inspiring minds TM

English Language Arts

Grade

SpringBoard®

7

ii SpringBoard® English Language Arts Grade 7

ABOUT THE COLLEGE BOARD� e College Board is a mission-driven not-for-pro� t organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the nation’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success—including the SAT® and the Advanced Placement Program®. � e organization also serves the education community through research and advocacy on behalf of students, educators and schools.

For further information, visit www.collegeboard.com.

ISBN: 1-4573-0219-5 ISBN: 978-1-4573-0219-0

Copyright © 2014 by the College Board. All rights reserved.

CollegeBoard, Advanced Placement Program, AP, AP Central, AP Vertical Teams, College Ed, Pre-AP, SpringBoard, connecting to college success, SAT, and the acorn logo are registered trademarks of � e College Board. College Board Standards for College Success, connect to college success, English Textual Power, and SpringBoard are trademarks owned by College Board. PSAT/NMSQT is a registered trademark of � e College Board and National Merit Scholarship Corporation. Microso� and PowerPoint are registered trademarks of Microso� Corporation. All other products and services may be trademarks of their respective owners.

2 3 4 5 6 7 8 14 15 16 17 18 19Printed in the United States of America

ACKNOWLEDGMENTS� e College Board gratefully acknowledges the outstanding work of the classroom teachers and writers who have been integral to the development of this revised program. � e end product is testimony to their expertise, understanding of student learning needs, and dedication to rigorous and accessible English Language Arts instruction.

Pat Bishop Julie ManleyWriting Coach (Retired) English TeacherHillsborough Schools Bellevue School District 405Tampa, Florida Bellevue, Washington Susie Challancin Le’Andra MyersEnglish Teacher English Teacher Bellevue School District 405 Pasco School District Bellevue, Washington Pasco, Washington Bryant Crisp Stephanie Sharpe English Teacher English Teacher Charlotte Mecklenburg Schools Hillsborough Schools Charlotte, North Carolina Tampa, Florida Paul DeMaret Susan Van DorenEnglish Teacher English Teacher Poudre School District Douglas County School District Fort Collins, Colorado Minden, Nevada Michelle LewisCurriculum CoordinatorSpokane Public SchoolsSpokane, Washington

SPRINGBOARD ENGLISH LANGUAGE ARTS DEVELOPMENTBetty Barnett Doug WaughExecutive Director Senior Director Content Development Product Management

Joely Negedly Nina WooldridgeInstructional Specialist Senior Director Professional Development JoEllen VictoreenSenior Instructional Specialist

Acknowledgments iii

iv SpringBoard® English Language Arts Grade 7

RESEARCH AND PLANNING ADVISORSWe also wish to thank the members of our SpringBoard Advisory Council and the many educators who gave generously of their time and their ideas as we conducted research for both the print and online programs. Your suggestions and reactions to ideas helped immeasurably as we planned the revisions. We gratefully acknowledge the teachers and administrators in the following districts.

ABC Uni� edCerritos, California

Albuquerque Public SchoolsAlbuquerque, New Mexico

Amarillo School DistrictAmarillo, Texas

Bellevue School District 405Bellevue, Washington

Broward County Public SchoolsFt. Lauderdale, Florida

Clark County School DistrictLas Vegas, Nevada

District School Board of Collier County

Collier County, Florida

Denver Public SchoolsDenver, Colorado

Frisco ISDFrisco, Texas

Garland ISDGarland, Texas

Gilbert Uni� ed School DistrictGilbert, Arizona

Grand Prairie ISDGrand Prairie, Texas

Hillsborough County PublicSchools

Tampa, Florida

Hobbs Municipal SchoolsHobbs, New Mexico

Houston Independent School District

Houston, Texas

Irving Independent SchoolDistrict

Irving, Texas

Kenton County School DistrictFort Wright, Kentucky

Lee County Public SchoolsFort Myers, Florida

Newton County SchoolsCovington, Georgia

Noblesville SchoolsNoblesville, Indiana

Oakland Uni� ed School DistrictOakland, California

Orange County Public SchoolsOrlando, Florida

School District of Palm BeachCounty

Palm Beach, Florida

Peninsula School DistrictGig Harbor, Washington

Polk County Public SchoolsBartow, Florida

Quakertown Community School District

Quakertown, Pennsylvania

Rio Rancho Public SchoolsRio Rancho, New Mexico

Ronan School DistrictRonan, Montana

St. Vrain School DistrictLongmont, Colorado

Scottsdale Public SchoolsPhoenix, Arizona

Seminole County PublicSchools

Sanford, Florida

Southwest ISDSan Antonio, Texas

Spokane Public SchoolsSpokane, Washington

Spring ISDHouston, Texas

Volusia County SchoolsDeLand, Florida

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To the Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix

Unit 1 The Choices We Make

Activities 1.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1.2 Exploring the Concept of Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 1.3 Choices and Consequences: Paired Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Poetry: “The Road Not Taken,” by Robert Frost Poetry: “Choices,” by Nikki Giovanni

1.4 Exploring the Personal Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Novel: Excerpt from Staying Fat for Sarah Byrnes, by Chris Crutcher

Introducing the Strategy: Metacognitive Markers 1.5 Analyzing Incident, Response, Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Autobiography: from Dust Tracks on a Road, by Zora Neale Hurston 1.6 Analyzing Language. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Memoir: from Bad Boy, by Walter Dean Myers 1.7 Timed Writing: Choosing a Topic and Drafting a Personal Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 1.8 Once Upon a Time: Revising the Beginning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 1.9 Can You Sense It? Revising the Middle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Personal Narrative: “Why Couldn’t I Have Been Named Ashley?” by Imma Achilike Introducing the Strategy: Looping

1.10 Tie It Together: Revising the Ending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Embedded Assessment 1: Revising a Personal Narrative About Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

1.11 Previewing Embedded Assessment 2: Expanding Narrative Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431.12 Poor Choices: “Phaethon”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Myth: “Phaethon,” by Bernard Evslin1.13 Flight to Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Myth: “Daedalus and Icarus,” from Greek Myths by Geraldine McCaughrean Introducing the Strategy: Diffusing

1.14 A Matter of Pride . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Myth: “Arachne,” by Olivia E. Coolidge

1.15 Symbolic Thinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681.16 Animals as Symbols: Aesop’s Fables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Fable: “The Lion, the Fox, and the Stag,” from Aesop’s Fables1.17 Analyzing Visual Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

*Film Clip: The Mighty, directed by Peter Chelsom 1.18 Creation Myths from Around the Globe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Informational Text: “A Note from the Author,” by Virginia HamiltonMyths: “Huveane and Clay People,” from Voices of the Ancestors: African Myth, by Tony Allan, Fergus Fleming, and Charles Phillips; “Mbombo,” from Voices of the Ancestors: African Myth, by Tony Allan, Fergus Fleming, and Charles Phillips; Raven and the Sources of Light,” by Donna Rosenberg

Embedded Assessment 2: Creating an Illustrated Myth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

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Unit 2 What Influences My Choices?

Activities 2.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 2.2 What Is the Issue? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Informational Text: “$211 Billon and So Much to Buy American Youths, the New Big Spenders” 2.3 Analyzing Informational Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Informational Text: “Facts About Marketing to Children,” The Center for a New American Dream 2.4 How Do They Do It? Analyzing Ads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 2.5 Advertising for All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 2.6 Evaluating Sources: How Credible Are They? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Online Text: “Responsible Marketing,” Coca Cola 2.7 Gathering Evidence from a Film: Part One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

*Documentary Film: Consuming Kids: The Commercialization of Childhood 2.8 Gathering Evidence from a News Article . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

News Article: “Marketing to kids gets more savvy with new technologies” 2.9 Gathering Evidence from a Film: Part Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

*Documentary Film: Consuming Kids: The Commercialization of Childhood2.10 Gathering Evidence: Bringing It All Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Embedded Assessment 1: Writing an Expository Essay and Participating in a Collaborative Discussion  . . . . . 126

2.11 Unpacking Embedded Assessment 2: Preparing for Argumentative Writing . . . . . . . . . . . . . . . . . . . . . . . . 1282.12 Which Claims to Believe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Essay: “America the Not-So-Beautiful,” by Andrew A. RooneyIntroducing the Strategy: SOAPSTone

2.13 Exploring and Evaluating Reasons and Evidence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Informational Text: “Another study highlights the insanity of selling junk food in school vending machines,” by Karen Kaplan

2.14 Just the Right Rhetoric: Logical Appeals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Speech: “Ain’t I a Woman?” by Sojourner Truth Speech: Excerpt from “Remarks to the U.N. 4th World Conference on Women, Plenary Session,”by Hillary Rodham Clinton

2.15 Differing Opinions: Acknowledging Opposing Claims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152Online Article: “Failure To Ban Violent Video Games Makes Job Harder For Parents,” by Tamika MalloryNews Article: “It’s Perverse, But It’s Also Pretend,” by Cheryl K. Olson

2.16 To Introduce and Conclude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Student Essay: “Screen Time?”

Embedded Assessment 2: Writing an Argumentative Essay  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

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Unit 3 Choices and Consequences

Activities 3.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1663.2 Peeling a Tangerine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1673.3 Reading the Novel Tangerine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

*Novel: Tangerine, by Edward BloorIntroducing the Strategy: Questioning the Text

3.4 There’s a New Kid in Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1723.5 Another Kid, Another Town . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

*Film: The Sandlot, directed by David Mickey Evans3.6 Oh, Brother! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1803.7 September 11 Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

News Article: “A stunning tale of escape traps its hero in replay,” by Harry Bruinius3.8 SIFTing Through Tangerine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Introducing the Strategy: SIFT3.9 Same Sport, Different School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

3.10 A Good Sport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1943.11 Seeing Is Believing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1973.12 Conflicts and Consequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2003.13 Mourning and Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Poetry: “To an Athlete Dying Young,” by A. E. Housman3.14 The Final Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Embedded Assessment 1: Writing a Literary Analysis Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

3.15 Previewing Embedded Assessment 2 and Analyzing Words That Inspire . . . . . . . . . . . . . . . . . . . . . . . . . . 2113.16 Nelson Mandela in Hollywood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

*Film: Invictus, directed by Clint Eastwood3.17 A Long Walk to Peace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Biography: The Nobel Peace Prize 1993, Biography of Nelson MandelaAutobiography: Excerpt from Long Walk to Freedom, by Nelson Mandela

3.18 Planning for Research and Citing Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2223.19 Visual Impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Informational Text: “Landmarks of Nelson Mandela’s Life,” BBC News3.20 Comparing Text and Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Poetry: “Invictus,” by William Ernest Henley Nonfiction: Excerpt from Playing the Enemy: Nelson Mandela and the Game That Made a Nation, by John Carlin

3.21 Follow the Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239Speech: Excerpt from Nelson Mandela’s Nobel Prize Acceptance Speech

Embedded Assessment 2: Creating a Biographical Presentation  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

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Unit 4 How We Choose to Act

Activities4.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 4.2 Using Language for Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Poetry: “Stopping by Woods on a Snowy Evening,” by Robert FrostPoetry: “maggie and milly and molly and may,” by E.E. CummingsPoetry: “Mother to Son,” by Langston HughesPoetry: Haikus by Richard Wright Poetry: “It Happened in Montgomery,” by Phil W. Petrie

4.3 Analyzing a Comedic Monologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2574.4 Analyzing and Presenting a Dramatic Monologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Introducing the Strategy: Choral ReadingMonologues: “Eye Contact,” “Snob,” “Roommate,” “Mr. Perfect,” “Family Addition,” “Too Young for . . . ,” and “Party,” by Deborah Karczewski

4.5 Analyzing and Responding to Narrative Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272Poetry: “The Raven,” by Edgar Allan Poe

4.6 Transforming a Traditional Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280Poetry: “Little Red Riding Hood and the Wolf,” by Roald Dahl

4.7 Analyzing and Transforming “Casey at the Bat”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285Poetry: “Casey at the Bat,” by Ernest Lawrence Thayer

Introducing the Strategy: RAFT4.8 Using Language to Develop Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Informational Text: “Outlaws and Highwaymen,” by Gillian SpraggsPoetry: “The Highwayman,” by Alfred Noyes

Embedded Assessment 1: Creating and Presenting a Monologue  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

4.9 Previewing Embedded Assessment 2 and Performing Shakespeare. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3024.10 Putting on the Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Poetry: “We Wear the Mask,” by Paul Laurence Dunbar4.11 Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3074.12 Analyzing and Delivering a Shakespearean Monologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Drama: Twelfth Night, by William Shakespeare*Film: Twelfth Night, directed by Trevor Nunn, 1996

4.13 Acting for Understanding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3134.14 Interpreting Character in Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3154.15 Comparing Film and Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

*Film: Twelfth Night, directed by Trevor Nunn, 19964.16 Stage Directions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3234.17 Exploring Theatrical Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Embedded Assessment 2: Performing a Shakespearean Dialogue  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

*Texts not included in these materials.

Grammar Handbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

To The Student ix

Welcome to the SpringBoard program. � e College Board publishes SpringBoard to help you acquire the knowledge and skills that you will need to be prepared for rigorous English Language Arts coursework. Developing pro� cient reading, writing, language, and speaking and listening skills is important to your success in school, in college, and in a career. Preparing you to develop these skills is the primary purpose of this program.

As you complete middle school and prepare for high school, these skills will also be valuable if you decide to take an Advanced Placement course or another college-level course. Not every student will take an Advanced Placement course in high school, but through SpringBoard you can acquire the knowledge and skills you will need to be successful if you do decide to enroll in AP Literature or AP Language Arts.

We hope you will discover how SpringBoard can help you achieve high academic standards, reach your learning goals, and prepare you for success in your study of literature and language arts. � is program has been created with you in mind: the content you need to learn, the tools to help you learn, and the critical thinking skills that help you build con� dence in your ability to succeed academically.

STANDARDS-BASED LEARNING� is SpringBoard edition was developed to help you achieve the expectations of being college and career ready. Rigorous standards outline what you should learn in English Language Arts in each grade. See pages xiii-xvi for the complete standards for Grade 7.

� e SpringBoard program provides instruction and realistic activities that help you achieve the learning expected by rigorous college and career readiness standards. With this program, you will focus on developing the following skills:

• Close reading and analysis of texts

• Eff ective communication in collaborative discussions in which you use your textual analysis to share ideas and make decisions with peers

• Fluency in writing narratives, explanations, and arguments based on purpose and audience

• Vocabulary and language skills

• Reading and interpreting fi lm while comparing it to a related print version

• Media literacy.

By learning these skills, you will enhance your ability to understand and analyze any challenging text, to write with clarity and voice, to speak and listen in order to communicate and work eff ectively with others, and to view media with a critical intelligence.

LEARNING STRATEGIES Some tools to help you learn are built into every lesson. At the beginning of each activity, you will see suggested learning strategies. Each of these strategies is explained in full in the Resources section of your book. � ese strategies range from close reading and marking texts to dra� ing and revising written work. You will also encounter collaborative strategies in speaking and listening like debate and Socratic Seminar. Finally, SpringBoard uses a variety of pre-AP strategies like SOAPSTone and TP-CASTT to help you deeply analyze text; collect evidence for your writing; and critically think about issues, ideas, and concepts. As you learn to use each strategy, you will decide which strategies work best for you!

To the Student

x SpringBoard® English Language Arts Grade 7

TO THE STUDENTcontinued

AP CONNECTIONSWhen you reach high school, you may have an opportunity to take Advanced Placement (AP) classes or other rigorous courses. When the time comes to make that decision, we want you to be equipped with the kind of higher-order thinking skills, knowledge, and behaviors necessary to be successful in AP classes and beyond. You will see connections to AP in the texts that you read, the strategies you use, and the writing tasks throughout the material.

Having connections to AP Language and Literature will help you:

• Close read a text to determine literary elements.

• Write with an attention to textual evidence and chose organizational patterns.

• Identify and write rhetorical appeals.

• Understand strong relationships among author’s purpose, use of literary/stylistic devices, and desired eff ect.

• Analyze and synthesize information from a variety of texts to respond to an AP style prompt.

• Write to interpret, evaluate, and negotiate diff ering critical perspectives in literature.

THE SPRINGBOARD DIFFERENCESpringBoard is diff erent because it provides instruction with hands-on participation that involves you and your classmates in daily discussions and analysis of what you’re reading and learning. You will have an opportunity to:

• Discuss and collaborate with your peers to explore and express your ideas

• Explore multiple perspectives by reading a variety of texts – both � ction and non� ction – that introduce you to diff erent ways of thinking, writing, and communicating

• Examine writing from the perspective of a reader and writer and learn techniques that good writers use to communicate their message eff ectively

• Gain a deep understanding of topics, enabling you to apply your learning to new and varied situations

• Take ownership of your learning by practicing and selecting strategies that work for you

• Re� ect on your growth as a reader, writer, speaker, and listener and showcase your best work in a working portfolio.

MIDDLE SCHOOL AT A GLANCEGrade 6SpringBoard Grade 6 is developed around the thematic concept of change. During the year, you will learn how writers use that theme to tell stories in poetry, short stories, and non� ction texts. Among the many texts that you will read are works by Langston Hughes, a famous writer who was part of the Harlem Renaissance. Sharon Creech explores change resulting from the loss of a parent in her novel, Walk Two Moons. John Steinbeck takes you on a trip around the country with his dog, Charley. Scenes from one of William Shakespeare’s plays take you into the world of drama. As you read these texts and make connections to experiences in your own life, you will begin to see how writers use the details of everyday life to create stories that we all enjoy.

Reading and writing go hand-in-hand, and Grade 6 gives you opportunities to write your own stories (narrative), explain information (expository), and create an argument to persuade an audience. Speci� c strategies for writing and revising support your writing eff orts from planning to draft ing, revising, and editing. Writing opportunities include a personal narrative and a short story, essays in which you share your ideas about a � ctional story and a real-life story, and an argumentative letter to persuade others to support you position on an issue.

You will also be asked to research topics and deepen your understanding using � lm. In this grade you will view a video biography of Temple Grandin while also reading about her life and how she has coped with autism.

To The Student xi

TO THE STUDENT

continued

Grade 7In SpringBoard Grade 7, you will investigate the thematic concept of choice. All of us make choices every day. Some of those choices have a short-term impact (like what to have for lunch), while others have a greater impact (like whether to study in school or to goof off !). You will learn about Nelson Mandela’s choice to � ght segregation—even though it meant going to jail—in South Africa by reading from his autobiography. A famous poem by Robert Frost, the novel Tangerine, Sojourner Truth’s famous speech on slavery, and a drama by Shakespeare all show you the choices that real and imaginary characters make and how those choices aff ect their lives. Close reading strategies will help you to determine what each text says explicitly and to make logical inferences from what it does not say explicitly.

Writing and speaking will focus on text-based evidence. For example, you and your peers will write a literary analysis of a novel and include � ndings from research to produce a multimedia biographical presentation. Much like in 6th grade, you will be asked to write in argumentative, informational, and narrative modes.

You will also look at print texts and then examine how those same texts are portrayed in � lm. Dramas are like a � lm done on stage, and you will get to star in a performance of a scene from another of Shakespeare’s plays.

Grade 8In SpringBoard Grade 8, units of study focus on the theme of challenges. Among the many texts that you will read are an essay about Civil War heroes, narratives about the Holocaust, a novel and short story by Ray Bradbury, Elie Wiesel’s Nobel Prize acceptance speech, poetry by Walt Whitman, and a play by Shakespeare. � ese texts take you into the world of heroes—both everyday heroes and extraordinary ones—who face challenges and take actions to overcome them. You will learn about an archetype of a hero, which is a model that writers follow in creating stories about heroes.

Writing and speaking opportunities are varied and engaging. For example, you will write a hero's journey narrative about a hero of your choice, along with essays and an argument that presents your position on an issue in a compelling way. Using research on an issue of national or global signi� cance, you will create an informative multimedia presentation.

Viewing � lm is also a part of researching and analyzing what authors are communicating. As part of studying comedy and Shakespeare, you will analyze scenes from the play A Midsummer Night's Dream and then view those scenes in � lm to determine how and why a � lm director may have changed the scenes.

PERFORMANCE PORTFOLIOIf you were asked to introduce yourself in a visual way to your classmates, you might show them pictures of yourself. Another way to introduce yourself is through your writing. You are unique as a writer, and how and what you write is a way of showing yourself.

When you collect your writing assignments over a period of time, you can see how your writing skills are changing as you learn new writing techniques.

Presenting yourself through a portfolio also provides direction as you revisit, revise, and re� ect on your work throughout the year. Your teacher will guide you as you include items in your portfolio that illustrate a wide range of work, including examples of reading, writing, oral literacy, and collaborative activities. As you progress through the course, you will have opportunities to revisit prior work, revise it based on new learning, and re� ect on the learning strategies and activities that help you be successful. � e portfolio:

• Gives you a specifi c place to feature your work and a means to share it with others.

• Provides an organized, focused way to view your progress throughout the year.

• Allows you to refl ect on the new skills and strategies you are learning.

• Enables you to measure your growth as a reader, writer, speaker, and performer.

• Encourages you to revise pieces of work to incorporate new skills.

xii SpringBoard® English Language Arts Grade 7

TO THE STUDENTcontinued

As you move through each unit, your teacher will instruct you to include certain items in your portfolio. Strong portfolios will include a variety of work from each unit, such as � rst dra� s, � nal dra� s, quickwrites, notes, reading logs, audio and video examples, and graphics that represent a wide variety of genre, forms, and media created for a variety of purposes.

Your teacher will also instruct you about preferences for your portfolio. For example, your portfolio may be organized in one of these ways:

• In a 3-ring binder with dividers to separate the work for each unit.

• Chronologically, beginning with the fi rst unit and moving to the last.

• With periodic reports on assessments with your re� ections on your progress.

• With multiple draft s of an activity (where applicable).

• With a table of contents that lists each activity in your portfolio.

We hope you enjoy using the SpringBoard program. It will give you many opportunities to explore your own and others’ ideas about becoming eff ective readers, writers, and communicators.

College and Career Readiness Standards xiii

READING STANDARDS FOR LITERATUREKey Ideas and Details 1. Cite several pieces of textual evidence to

support analysis of what the text says explicitly as well as inferences drawn from the text.

2. Determine a theme or central idea of a text and analyze its development over the course of the text; provide an objective summary of the text.

3. Analyze how particular elements of a story or drama interact (e.g., how setting shapes the characters or plot).

Craft and Structure 4. Determine the meaning of words and phrases

as they are used in a text, including � gurative and connotative meanings; analyze the impact of rhymes and other repetitions of sounds (e.g., alliteration) on a speci� c verse or stanza of a poem or section of a story or drama.

5. Analyze how a drama's or poem's form or structure (e.g., soliloquy, sonnet) contributes to its meaning.

6. Analyze how an author develops and contrasts the points of view of diff erent characters or narrators in a text.

Integration of Knowledge and Ideas 7. Compare and contrast a written story, drama,

or poem to its audio, � lmed, stages, or multimedia version, analyzing the eff ects of techniques unique to each medium (e.g. lighting, sound, color, or camera focus and angles in a � lm).

8. (Not applicable to literature) 9. Compare and contrast a � ction portrayal of a

time, place, or character and a historical account of the same period as a means of understanding how authors of � ction use or alter history.

Range of Reading and Level of Text Complexity 10. By the end of the year, read and comprehend

literature, including stories, dramas, and poems, in the grades 6-8 text complexity band pro� ciently, with scaff olding as needed at the high end of the range.

READING STANDARDS FOR INFORMATIONAL TEXTKey Ideas and Details 1. Cite several pieces of textual evidence to

support analysis of what the text says explicitly as well as inferences drawn from the text.

2. Determine two or more central ideas in a text and analyze their development over the course of the text; provide an objective summary of the text.

3. Analyze the interactions between individuals, events, and ideas in a text (e.g., how ideas in� uence individual or events, or how individuals in� uence ideas or events).

Craft and Structure 4. Determine the meaning of words and phrases

as they are used in a text, including � gurative, connotative, and technical meanings; analyze the impact of a speci� c word choice on meaning and tone.

5. Analyze the structure an author uses to organize a text, including how the major sections contribute to the whole and to the development of the ideas.

6. Determine an author's point of view or purpose in a text and analyze how the author distinguishes his or her position from that of others.

Integration of Knowledge and Ideas 7. Compare and contrast a text to an audio, video,

or multimedia version of the text, analyzing each medium's portrayal of the subject (e.g., how the delivery of a speech aff ects the impact of the words).

8. Trace and evaluate the argument and speci� c claims in a text, assessing whether the reasoning is sound and the evidence is relevant and su� cient to support the claims.

9. Analyze how two or more authors writing about the same topic shape their presentations of key information by emphasizing diff erent evidence or advancing diff erent interpretations of facts.

Range of Reading and Level of Text Complexity 10. By the end of the year, read and comprehend

literary non� ction in the grades 6-8 text complexity band profi ciently, with scaff olding as needed at the high end of the range.

GRADE 7

College and Career Readiness Standards

xiv SpringBoard® English Language Arts Grade 7

COLLEGE AND CAREER READINESS STANDARDScontinued

WRITING STANDARDSText Types and Purposes 1. Write arguments to support claims with clear

reasons and relevant evidence.a. Introduce claim(s), acknowledge alternate or

opposing claims, and organize the reasons and evidence logically.

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

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

d. Establish and maintain a formal style.e. Provide a concluding statement or section

that follows from and supports the argument presented.

2. Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.a. Introduce a topic clearly, previewing what is to

follow; organize ideas, concepts, and information, using strategies such as de� nition, classi� cation, comparison/contrast, and cause/eff ect; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.

b. Develop the topic with relevant facts, de� nitions, concrete details, quotations, or other information and examples.

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

d. Use precise language and domain-speci� c vocabulary to inform about or explain the topic.

e. Establish and maintain a formal style.f. Provide a concluding statement or section that

follows from and supports the information or explanation presented.

3. Write narratives to develop real or imagined experiences or events using eff ective technique, relevant descriptive details, and well-structured event sequences.a. Engage and orient the reader by establishing

a context and point of view and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.

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

c. Use a variety of transition words, phrases, and clauses to convey sequence and signal shi� s from one time frame or setting to another.

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

e. Provide a conclusion that follows from the narrated experiences or events.

Production and Distribution of Writing 4. Produce clear and coherent writing in which

the development, organization and style are appropriate to task, purpose, and audience.

5. With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grade 7 on page 52.)

6. Use technology, including the Internet, to produce and publish writing and link to and cite sources as well as to interact and collaborate with others including lining to and citing sources.

7. Conduct short research projects to answer a question, drawing on several sources and generating additional related, focused questions for further research and investigation.

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

9. Draw evidence from literary or informational texts to support analysis, re� ection, and research.a. Apply grade 7 reading standards to literature

(e.g., “Compare and contrast a � ctional portrayal of a time, place, or character and a historical account of the same period as a means of understanding how authors of � ction use or alter history”).

College and Career Readiness Standards xv

COLLEGE AND CAREER READINESS

STANDARDScontinued

b. Apply grade 7 reading standards to literary non� ction (e.g., “Trace and evaluate the argument and speci� c claims in a text, assessing whether the reasoning is sound and the evidence is relevant and su� cient to support the claims”).

Range of Writing10. Write routinely over extended time frames (time for

research, re� ection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-speci� c tasks, purposes, and audiences.

SPEAKING AND LISTENING STANDARDS 1. Engage eff ectively in a range of collaborative

discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 7 topics, texts, and issues, building on others' ideas and expressing their own clearly.a. Come to discussions prepared, having read or

researched material under study; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and re� ect on ideas under discussion.

b. Follow rules for collegial discussions, track progress toward speci� c goals and deadlines, and de� ne individual roles as de� ned.

c. Pose questions that elicit elaboration and respond to others' questions and comments with relevant observations and ideas that bring the discussion back on topic as needed.

d. Acknowledge new information expressed by others and, when warranted, modify their own views.

2. Analyze the main ideas and supporting details presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how the ideas clarify a topic, text, or issue under study.

3. Delineate a speaker's argument and speci� c claims, evaluating the soundness of the reasoning and the relevance and su� ciency of the evidence.

Presentation of Knowledge and Ideas 4. Present claims and � ndings, emphasizing

salient points in a focused, coherent manner with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate volume, and clear pronunciation.

5. Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.

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

LANGUAGE STANDARDSConventions of Standard English 1. Demonstrate command of the conventions of

standard English grammar and usage when writing or speaking.a. Explain the function of phrases and clauses in

general and their function in speci� c sentences.b. Choose among simple, compound complex, and

compound-complex sentences to signal diff ering relationships among ideas.

c. Place phrases and clauses within a sentence, recognizing and correcting misplaced and dangling modi� ers.

2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.a. Use a comma to separate coordinate adjectives

(e.g., It was a fascinating, enjoyable movie but not He wore an old[,] green shirt).

b. Spell correctly.

Knowledge of Language 3. Use knowledge of language and its conventions

when writing, speaking, reading, or listening.a. Choose language that expresses ideas precisely

and concisely, recognizing and eliminating wordiness and redundancy.

b. Maintain consistency in style and tone.

4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 7 reading and content, choosing � exibly from a range of strategies.a. Use context (e.g., the overall meaning of a

sentence or paragraph; a word's position or function in a sentence) as a clue to the meaning of a word or phrase.

b. Use common, grade-appropriate Greek or Latin a� xes and roots as clues to the meaning of a word (e.g., belligerent, bellicose, rebel).

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

xvi SpringBoard® English Language Arts Grade 7

COLLEGE AND CAREER READINESS STANDARDScontinued

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

5. Demonstrate understanding of � gurative language, word relationships, and nuances in word meanings.a. Interpret � gures of speech (e.g., literary, biblical,

and mythological allusions) in context.b. Use the relationship between particular words

(e.g., synonym/antonym, analogy) to better understand each of the words.

c. Distinguish among the connotations (associations) of words with similar denotations (de� nitions) (e.g., re� ned, respectful, polite, diplomatic, condescending).

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