978-1-40261-253-4 isbn: 978-1-40261-258-9 narration · the horse—which is supposed to be bad luck...

Narration

FoundationUnit

Online ResOuRces

packet

FoundationUnitNarration

Middle School • CCSS Edition

ISBN: 978-1-40261-258-9

Pearson Washington, DC

800.221.3641 202.783.3672 fax www.pearson.com

Found

atio

nUn

it

Found

atio

nUn

it NarrationMiddle School • CCSS Edition

Use this Online Resources Packet only with the CCSS Edition of the:

Foundation Unit Narration: Middle School

ISBN 978-1-40261-253-4

FoundationUnitNarration

Middle School • CCSS Edition

ISBN: 978-1-40261-258-9

Pearson Washington, DC

800.221.3641 202.783.3672 fax www.pearson.com

Found

ati

onUnit

Found

ati

onUnit

NarrationMiddle School • CCSS Edition

Copyright © 2012 Pearson Education, Inc., or its affiliates. All Rights Reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. The publisher hereby grants permission to reproduce these pages, in part or in whole, for classroom use only, the number not to exceed the number of students in each class. Notice of copyright must appear on all copies. For information regarding permissions, write to Pearson Curriculum Group Rights & Permissions, One Lake Street, Upper Saddle River, New Jersey 07458.

ISBN: 978-5-90801-439-7

1 2 3 4 5 6 7 8 9 10 14 13 12 11 10

Foundation Unit: Narration Copyright © Pearson Education, Inc., or its affiliates. All Rights Reserved.

ContentsNarration

Pre-AssessmentWriting a Narrative Scoring Guide

Lesson mAteriALslesson 1: Setting Up a Writer’s Notebook

lesson 2: “My Name” Excerpt

lesson 3: “The Jacket”

lesson 4: Summarizing a Plot

lesson 5: “The Jacket” Excerpt I

lesson 6: “The Book of Memory, Book Thirteen” Excerpt

lesson 7: “The Jacket” Excerpt II She Remembers: Auster Mimic Example

lesson 8: “Thank You, M’am”

lesson 9: “The Jacket” Excerpt III My Dog Skip Excerpt Analyzing Setting: My Dog Skip Teacher Ideas for Show, Not Tell Exercises Memorable Place Guidelines for Modeling Feedback

lesson 10: The Writer’s Toolkit: What to Do When You Think You Are Done Features of a Good Story

lesson 11: Plot Structure Plot Structure (completed)

lesson 12: Reflection on a Quotation

lesson 14: Plot Structure: Checklist

lesson 15: Rubric for a Narrative Rubric for a Narrative (completed) “Miss Sadie” Assessing a Narrative Using the Class Rubric

lesson 17: Strategies for Great Leads (completed)

lesson 18: Strategies for Magnified Moments (completed)


ContentsNarration

lesson 19: Sentence Patterns for Cumulative Sentences Distinguishing Parts of Cumulative Sentences

lesson 20: Sentence Patterns for Verb Clusters Distinguishing Verb Clusters

lesson 22: “All Summer in a Day” Excerpt Placement of Dialogue in a Narrative

lesson 23: Strategies for Great Endings Strategies for Great Endings (completed)

lesson 24: What to Do When Revising

lesson 26: Statement by Gary Soto about Revision Response Group Planner Response Group Planner “Notes”

lesson 27: What to Do When Editing

Post-AssessmentWriting a Narrative Scoring Guide

AdditionAL mAteriALsPublishing and Celebrating Post-Unit Reflection

CCss CorreLAtion


Writing a narrative

Pre-Assessment • 1/1

DirectionsRead the following prompt carefully. As you read, make notes about your initial responses. Use these notes to write an effective narrative.

autobiographical narrative for a teen Magazineaudience. A teen magazine is looking for young adults to submit engaging autobiographical narratives that will attract new readers to the magazine.

purpose. Editors are asking teenagers to imagine they are writing an autobiography about their lives, with stories that other teens would find fascinating and compelling. Each chapter will involve one story—one experience that is a “must” for your book.

This month’s topic for a chapter is called: “An Unforgettable Moment.”

task. Write a narrative about one of your own unforgettable moments. Editors are looking for certain qualities in your story and the stories they will publish.

Your moment should:

• Beofspecialinteresttoteens

• Provideinterestingdetails;forexample,thesetting,thepeople,thesituation that led to the unforgettable moment

• Communicatetheimportanceofthemomentandwhyitisamustforyour book

• Useyourownuniquevoice


narrative

Student’s Name: Student ID:

Read each of the statements below, and circle the number on the scale that most accurately reflects your assessment of the narrative.

4 = strong 3 = moderately strong 2 = somewhat weak 1 = weak

1. Lead engages the reader and establishes a situation. 4 3 2 1

2. A strong voice is evident. 4 3 2 1

3. Setting creates a believable world and casts a mood. 4 3 2 1

4. Characters are well developed. 4 3 2 1

5. Plothaslogicalarrangementofideasandisskillfullypaced;transitionsmove the plot forward.

4 3 2 1

6. Details evidence a range of strategies: description, figurative language, dialogue, and precise word choice.

4 3 2 1

7. Conclusion is satisfying, with implicit or explicit significance. 4 3 2 1

8. Sentences are varied with a variety of beginnings, structures, and lengths. 4 3 2 1

9. Narrative is composed with audience and purpose in mind. 4 3 2 1

10. Standard English conventions are controlled. Surface errors do not impede understanding. English language learners may integrate native language expressions effectively.

4 3 2 1

Additional comments:

scoring Guide

Pre-Assessment • 1/1


Lesson 1 • What Is Writers Workshop? 1/1

setting up a Writer’s notebook

Step 1: At the center top of the very first page, write the title table of contents.

Step 2: To the left of the title, write Date.

Step 3: To the right of the title, write page #.

Step 4: On the first line below the title, list the sections and corresponding page numbers: Writing explorations, sentence explorations, and Glossary of narrative Writing.

Step 5: Draw a line under the last listed section (the glossary), and place a Roman numeral “i” in the lower-right corner.

Step 6: Continue numbering pages, front and back, using Roman numerals. Stop with page “vi.” Place numbers for the back of the pages in the lower-left corner.

Step 7: On the seventh page, create a title page for Writing explorations, and place a number “1” in the lower right corner.

Step 8: Continue numbering pages, front and back. About 20 pages from the end of the notebook, create a section titled sentence explorations.

Step 9: On the very last page, create a section titled Glossary of narrative Writing. For this section, you will work backward from this page.

Date Table of Contents Page #I. Writing Explorations 1II. Sentence Explorations #III. Glossary of Narrative

Writing#

i

20 pages from the end

Last page of the notebook


© 2010 America’s Choice

1 In English my name means hope. In Spanish it means too many

letters. It means sadness, it means waiting. It is like the number

nine. A muddy color. It is the Mexican records my father plays

on Sunday mornings when he is shaving, songs like sobbing.

2 It was my great-grandmother’s name and

now it is mine. She was a horse woman

too, born like me in the chinese year of

the horse—which is supposed to be bad

luck if you’re born female—but I think

this is a Chinese lie because the Chinese,

like the Mexicans, don’t like their women

strong.

3 My great-grandmother. I would’ve liked to have known her, a

wild horse of a woman, so wild she wouldn’t marry. Until my

great-grandfather threw a sack over her head and carried her

off. Just like that, as if she were a fancy chandelier. That’s the

way he did it.

4 And the story goes she never forgave him. She looked out

the window her whole life, the way so many women sit their

sadness on an elbow. I wonder if she made the best with what

she got or was she sorry because she couldn’t be all the things

she wanted to be. Esperanza. I have inherited her name, but I

don’t want to inherit her place by the window.

5 At school they say my name funny as if the syllables were made

out of tin and hurt the roof of your mouth. But in Spanish my

name is made out of a softer something, like silver, not quite as

thick as sister’s name—Magdalena—which is uglier than mine.

Magdalena who at least can come home and become Nenny.

But I am always Esperanza.

“My name” excerpt by Sandra Cisneros

Lesson 2 • How Do Writers Discover Ideas to Write About? 1/2

sobbing, n. crying in a noisy way

chinese year of the horse. Refers to the Chinese zodiac, which assigns an animal to the year a person was born. Like western astrology, the Chinese zodiac predicts personality traits and fortunes.

chandelier, n. a fancy light fixture that hangs from the ceiling

inherit, v. to receive something from a person who used to have it, usually after that person has died


1 I would like to baptize myself under a new name, a name more

like the real me, the one nobody sees. Esperanza as Lisandra or

Maritza or Zeze the X. Yes. Something like Zeze the X will do.

“My name” (continued)

Lesson 2 • How Do Writers Discover Ideas to Write About? 2/2

From The House on Mango Street. Copyright © 1984 by Sandra Cisneros. Published by Vintage Books, a division of Random House, Inc., and in hardcover by Alfred A. Knopf in 1994. No further reproduction or distribution of this material is permitted. Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved.

© iStockphoto.com


1 My clothes have failed me. I remember the green coat that I

wore in fifth and sixth grades when you either danced like a

champ or pressed yourself against a greasy wall, bitter as a

penny toward the happy couples.

2 When I needed a new jacket and my mother asked what kind

I wanted, I described something like bikers wear: black leather

and silver studs with enough belts to hold down a small town.

We were in the kitchen, steam on the windows from her

cooking. She listened so long while stirring dinner that I thought

she understood for sure the kind I wanted. The next day when

I got home from school, I discovered draped on my bedpost a

jacket the color of day-old guacamole. I threw my books on the

bed and approached the jacket slowly, as if it were a stranger

whose hand I had to shake. I touched the vinyl sleeve, the collar,

and peeked at the mustard-colored lining.

3 From the kitchen mother yelled that my jacket was in the

closet. I closed the door to her voice and pulled at the rack of

clothes in the closet, hoping the jacket on the bedpost wasn’t

for me but my mean brother. No luck. I gave up. From my bed, I

stared at the jacket. I wanted to cry because it was so ugly and

so big that I knew I’d have to wear it a long time. I was a small

kid, thin as a young tree, and it would be years before I’d have

a new one. I stared at the jacket, like an enemy, thinking bad

things before I took off my old jacket whose sleeves climbed

halfway to my elbow.

“the Jacket” by Gary Soto

Lesson 3 • Writing Ideas from Our Reading 1/5

bitter as a penny, expression (simile) suggesting resentment or anger



“the Jacket” (continued)

4 I put the big jacket on. I zipped it

up and down several times, and

rolled the cuffs up so they didn’t

cover my hands. I put my hands in

the pockets and flapped the jacket

like a bird’s wings. I stood in front of

the mirror, full face, then profile and

then looked over my shoulder as if

someone had called me. I sat on the

bed, stood against the bed, and

combed my hair to see what I would

look like doing something natural. I

looked ugly. I threw it on my brother’s bed and looked at it for a

long time before I slipped it on and went out to the backyard,

smiling a “thank you” to my mom as I passed her in the kitchen.

With my hands in my pockets I kicked a ball against the fence,

and then climbed it to sit looking into the alley. I hurled orange

peels at the mouth of an open garbage can and when the peels

were gone I watched the white puffs of my breath thin to

nothing.

5 I jumped down, hands in my pockets, and in the backyard on

my knees I teased my dog, Brownie, by swooping my arms

while making bird calls. He jumped at me and missed. He

jumped again and again, until a tooth sunk deep, ripping an

L-shaped tear on my left sleeve. I pushed Brownie away to

study the tear as I would a cut on my arm. There was no blood,

only a few loose pieces of fuzz. Damn dog, I thought, and

pushed him away hard when he tried to bite again. I got up

from my knees and went to my bedroom to sit with my jacket

on my lap, with the lights out.

cuffs, n. the ends of sleeves on a jacket, shirt, or sweater, usually thicker than the rest of the sleeve

© iStockphoto.com/Richard Goerg




6 That was the first afternoon with my new jacket. The next day

I wore it to sixth grade and got a D on a math quiz. During the

morning recess Frankie T., the playground terrorist, pushed me

to the ground and told me to stay there until recess was over.

My best friend, Steve Negrete, ate an apple while looking at

me, and the girls turned away to whisper on the monkey bars.

The teachers were no help: they looked my way and talked

about how foolish I looked in my new jacket. I saw their heads

bob with laughter, their hands half-covering their mouths.

7 Even though it was cold, I took off the jacket during lunch and

played kickball in a thin shirt, my arm feeling like braille from

the goose bumps. But when I returned to class I slipped the

jacket on and shivered until I was warm. I sat on my hands,

heating them up, while my teeth chattered like a cup of

crooked dice. Finally warm, I slid out of the jacket but a few

minutes later put it back on when the fire bell rang. We paraded

out into the yard where we, the sixth graders, walked past all

the other grades to stand against the back fence. Everybody

saw me. Although they didn’t say out loud, “Man, that’s ugly,”

I heard the buzz-buzz of gossip and even laughter that I knew

was meant for me.

8 And so I went, in my guacamole-colored jacket. So

embarrassed, so hurt, I couldn’t even do my homework. I

received Cs on quizzes, and forgot the state capitals and rivers

of South America, our friendly neighbor. Even the girls who had

been friendly blew away like loose flowers to follow the boys in

neat jackets.

braille, n. a system of printing for blind people. Letters are printed as raised dots that you can feel with your fingers. goose bumps, n. raised skin, like pimples, causes by cold, fear, or excitement

chattered like a cup of crooked dice, (simile) comparison of the sound teeth make knocking together when a person is cold, to the sound dice make when shaken in a cup. “Crooked” suggests that Soto’s teeth are also crooked and implies negative self-esteem since “crooked dice” are not legal dice.




9 I wore that thing for three years until the sleeves grew short and

my forearms stuck out like the necks of turtles. All during that

time no love came to me—no little dark girl in a Sunday dress

she wore on Monday. At lunchtime I stayed with the ugly boys

who leaned against the chainlink fence and looked around with

propellers of grass spinning in our mouths. We saw girls walk

by alone, saw couples, hand in hand, their heads like bookends

pressing air together. We saw them and spun our propellers so

fast our faces were blurs.

10 I blame that jacket for those bad years. I blame my mother for

her bad taste and her cheap ways. It was a sad time for the

heart. With a friend I spent my sixth-grade year in a tree in

the alley, waiting for something good to happen to me in that

jacket, which had become the ugly brother who tagged along

wherever I went. And it was about that time that I began to

grow. My chest puffed up with muscle and, strangely, a few

more ribs. Even my hands, those fleshy hammers, showed

bravely through the cuffs, the fingers already hardening for

the coming fights. But that L-shaped rip on the left sleeve got

bigger, bits of stuffing coughed out from its wound after a hard

day of play. I finally Scotch-taped it closed, but in rain or cold

weather the tape peeled off like a scab and more stuffing fell

out until that sleeve shrived into a palsied arm. That winter the

elbows began to crack and whole chunks of green began to

fall off. I showed the cracks to my mother, who always seemed

to be at the stove with steamed-up glasses, and she said there

were children in Mexico who would love that jacket. I told her

that this was America and yelled that Debbie, my sister, didn’t

have a jacket like mine. I ran outside, ready to cry, and climbed

the tree by the alley to think bad thoughts and watch my breath

puff white and disappear.

propeller, n. a device with blades which is attached to aboatoraircraft;anenginemakes the blades spin around like a fan

stuffing, n. material used to fill the insides of such items as pillows, mattresses, jackets, to make them firm

scab, n. hard, dry covering that forms over a cut or wound

palsied, adj. pertaining to someone who may be paralyzed in some way and be unable to move




11 But whole pieces still casually flew off my jacket when I played

hard, read quietly, or took vicious spelling tests at school.

When it became so spotted that my brother began to call me

“camouflage,” I flung it over the fence into the alley. Later,

however, I swiped the jacket off the ground and went inside to

drape it across my lap and mope.

12 I was called to dinner: steam silvered my mother’s glasses as

shesaidgrace;mybrotherandsisterwiththeirheadsbowed

made ugly faces at their glasses of powdered milk. I gagged

too, but eagerly ate big rips of buttered tortilla that held

scooped-up beans. Finished, I went outside with my jacket

across my arm. It was a cold sky. The faces of clouds were piled

up, hurting. I climbed the fence, jumping down with a grunt. I

started up the alley and soon slipped into my jacket, that green

ugly brother who breathed over my shoulder that day and ever

since.

camouflage, n. a design of leaves, branches, or brown and green paint used in military uniforms to make it difficult for an enemy to see a soldier

gagged, v. almost vomited

From The Effects of Knut Hamsun on a Fresno Boy: Recollections and Short Essays by Gary Soto. Copyright © 1983, 2000 by Gary Soto. Reprinted by permission of Peresa Books, Inc. (New York).


summarizing a plot

Lesson 4 • What Makes a Good Story? 1/1

somebodyWho is the main character?

WantsWhat does the main character want?

ButWhat is the conflict or problem? What prevents the character from getting what he or she wants?

soHow does the character deal with or solve the problem?

thenHow does the story resolve itself or end? How does the character move on?

summary paragraph:


Lesson 5 • Generating Titles for a Good Story 1/1

excerpt i

When I needed a new jacket and my mother asked what kind I wanted, I described something like bikers wear: black leather and silver studs with enough belts to hold down a small town. We were in the kitchen, steam on the windows from her cooking. She listened so long while stirring dinner that I thought she understood for sure the kind I wanted. The next day when I got home from school, I discovered draped on my bedpost a jacket the color of day-old guacamole. I threw my books on the bed and approached the jacket slowly, as if it were a stranger whose hand I had to shake. I touched the vinyl sleeve, the collar, and peeked at the mustard-colored lining.

think about how this paragraph is “like a photograph.” Highlight the lines that provide strong images of the jacket.

“the Jacket” excerpt i


Lesson 6 • Mimicking a Text 1/1

“the Book of Memory, Book thirteen” excerpt by Paul Auster

1 He remembers that he gave himself a new name, John because

all cowboys were named John, and that each time his mother

addressed him by his real name he would refuse to answer her.

He remembers running out of the house and lying in the middle

of the road with his eyes wide shut, waiting for a car to run

him over. He remembers that his grandfather gave him a large

photo of Gabby Hayes and that it sat in a place of honor on the

top of his bureau. He remembers thinking the world was flat.

He remembers learning how to tie his shoes. He remembers

that his father’s clothes were kept in the closet in his room

and that it was the noise of hangers clicking together in the

morning that would wake him up. He remembers the sight of

his father knotting his tie and saying to him, Rise and shine

little boy. He remembers wanting to be a squirrel, because he

wanted to be light like a squirrel and have a bushy tail and be

able to jump from tree to tree as though he were flying. He

remembers looking through the venetian blinds and seeing his

newborn sister coming home from the hospital in his mother’s

arms. He remembers the nurse in a white dress who sat beside

his baby sister and gave him little squares of Swiss chocolate.

He remembers that she called them Swiss although he did not

know what that meant. He remembers lying in his bed at dusk

in midsummer and looking at the tree through his window and

seeing different faces in the configuration of the branches. He

remembers sitting in the bathtub and pretending that his knees

were mountains and that the white soap was an ocean liner.

From The Invention of Solitude by Paul Auster. Reprinted with permission.

© iStockphoto.com/Nadezhda Bolotina

Gabby Hayes. An American actor best known for his appearances in western, cowboy movies.

rise and shine. Expression meaning get out of bed and prepare for the day (work).

venetian blinds, n. A window covering composed of long horizontal strips, usually made of metal or vinyl.

configuration, n. an arrangementofparts;adesign.


excerpt ii That winter the elbows began to crack and whole chunks of green

began to fall off. I showed the cracks to my mother, who always seemed to be at the stove with steamed-up glasses, and she said there were children in Mexico who would love that jacket. I told her that this was America and yelled that Debbie, my sister, didn’t have a jacket like mine. I ran outside, ready to cry, and climbed the tree by the alley to think bad thoughts and watch my breath puff white and disappear.

choose one of these sentence frames.

The important thing about this moment is . . .

This moment stays with Gary Soto because . . .

“the Jacket” excerpt ii

Lesson 7 • Zooming In on a Moment 1/1


Wide-angle lens: She remembers removing the screen from her bedroom window to send a paper airplane into Heather’s bedroom window, across the alley, with a note written on it in the middle of the night.

Zooming in: She remembers how cleverly she could remove the screen without making a noise. She remembers the smell of the screen, a damp rusty kind of smell. She remembers how Heather and she would muffle their giggles, knowing they were getting away with being up so late at night. She remembers how the crickets sounded when there was silence and how vast the dark sky looked with all the stars twinkling when she ventured her head out the window, careful not to reach too far and fall out the window. She remembers how they must have laughed too hard anyway because Heather’s mother came into Heather’s bedroom and shut the curtains with an angry snapping sound. She remembers her own mother screeching at the top of her lungs for Heather to get to bed. She remembers how Heather’s mother had a talk with her mother the next day, and both girls were put on restriction for a week.

Lesson 7 • Zooming In on a Moment 1/1

she Remembers: auster Mimic example


Lesson 8 • Developing Memorable Characters 1/6

“thank You M’am” by Langston Hughes

1 She was a large woman with a large purse that had everything

in it but a hammer and nails. It had a long strap, and she carried

it slung across her shoulder. It was about eleven o’clock at night,

dark, and she was walking alone, when a boy ran up behind her

and tried to snatch her purse. The strap broke with the sudden

single tug the boy gave it from behind. But the boy’s weight

and the weight of the purse combined caused him to lose his

balance. Instead of taking off full blast as he had hoped, the

boy fell on his back on the sidewalk and his legs flew up. The

large woman simply turned around and kicked him right square

in his blue-jeaned sitter. Then she reached down, picked the

boy up by his shirtfront, and shook him until his teeth rattled.

2 After that the woman said, “Pick up my pocketbook, boy, and

give it here.”

3 She still held him tightly. But she bent down enough to permit

him to stoop and pick up her purse. Then she said, “Now ain’t

you ashamed of yourself?”

4 Firmly gripped by his shirtfront, the boy said, “Yes’m.”

5 The woman said, “What did you want to do it for?”

6 The boy said, “i didn’t aim to.”

7 She said, “You a lie!”

8 By that time two or three people passed,

stopped, turned to look, and some

stood watching.

snatch, v. to steal

tug, n. a strong, hard, pull

taking off full blast, an idiom meaning running or speeding away fast, like a rocket

blue-jeaned sitter, an expression meaning the character’s “seat” which is attired in blue jeans

pocketbook, n. another name for a purse

stoop, v. to bend forward from the waist down

i didn’t aim to, an expression meaning “I didn’t mean to”

© iStockphoto.com/penguenstok


9 “If I turn you loose, will you run?” asked the woman.

10 “Yes’m,” said the boy.

11 “Then I won’t turn you loose,” said the woman. She did not

release him.

12 “Lady, I’m sorry,” whispered the boy.

13 “Um-hum! Your face is dirty. I got a great mind to wash your

face for you. Ain’t you got nobody home to tell you to wash

your face?”

14 “No’m,” said the boy.

15 “Then it will get washed this evening,” said the large woman,

starting up the street, dragging the frightened boy behind her.

16 He looked as if he were fourteen or fifteen, frail and willow-

wild, in tennis shoes and blue jeans.

17 The woman said, “You ought to be my son. I would teach you

right from wrong. Least I can do right now is to wash your face.

Are you hungry?”

18 “No’m,” said the being-dragged boy. “I just want you to turn me

loose.”

19 “Was I bothering you when I turned that corner?” asked the

woman.

20 “No’m.”

21 “But you put yourself in contact with me,” said the woman. “If

you think that that contact is not going to last a while, you got

another thought coming. When I get through with you, sir, you

are going to remember Mrs. Luella Bates Washington Jones.”

“thank You M’am” (continued)


turn you loose, an expression meaning “let you go”

frail, adj.physicallyweak;delicate

willow-wild, adj. meaning tall and slender like a willow tree and wild

you got another thought coming, an expression meaning “you’rewrong”;“youhadbetterthink about this some more”


22 Sweat popped out on the boy’s face and he began to struggle.

Mrs. Jones stopped, jerked him around in front of her, put a half

nelson about his neck, and continued to drag him up the street.

When she got to her door, she dragged the boy inside, down

a hall, and into a large kitchenette-furnished room at the rear

of the house. She switched on the light and left the door open.

The boy could hear other roomers laughing and talking in the

large house. Some of their doors were open, too, so he knew he

and the woman were not alone. The woman still had him by the

neck in the middle of her room.

23 She said, “What is your name?”

24 “Roger,” answered the boy.

25 “Then, Roger, you go to that sink and wash your face,” said the

woman, whereupon she turned him loose—at last. Roger looked

at the door—looked at the woman—looked at the door—and

went to the sink.

26 “Let the water run until it gets warm,” she said. “Here’s a clean

towel.”

27 “You gonna take me to jail?” asked the boy, bending over

the sink.

28 “Not with that face, I would not take you nowhere,” said the

woman. “Here I am trying to get home to cook me a bite to eat

and you snatch my pocketbook! Maybe you ain’t been to your

supper either, late as it be. Have you?”

29 “There’s nobody home at my house,” said the boy.

30 “Then we’ll eat,” said the woman. “I believe you’re hungry—or

been hungry—to try to snatch my pocketbook!”



half nelson, n. a wrestling hold in which the holder puts an arm under the opponent’s arm and exerts pressure on the back of the neck

roomers, n. people who rent rooms in a house


31 “I want a pair of blue suede shoes,” said the boy.

32 “Well you didn’t have to snatch my pocketbook to get some

suede shoes,” said Mrs. Luella Bates Washington Jones. “You

could of asked me.”

33 “M’am?”

34 The water dripping from his face, the boy looked at her. There

was a long pause. A very long pause. After he had dried his face

and not knowing what else to do, dried it again, the boy turned

around, wondering what next. The door was open. He could

make a dash for it down the hall. He could run run, run, run!

35 The woman was sitting on the daybed. After a while she said,

“I were young once and I wanted things I could not get.”

36 There was another long pause. The boy’s mouth opened. Then

he frowned, not knowing he frowned.

37 The woman said, ‘Um-hum! You thought I was going to say but,

didn’t you? You thought I was going to say, but I didn’t snatch

people’s pocketbooks. Well, I wasn’t going to say that.” Pause.

Silence. “I have done things, too, which I would not tell you,

son—neither tell God, if He didn’t already know. Everybody’s

got something in common. So you set down while I fix us

something to eat. You might run that comb through your hair

so you will look presentable.”



frowned, v. making a facial expression that shows sadness or displeasure


38 In another corner of the room behind a screen was a gas plate

and an icebox. Mrs. Jones got up and went behind the screen.

The woman did not watch the boy to see if he was going to run

now, nor did she watch her purse, which she left behind her on

the daybed. But the boy took care to sit on the far side of the

room, away from the purse, where he thought she could easily

see him out of the corner of her eye if she wanted to. He did not

trust the woman not to trust him. And he did not want to be

mistrusted now.

39 “Do you need somebody to go to the store,” asked the boy,

“maybe to get some milk or something?”

40 “Don’t believe I do,” said the woman, “unless you just want

sweet milk yourself. I was going to make cocoa out of this

canned milk I got here.”

41 “That will be fine,” said the boy.

42 She heated some lima beans and ham she had in the icebox,

made the cocoa, and set the table. The woman did not ask the

boy anything about where he lived, or his folks, or anything

else that would embarrass him. Instead, as they ate, she told

him about her job in a hotel beauty shop that stayed open late,

what the work was like, and how all kinds of women came in

and out, blondes, redheads, and Spanish. Then she cut him a

half of her ten-cent cake.

43 “Eat some more, son,” she said.



icebox, n. refrigerator

© iStockphoto.com


44 When they were finished eating, she got up and said, “Now

here, take this ten dollars and buy yourself some blue suede

shoes. And next time, do not make the mistake of latching

onto my pocketbook nor nobody else’s—because shoes got by

devilish ways will burn your feet. I got to get my rest now. But

from here on in, son, I hope you will behave yourself.”

45 She led him down the hall to the front door and opened it.

“Good night! Behave yourself, boy!” she said, looking out into

the street as he went down the steps.

46 The boy wanted to say something other than, “Thank you,

m’am,” to Mrs. Luella Bates Washington Jones, but although his

lips moved, he couldn’t even say that as he turned at the foot of

the barren stoop and looked up at the large woman in the door.

Then she shut the door.



shoes got by devilish ways will burn your feet, an expression suggesting that if people obtain a personal item through illegal means, they are bound to get caught

barren, adj. bare, empty, lack of vegetation

stoop, n. small porch or set of steps at the front entrance of a house

“Thank You, M’am” from Short Stories of Langston Hughes by Langston Hughes. Copyright © 1996 by Ramona Bass and Arnold Rampersad. Reprinted by permission of Hill and Wang, a division of Farrar, Straus, and Giroux, LLC.


excerpt iiiHighlight details that make the setting memorable.

setting: the “alleyway” I kicked a ball against a fence, and then climbed it to sit looking into

the alley. I hurled orange peels at the mouth of an open garbage can and when the peels were gone I watched the white puffs of my breath thin to nothing.

With a friend I spent my sixth-grade year in a tree in the alley, waiting for something good to happen to me in that jacket . . .

I ran outside, ready to cry, and climbed the tree by the alley to think bad thoughts and watch my breath puff white and disappear.

after discussing this excerpt in your class, complete one of these two sentence frames.

The important thing about the alleyway is . . .

The details of the alleyway setting [convey] [suggest] that . . .

select a word from the “Mood Words” chart to complete this sentence frame.

The setting establishes a ____________________________ mood.

“the Jacket” excerpt iii

Lesson 9 • Developing a Setting 1/1


Lesson 9 • The Writer’s Toolkit: What to Do When You Think You Are Done 1/2

My Dog Skip is an autobiographical

narrative about growing up in

Mississippi in the 1940s. The writer,

Willie Morris, is shy and unable

to make friends until his parents

give him a puppy, which becomes

beloved in the neighborhood

and allows him to have more

confidence in meeting others.

Read as a Writer

Read this excerpt which describes the setting for events taking

place in My Dog Skip. Follow by highlighting memorable details,

inventing a telling sentence that captures significance, and drafting

a sentence which suggests a mood.

1 The town where Old Skip and I grew up together was an

unhurried and isolated place then. About ten thousand people

lived there, of all races and origins, and it sat there crazily, half

on steep hills and half on the flat Delta. Some of the streets

were not paved, and the main street, stretching its several

blocks from the Dixie Theater down to the bend in the river,

was narrow and plain, but down along the quiet, shady streets,

with their magnolia and pecan and elm and locust trees, were

the stately old houses that had been built long before the Civil

War, slightly dark and decaying until the descendents became

prosperous enough to have them “restored,” which usually

meant one coat of white enamel.

My Dog Skip excerpt by Willie Morris

isolated, adj. separated fromothers;standingapartor alone

paved, adj. covered with a hard surface, often concrete or asphalt

descendants, n. people born into later generations of a family or line of ancestors

prosperous, adj. financially successful, having more than enough money

enamel, n. a paint that dries to a hard, glossy finish

© iStockphoto om/MBPHOTO, INC.



My Dog Skip excerpt (continued)

2 All of this was before the big supermarkets and shopping

centers and affluent subdivisions with no sidewalks and the

monster highways and the innocence lost. It was even before

there was television, and people would not close their doors

and shut their curtains to watch the quiz games or the comedy

hours or the talk shows where everybody talks at once. We

would sit out on our front porches in the hot, serene nights and

say hello to everyone who walked by. If the fire truck came past,

we all got in our cars to follow it, and Skip was always the first

to want to go. The houses were set out in a line under the soft

green trees, their leaves rustling gently with the breeze. From

the river sometimes came the melancholy echo of a boat’s

horn.

Willie Morris. 1996. My Dog Skip. New York: Vintage Books. Reprinted with permission.

affluent, adj. having a lot of money

innocence, n. having no or very little knowledge of or experience with the more complex and unpleasant aspects of life

serene, adj. calm, quiet, peaceful

melancholy, adj. very sad


task #1. If this setting were filmed for a movie, which details should be “zoomed-in” on? Highlight the memorable, unforgettable details in the text.

task #2. Record four highlighted details that are “musts” for the movie.

task #3. Choose one of the sentence frames to write a telling sentence that expresses what all the details are trying to “show” about the setting.

Back then, . . . but now . . .

In the past . . .; in the present . . .

Invent your own telling sentence.

task #4. Suggest a word for the mood the setting conveys and write a summary statement.

The setting establishes a ____________________________ mood.

analyzing setting: My Dog Skip



Turn the telling sentence into a showing paragraph without using the telling sentence.

characters • She/heislazy.

• She/heisartistic.

• She/heisromantic.

• She/heisthepictureofhealth.

• She/heisstubborn.

• She/heisgenerous.

settings • Itwasacoldwinterday.

• Theneighborhoodwasalive.

• Themallwaslikeaghosttown.

• Theforestwasmagical.

• Myroomwasamess.

• Thestadiumwascrowded.

Moments • Theatmospheregrewtense.

• Shetookhertime.

• Everythinggrewsilent.

• Laughtererupted.

• Thelastminuteofthegamewasanail-biter.

• Iwasstuck.

teacher ideas for show, not tell exercises



teacher example

I could see Nick’s Corner Store from my bedroom window, not a complete view, just the side curb where customers would pull up to run in and grab last-minute groceries. Nick’s Corner Store was like an amusement park to me, and how often—standing on my tip-toes and stretching my neck out the window—I longed for permission to run down the path on my own and buy whatever I wanted to buy, with no grown-ups in sight.

Inside the dimly lit shop that was Nick’s Corner Store it smelled of floor wax and popcorn and the smoke from Nick’s cigar. There were shelves of canned goods and dried goods, shaving creams and shampoos, but to a child, the chocolate bars and bubble gum, popsicles, and licorice sticks were the main attractions. Best of all, in the back of the store, with a little light bulb glowing from above, was that arcade machine you fed a quarter to try your luck at retrieving a toy.

sample responses to the lesson:

• Askstudentswhatalltheseshowingdetailsmightbetryingto“tell.”Theymightsay:

– Nick’s Corner Store was like an amusement park.

– A child’s world is full of wonder.

• Notehowyouareaskingstudentstoinventtheirownsentenceswithoutusingasentence frame.

• Connecttheideaof“telling”intheirstatementstostatementsofsignificance.

• Askstudentshowtheycameupwiththeirtellingstatements—whatdetailsgavethem their impressions. They might say:

– “Best of all was the machine you fed a quarter to try your luck at retrieving a toy”— shows how items in Nick’s store were like those in an amusement park.

– “Standing on my tip-toes and stretching my neck out the window”— shows how much the writer “is full of wonder.”


Memorable place


partner’s chair: Modeling FeedbackModel how to give positive, specific feedback to both the author and the partner as each presentation concludes.

First, comment on a partner’s feedbackCompliment for:

• Servingascarefulreaders

• Isolatingunforgettabledetailsandhowtheyshowsignificance

• Suggestingeffectivewordsforcapturingmoods

Say something like:

“ I like the way you noticed the lighting and how the gradual setting of the sun suggested a somber mood. ‘Somber’ is a great mood word to add to our list. I like how you’re making an inference from specific details. That’s what good readers do.”

second, comment on the author’s writing Compliment for:

• Recallingspecificdetailsthat“photograph”thesetting

• Usinginventivelanguage(images,simile,metaphor,personification,precisewords)thatdramatizes a mood

Say something like:

“ I agree with your response partner about how you described the lighting. You took your timetoshowthegraduallossoflightandthelengtheningofshadows.Youzoomedin;youelaborated in slow motion. This makes me feel like something is going to change soon.”

Ask the writer a final question:

“ If you were going to write an autobiographical or fictional narrative, how might you use the setting you developed? Is there an incident that takes place in this setting that you will always remember?”

Finally, invite all students to take a minute to respond to this question and record an associated incident, if they can think of one.

Guidelines for Modeling Feedback



• Rereadyourwork,andfinda“tellingsentence”thatcouldbeimprovedbymore“showing.”

– Write the telling sentence as a new title for a notebook entry.

– Show the idea without using the telling sentence.

• Rereadyourwork,andzoominonamoment.

– Find an important moment to take your time with and “photograph.”

• Rereadyourwork,andaddasimiletoadescription.

– Think of a comparison to make for an important detail. “Something” is like “something else . . .”

• Rereadyourwork,andaddasettingwhereitcoulduseone.

– Think of the mood you want to put readers into, and photograph the scene.

– Write a “then and now” setting, a town where you once lived compared to where you live now;yourhomecomparedtoagrandparents’home.

• Rereadyourwork,andaddnatural-soundingdialoguebetweencharacters.

– Insert “natural-sounding” dialogue into a scene between characters.

– Mix native language and English, if talk like that is real.

• Rewriteafirst-personnarrativeinthird-person.

– Select a piece that might become a fictional narrative.

• Readyourindependentreadingbook,and“borrow”anewideatotryinyourwriting.

– Try something new, and volunteer for the author’s chair to see what others think.

• Consult“WhatGoesIntoaWriter’sNotebook”and“WritingIdeasfromOurReading”fornew writing ideas.


the Writer’s toolkit: What to Do When You think You are Done


This chart shows you the connections between the features of a good story and the possible writers’ strategies that might be used to create this feature.

Features possible strategies

Situation is real, believable • Selectrealexperiencesthatmattertoyou,incidents you want to remember

Gets your attention at the beginning

• Repeatedline

• Asuspensefulconversation/dialogue

• Asettingthatcastsamood

• Acharacterdescription

• Alinethatmakesyouthink

Characters are real, believable, interesting

• Typicalactionsthatdemonstratecharactertraits

• Natural-soundingdialoguethatshowsinteractionbetween characters

Setting casts a mood • Zooming-inondetails

• Showing,nottelling

• Thencomparedtonow

Actions are suspenseful • Zooming-inonamoment


Vivid details • Zooming-inonamoment


• Useofsimiles

Has a good ending • Concludeswithsomethingsomeonesays(dialogue)

• Concludeswithalinethatmakesyouthink

• Returnstosomethingsaidatthebeginning(thenand now)

Makes you think • Mayincludea“statementofsignificance”thatthereader will keep thinking about

Features of a Good story



Lesson 11 • Developing a Plot Structure 1/1

plot structure

Place the following academic language in the proper places on the graphic.

• Rising Action

• Falling Action

• Conflict

• Exposition

• Resolution/Denouement

• Theme

• Turning Point/Climax

situation changes

introduction ending

significance

solutionproblem

____________________

____________________

____________________

____________________

____________________

____________________

____________________


plot structure (completed)

Lesson 11 • Developing a Plot Structure 1/1

situation changes

introduction ending

significance

solutionproblem

Theme

Exposition Resolution/ Denouement

Turning Point/

Climax

Rising Action

Conflict

Falling Action


Lesson 12 • Rereading the Notebook for a Seed Piece 1/1

Reflection on a Quotation

advice from a Writing teacher

Did you ever sit around with a friend . . . and you start telling some story, and about

halfway through you see your friend’s eyes light up because your story has just reminded

him of a story. And then, he waits until you’re done so he can tell his story. And then

his story reminds you of a story, and you try to hold on to it while you listen to him so

you don’t forget the story you want to tell. It seems to me that conversations between

friends, if you’re just hanging out and talking, tend to go like that . . . And pretty soon

you have this line of about thirteen stories just waiting their turn to come out, like

skydivers in their plane. I want to see if we can get some of that going in here today.

Time for Meaning: Crafting Literate Lives in Middle and High School (Randy Bomer 1995)

Reflection for Writer’s notebook

Why does Bomer tell his students this? What point is Bomer trying to make? Write a reflection in

your Writer’s Notebook on this teacher’s advice to his students.


parts of a story name of student _____________________: storyboard

exposition. How does the story establish the characters and situation?

conflict. What is the main problem or challenge?

Rising action. How does the plot move forward with further details?

climax. What is the turning point or moment of highest interest—when things start to change or the conflict begins to resolve?

Falling action. What happens after the climax?

Resolution/Denouement. How does the story end? How do the parts “tie together”?

plot structure: checklist

Lesson 14 • A Storyboard for a Narrative 1/1


Rubric for a narrative

Lesson 15 • Developing a Rubric 1/2


criteria4

Bull’s eye3

almost

Opening/Exposition

Setting

Characters

Use of Details

Plot Structure and Organization

Ending/Resolution

Sentence Variety

Conventions





2not close

1Missed!


Rubric for a narrative (completed)



criteria4

Bull’s eye3

almost

Opening/Exposition

Lead establishes the situation and engages reader’s attention. Readers want to keep reading. Readers hear the writer’s “voice.”

Lead introduces the situation with some engaging details.

Setting Setting establishes when and where the story takes place and creates a believable world;settingcastsamood.

Setting offers some details about the time andplacethestorytakesplace;detailsare mostly facts.

Characters Major characters are interesting and well-developed;readerscaninferspecificcharacter traits from descriptions, actions and dialogue.

Characters are described with some interesting details, but with fewer narrative strategies.

Use of Details Details show a range of narrative strategies: zooming-in, sensory details, show, not tell, magnified moments, figurative language, imagery, actions, dialogue, typical talk, precise words.

Details are used throughout the story but with fewer techniques. There are frequent “telling” details without showing.


Plot has a specific conflict or challenge. There is rising action, a climax (turning point) falling action and a resolution. Important moments are magnified, and pacing is smooth. Transitions sequence events and move the plot forward.

Plot is generally clear, with some sequences less-developed. Pacing is good, but somewhat unbalanced (some events happen too fast or too slowly). Transitions move the plot forward.

Ending/Resolution

Ending is engaging and emphasizes significance;resolutionmakesthereaderthink.

Ending brings closure to the story with a specific point or significance. Significance might be obvious.

Sentence Variety Sentences are of different lengths (long andshort);writersusecompoundandcomplexsentences;cumulativesentenceswithverbclusters;transitions

There is some sentence variety: simple, compoundand/orcomplexsentences;some transitions.

Conventions Narrative is edited for proper paragraphing, capitalization, end-punctuation, punctuation of dialogue, punctuation of verb clusters, personal pronoun usage, consistent verb tense, and spelling.

Narrative is edited for correctness, but there are some areas that are still incorrect. The mistakes do not interfere with understanding, but the work is not as professional.


Rubric for a narrative (completed)



2not close

1Missed!

Lead seems to explain (tell about) a situation more than using strategies to engage the reader.

No evidence of planning or revising for an engaging lead.

Setting is stated, but has little impact on the story.

Setting is not mentioned.

Characters are identified, but are not made interesting. Character traits are not very evident.

Characters are named but there is no description.

The story is mostly “telling” without showing.

The story does not provide specific details.

Plot is somewhat disorganized. Story may beginlogicallybutloseitsway;or,storymay begin confusingly, then picking up form. Writer may use some transitions.

There is little sense of a logical beginning middle and end.

Ending is there, but lacks significance (or significance seems “tacked on”).

Ending, is more a stopping place for the story than a closing with significance or meaning.

There is little sentence variety. Sentences seem the same with the same rhythm.

Sentences may be choppy or run on and on;sentencesdonotflow.

Errors are frequent and constantly interfere with a reader’s understanding.

Errors are so distracting, the reader becomes frustrated because of having to reread to understand.


1 Miss Sadie no longer sits in her rocking

chair on her porch on summer days.

But I still can see her. The old chair

squeaking with every sway of her big,

brown body. Her summer dresses

stained from cooking in her sweet

smelling kitchen. I see her gray hair

pulled back in that awful, yellow

banana clip. Most of all, I hear that

voice. So full of character and wisdom.

2 I used to bring Miss Johnson cookies every summer day of 1988.

I miss the days when I would sit on that shabby old porch and

listen to her stories. “Melissa!” she would holler. “What ‘chu doin’

here? Come see me and my poor self, have ya?”

3 She once told me of her grandmother who escaped slavery,

back when white men could only do anything, she would say.

Her grandma ran for miles without food or water. It wasn’t too

long before her master came looking for her and took her home

to whip her. I thought of how Blacks are treated today. I sighed.

She would sing in her soulful, blaring voice, old negro hymns

passed down from her mother and grandmother. I would sit

there in amazement.

4 Once, Jimmy Taylor came walking by us yelling, “Melissa!

Whattaya want with that old, fat, Black lady, any ways?”

5 Before I could retaliate, Miss Johnson said to me, “Now, you

musn’t. We must feel sorry for that terrible child. His mother

must have done gone and not taught him no manners!” She

actually wanted me to bow my head and pray for him. (Even

though I went to his house and punched him out the next day.)

“Miss sadie” by a student


© iStockphoto.com



“Miss sadie” (continued)

6 My friends would tease me for spending the whole summer

with Sadie Johnson, “The cookoo of Connecticut,” they called

her. But I’m so very glad I did. She taught me then, to not care

what other people thought. I learned that I could be friends

with someone generations apart from my own.

7 My visits became less frequent when school started. I had other

things to think about. Boys, clothes, grades. You know, real

important stuff.

8 One day I was thinking, I haven’t seen Miss Sadie in a while.

So after school I trotted up to her house amidst the twirling,

autumn leaves.

9 I rang her bell. The door cracked open and the woman adjusted

her glasses. “May I help you?”

10 “Miss Sadie, it’s me, Melissa.”

11 “I–I,” she’d stuttered. “I don’t remember,” she said and shut the

door. I heard crying. I rang the door again and she screamed,

“Please leave!” in a scared, confused voice.

12 I went home bewildered and my mother told me to stop

bothering Miss Sadie. I said I wasn’t bothering her. Mama said,

“Miss Johnson has a disease. Alzheimer’s disease. It makes

her forget things . . . people, family even. And so, I don’t want

you over there anymore, you hear?” Then, I didn’t realize or

comprehend, how someone so special to you could forget your

own existence when you’d shared a summer so special and

vivid in your mind.

13 That Christmas I went to bring Miss Johnson cookies. She

wasn’t there. I learned from a family member that she was in

the hospital and that she’d die very soon. As the woman, a

daughter maybe, spoke, my heart broke.


“Miss sadie” (continued)


14 “Well, you make sure she gets these cookies,” I said, my voice

cracking and tears welling in my eyes.

15 Today, I’ve learned to love old people. For their innocence,

for their knowledge. I’ve learned to always treat people with

kindness, no matter how cruel they may seem. But mainly I’ve

learned, that you must cherish the time spent with a person.

And memories are very valuable. Because Miss Sadie no longer

sits in her rocking chair on her porch on summer days. I’m glad

that I can still see her.

© iStockphoto.com/YinYang.

California Department of Education, P-16 Policy and Information Branch, 1430 N Street, Suite 3207, Sacramento, CA 95814. Reprinted with permission.



assessing a narrative using the class Rubric

title _____________________________________________ author ____________________________

criteria scoreWhy this score?(Justification)

Bonus! strategy writer uses

1 2 3 4

Opening/exposition

setting

characters

use of Details

plot structure and Organization

ending/Resolution


Lesson 17 • Crafting a Great Lead 1/2

strategies for Great leads (completed)

text and author

Great leads author’s strategy

“My Name” (Cisneros)

In English my name means hope. In Spanish it means too many letters. It means sadness, it means waiting.

•Beginswithadefinitionthatmakesyou think.

•Usesarepeatedlinetoemphasizedifferentmeanings for an important word.

•Showsinnerthoughtsofacharacter.

“The Jacket”(Soto)

My clothes have failed me . . . When I needed a new jacket and my mother asked what kind I wanted, I described something like bikers wear: black leather and silver studs with enough belts to hold down a small town . . .The next day when I got home from school, I discovered draped on my bedpost a jacket the color of day-old guacamole.

•Beginswithasummarystatementtosuggest a theme and make you think.

•Zoomsinonanimportantmomenttoshowconflict between too characters.

•Zoomsinonanimportant“image”(photographsthejacket);usesshow,nottell for details.

“Thank You, M’am” (Hughes)

She was a large woman with a large purse that had everything in it but a hammer and nails. It had a long strap, and she carried it slung across her shoulder . . .

. . . a boy ran up to her and tried to snatch her purse. The strap broke with the sudden single tug the boy gave it from behind. But the boy’s weight and the weight of the purse combined caused him to lose his balance . . . the boy fell on his back on the sidewalk and his legs flew up. The large woman simply turned around and kicked him right square in his blue-jeaned sitter.

•Usesapersonalpossessiontosymbolizean important character trait of the main character.

•Zoomsinonamomenttoshowconflictbetween two characters.

My Dog Skip(Morris)

The town where Old Skip and I grew up together was an unhurried and isolated place then . . .

All of this was before the big supermarkets and shopping centers . . .

•Usessettingtoestablishtimeandplaceand create a mood.

•Uses“thenandnow”toshowcontrast.


Lesson 17 • Crafting a Great Lead 2/2

strategies for Great leads (completed)

text and author

Great leads author’s strategy

“Miss Sadie” (Student writer)

Miss Sadie no longer sits in her rocking chair on her porch on summer days. But I still can see her. The old chair squeaking with every sway of her big, brown body. Her summer dresses stained from cooking in her sweet smelling kitchen. I see her gray hair pulled back in that awful, yellow banana clip. Most of all, I hear that voice. So full of character and wisdom.

•Usesanopeninglinetointroduceacharacter and make you think (Why is Miss Sadie no longer there?).

•Useswide-anglelens,thenzoomlenstocapture character details and create a strong image (like a photograph).

Lead from literature anthology: (Sample)“President Cleveland, Where Are You?” by Robert Cormier

That was the autumn of cowboy cards. •Usesopeninglinetoestablishsettingandmake you think.

•Usesapopularfadtoidentifytimeandplace of a specific era.

Leads from independent reading


Lesson 18 • Magnifying a Moment 1/2

strategies for Magnified Moments (completed)

text and author

Magnified Moment(show, not tell)

What is the moment?

Why does the author choose this moment to

magnify?

author’s strategy


I put the jacket on. I zipped it up and down several times, and rolled the cuffs up so they didn’t cover my hands. I put my hands in the pockets and flapped the jacket like a bird’s wings. I stood in front of the mirror, full face, then profile, and then looked over my shoulder as if someone had called me. I sat on the bed, stood against the bed, and combed my hair to see what I would look like doing something natural. I looked ugly.

Gary Soto tries on his new jacket, which his mother gave him, for the first time.

(Possible ideas):

•Toshowhowhe tries to appreciate his jacket, but can’t

•Toshow/justify just how ugly he will appear to others in that jacket

•Usesdetailsthat show gestures: rolling up cuffs, looking over shoulder; standing in front of mirror, full face, then profile

•Usesasimileto show “ugliness”—flapped the jacket like a bird’s wings—or as a symbol for wanting to be “free”


The woman was sitting on the daybed. After a while she said, “I were young once and I wanted things I could not get.”

There was another long pause. The boy’s mouth opened. Then he frowned, not knowing he frowned.

The woman said, “Um-hm! You thought I was going to say but, didn’t you? You thought I was going to say, but I didn’t snatch people’s pocketbooks. Well, I wasn’t going to say that.” Pause. Silence. “I have done things, too, which I would not tell you, son—neither tell God, if He didn’t already know. Everybody’s got something in common. So you set down while I fix us something to eat.”

Mrs. Jones shows her understanding for where Roger might be coming from—why he might have tried to steal her pocketbook.

•Toshowhowshe knows Roger better than he thinks she does

•Usesnatural-sounding dialogue to show details of Mrs. Jones’ past—I were young once, etc.

•Usesfacialexpressions to show feelings—The boy’s mouth opened. Then he frowned, not knowing he frowned.

•Usessinglewords to show time passing—Pause. Silence.


strategies for Magnified Moments (completed)

Lesson 18 • Magnifying a Moment 2/2

text and author

Magnified Moment(show, not tell)

What is the moment?

Why does the author choose this moment to

magnify?

author’s strategy

My Dog Skip(Morris)

Some of the streets were not paved, and the main street, stretching its several blocks from the Dixie Theater down to the bend in the river, was narrow and plain, but down along the quiet, shady streets, with their magnolia and pecan and elm and locust trees, were the stately old houses that had been built long before the Civil War . . .

Morris shows the old fashioned, slow-paced town he once knew.

•Toshowwhat he most misses about the way his town used to be

•Usesdetailsthat show typical streets—not paved, narrow and plain, quiet,shady;buildings—Dixie Theater, stately old houses built long before the Civil War;kindsof trees—magnolia, pecan, elm, and locust


I rang her bell. The door cracked open and the woman adjusted her glasses. “May I help you?”

“Miss Sadie, it’s me, Melissa.”

“I-I,” she’d stuttered. “I don’t remember,” she said and shut the door. I heard crying. I rang the door again and she screamed, “Please leave!” in a scared, confused voice.

The writer shows the moment when Miss Sadie reveals her disease.

•Toshowthewriter’s shock at how Miss Sadie does not recognize her

•Usesdialoguebetween Miss Sadie and her: “May I help you?” “Miss Sadie, it’s me, Melissa.” “I-I,” she’d stuttered. “I don’t remember . . .” . . . and she screamed, “Please leave!” in a scared, confused voice.

Literature Anthology Selections

Independent Reading


Lesson 19 • Sentence Explorations for Narrative Writing 1/1

sentence patterns for cumulative sentences

One remembers them from another time—playing handball in the playground, going to church, wondering if they were going to be promoted at school. - James Baldwin

I sensed a wrongness around me, like an alarm clock that had gone off without being set. - Maya angelou

I did find work that afternoon, six houses nearly all in a row, all new with half- finished landscaping, all proud they had numbers on their curbs. - Gary soto

Her hair was slicked against her head with a bun in the back, a proper married-lady hairdo. - Maxine Hong kingston

I would like to baptize myself under a new name, a name more like the real me, the one nobody sees. - sandra cisneros

The houses were set out in a line under the soft green trees, their leaves rustling gently in the breeze. - Willie Morris

A moment later she was swimming back to the side of the pool, her head of short-clipped auburn hair held up straight ahead of her, as though it were a rose on a long stem. - phillip Roth

On the corner a guy played the saxophone, the sound sliding into the darkness and echoing off the bricks. - Walter Dean Myers


Distinguishing parts of cumulative sentences

Lesson 19 • Sentence Explorations for Narrative Writing 1/1

underline the base clause and put parentheses around each addition in the sentence.

number of additions

One remembers them from another time—playing handball in the playground, going to church, wondering if they were going to be promoted at school. - James Baldwin

I sensed a wrongness around me, like an alarm clock that had gone off without being set. - Maya angelou

I did find work that afternoon, six houses nearly all in a row, all new with half-finished landscaping, all proud they had numbers on their curbs. - Gary soto

Her hair was slicked against her head with a bun in the back, a proper married-lady hairdo. - Maxine Hong kingston

I would like to baptize myself under a new name, a name more like the real me, the one nobody sees. - sandra cisneros

The houses were set out in a line under the soft green trees, their leaves rustling gently in the breeze. - Willie Morris

A moment later she was swimming back to the side of the pool, her head of short-clipped auburn hair held up straight ahead of her, as though it were a rose on a long stem. - phillip Roth

On the corner a guy played the saxophone, the sound sliding into the darkness and echoing off the bricks. - Walter Dean Myers


They were teenagers in the picture, grinning at the automatic camera they fed a quarter. - John edgar Wideman

Byron started walking toward Momma in slow motion, sliding his feet on the linoleum. - christopher paul curtis

Once in her mother’s lap she rested content all the way home, sucking her thumb, stroking her nose with the forefinger of the same hand, and kneading a corner of her blanket with the three fingers that were left. - alice Walker

The faces of clouds were piled up, hurting. - Gary soto

I climbed the fence, jumping down with a grunt. - Gary soto

I sat down on an upturned plastic pail next to a stack of empty boxes, cupping my chin with my hands, thinking hard. - amy tan

In the classroom I sat back watching her graceful movements, admiring the translucent quality of her unblemished skin, wondering whether both her calm and her beauty were a gift from God, imagining myself in the medieval clothes of her nun’s habit. - Judith Ortiz cofer

sentence patterns for Verb clusters

Lesson 20 • Sentence Modeling: Using Verb Clusters 1/1


underline the base clause and put parentheses around each verb cluster addition in the sentence.

number of additions

They were teenagers in the picture, grinning at the automatic camera they fed a quarter. - John edgar Wideman

Byron started walking toward Momma in slow motion, sliding his feet on the linoleum. - christopher paul curtis

Once in her mother’s lap she rested content all the way home, sucking her thumb, stroking her nose with the forefinger of the same hand, and kneading a corner of her blanket with the three fingers that were left. - alice Walker

The faces of clouds were piled up, hurting. - Gary soto

I climbed the fence, jumping down with a grunt. - Gary soto

I sat down on an upturned plastic pail next to a stack of empty boxes, cupping my chin with my hands, thinking hard. - amy tan

In the classroom I sat back watching her graceful movements, admiring the translucent quality of her unblemished skin, wondering whether both her calm and her beauty were a gift from God, imagining myself in the medieval clothes of her nun’s habit. - Judith Ortiz cofer

Distinguishing Verb clusters

Lesson 20 • Sentence Modeling: Using Verb Clusters 1/1


1 “Ready?”

2 “Ready.”

3 “Now?”

4 “Soon.”

5 “Do the scientists really know? Will it happen today, will it?”

6 “Look,look;seeforyourself.”

7 The children pressed to each other like so many roses, so many

weeds, intermixed, peering out for a look at the hidden sun.

“all summer in a Day” excerpt by Ray Bradbury

Lesson 22 • Using Dialogue for a Narrative 1/1

From “All Summer in a Day” by Ray Bradbury, Magazine of Fantasy and Fiction (Don Congdon Associates, 1954, renewed 1982). Reprinted with permission.


Opening/exposition

Rising action

climax/ turning point

Falling action

ending/Denouement

• Tointroducecharacters

• Toestablisha conflict or challenge

• Tocreatesuspense

(“All Summer in a Day”)

• Toshowthe build up between characters in response to a conflict

• Toshowhowindividual characters deal with a conflict (shows character traits)

(“Thank You, M’am”)

• Toshowthemoment when things change between characters, for example, a new understanding

• Toshowthemoment when a single character realizes something new

(“Thank You, M’am” and

“Miss Sadie”)

• Toshowhowcharacters resolve a conflict

• Toshowhowcharacters respond to a solution

(“Thank You, M’am” and

“Miss Sadie”)

• Toleavereaders with a sense of how characters are feeling

• Toshowhowone or more characters have changed

• Toshowhowone or more characters will move on

(“Thank You, M’am”)

placement of Dialogue in a narrative (completed)

Lesson 22 • Using Dialogue for a Narrative 1/1


strategies for Great endings

Lesson 23 • Writing a Great Ending 1/1

text and author

ending author’s strategy


Finished, I went outside with my jacket across my arm. It was a cold sky. The faces of clouds were piled up, hurting. I climbed the fence, jumping down with a grunt. I started up the alley and soon slipped into my jacket, that green ugly brother who breathed over my shoulder that day and ever since.


She led him down the hall to the front door and opened it. ‘Good night! Behave yourself, boy!’ she said, looking out into the street as he went down the steps.

The boy wanted to say something other than, “Thank you, M’am,” to Mrs. Luella Bates Washington Jones, but although his lips moved, he couldn’t even say that as he turned at the foot of the barren stoop and looked up at the large woman in the door. Then she shut the door.


Today I’ve learned to love old people. For their innocence, for their knowledge. I’ve learned to always treat people with kindness, no matter how cruel they may seem. But mainly I’ve learned, that you must cherish the time spent with a person. And memories are very valuable. Because Miss Sadie no longer sits in her rocking chair on her porch on summer days. I’m glad that I can still see her.


strategies for Great endings (completed)

Lesson 23 • Writing a Great Ending 1/1

text and author

ending author’s strategy


Finished, I went outside with my jacket across my arm. It was a cold sky. The faces of clouds were piled up, hurting. I climbed the fence, jumping down with a grunt. I started up the alley and soon slipped into my jacket, that green ugly brother who breathed over my shoulder that day and ever since.

•Endswithafinalaction.

•Endswithareflection(nowthattimehaspassed, how I view the event)

•Repeatsorechoeslanguageusedearlierinthe story—“that green ugly brother.”


She led him down the hall to the front door and opened it. ‘Good night! Behave yourself, boy!’ she said, looking out into the street as he went down the steps.

The boy wanted to say something other than, “Thank you, M’am,” to Mrs. Luella Bates Washington Jones, but although his lips moved, he couldn’t even say that as he turned at the foot of the barren stoop and looked up at the large woman in the door. Then she shut the door.

•Endswithdialogueorwhatonecharactersays.

•Endswithrevealingwhatthetitleofthestory means.

•Endswithwhatamajorcharacteristhinking or feeling.


Today I’ve learned to love old people. For their innocence, for their knowledge. I’ve learned to always treat people with kindness, no matter how cruel they may seem. But mainly I’ve learned, that you must cherish the time spent with a person. And memories are very valuable. Because Miss Sadie no longer sits in her rocking chair on her porch on summer days. I’m glad that I can still see her.

•Endswith“explicit”explanationofwhatthe writer has gained from her knowing Miss Sadie.

•Endsusingacircularendinginwhichwords stated in the lead, “Miss Sadie no longer sits in her rocking chair on her porch on summer days. But I still can see her.” are echoed. The reader understands why the writer “is glad she can still see her” because Miss Sadie’s influence has been powerful.


Reread your draft• Thinkaboutyourreaders,yourclassmates,andresponsestheyhavegiven

you about different strategies you have tried.

• Thinkaboutquestionsorconfusionstheyhavehad.

• Turntotherubrictogetstartedwithrevision.

use strategies of good writers• Addagreatleadthatwillengagethereader

• Magnifyimportantmoments,scenes,characters;useshow,nottell.

• Deleteinformationthatmightbeboringortoo“telling.”

• Insertverbclustersentencesforactionsthatdescribe—forsentencevariety.

• Insertdialogueforopening,risingorfallingaction,climax,and/orending.

• Movepartsaroundtotryadifferentplotstructure.

• Taketimewithyourendingto“makethereaderthink.”

technical tips• Skiplinessothereisroomtoinsertnewtext(optional).

• Writeononesideofthepaperonly.

• Donoterase—youmaywishyouhadthosewordslater.

• Whenusingacomputer,savealldrafts.

What to Do When Revising

Lesson 24 • What Revision Means 1/1


On his web site, www.garysoto.com, Gary Soto gives this response to the question: When writing, do you revise?

“ Yes, all writers revise and almost all writers have friends who look at his or her work. My first reader is my wife, poor thing. I bother her almost daily as I beg, ‘Carolyn, could you please look at this masterpiece?’”

statement by Gary soto about Revision

Lesson 26 • Response Groups: Giving and Getting Feedback 1/1



Response Group planner

step One: Getting Ready to Read aloud• Rememberyouraudienceforyourstory—mostlikely,yourclassmates.

• Bepreparedtotellyourresponsegroupwhetheryouhaveadifferentaudience

in mind.

• Rereadyournewdrafttoyourself,imagininghowthestorywillsoundtoyour

response group. “Hear yourself reading aloud to your audience.”

step two: planning for Feedback • DecidewhichcriteriaontheRubricforaNarrativearethestrongestinyour

story. Place checks next to those you feel confident about on the rubric in your

Student Reader Lesson 15.

step three: celebrate • Selectone criterion you most want to celebrate, and prepare to tell your group

why you feel successful. You may want to comment on a particular strategy that

helped your writing.

Write notes for what you want to say in the planner. You might say:

– I [feel confident about] [meet the criterion for] _______ because _______.

– I made a change that meets the criterion for _______. This is the strategy I

used: _______.

step Four: call for Feedback or advice• Selectone criterion you want feedback on or advice about, and prepare to ask

your question. You may have tried a new strategy and want to know if others

think it works. You may have an area of difficulty and want new ideas.

Write notes for what you want to ask in the planner notes.

– I tried a new strategy for this criterion: _______. Do you think it meets

the standard?

– Can you help me think of a strategy for _______?


Response Group planner notes



Feel confident about . . .*

need feedback or advice . . .**

notes to say to my response group

ideas from my response group

Opening/Exposition

Setting

Characters

Use of Details


Ending/Resolution

Sentence Variety

* Check (✓)allthatapply;circleone for celebrating. ** Check (✓)allthatapply;circleone for asking advice.


Reread your draft• Hearyourselfreadingthewords.

• Payattentiontowhetherthepiecemakessense.

• Makenotesifyoucatcherrorsyouhavenotnoticedbefore,suchaswordsleftout,forgottenpunctuation, spelling.

proofread. Go back and reread for these conventions, one at a time.

✓

completedQuestions i have . . .

proper paragraphing: Have I separated into logical breaks?

capitalization: Are there capital letters at the beginning of sentences?

punctuation: Are there end-punctuation marks at ends of sentences?

Verb clusters: Are there complete base clauses;additionsseparatedbycommasor dashes?

Dialogue: Do I use proper capitals, punctuation, separate lines for different speakers?

First person and third-person pronouns: Do I keep point of view consistent? Have I switched from first to third person, or third person to first, accidentally?

Verb tense: Do I keep the same verb tense throughout my story? Do I switch from past to present, or present to past, accidentally?

spelling: Have I checked for mistakes?

What to Do When editing

Lesson 27 • What Editing Means 1/1


Writing a narrative

Post-Assessment • 1/1

DirectionsRead the following prompt carefully. As you read, make notes about your initial responses. Use these notes to write an effective narrative.

autobiographical narrative for a teen Magazineaudience. A teen magazine is looking for young adults to submit engaging autobiographical narratives that will attract new readers to the magazine.

purpose. Editors are asking teenagers to imagine they are writing an autobiography about their lives, with stories that other teens would find fascinating and compelling. Each chapter will involve one story—one experience that is a “must” for your book.

This month’s topic for a chapter is called: “From Generation to Generation.”

task. Write a narrative about a memorable incident involving family. Think of your story as a “must” to pass along to the next generation so that your own teenagers and their teenagers will value your experience and tell your story often.

Your moment should:

• Beofspecialinteresttoteens

• Providedetailsthatbringthestoryalive

• Conveytheimportanceofthestoryforthenextgeneration

• Useyourownuniquevoice


narrative

Student’s Name: Student ID:

Read each of the statements below, and circle the number on the scale that most accurately reflects your assessment of the narrative.

4 = strong 3 = moderately strong 2 = somewhat weak 1 = weak

1. Lead engages the reader and establishes a situation. 4 3 2 1

2. A strong voice is evident. 4 3 2 1

3. Setting creates a believable world and casts a mood. 4 3 2 1

4. Characters are well developed. 4 3 2 1

5. Plothaslogicalarrangementofideasandisskillfullypaced;transitionsmove the plot forward.

4 3 2 1

6. Details evidence a range of strategies: description, figurative language, dialogue, and precise word choice.

4 3 2 1

7. Conclusion is satisfying, with implicit or explicit significance. 4 3 2 1

8. Sentences are varied with a variety of beginnings, structures, and lengths. 4 3 2 1

9. Narrative is composed with audience and purpose in mind. 4 3 2 1

10. Standard English conventions are controlled. Surface errors do not impede understanding. English language learners may integrate native language expressions effectively.

4 3 2 1

Additional comments:

scoring Guide

Post-Assessment • 1/1


Plan for a day or two of celebration and oral readings. At the least, students can take the author’s chair to read final drafts, with peers offering positive response, using language of the rubric.

publishing projectseditorial committeeYou may want to appoint an editorial committee to organize stories and publish a class anthology of narratives.

Or, time permitting, spend a day or two asking students to categorize the subjects of stories into themes so they have a hand in planning the publication—for example, stories about:

• Memorableplaces

• Memorablepeople

• Significantmoments/turningpoints/lessonslearned

• Language,gender,culturaldifferences

• Choices

• Victories

• Regrets

• Fiction

The editorial committee could be in charge of writing a table of contents and an introduction or forward to the anthology, commenting on the range of topics that inspired these stories.

VariationAnother variation is to call for response groups to publish narratives in individual sections, with members collaborating on mini-introductions for their “section,” commenting on the range of topics and what they learned by working to support each other.

classroom Blogs, Wikis, and podcastsIf you maintain a class wiki or website, you might plan for publishing and recording narratives online and organizing editorial committees to design host pages, links, and tags for accessing stories.

Students can respond to each other’s narratives by submitting comments.

publishing and celebrating

Additional Materials • 1/2


publishing and celebrating


Resources for publishing online stories:

Kajder, Sara B. 2003. The tech-savvy English classroom. Portland, ME: Stenhouse Publishers.

Kajder, Sara B. 2006. Bringing the outside in: Visual ways to engage reluctant readers. Portland, ME: Stenhouse Publishers.

Richardson, Will. 2006. Blogs, wikis, podcasts, and other powerful web tools for classrooms. Thousand Oaks, CA: Corwin Press.

Digital storiesIf you know how to produce digital video or slideshows, consider letting students transform their narratives into cinematic displays, using tools such as video, photographs, and audio clips.


post-unit Reflection

engaging students in self-assessment

• Onceyouhavescoredthenarrativesusingthescoringguide,setasideaclassperiodforreturning the post-assessments along with the pre-assessments so students can compare performances.

• Youmaywantstudentstoself-assessperformancesbeforeprovidingscores.Askstudentstoput pre- and post-assessment narratives side by side and, using the “Rubric for a Narrative,” take notes on the degree to which they believe they have met the standards.

• Askforashowofhands.

– How many think they out-performed their pre-assessment writing?

– How many think their pre-assessment was the better of the two narratives?

• Engagediscussionforhowapre-assessmentmighthaveout-performedapost-assessment.Responses might be:

– The topic was of greater interest.

– Students might be tired of “writing stories.”

– Students do not necessarily show their best work in on-demand situations.

• AskstudentstocreateanewpageintheirWritersNotebooksfor“AchievementandGoals”forproducing effective narratives. Students should:

– Jot down one or two significant achievements

– One or two writing goals

Open Mike (Microphone)• Concludethelessonbyinvitingstudentstotakethemiketosharethoughtsontheirpre-and

post-assessment achievement.

• Urgestudentstoreadexcerptsfromnarrativesthatillustrategrowth.

• Urgestudentstosharewritinggoals.

• Askstudentstofiletheirpre-andpost-assessmentsalongwiththeirend-of-studyprojectsinafile or portfolio, and congratulate them again for such dedicated work.



CCss Correlation 1/7Reading standards for informational text, Grade 6

key ideas and Details craft and structure

lesson

RI.6.1. Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RI.6.2. Determine a central idea of a text and how it is conveyed through particular details;provideasummary of the text distinct from personal opinions or judgments.

RI.6.3. Analyze in detail how a key individual, event, or idea is introduced, illustrated, and elaborated in a text (e.g., through examples or anecdotes).

RI.6.4. Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings

RI.6.5. Analyze how a particular sentence, paragraph, chapter, or section fits into the overall structure of a text and contributes to the development of the ideas.

1

2

3 ■ ■ ■ ■ ■

4 ■ ■ ■ ■ ■

5 ■ ■ ■ ■ ■

6 ■ ■ ■ ■ ■

7

8

9 ■ ■ ■ ■ ■

10 ■ ■ ■ ■ ■

11

12 ■ ■ ■ ■ ■

13

14

15

16

17

18

19 ■ ■ ■ ■ ■

20

21

22

23

24

25

26

27


CCss Correlation 2/7Reading standards for informational text, Grade 6

integration of knowledge and ideas

Range of Reading and level of text complexity

lesson

RI.6.7. Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.

RI.6.10. By the end of the year, read and comprehend literary nonfiction in the grades 6-8 text complexity band proficiently, with scaffolding as needed at the high end of the range.

1

2

3 ■ ■

4 ■ ■

5 ■ ■

6 ■ ■

7

8

9 ■ ■

10 ■ ■

11

12 ■ ■

13

14

15

16

17

18

19 ■ ■

20

21

22

23

24

25

26

27


CCss Correlation 3/7Writing standards, Grade 6

lesson

text types and purposes

W.6.2. Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.

W.6.3. Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well-structured event sequences.

W.6.2.a. Introduce atopic;organizeideas, concepts, and information, using strategies such as definition, classification, comparison/contrast, andcause/effect;include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.

W.6.2.b. Develop the topic with relevant facts, definitions, concrete details, quotations, or other information and examples.

W.6.3.a. Engage and orient the reader by establishing a context and introducing a narrator and/orcharacters;organize an event sequence that unfolds naturally and logically.

W.6.3.b. Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.

W.6.3.d. Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events.

1

2

3 ■ ■ ■ ■

4 ■ ■ ■ ■

5 ■ ■ ■ ■

6 ■ ■ ■ ■

7 ■ ■ ■ ■

8 ■ ■ ■ ■ ■

9 ■

10 ■ ■ ■ ■

11 ■ ■ ■ ■ ■

12

13 ■ ■ ■ ■

14 ■ ■ ■ ■

15 ■ ■ ■ ■

16 ■ ■ ■ ■

17 ■ ■ ■ ■

18 ■ ■ ■ ■

19 ■ ■

20 ■

21 ■ ■

22 ■ ■ ■

23 ■ ■

24 ■ ■

25 ■ ■

26 ■ ■

27 ■ ■


CCss Correlation 4/7Writing standards, Grade 6

lesson

production and Distribution of WritingResearch to Build and

present knowledgeRange of Writing

W.6.4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

W.6.5. With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.

W.6.6. Use technology, including the Internet, to produce and publish writing as well as to interact and collaborate withothers;demonstrate sufficient command of keyboarding skills to type a minimum of three pages in a single sitting.

W.6.9. Draw evidence from literary or informational texts to support analysis, reflection, and research.

W.6.10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

W.6.9.b. Apply grade 6 reading standards to literary nonfiction (e.g., ‘’Trace and evaluate the argument and specific claims in a text, distinguishing claims that are supported by reasons and evidence from claims that are not’’).

1

2 ■ ■ ■ ■

3 ■ ■ ■ ■ ■

4 ■ ■

5 ■ ■ ■ ■ ■

6 ■ ■ ■ ■ ■

7 ■ ■ ■ ■

8 ■ ■ ■ ■ ■

9 ■ ■ ■ ■ ■

10 ■ ■

11 ■ ■ ■ ■

12 ■ ■ ■ ■

13 ■ ■ ■ ■

14 ■ ■ ■ ■

15 ■ ■ ■ ■ ■

16 ■ ■ ■ ■

17 ■ ■ ■ ■

18 ■ ■ ■ ■

19 ■ ■ ■ ■ ■

20 ■

21 ■ ■ ■ ■

22 ■ ■ ■ ■

23 ■ ■ ■ ■

24 ■ ■ ■ ■

25 ■ ■ ■ ■

26 ■ ■ ■ ■

27 ■ ■ ■ ■


CCss Correlation 5/7speaking and listening standards, Grade 6

lesson

comprehension and collaborationpresentation of

knowledge and ideas

SL.6.1. Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 6 topics, texts, and issues, building on others’ ideas and expressing their own clearly.

SSL.6.6. Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate.

SL.6.1.a. Come to discussions prepared, having read or studied requiredmaterial;explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.

SL.6.1.b. Follow rules for collegial discussions, set specific goals and deadlines, and define individual roles as needed.

SL.6.1.c. Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.

1 ■ ■ ■ ■

2 ■ ■ ■ ■

3 ■ ■ ■ ■

4 ■ ■ ■ ■

5 ■ ■ ■ ■

6 ■ ■ ■ ■

7 ■ ■ ■ ■

8 ■ ■ ■ ■

9 ■ ■ ■ ■

10 ■ ■ ■ ■

11 ■ ■ ■ ■

12 ■ ■ ■ ■

13 ■ ■ ■ ■

14 ■ ■ ■ ■

15 ■ ■ ■ ■

16 ■ ■ ■ ■

17 ■ ■ ■ ■

18 ■ ■ ■ ■

19 ■ ■ ■ ■

20 ■ ■ ■ ■

21 ■ ■ ■ ■

22 ■ ■ ■ ■

23 ■ ■ ■ ■

24 ■ ■ ■ ■

25 ■ ■ ■ ■

26 ■ ■ ■ ■

27 ■ ■ ■ ■


CCss Correlation 6/7language standards, Grade 6

lesson

conventions of standard english

L.6.1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

L.6.1.a. Ensure that pronouns are in the proper case (subjective, objective, possessive).

L.6.1.b. Use intensive pronouns (e.g., myself, ourselves).

L.6.1.c. Recognize and correct inappropriate shifts in pronoun number and person.

L.6.1.d. Recognize and correct vague pronouns (i.e., ones with unclear or ambiguous antecedents).

L.6.1.e. Recognize variations from standard English in their own and others’ writing and speaking, and identify and use strategies to improve expression in conventional language.

1

2

3

4

5

6 ■ ■ ■ ■

7

8

9

10

11

12

13

14

15 ■ ■ ■

16 ■ ■ ■

17 ■ ■ ■

18

19

20

21

22 ■

23

24

25

26

27 ■ ■ ■ ■ ■


CCss Correlation 7/7language standards, Grade 6

lesson

conventions of standard english

knowledge of language

Vocabulary acquisition and use

L.6.2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

L.6.3. Use knowledge of language and its conventions when writing, speaking, reading, or listening.

L.6.4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 6 reading and content, choosing flexibly from a range of strategies.

L.6.6. Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases;gathervocabulary knowledge when considering a word or phrase important to comprehension or expression.

L.6.2.a. Use punctuation (commas, parentheses, dashes) to set off nonrestrictive /parenthetical elements.

L.6.2.b. Spell correctly

L.6.3.a. Vary sentence patterns for meaning, reader/listener interest, and style.

L.6.4.a. Use context (e.g., the overall meaning of a sentence or paragraph;aword’sposition or function in a sentence) as a clue to the meaning of a word or phrase.

L.6.4.d. Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).

1

2 ■ ■ ■

3 ■ ■ ■

4 ■ ■ ■

5 ■ ■ ■ ■

6 ■ ■ ■

7

8 ■ ■ ■

9 ■ ■ ■

10 ■ ■ ■ ■

11

12 ■ ■ ■

13

14

15 ■ ■ ■ ■ ■ ■

16 ■ ■ ■

17 ■ ■ ■

18

19 ■ ■ ■

20 ■ ■

21 ■

22 ■

23

24 ■ ■

25 ■ ■

26

27 ■

978-1-40261-253-4 isbn: 978-1-40261-258-9 narration · the horse—which is supposed to be bad luck...

Documents