try it out! measuring up 0;

Try It Out! Sample Pack | ELA | Grade 8 | Lesson 22

Measuring Up to the NY Standards

The Try It Out! sample pack features:

• 1 full student lesson with complete Teacher Edition lesson• 1 full Table of Contents for your grade level• Correlation to your state standards

Developed to meet the rigor of the standards, Measuring Up employs support for using and applying critical thinking skills with direct standards instruction that elevate and engage student thinking.

Standards-based lessons featureintroductions that set students up for success with:

aVocabulary in Action

aRelevant real-world connections

aClearly identified learning goals

aConnections to prior learning

Guided Instruction and IndependentLearning strengthen learning with:

aDeep thinking prompts

aCollaborative learning

aSelf-evaluation

aDemonstration of problem-solving logic

aApplication of higher-order thinking

Flexible design meets the needs ofwhole- or small-group instruction.Use for:

aIntroducing standards

aReinforcement or standards review

aIntervention

aRemediation

aTest Preparation

Extend learning with online digital resources!Measuring Up Live 2.0 blends instructional print resources with online, dynamic assessment andpractice. Meet the needs of all students for standards mastery with resources that pinpoint student needs with customized practice.

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WORDS TO KNOW

central idea

supporting idea

Lesson 22ANALYZE DEVELOPMENT OF A CENTRAL IDEA RI.8.2

INTRODUCTIONReal-World Connection

NATURAL WONDERSMiles and Alex were hiking on a trail in the woods when Alex found a crystal. “Wow,” Alex said, “I can’t believe we found a crystal. Crystals are natural wonders!”

Miles was not so sure. “I thought crystals were common. What makes you think they are natural wonders?”

“Crystals are rare. You don’t fi nd them often,” Alex said, but he could not provide any additional evidence for his theory. “I must have read it somewhere,” he said.

How can Alex prove crystals are natural wonders? What facts and examples will support his theory? We will practice these skills in Guided Instruction and Independent Practice and revisit Alex and his theory about crystals at the end of the lesson.

What I Am Going to Learn● How to determine the central idea of a text

● How to analyze the development of a central idea over the course of a text

● How to analyze the relationship between the central idea and supporting ideas

What I May Already Know RI.6.2

● I know how to determine how a central idea is conveyed through particular details.

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Lesson 22 ANALYZE DEVELOPMENT OF A CENTRAL IDEA

Vocabulary in ActionAs you read, you will come across words that are used in a variety of ways.

● The central idea is the idea that the author is trying to communicate to the reader. It states both the subject of the text and the author’s opinion of the subject.

● A supporting idea develops the central idea further. These supporting ideas inspire the reader to think about the central idea from diff erent viewpoints. Supporting ideas include facts, examples, observations, expert opinions, descriptions, and comparisons that help make a point.

● You can analyze how the author uses supporting ideas to develop the central idea. Supporting ideas develop the central idea when they add to, or explain, the central idea.

● Supporting ideas can also provide evidence or examples that prove the central idea is true or accurate. That is what Alex needs to prove his theory about crystals!

GUIDED INSTRUCTION When Alex got home, he decided to research crystals. He emailed Miles about his fi ndings. Think about the diff erent ideas he uses to prove his point. Can you identify his central idea? Write it in the center bubble in the map on the next page.

From: Alex <[email protected]>

To: Miles <[email protected]>

Subject: Crystals

Hi, Miles,

I was right about crystals after all. I did some research online, and a crystal is any solid with molecules that fi t together in a repeating pattern. Do you remember that stretch of woods near Crispy’s snack shop? All those white rocks that look like petrifi ed snow are actually quartz crystals. There are so many that you probably couldn’t take two steps without kicking one.

Crystals occur naturally in many diff erent forms, but they can also be human-made. Some crystals are valuable gemstones, like rubies, diamonds, emeralds, and sapphires; others are common household items, like table salt and sugar. Some crystals are used for components in clocks and radio transmitters because they are good conductors of electricity.



ANALYZE DEVELOPMENT OF A CENTRAL IDEA Lesson 22

You can grow your own crystals at home with a little sugar, water, and string. I’m no expert on natural wonders, but I think it’s pretty safe to say that you can’t make them in your kitchen.

In his email to Miles, examine how Alex develops the central idea. To do this, you must look at the supporting ideas in the email. This bubble map illustrates how Alex uses supporting ideas to develop his central idea over the course of the text. Can you fi ll in the empty bubble with a supporting idea?

Read Miles’s reply email to Alex. Try to fi gure out the central idea.

From: Miles <[email protected]>

To: Alex <[email protected]>

Subject: RE: Crystals

Alex,

Maybe the crystal I found today is not a natural wonder exactly, but I did research too, and I found a lot of caves that are considered natural wonders because of the crystals that grow inside.

It can take hundreds and thousands of years of extreme temperatures for crystals to form in caves. Maybe you can grow simple sugar crystals at home, but they won’t be magnifi cent like the crystals that grow naturally in caves.

THINK ABOUT ITAs you read, identify a sentence that states the central idea and the sentences that state supporting ideas. Notice how the author uses supporting ideas to develop the central idea.

2. Some crystalsare rare gems;

others arecommon.

3.

1. I can fi nd many crystals

nearby.




More than 85,000 tourists a year visit the crystal caves in Bermuda to see stalactites and soda straws, which are beautiful crystals hanging from the ceilings of the cave. Another crystal cave in Pennsylvania is popular with tourists because of its glistening calcium crystals. Crystal Cave of the Giants in Mexico is the most amazing of all. The cave is so hot that tourists are only allowed to spend 15 minutes inside, and the crystals are gigantic! The expert who wrote the article said he felt like he was on another planet. I attached a link and a picture so you can check it out for yourself.

People do not travel from all over the world and pay to see ordinary rocks. They travel to see natural wonders! See you in school tomorrow.

1. Which choice best expresses the central idea of this text?

Ⓐ Crystal caves are common.

Ⓑ All crystals are natural wonders.

Ⓒ Crystal caves take thousands of years to form.

Ⓓ Crystals found in crystal caves are natural wonders.

2. Write down the fi rst supporting detail in the second paragraph of the email. Then underline a detail that helps the author make his point.

HINT, HINTAsk yourself what the author thinks about the subject, and then analyze how the author supports his opinion.




Color in the traffi c signal that shows how you are doing with the skill.

How Am I Doing?

What questions do you have?

What is a theory you have about something you have seen or heard?

What kinds of supporting ideas would you need to prove it to someone?

I am stuck.

I almost have it.

I understand

the skill.




INDEPENDENT PRACTICERead the article. Then answer the questions that follow.

Devils Tower: A Mountain of MysteryGenre: Feature Article

1 In a vivid moment from the 1977 Steven Spielberg science-fi ction fi lm Close Encounters of the Third Kind, the main character Roy, played by Richard Dreyfuss, surprises his family by creating a mountain out of mashed potatoes on the dining room table. Days earlier, he had seen a UFO. From that moment on, he is seemingly hypnotized by visions of one particular, strangely shaped mountain. For much of the movie, the mountain remains a mystery, but in the fi nal climactic scenes viewers discover that it is the site of a huge government project to make contact with aliens.

2 Spielberg’s exciting movie is fi ction. The peculiar-looking mountain, however, is quite real. It is called Devils Tower. It stands on the fringes of the Black Hills in northeastern Wyoming. While there are no actual aliens on the mountain, the movie was right about one thing: a considerable amount of mystery surrounds this strange mountain.

3 Devils Tower stands more than 900 feet above the surrounding ponderosa-pine forest. Its peak rises 5,114 feet above sea level. From the ground below, visitors can see the tall rock formation jutting through the trees. From a distance, the six-sided hexagonal columns that line its sides resemble the grooved edges of a cupcake.

4 These unusual columns gave rise to a number of Native American traditions about the tower’s origins. The Arapaho, Cheyenne, and Kiowa have their own creation stories, each a little diff erent. In general, however, all of the stories speak of a bear chasing people. Fearing for their lives, the people pray for help. In answer, the Great Spirit brings forth a mountain from the ground beneath them. The angry bear then scratches at the mountain’s sides over and over, etching deep grooves in it. Indeed, the columns do resemble scratch marks from a large animal.

5 Geologists have varying explanations for the tower’s origins, and these accounts have some points of agreement. For example, geologists agree about the age of the rock formation. They date it from the Triassic period, 225 million to 195 million years ago. Geologists also generally agree that the rock formation was formed by a fl ow of magma, or hot molten rock, pushing between other rocks. Because the surrounding rocks were softer and weaker than the magma, they wore away, or eroded, faster over time. What remains is the hardened magma.

Devils Tower on a sunny day.




6 The geometric exterior was formed as the liquid magma cooled and crystallized, becoming solid. This cooling process created long cracks called columnar joints. These joints give the tower its unique appearance.

7 This is where the agreed-upon conclusions end and the mystery begins. Geologists still do not agree on what specifi cally created the tower. One early explanation proposed that the tower is actually a natural formation called a laccolith. A laccolith occurs when magma splits the surrounding strata, or rock layers, and causes the top layer to blow up into a dome shape. The resulting formation resembles a mushroom. Over millions of years, proponents say, the mushroom center of Devils Tower was exposed as the surrounding bedrock wore away.

8 Other geologists dispute this claim. They say that if the tower were actually a laccolith, it would be much wider than it is now.

9 A second theory about the tower’s origins suggests that it is the remains of an ancient, extinct volcano. This theory argues that the magma not only pushed up through the rock but also broke through the surface. Over time, the volcano became extinct. The melted magma inside the center cooled and became a volcanic plug. This rock was much stronger than the rock surrounding it. As a result, it remained while the outer shell wore away.

10 While some scientists still accept the extinct volcano theory, others are less convinced. They note a major weakness in the theory: there is no other evidence of volcanic activity in the area. It has no traces of ash or lava fl ow.

11 A third theory suggests the magma that formed the rock was what geologists call a stock. A stock is the name for a small formation of igneous rock—magma that has cooled—below the surface. The rock cooled, and over time, it was exposed by erosion.

12 One can fi nd support for each one of these theories in textbooks and on geology websites. Perhaps geologists will eventually fi nd the hard evidence they need to solve this mystery. Until then, whether people think the tower is an ancient volcano, a laccolith, or a stock, its beauty as a natural wonder is clear and undeniable.

READING NOTES




1. What central idea do the supporting ideas develop in paragraphs 1 and 2 of the text?

Ⓐ Devils Tower is a real mountain.

Ⓑ Devils Tower is a natural formation.

Ⓒ Devils Tower is a mysterious mountain.

Ⓓ Devils Tower is capable of hypnotizing someone.

2. Which phrase best describes the kind of supporting details given in paragraph 3?

Ⓐ examples that help the reader understand the mountain’s origins

Ⓑ descriptions that help the reader picture the mountain’s strangeness

Ⓒ expert opinions that help the reader draw a conclusion about the mountain

Ⓓ comparisons that help the reader understand diff erent theories about the mountain

3. What is the central idea presented in paragraphs 3 and 4?

Ⓐ Devils Tower may be more than what it seems.

Ⓑ Devils Tower is something that can be measured.

Ⓒ Devils Tower’s unique shape inspired origin stories.

Ⓓ Devils Tower may have been shaped by wild animals.

TIPS AND TRICKSAll of these are key details, but the question asks you to pay attention to the key details in paragraph 3.




4. Which supporting idea from the text best supports the central idea presented in paragraphs 3 and 4?

Ⓐ “Devils Tower stands more than 900 feet above the surroundingponderosa-pine forest.” (paragraph 3)

Ⓑ “From a distance, the six-sided hexagonal columns that line its sides resemble the grooved edges of a cupcake.” (paragraph 3)

Ⓒ “The Arapaho, Cheyenne, and Kiowa have their own creation stories, each a little diff erent.” (paragraph 4)

Ⓓ “Indeed, the columns do resemble scratch marks from a large animal.” (paragraph 4)

5. Which statement best expresses the central idea of paragraphs 5 through 11 in the text?

Ⓐ Geologists agree about how to label Devils Tower.

Ⓑ Geologists are unsure about how Devils Tower formed.

Ⓒ Geologists are unsure about how long ago Devils Tower was created.

Ⓓ Geologists agree that Devils Tower was formed by a process of heating and cooling of rock long ago.

6. Which quotation from the text best supports the central idea of paragraphs 5 through 11?

Ⓐ “The geometric exterior was formed as the liquid magma cooled and crystallized, becoming solid.” (paragraph 6)

Ⓑ “Geologists still do not agree on what specifi cally created the tower.” (paragraph 7)

Ⓒ “Over millions of years, proponents say, the mushroom center of Devils Tower was exposed as the surrounding bedrock wore away.” (paragraph 7)

Ⓓ “While some scientists still accept the extinct volcano theory, others are less convinced.” (paragraph 10)

TIPS AND TRICKSFirst, look at paragraphs 5 through 11 to see the order in which the supporting ideas appear. Then, choose the central idea that is supported by all three supporting ideas.




7. Which statement best expresses the central idea of the entire text?

Ⓐ There is nothing truly mysterious about Devils Tower.

Ⓑ Devils Tower is a mystery that science will one day solve.

Ⓒ Devils Tower is a mystery that has inspired many explanations.

Ⓓ The beauty of Devils Tower is more important than its mysteries.

8. How does the author’s use of Close Encounters of the Third Kind in the beginning of the text support the central idea?

8.

SKETCH ITCreate a bubble map to analyze the development of a central idea. When you fi gure out the central idea, write it in the center bubble. As you read, write down each new supporting idea in a new bubble around the center bubble.




9. How does the author develop the central idea of “Devils Tower: A Mountain of Mystery” over the course of the text?

9.




EXIT TICKET

Now that you have mastered the art of analyzing the development of a central idea, let’s revisit the Real-World Connection.

Imagine you are Alex’s friend. You want to help him prove his theory that crystals are natural wonders. Look at the supporting ideas listed below. Then, complete the bubble map with three supporting ideas that best support his theory.

Supporting Ideas

1. Mexico’s Crystal Cave has some of the world’s largest gypsum crystals.

2. Ice, snow, and glaciers are some common examples of crystals.

3. Salt crystals form as salt water from the ocean evaporates.

4. Scientists discovered a rare quasicrystal inside a meteorite that fell to Earth in Russia.

5. Jeremejevite, one of the rarest gemstones in the world, sometimes occurs in clear crystal form.

RI.8.2

3.

Crystals are“natural

wonders.”

2.

1.


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ANNOTATED

TEACHER EDITION

[ ii ]

Letter to Students vi

Letter to Parents and Families vii

What You’ll See in Measuring Up to the New York P-12 Common Core Learning Standards viii

CHAPTER 1 | LANGUAGE SKILLSNY P-12 CCLS LESSONL.8.4.a, L.8.4.b 1. Use Context and Word Parts 1

L.8.5.b 2. Use Word Relationships 11

L.8.5.a 3. Interpret Figures of Speech 20

L.8.5.c 4. Distinguish Connotations with Similar Denotations 31

L.8.4.c, L.8.4.d 5. Use Reference Materials 40

W.8.1, W.8.4 6. Write Arguments 49

W.8.2, W.8.4 7. Write Informative Texts 59

W.8.3, W.8.4 8. Write Narratives 70

W.8.5, W.8.6 9. Revise and Edit 80

W.8.7, W.8.8 10. Research, Gather Information, and Cite Sources 89

Unit 1 Practice Test 101

CHAPTER 2 | WRITING SKILLS

Introduction

CONTENTS

Unit 1 LANGUAGE AND WRITING

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[ iii ]

CHAPTER 1 | KEY IDEAS AND DETAILSNY P-12 CCLS LESSONRL.8.1 11. Cite Strong Evidence from a Story 107

RL.8.2 12. Determine Theme or Central Idea 117

RL.8.2 13. Summarize a Story 128

RL.8.3 14. Analyze Elements of Stories and Dramas 138

RL.8.4 15. Determine Figurative and Connotative Meanings 148

RL.8.4 16. Analyze Analogies and Allusions 157

RL.8.5 17. Compare and Contrast Text Structures 166

RL.8.6 18. Analyze Eff ects of Points of View in Stories 180

RL.8.7 19. Analyze Filmed and Live Productions of a Text 190

RL.8.9 20. Analyze Source Works for Fiction 203


CHAPTER 2 | CRAFT AND STRUCTURE

CHAPTER 3 | INTEGRATION OF KNOWLEDGE AND IDEAS

Unit 2 LITERATURE

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[ iv ]

CHAPTER 1 | KEY IDEAS AND DETAILSNY P-12 CCLS LESSONRI.8.1 21. Cite Strong Evidence from a Text 225

RI.8.2 22. Analyze Development of a Central Idea 235

RI.8.2 23. Summarize a Text 247

RI.8.3 24. Analyze Connections and Distinctions in a Text 257

RI.8.4 25. Determine Figurative, Connotative, and Technical Meanings

267

RI.8.4 26. Analyze Impact of Word Choice 276

RI.8.5 27. Analyze the Structure of a Paragraph 284

RI.8.6 28. Determine Author’s Point of View and Purpose 293

RI.8.7 29. Evaluate Diff erent Mediums 302

RI.8.8 30. Evaluate an Argument and Claims 311

RI.8.9 31. Analyze Multiple Texts with Confl icting Information 321


CHAPTER 2 | CRAFT AND STRUCTURE

CHAPTER 3 | INTEGRATION OF KNOWLEDGE AND IDEAS

Unit 3 INFORMATIONAL TEXT

CONTENTS

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[ v ]

References

Acknowledgments 344

Correlation to the New York P-12 Common Core Learning Standards and New York Next Generation Learning Standards 345

Glossary 350

Writing Scoring Rubrics 356

Graphic Organizers 357

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[ 345 ]Correlation to the NY P-12 CCLS and NY NGLS | masteryeducation.com [ 345 ]C l i h NY P 12 CCLS d NY NGLS | d i

Correlation to the New York P-12 Common Core Learning Standards and New York Next Generation Learning Standards

This worktext is customized to the New York P-12 Common Core Learning Standards for English Language Arts, and the new 2017 New York NGLS are referenced where applicable.

New York P-12 Common Core Learning Standards Lessons 2017 NGLS

Reading Standards for Literature, Grade 8

Key Ideas and Details

RL.8.1 Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

11 8R1

RL.8.2 Determine a theme or central idea of a text and analyze its development over the course of the text, including its relationship to the characters, setting, and plot; provide an objective summary of the text.

12, 13 8R2

RL.8.3 Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects of a character, or provoke a decision.

14 8R3

Craft and Structure

RL.8.4 Determine the meaning of words and phrases as they are used in a text, including fi gurative and connotative meanings; analyze the impact of specifi c word choices on meaning and tone, including analogies or allusions to other texts.

15, 16 8R4

RL.8.5 Compare and contrast the structure of two or more texts and analyze how the diff ering structure of each text contributes to its meaning and style.

17 8R5

RL.8.6 Analyze how diff erences in the points of view of the characters and the audience or reader (e.g., created through the use of dramatic irony) create such eff ects as suspense or humor.

18 8R6

Integration of Knowledge and Ideas

RL.8.7 Analyze the extent to which a fi lmed or live production of a story or drama stays faithful to or departs from the text or script, evaluating the choices made by the director or actors.

19 8R7

RL.8.9 Analyze how a modern work of fi ction draws on themes, patterns of events, or character types from myths, traditional stories, or religious works such as the Bible, including describing how the material is rendered new.

20 8R9

Range of Reading and Level of Text Complexity

RL.8.10 By the end of the year, read and comprehend literature, including stories, dramas, and poems, at the high end of grades 6–8 text complexity band independently and profi ciently.

Embedded Unit 2

N/A

Reading Standards for Informational Text, Grade 8

Key Ideas and Details

RI.8.1 Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

21 8R1

RI.8.2 Determine a central idea of a text and analyze its development over the course of the text, including its relationship to supporting ideas; provide an objective summary of the text.

22, 23 8R2

CORRELATIONS


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CORRELATIONS

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RI.8.3 Analyze how a text makes connections among and distinctions between individuals, ideas, or events (e.g., through comparisons, analogies, or categories).

24 8R3

Craft and Structure

RI.8.4 Determine the meaning of words and phrases as they are used in a text, including fi gurative, connotative, and technical meanings; analyze the impact of specifi c word choices on meaning and tone, including analogies or allusions to other texts.

25, 26 8R4

RI.8.5 Analyze in detail the structure of a specifi c paragraph in a text, including the role of particular sentences in developing and refi ning a key concept.

27 8R5

RI.8.6 Determine an author’s point of view or purpose in a text and analyze how the author acknowledges and responds to confl icting evidence or viewpoints.

28 8R6

Integration of Knowledge and Ideas

RI.8.7 Evaluate the advantages and disadvantages of using diff erent mediums (e.g., print or digital text, video, multimedia) to present a particular topic or idea.

29 8R7

RI.8.8 Delineate and evaluate the argument and specifi c claims in a text, assessing whether the reasoning is sound and the evidence is relevant and suffi cient; recognize when irrelevant evidence is introduced.

30 8R8

RI.8.9 Analyze a case in which two or more texts provide confl icting information on the same topic and identify where the texts disagree on matters of fact or interpretation.

31 8R9

Range of Reading and Level of Text Complexity

RI.8.10 By the end of the year, read and comprehend literary nonfi ction at the high end of the grades 6–8 text complexity band independently and profi ciently.

Embedded Unit 3

N/A

Writing Standards, Grade 8

Text Types and Purposes

W.8.1 Write arguments to support claims with clear reasons and relevant evidence. 6 8W1

a. Introduce claim(s), acknowledge and distinguish the claim(s) from alternate or opposing claims, and organize the reasons and evidence logically.

6 8W1a

b. Support claim(s) with logical reasoning and relevant evidence, using accurate, credible sources and demonstrating an understanding of the topic or text.

6 8W1b

c. Use words, phrases, and clauses to create cohesion and clarify the relationships among claim(s), counterclaims, reasons, and evidence.

6 8W1c

d. Establish and maintain a formal style. 6 8W1f

e. Provide a concluding statement or section that follows from and supports the argument presented.

6 8W1e

W.8.2 Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.

7 8W2




a. Introduce a topic clearly, previewing what is to follow; organize ideas, concepts, and information into broader categories; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.

7 8W2a

b. Develop the topic with relevant, well-chosen facts, defi nitions, concrete details, quotations, or other information and examples.

7 8W2b

c. Use appropriate and varied transitions to create cohesion and clarify the relationships among ideas and concepts.

7 8W2d

d. Use precise language and domain-specifi c vocabulary to inform about or explain the topic. 7 8W2c

e. Establish and maintain a formal style. 7 8W2f

f. Provide a concluding statement or section that follows from and supports the information or explanation presented.

7 8W2e

W.8.3 Write narratives to develop real or imagined experiences or events using eff ective technique, relevant descriptive details, and well-structured event sequences.

8 8W3

a. Engage and orient the reader by establishing a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

8 8W3a

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

8 8W3b

c. Use a variety of transition words, phrases, and clauses to convey sequence, signal shifts from one time frame or setting to another, and show the relationships among experiences and events.

8 8W3c

d. Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

8 8W3d

e. Provide a conclusion that follows from and refl ects on the narrated experiences or events. 8 8W3e

Production and Distribution of Writing

W.8.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

6–8 N/A

W.8.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed.

9 N/A

W.8.6 Use technology, including the Internet, to produce and publish writing and present the relationships between information and ideas effi ciently as well as to interact and collaborate with others.

9 N/A

Research to Build and Present Knowledge

W.8.7 Conduct short research projects to answer a question (including a self-generated question), drawing on several sources and generating additional related, focused questions that allow for multiple avenues of exploration.

10 8W6


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CORRELATIONS

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W.8.8 Gather relevant information from multiple print and digital sources, using search terms eff ectively; assess the credibility and accuracy of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and following a standard format for citation.

10 8W7

W.8.9 Draw evidence from literary or informational texts to support analysis, refl ection, and research. Embedded Units 2 and 3

8W5

a. Apply grade 8 Reading standards to literature (e.g., “Analyze how a modern work of fi ction draws on themes, patterns of events, or character types from myths, traditional stories, or religious works such as the Bible, including describing how the material is rendered new”).

Embedded Unit 2

8W5

b. Apply grade 8 Reading standards to literary nonfi ction (e.g., “Delineate and evaluate the argument and specifi c claims in a text, assessing whether the reasoning is sound and the evidence is relevant and suffi cient; recognize when irrelevant evidence is introduced”).

Embedded Unit 3

8W5

Range of Writing

W.8.10 Write routinely over extended time frames (time for research, refl ection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specifi c tasks, purposes, and audiences.

Embedded Lessons 6–10

N/A

Range of Writing

W.8.11 Create a presentation, art work, or text in response to a literary work with a commentary that identifi es connections and explains divergences from the original.

Embedded Units 2 and 3

8W4

a. Make well-supported personal, cultural, textual, and thematic connections across genres. Embedded Units 2 and 3

8W4

b. Create poetry, stories, plays, and other literary forms (e.g. videos, art work). Embedded Units 2 and 3

8W4

Language Standards, Grade 8

Conventions of Standard English

L.8.1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

Embedded Unit 1

8L1

L.8.2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

Embedded Unit 1

8L2

Knowledge of Language

L.8.3 Use knowledge of language and its conventions when writing, speaking, reading, or listening. Embedded Unit 1

8L3

Vocabulary Acquisition and Use

L.8.4 Determine or clarify the meaning of unknown and multiple-meaning words or phrases based on grade 8 reading and content, choosing fl exibly from a range of strategies.

1, 5 8L4

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

1 8L4a




b. Use common, grade-appropriate Greek or Latin affi xes and roots as clues to the meaning of a word (e.g., precede, recede, secede).

1 8L4b

c. Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to fi nd the pronunciation of a word or determine or clarify its precise meaning or its part of speech.

5 8L4c

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

5 8L4d

L.8.5 Demonstrate understanding of fi gurative language, word relationships, and nuances in word meanings.

2–4 8L5

a. Interpret fi gures of speech (e.g. verbal irony, puns) in context. 3 8L5a

b. Use the relationship between particular words to better understand each of the words. 2 8L5b

c. Distinguish among the connotations (associations) of words with similar denotations (defi nitions) (e.g., bullheaded, willful, fi rm, persistent, resolute).

4 8L5c

L.8.6 Acquire and use accurately grade-appropriate general academic and domain-specifi c words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Embedded Lessons 1–5

8L6



[ 235

]U

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rmat

iona

l Tex

t |

mas

tery

educ

atio

n.co

mC

opyi

ng is

pro

hibi

ted.

WO

RD

S TO

KN

OW

cent

ral i

dea

supp

ortin

g id

ea

Less

on 2

2A

NA

LYZ

E D

EVEL

OPM

ENT

OF

A

CEN

TR

AL

IDEA

RI.8

.2

INTR

OD

UCT

ION

Rea

l-W

orld

Con

nec

tion

NA

TU

RA

L W

ON

DER

SM

iles

and

Ale

x w

ere

hiki

ng o

n a

trai

l in

the

woo

ds w

hen

Ale

x fo

und

a cr

ysta

l. “W

ow,”

Ale

x sa

id, “

I can

’t be

lieve

we

foun

d a

crys

tal.

Cry

stal

s ar

e na

tura

l w

onde

rs!”

Mile

s w

as n

ot s

o su

re. “

I tho

ught

cry

stal

s w

ere

com

mon

. Wha

t mak

es y

ou

thin

k th

ey a

re n

atur

al w

onde

rs?”

“Cry

stal

s ar

e ra

re. Y

ou d

on’t

fi nd

them

ofte

n,”

Ale

x sa

id, b

ut h

e co

uld

not p

rovi

de a

ny a

dditi

onal

evi

denc

e fo

r hi

s th

eory

. “I m

ust h

ave

read

it

som

ewhe

re,”

he

said

.

How

can

Ale

x pr

ove

crys

tals

are

nat

ural

won

ders

? Wha

t fac

ts a

nd e

xam

ples

w

ill s

uppo

rt h

is th

eory

? We

will

pra

ctic

e th

ese

skill

s in

Gui

ded

Inst

ruct

ion

and

Inde

pend

ent

Prac

tice

and

revi

sit A

lex

and

his

theo

ry a

bout

cry

stal

s at

the

end

of th

e le

sson

.

Wh

at I

Am

Goi

ng

to L

earn

● H

ow to

det

erm

ine

the

cent

ral i

dea

of a

text

● H

ow to

ana

lyze

the

deve

lopm

ent o

f a

cent

ral i

dea

over

the

cour

se o

f a

text

● H

ow to

ana

lyze

the

rela

tions

hip

betw

een

the

cent

ral i

dea

and

supp

ortin

g id

eas

Wh

at I

May

Alr

eady

Kn

ow RI

.6.2

● I k

now

how

to d

eter

min

e ho

w a

cen

tral

idea

is c

onve

yed

thro

ugh

part

icul

ar d

etai

ls.

9781609796839_MUSS_ELA_NY8_TE.indb 1529781609796839_MUSS_ELA_NY8_TE.indb 152 8/22/2018 12:24:37 PM8/22/2018 12:24:37 PM


[ 237

]U

nit

3 |

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rmat

iona

l Tex

t |

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educ

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n.co

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hibi

ted.

AN

ALY

ZE

DEV

ELO

PMEN

T O

F A

CEN

TR

AL

IDEA

Le

sson

22

You

can

grow

you

r ow

n cr

ysta

ls a

t hom

e w

ith a

litt

le s

ugar

, wat

er, a

nd s

trin

g.

I’m n

o ex

pert

on

natu

ral w

onde

rs, b

ut I

thin

k it’

s pr

etty

saf

e to

say

that

you

ca

n’t m

ake

them

in y

our

kitc

hen.

[Rea

ding

Lev

el: 1

000–

1100

L; W

ord

Cou

nt: 1

56]

In h

is e

mai

l to

Mile

s, e

xam

ine

how

Ale

x de

velo

ps th

e ce

ntra

l ide

a. T

o do

this,

yo

u m

ust l

ook

at th

e su

ppor

ting

idea

s in

the

emai

l. T

his

bubb

le m

ap il

lust

rate

s ho

w A

lex

uses

sup

port

ing

idea

s to

dev

elop

his

cen

tral

idea

ove

r th

e co

urse

of

the

text

. Can

you

fi ll

in th

e em

pty

bubb

le w

ith a

sup

port

ing

idea

?

Rea

d M

iles’s

rep

ly e

mai

l to

Ale

x. T

ry to

fi gu

re o

ut th

e ce

ntra

l ide

a.

Fr

om: M

iles

<m

ilest

hem

an@

bmai

l.com

>

To: A

lex

<al

ejan

dro1

234@

bmai

l.com

>

Subj

ect:

RE:

Cry

stal

s

Ale

x,

May

be th

e cr

ysta

l I fo

und

toda

y is

not

a n

atur

al w

onde

r ex

actly

, but

I di

d re

sear

ch to

o, a

nd I

foun

d a

lot o

f ca

ves

that

are

con

side

red

natu

ral w

onde

rs

beca

use

of th

e cr

ysta

ls th

at g

row

insi

de.

It ca

n ta

ke h

undr

eds

and

thou

sand

s of

yea

rs o

f ex

trem

e te

mpe

ratu

res

for

crys

tals

to fo

rm in

cav

es. M

aybe

you

can

gro

w s

impl

e su

gar

crys

tals

at h

ome,

bu

t the

y w

on’t

be m

agni

fi cen

t lik

e th

e cr

ysta

ls th

at g

row

nat

ural

ly in

cav

es.

TH

INK

ABO

UT

ITA

s yo

u re

ad, i

dent

ify a

sen

tenc

e th

at s

tate

s th

e ce

ntra

l ide

a an

d th

e se

nten

ces

that

sta

te s

uppo

rtin

g id

eas.

Not

ice

how

the

aut

hor

uses

su

ppor

ting

idea

s to

dev

elop

the

ce

ntra

l ide

a.

2. S

ome

crys

tals

are

rare

gem

s;ot

hers

are

com

mon

.3.

Peo

ple

can

mak

e cr

ysta

lsea

sily.

1. I

can

fi nd

man

y cr

ysta

lsne

arby

.

Cry

stal

s ar

eno

t“n

atur

alw

onde

rs.”

[ 236

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

HC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

A

NA

LYZ

E D

EVEL

OPM

ENT

OF

A C

ENT

RA

L ID

EA

Voc

abu

lary

in A

ctio

nA

s yo

u re

ad, y

ou w

ill c

ome

acro

ss w

ords

that

are

use

d in

a v

arie

ty o

f w

ays.

● T

he c

entr

al id

ea is

the

idea

that

the

auth

or is

tryi

ng to

com

mun

icat

e to

the

read

er. I

t sta

tes

both

the

subj

ect o

f th

e te

xt a

nd th

e au

thor

’s

opin

ion

of th

e su

bjec

t.

● A

sup

port

ing

idea

dev

elop

s th

e ce

ntra

l ide

a fu

rthe

r. T

hese

sup

port

ing

idea

s in

spire

the

read

er to

thin

k ab

out t

he c

entr

al id

ea fr

om d

iff er

ent

view

poin

ts. S

uppo

rtin

g id

eas

incl

ude

fact

s, e

xam

ples

, obs

erva

tions

, ex

pert

opi

nion

s, d

escr

iptio

ns, a

nd c

ompa

rison

s th

at h

elp

mak

e a

poin

t.

● Yo

u ca

n an

alyz

e ho

w th

e au

thor

use

s su

ppor

ting

idea

s to

dev

elop

th

e ce

ntra

l ide

a. S

uppo

rtin

g id

eas

deve

lop

the

cent

ral i

dea

whe

n th

ey a

dd to

, or

expl

ain,

the

cent

ral i

dea.

● Su

ppor

ting

idea

s ca

n al

so p

rovi

de e

vide

nce

or e

xam

ples

that

pro

ve

the

cent

ral i

dea

is tr

ue o

r ac

cura

te. T

hat i

s w

hat A

lex

need

s to

pr

ove

his

theo

ry a

bout

cry

stal

s!

GU

IDED

INST

RUCT

ION

W

hen

Ale

x go

t hom

e, h

e de

cide

d to

res

earc

h cr

ysta

ls. H

e em

aile

d M

iles

abou

t his

fi nd

ings

. Thi

nk a

bout

the

diff e

rent

idea

s he

use

s to

pro

ve h

is p

oint

. C

an y

ou id

entif

y hi

s ce

ntra

l ide

a? W

rite

it in

the

cent

er b

ubbl

e in

the

map

on

the

next

pag

e.

Fr

om: A

lex

<al

ejan

dro1

234@

bmai

l.com

>

To: M

iles

<m

ilest

hem

an@

bmai

l.com

>

Subj

ect:

Cry

stal

s

Hi,

Mile

s,

I was

rig

ht a

bout

cry

stal

s af

ter

all.

I did

som

e re

sear

ch o

nlin

e, a

nd a

cry

stal

is

any

sol

id w

ith m

olec

ules

that

fi t t

oget

her

in a

rep

eatin

g pa

tter

n. D

o yo

u re

mem

ber

that

str

etch

of

woo

ds n

ear

Cris

py’s

sna

ck s

hop?

All

thos

e w

hite

ro

cks

that

look

like

pet

rifi e

d sn

ow a

re a

ctua

lly q

uart

z cr

ysta

ls. T

here

are

so

man

y th

at y

ou p

roba

bly

coul

dn’t

take

two

step

s w

ithou

t kic

king

one

.

Cry

stal

s oc

cur

natu

rally

in m

any

diff e

rent

form

s, b

ut th

ey c

an a

lso

be h

uman

-m

ade.

Som

e cr

ysta

ls a

re v

alua

ble

gem

ston

es, l

ike

rubi

es, d

iam

onds

, em

eral

ds,

and

sapp

hire

s; o

ther

s ar

e co

mm

on h

ouse

hold

item

s, li

ke ta

ble

salt

and

suga

r. So

me

crys

tals

are

use

d fo

r co

mpo

nent

s in

clo

cks

and

radi

o tr

ansm

itter

s be

caus

e th

ey a

re g

ood

cond

ucto

rs o

f el

ectr

icity

.



[ 239

]U

nit

3 |

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rmat

iona

l Tex

t |

mas

tery

educ

atio

n.co

mC

opyi

ng is

pro

hibi

ted.

AN

ALY

ZE

DEV

ELO

PMEN

T O

F A

CEN

TR

AL

IDEA

Le

sson

22

Col

or in

the

tra

ffi c

sign

al

that

sho

ws

how

you

are

do

ing

with

the

ski

ll.

How

Am

I D

oing

?

Wha

t qu

estio

ns d

o yo

u ha

ve?

Wha

t is

a t

heor

y yo

u ha

ve a

bout

som

ethi

ng y

ou h

ave

seen

or

hear

d?

Wha

t ki

nds

of s

uppo

rtin

g id

eas

wou

ld y

ou n

eed

to p

rove

it t

o so

meo

ne?

I am

stu

ck.

I alm

ost

have

it.

I un

ders

tand

th

e sk

ill.

[ 238

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

HC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

A

NA

LYZ

E D

EVEL

OPM

ENT

OF

A C

ENT

RA

L ID

EA

Mor

e th

an 8

5,00

0 to

uris

ts a

yea

r vi

sit t

he c

ryst

al c

aves

in B

erm

uda

to s

ee

stal

actit

es a

nd s

oda

stra

ws,

whi

ch a

re b

eaut

iful c

ryst

als

hang

ing

from

the

ceili

ngs

of th

e ca

ve. A

noth

er c

ryst

al c

ave

in P

enns

ylva

nia

is p

opul

ar w

ith

tour

ists

bec

ause

of

its g

liste

ning

cal

cium

cry

stal

s. C

ryst

al C

ave

of th

e G

iant

s in

Mex

ico

is th

e m

ost a

maz

ing

of a

ll. T

he c

ave

is s

o ho

t tha

t tou

rists

are

onl

y al

low

ed to

spe

nd 1

5 m

inut

es in

side

, and

the

crys

tals

are

gig

antic

! The

exp

ert

who

wro

te th

e ar

ticle

sai

d he

felt

like

he w

as o

n an

othe

r pl

anet

. I a

ttac

hed

a lin

k an

d a

pict

ure

so y

ou c

an c

heck

it o

ut fo

r yo

urse

lf.

Peop

le d

o no

t tra

vel f

rom

all

over

the

wor

ld a

nd p

ay to

see

ord

inar

y ro

cks.

T

hey

trav

el to

see

nat

ural

won

ders

! See

you

in s

choo

l tom

orro

w.

[Rea

ding

Lev

el: 1

000–

1100

L; W

ord

Cou

nt: 2

09]

1.

Whi

ch c

hoic

e be

st e

xpre

sses

the

cen

tral

idea

of t

his

text

?

Ⓐ

Cry

stal

cav

es a

re c

omm

on.

Ⓑ

All

crys

tals

are

nat

ural

won

ders

.

Ⓒ

Cry

stal

cav

es ta

ke th

ousa

nds

of y

ears

to fo

rm.

Ⓓ

Cry

stal

s fo

und

in c

ryst

al c

aves

are

nat

ural

won

ders

.

2.

Wri

te d

own

the

fi rst

sup

port

ing

deta

il in

the

sec

ond

para

grap

h of

the

em

ail.

The

n un

derl

ine

a de

tail

that

hel

ps t

he a

utho

r m

ake

his

poin

t.

Sam

ple

resp

onse

: Som

e cr

ysta

ls fo

rm n

atur

ally

unde

r ext

rem

e co

nditi

ons

over

long

per

iods

of t

ime.

Ⓓ

HIN

T, H

INT

Ask

you

rsel

f wha

t the

aut

hor

thin

ks a

bout

the

sub

ject

, and

the

n an

alyz

e ho

w t

he a

utho

r su

ppor

ts

his

opin

ion.



[ 241

]U

nit

3 |

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rmat

iona

l Tex

t |

mas

tery

educ

atio

n.co

mC

opyi

ng is

pro

hibi

ted.

AN

ALY

ZE

DEV

ELO

PMEN

T O

F A

CEN

TR

AL

IDEA

Le

sson

22

6

The

geo

met

ric e

xter

ior

was

form

ed a

s th

e liq

uid

mag

ma

cool

ed a

nd

crys

talli

zed,

bec

omin

g so

lid. T

his

cool

ing

proc

ess

crea

ted

long

cra

cks

calle

d co

lum

nar

join

ts. T

hese

join

ts g

ive

the

tow

er it

s un

ique

app

eara

nce.

7

Thi

s is

whe

re th

e ag

reed

-upo

n co

nclu

sion

s en

d an

d th

e m

yste

ry

begi

ns. G

eolo

gist

s st

ill d

o no

t agr

ee o

n w

hat s

peci

fi cal

ly c

reat

ed th

e to

wer

. One

ear

ly e

xpla

natio

n pr

opos

ed th

at th

e to

wer

is a

ctua

lly a

na

tura

l for

mat

ion

calle

d a

lacc

olith.

A la

ccol

ith o

ccur

s w

hen

mag

ma

split

s th

e su

rrou

ndin

g st

rata

, or

rock

laye

rs, a

nd c

ause

s th

e to

p la

yer

to b

low

up

into

a d

ome

shap

e. T

he r

esul

ting

form

atio

n re

sem

bles

a m

ushr

oom

. O

ver

mill

ions

of

year

s, p

ropo

nent

s sa

y, th

e m

ushr

oom

cen

ter

of D

evils

To

wer

was

exp

osed

as

the

surr

ound

ing

bedr

ock

wor

e aw

ay.

8

Oth

er g

eolo

gist

s di

sput

e th

is c

laim

. The

y sa

y th

at if

the

tow

er w

ere

actu

ally

a la

ccol

ith, i

t wou

ld b

e m

uch

wid

er th

an it

is n

ow.

9

A s

econ

d th

eory

abo

ut th

e to

wer

’s o

rigin

s su

gges

ts th

at it

is th

e re

mai

ns o

f an

anc

ient

, ext

inct

vol

cano

. Thi

s th

eory

arg

ues

that

the

mag

ma

not o

nly

push

ed u

p th

roug

h th

e ro

ck b

ut a

lso

brok

e th

roug

h th

e su

rfac

e. O

ver

time,

the

volc

ano

beca

me

extin

ct. T

he m

elte

d m

agm

a in

side

the

cent

er c

oole

d an

d be

cam

e a

volc

anic

plu

g. T

his

rock

was

muc

h st

rong

er th

an th

e ro

ck s

urro

undi

ng it

. As

a re

sult,

it r

emai

ned

whi

le th

e ou

ter

shel

l wor

e aw

ay.

10

W

hile

som

e sc

ient

ists

stil

l acc

ept t

he e

xtin

ct v

olca

no th

eory

, oth

ers

are

less

con

vinc

ed. T

hey

note

a m

ajor

wea

knes

s in

the

theo

ry: t

here

is

no o

ther

evi

denc

e of

vol

cani

c ac

tivity

in th

e ar

ea. I

t has

no

trac

es o

f as

h or

lava

fl ow

.

11

A

third

theo

ry s

ugge

sts

the

mag

ma

that

form

ed th

e ro

ck w

as w

hat

geol

ogis

ts c

all a

sto

ck. A

sto

ck is

the

nam

e fo

r a

smal

l for

mat

ion

of

igne

ous

rock

—m

agm

a th

at h

as c

oole

d—be

low

the

surf

ace.

The

roc

k co

oled

, and

ove

r tim

e, it

was

exp

osed

by

eros

ion.

12

O

ne c

an fi

nd s

uppo

rt fo

r ea

ch o

ne o

f th

ese

theo

ries

in te

xtbo

oks

and

on g

eolo

gy w

ebsi

tes.

Per

haps

geo

logi

sts

will

eve

ntua

lly fi

nd th

e ha

rd

evid

ence

they

nee

d to

sol

ve th

is m

yste

ry. U

ntil

then

, whe

ther

peo

ple

thin

k th

e to

wer

is a

n an

cien

t vol

cano

, a la

ccol

ith, o

r a

stoc

k, it

s be

auty

as

a na

tura

l won

der

is c

lear

and

und

enia

ble.

[Rea

ding

Lev

el: 9

00–1

000L

; Wor

d C

ount

: 748

]

REA

DIN

G N

OT

ES

[ 240

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

HC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

A

NA

LYZ

E D

EVEL

OPM

ENT

OF

A C

ENT

RA

L ID

EA

IND

EPEN

DEN

T PR

ACTI

CER

ead

the

artic

le. T

hen

answ

er th

e qu

estio

ns th

at fo

llow

.

Dev

ils T

ower

: A M

ount

ain

of M

yste

ryG

enre

: Fea

ture

Art

icle

1

In a

viv

id m

omen

t fro

m th

e 19

77 S

teve

n Sp

ielb

erg

scie

nce-

fi ctio

n fi l

m C

lose

Enc

ount

ers

of t

he T

hird

Kin

d, t

he m

ain

char

acte

r R

oy, p

laye

d by

Ric

hard

Dre

yfus

s, s

urpr

ises

his

fam

ily b

y cr

eatin

g a

mou

ntai

n ou

t of

mas

hed

pota

toes

on

the

dini

ng r

oom

tabl

e. D

ays

earli

er, h

e ha

d se

en a

U

FO. F

rom

that

mom

ent o

n, h

e is

see

min

gly

hypn

otiz

ed b

y vi

sion

s of

on

e pa

rtic

ular

, str

ange

ly s

hape

d m

ount

ain.

For

muc

h of

the

mov

ie, t

he

mou

ntai

n re

mai

ns a

mys

tery

, but

in th

e fi n

al c

limac

tic s

cene

s vi

ewer

s di

scov

er th

at it

is th

e si

te o

f a

huge

gov

ernm

ent p

roje

ct to

mak

e co

ntac

t w

ith a

liens

.

2

Spie

lber

g’s

exci

ting

mov

ie is

fi ct

ion.

The

pec

ulia

r-lo

okin

g m

ount

ain,

ho

wev

er, i

s qu

ite r

eal.

It is

cal

led

Dev

ils T

ower

. It

stan

ds o

n th

e fr

inge

s of

th

e Bl

ack

Hill

s in

nor

thea

ster

n W

yom

ing.

Whi

le t

here

are

no

actu

al a

liens

on

the

mou

ntai

n, t

he m

ovie

was

rig

ht a

bout

one

thi

ng: a

con

side

rabl

e am

ount

of

mys

tery

sur

roun

ds t

his

stra

nge

mou

ntai

n.

3

Dev

ils T

ower

sta

nds

mor

e th

an 9

00 fe

et a

bove

the

surr

ound

ing

pond

eros

a-pi

ne fo

rest

. Its

pea

k ris

es 5

,114

feet

abo

ve s

ea le

vel.

From

th

e gr

ound

bel

ow, v

isito

rs c

an s

ee th

e ta

ll ro

ck fo

rmat

ion

jutt

ing

thro

ugh

the

tree

s. F

rom

a d

ista

nce,

the

six-

side

d he

xago

nal c

olum

ns th

at li

ne it

s si

des

rese

mbl

e th

e gr

oove

d ed

ges

of a

cup

cake

.

4

The

se u

nusu

al c

olum

ns g

ave

rise

to a

num

ber

of N

ativ

e A

mer

ican

tr

aditi

ons

abou

t the

tow

er’s

orig

ins.

The

Ara

paho

, Che

yenn

e, a

nd

Kio

wa

have

thei

r ow

n cr

eatio

n st

orie

s, e

ach

a lit

tle d

iff er

ent.

In g

ener

al,

how

ever

, all

of th

e st

orie

s sp

eak

of a

bea

r ch

asin

g pe

ople

. Fea

ring

for

thei

r liv

es, t

he p

eopl

e pr

ay fo

r he

lp. I

n an

swer

, the

Gre

at S

pirit

brin

gs

fort

h a

mou

ntai

n fr

om th

e gr

ound

ben

eath

them

. The

ang

ry b

ear

then

sc

ratc

hes

at th

e m

ount

ain’

s si

des

over

and

ove

r, et

chin

g de

ep g

roov

es in

it.

Inde

ed, t

he c

olum

ns d

o re

sem

ble

scra

tch

mar

ks fr

om a

larg

e an

imal

.

5

Geo

logi

sts

have

var

ying

exp

lana

tions

for

the

tow

er’s

ori

gins

, and

the

se

acco

unts

hav

e so

me

poin

ts o

f ag

reem

ent.

For

exa

mpl

e, g

eolo

gist

s ag

ree

abou

t th

e ag

e of

the

roc

k fo

rmat

ion.

The

y da

te it

from

the

Tri

assi

c pe

riod

, 22

5 m

illio

n to

195

mill

ion

year

s ag

o. G

eolo

gist

s al

so g

ener

ally

agr

ee t

hat

the

rock

form

atio

n w

as fo

rmed

by

a fl o

w o

f m

agm

a, o

r ho

t m

olte

n ro

ck,

push

ing

betw

een

othe

r ro

cks.

Bec

ause

the

sur

roun

ding

roc

ks w

ere

soft

er

and

wea

ker

than

the

mag

ma,

the

y w

ore

away

, or

erod

ed, f

aste

r ov

er t

ime.

W

hat

rem

ains

is t

he h

arde

ned

mag

ma.

Dev

ils T

ower

on

a su

nny

day.



[ 243

]U

nit

3 |

Info

rmat

iona

l Tex

t |

mas

tery

educ

atio

n.co

mC

opyi

ng is

pro

hibi

ted.

AN

ALY

ZE

DEV

ELO

PMEN

T O

F A

CEN

TR

AL

IDEA

Le

sson

22

4. W

hich

sup

port

ing

idea

from

the

tex

t be

st s

uppo

rts

the

cent

ral i

dea

pres

ente

d in

par

agra

phs

3 an

d 4?

Ⓐ

“Dev

ils T

ower

sta

nds

mor

e th

an 9

00 fe

et a

bove

the

surr

ound

ing

pond

eros

a-pi

ne fo

rest

.” (

para

grap

h 3)

Ⓑ

“Fro

m a

dis

tanc

e, th

e si

x-si

ded

hexa

gona

l col

umns

that

line

its

side

s re

sem

ble

the

groo

ved

edge

s of

a c

upca

ke.”

(pa

ragr

aph

3)

Ⓒ

“The

Ara

paho

, Che

yenn

e, a

nd K

iow

a ha

ve th

eir

own

crea

tion

stor

ies,

eac

h a

little

diff

eren

t.” (

para

grap

h 4)

Ⓓ

“Ind

eed,

the

colu

mns

do

rese

mbl

e sc

ratc

h m

arks

from

a la

rge

anim

al.”

(pa

ragr

aph

4)

5. W

hich

sta

tem

ent

best

exp

ress

es t

he c

entr

al id

ea o

f par

agra

phs

5 th

roug

h 11

in t

he t

ext?

Ⓐ

Geo

logi

sts

agre

e ab

out h

ow to

labe

l Dev

ils T

ower

.

Ⓑ

Geo

logi

sts

are

unsu

re a

bout

how

Dev

ils T

ower

form

ed.

Ⓒ

Geo

logi

sts

are

unsu

re a

bout

how

long

ago

Dev

ils T

ower

was

cre

ated

.

Ⓓ

Geo

logi

sts

agre

e th

at D

evils

Tow

er w

as fo

rmed

by

a pr

oces

s of

he

atin

g an

d co

olin

g of

roc

k lo

ng a

go.

6. W

hich

quo

tatio

n fr

om t

he t

ext

best

sup

port

s th

e ce

ntra

l ide

a of

pa

ragr

aphs

5 t

hrou

gh 1

1?

Ⓐ

“The

geo

met

ric e

xter

ior

was

form

ed a

s th

e liq

uid

mag

ma

cool

ed

and

crys

talli

zed,

bec

omin

g so

lid.”

(pa

ragr

aph

6)

Ⓑ

“Geo

logi

sts

still

do

not a

gree

on

wha

t spe

cifi c

ally

cre

ated

the

tow

er.”

(pa

ragr

aph

7)

Ⓒ

“Ove

r m

illio

ns o

f ye

ars,

pro

pone

nts

say,

the

mus

hroo

m c

ente

r of

D

evils

Tow

er w

as e

xpos

ed a

s th

e su

rrou

ndin

g be

droc

k w

ore

away

.”

(par

agra

ph 7

)

Ⓓ

“Whi

le s

ome

scie

ntis

ts s

till a

ccep

t the

ext

inct

vol

cano

theo

ry,

othe

rs a

re le

ss c

onvi

nced

.” (

para

grap

h 10

)

Ⓒ

Ⓑ

Ⓑ

TIP

S A

ND

TR

ICK

SFi

rst,

look

at p

arag

raph

s 5

thro

ugh

11 t

o se

e th

e or

der

in w

hich

the

su

ppor

ting

idea

s ap

pear

. The

n,

choo

se t

he c

entr

al id

ea t

hat i

s su

ppor

ted

by a

ll th

ree

supp

ortin

g id

eas.

[ 242

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

HC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

A

NA

LYZ

E D

EVEL

OPM

ENT

OF

A C

ENT

RA

L ID

EA

1. W

hat

cent

ral i

dea

do t

he s

uppo

rtin

g id

eas

deve

lop

in p

arag

raph

s 1

and

2 of

the

tex

t?

Ⓐ

Dev

ils T

ower

is a

rea

l mou

ntai

n.

Ⓑ

Dev

ils T

ower

is a

nat

ural

form

atio

n.

Ⓒ

Dev

ils T

ower

is a

mys

terio

us m

ount

ain.

Ⓓ

Dev

ils T

ower

is c

apab

le o

f hy

pnot

izin

g so

meo

ne.

2. W

hich

phr

ase

best

des

crib

es t

he k

ind

of s

uppo

rtin

g de

tails

giv

en in

pa

ragr

aph

3?

Ⓐ

exam

ples

that

hel

p th

e re

ader

und

erst

and

the

mou

ntai

n’s

orig

ins

Ⓑ

desc

riptio

ns th

at h

elp

the

read

er p

ictu

re th

e m

ount

ain’

s st

rang

enes

s

Ⓒ

expe

rt o

pini

ons

that

hel

p th

e re

ader

dra

w a

con

clus

ion

abou

t the

m

ount

ain

Ⓓ

com

paris

ons

that

hel

p th

e re

ader

und

erst

and

diff e

rent

theo

ries

abou

t the

mou

ntai

n

3. W

hat

is t

he c

entr

al id

ea p

rese

nted

in p

arag

raph

s 3

and

4?

Ⓐ

Dev

ils T

ower

may

be

mor

e th

an w

hat i

t see

ms.

Ⓑ

Dev

ils T

ower

is s

omet

hing

that

can

be

mea

sure

d.

Ⓒ

Dev

ils T

ower

’s u

niqu

e sh

ape

insp

ired

orig

in s

torie

s.

Ⓓ

Dev

ils T

ower

may

hav

e be

en s

hape

d by

wild

ani

mal

s.

Ⓒ

Ⓑ

Ⓒ

TIP

S A

ND

TR

ICK

SA

ll of

the

se a

re k

ey d

etai

ls, b

ut t

he

ques

tion

asks

you

to

pay

atte

ntio

n to

the

key

det

ails

in p

arag

raph

3.



[ 245

]U

nit

3 |

Info

rmat

iona

l Tex

t |

mas

tery

educ

atio

n.co

mC

opyi

ng is

pro

hibi

ted.

AN

ALY

ZE

DEV

ELO

PMEN

T O

F A

CEN

TR

AL

IDEA

Le

sson

22

9.

How

doe

s th

e au

thor

dev

elop

the

cen

tral

idea

of “

Dev

ils T

ower

: A

Mou

ntai

n of

Mys

tery

” ov

er t

he c

ours

e of

the

tex

t?

Sam

ple

resp

onse

: The

aut

hor u

ses

diffe

rent

kin

dsof

sup

porti

ng id

eas

to d

evel

op th

e ce

ntra

l ide

a of

the

artic

le: D

evils

Tow

er is

a m

yste

ry th

at h

asin

spire

d m

any

expl

anat

ions

. In

para

grap

h 4,

the

auth

or g

ives

exa

mpl

es o

f Ara

paho

, Che

yenn

e, a

ndK

iow

a cr

eatio

n st

orie

s. In

par

agra

phs

5 th

roug

h 11

,th

e au

thor

cite

s ex

pert

opin

ions

from

geo

logi

sts.

Thes

e id

eas

supp

ort t

he c

entra

l ide

a be

caus

e th

eysh

ow th

at d

iffer

ent g

roup

s of

Nat

ive

Am

eric

ans

tell

sim

ilar c

reat

ion

stor

ies

abou

t Dev

ils T

ower

, and

vario

us g

eolo

gist

s ha

ve p

ropo

sed

alte

rnat

ive

expl

anat

ions

abo

ut it

s fo

rmat

ion.

9.

[ 244

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

HC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

A

NA

LYZ

E D

EVEL

OPM

ENT

OF

A C

ENT

RA

L ID

EA

7. W

hich

sta

tem

ent

best

exp

ress

es t

he c

entr

al id

ea o

f the

ent

ire t

ext?

Ⓐ

The

re is

not

hing

trul

y m

yste

rious

abo

ut D

evils

Tow

er.

Ⓑ

Dev

ils T

ower

is a

mys

tery

that

sci

ence

will

one

day

sol

ve.

Ⓒ

Dev

ils T

ower

is a

mys

tery

that

has

insp

ired

man

y ex

plan

atio

ns.

Ⓓ

The

bea

uty

of D

evils

Tow

er is

mor

e im

port

ant t

han

its m

yste

ries.

8.

How

doe

s th

e au

thor

’s us

e of

Clo

se E

ncou

nter

s of

the

Thi

rd K

ind

in t

he

begi

nnin

g of

the

tex

t su

ppor

t th

e ce

ntra

l ide

a?

Sam

ple

resp

onse

: The

aut

hor u

ses

this

as

anex

ampl

e of

how

Dev

ils T

ower

insp

ired

a fi l

mm

aker

.Th

is s

uppo

rts th

e ce

ntra

l ide

a th

at D

evils

Tow

er is

am

yste

ry th

at h

as in

spire

d m

any

expl

anat

ions

.

Ⓒ

8.

SK

ETC

H IT

Cre

ate

a bu

bble

map

to

anal

yze

the

deve

lopm

ent o

f a c

entr

al id

ea.

Whe

n yo

u fi g

ure

out t

he c

entr

al

idea

, wri

te it

in t

he c

ente

r bu

bble

. A

s yo

u re

ad, w

rite

dow

n ea

ch n

ew

supp

ortin

g id

ea in

a n

ew b

ubbl

e ar

ound

the

cen

ter

bubb

le.



[ 246

]m

aste

ryed

ucat

ion.

com

| E

nglis

h La

ngua

ge A

rts

| L

evel

HC

opyi

ng is

pro

hibi

ted.

Less

on 2

2

A

NA

LYZ

E D

EVEL

OPM

ENT

OF

A C

ENT

RA

L ID

EA

EXIT

TIC

KET

Now

tha

t yo

u ha

ve m

aste

red

the

art

of a

naly

zing

the

dev

elop

men

t of

a c

entr

al id

ea, l

et’s

revi

sit

the

Real

-Wor

ld C

onne

ctio

n.

Imag

ine

you

are

Ale

x’s

frie

nd. Y

ou w

ant

to h

elp

him

pro

ve h

is t

heor

y th

at c

ryst

als

are

natu

ral

won

ders

. Loo

k at

the

sup

port

ing

idea

s lis

ted

belo

w. T

hen,

com

plet

e th

e bu

bble

map

with

thr

ee

supp

ortin

g id

eas

that

bes

t su

ppor

t hi

s th

eory

.

Su

pp

ort

ing I

de

as

1.

Mex

ico’

s C

ryst

al C

ave

has

som

e of

the

wor

ld’s

larg

est

gyps

um c

ryst

als.

2.

Ice,

sno

w, a

nd g

laci

ers

are

som

e co

mm

on e

xam

ples

of c

ryst

als.

3.

Salt

crys

tals

form

as

salt

wat

er fr

om t

he o

cean

eva

pora

tes.

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TEACHER NOTESREAL-WORLD GOAL FOR STUDENTS• Analyze the relationship between a central idea and supporting ideas.

TIPS FOR THE STRUGGLING LEARNER• Students may struggle with distinguishing which supporting ideas best support the central

idea. Write Alex’s central idea on the board: “Crystals are natural wonders.” Have students brainstorm a list of natural wonders they know, such as the Grand Canyon, Mount Everest, Niagara Falls, and so on. Point out that a natural wonder is something in nature that people might want to view in person because it is so special. Ask students which sentences tell about something that is rare, unusual, or impressive in some way (1, 4, 5), like the list of natural wonders they brainstormed.

• Students may struggle to complete bubble maps correctly. Display a bubble map. Explain that they will write one supporting idea in each bubble. Show them how to write the fi rst supporting idea on the list—Mexico’s Crystal Cave has some of the world’s largest gypsum crystals—in the fi rst bubble. Tell them that they do not have to worry about the order in which they write supporting ideas.

TIPS FOR THE ENGLISH LANGUAGE LEARNER• Read the Real-World Connection aloud. Ask students to identify Alex’s theory. It will be

challenging for English learners if they do not have any prior knowledge of the subject. Use pictures of crystals and other rare minerals to convey Alex’s theory. Have students underline Alex’s theory in the text.

• Read the Guided Instruction passage aloud. At the end of each paragraph, ask students to paraphrase the paragraph. If English learners do not have enough mastery of the language yet to paraphrase, provide a simple summary for each paragraph and point out the key ideas that you chose from the original text. Provide a simple sentence frame for summarizing: This paragraph is mostly about __________. The evidence that supports this idea is __________.

ACTIVITIES FOR THE ADVANCED LEARNER• Students can analyze the development of a central idea over the course of a text, such as a

magazine or newspaper article. Direct them to create bubble maps to identify the central idea of the article and three supporting ideas that the author uses to develop it.

• Students can write articles about a natural wonder. Remind them to build their articles around a central idea and to develop it with supporting ideas. Have volunteers read their articles to the class.


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