••SCHOLASTIC

· oolLIC.HT OJV ~- ··. Literary Eletnents --Teacher Guide--

NEW YORK • TORONTO • LONDON • AUCKLAND • SYDNEY Te aching MEXICO CITY • NEW DELHI • HONG KONG ·- BUENOS AIRES R_~~

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Written by Tara McCarthy Cover and interior design by Holly Grundon

ISBN: 0-439-65978-7

Copyright © 2004 by Scholastic Inc. All rights reserved.

Printed in China.

1 2 3 4 5 6 7 8 9 10 40 11 10 09 08 07 06 05 04

Contents

Introduction ••••••••••••••••••••••• 4

Plot ............................... 6

Reproducibles ••••••••••••••••••••••••• 10

Character ......................... 18

Reproducibles ••••••••••••••••••••••••• 22

Setting ........................... 28

Reproducibles ••••••••••••••••••••••••• 32

Theme ....•.........•............• 38

Reproducibles ••••••••••••••••••••••••• 42

Tone & Mood •••••••••••••••••••••• 48

Reproducibles ••••••••••••••••••••••••• 52

Point of View ••.••••••.•••••.•••.•• 58

Reproducibles ••••••••••••••••••••••••• 64

Figurative Language •••••••••••••••• 70

Reproducibles ••••••••••••••••••••••••• 74

Foreshadowing & Flashback •••••••••. 80

Reproducibles ••••••••••••••••••••••••• 85

Glossary ......•..•...........•.... 93

Bibliography .••...••••.••••••••••.• 95

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INTRODUCTION

Spotlight on ... Literary Elements Program

T he Spotlight on . . . program is designed to help students become better and more

enthusiastic readers and writers. Here's the well-founded premise:

@ When students know they'll be asked to talk later with classmates about a story they've just read, they usually read with more concentration.

@ When, at the same time, students are expected to look especially for a

certain element of literature in the story, such as setting or theme or point of view, they become more sophisticated readers. They are better able to understand how and why a particular story works and become more

appreciative of good writing. And gradually, many students consciously work specific elements of literature into their own stories. The elements

introduced in the eight books here are: plot; character; setting; theme;

tone and mood; point of view; figurative language; and foreshadowing and flashback.

Basic Procedure Use the books in any order you wish. We suggest the following steps for using each

of them:

1. Review for yourself the Story Summaries provided in the teacher section for each

Spotlight on . . . student book.

2. Go back to the beginning of the teacher section and teach the mini-lessons found

there. This is not only a get-ready strategy, but also a way for you to determine what

individual students may already know about the particular literary element.

3. Next, distribute copies of the Spotlight on ... book kids will be reading. Read the

story titles with them and hint briefly-from what you yourself know by having

read the stories and/or summaries-at how each story presents the literary element

in a slightly different way. For example, explain that setting is present-day in

"Watermelon Preserves" and in "Eleven," and is during pioneer days in "Janette's

Winter." As they read the Spotlight on ... Setting book, students can look for other

examples of different approaches to the literary element.

4. Stories need to be experienced as an uninterrupted flow from beginning to end. So,

as students are reading the stories for the first time-independently or aloud in a

group--DON'T disrupt them to ask about examples they've noticed so far of the

literary element involved. Save this step-by-step analysis and discussion for a

second--or even third-reading.

5. Save the poems until last. Read them aloud, then call on students to do the

same. Suggestions for how to point out literary elements in poetry are found

in each teacher section. The idea of poetry having literary elements may­

strangely enough-be unfamiliar to many students, so help them along by

generously offering your own additional insights. And that brings us to ...

6. Always share your own take on the literary element in a story or poem, but

do this after completing the five steps above. Doing so beforehand may

make kids feel that there are "right" and "wrong" answers (the-teacher-is­

always-right syndrome), and thus make them reluctant to present their own

personal insights. Keep in mind: Students profit tremendously from

knowing that reading, hearing, and discussing a story is not "doing an

assignment," but rather, participating in an old tradition shared for fun in

the not-so-distant past by adults and children together.

7. Copy and distribute the reproducibles, which ask students to give their own

personal reactions to and understandings of the stories and poems they've

just read. You may want to discuss the instructions before kids begin to

write and respond.

8. Encourage students to share their completed reproducibles. This will give them

an opportunity to welcome, consider, and learn from other students' insights

and opinions.

Additional Suggestions ®> As students move through the eight Spotl.ight on ... books, point out that

the stories have other literary elements in addition to the one the class is concentrating on now. For example, after focusing on the stories in Spotl.ight on . . . Plot, students can also talk about the plot of the story "Watermelon

Preserves" (in Spotl.ight on ... Setting). After concentrating on tone and

mood, they can identify those elements in the excerpt from Out of the Dust (in Spotl.ight on . . . Figurative Language) and in ''The Emperor's New Clothes"

(in Spotl.ight on ... Theme). The discussion will build both reading skills and

writing skills.

®> Encourage students to be specific when they're discussing aspects of a story.

None of this "I liked it because it was funny"! Rather, "I liked the part

where the peddler realizes that the treasure is back home in his own yard."

®> Also encourage kids to bring in their own copies of short stories or novels

that are great examples of the literary element currently under study. Invite

them to read brief sections aloud to their classmates.

The Standards

This program is linked to national and state standards. The National Council of Teachers of English (NCTE) and the International Reading Association (IRA) have collaborated and proposed what K-12 teachers should provide so that their students become proficient in language arts. The activities in this book support these standards and help students to understand:

®> the basic concept of plot

®> similarities and differences within and among literary works from various genres in terms of settings and point of view

®> the elements of character development

®> the use of specific literary devices-for example, foreshadowing and flashback

®> the use of language in literary works to convey mood and tone

®> the use of figurative language such as similes, metaphors, personification, imagery, and hyperbole

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PLOT

About Plot •••••••••••••••••••••••••••••••••••••

Plot is the series of related events that make up the story.

•t I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I •

Most plots involve resolving some kind of conflict, and proceed in this way:

@ The introduction tells who the main character or characters are and what the conflict or problem is.

@ Complications develop as the characters struggle with different possible solutions.

@ In the climax, the main character or characters make a final decision

that settles the conflict.

@ The story ends with the resolution: the writer suggests what the characters feel or do, now that the conflict is over.

Developing a plot is no easy matter, especially when it comes to the climax and the resolution. (Most of us have seen---or, as kids, perhaps written ourselves! -that

wonderful sentence that totally avoids the necessity of creating a climax and a resolution: "And then he woke up and it was all a dream.")

To begin to ease your students into the skill, write the definition of plot on the

chalkboard. As a preface to reading the stories here, lead students in a discussion of the plots in stories they've already read by asking questions such as the following: As the story opens, what kind of problem is the main character having? What complications

does she or he face in attempting to solve the problem? How does the character finally solve the problem? What's the result at the end of the story?

The stories in this book range from the scary ("The Escape") to the humorously realistic (''The Mystery in the Backyard" and "Worst Friends") to the fanciful ("The Lamb With the Golden Fleece"). You may want students to discuss the plot in one story before they move on to the next one.

Point out to students that story plots can involve internal and external conflicts. When a conflict is external, it is between a character and some ~utside person or force. For example, in "The Mystery in the Backyard," the conflict between Tony and Juan and Mr. Kaufman is external. Sometimes the conflict is internal. A character may be wrestling with him- or herself. In "The Escape," for example, Boris must decide whether

to go through the tunnel. This is an example of internal conflict, while the challenge of

escaping from jail is an external conflict. The reproducible activities on pages 10-17 will help students summarize what they've

learned about plot and to plan plots for stories of their own.

The Escape BY]. B. STAMPER

T he setting of this grisly tale is a prison. Here's the plot:

Introduction The main character, Boris, is caught trying to escape from prison and is punished by being put into solitary confinement, a situation that he naturally dreads.

Complications Boris discovers a crack in the wall of the cell, finds that it leads to a tunnel, and is afraid that there may be rats (his greatest fear!) inside it. Then, reaching in, he finds an old wrinkled note from a former prisoner who says that he has used this tunnel to escape the cell. So now, what to do? Crawl out of the cell and reach freedom, but possibly encounter rats? Or stay in prison for the rest of his life?

Cl imax Boris makes his decision: Betting that there are no rats in the tunnel, he enters it and inches slowly along. Guess what? There are rats, and they pursue Boris as he edges toward a distant light that he th inks means escape. But when he reaches the end of the tunnel, he finds it barred by an impenetrable gate. And lying at the foot of the gate are the bones of the man who wrote that note so long ago.

Resolution Boris realizes that he can neither crawl back to the cell nor escape from the tunnel. He is stuck here forever with the rats that now surround him.

The Mystery in the Backyard BY TOM C ONKLIN

I s Mr. Kaufman a murderer? Two of his neighbors, Tony and Juan, think so! The plot steps can be summarized this way:

..... ._

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Introduction We meet the three main characters and learn that Tony and Juan don't get along with Mr. Kaufman because he's grumpy.

Complications The two boys think they're finding evidence that Kaufman has killed his mother in order to get her money. Eventually, they begin to dig a hole in his garden at the site

where they think the woman is buried, but are discovered by Kaufman as they do so.

Climax The boys learn that they are completely wrong about Mr. Kaufman. He's actually a nice

guy, his mom is fine, and his actions are totally innocent. (In fact, most of them have to

do with the problems of being a writer!) Tony feels chastened and embarrassed.

Resolution Kaufman forgives the kids for their blunders. Tony feels he has made a new friend.

The Lamb With the Golden Fleece AN OLD HUNGARIAN FOLK TALE

This story has a merry plot.

Introduction A young man finds a job as a shepherd. While

diligently working, he plays his flute and becomes fond of the golden-fleeced lamb that dances to it.

His employer loves the lamb, too, but eventually gives it to the boy, who heads toward home with it.

Complications

The lamb ...... Golden Fleece

~:c.

Along the way, various grouchy people reach out to touch the dancing lamb and

become stuck to it or to the person who touched it previously. The shepherd seems happily accepting of all this and moves on, playing his flute, while the lamb's captives struggle to escape. But will they ever succeed?

Climax The young man, hearing that anyone who makes the king's ailing daughter laugh will get to marry her, decides to go to the king's house and play the flute. The daughter can't help but laugh at the sight of all those people swinging about helplessly on the

lamb's back. And the lamb is so thrilled by her response that he shakes everyone off. Naturally, the shepherd and the king's daughter get married.

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Name ____________ _ Date ____ _

That'll Teach You a Lesson!

In stories with well thought-out plots, the main characters learn something important or change in some significant way. There's a lesson in even a brief and fanciful tale like ''The Lamb With the Golden Fleece": if you're kind, cheerful, and sure of yourself-as the shepherd is-something good will finally happen to you.

In the columns below, tell what you think the characters learn. Then discuss your conclusions with your classmates.

CHARACTERS AND STORY

Tony, in ''The Mystery in the Backyard"

Boris, in ''The Escape"

3. Westy and Thwackman, in "Worst Friends"

LESSONS THE CHARACTERS LEARN

Resolution Their problem now over, the grumpy people who were stuck to the lamb cheer up, and get important jobs in the royal household.

Worst Friends BY AGNES GARDNER WomFrienda

Even an ordinary event, like the one the character Thwackman tells

about here, can have a plot to it. •• Introduction " -Thwackman and his classmate Westy don't like each other, so they don't

look forward to sharing a ride home from school with their teacher, Miss Forminster.

Complications Miss Forminster's car breaks down. She asks the boys to go and get help. As they begin their trek across a field to a gas station, the boys argue and taunt each other.

But in the field they soon begin to run into minor problems, from which they have to help each other escape.

Climax Thwackman gets Westy out of a more serious dilemma. As a result, there's a sort of

bonding. But will it last?

Resolution The answer comes when Miss Forminster-already at the gas station through the help of a passerby-asks the boys what happened to them. They indicate that they're now

friends.

Plots in Poetry

A s a story, "The Twins" is very brief; yet it has all the elements of plot. The first verse serves as an introduction, the second and third as the

complications. The climax and the resolution come in the last four lines of the poem. This poem is fun to read aloud, especially if it's done with a "serious" voice.

TheTwlns

·--

--

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Name-------------~ Date _____ _

Plot Settinqs

A story's plot is closely related to its setting, that is, to the time and place in which the story happens. For example, the plot of ''Worst Friends" would change a bit if the story were set in a time before automobiles were invented. How might Westy and Thwackman have formed a friendship back then?

Now imagine that "The Lamb With t~e Golden Fleece" is a story set in today's world, even perhaps in your own city or state. How might the plot change? Use your imagination as you fill in the gaps below.

In the introduction, we meet a young man who works as

a-----------------, and is gifted at playing the (Example: flight attendant)

. As a reward for --------------~ - - ------(Example: piano)

------- --------, the young man is given a lamb with

golden fleece. As he heads homeward, complications set in: people try

to - - ---- ---- ---------- the lamb, but instead

become entrapped in - - --------- -- . The climax occurs

when the young man gets everyone to ---------------

and is rewarded with -------------------~

In the resolution of the story, our hero is so __________ that he

gives the lamb---------------- ---- ---

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Name ____________ _ Date ____ _

Plot Descriptions Choose one of your favorite fiction stories-one that's not among the four in this book. Then summarize the plot. At the bottom of this page, tell what you especially like about the book.

1. TITLE OF BOOK ________________ _

Author ----------------------2. PLOT SUMMARY

In the introduction, ------------------

Here are the complications that occur: __________ _

In the climax of the story, ----------------

This is the resolution of the story: -------------

3. I like the book because -----------------

Date ____ _

Chanqinq an • • • Ex1st1nq Plot

If you give just a slight tweak to a story-a little change to one part of the plot-the story will take a new direction. For example, suppose we learn in the introduction to "The Escape" that Boris has been wrongly convicted: He never committed any crime, yet he's been sentenced to spend the rest of his life in prison. How might the plot of the story change?

Write your ideas in the boxes below. Then read them to a small group of classmates. Together, combine ideas and write a new version of Boris's story.

1. Introduction 1. Introduction

Complications

Climax 3. Climax

4. Resolution

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Name _____________ _ Date _____ _

Please Do Eavesdrop! You've probably had the following experience: You're out walking or standing in line someplace. You hear someone you don't know telling about something that happened to her or him. You just hear a tiny part of the story, though, because you or the teller moves on. Yet the part you did hear intrigues you. You wonder what the whole story is.

Choose one of the five overheard remarks below. Then use it as the basis of a story plot. On the lines at the bottom of the page, write the outline of the story. Share your outline with some classmates and get their input.

"The next thing he did was kick the door open."

Outline of My Story

Introduction

Complications

Climax

Resolution

What I Overheard

•

fl ~ ~ ~

.s ...c: u

"' ~ .!:l ... ~ ~

1 r.tl

i ;.::i

5

:i & Vl

Name~-----~-~-~-- Date ____ _

Plot Storyboard Creating a storyboard can help you think through a plot. Draw a picture in each box that illustrates each part of your plot. Then use the storyboard to write your story.

Introduction Complications

Climax Resolution

Now, on a separate sheet of paper, write the story.

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Name~---~------~~ Date ____ _

Makinq Improvements

Like all writers, now and then you're going to write a story that just doesn't turn out the way you wanted it to. What went ·\'."rong? Can you fix it? Maybe so, if you take another look at the plot. Try the procedure that follows.

1. Briefly summarize the plot of your story.

2. Tell what part of the plot you like best.

3. What is it that you don't like about your plot? Be specific.

4. Consult with a classmate. What are her or his ideas about how to improve that part of the plot?

5. On a separate sheet of paper, revise your story, using the ideas for improvement.

..

Date _____ _

A Plot Stair Not all poems have plots. Instead, they concentrate on feelings, impressions, insights, and ideas. However, the poem ''The Twins" definitely has a plot! Reread it now. Then use the graphic organizer below to summarize its plot. Discuss and compare your plot stair with those of some classmates.

Climax

Complications

Introduction Resolution

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CHARACTER

About Character I I I I I I I I I I I I I I I I I I I I I I I

A character is a person or other figure that is part of a story.

• I I I I I I • I I I I I I I I I I I I I I I •

W e usually like a book, a story, a movie, or a television show because we

can relate to an interesting character in it. Interesting characters with

strong motivation create action-and get other characters moving and

reacting. Vera in "The Open Window," for example, gets a strong reaction from Mr.

Nuttel. The narrator in "Smart Ice Cream" sets in motion a series of events that keep the story moving.

Characterization refers to the way a character is portrayed. In Felicity's Terrible Day, the main character is a cat that is characterized as spoiled yet loving. In "Smart Ice

Cream," the main character is a boy who is characterized as destructive and dishonest.

Authors tell us about characters in several ways. Direct characterization is when the

author comes right out and tells the reader what the character looks like, says, does,

thinks, and feels. Indirect characterization is when the reader learns about a character

by how he or she interacts with others and by what others say about him or her.

As a preface to reading the stories, students can discuss characters they remember vividly

from books they've read previously. What details about the characters did the authors

provide? What did the characters do and say that students particularly remember? You

might mention some characters in books you've enjoyed who seem as real to you as "real

people"-for example, Shakespeare's Hamlet or Charles Dickens's David Copperfield.

What qualities do these characters have that make them stick in your mind?

As students read the stories in the Spotlight on . . . Character book, as well as other books and stories, encourage them to ask these questions:

®> What seems real and true to me about the characters in this story?

®> How are the characters like those in other books I've read?

®> How are they like me and people I know?

®> What strategies does the author use to help me understand the characters and care about them?

The reproducible activities on pages 22-27 will help students to summarize what

they've learned about character and characterization and to use their new insights in writing stories of their own.

The Open Window BY SAKI

I n this classic story, Framton Nuttel has moved to the country to get some rest and relaxation. Unfortunately, his neighbor's niece decides to play a

trick on him. Mr. Nuttel won't get the rest he's been looking for.

Smart Ice Cream BY PAUL JENNINGS

The first-person protagonist in this fantasy is a vain, sneaky kid (his name is never given). Until now, always first in Maths*, he's furious

when a classmate, Jerome, beats him in a Maths test. The young villain discovers how this happened: a kindly ice cream man, Mr. Peppi, is

supplying good children who need help of various kinds-as Jerome does with Maths-with magic ice creams that solve their problems. The protagonist decides to destroy the magic-ice-cream supply, but in so doing gets too smart for his own good.

*The author of "Smart lee Cream" is Australian, so some students may need help with some of the terms he uses. "Maths" is the same as Math; queue means line, as in "standing in line;" flog means to sell or peddle.

Felicity's Terrible Day BY TARA McCARTHY

I deally, you'll get groups of seven to practice together a bit, then read

this play aloud as readers theater. The fun of it is that the humans and

1bc °""" Window

Smarr lee Cre8Jll ·-

•

Felicity's Terrible Day """'·--·-

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animals converse with one another in a natural,sounding way. The main character,

a rather spoiled "only,child" cat named Felicity, is horrified when her human owners

bring a dog (Thing) home to stay. Thing is an amiable fellow, eager for Felicity to like

him-which she is not about to do, until they are both cornered by Grisel, a big,

unfriendly dog. With the help of a bat named Bat, Felicity and Thing scare the

fearsome dog away. And of course their adventure helps them form a bond.

The Peddler of Swaff ham A BRITISH FOLK TALE The Peddler

of Swaflham

A meek and humble peddler in the small town of Swaffham has great difficulty earning enough

money to feed his family. At the same time, in a recurring dream, he sees himself on a bridge in

London, receiving "joyful news" of some sort. Told of

the dream, the peddler's wife persuades him to travel to

London on the chance of discovering what the "joyful news" might be. The peddler does so, and in a wonderful, humorous tum of events, becomes a wealthy man.

Special Characters in Poems

"'"°'""'M ..

Read the poems aloud, and then discuss with students

the unusual, offbeat character in each of them. ;-r--------In "Alligator on the Escalator,'' Eve.Merriam-always

able to find marvelous, original connections via

rhyme!- sends an alligator on a shopping spree in a department store. Most of your readers will

quickly notice that the alligator's shopping characteristics are very human. Can they see some similarity between a human "shop,aholic" and a hungry alligator? L

®> In "A Bird came down the Walk," Emily Dickinson

presents the bird's characteristics: hungry, swift, aware,

on guard, graceful. You might want to read the last six

lines at least a couple of times, so that your listeners

can absorb and appreciate the complex imagery.

®> Yes, in D. J. Enright's "The Old Field" a field is

actually the main character! He's portrayed as

sad, cold, and lonely as night moves in and the

children go home. Some students may enjoy writing

a follow,up poem characterizing the field in the

morning, when the children return.

®> Beginning with line two of "The Mouse," the mouse

itself becomes the main character. You'll want to read

its words in a "complaining" way. Afterwards, call on

six volunteers to read the six "mouse" lines in

succession. Students can discuss the last two lines:

"But no little feast/ls spread any more." What might

this mean? For example, has the family that used to

leave food for the mouse moved away? Is the house

now empty? Or do the new owners not like mice? Is

there something ominous about these lines?

The Old Field

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Name-------------~ Date _____ _

Memorable Characters

In Spotlight on ... Character, you've met many great characters. Some, like the narrator in "Smart Ice Cream," have major roles; some, like Jerome, have fairly minor ones. Whatever his or her role, a character can really stick in your mind for one reason or another.

1. From different stories in this book, choose two characters that you

remember vividly. Write about them on the lines below.

A Character's Name Story _______ _

What Stands Out to Me About This Character:

B Character's Name Story _______ _

What Stands Out to Me About This Character:

2. Now choose a character you recall in detail from a book or story you read

a long time ago. Explain why the character remains so vivid in your memory.

Be as detailed as possible.

Name -------------- Date

Describinq Characters Using the same words over and over can get boring to both reader and writer. So, you'll want to use a variety of words to describe the characters in stories you write. Items one to seven below provide some examples. Use your dictionary to find examples for eight, nine, and ten. Save your completed work as reference material.

1. Bad Characters wicked dishonest shameful hateful villainous disgusting evil

2. Bossy Characters tyrannical overbearing haughty

3. Foolish Characters ill-advised mistaken nonsensical ridiculous stupid silly

4. Adive, Industrious Characters alert bustling energetic lively spry wide-awake vigorous

5. Pleasant, Kind Characters agreeable gentle good-natured lovable sweet charming genial

&. Beautiful Characters attractive charming elegant exquisite pretty lovely handsome

7. Clever Characters apt bright gifted mgemous quick-witted sharp smart talented

8. Happy Characters

9. Mysterious Characters

10. Sad Characters

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Name-------------~ Date _____ _

How Do You Know? How do you know what a character is like? Here are some

important ways we can find out about a character.

Method

1. The writer tells us directly.

2. The writer gives the actual words of ttie character.

3. The writer reveals what a character is feeling or thinking.

4. The writer tells about the character's actions.

5. The writer tells how other people respond to the character.

Examples from ··n.e Open Window"

Framton was in the country to cure his nerves.

'Tue doctors say I should do nothing exciting and get lots of rest," Framton said.

Framton turned toward the niece to give her an understanding look, but the _girl was staring out through the open window.

Framton jumped to his feet and ran for ttle door.

"A very strange man, a Mr. Nuttel," said Mrs. Sappleton.

Now complete the chart with examples from one of the other stories in the book.

Method Examples from

1. l.

2. 2.

3. 3.

4. 4.

5. 5.

~ 1:l " J "" .5

...c: u

"' ~ u

·;:i _; _g Jrj

::i

j "'l

E ;::i

5

! & "'

Name ____________ _ Date ____ _

I Hope You've Learned Your Lesson!

In a good story, the main character grabs our attention because by the end of the story the character has learned something or has changed in some way. For example, Felicity learns that it's not so bad to have another pet in the house, and readers learn that she's not so grumpy after all. In fact, a story in which the main character stays the same throughout can be pretty dull!

Choose two main characters from other stories in this book, or from other books you've enjoyed, and write about what these characters learn or how they change.

1. Story or Book ____________________ ~

Main Character - - ------------ -------How the Main Character Changes, or What She or He Learns:

j 2. Story or Book _ _____ _ __________ _ ___ _

'Oil 1 Main Character ____________ ___ _____ _

~ ·~ .s How the Main Character Changes, or What She or He Learns: ..8 Jj

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Name _____________ _ Date ____ _

And Then •••

You've probably come across story characters that stick in your mind long after you've finished reading the book. In fact, a character may seem so real to you that you wonder what he or she might do next if the story could go on. So here's an opportunity to continue a favorite character's adventures, even after the original book or story says THE END.

1. Write the name of the book or story, the author's name, and the name of the character that interests you.

Story:~-----------------------~

Author: -------------------------

Character: ~-----------------------

2. Summarize how the author ends the story.

3. On the lines below, brainstorm a number of ideas about what the character might do next. Then choose the idea that most appeals to you. Write your continuation of the story on a separate sheet of paper. Consider sharing your "AFTER-THE-END" story with a small group of classmates.

Meet the Challenqe The poems on pages 44-48 of Spotlight on ... Character show that a good writer can even imagine feelings, situations, and events as a nonhuman character might experience them. For example, Emily Dickinson makes a bird the main character. In the D. J. Enright poem, the main character is a field.

Choose a nonhuman character from the list below. Circle your choice. Then, here or on a separate sheet of paper, write a poem from the point of view of the character you've chosen. Example:

The Ladder Everybody gets to go up and down me

But I never go any place at all.

I stand upright, as straight as can be. And everyone screams if I dare to fall.

But standing up straight is such a bore!

I think I'll try falling a whole lot more.

Possible Nonhuman Charaders for Your Poem

tree computer door squirrel car

dog highway garbage can truck post office

rat refrigerator rug chipmunk cloud

elevator window movie theater television set chalkboard in a school

27

28

SETTINC

About Setting I I I I I I I I I I I I I I I I I I I I ii

SettinCJ is the time and place in which story events occur .

•••••••••••••••••••••

I n The Terrible, Wonderful Tellin' at Hog Hammock, the time is the present (i.e., modern

day) and the place is Sapelo Island off the coast of Georgia. The historical fiction

"Janette's Winter," on the other hand, is set in 1849 in the mountains of Montana.

When readers are attuned to the setting of a story, it's easier for them to understand

and accept the characters' actions and concerns. We can see how in the remote setting

of Sapelo Island, old family traditions would still have a strong influence on the young

protagonist, Jonas. We can accept that in the days when hardy pioneers were struggling

their way westward, young Janette would have the skills and know,how to survive

winter in the wild. In the two other stories in the Spotlight on . . . Setting book, students

will find the more familiar settings of a classroom ("Eleven") and a family farm

("Watermelon Preserves"). Students will notice as they read the stories in the book that

writers often choose ordinary settings to provide fascinating new looks at life.

As a preface to reading the stories, write the above definition of setting on the board

and ask a volunteer to read it to the class. Then use one of the discussion starters below

to talk about setting:

®> I'd like to write a story that is set in my hometown-that's the place-thirty years ago-that's the time. What places might I describe in the story? (my home, school,

a friend's house, a nearby park, and so on) What events might I talk about? (The

birth of my little brother or sister, my first day of school, and so on)

®> Remember the book Number the Stars? The place was Copenhagen, Denmark, and the time was during World War II. That whole setting felt very real to me. What setting from another book feels real to you?

Encourage students to identify and describe the settings in some of their favorite

books or short stories. Then invite students to read the stories in the Spotlight on . . . Setting book, paying special attention to the place and time where each story is set and

their significance to the tale. When students have finished reading the stories, have

them work on the reproducible activities on pages 32-37. The activities will reinforce

what they've learned about setting and will help them plan settings for their own

stories.

STORY SUMMARIES

Eleven BY SANDRA CISNEROS

T he time is now {as underscored in the present-tense telling), which

happens to be the narrator's eleventh birthday, and the place is an

ordinary school classroom. The story is told in the first person by Rachel,

who is having a particularly bad day, despite the fact that it 's her birthday.

Her teacher, Mrs. Price, insists that a really awful, really ugly red sweater belongs to

Rachel. It doesn't, and our heroine bursts into tears when she is forced to wear the

smelly, itchy, old sweater. Even though she has just turned 11 years old, she feels like

a 3-year-old again. Age, Rachel realizes, is relative to how you feel at the moment.

Discuss with students that time is an important element in this story. Have students

reread the first line: What they don't understand about birthdays and what they never tell you is that when you're eleven, you're also ten, and nine, and eight, and seven, and six, and five, and four, and three, and two, and one. Ask students: Why do you think the author started the

story with this observation? How important is it to the story that it was set on the narrator's

eleventh birthday? How would it be different if it was set on any other day?

EXCERPT FROM

The Terrible, Wonderful Tell in' at Hog Hammock BY KIM SIEGELSON

S iegelson's vivid descriptions of the setting instantly transport readers to

the crisscrossing rivers, grass-covered tide marshes, and historical houses

that are part of the Gullah islands off the coast of Georgia. Readers can

almost imagine themselves standing next to the main character, Jonas, as he

scans the marsh from the dock. He can still remember how he had refused to

go fishing with his grandpa six months earlier. Grandpa died on the dock

that day, and Jonas couldn't bring himself to go back there for a long time. Now he has

to gather sweetgrass from the marsh during low tide so his grandmother can weave

baskets for tourists. But Jonas has to reach the dock before the tide comes back in, or

the alligators might catch him. Lost in the marsh, Jonas remembers what his grandpa

told him to help him find the dock .. . just in time! Invite students to read aloud some

of the sentences and phrases that build the setting. For example:

®> He scanned the rippling sea of spearlike grass that blanketed the flat, muddy salt-marsh meadow.

Eleven

0 -

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30

@ The bottom of the empty channel was quickly filling with murky water . . .

Guide students to notice the rich adjectives and figurative language that the author

uses to make her descriptions of the setting come alive. Write the first two sentences

of the excerpt on the board and invite students to compare them: It was hot. Sticky, skin,prickling heat hung over the Georgia coast like teakettle steam. Ask: Which sentence

gives you a better idea of what the temperature was like? Which one is more interesting

to read? Challenge students to write about the setting they're in (i.e., your classroom

today), using vivid descriptions that would paint an image in readers' minds.

Watermelon Preserves BY SALOME BLIGNAUT

H er children are grown up and gone, but

Martha-all alone-goes on managing the

family farm. She also continues cooking the

watermelon preserves that her kids used to love

so much. The wonderfully sweet smell of these

Watenne!on Preserves --

preserves soon attracts a young child, Paul, whose

down,aMhe,heels family has just moved into the neighboring farm.

Martha bonds quickly with Paul and takes him under her wing, even though Paul's

family appears to take advantage of her generosity. Ashamed of his own family, the little

boy backs away when Martha's children and grandchildren reenter her life. Will Paul

become just a memory? Not if Martha has anything to do with it!

The author ( 17 years old when she wrote this, and the winner of the American

Voices Short Story Gold Award) has a flair for presenting settings. For example:

@ The spidery shadow of a tree in the orchard had crept into their square of sun . . .

@ . . . it seemed like the shell of the car was really an old tortoise, and the mangy cats and scrap metal that littered the place might have sprouted from the ground instead of plants.

@ The same lonely cricket chirped by ch 1 bl ue,gum trees .

Invite students to compare the author's descriptions of Martha's house and of Paul's.

Ask: What do the different settings tell you about the people who live in each place?

Janette's Winter BY BARBARA BLOOM

S et at the height of the westward expansion, this story tells about a young, brave pioneer girl, Janette, who finds herself alone in the wilderness

when her father and brothers fail to return from a hunting trip. After searching for s~veral days, she finally accepts the horrible truth-that they're

never coming back. Knowing that she can't drive their wagon over the mountains by

herself, Janette decides to stay in the valley for the winter, hoping that help will arrive in the spring. She builds a shelter, gathers wood for fire, and moves what food is left

into the shelter. There she stays all winter until the snow thaws and floods her temporary home. She moves back into her family's wagon and waits there. Then one

morning, a small band of Indians comes across her wagon and rescues her, taking her

to "her people" across the mountains. This story of survival against all odds has been told time and again in different

settings. Have students imagine the same story in the same place but set in modem times. Would the challenges of surviving in the wild be the same or different? Would a

modem,day girl of Janette's age be able to survive winter in the mountains by herself?

Settings in Poems Read the poems aloud together, then discuss the settings with students.

®> The setting of Walt Whitman's poem is very obvious from its title: "On the Beach at Night." A young child stands on the beach with her father, watching the seemingly endless night sky as stars begin to appear. Then, suddenly, dark masses of clouds gather and "devour" the stars, distressing the child at the thought of the stars disappearing forever. Her father then teaches her a lesson about eternity, telling ·her that "Something there is more immortal even than the stars ... "

Invite students to close their eyes and imagine standing on a beach at

night. Ask: What do you see? Why do you think Whitman picked this setting to talk about eternity? Can you think of another setting that would produce the same effect?

®> In the poem "Home, Thoughts, From Abroad" Robert Browning describes the

setting-England in spring-from memory. Help students identify the details

that bring the setting alive. For example, the lowest boughs and the brushwood sheaf/ Round the elm,tree bole are in tiny leaf or the fields look rough with hoary dew.

Have students compare the first verse, which describes England in April, with the second verse, set in May. Ask: How has the setting changed? Encourage students to write a simple verse that describes how a place has changed over a period of time.

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32

Name -------- ------- Date Setting

Startinq With Settinq If you're stuck for a story idea, one way to get unstuck is to dream up a setting for the story. You can be as imaginative as you like, trying out different settings before you make your final choice.

Combine different times and places from the columns below. Briefly suggest the opening for a story in that setting.

Examples: Time: right now Place: deserted house A withered hand reaches around

the creaking door that opens to the

decaying basement stairway.

Time: summer Place: the moon What a place to spend a summer vacation!

After all, when Tina mentioned to her

parents that she wanted to go somewhere

different and unusual this year, she certainly

did not expect them to choose the moon!

Time

• I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I•

Settinqs

TIME

today; right now

100 years in the future

yesterday

the age of the dinosaurs

the middle of the night

a season of the year

PLACE

the moon

a shopping mall

deep in the woods

a school

in a car

a deserted house

... I I I I I I I I I I I I I I I I I I I t I I I I I I I I I I I I I I

Place Setting 1 - ---------- - ---------

Opener __________________________ ~

Setting 2 Time ----------- Place ----------

Opener _ _________________________ ~

Describinq Places Good writers want to find the most effective words to describe the places in their stories. They especially want to avoid tired, overused, ho-hum words, like a nice house or a busy mall.

Use the graphic organizer below to help you describe a setting. Give the place a name, then answer the questions. On both sides of the door, list some vivid words or phrases that bring the setting to life. At the back of this page, use your descriptions to write an opening paragraph for a story set in this place.

(name of place)

What does the place look like?

What does it remind you of?

What special features stand out?

33

34

Chanqinq Times The way characters in stories behave very much depends on when the story takes place. For example, "Janette's Winter" is set in the time of strong and courageous pioneers. This makes it easier for readers to accept that Janette knew how to build a shelter and carve ox meat for food.

Set these stories in another time and tell them in another way. Then share your stories with some classmates.

Janette's Winter

Story: Left alone in the wild with winter coming, Janette moves out of the family wagon and builds a shelter, gathers wood for fire, and stores food and belongings inside the shelter.

Story:

Eleven

Story: Rachel is mortified when her teacher assumes that a ratty, old sweater belongs to her.

Time: Winter 1930

(during the Great Depression)

Story:

Date ____ _

Settinq Search How often do references to setting appear in a story? Use 'Watermelon Preserves" to help you get a general idea. Respond to the following directions by reading or rereading the story carefully.

1. Copy three different excerpts from the story that refer to settings. Underline

the setting-words. Example: Martha gazed thoughtfully from her kitchen to the lighted rooms beyond. Her house was not full even now. (Kitchen, rooms, beyond, and house name places. Now names a time.)

2. Copy three different excerpts from the story that do NOT refer to settings. Example: "No, it was his brother. I'm not angry, Danielle:'

3. Discuss with a small group: Which was easier to find-an excerpt that

referred to setting, or an excerpt that didn't? Why do you think this is so?

4. On your own, try writing an opening paragraph for a story without using any setting words at all. Then discuss: What's your conclusion about the role of setting?

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36

Date Setting

A Story of Your Own On page 33 you practiced developing a setting for a story. Use the setting you developed to write a complete story in which setting plays a major part. Use the lines below to outline your story.

1. Possible Story Title ------------------

2. Setting: Time ___________ Place _________ _

3. Main Characters:

4. Basic Plot Outline: What big event happens as the story begins?

What big problem results from the event?

What do the main characters do to solve the problem?

How does the setting influence what happens in the story?

---

Setting

Settinqs in Poems Like stories, poems can have settings that are realistic or settings that are imaginary. The settings in "On the Beach at Night" and "Home-Thoughts, From Abroad" are both realistic.

Write two poems of your own, one with a realistic setting, the other with an imaginary setting. Use the spaces below to write your first drafts.

POEM SITTINGS

1. Realistic: Time ________ _ Place ________ _

2. Imaginary: Time _______ _ Place ________ _

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38

THEME

About Theme I I I I I I I I I I I I I I I I I I I I I I I I

Theme is the major idea or lesson that a story conveys about life .

•••••••••••••••••••••••••

As the definition above says, theme is the major idea of a story. But here are the

wonderful catches:

@ Though there are exceptions, authors seldom state their intended theme directly in so many words. So ...

@ It's usually up to the readers to discover the theme for themselves. But keep in

mind that ...

@ Some stories may have more than one theme, and ...

@ Different readers may find different themes in the same story. In addition ...

@ Very occasionally, readers may find themes that even the authors themselves were not conscious of while writing.

These catches-far from being confusing-are what can make group reading and

follow,up discussion so exciting. For example, most students will see that the most

obvious theme in "Great Joy, the Self,Respecting Ox" is the one the title implies: that

we must have respect for ourselves. But many students may pick up on additional themes, such as:

@ We must have respect for other people, too.

@ Dedication and perseverance pay off.

@ Greed and competition can destroy relationships.

With your encouragement, students will feel free to share their different insights into the themes of the stories in Spotlight on . . . Theme. In that way, the stories will become richer and more meaningful for all.

As a preface to reading the stories, invite students to brainstorm titles of books they remember vividly, including ones they read or listened to when they were very young.

Eight to ten titles are plenty for this warm-up. Write titles on the chalkboard, and then, above them, write the definition of theme (see the box on page 38). Help students

summarize the themes in the books they've listed, pointing out that a theme summary

should be stated not as a single word or phrase (e.g., "respect," or "greed and

competition") but as a sentence (see examples, page 38).

The reproducible activities on pages 42-47 will help students summarize what they've

learned about theme and to plan themes for stories of their own.

The Emperor's New Clothes BY HANS CHRISTIAN ANDERSEN

Remember this one? Two swindlers convince a clothes-obsessed emperor that they can make him some gorgeous clothes that will be invisible to

all except the very bright and those worthy to hold office. The swindlers proceed to weave-with great pretense-absolutely nothing! Naturally,

neither the emperor nor members of his entourage will admit that they can't see these "new clothes." Supposedly dressed in them, the emperor-naked as a jaybird, of

course!-sets off to display the "clothes" in a procession through town. The onlookers

The .Empeior'a New Cloth..., ·--

in the crowd-wanting to be included among the "bright"-say how gorgeous the new clothes are. It's not until a little child says, "But he has got nothing on!" that the vanity

of the emperor, and that of lots of other adults, is revealed. One theme here is that pride and vanity can have embarrassing results. Another is that honesty (the child's, in this

case) is a rare virtue.

just a Tyke BY ]OE WHITE

A ndy is frustrated about having to watch his two-year-old brother, Tyke. His brother is too young to do much of anything. Andy would rather be

playing basketball with his friends. One afternoon, when Andy has finished

watching his little brother, he goes out to play some basketball. He tries to join a game with some older kids. They ridicule him, telling him he's "just a tyke." Hurt, he heads home. When his little brother asks him to play basketball with him, he does--knowing how bad it feels to be rejected because you're too young. The theme

here is: Treat others as you would like to be treated.

Juara Tvke

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40

Great Joy, the Self-Respecting Ox RETOLD BY RAFE MARTIN

I n this retelling of an ancient Asian tale, a mighty

ox, much loved and sweetly cared for by a poor

Brahmin, thinks of a way to repay his near-penniless

owner. He tells the Brahmin to bet a wealthy merchant 1,000 pieces of silver that he is such a

strong ox that. he can pull 100 carts loaded with boulders, gravel, and stone. The Brahmin is amazed

at the idea, but takes the ox's word that it can be done.

On the day of the event, however, the Brahmin whips and strikes the ox in an attempt to urge him on. What a change in behavior in this ordinarily loving man! The ox

refuses to move, and thus the Brahmin loses the bet. The second time around for the

cart-pull, though-with the stakes even higher- the Brahmin speaks gently and strokes

the ox. The ox thus performs the amazing feat, and the Brahmin wins 2,000 pieces of

silver; for in the meantime the ox has reminded him that we must repay kindness with kindness.

Head Tree RETOLD BY ALEXANDER McCALL SMITH

T he story is set in Zimbabwe, where the author

was born and brought up, and where he

collected traditional tales as told by the Ndebele people in Matabeleland. The protagonist-a man who says he "had never done any wrong" (though

as his wife prophetically says, he must have been planning to do something wrong!) finds a tree

growing out of his head. He goes to a charm woman,

who gives him a curing herb and asks him to send her two cows when the head tree

disappears-as it soon does. The man, however, refuses to pay the charm woman her cows. Guess what? An even bigger tree proceeds to grow out of his head-and this time, the charm woman demands four cows for a cure. The man reluctantly agrees and delivers the cows, having learned the hard way that (and here's a main theme) it's important to keep one's promises.

Themes in Poems

R ead the poems aloud together, and then discuss with students the themes they detect.

@ "The Mountain and the Squirrel" is one of Ralph

Waldo Emerson's more lighthearted poems. The

squirrel-familiarly called "Bun"-argues with

the mountain about whether one of them is more

important than the other. The theme manifests

itself throughout. As the squirrel summarizes it, "Talents differ; all is well and wisely put." Students might discuss how this message or theme applies to

us. In what ways are the differences between us important and useful?

@ Most students will recognize the most obvious theme

in Langston Hughes's "Mother to Son": Although life is often tough, it's important to just keep plugging

along. Encourage students to discuss why a staircase-­whether "crystal" or one with tacks in it-is a fine

and fitting metaphor for the twists and turns one takes as one travels through life. Is the mother's advice to her son realistic? Why, or why not?

@ E-Yeh-Shure's "Beauty" and Walt Whitman's

"Miracles" share a theme: To find wonderful things, all you have to do is look around you. One

way to get students focused on this idea is to have them keep a two-column list for a couple of days. Column one--unpleasant stuff that happened today. Column two-wonderful things that I saw today.

The challenge: Column two must have more items

in it than column one does. Follow-up discussion can focus on which column was easier to fill out, and why.

L

The Mountain and the Squirrel

Miracles ---

41

42

Name~------------ Date ____ _

This Theme's All Riqht In the right-hand column, write what you feel is the most important theme in the story named on the left. Remember to state the theme as a complete sentence.

Head Tree

Great Joy, the Self-Respecting Ox

The Emperor's New Clothes

Just a Tyke

With some classmates, compare and discuss the themes you identified as most important.

Name-------------~ Date _____ _

What If •••

Among the stories you've read, there may be one or two for which you can imagine a different ending, and thus a different theme. For example, what if the man in "Head Tree" had finally decided he would rather keep the tree than pay to remove it? What would the theme of the story be then?

Choose another of the stories in this book and rewrite the ending to create a different theme.

Story Title _________ _

Summary of Current Ending Summary of New Ending

New Theme

Read your revised endings to a group of classmates and ask them to identify the new theme. You may want to make some changes on the basis of this follow-up discussion.

43

44

Name _____________ _ oate Theme

From End to Beqinninq Here's a fad for writers: Very often, the theme you want to develop becomes firm in your mind before you actually begin

to write the story. So, in a sense, you work backwards. That is, you create a plot that will support

your theme.

For example, it may occur to you that holidays are stressful times for many people. There's a theme! Your job: Build and support the theme. To do so, you could create a story in which the protagonist gets

stressed out by having to buy too many presents, or by having to go to too many parties, or by

having a Christmas tree fall on his head.

Got it? Now here's the challenge: Try it! Choose one of the themes below, circle it, and then, on a separate sheet of paper, write a

short story that supports the theme. And remember: (1) Do NOT state the theme in so many

words in the story itself, but (2) DO make the theme clear in other ways to your readers.

Themes

1. He who hesitates is lost.

2. Look before you leap.

3. Good things come to those who wait.

4. A true friend will always tell you the truth.

5. You can't make a good deal with a bad person.

&. Life is full of surprises.

Follow Up Share your story with some classmates. Can they identify the theme? What do they think about your way of developing the theme? Too obvious? Not clear? Just right? Use your classmates' comments to reassess your work on your own.

Date ____ _

Another Way to Say It The same theme may be used by different writers in very different stories. For example, the theme "Meets life's challenges with courage" is found in Lois Lowry's Number the Stars, in Karen Hesse's Out of the Dust, and in Katherine Paterson's Bridge to Terabithia.

Use the graphic organizer below to outline your own original story in which the main character meets life's challengers with courage. Share your ideas with a classmate. If you wish, ask for suggestions for developing your ideas into a complete story.

1. Character(s) 2. Setting

Theme: Meets life's challenges with courage

3. Challenges 4. Resolution

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46

Name ____________ _ Date ____ _

Your Theme Movies Me! Many movies are based on stories from books that have important themes. The Lord of the Rings trilogy and Holes are some examples. Movie producers and directors choose actors who will best help develop the theme of the story. The telling points could be the actors' looks, the way they move, the way they speak, and their basic understanding of the story itself.

Imagine that you will be the producer/director of two movies, one based on "The Emperor's New Clothes" and the other based on "Great Joy, the Self-Respecting Ox." On the lines below, write the theme. Then name your choices for the actors. These can be famous Hollywood stars or kids in your classroom-including you! ·

1. "The Emperor's New Clothes" Theme

----------------------~

Actors Emperor _____________ ~--------The Two Swindlers _______ and _________ _

The Minister ---------------------The Officials _______ and ___________ _

The People in the Crowd-----------------

The Honest Child -------------------

2. "Great Joy, the Self-Respecting Ox" Theme

----------------------~

Actors Great Joy _____________________ _

The Brahmin --------------------~

The Merchant ---------------------The People in the Crowd-----------------

"' .. j "" .s

...d ~

¢: -~ ] j ell :i

j 11.l

i :.::3 5

i ~

Date ____ _

Themes in Poems You've read the poems in the Spotlight on . .. Theme book: "Mother to Son," ''The Mountain and the Squirrel," "Beauty," and "Miracles."

1. Which poem did you like best? Underline its title above.

2. Briefly tell what appeals to you most in the poem you've chosen.

3. What is the theme of the poem you've chosen?

4. Now, on the lines below, write a poem of your own that develops the same theme in your own new and original way.

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48

TONE & MOOD

About Tone & Mood I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

Tone is the attitude or style of expression used to write.

Mood, or atmosphere, is the general feeling in a story. It refers to the emotion or emotions a writer makes a reader feel. Writers create atmosphere or mood by using imagery and vivid descriptions .

., ........................................... .

R eaders and listeners seem to recognize naturally tone and atmosphere in good

stories, even though they may not know the official terms. For example, even

very young children are apt to say things like "That story is scary!" (atmosphere/

mood at work!) or "The lady in that story says funny things" (a comment on tone).

However, as familiar as these elements are, as kids move into the writing stage they

often fail to integrate them into their own work. Sci in Spotlight on ... Tone & Mood students will take a closer look at tone and mood. Through the activities on the

reproducibles, they'll get practice in using these elements.

Before students read the stories, you may want to present a quick overview of the

elements to be considered. On the chalkboard, copy the definitions above of tone and

mood and ask a student to read the definitions. Then read to the class the examples below and discuss them. (Make sure your voice matches the message.)

1. "You don't know what you're talking about," she snapped. "I'm the expert in these matters!" (Tone: brusque, impolite, rude, self,important)

2. Freezing cold and exhausted, they hunkered down in the deserted cabin, free for a

while from the blinding snow. (Mood: threatening, suspenseful, frightening)

3. "J?on't worry," said Dad. "I'm right here beside you and nothing awful is going to

happen. Just keep walking along." (Tone: reassuring, comforting)

4. When Jeff fell off the porch, we thought he had done it on purpose. So, not to be outdone, we all began falling off the porch. Then we noticed that Jeff was looking at

us like we'd lost our minds. (Mood: fun, amusing. Tone: lighthearted)

Be sure students understand that tone and mood depend upon appropriate word

choice, imagery, and vivid descriptions. Ask students to point out the words and

descriptions in the examples that help create the tone and mood of the sentences.

EXCERPT FROM

A Girl From Yamhill BY BEVERLY CLEARY

T here's an affectionate, gently funny tone in this account of the many,

many rules and instructions Mother gave Beverly when she was a child. Cleary tells about a typical stroll through town with her mother, to show that

most of the rules were made up on the spot in response to all sorts of harmless actions on the child's part. The writer's approach gives the memoir a great story line, which

ends with the child's realization that her mother is basically a very frightened person.

After students have completed the reproducible on page 55, encourage them to read their "rule.s" aloud to a group of classmates. Then discuss: What was difficult in writing

about rules in an amused tone? What was easy?

Oliver Twist A RETELLING OF THE STORY BY CHARLES DICKENS

I f your students haven't already read Oliver Twist, here's the summary that may inspire them to do so. Readers quickly meet Oliver; the cruel

poorhouse superintendent, Mr. Bumble; Fagin, the owner of the school for pickpockets; the Artful Dodger; and several other odd characters. The summary concentrates on Oliver's first dreadful experience with picking pockets

(for handkerchiefs!), and with the deceitful ways of his supposed friend, the Dodger. As usual, Dickens displays his gift for being solemn and funny simultaneously. After

your students read the story, ask them to point out a couple of examples of combining a threatening atmosphere with a humorous one. For instance: ( 1) The chase scene has both elements. (2) Dickens gives many of his character-good or bad-amusing names, such as "Bumble" and "Twist"! (3) There's an atmosphere of kindness and hope when

Mr. Brownlow, the man from whom the handkerchief was stolen, provides Oliver with a real home.

-... AOir!Fnm, Ya111hUJ ·-

Oliver Twiat ,.. ........ .., --

. -

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50

EXCERPT FROM

The Imp in the Belfry A RETELLING OF THE STORY

BY EDGAR ALLAN POE

S tudents may not realize until they read this one

that Poe didn't just write horror stories. Many

of his tales, like "The Imp in the Belfry," are quite

funny, though perhaps a bit long-winded for kids

today, which is why this is a retelling of the story.

In it, the first-person narrator tells about a trip he

made to an isolated village called Vondervotteimittiss (yep, that's the name!), which had a reputation for charm and peacefulness. At first,

the narrator's tone seems to be admiring and serious as he describes the village and its

inhabitants. But readers very soon catch on that his tongue is definitely in his cheek and that his tone is actually sarcastic. He thinks the townspeople and their

unchangeable ways are silly. To make his point, the narrator proceeds to tell how overly

devoted they are to the ancient, always-accurate clock in the belfry of the Town Council House. But then, during the narrator's stay in the village, a strange, imp-like

intruder comes down from the mountain and scrambles up into the belfry. There he plays with the ancient clock so that it will never be accurate again. This devastates the village and everyone in it forever. So much for old habits!

After students read the story and discuss the tone, you might tell them about some

other aspects of the author's life and writings. For example, with his tales about the

sleuth, C. Auguste Dupin, Poe helped develop the detective-story genre. He also helped

to create science fiction as a genre with stories such as "Some Words With a Mummy" and "The Unparalleled Adventure of One Hans Pfaall, 11 which is about a trip to the

moon via balloon. (This was well before Jules Verne wrote on the same subject.) And Poe had yet another career as a newspaper reporter, and, of course, as a poet.

So You Want To Be a Rock-and-Roll Star BY ]ACK SILBERT

S ome years ago, the narrator tells us, he and his friend John were determined to learn guitar and

become superstar rock-and-rollers. The fact that neither one of them had any talent whatsoever

didn't stop them from trying. John rigorously continued to play his guitar (very badly!). The narrator, however, eventually switched to the

So You Want To Sea

Roclc·and·RoU Star --

harmonica. He was bad at that, too, but-as he says-"lt's easy to fake. Just blow into a

few holes, any holes, and it sounds like you know what you're doing." The boys formed

a band and recorded songs (pretty awful ones!) they'd made up. Eventually, after high

school, they went their separate ways. But the narrator, now an adult, sometimes feels

the old longing to be a rock-and-roll star.

The tone of this story is funny, and the atmosphere is nostalgic. You might suggest

that kids take turns reading the story aloud so that they can share the humor and

the laughs.

Tone and Mood in Poems ®> Charles Lutwidge Dodgson, a.k.a. Lewis

Carroll, loved to make fun of pedantic,

preachy poets. In a chapter of "Alice's

Adventur.es in Wonderland," we find the

poem "Father William,'' which is Carroll's

version of the poet Robert Southey's

ultra-serious and monotonous "The Old

Man's Comforts and How He Gained

·-

Them." Here are the first two verses of Southey's poem, which you might

read aloud to your students before they read Carroll's, so that they can enjoy

the latter even more.

"You are old, Father William," the young man cried, "The few locks which are left you are gray;

You ar.e hale, Father William, a hearty old man, Now tell me the reason, I pray."

"In the days of my youth," Father William replied, "I remembered that youth would fly fast,

And abused not my health, and my tJigor at first, That I never might need them at last."

®> "Progress Limited" is the work of a sixteen-year-old poet,

J.M. This young poet does an amazing job for someone so

young of building a very moving atmosphere of sadness

and acceptance. Another highlight of J.M. 's writing is

the imagery-the way the poet links a deserted,

"exhausted" train station to an aging human being.

This is definitely a poem you must read aloud to students,

so you can demonstrate how to match tone of voice to a

poem's atmosphere. 51

52

Fond Memories In "So You Want To Be a Rock-and-Roll Star," the narrator looks back to the time some years ago when he and his friend wanted to play the guitar. You probably quickly spotted the tone and atmosphere in the story: The speaker manages to be both humorous and kind.

Page through the story and find two specific examples that show that the story is humorous. Record the examples on the lines below. Be sure to include the page numbers to show where you found your examples. Then explain your choices.

1. Example -----------------------

Page _______ _

Explanation _____________________ _

2. Example -----------------------

Page _______ _

Explanation _____________________ _

On another sheet of paper, use a humorous tone to share one of your memories. Remember to choose words and include descriptions that will help the reader see that the story is funny.

"' .,

~ ~ .S° ~ ~ .~

j 0

-'a en

1 l:J

! 5

~ ~

Tone Date ____ _

& Mood

A Chanqe in Mood Can a story have a mood that's both funny and scary? After reading Oliver Twist, most people would say yes. For example, Oliver's general situation in life is scary: essentially he's alone and on his own. On the other hand, the name Artful Dodger is a funny one. Funny, too, is the scene in which the Dodger and Master Bates join the crowd chasing after Oliver. In the columns below, list several other examples of scary or sad events, and of funny events.

Different Kinds of Events in Oliver Twist

Scary or Sad Events Funny and Amusing Events

53

54

Date ____ _

Two Tones in One At the very beginning of "The Imp in the Belfry," the narrator seems to be speaking in a serious and thoughtful tone. However, as the narrator begins to give examples of life in Vondervotteimittiss, we realize that he's speaking tongue-in-cheek-that is, with a sly sense of humor. He doesn't really empathize with the townspeople, nor does he want readers to take this story seriously.

You can give the story a different tone if you tell it from the point of view of a different character in it. Choose one of the story characters below, underline your choice, then tell about the situation of an imp in the belfry as it's experienced by that character .

••••••••••••••••••••••••••••••••••••••• . father

• mother

• daughter

son

belfry-man

cat

pig

clock

the imp himself •

. • I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

Name-------~--~~~ Date ____ _

Too Many Rules! As you've read in "Mother's Rules," Beverly Cleary's mother made a lot of rules. Cleary says that as a child, many of these rules made no sense at all to her. Could having to follow so many rules also have made her angry? Possibly, but Cleary doesn't say that. Looking back through the years, she writes about "Mother's Rules" with a tone of humor.

How about you? In the first column below, name rules you had to follow when you were a little kid, or have to follow now. In the second column, write a sentence or two about the rule, using an amused tone.

55

56

Date L Tone • & Mood

Ciettinq Drawn Into It

An interesting picture can set the mood and atmosphere for a story. This includes pictures you can draw to give you ideas for your own story. Give it a try. First, read all four steps below. Then, after you've read all the steps, follow them.

1. Close your eyes for a full minute as you relax and let an image come to mind. It may be an image of something ordinary, something extraordinary, or something misty and indefinite.

2. Next, open your eyes and stay relaxed. In the frame below, and with colored pencils (not a pen), make a rough drawing of the image you saw in your mind's eye. Is an atmosphere beginning to take shape?

3. Keep going. Develop and add to the atmosphere in your drawing. Erase parts if you want to. Add details. For example, you may want to add more people to the picture, change facial expressions, or change the background colors.

4. Write a draft of the story your drawing suggests to you. Complete your story on separate sheets of paper. Try to develop the atmosphere and mood early in the story.

-Tone & Mood

Date ____ _

D ifferent Atmospheres

In "Progress Limited," there's an atmosphere of sadness and of resignation to fate. On the other hand, what a different mood you find in "Father William"! The old man's answers to his son's questions are hilariously funny.

On the lines below, list words and phrases from each poem that help the reader understand the mood or atmosphere of the poem.

"Progress Limited" Mood: Sad

"Father William" Mood: Humorous

---r-

57

58

POINT OF VIEW

About Point of View I I I I I I I I I I I I I I I I I I I I I I I I I I I

In literatu re, point of view is the vantaqe point from which a story is told.

•1 I I I I I I I I I I I I I I I I I I I I I I I I I •

There are three points of vi~w from which a story can be told.

®> In the first,person point of view, the person telling the story is also a character

in the story, and uses words such as I, me, and my to tell what she or he observes and experiences.

®> In the third,person limited point of view, we see the story events from the

viewpoint of just one of the characters in it. This character is referred to in the third person, e.g., he, she.

®> In the all,knowing, or omniscient, point of view, the narrator knows what

everyone in the story is feeling, thinking, and doing.

On the chalkboard, write the definition of point of view and of the three aspects of it

(above). To get students off on the right track, you may want to explain that the

definitions refer specifically to literature. Outside of literature, the term point of view can mean opinion or attitude, as in "His point of view is that homework can be interesting," or "She has a stuck,up point of view about clothes."

Introduce or review the point of view element of literature by showing the following paragraphs on an overhead and reading them aloud or asking students to do so. Then discuss the point of view used in each. (Answers: 1. first person; 2. third,person limited; 3. all,knowing; 4.third,person limited; 5.all,knowing; 6. first person)

1. I groped my way down the tree and fell with a thud into the mud. Then I heard

the guard dogs barking furiously as they bounded toward me. My heart began to pound.

.,.,,_

2. She saw that her father was laughing hysterically, but she had no idea why. Was he

reading that silly book again?

3. In the school cafeteria, Jon felt lonely and out of place, so he gobbled his lunch as

fast as he could. On the other side of the table, Jeanne was wondering if she would

ever get used to this noisy, crowded school. & for Liddy, she was as depressed as

ever.

4. "Wow, am I ever happy to be home!" said Diamond to himself. He lay on his back

and put his feet up in the air. "That's the last time I ever run away," he thought.

Now he wondered when his people were going to serve his dinner. If only they

knew how absolutely starved an adventurous dog could get!

5. Cassy was a pioneer at heart. It ran in the family. Her father and grandfathers had

climbed the Alps. And years from now, Cassy would have a daughter who followed

in the family footsteps. 6. "Get out of my way!" Tina screamed at me. I had always been afraid of her temper,

so I stepped aside quickly.

Note: There are also books, including chapter books, in which the basic story is

presented from different points of view. That is, in one section we may see the situation

from X's point of view, in another from Y's point of view, and in still another from Z's

point of view. Such examples are not included here, but if the subject comes up, grab

the opportunity to discuss still another aspect of point of view.

The stories in this book present the three basic points of view in significantly

different ways. "Thank you, Ma'm" and "The Heartbeat of a Dinosaur" are real-life and

very moving. Hitty : Her First Hundred Years is not real, but, at the same time is both

serious and funny. "TV Land" has a set of characters who seem very familiar and day-to­day at first, but the ending of their story is wild and impossible (at least, we hope so!).

"The Toothbrush" tells about bacteria from a bacterium's point of view, as if such a

weird little being had feelings and could talk.

The reproducible activities on pages 64-69 will help students integrate what they've

learned about point of view into their own stories.

59

60

STORY SUMMARIES

The Heartbeat of a Dinosaur BY DELIA GORMAN

(First,person point of view)

T his story tells about the special relationship a

girl has with her caretaker, Miss Jazzie. The

narrator is the unnamed girl who is deaf, and the

caretaker is an older woman who loves music and

once loved to dance. They form a special bond in

spite of their great differences. As the narrator

The 1-learrbear of a Dinosaur

·--

describes it, "We were like a garden with all different types of

flowers, growing in the same place. Somehow, seeming more alive." The girl coaxes Miss

Jazzie into teaching her how to dance-with the music so loud she can feel the

vibrations. Miss Jazzie helps the narrator learn more than just how do dance. She helps

her to understand what a special person she is, and how much she really knows and sees

even though she can't hear.

EXCERPT FROM

Hitty: Her First Hundred Years BY RACHEL FIELD

(First,person point of view)

L ike "The Heartbeat of a Dinosaur," this excerpt

is written in the first person. But there's a twist:

the speaker is a wooden doll. Hitty is in a run,down

antique store where she is currently on display and

presumably for sale. Business is slow, however, so

Hitty decides to put time to good use by writing about her life. After all, she's one hundred years

-.... Hitty: Her First Hundred Years

old and has had a whole bunch of owners, homes, and adventures!

She begins her story with how she actually came to be. An old peddler from Ireland

constructed her out of mountain,ash wood as a way of repaying the Preble family for

taking him in during an awful Maine winter. Hitty soon becomes the precious favorite

of seven,year,old Phoebe Preble. Phoebe takes Hitty to church one Sunday but loses her

there, so that Hitty has to spend many days alone in the dark. She is eventually

reunited with Phoebe, of course.

You may want to present the story as a read-aloud, reading the first few paragraphs

to set the tone-formal and funny at the same time-and then briefly discussing the

first-person point of view. Invite volunteers to take turns reading the rest of the chapter.

After students complete the reproducible on page 64, encourage them to read their stories aloud and discuss what was difficult and/or fun about writing them.

Rachel Field won the 1930 John Newbery medal for Hitty. As she did with many

others of her books for children, Field set the story on the coast of Maine. She eventually moved on to writing adult novels, the best-known of which is AU This and Heaven Too.

The Toothbrush BY DAN GREENBERG

· (Third-person limited point of view)

T hank you, Ma'm" and "The Toothbrush" are

both told from the point of view of just one of the characters. But what a difference in atmosphere and mood! Langston Hughes's story is serious and realistic, while "The Toothbrush," told from the point of view of a young bacterium named Billy, is

all-around funny and impossible.

·-

. --In it, Billy-one of his mother's 35 billion children-begs for a spooky bedtime story.

His mother obliges with a tale about another little bacterium who was almost killed by a toothbrush. Just as Billy is listening to the end of the story, an actual toothbrush heads rapidly down toward him and his mom! The two barely escape to what will be their new home, a place under the sink.

Funny as it may be, "The Toothbrush" is a wonderful example of imagining the point of view of something or someone we don't like. In the reproducible on page 67, students are asked to do the same thing. Explain to them that their stories may be serious or funny, and assure them that they will not have to read them aloud or share them in any

way. You may want to have a wind-up discussion about what one learns in general when writing from so different a point of view.

The reproducible on page 68 is designed to help serious young writers who want to

develop as fully as possible a first-person character in an original story. The activity helps students focus on that character's point of view. After completing the page, writers can meet in small groups and discuss where they're going next with their stories.

61

62

TV Land BY TARA McCARTHY

(AU,knowing or omniscient point of view)

A s his father says, Kenny has TV Eye,tis. The

kid watches television constantly and is

distraught when his concerned parents cut him back

to one hour a day. However, when Kenny comes

down with a cold and has to stay home from school,

his mother and dad relent and tell him he can watch

TV I.and ·-

as much TV as he likes while he's sick. Ah, bliss! Soon after Kenny

begins to indulge himself in all,day TY, his parents can't find him. He seems to be nowhere

in the house at all! Then.his folks see something outlandish on TV: There's Kenny, still in

his pajamas, taking part in a chase scene in one of his favorite programs, Pogo Bear! No

amount of pleading brings him back home. But his parents get used to seeing their son only

on TV. After all, he does appear in all the shows he loves, which is an enormous number!

The project your students tackle on page 66 is recounting-in a point of view of

their choice-the events in TV Land as they might be experienced by one of the TV

characters. Urge students to read their completed stories aloud, and then ask the

audience to identify the point of view in the story. Writers can revise, of course-unless

it's really the audience that needs a bit more work in recognizing different points of view.

Thank You, Ma'm BY LANGSTON HUGHES

(Third,person limited point of view)

R ager meets Mrs. Luella Bates Washington Jones

in an unfortunate way: He tries to snatch her

purse, hoping to find ten dollars with which to buy

himself a pair of shoes. But Mrs. Jones is too fast

and strong for him. Not only does she grab her

purse back, she grabs the young boy, too, and takes

him home with her. We see the experience through Roger's

ThanJc You, Ma'm

eyes. At first, he's mostly aware of Mrs. Jones's strict rules and commanding voice, and

can only think about escaping from her house. But soon he begins to notice and benefit

from her loving and generous nature. He finds himself anxious for her approval. Even as

Mrs. Jones delivers her lectures about honesty, she gets Roger to wash his face and comb

his hair, after which she sits him down to a good meal. Then-very suddenly, it seems­

she tells the boy that it's time for him to go. She gives him ten dollars with which to

buy the shoes he wants, says a few more words about why it's a good idea to be honest,

and closes the door. Roger never sees her again.

After students read the story, discuss the point of view. It's third person because Roger

is referred to as he, rather than as I. It's limited because we see the situation just from

Roger's point of view. At first this "limited" dimension may be a bit difficult for some

students to grasp, because Mrs. Jones is such a strong, compelling character. Help out by

reading aloud the paragraph that begins "The water dripping from his face ... ";the

sentence that begins "But the boy took care to sit . .. " and the two sentences that

follow it; and the very last paragraph in the story. Point out that these, like the rest of

the story, tell about things only as the boy sees and experiences them. Langston Hughes is known as a "Harlem Renaissance poet," but his fame goes far

beyond one genre and one time period. Hughes was also a novelist, columnist,

playwright, and essayist. He spent his childhood in several parts of the Midwest, some

of his young adult years in Mexico, a while in Paris working in a cabaret, and some time

in African ports. Many years later he visited Russia. During World War II he wrote

jingles to encourage the purchase of war bonds, and put his pen to work to push

political involvement and nationalism.

Point of View in Poetry

A fter students read the poem "Baseball," ask them to

choose and read aloud some poems from books you have

handy. Ask listeners to identify the point of view in the poems. If there are differences of opinion, look at this as a great

opportunity for delving more deeply into the poems. · Note: David Normoyle was in third grade when he wrote

"Baseball."

r -

_J

63

64

Date -----1 Point of v_iew __ ,-1":::...

Are You for Real? It takes imagination to make an inanimate object seem as alive as a human being. And Rachel Field pulls it off in Hitty: Her First Hundred Year.s. Field does this by letting Hitty, a wooden doll, speak in her own first-person voice about her concerns, opinions, and memories.

Now it's your turn. Write about life from the first-person point of view of one of the inanimate objects below. Circle your choice. Then use the questions below to help you think about how that object would experience the world.

I see

I feel

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

clock

• mailbox . car

movie theater

refrigerator

snow shoes

. .. I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

I fear

Now use your answers to write about your object. Be as serious or as funny as you like.

Name _____________ ~ Date _____ _ Point of View

Chanqinq Views Langston Hughes's "Thank You, Ma'm" is presented from the third-person limited point of view. In that kind of story, the main character is referred to as he or she, and readers see the events in the story only as that character sees them. In Hughes's story, the third-person limited character is Roger.

Rewrite the opening paragraph of the story on page 40 of your Spotlight on ... Point of View book from a first-person point of view. You can choose to write it from either Roger's or Mrs. Jones's point of view.

65

66

Name ____________ ~ Date ____ _ Point of View

Know It All! 1. "TV Land" is told from the all-knowing point of view. Readers know what all

the main characters-Kenny, Mrs. Foster, and Mr. Foster-are thinking, feeling,

and experiencing. Check it out by answering the following questions:

A. How does Kenny feel when he's limited to one hour of TV?

B. How does Kenny feel on Tuesday? Why does he feel that way?

C. What do Mr. and Mrs. Foster think at first when they can't find Kenny?

D. What is Mrs. Foster's first reaction to seeing Kenny on TV? How does she finally handle the situation?

2. On a separate sheet of paper, retell the events in ''TV Land" to show how

they might be experienced by one of the TV characters, for example,

by Uncle Jack Happy, or by David Deering, Space Doctor. But first:

A. Identify the TV character or characters.

B. Underline the point of view you'll use in your story.

1. first person OR 2. third-person limited OR 3. all-knowing

Name------------~ Date ____ _ Point of View

Another Point of View Use the graphic organizer below to begin a story told from the point of view of someone you don't like or with whom you are in conflict. Your challenge is to try to get into that person's head and see situations from his or her angle. Use the third-person limited or first-person point of view. Also, use a pseudonym-that is, another name-for the real-life person you're representing. Continue your story on a separate sheet of paper.

1. How he or she sees herself.

3. How he or she views the conflict.

Point of View

name

2. How he or she sees you.

4. The resolution

67

68

Date ____ _ Point of View

Talk to Your Characters

Here's a common situation for writers: You've thought of a main character for your story. You're going to tell the story from the first-person point of view. The way the character looks, the place in which he or she lives, the character's personality-you've got it all planned. So where do you go with all this? For some reason, you're stuck.

Suggestion: Relax. Close your eyes. See your character vividly in your mind's eye and have a silent talk with her or him. Then use the speech balloons to have him or her answer your questions. Use the answers to continue your story.

If you had one wish, what would it be?

Name _____________ _ Date _____ _ Point of View

Point of View in a Poem You've read the poem on page 48 told from a specific point of view. All poems have a point of view. In fact,

I can't find a poem without a point of view, Can you?

In the columns below, write your own poems, using the point of view designated.

First Person Third-Person Limited

All-Knowinq

Read your poems to a small group of classmates. Then ask them for their advice about any specific parts of the poems you'd like to improve.

69

FICURATIVE l.ANCUACE

10

About Figurative Language I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

Figurative language refers to any language that uses images or language that makes different kinds of comparisons.

•1 I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I •

. Here are definitions of some specific examples of figurative language:

@ Imagery is language that appeals to the senses of hearing, touch, taste, sight,

or smell.

<@ A simile is a description that compares two unlike things to one another, using

the word like or as.

<@ A metaphor compares unlike things without using the word like or as.

@ Hyperbole is an obvious exaggeration, usually funny.

Three kinds of figurative language are featured in the stories in Spotlight on . . .

Figurative Language. A fourth kind, hyperbole, is introduced in the activity

on page 78.

Write the four definitions on the chalkboard and read them aloud, or have a student

do so. Other varieties of figurative language, not introduced here, include symbolism,

alliteration, and onomatopoeia. Personification is also an example of figurative

language, in which human qualities are given to something that is not human, such as a

tree or a duck or a car. Personification is actually a type of metaphor, so you and your

students will find it in some of the stories here.

Show the following sentences on an overhead and discuss with the class what aspect

of figurative language listed on the chalkboard each sentence represents.

1. He loves the scent of blossoming flowers and the warbles of birds.

2. I was so hungry that I even ate the plate!

3. My father was the sun and the moon to me.

4. The rain seemed like an old friend who had finally found us. e I a • • I I I I I I I I a •

5. Her head was so full of ideas that it was ready to burst wide open.

6. Dessert was a dark chocolate covered with slurpy, pink ice cream.

7. Your car sounded as if it were mad at us.

8. He was a library of information about baseball.

Answers:

1. imagery; 2. hyperbole; 3. metaphor; 4. simile;

5. hyperbole; 6. imagery; 7. simile; 8. metaphor

Important: As students read or listen to the stories for the first time, do

NOT interrupt the flow by having them stop along the way to identify

examples of figurative language. They can do that when they go back and

read the stories a second time, and as they complete the reproducibles.

STORY SUMMARIES

• Answers for : reproducible pages •

• Page 74:

2. simile

• 3. imagery

• 4. metaphor

• 5. imagery

• 6. metaphor

• 7. simile

• 8. metaphor

• Page 75 • (possible answers):

• 1. sight, hearing

• 2. sight, touch

• 3. touch, sight, hearing

• 4. sight, smell

• 5. touch, sight, smell

• I I I I I I I I I I a I I •

Sir Gawain and the Green Knight RETOLD BY PAT CUSICK

T he many stories of King Arthur and the Knights of the Round Table date far back into medieval tradition. They are complex tales rising out of the Code

of Chivalry, and stressed the importance of bravery, honesty, and respect for

women. In the story of Sir Gawain, careful readers can find examples of all those

values.

Gawain takes on the challenge offered by the Green Knight, a massive fellow who has

arrived uninvited at Arthur's New Year's party and wants to play a game. The game involves

using an ax to administer a blow to the Green Knight's neck, and then finding the Green

Knight the following year so that he can use the ax on Gawain. In round one the Green

Knight's head falls off, but miraculously continues to speak.

The following year, searching for the Green Knight so that he can keep his pledge,

Gawain is welcomed into a strange castle. For three mornings in a row, the lord of the

castle rides off, leaving Gawain alone with the lord's wife. She is rather seductive, but

Gawain resists her, except for three kisses, which he dutifully reports to his host.

However, he doesn't report that on the third morning the wife gave him a green scarf.

Later, Gawain- scarf tucked away- rides off to continue his search for the Green

Knight. Of course, the Green Knight and the castle host tum out to be the same person.

-~-

71

72

The agreement about the ax-to-the-neck is carried out, but in a way that allows Gawain

to survive it. The greatest blow dealt to him is his failure to be honest with the Green

Knight about the scarf. Humbled, Gawain vows to wear the scarf forever as a reminder

that he violated part of the Code of Chivalry.

You may want to read the story aloud to the class. Then, on a rereading of their own,

students can write down some of the many examples of figurative language.

Boar Out There BY CYNTHIA RYLANT

· J enny, a little girl in the small farming town of Glen

Morgan, is fascinated by the rumor that there's a

fearsome boar living in the deep woods behind the

Miller farm. Jenny often stares over the farm fence,

imagining what the boar looks like and how it moves

Boar Out There -....

and breathes. Finally, she decides to go into the woods and find this elusive, and supposedly

dangerous, creature. When she eventually hears the boar, she coughs, thereby revealing her

presence. The boar runs toward her-then stops and simply stares. Jenny is frozen with fear

and stares back. Suddenly a bluejay yells, and the boar dashes past Jenny as it runs away in

terror. After that, on days when Jenny stares over the fence into the woods she is sorry for

the boar, who is afraid of bluejays and little girls when everyone else is afraid of him.

Almost every paragraph of Rylant's story contains powerful imagery. After students

have read the story straight through, ask them to go back and read aloud some of the

sentences that bring it vividly to life.

The Jewels of the Sea RETOLD BY YOSHIKO UCHIDA

I n this Japanese folk tale, two princes have a

falling-out over a fish hook that the younger

prince has lost. The older brother is furious, and­

though the young prince makes a thousand

replications of the hook-says he will not forgive him

until he returns the original one. This leads the young

The Jewels of the Sea

A ..... ., • ...._,,._.,. ---

prince to a three-year sojourn in the beautiful Kingdom of the Sea, for even after he finds

the precious hook, he can't bear to leave the friends he's made beneath the waves. Finally,

however, the prince realizes that he must return to his own kingdom and give the fish hook

to his brother. As a token of friendship, the King of the Sea gives the young prince two

jewels. One has the power to make huge waves rush over the shore and into the fields. The

second jewel will just as quickly make the water recede. These gifts soon come in handy!

The older brother has seized the throne and doesn't want to share it, fish hook or no fish

hook. One day he finds his young brother strolling outside the palace, and lifts a dagger to

kill him. Just in time, the young prince reaches for the jewels of the sea. With one, he sends

the ocean thundering over the fields. The waves sweep the older prince off his feet.

Drowning, he screams for help. His brother holds up the other jewel, which makes the water

recede. The older prince thanks his brother, and the two of them end up sharing the throne.

Your students will find many examples of imagery in the story, especially in the

descriptions of places and things in the underwater world. Example: "Its gnarled

branches bent low and hung over a beautiful silver well."

EXCERPT FROM

Out of the Dust BY KAREN HESSE

T he book, Out of the Dust, opens in the winter of 1934, during the devastating

dust bowl years of the Great Depression. Billie Jo and her parents live on a

farm in the Oklahoma panhandle. As Billie Jo nears her fourteenth birthday, tragedy

comJ;>Ounds the already difficult conditions of her life: an accidental fire leaves Billie Jo and

her pregnant mother seriously burned. When Ma dies, Billie Jo and her father face even

harder times. The excerpt included in the student book describes a lightning storm that

takes place on a cold March night, and the dust that is kicked up from the drought-ravaged

fields.

Fi9urative Lan9ua9e in Poems

G irls in their early teens wrote the two poems here. Like most good poetry, they

abound with figurative language. For example, in Susan Meader's "A Thundery

Day," clouds are pictured as "soiled," a tree is a "monarch," and the flash of thunder

makes us see the earth as a "counterpane." In Xenia Protopopescu's "Seven Ways of

Looking at the Moon," she describes the moon as a seal on a black envelope, a "white

round candle," "the eye of the night,'' and in several other wonderful ways. After your

students complete page 79, encourage them to read their own poems aloud.

-...

•

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Date ____ _

Fiqure It Out

Figurative Language

Read the sentences in the left-hand column below. Decide whether the sentence is an example of imagery, simile, or metaphor. Write your choice in the right-hand column. The first one is done for you.

Sentence

1. The sea invited us in.

2. The thunder growled like an angry lion.

3. Cars screeched to a stop and drivers leaned on their horns.

4. The road was a ribbon of moonlight.

5. The thick mud squished beneath her bare feet.

6. She is a tower of strength.

7. The boys were as silent as stones.

8. The blazing sun laughed at them as they set off across the desert.

Imagery, Simile, or Metaphor?

f'4'e±CAphOC

Date ____ _

Just lmaqine

Figurative Language

As you've learned, imagery is language that appeals to your senses-to your senses of hearing, touch, taste, smell, and sight. Here are examples of imagery in a sentence from "Boar Out There":

"Moving slowly over damp brown leaves, Jenny (sight, touch, smell)

could sense her ears tingle and fan out as she (touch, hearing)

listened for thick breathing from the trees." (hearing, sight)

Read the following excerpts from stories in Spotlight on ... Figurative Language book. On the lines, identify the sense or senses to which the excerpt appeals. When you've finished, discuss your decisions with some classmates.

1. ''The Green Knight's head flew into the air and came crashing to the ground:'

2. "The fish looked at each other and shook their shiny heads ... ; the crabs and lobsters wriggled their feelers and looked about on the sand and in the coral:'

]. "His large gray-black body shivered as he waited just beyond the shadow of the tree she held for support:'

4. "Servants carried in huge platters of venison and great bowls of soup and placed them before the guests:'

5. "She imagined him running heavily through the trees, ignoring the sharp thorns and briars that raked his back .. :'

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Date _____ _

Simile Search

Figurative Language

A simile uses the word like or as to compare things that are basically not alike at all. Here are four familiar similes:

*That baby is as cute as a button. *He ran like the wind.

*She sings like a lark! *My brother is as strong as a horse.

And here's an original simile from ''The Jewels of the Sea":

"Suddenly, from nowhere, there appeared an old man with hair as white as the clouds in the sky."

Reread "Sir Gawain and the Green Knight" and the excerpt from Out of the Dust, looking for at least two additional examples of simile. Copy the examples on the lines below, then share them with classmates.

1.

2.

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Date _____ _

Metaphor Maqic

Figurative Language

Metaphors compare things without using connective words such as like or as. For example, in the following sentence from "Boar Out There," a boar's loud, clear cry is compared to a piercing, powerful note of music:

"The note would glide though the night and spear the heart of the moon."

Complete each sentence below so that it contains a metaphor. Use a phrase from the list. Several combinations are possible. Later, share your work with some of your classmates.

• I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I •

sighs with memories was a monster

bubbled with joy ate hungrily

was a shriek of warning 1s one person .

•I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I

1. The hurricane at the door. ---------- ---------

2. He - --------------------------------- in disguise.

3. Her laughter _______________ that grabbed everyone's attention.

4. The old barn --- --------------of better times.

5. The entire village ------- -------------------------

&. When we're on the field, our team ----------------------

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78

Date _____ _

Hyperbole: Please Exaqqerate!

Figurative Language

There's another form of metaphor that's called hyperbole. Hyperbole is a very intentional and intense exaggeration. It's used to emphasize something, and usually appears in humorous writing. Here are some examples of hyperbole.

* I fell right through the floor laughing!

* She owes me about sixty,zillion favors.

* I was so surprised, you could have knocked me over with a feather!

* He told me a million times not to exaggerate.

Use your own humorous hyperbole to complete the sentences below. Remember: Good hyperbole is such a clear exaggeration that readers know right away that you're joking.

1. That man owns about _________________ dogs.

2. The baby cried so loudly that ______________ _

3. Their house has at least

4. Last night the moon was so bright that it

5. She's strong enough to

6. The noise from the neighbor's house sounded like

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Name-------------~ Date _____ _ Figurative Language

Fiqurative Lanquaqe in Poems

Reread "A Thundery Day" and "Seven Ways of Looking at the Moon." Then give your responses on the lines below.

1. My favorite example of imagery is:

l. My favorite example of metaphor is:

3. In "Seven Ways of Looking at the Moon," in the second stanza, the moon is

4.

compared to ____________________ _

In the last stanza, the moon is compared to _________ _

Which comparison of the moon do you like best? Why? _____ _

Use "Seven Ways of Looking at the Moon" as a model for writing a poem that compares or describes one of the objects below in seven different ways. Write your poem on a separate sheet of paper.

a tree the ocean the rain a cat a dog a friend

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80

F O RESHA D OWING & Fl.ASH8ACIC )

About Foreshadowing & Flashback ••••••••••••••••••••••••••••••••••

Foreshadowing means suggesting beforehand what is going to happen later in the story.

A flashback occurs when the author tells about an event that happened before the time of the story.

• I I I 8 I I I I I I I I I I I I I I I I I I I I I I I I I I I I I •

N either writing nor recognizing these particular literary elements is simple. The

writer has to try to foreshadow without actually giving away the ending ahead

of time, and the reader has to be able to notice these hints and begin to

speculate about where they might be leading. As for flashback, the writer's challenge is

to jump back and forth in time without confusing the reader; the reader's challenge is to

recognize and follow the jumps.

Before students read the stories, introduce them to the elements involved. Write the

above definitions of foreshadowing and flashback on the board and ask a volunteer to

read them aloud to the class. Copy the paragraphs on page 81 onto a blank transparency and display it on an overhead projector. Invite students to read the paragraphs aloud.

Then challenge them to identify which underlined segments are flashbacks and which

are foreshadowings, and explain how they know. (Answers: 1. flashback; 2. foreshadowing;

3. flashback; 4. foreshadowing)

Discuss with students how they might recognize foreshadowings and flashbacks. For example, in the first paragraph, the words remembered and from long ago hinted that

Rory was about to have a flashback. The past perfect tense (i.e., had been walking, had been so frightened, and had cried) used in the next two sentences indicates that the events

occurred before the time of the narration. In the second paragraph, a continuation of the first paragraph, readers are brought back to the present time by the word today. But

the second sentence gives a hint of what's about to come: He had no way of guessing what was waiting now, just a few yards ahead. Ask students to predict what they think is

going to happen, based on the tone of the whole paragraph. (They might guess that

something sinister is about to occur, maybe even the appearance of the hooded monster mentioned earlier.) Continue analyzing the third paragraph, challenging students to point out the words and phrases that indicate where Gloria is flashing back in time and

those that foreshadow a future event. Then invite students to read the stories in Spotlight on ... Foreshadowing &

Flashback, keeping an eye out for these literary elements. When students have finished reading the four stories in the book, have them work on the reproducible activities on pages 85-92. The activities will help reinforce what they've learned about

foreshadowing and flashback and use these elements in their own stories .

... .... .... .... .... ··.

IDENTIFY FORESHADOWING AND FLASHBACK

1. All of a sudden, Rory remembered an incident from long ago. He had been walking in the woods with his older brother. who tried to scare him half to death with a story about a hooded monster. Rory had been so frightened then that he had cried uncontrollably.

2. Today, as he strolled along peacefully, Rory chuckled at that long-ago horror story. He had no way of guessing what was waiting now. just a few yards ahead. Right now. he was happy and relaxed.

3. Gloria lined up with the other runners. They were all flushed with determination and excitement-all except Gloria. Suddenly, it was last year again. and she was telling the coach that she had to drop out of the team because of her illness. Now she was well again. "Still,'' she said to herself, "what am I doing here? I'll never win. I haven't practiced enough!" But miracles do happen. The question is. what kind of miracle would be best for Gloria?

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82

STORY SUMMARIES

The Tell-Tale Heart A RETELLING OF THE STORY BY EDGAR ALLAN POE

I n the first two paragraphs of this famous tale, readers

can immediately tell that the narrator is deranged.

He is obsessed by the ugliness of an old man's eye, and

so has decided to kill the poor fellow. Will the narrator

really kill him? If so, will he be caught and punished?

The answer is foreshadowed in the story title:

Somehow the heart is going to tell on him.

After students finish reading the story, ask them

The Tell-Tale Ii tart

............

to go back and identify other sentences that foreshadow the climax and the

ending. Three examples:

®> The beating of his heart grew quicker and quicker, and louder and louder.

®> I smiled. The deed was almost done. For many minutes his heart beat on with a muffled sound . ... Finally it stopped, and the old man was dead.

®> I put my hand on his heart and held it there many minutes-no heartbeat.

EXCERPT FROM

The Music of Dolphins BY KAREN HESSE

I n the first few chapters of this extraordinary book,

we meet a girl who-when only four years old­

was rescued from drowning off the coast of Florida.

Her rescuers: dolphins! The girl's dolphin "mother"

has raised and cared for her ever since. But one day,

while the girl is on her usual walk on a deserted island, she is

...... ,... The Music

of Dolphins

spotted by Coast Guard helicopter pilots. Against her will they "rescue" her, taking her

away from her dolphin family. The pilots name the girl Mila-a shortened form of

"miracle" in Spanish-and deliver her to a center for scientific study in Miami. There,

doctors attempt to teach this feral child how to speak and write so that she will become a

"real" human being. However, the big question that eventually develops is: What exactly

does it mean to be human? You may want to obtain a copy of The Music of Dolphins so that

you and your students can read the entire heartrending tale.

After students read the excerpt in the booklet, guide them to identify examples of

foreshadowing and flashback, such as these.

®> The story begins with the girl happily narrating her idyllic life with the dolphins. Then midway along in these pages something ominous is foreshadowed: The plane comes closer. The sound of it shakes my bones. My skin shivers, like an orca is coming.

®> The first half of the news article flashes back to Mila's capture, filled with

details from her rescuers' point of view. In the second part of the article, there's a foreshadowing that Mila will be part of a study that involves another "wild

child." We also determine that Mila will quickly win the hearts of her captors.

®> Students can get an unusual taste of foreshadowing by comparing Mila's deep

and fluent "dolphin" thoughts at the beginning of the story with her very first, hesitant, limited "human" words at the center. The latter suggests (foreshadows)

that she's going to have to work really hard learning to speak if she wants to make the doctors happy.

Sweet BY ]OHN TRISKA

Sweec

T he narrator, sixth-grader John, has a huge crush on a classmate, Gina.

He finally dares to ask her if she wants to go steady, and is amazed and delighted when she says, "Okay." After school, John buys a Christopher

medallion to present to Gina the next day, scribbles a note telling her how 19 -

"sweet" he thinks she is, and wraps all these in a box. But the next day, things spiral downward for poor John. First, hours before John is ready to give the box to Gina, he accidentally drops it. Before he can retrieve it, Gina's friends have picked up the box, recognized it as a "go-steady" present, and spread the news throughout the school. How embarrassing! Then later, after he formally presents the box to Gina, he watches from afar as she and her friends read the enclosed note together and burst out laughing. What ~n earth are they laughing at? As it turns out, John has misspelled sweet. His note says that he thinks Gina is "sweat"! So the steady-date arrangement is history.

As you discuss the story with students, point out that the most obvious foreshadowing

is when the narrator sidetracks from the main story and tells about his spelling problems (but still within context). In particular, notice what his teacher Miss Campbell says: ". . . people judge us by impressions. And the first impression we make when we write is how well we spell." Obviously John makes a bad first impression when he misspells the word sweet, causing him to lose the girl of his dreams.

As a brief example of flashback, point out that the last sentence in the story-We stepped out into the fieW. together-echoes the end of the first paragraph in the story-. . . visualizing her walking with me in the fieW. at school. Of course, it's with two different

young ladies! Could this be a foreshadowing as well?

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84

Astute readers might wonder whether something might be going on between John

and his next,door neighbor Sandy. Ask students to consider their conversation as they

walk home together after John had asked Gina to go steady, especially when John says:

"Of course, you and I could never go steady since we're neighbors and all." You may want to

challenge students to write a sequel to "Sweet," picking up where the story left off.

Wheels Willoughby BY TARA McCARTHY

W heels (a.k.a. Wilhelmina) is a whiz on

Rollerblades. Just for fun, she'll sometimes

take on challenges from drivers of motorcycles, sports cars, and taxicabs, and she always wins. After all,

Wheels can actually go a mile a minute on her skates!

Wheels Willoughby

However, once news of her talent spreads throughout the city, Wheels is asked to perform

for various charitable organizations, like the Police Department Hot Lunch and Choral

Foundation. Being a kind person, she takes on these causes when asked. But the demands

become overwhelming, and Wheels can't have just plain ol' fun on her skates anymore. So,

after yet another public performance, she skates swiftly away, never to be seen again.

The story itself is a flashback, triggered by the sounds of spring, particularly the steady zhoom,zhoom of Rollerblades. Readers can tell that a flashback is about to follow when

people start saying, "That reminds me of good ol' Wheels Willoughby" and "I wonder what happened to her?" You might say that the first few sentences also foreshadow what the

story will be about. Students can pick up clues that they're going to read about a girl­

somehow related to Rollerblades-who disappeared mysteriously long ago.

Another example of foreshadowing appears midway through the story when readers

get the sense that Wheels is not happy with her newfound fame. Wheels says, "I don't want that. I just want to skate and enjoy myself." What's foreshadowed here, of course, is

that Wheels is going to escape so she can get back to enjoying herself.

Flashback in Poems

F lashback and foreshadowing in poetry tend to be quite different from those same

elements in prose. In poetry, the writer is allowed to jump back and forth in time

without always making the jump absolutely clear. That is, it's left to the readers to

recognize the jumps.

In the poem "Spring Rain," the first spring thunder brings to the writer's mind an

earlier spring storm. The way the poem starts-I thought I had forgotten, but it all came back again- indicates that the poet is writing now, flashing back to an event that

happened in the past. Encourage students to use Sara Teasdale's poem as a springboard

to write flashback poems of their own.

Name ____________ ~ Date ____ _

Time Spotters

Foreshadowing & Flashback

In each paragraph below, you'll find examples of foreshadowing and one of flashback. Draw one line under each foreshadowing and two lines under each flashback. Then discuss your choices with classmates.

1. Something good was in store for her soon. She just knew it in her bones!

Out on this same hillside last year, she had felt angry and helpless. Today

she felt happy and self-assured.

2. Sinking lower and lower, pulled into darkness by the furious undertow, he

could no longer hold his breath. He knew the end was near. Then the

jangling alarm clock burst in, saving him from reliving once more that awful

experience of many summers ago. He would never go near the sea again,

he promised himself. But who says we can control our future?

3. The big, emaciated dog started across the street, heading right for Alonso.

Alonso froze in his tracks. His dog Chance had disappeared in the fall,

leaving Alonso's whole family distressed-Mom crying, Dad peering out the

window every five minutes, hoping that by some miracle Chance would be

at the door. Now this old thing was lumbering toward Alonso ... was it

Chance, or just another look-alike?

4. Luisa stood next to her mother, ready to begin kneading the dough.

Suddenly, the yeasty smell of dough took her back to six months ago,

when her grandmother had come for a visit. She, her mother, and her

grandmother had been kneading bread when the phone call came. Luisa

froze as she thought of this.

5. The heavy coins made his pockets sag, so Alex quickly emptied the change

onto the table. He didn't need them for the bus since his mother was

driving him to school. Later, he'd be sorry he'd done that.

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86

Date ____ _

Chanqe the Story

Foreshadowing & Flashback

''The Tell-Tale Heart" is primarily a story of foreshadowing, where even the title gives a clue as to how the story will end. But you can easily change this story into a flashback. How? Tack on a new beginning and end to the story.

Write a new beginning to "The Tell-Tale Heart" that happens at the present time. What happens to trigger the flashback?

Now bring the story back to the present. What happens when the killer finishes his narration? Write a new ending.

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~ j -5 en

J i ;.:i

5 -t ii

~

Date ____ _

What Lies Ahead for Mila?

Foreshadowing. & Flashback

In the excerpt from The Music of Dolphins, you learn a lot about Mila-her capture by helicopter pilots, her life before that event, and where and why she is now being held. By reading the first seven chapters closely, you can foreshadow what will happen in later chapters.

1. Notice how Mila's use of the human language rapidly improves from chapters 1 through 7. What might be foreshadowed by her ability to pick up the language quickly?

2. In chapter 5, Mila meets Shay. Consider Shay's behavior. What might it foreshadow?

]. Reread the last paragraph in Chapter 7, which begins: A promise is like a mother dolphin .. . What might this paragraph foreshadow? Try to come up with at least two different possibilities.

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Date ____ _

Flashback in Your Own Story

Try your hand at incorporating flashback into your own story. Use this graphic organizer to help you get started. You don't have to fill in the organizer in order. If you want, you can even start with the flashback and work your way backward and forward into the story.

FLASHBACK

How does the flashback affect the outcome of the story?

How does the story begin?

What triggers the flashback?

How does the story end?

1 l

1i

i .l 1

1 ' ' "

Date ____ _ Foreshadowing & Flashback

Foreshadowinqs Everywhere

A. In real, everyday life we often experience foreshadowings of things that may be about to happen. Examples:

A sudden, blustery wind starts making its way through the woods.

This could possibly foreshadow that:

(1) the biggest storm of the year will ravage the town.

(2) a tree will topple over, smashing into a nearby house.

A police car with sirens blaring zooms down the highway.

This could possibly foreshadow that:

(1) a speeder will cause a major traffic accident before being pulled over.

(2) the police will finally capture an escaped convict.

B. Now YOU think of two possibilities about what may happen.

A dad greets his kids at the door, saying "Have I got a surprise for you! You'll never guess where we're going!"

This could possibly foreshadow that:

C. Use your ideas in B to begin a story of your own.

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92

Date _____ _ Foreshadowing & Flashback

Foreshadowinq in Poems On page 48 of the Spotlight on ... Foreshadowing & Flashback book, you read a poem that flashes back to a previous event. But of course a poem can foreshadow, too. Here's an example:

You cannot guess what lies in wait But I know, I know! You'll meet someone ... oh, never mind! I can't reveal your fate .

On the lines below, write your own foreshadowing poem. Remember, there are lots of possibilities. You can hint at something that's ominous, funny, exciting, or mysterious.

Character A character is a person or other figure in a work of literature.

Characterization Characterization is how the writer reveals what a character is like. Writers do this in different ways:

Direct Characterization: The writer simply tells what the character is like. Example: Ame was nervous and jumpy.

Gl.OSSARY

Indirect Characterization: The writer gives the actual words of the character, tells what the character is thinking and feeling, tells about the character's actions, or tells how others respond to the character. Example: Ame leaped up and ran f<Yr the door.

Climax Climax is the exciting point in the story where the main character or characters face and make a huge decision. For readers, the climax is usually the most suspenseful part of the story. It's the point where the conflict will finally be settled.

Conflict Conflict is the big struggle between characters or between opposing forces. A conflict may be external or internal. Some stories have both kinds of conflict.

External Conflict: The main character struggles with another person or with an outside force, like the sea.

Internal Conflict: The main character struggles with opposing ideas or feelings within his or her own mind, like wanting to be independent but also needing the approval of others.

Figurative Language Figurative language refers to any language that uses images or language that makes different kinds of comparisons. Examples of figurative language include imagery, metaphor, simile, hyperbole, and personification.

Flashback A flashback occurs when the author tells about an event that happened before the current time of the story.

Foreshadowing Foreshadowing means suggesting beforehand what is going to happen later in the story.

Hyperbole Hyperbole is obvious exaggeration, which is usually funny.

Example: The music was so loud, you could hear it in the next time zone.

Imagery Imagery is language that appeals to the senses.

Examples: A freezing~cold snow cone; the fragile and gentle touch of a butterfly's wings; the screeching cry of an owl

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94

Gl.OSSARY

Metaphor A metaphor is a word or phrase that compares one thing to another without use of the words like or as. M~qiphors are not factually true, but they help readers see events and characters in a vivid way.

Example: The hurricane was a huge beast trying to devour us.

Mood Mood, or atmosphere, is the general feeling or mood in a work of literature. Writers create atmosphere by using imagery and descriptions. Readers can usually describe atmosphere in just a word or two--for example, "a sad poem," "a scary story," or "an uplifting novel."

Personification Personification is a type of metaphor in which human qualities are given to something that is not human, such as a tree or a car.

Example: The tree shook its branches angrily.

Plot Plot is the series of related events that make up the story. Most plots involve solving a conflict. Here are the parts of a plot!

Introduction: Tells who the main character or characters are and what the main conflict is.

Complications: These develop as the characters do things to try to solve the conflict.

Climax: The main character or characters make a final decision that solves the conflict.

Resolution: The writer tells what the characters feel or do now that the conflict is resolved.

Point of View The point of view in a literary work is the vantage point from which the story is told. There are three points of view from which a story can be told. ,

First Person: The person telling the story is a character in the story, and uses I and me.

Third-Person Limited: The thoughts and feelings of one character are given. This person is referred to in the third person, e.g., he or she.

Omniscient: The narrator knows what everyone in the story is thinking and feeling.

Setting Setting is the time and place in which the story events occur.

Simile A simile is a comparison that compares two unlike things and in which the words like or as are used.

Example: She made little sounds like a kitten mewing. •

Theme Theme is the big idea or lesson that a story conveys about life. The writer usually doesn't state the theme directly. It's up to readers to discover the theme for themselves. When you've found the theme, you'll be able to summarize it in a complete sentence or two.

Tone Tone is the attitude or style of expression used in writing. Writers choose words and images to create a story's tone.

Plot Because of Winn-Dixie by Kate Di Camillo (Candlewick Press, 2000) Riding Freedom by Pam Munoz Ryan (Scholastic, 1998)

Stone Fox by John Reynolds Gardiner (HarperCollins, 1980)

Summerland by Michael Chaban (Hyperion, 2002)

The Thief Lord by Cornelia Funke. (Scholastic/Chicken House, 2002) Stowaway by Karen Hesse (McElderry, 2001)

Stick and Whittle by Sid Hite (Scholastic, 2001) Silent to the Bone by E. L. Konigsburg (Atheneum, 2000)

The Ghost Sitter by Peni R. Griffin (Dutton, 2001)

Character Prindle by Andrew Clements (Simon & Schuster, 1996)

Joey Pigza Swallowed the Key by Jack Gantos (Harper Trophy, 2000) Shiloh by Phyllis Reynolds Naylor (Dell, 1991)

A Corner of the Universe by Ann M. Martin (Scholastic, 2003)

The Same Stuff as Stars by Katherine Paterson (Clarion, 2002)

Lord Brocktree by Brian Jacques (Philomel, 2000)

( 8 181.IOORAPHY

The Graduation of Jake Moon by Barbara Park (Atheneum/Schwartz, 2000) The Gawgon and the Boy by Lloyd Alexander (Dutton, 2001)

Setting The Whipping Boy by Sid Fleischman (Greenwillow, 1986) Sarah, Plain and Tall by Patricia Maclachlan (HarperCollins, 1995) Number the Stars by Lois Lowry (Houghton, 1989) The Rope Trick by Lloyd Alexander (Dutton, 2002) Crispin: The Cross of Lead by Avi (Hyperion, 2002)

Dead Man's Gold and Other Stories by Paul Yee (Groundwood, 2003) Refugee Boy by Benjamin Zephaniah (Bloomsbury, 2002)

Fiddle Fever by Sharon Arms Doucet (Clarion, 2000) The Color of My Words by Lynn Joseph (HarperCollins/Cotler, 2000)

Point of View First Person Dovey Coe, A Novel by Frances O'Roark Dowell (Atheneum, 2000) Olive's Ocean by Kevin Henkes (Greenwillow, 2003)

Third-Person Limited

Julie of the Wolves by Jean Craighead George (HarperCollins, 1972)

Omniscient Tuck Everlasting by Natalie Babbitt (Farrar, Straus & Giroux, 1975)

95

96

8181.IOCRAPHY

Foreshadowing & Flashback Crash by Jerry Spinelli (Knopf, 1996)

Help! I'm Trapped in the First Day of School by Todd Strasser (Scholastic, 1994)

Pictures of Hollis Woods by Patricia Reilly Giff (Random/Lamb, 2002)

Harmony by Rita Murphy (Delacorte, 2002)

Holding Up the Earth by Dianne E. Gray (Houghton, 2000)

The Times They Used to Be by Lucille Clifton (Delacorte, 2000)

The Great Whale of Kansas by Richard W. Jennings (Houghton/Lorraine, 2001)

The Buccaneers by lain Lawrence (Delacorte, 2001)

Figurative Language Walk Two Moons by Sharon Creech (HarperTrophy, 1996)

Missing May by Cynthia Rylant (Bantam Doubleday, 1992)

Out of the Dust by Karen Hesse (Scholastic, 1997) Something's Not Quite Right by Guy Billout (Godine, 2002)

Stonecutter by Leander Watts (Houghton, 2002)

Space Race by Sylvia Waugh (Delacorte, 2000)

Mixed Magic: Four Tales of Chrestomania by Diane Wynne Jones (HarperCollins, 2001)

Dream Soul by Laurence Yep (HarperCollins, 2000)

Mansa Musa: The Lion of Mali by Kephra Bums (Harcourt/Gulliver, 2001)

Tone & Mood The Library Card by Jerry Spinelli (Scholastic, 1997)

A Wrinkle in Time by Madeleine L'Engle (Bantam Publishing, 1962)

A Year Down Yonder by Richard Peck (Dial, 2000)

Midnight Is a Place by Joan Aiken (Houghton, 2002)

Together Apart by Dianne E. Gray (Houghton, 2002)

Joey Pigza Loses Control by Jack Ganto (Farrar, 2000) Gold Dust by Chris Lynch (HarperCollins, 2000)

The Demon in the Teahouse by Dorothy Hoobler and Thomas Hoobler (Philomel, 2001)

Jakarta Missing by Jane Kurtz (HarperCollins, 2001)

Theme Step by Wicked Step by Anne Fine (Little Brown, 1996)

A Company of Fools by Deborah Ellis (Fitzhenry, 2002)

Boston Jane: Wilderness Days by Jennifer L. Holm (HarperCollins, 2002)

Gathering Blue by Lois Lowry (Houghton/Lorraine, 2000) Storm Warriors by Elisa Carbone (Knopf, 2001)

Finding Hattie by Sally Warner (HarperCollins, 2001)

Craz-y Loco by David Rice (Dial, 2001)