Friday, May 18, 2018

Summer Reading List: Professional Development



Signs of May: My 11th graders' AP test is done, my 10th graders are preparing presentations on A Midsummer Night's Dream, and I'm getting my summer professional reading list together! This blog actually started as a result of some summer professional reading--6 years ago. The book was Adolescents and Digital Literacies, and I was just going to capture and process my learning in my journal, when my husband challenged me to post it online--since that would be practicing digital literacy while thinking about it. (You can read that first post here.)

So I've spent the last week thinking about my list for this summer, and here's what I've come up with: 
Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark (Little, Brown). This is one of those classics in the field of teaching writing which I’ve seen referred to every so often in other writing teachers’ books and blogs. I’ve had this one on my shelf for several years: definitely going to get to it this summer.

In the Best Interest of Students: Staying True to What Works in the ELA Classroom by Kelly Gallagher (Stenhouse). This author is one of my reading/writing classroom gurus—along with Penny Kittle, Jeff Anderson, and Cris Tovani. Gallagher AND Kittle co-authored a book this year, but I have to read this one first.

Seeing the Standard for Project Based Learning by John Larmer, John Mergendoller, and Suzie Boss (ASCD). This was recommended by a colleague two summers when I asked about the best book to catch me up on the subject. A number of teachers at our school (where I’m curriculum coordinator as well as a 10th/11th grade English teacher) have expressed an interest in learning more about project based learning, so I definitely need to get to this one this year. I’m thinking of having a faculty book discussion on it sometime next year for anyone who is interested.

Fair Isn’t Always Equal: Assessment and Grading in the Differentiated Classroom by Rick Wormeli (Stenhouse). This one’s new to my list this year: I was talking with the elementary principal about teachers’ expressed interest in learning about assessment (variety, validity, effectiveness) and she suggested this one. So we’re both going to read it this summer. 

Bold Moves for Schools: How We Create Remarkable Learning Environments, by Heibi Hayes Jacobs and Marie Hubley Alcock (ASCD). This was recommended last summer by a friend who is a school head at another school, but I was already committed to Creating Cultures of Thinking: The 8 Forces We Must Master to Truly Transform our Schools, which was on a similar topic (and I highly recommend it!). I’m looking forward to reading Bold Moves this summer and talking with my friend about it. 

Coaching Classroom Instruction by Robert Marzano and Julia Sims, (Marzano Research Laboratory). This one I just decided on this week as the title to fulfill my goal of learning about instructional coaching—something I think I should probably know more about in my role as curriculum coordinator.

Creativity--teaching and assessing it--was one more topic I had on my list to explore this summer. Our school’s 5 expected student outcomes (what students will learn in every class at every level) are the ability to understand, think, communicate, collaborate, and create. I realized when I was at the EARCOS Leadership Conference this past October, that for those first 4, I can talk about  research, recommend several books, and give examples of ways I teach and assess it, but for create, I mostly just know the buzzwords about 21st century learners and maker spaces, along with my conviction that humans made in the image of a creative God must be creative. So I scribbled down a list of 6 books that one of the presenters gave, and my husband helped me narrow it down to 3:

Then my husband suggested I get all 3. Well, I was hoping to clear out my backlog of professional reading this summer, but who am I to say no to buying books? So, time to order my last 4 professional books! Then to start working on my other summer reading list... 

What do you want to learn about this summer? What can you read to find out about it? 

Friday, May 11, 2018

Self-Care for Teachers: Reflect on Good Things That Happened This Week (Part 2)



It’s the time of year for teachers when trying to accomplish all those things on your to-do list can feel like an endless loop. Like that Facebook video of the toddler sticking tennis balls in a can tucked under his arm, but every time he bends over to pick up a new ball, the one he just put in rolls out. (If you haven’t seen it, you really should. Laughing at frustration is a healthy outlet.) Okay, let’s face it: in teaching, it can feel like that just about every week. 

That’s why there are so many resources for teacher self care (just try Googling it!). One of the refrains I keep coming across—along with eating well, exercising, and getting enough sleep—is the importance of cultivating positivity. Hang out with positive people. Make a habit of recounting good things that happened in a day or a week. 

So thats what I do on this blog every year about this time (heres last years), and that’s what I’m going to do todayreflect on some good things that happened in my teaching week:

Student connections and book choices: A student picked Good News about Injustice off my classroom library shelf and said, “This sounds like that article we read at the beginning of the year when we talked about human dignity.” (Yea, she remembered something we read back in November!) Me: “Actually, it’s by the same author! Gary Haugen, the head of International Justice Mission, that works to combat human trafficking.” She grinned and pocketed the book.

Student questions, overheard as I circulated around the room, observing 10th graders discussing an op-ed piece from the New York Times titled “Three Views of Marriage” in order to help them formulate modern relevance of some themes of A Midsummer Night’s Dream: “Are these statistics about America, or did they get them from other countries, too?” (excellent question!) and “How did they even decide that the best marriages are better and the worst are worse? Did they use a rubric?” (Absolutely delighted a student assumes rubrics are this important!)

Student ownership of essential questions: Student to group mates as she practiced reading some of Oberon's lines from A Midsummer Night’s Dream in preparation for the presentation they are doing next week: “What am I thinking as I’m saying this?” (I’m doing better at working my essential question “How is acting different from reading?”!)

Student writing: Line from an 11th grade essay on citizenship (see last week’s blog for student reflections): "…[S]ometimes it’s necessary to disagree. Jesus himself overturned tables and shouted when the intended purpose of the Temple was being perverted. When the intended purpose of community is being perverted then we, as Christians, must overturn tables of our own. God created community for us so we may live in peace, and being good Christian citizens means doing what is necessary to keep said peace…. As we try to maintain peace, go about doing so using civil disobedience, seeking education and simply lending a helping hand to the people around you."

Book recommendations becoming a two-way street: A student stopped me in the hall and said, “Oh, Mrs. Essenburg—since you’ve been interested in New Zealand literature, my mum says we have a whole stack at home and you’re welcome to read it.” I said, “You and your mum pick the top two and I’d love to read them.”

Teacher learning and informative assessment: I actually followed through on my intention of the last several years to sprinkle our study of A Midsummer Night’s Dream with several close readings and annotations, leading up to a final assessment of a close reading annotation. Things to love: I did it—all 4 practice ones, going over them in class, and the final one. Also, everyone did a thorough job of paraphrasing, and one student absolutely nailed it for poetry, questions, and significance as well. Which lets me know what standard I can hold students to, and what rubric I should construct and teach to for next year!

These are the moments that make all the rest worth it. It’s important to collect and savor them. What were a few of those moments for you this week? Reflect on them yourself, and then share them with a teaching friend. It helps. I promise.

Saturday, May 5, 2018

Combat May-itis with Real-Life Skills and Reflection




May-itis is what can happen in May in educational systems where the school year ends in June. It is a lassitude or paralysis that results from the confluence of the realization of a limited time in which to accomplish all remaining goals and the wish that a goal in sight means a goal accomplished. Two ways to combat May-itis: (1) give students real-life resources that adults use and (2) reflect on learning.   

I may have a minor case of May-itis myself. This week my 11th grade AP Language and Composition students were wrapping up their last processed papers for the year. When it came to the final editing mini-lesson, I drew a complete blank. I just felt like I had nothing new left to teach them about grammar, conventions, and even style. If they would just use all of the knowledge and strategies we’ve explored in class over the last two years.… Suddenly I remembered a professional writers’ blog I’d seen earlier this year about “10 Ways to Become a Better Proofreader,” so I searched the blog, and when I found it—eureka!—it was perfect. I love giving students real-world resources (like Toastmasters for public speaking tips) because it demonstrates that these aren’t just fake school teacher targets, and it empowers students to find their own resources in the future. Also, this particular list reiterates many things this teacher has told them and/or required writers to do…but have students internalized those things, and will they continue to use them their senior year, in college, and in life? 
List of frequent errors? Start here...

So for the mini-lesson, I told students this was the last editing day we’d have, and I hoped they’d take everything we’d learned about writing process and about editing, use it today, and take it with them. I asked them to read the article, write down 3 of the 10 things they would commit to using today and in the future, and then spend the rest of the period doing it. Meanwhile I’d come around to check their list of 3 and answer any questions they might have about my editing marks on their papers (my practice is to mark the first 10 errors or questions I come across) or about anything else.

The next day, when final drafts were due, we did our usual self-assessment and reflection (something I have become committed this year to always allowing time for) with an additional question: How have you grown as a writer this year? (I distributed their writing portfolios so they could do some research.) Sometimes I’ve saved this whole-year reflection until the very end of the year, but you can also miss the peak. This is the first time I’ve done it this early, and because of the timing with the AP test, it was something I definitely want to repeat. 

Here are some of the things students said they learned while working on this paper (Prompt: Letter to yourself in 10 years: Given what you’ve experienced in your life up to this point, what you have read this unit about citizenship, and what you have learned this year about reading, writing, listening, thinking, and speaking, how do you hope you will be using your voice as a national and global citizen?):
  • Once I grow up, I’ll have a choice of what kind of citizen I want to be, which I really hadn’t thought too deeply about before. So I’m glad I’ve gotten to really get into it. I also learned to read my sentences backwards and aloud to catch errors and make some good changes. 
  • Making cuts where they need to be made, knowing when not to include something, even if it’s well written, for the purpose of my overall narrative.
  • I decided to step away from using vocabulary and diction that I’m not comfortable with, and focused on the philosophical/pathos aspect of the essay. I’ve learned that it’s important to know your audience when writing since it made some decisions in writing (allusion, diction, and sources) easier.

Here are some of the ways students said they had grown as writers: 
  • Over the course of the year I have…become more adept at presenting my ideas in a much clearer way…. I have also gained better insight into developing an idea over the course of an entire essay, using structure to my advantage. I think my quality of work still fluctuates somewhat, but writing has started to come much more naturally to me, and I now know what to focus on to improve my writing further.
  • I definitely feel as though I have a better understanding of what rhetoric is and how to use it, which was really hard for me at the beginning of the year. I also think that I’ve become better at making sentences stand out, whether it be by varying sentence structure or building up to something, which I think makes my work more impactful. I also think I’ve become better at making “bigger” words actually sound meaningful and sell used and not just having them there for the sake of having a big word there.
  • …One of my favorites was the education essay. I felt so strongly about this particular subject, specifically when we read about how today’s technology impacts our education…. I’ve learned so much about the world around me.
  • I’ve grown to put a lot of my own character into my writing. I’ve grown out of the habit of just using the all too familiar intro, three points, and conclusion style, and stretched my ability to write more types of essays.
  • I think I’ve become more aware of multiple perspectives, which is important when writing.

That was a great antidote for my May-itis! Now on to the very focused AP test prep next week!

How do you combat May-itis in yourself and in your students?

Friday, April 27, 2018

Letting My Inner Nerd Show



If you see me around school in the next several weeks, I’ll probably be sporting a Shakespeare t-shirt, plus my bust-of-the-Bard earrings (which are frequently mistaken for skulls at a distance—I've learned to clarify that early on). Tenth grade Honors English has started A Midsummer Night’s Dream, and it's time to really put my inner nerd on display. “Where did you get all those t-shirts?” the kids asked when I told them I had a pile I'd be wearing throughout the unit. Each one has its story (sometimes several layers of stories), and I’ve promised the story of each as I wear it. 

The Globe Theater t-shirt is my oldest. I got for myself on my family's visit to England when my daughters were 7 and 9. (I can also tell the story of seeing Hamlet as a groundling at the Globe, as well as other stories from that epic trip!) The white shirt shows scenes from The Tempest outlined with text from act 1, scene 1—a gift later in life from my older daughter, commemorating the first Shakespeare play I ever took her to, when she was in 5th grade. It was the Royal Shakespeare Company at the Tokyo Globe Theater, and I took her because she had done her massive 5th grade research project on Shakespeare. (The earrings are also from her—picked up at the Oregon Shakespeare Festival on her honeymoon.) The one with Robin’s most famous line from A Midsummer Night’s Dream was a gift a colleague brought back from her own pilgrimage to The Globe. Finally, the Bard’s head, constructed from the titles of the 37 plays he wrote, was a gift from my younger daughter, acquired on a recent visit to the Oregon Shakespeare Festival. Some may say my whole family suffers from nerdiness, but they're wrong--it doesn't hurt at all.

My Shakespeare unit is also my chance to show another facet of my inner nerd: my love for word play. My excuse? Shakespeare uses a lot of word play, and if you have no appreciation for it in contemporary English, you’ll never get it in Shakespeare’s. So every class period during the unit, when students come into the room, there are 3 puns or neologisms or malapropisms projected on the board, and when class starts, students know they’ll be asked to vote on their favorite. It takes a little cajoling to get everyone to vote the first couple of days, but now they’re discussing words in their table groups and asking questions even before the bell rings. (“Is ‘flatulence’ farting?” when one of the neologisms is “flatulence: the emergency vehicle that picks you up when you’ve been run over by a steam roller.”) There’s even a feedback loop into the Shakespeare. Thursday a student referred to Demetrius’s line “wood within this wood because I cannot meet my Hermia,” and said, “I feel like there is some word play here that I’m not getting.” 

Finally, I wear my book-loving nerd all over my classroom door. (I’m printing these posters for every secondary teacher at my school as part of the weekly sustained silent reading program we instituted this year.) I’ve filled my door and the window next to my door and half of the window above my door—but I think I have enough space left for the last 6 weeks of the school year!   

Do I expect everyone—even all my students—to love Shakespeare, word play, and books the way I do? No. But I invite them to give it a try and see if they do! Because if you love something, why not let it show? My students get to know me, my family, my excitement about what I teach, that it is possible to be excited about those things, and that it’s okay to be excited about what you love—whatever that may be.

How do you let your inner nerd show?

Saturday, April 21, 2018

It Doesn't Always Have to Be a Test or Essay


A Midsummer Night's Dream, act 1 scene 1, by 3 people in 1 minute

Best ever “do you remember what we read yesterday” review: Give groups 5 minutes to plan and produce a 1-minute, fast-forward, no-sound version. So much more fun that a verbal or paper quiz, students jump to the task with excitement, and they ask and answer questions, checking the text to clarify understanding. 

This is just one of many ways that students can develop and demonstrate understanding in English class without writing an essay. I was confronted with that question last fall in a book discussion about differentiation. At first I felt a bit defensive: If one of the major goals of my class is to teach writing, then how can I differentiate? The answer, of course, is several fold. First: There are several other skills in English, as well as their component parts, as well as important enduring understandings about those skills as well as about themes and content. Second: There are formative assessments as well as summative. Third: There is differentiation of process and content as well as product. Then this spring I participated in a book discussion of Making Thinking Visible, which helped even more in identifying the component skills and processes that help form them.

So, in addition to 1-minute, fast-forward, no-sound reviews, here are some other non-test, non-essay ways I've found for students in high school English class to learn and to demonstrate their learning about reading, listening, thinking, speaking, as well as about content understanding: 

  • Reading response journals including drawings, diagrams, lists (see right) 
  • Group mini-posters including images, quotes, and questions 
  • Close reading annotations by individuals  
  • Close reading annotations in groups 
  • SOAP posters in groups (Speaker, Occasion, Audience, Purpose) 
  • Posting independent reading titles
  • Groups map connections among sources
    read to prepare for synthesis essay 
  • Groups map relationship among information researched to organize for presentation 
  • Groups do gallery walk posters to record analysis of a work's theme in different ways 
  • Preparation notes for a synthesis discussion
  • Discussion notes
  • Goal setting for discussions
  • Students collecting argument stems (Oct. 18, 2017)
  • Students ordering paragraphs (Oct. 24, 2016) (Oct. 31, 2017)
  • Reflection on writing (Oct. 16, 2016)
Yes, students will still have to write some essays because that is one of the skills they need to learn, practice, and demonstrate. And there are so many additional skills and understands we value, and so many ways to break them down and help students learn and demonstrate their learning. 

In addition to essays, what ways do you use to help students learn and demonstrate their learning?


Saturday, April 14, 2018

Short Stories: Assessing by Doing and Reflecting


Focused on peer feedback--Google Docs style

For this story I wanted to try some magical realism/surrealism because they use a lot of symbolism. I used to shy away from using big symbolism in stories because it was a bit daunting for me, but I took this as an opportunity to try. I learned how important it is to experiment in writing. Instead of trying one style that I’m comfortable with, experimenting with another style out of curiosity is important. This unit I wasn’t very conscious of my grade and just wanted to experiment and write something I will be satisfied with, and I learned how exciting writing can be. In the future I hope to incorporate more of what I read into what I write. --10th grader reflecting on short story draft

Why should students study short stories, and how should they demonstrate their mastery of the stories and of the genre’s elements studied in class? Here’s a novel idea: Not by taking a test but by writing their own short story. We didn’t even take it to a final draft—after all, this particular unit doesn’t target conventions, but watching the pros, analyzing what they do, then taking a risk and trying it ourselves just to see what happens and what we learn. If students get really wrapped up in their story and it gets too long to complete in a week’s time—no problem—a fragment is fine. Quick and dirty is the key. What’s important at the end is a written reflection about (1) what your inspiration and goal was, (2) the challenges and success you experienced in trying to accomplish that goal, and (3) what you learned in the process. If students set a goal connected to the short stories read, engage fully in the writing process, and write a reflection demonstrating that as well as significant learning, they will have accomplished all the learning targets and would receive full credit. That’s what I told them at the beginning of the week.

This is only my second or third time trying this, and I’m still nervous at the beginning. What if someone says, “This isn’t real writing! Get my child ready for college!” or “I hate writing stories!” But by the second day, when I conferred with students about their inspiration, goals, and plan, both they and I were hooked. And if you read their reflections (day 4–see below), I think you might be, too. 

For an investment of 1 week of class (4 days for us, on a modified block schedule, 3 periods of 45 min., one of 75 min., and one day off), there were many gains. Students...
  • Practiced reading like writers and writing like readers (since fiction is mostly what they read in English class).
  • Created, and learned that creation almost always stands on the backs of others.
  • Who enjoy creative writing got to pursue their passion IN SCHOOL! And those who are more comfortable with typical academic writing got to practice a little empathy.
  • Took a risk, tried something new.
  • Grew in their understanding of the literary devices short story writers use to convey theme, and in their understanding of what it takes to do that, and how a community helps.

In the previous week we had read 3 short stories—from a variety of countries, times, and world views, using a variety of styles: Leo Tolstoy’s “How Much Land Does a Man Need,” Franz Kafka’s “The Bucket Rider,” and Gabriel Garcia Marquez’s “A Very Old Man with Enormous Wings.” 

The next week, we wrote. We spent Monday planning; Wednesday drafting; Thursday (the long period, in which the mini-lesson was basically my blog from last week) giving, receiving, and implementing peer feedback; and Friday reflecting.

Students might have looked passive in the lead photo, but here's an example of the interactions that were taking place online!

Here are some of the things students had to say on Friday--some of the goals they set and things they learned. I think you’ll agree, they all learned, and they all get full credit:


  • It was awesome to see the looks on [the readers’] faces when the last paragraph came about. It was awesome. I learned that not everyone has the same sense of humor. The first person I showed it to (this was outside of class) got so mad about the ending. It was awesome to see my brother start laughing at it.
  • My goal for this short story was to use a lot of dialogue. Whenever I tried to write a story, it always ended up being at least 90% narration, which made them quite honestly boring. I wanted to use this assignment as an opportunity to try and tell a story using mostly dialogue, while also not forgetting to build a setting. My inspiration for this story…was Murakami and the way he writes. While reading After Dark, I thought to myself multiple times that his ability to build a world through subtle details and thoughts that are sewn into the backgrounds of conversations to be genius, so I wanted to try and (crudely) implement this in my own story.
  •  As I was writing my short story, I couldn’t find places to insert foreshadows and irony. I ended up putting the former near the beginning and the latter at the end because I could squeeze it in without making it awkward. On the other hand, I felt I was able to use the weather image to show the character’s feeling/emotion. For some reason the story make it easy to put weather conditions in, so I tried it, and I think it worked out OK.
  • My goal was to make a short story that makes you question its meaning and theorize what it is all about. I wanted to make my story as simple as possible, but also have a deeper meaning behind all of the strange things that happen in it. I also tried to add a bit of foreshadowing here and there.
  • I was initially inspired by an interview in a Skelos article, an author who wrote something called a weird western. A confrontation with a metaphorical representation of death was an easy idea to follow as well, but I liked the setting of a rainy city rather than a desert. I wanted the short story to convey that you can’t live in fear of death, you must live in spite of it.
  • To have an ironic, surprise/unexpected ending, like a story I read when I was little.
  • When [my 2 table group partners] and I were peer editing/commenting, all three of us had different story lengths and style, and I felt that I really liked short stories because you might be able to feel, learn, or teach something in just a page!
  • …I came up with some formats that I wanted to follow, for example, the semicolons and setting of the stage in the first paragraph like Kafka, and also to use many quotes as he did. I wanted to use foreshadowing the way Leo Tolstoy did, and from Gabriel Garcia Marquez, the bizarreness of his story and subtleties of his lesson to be learned. To top all this off, I wanted to write about an important relationship in a father’s life, the one he has with his daughter, in a heartwarming way.
  • I liked how “The Bucket Rider” gave different impressions to different people, which I really wanted to try…. My revisers were kind of confused with the theme, which I purposely left vague. So overall, I’m kind of satisfied.
  • I wanted to be able to convey my message as simply as I could, and I wanted to connect it to the story, “A Very Old Man with Enormous Wings” because I found that story very interesting. The story was also my inspiration because when I pictured the old man’s wings, I pictured the vulture’s wings, and since a girl got turned into a spider, I thought maybe an animal could be turned into a person. I also found that my story turned out to be a fable, and I enjoyed writing it very much.
Maybe next week I’ll share some of the great stuff they wrote in their stories!

What do you think students should learn from studying short stories, and how do you assess them?

Friday, April 6, 2018

Writing Takes a Village, or The Part of the Book I Never Used to Read



Do you ever read the acknowledgments at the end of a book? I’ve been a print addict ever since I can remember. My mom had to remove the cereal boxes from the breakfast table if she wanted conversation. How much more compelling were books! Much of my childhood was spent figuring out how to evade life responsibilities like lima beans and bedtime—in the bathroom, under the covers with a flashlight—in order to read. And yet, there is one part of the book I never read until recently: what comes after the end—the acknowledgements. 

Here’s what’s been dawning on me more blazingly than ever before: student writers don’t need feedback because they’re students; they need feedback because they’re writers. Writers of fiction and nonfiction in their acknowledgments thank all those who had a hand in shaping the final work—from the mentor who first encouraged them to publish their journal, to the specialists who gave them essential information on astronomy or 14th century France, to the friends who found all the plot holes and suggested solutions, to the agents and editors who shaped the work all along the way. 

I've been reading a good bit this week since it's spring break. I finished 3 books I’d been working on (Death with Interruptions by Nobel Prize laureate Jose Saramago, Third Culture Kids: Growing Up Among Worlds by David Pollock and Ruth Van Reken, and The Inquisitor’s Tale by Adam Gidwitz), read Turtles All the Way Down by John Green, and started Black Boy by Richard Wright. Now, it does seem that older writers used to hide all the work they did—made it seem more like magic. Wright told the tale of his life, but not of the book. Saramago didn’t, either—but his translator did! Van Reken wrote a posthumous tribute to her collaborator, and Green and Gidwitz wrote acknowledgments that are lengthy (and witty!) enough to be essays in their own right. (Maybe the acknowledgment is developing into its own genre!)

Why did this come home to me so clearly just now? As 11th graders were working on speech writing in the weeks before spring break, I was delighted to see that the last 1-3/4 years of workshopping pieces together has fostered a writing community where students have a growing understanding of writing for an audience, of having things they really want to find out and to communicate, and of needing feedback in order to grow those ideas and craft that expression in order to reach that audience effectively. 

I saw this especially as the class brainstormed their own list of topics on which they wanted feedback from peers (see photo below), and then shared their documents with more than the one required peer. As I was reading the electronic drafts to leave my own feedback, I saw peer feedback that was specific, both positive and constructive, and helpful. I saw writers doing major revisions in response to feedback—one cut from over 5 pages down to 3! And they asked if they could please make more revisions when they were reading their supposed final drafts to partners—and were excited when I said, “Certainly!” 

11th graders brainstormed topics on which they wanted feedback from peers on their writing.

Gidwitz sums it up as he introduces his acknowledgments, beginning with a quote from one of his own characters: “‘When you think about it, each book is a lot of lives. Dozens and dozens of them.’ William is right, of course. Any book takes a whole battalion of supporters and sources, editors and interlocutors, to complete.” If a fictional character in a middle grade book knows that, and his author knows that, then surely we and our students should know that anything we write—newsletter, speech, editorial, essay—should take, if not a battalion of supporters, then at least a handful.

And if you don’t believe me, read the acknowledgements at the end of the next book you pick up. I might even have students write their own acknowledgment for their next piece...hmmm....