Friday, August 22, 2014

Creating a MOOC

The first time I heard the word “MOOC” someone was asking me if I was interested in creating a MOOC for the Center for College Readiness at Rice University. Even after it was explained to me that a MOOC was a “Massive Open Online Course” I wasn’t sure what I would be getting myself into. In any case, I thought about the sign that hangs over my desk — leap and the net will appear” — and I accepted the offer. I would create a MOOC.

For those who don’t know, a MOOC is a short course that educational institutions place online. The classes are offered free of charge, accessible to anyone who has an Internet connection. A MOOC can take several forms, but the students who take them generally fall under the category of people “learning for the sake of learning.” What a great concept!

"MOOC poster mathplourde" by Mathieu Plourde (Mathplourde on Flickr)

In preparing to create my MOOC I registered for a couple of classes through Coursera to see what MOOCs looked like. I took a class titled “Archeology’s Dirty Little Secrets” from Brown University and another titled “Art and Inquiry” from the Museum of Modern Art. Both were taught well, and I learned much. I couldn’t help but think that MOOCs were a wonderful development in education — one that makes learning accessible at no cost to students.

In learning about MOOCs I discovered that although the number of students who register for a class might be quite large (as high as 230,000), the percentage of students completing most MOOCs is quite low, sometimes as low as 13%. In my opinion this low percentage does not necessarily mean that a MOOC has failed, as the completion rate is based on the number of students who pass a class or receive a certificate. I suspect that many students learn what they want from a MOOC and move on, unconcerned with whether they complete the formal assignments or receive a certificate.

The request for me to create a MOOC came in July 2013 and my MOOC is now “in the can” and ready for launch this September. What an adventure it has been.

In creating my MOOC, I found it wasn’t much different than creating any new class. I went through the same process that is familiar to every teacher. I wrote a course description and created a syllabus. I made decisions about specific content and the tasks I would require from students. I created rubrics for evaluating students.

Delivering the curriculum, however, was much different, and I faced quite a learning curve.

First, I had to find a way to condense the 60-90 minute presentations that I had been making for several years into a manageable length of time for an online course. Online students are more likely to watch a 6-7 minute video presentation than one that lasts an extended length of time. I therefore had to radically reduce the length of my presentations. This was quite a task and much more difficult than it sounds.

I approached the problem by creating written documents to accompany my video presentations. For example, if I wanted to bring up ten points about a specific topic, I created a document outlining those ten points. I then used my video presentation to introduce the topic and talk about two or three of the ten points. I’ve left it up to the students taking the class to read the documents if they want to learn more. I consider it my role as a MOOC teacher to highlight significant issues in the curriculum and then let students explore what interests them in greater depth.

A second problem I faced was learning how to teach to a camera. I had never realized just how much  teaching depends on the ability to see my students, to look into their eyes and monitor their body language to gauge the effectiveness of what I am doing. I’ve long known that teaching can be described as a constant state of “monitoring and adjusting.” However, I never completely understood that concept until I began teaching to a camera lens. The camera provides no feedback. Say something clearly and the camera doesn’t show its approval. Make a dubious statement and the camera doesn’t blink.

I became more comfortable with the process as I filmed more and more videos. I only hope that the awkwardness I felt in the first videos I filmed is not so evident that it causes students to abandon the class. I taught high school for 30 years, and in many ways I wish I had my first 10-15 years back. The same is true in teaching my first MOOC — I wish I had an opportunity to reshoot the first few videos.

My MOOC is titled “The Art of Teaching History,” and it will go online through Coursera on September 22.

The essence of the class can be seen seen in its title. Teaching any subject, especially history, is an art form. There is no single right way to do it well. I therefore approached my MOOC not as an all-knowing sage who would tell others how to teach history, but as someone who would simply introduce issues that every history teacher confronts.

The central idea of my MOOC is found in the online forum that will accompany the class. Students taking the class will watch the videos and read the documents. They will then be asked to answer reflection questions stating their ideas about teaching history. Those reflections will be used to start an online conversation with history teachers from all over the world about what it means to teach history well.

It should be a fascinating conversation. As I write this blog the class has already registered almost 2200 students from 110 nations. Imagine that!

If you are interested in taking “The Art of Teaching History,” you will need to got to Coursera, create a login and password, and then register for the class. The class, which is sponsored by the Center for College Readiness at Rice University's Glasscock School of Continuing Studies is offered free of charge. You can find the class and information about registering for it at the following link:


Saturday, February 22, 2014

Teacher Top 5: Strategies for Successful Teaching

Teaching is an art form, and the artistry in teaching can never be measured through standardized test scores or administrative evaluations. Great teaching can only be recognized in the same way that great art is recognized — you know it when you see it.

Students and their parents recognize when they have been blessed with a good teacher. Indeed, they can probably sense it on the first day of school.

Good teachers care about their students and know how to motivate them. It sometimes matters little to students what their teacher is teaching or how the subject is being taught. However, it will always matter why their teacher is teaching. Students have a sixth sense for whether their teacher cares about them and whether their teacher is dedicated to the profession. Above all, it will matter to students who their teacher is as a person. Students will work hard for a teacher they respect, and they will always remember their best teachers as the one who never gave up on them.
“You need one person to believe in you in your entire life, just one. Often, that one person is a teacher.”
Teacher Top 5 by T. Nick Ip
That quote comes from a Spirit magazine headline for an article about America’s Best Teachers 2011. I share the quote via T. Nick Ip’s just-published book, Teacher Top 5. Ip spent nearly fifteen years in finance and strategy before becoming an elementary school teacher to “find the poetry in his life.” Ip’s book, which is obviously a labor of love, has certainly found the poetry in those who have dedicated their lives to teaching.

Teacher Top 5 profiles twenty-five nationally recognized teachers and their Top 5 strategies for successful teaching. The book includes chapters on teachers who have been recognized as members of the National Teachers Hall of Fame, National Teachers of the Year, State Teachers of the Year, and numerous other awards. Each chapter in the book profiles individual teachers, exploring their backgrounds, their reasons for becoming a teacher, their desire for changes in the educational system, and, of course, their Top 5 recommendations for successful teaching.

The book should serve as a guiding light for young teachers and experienced teachers looking to revitalize their careers. Public education might also be well-served by placing the book in the hands of administrators and policy makers attempting to standardize and centralize how good teaching is measured.

Standardization and centralization often strangle the creativity and innovation that allows good teaching to thrive. Standardization and centralization are also cutting the heart out of a noble profession.

As Ip’s book makes clear, the nation's best teachers went into the profession for reasons of the heart, and they certainly remain in the profession for reasons of the heart. Policy makers might learn from Ip's book how they can avoid cutting the heart out of teaching.

Ip’s book is accompanied by a website at, which contains information about the teachers profiled in the book. If you are a teacher, you can also share your Top 5 strategies for successful teaching and possibly be featured on the website.

The website also offers a means of purchasing Teacher Top 5. As one of the twenty-five teachers profiled in the book I can send a percentage of the sales price to an organization of my choice.

If you buy the book through my referral, 10% of the sales price will go to the Arts Program at Canutillo ISD in Canutillo, Texas. For your donation to help promote an arts program in public education, you will need to purchase the book from and enter a referral code — JSTT5NM — in the “Notes” section during checkout. (I make no personal profit from sales of the book.)

Teacher Top 5 is also available through Barnes and Noble and Amazon

Wednesday, October 23, 2013

Discover El Paso Speech on Billy the Kid

On Tuesday, October 22, I gave a speech to the Discover El Paso Association of El Paso, Texas. Although I spoke extemporaneously, the general text of what I said is provided below. 

The Discover El Paso Association of El Paso, TX
I was told that the Discover El Paso Association is composed of people who love this community and that the association was established to help introduce people to El Paso and the surrounding area. If so, I’ve got the perfect topic for you today, because Billy the Kid is probably the most famous person who ever lived in this part of the world. In fact, I challenge you to think of anyone from this area who is as well known throughout the world as Billy the Kid. People in other nations may have never heard of famous people from this area like John Wesley Hardin, Lee Trevino, F. Murray Abraham, or Neil Patrick Harris, but the odds are high that they’ve heard of Billy the Kid.

If you live in El Paso or southern New Mexico, you know that the iconic image of Billy the Kid standing with his rifle next to him is ubiquitous. You simply cannot avoid bumping into something to do with Billy the Kid. The Kid is our claim to fame. We cannot escape him. People from all over the world fly into the El Paso airport and rent a car to visit Billy the Kid country.

I have lived in southern New Mexico for over fifty years, and there’s no way to count the number of times I have eaten and shopped in businesses named after Billy the Kid. Like thousands of other people who grew up in this part of the world, I wrote reports about Billy the Kid when I was in school. For me, and probably everyone else in this room, Billy the Kid is part of our cultural DNA.

I’ll also say that my personal interest in Billy the Kid comes from my experiences as a high school teacher. Over my thirty years in the classroom, I taught lots of Billy the Kids. Those of you who are teachers can probably relate to what I am saying, especially if you look at what those who knew Billy the Kid in Silver City said about him in later years. Keep in mind that when he moved to Silver City he was only thirteen years old

Those who knew him at that time generally described him as a well-mannered and likable young man. He enjoyed music and performed in musical theater. He enjoyed reading. It was said he wasn’t as bad as the other boys in town and that he came from a good American home. His teacher said he always helped with chores around the school. She also said he had an artistic nature. He evidently loved his mother, and those who knew her described her as a jolly Irish woman who would do anything for her sons. The Kid’s mother died of consumption when he was only fourteen years old — and the rest is history. Without the guidance of a loving mother he ended up on the wrong side of the law.

I’m certain that those of you who have taught school have known students who were smart, likable, and cooperative, students who could have done something good with their lives, but circumstances sent sent down the wrong path.

And that’s the story I’ve tried to tell in my book Catherine’s Son. I wanted to tell the story of what might happen to make a good boy go bad. I used the historical record dealing with the years the Kid lived in Silver City as the skeleton of my book and then I fleshed out the story by simply making stuff up, which I assume is the approach any writer takes when writing historical fiction.

And I make no bones about my book being a work of fiction.

In the end, it’s difficult for the scholars to write about Billy the Kid, because we actually know so little about most of his life, and what we do know is often nothing more than myth.

Even so, the myths about Billy the Kid are endlessly fascinating.

For those of you who don’t know his story, let me take a moment and go over it. Even though much of what happened to the Kid is open to debate, what I’ll tell you is the standard, traditional story that has served as a foundation for an uncountable number of other stories created from his life.
  • William Henry McCarty was born in New York in 1859. Nothing is known about his father, but, as the story goes, his widowed mother took him and his brother west after the Civil War. His mother then raised him and his brother on her own while running her own businesses in Indiana and Kansas before she moved to Silver City in the New Mexico Territory.
  • While living in Silver City, the Kid’s mother died of consumption. He was fourteen and was left alone to survive a lawless and violent society. He got into trouble after his mother died and got arrested for stealing from a laundry. He then escaped from his jail cell by crawling up a chimney and heading toward Arizona. He was only fifteen when he left Silver City.
  • In Arizona, he became a horse thief. He also killed his first man in a bar fight, probably in self defense. He then returned to New Mexico and joined a gang of cattle rustlers and thieves. He also changed his name to William H. Bonney. Those who knew him called him "Billy" or "Kid." He wasn’t known as Billy the Kid until the newspapers created that name for him about six months before he died.
  • Within a few weeks after returning to New Mexico, he moved to Lincoln County in the eastern part of the Territory. In Lincoln, he was given an opportunity to make an honest living when an Englishman named John Tunstall gave him a job as a ranch hand.
  • The Kid worked for Tunstall only a few months before Tunstall was assassinated by men working for an organization called the The House. The House was a ruthless group of businessmen who had monopolized almost all business activity in Lincoln County. The House also had the support of a group of powerful businessmen and politicians who ran the entire New Mexico Territory, a group that was known as the Santa Fe Ring. After The House assassinated John Tunstall, the Kid found himself fighting in a war of revenge those who ran Lincoln County and the New Mexico Territory.
  • After the Lincoln County war seemingly ended with the defeat of Tunstall’s forces, the Kid would not give up and kept fighting, making himself a nuisance by rustling livestock from his enemies. In an attempt to put his life on the right side of the law, however, the Kid made a deal with the Governor of New Mexico, agreeing to testify in open court against allies of The House. In return, the governor offered him a pardon for any crimes he had committed. The Kid kept his part of the bargain and testified. Even so, the governor never granted the Kid a pardon.
  • Meanwhile, newspapers, in cahoots with The Santa Fe Ring, began portraying the Kid as the worst of the worst in the New Mexico Territory. The Kid became a scapegoat for everything wrong in New Mexico and a symbol for the lawlessness of the American West.
  • The Kid was eventually arrested and sentenced to hang, making him the only person convicted of a crime for actions committed during the Lincoln County War. However, in a daring escape in which he killed two guards, the Kid left his jail cell in Lincoln only a few days before his execution. He then found refuge among his friends and supporters near Fort Sumner.
  • Three months after he escaped from jail the Kid walked into a dark room at midnight where he was ambushed and shot dead by Sheriff Pat Garrett. The story goes that Billy the Kid was only twenty-one years old when he died, but historians are not certain. He may have been as young as nineteen.

All told, the Kid gave us one heck of a story! What happened to him has provided novelists, filmmakers, playwrights, and artists of all types with a mythic tale that can take a variety of forms. The Kid can be portrayed as a good boy gone bad or a boy who was born bad — bad to the bone. He can be portrayed as a cowardly punk, a black-hearted villain, a rebel without a cause, or a young hero — the American Robin Hood. His myth works any way you want to tell it, and his myth is as strong today as when he died 132 years ago.

Since my retirement from teaching high school, I have made my living as an education consultant. In short, I have become a person who teaches teachers. I train teachers to teach history, and a central theme of my workshops is that history teachers should not only provide students with historical information, they should also help students learn to think historically. It may sound odd, but Billy the Kid has become an essential element in the workshops I lead. The Kid’s story is perfectly designed to help students learn to think historically.

Historical thinking involves much more than I can really explain today, but let me give you an example of a few ways that I use Billy the Kid to teach historical thinking.

First, historical thinking entails the ability to ask questions. All historical research begins with a question of curiosity. History teachers should therefore routinely ask students, “What questions do you have? What do you wish you knew more about?”

And there’s no better way to help students learn to ask questions than to tell them about Billy the Kid. Almost anything you say about Billy the Kid generates more questions than historians can possibly answer. Our knowledge and understanding of the Kid’s life is so incomplete that students quickly learn to understand a standard rule for all historians — you must be able to tolerate uncertainty.

For historical thinkers, the Kid’s life is also a good lesson in contextual thinking. Good historians learn to place documents and artifacts from the past in historical context. Historians know that to understand the people of the past they must place them in the context of the world in which they lived. Billy the Kid lived in New Mexico in the 1870s, and it is impossible to understand him without understanding the society in which he lived.

During the Lincoln County War Billy the Kid was only eighteen years old and the men allied against him were the wealthiest and most powerful men in New Mexico. He also lived in New Mexico at a time when it had the highest murder rate of any state or territory in the nation. New Mexico had .2% of the population of the United States and 15% of the murders, and most of those murders were never prosecuted or punished. At least, they were not punished within the law. Billy the Kid certainly killed his share of men, but he also lived in an environment where killing was commonplace.

Another element of learning to think historically is learning to recognize how things change over time. Documents from the past change meanings according to the time in which they are studied. If you read a book from the 1920s about the Civil War, it will reveal more to you more about the 1920s than the Civil War. It will certainly give you a different version of the Civil War than books written in the twenty-first century.

The story we tell about Billy the Kid, like any story from the past, has gone through several transformations. The stories told about the Kid in the 1890s are much different than the stories we tell today. What’s important to keep in mind is that whenever the stories are told they always reflect the time in which they are created.

Let’s take an innocuous historical statement such as “Pat Garrett killed Billy the Kid,” and let’s examine how responses to that statement might have changed over the last 130 years.

If I had made that statement in the 1890s, I probably would have received responses that were variations on one theme: “The Kid got what he deserved.”

In the 1890s, people had been exposed to numerous newspaper reports, dime novels, and books that generally portrayed the Kid as a cold-hearted killer. The Kid represented the old ways of settling problems in the American West with a gun. Many Americans at the end of the nineteenth century were looking forward to an end of the Code of the West and the development of a modern and civilized urban society. Americans wanted nothing to do with people like Billy the Kid who settled their problems through anarchy and violence.

If I had said, “Garrett killed the Kid,” in the late-1920s or 1930s, I would have received a much different response. During that time, the Kid was generally portrayed as a hero. On the jacket of a bestselling book about the Kid, published in 1926, the Kid was described as the “Robin Hood of the Mesas.” In 1930, a movie film about Billy the Kid starring Johnny Mack, an All-American football player was shown to test audiences who were so disturbed by the Kid’s death that the producers were forced to change the ending. In the version released to the public, Pat Garrett fakes the Kid’s death and lets him escape to Mexico with the girl he loves.

The way the Kid’s story was told in the late-1920s and 1930s tells us more about that time in history than it does about Billy the Kid. At a time of gangsterism, financial corruption, and economic depression, the Kid was portrayed as a romantic hero fighting against the corrupt business forces of his time. In short, he was a heroic figure.

If I said “Garrett killed the Kid” in the 1950s or 1960s, I would probably get a response that provided some version of how the “system” or the “establishment” always wins — some version of how the good die young. During that time, the Kid was portrayed as a rebel without a cause, a James Dean or Marlon Brando of the Old West.

And what happens when I say “Garrett killed the Kid” in modern times? I have made several presentations and taught classes on Billy the Kid, and the reaction is often the same. It either sets off an argument over whether the Kid was a hero or villain or questions about where the Kid actually died in 1981. Someone always asks me, “Didn’t Billy the Kid die in Hico, Texas, in the 1950s?” To me, these reactions reflect how polarized we seem to be in modern times over every issue. The reactions also reflect how many people are likely to see conspiracy and coverup in any official story.

As I said before, I find Billy the Kid endlessly fascinating. For those of us who live in this part of the world, he is part of our culture and we cannot escape his presence.

As for where the Kid’s myth goes next, your guess is as good as mine. Wherever it goes, the new myths created from the Kid’s story will certainly reflect the changes in our world.

I am also certain that wherever the myth of Billy the Kid goes, it will not go away. Long after all of us in this room are gone, people will still be telling stories about Billy the Kid.

For more about Billy the Kid, read articles I have previously posted on this blog.

Tuesday, October 8, 2013

Teaching: The Role of a Lifetime

A few years ago I was asked to write an article about the similarities between between teaching and acting. The article, originally titled "You Are Who You Pretend To Be," was published in the second edition of Acting Lessons for Teachers: Using Performance Skills in the Classroom by Robert T. Tauber and  Cathy Sargent (Praeger, 2006). With a few minor revisions, here's a copy of that article and it's tribute to Frank Dooley, a master teacher who left an indelible mark on a multitude of New Mexico math students and basketball players.

It’s been forty since I took an algebra class, and I have long forgotten the process of solving algebraic equations. However, I have never forgotten the other lessons I learned from my math teacher Mr. Dooley, lessons that went far beyond learning algebra.

Mr. Dooley did not tolerate foolishness. His class was designed to help students learn, and he used time productively. He had a sense of humor, but his humor was geared toward the task of learning algebra. He could tell good stories, but the stories led to a math problem that needed solving. He was relaxed, but his students never wasted time. I knew to show up ready to learn or confront his disapproval. I felt compelled to do my best because I knew he would never accept a second-rate effort.

I am no longer be able to solve the algebra problems I conquered in Mr. Dooley’ class. I am certain, however, that if my studies in math had continued in college, I would have been prepared for success. After all, I had a great math teacher in high school. Mr. Dooley not only taught me to solve algebraic equations, but also to take learning seriously. He made sure I excelled at every task.

The fact that Mr. Dooley was able to make such a difference in my life — and in the lives of many other students — came from something intangible. His success did not come from the textbook he used or the teaching strategies he learned at a university. He was a successful teacher because of who he was as a person. Indeed, it may be that the secret to good teaching is found in one simple idea: Good teaching stems from good people.

Students will work hard for a person they respect. Students know whether a teacher is in the classroom for reasons of the heart. They know whether the teacher loves the subject and has faith in students. If students sense that a teacher is working hard for their benefit, they are more likely to put a little extra effort into an assignment. They are more likely to try to learn something new. Mr. Dooley was such a teacher. Students sensed that if they did what he said, they would succeed. Students sensed he was on their side.

Deming High School, Deming, NM
When I was in high school, I thought of Mr. Dooley as a mythical figure, a character larger than life. He was the basketball coach at my high school and had already won several state championships. Even so, I now realize something I would never have imagined in high school — Mr. Dooley was just a man, a human being like the rest of us. After spending thirty-five years as an educator, I now understand that the mythical Mr. Dooley that inspired me to do my best was in large part a role assumed by a man who understood the responsibilities of his profession. Teachers, like actors on a stage, assume a role to play. Mr. Dooley played his role well and, in the process, helped many students.

Success in the classroom depends, in large part, on the role a teacher plays in front of students. Can the teacher inspire students and ignite flames of curiosity? Is the teacher the type of person who challenges students to do their best? Good teachers, like good actors, know they must create a well-defined character for an audience.

Good teachers also know that teaching demands full immersion in the role they are playing. The teacher must continue to play the role in the hallways between classes, at the Saturday night basketball game, and when running into students at the mall. After all, it might not be what a teacher does in the classroom that most affects a student’s life. It might be the words a teacher speaks while talking with someone at the grocery store or in the waiting room at the dentist’s office that inspires that person to work a little harder or be a better person. Teachers might even find themselves playing a role in front of a former student several years after the student has left the classroom.

New teachers must be aware that once they enter the classroom their profession will require them to play a role. Whether in the classroom or at the department store, teachers have a deep and profound responsibility to serve the needs of their students. Teachers have an ethical obligation to find a way to inspire their students, and they must never abandon that obligation.

Success as a teacher demands that the character a teacher develops must seem authentic to students. In the same way that a movie audience can spot a bad actor in the first reel, students can detect a fraudulent teacher on the first day of school. Teachers must therefore draw on the imagination of an actor to capture a sense of authenticity in the role they play. Students know whether their teacher is dedicated to the profession or is just marking time until the bell rings at the end of the day.

Teachers, like actors, must find elements of their own personality in the role they are playing. Teachers must find the part of their spirit that wants to help students and then bring that spirit into the classroom. They must accentuate the part of their personality that is honest, caring, and full of love. They must shine a spotlight upon the part of their soul that wants to give students a bright future and make the world a better place.

As Kurt Vonnegut said, “Be careful what you pretend to be because you are what you pretend to be.” Teachers who might be distracted by circumstances in their personal lives must pretend to be focused on the concerns of the students. Teachers should hope that no matter where students end up after leaving school they will always remember their teachers as the people who never gave up on them.

Teachers are human beings, and they make mistakes. Like anyone else, a teacher might not always be the person he or she would like to be. Every teacher should try, however, to pretend to be the person who motivates students. Every teacher should try to act the part. Even if a teacher has played the part for several years, he or she can assume the attitude of a good actor and know that this year’s students have never seen the performance. Each teacher must play the part well. Nothing more than the success and well being of our children is at stake.

For me, nobody ever played the role better than Mr. Dooley.

Note: One of Bill Richardson's last proclamations as Governor of New Mexico was to declare November 15, 2010 as "Frank Dooley Day."
© 2005 James L. Smith

Tuesday, September 24, 2013

Establishing a Well-Run Classroom: A Guest Blog by Mike Thayer

Many years ago I did my student teaching under MikeThayer and could not have asked for a better mentor. Of all the people I have know in education, Mr. Thayer is quite simply one of the best. Mr. Thayer, who is now retired from teaching, is a former New Mexico Teacher of the Year.

After 27 years teaching social studies in junior high, middle school, and high school, I spent three years creating and leading a beginning teacher induction program. In recent years I’ve continued working with pre-service and beginning teachers.

Beginning teachers often ask me what a well-run classroom looks like. Naturally, there are many answers, but let me suggest six elements of a quality classroom. The list is not inclusive, and I’m sure that experienced teachers could add more to the list.
  1. Furniture arrangement and seating. Many teachers are taught in college to place students in groups, but when they get into the schools they find most classes are arranged in traditional rows. For most teachers classroom management is easier when students are sitting in rows. Group seating (surprise-surprise!) encourages students to “talk” and pay less attention to the teacher. So, what to do? I recommend that students be seated according to the purpose of the lesson planned for the day. Group work and cooperative learning are important teaching tools and furniture should be moved to accommodate the day’s lesson. It seems like common sense to me. 
  2. Announcements. “What are we doing today?” “Are we doing anything today?” Teachers hear these words all the time and can expend plenty of energy trying to provide answers. Many master teachers post a daily, or weekly agenda on their board or overhead projector in the same place every day. Students are then taught simply to check the agenda, and most of the annoying questions should eventually stop. In addition to an agenda, I recommend teachers post assignments and due dates to help students stay organized. I also recommend a daily warm-up to start class with the warm-up posted daily in a regular location.  
  3. Taking roll. I see it all the time — an experienced teacher stands in front of a class and calls roll aloud. Name after name is called with various answers being received. Sometimes, when silence follows a called name, the teacher will stop and seem confused, often calling the name again. What a waste of time, and students know this. The professional teacher has a seating chart for every class and quietly takes roll by noting which seats are empty. It should be invisible. What a help this is to substitute teachers too.  
  4. Time management. This is always a struggle for beginning teachers, but will improve with experience. Time on task is what we see in a master teacher’s classroom. Class begins quickly and the transitions between activities are smooth. A teacher’s job is to teach (I didn’t say lecture) “bell-to-bell." Classroom observers should see little wasted time and students deeply involved in learning.
  5. Lesson planning. Many master teachers will tell you that an interesting, relevant, fast-paced, and even fun lesson will eliminate most of your management problems. Oh, it sounds so easy. I don’t argue with this, but it takes most teachers several years (3-5 usually) to become a quality lesson planner. Too many beginning teachers think they can make everything right if they simply create better lesson plans. In the mean time, they experience many long difficult days. Some teachers never recover and leave the profession in frustration.
  6. Establishing procedures and reinforcing them often. There are many important procedures used by master teachers. Here are a few to start the discussion.
    • Procedure 1: Beginning class immediately when students enter the classroom and getting right to work. A good warm-up assignment should see students quietly working, even before class begins, with no more shouts of “sit down and be quiet” from frustrated angry teachers. This procedure alone has changed the career of many fine teachers.
    • Procedure 2: Establishing a make-up work center for absent students. I also recommend setting up a few file folders in the corner of the room with daily assignments and handouts so students can collect missed work without direct teacher assistance. This is a big time saver.
    • Procedure 3: Student dismissal at the end of the period. In so many classrooms I find students crowding around the door anxious to leave long before the bell rings. Sometimes I see some students sneaking out early in the mob. Master teachers, however, control the dismissal. They have students seated quietly, ready to be released in an orderly way (by rows, groups, or all at once). A safe and well-ordered dismissal is a sure sign of an effective teacher.