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  • jill castekJill Castek from the technology SIG suggests apps that help students create concept maps, sort evidence, and annotate an article.
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    TILE-SIG Feature: Using Apps to Extend Literacy and Content Learning

     | Apr 26, 2013

    jill castekby Jill Castek

    Tablet devices such as the iPad promote anytime, anywhere learning and provide educators dynamic opportunities to connect school and home learning activities. Apps have unique affordances that promote maximum levels of interactivity. Coupled with tablets’ multi-touch screens, drawing capabilities, and the integration of audio across a seemingly endless variety of applications, the learning possibilities are endless.

    This article showcases apps, specialized programs for tablets and other mobile devices, that help students access information, interpret and share information, and create their own multimedia products. The apps featured actively involve students in reading, writing, listening/speaking, illustrating and creating to support synthesis of ideas, and meaning making. For classroom examples illustrating how to use these tools strategically to enhance literacy and content learning, see Castek & Beach, 2013.

    Concept Mapping with Popplet

    Concept-mapping apps help students visually represent logical or causal relationships between ideas. Using concept-mapping apps, students identify a variety of keywords associated with an experience, topic, or issue and visually organize the logical relationships between these words. Students may insert the words into circles or boxes, drawing lines between ideas with spokes to which they insert subtopics. These connecting lines serve to define the logical relationships between ideas, for example, whether a subtopic serves as an illustrative example of a major topic.

    In content area classrooms, concept mapping offers an important means of tracking concept development and supporting reflection. Popplet offers students a blank canvas on which to create connected nodes within a concept map and an interface that makes the revision process simple. The connected boxes can include images as well as words and can be easily moved around, connected/reconnected, and color-coded to show relationships. Popplet Lite is free at the iTunes store; the full version is $4.99.

    popplet

    Evidence Sorting with iCard Sort

    In science and social studies, students are often asked to think in terms of a claim-evidence framework to frame an argument or express understanding. By providing opportunities for students to sort pieces of evidence to determine which pieces of evidence might be organized together to support the claim supports students emerging understanding of content. iCardSort allows students to sort, group, and order, ideas in preparation for writing or discourse activities. This app is offered for $5.99 at the iTunes store.

    icard

    Annotating an Article with DocAS to Promote Active Reading

    Reading actively promotes greater reading comprehension. DocAS is a tool that supports students in marking up reading material to show their emerging ideas. In this process, students are exposed to questions and connections that differed from their own, resulting in their acquisition of new ways of interpreting texts. The result of students’ active reading is a personalized archive that shows their thinking. DocAS can also be used as a personalized notebook for drawing, writing, and making connections. DocAS Lite is free at the iTunes store; the full version is $4.99.

    docas

    Supporting Implementation

    While apps can enhance curricular goals and support students learning in new and transformative ways, we need to be mindful about how to use these tools strategically in ways that best enhance our students’ learning.  It is important to recognize that the learning potential of these apps does not lie within the apps themselves, but rather is fostered by how teachers exploit them to achieve particular learning objectives such as collaboration, multimodal creation, and shared productivity.  Keeping in mind best teaching practices will help facilitate acquisition of content while also supporting the use of 21st century technologies that are essential to our students futures.

    References

    Castek, J. & Beach, R. (2013). Using apps to support disciplinary literacy and science learning.  Journal of Adolescent and Adult Literacy, 56 (7), 554 – 564.  Article podcast.

    Jill Castek is a Research Assistant Professor at Portland State University with the Literacy, Language, and Technology Research Group. She can be reached at jill.castek@gmail.com.

    This article is part of a series from the International Reading Association Technology in Literacy Education Special Interest Group (TILE-SIG).



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  • One of the many criteria for good fiction are characters that are so real they practically jump off the page and sit next to you while you read their story, voraciously turning the pages to see what happens next. But, what if those characters really did come off the pages in all their life-size glory? I asked myself that very question and here is what happened:
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    Giving Two Dimensional Characters a Push Off the Page—to 3D!

    by Kathleen A. Hunter, MS
     | Apr 23, 2013
    One of the many criteria for good fiction are characters that are so real they practically jump off the page and sit next to you while you read their story, voraciously turning the pages to see what happens next. But, what if those characters really did come off the pages in all their life-size glory?

    I asked myself that very question and here is what happened:

    My students and I were reading A WRINKLE IN TIME as a whole class; I read aloud while they followed along with their own copy of the book. As we read we also took notes about key story elements in the beginning, middle, and end; who the characters were and their particular traits; and the settings where the story took place. Each day we looked forward to our reading time together and spending time with Meg, Charles Wallace, and Calvin.

    By the time we were finished reading the book we each had a deep understanding of the story as a whole. And then the fateful day finally arrived when we turned the last page in the book. We felt a melancholy that comes when all good things end. But we were not ready to leave our friends just yet.

    That’s when I pitched the idea of making dioramas. The class was super excited about the project. But then I told them the dioramas would be life-size. “Cool!” and “Awesome!” were a couple of the many positive exclamations from my students. Yes, this does sound crazy and it is a daunting project at first blush—but trust me when I say it does all come together, and the end result is priceless in so many ways!

    Below is a supply list and the process for completing the project from start to finish.

    SUPPLIES

    1. Large box—think super-size shoe box. I got three from my local bicycle shop. They are constantly getting new shipments of bikes. You can also try stores such as Lowes, Home Depot, and other similar stores that sell large appliances.
    2. Paper Mache paste OR rolls of masking tape
    3. Newspapers or other larger pieces of recycled paper
    4. Poster paints (primary and secondary colors work best)
    5. Paint brushes
    6. Containers for paints and water for brushes
    7. Old towels
    8. Kids’ clothing and shoes
    9. Yarn
    10. Scissors
    11. Butcher paper in blue, green, brown (if you can’t find them locally, they can be purchased online here)
    12. Rulers and yardsticks
    GETTING STARTED

    Divide your students into three groups. Each will represent the beginning, middle, and end of the book. I let my students choose their own groups because at this time of the year, they all knew the rules about how to choose—namely, no one gets left out. However, I know sometimes it is better for the teacher to assign the groups, for whatever reason. Use your best judgment for your class.

    Once you have the three groups, each will write a short summary of plot points for their portion of the story. Then, they will select a scene from their summary to diagram on paper. This is their “blueprint” for their diorama. Each group will also create a list of items they need, i.e., clothing for their characters, colors of paints, yarn for hair, etc. Let your students know that it is better to have too much detail rather than too little. It is easier to take away than to add.

    CREATING THE DIORAMAS

    The students will let you know what color butcher paper they will want on the background of their cardboard box. All you need to do is cut the pieces to the size of your boxes. For example, for a sky you would like the top half in blue and perhaps the bottom half in green or brown for landscaping. The students will then paint on the paper any additional items to complete their scene’s setting. Perhaps a house painted in the background, some trees, etc.

    Using the newspapers, instruct your students how to make limbs by rolling up newspapers into a tube. The feet and hands are created by bending the tubes at one end. Bodies and heads are created by crumpling newspapers into a ball and adding to it until you have a sphere the size you want, then secure the ends with masking tape. Some spheres and tubes will be smaller, for the child characters for example, and others for the adults will be larger. I had one group include the family dog so that required a little extra creativity on their part but they did a fabulous job!

    Originally, I’d planned to use papier mâché for this part of the project, but then I realized that was not really necessary. Good ol’ masking tape was equally suitable, far less messy, and readily available. And the cleanup was nil!

    Next, let your students select the colors of paints they want to use for painting faces and hands on their characters. Then they will select from the items of clothing an outfit for each character to wear. The yarn is used to create hair. Be sure to either use butcher paper or paint to create the “ground” or floor your characters will stand on. Some of ours were outside so the students made grass out of green butcher paper. Others were indoors so the students painted a pattern for a floor. Once the characters are fully dressed they are ready to mount onto the bottom of the cardboard box.

    For mounting I used more masking tape to tape the feet to the box. I also used rulers and yardsticks to prop them up from behind. After each diorama is complete, ask the members of each group to reconvene to write a short synopsis of the scene their diorama is portraying.

    SHOW AND TELL

    Now is the moment you have all been waiting for—sharing your dioramas with the rest of your school! I was able to display ours on the stage, which was also in our cafeteria. They were a wonderful conversation piece for all the students to engage in while eating their lunches. When they were finished eating they needed to walk by the stage to throw away their lunch trash, which gave them an opportunity to see the dioramas up close and to read the synopsis for each.

    AFTER THE SHOW

    Your students will have had a creative, hands-on lesson in many subjects and they won’t even know it! The level of engagement and learning for each student will be priceless. Not to mention, you will have covered many curriculum requirements before the end of the school year including the five components of reading (phonemic awareness, phonics, reading fluency, vocabulary, and comprehension), writing, art using a variety of media, cooperation, and organization.

    After the dioramas have been on display, they will need to be dismantled. All the materials can either be recycled. Or, if your students are like mine, they will want to take their characters home with them. I happened to use the book A WRINKLE IN TIME, but this project can easily accommodate any book and grade level.

    I hope you have as positive an experience as I did with my fourth graders and their life-size book characters!

    Kathleen A. Hunter, MS is a literacy tutor and aspiring children's book author. You can visit her online at www.KathleenHunterWrites.com.

    © 2013 Kathleen Hunter. Please do not reproduce in any form, electronic or otherwise.


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  • I am writing this as a confession. For the first twenty-five years of my life I cannot recall ever voluntarily reading an entire book. I’ve always been enamored by a good plotline when watching a movie, following a TV show, or listening to someone tell almost any kind of story. Both my parents and my older brother were voracious readers who kept every book they ever read on shelves like little trophies.
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    Reflections of a Former Aliterate Reader

    by Debbie Silver
     | Apr 18, 2013
    I am writing this as a confession. For the first twenty-five years of my life I cannot recall ever voluntarily reading an entire book. I’ve always been enamored by a good plotline when watching a movie, following a TV show, or listening to someone tell almost any kind of story. Both my parents and my older brother were voracious readers who kept every book they ever read on shelves like little trophies. I should have been an avid reader of books, but I wasn’t.

    I went to a fine public school and was instructed by competent teachers who told us how important it was to read. But I didn’t read.

    My teachers did not know I wasn’t reading because I “fake read.” I was a sharp enough student to figure out that if I read the words written on the covers of books I could bluff my way through assignments and book reports. I was not illiterate; I was a slow reader, but I knew how to read. I just didn’t want to. I suppose today I would be labeled as aliterate because I used every device I could think of to avoid reading any book.

    I thought the idea of reading for pleasure was an oxymoron. Teachers would give their list of approved selections, but none caught my interest. I thought they were boring and of no value except to get a grade on a test or book report.

    Occasionally I would observe classmates who always seemed to have their “private stashes of literature” with them to read during any stolen moment. I wondered what was wrong with them. Why would anyone read a book they weren’t required to read?

    In class my teachers would introduce classic novels as great pieces of literature without really explaining the importance of what they could teach us about life and about ourselves. I’m sure my teachers were well intentioned, but they seemed to approach reading as a technical feat and/or memory exercise rather than as an experience to be savored. Every book report assigned was to be written in the accepted formula of title, author, setting, main characters, and summary. I was never asked what I thought about a book, how the book may have changed my thinking, or what kind of books I might like to try.

    For twenty-five years I read only what I absolutely had to. I made good grades, but I never read a book for pleasure, for curiosity, or for just more information.

    I am embarrassed to admit this, but what finally began my appreciation of pleasure reading was a romance novel, SWEET SAVAGE LOVE, by Rosemary Rogers. In my mid-twenties I was talking with a friend who brought along a copy of the book. She couldn’t seem to put it down. I teased her about being a “book nerd,” so she started telling me how steamy and romantic the book was. She summarized part of the plotline, and I was hooked. I had to know how the story ended. She handed me the book and said, “See for yourself.”

    And I did. I read every single word of the book. I was thoroughly entertained, and I felt like I had entered another world through the characters Ms. Rogers created. I asked my friend if there were any more books like that around. She smiled and said, “A few.” I read several more simple romance novels right away.

    Never before had I experienced being swept up by the written word to another time and place. When I had to put my book down to attend to mundane duties I worried about what was going on with the characters; I could not wait to get back to see how everyone was faring. I was fascinated by the novelty of being able to pick right back up where I had left off no matter when I came back to the book. My character “friends” were always there awaiting me. I could visit them as many times as I liked.

    And, of course, the more I read the better reader I became. I soon tired of romance novels and moved on to historical romance novels, then to historical novels, then to all manner of fiction, both classic and new. I discovered for the first time how a work of fiction can help a person understand history, psychology, geography, human behavior, philosophy, and boundless areas of life.

    I was struck by how much enjoyment I found in the stories, the people, and all I learned by taking a journey outside myself into the world of literature. But I was also saddened by how much time and opportunity I had missed for the first quarter of my life. I felt then and still feel that I can never catch up with all the books I have missed as I “fake read” my way through school. As a teacher I wonder why I was such a reluctant reader and how many students are missing the same things I did.

    I think part of the problem is that I am a very slow, plodding reader with the attention span of a gnat. To this day I can listen to a book on CD, which I often do, faster than I can read it myself.

    But more than that, I somehow missed the fact that there were so many books available that I would have found relevant and appealing. I was well aware that there were numerous books required and/or recommended by my teachers, but I never found my personal Harry Potter or Judy Moody series that would beckon me to turn off the TV or stop talking to my friends and immerse my self in a private, more fulfilling kind of journey.

    When I listen to people like Steven Layne, Danny Brassell, and Donalyn Miller speak on how they help make books come alive for kids I am envious of the students in their classes who will know early on about coming of age novels to help them navigate the tricky waters of early adolescence, and deeply thoughtful works that may change forever the way they think about the world. I am awestruck by the creativity, the commitment, and the resourcefulness of teachers of reading who change lives every day by introducing students to the power of literature.

    I applaud those educators who attend conferences, study pedagogy, and try countless strategies to inspire students to become lifelong readers. My apprehension, though, is for a growing concern I hear among teachers who feel they can no longer afford to spend time talking with students about the books they are reading or even for reading new literature themselves. With the pressure of a standardized curriculum, high sweepstakes testing, and too many “boxes to check,” many teachers feel they can no longer afford to indulge in the luxury of encouraging kids to read for pleasure.

    Standards experts have shifted the curriculum to emphasize nonfiction and technical reading so that ideally students will be more ready to enter the workforce. More and more assessments have been developed to check students’ decoding and comprehension abilities at every step of the game.

    But where in the standards is there an emphasis on helping students discover the joy and the affect of reading literature for discovery, for enlightenment, or for entertainment? If we create a bunch of technically proficient readers who, like me, learn to avoid books that aren’t required, then what have we accomplished?

    I am a product of teachers who were proficient in teaching me how to read but never why I should read. I never truly became a reader until I started reading for pleasure. I learned much too late that the best way to become a better reader is pretty simple—read!

    Come see Debbie Silver at IRA 2013. She will be speaking at the Second General Session on Sunday, April 21, 2013.

    With 30 years spent as a teacher, staff development instructor, and university professor, Debbie Silver doesn't just know her way around the classroom; she's familiar with the challenges educators face at every level. Her newest book, FALL DOWN 7 TIMES, GET UP 8: TEACHING KIDS TO SUCCEED, is being heralded by parents, teachers, and administrators as a “fresh approach to getting kids to work smarter and better.” When she’s not working as an educational speaker and motivator, Debbie enjoys spending time in Texas with her husband, Dr. Lawrence Silver, and with their five sons and their families in five different states.

    © 2013 Debbie Silver. Please do not reproduce in any form, electronic or otherwise.


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  • The Education Commission of the States has recently released analyses of state policy in Pre-K and K. Given the importance of these years of emergent literacy development, this analyses may be of strong interest to IRA members.

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    Analyses of State Policy in Pre-K and K

     | Apr 17, 2013

    Nell Duke
    by Nell Duke
    University of Michigan
    April 16, 2013

     

    The Education Commission of the States has recently released analyses of state policy in Pre-K and K. Given the importance of these years of emergent literacy development, this analyses may be of strong interest to IRA members.

    In State Pre-K Funding: 2012-13 School Year (PDF) by Michael Griffith, we learn that despite state budgets growing only 2.2% and many cuts to K – 12 schooling, 24 states increased funding for Pre-K in 2012-13, most by percentages in the double digits. Eight states maintained their previous funding levels and only 8 decreased funding.

    Increased state funding: Alabama, Alaska, California, Connecticut, District of Columbia, Florida, Iowa, Kansas, Louisiana, Maine, Maryland, Massachusetts, Michigan, Nebraska, New Jersey, New Mexico, New York, North Carolina, Ohio, Rhode Island, Tennessee, Vermont, Virginia, and Wisconsin

    Maintained funding: Arkansas, Colorado, Delaware, Kentucky, Minnesota, Nevada, Pennsylvania, and Washington

    Decreased state funding: Georgia, Illinois, Missouri, Oklahoma, Oregon, South Carolina, Texas, and West Virginia

    Eleven states still do not provide funding for Pre-K—Arizona, Hawaii, Idaho, Indiana, Mississippi, Montana, New Hampshire, North Dakota, South Dakota, Utah, Wyoming—despite strong evidence of its positive impacts, though Griffith notes some forthcoming changes in some of those states. Further, President Obama’s pledge in the State of the Union address to work with states to “make high-quality preschool available to every single child in America” may result in further increases in funding for Pre-K.

    For the literacy education community, the challenge is to take fullest advantage of this increased support for Pre-K through instruction that fosters literacy development and motivation in ways that are appropriate for this age group and respectful of the need for attention to other areas of academic and social-emotional development.

    Inequalities at the Starting Line: State Kindergarten Policies (PDF) by Emily Workman presents findings on six key aspects of state policy around kindergarten: availability, length of day, student assessment, quality of instruction, standards and curriculum, and funding. The major finding is that there is considerable variation across and within states in policies related to kindergarten, which may exacerbate inequity in educational opportunities. For example, despite research supporting the impact of quality, full-day kindergarten, many states require only half-day kindergarten, and five states require no kindergarten. Moreover, what constitutes full-day or half-day varies within and across states. Minimum requirements for half-day programs can be as little as two hours or as much as 3.75 hours, depending on the state, and requirements for full-day programs can be as little as four hours or as much as seven hours depending on the state. Similarly, despite research support for small class sizes for young children and students of low-socioeconomic status (SES), some states allowed teacher-student ratios of 30 to 1 in kindergarten, while others require ratios as low as 15 to 1. There is also within-state variation in teacher-student ratios, with students of low-SES sometimes experiencing higher average teacher-student ratios.

    For the literacy education community, there is good reason to advocate for kindergarten policies and practice that result in the most robust growth for children and that address inequities in educational opportunities and outcomes.

    For discussion of pre-K and K and the larger context of literacy policy, please see Literacy Challenges for the Twenty-First Century, an issue of the Future of Children, Volume 22, Number 2, Fall 2012.


    Reader response is welcomed. Email your comments to LRP@/

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  • Certain teachers stand out in your mind, even forty years after the fact. My fifth grade teacher, Mrs. Dietz, sent me a note when I graduated, asking if I still wrote poetry. And Mr. Perkins, my seventh grade social studies teacher, never flinched away from my essays—even when they were about topics like me mourning my yet-to-blossom bosoms. I still have two essays I wrote for him, not-very-neatly printed on lined paper, kept for the circled A at the top.
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    Write What You Want to Know

    by April Henry
     | Apr 17, 2013
    Certain teachers stand out in your mind, even forty years after the fact. My fifth grade teacher, Mrs. Dietz, sent me a note when I graduated, asking if I still wrote poetry. And Mr. Perkins, my seventh grade social studies teacher, never flinched away from my essays—even when they were about topics like me mourning my yet-to-blossom bosoms. I still have two essays I wrote for him, not-very-neatly printed on lined paper, kept for the circled A at the top.

    And then there were a half-dozen teachers who let me read in class after I had finished my work. All these teachers encouraged my love of reading and writing. And the two things are so tightly intertwined I can’t really tease them apart. To be a writer, you must be a reader.

    Too often we tell kids who want to be writers: write what you know. But that advice should be modified to: write about what you want to know. Have I ever been blind? A serial killer? A drug dealer? No. But I have written best-selling books about people who are.

    My secret: I read!

    Reading is key to making writing come alive. When I first get an idea, I go to my library’s website and enter key words that might lead me to books. I’ll also Google the same terms, looking for articles and more books. If I read a book that covers interesting ground, I’ll use look at “Customers who bought this item also bought...” on Amazon to get ideas of more books to check out. As I read, I jot down ideas and questions.

    When I get further into a project, I will also look for blog posts or listservs because they can offer an unfiltered and intimate experience. For example, I’ve Googled terms like “What it feels like to get shot” or “my car accident,” and I’ve lurked on message boards for cops.

    I always read up on a topic before I interview anyone. Reading gives me a baseline of knowledge so I can respect people’s time. It shows my sources that I’ve gone to the trouble to learn something before asking for their help.

    Here’s an example of how this process works. GIRL, STOLEN got its start with a real-life story I saw on the news. A blind teenager named Heather Wilson went out to dinner with her folks. When they also wanted to go Christmas shopping, she decided to stay in their minivan. Her mom left the keys in the ignition in case she got cold. A guy came along, saw the keys, didn’t see Heather, and stole the car. When she realized what was happening, she asked him to let her out.

    The next day, I watched Heather and her mom being interviewed and I thought, That would make the great beginning to a book. What if the thief had kept her?

    There was only one problem—other than having occasionally seen someone walking with a white cane, I knew NOTHING about what it’s like to be blind.

    I began by reading first-person accounts of going blind. Several teachers and librarians recommended FOLLOW MY LEADER, by James B. Garfield, published in 1958, but still powerful today. I also read COCKEYED, by Ryan Knighton, TOUCHING THE ROCK by John Hull, and many more.

    Once I had done some reading, I started reaching out to people who are blind. The Oregon chapter of the National Federation of the Blind put me in touch with a girl who was blind and went to a regular high school. And I asked a woman who reviews mysteries and is blind about clichés she saw in books or movies about blindness. She said that in movies there is often a dramatic moment where the blind person asks a sighted person if he or she can touch the other person’s face. She told me she had no desire to feel another person’s face, yet sighted people will often offer to let her touch theirs. So I had my character talk about this issue.

    I hadn’t thought about putting a guide dog in my book (Heather doesn’t use one) until I read account after account about how much a guide dog can change the life of a person who is blind. People see you as much more approachable, and you can travel much faster. And of course, the dog is also your companion.

    Luckily for me, there’s a Guide Dog School for the Blind that’s only an hour away. I made arrangements to visit. When I got there, I could see people in a meeting room. Some were seated, but two of them were walking—not dogs, mind you, but people! The people were on their hands and knees, with one arm up in a harness. It turned out that the students were going to get dogs the next day, but a dog can’t tell you you’re pulling too hard or not hard enough. So for a time, instructors played the roles of dogs.

    Writing books has led me to read and do things I never would have. For THE NIGHT SHE DISAPPEARED, I read many articles on how to make architectural models, the profession of the killer. I also learned how divers search rivers for bodies. For an upcoming series called POINT LAST SEEN, I’ve learned how to tell animal bones and teeth from human, and I’ve been taught the finer points of finding crime scene evidence in the woods (leather gloves and painter’s kneeling pads are key, since you spend hours on your hands and knees).

    And kids respond to this research. Two or three times a week, I’ll get a note like this:

    “I am in high school and I have read two of your books and I'm trying to find some more. They are thrilling and I personally don't like to read but your books just draw my attention!”

    “I finished the book in two days. My friend invited me over one day after school but I told her, ‘Sorry I want to finish my book!’ I'm not a big reader but this book made me love it. For some reason I can’t stop thinking about that book, I even have dreams about it.”

    At the IRA conference, I’ll be talking about how mysteries and thrillers can be gateway drugs for reluctant readers. Study after study shows that the key to getting kids to read is to give them material that interests them. And mysteries and thrillers certainly appeal to kids, who love CSI-style shows and explorations of good and evil.

    Come see April Henry at IRA 2013! She will be co-presenting the "Mystery Reading and Writing" workshop on Saturday, April 20, 2013.

    April Henry is the NEW YORK TIMES bestselling author of many acclaimed mysteries for adults and young adults, including the YA novels GIRL, STOLEN; THE NIGHT SHE DISAPPEARED; and the thriller FACE OF BETRAYAL, co-authored with Lis Wiehl. She lives in Oregon.

    © 2013 April Henry. Please do not reproduce in any form, electronic or otherwise.


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