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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

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■ 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.


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

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What are some other important qualities of character and intelligence missing in STAAR tests?

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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.


Fiction Diagnostic


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?





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.


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.


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


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.





Total / 9 Total / 9



Total / 7 Total / 7



Total / 5 Total / 5

✓✓

✓

✓✓

✓

5

Focus on skills you most need.

Fiction Post Test


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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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











(7.6B)















Answer Choices


F

G

H











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.








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



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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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 .





Total / 9 Total / 9



Total / 7 Total / 7



Total / 5 Total / 5

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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











(7.6B)












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Answer Choices


F

G

H











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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.



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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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.


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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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


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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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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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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.

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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.

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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


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


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


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


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

xing

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


9 781943 008261Printed in Texas on recycled paper.

Literary TextsFiction

Diagnostic, Skills, PracticeLiterary Nonfiction

Diagnostic, Skills, PracticePoetry

Diagnostic, Skills, PracticeDrama

Diagnostic, Skills, Practice

Informational TextsExpository

Diagnostic, Skills, PracticePersuasive

Diagnostic, Skills, Practice

Paired TextsDiagnostic, Skills, Practice

Post TestsFiction Literary NonfictionPoetryDrama Expository Persuasive Paired Passages

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