGORY, Josh. From Bats to…Radar. diag. ISBN 978-1-61080-496-7; ISBN 978-1-61080-670-1; ISBN 978-1-61080-583-4. LC 2012001942.
–––– . From Birds to…Aircraft. reprods. ISBN 978-1-61080-497-4; ISBN 978-1-61080-671-8; ISBN 978-1-61080-584-1. LC 2012001735.
–––– . From Thistle Burrs to…Velcro. reprods. ISBN 978-1-61080-494-3; ISBN 978-1-61080-668-8; ISBN 978-1-61080-581-0. LC 2012001763.
–––– . From Woodpeckers to…Helmets. ISBN 978-1-61080-495-0; ISBN 978-1-61080-669-5; ISBN 978-1-61080-582-7. LC 2012001764.
MARA, Wil. From Cats’ Eyes to…Reflectors. ISBN 978-1-61080-500-1; ISBN 978-1-61080-674-9; ISBN 978-1-61080-587-2. LC 2012008672.
–––– . From Kingfishers to…Bullet Trains. reprods. ISBN 978-1-61080-498-1; ISBN 978-1-61080-672-5; ISBN 978-1-61080-585-8. LC 2012005747.
–––– . From Locusts to…Automobile Anti-Collision Systems. reprods. ISBN 978-1-61080-501-8; ISBN 978-1-61080-675-6; ISBN 978-1-61080-588-9. LC 2012011856.
–––– . From Sharks to…Swimsuits. reprods. ISBN 978-1-61080-499-8; ISBN 978-1-61080-673-2; ISBN 978-1-61080-586-5. LC 2012007365.
ea vol: 32p. (Innovations from Nature Series). photos. further reading. glossary. index. websites. CIP. Cherry Lake. 2012. PLB $28.50; pap. $9.95; ebook $28.50.
Gr 4-8–Each of these titles shows how a particular technological innovation was based on a natural source and concludes with a chapter about important people in the field. Some of the information repeats from book to book. The texts are constructed with short chapters, accompanied by sidebars with related content. Stock color photos and reproductions generally support the main paragraphs; however there is no close-up photo of shark skin in Sharks. Sometimes the link between the technology and its natural source is stronger than others, especially in the titles about bullet trains, anti-collision systems, and Velcro. The helmet technology discussed in Woodpeckers is still under development. These should be particularly useful for students researching inventions. Although a stand-alone title such as Dora Lee’s Biomimicry: Inventions Inspired by Nature (Kids Can, 2011) may cover a greater number of inventions, this series has more detail.

HAMILTON, John. Aircraft Carriers. ISBN 978-1-61783-519-3; ISBN 978-1-61478-940-6. LC 2012005056.
–––– . Amphibious Assault Ships. diag. ISBN 978-1-61783-520-9; ISBN 978-1-61478-941-3. LC 2012005058.
–––– . Cruisers. ISBN 978-1-61783-521-6; ISBN 978-1-61478-939-0. LC 2012005061.
–––– . Destroyers. ISBN 978-1-61783-522-3; ISBN 978-1-61478-943-7. LC 2012005063.
–––– . Frigates. ISBN 978-1-61783-523-0; ISBN 978-1-61478-944-4. LC 2012005067.
–––– . Submarines. diags. reprods. ISBN 978-1-61783-524-7; ISBN 978-1-61478-945-1. LC 2012005071.
ea vol: 32p. (Military Ships Series). photos. glossary. index. CIP. ABDO. 2012. PLB $27.07; ebook $27.07.
Gr 4-7–Each of these titles describes the purpose, components, and history of one type of ship, with a focus on its use in the U.S. Navy. A good deal of space is devoted to the different classes of each ship, but much of this information is delivered in lists of specifications with little narrative text. The glossaries have lengthy and helpful descriptions of new words, but since the words included there are not indicated in any way in the text it’s unlikely that readers will know to look for them. This set covers a high-interest topic, and the short paragraphs, sidebars, and large color photos will attract reluctant readers. However, the busy layout, with words placed over photographs, impedes readability. There is some overlap in content with Creative Education’s “Built for Battle” series, but the language and sentence structures of these titles are more complex and aimed at an older audience.

JACKSON, Tom, ed. Air and Space. ISBN 978-1-936333-40-0. LC 2011046995.
–––– . Buildings and Structures. ISBN 978-1-936333-41-7. LC 2011046991.
–––– . Land and Water Transportation. ISBN 978-1-936333-42-4. LC 2011046989.
–––– . Medicine and Health. ISBN 978-1-936333-38-7. LC 2012004786.
–––– . Military and Security. ISBN 978-1-936333-37-0. LC 2012004788.
–––– . Power and Energy. ISBN 978-1-936333-39-4. LC 2012004787.
ea vol: 64p. (Facts at Your Fingertips: Invention and Technology Series). diags. illus. photos. reprods. chron. further reading. glossary. index. websites. CIP. Brown Bear Bks. 2012. PLB $35.65.
Gr 6 Up–From ancient times to the present day, these titles lead readers through the history of one type of technology. In every volume, five or six chapters cover broad themes, with diagrams and sidebars highlighting more specific topics such as inventors, inventions, scientific principles, and definitions (which are repeated in the glossary). The writing can be technical at times, and since there is so much to summarize in a short space, the texts sometimes read like who’s-who lists. Researchers will find these books useful, but because of the broad scope, they won’t discover many details about individual innovations and inventions. Unfortunately, the set is marred by typographical errors. Smart Apple’s “New Technology” series covers some of the same topics at a similar level.

For the primary grades, Heinemann’s “How Does My Home Work?” is well organized and conducive to curriculum use. Since truck and tool books are often popular with this age group, libraries may also want to consider Gareth Stevens’s “Monster Machines,” The Child’s World’s “Simple Machines,” and Lerner’s “First Step Nonfiction: Tools at Work.” The very basic text and less-than-helpful illustrations make Crabtree’s “Machines at Work” a set to skip. Cherry Lake’s “Innovations from Nature” is acceptable for intermediate grades, and Heinemann’s “The Technology of Farming,” though not without flaws, is useful for researchers. Brown Bear’s “Facts at Your Fingertips: Invention and Technology” series is marred by errors and is less useful for in-depth research because each invention is covered so briefly. Some of the titles from the PowerKids’s “Discovery Education: Technology” would be an option for libraries needing replacement or supplementary material on those topics. If there is high demand for books on military vehicles, selectors could consider ABDO’s “Military Ships” or Bellwether’s “Epic Books: Military Vehicles,” but, they may wish to look for other titles that cover many of these machines in one volume. While Arcturus’s “Mean Machines” will certainly attract an audience with the high-interest content, the errors and paltry indexes limit its use for research.

The nationally-known principal also addresses the “elephant in the room” topic of why his school doesn’t have a librarian.

Just follow a high school student around for a day, says Chris Lehmann, founding principal of Philadelphia’s Science Leadership Academy (SLA), and you’ll see why most teens think “School stinks.” Lehmann, who delivered the October 27 keynote at School Library Journal’s 2012 Leadership Summit, isn’t surprised by these negative sentiments. He believes that outdated educational practices and decisions based on “reductive learning measurements,” or “cheap data,” are a failure of imagination and aren’t creating schools that engage learners.

The innovative educator rejects what he sees as an outdated “19th-century factory model” of school operations in favor of a new “citizenry model.” Lehmann challenged attendees to consider the number of times they’ve heard the mantra that teachers must strive to educate 21st-century workers. “Compliant workers aren’t going to solve the problems of the future; we need to educate people who can think, question, challenge, and solve,” he says.

So what makes SLA different, and what does the “citizenry model” look like?  It’s all about the student. “We learn best when it matters to us,” remarked Lehmann, who insists education must be student- and inquiry-driven, community-based, collaborative, and passionate. “High school is real life, not preparation for real life,” and students should be learning and exploring in ways that makes sense to them. “If we train kids to be workers, that’s what we’ll get. If we train them to be citizens, we’ll get workers and husbands and wives, parents and citizens.” Our purpose, he believes, should be to teach students “how to learn…how to live…to be better than they are today.”

Lehmann insists that kids need adults, so SLA teachers typically assume a mentor role, which means encouraging students to pursue what interests them. In lieu of report cards and benchmark tests, students create “artifacts of their learning.” The results? Engaging, personal projects that teachers could never have dreamed up or designed.

The educator worries that while “schools belong to our democratic tradition,” “public education is less valued now” than at any other moment in the past century. “The money we spend on kids is totally dependent on their parents’ incomes,” he stated, noting that [the urban] SLA receives approximately $6,000 per student compared to a nearby suburban community, which spends $22,000 per capita. Citing Philadelphia’s recent billion-dollar budget cut (from an initial budget of3.3 billion), Lehmann commented, “you don’t get there without a pretty high body count.”  SLA has no librarian, and students learn languages via a Rosetta Stone program.

His parting advice for the audience? “Reclaim schools from those who consider us managers.” “Unlearn to learn.” “Dream Bigger.” “Breakdown barriers.” “Include all stakeholders.” “Have fun.” And finally: “Be humbled by our task: we teach kids.”

As to the “elephant in the room,” Lehmann talks about the lack of a librarian at SLA at the beginning of his talk:

SLJ Summit 2012: Chris Lehmann keynote from School Library Journal on Vimeo.

This article was featured in School Library Journal‘s Curriculum Connections enewsletter. Subscribe today to have more articles like this delivered every month for free.

This past summer I attended my first International Society for Technology in Education conference (ISTE), and was awestruck to be among 20,000 plus educators who share the exhilarating goal of advancing “excellence in learning and teaching through innovative and effective uses of technology.”

Four promises of technology that permeated conference conversations—along with exemplar multimedia resources from TeachingBooks.net that illustrate how technology enhances literacy instruction—are highlighted in this month’s column.

Promise #1: Personalized education for every student

Independent reading exemplifies differentiated instruction offering students an opportunity to explore a topic of personal interest. Adding a tech component can bring relevant insights to that experience.

For example, introduce students of World War II to Ruta Sepetys’ historical novel, Between Shades of Gray (Penguin, 2011), along with this video of the acclaimed author discussing her research on Joseph Stalin’s reign of terror, her encounters with survivors, and her book.

Promise #2: Let passion reign while delegating other tasks to machines

Sir Ken Robinson’s keynote speech at ISTE, “Redefining Horizons: Encouraging Students’ Passion to Achieve,” sparked conversations about the complex relationship between creativity, passion, and technology. While many educators expressed the concern that technology limits creativity, Sir Robinson and others encouraged its use as a form of inspiration.

Witness the work of Mélanie Watt. In this original TeachingBooks.net video the author/illustrator of Scaredy Squirrel (Kids Can, 2006), shares her passion for illustrating books while demonstrating the role of technology in her creative process.

Promise #3: Technology offers all students the same learning opportunities

Thanks to the Internet and the prodigious content produced by authors, publishers, and others, our students have access to resources that would not have been available in local schools and libraries years ago.

Examples of those resources include this video, in which Toni Morrison, the Nobel Laureate and author of the Coretta Scott King Book Award winner Remember: The Journey to School Integration (Houghton, 2004), celebrates “the power and justice” of the 1954 Supreme Court decision of Brown v. Board of Education.

Promise #4: Technology, like reading, crosses all academic disciplines

Though some might relegate the use of technology to science classes or assume that books are solely the domain of English and humanities teachers, both reading and technology have a place in every classroom.

While examples of book readings that can be used across the curriculum abound, here’s one for science teachers: an excerpt from Laurie David and Cambria Gordon’s The Down-to-Earth Guide to Global Warming (Scholastic, 2007).

Nick Glass is excited to lead TeachingBooks.net in the midst of an educational shift incorporating technology into learning opportunities and environments. Share your ed tech/literacy stories with him at nick@TeachingBooks.net.

Illustration by Rafael Ricoy

Once upon a time, publishers promoted books with jacket blurbs, bookmarks, and author tours. Then six years ago, YouTube changed the rules of the game. Today publishers are spending as much as $20,000 a pop to create book trailers—30- to 90-second teasers, à la movie trailers, designed to generate virtual and word-of-mouth buzz and, of course, to sell titles. “Trailers are definitely a staple in our marketing,” says Diane Naughton, HarperCollins’s vice president of marketing. “Video is something kids have almost come to expect.”

Indeed. “The medium itself is so important for young adults, considering that kids live on the Internet nowadays,” says Jack Paccione Jr., director of Escape Goat Pictures, which has made trailers for Ally Condie’s dystopian blockbusters, Matched (2010) and Crossed (2011, both Dutton). “Ever since the ‘Harry Potter’ and ‘Twilight’ series came out, these authors are all looking for a cinematic way to reach out to young people visually.”

The trick: “Pure enthusiasm does not make good video,” says best-selling kids’ book author and former National Ambassador for Young People’s Literature Jon Scieszka. “I’ve seen way too many book trailers that are poorly shot, designed, scripted, or conceived. Part of it is that book trailers seem to have become the new no-thought marketing item.”

So what makes a great trailer? “You want it to have a little bit of a narrative so the audience gets a taste of what the book is about but not everything you can know,” says Heidi Spencer, accounts manager for Dirty Robber, which makes 60-second trailers for books such as Cassandra Clare’s Clockwork Prince (S & S, 2011). “It’s not a summary. It’s a teaser.”

The best trailers typically last just a minute or so. “The longer the trailer, the more likely that someone is going to stop watching it,” says E. C. Myers, the author of Fair Coin (Prometheus, 2012), who did his first trailer for a pop-up book called Popville (Roaring Brook, 2010). Or as Rocco Staino, who heads up SLJ’s Trailee Awards (given to trailers that make kids want to read the book), says, “You need at least a minute to get a feel for the book, and if it’s longer, you’re kind of telling the whole story. Then there’s no reason to read the book.”

Humor is another secret weapon. In James Mihaley’s homemade video for his recently published middle-grade novel, You Can’t Have My Planet but Take My Brother, Please (Feiwel & Friends, 2011)—about humans soon to be evicted from the Earth because they’re “lousy tenants”—he and a friend “audition” parking meters for roles.

A little film, TV, and musical experience can also go a long way. Gretchen McNeil, a classically trained opera singer, put her skills to use with trailers for her books such as Possess (Balzer & Bray, 2011). “Gone are the days when a writer can just write a great book,” says McNeil. “You have to show you’re not only willing but able to promote it.” Her well-received trailer for Possess built buzz. “It all added to my online presence, which I think especially with teen readers is so important because they’re online all the time,” she says.

Some videos are essentially author interviews, but these tend to work best after kids have read the book, says a Myers. Regardless of the type of trailer, it needs to end with basic information, such as the author’s name, the book’s title (and ideally its cover art), and the publication. “And make sure you have a call to action before the 90 seconds are out,” says Sheila Clover English, CEO of Circle of Seven Productions, which coined the term “book trailer” in 2002—and created the first one—for Christine Feehan’s paranormal Dark Symphony (Jove), which appeals to both teens and adults. “Go to this website, or meet me at this book signing. The call to action is not always, ‘Come buy this book.’”

Trailers target many audiences. “We view them [as being] not only for kids but also for booksellers and people who are purchasing the books and also for teachers and librarians,” says Michelle Fadlalla, Simon & Schuster’s director of education and library marketing. “It’s just another way, and a more modern way, for us to promote the videos and make them available for teachers and librarians.”

Like other publishers, Simon & Schuster puts many of its videos on teachertube.com. (Others also put some on schooltube.com.) Teachers can show the videos and get kids excited about reading the books, or they can say, “Was this accurate? Did this capture what the book is about?” says Fadlalla.

In the future, Fadlalla envisions testimonials playing a larger role in trailers. “Word of mouth is so important,” she says. “You might do a trailer, but you might want to include a librarian or a bookseller who says, ‘This is my favorite book coming up this fall.’”

If authors make their own videos, publishers typically ask to see them—and then give pointers. “We want their videos to look as professional as possible,” says Fadlalla.

Homegrown video makers face challenges. Lynne Kelly made the funny video for Susan Patron’s The Higher Power of Lucky (S & S, 2006) for the “90-Second Newbery Film Festival,” a video contest to encourage kids to read, and one for her own novel, Chained (Farrar, 2012). The middle-grade book is about a boy in India who takes a job as an elephant keeper to pay off his family’s debt. The challenge: “having footage of an elephant,” says Kelly. Without an animator, it’s tricky. (She notes that A. S. King hired one for her Please Ignore Vera Dietz [Knopf, 2010] trailer.) Other authors, such as Anne Greenwood Brown, who wrote about homicidal mermaids in Lies Beneath (Delacorte, 2012), buy footage—in her case, from a professional Hollywood mermaid—but save money by getting other services donated.

Even the pros, such as Paccione of Escape Goat, are working with modest (by Hollywood standards) budgets. Recently Paccione made do with a Siberian husky instead of a wolf. It’s only a problem if anyone decides to show the videos on a 30-foot screen when they’re created for a three-inch one, he says.

Perhaps not surprisingly, more and more educators and students are getting into the act. In particular, a growing number of teachers now encourage kids—especially reluctant readers—to make their own book trailers. “I think book trailers are really cool,” says education technology consultant Linda Braun, past president of the Young Adult Library Services Association and professor of practice at Simmons College Graduate School of Library and Information Science in Boston. “What I am most concerned about is, sometimes people see them as the panacea for book reports. It’s just one more tool we have to connect with teenagers. It’s not the be all and end all.” Still, book trailers can give libraries a powerful way to connect with kids and talk with them about books “in a way that’s appealing to them,” says Braun.

No money? No problem.

Kids can create trailers without a publisher-size budget. “We’ve become so much more open to grassroots kinds of productions,” says Braun. “It’s also empowering to young people to see, ‘I don’t have to be Simon & Schuster.’ It’s not that hard to do with iMovie.” Along the way, they learn about creating storyboards, picking out the best visuals, analyzing stories to pick the best parts, and pacing the final production. “It’s not a bad book report,” says Braun. “It’s not a plot summary.” Instead, it’s what librarians learn in school. “What’s the piece of the story that you’re going to tell a little bit of and then leave people hanging?” says Braun. “If you’re not comfortable writing, you can still tell that story.”

Aaron Zenz, who homeschools his six kids (ages one to 13), got them to make a video for Grace Lin’s Newbery Honor Book, When the Mountain Meets the Moon (Little, Brown, 2009). His kids made a list of their favorite parts and came up with the shadow-puppet idea. “The kids’ natural instinct is to tell you the whole story,” says Zenz. “The thing you want to avoid is boring.”

Trailee judge John (“Mr. Schu”) Schumacher, a school librarian at Brook Forest Elementary School in Oak Brook, IL, runs the blog “Watch. Connect. Read,” which focuses on exploring kid lit through book trailers. During his book talks, he shares a few trailers, like “a little commercial,” he says. “My students react really well to them.” In his library book nook (down a couple of stairs, and equipped with a smart board), he shows trailers created by authors, publishers, and kids. Students critique the videos—and then create their own. These days, his students are particularly fond of the novel Wonder (Knopf, 2012) by first-time author R. J. Palacio, and The One and Only Ivan (HarperCollins, 2012) by Katherine Applegate (see “Magnificent Seven” above). Making an exceptional trailer is easier said than done. “We don’t want it just to be a summary,” he says. “I teach them how to story board. Then we write it together, and we find the images.” To create the final product, students use iMovie in the library’s 22-computer iMac lab. “It’s an engaging project,” he says.

Short video contests can get kids interested in good-for-you books, such as Newbery winners. “Newbery has the reputation of being books that are good for you but that you don’t actually like,” says The Order of Odd-Fish (Delacorte, 2008) author James Kennedy, who started the “90-Second Newbery.” (Contestants compress the entire plot of a book rather than create teasers, and since there’s no official winner, everyone’s a winner.) Entrants submitted videos for Newbery winners, such as Where the Mountain Meets the Moon (which nabbed a top prize at SLJ’s 2012 Trailee Awards), The Higher Power of Lucky (in which the trailer’s main character keeps talking about scrotums), and Lois Lowry’s classic, The Giver (Houghton, 1993), whose student-generated videos usually feature a kill-the-baby scene. Kennedy showed his favorites at one-night events at the Chicago Public Library (in front of more than 400 people in the basement auditorium), the New York Public Library (with cohost Scieszka), and the Multnomah County Library in Portland, OR, with YA author and cohost Laini Taylor.

Going viral

The goal is to make the kid-lit equivalent of Rebecca Black’s music video “Friday,” watched on YouTube by nearly 34 million people. “If you want your video to go viral, you need to put it up on YouTube or Vimeo,” says Kennedy.

Still, not every production is destined to become the Big Trailer on Campus. Popularity varies widely, with a book like Christopher Paolini’s Inheritance (Knopf, 2011) racking up nearly 200,000 views in three months. “Right now, when we do a book trailer, we have the plan behind it,” says Lucille Rettino, director of marketing at Simon & Schuster’s children’s publishing group. “We’re going to support this book trailer with Facebook advertising or with a campaign through the author’s Facebook page, or we’re going to unveil it on entertainmentweekly.com. They take a lot of resources, both money and people. If nobody is looking at them, it doesn’t really make sense.”

Simon & Schuster has used trailers before full-length TV shows such as the “Vampire Diaries.” A 30-second trailer for Cassandra Clare’s Clockwork Angel (S & S, 2010) preceded it. After teens watched the trailer, they could “like” it on Facebook. The publisher also has run trailers in front of movies, including one for Becca Fitzpatrick’s Hush, Hush (S & S, 2009), which played in theaters before the New Moon and Eclipse “Twilight” movies.

Sometimes it’s worth springing for live actors—and sometimes it isn’t. “With the live action, it can get sticky. You’re not hiring Robert DeNiro,” says Rettino. Besides, some kids like to imagine their own version of characters in their heads, and some film companies don’t want readers to get confused by a different set of people from those who’ll appear in movie versions.

Some authors, such as Wicked Lovely (HarperCollins, 2007) writer Melissa Marr, give fans excerpts of new books so they can create their own trailers. (Circle of Seven also makes professional ones for Marr, who cowrites the scripts and approves every image.) “It’s a way of letting your readers know you’ve got a new book coming out,” says Marr.

Still, no one can quantify whether trailers add up to books sold at bookstores or checked out of libraries or ordered online. “It’s hard to translate the number of views to sales,” says Myers. “It may not be the most efficient use of your time and money in the long run if it only translates into a few sales. If your purpose is to get people talking about your book, then you could accomplish that much more easily with something that’s shorter, simpler, cheaper, that conveys the message and the tone of your book better than something that just looks really cool. You should treat them about the same way as you’d treat any other marketing tool.” They’re the new bookmark—though more expensive, and (usually) more compelling.

Freelancer Karen Springen’s last feature for SLJ was “What’s Right with This Picture?: Chicago’s YOUmedia reinvents the public library” (March 2011).