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Portland Public Schools

August 2010

LANGUAGE ARTS 6-8

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Table of Contents – Language Arts

The Writing Process 5

Writing Workshop 7

Gradual Release of Responsibility 10

Writing Lessons 11

Writing Lesson Template 13

Conferences 14

Sharing 16

Instructional Strategies 17

Writer’s Notebooks 18

Writing Opportunities in EMC – 6th

Grade 22


Grade 25


Grade 28

PN – Introduction 31

PN – Brainstorming List, Grades 6-8 32

PN – Openings 35

PN – Setting 39

PN – Point of View: First Person, Grade 6 42

PN – Identifying Characterization, Grade 7 44

PN – Identifying Verbal and Nonverbal Communication, Grade 8 46

PN – Ensuring the Narrative has Conflict 50

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PN – Show Don’t Tell, Adding Description 52

PN – Punctuating Dialogue 56

PN – Sentence Fluency and Editing 61

PN – Writing Good Endings 64

PN – Publishing Opportunities 68

DWA – Introduction 70

DWA – Direct Writing Assessment as a Genre 71

DWA – Writing a Prompt 80

DWA – Writing on Demand: “Expert” Topics I 85

DWA – Writing on Demand: “Expert” Topics II 87

LA: Introduction 91

LA: “Good Reads” for Literary Analysis 92

LA: Poems in EMC 94

LA: Charting Character Change 99

LA: Examining Conflict or Theme Using Dialogue Journals 101

LA: Understanding the Prompts for 6-8 Literary Analysis 104

Sample Scored Essays with Commentary 107

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The Writing Process

The writing process is made up of a series of discrete, but often overlapping, steps that

writers go through from the beginning of the writing task through its completion. It is

important that all students know how to access each part of the writing cycle as a tool, but it

is unrealistic to think that all writers progress through the cycle in the same order and at the

same time.

Pre-writing: Students understand audience for the writing, purpose of the writing and the

type of writing. This is an essential place to tap into students’ prior knowledge, not only

about the writing topic, but also the form or genre of writing in which students will be asked

to compose. Students begin by generating ideas that lead to a plan for the writing to come.

Drafting: Students organize their ideas into a piece of writing for response and revision.

Whole class drafts, group drafts and partner drafts help students generate well organized

thoughtful drafts.

Pre-Writing

Drafting

Revising

Responding

Self-Reflection

Editing

Publishing

The Writing Process

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Responding: Students receive feedback on their writing from peers, teachers, and from the

writers themselves. The purpose is not to focus on specific grammar issues but instead on

how their ideas are communicated in the piece of writing. If grammar prevents the reader

from understanding then it ought to be addressed.

Revising: Students should revisit the audience, purpose and type of writing. The teacher

and peers can give feedback on introductions, conclusions, transitions etc. so that students are

encouraged to make changes to their papers. Students can seek out commentary during this

process.

Editing: Students edit their papers for conventions and other surface-level errors. Students

are taught a common set of editing marks and might participate in small groups to work on

editing.

Finalizing (or Polishing) Draft: Students finalize their paper for a specific audience and

authentic experience. If possible, papers are published in such forms as:

Class Publication Letter to the editor

Blog/Wiki Contest

Local newspaper School/Class newspaper

Posted around school Share with staff

Self-Evaluation/Reflection: Students are asked to understand the value of the process.

They should reflect on the experience, goals for future writing and what they need to learn

next. They can also be asked to make suggestions for future learning activities.

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Writing Workshop

Description: Writing workshop utilizes modeling, guided practice and independent practice

to teach the organization, strategies, skills and craft of writing. Teachers use writing lessons

with whole and/or small groups based on need. Teachers provide blocks of time for students

to practice the concepts independently.

Outcome: Students transfer the strategies and skills learned from the writing lessons to their

own writing.

Structure:

Writing lesson – 5 to 15 minutes

Independent practice/Conferences – 30 minutes

Sharing – 5 to 10 minutes

Assessment: Ongoing means of monitoring students’ work and progress. A variety of tools

can be used to assess student writing both formally and informally.

Informal student self-assessment and teacher evaluation – allows students to self

assess by looking for evidence of lesson focus skills in their writing, gives teachers

feedback to guide instruction

Examples: entrance/exit slips, quick writes, note to teacher, observations,

anecdotal notes, one-on-one

Baseline writing samples – allows for teachers to assess student writing strengths and

weaknesses and plan instruction accordingly

Writing Lesson (5 to 15 min)

direct teaching

modeling

guided practice

Independent Practice/Conferences (30 min)

individual guided practice

small group guided practice

independent practice

individual conference

small group conference

Closure/Sharing (5 to 10 min)

all share

select share

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Teacher/student created rubrics – informs students of writing expectations for specific

assignments

ODE Writing Scoring Guide – monitors student progress toward meeting grade level

expectations in writing and provides end-of-year outcome data

Procedures: Things for teachers to consider as they set up routines and procedures that

create an effective writing workshop.

Time and Materials

Establish the physical places where your writing will live in the classroom. Consider

using an easel and chart pad for anchor charts, and model writing.

Create your own teacher version of a student writing folder and notebook. This makes a

permanent home for your modeled writing, while also making explicit to students show

you want them to use their writing materials.

Create a comfortable place for everyone to write. Consider the spaces in your room

where students will write independently, work with peers; also consider where you can

meet with students in small groups.

Set up a system for writing folders or writer’s notebooks (see page _____)

Collect mentor text(s) in the form of short stories, pictures books, and/or poems to use as

models for writing lessons.

Generate checklists and anchor charts that students can use to edit their work.

Make a list of the language conventions you expect your students to learn by the end of

the year.

Instruction

Write with your students.

Think about how you will provide regular opportunities for student choice in writing.

Create an environment in which students will be willing to take risks and still feel safe.

Ask students to share their writing process with the class. Help students become aware

of how writing processes differ from student to student.

Assessment and Feedback

Devise a simple system for keeping track of student conferences.

Let students speak first in writing conferences.

Keep conferences short.

Check in with students periodically to see where they are in the writing process.

Consider how to accommodate the various skill levels in your class.

Create a way to keep track of which individual students have mastered particular skills.

For more detailed information about conferences, please turn to page _____.

Adapted from Writing Workshop, The Essential Guide, Ralph Fletcher and JoAnn Portalupi, 2001.

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During writing workshop teachers will:

use think alouds when modeling all aspects of writing instruction.

model the specific instructional focus in front of students (e.g., use of strong verbs,

including dialogue in narratives, use of transitional phrases, leads and topic sentences,

etc.).

use mentor texts and student and teacher models to demonstrate effective writing craft

create, with students, anchor charts to reinforce organization, skills and craft of writing

post anchor charts in the classroom

provide opportunities for guided practice and independent practice

use interactive writer’s notebook as a tool for feedback

provide opportunities for short writes

frequently conference with individuals and/or small groups

provide additional small group instruction when needed

use a variety of strategies that create opportunities for students to share work

model peer conferences for revision and/or editing using checklists

provide a variety of ways and opportunities for publishing student work

During writing workshop students will:

engage in various steps of the writing process

apply content from writing lessons to independent writing

write on self-selected topics as well as teacher directed topics

write productively for sustained periods of time

use interactive writer’s notebook as both author and audience

participate in peer conferences for revision and/or editing

share various aspects of their writing

Adapted from Portland Public Schools Grade 5 Writing Units of Study, 2009.

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Gradual Release of Responsiblity

Wh

at

is i

t?

Modeling

I do/Notice It

Guided Practice

We do/Practice It

Independent Practice

You do/Try it Teacher thinks aloud while

modeling the writing

processes and craft involved

in being a writer.

Students demonstrate their

grasp of writing strategies

and/or skills as they practice

together. Teacher moves

around the room to determine

the level of mastery and

provide individual remediation

as needed.

Students apply writing

strategies and/or skills learned

in the focus lesson to

independent writing.

Wh

at

does

it

look

lik

e?

Teacher:

Explains

Introduces

Models

Thinks Aloud

Reflects Builds schema

Student:

Takes notes in writer’s

notebook, or practice page

Listens

Responds to questions or

contributes additional

information to teacher

models

Teacher:

Checks for

understanding. Adjust

your teaching if

understanding is not

clear or student progress

is not adequate.

Differentiates for

students who are either

struggling or ready to

enhance the application.

Reflects and Extends

by talking about various

ways to apply the

strategy.

Student:

Practices the application

of the strategy with pairs

or small groups

providing minimal

support.

Shares examples of how

the strategy helped them

in their writing.

Teacher:

Confers with students.

Gives students feedback

on their progress,

answers individual

questions, and collects

data helpful for

developing next steps in

the lesson.

Creates flexible or

invitational groups that

work independently

under more structured

support.

Student:

Practices by working

independently or in pairs

to apply the strategy

and/or skill.

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Writing Lessons

The writing lessons in this binder are short, focused and explicit. The goal of the writing

lesson is to teach a specific writing skill, craft or strategy, through modeling and guided

practice. Students that are ready will then practice the skill or strategy during independent

writing time while the teacher can reinforce the lesson’s focus through student-teacher

conferences or additional small group instruction.

The amount of time allotted to the writing lesson portion of writing workshop will vary from

lesson to lesson. A lesson could take anywhere from 5-15 minutes including guided practice.

If necessary, additional instruction can occur during independent writing time. Teachers can

move around the classroom reinforcing the use of the skill or strategy previously taught,

pointing out strong writing they see, and/or identifying and addressing misconceptions or

common error patterns.

The sharing and closure portion of writing workshop can also be an opportunity for

instruction. Strong examples of writing can be highlighted and key teaching points revisited.

Additionally, the creation of a community of writers can be created as students share/model

for their peers their successes and the processes they have worked through when faced with

writing challenges.

Writing lessons generally fall into the following categories:

Procedural – important information about how the workshop runs

Examples:

how to get or use materials

what to do if teacher is conferring with another student

where to confer with a friend

Writer’s Process – a series of steps that writers use when producing a final version of their

writing

Examples:

brainstorming

choosing a topic

determining the purpose for writing

writing for different audiences

choosing the organizational structure that works best

Craft – information that deepens the writer’s understanding of literary techniques that

strengthen writing

Examples:

choosing strong verbs

using a variety of sentence structures

creating descriptive settings

using figurative language

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attending to details

creating strong leads

Editing – information that develops the writer’s understanding of spelling, punctuation, and

grammatical skills

For lessons see: Anderson, Jeff. Mechanically Inclined. Portland, ME: Stenhouse

Publishers, 2005.

Adapted from Scaffolding Young Writers, Linda J. Dorn and Carla Soffos, 2001.

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WRITING LESSON TEMPLATE

Learning Target(s): Clarifies student learning target and teacher teaching point

Standard(s): PPS Writing Standards are referenced for each lesson

Materials:

Connection: Connects the new learning to previous learning or experiences, often gives

specific examples of the language of instruction

Modeling (I do): Teacher thinks aloud while modeling the focus of the lesson

Guided Practice (We do): Together teacher and students apply the learning from the lesson

to practice together

Independent Practice (You do): Students apply the writing strategies and skills learned in

the lesson to the independent writing

Sharing/Closure: Time is taken to pull class back together to share the work that has been

done relating to the learning target

Assessment – Check for Understanding: A variety of both formal and informal

assessments can be used to check for understanding of the lesson’s learning target

Reflection:

Resources & References: (adapted from, acknowledgments)

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Conferences

The Writing Conference is time to have a conversation with students about their writing.

Many teachers see it as an opportunity to get to know students and as a powerful way of

teaching them to be better writers.

When conferring with a student, focus on content and craft first, before conventions. Give

two praises and then one “push.” Help the student evaluate progress toward the specific goal

and, if the goal has been reached, set a new goal.

Keeping a record of your conferences is essential. Try to conference with 3 to 5 students per

day; ideally you would conference with every student each week. Remember, if multiple

students are working on the same skill, you can pull several students for a small group

conference.

Management

By adopting a few management techniques, conferring can be a valuable way to connect with

students and their writing. Some things to keep in mind:

set clear expectations in the beginning for what students should be doing during

independent writing time

teach students to never interrupt when you are conferring

create systems of dealing with daily occurrences that don’t require your intervention

teach students how to solve problems on their own

keep moving so conferences can be short and frequent

concentrate on the target of the daily lesson or on the student’s individual goals rather

than making every student’s piece the best it can be

find a specific part to praise

create the expectation that a lot of writing will get done

Documentation

Keeping a record of your conferences is valuable information for lesson planning. There are

a variety of ways to keep track of what you see in your students’ writing, depending on how

much information and/or detail you like. Keeping your records brief, yet essential, can keep

your conferences moving while also help you track just what you need to know.

It’s best for your documentation to match your daily/weekly lesson goals and student

outcomes. Documenting known strength(s) and challenge(s) is a way to give balanced

feedback to your students. You’ll see a variety of different conference documentation

methods in the following pages.

Roving notes (with mailing labels)

Left side/teacher side and right side/student side in the writer’s notebooks

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Class lists with lesson goals as headers (check off or code while conferring)

Three column page (strengths, challenges, next steps)

Spiral notebook (sectioned by student, each student has several consecutive pages)

teacher makes notes as needed in format suited to teacher

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Sharing

Use the last 5-10 minutes of workshop for sharing time. Listed below are a variety of ways

to share.

All Share

Pair-Share – students are directed to share a certain part of their writing (e.g., the part

that reflects the writing lesson focus, a favorite sentence, a favorite strong verb, or the

entire piece) with a partner

Pop-up Share – students pop-up from their seats and quickly share one aspect of their

writing – student choice

Zip Around – sharing “zips” around the room because students are asked to share a

particular targeted piece of their writing, i.e., compound sentence, prepositional phrase,

simile, etc.

Small groups—students take turns sharing at their table

Select Share

Teacher-selected Share – pick two or three students who have done a particularly nice

job on the focus of the mini-lesson and ask them to share

Author’s Chair – students are given notice the day before and come prepared with a

piece of writing they’d like to share

Volunteer – teachers asks for volunteers - low achieving students are more likely to

share when a teacher has worked with them during independent practice and they are

confident they have done it right

Document Camera – rather than just having students share orally, students may wish to

put their sentence and/or paragraph on the document camera so that others can follow

along

Random Sharing -

o student names are on popsicle sticks, teacher draws 3 or 4

o students are assigned numbers, teacher randomly calls out numbers that

correspond with the students who will share

o put card under seats, students with a dot or symbol on card share

o Magic Clipboard--put seating chart on clipboard, teacher holds it above

student’s head; student points to a spot on the chart, whoever student points

closest to, shares

Regardless of structure, sharing has certain characteristics:

predictable structure

opportunity for additional teaching

opportunity to refer to anchor charts

demonstrates what was taught in lesson

many voices are heard

opportunity to share success or get advice when “stuck”

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Instructional Strategies

The following instructional strategies have been identified as effective strategies in helping

students learn the complex set of skills needed to reach grade level standards in writing. The

lessons in this binder support and include these strategies.

THINK ALOUDS – Teacher models his/her thinking process aloud to the students as they

are writing or preparing to write

MODELING – Teacher and/or student writes in front of the class on a document camera,

board, or chart paper…. modeling is often specific to mini-lesson

ANCHOR CHARTS – A chart that has a single focus, is co-constructed with the students,

has an organized appearance, matches the learners’ developmental level, and supports on-

going learning

GUIDED PRACTICE – Students demonstrate their grasp of new writing strategies and/or

skills as they practice together. Teacher moves around the room to determine the level of

mastery and provide individual remediation as needed. Students may practice in pairs, small-

group or even individually.

INDEPENDENT PRACTICE – Students apply writing strategies and/or skills learned in

the focus lesson to independent writing. Usually follows Modeling (I do) and Guided

Practice (we do)

WRITER’S NOTEBOOK – A binder, spiral, composition book, folder or combination of

these that a student uses to store their collected work, writing resources, and communication

feedback between themselves, the teacher, and student peers.

CONFERENCES – A time to have a conversation with students about their writing. These

can be individual or small group. Conferences can be short but they should always have a

predictable structure and allow for the student to participate as well.

SMALL GROUP INSTRUCTION – An as needed reteaching of a specific strategy or skill

that students in the group have not yet mastered during independent writing time

SHARING – Students share their writing in a variety of ways so that other students can

listen, learn and give response to the author.

CHECKLISTS – A pre-made list of the skills that have been taught during mini-lessons

which can be checked off when students have shown mastery.

PUBLISHING – the point at which a piece of writing is presented to an audience other than

the writer. Formally published work usually means the writer has carefully edited the work

and presents an error-free finished draft.

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Writing Notebooks

A writer’s notebook is simply a container for student work. The notebook could be created

using any of the following formats: binder, spiral, composition book, pocket folder, or a

combination of these. Students use their writer’s notebook throughout the school year to

store their collected work, writing resources, and communication feedback between

themselves, the teacher, and student peers, and may either store their notebook at school or

carry it with them. Students write on one side of the page so that the facing page is left blank

and available to the teacher (or student peer) for written notes and communication to the

student.

Purpose

A writer’s notebook is both a storage device for various lists and reference tools and a

communication tool to be used between the student writer and teacher, or between the

student writer and his/her peer(s).

The notebook is a place to keep all drafts, brainstorms, student-generated topic lists, and

student-generated goals, action plans, and reflections. The writer’s notebook:

Supports increased ownership, confidence, and pride in a student’s written work that

is maintained in a designated place – where it may be revisited, referenced, and

valued for the feedback it provides.

Provides a personal resource for students. While anchor charts are teacher-guided and

class-created on wall charts or through computer and projector during lessons, hard

copies can be stored as a resource accessible by students at their seats at a later time.

Reduces time spent looking for separate pieces of paper that can become scattered

and lost.

Feedback Using the Writer’s Notebook

Using the writer’s notebook as a communication tool for written feedback conversations

between student writers and teachers and between student writers and their peers is

advantageous for several reasons. The writer’s notebook:

Helps students write for a real audience that supports a sense of purpose and

motivation for writing;

Provides early feedback from the teacher and other students that supports revision.

This early feedback is more likely to be integrated as learning than feedback that is

provided after the final draft has been submitted for a score and no further revision is

possible;

Houses feedback comments and revised drafts that strengthen the writing process, and

Maintains interaction that enlivens the writing process.

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Formatting Feedback Conversations

An effective format for storing conversations about writing is similar to the format of an

Interactive Notebook – two facing pages that hold the writing under discussion on the right

and the conversation between teacher and student or student and student on the left (on the

back of the following writing page). This allows participants:

To keep both voices of the dialogue in the same “space” with the subject of the

dialogue;

To avoid writing directly on student work, and

To draw lines from their comments on the left page toward specific parts of the

writing being referenced on the right page.

Teachers could merely mark up the student paper instead of creating a written conversation

that provides feedback in the notebook, but when teachers mark up errors on a paper, two

things may happen:

Students may become overwhelmed and disheartened;

Students may feel that the teacher’s focus is only on errors and on the product rather

than on the students’ ideas and development as writers.

When teachers respond to student writing as readers, as well as instructors, and converse

with students on paper or in person, students feel “heard” and appreciated as writers.

Reader feedback

Feedback is important; all students need to hear what they are doing well – specifically – and

they benefit from learning about a limited number of specific error patterns.

Feedback from teachers is effective when it includes reader feedback and manageable

instructional feedback.

Providing reader feedback shows that the teacher is not interested merely in fixing

mistakes but also in commenting on the content of student writing.

Instructional feedback is manageable when it is based on error patterns and is supported

with a lesson.

Feedback from peers is most effective when it is reader feedback. Examples of student

feedback may include:

“I became interested when you said…”

“I wondered what you meant by…”

“…. is a …word to use. It surprised me.”

“Your paper left me wanting to know more about…. Could you include more

details about that?”

“I like the phrase ‘….’ ”

Error patterns

Below is a link to a guide for error patterns analysis. If you are just beginning to use this

practice, it might be a good idea to narrow the types of patterns you are looking for rather

than completing a full analysis of student writing, as the process becomes easier as you

become accustomed to it. For example, you might begin with fragments, run-ons, and comma

splices (a single sentence error pattern).

http://writing.colostate.edu/guides/teaching/error/index.cfm

http://writing.colostate.edu/guides/teaching/error/index.cfm

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Formatting the Writer’s Notebook

Format Advantages Disadvantages

Binder

Some of us feel compelled

to discard messy pages,

and loose-leaf binders

allow us to do that

Holding and adding

resources, such as scoring

guides, word lists, and

anchor charts is easy

The ability to discard pages encourages

discarding and inadvertently may

encourage students to simply copy

paragraphs over and over without doing

any real revision

Feedback conversations (written on the

back of writing pages) may be lost

If a section of a student binder is used for

Writer’s Notebook, some of the

effectiveness of the Writer’s Notebook

may be compromised by the other uses of

the binder and habit patterns associated

with the binder

A whole separate binder is bulky for

backpacks, lockers, and classroom

storage

Spiral

Easy to discard messy

pages

Again, is this a good thing?

Easy to loose feedback conversations on

the back of discarded pages

Storing other resources is not possible (1)

unless the spiral has enough pockets to

hold resources and/or (2) unless students

are likely to use and not loose materials in

pockets

Composition

Book

Students are less likely to

tear out pages

Conversations and all other materials are

kept intact

Storing other resources is not possible in

the same place

Pocket

Folder

Light-weight

Can be used for one

writing project at a time

Includes pockets and

binding

May be more easily misplaced

Resource materials will need to be moved

to new folders regularly

Combination

Combine two formats --

composition book and

binder or pocket folder:

Composition book for the

essentials of Writer’s

Notebook

Binder section or a pocket

folder for resource

materials (if they are lost,

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Format Advantages Disadvantages

they can be replaced)

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Writing Opportunities in EMC

6th

Grade – Discovering Literature

Unit Topic Mode of

Writing Assignment/Prompt

Language,

Grammar and Style

Writing

Standard

1 Preparing an

Autobiographical

Incident

Expressive One way you can come to know yourself is

by writing thoughts and feelings. In this

assignment, you will complete some

expressive writing about an experience

you’ve had.

Writing Complete

sentences

6.12.5

6.13.6

2 Nominating a Hero Persuasive Most people have a hero –someone they look

up to, admire, or want to be like. You will

write a persuasive essay nominating

someone to be a hero.

Using Verb Tenses

Correctly

6.12.6.2

6.13.1

3 Describing a Disaster Narrative You may have experienced a natural or

personal disaster, such as a tornado or the

loss of a loved one. Your experience is

unique to you. You will share your

perspective of that disaster by writing it in a

story.

Forming plurals

correctly

6.12.6.2

6.13.6

4 Relating a Process Expository What is something you know how to do

really well? You may want to share your

expertise with your classmates. You will

write about a process you already know how

to do or one that you would like to learn to

do.

Using commas

correctly

6.13.2

6.12.6.3

5 Describing your

Favorite Music

Expressive How you feel about music is a very personal

thing. Your aim in this exercise is to simply

express your thoughts and feelings, not to try

to inform or persuade someone.

Pronoun/ Antecedent

agreement

6.12.6.2

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6th


Unit Topic Mode of


Language,

Grammar and Style

Writing

Standard

6 Developing a Character Narrative While real world creatures find their way

into tales, they are usually accompanied by

imaginary creatures born entirely by the

imagination of the author. For this

assignment, you will develop your own

character, and then write a character sketch.

Clear and Unclear

Sentences

6.12.6.3

6.13.6

7 Creating a Fable Narrative Fables are an ancient form of storytelling

intended to teach a lesson. Famous fables

include those by Aesop and LaFontaine, and

are still popular today. They show us human

nature and guide us with humor and wisdom.

Your assignment is to create an original

fable.

Using quotation

marks

6.12.5

6.13.6

8 Comparing and

Contrasting Author’s

Websites

Expository By observing ways that websites are alike

and different, you can learn more about a

topic, and at the same time, begin to think

about which sites are useful and which are

not. In this assignment, you will compare

and contrast two different websites related to

an author of your choice.

Modifiers 6.12.6.3

6.13.2

9 Composing a Poem Expressive/

Narrative

Have you ever had moments in life where

words could not describe what you felt or

saw? These are moments fit for poetry.

Poetry is about looking with your whole

body – paying attention to an object or

feeling. For this assignment, you will

compose a poem.

Functions of Verbs 6.12.6.2

6.13.6

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6th


Unit Topic Mode of


Language,

Grammar and Style

Writing

Standard

10 Preparing a Review Persuasive Has someone ever asked you for your

opinion about a movie or play? Were you

able to give the person solid reasons for your

opinion? For this assignment, you will

watch a movie or a play, observe the

performers, plot, setting, costumes, dialogue,

music, and special effects. Then you will

write a persuasive review to help your peers

decide whether to watch the movie or not.

Quotations,

underlines, and italics

6.12.6.3

6.13.1

11 Writing an Informative

Research Paper

Expository Just like you depend on others for

information, others depend on you. Teachers

and even future employers may require you

to present researched information. One way

to do this is to write an informative research

paper. Before you write, you must research

information from a variety of credible

sources, and then present the information in

a clear, logical way for people to understand.

Documentation 6.13.4

12 Writing a Cause and

Effect Essay

Expository The result of pouring vinegar into baking

soda is one example of a cause and effect

relationship. For this assignment, you will

write an essay that explains a different cause

and effect relationship. You may use a

diagram or a picture to make it easier for

others to understand this cause and effect

relationship.

Sentence Variety 6.12.5

6.13.2

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7th


Unit Topic Mode of


Language, Grammar and

Style

Writing

Standard

1 Preparing a Personal

Essay

Narrative A personal essay is a short nonfiction

work on a single topic related to the life

of the writer. In this assignment you will

be writing a personal essay about an

experience you would like to share with

others.

Writing Complete

Sentences

7.12.5

7.13.6

2 Developing a

Comparison-Contrast

Essay

Informative An informative essay can inform readers

about unfamiliar topics, concepts, places,

or problems by making comparisons and

showing differences. For this assignment,

you will be writing a comparison-contrast

essay about two activities, viewpoints,

ideas, place, or other topics.

Action Verbs and Verb

Tense

7.12.6.2

7.13.2

3 Composing a Personal

Letter

Expressive Writing a letter is one way people can

express their observations, thoughts, and

feelings about visiting new places or

experiencing a new situation. Compose a

personal letter about a place that you have

visited or a new situation that you have

experienced.

Adding Colorful Language

to Sentences

7.12.4

7.12.5

7.13.2

4 Generating an

Autobiographical

Memoir

Narrative An autobiographical memoir is the story

of a person’s life written by that person.

It tells about a significant event that

touched many people besides the writer.

Write an autobiographical memoir that

shares your thoughts about an event that

affected not just you, but also the world

around you.

Subject-Verb Agreement 7.12.6.2

7.13.6

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7th


Unit Topic Mode of



Style

Writing

Standard

5 Creating a Setting Imaginative A setting is the time and place in which a

story happens. Writers reveal settings by

describing the scenery, buildings,

furniture, clothing, weather, and season.

Your assignment is to describe the setting

for a story.

Prepositional Phrases 7.12.6.2

7.13.6

6 Constructing a

Narrative Research

Paper

Narrative The goal of any research paper is to

provide information. A narrative research

paper informs by telling a factual story in

chronological order about something

significant that happened. Write a

narrative research paper about an

historical event.

Documenting Sources 7.13.4

7.13.6

7 Retelling a Family

Story

Informative Writing a family story is a good way to

preserve a special event, funny moment,

or touching experience forever. In this

assignment, you will be writing a story

about a memorable time you’ve had with

your family.

Punctuating Dialogue 7.12.6.3

7.13.6

8 Interpreting Literature Informative The theme of the story contains the main

idea the author wants you to think about.

It is usually not directly stated; instead,

readers must discover the theme as they

read. Write about how the author reveals

the theme in a selection you have read.

Editing Wordy Sentences 7.10.11

7.12.5

7.13.5

9 Creating a Lyric Poem Expressive A lyric poem is a highly musical verse

that expresses the emotions of a speaker.

It often captures a moment in time. Write

a lyric poem about a feeling you had in a

certain moment in time.

Pronoun/Antecedent

Agreement

7.12.6.2

7.13.6

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7th


Unit Topic Mode of



Style

Writing

Standard

10 Reviewing a Movie or

Play

Persuasive A review can tell you what a movie or

play is about and can offer an opinion

about the quality of the performance.

Write a persuasive review to help your

peers decide whether or not to see a

particular movie or play.

Avoiding Dangling and

Misplaced Modifiers

7.12.6.2

7.13.1

11 Composing a Letter to

the Editor

Persuasive A letter to the editor can influence readers

of a school newspaper or community

newspaper to help make changes. Write a

letter to the editor of a real or fictitious

newspaper that persuades the readers that

the problem you are writing about is

important and action should be taken.

Avoiding Double

Negatives

7.12.6.2

7.13.1

12 Analyzing Cause and

Effect

Informative Explaining the process for what caused

something to happen can help another

person to better understand that process.

Create a poster that combines an

explanation of a cause and effect

relationship in a process. Include a

picture or diagram on your poster.

Passive and Active

Sentences

7.12.5

7.13.2

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8th

Grade – Responding to Literature

Unit Topic Mode of


Language,

Grammar and

Style

Writing

Standard

1 Preparing a

Biographical

Memoir

Narrative A biographical memoir tells about an important event in the life

of another person. In this assignment you will be writing a

biographical memoir, sharing one person’s perspective of an

important event or situation from the past.

Writing

complete

sentences

8.12.5

8.13.6

2 Composing a

Narrative Poem

Expressive A narrative poem is verse that tells a story. In this assignment

you will be writing a narrative poem about an experience or a

string of events from your own life.

Compound

Verbs

8.12.6.2

8.13.6

3 Developing a

Persuasive

Research Paper

Persuasive/

Informative

The goal of any research paper is to provide information,

although some may have other purposes as well. A persuasive

research paper offers information about a certain topic in order to

persuade the reader to believe the author’s argument about that

topic. For this assignment, you will write a persuasive research

paper.

Documenting

Sources

8.13.1

8.13.4

4 Generating a

Persuasive Speech

Persuasive A persuasive speech should try to influence others to make

changes, even if the change is only to think differently about a

problem. For this assignment, you will be writing a persuasive

speech about a topic of your choice.

Verb Tense 8.12.6.2

8.13.1

5 Completing an

Extended

Definition

Informative/

Expressive

An extended definition essay is a way to look at and explain

something beyond the standard dictionary definition. By

including your own experiences and insights, you will write an

extended definition essay in which you explain what literacy

means by describing how you learned to read and write.

Subject-Verb

Agreement

8.12.5

8.13.6

6 Creating the

Setting for a

Science Fiction

Movie

Imaginative/

Descriptive

Writing a screenplay requires lots of creativity because there are

unending possibilities in creating graphics and images. Your

assignment is to create a setting for a science fiction movie.

Sentence Run-

ons

8.12.5

8.13.6

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8th

Grade – Responding to Literature

Unit Topic Mode of


Language,

Grammar and

Style

Writing

Standard

7 Analyzing a

Legend

Informative Legends contain elements of both fact and fiction. Choose a

legend to analyze. Try to figure out why it’s a legend and on

what historical characters and events it is based. Write an essay

in which you offer insights into why people have enjoyed passing

this legend down from the past.

Achieve

Parallelism

8.12.6.2

8.13.5

8 Developing a Short

Story

Narrative/

Imaginative

Write a short story. You may choose to base your short story on

an experience or observation you have had, or you may want to

use your imagination.

Combining and

Expanding

Sentences

8.12.5

8.13.6

9 Comparing and

Contrasting Poems

Informative Comparison and contrast can help you to make connections and

to see issues more clearly. Choose two poems that share a

common theme or subject matter. Write a paper in which you

analyze the similarities and differences of the two poems.

Sentence Variety 8.12.5

8.13.5

10 Constructing a Skit

or Play

Imaginative/

Expressive

Drama is a distinct genre and it is not performed until someone

reads the page and decides if the action, the story, and the

characters are worth the energy. For this assignment, you will be

trying your hand at writing a skit, an act or scene from a play, or

an entire play.

Using Commas

Properly

8.12.6.3

8.13.6

11 Assembling a

Scientific Report

Informative Many interesting toys, such as model rockets and wind-up cards,

are based on scientific principles. Write a technical paper that

describes and explains how a toy that is based on a scientific

principle works.

Correcting

Wordy

Sentences

8.12.5

8.13.2

12 Producing an

Advertisement

Persuasive The purpose of advertising is to change the viewers’ opinions or

actions. To try your hand at the art of persuasion, work in groups

to design and create a taped advertisement or PSA to show to the

class.

Common Usage

Problems

8.12.6.2

8.13.1

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August 2010

PERSONAL

NARRATIVE

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Personal Narrative - Introduction

In this unit, students will have the opportunity to write a personal narrative. A personal

narrative is a piece of writing that recreates an experience based on your own experiences

and can communicate a main idea or lesson learned.

The seventh grade state writing assessment includes a narrative prompt. It will be important

to give seventh grade students an opportunity to write a narrative, however, this does not

preclude 6th

and 8th

grade teachers from teaching the narrative essay as well. All of the

writing traits: ideas and content, organization, sentence fluency, voice, word choice, and

conventions can be taught through the narrative essay.

The first lesson in this unit begins with brainstorming. In order for students to write an

effective narrative they must be allowed to write about something that is important to them.

Because a good story includes many elements such as setting, conflict, character description,

dialogue, showing versus telling, and non-verbal and verbal communication, lesson plans

have been written which will allow you to teach these essentials. Lessons on how to begin

and conclude the narrative are also included in this unit.

Many of the lessons in this unit will ask you to use a variety of mentor texts to teach the

elements of a narrative essay. These mentor texts may include your own writing, essays

written by former students, published authors, stories from the EMC, and/or essays written

by the students currently in your classroom. Giving students an opportunity to see a variety

of narrative essays will help them as they write their own essay.

If you have students in your classroom who are strong narrative writers there are ways to

challenge them with their writing. Have the student include more challenging literary

elements in their essay such as flashback or metaphors. Students can also write more

sophisticated dialogue. There are also a variety of places where students can send their work

for possible publication.

For struggling writers make sure they are given time to plan what they will write. They need

to feel confident with their topic. Struggling writers also need to know they don’t have to

include all of the narrative elements in their story. Students may focus on setting description

and character description. Or they can focus on setting description and dialogue.

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Personal Narrative: Brainstorming List – Grades 6-8 Learning Target(s):

Brainstorm personal narrative ideas

Standard(s):

6.11; 7.11; 8.11: Planning, Evaluation, and Revision: Use the writing process across the

subject areas.

Materials:

Lined paper, writing notebook, and/or journal

Handout: Ideas for Expanding your Brainstorming List

Student examples, if possible

Teacher made example of brainstorming ideas (Yes, you should do the assignment first)

Overhead or document camera

Connection:

“Because we will be writing personal narratives I want you to remember that YOU ARE

YOUR OWN BEST STORY. Keeping a brainstorming list of story ideas helps you be more

organized, productive, and focused as a writer. It’s a constant reminder of who you are and

what you know and care about. I will ask you to revisit your brainstorming list throughout

the year so you can add more ideas.”

Modeling (I do):

Make sure you have completed your own brainstorming list prior to lesson. Then say:

“I’m going to talk you through my own brainstorming list and while I’m sharing my ideas

you are reminded of ideas from your own life, feel free to write them down in your journal.

Once I’m finished sharing my ideas, you will have 10 minutes to continue your

brainstorming. After that you will pair-share your ideas.

(As you share your ideas give anecdotal information and/or background information for why

you think these are good ideas for personal narratives.)

Guided Practice (We do):

After you have finished sharing your teacher ideas, explain:

“When you are pair sharing, select which of you will be the ‘A’ partner and which will be the

‘B’ partner. A’s will share first, and then B’s will share... While you are listening to your

partner’s ideas, listen for (and take notes, if it helps you keep track of ideas) three ideas you

will share out with the whole class. You will tell everyone the title of your partner’s ideas and

then give a little bit of background information on it. As you hear students’ ideas, feel free to

add to your own brainstorming list.”

Independent Practice (You do):

After students have shared, say: “Now that you’ve all heard how rich our lives are, let’s take

some time to do a bit of free writing. Select ONE of the ideas from your brainstorming list

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and do a quick write (later on I may ask you to try to write two pages on this topic).”

Either as homework or in class the next day give students the Ideas for Expanding your

Brainstorming List Handout. Ask students to consider the items on this handout to deepen

the list they started previously.

Closure:

You could ask students to take that beginning idea of writing to a final piece or you could ask

them to select a different idea from their list to then bring to a finished piece of writing.

Using the brainstorming list to jump-start any personal narrative piece allows students to

understand that they all have stories worth telling. This lesson also shows students a

productive way to brainstorm any narrative piece.

Assessment – Check for Understanding

Ask students to give you a thumbs-up if they wrote down 7 to 10 brainstorming ideas

today.

Ask students to turn in their quick write just to get a general idea of where students’

writing levels are.

Monitor pair shares for understanding of directions and on-task behavior during the

sharing.

Reflection:

Resources & References: (adapted from acknowledgments)

Atwell, Nancie. Lessons That Change Writers. Portsmouth, NH: Heinemann, 2002.

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IDEAS FOR EXPANDING YOUR BRAINSTORMING LIST

Consider the following ideas as you continue to add items to your personal narrative

brainstorming list.

Early childhood memories

Elementary memories

Obsessions (bands, stuffed animals,

clothing, sports teams)

First experiences

Idiosyncrasies (things unique to you,

habits you possess)

Dreams, hopes, goals

Things that confuse you

Passions (dance, music, theater,

friends, food, books, the environment)

Sorrows (disappointments, friend

experiences that went wrong, death)

Risks taken

Accomplishments

Fears (real or imagined)

Worries

Fantasies

Family (immediate, distant, friends,

folks close to your family who are

“like” family)

Friends then and now

Popular trends

Things that you used to like or were a

favorite of yours

Pets then and now

Teachers, substitutes then and now

Places: school, camp, trips, your

bedroom, times away from home

Hobbies

Sports (groups you’ve been involved

with)

Playing games

The arts (music, dance, theater, visual

art forms)

Novels and/or writers

Movies

Pet peeves (social justice)

Beloved items – objects and

possessions – now and then

All the loves of your life

Historical events you’ve experienced

Accidents you’ve experienced

Holidays

Confrontations (family, friends,

teachers, neighbors)

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Personal Narrative: Openings Learning Target(s):

Writing effective openings for personal narrative

Standard(s):

6.12.2; 7.12.2; 8.12.2: Engage readers with an interesting introduction or beginning.

Materials:

Narrative Openings handout

Variety of narrative stories from former students (ones with a variety of different

openings) – If you don’t have your own, ask other teachers in your building for samples.

Individual student’s working writing folder

Connection:

“How important do you think the beginning of a story is?”

Give students a chance to respond.

“Have you ever started to read a story and stopped because it didn’t grab you? We will be

working toward writing openings that will support your stories and hook the reader.”

Modeling (I do):

Pass out Narrative Openings handout.

Go over each example together. Ask students why they think the example fits the type

of opening it is.

Now share a former student’s work and ask class to identify the type of opening the

student used.


Identify topic of sample work (student’s story referenced above) and discuss WHY

you think s/he selected that choice for an opener based on the topic. For example, a

story that is about a fight someone had with a little brother would make for a good

dialogue opening because it starts the story during the action – more lively. Another

example might be a story about a grandfather, so beginning the story with character

description because the story is about a person might be a better choice.

Not all of these openings will work for every story. Students may need to experiment

with different options until they find the one that best fits their particular story.

Note: If a student plans to use the dialogue opening, it is advised that you inform them that

they will need more than two lines of dialogue. Otherwise they will be tempted to revert into

telling versus showing the action.


Students get out their own essays from their working writing folder and begin experimenting

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with different openings. Explore each one and see what makes the most sense for their story.

Closure:

Have students turn to a partner, share their openings, and try to guess which type of opening

the partner chose.


Students will successfully be able to identify which opening was used by their partner.

Reflection:


Christensen, Linda. Reading, Writing, and Rising Up. Milwaukee, WI: Rethinking Schools,

2000.

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Narrative Openings

SNAPSHOT (or setting) – This opening creates a picture or a “snapshot,” for the reader.

Usually the snapshot is a silent photo—one that describes the setting.

Example:

The scent of pine from the tree hung over the living room. Heaps of shredded

wrapping paper lay strewn across the Oriental rug. The ornaments and lights on the tree

sparkled cheerily, while outside the sky was a dull whitish gray. Through the window we

could see the bare trees shivering and bending in the wind outside. Leaning against the wall

behind the festive Christmas tree was a long, thin package wrapper in brown paper. It was

the last present yet to be opened and scrawled on the brown paper was my name.

Another example:

I touch the bitter cold knob of Grandma’s front door. I open it and go right to the

heart of the house. It’s where Grandma’s heart is, too. I walk in to see the cream-colored

walls and dark brown cupboards filled with 100-year old tools. They are not your tools, but

the ones that Grandma uses. The ones she uses to fill your stomach, and puts her heart into.

They are her cooking tools in the small kitchen. The kitchen is at least 40 years old with its

beige Frigidaire and ancient oven. Despite all of the newer appliances she prefers the ones

with character.

CHARACTER—This opening puts the character in focus.

Example:

She’s coming, I thought to myself. Lean, tall, bleached blonde hair, long flawless

nails, fluorescent makeup, wild conspicuous cheetah print outfit, pearly white long buckteeth,

heavy makeup, and about 160 pounds was walking over to me. Her perfume was so intense

that I could taste it.

Another example:

Grandpa is the king of the sea. He is always relaxed and calm, ready to fish. He may

be old, but he’s always ready to pull in that thirty pounder. Grandpa will sit for hours

patiently waiting for a bite. I admire those big calloused and scratched hands that have done

so much; and the head with not too much hair left on top. Going fishing with Grandpa is

always so much fun if you can learn to be patient.

SHOCKING OPENING—In this opening, the writer surprises us, sets up a mystery, and

makes us want more.

Example:

The blue tights, the tight blue shirt with a large red “S” on it, the red cuffs at the feet

and the large, yellow cape with a large red “S” on it—the “S” stood for Superman. This was

my Halloween costume—when I was 13. I can’t really explain why I chose this costume,

maybe it was because I remembered when I used to love Superman as a little kid, or maybe it

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was because I had never had a Superman costume as a kid, but for whatever reason I chose

Superman. Little did I know that Superman was not exactly what I should have chosen for

that October 31.

Another example:

Chapman Elementary was the same that morning as I walked up the even cement

steps. Rust covered the brown heavy front doors as always. Wax shone throughout the front

hall. Mrs. Drouga’s first grade classroom looked unchanged, with equations written with

white chalk on a green chalkboard. That day everything seemed the same—but me…

DIALOGUE—In this opening, the writer jumps right into the scene, letting us land in the

middle of a movie.

Example:

“I’m bored,” I said, rolling my eyes.

“Bored like a 2 by 4,” Taylor chuckled, laughing at his own joke.

“Why don’t you ask your mom if she can think of anything for us to do,” Will said,

naively.

“Are you kidding?” Taylor said. “Never ask your mom what to do.”

“Yeah, I can hear her now.” I put my hands on my hips and began talking in a high-

pitched tone of voice like my mom. “You’re bored? Well, I can think of something for you to

do. Why don’t you rake the leaves, mow the lawn, wash the car, and paint the house!”

“Never mind!” Will said smacking me with a paddle that was lying on the ping-pong

table.

“Put that away,” I shouted. “It goes in the closet over there, the one with all of the

board games in it. You might have to move the baseball gloves. Actually, put it on the shelf

with the basketballs and footballs, right next to my Game Cube.”

“Man, there is nothing to do here,” Will whined.

“Why don’t we look in the garage,” Taylor said with a mischievous look in his eyes.

“Yeah, maybe we can find something to do there,” I said.

We headed for the garage.

Another example:

“Come on Lizzie. It’s about to start,” said Maddie as we ran up the carpeted stairs

and through the double doors.

“I’m coming already, but I still can’t believe I forgot my gloves,” I said, shaking my

head when we got to the ballroom.

“Tough luck for you,” I heard Maddie snort.

“Hey! You forgot them last week, so don’t laugh,” I retorted, getting in line behind

Maddie.

“Sorry, but you still have to dance and guys have sweaty hands.”

“Don’t rub it in,” I said, sticking my tongue out at the back of Maddie’s blonde head.

Melanie Morris, West Sylvan Middle School

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Personal Narrative: Setting Learning Target(s):

Writing effective setting description for personal narrative

Standard(s):

6.12.4; 7.12.4; 8.12.4 – Word choice: Use a variety of facts or descriptive words to paint

a visual image in the mind of the reader.

6.13.6; 7.13.6; 8.13.6 – Narrative writing: – establish a setting

Materials:

6th

EMC – “The Woman and the Wolf" by Farley Mowat

7th

EMC – “Persephone and Demeter" by Anonymous

8th

EMC – “Blue Highways: A Journey to America" by William Least Heat-Moon

Connection:

“The setting of the story gives the reader an idea of the place and time in which the story

takes place. We read other writer’s stories so we can understand and see how authors

describe and share the setting of the story. The setting could be revealed through weather,

scenery, dialogue/dialect, landscape, and time. The setting gives the reader knowledge

about the time period, geographical location, and/or the cultural environment. Today we’re

going to read a story from our literature book.”

Modeling (I do):

“Let’s see how the author creates a picture in our mind of the setting of the story through

time, dialogue, and scenery.”

Read the first page of the story.


After reading the first page of the story have students pull out the setting graphic organizer.

Together as a class find examples from the first page of the story. “How do we know when

and/or where our story takes place?” As students share their ideas discuss as a class and

have students enter the examples in their graphic organizer.

Continue reading the story as far as you want or feel the need to read. Continue to find

examples, as a class, of setting description. Students write the examples in their graphic

organizer and as a class discuss how they know these are examples of setting description.

After finding examples as a class, students could work with a partner and continue to read

the story and find setting examples with their partner. Partners could share out examples of

setting with the rest of the class.

Example:

6th

grade story: “But one dark April day the old man raised himself slowly from the sleeping

ledge…”

7th

grade story: “One day as Persephone ran about in the meadow gathering flowers…”

8th

grade story: “Waiting for the rain to ease, I lay on my bunk…”

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“We’re going to get out the narrative rough draft we’ve been writing. Re-read what you

have written so far. After reading your story, close your eyes and ask yourself: Where is the

story taking place? What does it look like? What does it smell like? What time of day is it?

What season is it? Once you’ve thought about the setting of your story and visualized it, on

the next clean sheet in your writing notebook, write down words and phrases that describe

where your story takes place. For example, does your story take place at the beach during

the summer? Could you write “The hot summer sun beat down on our tanned arms as we

dug in the wet sand.” Once you’ve written examples of setting description in your notebook,

go back to your narrative rough draft and begin to find places in your story where you can

add these setting description ideas. Think about time, scenery, dialogue, and location of

your story.”

Closure: “With your partner, read what you wrote today. Can your partner figure out

where the story takes place? When? Other setting details? If your partner does not know

where the story takes place, discuss with your partner two places in your story where you

could add setting description then add it to your story.”

Assessment: Check for understanding

Assessment will be anecdotal as you walk through the classroom listening to partners share

their stories. Writer’s workshop will also allow you to check for understanding. Students

can also fill out an exit card with one sentence of their revised setting description.

Reflection:


Setting description graphic organizer

EMC Anthology

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SETTING DESCRIPTION: Write words or phrases that describe time and place.

TIME PLACE

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Personal Narrative: Point of View – Grade 6

Learning Target(s):

Compare first person and third person point of view in narrative writing

Revise personal narrative for point of view

Standard(s):

6.13.6; 7.13.6; 8.13.6: Establish a…point of view…

Materials:

Working student writing folder containing personal narrative drafts

Pen or pencil

6th

EMC – “Eleven” by Sandra Cisneros

The Lonely Scarecrow by Tim Preston (or another children's book written in first

person)

“Rosa” by Nikki Giovanni (third person)

Connection:

Today I'm going to read two children's books, each told from a different point of view

(POV). What is POV?"(Take a few answers from class.)

What do you think the difference might be between the POVs? (Take a few answers.)

Point of view is the author's choice of a narrator for his story. You as a reader get different

kinds of information from a story depending upon who is telling the story.

There are three major points of view.

First person: the narrator is a character in the story and can reveal his/her own thoughts

and feelings and what s/he is told by other characters.

o (First person uses I, me, my, we, us)

Third person: the narrator is an outsider who can report only what s/he sees and hears -

- like a newspaper reporter.

o (Third person uses he, she, they, them)

Omniscient: the narrator is all-knowing (omniscient) and can enter the minds of one or

more of the characters.

Modeling (I do):

As I read these examples (see text choices above in materials section), I want you to listen for

point of view. You’ll be paying attention to the pronouns used –for example, “I” or “he” or

“she,” AND thinking about what kind of information you get from each different point of

view. Consider which story allows you to know what someone is thinking? Which story

makes you imagine what someone is thinking, or why someone is doing something.

After reading, guide a discussion toward understanding that the reader is allowed more

personal access to the character when first person is used, and must infer much more when

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third person is used. If you share a selection using omniscient POV, continue discussion,

pointing out the impact of allowing the reader to know what one or more characters are

thinking and doing.

Then discuss which POV would best tell your narrative essay.

You may also want to discuss the usage of past versus present tense.


Read the story “Eleven.” Ask the students what POV the author used. Why do they think the

author used first person?

Notice the use of pronouns in the story. Have students find examples of first person POV.

This would be a good time to take out former students’ narrative essays. Put them up on the

overhead and ask the students to tell you which point of view was used in the story.

Direct students to write their narratives in first person.

Notice the difference between present and past tense (may be a separate lesson)


Have students get out their essays and edit them for discrepancies in point of view and past

and present tense.

Closure:

Have students turn to a partner and share examples of where they changed either point of

view or the past/present tense.


Exit note: Have students show you one sentence from their narrative that was in first person

that they changed to third person.

Reflection:


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Personal Narrative: Identifying Characterization - Grade 7 Learning Target(s):

Identify methods of characterization

Apply methods of characterization to personal narrative

Standard(s):

7.13.6: Develop characters of appropriate complexity

Materials:

“The Green Mamba” by Roald Dahl from Grade 7 EMC

Sticky notes

Chart pack


Connection:

“How can you tell this is a personal narrative?”

Find examples of words and phrases the author uses to describe the green mamba and the

snake-man.

Modeling (I do):

“As we read the story, I want you to place sticky notes on words or phrases that help you

learn something about the green mamba or the snake-man.”

(For the teacher: read the story ahead of time and find places near the beginning of the story

where you can stop and ask the students how they are learning about the characters from the

example – be thinking about the ways an author creates a character; not all methods may be

used in every story.)


After reading the story, have students go back to their sticky notes and write down why they

placed the sticky note where they did. What do they learn about the characters from the word

or phrase they marked? Then have students get into groups of four or five and give each

group a chart pack with columns labeled with each of the methods of characterization:

speech

actions

thoughts

description –(physical features)

reactions of others (what others say or think about the character)

Have student groups place their sticky notes in the appropriate column.

Assign each group one of the columns and have them share their examples. Discuss.

ELL/SpEd/Struggling Learners: Have students focus only on physical description in their

narrative essay.

TAG: Have the students attempt to use 4 of the 5 methods of characterization.

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Have students get out their personal narrative draft from their working writing folder. Ask

students to go through their essay and one by one begin looking for their use of

characterization. Have they included physical description? Have they included what the

character says? Internal monologue (what the character thinks)? Action? What other

characters say?

Note: Because this is a personal narrative, what another character thinks is not possible.

Closure:

Have students turn to a partner and share how they included characterization in their draft.


Have students mark their best revision after the lesson and turn it in to the teacher.

Reflection:


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Personal Narrative: Identifying Verbal and Nonverbal Communication –

Grade 8 (This lesson could be split into two days.) Learning Target(s):

Add detail to characters in personal narrative

Focus on descriptive word choice

Standard(s):

8.12.4:

Word choice: use a variety of descriptive words to paint a visual image in the reader’s

mind.

8.13.6:

Develop characters of appropriate complexity

Include sensory details and clear language to develop characters

Use a range of appropriate strategies such as…movement, gestures, and expressions

Materials:

“An Hour with Abuelo” (EMC/8th

)

Students’ journals for note taking

Elements of Verbal Communication handout

Sticky notes

Pens/pencils

Working Student Writing Folder

Connection:

Awesome Intro Performance Option--

(If performance is not your strength see note on asking a student to perform)

This is an entertaining activity to teach students about nonverbal communication. It is

literally showing rather than telling students about nonverbal communication. To varying

degrees, everyone understands and interprets the nonverbal elements in a piece of text. This

lesson will point out to them what they already know but may not be able to see how it

relates to their writing.

If teacher is creating a character:

Think of a character who says a lot without saying anything: a feeble old person,

someone who just learned bad news, a sneaky child, etc.

Create a character (or have a student create a character) and come into the room acting

out this character’s nonverbal traits. For example, you are an elated Jonas Brothers or

Hannah Montana fan and you just got front row seats to a concert.

After acting out the scenario which includes the nonverbal communication, stop the

“performance.”

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o Ask the students, “In thinking about facial expressions and body language…

What did you see? What words/adjectives would you use to describe what the

character was feeling and possibly thinking? Have students call out answers

while either you or another student writes the adjectives on the board. “What

might this character say to express what their nonverbal communication

shows?”

Say nothing, and have students describe the character's demeanor. Either you or a

student should list their descriptions on the board.

Then say, “People communicate in more ways than just with words. What are some other

ways people communicate?” (Students should be thinking about eye contact, vocal tone,

body movement, etc. Refer to Elements of Verbal and Nonverbal Communication).

“The character you just watched is just one character. What are some personal experiences

you’ve had with someone using both verbal and/or nonverbal communication? How do you

know when the teacher is mad at you? How do you know when someone likes you?”

Using a T-chart on the board or with a data projector, list ideas students come up with

based on the questions above.

Add any new ideas beyond what the handout lists.

Modeling (I do):

“Today we're going to read a story called ‘An Hour with Abuelo.’ Open your books to p. 70.

I want you to notice, as you read, the descriptions of how a character speaks and moves that

gives more meaning to the words s/he says. Mark a few places in the text where you see this.

Here are a few good places to stop and discuss while reading the story:

First full paragraph, p. 71: “...she... says, ‘Gracias, hijo’ in a choked-up voice like I'm

doing her a big favor.”

Second column, end of continuing paragraph, p. 71: “He sort of smiles and the lines on his

face get deeper, but he doesn't say anything.”

First column, p. 72: “Then she usually shrugs her shoulders and says...”


Students will read independently.

Students will select a passage from examples they have marked with sticky notes and turn to

a partner and share what more they learned about the characters based on the nonverbal

communication the author used.

Discuss whether or not it is effective? Why? How does the verbal or nonverbal

communication help you learn more about the character?

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ELL/SpEd/Struggling Learners: For the reading, these students may benefit from hearing the

story read aloud. This will help to engage them in the plot. Pair students for reading aloud.


Go to your drafts in your writing folder and find places to add nonverbal communication.

Rewrite passages to include these details of communication.

Closure:

Share with a partner one or more revisions you made.


Exit slip: Choose two communication elements you think you'd like to include in your

personal narrative: one verbal and one nonverbal. Define each and tell me what effect you

think they'll have on your story. Then, if you notice trends toward one particular element, or

mistakes in understanding, you can address those at the beginning of the next class, either by

clarifying misunderstandings, or providing some different ways to incorporate the element(s).

Reflection:


Lesson adapted from Winnie Charley, retired PPS teacher

EMC-8th

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Elements of Verbal and Nonverbal Communication Handout

Verbal Elements

Volume (loud, soft)

Melody, (pitch (high, low)

Pace (speed)

Tone (emotional quality, attitude)

Enunciation (clear, mumbled)

Nonverbal Elements

Eye Contact

Facial Expression

Gesture (meaningful motions of arms and hands)

Posture (position of body)

Proximity (distance from other characters or objects)

Note: Please add examples of each (or have students do so) to make this

handout more useful

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Personal Narrative: Ensuring the Narrative has Conflict

Learning Target(s):

Write personal narrative that includes a conflict

Standard(s):

6.13.6; 7.13.6; 8.13.6:

Establish a situation , a point of view, conflict, and setting

Create an organizing structure

Materials:

Plot chart in EMC, 7th

Grade, p. 532


The Biggest Nose by Kathy Caple

That’s Good! That’s Bad! by Margery Cuyler

Amos & Boris by William Steig

Mailing May by Michael O. Turnell

The Greatest Automatic Grammatizer and Other Stories by Roald Dahl

Connection:

Ask students/have a discussion:

“Have you ever read a story with no plot? Was there really no plot or was the story just

boring? What makes for a good plot? What makes for a boring plot?”

Define plot –

“A plot is a series of events related to a central conflict or struggle. The structure of a plot is

based on an author’s choice of events related to that conflict and the order of those events.”

Teacher could record ideas and/or definition and project them, or write on board.

Modeling (I do):

Put a blank plot chart on your blackboard or document camera. As a class, label the parts of

a plot on the chart.

“Because you are all writers your personal narrative will need to have a plot. Just because

it happened to you doesn’t mean you can write about it!”

(Meaning: not everything that happens to you is worthy of a story because there’s not always

a conflict involved.)


Choose one of the children’s stories listed above and read out loud. After finishing the story,

as a class, plot out the story. What is the conflict? The turning point? The resolution? What

are the most important parts for the rising action, which lead to the turning point and the most

important parts of the falling action which lead to the resolution? Make sure students

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understand that the resolution fixes the conflict.

Read as many children’s stories as necessary.

ELL/SpEd/Struggling Learners: Reading the story aloud will benefit students in their

understanding of plot. You may also wish to give students a copy of a blank plot chart for

their own story.

TAG: Depending on the topic a student selects, s/he could include more than one conflict.


Ask students to get out their personal narrative draft. Have students ask themselves:

Do you have a conflict?

What is it?

What is your turning point and what leads to it?

What is your falling action and how does it lead to the resolution?

Does the resolution fix the conflict?

If students can’t answer these questions they need to begin to work on rewriting so these

questions are answered. If necessary, give a blank plot chart.

Closure:

Have the students find a partner and answer the above questions or read one another’s stories

and locate the above items within stories.


Stories will contain a plot and conflict.

Reflection:


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Personal Narrative: Show Don’t Tell – Adding Description Learning Target(s):

Use sensory details and clear language in personal narrative

Focus on word choice

Standard(s):

6.13.6; 7.13.6, 8.13.6: Include sensory details and clear language to develop plot and

character

Materials:

Show Don’t Tell Sentence Activity (part one)

Show Don’t Tell (part two)

Connection:

When writing your narrative you want to show the reader what is happening – not tell the

reader what is happening. For example, if you’re writing a story about a fight with your mom

don’t tell me, “I fought with my mom.” Actually show me the fight through the dialogue.

Don’t tell me you went to the beach for spring break, show me through the sights, sounds,

smells, tastes, and your feelings what going to the beach was like.

Modeling (I do):

Pass out the handout on Show Don’t Tell

Model the first sentence for the class by rewriting it to include showing detail

As a class, select a sentence and have students orally suggest how it might changed to

include detail

Write students’ suggestions for all to see

Students can add details through:

Setting description

Character description

Dialogue

Internal monologue

Figurative language (similes, metaphors, personification)

Flashback


Have students work on handout together in small groups

Select one sentence per group to share with whole class – after they have rewritten it


Direct students to get out their narrative and comb their paper line-by-line looking for

opportunities to SHOW detail rather than tell it.

Closure:

“Turn to a partner and share three changes you’ve made to your draft.”

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Make sure all students have shared at least one sentence from the handout prior to

working on their own narrative.

Exit slip – have students define in their own words what showing versus telling does for

their writing.

Reflection:


Christensen, Linda. Reading, Writing, and Rising Up. Milwaukie, WI: Rethinking Schools,

2000.

Wasson, Shannon, Teacher, da Vinci Arts Middle School, 2009.

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SHOW DON’T TELL SENTENCE ACTIVITY, part one

Directions: Rewrite each sentence so they SHOW the detail versus just telling it. Try NOT

to use the words AM, IS, ARE, WAS, WERE, and THERE. Instead use action verbs.

Proofread to get rid of AND unless it’s absolutely necessary.

1. She was an ugly witch.

2. The house (car) was dilapidated.

3. S/he was dressed weird.

4. The child was having a tantrum.

5. My room was a mess.

6. It would take a lot of work to clean up the yard.

7. The dog was funny looking.

8. I could tell the little boy/girl was spoiled.

9. The meal looks terrible.

10. S/he was gorgeous.

11. The kids were making fun of him/her.

12. She was embarrassed.

13. It was a peaceful place.

14. S/he was exhausted.

15. It was a stormy night.

16. The player hit a home run.

17. It was a great play when he caught the pass and made a touchdown.

18. The goal she scored made everyone excited.

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SHOW DON’T TELL, part two

Some fantastic ideas to help you SHOW DON’T TELL in your own writing. Think about

using this worksheet when you sit down to edit your own writing.

What did the person’s face look like – the eyes, the set of the jaw, the smile or the

frown, the tenseness of the facial muscles, etc.?

What sounds could be heard?

What smells can you relate to the moment?

What feelings were present? Was the moment smooth? Slick?

Choppy? Sticky? etc.?

What movements come to mind when you visualize the moment?

Describe the person’s posture, hands, etc.?

Was anyone else there? What did their faces look like in the moment? What words

did they say?

Were there any objects around? Were they affected? Were horses neighing, campfire

crackling? Are there other details that contribute to the tone of the moment?

If the moment was a color, what color would it be?

If it were a thing, what would it be?

If nature was the moment, how would you describe it? A storm, a sunrise, a gentle

shower, a warm day in June, a field of wild flowers?

There’s so much more – KEEP THINKING!!! Get into the moment.

Make it come ALIVE.

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Personal Narrative: Punctuating Dialogue Learning Target(s):

Punctuate dialogue correctly

Standard(s):

6.12.6.3; 7.12.6.3; 8.12.6.3: Correctly use quotation marks around the exact words of a

speaker

Materials:

Student copy of respective 6,7, or 8th EMC text excerpt:

o EMC – 6th

“Dragon, Dragon” by John Gardner (see copy in binder)

o EMC – 7th

“The Serial Garden” by Joan Aiken (see copy in binder)

o EMC – 8th

“Good Housekeeping” by Bailey White (see copy in binder)

Projection document

Highlighters

Connection:

Ask: “Ok, so when you’re reading a book how do you know who’s talking?”

Hopefully, your students will say something like: “there are marks around their words” or

that “the words they are saying are indented.”

If you don’t get the answers you’re looking for, then ask: “As a good reader how do you keep

track of character’s conversations when you read a book? Now it’s your turn to use

dialogue in the narratives you’re writing. As a writer, it’s your job to help the reader of your

work keep track of the characters in your story. This requires you to master the skills of

punctuating dialogue.”

Modeling (I do):

Project document with dialogue and ask students to tell you where they see punctuation in

the first two sentences. Ask a student to come up and highlight what they see. “Based on the

punctuation that we just highlighted, give me a rule for the usage of this punctuation.”


Students will need to be in groups of 3 or 4 and they will highlight the remainder of the story

looking for any punctuation they see. After that (still in small groups) they will need to come

up with 5 to 7 rules for the punctuation they identified.

Come together as a whole class. Project the text and have one group at a time come forward

and define their punctuation rule. THEY MAY NOT BE ENTIRELY CORRECT. Therefore,

as a class, try to come to the correct definition.

Do this until all groups have had an opportunity to share. THEY MAY NOT FIND ALL OF

THE RULES FOR PUNCTUATING DIALOGUE. This is where you, as the teacher, may

need to fill in the blanks for your students.

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ELL/SpEd/Struggling Learners:

Give students a list of the rules for punctuating dialogue and/or use children’s picture books

during the highlighting portion of the lesson. This may make seeing and recognizing the

punctuation easier.

TAG

Ask students to begin using more complex versions of dialogue. For example, “Young lady,

get down here and clean up this mess in the kitchen,” my mom yelled, “before I ground you

from using your cell phone for a week.”


Students will go back through the dialogue in their own narratives and use the rules we

covered in class.

Closure:

If you go home tonight to work on your narrative and you can’t remember all of the rules we

covered today always remember that you can use a novel as a source of information to

remind you of the punctuation rules we covered in class today.


Turn to a partner and share one sentence you punctuated today.

Before leaving class today have each student write you an exit slip defining one of the rules

about punctuating dialogue they learned today that they didn’t previously know.

Reflection:


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Personal Narrative – Mini Lesson – Dialogue

EMC-6th

“Dragon, Dragon”

By John Gardner

Suddenly to everyone’s surprise, the queen turned into a rosebush.

“Oh, dear,” said the wizard.

“Now you’ve gone and done it,” groaned the king.

“Poor Mother,” said the princess.

“I don’t know what can have happened,” the wizard said nervously, “but don’t worry,

I’ll have her changed back in a jiffy.” He shut his eyes and racked his brain for a spell that

would change her back.

But the king said quickly, “You’d better leave well enough alone. If you change her

into a rattlesnake we’ll have to chop off her head.”

Meanwhile the cobbler stood with his hands in his pockets, sighing at the waste of

time. “About the dragon…” he began.

“Oh yes,” said the king. “I’ll tell you what I’ll do. I’ll give the princess’ hand in

marriage to anyone who can make the dragon stop.”

“It’s not enough, “ said the cobbler. “She’s a nice enough girl, you understand. But

how would an ordinary person support her? Also, what about those of us that are already

married?”

“In that case,” said the king, “I’ll offer the princess’ hand or half the kingdom or both

– whichever is most convenient.”

The cobbler scratched his chin and considered it.

“It’s not enough,” he said at last. “It’s a good enough kingdom, you understand, but

it’s too much responsibility.”

“Take it or leave it,” the kind said.

“I’ll leave it,” said the cobbler. And he shrugged and went home.

But the cobbler’s son thought the bargain was a good one, for the princess was very

beautiful and he liked the idea of having half the kingdom to run as he pleased. So he said to

the king, “I’ll accept those terms, Your Majesty. By tomorrow morning the dragon will be

slain.”

“Bless you!” cried the king.

“Hooray, hooray, hooray!” cried all the people, throwing their hats in the air.

The cobbler’s eldest son beamed with pride, and the second eldest looked at him

enviously. The youngest son said timidly, “Excuse me, Your Majesty, but don’t you think

the queen looks a little unwell? If I were you I think I’d water her.”

“Good heavens,” cried the king, glancing at the queen who had been changed into a

rosebush, “I’m glad you mentioned it!”

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Personal Narrative – Mini lesson – Dialogue

EMC – 7th

“The Serial Garden”

By Joan Aiken

“Who are you?” she asked. She seemed very much astonished at the sight of him.

“My name’s Mark Armitage,” he said politely. “Is this your garden?”

Close to, he saw that she was really very grand indeed. Her dress was white satin

embroidered with pearls and swept the ground; she had a gold scarf and her hair dressed high

and powdered, was confined in a small, gold-and-pearl tiara. Her face was rather plain, pink

with a long nose, but she had a kind expression and beautiful gray eyes.

“Indeed it is,” she announced with hauteur. “I am Princess Sophia Maria Louisa of

Saxe-Hoffenpoffen-und-Hamster. What are you doing here, pray?”

“Well,” Mark explained cautiously, “it seemed to come about through singing a

tune.”

“Indeed. That is most interesting. Did the tune, perhaps, go like this?”

The princess hummed a few bars.

“That’s it! How did you know?”

“Why, you foolish boy, it was I who put the spell on the garden, to make it come

alive when the tune is played or sung.”

“I say!” Mark was full of admiration. “Can you do spells as well as being a

princess?”

She drew herself up. “Naturally! At the court of Saxe-Hoffenpoffen, where I was

educated, all princesses were taught a little magic; not so much as to be vulgar, just enough

to get out of social difficulties.”

“Jolly useful,” Mark said. “How did you work the spell for the garden, then?”

“Why you see,” (the princess was obviously delighted to have somebody to talk to;

she sat on a stone seat and patted it, inviting Mark to do likewise) “I had the misfortune to

fall in love with Herr Rudolf, the Court Kapellmeister, who taught me music. Oh he was so

kind and handsome! And he was most talented, but my father, of course, would not hear of

my marrying him because he was only a common person.”

“So what did you do?”

“I arranged to vanish, of course. Rudi had given me a beautiful book with many

pictures of gardens. My father kept strict watch to see I did not run away, so I used to slip

between the pages of the book when I wanted to be alone. Then, when we decided to marry,

I asked my maid to take the book to Rudi. And I sent him a note telling him to play the tune

when he received the book. But I believe that spiteful Gertrud must have played me false and

never taken the book, for more than fifty years have now passed and I have been here all

alone, waiting in the garden, and Rudi has never come. Oh Rudi, Rudi,” she exclaimed,

wringing her hands and crying a little, “where can you be? It is so long – so long!”

“Fifty years,” Mark said kindly, reckoning that must make here nearly seventy. “I

must say you don’t look it.”

‘Of course I do not, dumbhead. For me, I make it that time does not touch me. But tell

me, how did you know the tune that works the spell? It was taught me by dear Rudi.”

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Personal Narrative – Mini lesson – Punctuation of dialogue

EMC – 8th

“Good Housekeeping”

By Bailey White

“You can’t do it!” my sister exploded. “We can never get ready in time!”

“What is there to get ready?” our mother asked innocently. “Just the food, and we’ll

do that ahead of time. You should always do the food ahead of time, girls,” she instructed us.

“Then you can enjoy your guests.”

“Mama!” my sister wailed. “Just look at this place!” She gestured wildly.

“What’s wrong with it?” My mother peered out at the room through a haze of dust.

Behind her, another worm dropped.

“Just look!” Louise threw her arms wide. “The clutter, the filth…” She spied the

rows of jars on the counter. “…The fleas!”

“Don’t worry about the fleas, Louise,” our mother reassured her. “I am working on a

new concoction, based on my myrtle and oil of pennyroyal. I may have the fleas under

control by Thanksgiving.”

Louise sank into a chair and looked our mother in the eye. “Mama,” she began, “it’s

not just the fleas. It’s…”

But I had come to my senses.

“Stop, Louise,” I said. “Get up. We’ve got a weekend. We’ll start on Saturday.”

Louise arrived at dawn, the Saturday before Thanksgiving, loaded down with vacuum

cleaners, extra bags and filters, brooms, mops, and buckets.

Mama was sitting in her chair in the kitchen, eating grits and making feeble

protestations. “You girls don’t have to do this, Bailey. I’ll sweep up Wednesday afternoon.

Then on Thursday there will just be the cooking.”

“I know, Mama,” I said, “but we want to do a good job. We want to really straighten

up. You’ll be glad when it’s all done. Eat your grits.” I didn’t want her to see Louise

staggering out with the first load for the dump: a box of rotten sheets, some deadly

appliances from the early days of electricity, and an old mechanical milking machine with

attachments for only three teats.

Mama would not let us throw out a box of old photographs we found under the sofa –

“I may remember who those people are some day” – or the lecherous old stuffed turkey with

his hunched-up back and his balding feet. “It was one of Ralph’s earliest taxidermy efforts,”

she said, fondly stroking the turkey’s bristling feathers down. And she let us haul off boxes

of back issues of the Journal of the American Gourd Growers’ Association only if we

promised to leave them stacked neatly beside the dumpster for others to find. But she got

suspicious when she caught Louise with the typewriter.

“Where are you going with that typewriter, Louise?” she asked.

Version 2.0 61

Personal Narrative: Sentence Fluency and Word Choice

Learning Target(s):

Edit for sentence fluency – passive language

Edit for word choice – strong verbs

Standard(s):

6.12.4; 7.12.4; 8.12.4:

Word choice: Use a variety of… descriptive words to paint a visual image in the mind of

the reader

6.12.5; 7.12.5; 8.12.5:

Use sentence structure that enhances meaning

Materials:

Sentence Fluency and Editing handout

Connection:

“Now that you have a draft of your story, it’s time to tighten up some of your sentences.

We’ll be using four different ways to improve your essay.”

Distribute the Sentence Fluency and Word Choice handout.

Modeling (I do):

Explain and discuss each of the ideas for editing sentences.

First – students will go through their own papers and eliminate as many IS, WAS, WERE

words as they can.


After students have eliminated IS, WAS, WERE from their sentences and REWRITTEN the

sentences, come together and SHARE the original sentence and the revised sentence.

Repeat each of the other options on the handout.

ELL/SpEd/Struggling Learners:

Have students focus mainly on the “flabby” word portion of handout. Check for

understanding before they leave class.

TAG:

Ask students to show you multiple ways they can edit any given sentence.


Continue with the editing phase using the options on the handout at home.

Closure:

Pair share, whole class share.

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Exit slip: Have students write one of their best sentences on a piece of paper at the end of

class and hand it to you on their way out.

Teacher: Check for understanding and return to students the next day.

Reflection:



2000.

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Sentence Fluency and Word Choice

Once you get the content down in your writing, you need to go back and tighten up those

“flabby” sentences.

1. Active Verbs: The most typical problem in writing is weak verbs. We use “is,” “was,”

and “were” and make them pull the weight of the sentence. Try to get rid of them.

Example: The garage was a mess. There were tools, boxes, and toys scattered all over the

ground.

Rewrite: The messy garage had tools, boxes, and toys scattered all over the ground.

(Hint: Who is doing the acting in the sentence? The word “there” often leads to

flabby sentences.)

2. Wordy sentences: These sentences contain fillers – words that add nothing but air.

Flabby words!

The most common culprits are: I think, I feel, in my opinion. If this is your piece of

writing, the reader assumes that you are giving your opinion unless you state

otherwise.

Unnecessary words: really, very, always, about, stuff, totally, things, so, just, that, then,

tons, well, bad, cool, good….

Example: So it was a really cool birthday party because there were about nine kids there

and totally good stuff to do which in my opinion is the best kind of party.

3. Sentence variety: Vary the lengths of your sentences. Otherwise your reader is going to

fall asleep with the redundant rhythm.

Example: Fiona and I had been fighting. Constantly. My mom’s brilliant plan was to take

the three of us out sledding at Mt. Hood. We did this annually on MLK Day; mom

would drive us to this secluded sledding hill and we’d spend the day together. But

this year it seemed to be more of an intervention.

4. Images: Use poetic language in every type of writing. Good writing is filled with images

– words and phrases that appeal to the senses. Use metaphors, similes, and personification.

Example: Her expression scared me. Normally soft, oceanic eyes were now as hard as the

ice coating the road.

Example: Soon we were curving into a parking lot, the gravel mumbling beneath the fat tires.

By Melanie Morris, West Sylvan Middle School

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Personal Narrative: Writing Good Endings Learning Target(s):

Write effective ending for personal narrative

Standard(s):

6.12.2; 7.12.2; 812.2

Offer a concluding, or ending, paragraph

Materials:

Types of Narrative Endings handout

Connection:

“We’ve been working on a variety of ways to improve how we write personal narratives.

Now that we’ve hooked our audience with a fascinating lead and a captivating story, you

need a finish that comes full circle and satiates the reader.”

Modeling (I do):

“Let’s look at some examples of endings.”

With class, review Types of Narrative Endings handout.

Personal Comment Ending:

“Close with a personal comment or response to what you have written. It is not the same

thing as an opinion. It is more like a personal conclusion you have reached or a lesson you

have learned because of the experience you wrote about in your paper.”

Mystery Ending:

“Close with a statement that shows some things will never be resolved. However, be sure to

do this in a way that the reader does not think you just forgot to end your story or paper. This

ending should leave the reader wondering what will happen next”.

Note: This form of ending could be confusing to writers as they may inadvertently write a

mystery instead of a narrative. Monitor its usage.

Full Circle Ending

“You can close your paper by revisiting the topic of your first paragraph at the end.”

Beginning of a new story

“When writing a story or personal narrative, you can close with a hint of things to come, or

the beginning of a new story—a sequel of sorts.”


Students will look at student sample openings and closings (if you have some). If not, have

students share their own work.

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Have students take one of the example endings and use it in their narrative.


Students will experiment with a few different types of endings and share them with a partner

to decide which is the most effective for their particular narrative.

Closure:

Give students an opportunity to share their ending choices and discuss why they think one is

more effective than another.


Students will have selected effective ending that fits their narrative topic.

Reflection:



2000.

Ideas for Teaching Writing. Kim’s Korner 4 Teacher Talk. 28 June 2009

<http://www.kimskorner4teachertalk.com/writing/menu.html>.

Morris, Melanie, Teacher, West Sylvan Middle School, 2009

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Types of Narrative Endings

Personal Comment Ending

Example: Bringing more bread would not have solved our problem, because the ducks

would never have had enough. In this case, instead of mice and cookies, the moral is if you

give a duck bread, he’ll ask for some more. Next time, when life wants to teach me a lesson,

I’ll just read the story.

Mystery Ending

Example:

He was very embarrassed, and I didn’t blame him for crying. I would have too if Mr. Dunn

had treated me like Mark, and I feel today that the only reason he was so mean to Mark was

because Mark was Native-American….Mark never finished those scales that day, and he

never came back again. I don’t blame him for that either.

(This student example is from Christensen, Linda. Reading, Writing, and Rising Up.

Milwaukie, WI: Rethinking Schools, 2000. )

Full Circle Ending

Example – two parts: opening and closing paragraph:

Opening Paragraph

Grandpa is the king of the sea. He is always relaxed and calm, ready to fish. He may be old

but he’s always read to pull in that thirty pounder. Grandpa will sit for hours patiently

waiting for a bite. I admire those big calloused and scratched hands that have done so much;

and the head with not too much hair left on top. Going fishing with Grandpa is always so

much fun if you can learn to be patient.

Closing paragraph

I picked up the fish and put it in the wooden box halfway filled with river water. It was the

box reserved only for fish we caught and were taking home—no exceptions. I gently laid the

fish in the box treating it like a baby. Instantly I knew the answer to my question, it is always

worth it to be patient.

Beginning of a new story

Example 1:

The rest of the evening was more relaxed, even though the dishwater did overflow, but that’s

a whole other story! I haven’t quite trusted Cameron since that night, and I guess I never

will.

Example 2:

“Oh, don’t worry, it’ll be fine!” Mari said. Déjà vu. I sighed again and looked at Chloe. She

turned to face me and stuck out her tongue innocently. I shook my head and swung my leg

over the saddle. Chloe snorted happily at my defeat. We walked back to the arena’s fence,

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and I made myself relax. Chloe’s ears turned to face the road. I heard sputtering motors in

the distance. Motorcycles, just my luck, I thought.

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Publishing Opportunities

www.wordshack.com

WordShack Publishing is a home for the world's amateur authors; a place to showcase their

work, and to be discovered. Two individuals are directly responsible for all aspects of the

site. They are Ben Bernstein of London, England and Lynda Blankenship of Massillon, Ohio

in the United States.

www.teenink.com

Teen Ink is a national teen magazine, book series, and website devoted entirely to teenage

writing, art, photos and forums. Students must be age 13-19 to participate, register and/or

submit work. Distributed through classrooms by English teachers, Creative Writing teachers,

Journalism teachers and art teachers around the country, Teen Ink magazine offers some of

the most thoughtful and creative work generated by teens and has the largest distribution of

any publication of its kind. The Young Authors Foundation, Inc. is a nonprofit 501(c)3

organization that supports all Teen Ink publications.

www.nwp.org/cs/public/print/resources/3138

The National Writing Project offers a collection of online publishing opportunities for

student writing.

www.noodletools.com/debbie/literacies/basic/yngwrite.html

Noodletools offers a comprehensive list of publications which accept student submissions.

http://www.artandwriting.org/

Sponsored by Scholastic, Inc, the Alliance for Young Artists and Writers offers opportunities

for students in grades 7-12 to submit works to regional affiliates for publication.

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August 2010

DIRECT WRITING

ASSESSMENT

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Direct Writing Assessment - Introduction

This unit is intended for seventh grade. However, fifth and sixth grade teachers may want to

use some of the following ideas/materials in order to make students familiar with the

language and testing protocol they will face in seventh grade. Preparing students to succeed

on this assessment requires practice. This unit is intended to offer that practice. This unit can,

in no way, teach students all that they need to know about writing in order to demonstrate

what they know on any assessment. The only way to provide students with the writing

content knowledge they need is to offer consistent, effective writing instruction all year long.

The unit is designed to teach students how to take a writing test, not how to write.

This unit begins by teaching students the difference between “writing on demand” and

authentic writing experiences. Students become familiar with the rules of the assessment and

the different modes of writing from which they will have to choose. They will learn to

carefully read and analyze prompts to demonstrate they understand what is being asked of

them. They then practice writing their own prompts to apply their knowledge. Students learn

to “write about what they know” and compile an “expert topic” list. This unit concludes with

students choosing a prompt that fits one of their expert topics and writing an unassisted

paper.

The Oregon Department of Education website

http://www.ode.state.or.us/wma/teachlearn/testing/samples/2009_10/writing_sampleprompts

_2009.pdf has practice prompts for students to deconstruct if teachers would like more

examples than this unit contains. In addition, at this site teachers will find the most recent

ODE Writing Scoring Guide, graphic organizers that are allowed on the DWA and

previously written papers that have been scored by the state and include commentary.

http://www.ode.state.or.us/wma/teachlearn/testing/samples/2009_10/writing_sampleprompts_2009.pdf

http://www.ode.state.or.us/wma/teachlearn/testing/samples/2009_10/writing_sampleprompts_2009.pdf

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DWA: Direct Writing Assessment as a Genre Learning Target(s):

Compare differences between “writing on demand” and authentic writing experiences

Deconstruct sample prompts

Standard(s):

6.6.5; 7.6.5; 8.6.5: Analyze the information and ideas presented in the text

Materials:

1. Sample Writing Prompts for Modeling

2. Analyze a Prompt Questions – TA-KA-ME

3. Analyze a Prompt Questions – Practice Prompts

4. DWA Rules Document

5. Modes of Writing Document

6. DWA Analytic Traits Document

Connection:

“Later this year, you will be asked to write a story or essay on a specific topic to show off

your skills as a writer. However, there are specific rules and guidelines that you must follow

which makes this writing experience different. We will practice “on demand” writing so you

will develop the skills necessary to succeed on this type of writing test.”

Modeling (I do):

1. Project the DWA Rules and ask, “How will these rules change the way you usually

write?” Show the list of mode choices and analytic traits that will be used for scoring their

writing.

Discuss the situations where people often are asked to “write on demand.” (AP tests, College

Boards, job applications, PRAXIS tests, business memos, etc.)

2. “So let’s take a look at a sample prompt and how we need to address it.”

Project and read first sample prompt, and using the Think Aloud method, orally answer these

questions: (Write TA-KA-ME on the board):

T : What is the topic of this prompt?

A: What am I asked to do?

K: What do I know about this topic?

A: Who is my audience? (Remember the real audience is two or three teachers, but

the prompt may ask that they must pretend it will be someone else).

M: What type of mode is called for? (purpose)

E: What are the elements of that mode I must include?

Guided Practice (We do)

1. Project another prompt and have students pair up to answer the TA-KA-ME questions and

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write the answers down.

2. After 3 minutes, ask students to share. Discuss responses.


1. Pass out Analyze a Prompt document (#3 above) and give students about 10 minutes to

complete.

2. Divide students in groups of 4 to discuss their answers.

Closure:

“What makes “writing on demand” different from writing we usually do in class?”

“Why will it be important to practice this type of writing?”

“What are three examples of when you might be asked to write on demand?”


Collect students’ work to analyze what they know/need to know for future lessons.

Reflection:


Bomer, Katherine. Writing a Life. Porstmouth, NH: Heinemann, 2005.

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#1 Sample Writing Prompts for Modeling

Through the years new inventions have

changed the way we live. Think about

one invention that has had an impact on

the way you live. Explain how this

invention has changed your life. (Teacher Think-Aloud)

Girls and boys often enjoy playing the

same sport. Some people believe that

girls and boys should play on the same

team. Write an essay stating your

opinion and supporting it with

convincing reasons.

(Group practice)

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TA-KA-ME

T: What is the TOPIC of this prompt?

A: What am I ASKED TO DO?

K: What do I KNOW about this topic?

A: Who is my AUDIENCE?

M: What type of writing MODE is

called for?

E: What are the ELEMENTS of that

mode I must include?

#2 Analyze A Prompt Questions – Document

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#3 Analyze a Prompt – Practice Prompts

Analyze A Prompt TA-KA-ME

Writing Prompt: 1:

A major teen magazine has voted Portland as one of the ten best places in the country for

teens to live. What is your point of view? Write an essay either supporting or opposing the

teen magazine’s designation of Portland. Use facts, examples, and other evidence to support

your point of view.

What is the TOPIC of this prompt?

What am I ASKED TO DO?

What do I KNOW about this topic?

Who is my AUDIENCE?

What type of writing MODE is called for?

What are the ELEMENTS of the mode I

must include?

Writing Prompt 2:

Think about what your school is like at lunchtime. Pick one particular place, large or

small, and picture it in your mind. DESCRIBE this place at lunchtime so clearly that your

reader can tell just what it is like to be there.




Who is my AUDIENCE?



must include?

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Writing Prompt 3:

People are always looking for ways to improve schools, and some of the best ideas come

from students. Think of ONE change you could propose that would make your school better.

Write a letter to the editor or an essay that would CONVINCE other students and teachers in

your school to agree with you.




Who is my AUDIENCE?



must include?

Writing Prompt 4:

Pretend that you found something mysterious. WRITE AN IMAGINATIVE

STORY about what you found and what happened.




Who is my AUDIENCE?



must include?

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DWA RULES:

Writing must specifically address one of

three prompts

Final work is about two hand-written pages

in length

Complete writing sample in approximately

three class periods

Work is totally independent – no assistance

from teachers, parents, peers

All writing stays in DWA booklet and may

not be taken outside classroom

#4 DWA Rules Document

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Modes: (Types of Writing)

Narrative

Persuasive

Imaginative

Expository

#5 DWA Modes Document

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Analytic Traits Your writing will be scored on each of these traits:

Ideas and Content

Organization

Voice

Word Choice

Sentence Fluency

Conventions

#6 DWA Analytic Traits

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DWA: Writing a Prompt

Learning Target(s):

Analyze writing prompts

Write original essay prompts

Standard(s):

6.11; 7.11; 8.11 Planning, Evaluation and Revision: Use the writing process across the

subject areas.

Connection:

To the teacher: “When students become makers of a certain genre, they become better

readers of that genre, and vice versa.” Bomer, Katherine. Writing a Life. Porstmouth, NH:

Heinemann, 2005.

“We will be analyzing writing prompts and then you’ll write your own essay prompts.”

Modeling (I do):

Project Four Writing Prompts (#1 attached), representing each of the four genres.

Read the narrative mode aloud, and inform students that these prompts tend to be unbiased

and universal enough for almost everyone to be able to respond to them.

Now ask, “What do I remember about the elements of writing prompt?”

Using different color highlighters for each, underline the TOPIC, what you’re ASKED to

do, and the MODE, or purpose for writing. Note that most of the prompts begin with

CONTEXT or background information that helps define or narrow the topic.

Ask three students come up to highlight elements of the next three prompts.


Distribute to students the Writing Modes Word List (#2 attached) and the Write A Prompt

Worksheet (#3 attached).

Now demonstrate how to write a prompt, based on the models. Begin with the narrative

mode. Ask students for suggestions for a topic (e.g., an unforgettable moment, a scary

experience) and the context for that topic. Fill in the chart. Then, referring to the Writing

Modes Word List, fill in the “write what you must do” section.


Now have students write a prompt for the expository, imaginative, and persuasive modes.

Closure:

Ask students how their understanding of writing prompts has changed.

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Project examples of the prompts written by students. Discuss strengths of prompts, and

identify prompts that may not be as universal or unbiased as they should be. Have groups

revise them to meet the need of all middle grades students.

Reflection:



Writing Prompts for Middle School. Holt, Reinhart and Winston. 25 June 2009.

<http://my.hrw.com/support/hos/hostpdf/hostmsprompts.pdf>.

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Four Writing Prompts

Narrative

Eleanor Roosevelt once said, “You must do the thing you think you cannot do.” Write a

story about a time when you did something you thought you could not do. Be sure to include

specific details so that a reader can follow your story.

Imaginative

Pretend you open a closet door and discover a golden broom shimmering in the darkness.

Make up a story with the word “Magic” in its title.

Expository

We have often heard that “Honesty is the best policy.” Write an essay to explain why

honesty is important in a friendship.

Persuasive

A wealthy donor plans to build a new facility that will benefit young people in the area. It

could be a swimming pool, skate park, a theatre, an art school, or any other facility that

would provide young people with constructive ways to spend their time. The donor is not

sure what kind of facility would be most useful. Write a letter to the donor in which you

identify the type of facility you would like built, and persuade her that it is the best choice.

Be sure to support your opinion with convincing reasons and evidence.

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Writing Modes Word List

These phrases are often used to inform writers as to the type of mode

and writing structure they must use to address the prompts.

Use these as you write your practice prompts.

Narrative Tell what happened…

Tell a true story…

Imaginative Make up a story…

Write an imaginative story…

Invent a story…

Expository Explain…

In your composition, explain…

Persuasive Write a letter to convince…

Write a paper to convince…

Write an essay to persuade…

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Write A Prompt

Worksheet Name_______________

Mode

Topic Context What You Must Do

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DWA: Writing on Demand: “Expert” Topic I Teaching Point(s):

Brainstorm expert topic list

Standard(s):

11 – Planning, Evaluation, and Revision: Use the writing process across the subject

areas.

Connection:

Today we will develop a short list of topics we know well and can easily write about. Later

we will learn how to adapt these topics to different modes of writing to help us on the Direct

Writing Assessment.

We all have deep interests in and know a lot about different things. What do you like to do?

What kinds of music or sports interest you most? What activities do you excel in? What

topics do you know enough about to be an expert?

Modeling (I do):

On the overhead, or using a document camera, begin a list of things that you personally enjoy

or know a lot about. As you write, talk about some of the details that come to mind. For

example:

“Oh, I just remembered how great I am at packing the car for a road trip! I can move

suitcases and bags around the car trunk so everything gets in – with a little extra room for

souvenirs to bring back!”


Now engage the class in making group lists of “expert” topics by breaking into groups of

four to six. Encourage them to think outside the box. After four minutes, have groups read

their lists. Praise divergent, interesting topics.


Students then begin their own list of “expert” topics. This list is expected to grow and

expand throughout the year. Students should keep the list in their writing notebook or

working portfolio.

Closure:

Ask several students to read their lists aloud to the class. Encourage others to “steal” ideas

and lengthen their own lists.


Ask students to write an exit slip: How can “Expert Topics” be used to help you write for the

Direct Writing Assessment?

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Reflection:



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DWA: Writing on Demand: “Expert” Topic II

Learning Target(s):

Analyze practice prompt

Selecting suitable prompt for expert topic

Standard(s):

11 – Planning, Evaluation, and Revision: Use the writing process across the subject

areas.

Materials:

1. Previously created expert topic lists (one per student.)

2. Sample prompts from ode website or teacher created prompts.

3. Graphic organizers or blank paper for students to pre-write/brainstorm

Connection:

“Earlier, we made lists of things we were experts at or knew a lot about. We’ve also

analyzed sample prompts that will be similar to those that you may encounter on the Direct

Writing Assessment. Today, we’ll pick one prompt that you can effectively weave one of your

expert topics into and write a paper. This will be similar to the process you will experience

when we take this test.”

Modeling (I do):

“Take your list from the previous lesson, and circle three or four topics that you feel you

could easily write about and adapt to several modes of writing.”

“Then, read over the list of sample prompts. Choose a prompt that one of your expert topics

could relate to and begin a word web as a pre-write activity.”

On the document camera, model for the students how you might take one of your expert

topics and fit it into several prompts that represent the different modes of writing. For

example, if the expert topic is swimming, how does the writer use that topic in a narrative,

imaginative, expository, or persuasive prompt? It may work for some of the prompts and not

for others. Model this meta-cognition/selection process for the students.


Students circle one or two prompts they could effectively write about using one of their

expert topics. Then they pair up and each share one or two of the prompts they feel they

could effectively write about.


After peer feedback, students select one of the prompts that they will write on.

Students then organize their information into an outline/graphic organizer for the prompt they

chose.

Closure:

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Ask three students to share their ideas about the prompt they chose and how they were able

to weave their “expert” topic into this prompt. Try to choose students that chose prompts that

reflect different modes of writing. (i.e. persuasive, narrative, expository etc.)


Check in with students as they are working to make sure they’re able to elaborate on their

prompt in some depth. If not, encourage them to choose a different prompt. Also, if they are

having trouble fitting any of their expert topics into one of the prompts, explain that

sometimes it just doesn’t work. They may have to pick a prompt and write on it without

using their expert topic lists.

Reflection:


McCourt, Frank. "Writing in First Person." Literary Cavalcade Jan. 2004.

Write It Memoir. Scholastic. 25 June 2009. < http://teacher.scholastic.com/writeit/memoir/>.

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August 2010

LITERARY

ANALYSIS

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Building a Literary Analysis Essay

A literary analysis discusses the interpretation of a piece of literature. In order to meet the demands of the PPS

Literary Analysis Common Assignment, students need to carefully examine and evaluate an aspect of a work of

literature (Read/Analyze), draw a conclusion(s) from that analysis (Gather Details), and then write an essay

(Write).

READING/ANALYZING – During this portion of the assignment teachers may choose to have students

analyze the piece of literature as they read the first time or complete the analysis upon a second reading.

Reading and analyzing at the same time is better done with a short story than with a novel. Analysis lessons in

this section might include:

Dialogue Journals Color-Marking

Use of Sticky-notes Charting Character Change

GATHERING DETAILS – Once students have completed their analysis of the selection, they should then

begin to interpret their findings in order to draw a conclusion that will help focus their thesis for the essay.

After determining a thesis, students should then return to their analysis and begin to gather only the details that

support their thesis statement and that they will include in their essay. Lessons in this section might include:

Creating a Thesis Statement Eliminating Extra Information

Selecting Direct Quotations Using Graphic Organizers

WRITING – Now that students have determined a thesis statement and have gathered together the specific

details that support their interpretation of the literature selection, they are ready to begin to write. Lessons in

this section might include:

Effective Leads Use of Transition Words Embedding Quotations

Forming Paragraphs Establishing Context Revision

WRITE

GATHER DETAILS

READ/ANALYZE

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Literary Analysis - Introduction

This unit is designed to support the writing of a Literary Analysis essay (PPS Common

Assignment). Teachers should keep in mind that before students start to write their analysis

in essay form sufficient time should be spent reading, rereading, analyzing and gathering

details. Also, in order for students to answer the prompt accurately and to analyze effectively

the story must be well chosen to ensure that it fits the prompt. Because it is recommended

that students read a selection and revisit the text multiple times, short stories are suggested

for this assignment.

The lessons included in this unit reflect skills that can be taught throughout the year and are

necessary for this mode of writing. Some of the lessons have been written with a specific

prompt in mind, however most of the lessons can be adapted to fit your specific grade level

and prompt.

The unit begins with teaching students to reflect and record thoughts as they read. Students

are then taught to analyze the prompt and the components of a successful paper. Other

lessons include writing a strong thesis, establishing a context, using evidence from the text,

and properly embedding quotes. The unit concludes with a lesson on writing a strong

conclusion. Additionally, there are three literary essay formats that provide the organization

of the essay. Literary essay format 1 is for a 3-paragraph essay; format 2 is for a 4-paragraph

paper: and format 3 is for 5 paragraphs. Use the format best suited to the skill level of your

students. While this organizational tool can be used for all of the prompts, teachers teaching

the 8th

Grade Compare and Contrast prompt may wish to use a different graphic organizer

that addresses compare and contrast organization.

Following is a list of the necessary steps to keep in mind as students are writing literary

analysis essays:

1. Choose the text (story or poem)

2. Determine what element of the literature will be analyzed

3. Read the text several times and take notes

4. Brainstorm an idea for a thesis statement-the interpretation of the analysis

5. Decide on the argument to make and then gather evidence to support that argument

6. Begin to write, keeping in mind the following:

Write in the present tense

Use third person, i.e., he, she (avoid “I” or “You” statements)

Focus on the analysis; avoid writing a plot summary

Use literary terms (i.e. character, theme, setting, protagonist, conflict etc.)

Support points with evidence from the text (i.e., well chosen direct quotes from

the story)

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“Good Reads” for Literary Analysis Assignment

Suggested by PPS teachers

The following list of short stories was compiled by Portland Public Schools’ teachers and is

meant to give suggestions of great literature for use in common assignments. In order for

students to answer the prompt accurately and to analyze effectively, the story must be well

chosen and ensure that it fits the prompt. These stories boldly exemplify the components

needed for students to read, understand, and analyze well. Novels can be used for these

assignments but, due to their length, make the teaching of the writing unit longer, and can

prolong student need to retain certain specific information. Because these titles are short

stories, students can read, reread, and reread again the text in a timely manner appropriate for

this writing unit. Following this list is a list of Poems found in EMC that support the 8th

grade Compare and Contrast prompt.

Name of book/story Author EMC Grade

level Prompt

“All Summer in a Day” Ray Bradbury Y 6 Conflict

“Eleven” Sandra Cisneros Y 6 Character Change

“Goodness of Matt Kaiser” Avi Y 6 Character change

“Raymond’s Run” Toni Cade

Bambara Y 6 Character Change

“Rikki-Tikki-Tavi” Rudyard Kipling Y 6 Conflict

“The Jacket” Gary Soto N 6 Character Change

“The Ugly Duckling” A.A. Milne Y 6 Conflict

“A Secret for Two” Quentin

Reynolds Y 7 Theme

“Cop and the Anthem” O. Henry N 7 Motivation

“Luke Baldwin’s Vow” Morley

Callaghan Y 7 Motivation

“QWERTYUIOP” Vivien Alcock Y 7 Motivation

“Ransom of Red Chief” O. Henry N 7 Motivation

“The Fan Club” Rona Maynard Y 7 Theme

“The Snow Goose” Paul Gallico Y 7 Theme

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Name of book/story Author EMC Grade

level Prompt

“Zebra” Chaim Potok Y 7 Motivation

Baseball in April—short

stories Gary Soto N 7 Character Change

“A Retrieved Reformation” O. Henry Y 8 Effects of Change

“Moon” Chaim Potok Y 8 Motivation

145th

Street Short Stories Walter Dean

Myers N 8 Effects of Change

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Poems in 8th

Grade 8 EMC listed by theme to support the

Literary Analysis Assignment

Poem Page Subject/Topic Theme: Age

“Abuelito Who” by Sandra Cisneros 75 Remembering a grandparent

“Legacies”by Nikki Giovanni 81 Grandparent/grandchild relationships

“Grandma Ling” by Amy Ling 82 Family relationships

Theme: Beauty

“Night Clouds” by Amy Lowell 586 Describing clouds

“Bats” by Randall Jarrell 591 Nurturing side of the bat

“Pretty Words” by Elinor Wylie 626 A poet’s love of words

“Blue Cornucopia” by Robert Francis 630 The shades of “blue”

“I Ask My Mother to Sing” by Li-Young Lee 668 Songs evoking emotions

“Ode to my Socks” by Pablo Neruda 674 Honoring a pair of socks

“On Education” Anonymous 254 Having to conform

“Grandma Traub” by Amy Ling 83 Honoring a grandmother

Theme: Courage and Fear

“Paul Revere’s Ride” by Longfellow 604 Describing Paul Revere’s ride

“Courage” by Robert Service 612 Apple blossom dying in winter

“For my Sister Molly who in the Fifties” by

Alice Walker

105 Family relationships

Theme: Death


“The Cremation of Sam McGee” by Robert

Service

614 Keeping a promise/life in the Yukon

“The Highwayman” by Alfred Noyes 651 Legend of an outlaw

“A Short Long Story” by Julia Cunningham 657 A boy imagines he sees his dead

mother as a bear with wings

Theme: Discovery and Learning


Alice Walker


“Women” ” by Alice Walker 252 Women paving the way

“He Drank and Drank the Precious Words” by

Emily Dickinson

664 Joy of books

“Southbound on the Freeway” by May Swenson 148 A space journey

“Roads Go Ever Ever On” by J.R.R. Tolkien

153 Excerpt from “The Hobbit about an

adventurous journey

“Travel” by Edna St. Vincent Millay 154 Traveling on a train

Theme: Diversity and Pluralism

“Grandma Ling” by Amy Ling 82 Visiting a grandmother in China


“Dreams” by Langston Hughes 6 The importance of dreams

“A Dream Deferred” by Langston Hughes 6 Warning not to ignore dreams

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Poem Page Subject/Topic “The Dream Keeper” by Langston Hughes 6 The importance of dreams

“Women” by Alice Walker 252 Honoring women of the past

Theme: Family

“Legacies” by Nikki Giovanni 81 Grandparent/grandchild relationships


Grandma Traub” by Amy Ling 83 Honoring a grandmother


Alice Walker


“Digging” by Seamus Heaney 636 Generations

“First Lesson” by Phyllis McGinley 87 Father/daughter relationships

“My Father’s Hands Held Mine” by Norman

Russell

88 Father/son relationships

Theme: Freedom


“Wanting to Move” by Vijaya Mukhopadhyay 156 A tree longing to move

“Freedom” by William Stafford 161 Choosing to be free

“The Road Not Taken” by Robert Frost 163 Deciding which “path” to take

“On Education” by anonymous 254 Having to conform

“He Ate and Drank The Precious Word” by

Emily Dickinson

664 Living vicariously through books

Theme: The Future



“First Lesson” by Phyllis McGinley 87 Father/daughter relationships


Alice Walker



“Women” ” by Alice Walker 252 Women paving the way for future

Theme: Growth and Growing up


“The Dream Keeper” by Langston Hughes 6 Protecting one’s dreams


“First Lesson” by Phyllis McGinley 87 Father/daughter relationship


Alice Walker



Theme: Hero/Heroism


“Paul Revere’s Ride” by Henry Wadsworth

Longfellow

605 Describing Paul Revere’s ride


Theme: Hope



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Poem Page Subject/Topic “The Dream Keeper” by Langston Hughes 6 The importance of dreams

Theme: Identity





Russell



Alice Walker




“The Road Not Taken” by Robert Frost 162 Deciding which “path” to take


Theme: Imagination

“The Dream Keeper” by Langston Hughes 6 The importance of dreams

“A Poem for Langston Hughes” by Nikki

Giovanni

9 Poetry can be a great adventure

“Southbound on the Freeway” by May Swenson

148 A space journey




“Wildlife Cameo” by Lawrence Ferlinghetti 598 Describing nature and how it relates

to life experiences

“The Cremation of Sam McGee” by Robert

Service

614 Keeping a promise/life in the Yukon

“Pretty Words” by Elinor Wylie 626 Sonnet about the art of poetry

“Blue Cornucopia” by Robert Francis 629 Many different words we have for

blue

“A Short Long Story” by Julia Cunningham

657 A boy imagines he sees his dead


“There is no Frigate like a Book” by Emily

Dickinson

663 Escaping through reading

“He Ate and Drank the Precious Words” by

Emily Dickinson

664 Being liberated through reading

“The Brain is Wider than the Sky” by Emily

Dickinson

664 Magnificence of the brain


Theme: Independence

“Legacies” by Nikki Giovanni 81 Family relationships

“Travel” by Edna St. Vincent Millay 154 Longing to travel on a train



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Poem Page Subject/Topic “The Road Not Taken” by Robert Frost 162 Deciding which “path” to take


Theme: Knowledge/Wisdom



“The Brain is wider than the sky” by Emily

Dickinson

664 The brain’s capabilities

Theme: Law and Custom

“Legacies” by Nikki Giovanni 81 Family relationships



Theme: Loss and Remembrance




Russell


“Digging” by Seamus Heaney 636 Generations of gardeners

“Without Title” by Diane Glancey 644 The loss of Native American

traditions




Theme: Love





Alice Walker






Theme: Nature

“Winter” by Shakespeare 580 Beauty of winter

“Winter Fairyland in Vermont” by Francis P.

Osgood

582 Beauty of winter


“The Bat” by Theodore Rothke 590 Fear that bats evoke


“Wildlife Cameo” by Lawrence Ferlinghetti 598 Describing nature and how it relates

to life experiences

“Courage” by Robert Service 612 Apple Blossom dying in winter

Theme: Parents and Children


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Poem Page Subject/Topic “My Father’s Hands Held Mine” by Norman

Russell

88 Father/son relationship

“No More Birthdays” by Hal Sirowitz 99 Advice to a child

“Happy or Sad” by Hal Sirowitz 100 Bond between parent and child

“Punishing Yourself” by Hal Sirowitz 100 Advice to a child



“Childhood of the Ancients” by Andrew Hudgins 640 Generational differences


traditions



Theme: Pride and Vanity


Alice Walker


Theme: Truth/Reality



“The Bat” by Theodore Roethke 590 Fear that bats evoke

“Childhood of the Ancients” by Andrew Hudgins 640 Generational differences

Theme: War


Theme: Work


Alice Walker


“Women” ” by Alice Walker 252 Women paving the way

“Winter” by Shakespeare 580 Beauty of winter

“Winter Fairyland in Vermont” by Francis P.

Osgood

582 Beauty of winter



traditions

Theme: Writing and Books

“A Poem for Langston Hughes” by Nikki

Giovanni

9 Poetry can be a great adventure


Alice Walker

105 Family Relationships

“Women” by Alice Walker 252 Women paving the way for future

“There is no Frigate like a Book” by Emily

Dickinson

663 Escaping through reading

“He Ate and Drank the Precious Words” by

Emily Dickinson

664 Being liberated through reading

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Literary Analysis: Charting Character Change Learning Target(s):

Use focused questions and journal entries to track character change, motivation, and/or

effects of change

Analyze literature

Standard(s):

6.9.6; 7.9.6; 8.9.6 Analyze characterization as revealed through a character’s thoughts

and feelings, speech patterns and actions, the narrator’s description, and the reactions of

others to the character.

6.9.5; 7.9.5; 8.9.5 Identify the qualities of the character (e.g., courage, cowardice,

ambition), and analyze the effect of these qualities on the plot and the resolution of the

conflict

Materials:

Short story

Reading journals

Chart paper and markers

Connection:

Has something ever happened to you that caused a change in your life? Why do characters

in novels go through changes, and how does it affect their life and who they are as a

person?

Give students a chance to respond.

We have been learning about how an author develops a character through characterization.

In this story, we are going to really focus on the main character. As we read this story, we

are going to answer questions in our journals that will help us think about the character,

their actions, and their motivations. I will write the questions on the data projector, and you

will write them down in your journals. We will discuss the questions to predict what will

happen in the next part of the story. After we read each section, you need to answer the

questions in your journal.

Modeling (I do):

Write the questions you will have students answer for the first section of the story so

that all students can see. Repeat this as you work through each section of the story.

Questions begin with characterization of the character you want to focus on then move

to what the character is going through, why they are acting they way they are

(motivation), how do they change in the end and why, and what are the effects of those

changes on the character and those around them..

After reading the first section of the story, think aloud as you model the answering of

the first question. Be sure to include the evidence from the text that supports your

interpretation. You may wish to repeat this modeling as you work through the sections

of the story.

Hang up the finished charts in sequential order for students to visually see the

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progression as the class is reading the story.


After modeling the first question, have the students work in their table groups to answer

the second question. Remind the table groups to include the evidence from the text that

supports their opinion.

Then have the table groups make a list of what the character is like at the beginning of

the story, based on their reading, their answers in their journals, and discussions.

Table groups each share out, and then the whole class decides upon and makes a

character chart on the person that lists their character traits, including evidence from the

text that supports their opinions.

During the conflict and the beginning changes in the character, the whole class repeats

this process, charting the conflict for the character and their changes.

At the end of the story, the whole class again makes a chart noting the changes in the

character, the reasons for those changes, and the effects of those changes.


Students answer the two questions that are posed for each section of the story in their

individual reading journals. Ask students to include support as they work in their

journals.

Students can recreate the larger group charts in their individual journals if they’d like.

Closure: Students pair-share their answers to the two questions in the last 3 minutes of each

class. Give feedback to the students on their answers.


Teacher can collect students’ journals to check that answers in the journals clearly reflect

their comprehension of the story. Students’ character analysis essays should clearly state the

character’s change, the motivation for that change, and there should be evidence from the

text (based on the journal questions) to support their assertions.

Reflection:


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Literary Analysis: Examining Conflict or Theme Using Dialogue Journals Learning Target(s):

Use dialogue journals to examine conflict or theme

Analyze literature

Standard(s):

6.9.4; 7.9.4; 8.9.4 Identify and analyze the development of themes in and across literary

works as conveyed through characters, actions and images.

Materials:

Chart paper

Sticky notes

Reading journals

Write-In Reader - “All Summer in a Day” (or other text)

Connection:

Writing about what we think while we read helps us to capture the unique thoughts we have

as readers. Writing about what we read helps us to monitor our comprehension. Using our

journal entries will help us to further develop our ideas when we’re ready to write our

essay.

Modeling (I do):

Gather students together in the classroom library where they can sit closely together while

you read and talk about your thinking. Have students bring with them their text, journal

and pencil. Place chart board next to you with a T-chart drawn on it. Title it: “All

Summer in a Day”. The left side should say “Text”, and the right side should say, “What

the text makes me think”.

Set an expectation with the students that good readers often stop regularly (page by page

even), and check their comprehension by making sure they are understanding what’s

happening in the story. Not all readers write down what they are thinking, but because we

are going to be writing an essay about this story, we are going to stop regularly and write

down what we are thinking, and what is happening in the text that gives us those thoughts.

Your chart paper should reflect what their reading notebook will soon look like.

If you haven’t modeled this type of “think aloud” before you will want to let your students

know that you will be thinking while you read, stopping and writing when you have a

notable thought.

Starting at the beginning of the text, read aloud. About mid-way down the page when Ray

Bradbury is thoroughly describing a wet, rain soaked place, stop and write down a personal

connection, “I feel this way about Portland when it’s so rainy and gray, like Venus, in

January.” Place the sticky note on the right side of my T-Chart. On the left write down the

page number, and paragraph reference. Continue to read and stop once again to write,

“Maybe Margot feels depressed on Venus.” Again, write the page number and paragraph

reference.

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After you have two modeled examples, ask the students do this work with a partner. For

this part of the lesson pass around a sticky note pad and let kids have one sticky note each.

Direct the students to reread from where you started, the first page of the text, with a

partner sitting nearby. Each student will stop (at some point while they read) and write

what he/she is thinking on the sticky note, adding their sticky notes to the T-Chart.

Students should take turns reading for one, maybe two pages. After all students have

posted their thinking, review the chart and share out what you’ve gathered. Point out what

is similar amongst the ideas, while also pointing out what is unique.

As students leave the carpet have them take their sticky note off the T-Chart. It can become

the first note in their Reading Journal.


Students should then go back to their desks set up their Reading Journals like the T-Chart.

Once their journal is ready, students are ready to start reading. Depending on the length of

the short story, students may be able to independently finish the text today, or this lesson

may be continued on the following day(s).

Closure:

While students read, walk around the room to confer with individuals. This conference is a

reading conference, but you’ll want to monitor for what they write about. The question you

might ask to get started is, “What parts of the story are you writing about?”

As you confer with students, look for examples to share with the class. Point out what is

working in their note taking, what ideas they are expressing, and how these ideas develop

amongst different readers/writers as they progress through the story.


The student’s Reading Journals document their understanding. As you confer, assess

whether or not the student is understanding what they read, understanding what to write

about, and what challenges students need to enhance or enrich their reading.

I like to keep the T-chart up for the students to see as a model. Once students remove their

sticky notes from the chart paper, however, the model doesn’t exist (except for my two

examples). It is best if some students who felt comfortable add to the chart paper while they

read (while also writing in their journals) so that the journal model exists with more student

examples.

Reflection:

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Literary Essays: Writing About Reading, Lucy Calkins and Medea McEvoy

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Literary Analysis: Understanding the Prompt for 6-8 Literary Analysis *This lesson can be adapted to fit all of the Common Assignment prompts

Learning Target(s):

Deconstruct literary analysis prompts

Re-write the literary analysis prompt in student friendly language

Standard(s):

6.5.4; 7.5.4; 8.5.4 Clarify understanding of informational texts by creating outlines,

and using graphic organizers, diagrams, logical notes, or summaries.

Materials:

1 copy per student of the Language Arts Common Assignment prompt (hole punched

if possible)

Highlighters – 1 per student

Pencils/pens

Projector and document camera

Connection:

We’ve become experts at analyzing literature this year and you are now going to have the

opportunity to write a literature analysis essay. In order to be successful on this assignment,

we first need to make sure we understand the prompt.

Modeling (I do):

Project the prompt so that all students can see. As you read through the prompt use your

highlighter to highlight the verbs/action words in each sentence. After you have finished

then go back to the first highlighted word and think aloud about that the prompt is asking

you to do first. “As I read the prompt to you, I’m going to highlight most of the verbs/action

words in the sentence. Please highlight what I highlight. Then, we’ll discuss what these

words mean and see if we need to re-phrase them in ways that make sense to you.”


After you’ve read the prompt to them and they’ve highlighted the action words. Go back to

the beginning and have students pick which words they’d like more explanation on. Call on

volunteers to offer “easier” ways to say the same term (i.e. Compare and contrast as…”write

how the two poems are the same and different” or instead of “evidence from the text” use

“words/quotes from the story.”) Make sure to do the same for all of the sentences on the

bulleted list at the bottom. For example, “Establish a context” can be written as “Write the

name of the poem/story, the author and what it is about.”


N/A The students can keep this document with their draft of their literary analysis paper. As

you meet with them, refer to this document to make sure they’re meeting all of the

assignment criteria.

Closure:

Later on, after you’ve modeled how to write this assignment yourself, show the students

how your own paper meets all of the criteria on the prompt.

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Students will turn in their first draft attached to this prompt. When you meet with them and

guide them on revision, refer to which criteria they’ve met and which they are weak on or are

missing entirely.

Reflection:


6-8th

grade literary analysis prompts are on-line on the ppsinside webpage

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Sample Scored Essay with Commentary

Type of Paper: Literary Analysis - Conflict

Title: “All Summer in a Day” Grade Level: 6th

Trait Score Rationale

Ideas and

Content 4

The writing has a clear main idea and an established

context. There is an accurate analysis of why the

conflict occurred. The supporting details are

relevant, but may be overly general.

Organization 4

The writing is clear and coherent with natural

sequencing and paragraph breaks making it easy to

follow with details that fit where placed.

Voice 4 A voice is present with a suitable level of closeness

to the audience.

Word Choice 4

Words effectively convey the intended message and

the writer employs a variety of words that are

functional and appropriate to audience and purpose.

Sentence

Fluency 4

Sentence patterns are somewhat varied, contributing

to ease in oral reading. The writing has a natural

sound and the reader can easily move through the

piece.

Conventions 4

The writing demonstrates control of standard

writing conventions and there is moderate need for

editing.

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All Summer in a Day

Summer is something most people look forward to all year long. In the story “All Summer in

a Day” by Ray Bradbury on the planet Venus summer comes out once every seven years for just one

hour. For Margot this is a tragedy. She loves the sun and she remembers it the most out of all the

kids because she lived on Earth for four years. Margot only sings songs about the sun. She is very

different from everyone else. The jealousy that other kids feel results in a conflict on the day the sun

blooms for just one hour.

Margot has many differences from other children; the sun is something she needs. Margot

needs her pale snow face to get color and her yellow hair to glimmer in the sun, but most of all she

needs to move back to Earth where she will be happy.

The day had come that all children were looking forward to. The sun was going to come out,

but how does this affect the conflict of the story? Margot wrote a poem about the sun the day before:

“The sun is a flower that blooms for just one hour.” The children don’t believe Margot wrote the

poem they didn’t think she knew about the son. Even so she knew she was the most excited. It was

her time, but when she tells the children more of what she remembers about the sun and describes it

like a penny, like a fire in the stove, the other kids become envois. They can’t take the differences

Margot has so as a joke they lock her in the closet.

When the rain abruptly stops the children’s minds forget about the pale face girl in the closet.

They didn’t hear her muffled cries. They opened the doors and went out in the sun. The children

squinted at the brightness and enjoyed the flaming ball in the sky. When the first raindrop falls, the

kids remember. They look at each other in disappointment. Their faces went black as they

remembered Margot’s love for the sun. As they open the door to the closet and slowly let Margot out

they feel her sorrow.

In the short story “All Summer in a Day” you experience the jealousy the other kids had

when Margot new all about the sun and they didn’t. When the conflict comes you realize what the

one hour of sun coming out meant to Margot. You also realize why Margot gets lost in the rain and

the never stopping noise. Her many differences spred her apart from the others in the classroom and

that creates the conflict.

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Type of Paper: Literary Analysis – Character Change

Title: “Ana Rosa’s Changes” Grade Level: 6th


Ideas and

Content 4

The writing has a clear main idea and an established

context with supporting details that are relevant, but

may be overly general. The writing includes an

accurate analysis of how the character changed.

Organization 4

The writing is organized with clear sequencing and

paragraph breaks. Transitions are used but may be

formulaic. The organization helps the reader,

despite some weaknesses.

Voice 4

A voice is present and there is a suitable level of

closeness to or distance from the audience.

Word Choice 4

Words effectively convey the intended message, but

don’t necessarily energize the writing.

Sentence

Fluency 4

The writing has a natural sound and the reader can

move easily through the piece. There is strong

control over simple sentence structures, but variable

control over more complex sentences.

Conventions 4

The writing demonstrates control over standard

writing conventions, although a wide range is not

used. There is moderate need for editing.

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Ana Rosa’s Changes

In the story “The Color of my Words” Ana Rosa is a 12 year old girl who lives in the

Dominican Republic with her family. Ana Rosa changes from being a shy, quiet dreamer to

a confident young lady who begins to live her dream.

In the beginning of the story Ana Rosa is a dreamer. Her biggest dream is to become

a writer but in the Dominican Republic only the president is allowed to write. She once

asked herself, “Couldn’t I say what I wished on paper?” She also says “…I already knew

what I wanted to do in my future…I could be anything I wanted to be – even a writer with

words for everything…” Writing wasn’t the only thing Ana Rosa dreamed about. Ana Rosa

also dreamed about dancing. In the story she says, “In my dreams I could dance like a fairy,

smooth and beautiful with dresses that floated around my knees.”

In addition to being a dreamer Ana Rosa is a very quiet and observant girl. Even

though she feels like speaking her mind at times she finds it better to just keep quiet. At one

point in the story she wants to say, “No you idiots, I didn’t imagine anything.” But instead

she stays quiet. She often sits in her Gri Gri tree observing her neighborhood.

In the middle of the story two events take place where we begin to see Ana Rosa

change. The first one is when she finally gets a chance to write a story for her community.

Ana Rosa is excited when she finds out that she gets to write, but when she stands up in front

of the neighbors to share her quiet, shy side comes out and this goes through her mind.

“…everyone watched me and waited. I stood trembling holding that note with my story

close to my heart. I knew right then this was it. The world would find out about me.” This

is the beginning of her becoming confident in her writing and she’s willing to share it. The

second event that influenced Ana Rosa to change is when she learned to dance. She felt like

she was the only Dominican who couldn’t dance and one day her Papi finally taught her to

dance. At first Ana Rosa wasn’t sure about learning how to dance because she didn’t believe

that it would be possible for her to learn. But as soon as her Papi talked her into it and she

began to feel the music she said, “We began to dance, and I slowly felt the meringue beat

slipping into my Dominican bones just the way it’s supposed to.” She begins to develop

confidence in her personality and her abilities.

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Towards the end of the story Ana Rosa finds out her Papi isn’t really her Papi. She

feels overwhelmed and devastated but instead of taking her sadness and devastation and

keeping inside, she decides to transform them into words, into a poem. When Ana Rosa

decides she will write a poem she says, “…I was a writer wasn’t I?...I had power over them.

I could make words into anything I wanted.” Ana Rosa now sees herself as a writer. It’s no

longer just a dream. She becomes more sure of herself and her future. When her community

asks her to write an article to go into the newspaper Ana Rosa agrees even though her mom

doesn’t want her to. She felt bad but thought she was doing the right thing. She says, “I

hated making my Mami so unhappy. I felt guilty walking through the house and seeing her

worried eyes following me…”

In the end of the story Ana Rosa’s brother dies and she has a hard time accepting it.

Eventually Ana Rosa decides to do what she loves best: to write and share his story. She

wants to tell the world about her big brother but she can only do it because she changed from

being a shy, quiet dreamer to a confident young writer even though it wasn’t easy.

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Type of Paper: Literary Analysis – Character Motivation

Title: “Luke Baldwin’s Vow” Grade Level: 7th


Ideas and

Content 4

The reader can easily understand the main ideas.

The writing is characterized by an easily identifiable

purpose. Supporting details are relevant, but may be

overly general or limited in places.

Organization 4

Organization is clear and coherent. The writing is

characterized by clear sequencing and paragraph

breaks and a body that is easy to follow with details

that fit where placed.

Voice 4

Words effectively convey the intended message.

The writer employs a variety of words that are


Word Choice 4

The writer seems committed to the topic, and there

may be a sense of “writing to be read.” The writing

is characterized by a suitable level of closeness to or

distance from the audience.

Sentence

Fluency 4


to ease in oral reading.

Conventions 4


writing conventions (e.g. , punctuation, spelling,

capitalization, grammar and usage.) Significant

errors do not occur frequently. The writing is

characterized by a moderate need for editing.

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Luke Baldwin’s Vow

In “Luke Baldwin’s Vow” by Morley Callaghan, the main character Luke has a

special bond with a dog named Dan. In the story, Luke must rescue Dan from his uncle who

plans to kill the dog because it is old. Through this experience Luke changes from being

obedient and always minding adults to a confident person willing to stand up for what he

believes in. He wants to be able to protect all the things that were valuable to him from the

practical people of the world to save his dog Dan.

The story takes place in the summer when Luke was twelve, at Uncle Henry’s house,

by the stream and saw mill. Luke is an orphan, he is religious, and he has a dog named Dan.

Luke’s dominant traits are that he is lonely, obedient, and imaginative. The story also says he

goes to church every Sunday. In the story, Luke is very obedient to his Uncle. Luke never

speaks his mind in the first part of the story. Luke is lonely before he befriends Dan, then he

uses his large imagination to play pirates on the river or to tell his private thoughts to the old

dog. In this story, all Luke cares about is Dan.

Later on, Uncle Henry announces he wants to “get rid of Dan”, and Luke doesn’t

know how to handle the problem. His Uncle can’t stand the idea of keeping an old dog

around the farm that is deaf and can’t even be a watch dog anymore. “The plain fact is the

dog isn’t worth his keep anymore. It’s time to get rid of him.” This conflict relates to the

change because it helps Luke grow. The conflict helps him mature into being more grown up.

Luke begins to worry all the time about when his Uncle will put his plan into action. He

begins to plot how to save Dan and his personality begins to change.

Towards the middle of the story Luke disobeys Uncle Henry by rescueing the dog

from being drowned. He becomes more confident by coming up with a plan to keep the dog

by paying his Uncle .75 cents a week to keep Dan. “He gained confidence as Aunt Helen

came out and stood by her husband, for her eyes seemed to be gentle, and he went on

bravely. “ I want to make you a practical proposition, Uncle Henry.”

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Many changes happened throughout the story, and the main character trait change

was about maturity. In the beginning of the story he was “playing pirates” on the river, and

now he is working to keep his dog alive. He stands up to his Uncle because his love for Dan

is so strong. In the end, Luke gets to keep Dan, Dan isn’t dead, and Uncle Henry “thinks”

Luke is turning out to be a practical person. Luke solved the conflict, and is now able to

defend all the things important to him in the world. The desire to save Dan helped Luke

change from an obedient young boy to a self-confident young man. “Luke vowed to himself

that he would always have money on his hand, so he could protect all the valuable things in

the world from practical people.” Luke is not just smarter than he used to be, but he could

probably teach his Uncle Henry a thing or two about making deals.

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Type of Paper: Literary Analysis – Theme

Title: “A Secret for Two” Grade Level: 7th


Ideas and

Content 4

The writing has a clear context and thesis statement.

There is inclusion of own ideas and relevant

information from the text, but may be overly

general or underdeveloped.

Organization 4

Organization is clear. There is a body that is easy to

follow with details that fit where placed.

Voice 4

A voice is present. The writer seems committed to

the topic, and there may be a sense of “writing to be

read.”

Word Choice 4




Sentence

Fluency 4

The writing flows; however, connections between

phrases or sentences may be less than fluid.


to ease in oral reading.

Conventions 4


writing conventions. There is moderate need for

editing.

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A Secret for Two

In an emotional short story “A Secret for Two” by Quentin Reynolds, a lonely

milkman in Montreal Canada, named Pierre Dupin, forms a bond with his carthorse, Joseph.

They are like best friends, understanding one another even into their old age. There

friendship is solid to the very end and if one of them dies, so dose the other.

As the story begins, Pierre meets Joseph when he is in need of a carthorse. When

they first meet Pierre knows that Joseph is “…a kind horse, a gentle and faithful horse.”

They work well together, Pierre not needing to take hold of the reins. They trust each other.

“I never touch the reins. He knows just where to stop. Why, a blind man could handle my

route with Joseph pulling the wagon.”

While the story continues, Pierre and Joseph start getting older. As their bodies

become frail, their friendship grows stronger. Pierre and Joseph are known well throut the

milk route, and since Pierre can’t read or write, the people in the neighborhood call out if

they want extra milk or cream. Pierre has a great memory and the people like him. They

offered to let him retire and keep his salary, but he refused. “We are two old men…let us

wear out together. When Joseph is ready to retire, then I too, will go.”

The story reaches it’s peak when Joseph dies. “…he was very old. He was twenty-

five and that’s like being seventy-five for a man.” And even though Pierre knew the horse

had lived a good long life, his heart was broken. He hobbled down the street silently

sobbing. As he stepped into the street, a truck driver was going too fast and slammed on the

brakes, but it was too late.

The bond between Pierre and Joseph lasted a lifetime. When Pierre lost his best

friend, the spark of life died in him as well. He couldn’t continue without his companion.

That’s true friendship.

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Type of Paper: Literary Analysis – Effects of Change on Character

Title: “Darrell’s Changes” Grade Level: 8th


Ideas and

Content 4

The writing has an easily identifiable purpose and

context. Supporting details are relevant, but may

be overly general or limited in places.

Organization 4

The writing is characterized by clear sequencing and

paragraph breaks. The organization helps the

reader, despite some weaknesses.

Voice 4

A voice is present. In places, the writing is

expressive, engaging, and sincere.

Word Choice 4




Sentence

Fluency 4

Sentence patterns are somewhat varied and the

reader can move easily through the piece, although

it may lack a certain rhythm and grace.

Conventions 4


writing conventions, spelling that is usually correct

and a moderate need for editing.

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Darrell’s Changes

Darrell, the protagonist of The Bully, by Paul Langan, is as frail as a piece of tissue

paper. Constantly being pushed around and made fun of, Darrell often considers himself

weak, or cowardly, routinely putting himself down. As the story goes on, however, he finds

himself making new friends, joining the wrestling team and finally getting enough

confidence to stand up to the school bully.

When Darrell is first introduced, there are multiple reasons to believe he is weak or

cowardly. He would often take back roads to school in hopes of successfully avoiding Tyray

Hobbs – the antagonist – and his friends. He’s afraid that if he runs into them, they will hurt

him, or do something else to humiliate him. One unfortunate day, for example, Darrell was

walking home from the grocery story when Tyray and his friends jumped him, and smashed

all but four of his oranges. Darrell couldn’t take it much longer, and he tries his hardest to

change.

Darrell would sit all by himself during lunch, just about every day, but one day, he

decides to sit next to a boy name Harold Davis. This clearly boosts his confidence because

shortly after that he decides to join the wrestling team. When Darrell tells Harold this,

Harold responds, “Are you crazy? I may be stupid, but I ain’t that stupid.” (P. 111) No

matter what Harold says to try to convince him not to do it, Darrell goes through with the

idea of wrestling. And as he does he gets more and more confident farther along in the

school year. All of this helps him stand up to Tyray in the end.

By the end of the book, Tyray pushes Darrell to the edge. He “trips” and spills all of

his food on the floor, as well as all over Darrell. This makes Darrell mad, but when he sees

that Tyray didn’t do anything to clean up the mess he made, he gets flat out infuriated. He’s

through with cowering away from Tyray, and he stands up to him. Darrell tells Tyray that

“No one likes [him]. They are all just afraid of [him]…[he] ain’t afraid of [him] no more.”

(P. 180) Darrell ends up toppling the bully, and walking out of Bluford with his friends by

his side.

By taking that step to join the wrestling team Darrell has gone from scrawny, to

strong; from the bottom of the totem pole, to the top; but most importantly, he has gone from

cowardly and insecure to self-confident and outgoing. Darrell and his tenacious attitude are

Version 2.0 119

an example of how having good friends and good self confidence can make changes in your

life.

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