Many people think vultures are disgusting. Yes, they eat dead, rotting animals. Yes, they can smell pretty bad. And yes, they can vomit at will… and even use that as a self-defense mechanism if necessary. But vultures are very interesting—and important—creatures.
Most vultures live together in families or other groups. Male and female vultures are often monogamous, meaning they will stay with the same partner year after year. Vultures lay one or two eggs at a time, and the parents take turns sitting on the eggs for five to eight weeks to incubate them. After the eggs hatch, both of the vulture parents help nurture their offspring.
Vultures must bring food for their young chicks. Whether it’s an animal that died from natural causes, one that was killed by predators, or even one that ended up as roadkill, vultures eat food wherever they can find it. The vulture parents eat their fill, then fly back to the nest and regurgitate the food into their chick’s throats. Vomiting at will comes in handy once again!
Both vulture parents will care for the chicks until they are able to fly. Then, they’ll teach the young vultures how to find their own food and take care of themselves. Some young vultures will eventually go off on their own, but most choose to join the group and stay near their parents.
That’s not all that’s fascinating about vultures, though. Ever wonder how they can eat all that gross stuff and not get sick? Well, vultures have special, super-strong stomach acids that kill all kinds of bacteria. And that’s great news for us, because if they didn’t get rid of all those rotting corpses, we’d have a much more disgusting—and dangerous—problem on our hands.
So remember, they may not look or smell very nice, but vultures are highly social animals who depend on one another for survival. And we depend on them, too, to be nature’s cleanup crew. Vultures aren’t vulgar… they’re vital!
A wake of white-backed vultures eating the carcass of a wildebeest. A group of vultures is called a kettle, committee, or wake. The term kettle refers to vultures in flight, while committee refers to vultures resting on the ground or in trees. Wake is reserved for a group of vultures that are feeding. Wikimedia
Authors Ammi-Joan Paquette and Laurie Ann Thompson have teamed up to create a series of sneaky stories about the natural world designed to amaze, disgust, and occasionally bamboozle you. Every story in this book is strange and astounding, but one out of every three is an outright lie. Some false stories are based on truth, and some of the true stories are just plain unbelievable! Don’t be fooled by the photos that accompany each story—it’s going to take all your smarts and some clever research to root out the alternative facts. Don’t believe everything you read!
Have you ever been asked to revise something that you wrote, but had trouble doing it? Maybe you didn’t know where to start? Maybe you thought you might actually make it worse than before? Maybe you thought it would be too hard?
Believe me, I get it. When I sit down to revise, I am often filled with fears about doing it. Over the years, though, I’ve come up with three simple steps that help take the fear out of revision. Let’s see how to use them when revising the most important chunk of writing—the paragraph.
When I revise a paragraph, my first step is to ask myself is “What’s this paragraph about?” Usually, I’ve already written a sentence that tells me. It’s called a thesis sentence. A thesis sentence can be something kind of loose such as “Skateboards rock,” or it can be specific such as “Yesterday, I had my best skateboard ride ever.” The point is that this sentence tells me what the rest of my paragraph needs to be about. When revising, I find it helpful to underline my thesis sentence.
Step Two is to make sure that my paragraph makes sense. Here, I check that every sentence helps prove or explain why my thesis sentence is true. I also make sure that none of my sentences are confusing. If they are, I revise them so they are easier to understand. I especially look for sentences that don’t really say anything, such as “Skateboards are, like, the best.” I’d either delete this sentence, or improve it to something like, “Skateboards provide great exercise.”
After my paragraph makes sense, I move on to Step Three: making my paragraph more fun. I replace boring verbs with more exciting ones. Instead of saying “My skateboard was fast,” I might write, “My skateboard hurtled down the ramp.” I put in better descriptions. I also might crack a joke, or throw in a simile such as “My skateboard carried me like a four-wheeled chariot”—or a metaphor, “My board launched me into the stratosphere.”
When tackling revision, I recommend having someone else read your writing aloud. That helps you spot problems. Even so, I don’t always nail a revision the first—or even the tenth—time. I revised this nonfiction minute more than a dozen times! The important thing is to not let your fears overwhelm you. Remember that revision is simply the process of you saying what you want to say.
What happens when a bestselling nonfiction children's book author pairs up with a nationally known writing teacher to discuss revision strategies? Magic.
Sneed B. Collard III and Vicki Spandel blow the roof off everything you thought you knew about teaching nonfiction writing and the purposes for revision. Dozens of strategy lessons pulled from Sneed's professional writing experience followed by Vicki's classroom-savvy tips and exercises give you the nuts and bolts of teaching revision to make nonfiction writing more meaningful, useful, and enjoyable for the reader.
Using a "big-to-small" process of revision, from Big Picture ideas down to individual words, Sneed and Vicki demystify revision and help students become clear, persuasive, compelling-even entertaining-writers. "With your encouragement and guidance," they write, "students will discover the joy of turning their first rough ideas into something readers cannot put down."
MLA 8 Citation
Collard, Sneed B., III. "Taking the Fear Out of Revision." Nonfiction Minute,
iNK Think Tank, 30 May 2018, www.nonfictionminute.org/the-nonfiction-minute/
Every year, many thousands of visitors to Washington DC make their way to the crossing of 8th and F Streets, to an enormous building with many columns. Once it was the US Patent Office Building. Now it’s the Smithsonian American Art Museum. And there, up on the third floor, those visitors might well admire a BIG statue of Egypt’s Cleopatra VII, at the moment when she was dying in the summer of 30 B.C. She was carved in Italy, out of snow-white marble.
When people first saw it in Philadelphia, in 1876, at America’s big 100th birthday party, they were so surprised to discover that the sculptor was a woman! Still more unusual, she was an African American. Her name was Mary Edmonia Lewis.
Her ancestors came from Africa, Haiti, and the Native American Ojibwa (or Chippewa) tribe. She grew up in western New York. With money her big brother made mining for gold out west, talented Edmonia went to Ohio’s Oberlin College, but not for long. Two white girls there lied, saying she tried to poison them, then a bunch of people beat her up. So her brother helped her settle in Boston, where she learned to sculpt. By age 20, Ms. Lewis had her own sculpture studio. She was so successful that she was able to leave racist, Civil War-torn America in 1865, to sculpt and study in Rome. When she heard the glorious news that the war was over and America’s slaves were emancipated, she celebrated by sculpting an African American man and woman, unchained.
In the years after she created her dying Cleopatra, both the artist and her masterpiece were lost to history. But now we know that Ms. Lewis ended her days in England, in 1907. Her Cleopatra wound up in Washington DC.
But there’s a little more to tell.
About the time Ms. Lewis left for Italy, President Abraham Lincoln’s 2nd Inaugural Ball was held, March 6, 1865, at the old Patent Office Building when it was new. Little did he know that, in about five weeks, he’d be mortally wounded over at Ford’s Theatre. Or that the building where he and his wife were dancing would be a treasure house of art, including a dying queen sculpted by a great African American artist.
The multi-talented hands of Cheryl Harness create another winning combination of history, biography, and illustration in George Washington Carver and Science & Invention in America, the inspiring story of a man who rose from slavery to worldwide fame as America’s plant doctor. Cheryl Harness’ lively narrative follows Carver as he pioneers hundreds of new uses for plants and revolutionizes American agriculture. Her vivid illustrations are an invitation to step back in time and become an active participant in this compelling story.
MLA 8 Citation
Harness, Cheryl. "Edmonia's Statues." Nonfiction Minute, iNK Think Tank, 29 May
For Vicki Cobb's BLOG (nonfiction book reviews, info on education, more), click here: Vicki's Blog
The NCSS-CBC Notable Social Studies Committee is pleased to inform you
that 30 People Who Changed the World has been selected for Notable Social Studies Trade Books for Young People 2018, a cooperative project of the National Council for the Social Studies (NCSS) & the Children’s Book Council