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GRADE 7 READINGSTAAR® Preparation and Practice
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
• 34 passages with over 220 authentic STAAR questions
• 16 Skill lessons with STAAR strategies• 3-step approach for efficient remediation
Use with Your Students!
Copyright © 2015 by Sirius Education Solutions LLC. All rights reserved. No part of this work may be reproduced or distributed in any form or by any means, electronic, mechanical, photocopying, scanning, recording, or stored in a database or retrieval system, without the prior written permission of the publisher.
STAAR® is a trademark of the Texas Education Agency. The Texas Education Agency does not endorse this program or its content. Sirius Education Solutions is not affiliated with the Texas Education Agency or the State of Texas.
STAAR® test questions copyright © by the Texas Education Agency. All rights reserved.
Printed in Texas.
ISBN: 978-1-943008-27-8
Possession of this publication in print format does not entitle users to convert this publication, or any portion of it, into electronic format.
Thank you for respecting the copyright and supporting the effort involved in creating this product.
Sampler
iii Table of Contents© Sirius Education Solutions
Teacher’s Edition Table of Contents
To the Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T5TEKS and Reading Skills Correlations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T6Using This Teacher’s Edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . T11
Welcome Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vHow to Use This Book for STAAR Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viSTAAR Test-Taking Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viiiStudent Progress Monitoring Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x
Literary TextsFICTION
Diagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Skill Analyzing the Development of Plot (7.6B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Fiction Practice 1 Hearts and Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Skill Explaining the Influence of Setting (7.6A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Fiction Practice 2 from The Chocolate War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Skill Making Inferences in Literary Texts (7.4, 7.5, 7.6, 7.7 Fig. 19D) . . . . . . . . . . . . . . . 21Fiction Practice 3 from The Evolution of Calpurnia Tate . . . . . . . . . . . . . . . . . . . . . . . . . 23
LITERARY NONFICTIONDiagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Skill Using Context Clues (7.2B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Literary Nonfiction Practice 1 from Impressions of an Indian Childhood . . . . . . . . . . . . . 35Skill Summarizing (7 Fig. 19E) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Literary Nonfiction Practice 2 Why Baba Hates Chicken . . . . . . . . . . . . . . . . . . . . . . . . . . 42
POETRYDiagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Skill Analyzing Figurative Language (7.8A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Poetry Practice 1 The Star . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Skill Analyzing Graphical Elements in Poetry (7.4A) . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Poetry Practice 2 Street Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
DRAMADiagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Skill Explaining Dialogue and Stage Directions (7.5A) . . . . . . . . . . . . . . . . . . . . . . . . . . 65Drama Practice 1 The Miller, His Son, and Their Donkey . . . . . . . . . . . . . . . . . . . . . . . . . 68Skill Using Roots and Affixes (7.2A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Drama Practice 1 from Tale of a West Texas Marsupial Girl . . . . . . . . . . . . . . . . . . . . . . . 75
Informational TextsEXPOSITORY
Diagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81Skill Evaluating a Summary (7.10A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85Expository Practice 1 Largest Skatepark in North America Opens in Greenspoint . . . . 88Skill Identifying Organizational Patterns (7.10C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Expository Practice 2 Austin’s Legal Graffiti Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Included in Sampler
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iv Table of Contents © Sirius Education Solutions
Skill Synthesizing Ideas (7.10D) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Expository Practice 3 “Bare Knuckle Babe” Wins 2013 Okie Noodling Tournament with 72-Pound Catfish / How to Noodle . . . . . . . . . . . . . . . . . . . . . . . . . 104
PERSUASIVEDiagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Skill Making Inferences in Informational Texts (7.10, 7.11 Fig. 19D) . . . . . . . . . . . . . . 114Persuasive Practice 1 Exotic Animals as Pets? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116Skill Using a Dictionary (7.2E) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Persuasive Practice 2 High Schools Wake Up to Later Start Times: Our View / Opposing View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Paired TextsPAIRED PASSAGES
Diagnostic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Skill Making Connections (7 Fig. 19F) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Paired Practice 1 Enchanted / Enchanted Rock in September . . . . . . . . . . . . . . . . . . . . 139Skill Analyzing Media (7.13A, 7.13C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Paired Practice 2 Old Rip / Horned Lizard Facts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Post TestsFiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Literary Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Expository . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173Persuasive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Paired Passages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Student Progress Monitoring Chart—Blackline MasterStudent Answer Sheets—Blackline Master
Sampler
© Sirius Education Solutions To the Teacher T5
This workbook was created to help students succeed on the Texas STAAR Grade 7 Reading assessment. It provides complete coverage of the TEKS tested on the exam. We created this workbook after careful study of two years of released tests, so we know it closely matches the STAAR test.
Our content is organized according to the TEKS Reporting Categories, with sections for Literary, Informational, and Paired Texts. The literary and informational sections are subdivided into the genres tested on the STAAR exam (fiction, nonfiction, poetry, drama, expository, and persuasive, as well as paired passages of various genres).
For each genre, you can use the Diagnostic Tests to identify TEKS that students need to practice, direct students to targeted Skills Lessons, reinforce learning through Genre Practice, and monitor progress via Post Tests.
DiagnosticTests
Skill Lessons& Genre Practice
PostTests
1 2 3
The Sirius Grade 7 Reading STAAR Preparation and Practice workbook contains
• Diagnostic Tests for ALL genres eligible for testing on the exam. When possible, for an authentic experience, we use actual released STAAR passages with new questions.
• Reading Skills Lessons that provide TEKS instruction, using released STAAR test questions. Each interactive lesson includes a step-by-step STAAR Strategy and Guided Practice. Each Reading Skills Lesson is followed by a Genre Practice passage for immediate practice with newly learned skills.
• Genre Practice passages that closely mimic released passages. The Active Reading margin features provide scaffolding to help students prepare to answer Practice questions. The Practice questions emphasize the TEKS most commonly tested on released exams.
• Post Tests for ALL genres eligible for testing on the exam. Post Test questions cover the same TEKS in the same order as the Diagnostic and can be used to monitor progress.
The Teacher’s Edition includes rationales for answer options in the Diagnostic Tests, Genre Practice, and Post Tests, as well as sample answers for Active Reading activities.
The Sirius program can easily be adapted for individual use, small groups, or whole-class settings. Content can be selected by using the Diagnostic Tests for targeted intervention, by choosing genres to correspond with those taught in class or to address known student needs, or by teaching specific TEKS listed in the correlation chart starting on page T6.
We’d love to hear from you! Please contact us with suggestions for helping students succeed on the STAAR Grade 7 Reading Test.
Your partners in STAAR success,
The Sirius Education Team
To the Teacher
Sampler
44 Grade 7 Reading ■ Literary Texts
1 How does the author reveal Baba’s reason for not eating chicken? (7.7 Fig. 19D)
A By describing her conversation with her grandmother
B By imagining his response to having chicken for dinner
C By wondering what it would be like to eat boiled chicken every day
D By describing Baba’s childhood experiences
2 What can the reader infer about the author’s father? (7.7 Fig. 19D)
F He did what was necessary to succeed at the university.
G He was unhappy and wanted to return to China.
H He was more interested in being successful than caring for his family.
J He was willing to make sacrifices to achieve his goal.
3 The author helps the reader understand her father’s feelings toward her mainly by — (7.7 Fig. 19D)
A providing details about the chicken he ate in the United States
B explaining that he sent money for her birthday and saved all the photographs of her
C describing the trip with her family through the Chinese countryside
D comparing his actions before and after he was reunited with her and her mother
4 Read this sentence from paragraph 8. (7.8A)
I imagined Baba scanning the prices on packages of chicken at the supermarket, heating water on the stove, sitting alone with the meat before him.
The author includes this sentence most likely to show —
F the difference between Chinese and American cooking
G why the narrator’s father ate only boiled chicken
H what life can be like for immigrants in the United States
J the narrator’s growing understanding of her father’s experience
Gra
de 7
Re
ad
ing
■ Literary Texts©
Sirius Education SolutionsAnswer Choice Explanations
1 A Correct. Her grandmother explains the reason. B The author’s father’s response has been explained. C She imagines his experience after she learns why he doesn’t like
chicken. D The author does not describe her father’s childhood experiences.
2 F We do not know if he was successful or in what way. G Her father wanted to help his family leave China, not return. H His only purpose in being successful was to earn enough to bring
his family to the United States. J Correct. He spent two years away from his family in order to
bring them to America.
3 A These details don’t explain his feelings toward her. B Correct. These actions show that her father loves her and missed
her during the years they were apart. C Though the author gains some insight during the trip, she
describes only a small part of the trip. D The author does not describe her father’s actions after the
reunion.
4 F This sentence does not explain the difference between these kinds of cooking.
G The description does not explain the reason. H The focus is on her father. J Correct. The author is forming a picture in her head of what her
father’s life was like.
44
© Sirius Education Solutions T11 Using This Teacher’s Edition
Using This Teacher’s Edition
Active Reading in Genre Practice Each practice reading selection features activities that help students apply the reading skills taught in this workbook.
1 As You Read ActivityEach practice reading selection begins with an activity that helps students read with a purpose for that specific genre and selection. These activities help students
• practice annotating and making notes • understand the selection as a whole • focus on relevant TEKS content
2 Interactive Margin ActivitiesActivities in the margin are tied to specific practice questions that follow the selection. These activities help students
• find the information needed to answer questions• practice TEKS standards in free response activities • explain their thinking
Answer choice explanations are provided for EACH answer choice in all STAAR practice items.
A student who correctly answers a margin activity but misses the related practice item may have made a careless error despite possessing sufficient command of the skill. The converse may also be true, and both can provide important information to teachers.
42 Grade 7 Reading ■ Literary Texts
Reading Practice
Active ReadingAs You ReadUnderline details that help explain why the narrator’s father does not eat chicken.
INFER
Identify details in paragraph 7 about what the author’s father did during his first years in America. What do those details suggest about his character?
IMAGERY
In paragraph 8, the author forms a picture of her father in her mind. Which word best describes this picture? Circle your answer.
lonely
curious
hopeful
Read the selection and choose the best answer to each question.
Why Baba Hates Chickenby Jenny Liu
1 We had been driving for hours, and the yellow dust was starting to coat the car windows. We were far into the Chengdu countryside of southern China, and the car shook as we rumbled down the dirt pathways through the span of green, yellow, and sky. It was all beginning to look the same. I listened to my grandmother, my waipo, chatting with my uncle as he smiled behind the wheel. It was just the three of us; the rest of the family followed in another vehicle.
2 Waipo began talking about what she would make for dinner. “Chao qu gua?” (Sauteed bittermelon?) “Shou si ji?” (Hand-torn chicken?)
3 “Aye,” she suddenly remembered, “your Baba doesn’t eat chicken meat.”
4 It was true. My dad never ate chicken.
5 “Poor LiuHong,” Waipo continued, calling Baba by his full name. “All he ate was chicken those first few years. Chicken was cheap. Aye, boiled chicken every night for so long … a little salt, perhaps. How was he supposed to know how to cook chicken? Tai kelian le … too pitiful.” She shook her head and sighed.
6 It suddenly struck me that I’d never wondered why Baba despised the taste of chicken. Had I been so ignorant to think that it was just personal preference?
7 My mom had whispered the story of Baba’s first years in America, working in a cafeteria at night while studying on full scholarship at the university by day, but I only knew parts. I never asked either. That seemed best; the dust that would rise from digging around could have some unknown, terrible effect.
8 Boiled chicken? I imagined Baba scanning the prices on packages of chicken at the supermarket, heating water on the stove, sitting alone with the meat before him.
Literary Nonfiction 2
Details about him working
at night and studying during
the day suggest he is hard-
working and disciplined.
3 Answer Choice Explanations
These explanations help teachers identify student mistakes and facilitate remediation.
Use these activities with small groups, partners, or individuals.
Activities use scaffolding to help students explain their thinking.
Red boxes show correct answers.
1
3
2
Sampler
v Welcome Letter
Dear Student,
The STAAR Grade 7 Reading assessment measures your knowledge of the Grade 7 Reading TEKS. STAAR tests are not designed to measure many important qualities of character and intelligence — as this cartoon indicates. But passing the Grade 7 STAAR tests is important, so you want to do all you can to succeed on them. That’s where this workbook comes in!
We created the most effective STAAR preparation and practice workbook. We know this is true because we waited until two STAAR tests were released to ensure that our instruction and practice really match the test. This book provides STAAR Strategies that will help you understand — and conquer — the types of questions you’ll see most often on the test. As helpful as we believe this workbook is, it only works if you use it. So please use this workbook!
Practicing Smart Is the Secret to STAAR Success There is a secret to success on the STAAR tests — practice, practice, and more practice. This is good news because you are in control of how much effort you put into practicing. And your effort practicing — especially over a long period of time — will make the difference. But not all practice is the same . . . you need to practice smart.
First, practice with test questions that are very similar to the actual STAAR test. That’s easy, since this workbook is full of them! Next, focus on your weaknesses — spend extra time on skills you have trouble with. Think of it like this: If your basketball shot needs improvement, don’t practice dribbling. Instead, work on shooting.
Focusing on your weaknesses also means carefully analyzing each question you get wrong. Why did you get it wrong? Why is the correct answer correct? You learn more from test questions you get wrong, so don’t be afraid of making mistakes. These are your best opportunities to learn. So again, it’s like basketball: If your shot is off, you identify what you are doing wrong (too far left) and correct it with your next shot (aim right).
When you practice, give each question your full attention. Do not take a break until after you answer the question. Your attention is like a muscle that you build by using it, one practice test question at a time. Do you believe unfocused, sloppy practice of your basketball shot will help you perform during a big game? No! Your attention is your greatest power. Develop it with practice.
Preparing for the STAAR test can be a fun challenge. And when you practice smart, you are building life skills while you prepare for the STAAR test!
Your partners in STAAR success,
The Sirius Education Team
Qualities Not Measured by Most Tests
Dys
lexi
cKid
s.ne
t
What are some other important qualities of character and intelligence missing in STAAR tests?
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
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Siri
us E
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Solu
tions
Sampler
vi How to Use This Book for STAAR Success
How to Use This Book for STAAR SuccessThis interactive workbook includes TEKS instruction and STAAR practice in all tested genres. It is easily adapted for different needs and includes a 3-step approach to efficiently prioritize and individualize remediation when preparation time is limited.
STEP 1 Identify Your Needs — Diagnostic Tests for Each GenreUse the Diagnostic Tests for each genre to identify what you know and what you need to review. Record your results in the Progress Monitoring Chart.
2 Grade 7 Reading ■ Literary Texts
Fiction Diagnostic
Read the selection and choose the best answer to each question.
from Maniac Mageeby Jerry Spinelli
In the town of Two Mills, a large knot hangs from a flagpole in front of Mr. Cobble’s store. Mr. Cobble has displayed the knot and offered a prize to anyone who can untangle it. Maniac Magee’s friend Amanda suggests that he give it a try, and he does just that.
1 They brought out the Knot and hung it from the flagpole. They brought out the official square wooden table for the challenger to stand on, and from the moment Maniac climbed up, you could tell the Knot was in big trouble.
2 To the ordinary person, Cobble’s Knot was about as friendly as a nest of yellowjackets. Beside the tangle itself, there was the weathering of that first year, when the Knot hung outside and became hard as a rock. You could barely make out the individual strands. It was grimy, moldy, crusted over. Here and there a loop stuck out, maybe big enough to stick your pinky finger through, pitiful testimony to the challengers who had tried and failed.
3 And there stood Maniac, turning the Knot, checking it out. Some say there was a faint grin on his face, kind of playful, as though the Knot wasn’t his enemy at all, but an old pal just playing a little trick on him. Others say his mouth was more grim than grin, that his eyes lit up like flashbulbs, because he knew he was finally facing a knot that would stand up and fight, a worthy opponent.
4 He lifted it in his hands to feel the weight of it. He touched it here and touched it there, gently, daintily. He scraped a patch of crust off with his fingernail. He laid his fingertips on it, as though feeling for a pulse.
5 Only a few people were watching at first, and half of them were Heck’s Angels, a roving tricycle gang of four- and five-year-olds. Most of them had had sneaker-lace or yo-yo knots untied by Maniac, and they expected this would only take a couple of seconds longer. When the seconds became minutes, they started to get antsy, and before ten minutes had passed, they were zooming off in search of somebody to terrorize.
6 The rest of the spectators watched Maniac poke and tug and pick at the knot. Never a big pull or yank, just his fingertips touching and grazing and peck-pecking away, like some little bird.
7 “What’s he doin’?” somebody said.
8 “What’s taking so long?”
9 “He gonna do it or not?”
10 After an hour, except for a few more finger-size loops, all Maniac had to show for his trouble were the flakes of knot crust that covered the table.
GO ON
x Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to Readiness TEKS.
1 Diagnostic Mark an ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark an ✓ in the box beside each question that you answered correctly. Find the total correct.
Refer back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Figurative Language (p. 49) 7.8A2 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D3 Summarizing (p. 39) 7.6 Fig. 19E4 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D5 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D6 Analyzing the Development of Plot (p. 7) 7.6B7 Using Roots and Affixes (p. 73) 7.2A8 Explaining the Influence of Setting (p. 14) 7.6A9 Analyzing Figurative Language (p. 49) 7.8A
Total / 9 Total / 9
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D2 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D3 Analyzing Figurative Language (p. 49) 7.8A4 Using Context Clues (p. 33) 7.2B5 Analyzing Figurative Language (p. 49) 7.8A6 Analyzing Figurative Language (p. 49) 7.8A7 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D
Total / 7 Total / 7
POETRYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Literary Texts (p. 21) 7.4 Fig. 19D2 Analyzing Graphical Elements in Poetry (p. 54) 7.4A3 Analyzing Figurative Language (p. 49) 7.8A4 Analyzing Figurative Language (p. 49) 7.8A5 Making Inferences in Literary Texts (p. 21) 7.4 Fig. 19D
Total / 5 Total / 5
STEP 2 Focus Intervention — Skill Lessons and Genre PracticeUse your Diagnostic results to focus TEKS instruction and STAAR practice to meet your unique needs.
7
Skill
Reading Skill ■ Fiction
Analyzing the Development of PlotA story’s plot is a series of events that involves a conflict, or struggle. An external conflict takes place between characters or a character and a situation. An internal conflict takes place when a character struggles to make a decision or act on one.
STAAR StrategyOn the STAAR test, you will encounter items that ask you to analyze how the author develops the plot of a story. Here are steps you can follow to respond to items like this.
1 Read the passage and item.
2 Read each answer choice. Then, re-read the passage, underlining relevant details. Relevant details have been underlined for you in the passage above.
3 Cross out the answer choices that are not supported by any evidence. Choose the answer that is fully supported by the evidence.
A He feels embarrassed about knocking over the apples.
B He is trying to figure out a way to quit his job.
C He doesn’t think he should have so much homework.
D He is tempted to steal some of the apples.
(7.6B)
Antonio yawned and looked at his watch. Only 4:15! His job as a stock clerk at Espino’s, the neighborhood grocery store, was exhausting, and it seemed like the afternoons dragged on forever. He always had lots of homework, but because he worked every afternoon, he couldn’t do it until after dinner, when he was sleepy and had a hard time concentrating. But Antonio needed the job to help his family.
Antonio had been placing apples on top of a pile, but he was distracted and knocked several of them onto the floor. “Way to go,” said Joe, the other stock clerk. Bending down to help Antonio pick them up, Joe slipped a few apples into his pockets. Antonio thought about doing the same thing. He was hungry, and who would it hurt? But then, he thought, what would his mother say? How would he feel the next morning?
Which of these best describes Antonio’s internal conflict in the story?
A He feels embarrassed about knocking over the apples.
B He is trying to figure out a way to quit his job.
C He doesn’t think he should have so much homework.
D He is tempted to steal some of the apples.
The story doesn’t say that he feels it’s too much.
Details suggest he can’t quit: “Antonio needed the job to help his family.”
He is hungry, but he worries about how he will feel.
The story doesn’t say how he feels about knocking over the apples.
8 Grade 7 Reading ■ Literary Texts
Guided PracticeRead the following selection and then respond to the item. Follow the steps you have learned for analyzing the development of plot.
Think About Your Thinking In the chart below, evaluate each answer choice based on evidence in the passage. One evaluation has been done for you.
Answer Choices
EvaluationsIs Answer Correct?
F
G
H
J The passage doesn’t show what they might have in common. no
Independent PracticeYou will have the opportunity to practice analyzing plot development in the Practice passage, “Hearts and Hands,” that follows.
From behind her, Kendra’s mother yelled, “Don’t move!”
Kendra had been sitting on the steps outside for almost an hour, absorbed in a book. At first she was annoyed by the interruption and ignored her mother. “She’s always overreacting to something,” she thought. Kendra continued to read, pointedly ignoring her mother’s warning, while on the step below coiled a rattlesnake.
Kendra reached down to scratch her ankle and as she did so, she saw the rattlesnake. It was small, but Kendra knew that young rattlesnakes could be even more dangerous than adults because they deliver more venom with every bite.
Kendra’s response to her mother contributes to the plot by —
F explaining why her mother overreacts so much and why Kendra ignores her
G showing that she is ignoring her mother’s warning, making it more likely she will get bitten
H revealing that she knows a lot about rattlesnakes, making it less likely that she will be harmed
J indicating that she and her mother have a lot in common, which explains why they annoy one another
13 Reading Practice ■ Fiction
4 Which sentence suggests that Ms. Fairchild admires Mr. Easton? (7.6B)
F “Well, Mr. Easton, if you will make me speak first, I suppose I must.”
G Her lips parted in a vague, relaxing distress.
H “And so now you are one of these dashing Western heroes, and you ride and shoot and go into all kinds of dangers.”
J The girl’s eyes, fascinated, went back, widening a little, to rest upon the glittering handcuffs.
5 The details in paragraphs 22–24 help the reader infer that — (7.6 Fig. 19D)
A Mr. Easton treats criminals with respect
B the glum-faced man is the marshal
C Mr. Easton wants to impress the other passengers
D the glum-faced man is very young
6 Which sentence best summarizes the story? (7.6 Fig. 19E)
F Friends unexpectedly meet again while traveling east on a train.
G A marshal is reunited with a friend from his past while transporting a criminal to prison.
H Passengers on a train praise the kindness a marshal shows his prisoner.
J A marshal spares his prisoner embarrassment when a young lady greets the prisoner.
suppose I must. Don’t you ever recognize old friends when you meet them in the West?”
Fiction 1Reading Practice
Active ReadingAs You ReadCircle details that describe Mr. Easton.
Read the selection and choose the best answer to each question.
Hearts and Handsby O. Henry
1 At Denver there was an influx of passengers into the coaches on the eastbound B. & M. express. In one coach there sat a very pretty young woman dressed in elegant taste and surrounded by all the luxurious comforts of an experienced traveler. Among the newcomers were two young men, one of handsome presence with a bold, frank countenance and manner; the other a ruffled, glum-faced person, heavily built and roughly dressed. The two were handcuffed together.
2 As they passed down the aisle of the coach the only vacant seat offered was a reversed one facing the attractive young woman. Here the linked couple seated themselves. The young woman’s glance fell upon them with a distant, swift disinterest; then with a lovely smile brightening her countenance and a tender pink tingeing her rounded cheeks, she held out a little gray-gloved hand. When she spoke her voice, full, sweet, and deliberate, proclaimed that its owner was accustomed to speak and be heard.
3 “Well, Mr. Easton, if you will make me speak first, I
INFER
The two men are handcuffed together. Based on each man’s countenance, or expression, which one do you think is the prisoner? Which one is the marshal?
STEP 3 Monitor Your Progress — Post TestsUse each genre Post Test to monitor progress and to identify additional lessons for review. The Post Test questions cover the same TEKS in the same order as the Diagnostic Test.
Each item correlates to a TEKS and Skill lesson.
Diagnostic Tests cover 7 genres
Practice with support for Active Reading
Guided Practice
16 Skills Lessons
Models strategy with released STAAR items
Critical thinking
TEKS
Independent Practice
x Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to Readiness TEKS.
1 Diagnostic Mark an ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark an ✓ in the box beside each question that you answered correctly. Find the total correct.
Refer back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Figurative Language (p. 49) 7.8A2 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D3 Summarizing (p. 39) 7.6 Fig. 19E4 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D5 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D6 Analyzing the Development of Plot (p. 7) 7.6B7 Using Roots and Affixes (p. 73) 7.2A8 Explaining the Influence of Setting (p. 14) 7.6A9 Analyzing Figurative Language (p. 49) 7.8A
Total / 9 Total / 9
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D2 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D3 Analyzing Figurative Language (p. 49) 7.8A4 Using Context Clues (p. 33) 7.2B5 Analyzing Figurative Language (p. 49) 7.8A6 Analyzing Figurative Language (p. 49) 7.8A7 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D
Total / 7 Total / 7
POETRYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Literary Texts (p. 21) 7.4 Fig. 19D2 Analyzing Graphical Elements in Poetry (p. 54) 7.4A3 Analyzing Figurative Language (p. 49) 7.8A4 Analyzing Figurative Language (p. 49) 7.8A5 Making Inferences in Literary Texts (p. 21) 7.4 Fig. 19D
Total / 5 Total / 5
✓✓
✓
✓✓
✓
5
Focus on skills you most need.
Fiction Post Test
Read the selection and choose the best answer to each question.
In the following excerpt from Black Beauty, a young horse by the name of Black Beauty faces a fierce storm with his owner, Mr. Douglas Gordon, and his groom, Mr. John Manly.
A Stormy Day
Monitor your progress
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Sampler
vii How to Use This Book for STAAR Success
How to Use This Book for STAAR SuccessFocused Intervention is provided by 16 skill lessons and 30 reading passages and 223 questions based on released STAAR items .
Skill Lesson16 skill lessons provide concise and student-friendly instruction in answering a released STAAR test item. Each TEKS-based skill models a STAAR Strategy that students learn and then apply in Guided Practice .
7
Skill
Reading Skill ■ Fiction
Analyzing the Development of PlotA story’s plot is a series of events that involves a conflict, or struggle. An external conflict takes place between characters or a character and a situation. An internal conflict takes place when a character struggles to make a decision or act on one.
STAAR StrategyOn the STAAR test, you will encounter items that ask you to analyze how the author develops the plot of a story. Here are steps you can follow to respond to items like this.
1 Read the passage and item.
2 Read each answer choice. Then, re-read the passage, underlining relevant details. Relevant details have been underlined for you in the passage above.
3 Cross out the answer choices that are not supported by any evidence. Choose the answer that is fully supported by the evidence.
A He feels embarrassed about knocking over the apples.
B He is trying to figure out a way to quit his job.
C He doesn’t think he should have so much homework.
D He is tempted to steal some of the apples.
(7.6B)
Antonio yawned and looked at his watch. Only 4:15! His job as a stock clerk at Espino’s, the neighborhood grocery store, was exhausting, and it seemed like the afternoons dragged on forever. He always had lots of homework, but because he worked every afternoon, he couldn’t do it until after dinner, when he was sleepy and had a hard time concentrating. But Antonio needed the job to help his family.
Antonio had been placing apples on top of a pile, but he was distracted and knocked several of them onto the floor. “Way to go,” said Joe, the other stock clerk. Bending down to help Antonio pick them up, Joe slipped a few apples into his pockets. Antonio thought about doing the same thing. He was hungry, and who would it hurt? But then, he thought, what would his mother say? How would he feel the next morning?
Which of these best describes Antonio’s internal conflict in the story?
A He feels embarrassed about knocking over the apples.
B He is trying to figure out a way to quit his job.
C He doesn’t think he should have so much homework.
D He is tempted to steal some of the apples.
The story doesn’t say that he feels it’s too much.
Details suggest he can’t quit: “Antonio needed the job to help his family.”
He is hungry, but he worries about how he will feel.
The story doesn’t say how he feels about knocking over the apples.
8 Grade 7 Reading ■ Literary Texts
Guided PracticeRead the following selection and then respond to the item. Follow the steps you have learned for analyzing the development of plot.
Think About Your Thinking In the chart below, evaluate each answer choice based on evidence in the passage. One evaluation has been done for you.
Answer Choices
EvaluationsIs Answer Correct?
F
G
H
J The passage doesn’t show what they might have in common. no
Independent PracticeYou will have the opportunity to practice analyzing plot development in the Practice passage, “Hearts and Hands,” that follows.
From behind her, Kendra’s mother yelled, “Don’t move!”
Kendra had been sitting on the steps outside for almost an hour, absorbed in a book. At first she was annoyed by the interruption and ignored her mother. “She’s always overreacting to something,” she thought. Kendra continued to read, pointedly ignoring her mother’s warning, while on the step below coiled a rattlesnake.
Kendra reached down to scratch her ankle and as she did so, she saw the rattlesnake. It was small, but Kendra knew that young rattlesnakes could be even more dangerous than adults because they deliver more venom with every bite.
Kendra’s response to her mother contributes to the plot by —
F explaining why her mother overreacts so much and why Kendra ignores her
G showing that she is ignoring her mother’s warning, making it more likely she will get bitten
H revealing that she knows a lot about rattlesnakes, making it less likely that she will be harmed
J indicating that she and her mother have a lot in common, which explains why they annoy one another
Genre PracticeThis workbook provides authentic STAAR practice in the 7 tested genres,using grade-appropriate selections and test questions that closely match released STAAR tests.
9 Reading Practice ■ Fiction
Fiction 1Reading Practice
Active ReadingAs You ReadCircle details that describe Mr. Easton.
Read the selection and choose the best answer to each question.
Hearts and Handsby O. Henry
1 At Denver there was an influx of passengers into the coaches on the eastbound B. & M. express. In one coach there sat a very pretty young woman dressed in elegant taste and surrounded by all the luxurious comforts of an experienced traveler. Among the newcomers were two young men, one of handsome presence with a bold, frank countenance and manner; the other a ruffled, glum-faced person, heavily built and roughly dressed. The two were handcuffed together.
2 As they passed down the aisle of the coach the only vacant seat offered was a reversed one facing the attractive young woman. Here the linked couple seated themselves. The young woman’s glance fell upon them with a distant, swift disinterest; then with a lovely smile brightening her countenance and a tender pink tingeing her rounded cheeks, she held out a little gray-gloved hand. When she spoke her voice, full, sweet, and deliberate, proclaimed that its owner was accustomed to speak and be heard.
3 “Well, Mr. Easton, if you will make me speak first, I suppose I must. Don’t you ever recognize old friends when you meet them in the West?”
4 The younger man roused himself sharply at the sound of her voice, seemed to struggle with a slight embarrassment which he threw off instantly, and then clasped her fingers with his left hand.
5 “It’s Miss Fairchild,” he said, with a smile. “I’ll ask you to excuse the other hand; “it’s otherwise engaged just at present.”
6 He slightly raised his right hand, bound at the wrist by the shining “bracelet” to the left one of his companion. The glad look in the girl’s eyes slowly changed to a bewildered horror. The glow faded from her cheeks. Her lips parted in a vague, relaxing distress. Easton, with a little laugh, as if amused, was about to speak again when the other forestalled him. The glum-
INFER
The two men are handcuffed together. Based on each man’s countenance, or expression, which one do you think is the prisoner? Which one is the marshal?
12 Grade 7 Reading ■ Literary Texts
1 Read the following sentence from paragraph 9. (7.8A)
“Money has a way of taking wings unto itself, and you know it takes money to keep step with our crowd in Washington.”
The author uses figurative language in this sentence most likely to —
A explain that money can literally fly
B demonstrate that money is important
C suggest that money is lightweight
D emphasize that money can quickly disappear
2 The Latin prefix counter-, meaning “duplicate,” and the Latin root feit, meaning “to make,” help the reader understand that the word counterfeiting in paragraph 7 means — (7.2A)
F creating a fake
G destroying a copy
H producing an original
J preventing an imitation
3 Which sentence foreshadows Mr. Easton’s true identity? (7.6 Fig. 19D)
A Among the newcomers were two young men, one of handsome presence with a bold, frank countenance and manner; the other a ruffled, glum-faced person, heavily built and roughly dressed.
B The younger man roused himself sharply at the sound of her voice, seemed to struggle with a slight embarrassment which he threw off instantly, and then clasped her fingers with his left hand.
C The glum-faced man had been watching the girl’s countenance with veiled glances from his keen, shrewd eyes.
D The bound travelers rose to their feet, Easton with the same slow smile on his face.
Independent Practice
STAAR Test-taking Tips
Guided Practice helps students apply the strategy.
16 passages in 7 genres
Uses a 3-step model for• understanding
questions• searching for text clues
or support• evaluating answer
choices
Key terms
Show your thinking by analyzing each answer choice.
Over 220 questions match the released STAAR tests in content and format.
Analyzes released STAAR questions.
Margin activities help students read actively and annotate the passage.
TEKS
TEKS
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x Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review . Monitor your progress using the steps and chart below . Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart . Boldfaced skill lessons are connected to Readiness TEKS .
1 Diagnostic Mark an ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark an ✓ in the box beside each question that you answered correctly. Find the total correct.
Refer back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Figurative Language (p. 49) 7.8A2 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D3 Summarizing (p. 39) 7.6 Fig. 19E4 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D5 Making Inferences in Literary Texts (p. 21) 7.6 Fig. 19D6 Analyzing the Development of Plot (p. 7) 7.6B7 Using Roots and Affixes (p. 73) 7.2A8 Explaining the Influence of Setting (p. 14) 7.6A9 Analyzing Figurative Language (p. 49) 7.8A
Total / 9 Total / 9
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D2 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D3 Analyzing Figurative Language (p. 49) 7.8A4 Using Context Clues (p. 33) 7.2B5 Analyzing Figurative Language (p. 49) 7.8A6 Analyzing Figurative Language (p. 49) 7.8A7 Making Inferences in Literary Texts (p. 21) 7.7 Fig. 19D
Total / 7 Total / 7
POETRYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Literary Texts (p. 21) 7.4 Fig. 19D2 Analyzing Graphical Elements in Poetry (p. 54) 7.4A3 Analyzing Figurative Language (p. 49) 7.8A4 Analyzing Figurative Language (p. 49) 7.8A5 Making Inferences in Literary Texts (p. 21) 7.4 Fig. 19D
Total / 5 Total / 5
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Included in Sampler
Sampler
1 Student Progress Monitoring Chart
DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Figurative Language (p. 49) 7.8A2 Using Context Clues (p. 33) 7.2B3 Explaining Dialogue and Stage Directions (p. 65) 7.5A4 Explaining Dialogue and Stage Directions (p. 65) 7.5A5 Using Roots and Affixes (p. 73) 7.2A6 Explaining Dialogue and Stage Directions (p. 65) 7.5A7 Making Inferences in Literary Texts (p. 21) 7.5 Fig. 19D8 Explaining Dialogue and Stage Directions (p. 65) 7.5A
Total / 8 Total / 8
EXPOSITORYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Using Roots and Affixes (p. 73) 7.2A2 Making Inferences in Informational Texts (p. 114) 7.10 Fig. 19D3 Identifying Organizational Patterns (p. 93) 7.10C4 Using Context Clues (p. 33) 7.2B5 Synthesizing Ideas (p. 101) 7.10D 6 Evaluating a Summary (p. 85) 7.10A7 Analyzing Media (p. 146) 7.13A
Total / 7 Total / 7
PERSUASIVEQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Informational Texts (p. 114) 7.11 Fig. 19D2 Identifying Organizational Patterns (p. 93) 7.11 Fig. 19D3 Making Inferences in Informational Texts (p. 114) 7.11 Fig. 19D4 Using a Dictionary (p. 120) 7.2E5 Making Inferences in Informational Texts (p. 114) 7.11 Fig. 19D6 Making Inferences in Informational Texts (p. 114) 7.11 Fig. 19D7 Making Inferences in Informational Texts (p. 114) 7.11 Fig. 19D
Total / 7 Total / 7
PAIRED PASSAGESQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Making Inferences in Informational Texts (p. 114) 7.10 Fig. 19D2 Making Inferences in Informational Texts (p. 114) 7.10 Fig. 19D3 Evaluating a Summary (p. 85) 7.10A4 Analyzing Media (p. 146) 7.13C5 Using a Dictionary (p. 120) 7.2E6 Synthesizing Ideas (p.101) 7.10D7 Making Inferences in Informational Texts (p. 114) 7.10 Fig. 19D8 Making Inferences in Informational Texts (p. 114) 7.10 Fig 19D9 Making Connections (p. 136) 7 Fig. 19 F10 Making Connections (p. 136) 7 Fig. 19 F11 Making Connections (p. 136) 7 Fig. 19 F12 Making Connections (p. 136) 7 Fig. 19 F13 Making Connections (p. 136) 7 Fig. 19 F
Total / 13 Total / 13
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7
Skill
Reading Skill ■ Fiction
Analyzing the Development of PlotA story’s plot is a series of events that involves a conflict, or struggle. An external conflict takes place between characters or a character and a situation. An internal conflict takes place when a character struggles to make a decision or act on one.
STAAR StrategyOn the STAAR test, you will encounter items that ask you to analyze how the author develops the plot of a story. Here are steps you can follow to respond to items like this.
1 Read the passage and item.
2 Read each answer choice. Then, re-read the passage, underlining relevant details. Relevant details have been underlined for you in the passage above.
3 Cross out the answer choices that are not supported by any evidence. Choose the answer that is fully supported by the evidence.
A He feels embarrassed about knocking over the apples.
B He is trying to figure out a way to quit his job.
C He doesn’t think he should have so much homework.
D He is tempted to steal some of the apples.
(7.6B)
Antonio yawned and looked at his watch. Only 4:15! His job as a stock clerk at Espino’s, the neighborhood grocery store, was exhausting, and it seemed like the afternoons dragged on forever. He always had lots of homework, but because he worked every afternoon, he couldn’t do it until after dinner, when he was sleepy and had a hard time concentrating. But Antonio needed the job to help his family.
Antonio had been placing apples on top of a pile, but he was distracted and knocked several of them onto the floor. “Way to go,” said Joe, the other stock clerk. Bending down to help Antonio pick them up, Joe slipped a few apples into his pockets. Antonio thought about doing the same thing. He was hungry, and who would it hurt? But then, he thought, what would his mother say? How would he feel the next morning?
Which of these best describes Antonio’s internal conflict in the story?
A He feels embarrassed about knocking over the apples.
B He is trying to figure out a way to quit his job.
C He doesn’t think he should have so much homework.
D He is tempted to steal some of the apples.
The story doesn’t say that he feels it’s too much.
Details suggest he can’t quit: “Antonio needed the job to help his family.”
He is hungry, but he worries about how he will feel.
The story doesn’t say how he feels about knocking over the apples.
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Sampler
8 Grade 7 Reading ■ Literary Texts
Guided PracticeRead the following selection and then respond to the item. Follow the steps you have learned for analyzing the development of plot.
Think About Your Thinking In the chart below, evaluate each answer choice based on evidence in the passage. One evaluation has been done for you.
Answer Choices
EvaluationsIs Answer Correct?
F
G
H
J The passage doesn’t show what they might have in common. no
Independent PracticeYou will have the opportunity to practice analyzing plot development in the Practice passage, “Hearts and Hands,” that follows.
From behind her, Kendra’s mother yelled, “Don’t move!”
Kendra had been sitting on the steps outside for almost an hour, absorbed in a book. At first she was annoyed by the interruption and ignored her mother. “She’s always overreacting to something,” she thought. Kendra continued to read, pointedly ignoring her mother’s warning, while on the step below coiled a rattlesnake.
Kendra reached down to scratch her ankle and as she did so, she saw the rattlesnake. It was small, but Kendra knew that young rattlesnakes could be even more dangerous than adults because they deliver more venom with every bite.
Kendra’s response to her mother contributes to the plot by —
F explaining why her mother overreacts so much and why Kendra ignores her
G showing that she is ignoring her mother’s warning, making it more likely she will get bitten
H revealing that she knows a lot about rattlesnakes, making it less likely that she will be harmed
J indicating that she and her mother have a lot in common, which explains why they annoy one another
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Sampler
21
Skill
Skill ■ Fiction
Making Inferences in Literary TextsWhen you read a story, you might ask yourself questions such as “Why did she do that?” Readers must often make educated guesses, or inferences, to understand literary texts. Making an inference means combining clues in the text with what you already know.
STAAR StrategyOn the STAAR test, you will see test items that ask you to make inferences about literary passages. Here are steps you can follow to respond to items like this.
1 Read the passage and item.
2 Read each answer choice. Then, re-read the passage, underlining relevant details. Relevant details have been underlined for you in the passage above.
3 Evaluate the evidence you underlined. Cross out answer choices that are not supported by any evidence. Choose the answer that is fully supported by the evidence.
A is used to being well-dressed
B works in an office
C feels self-conscious about his appearance
D likes traveling with his new wife
(7.4, 7.5, 7.6, 7.7 Fig. 19D)
A newly married pair had boarded this coach at San Antonio. The man’s face was reddened from many days in the wind and sun, and a direct result of his new black clothes was that his brick-colored hands were constantly performing in a most conscious fashion. From time to time he looked down respectfully at his attire. He sat with a hand on each knee, like a man waiting in a barber’s shop. The glances he devoted to other passengers were furtive and shy.
The details in the paragraph help the reader infer that the man —
A is used to being well-dressed
B works in an office
C feels self-conscious about his appearance
D likes traveling with his new wife
The stiff way that the man sits and the way he looks at the other passengers with “furtive and shy” glances are evidence that he is self-conscious.
The paragraph does not show how he feels about traveling with his wife.
He looks “respectfully at his attire” as if the clothes belong to someone else. Also, the passage says his clothes are new.
The man has spent “many days in the wind and the sun” and has “brick-colored hands.” I think he works outside, not in an office.
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Sampler
22 Grade 7 Reading ■ Literary Texts
Guided PracticeThe following passage is from the short story “How Fidelia Went to the Store.” Read the passage and respond to the question. Then, follow the steps for making inferences.
Think About Your Thinking In the chart below, evaluate each answer choice based on evidence in the passage. One evaluation has been done for you.
Answer Choices
EvaluationsIs Inference Supported?
A
B
C
D In paragraph 4, Mrs. Lennox agrees that Aunt Maria cannot go to the store. no
Independent PracticeYou will have the opportunity to practice making inferences about literary texts in the Practice passage, “The Evolution of Calpurnia Tate,” that follows.
1 “I don’t know what we’re goin’ to do,” said Aunt Maria Crooker. She sat in a large arm-chair, and held in her lap a bowl of sugar and butter that she was creaming. Aunt Maria filled up the chair from arm to arm, for she was very portly; she had a large, rosy, handsome face, and she creamed with such energy that she panted for breath.
2 “Well, I don’t know, either,” rejoined her sister, Mrs. Lennox. “I can’t go to the store with my lame foot, that’s certain.”
3 “Well, I know I can’t,” said Aunt Maria, with additional emphasis. “I haven’t walked two mile for ten year, an’ I don’t believe I could get to that store and back to save my life.”
From the passage, the reader can infer that —
A neither sister will go to the store
B the sisters will decide to make the cake without raisins
C Mrs. Lennox is worried about her sister’s health
D Mrs. Lennox thinks Aunt Maria should go to the store
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Sampler
9 Reading Practice ■ Fiction
Fiction 1Reading Practice
Active ReadingAs You ReadCircle details that describe Mr. Easton.
Read the selection and choose the best answer to each question.
Hearts and Handsby O. Henry
1 At Denver there was an influx of passengers into the coaches on the eastbound B. & M. express. In one coach there sat a very pretty young woman dressed in elegant taste and surrounded by all the luxurious comforts of an experienced traveler. Among the newcomers were two young men, one of handsome presence with a bold, frank countenance and manner; the other a ruffled, glum-faced person, heavily built and roughly dressed. The two were handcuffed together.
2 As they passed down the aisle of the coach the only vacant seat offered was a reversed one facing the attractive young woman. Here the linked couple seated themselves. The young woman’s glance fell upon them with a distant, swift disinterest; then with a lovely smile brightening her countenance and a tender pink tingeing her rounded cheeks, she held out a little gray-gloved hand. When she spoke her voice, full, sweet, and deliberate, proclaimed that its owner was accustomed to speak and be heard.
3 “Well, Mr. Easton, if you will make me speak first, I suppose I must. Don’t you ever recognize old friends when you meet them in the West?”
4 The younger man roused himself sharply at the sound of her voice, seemed to struggle with a slight embarrassment which he threw off instantly, and then clasped her fingers with his left hand.
5 “It’s Miss Fairchild,” he said, with a smile. “I’ll ask you to excuse the other hand; “it’s otherwise engaged just at present.”
6 He slightly raised his right hand, bound at the wrist by the shining “bracelet” to the left one of his companion. The glad look in the girl’s eyes slowly changed to a bewildered horror. The glow faded from her cheeks. Her lips parted in a vague, relaxing distress. Easton, with a little laugh, as if amused, was about to speak again when the other forestalled him. The glum-
INFER
The two men are handcuffed together. Based on each man’s countenance, or expression, which one do you think is the prisoner? Which one is the marshal?
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10 Grade 7 Reading ■ Literary Texts
faced man had been watching the girl’s countenance with veiled glances from his keen, shrewd eyes.
7 “You’ll excuse me for speaking, miss, but, I see you’re acquainted with the marshal here. If you’ll ask him to speak a word for me when we get to the pen he’ll do it, and it’ll make things easier for me there. He’s taking me to Leavenworth prison. It’s seven years for counterfeiting.”
8 “Oh!” said the girl, with a deep breath and returning color. “So that is what you are doing out here? A marshal!”
9 “My dear Miss Fairchild,” said Easton, calmly, “I had to do something. Money has a way of taking wings unto itself, and you know it takes money to keep step with our crowd in Washington. I saw this opening in the West, and—well, a marshalship isn’t quite as high a position as that of ambassador, but—”
10 “The ambassador,” said the girl, warmly, “doesn’t call any more. He needn’t ever have done so. You ought to know that. And so now you are one of these dashing Western heroes, and you ride and shoot and go into all kinds of dangers. That’s different from the Washington life. You have been missed from the old crowd.”
11 The girl’s eyes, fascinated, went back, widening a little, to rest upon the glittering handcuffs.
12 “Don’t you worry about them, miss,” said the other man. “All marshals handcuff themselves to their prisoners to keep them from getting away. Mr. Easton knows his business.”
13 “Will we see you again soon in Washington?” asked the girl.
14 “Not soon, I think,” said Easton. “My butterfly days1 are over, I fear.”
15 “I love the West,” said the girl irrelevantly. Her eyes were shining softly. She looked away out the car window. She began to speak truly and simply without the gloss of style and manner: “Mamma and I spent the summer in Denver. She went home a week ago because father was slightly ill. I could live and be happy in the West. I think the air here agrees with me. Money isn’t everything. But people always misunderstand things and remain stupid—”
1 time for being social and carefree
FIGURATIVE LANGUAGE
What is money being compared to in paragraph 9? What idea does this comparison suggest?
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11 Reading Practice ■ Fiction
16 “Say, Mr. Marshal,” growled the glum-faced man. “This isn’t quite fair. I’m needing something to drink. Haven’t you talked long enough? Take me to the dining car now, won’t you? I’m half dead for a soda.”
17 The bound travelers rose to their feet, Easton with the same slow smile on his face.
18 “I can’t deny such a petition,” he said, lightly. “It’s the one friend of the unfortunate. Good-bye, Miss Fairchild. Duty calls, you know.” He held out his hand for a farewell.
19 “It’s too bad you are not going East,” she said, reclothing herself with manner and style. “But you must go on to Leavenworth, I suppose?”
20 “Yes,” said Easton, “I must go on to Leavenworth.”
21 The two men sidled down the aisle into the dining car.
22 The two passengers in a seat near by had heard most of the conversation. Said one of them: “That marshal’s a good sort of chap. Some of these Western fellows are all right.”
23 “Pretty young to hold an office like that, isn’t he?” asked the other.
24 “Young!” exclaimed the first speaker, “Why—Oh! Didn’t you catch on? Say—did you ever know an officer to handcuff a prisoner to his right hand?”
PLOT
According to the first passenger in paragraph 24, to which hand would a marshal handcuff his prisoner? Why is this detail important to the story?
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12 Grade 7 Reading ■ Literary Texts
1 Read the following sentence from paragraph 9. (7.8A)
“Money has a way of taking wings unto itself, and you know it takes money to keep step with our crowd in Washington.”
The author uses figurative language in this sentence most likely to —
A explain that money can literally fly
B demonstrate that money is important
C suggest that money is lightweight
D emphasize that money can quickly disappear
2 The Latin prefix counter-, meaning “duplicate,” and the Latin root feit, meaning “to make,” help the reader understand that the word counterfeiting in paragraph 7 means — (7.2A)
F creating a fake
G destroying a copy
H producing an original
J preventing an imitation
3 Which sentence foreshadows Mr. Easton’s true identity? (7.6 Fig. 19D)
A Among the newcomers were two young men, one of handsome presence with a bold, frank countenance and manner; the other a ruffled, glum-faced person, heavily built and roughly dressed.
B The younger man roused himself sharply at the sound of her voice, seemed to struggle with a slight embarrassment which he threw off instantly, and then clasped her fingers with his left hand.
C The glum-faced man had been watching the girl’s countenance with veiled glances from his keen, shrewd eyes.
D The bound travelers rose to their feet, Easton with the same slow smile on his face.
Un
lawfu
l to p
ho
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py o
r pro
ject with
ou
t perm
ission
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13 Reading Practice ■ Fiction
4 Which sentence suggests that Ms. Fairchild admires Mr. Easton? (7.6B)
F “Well, Mr. Easton, if you will make me speak first, I suppose I must.”
G Her lips parted in a vague, relaxing distress.
H “And so now you are one of these dashing Western heroes, and you ride and shoot and go into all kinds of dangers.”
J The girl’s eyes, fascinated, went back, widening a little, to rest upon the glittering handcuffs.
5 The details in paragraphs 22–24 help the reader infer that — (7.6 Fig. 19D)
A Mr. Easton treats criminals with respect
B the glum-faced man is the marshal
C Mr. Easton wants to impress the other passengers
D the glum-faced man is very young
6 Which sentence best summarizes the story? (7.6 Fig. 19E)
F Friends unexpectedly meet again while traveling east on a train.
G A marshal is reunited with a friend from his past while transporting a criminal to prison.
H Passengers on a train praise the kindness a marshal shows his prisoner.
J A marshal spares his prisoner embarrassment when a young lady greets the prisoner.
Un
law
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Solu
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Sampler
8G
rad
e 7
Re
ad
ing
■ L
iter
ary
Text
s
Gu
ided
Pra
ctic
eR
ead
th
e fo
llow
ing
sel
ecti
on
an
d t
hen
res
po
nd
to
th
e it
em. F
ollo
w t
he
step
s yo
u h
ave
lear
ned
fo
r an
alyz
ing
th
e d
evel
op
men
t o
f p
lot.
Thin
k A
bo
ut
Yo
ur
Thin
kin
g
In t
he
char
t b
elo
w, e
valu
ate
each
an
swer
ch
oic
e b
ased
o
n e
vid
ence
in t
he
pas
sag
e. O
ne
eval
uat
ion
has
bee
n d
on
e fo
r yo
u.
An
swer
C
ho
ices
Eval
uat
ion
sIs
An
swer
C
orr
ect?
F G H JTh
e pa
ssag
e do
esn’
t sh
ow w
hat
they
mig
ht h
ave
in c
omm
on.
no
Ind
ep
en
den
t Pra
ctic
eYo
u w
ill h
ave
the
op
po
rtu
nit
y to
pra
ctic
e an
alyz
ing
plo
t d
evel
op
men
t in
th
e Pr
acti
ce
pas
sag
e, “
Hea
rts
and
Han
ds,
” th
at f
ollo
ws.
Fr
om b
ehin
d he
r, K
endr
a’s
mot
her
yelle
d, “
Don
’t m
ove!
”
Ke
ndra
had
bee
n si
ttin
g on
the
ste
ps o
utsi
de f
or a
lmos
t an
hou
r, a
bsor
bed
in
a bo
ok.
At f
irst
she
was
ann
oyed
by
the
inte
rrup
tion
and
igno
red
her
mot
her.
“She
’s a
lway
s ov
erre
actin
g to
som
ethi
ng,”
she
tho
ught
. Ke
ndra
con
tinue
d to
re
ad,
poin
tedl
y ig
nori
ng h
er m
othe
r’s
war
ning
, w
hile
on
the
step
bel
ow c
oile
d a
ratt
lesn
ake.
Ke
ndra
rea
ched
dow
n to
scr
atch
her
ank
le a
nd a
s sh
e di
d so
, sh
e sa
w t
he
ratt
lesn
ake.
It
was
sm
all,
but
Kend
ra k
new
tha
t yo
ung
ratt
lesn
akes
cou
ld b
e ev
en
mor
e da
nger
ous
than
adu
lts
beca
use
they
del
iver
mor
e ve
nom
with
eve
ry b
ite.
Ke
ndra
’s r
espo
nse
to h
er m
othe
r co
ntri
bute
s to
the
plo
t by
—
F ex
plai
ning
why
her
mot
her
over
reac
ts s
o m
uch
and
why
Ken
dra
igno
res
her
G
show
ing
that
she
is ig
nori
ng h
er m
othe
r’s
war
ning
, m
akin
g it
mor
e lik
ely
she
will
get
bitte
n
H
reve
alin
g th
at s
he k
now
s a
lot
abou
t ra
ttle
snak
es,
mak
ing
it le
ss li
kely
tha
t sh
e w
ill b
e ha
rmed
J in
dica
ting
that
she
and
her
mot
her
have
a lo
t in
com
mon
, w
hich
exp
lain
s w
hy
they
ann
oy o
ne a
noth
er
To fi
nd a
dditi
onal
item
s tha
t pro
vide
prac
tice
for a
nalyz
ing
the
deve
lopm
ent o
f plo
t (TE
KS 7.
6B),
see
the
corre
latio
n ch
art o
n pa
ge T6
.
It m
ay n
ot b
e tru
e th
at h
er m
othe
r is “
alway
s ove
rreac
ting.”
no
She
ignor
es h
er m
othe
r bec
ause
she
think
s her
mot
her i
s “alw
ays o
verre
actin
g.”
As a
cons
eque
nce,
she
migh
t get
bitt
en b
y the
snak
e. G
is th
e co
rrect
ans
wer.
yes
Her k
now
ledge
of r
attle
snak
es is
not
conn
ecte
d to
her
relat
ions
hip w
ith h
er
mot
her.
Also
, her
kno
wled
ge w
ill no
t pro
tect
her
from
har
m.
no
7
Skill
Re
ad
ing
Skil
l ■
Fict
ion
Analy
zin
g t
he
Develo
pm
ent
of
Plo
tA
sto
ry’s
plo
t is
a s
erie
s o
f ev
ents
th
at in
volv
es a
co
nfl
ict,
or
stru
gg
le. A
n e
xter
nal
co
nfl
ict
take
s p
lace
bet
wee
n c
har
acte
rs o
r a
char
acte
r an
d a
sit
uat
ion
. An
inte
rnal
co
nfl
ict
take
s p
lace
wh
en a
ch
arac
ter
stru
gg
les
to m
ake
a d
ecis
ion
or
act
on
on
e.
STA
AR
Str
ate
gy
On
th
e ST
AA
R t
est,
yo
u w
ill e
nco
un
ter
item
s th
at a
sk y
ou
to
an
alyz
e h
ow
th
e au
tho
r d
evel
op
s th
e p
lot
of
a st
ory
. Her
e ar
e st
eps
you
can
fo
llow
to
res
po
nd
to
item
s lik
e th
is.
1 R
ead
th
e p
assa
ge
and
item
.
2 R
ead
eac
h a
nsw
er c
ho
ice.
Th
en, r
e-re
ad t
he
pas
sag
e, u
nd
erlin
ing
rel
evan
t d
etai
ls.
Rel
evan
t d
etai
ls h
ave
bee
n u
nd
erlin
ed f
or
you
in t
he
pas
sag
e ab
ove
.
3 C
ross
ou
t th
e an
swer
ch
oic
es t
hat
are
no
t su
pp
ort
ed b
y an
y ev
iden
ce. C
ho
ose
th
e an
swer
th
at is
fu
lly s
up
po
rted
by
the
evid
ence
.
A
He
feel
s em
barr
asse
d ab
out
knoc
king
ove
r th
e ap
ples
.
B
He
is t
ryin
g to
fig
ure
out
a w
ay t
o qu
it hi
s jo
b.
C
He
does
n’t
thin
k he
sho
uld
have
so
muc
h ho
mew
ork.
D
He
is t
empt
ed t
o st
eal s
ome
of t
he a
pple
s.
(7.6
B)
Ant
onio
yaw
ned
and
look
ed a
t hi
s w
atch
. O
nly
4:15
! H
is job
as
a st
ock
cler
k at
Esp
ino’
s,
the
neig
hbor
hood
gro
cery
sto
re,
was
exh
aust
ing,
and
it s
eem
ed li
ke t
he a
fter
noon
s dr
agge
d on
for
ever
. H
e al
way
s ha
d lo
ts o
f ho
mew
ork,
but
bec
ause
he
wor
ked
ever
y af
tern
oon,
he
coul
dn’t d
o it
until
aft
er d
inne
r, w
hen
he w
as s
leep
y an
d ha
d a
hard
tim
e co
ncen
trat
ing.
But
Ant
onio
nee
ded
the
job
to h
elp
his
fam
ily.
Ant
onio
had
bee
n pl
acin
g ap
ples
on
top
of a
pile
, bu
t he
was
dis
trac
ted
and
kno
cked
se
vera
l of th
em o
nto
the
floor
. “W
ay t
o go
,” s
aid
Joe,
the
oth
er s
tock
cle
rk.
Ben
ding
do
wn
to h
elp
Ant
onio
pic
k th
em u
p, J
oe s
lippe
d a
few
app
les
into
his
poc
kets
. Ant
onio
th
ough
t ab
out
doin
g th
e sa
me
thin
g. H
e w
as h
ungr
y, a
nd w
ho w
ould
it h
urt?
But
the
n,
he t
houg
ht,
wha
t w
ould
his
mot
her
say?
How
wou
ld h
e fe
el t
he n
ext
mor
ning
?
W
hich
of th
ese
best
des
crib
es A
nton
io’s
inte
rnal
con
flict
in t
he s
tory
?
A
He
feel
s em
barr
asse
d ab
out
knoc
king
ove
r th
e ap
ples
.
B
He
is t
ryin
g to
fig
ure
out
a w
ay t
o qu
it hi
s jo
b.
C
He
does
n’t
thin
k he
sho
uld
have
so
muc
h ho
mew
ork.
D
He
is t
empt
ed t
o st
eal s
ome
of t
he a
pple
s.
The
stor
y do
esn’
t sa
y th
at h
e fe
els
it’s
too
muc
h.
Deta
ils s
ugge
st h
e ca
n’t q
uit:
“Ant
onio
ne
eded
the
job
to
help
his
fam
ily.”
He is
hun
gry,
but
he w
orrie
s ab
out
how
he
will
feel
.
The
stor
y do
esn’
t sa
y ho
w h
e fe
els
abou
t kno
ckin
g ov
er th
e ap
ples
.
Grade 7 Reading ■ Literary Texts © Sirius Education Solutions7–8
Teacher’s Edition Sampler
22G
rad
e 7
Re
ad
ing
■ L
iter
ary
Text
s
Gu
ided
Pra
ctic
eTh
e fo
llow
ing
pas
sag
e is
fro
m t
he
sho
rt s
tory
“H
ow
Fid
elia
Wen
t to
th
e St
ore
.” R
ead
th
e p
assa
ge
and
res
po
nd
to
th
e q
ues
tio
n. T
hen
, fo
llow
th
e st
eps
for
mak
ing
infe
ren
ces.
Thin
k A
bo
ut
Yo
ur
Thin
kin
g
In t
he
char
t b
elo
w, e
valu
ate
each
an
swer
ch
oic
e b
ased
o
n e
vid
ence
in t
he
pas
sag
e. O
ne
eval
uat
ion
has
bee
n d
on
e fo
r yo
u.
An
swer
C
ho
ices
Eval
uat
ion
sIs
Infe
ren
ce
Sup
po
rted
?
A B C DIn
par
agra
ph 4
, Mrs
. Len
nox
agre
es t
hat
Aunt
Mar
ia c
anno
t go
to
the
stor
e.no
Ind
ep
en
den
t Pra
ctic
eYo
u w
ill h
ave
the
op
po
rtu
nit
y to
pra
ctic
e m
akin
g in
fere
nce
s ab
ou
t lit
erar
y te
xts
in t
he
Prac
tice
pas
sag
e, “
The
Evo
luti
on
of
Cal
pu
rnia
Tat
e,”
that
fo
llow
s.
1 “I
don
’t k
now
wha
t w
e’re
goi
n’ t
o do
,” s
aid
Aunt
Mar
ia C
rook
er.
She
sat
in a
larg
e ar
m-c
hair,
and
hel
d in
her
lap
a bo
wl o
f su
gar
and
butt
er t
hat
she
was
cre
amin
g.
Aun
t M
aria
fill
ed u
p th
e ch
air
from
arm
to
arm
, fo
r sh
e w
as v
ery
port
ly;
she
had
a la
rge,
ros
y, h
ands
ome
face
, an
d sh
e cr
eam
ed w
ith s
uch
ener
gy t
hat
she
pant
ed
for
brea
th.
2 “W
ell,
I do
n’t
know
, ei
ther
,” r
ejoi
ned
her
sist
er,
Mrs
. Le
nnox
. “I
can
’t g
o to
the
st
ore
with
my
lam
e fo
ot,
that
’s c
erta
in.”
3 “W
ell,
I kn
ow I
can
’t,”
said
Aun
t M
aria
, w
ith a
dditi
onal
em
phas
is.
“I h
aven
’t w
alke
d tw
o m
ile f
or t
en y
ear, a
n’ I
don
’t b
elie
ve I
cou
ld g
et t
o th
at s
tore
and
bac
k to
sav
e m
y lif
e.”
Fr
om t
he p
assa
ge,
the
read
er c
an in
fer
that
—
A
neith
er s
iste
r w
ill g
o to
the
sto
re
B
the
sist
ers
will
dec
ide
to m
ake
the
cake
with
out
rais
ins
C
Mrs
. Le
nnox
is w
orri
ed a
bout
her
sis
ter’s
heal
th
D
Mrs
. Le
nnox
thi
nks
Aunt
Mar
ia s
houl
d go
to
the
stor
e
Each
siste
r mak
es a
n ex
cuse
for n
ot g
oing
to th
e sto
re, s
o th
is inf
eren
ce is
su
ppor
ted
by d
etail
s in
the
story.
This
is th
e co
rrect
ans
wer.
yes
In p
arag
raph
4, M
rs. Le
nnox
is ve
ry cl
ear t
hat t
hey c
an’t
mak
e th
e ca
ke w
ithou
t ra
isins
.no
No d
etail
s in
the
pass
age
sugg
est t
hat M
rs. Le
nnox
is co
ncer
ned
abou
t her
sis
ter’s
hea
lth.
no
To fi
nd a
dditi
onal
item
s tha
t pro
vide
prac
tice
in m
akin
g inf
eren
ces i
n lit
erar
y tex
ts (Fi
g. 1
9D),
see
the
corre
latio
n ch
art o
n pa
ge T6
.
21
Skill
Skil
l ■
Fict
ion
Makin
g Infe
rence
s
in L
itera
ry T
exts
Wh
en y
ou
rea
d a
sto
ry, y
ou
mig
ht
ask
you
rsel
f q
ues
tio
ns
such
as
“Wh
y d
id s
he
do
th
at?”
Rea
der
s m
ust
oft
en m
ake
edu
cate
d g
ues
ses,
or
infe
ren
ces,
to
un
der
stan
d
liter
ary
text
s. M
akin
g a
n in
fere
nce
mea
ns
com
bin
ing
clu
es in
th
e te
xt w
ith
wh
at y
ou
al
read
y kn
ow
.
STA
AR
Str
ate
gy
On
th
e ST
AA
R t
est,
yo
u w
ill s
ee t
est
item
s th
at a
sk y
ou
to
mak
e in
fere
nce
s ab
ou
t lit
erar
y p
assa
ges
. Her
e ar
e st
eps
you
can
fo
llow
to
res
po
nd
to
item
s lik
e th
is.
1 R
ead
th
e p
assa
ge
and
item
.
2 R
ead
eac
h a
nsw
er c
ho
ice.
Th
en, r
e-re
ad t
he
pas
sag
e, u
nd
erlin
ing
rel
evan
t d
etai
ls.
Rel
evan
t d
etai
ls h
ave
bee
n u
nd
erlin
ed f
or
you
in t
he
pas
sag
e ab
ove
.
3 E
valu
ate
the
evid
ence
yo
u u
nd
erlin
ed. C
ross
ou
t an
swer
ch
oic
es t
hat
are
no
t su
pp
ort
ed b
y an
y ev
iden
ce. C
ho
ose
th
e an
swer
th
at is
fu
lly s
up
po
rted
by
the
evid
ence
.
A
is u
sed
to b
eing
wel
l-dr
esse
d
B
wor
ks in
an
offic
e
C
feel
s se
lf-co
nsci
ous
abou
t hi
s ap
pear
ance
D
likes
tra
velin
g w
ith h
is n
ew w
ife(7.4
, 7.5
, 7.6
, 7.7
Fig
. 19D
)
A n
ewly
mar
ried
pai
r ha
d bo
arde
d th
is c
oach
at
San
Ant
onio
. Th
e m
an’s
fac
e w
as
redd
ened
fro
m m
any
days
in t
he w
ind
and
sun,
and
a d
irec
t re
sult
of h
is n
ew b
lack
cl
othe
s w
as t
hat
his
bric
k-co
lore
d ha
nds
wer
e co
nsta
ntly
per
form
ing
in a
mos
t co
nsci
ous
fash
ion.
Fro
m t
ime
to t
ime
he lo
oked
dow
n re
spec
tful
ly a
t hi
s at
tire.
He
sat
with
a h
and
on e
ach
knee
, lik
e a
man
wai
ting
in a
bar
ber’s
shop
. Th
e gl
ance
s he
de
vote
d to
oth
er p
asse
nger
s w
ere
furt
ive
and
shy.
Th
e de
tails
in t
he p
arag
raph
hel
p th
e re
ader
infe
r th
at t
he m
an —
A
is u
sed
to b
eing
wel
l-dr
esse
d
B
wor
ks in
an
offic
e
C
feel
s se
lf-co
nsci
ous
abou
t hi
s ap
pear
ance
D
likes
tra
velin
g w
ith h
is n
ew w
ife
The
stiff
way
th
at th
e m
an
sits
and
the
way
he
look
s at
the
othe
r pas
seng
ers
with
“fu
rtiv
e an
d sh
y” g
lanc
es a
re
evid
ence
that
he
is se
lf-co
nscio
us.
The
para
grap
h do
es n
ot
show
how
he
feel
s ab
out
trave
ling
with
his
wife
.
He lo
oks
“res
pect
fully
at
his
attir
e” a
s if
the
cloth
es
belo
ng to
som
eone
else
. Al
so, t
he p
assa
ge s
ays
his
cloth
es a
re n
ew.
The
man
has
spe
nt “
man
y da
ys in
the
win
d an
d th
e su
n” a
nd h
as “
brick
-co
lore
d ha
nds.”
I th
ink
he
wor
ks o
utsid
e, n
ot in
an
offic
e.
Grade 7 Reading ■ Literary Texts © Sirius Education Solutions21–22
Teacher’s Edition Sampler
10G
rad
e 7
Re
ad
ing
■ L
iter
ary
Text
sface
d m
an h
ad b
een
wat
chin
g th
e gi
rl’s
cou
nten
ance
with
ve
iled
glan
ces
from
his
kee
n, s
hrew
d ey
es.
7 “Y
ou’ll
exc
use
me
for
spea
king
, m
iss,
but
, I
see
you’
re
acqu
aint
ed w
ith t
he m
arsh
al h
ere.
If yo
u’ll
ask
him
to
spe
ak a
wor
d fo
r m
e w
hen
we
get
to t
he p
en h
e’ll
do it
, an
d it’ll
mak
e th
ings
eas
ier
for
me
ther
e. H
e’s
taki
ng m
e to
Lea
venw
orth
pri
son.
It’s
seve
n ye
ars
for
coun
terf
eitin
g.”
8 “O
h!”
said
the
gir
l, w
ith a
dee
p br
eath
and
ret
urni
ng
colo
r. “
So
that
is w
hat
you
are
doin
g ou
t he
re?
A
mar
shal
!”
9 “M
y de
ar M
iss
Fair
child
,” s
aid
East
on,
calm
ly,
“I h
ad t
o do
som
ethi
ng.
Mon
ey h
as a
way
of ta
king
win
gs u
nto
itse
lf, a
nd y
ou k
now
it t
akes
mon
ey t
o ke
ep s
tep
with
ou
r cr
owd
in W
ashi
ngto
n. I
saw
thi
s op
enin
g in
the
Wes
t,
and—
wel
l, a
mar
shal
ship
isn’
t qu
ite a
s hi
gh a
pos
ition
as
that
of am
bass
ador
, bu
t—”
10
“The
am
bass
ador
,” s
aid
the
girl,
war
mly
, “d
oesn
’t c
all a
ny
mor
e. H
e ne
edn’
t ev
er h
ave
done
so.
You
oug
ht t
o kn
ow
that
. And
so
now
you
are
one
of th
ese
dash
ing
Wes
tern
he
roes
, an
d yo
u ri
de a
nd s
hoot
and
go
into
all
kind
s of
da
nger
s. T
hat’s
diff
eren
t fr
om t
he W
ashi
ngto
n lif
e. Y
ou
have
bee
n m
isse
d fr
om t
he o
ld c
row
d.”
11
The
girl
’s e
yes,
fas
cina
ted,
wen
t ba
ck,
wid
enin
g a
little
, to
res
t up
on t
he g
litte
ring
han
dcuf
fs.
12
“Don
’t y
ou w
orry
abo
ut t
hem
, m
iss,
” sa
id t
he o
ther
man
. “A
ll m
arsh
als
hand
cuff
the
mse
lves
to
thei
r pr
ison
ers
to k
eep
them
fro
m g
ettin
g aw
ay.
Mr. E
asto
n kn
ows
his
busi
ness
.”
13
“Will
we
see
you
agai
n so
on in
Was
hing
ton?
” as
ked
the
girl.
14
“Not
soo
n, I
thi
nk,”
sai
d Ea
ston
. “M
y bu
tter
fly d
ays1
are
over
, I
fear
.”
15
“I lo
ve t
he W
est,
” sa
id t
he g
irl i
rrel
evan
tly.
Her
eye
s w
ere
shin
ing
soft
ly.
She
look
ed a
way
out
the
car
win
dow
. She
be
gan
to s
peak
tru
ly a
nd s
impl
y w
ithou
t th
e gl
oss
of
styl
e an
d m
anne
r: “
Mam
ma
and
I sp
ent
the
sum
mer
in
Den
ver. S
he w
ent
hom
e a
wee
k ag
o be
caus
e fa
ther
was
sl
ight
ly il
l. I
coul
d liv
e an
d be
hap
py in
the
Wes
t. I
thi
nk
the
air
here
agr
ees
with
me.
Mon
ey is
n’t
ever
ythi
ng.
But
peo
ple
alw
ays
mis
unde
rsta
nd t
hing
s an
d re
mai
n st
upid
—”
1 tim
e fo
r be
ing
soci
al a
nd c
aref
ree
FIG
UR
ATI
VE
LAN
GU
AG
E
Wha
t is
mon
ey b
eing
com
pare
d to
in p
arag
raph
9?
Wha
t id
ea
does
thi
s co
mpa
rison
sug
gest
?
Mon
ey is
com
pare
d to
som
ethin
g th
at fl
ies,
sugg
estin
g th
at it
goe
s awa
y.
9
Re
ad
ing
Pra
ctic
e ■
Fic
tio
n
Fic
tion 1
Rea
ding
P
ract
ice
Act
ive
Rea
din
gA
s You R
ead
Circ
le d
etai
ls t
hat
desc
ribe
M
r. Ea
ston
.
Rea
d t
he
sele
ctio
n a
nd
ch
oo
se t
he
bes
t an
swer
to
eac
h q
ues
tio
n.
Hea
rts
and
Han
ds
by O
. H
enry
1 At
Den
ver
ther
e w
as a
n in
flux
of p
asse
nger
s in
to t
he
coac
hes
on t
he e
astb
ound
B.
& M
. ex
pres
s. I
n on
e co
ach
ther
e sa
t a
very
pre
tty
youn
g w
oman
dre
ssed
in e
lega
nt
tast
e an
d su
rrou
nded
by
all t
he lu
xuri
ous
com
fort
s of
an
exp
erie
nced
tra
vele
r. A
mon
g th
e ne
wco
mer
s w
ere
two
youn
g m
en,
one
of h
ands
ome
pres
ence
with
a b
old,
fr
ank
coun
tena
nce
and
man
ner;
the
oth
er a
ruf
fled,
gl
um-f
aced
per
son,
hea
vily
bui
lt an
d ro
ughl
y dr
esse
d.
The
two
wer
e ha
ndcu
ffed
tog
ethe
r.
2 A
s th
ey p
asse
d do
wn
the
aisl
e of
the
coa
ch t
he o
nly
vaca
nt s
eat
offe
red
was
a r
ever
sed
one
faci
ng t
he
attr
activ
e yo
ung
wom
an.
Her
e th
e lin
ked
coup
le s
eate
d th
emse
lves
. Th
e yo
ung
wom
an’s
gla
nce
fell
upon
the
m
with
a d
ista
nt,
swift
dis
inte
rest
; th
en w
ith a
love
ly
smile
bri
ghte
ning
her
cou
nten
ance
and
a t
ende
r pi
nk
tinge
ing
her
roun
ded
chee
ks,
she
held
out
a li
ttle
gra
y-gl
oved
han
d. W
hen
she
spok
e he
r vo
ice,
ful
l, sw
eet,
and
de
liber
ate,
pro
clai
med
tha
t its
owne
r w
as a
ccus
tom
ed t
o sp
eak
and
be h
eard
.
3 “W
ell,
Mr. E
asto
n, if
you
will
mak
e m
e sp
eak
first
, I
supp
ose
I m
ust.
Don
’t y
ou e
ver
reco
gniz
e ol
d fr
iend
s w
hen
you
mee
t th
em in
the
Wes
t?”
4 Th
e yo
unge
r m
an r
ouse
d hi
mse
lf sh
arpl
y at
the
so
und
of h
er v
oice
, se
emed
to
stru
ggle
with
a s
light
em
barr
assm
ent
whi
ch h
e th
rew
off
inst
antly
, an
d th
en
clas
ped
her
finge
rs w
ith h
is le
ft h
and.
5 “I
t’s
Mis
s Fa
irch
ild,”
he
said
, w
ith a
sm
ile.
“I’ll
ask
you
to
excu
se t
he o
ther
han
d; “
it’s
oth
erw
ise
enga
ged
just
at
pres
ent.”
6 H
e sl
ight
ly r
aise
d hi
s ri
ght
hand
, bo
und
at t
he w
rist
by
the
shi
ning
“br
acel
et”
to t
he le
ft o
ne o
f hi
s co
mpa
nion
. Th
e gl
ad lo
ok in
the
gir
l’s e
yes
slow
ly
chan
ged
to a
bew
ilder
ed h
orro
r. T
he g
low
fad
ed f
rom
he
r ch
eeks
. H
er li
ps p
arte
d in
a v
ague
, re
laxi
ng d
istr
ess.
Ea
ston
, w
ith a
litt
le la
ugh,
as
if am
used
, w
as a
bout
to
spea
k ag
ain
whe
n th
e ot
her
fore
stal
led
him
. Th
e gl
um-
INFE
R
The
two
men
are
han
dcuf
fed
toge
ther
. Bas
ed o
n ea
ch m
an’s
co
unte
nanc
e, o
r ex
pres
sion
, w
hich
one
do
you
thin
k is
the
pr
ison
er?
Whi
ch o
ne is
the
m
arsh
al?
I thin
k th
e glu
m-fa
ced
one
is th
e pr
isone
r and
the
“han
dsom
e” o
ne is
the
mar
shal,
but
the
story
doe
sn’t
say.
Reading Practice ■ Fiction© Sirius Education Solutions 9–10
Teacher’s Edition Sampler
11
Re
ad
ing
Pra
ctic
e ■
Fic
tio
n
16
“Say
, M
r. M
arsh
al,”
gro
wle
d th
e gl
um-f
aced
man
. “T
his
isn’
t qu
ite f
air. I
’m n
eedi
ng s
omet
hing
to
drin
k. H
aven
’t
you
talk
ed lo
ng e
noug
h? T
ake
me
to t
he d
inin
g ca
r no
w,
won
’t y
ou?
I’m h
alf de
ad f
or a
sod
a.”
17
The
boun
d tr
avel
ers
rose
to
thei
r fe
et,
East
on w
ith t
he
sam
e sl
ow s
mile
on
his
face
.
18
“I c
an’t d
eny
such
a p
etiti
on,”
he
said
, lig
htly
. “I
t’s
the
one
frie
nd o
f th
e un
fort
unat
e. G
ood-
bye,
Mis
s Fa
irch
ild.
Dut
y ca
lls,
you
know
.” H
e he
ld o
ut h
is h
and
for
a fa
rew
ell.
19
“It’s
too
bad
you
are
not
goin
g Ea
st,”
she
sai
d, r
eclo
thin
g he
rsel
f w
ith m
anne
r an
d st
yle.
“But
you
mus
t go
on
to
Leav
enw
orth
, I
supp
ose?
”
20
“Yes
,” s
aid
East
on,
“I m
ust
go o
n to
Lea
venw
orth
.”
21
The
two
men
sid
led
dow
n th
e ai
sle
into
the
din
ing
car.
22
The
two
pass
enge
rs in
a s
eat
near
by
had
hear
d m
ost
of
the
conv
ersa
tion.
Sai
d on
e of
the
m:
“Tha
t m
arsh
al’s
a
good
sor
t of
cha
p. S
ome
of t
hese
Wes
tern
fel
low
s ar
e al
l ri
ght.”
23
“Pre
tty
youn
g to
hol
d an
off
ice
like
that
, is
n’t
he?”
ask
ed
the
othe
r.
24
“You
ng!”
exc
laim
ed t
he f
irst
spe
aker
, “W
hy—
Oh!
Did
n’t
you
catc
h on
? Say
—di
d yo
u ev
er k
now
an
offic
er t
o ha
ndcu
ff a
pri
sone
r to
his
rig
ht h
and?
”
PLO
T
Acc
ordi
ng t
o th
e fir
st p
asse
nger
in
par
agra
ph 2
4, t
o w
hich
han
d w
ould
a m
arsh
al h
andc
uff
his
pris
oner
? W
hy is
thi
s de
tail
impo
rtan
t to
the
sto
ry?
left h
and;
impo
rtant
bec
ause
Easto
n’s ri
ght h
and
is cu
ffed,
sugg
estin
g he
is th
e pr
isone
r
Grade 7 Reading ■ Literary Texts © Sirius Education Solutions11
No
tes
Teacher’s Edition Sampler
12G
rad
e 7
Re
ad
ing
■ L
iter
ary
Text
s
1
Rea
d th
e fo
llow
ing
sent
ence
fro
m p
arag
raph
9.
(7.8
A)
“Mon
ey h
as a
way
of ta
king
win
gs u
nto
itse
lf, a
nd y
ou k
now
it
take
s m
oney
to
keep
ste
p w
ith o
ur c
row
d in
Was
hing
ton.
”
The
auth
or u
ses
figur
ativ
e la
ngua
ge in
thi
s se
nten
ce m
ost
likel
y to
—
A
expl
ain
that
mon
ey c
an li
tera
lly f
ly
B
dem
onst
rate
tha
t m
oney
is im
port
ant
C
sugg
est
that
mon
ey is
ligh
twei
ght
D
emph
asiz
e th
at m
oney
can
qui
ckly
dis
appe
ar
2
The
Latin
pre
fix c
ount
er-,
mea
ning
“du
plic
ate,
” an
d th
e La
tin r
oot
feit,
mea
ning
“to
mak
e,”
help
the
rea
der
unde
rsta
nd t
hat
the
wor
d co
unte
rfei
ting
in p
arag
raph
7 m
eans
—
(7.2
A)
F cr
eatin
g a
fake
G
dest
royi
ng a
cop
y
H
prod
ucin
g an
ori
gina
l
J pr
even
ting
an im
itat
ion
3
Whi
ch s
ente
nce
fore
shad
ows
Mr. E
asto
n’s
true
iden
tity?
(7
.6 F
ig. 1
9D)
A
Am
ong
the
new
com
ers
wer
e tw
o yo
ung
men
, on
e of
han
dsom
e pr
esen
ce w
ith a
bol
d,
fran
k co
unte
nanc
e an
d m
anne
r; t
he o
ther
a r
uffle
d, g
lum
-fac
ed p
erso
n, h
eavi
ly b
uilt
and
roug
hly
dres
sed.
B
The
youn
ger
man
rou
sed
him
self
shar
ply
at t
he s
ound
of he
r vo
ice,
see
med
to
stru
ggle
w
ith a
slig
ht e
mba
rras
smen
t w
hich
he
thre
w o
ff in
stan
tly,
and
then
cla
sped
her
fin
gers
w
ith h
is le
ft h
and.
C
The
glum
-fac
ed m
an h
ad b
een
wat
chin
g th
e gi
rl’s
cou
nten
ance
with
vei
led
glan
ces
from
hi
s ke
en,
shre
wd
eyes
.
D
The
boun
d tr
avel
ers
rose
to
thei
r fe
et,
East
on w
ith t
he s
ame
slow
sm
ile o
n hi
s fa
ce.
Reading Practice ■ Fiction© Sirius Education Solutions
An
swer
Ch
oic
e Ex
pla
nat
ion
s
1
A M
oney
doe
sn’t
hav
e ac
tual
win
gs a
nd c
an’t
lite
rally
, or
real
ly, fl
y.
B
Des
crib
ing
mon
ey a
s po
sses
sing
win
gs e
mph
asiz
es t
he a
bilit
y m
oney
has
to
fly a
way
. It
does
not
em
phas
ize
the
impo
rtan
ce o
f m
oney
.
C M
oney
is b
eing
com
pare
d to
som
ethi
ng t
hat
has
win
gs, n
ot
som
ethi
ng t
hat
wei
ghs
little
.
D C
orre
ct. C
ompa
ring
mon
ey t
o so
met
hing
tha
t ha
s w
ings
ill
ustr
ates
how
mon
ey s
eem
s to
fly
away
and
dis
appe
ar.
2
F C
orre
ct. T
he d
efini
tion
com
bine
s th
e m
eani
ngs
of t
he p
refix
an
d ro
ot. D
uplic
ate
is s
ynon
ymou
s w
ith f
ake,
and
mak
e is
sy
nony
mou
s w
ith c
reat
e.
G T
he r
oot
feit
mea
ns “
to m
ake,
” no
t “t
o de
stro
y.”
H T
he p
refix
cou
nter
- m
eans
“du
plic
ate,
” no
t “o
rigin
al.”
J
The
root
fei
t m
eans
“to
mak
e,”
not
“to
prev
ent.”
3
A A
t th
is p
oint
in t
he s
tory
, the
rea
der
is n
ot s
ure
if M
r. Ea
ston
is
the
hand
som
e m
an o
r th
e gl
um-f
aced
man
.
B C
orre
ct. M
r. Ea
ston
’s “
slig
ht e
mba
rras
smen
t” o
ffer
s a
clue
tha
t he
is t
he c
rimin
al.
C
Thi
s se
nten
ce d
escr
ibes
the
mar
shal
, not
Mr.
East
on.
D
Mr.
East
on’s
“sl
ow s
mile
” do
es n
ot s
ugge
st t
hat
he is
the
cr
imin
al.
12
Teacher’s Edition Sampler
13
Re
ad
ing
Pra
ctic
e ■
Fic
tio
n
4
Whi
ch s
ente
nce
sugg
ests
tha
t M
s. F
airc
hild
adm
ires
Mr. E
asto
n?
(7.6
B)
F “W
ell,
Mr. E
asto
n, if
you
will
mak
e m
e sp
eak
first
, I
supp
ose
I m
ust.”
G
Her
lips
par
ted
in a
vag
ue,
rela
dis
tres
s.
H
“And
so
now
you
are
one
of th
ese
dash
ing
Wes
tern
her
oes,
and
you
rid
e an
d sh
oot
and
go in
to a
ll ki
nds
of d
ange
rs.”
J Th
e gi
rl’s
eye
s, f
asci
nate
d, w
ent
back
, w
iden
ing
a lit
tle,
to r
est
upon
the
glit
teri
ng
hand
cuff
s.
5
The
deta
ils in
par
agra
phs
22–2
4 he
lp t
he r
eade
r in
fer
that
—
(7.6
Fig
. 19D
)
A
Mr. E
asto
n tr
eats
cri
min
als
with
res
pect
B
the
glum
-fac
ed m
an is
the
mar
shal
C
Mr. E
asto
n w
ants
to
impr
ess
the
othe
r pa
ssen
gers
D
the
glum
-fac
ed m
an is
ver
y yo
ung
6
Whi
ch s
ente
nce
best
sum
mar
izes
the
sto
ry?
(7.6
Fig
. 19E
)
F Fr
iend
s un
expe
cted
ly m
eet
agai
n w
hile
tra
velin
g ea
st o
n a
trai
n.
G
A m
arsh
al is
reu
nite
d w
ith a
fri
end
from
his
pas
t w
hile
tra
nspo
rtin
g a
crim
inal
to
pris
on.
H
Pass
enge
rs o
n a
trai
n pr
aise
the
kin
dnes
s a
mar
shal
sho
ws
his
pris
oner
.
J A m
arsh
al s
pare
s hi
s pr
ison
er e
mba
rras
smen
t w
hen
a yo
ung
lady
gre
ets
the
pris
oner
.
Grade 7 Reading ■ Literary Texts © Sirius Education Solutions
An
swer
Ch
oic
e Ex
pla
nat
ion
s
4
F Th
is s
ente
nce
sugg
ests
Mis
s Fa
irchi
ld is
acq
uain
ted
with
Mr.
East
on, i
t do
es n
ot n
eces
saril
y su
gges
t sh
e ad
mire
s hi
m.
G
Mis
s Fa
irchi
ld’s
ges
ture
is d
escr
ibed
as
a ki
nd o
f di
stre
ss, n
ot
adm
iratio
n.
H
Cor
rect
. Mis
s Fa
irchi
ld’s
des
crip
tion
of M
r. Ea
ston
as
“das
hing
” an
d as
a h
ero
impl
ies
that
she
adm
ires
him
.
J M
iss
Fairc
hild
’s f
asci
natio
n w
ith t
he h
andc
uffs
see
ms
mor
e sh
ocke
d th
an a
dmiri
ng.
5
A M
r. Ea
ston
is t
he c
rimin
al, n
ot t
he m
arsh
al.
B
Cor
rect
. In
the
stor
y re
ader
s le
arn
that
Mr.
East
on h
as h
andc
uffs
on
his
rig
ht h
and.
Thi
s m
eans
tha
t th
e gl
um-f
aced
man
has
ha
ndcu
ffs
on h
is le
ft h
and,
so
he is
the
mar
shal
.
C T
he d
etai
ls s
ugge
st t
hat
the
pass
enge
rs a
re im
pres
sed
by t
he
mar
shal
, not
Mr.
East
on.
D
The
mar
shal
is d
escr
ibed
as
youn
g in
par
agra
phs
23 a
nd 2
4;
read
ers
do n
ot n
eed
to in
fer
his
age.
6
F Th
is s
umm
ary
does
not
incl
ude
the
key
deta
il th
at o
ne o
f th
e re
unite
d fr
iend
s is
a c
rimin
al p
rete
ndin
g to
be
a m
arsh
al. A
lso,
the
tr
ue m
arsh
al, w
ho is
als
o a
mai
n ch
arac
ter,
is n
ot d
escr
ibed
.
G M
r. Ea
ston
is r
euni
ted
with
his
frie
nd, a
nd M
r. Ea
ston
is a
cr
imin
al, n
ot a
mar
shal
.
H T
he p
asse
nger
s’ p
rais
e fo
r th
e m
arsh
al is
not
a k
ey d
etai
l.
J C
orre
ct. T
his
sent
ence
cor
rect
ly id
entifi
es a
ll of
the
mai
n ch
arac
ters
and
the
impo
rtan
t de
tails
of
the
stor
y’s
plot
.
13
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