Part 5: Chapter 28
Learning to write argumentatively is an important part of academic writing and the following section from Rhetoric and Composition, introduces the concept of argument and the tools to create an argumentative essay.
What Is an Argument?
When you hear the word argument, what do you think of? A shouting match or a fist fight? When instructors use the word argument, they’re typically thinking about something else. What they’re actually referring to is a position supported by the analysis that preceded its conception, not necessarily supporting antagonism.
More to the point, instructors are talking about defending a certain point of view through writing or speech. Usually called a claim or a thesis, this point of view is concerned with an issue that doesn’t have a clear right or wrong answer (e.g., four and two make six). Also, this argument should not only be concerned with personal opinion (e.g., I really like carrots). Instead, an argument might tackle issues like abortion, capital punishment, stem cell research, or gun control. However, what distinguishes an argument from a descriptive essay or report is that the argument must take a stance; if you’re merely summarizing both sides of an issue or pointing out the pros and cons, you’re not writing an argument. “Stricter gun control laws will likely result in a decrease in gun-related violence” is an argument.
Note that people can and will disagree with this argument, which is precisely why so many instructors find this type of assignment so useful — they make you think!
Academic arguments usually articulate an opinion. This opinion is always carefully defended with good reasoning and supported by plenty of research. Research? Yes, research! Indeed, part of learning to write effective arguments is finding reliable sources (or other documents) that lend credibility to your position. It’s not enough to say “capital punishment is wrong because that’s the way I feel.”
Instead, you need to adequately support your claim by finding:
Quotations from recognized authorities, and any other types of evidence
You won’t always win, and that’s fine. The goal of an argument is simply to:
Make a claim
Support your claim with the most credible reasoning and any evidence you can muster
Hope that the reader will at least understand your position
Hope that your claim is taken seriously
If you defend your argument’s position with good reasoning and evidence (and follow other criteria in the teacher’s rubric), you should earn a high grade, even if your instructor personally disagrees with the views you are defending.
We will be covering the basic format of how to structure an argument. This includes the general written argument structure, and the position and proposal variations of that basic form. If you want to make a claim about a particular (usually controversial) issue, you can use the position argument form. Alternately, if you would like to offer a solution to a particular situation that you see as problematic, such as the rising cost of education, you can use a proposal argument. By adapting one of these three methods, you will be well on the way to making your point. Argument structures are amazingly versatile. Once you become familiar with this basic structure of the argumentative essay, you will be able to clearly argue about almost anything!
“If you can’t annoy somebody, there’s little point in writing.”
–Kingsley Amis (1922 – 1995)
Basic Argument Essay Structure
The first paragraph of your argument is used to introduce your topic and the issues surrounding it. This information needs to be introduced using clear, easily understandable language. Your readers need to know what you’re writing about before they can decide if they believe you or not.
Once you have introduced your general subject, it’s time to state your claim. Your claim will serve as the thesis for your essay. Make sure that you use clear and precise language. Your reader needs to understand exactly where you stand on the issue. The clarity of your claim affects your readers’ understanding of your views. Also, it’s important to highlight supporting information throughout the essay. These highlights will help keep the reader engaged, add support to your claim, and allow your reader to know what direction you will be taking with your argument in the body paragraphs.
By mentioning the points or arguments you will further discuss in the body, you are outlining your paper’s goals. This part comes at the end of the thesis and can be named as the guide. The guide is a useful organizational tool for you as well as the readers. In addition, your audience will have a clear cut idea as to what will be discussed in the body.
Once your position is stated you should establish your credibility. There are two or more sides to every argument. This means not everyone will agree with your viewpoint. So try to form a common ground with the audience. Think about who may be undecided or opposed to your viewpoint. Take the audience’s age, education, values, gender, culture, ethnicity, and all other variables into consideration as you introduce your topic. These variables will affect your word choice, and could potentially open your audience’s mind to consider your viewpoint.
Developing Your Argument
Back up your thesis with logical and persuasive arguments. During your pre-writing phase, outline the main points you might use to support your claim, and decide which are the strongest and most logical. Eliminate those which are based on emotion rather than fact. Your corroborating evidence should be well-researched, such as statistics, examples, and expert opinions. You can also reference personal experience, and it’s a good idea to have a mixture. However, you should avoid leaning too heavily on personal experience, as you want to present an argument that appears objective as you are using it to persuade your reader.
There are a couple different methods of developing your argument. Two variations of the basic argument structure are the Position Method and the Proposal Method.
The position method is used to try to convince your audience that you are in the right, and the other view of your argument is wrong.
Introduce and define your topic. Never assume that your reader is familiar with the issues surrounding your topic. This is your chance to set up the premise (point of view) you want to use. This is also a good time to present your claim statement.
Background information. Do your research! The more knowledgeable you are, the more concise an argument you will be able to give. You will now be able to provide your reader with the best information possible. This will allow your audience to read your paper with the same knowledge you possess on the topic. Information is the backbone to a solid argument.
You have your argument, and you may have even stated your claim. Now, start developing your ideas. Provide evidence and reasoning.
Be prepared to deal with the opposition. There will be those who oppose your argument. Be prepared to answer those opinions or points of view with knowledgeable responses. If you have done your homework and know your material, you will be able to address any opposing arguments with ease and authority.
In conclusion… Now is the time to drive home your point. Re-emphasize your main arguments and claim statement.
The proposal method of argument is used when there is a problematic situation, and you would like to offer a solution to the situation. The structure of the proposal method is similar to the above position method, but there are slight differences.
Introduce and define the nature of the problematic situation. Make sure to focus on the problem and its causes. This may seem simple, but many people focus solely on the effects of a problematic situation. By focusing on the actual problem, your readers will see your proposal as a solution to the problem. If you don’t, your readers might see your solution as a mere complaint.
Propose a solution, or a number of solutions, to the problem. Be specific about these solutions. If you have one solution, you may choose to break it into parts and spend a paragraph or so describing each part. If you have several solutions, you may instead choose to spend a paragraph on each scenario. Each additional solution will add both depth and length to your argument. But remember to stay focused. Added length does not always equal a better argument.
Describe the workability of the various solutions. There are a variety of ways that this could be done. With a single-solution paper you could break the feasibility down into short and long term goals and plans. With a multiple-solution essay, you may instead highlight the strengths and weaknesses of the individual solutions, and establish which would be the most successful, based on your original statement of the problem and its causes.
Summarize and conclude your proposal. Summarize your solutions, re-state how the solution or solutions would work to remedy the problematic situation, and you’re done.
Dealing with the Opposition
When writing an argument, expect that you will have opposition. Skeptical readers will have their own beliefs and points of view. When conducting your research, make sure to review the opposing side of your argument. You need to be prepared to counter those ideas. Remember, in order for people to give up their position, they must see how your position is more reasonable than their own. When you address the opposing point of view in your essay and demonstrate how your own claim is stronger, you neutralize their argument. By failing to address a non-coinciding view, you leave a reason for your reader to disagree with you, and therefore weaken your persuasive power. Methods of addressing the opposition vary. You may choose to state your main points, then address and refute the opposition, and then conclude. Conversely, you might summarize the opposition’s views early in your argument, and then revisit them after you’ve presented your side or the argument. This will show how your information is more reasonable than their own.
You have introduced your topic, stated your claim, supported that claim with logical and reasonable evidence, and refuted your opposition’s viewpoint. The hard work is done. Now it’s time to wrap up your argument. By the time readers get to the end of your paper, they should have learned something. You should have learned something, too. Give readers an idea to take away with them. The conclusion should end the paper and support your position and the significance of your argument. One word of caution: avoid introducing any new information in your conclusion. If you find that there’s another point that you wanted to include, revise your essay. Include this new information into the body of your essay. The conclusion should only review what the rest of your essay has offered.
Strengthening Your Argument
In argumentative writing, it is important to clearly state and support your position. However, it is just as important to present all of the information that you’ve gathered in an objective manner. Using language that is demeaning or non-objective will undermine the strength of your argument. This destroys your credibility and will reduce your audience on the spot. For example, a student writing an argument about why a particular football team has a good chance of going to the Superbowl is making a strategic error by stating that “anyone who doesn’t think that the Minnesota Vikings deserve to win the Super Bowl is a total idiot.” Not only has the writer risked alienating any number of her readers, s/he has also made the argument seem shallow and poorly researched. In addition, she has committed a third mistake: making a sweeping generalization that cannot be supported.
Use phrasing that does not:
Alienate any part of your audience
Make an argument that is poorly researched or shallow
Make an unsupported generalization
Contain mistakes that could ruin your argument
Contain objective Language
In argumentative writing, your instructor may ask you to avoid using I and My (subjective) statements. You should only use I or My if you are an expert in your field (on a given topic). Instead choose more objective language to get your point across. Consider the following:
I believe that the United States Government is failing to meet the needs of today’s average college student through the under-funding of need-based grants, increasingly restrictive financial aid eligibility requirements, and a lack of flexible student loan options.
“Great,” your reader thinks, “Everyone’s entitled to their opinion.”
Now let’s look at this sentence again, but without the I at the beginning. Does the same sentence becomes a strong statement of fact without your I tacked to the front?:
The United States Government is failing to meet the needs of today’s average college student through the underfunding of need-based grants, increasingly restrictive financial aid eligibility requirements, and a lack of flexible student loan options.
“Wow,” your reader thinks, “that sounds like a problem.”
A small change like the removal of I and My can make all the difference in how a reader perceives your argument– as such, it’s always good to proofread your rough draft and look for places where you could use objective rather than subjective language.
The Fallacies of Argument
Now your paper is filled with quality research. You’re feeling good about your paper. But when you get the paper back your instructor has left a comment like, “This is an argument fallacy”. So now you’re left wondering what is “false” about the argument; and what is this “argument fallacy”?
Argumentative fallacies are sometimes called logical fallacies. Usually these fallacies are created when the reasoning behind the argument lacks validity. A lack of validity weakens your argument, and then leads to a failure to provide a sufficient claim.
Don’t feel badly if your instructor writes argumentative fallacy on your essay. This is a common error in argumentative papers. An argumentative fallacy can be caused by your negligence or lack of rigor and attention while making a certain argument. In other words, an undeveloped argument can resemble an argumentative fallacy. So, never generalize; don’t just say and leave — pursue your point to its logical termination. Logical fallacies are discussed in more depth in Chapter 26 of this textbook.
A Side Note
Many topics that are written about in college are very controversial. When approaching a topic it is critical that you think about your argument’s implications. If, for example, you are writing a paper on abortion, you need to think about your audience. There will certainly be people in each of your classes with a different relationship to this topic. While you shouldn’t let readers’ feelings sway your argument, you should approach each topic with a neutral mind and stay away from personal attacks. Keep your mind open to the implications of the opposition and formulate a logical stance considering the binaries equally. People may be offended by something you write, but if you have taken the time to think about the ideas that go into your paper, you should have no problem defending it.
Adapted from Rhetoric and Composition, 2013, used under creative commons 3.0 cc-by-sa
What is Persuasion?
The success of an argument can be measured by its persuasiveness. In the previous section, we discussed the basics of structuring argumentative essays. In this section, we hone in on some strategies of persuasion that can improve your argumentative writing.
Students often feel overwhelmed by the thought of writing persuasively, but persuasive writing techniques are present in many of the documents and images students review. The purpose of persuasion in writing is to convince, motivate, or move readers toward a certain point of view or opinion. The act of trying to persuade automatically implies more than one opinion on the subject can be argued, so it’s important to understand that persuasive writing requires writers to take a stand on debatable topic.
The idea of an argument often conjures up images of two people yelling and screaming in anger. In writing, however, both the development and goal for an argument is different. A written argument requires a reasoned opinion supported and explained by evidence. To argue in writing is to advance knowledge and ideas in a positive way. Written arguments often fail when they employ ranting rather than reasoning.
Most of us feel inclined to try to win the arguments we engage in. On some level, we all want to be right, and we want others to see the error of their ways. More times than not, however, arguments in which both sides try to win end up producing losers all around. The more productive approach is to persuade your audience to consider your opinion as a valid one, not simply the right one.
The Structure of a Persuasive Essay
The following five features make up the structure of a persuasive essay:
- Introduction and thesis
- Opposing and qualifying ideas
- Strong evidence in support of claim
- Style and tone of language
- A compelling conclusion
Creating an Introduction and Thesis
The persuasive essay begins with an engaging introduction that presents the general topic.The introduction should create a foundation of knowledge for the reader, so you want to add any information or descriptions the reader will need to understand as they read the rest of the essay. The thesis typically appears somewhere in the introduction and states the writer’s point of view.
Avoid forming a thesis based on a negative claim. For example, “The hourly minimum wage is not high enough for the average worker to live on.” This is probably a true statement, but persuasive arguments should make a positive case. That is, the thesis statement should focus on how the hourly minimum wage is low or insufficient.
Acknowledging Opposing Ideas and Limits to Your Argument
Because an argument implies differing points of view on the subject, students must be sure to acknowledge those opposing ideas. Avoiding ideas that conflict with your own gives the reader the impression that you may be uncertain, fearful, or unaware of opposing ideas. Thus it is essential that you not only address counterarguments but also do so respectfully.
Try to address opposing arguments earlier rather than later in your essay. Rhetorically speaking, ordering your essay so that your opposing argument appears at the beginning allows you to better address ideas that conflict with your own, so you can spend the rest of the essay countering those arguments and introducing ideas that support your position. This way, you leave your reader thinking about your argument rather than someone else’s. You have the last word. Acknowledging points of view different from your own also has the effect of fostering more credibility between you and the audience. They know from the outset that you are aware of opposing ideas and that you are not afraid to give them space.
Another helpful technique is to establish the limits of your argument and what you are trying to accomplish. In effect, you are conceding early on that your argument is not the ultimate authority on a given topic. Such humility can go a long way toward earning credibility and trust with an audience. Audience members will know from the beginning that you are a reasonable writer, and audience members will trust your argument as a result. For example, in the following concessionary statement, the writer advocates for stricter gun control laws, but she admits it will not solve all of our problems with crime:
Although tougher gun control laws are a powerful first step in decreasing violence in our streets, such legislation alone cannot end these problems since guns are not the only problem we face. Such a concession will be welcome by those who might disagree with this writer’s argument in the first place. To effectively persuade their readers, writers need to be modest in their goals and humble in their approach to encourage readers to listen to the ideas. See Table 28.1 below for some useful phrases of concession.
|Phrases of concession|
Bias in Writing
Everyone has various biases on any number of topics. For example, you might have a bias toward wearing black instead of brightly colored clothes or wearing jeans rather than formal wear. You might have a bias toward working at night rather than in the morning, or working by deadlines rather than completing tasks in advance. These examples identify minor biases, of course, but they still indicate preferences and opinions.
Handling bias in writing and in daily life can be a useful skill, and it will allow you to articulate your own points of view while also defending yourself against unreasonable points of view. The ideal in persuasive writing is to let your reader know your bias, but do not let that bias blind you to the primary components of good argumentation: sound, thoughtful evidence and a respectful and reasonable address of opposing sides.
The strength of a personal bias is that it can motivate you to construct a strong argument. If you are invested in the topic, you are more likely to care about the piece of writing. Similarly, the more you care, the more time and effort you are apt to put forth and the better the final product will be.
The weakness of bias is when the bias begins to take over the essay—when, for example, you neglect opposing ideas, exaggerate your points, or repeatedly insert yourself ahead of the subject by using I too often. Being aware of all three of these pitfalls will help you avoid them.
The Use of I in Writing
The use of I in writing is often a topic of debate, and the acceptance of its usage varies from instructor to instructor. It is difficult to predict the preferences for all your present and future instructors, but consider the effects it can potentially have on your writing.
Be mindful of the use of I in your writing because it can make your argument sound overly biased. There are two primary reasons:
Excessive repetition of any word will eventually catch the reader’s attention—and usually not in a good way. The use of I is no different.
- The insertion of I into a sentence alters not only the way a sentence might sound but also the composition of the sentence itself. I is often the subject of a sentence. If the subject of the essay is supposed to be, say, smoking, then by inserting yourself into the sentence, you are effectively displacing the subject of the essay into a secondary position. In the following example, the subject of the sentence is underlined:
Smoking is bad.
I think smoking is bad.
In the first sentence, the rightful subject, smoking, is in the subject position in the sentence. In the second sentence, the insertion of I and think replaces smoking as the subject, which draws attention to I and away from the topic that is supposed to be discussed. Remember to keep the message (the subject) and the messenger (the writer) separate.
Ultimately the use of I in writing will be determined by your genre, instructor’s preference, and the essay’s goals.
Developing Sound Arguments
Does my essay contain the following elements?
An engaging introduction
A reasonable, specific thesis that can be supported by evidence
A varied range of evidence from credible sources
Respectful acknowledgement and explanation of opposing ideas
A style and tone of language that is appropriate for the subject and audience
Acknowledgement of the argument’s limits
A conclusion that will adequately summarize the essay and reinforce the thesis
Fact and Opinion
Facts are statements that can be definitely proven using objective data. The statement that is a fact is absolutely valid. In other words, the statement can be pronounced as true or false. For example, 2 + 2 = 4. This expression identifies a true statement, or a fact, because it can be proved with objective data.
Opinions are personal views, or judgments. An opinion is what an individual believes about a particular subject. However, an opinion in argumentation must have legitimate backing; adequate evidence and credibility should support the opinion. Consider the credibility of expert opinions. Experts in a given field have the knowledge and credentials to make their opinion meaningful to a larger audience.
For example, you seek the opinion of your dentist when it comes to the health of your gums, and you seek the opinion of your mechanic when it comes to the maintenance of your car. Both have knowledge and credentials in those respective fields, which is why their opinions matter to you. But the authority of your dentist may be greatly diminished should he or she offer an opinion about your car, and vice versa.
In writing, you want to strike a balance between credible facts and authoritative opinions. Relying on one or the other will likely lose more of your audience than it gains.
The word prove is frequently used in the discussion of persuasive writing. Writers may claim that one piece of evidence or another proves the argument, but proving an argument is often not possible. No evidence proves a debatable topic one way or the other; that is why the topic is debatable. Facts can be proved, but opinions can only be supported, explained, and persuaded.
Using Visual Elements to Strengthen Arguments
Adding visual elements to a persuasive argument can often strengthen its persuasive effect. There are two main types of visual elements: quantitative visuals and qualitative visuals.
Quantitative visuals present data graphically. They allow the audience to see statistics spatially. The purpose of using quantitative visuals is to make logical appeals to the audience. For example, sometimes it is easier to understand the disparity in certain statistics if you can see how the disparity looks graphically. Bar graphs, pie charts, Venn diagrams, histograms, and line graphs are all ways of presenting quantitative data in spatial dimensions.
Qualitative visuals present images that appeal to the audience’s emotions. Photographs and pictorial images are examples of qualitative visuals. Such images often try to convey a story, and seeing an actual example can carry more power than hearing or reading about the example. For example, one image of a malnourished child will likely have more of an emotional impact than pages dedicated to describing that same condition in writing.
Tips for Writing a Persuasive Essay
Choose a topic that you feel passionate about. If your instructor requires you to write about a specific topic, approach the subject from an angle that interests you. Begin your essay with an engaging introduction. Your thesis should typically appear somewhere in your introduction.
Start by acknowledging and explaining points of view that may conflict with your own to build credibility and trust with your audience. Also state the limits of your argument. This too helps you sound more reasonable and honest to those who may naturally be inclined to disagree with your view. By respectfully acknowledging opposing arguments and conceding limitations to your own view, you set a measured and responsible tone for the essay.
Make your appeals in support of your thesis by using sound, credible evidence. Use a balance of facts and opinions from a wide range of sources, such as scientific studies, expert testimony, statistics, and personal anecdotes. Each piece of evidence should be fully explained and clearly stated.
Make sure that your style and tone are appropriate for your subject and audience. Tailor your language and word choice to these two factors, while still being true to your own voice.
Finally, write a conclusion that effectively summarizes the main argument and reinforces your thesis.


In the early stages of planning this unit, I knew that the end product would be a trial of some sort. Whether this took the shape of an actual trial with witnesses, of a grand jury indictment, was unclear. However, because it is necessary to present students with a balanced and fair evaluation of the time period so that a trial be successful for all students involved, I realized that an incredible breadth of information would need to be covered. At first, rewinding to the onset of the Cold War in the immediate aftermath of World War Two seemed sufficient. But students would need to review the causes of World War Two, and maybe the Great Depression not only in American History, but also as a worldwide event. But the Red Scare of the 1950's can trace its roots back to World War One and the communist revolutions of that time period. However, then the communist revolutions, their ideals and goals, would need to be included as well. This process led me back -- way back -- to the earliest writings of Karl Marx and James Monroe. As the unit began to take shape, it became evident that the design of this unit would be ideal for a course taught in a thematic manner.
The War of 1812 questioned the strength of the United States and its ability to ward off an invasion force. The troubles of Europe, the defeat of Napoleon, the impending crisis of the Bourban return to power in Spain, and the threat of European influences in both North and South American prompted President James Monroe and Secretary of State John Quincy Adams to issue what has become known as the Monroe Doctrine. Issued to Congress in the State of the Union, the message urged that while the US has strived "not to interfere in the internal concerns of any of its powers" any infringement or intervention by Europe into the affairs of North and South America would be paramount to "endangering our peace and happiness". Monroe hoped that the resulting foreign policy, a standard that would remain as the precedent for the next 100 years, would allow "the United States to leave the parties to themselves, in the hope that other powers will pursue the same course."
The ideology asserted by Monroe would lay the foundation for a foreign policy of isolationism.
Clear connections can be made between this foreign policy, the onset of the Cold War, and the fear embedded among the people of the United States in regard to foreigners and ideas contrary to democratic thought. McCarthy's crusade would only work if the country was in a position to hear his message. It is important to note that he did not invent the idea of a communist threat to democracy, just as the Weimar Republic, and other contributing factors, created conditions that would allow the Nazi Party to become elected to power. People were ready for McCarthy, and in some ways, needed him to be the voice of the movement -- a role he welcomed for the political advancement it provided. As an introduction the principle of isolationism is critical to analyzing McCarthy. In the aftermath of World War Two, when isolationism had been shattered by the bombing of Pearl Harbor, when totalitarian regimes seemed to be gaining momentum, and the United States seemed to be the only power capable of combating the threat from abroad, people were afraid. For over a century, a foreign power had not waged an attack on the United States in the United States such as Japan had done. This drastically altered the perception of safety. The enemy was no longer overseas, but capable of a direct attack on American soil. Perhaps the best way to combat the possibility of attack is to continually be on the defensive. The Midwest, a region where isolationism has a particular stronghold even in the present day, in some ways welcomed the ideas of McCarthy. Connections to the present day, especially in the aftermath of September 11th, can be made. Why was the United States, the government and the citizenry, so willing to participate in conflict, both armed conflict and ideological conflict? It is possible that the perception of safety vanished, and it became our civic duty to protect ourselves and our loved ones in a seemingly impending crisis. In the early stages of the Cold War, public sentiment was no different.
Communal living has a limited presence in American History. Although individuals, such as George Ripley and Robert Owen, would try to create small Utopian societies, these colonies had short life spans. At Brook Farm all members were equal, and each would share equally in the production of goods, their consumption, and consequently in the abundant spare time that would follow. The community struggled to survive, many members became disenchanted, and when a fire destroyed the Community Building, the experiment in utopia came to an end.
The phenomena of communism drew worldwide attention in the mid 19th century. This topic may seem irrelevant to McCarthyism, but it does have a place in this unit. The idea of communal living, of individuals working collectively for the benefit of the state, has been attempted, and explored. However, these attempts have largely been unsuccessful, and this happened for a reason. The democratic liberal philosophies of the American citizenry prohibit the masses from living in such a state. Simply stated, we choose to not live in this manner because it is somehow un-American. An exploration as to why these ventures are largely unsuccessful may not be necessarily be required in this unit, but could serve as a possible extension.
The disenchantment of the common man with government, specifically monarchy and tyranny, in the aftermath of the Napoleonic Wars, forced individuals to adopt new political ideologies. Combined with the Industrial Revolution, the worker was livid and ready for change. The Industrial Revolution brought to the world production that was inconceivable just decades earlier. The Revolution allowed the owner to increase wealth, and although the workingman's lot would improve, he could not enjoy the fruit of his labor to the same extent as the owner. Karl Marx and Frederiech Engels would write a pamphlet for the International Communist Party, a work so influential that even in the present time the impact can be felt. The Communist Manifesto was published in 1848, and although a product of the time period written to specifically combat the social and economic problems of mid 19th century Europe, the Manifesto resonates today.
The revolution that Marx envisioned would eventually take place, but in many ways, his ideas were abandoned and manipulated by those who came to power. In Russia, the Soviet Union was born out of the need to reform the inadequacies of the Tsar's government and his policies. Around the world, revolutions took place, and several regimes toppled only to be replaced by a new world order. Lenin and Trotsky led Russia out of World War I and into a hopeful new being. However, what Lenin would create would not be the social utopia that Marx had envisioned. Although Marx prophesized about the possibility of a violent revolution, he did not envision the consolidation of power that Lenin embraced. Lenin, and later Stalin, moved away from the ideals of Marx, and in doing so, set the stage for McCarthy. The communist government of the Soviet Union would taint the reputation of communism around the world. Perhaps this is why the Red Scare of the early 20th century did not have as much public support as McCarthy's crusade. There was no proof that communism was necessarily bad.
Communism, at least the Marxist version, was not yet associated with dictatorship. And while the principles of communism differ greatly from democracy, even in the Marxist version, it was possible to have a country embrace communist and socialist ideals without completely rejecting the economic principles of a free market economy. Once Stalin came to power this could no longer be. Communism was inextricably linked to a totalitarian government; and that was too closely linked to the Fascist regimes of Hitler and Mussolini. In the aftermath of World War, especially a war fought specifically to ensure that people worldwide could enjoy the Four Freedoms
, a war in which many Americans died, a war that allowed military conflict to come to the United States, there was no room for a totalitarian regime that could threaten our democracy.
The dissemination of new ideas in the 19th century was more laborious than in the present day. Modern technology quickened the rate at which new information is passed along. While during the War of 1812 news of the Treaty of Ghent -- which effectively ended the war -- did not reach the United States until after the Battle of New Orleans, the news media and the public found out about Vice President Cheney's hunting incident before President Bush. This phenomenon is due to the prevalence of television, and society's need to know what is going on in the world we live in. News broadcasts are abundantly available. NBC30, A local affiliate of NBC has four news broadcasts daily, one at daybreak, one in the late morning, one in the early evening, and finally at 11pm each night. And this is only a local broadcast. National news is aired twice daily: first during the Today Show and later on NBC Nightly News. This is not unique to NBC, with ABC and CBS following a similar schedule. Furthermore, FOX News, MSNBC, and CNN primarily broadcast only news shows. Add in the Financial news stations, and as a society we are inundated with information. This is primarily a development of the late 20th century, and television was still in its infant stages during the McCarthy Era. However, the man who would be most closely associated with combating McCarthy and his crusade against communist infiltration in the United States, would begin his journalism career first on radio, and later would be instrumental in shaping the format and ideals of television.
Edward R. Murrow first came into the public limelight during World War Two. His broadcasts via the radio airwaves during the war kept America informed. Other journalists, such as Ernie Pyle, would bring a different voice -- a literary one -- into the foray. However, Murrow's voice stands out as being one of the earliest and most trusted in the business. Born Egbert Roscoe Murrow in 1908, Murrow would move with his family to from Polecat Creek, NC to Blanchard, WA. In high school he would change his name to Edward R. A graduate of Washington State College, where he excelled in speech and debate, Murrow would later become involved in as organization dedicated to helping persecuted scholars escape from Nazi Germany. Only in 1937, at the age of 29, did Murrow begin his career in broadcast journalism, a forum that is still defined by Murrow's contributions. As the impending doom of World War II began to take shape in the late 30's, Murrow realized the need to report the stories as they were uncovered. Murrow would assemble a crew of young journalists, Murrow's Boys, capable of broadcasting events as they occurred. In an early standoff with the network higher-ups, Murrow would insist that his reporters have two distinct qualifications, and disregarded the quality of the journalists speaking voice. "Murrow put his foot down: he was not hiring announcers, he said, but people who could think and write."
Throughout his career, Murrow would contend with the Network executives who were often more concerned with using the news division as profitable entertainment than with the ideals of journalism.
As the war broke out, Murrow and his boys were there to report and broadcast the uncovering stories. But the public was not ready for war. Many did not want to become involved in Europe's affairs. At the end of 1940 a poll indicated that 95% of Americans were against war with Germany. It would be the Battle of Britain that would alter the public opinion, and Edward R. Murrow's voice, intermingled with the resounding disaster of bombs, would be brought from Europe into the living room of the United State's. But for Murrow, "radio's task was not to bring the story to the listener, but to bring the listener to the story."
Later, Archibald MacLeish would allude to the effect Murrow's broadcasts.
After the War, Murrow's radio show, Hear It Now, would be adapted for television and renamed See It Now. Both Murrow and his producer Fred Friendly would set the standard for the weekly news magazine, and remnants of their ideas are still present today when viewers tune into 60 minutes, 20/20, or DatelineNBC. For that matter, one can still hear the presence of Murrow's style each day on NPR -- the radio format of this show is very reminiscent of Murrow. Murrow would mesh popular culture and serious news to appeal to the viewer, and just as the networks are today, he was forced to succumb to the pressures of advertisers and their money. Perhaps that is what is so remarkable about his efforts to expose McCarthy. In an episode of See it Now, in which McCarthy's campaign was only alluded to, the chief sponsor of the show withdrew its monetary support. Able to broadcast without this financial support, Friendly and Murrow instead subsidized the show themselves, a testament to their diligence.
Senator McCarthy began his crusade at Wheeling, West Virginia. In a speech he announced to the world that he had in his hand a list of card carrying members of the communist party, all of whom worked for the National Government. Although he would never produce the list, and the number would dwindle from 256 to 40, McCarthy grabbed national attention by the horns. In addition to McCarthy's list anti-communist activists alleged the infiltration of communists into Hollywood, and later the Rosenbergs and Alger Hiss would draw national attention. It is important to note, that although most that were accused were done so wrongly, there were some communists that had in fact infiltrated the national government. Also, cases of espionage were present and very likely, just not likely to the extent that McCarthy asserted. Most were afraid to combat McCarthy and a sense of hysteria quickly spread throughout the United States. Standing up against McCarthy most assuredly meant that a person was perceived by the public to be a communist, or at least a communist sympathizer -- a fate with potentially equal consequences. In some ways this makes Murrow's stand even more heroic.
Murrow's crusade would come in two distinct phases. The first would be a story about the discharge of a man from the Air Force, whose father was a supposed member of the communist party. The most frightening aspect of this incident is the speed in which the "trial" took place. The hearing was neither broadcast nor open to the public, which is not uncommon. However, the evidence that was used to convict the man was in a sealed envelope -- the man himself was never given the opportunity to examine this evidence. Murrow broadcast a story about this man, and although he never mentioned McCarthy's name, Murrow was linking the Senator's actions and ideas to this case. Months later Murrow would attack McCarthy directly. This episode would be Murrow's finest hour, and in some ways his own downfall. The episode was antagonistic and exceedingly biased. The show utilized McCarthy's own words and portrayed him to be a madman. McCarthy was later given the opportunity to rebut Murrow's accusations on See It Now. However, soon after this episode, Murrow's show was redesigned. It was expanded to an hour and broadcast on Sundays -- a move that basically killed his ratings. This was a move by the CBS executives to quiet Murrow and Friendly, and furthermore, to appease the network sponsors.
Teaching with the Sources
This unit relies heavily upon primary source documents, supplemented by secondary sources. The beauty of teaching with such material is that is forces students to interpret history, a skill that is vastly different than recalling history. When students are forced to interpret history for themselves there are several important outcomes. First, they automatically assume more personal accountability to the material and its meaning -- after all, it is their own ideas that are being tested, not the teacher's nor some random textbook author. They are then more likely to retain the information. This is the type of organic learning that is needed so sorely in the modern classroom. After all, the study of history is not about distant figure and events in the past, it is the study of us and of the present day and more importantly of the student. That is why relevant connections must be made to the present -- not because it makes history come alive to the student, but because it helps the student see why the world is the way it is and why as humans we make certain decisions -- decisions not only on a grand international scale, but on the local and personal level.
A great starting point for this unit is with Monroe's Message to Congress in 1823. I realize that it is seemingly too distant from McCarthyism, but allows the student to develop a foundation in isolationism, a concept of foreign policy that dictated the US role in the world for over a century. Parts of the speech can be excerpted for use in the classroom, and I suggest specifically examining the passages that lay out Monroe's ideas. The teacher should have students identify these ideas. The first being that Europe ought to stay out of the affairs of the Americas, and America would stay out of the affairs of Europe, and secondly, that any interference by Europe would be considered an attack on the United States. Students could also be asked to define isolation and should later be able to explain why this term is, or perhaps is not, a good way to describe the foreign policy.
The second step would be to read excerpts from the Communist Manifesto. Specifically, the section on the proletariat and the bourgeoisie would be the most important. In this section Marx explains the difference between the two classes, outlines how the two came to be in such conflict, and then describes how the communist revolution will take place. An upper level class might be able to read larger chunks of this work, others might only be able to read very short passages. The piece is long, and can be difficult to comprehend, but certainly this should not distract from its use in the classroom. When faced with a difficult reading, students often rise to the challenge, and although they might need much help at the outset, they will be able to do the work.
A second option would be to have students read a secondary source document that explains the Communist Manifesto and Marx's ideas. Students might struggle with these concepts, and that is to be expected. A comparison of communism and democracy would be a great way to clarify the two ideologies. In the present day oppression is closely linked to communism, but in its inception, Marx actually was searching for a way to ensure equality. In this way, he does not differ from the Founding Fathers -- both strive for equality. It is in methodology that differences emerge. Only later would communist governments use oppression to control the masses and keep a communist government in power -- a government that strays away from equality for all and that asserts itself as a totalitarian regime. A typical graphic organizer to visually depict various political ideologies is to draw a straight line. To start, the line should be labeled left, center, and right. Next, add in liberal and conservative on the left and right, respectively. At this time it would be important to define what these terms mean. Liberal generally implies the desire to change and reform public policy, while conservative implies a willingness to stay with the status quo. Of course, in our modern political world these words have greater meaning than that, but in the root sense, these definitions are adequate. Radical can be added to the left of liberal, and reactionary to the right of conservative. These, too, should be defined; Radical is equated with broad sweeping changes and reactionary with a desire to return to past. Students, if they are ready, should now be able to place Communism and Democracy on the spectrum. One possible method is to have students decide where they believe the two terms belong, and then defend their position. These predictions help to clarify student thinking. Of course, students will choose both ends of the spectrum, and that is ok. Sometimes, a well reasoned wrong answer is better than a poorly defended right answer.
These ideas can be explored further by reading Animal Farm by George Orwell. Allegorical in nature, this novel explores the Russian Revolution and the rise of Lenin and Stalin to power. This work is useful for several reasons. First, it is a great piece of fiction. It embodies all the elements of a good piece of literature, character development, rising action, falling action, climax, etc. The novel is also a great piece of history. It makes the confusion of the Russian Revolution accessible, and explores the ideas of communism -- both Marxism and Leninism, in a way that most are able to comprehend. It is the type of book that can be read with a lower level class and an upper level class and still be successful. Finally, it is a great example of allegory. Symbolism, to this extent, is often difficult to interpret -- like Edgar Allen Poe's "Masque of the Red Death" -- but Orwell puts the reader at ease in this novel.
Orwell, who must have drawn inspiration from Jonathan Swift's
, created a masterpiece of satire. The work is meant to ridicule a topic and in turn prompt change. Orwell's target in this piece of literature was the problems associated with tyrannical rule and the absence of democratic principles. Manor Farm symbolizes Tsarist Russia, Animal Farm the new U.S.S.R. Each character, and consequently each event, parallels a part of the Russian Revolution. Old Major is Lenin, Snowball is Trotsky, Napoleon is Stalin, Animalism is Communism. The characters are wildly fantastic and at times are downright hilarious. Thematically, the story examines a ruler's need to control the citizenry, and the dangers of the communist regime. Orwell is heavily critical of Stalin and his dictatorship, but even more importantly, the author is skeptical of the United States and Great Britain for doing little to combat Stalin. The Tehran Conference of 1943 is symbolized in the animal's game of cards where Napoleon and Pilkington first compliment each other only to cheat and betray the other's trust. Orwell, in his rich satirical voice, is in actuality insisting that both the United States and Great Britain do more to contain Stalin and his vicious tactics of ruling. Orwell is also skeptical of leaders who adopt grand ideas for the betterment of society, but in turn, choose only to hold onto power through oppressive means. At this time, students should place George Orwell, and the characters of Animal Farm on the political ideology spectrum that was created earlier in the unit. Is Orwell a liberal, a conservative, a radical, or a reactionary? Students should defend their opinions using specific evidence from the text. Of course, it is possible to build more elaborate lessons and activities to accompany this text, but that might detract from the unit too much. Animal Farm is a useful tool to explore the development of a communist regime, but this is only part of understanding why communism was viewed as being so evil. Animal Farm does allow students to build a strong foundation to argue for McCarthy's crusade, an important aspect of creating a successful trial in the classroom.
Animal Farm allows the scholar to examine a difficult topic in an accessible manner. Squealer, a symbol of propaganda, controls what the other animals ought to think. Arguing against the regime means inevitable doom for the animals. At this juncture students should define the terms dissent and disloyalty. The two should not be confused with each as being synonymous, nor should the former automatically lead to the latter. Herein lies the greatest difference between a communist and democratic regime. In the latter, dissent dos not automatically mean disloyalty, while in the former it does. Is Murrow the dissenting voice, or is McCarthy? Is McCarthy being loyal and Murrow disloyal or vice versa? Certainly, arguments can be made to support and answer to these questions.
The trial of McCarthy, or perhaps of Murrow, needs to be both highly structured, and also allow for organic and constructivist growth. Structured means that students need to know what they will be arguing for and against -- they will also need to have access to documents that can be used for evidence. Organic growth means that students should have the freedom to draw their own conclusions and to have these conclusions validated. Make sure that students have adequate evidence to both convict and acquit whoever is being tried. Also, do not get bogged down in procedure. The trial, in this unit, is meant to teach students to argue and defend using evidence and not the procedure of an actual trial. That can be taught in a separate lesson. Also, if so desired, the teacher can choose to have witnesses for both the prosecution and the defense, or they can safely be removed from the picture. In this case, the trial ceases to be a trial, and become an indictment hearing. Depending on student level, the teacher can prepare evidence packets in advance, or if desired, students could be asked to search for their own evidence. Be aware that this takes more time, and also implies that students will need to be taught how to locate relevant primary source materials. At the end of the unit, if the unit has been
Successful, students should be ready to take on this task in a mostly independent manner.
An important quote by Edward R. Murrow can be used and analyzed. It might even be a document to include into an evidence packet for students to use in preparing for the trial. It provides insight into democratic principles, and relevant connections can be made to the present day. An obvious avenue to the present day, and an important connection to be made, is to examine how certain groups were represented in the media and targeted for investigation in the aftermath of 9/11. A central theme to explore is how much should freedom be restricted in order to preserve the safety of the country. This is evident in the following quote from Murrow: "We must not confuse dissent with disloyalty. We must remember always that accusation is not proof and that conviction depends upon evidence and due process of law. We will not walk in fear, one of another. We will not be driven by fear into an age of unreason, if we dig deep in our history and our doctrine, and remember that we are not descended from fearful men-- not from men who feared to write, to speak, to associate and to defend causes that were, for the moment, unpopular . . . We proclaim ourselves, as indeed we are, the defenders of freedom, wherever it continues to exist in the world, but we cannot defend freedom abroad by deserting it at home."
Can dissent cross into treason, and at what point does dissent qualify as such? What role as citizens ought we to play in speaking out against the government? By examining these ideas in the historical context, we then examine ourselves and decide the role we will play as individuals in the modern world. After all, this is why we study history. History it is not just the study of the past, nor is history only the study of how we came to be who we are. We study history in an effort to understand ourselves in the present and who we should be in the future. Murrow's words and advice ring true more now than they ever did before.


Why is it called Five in a Row?
Because you will read the story aloud to your child for five consecutive days before doing the lesson(s). (This applies to the picture books found from More Before through Volume 5; it doesn’t apply to Before Five in a Row or the chapter books in the later volumes.) Be sure to read “Reading the Stories Five Days in a Row” in the “How to Use Five in a Row” section of each manual, Volumes 1-5. This explains more fully why Jane Claire Lambert created FIAR based on the philosophy of reading aloud, and repetitively, to your student.
How do I know which level of Five in a Row to start with?
Whether you have one child or several, click here to get an overview of the various levels of the FIAR curriculum. Downloading the sample units that are available for Before, More Before, and Five in a Row and reading through the lessons will give you a good idea of which manual is best suited to your student(s). To view and compare the volumes, click here for preschool and kindergarten manuals, and click here for Volumes 1-8. To download the booklists and sample units from each, click here.
Do FIAR Volumes 1-8 correspond to grades 1-8?
They can, but they don’t have to. You could begin your child with Volume 1 in first grade and theoretically use one volume per year, but it’s not necessary to use FIAR in this way. Many families do use one volume per year even though there aren’t 30+ books in each volume. This is because you’ll likely spend certain weeks on holiday studies, your children (or you!) will have illnesses, there will be vacations or other breaks from school, etc. There are also Mini Units you can use to fill in during the school year. In addition to all of this flexibility, Volumes 1-3 are interchangeable (regarding their level of difficulty), and you may wish to combine or alternate volumes if you have a wide range of ages. Five in a Row is an extremely flexible curriculum and all of these options work very well.
What else do I need to supplement in order to have a full curriculum?
For preschool (Before FIAR and More Before FIAR), you’ll need no other formal curriculum. You may want to do counting practice or pre-math skills at that age, just as a part of your day-to-day life with your child.
For your FIAR-aged child (Volume 1 and up) who is not reading yet, you’ll need a good phonics program and a simple math curriculum at the appropriate age level. For children who are already reading successfully, many families choose to no longer teach phonics but to simply let the child read books that interest him (and you, of course, will continue to read aloud to him!). You’ll continue to do a math curriculum daily, and at some point (this varies for individual children), you’ll want to add spelling, handwriting, and grammar as individual subjects in language arts. You won’t need to add a separate history or science curriculum while using Five in a Row. If your child is especially interested in science or history, we strongly encourage you to help them find library books and other resources in these areas, and you might consider read-alouds on these topics just for fun!
Do the picture books or chapter books that we’ll read come with the manuals?
No, you’ll need to obtain the books separately, whether from the library or by purchasing them.
Do I have to purchase the books that go along with the manuals?
You can, but you don’t have to. Many people choose to use the library for all books, or purchase only certain titles. That said, other FIAR families DO eventually purchase many (if not all!) of the books because they’re such wonderful, heartwarming, unforgettable stories. They want to treasure them and someday pass them on to the next generation.
Do I need to order one FIAR manual for each child?
No. The FIAR books are teacher’s guides and you’ll only need one manual to use with your family.
What does “rowing a book” mean?
Many families who use Five in a Row refer to “rowing” a book, which simply means doing the FIAR unit study using the lessons and the selected book.
Do I have to do the books in order? And how does FIAR progress in difficulty through the 8
You don’t have to do the books in any particular order. Feel free to mix and match the units depending on the needs of your student. Volumes 1-3 are based on books that are about the same level. Volume 4 increases in difficulty and length of study for each book (two weeks for each unit instead of one). Volume 5 is a transition volume, containing both picture books and chapter books. Volumes 6 and 7 (chapter books) are similar in level, and Volume 8 contains two more chapter books plus the longest FIAR unit, a semester-long study of a more advanced chapter book. To view and compare the volumes, click here. To download the booklists and sample units from each, click here.
What are the differences between Before Five in a Row and More Before Five in a Row? Do I need to do Before Five in a Row first?
Before Five in a Row is designed for ages 2-4 while More Before Five in a Row is designed for ages 3-5. Before Five in a Row is not a traditional curriculum, but instead a collection of discussion- and play-based lessons based on classic books for young children, to do for 10-20 minutes, two or three days a week. More Before provides a more structured, 5 days a week, preschool or kindergarten experience.
Depending on the age of your child, you can do Before Five in a Row first or jump in with More Before. Many families have had great success in combining Before and More Before for their young children, alternating between the volumes. To view and compare the volumes, click here.To download the booklists and sample units from each, click here.
What are Story Disks and Storybook Maps? How do I use them?
Story Disks are circles that have an image that corresponds to a picture book used in Before, More Before, or Five in a Row Volumes 1-5 (picture book units). They are available in black and white at the back of each manual for you to photocopy and color in or have your child color in. Full-color, laminated story disks come free with your manual purchase from fiveinarow.com (you do not have to add the story disks to your cart if you purchase the manual here). If you need to purchase story disks without ordering a manual, please contact firstname.lastname@example.org.
For Five in a Row Volumes 1-5, the disks are used as a geography aid for the picture book units. You cut out the laminated disk and using removeable teacher’s putty, you’ll attach the disk to a world map or U.S. map on the location where the story takes place. (Most families purchase both maps for use with Five in a Row; you can purchase the maps of your choice.) For instance, while studying the Madeline unit of Five in a Row you will discuss the geography lesson from the manual that talks about how Madeline lived in Paris, which is in a country named France. Then you’ll go to the world map with your child and find France, then Paris, and place the (Eiffel Tower) Madeline disk on that location. You can review this each day (taking the disk off after your lesson so that your child can find it again tomorrow on the map).
For Before and More Before, you will use the Storybook Map (purchase the maps here and here) to place the disk for the location of where each story takes place—much like the Volume 1-5 disks above, but with a “make-believe” map rather than a real-world map. (The locations to place the disks are noted in the teacher’s manual at the end of each unit.) For instance, while doing the unit on Owl Babies (More Before), your child will find the hollowed-out tree on the map to place the Owl Babies story disk on. This activity helps your child learn map skills in a gentle, fun manner, laying a foundation for future geography lessons they’ll do in Five in a Row. You might choose to ask some basic questions like, “Is the hollow owl tree above or below the lake?”
What if my child is already reading, or has already read some of the books found in the manuals?
The Five in a Row curriculum, from Before FIAR to Volume 8, is not based on the student’s reading ability, and it works well with fluent readers, struggling readers, and non-readers. With the FIAR picture books, you will read the stories aloud to your children regardless of age or ability because of the warm, relational tone it sets for each teaching day. (For the chapter books, you may read aloud or your child may read; this is covered in the front matter of Volumes 5-8.) Be sure to read “Reading the Stories Five Days in a Row” in the “How to Use Five in a Row” section of each manual, Volumes 1-5. This explains more fully why Jane Claire Lambert created FIAR based on the philosophy of reading aloud, and repetitively, to your student.
Will my child get bored if we read the same book more than once?
Most likely not. The first time you read a story, children simply want to discover what happens. But each day we peel back the story, learning to write using some of the techniques the author has used, or learning to draw or paint using some of the techniques, materials or palettes the illustrator has used. We learn more about the culture or setting where the story took place, we pull out interesting science topics to discuss and explore, etc. So with each new reading, the child can look at the illustrations, think about the cuisine or the architecture; appreciate the writing style, etc. Each day builds on the previous day’s learning experience. And each reading builds a bond with the book for your child so that they develop a deep and abiding love for each wonderful story. Then each time they read the story they’ll recall and strengthen their grasp on the many lessons learned from that beloved book.
What if my child balks at reading the story more than once?
There are lots of easy tricks you can use to make the re-reading fun! For instance, you might tell the student you are going to leave OUT certain words and you want to see if they can catch you when you make a mistake. Or you might ask him to call out each time you read a certain character’s name and see how many times the author has included that name or word. You can ask your child to be looking for pictures that have a particular color scheme or technique from the art lesson while you’re reading the story, etc. Be sure to read “Suggestions for a Resistant
Student” in the “How to Use Five in a Row” section of each manual.
I’ve heard that several of the books are out of print. What if I can’t obtain a specific book?
“In print” inventories from publishers change from month to month. Most FIAR titles are in print and are readily available to order or to request from the library. At the back of each manual, Volumes 1-5, you’ll find a section called “Finding the Books” which has helpful information on locating out of print titles. Other options include inter-library loan, various used book websites, library sales, or (not ideal but can be used in a pinch) watching a video of a read-through of the book online. Some families choose to simply skip a title that they have difficulty finding. Because lessons don’t specifically build on one another from book to book, and because many lessons will be revisited in different ways in other units, you can skip books if needed.
Can my 2 or 3-year-old join in with the older children?
Of course! But you’ll find that Before FIAR is aimed directly at their learning readiness needs and provides a very special 10-20 minutes a few times a week that is “their time” just like big brother or big sister.
How long does it take to do Five in a Row each day?
For Before Five in a Row you’ll want to spend 5-10 minutes reading the story to your toddler and then doing one fun activity. You may choose to do this more than once each day but don’t make it “work”—keep it fun. With More Before, you’ll spend around 15-30 minutes reading the story to your preschooler or kindergartener and then choosing one or more lessons from the manual. More time will be spent on days that your child becomes invested in an art project or wants to play what they’ve been learning (play-based learning is encouraged and ideas/lessons are provided for you).
For Five in a Row picture books (found in Volumes 1-5), plan to spend anywhere from 15 to 60+ minutes per day in addition to whatever time you set aside for math, phonics, spelling, etc. The reason for the wide variance in times is because the lessons you choose vary greatly in length. You may spend only 15 minutes discussing a topic in social studies or language arts, or you may spend an hour and half on a science experiment or an art project—and everything in between! The longer you “row” (use the FIAR curriculum), the more you’ll have a good grasp on how long each activity is likely to take.
For Five in a Row chapter books (found in Volumes 5-8), plan to spend anywhere from 30 minutes on up. The time varies greatly for the same reasons mentioned in the paragraph above. You also won’t read a chapter from the book every day, which will affect how long your school time will last.
Do I have to do every activity in the teacher’s manual?
No—in fact, you’ll want to select only one or two activities each day. There are more lessons in the manual than you will be able to (or likely, want to) use.
Some of the stories seem to be seasonal. Should I do specific stories or volumes at certain times?
There are several stories mixed throughout the volumes that are indeed seasonal. And it would be lovely to do those stories at the appropriate time of the year. But the majority of the stories can be done anytime.
How long does each chapter book unit (Volumes 5-8) take to complete?
It depends entirely on you and your student. Most people find they spend 6-8 weeks on each unit, but some spend longer. In the back of Volumes 5-8, you’ll find sample lesson planning pages that walk you through two weeks of a chapter book study that is found in that particular manual. Those sample lessons are just one way you could approach two weeks of study. In addition to planned study, many families also find themselves on “rabbit trails” at any FIAR level. For example, a passing mention of the solar system or the Revolutionary War may lead to a two-week rabbit trail on that subject as you visit planetariums or battlefields, go to the library, do self-directed research and more. The goal is to get your child excited about learning!
What are the Five in a Row Mini Units? When and how can I incorporate them into our studies?
Mini Units are picture book units that are released periodically and are available in digital format. They are called Mini Units because there is one lesson for each subject for ages 5-9 (Social Studies, Language Arts, Art, Applied Math, and Science). There are also two additional lessons for older students (age 9-12) that expand on the younger lessons, as well as suggestions, ideas, go-along books, and teaching tips for ages 2-4. Mini Units cover every age level!
The lessons in the Mini Unit are deep and rich … and the work of finding extra materials (go-along books, videos, websites, etc., for all age levels) has been done for you already. You’ll also find activity sheets for hands-on learning/documentation and a recipe that pairs with the story to make together and share. The Mini Units are really anything but mini!
If you use all the age group lessons in each Mini Unit (or will use them at a later time with your children as they get older) then you are really purchasing three separate week-long units of learning based on the same picture book. You can row it with a 2, 3 or 4-year-old and then come back around to it in 2-3 years with a 5-8-year-old, and again a few years later with a 9-12-year-old. Each time they will learn new things and revisit a favorite picture book.
Many of the Mini Units have a holiday theme, but the lessons are written to be used at any time during the year. Click here to see all Mini Unit options. You can also get a FREE Mini Unit by clicking here and using coupon code mini0920 at checkout.
What is your #1 tip for new users to FIAR?
Our # 1 tip would be to read the front matter (and back matter) in your Five in a Row manual. You’ll find Jane Claire Lambert’s tips for beginning Five in a Row, how to find out of print books, getting the most out of Five in a Row, sample lesson planning pages, how to do a Five in a Row review week … and much more!
Spending 5-10 minutes reading through the front and back of each FIAR manual (even at the beginning of each school year!) will benefit you and your student for the length of their education with Five in a Row.
What does “Second Edition” mean regarding the FIAR manuals?
Several years ago, we were looking forward to the next 25 years of Five in a Row. We wanted to continue to provide the amazing content that our rowers know and love while improving each volume with activity pages, teachers notes, a beautiful layout, and a new design, including wide margins for notes, updated illustrations, and more. These changes provide over 100+ new pages of content to each volume. Most of all, we wanted to provide a clearer sense of continuity to the curriculum as a whole. We are now well into the Second Edition changes for FIAR Volumes 1-8 and the feedback from those who’ve used the new volumes has been overwhelmingly positive! For more details on updates and changes to each volume, click here and select the FIAR level that you are interested in by clicking on the cover of any volume.
Here’s to an amazing 25+ years of Five in a Row and to the next 25 years!
Can I still order the first edition Beyond Five in a Row manuals?
If you have already finished a volume of Beyond Five in a Row, first edition, at this time you will be able to purchase these first edition volumes to finish out your Beyond Five in a Row journey with your student. Please contact email@example.com to purchase a Beyond Five in a Row manual.
Where can I purchase the curriculum if I do not live in the U.S.?
Five in a Row does not sell internationally through our website but does sell internationally through Rainbow Resource Center and Amazon.
Is FIAR a Christian curriculum?
We are Christians, but FIAR manuals are used successfully by both Christian and non-Christian families. Before Five in a Row and More Before include Bible devotionals for parent and child that can be used or skipped over. For Volumes 1-8, Bible lessons are not included in the manuals because some homeschoolers are not able to purchase religious curricula in order to stay in compliance with their state’s homeschool laws. So for Volumes 1-8, FIAR offers a separate Bible Supplement (in two volumes) that pairs up with each individual story unit. Hundreds of lessons in character development with accompanying Bible references are provided, as well as Teacher‘s Notes pages to record Bible memory verses or copywork, related worship songs or hymns, your student’s drawing of the Bible story you’ve discussed, and more. Find more information on the FIAR Bible Supplements here, and click here for all FIAR sample units, which includes a Bible Supplement sample.
What denomination are the lessons in the Bible Supplement? Which translation of the Bible do you use?
We don’t teach “doctrinal” lessons. Rather we connect familiar Bible stories with the stories children are reading. Further, we teach broad Biblical values: honesty, kindness, forgiveness, generosity, etc. You won’t find lessons on which type of baptism is “best” or women’s role in the church or speaking in tongues or church government. We’ll leave that for you to teach. In the rare cases where the Bible is directly quoted in the Bible Supplement (in almost all cases, chapter and verse numbers are given rather than direct quotes), we have used the ESV translation of the Bible. But overall, the Bible Supplement is designed for you to read directly from your Bible and share with your children. Find more information on the FIAR Bible Supplements here, and click
here for all FIAR sample units, which includes a Bible Supplement sample.
Is there a cookbook for FIAR, and how can I purchase it?
The second edition of the FIAR cookbook will be available soon! It will actually be a cooking curriculum that will help you teach your child lessons in the kitchen through recipes that pair with each Five in a Row book. See this page for more information, as well as details on how to purchase the digital cookbook that was previously available.
What are “rabbit trails” and should we take them?
Rabbit trails, or going down a rabbit hole, happens when your student’s curiosity spurs a question that isn’t part of the lesson, or when they become deeply interested in a topic/subject and want to dive into learning more than what’s provided in a lesson. When rabbit trails are driven by your student’s curiosity, they provide interest-based learning opportunities that are powerful and have a high information retention rate. Five in a Row is based on a learning concept called “low floor/high ceiling.” Rabbit trails and natural curiosity mean that there is no end to what your student can learn if they follow the trail. (To learn more about the low floor/high ceiling concept and how rabbit trails are part of the high ceiling, click here.)
Should you follow rabbit trails? We encourage you to do this if your student initiates it! Of course, not all students will ask questions that lead to rabbit trails, and that’s also perfectly fine—the FIAR manuals are providing everything they need! It’s a bit like healthy eating … the lessons in each manual provide a healthy “meal” (or the appropriate educational material for each student), while rabbit trails are the equivalent of a second serving of your favorite food or a dessert. It’s not necessary but, for some, it’s enjoyable!
Does Five in a Row cover history chronologically?
No, Five in a Row covers history topically, depending on the book that is being studied. This method creates interest-based, historical lessons—as they are tied to a character or story that your students is interested in, versus simply learning about an event or period in history because it comes next in a textbook. As your student progresses through the FIAR curriculum, they’ll learn about many topics/time periods/places more than once, at a somewhat higher level each time. This method allows your student to recall and build on previous knowledge, which is highly effective for learning at younger ages. In late middle school and high school, your child will likely study history in a more structured and/or chronological manner.
Five in a Row encourages the use of a timeline if you want to foster a chronological understanding while embracing the topically-driven study of history provided through FIAR. The Homeschool History Book of Centuries: A Portable Timeline for the Young Historian by Anna Travis is one option.
What about possible “gaps” in my student’s learning?
The idea of “learning gaps” is deceiving. We all have learning gaps, no matter where we went to school or what curriculum we might have used—and today’s students are no exception. No one can cover everything or learn everything, nor should they.
From Before FIAR to Volume 8, Five in a Row teaches children to love learning, how to learn, and how to find information. FIAR equips your children to fill in the inevitable gaps whenever they run into them—whether in high school, college, or later in life. With Five in a Row, your child won’t be learning information for a test and then forgetting it a week later. They’ll be digging into topics that spark their interest, learning about things that are new to them in every subject area, and then moving on to high school, where they’ll cover subjects in (mostly) a more systematic and structured way. This method of learning has proven successful for thousands of FIAR families over the past 25+ years.
In today’s world especially, information is at our fingertips in seconds. Five in a Row teaches so much more than mere information. It develops skills and habits of learning that will serve your child well no matter what they decide to pursue after their FIAR studies are complete. They’ll learn how to become critical thinkers, how to enjoy literature and other creative arts, how to research and express their ideas, how to make connections between the things they learn, how to direct their own learning when needed, and much more—all in the relaxed atmosphere of “inspired learning through great books” that FIAR provides.
Gaps are a natural part of the learning process. No need to be afraid or worry about them!
What makes Five in a Row different from other curricula?
First, it was developed by a successful homeschool teacher, so it’s geared for success in the home environment. Second, it’s relational at its very core. While a great deal of information is imparted to young learners, it’s done in a home/family/relational setting. By gathering your family together each morning and snuggling as you read a wonderful story aloud to your children, the tone of each teaching day is relational and fun rather than rigorous and sterile. If earning is consistently fun and enjoyable, they’ll be lifetime learners whether you (the teacher/parent) are there to push them or not. The core philosophy of Five in a Row is to teach children to love learning!
Do you offer an affiliate program?
No, we don’t.
Will there be a Five in a Row booth at my homeschool convention?
How do I get the free FOLD&LEARNs™?
When you subscribe to the blog, you’ll be taken to the page that has all of the free FOLD&LEARNs™ upon completing all of the confirmation steps. If you didn’t bookmark that page, the link to the FOLD&LEARNs™ is at the top right center of any email. You can subscribe to the blog on the fiveinarow.com homepage; just scroll down to “sign up now” after clicking here.
What additional curricula do you recommend for the subjects that Five in a Row doesn’t cover?
Five in a Row covers Social Studies (including History, Geography, and Career Paths), Language Arts (including Writing and Discussion Questions and Vocabulary), Art, Applied Math, Science, and Life Skills for ages 5-12+.
Finding the right fit for you (the teacher) and your student is the most important criterion when choosing any curriculum. So it’s entirely possible that you will need different curricula for different children in your family. That said, programs that we have personally used and would recommend include those below. Most of these resources can be found through the Five in a Row Amazon shop.
You will need to add a math program to Five in a Row. Many people do this around first grade.
Math-U-See (includes video option)
Math Lessons for a Living Education (foundational math textbooks with a literature/story-driven theme in each lesson)
Teaching Textbooks (online program with video lessons)
CTC Math (online program with video lessons)
Five in a Row doesn’t teach how to read. Keep in mind that children may begin reading at 4, or they may begin at 8—both are completely within the usual range of beginning to read.
Teach Your Child to Read in 100 Easy Lessons (phonics)
Dash Into Reading (phonics)
All About Reading (phonics)
Bob books (phonics based; each simple, short storybook addresses a stage in a child’s reading development)
Explode the Code (basic phonics and handwriting practice)
Handwriting Without Tears (multi-sensory approach to handwriting)
Some children will do well beginning spelling in earlier grades (especially if they need more practice), while some can wait until later elementary.
Spelling Power (one book for K-12, includes placement tests, works well for natural spellers)
All About Spelling (open-and-go program based on the Orton-Gillingham approach; hands-on, multi-sensory, good for dyslexia or struggling spellers)
If you have a child who loves language arts and is ready for more formal grammar study, you might want to begin in mid-elementary years, around 3rd grade. But many children have greater success with grammar by waiting until later elementary grades to begin.
Easy Grammar and Daily Grams (quick and easy to use, focuses on correct usage)
Rod & Staff English (a more rigorous, traditional approach, includes diagramming and writing exercises in mid-elementary grades; from a Christian perspective)
Five in a Row draws many lessons about music, famous composers, and musicians from the selected picture books. We highly recommend the following study to dive more deeply into a composer study or to incorporate a consistent music study into your week.
Conversations with Composers, which can be found at myhomegrownsymphony.com
Have a question we didn’t answer? Feel free to email us at firstname.lastname@example.org!