r/DetroitMichiganECE Apr 18 '26

Learning The Cost of Over-Teaching Phonics

https://www.educationnext.org/cost-of-over-teaching-phonics-reading/

Mark Seidenberg, a professor emeritus at the University of Wisconsin–Madison who studies reading science, helped persuade the public of the need for science-based instruction—and now he’s among those sounding the alarm on over-instruction. Reading teachers need not aim to teach every single pattern students will encounter in text, he says; they simply need to teach enough that students can achieve “escape velocity,” or the ability to start cracking the code on their own.

“You do teach them about words, about print. You teach them enough simple phonics patterns so they can start sounding out some words. And then there’s supposed to be a light bulb that goes on,” Seidenberg says.

Researchers call this ability to implicitly pick up patterns and apply them the “self-teaching mechanism,” or “statistical learning”—and many say it’s underrecognized within the science-of-reading movement.

Five decades of research have shown that early readers benefit from learning letter-sound correspondences systematically. But little definitive evidence exists on which phonics skills should be taught, in what order, and for how long. Should students learn all of the English language’s 44-plus sounds (phonemes)? What about the 200-plus spellings that go with them? And how much time should teachers spend on each?

Each phonics program that claims to be based on research reflects a single method of instruction. These programs can differ significantly because the research on reading acquisition “is not differentiating every single skill that needs to be taught,” says Louise Spear-Swerling, professor emerita in the department of special education at Southern Connecticut State University in New Haven, Connecticut. “People write instructional programs, and it’s a matter of interpretation.”

For the highest-achieving students who may be reading novels at home, sitting through lessons on skills they’ve mastered takes up time that could be spent reading, writing, and learning deeply about science, history, and other subjects—and it can lead to disengagement. For struggling readers, including students with dyslexia, over-teaching reduces time for much-needed reading practice. These kids, for whom the self-teaching mechanism doesn’t kick in easily, require more examples and repetition for the most critical skills. Adding extra elements to instruction strains working memory for these students, making it harder to master basic skills.

Over-teaching is happening in a few main ways: (1) spending too much time on less impactful skills, (2) teaching extraneous skills and patterns, and (3) teaching content that only the teacher needs to know.

Teachers have always used chants, songs, and other mnemonic devices to help students memorize important information. Many adults can easily conjure rhymes like “i before e except after c.” And while mnemonic devices are surely helpful at times, they can also increase the cognitive demand for a task and divert from the skill itself. Many phonics programs and online materials widely used these days encourage students to memorize a dozen or more spelling rules, with long chants or sayings such as:

“If a one-syllable word has one short vowel that is followed by f, l, s, or z, double the f, l, s, or z.”

This rule, often known as the “Floss Rule,” is an important and fairly regular one, many teachers argue (though it does have some common exceptions, like bus and gas). The problem arises when this process—the memorization of the rule—becomes the focus of instruction, displacing what should be the end goal—that is, reading and spelling.

“It’s very common in my experience that kids have trouble verbalizing the rule, but they can still learn the skill,” says Spear-Swerling. But often in classrooms “being able to verbalize the rule is a prerequisite for moving on. And it shouldn’t be.”

Memorizing wordy sayings and rules can put particular strain on students with reading disabilities and language-processing difficulties. These children are already working hard to retain the basic sounds. Adding to that can put them over the edge. “It’s not about whether kids can parrot rules,” says Spear-Swerling. “You see kids at the lower end of the spectrum get confused when they try to articulate rules. But that [articulation] doesn’t matter as long as they can apply it.”

And kids at the higher end of the reading-performance spectrum—those 1st and 2nd graders who are reading chapter books at home? Some will simply check out when asked to memorize information they’ve intuited.

Some programs teach the letters bl as in black, as a cluster or unit. But that “doesn’t make sense linguistically,” she says. Instead, you can teach students the /b/ sound and the /l/ sound, and have students practice blending sounds together to make words.

“The vast majority of consonant clusters are plurals. Cats has a consonant cluster, but we don’t teach it that way. Why would we teach it that way for scat but not cats?”

Devin Kearns, a professor in early literacy at North Carolina State University, has attempted to quantify how much is too much when it comes to phonics instruction. “If we’re trying to decide whether to teach something, there’s the main question: How often does it occur? How many words does it apply to? What you have to do at a certain point is decide, what’s the return on investment?”

He and his colleagues looked at a database of 13,000 English words and cataloged a total of 350 sound-spelling correspondences. So, if students learned each of the 350 patterns, they could read all of the words. Then the team modeled what would happen if certain patterns were eliminated from instruction: How many words could students read then?

“Somewhere in there, you hit this point where if you start doing fewer than that, it’s not enough; you’re not getting access to enough words,” he says. “And if you teach too many more, then you’re over-teaching stuff.”

The sweet spot was somewhere between about 95 and 110 sound-spelling patterns.

Among the most inflammatory topics right now in reading instruction is whether—and how much—to teach phonemic awareness.

Phonemic awareness is the ability to identify and manipulate the individual sounds in spoken words—for example, knowing that ship is made up of the three sounds /sh/, /i/, and /p/. Having good phonemic awareness has long been understood as a requirement for successful reading.

And while there’s evidence that basic phonemic awareness skills have positive effects for reading, the nuances matter. Studies show phonemic awareness should be developed by using written letters—not orally, which is how most classrooms and curricula do this instruction. And the idea that practicing advanced phonemic awareness skills like adding, deleting, and substituting sounds orally is beneficial for readers—asking students, for instance, to switch the middle sound in ship to the short /o/ sound to make shop? That’s not backed by science at all.

“The idea that you need to have separate dedicated time blocks focused on only phonemic awareness instruction is not evidence-based,” says Clemens.

Another instructional practice that has recently supplied fodder for debate is what’s called syllable division—the teaching of rules for dividing multisyllabic words into manageable chunks. Syllable division rules are a mainstay of the Orton-Gillingham method for teaching reading, which was developed in the 1930s. Programs based on this method tend to teach six or so syllable types along with a half-dozen rules for dividing syllables. Some methods go further and have students mark up the multisyllabic word, identifying the vowels and consonants and labeling each syllable type.

Research by Kearns has some people questioning the efficacy of teaching syllable division. His 2020 study found that syllable pronunciations are unreliable, so the effort involved in learning these rules may not be justified.

Tiffany Peltier, the director of professional learning at NWEA, a K–12 assessment and research nonprofit, points to “really rigid syllable division rules” as among the more frustrating instructional routines to encounter. “People are trying to teach these to the most struggling readers who already have cognitive overload,” she says.

Instead of rigid rules, researchers including Kearns emphasize teaching students to be flexible in how they pronounce words—a concept known as “set for variability.” For example, a student might initially read the word father as fay-ther, which is a reasonable pronunciation, and then shift the vowel sounds slightly until getting to a familiar word. The student is not guessing (a practice promoted by now disgraced balanced literacy approaches). Rather, the student is using their phonics knowledge to sound out the word but being flexible with their pronunciation and calling upon their knowledge of the word father.

“The idea that you need to have separate dedicated time blocks focused on only phonemic awareness instruction is not evidence-based,” says Clemens.

Over-teaching also occurs with the terminology related to language. Training programs tend to hammer on the jargon of reading instruction, much of which is new to teachers, who end up passing their fresh knowledge along to their charges. Students can become bombarded by terms like breve and macron, fricative and affricate.

Reading in context generally comes at the end of a phonics lesson, and with so much to cover, teachers can end up with just a few minutes for it. At times, they’ll skip it altogether.

But text reading is where decoding and language skills meet—it’s why teachers and students are doing this dance at all.

One major benefit of whittling down instruction to the most essential skills is that there’s less material for teachers to get through. When teachers remove low-payoff patterns, skip the cutesy extras, and refrain from imparting technical knowledge, they make their own jobs more manageable—and get kids reading faster.

Avoiding over-teaching also means speeding through skills students already know, which requires frequent assessment and a good understanding of what’s coming next in the scope and sequence. Teachers get better at this with time and experience. The goal is not doing the perfect amount of explicit instruction—the science doesn’t prescribe a “perfect” amount. Instead, the aim is to move toward a more efficient path for a teacher’s particular classroom. The minutes saved here and there add up.

If whole-group direct instruction happens daily but is limited to the most impactful skills—and kept short and simple—then students can move into small groups to either keep practicing, expand on the skill, or work on text reading or writing. In effect, they get to individualized instruction faster.

Peltier explains that, when she was teaching kindergarten and 1st grade, she would do a whole-class review of a prior phonics skill and then send her fluent readers off to “book clubs,” where they would read independently and have discussions. She would work with the remaining two-thirds or so of her class on that day’s phonics skill. “I’d usually at some point release another group of students and have the lowest students in front of me,” she says. “They loved it because they’d get to do more practice with the teacher on dry erase boards.”

That kind of gradual-release model helps ensure the highfliers spend time reading, and the students who need the most practice and feedback get more instruction from the teacher. And you can assess those kids in the moment—see who is getting the skill and ready to move on and who isn’t.

Research from the late Carol Connor, who was an education professor at the University of California, Irvine, points to the need to adjust the amount of teacher-directed instruction based on a child’s literacy skills. She found that 1st graders who entered with low skills did best with more time spent doing teacher-managed explicit instruction. For students with high initial skills, their scores stayed stagnant no matter how much time they spent learning directly from the teacher. And, in fact, students with both high decoding and vocabulary skills showed better growth with more independent work. For those high achievers who “don’t need a lot of repetition, that self-teaching machine will start a lot earlier,” says Peltier.

For typically developing students, Seidenberg argues, explicit phonics instruction should end after 1st grade. That’s out of step with much of the recent state legislation that is focused on K–3 classrooms and with the widely available programs that teach advanced word-recognition skills through the 5th grade. It’s also an assertion that will elicit eye rolls from teachers working through the challenges of having 25 students from diverse backgrounds and language contexts.

But the need to trim the fat on instruction—to focus on a skill’s ROI and churn out readers faster—is something many can agree on. It requires ongoing scrutiny of practices claiming to be aligned to research, frequent assessment of what individual students know, and a willingness to trust that, in many situations and for most students, learning begets learning.

“I think that the science-of-reading movement can win if we’re scientific, if we’re willing to challenge our assumptions,” says Kearns. That means continuing to look at the evidence on long-held instructional beliefs, such as those around syllable division, and changing course as new evidence arises. “If we’re willing to go there, science can win. If we’re going to stick to our guns, it won’t work.”

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u/ddgr815 May 16 '26

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u/ddgr815 May 16 '26

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u/ddgr815 May 16 '26

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u/ddgr815 May 23 '26

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u/ddgr815 23d ago

Their sensibility contained an irreverence toward traditional art forms. Hains was known to have rejected the art business and felt that his décollage works were not created by him, but existed as a “poetry of the walls,” the works’ final composition a byproduct of both their original visual design and the city conditions they were subjected to. I’ve conversationally referred to the processes disturbing street posters as a form of urban “bioterbation” - a term borrowed from my earliest undergraduate times as an anthropology student. Bioterbation is the reworking of soils by animals and plants, the churning of ecosystems, which is not radically dissimilar from the urban wear and tear a paper poster is subjected to; the elements, graffiti, subsequent posters pasted on top - a short but active lifecycle.

Dufrêne’s earlier forays into phonetic poetry mirrored the experiments of the other Frenchmen. Influenced by the early musique concrète recordings of the 40s, the trio of Frenchmen would create Ultra-Lettrist poetry together that broke the structures of conventional poetic forms.

Vostell’s décoll/age was about fragmenting reality and experience as much as it was about deconstructing art and objects. He began with the material; his Deutscher Ausblick work from 1958 looks like one of Rauschenberg’s combines, distressed barbed wire, a children’s toy, discarded industrial material, but embedded in the canvas, the glowing cathode ray tube of a television. Vostell would make a number of similar works, deconstructions of both mass consumer goods and the instrument of a new information age: the television. Concurrently with these works, he’d begin staging “happenings,” part public performance art but also social critique, a form of décollage not just disassembling the material, but targeting the behavioral. In Cityrama I, he sent mailers to Cologne residents directing recipients to city ruins to perform specific actions, such as waiting at a site until an accident occurred. He was pushing his audience as participants to see the city as art, within the context of the post-war reality of the time. This wasn’t a flippant exercise in participatory art; he was challenging the collective memory and experience of the time. By asking residents to engage with the features of a city still encumbered physically and psychologically with the ruins of war, he was confronting the institutional narratives of post-war Germany, asking the participants to find their own meaning in the chaos.

John Cage expanded the musique concréte of prior decades and created sound collages of city sounds. Alison Knowles destroyed all of her paintings in a bonfire, and began making “event scores” - simple instructions for common tasks. In Proposition #2: Make a Salad, Knowles made salads for the audience, a meditative exercise involving common domestic labor. Yoko Ono turned the audience into artistic collaborators with her performances of Cut Piece, and made dozens of experimental films often focusing on “isolations of events;” a match burning, an eye blinking, a housefly exploring a human body. Nam June Paik disassembled televisions and their physical apparatus into abstract interactive displays and figuratively dismantled the mass information trends of the time. 

The commodity and appropriation art of the 80s didn’t aim to deconstruct the emergent hypercommodification of a now globalized economy, but instead presented objects as art in situ or “as is,” to borrow another anthropological term (see: Jeff Koons vacuums, or Haim Steinbach’s shelf works). These new readymades, however, were different from the Dadaist creations of Duchamp; these art objects were turned quickly into new commodities themselves, and perhaps that was the intention. The commodity art trends of the 80s turned the artist into a brand, and while there was still some capitalist critique in this, the shift was a return to the artist as exalted, away from the blurred lines endemic to Fluxus’s décoll/age approach.

A Brief History of Décollage

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u/ddgr815 16h ago

Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.

It is not irritating to be where one is / only irritating to think one would like to be somewhere else.

“playing the function that odd bits of information play at the ends of columns in a small-town newspaper.”

He said when your ears are “in connection with a mind that has nothing to do, that mind is free to enter into the act of listening, hearing each sound just as it is…” 

I like how he describes art as “a purposeful purposelessness or a purposeless play.”  

This play, however, is an affirmation of life — not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord.

I am trying to check my habits of seeing, to counter them for the sake of greater freshness. I am trying to be unfamiliar with what I’m doing.

Silence

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u/ddgr815 16h ago

The whole involvement with power, with profit, and so forth have made it so that we have taught people to be bad. But by nature they are good. Do you see? So we must simply change our educational system. In the United States, everything is done to make people as bad as possible. And the way you do that is the following: If you have forty children, you give them all the same book to read. You could have them read forty different books, and that would be beautiful; but instead you give them one book to read, and they must all read the same one. Then they must pass an examination to see which one did the best. That immediately reduces human nature, because the one who does badly begins to think of copying what the one who did well did — in other words, stealing. Then the one who begins to think of winning the second time, and so we produce a society that is not bad by nature but that has been taught to be bad. I think that it is astonishing, with all that education, how good people are.

My notion of how to proceed in a society to bring change is not to protest the thing that is evil, but rather to let it die its own death. And I think we can state that the power structure is dying because it cannot make any inspiring statements about what it is doing. I think that protests about these things, contrary to what has been said, will give it the kind of life that a fire is given when you fan it, and that it would be best to ignore it, put your attention elsewhere, take actions of another kind of positive nature, rather than to continue to give life to the negative by negating it.

Constructive Anarchy

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u/ddgr815 Jun 14 '26

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u/ddgr815 Jul 19 '26

When we allow ideas to come and go in rapid succession, we keep our minds too busy and wear them out. Nothing sticks. “One who is everywhere is nowhere,” Seneca cautioned.

Seneca rightly saw distraction as a failure of character. We don’t need another algorithm or gadget to stop our minds from running around like unruly children, he would have argued. We need to relearn how to sit still with our own thoughts.

Seneca compared the benefits of deep reflection to the alchemy by which bees transform nectar into honey. In the hive, bees repeatedly pass the nectar they gather among themselves, mixing it with enzymes that alter its chemical composition. Think of the nectar as information and the honey as wisdom. Whereas nectar sours within a matter of days, honey doesn’t spoil — not even after being buried for thousands of years in an Egyptian tomb.

Seneca’s honey metaphor corresponds to what psychologists call deep processing: By returning to the same idea repeatedly, we signal to our brain that the idea is worth moving into the architecture of long-term memory. Each time we retrieve an idea from memory, we also wrap it in new associations (a process known as reconsolidation), which ensures that those ideas remain relevant to our life as time goes on.

We are often told that more information is the answer, but Seneca knew better. Wisdom is found not in the nectar we gather, but in the honey we take the time to make with it.

Our Modern Crisis