try it out! measuring up 0; - mastery education
TRANSCRIPT
Try It Out! Sample Pack | ELA | Grade 6 | Lesson 22
Measuring Up to the NY Standards
The Try It Out! sample pack features:
• 1 full student lesson with complete Teacher Edition lesson• 1 full Table of Contents for your grade level• Correlation to your state standards
Developed to meet the rigor of the standards, Measuring Up employs support for using and applying critical thinking skills with direct standards instruction that elevate and engage student thinking.
Standards-based lessons featureintroductions that set students up for success with:
aVocabulary in Action
aRelevant real-world connections
aClearly identified learning goals
aConnections to prior learning
Guided Instruction and IndependentLearning strengthen learning with:
aDeep thinking prompts
aCollaborative learning
aSelf-evaluation
aDemonstration of problem-solving logic
aApplication of higher-order thinking
Flexible design meets the needs ofwhole- or small-group instruction.Use for:
aIntroducing standards
aReinforcement or standards review
aIntervention
aRemediation
aTest Preparation
Extend learning with online digital resources!Measuring Up Live 2.0 blends instructional print resources with online, dynamic assessment andpractice. Meet the needs of all students for standards mastery with resources that pinpoint student needs with customized practice.
MasteryEducation.com | 800-822-1080 | Fax: 201-712-0045
[ 212 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
UN
IT 2 WORDS TO KNOW
form
genre
theme
Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES RL.6.9
INTRODUCTIONReal-World Connection
FANTASY & REALISTIC FICTIONLena cannot decide what kind of story to write. Her class is studying fantasy and realistic fi ction, and her assignment is to write one or the other. Lena wants to write a story that involves fi nding a metal box buried in her backyard. The box is old, dented, and sealed shut. Lena will not be able to open it on her own and will enlist the help of her best friend, Peter.
What do you think might happen when Peter and Lena get the box open if the story is fantasy? What if it is realistic fi ction? We will practice the skills in Guided Instruction and Independent Practice. At the end of the lesson, we will revisit Lena and her story.
What I Am Going to Learn● How to compare diff erent kinds of genres
● How to contrast the diff erent approaches each genre uses for a particular theme or topic
What I May Already Know RL.5.9
● I know how to determine the theme of a story.
● I know that the point of view infl uences the understanding of the story.
Vocabulary in ActionAs you read, you will come across words that are used in a variety of ways.
● Form is the format in which an author decides to tell a story. It could be a poem, play, novel, short story, non-fi ction article, or a musical, depending on the author’s preference.
TURN AND TALKThe form of a text refers to whether it is a poem, short story, play, novel, and so on. Genre refers to the category or type of content—comedy, mystery, science fi ction, historical fi ction, and so on. What form do you prefer to read? What is your favorite genre?
9781609796754_MUSS_ELA_NY6_SE_int.indb 2129781609796754_MUSS_ELA_NY6_SE_int.indb 212 8/8/2018 2:23:37 PM8/8/2018 2:23:37 PM
[ 213 ]Copying is prohibited. Unit 2 | Literature | masteryeducation.com
COMPARE AND CONTRAST FORMS AND GENRES Lesson 22
● Genre is the specifi c type, or category, of writing, such as fantasy, realistic fi ction, historical fi ction, or even horror.
● Theme is the “big idea” about life that the author wants the reader to think about. For instance, in Star Wars the main theme is that good will always triumph over evil.
GUIDED INSTRUCTION Sometimes we read stories that we think would be much better if they were written in diff erent genres or presented in diff erent forms. Read the two texts below about humans exploring space. They both share the same theme—how space can make you feel small and insignifi cant. Compare and contrast the ways the two genres approach the same theme.
Armstrong’s BootNeil stood on the last rung of the ladder, and he looked down again at the moon’s surface. He started to step off the ladder but paused, his left foot dangling over the moon. He couldn’t even hear what the technicians from Kennedy Space Center in Florida were saying to him in his helmet speaker.
“I can’t believe what I’m about to do,” he thought to himself, trying to remember the words he had rehearsed to say when he stepped on the moon’s surface. Neil looked up into the vast, star-speckled darkness of space, and for a moment, all he could think about was how little he was in the grand scheme of things. He was just one man trying to fi nd a little more information about an infi nite universe. “Amazing,” he smiled. He let his left foot land softly on the moon.
Red DazeInspector 27Z-442 zipped up his suit. Then, he strapped on the gas mask he needed for the walk from the spacecraft to the fl ight hub. “How unlucky was I to get picked to come to this place?” he thought, and then he laughed at how spoiled he had become.
He had come from Venus, where his company had just fi nished the air station there. It was an amazing piece of art and commerce that took seven years to complete. On Venus, your spacecraft pulls right into a beautiful hangar. Then, you walk into the terminal like a regular human being. This short one-minute walk to the Mars fl ight hub seemed old fashioned—like the airplanes his grandparents used to fl y on.
He stepped outside, bracing himself for an annoying trek that would defi nitely cover him in red dust. He could see the hub in front of him, but then he took a moment to look around. The ground was the same rusty color as far as he could see. Beyond that was a seemingly endless darkness sprinkled with
TIPS AND TRICKSTo fi gure out the theme of a story, think about the “big idea” or overall message the author is trying to convey about life. How a character reacts to something would not tell you the theme by itself, but what a character learns by the end of the text probably suggests the theme.
9781609796754_MUSS_ELA_NY6_SE_int.indb 2139781609796754_MUSS_ELA_NY6_SE_int.indb 213 8/8/2018 2:23:41 PM8/8/2018 2:23:41 PM
[ 214 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES
HINT, HINTThink about the two characters’ feelings about the wonders of space. Neil Armstrong realizes that he is making space travel history. Inspector 27Z-442 is so used to space travel that at fi rst he is bored with Mars.
stars. He never got to look out into space on Venus. He had forgotten how breathtaking it was, and how wonderfully tiny it made him feel.
“How lucky was I to get picked to come to this place?” he said aloud.
1. “Armstrong’s Boot” is historical fi ction. “Red Daze” is science fi ction. Which statement best describes the ways the two genres treat the theme?
Ⓐ “Armstrong’s Boot” shows the theme using descriptions of the moon, while “Red Daze” shows the theme by describing advanced technology.
Ⓑ “Armstrong’s Boot” shows the theme through the words and thoughts of the fi rst man on the moon, while “Red Daze” shows the theme through the words and thoughts of an experienced space traveler.
Ⓒ “Armstrong’s Boot” creates the theme by showing Neil Armstrong preparing to go to the moon, while “Red Daze” creates the theme by describing the dangers of walking on Mars.
Ⓓ “Armstrong’s Boot” shows the theme by describing Neil Armstrong’s fear, while “Red Daze” shows the theme by describing Inspector 27Z-442’s annoyance.
2. Underline one sentence from each text that best describes the ways the two genres treat the theme.
Circle evidence in “Red Daze” you could use to support the theme—space makes you feel small and insignifi cant.
9781609796754_MUSS_ELA_NY6_SE_int.indb 2149781609796754_MUSS_ELA_NY6_SE_int.indb 214 8/8/2018 2:23:42 PM8/8/2018 2:23:42 PM
[ 215 ]Copying is prohibited. Unit 2 | Literature | masteryeducation.com
COMPARE AND CONTRAST FORMS AND GENRES Lesson 22
How Am I Doing?
What questions do you have?
Do you think one genre might be able to approach a topic better
than another? Why or why not?
Why do you think it would be helpful to compare and contrast two
diff erent genres’ presentations of the same topic?
Color in the traffi c signal that shows how you are doing with the skill.
I am stuck.
I almost have it.
I understand
the skill.
SKETCH ITDraw an image of Armstrong putting his foot on the moon, or the Inspector covered in red dust from walking from his craft to the fl ight hub.
9781609796754_MUSS_ELA_NY6_SE_int.indb 2159781609796754_MUSS_ELA_NY6_SE_int.indb 215 8/8/2018 2:23:44 PM8/8/2018 2:23:44 PM
[ 216 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES
INDEPENDENT PRACTICERead the two short stories. Then, answer the questions that follow.
The Young WatchmanGenre: Historical Fiction
1 “BOOM!” A loud blast woke Jack up from where he lay on the fl oor of the ship’s deck. Given the way the ship rocked and shook violently beneath him it was incredible that he had stayed asleep for as long as he had. However, he wasn’t on the fl oor of the ship for long—soon he was on his feet, turning around to see the rest of the crew running and panicking.
2 “Jack, we’ve been attacked!” Captain Murtaugh repeated that phrase again as he approached where Jack stood. “The enemy ship is right there before us—why didn’t you see it?”
3 When the North and the South went to war, Jack had wanted to do whatever he could to play his part and serve the Union army. However, he was only ten years old. This meant the only job available to a boy his age was as a powder monkey. Powder monkeys were small boys who manned the cannons and helped to load gunpowder aboard the battleships. If doing that was the only way he could help the war eff ort, it did not matter to Jack.
4 Very soon, however, Jack found that he was not a good powder monkey. The work was exhausting and diffi cult. The other boys were faster than him, and sometimes he felt that his pace slowed everyone on the ship down! But he did have very sharp eyes. In fact, he had no diffi culty seeing another ship from miles away on the horizon.
5 “Please, give me a diff erent job,” he pleaded with Captain Murtaugh every time he saw him walk past the cannons. “You can tell that this is not my strength, sir.” After what seemed like years (but was only a couple of weeks), the captain agreed.
6 “All right, Jack,” Captain Murtaugh sighed. “Since you do have good eyes and since I’m tired of hearing you beg, I will give you a shot as night watchman. You’ll just have to be awake when everyone is asleep, no matter how tired you are.”
7 “You won’t be disappointed, Captain!” Jack smiled ear to ear.
8 On his fi rst day as watchman, Jack slept all morning as the others worked aboard the ship. Normally he would not dare stay asleep past six o’clock in the morning, so he felt as if being able to roll out of bed just as the cook was serving lunch was a great privilege. He changed his mind an hour after sundown, as he watched his crewmates prepare for bed. However, he knew he had an important mission. With a slight yawn, he took his place at the ship’s bow. Although he was tired already, duty was above all else.
9781609796754_MUSS_ELA_NY6_SE_int.indb 2169781609796754_MUSS_ELA_NY6_SE_int.indb 216 8/8/2018 2:23:46 PM8/8/2018 2:23:46 PM
[ 217 ]Copying is prohibited. Unit 2 | Literature | masteryeducation.com
COMPARE AND CONTRAST FORMS AND GENRES Lesson 22
9 He watched the horizon for nearly three hours as the moon stood at the top of the sky, refl ecting onto the gently rippling sea. Not a single ship, or even a stray seagull, was anywhere in sight as Jack’s eyes started to become very heavy. Soon he noticed that his body was even heavier. “It wouldn’t hurt to lie down and rest for just a second,” Jack said to himself. Before he even knew it, he was asleep on the deck.
10 He wasn’t asleep now, though, nor was anyone else on his ship. How stupid of him for not being awake to warn the others when it had been his job—his only job!
11 “I am so sorry, Captain,” Jack moaned with a tear in his eye and regret in his voice. “You charged me with a duty, and I have failed you and hurt us all.”
12 “Just forget about that,” Captain Murtaugh replied, much to Jack’s surprise. “Right now, we don’t even have time to think, only time to fi ght! Just get below the deck and help the other boys carry gunpowder; then load the cannons as fast as you can because we will need all the fi repower we can muster tonight!”
13 Jack didn’t have to think twice. In fact, he didn’t have to think at all as he followed the captain’s orders and headed below deck to the gunpowder stores. Jack ran quickly and carried as much gunpowder as possible with the other boys, who all worked as hard as they could. They didn’t even have the time to think about whether they were winning or losing the battle.
14 Within a few hours, the horizon was again lit with the light of the morning sun. The enemy had fl ed and the air was quiet. The ship’s deck was still, and Jack fi nally noticed how tired he was. His legs felt as if they were about to collapse beneath him. His forehead was damp with sweat. All that mattered, though, was that the ship was safe.
15 “I have learned an important lesson today, Captain,” Jack said to Captain Murtaugh. “I thought I wasn’t helping because I wasn’t as good as the other boys, but now I see that I shouldn’t give up on something just because it’s hard.” He hung his head. “I’m sorry for falling asleep and putting the crew in danger.”
16 “Don’t worry at all, Jack,” his captain replied. “We have all made mistakes and have had failures—do you think I would have gotten as far as I have if I hadn’t made a few hundred mistakes myself ?”
17 Jack laughed at the idea of his captain making even a single mistake, but when he looked up at Captain Murtaugh’s face, his expression showed that he knew failure as well as any man did. “Remember from now on that failures have one purpose, and that’s to help us learn. Just remember your mistakes, but don’t let them limit you.”
READING NOTES
9781609796754_MUSS_ELA_NY6_SE_int.indb 2179781609796754_MUSS_ELA_NY6_SE_int.indb 217 8/8/2018 2:23:48 PM8/8/2018 2:23:48 PM
[ 218 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES
A Failed MissionGenre: Science Fiction
1 “Hey there, Herb!”
2 The tall man wearing the plain black suit paused at the sound of someone yelling.
3 “I know you can hear me—you haven’t forgotten who I am, have you?”
4 It took several seconds for the man to realize that the fellow yelling down the street was talking to him and trying to get his attention. It had been three weeks since the man had moved to his new home. He was still trying to get his bearings—he often forgot that his name was now Herb, or Herbert offi cially, not his given name, Gyddar. And he now lived on Earth—not Hercixx. He had to do everything he could to act as naturally as possible. If anyone found out his true identity, his entire mission would be ruined. Captain Toixert would be furious when he returned to the spaceship.
5 Turning around to look at who was yelling at him, Herb recognized the man in the pinstriped suit from the offi ce where he worked. It was Mr. Pilkington, one of his fi rm’s biggest clients.
6 “How’s my favorite accountant today, Herb?” Mr. Pilkington slung his arm around Herbert, who was not sure how to react—the two men had only met once before. However, Mr. Pilkington was acting like they had known each other all their lives.
7 “I am fi ne and have never been better,” Herbert replied with a slight sense of unease.
8 “Well, that’s good! Look, I had a lunch meeting with a client, and he just had his secretary call me and cancel. I have a couple hours before my next meeting, so what do you say about you letting me buy you lunch today?”
9 “That is very kind of you,” Herbert said nervously, “but I must return to the offi ce in 30 minutes because they are expecting me there, and they will be very angry if I am late.”
10 “Aw, that’s too bad, but before you get back to work, I want to show you something I just had shipped from England. It’s called an Austin 7—have you ever heard of it?” Mr. Pilkington chuckled and poked Herbert in the ribs.
11 The year was 1923, and the other accountants in Herb’s offi ce had talked about little else. From what he had gathered, the Austin 7 was a new type of automobile—a machine with four wheels that Earthlings used to travel long distances. It had seats for passengers, and one passenger operated the machine by turning a fi fth wheel and stepping on pedals on the fl oor in front of his seat. Supposedly, the Austin 7 was unlike any other automobile that had been made.
12 “Yes, I know that the Austin 7 is a new type of automobile.” As soon as the words escaped his mouth, Herbert knew he should have spoken with more enthusiasm.
READING NOTES
9781609796754_MUSS_ELA_NY6_SE_int.indb 2189781609796754_MUSS_ELA_NY6_SE_int.indb 218 8/8/2018 2:23:50 PM8/8/2018 2:23:50 PM
[ 219 ]Copying is prohibited. Unit 2 | Literature | masteryeducation.com
COMPARE AND CONTRAST FORMS AND GENRES Lesson 22
13 “Well, today’s your lucky day, because mine is parked right over here, and I’m feeling quite generous.” That very second, Mr. Pilkington stopped and pointed to the car that was parked next to the curb. It was black and red. The way it shined reminded Herbert of the fi rst spaceship he ever piloted, the KRW-4000, which put a big smile on his face. “How would you like to give it a spin, Herb?”
14 Herbert’s happiness immediately turned to worry on his face. Mr. Pilkington was visibly confused. “What, Herb? You don’t want to drive an Austin 7? You know how to drive, don’t you? It’s brand new and all, but it’s no diff erent than driving a Model T.”
15 “I know how to drive a Model T, and I want to drive your automobile,” Herb replied. He boldly opened the driver’s side door and slid behind the steering wheel. Pilkington entered on the other side and handed him the key, which Herb slid into the slot next to the wheel until it fi t inside. Turning the key, he heard the engine make a loud noise that sounded nothing like the gentle hum that the KRW-4000 made when its engine was started. Herb gave the wheel a twist and pressed the gas pedal. Before he knew it, he was cruising down the street.
16 “That’s right,” Mr. Pilkington grinned. “So much better than driving a Model T, in my opinion. Doesn’t it just make you feel—hey, wait a minute, Herb, you really need to put your foot on the—”
17 The next thing Herbert knew, the sound of crashing metal was echoing in his ears. He fl ew forward, nearly hitting the steering wheel. When he looked up, he saw that he had driven the Austin 7 directly into a tree!
18 “Herb, you wrecked my new car!” Mr. Pilkington was considerably less angry than Captain Toixert would have been. However, he certainly wasn’t pleased.
19 Herbert was tempted to come clean and tell Mr. Pilkington that he was an alien spy, but then he imagined how furious the captain would be. “Okay, I confess,” he began. “I actually don’t know how to drive.”
20 Mr. Pilkington frowned. “So you take the train to work?”
21 “Yes!” Herbert exclaimed. He had forgotten that humans used trains to travel as well.
22 Mr. Pilkington looked more confused than ever. “Why did you lie about that?”
23 Herbert’s mind raced for an explanation. “I was embarrassed and didn’t want you to know I wasn’t any good at driving. I’m not really good at anything.”
24 “What are you talking about, Herb? You’re a great accountant! I’d rather you handle my books than anybody! In fact, it’s been almost thirty minutes, so I think you should probably get back to the offi ce. Just stick to what you know, and stay away from the steering wheel!”
Model T
9781609796754_MUSS_ELA_NY6_SE_int.indb 2199781609796754_MUSS_ELA_NY6_SE_int.indb 219 8/8/2018 2:23:52 PM8/8/2018 2:23:52 PM
[ 220 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES
25 As Herbert walked back to work, he felt happy. He had kept his true identity a secret, and he now knew that Mr. Pilkington thought he was good at his job. He would no longer doubt himself—and he would defi nitely take the train.
1. Which sentence best describes how both main characters show the theme?
Ⓐ Both are nervous in front of people in authority.
Ⓑ Both do not like to try anything diffi cult.
Ⓒ Both doubt themselves when they mess up.
Ⓓ Both care too much about what others think of them.
2. What specifi c information does the author provide early in the stories to let you know what the genre is? Write each detail under the genre it shows. You need not use every detail.
“to play his part and serve the Union army”“And he now lived on Earth—not Hercixx.”“‘The enemy ship is right there before us—why didn’t you see it?’”“Captain Toixert would be furious when he returned to the spaceship.”“The tall man wearing the plain black suit paused at the sound of someone yelling.”“When the North and South went to war”
“THE YOUNG WATCHMAN”
HISTORICAL FICTION
“A FAILED MISSION”
SCIENCE FICTION
1. THINK ABOUT ITThink about what each of the main characters does. Which of these sentences describes something both characters do?
9781609796754_MUSS_ELA_NY6_SE_int.indb 2209781609796754_MUSS_ELA_NY6_SE_int.indb 220 8/8/2018 2:23:54 PM8/8/2018 2:23:54 PM
[ 221 ]Copying is prohibited. Unit 2 | Literature | masteryeducation.com
COMPARE AND CONTRAST FORMS AND GENRES Lesson 22
3. Which statement best describes the theme shared by both stories?
Ⓐ Pay attention to the details.
Ⓑ Do not lie to people in authority.
Ⓒ Believe in yourself even if you make mistakes.
Ⓓ Try to do as many diff erent things as you can.
4. Which two details, one from each story, best supports the theme shared by both stories?
Ⓐ “Herbert’s happiness immediately turned to worry on his face, and Mr. Pilkington was visibly confused.” (“A Failed Mission,” paragraph 14)“‘Remember from now on that failures have one purpose, and that’s to help us learn.’” (“The Young Watchman,” paragraph 17)
Ⓑ “‘Remember from now on that failures have one purpose, and that’s to help us learn.’” (“The Young Watchman,” paragraph 17)“He would no longer doubt himself—and he would defi nitely take the train.” (“A Failed Mission,” paragraph 25)
Ⓒ “When he looked up, he saw that he had driven the Austin 7 directly into a tree!” (“A Failed Mission,” paragraph 17)“How stupid of him for not being awake to warn the others when it had been his job—his only job!” (“The Young Watchman,” paragraph 10)
Ⓓ “‘I have learned an important lesson today, Captain,’ Jack said to Captain Murtaugh.” (“The Young Watchman,” paragraph 15)“He would no longer doubt himself—and he would defi nitely take the train.” (“A Failed Mission,” paragraph 25)
TIPS AND TRICKSThe theme can often be the lesson a character learns in a text. Ask yourself, “What do Herbert and Jack know at the end of the story that they did not know at the beginning?” Then fi gure out how they learned that lesson.
9781609796754_MUSS_ELA_NY6_SE_int.indb 2219781609796754_MUSS_ELA_NY6_SE_int.indb 221 8/8/2018 2:23:55 PM8/8/2018 2:23:55 PM
[ 222 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES
5. Which sentence best explains how the main characters in both stories come to have confi dence in themselves?
Ⓐ Herbert and Jack both needed to succeed at something in order to learn to have confi dence in themselves.
Ⓑ Other characters—Mr. Pilkington and Captain Murtaugh—help Herbert and Jack learn to have confi dence in themselves.
Ⓒ Herbert and Jack both create a problem that they have to solve by themselves, and this gives them confi dence.
Ⓓ Herbert and Jack overcome interference by other characters—Mr. Pilkington and Captain Murtaugh—to learn to have confi dence in themselves.
6. A reader could make the inference that Mr. Pilkington might have been aware of Herbert’s secret. Write a short paragraph that cites evidence from the text in support of the above inference.
6.
9781609796754_MUSS_ELA_NY6_SE_int.indb 2229781609796754_MUSS_ELA_NY6_SE_int.indb 222 8/8/2018 2:23:57 PM8/8/2018 2:23:57 PM
[ 223 ]Copying is prohibited. Unit 2 | Literature | masteryeducation.com
COMPARE AND CONTRAST FORMS AND GENRES Lesson 22
7. Write a paragraph comparing the limitations and advantages of showing a theme using the two genres you read—historical fi ction and science fi ction. Use examples from the texts to support your answer.
7.
9781609796754_MUSS_ELA_NY6_SE_int.indb 2239781609796754_MUSS_ELA_NY6_SE_int.indb 223 8/8/2018 2:23:59 PM8/8/2018 2:23:59 PM
[ 224 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
Lesson 22 COMPARE AND CONTRAST FORMS AND GENRES
EXIT TICKET
Now that you know how to compare and contrast genres, let’s revisit the Real-World Connection and Lena’s story of the discovery of a metal box.
Lena’s story can be either fantasy or realistic fi ction. She has not made up her mind yet about which direction she will take the story. She does know that it will involve fi nding a sealed metal box in her backyard. She knows it will involve asking her best friend, Peter, for help. Brainstorm a list of ideas—fantasy, realistic fi ction, or both—of what could happen when Lena and Peter open the box.
RL.6.9
9781609796754_MUSS_ELA_NY6_SE_int.indb 2249781609796754_MUSS_ELA_NY6_SE_int.indb 224 8/8/2018 2:24:00 PM8/8/2018 2:24:00 PM
MasteryEducation.com | 800-822-1080 | Fax: 201-712-0045
ANNOTATED
TEACHER EDITION
[ ii ]
Introduction
Letter to Students vi
Letter to Parents and Families vii
What You’ll See in Measuring Up to the New York P-12 Common Core viiiLearning Standards
CONTENTS
Unit 1 LANGUAGE AND WRITINGCHAPTER 1 | LANGUAGE SKILLS
NY P-12 CCLS LESSONL.6.4.a, L.6.4.b 1. Use Context and Word Parts 1
L.6.5.b 2. Describe Word Relationships 11
L.6.5.a 3. Interpret Figures of Speech 20
L.6.5.c 4. Distinguish Denotation and Connotation 30
L.6.4.c, L.6.4.d 5. Use Reference Materials 39
W.6.1, W.6.4 6. Write Arguments 48
W.6.2, W.6.4 7. Write Informative Texts 58
W.6.3, W.6.4 8. Write Narratives 68
W.6.5, W.6.6 9. Revise and Edit 78
W.6.7, W.6.8 10. Research, Gather Information, and Cite Sources 89
Unit 1 Practice Test 99
CHAPTER 2 | WRITING SKILLS
9781609796754_MUSS_ELA_NY6_SE_int.indb ii9781609796754_MUSS_ELA_NY6_SE_int.indb ii 8/8/2018 2:00:10 PM8/8/2018 2:00:10 PM
[ iii ]
Unit 2 LITERATURECHAPTER 1 | KEY IDEAS AND DETAILS
NY P-12 CCLS LESSONRL.6.1 11. Cite Evidence from a Story 105
RL.6.2 12. Determine Theme or Central Idea 115
RL.6.2 13. Summarize a Story 126
RL.6.3 14. Describe Plot and Characters 137
RL.6.4 15. Determine Figurative and Connotative Meanings 147
RL.6.4 16. Analyze Word Choice 156
RL.6.5 17. Describe Structure of a Story 164
RL.6.5 18. Describe Structure of a Play 175
RL.6.5 19. Describe Structure of a Poem 186
RL.6.6 20. Explain Point of View in Stories 195
RL.6.7 21. Connect Diff erent Experiences 204
RL.6.9 22. Compare and Contrast Forms and Genres 212
Unit 2 Practice Test 225
CHAPTER 2 | CRAFT AND STRUCTURE
CHAPTER 3 | INTEGRATION OF KNOWLEDGE AND IDEAS
9781609796754_MUSS_ELA_NY6_SE_int.indb iii9781609796754_MUSS_ELA_NY6_SE_int.indb iii 8/8/2018 2:00:12 PM8/8/2018 2:00:12 PM
[ iv ]
Unit 3 INFORMATIONAL TEXTCHAPTER 1 | KEY IDEAS AND DETAILS
NY P-12 CCLS LESSONRI.6.1 23. Cite Evidence from a Text 233
RI.6.2 24. Determine Central Idea and Details 242
RI.6.2 25. Summarize a Text 253
RI.6.3 26. Analyze Development of Ideas 262
RI.6.4 27. Determine Figurative, Connotative, and Technical Meanings
271
RI.6.5 28. Analyze Structure of a Text 281
RI.6.6 29. Determine Author’s Point of View 291
RI.6.7 30. Analyze Media Elements 301
RI.6.8 31. Trace and Evaluate an Argument 310
RI.6.9 32. Compare and Contrast Similar Texts 319
Unit 3 Practice Test 331
CHAPTER 2 | CRAFT AND STRUCTURE
CHAPTER 3 | INTEGRATION OF KNOWLEDGE AND IDEAS
CONTENTS
9781609796754_MUSS_ELA_NY6_SE_int.indb iv9781609796754_MUSS_ELA_NY6_SE_int.indb iv 8/8/2018 2:00:12 PM8/8/2018 2:00:12 PM
[ v ]
References
Acknowledgments 341
Correlation to the New York P-12 Common Core Learning Standards and New York Next Generation Learning Standards 342
Glossary 346
Writing Scoring Rubrics 351
Graphic Organizers 352
9781609796754_MUSS_ELA_NY6_SE_int.indb v9781609796754_MUSS_ELA_NY6_SE_int.indb v 8/8/2018 2:00:13 PM8/8/2018 2:00:13 PM
[ 342 ] masteryeducation.com | English Language Arts | Level F
CORRELATIONS
[ 342 ] d i | E li h L A | L l F
Correlation to the New York P-12 Common Core Learning Standards and New York Next Generation Learning Standards
This worktext is customized to the New York P-12 Common Core Learning Standards for English Language Arts, and the new 2017 New York NGLS are referenced where applicable.
New York P-12 Common Core Learning Standards Lessons2017 NGLS
Reading Standards for Literature, Grade 6
Key Ideas and Details
RL.6.1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
11 6R1
RL.6.2 Determine a theme or central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments.
12, 13 6R2
RL.6.3 Describe how a particular story’s or drama’s plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves toward a resolution.
14 6R3
Craft and Structure
RL.6.4 Determine the meaning of words and phrases as they are used in a text, including fi gurative and connotative meanings; analyze the impact of a specifi c word choice on meaning and tone.
15, 16 6R4
RL.6.5 Analyze how a particular sentence, chapter, scene, or stanza fi ts into the overall structure of a text and contributes to the development of the theme, setting, or plot.
17–19 6R5
RL.6.6 Explain how an author develops the point of view of the narrator or speaker in a text. 20 6R6
Integration of Knowledge and Ideas
RL.6.7 Compare and contrast the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version of the text, including contrasting what they “see” and “hear” when reading the text to what they perceive when they listen or watch.
21 6R7
RL.6.9 Compare and contrast texts in diff erent forms or genres (e.g., stories and poems; historical novels and fantasy stories) in terms of their approaches to similar themes and topics.
22 6R9
Range of Reading and Level of Text Complexity
RL.6.10 By the end of the year, read and comprehend literature, including stories, dramas, and poems, in the grades 6–8 text complexity band profi ciently, with scaff olding as needed at the high end of the range.
Embedded Unit 2
N/A
Reading Standards for Informational Text, Grade 6
Key Ideas and Details
RI.6.1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
23 6R1
RI.6.2 Determine a central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments.
24, 25 6R2
RI.6.3 Analyze in detail how a key individual, event, or idea is introduced, illustrated, and elaborated in a text (e.g., through examples or anecdotes).
26 6R3
9781609796754_MUSS_ELA_NY6_SE_int.indb 3429781609796754_MUSS_ELA_NY6_SE_int.indb 342 8/8/2018 2:01:10 PM8/8/2018 2:01:10 PM
[ 343 ]Correlation to the NY P-12 CCLS and NY NGLS | masteryeducation.com [ 343 ]C l h NY P 12 CCLS d NY NGLS | d
New York P-12 Common Core Learning Standards Lessons2017 NGLS
Craft and Structure
RI.6.4 Determine the meaning of words and phrases as they are used in a text, including fi gurative, connotative, and technical meanings.
27 6R4
RI.6.5 Analyze how a particular sentence, paragraph, chapter, or section fi ts into the overall structure of a text and contributes to the development of the ideas.
28 6R5
RI.6.6 Determine an author’s point of view or purpose in a text and explain how it is conveyed in the text. 29 6R6
Integration of Knowledge and Ideas
RI.6.7 Integrate information presented in diff erent media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.
30 6R7
RI.6.8 Trace and evaluate the argument and specifi c claims in a text, distinguishing claims that are supported by reasons and evidence from claims that are not.
31 6R8
RI.6.9 Compare and contrast one author’s presentation of events with that of another (e.g., a memoir written by and a biography on the same person).
32 6R9
Range of Reading and Level of Text Complexity
RI.6.10 By the end of the year, read and comprehend literary nonfi ction in the grades 6–8 text complexity band profi ciently, with scaff olding as needed at the high end of the range.
Embedded Unit 3
N/A
Writing Standards, Grade 6
Text Types and Purposes
W.6.1 Write arguments to support claims with clear reasons and relevant evidence. 6 6W1
a. Introduce claim(s) and organize the reasons and evidence clearly. 6 6W1a
b. Support claim(s) with clear reasons and relevant evidence, using credible sources and demonstrating an understanding of the topic or text.
6 6W1b
c. Use words, phrases, and clauses to clarify the relationships among claim(s) and reasons. 6 6W1c-d
d. Establish and maintain a formal style. 6 6W1f
e. Provide a concluding statement or section that follows from the argument presented. 6 6W1e
W.6.2 Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.
7 6W2
a. Introduce a topic; organize ideas, concepts, and information, using strategies such as defi nition, classifi cation, comparison/contrast, and cause/eff ect; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.
7 6W2a
b. Develop the topic with relevant facts, defi nitions, concrete details, quotations, or other information and examples.
7 6W2b
c. Use appropriate transitions to clarify the relationships among ideas and concepts. 7 6W2d
d. Use precise language and domain-specifi c vocabulary to inform about or explain the topic. 7 6W2c
9781609796754_MUSS_ELA_NY6_SE_int.indb 3439781609796754_MUSS_ELA_NY6_SE_int.indb 343 8/8/2018 2:01:11 PM8/8/2018 2:01:11 PM
[ 344 ] masteryeducation.com | English Language Arts | Level F
CORRELATIONS
[ 344 ] d i | E li h L A | L l F
New York P-12 Common Core Learning Standards Lessons2017 NGLS
e. Establish and maintain a formal style. 7 6W2f
f. Provide a concluding statement or section that follows from the information or explanation presented.
7 6W2e
W.6.3 Write narratives to develop real or imagined experiences or events using eff ective technique, relevant descriptive details, and well-structured event sequences.
8 6W3
a. Engage and orient the reader by establishing a context and introducing a narrator and/or characters; organize an event sequence that unfolds naturally and logically.
8 6W3a
b. Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters.
8 6W3b
c. Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another.
8 6W3c
d. Use precise words and phrases, relevant descriptive details, and sensory language to convey experiences and events.
8 6W3d
e. Provide a conclusion that follows from the narrated experiences or events. 8 6W3e
Production and Distribution of Writing
W.6.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
6–8 N/A
W.6.5 With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.
9 N/A
W.6.6 Use technology, including the Internet, to produce and publish writing as well as to interact and collaborate with others; demonstrate suffi cient command of keyboarding skills to type a minimum of three pages in a single sitting.
9 N/A
Research to Build and Present Knowledge
W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.
10 6W6
W.6.8 Gather relevant information from multiple print and digital sources; assess the credibility of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and providing basic bibliographic information for sources.
10 6W7
W.6.9 Draw evidence from literary or informational texts to support analysis, refl ection, and research. Embedded Units 2-3
6W5
a. Apply grade 6 Reading standards to literature (e.g., “Compare and contrast texts in diff erent forms or genres [e.g., stories and poems; historical novels and fantasy stories] in terms of their approaches to similar themes and topics”).
Embedded Unit 2
6W5
b. Apply grade 6 Reading standards to literary nonfi ction (e.g., “Trace and evaluate the argument and specifi c claims in a text, distinguishing claims that are supported by reasons and evidence from claims that are not”).
Embedded Unit 3
6W5
9781609796754_MUSS_ELA_NY6_SE_int.indb 3449781609796754_MUSS_ELA_NY6_SE_int.indb 344 8/8/2018 2:01:13 PM8/8/2018 2:01:13 PM
[ 345 ]Correlation to the NY P-12 CCLS and NY NGLS | masteryeducation.com [ 345 ]C l h NY P 12 CCLS d NY NGLS | d
New York P-12 Common Core Learning Standards Lessons2017 NGLS
Range of Writing
W.6.10 Write routinely over extended time frames (time for research, refl ection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specifi c tasks, purposes, and audiences.
Embedded Lessons 6–10
N/A
Responding to Literature
W.6.11 Create and present a text or art work in response to literary work.. Embedded all Units
6W4
Language Standards, Grade 6
Conventions of Standard English
L.6.1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
Embedded Unit 1
6L1
L.6.2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.
Embedded Unit 1
6L2
Knowledge of Language
L.6.3 Use knowledge of language and its conventions when writing, speaking, reading, or listening. Embedded Unit 1
6L3, 6L3a-b
Vocabulary Acquisition and Use
L.6.4 Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 6 reading and content, choosing fl exibly from a range of strategies.
1, 5 6L4
a. Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.
1 6L4a
b. Use common, grade-appropriate Greek or Latin affi xes and roots as clues to the meaning of a word (e.g., audience, auditory, audible).
1 6L4b
c. Consult reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to fi nd the pronunciation of a word or determine or clarify its precise meaning or its part of speech.
5 6L4c
d. Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).
5 6L4d
L.6.5 Demonstrate understanding of fi gurative language, word relationships, and nuances in word meanings. 2–4 6L5
a. Interpret fi gures of speech (e.g., personifi cation) in context. 3 6L5a
b. Use the relationship between particular words (e.g., cause/eff ect, part/whole, item/category) to better understand each of the words.
2 6L5b
c. Distinguish among the connotations (associations) of words with similar denotations (defi nitions) (e.g., stingy, scrimping, economical, unwasteful, thrifty).
4 6L5c
L.6.6 Acquire and use accurately grade-appropriate general academic and domain-specifi c words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression.
Embedded Unit 1
6L6
9781609796754_MUSS_ELA_NY6_SE_int.indb 3459781609796754_MUSS_ELA_NY6_SE_int.indb 345 8/8/2018 2:01:14 PM8/8/2018 2:01:14 PM
[ 138 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
[ 213
]C
opyi
ng is
pro
hibi
ted.
Uni
t 2
| L
itera
ture
| m
aste
ryed
ucat
ion.
com
CO
MPA
RE
AN
D C
ON
TR
AST
FO
RM
S A
ND
GEN
RES
Le
sson
22
● G
enre
is th
e sp
ecifi
c ty
pe, o
r ca
tego
ry, o
f w
ritin
g, s
uch
as fa
ntas
y,
real
istic
fi ct
ion,
his
toric
al fi
ctio
n, o
r ev
en h
orro
r.
● T
hem
e is
the
“big
idea
” ab
out l
ife th
at th
e au
thor
wan
ts th
e re
ader
to
thin
k ab
out.
For
inst
ance
, in
Star
War
s th
e m
ain
them
e is
that
goo
d w
ill a
lway
s tr
ium
ph o
ver
evil.
GU
IDED
INST
RUCT
ION
So
met
imes
we
read
sto
ries
that
we
thin
k w
ould
be
muc
h be
tter
if th
ey w
ere
writ
ten
in d
iff er
ent g
enre
s or
pre
sent
ed in
diff
eren
t for
ms.
Rea
d th
e tw
o te
xts
belo
w a
bout
hum
ans
expl
orin
g sp
ace.
The
y bo
th s
hare
the
sam
e th
eme—
how
sp
ace
can
mak
e yo
u fe
el s
mal
l and
insi
gnifi
cant
. Com
pare
and
con
tras
t the
w
ays
the
two
genr
es a
ppro
ach
the
sam
e th
eme.
Arm
stro
ng’s
Boot
Nei
l sto
od o
n th
e la
st r
ung
of th
e la
dder
, and
he
look
ed d
own
agai
n at
the
moo
n’s
surf
ace.
He
star
ted
to s
tep
off t
he la
dder
but
pau
sed,
his
left
foot
da
nglin
g ov
er th
e m
oon.
He
coul
dn’t
even
hea
r w
hat t
he te
chni
cian
s fr
om
Kenn
edy
Spac
e C
ente
r in
Flo
rida
wer
e sa
ying
to h
im in
his
hel
met
spe
aker
.
“I c
an’t
belie
ve w
hat I
’m a
bout
to d
o,”
he th
ough
t to
him
self,
tryi
ng to
rem
embe
r th
e w
ords
he
had
rehe
arse
d to
say
whe
n he
ste
pped
on
the
moo
n’s
surf
ace.
N
eil l
ooke
d up
into
the
vast
, sta
r-sp
eckl
ed d
arkn
ess
of s
pace
, and
for
a m
omen
t, al
l he
coul
d th
ink
abou
t was
how
litt
le h
e w
as in
the
gran
d sc
hem
e of
thin
gs.
He
was
just
one
man
tryi
ng to
fi nd
a li
ttle
mor
e in
form
atio
n ab
out a
n in
fi nite
un
iver
se. “
Am
azin
g,”
he s
mile
d. H
e le
t his
left
foot
land
sof
tly o
n th
e m
oon.
[Rea
ding
Lev
el: 9
00–1
000L
; Wor
d C
ount
: 143
]
Red
Daz
eIn
spec
tor
27Z-
442
zipp
ed u
p hi
s su
it. T
hen,
he
stra
pped
on
the
gas
mas
k he
ne
eded
for
the
wal
k fr
om th
e sp
acec
raft
to th
e fl i
ght h
ub. “
How
unl
ucky
was
I to
get
pic
ked
to c
ome
to th
is p
lace
?” h
e th
ough
t, an
d th
en h
e la
ughe
d at
how
sp
oile
d he
had
bec
ome.
He
had
com
e fr
om V
enus
, whe
re h
is c
ompa
ny h
ad ju
st fi
nish
ed th
e ai
r st
atio
n th
ere.
It w
as a
n am
azin
g pi
ece
of a
rt a
nd c
omm
erce
that
took
sev
en y
ears
to
com
plet
e. O
n Ve
nus,
you
r sp
acec
raft
pulls
rig
ht in
to a
bea
utifu
l han
gar.
The
n,
you
wal
k in
to th
e te
rmin
al li
ke a
reg
ular
hum
an b
eing
. Thi
s sh
ort o
ne-m
inut
e w
alk
to th
e M
ars
fl igh
t hub
see
med
old
fash
ione
d—lik
e th
e ai
rpla
nes
his
gran
dpar
ents
use
d to
fl y
on.
He
step
ped
outs
ide,
bra
cing
him
self
for
an a
nnoy
ing
trek
tha
t w
ould
defi
nite
ly
cove
r hi
m in
red
dus
t. H
e co
uld
see
the
hub
in fr
ont
of h
im, b
ut t
hen
he t
ook
a m
omen
t to
look
aro
und.
The
gro
und
was
the
sam
e ru
sty
colo
r as
far
as
he c
ould
see
. Bey
ond
that
was
a s
eem
ingl
y en
dles
s da
rkne
ss s
prin
kled
with
TIP
S A
ND
TR
ICK
STo
fi gu
re o
ut th
e th
eme
of a
sto
ry,
thin
k ab
out t
he “
big
idea
” or
ove
rall
mes
sage
the
auth
or is
tryi
ng to
co
nvey
abo
ut li
fe. H
ow a
cha
ract
er
reac
ts to
som
ethi
ng w
ould
not
tell
you
the
them
e by
itse
lf, b
ut w
hat a
ch
arac
ter
lear
ns b
y th
e en
d of
the
text
pro
babl
y su
gges
ts th
e th
eme.
[ 212
]m
aste
ryed
ucat
ion.
com
| E
nglis
h La
ngua
ge A
rts
| L
evel
FC
opyi
ng is
pro
hibi
ted.
UNIT 2
WO
RD
S TO
KN
OW
form
genr
e
them
e
Less
on 2
2 C
OM
PAR
E A
ND
CO
NT
RA
ST F
OR
MS
AN
D G
ENR
ES R
L.6.
9
INTR
OD
UCT
ION
Rea
l-W
orld
Con
nec
tion
FAN
TASY
& R
EALI
STIC
FIC
TIO
NLe
na c
anno
t dec
ide
wha
t kin
d of
sto
ry to
writ
e. H
er c
lass
is s
tudy
ing
fant
asy
and
real
istic
fi ct
ion,
and
her
ass
ignm
ent i
s to
writ
e on
e or
the
othe
r. Le
na
wan
ts to
writ
e a
stor
y th
at in
volv
es fi
ndin
g a
met
al b
ox b
urie
d in
her
bac
kyar
d.
The
box
is o
ld, d
ente
d, a
nd s
eale
d sh
ut. L
ena
will
not
be
able
to o
pen
it on
her
ow
n an
d w
ill e
nlis
t the
hel
p of
her
bes
t frie
nd, P
eter
.
Wha
t do
you
thin
k m
ight
hap
pen
whe
n Pe
ter
and
Lena
get
the
box
open
if
the
stor
y is
fant
asy?
Wha
t if
it is
rea
listic
fi ct
ion?
We
will
pra
ctic
e th
e sk
ills
in
Gui
ded
Inst
ruct
ion
and
Inde
pend
ent
Prac
tice.
At t
he e
nd o
f th
e le
sson
, we
will
rev
isit
Lena
and
her
sto
ry.
Wh
at I
Am
Goi
ng
to L
earn
● H
ow to
com
pare
diff
eren
t kin
ds o
f ge
nres
● H
ow to
con
tras
t the
diff
eren
t app
roac
hes
each
gen
re u
ses
for
a pa
rtic
ular
them
e or
topi
c
Wh
at I
May
Alr
eady
Kn
ow RL
.5.9
● I k
now
how
to d
eter
min
e th
e th
eme
of a
sto
ry.
● I k
now
that
the
poin
t of
view
infl u
ence
s th
e un
ders
tand
ing
of th
e st
ory.
Voc
abu
lary
in A
ctio
nA
s yo
u re
ad, y
ou w
ill c
ome
acro
ss w
ords
that
are
use
d in
a v
arie
ty o
f w
ays.
● Fo
rm is
the
form
at in
whi
ch a
n au
thor
dec
ides
to te
ll a
stor
y. It
cou
ld
be a
poe
m, p
lay,
nov
el, s
hort
sto
ry, n
on-fi
ctio
n ar
ticle
, or
a m
usic
al,
depe
ndin
g on
the
auth
or’s
pre
fere
nce.
TU
RN
AN
D T
ALK
The
form
of a
tex
t ref
ers
to
whe
ther
it is
a p
oem
, sho
rt s
tory
, pl
ay, n
ovel
, and
so
on. G
enre
re
fers
to
the
cate
gory
or
type
of
con
tent
—co
med
y, m
yste
ry,
scie
nce
fi ctio
n, h
isto
rica
l fi c
tion,
an
d so
on.
Wha
t for
m d
o yo
u pr
efer
to
read
? Wha
t is
your
fa
vori
te g
enre
?
9781609796815_MUSS_ELA_NY6_TE_int.indb 1389781609796815_MUSS_ELA_NY6_TE_int.indb 138 8/13/2018 4:53:08 PM8/13/2018 4:53:08 PM
[ 139 ]Unit 2 | Literature | masteryeducation.comCopying is prohibited.
[ 215
]C
opyi
ng is
pro
hibi
ted.
Uni
t 2
| L
itera
ture
| m
aste
ryed
ucat
ion.
com
CO
MPA
RE
AN
D C
ON
TR
AST
FO
RM
S A
ND
GEN
RES
Le
sson
22
How
Am
I D
oing
?
Wha
t qu
estio
ns d
o yo
u ha
ve?
Do
you
thin
k on
e ge
nre
mig
ht b
e ab
le t
o ap
proa
ch a
top
ic b
ette
r
than
ano
ther
? W
hy o
r w
hy n
ot?
Why
do
you
thin
k it
wou
ld b
e he
lpfu
l to
com
pare
and
con
tras
t tw
o
diff e
rent
gen
res’
pre
sent
atio
ns o
f the
sam
e to
pic?
Col
or in
the
tra
ffi c
sign
al
that
sho
ws
how
you
are
do
ing
with
the
ski
ll.
I am
stu
ck.
I alm
ost
hav e
it.
I un
ders
tand
th
e sk
ill.
SK
ETC
H IT
Dra
w a
n im
age
of A
rmst
rong
pu
ttin
g hi
s fo
ot o
n th
e m
oon,
or
the
Insp
ecto
r co
vere
d in
red
dus
t fr
om w
alki
ng fr
om h
is c
raft
to
the
fl igh
t hub
.
[ 214
]m
aste
ryed
ucat
ion.
com
| E
nglis
h La
ngua
ge A
rts
| L
evel
FC
opyi
ng is
pro
hibi
ted.
Less
on 2
2
C
OM
PAR
E A
ND
CO
NT
RA
ST F
OR
MS
AN
D G
ENR
ES
HIN
T, H
INT
Thi
nk a
bout
the
tw
o ch
arac
ters
’ fe
elin
gs a
bout
the
won
ders
of
spac
e. N
eil A
rmst
rong
rea
lizes
tha
t he
is m
akin
g sp
ace
trav
el h
isto
ry.
Insp
ecto
r 27
Z-4
42 is
so
used
to
spac
e tr
avel
tha
t at fi
rst
he
is b
ored
w
ith M
ars.
star
s. H
e ne
ver
got
to lo
ok o
ut in
to s
pace
on
Venu
s. H
e ha
d fo
rgot
ten
how
br
eath
taki
ng it
was
, and
how
won
derf
ully
tin
y it
mad
e hi
m fe
el.
“How
luck
y w
as I
to g
et p
icke
d to
com
e to
this
pla
ce?”
he
said
alo
ud.
[Rea
ding
Lev
el: 8
80–9
80L;
Wor
d C
ount
: 220
]
1. “
Arm
stro
ng’s
Boot
” is
his
tori
cal fi
ctio
n. “
Red
Daz
e” is
sci
ence
fi ct
ion.
W
hich
sta
tem
ent
best
des
crib
es t
he w
ays
the
two
genr
es t
reat
the
the
me?
Ⓐ
“Arm
stro
ng’s
Boo
t” s
how
s th
e th
eme
usin
g de
scrip
tions
of
the
moo
n, w
hile
“R
ed D
aze”
sho
ws
the
them
e by
des
crib
ing
adva
nced
te
chno
logy
.
Ⓑ
“Arm
stro
ng’s
Boo
t” s
how
s th
e th
eme
thro
ugh
the
wor
ds a
nd
thou
ghts
of
the
fi rst
man
on
the
moo
n, w
hile
“R
ed D
aze”
sho
ws
the
them
e th
roug
h th
e w
ords
and
thou
ghts
of
an e
xper
ienc
ed
spac
e tr
avel
er.
Ⓒ
“Arm
stro
ng’s
Boot
” cr
eate
s th
e th
eme
by s
how
ing
Nei
l Arm
stro
ng
prep
arin
g to
go
to th
e m
oon,
whi
le “
Red
Daz
e” c
reat
es th
e th
eme
by
desc
ribin
g th
e da
nger
s of
wal
king
on
Mar
s.
Ⓓ
“Arm
stro
ng’s
Boo
t” s
how
s th
e th
eme
by d
escr
ibin
g N
eil
Arm
stro
ng’s
fear
, whi
le “
Red
Daz
e” s
how
s th
e th
eme
by d
escr
ibin
g In
spec
tor
27Z-
442’
s an
noya
nce.
2.
Und
erlin
e on
e se
nten
ce fr
om e
ach
text
tha
t be
st d
escr
ibes
the
way
s th
e tw
o ge
nres
tre
at t
he t
hem
e.
Circ
le e
vide
nce
in “
Red
Daz
e” y
ou c
ould
use
to s
uppo
rt th
e th
eme—
spac
e m
akes
you
feel
sm
all a
nd in
sign
ifi ca
nt.
He
had
forg
otte
n ho
w
Ⓑ
9781609796815_MUSS_ELA_NY6_TE_int.indb 1399781609796815_MUSS_ELA_NY6_TE_int.indb 139 8/13/2018 4:53:12 PM8/13/2018 4:53:12 PM
[ 140 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
[ 217
]C
opyi
ng is
pro
hibi
ted.
Uni
t 2
| L
itera
ture
| m
aste
ryed
ucat
ion.
com
CO
MPA
RE
AN
D C
ON
TR
AST
FO
RM
S A
ND
GEN
RES
Le
sson
22
9
He
wat
ched
the
horiz
on fo
r ne
arly
thre
e ho
urs
as th
e m
oon
stoo
d at
th
e to
p of
the
sky,
refl
ect
ing
onto
the
gent
ly r
ippl
ing
sea.
Not
a s
ingl
e sh
ip, o
r ev
en a
str
ay s
eagu
ll, w
as a
nyw
here
in s
ight
as
Jack
’s e
yes
star
ted
to b
ecom
e ve
ry h
eavy
. Soo
n he
not
iced
that
his
bod
y w
as e
ven
heav
ier.
“It w
ould
n’t h
urt t
o lie
dow
n an
d re
st fo
r ju
st a
sec
ond,
” Ja
ck s
aid
to
him
self.
Bef
ore
he e
ven
knew
it, h
e w
as a
slee
p on
the
deck
.
10
H
e w
asn’
t asl
eep
now
, tho
ugh,
nor
was
any
one
else
on
his
ship
. How
st
upid
of
him
for
not b
eing
aw
ake
to w
arn
the
othe
rs w
hen
it ha
d be
en
his
job—
his
only
job!
11
“I
am
so
sorr
y, C
apta
in,”
Jack
moa
ned
with
a te
ar in
his
eye
and
reg
ret
in h
is v
oice
. “Yo
u ch
arge
d m
e w
ith a
dut
y, a
nd I
have
faile
d yo
u an
d hu
rt
us a
ll.”
12
“J
ust f
orge
t abo
ut th
at,”
Cap
tain
Mur
taug
h re
plie
d, m
uch
to Ja
ck’s
su
rpris
e. “
Rig
ht n
ow, w
e do
n’t e
ven
have
tim
e to
thin
k, o
nly
time
to
fi ght
! Jus
t get
bel
ow th
e de
ck a
nd h
elp
the
othe
r bo
ys c
arry
gun
pow
der;
th
en lo
ad th
e ca
nnon
s as
fast
as
you
can
beca
use
we
will
nee
d al
l the
fi r
epow
er w
e ca
n m
uste
r to
nigh
t!”
13
Ja
ck d
idn’
t hav
e to
thin
k tw
ice.
In fa
ct, h
e di
dn’t
have
to th
ink
at
all a
s he
follo
wed
the
capt
ain’
s or
ders
and
hea
ded
belo
w d
eck
to th
e gu
npow
der
stor
es. J
ack
ran
quic
kly
and
carr
ied
as m
uch
gunp
owde
r as
po
ssib
le w
ith th
e ot
her
boys
, who
all
wor
ked
as h
ard
as th
ey c
ould
. The
y di
dn’t
even
hav
e th
e tim
e to
thin
k ab
out w
heth
er th
ey w
ere
win
ning
or
losi
ng th
e ba
ttle
.
14
W
ithin
a fe
w h
ours
, the
hor
izon
was
aga
in li
t with
the
light
of
the
mor
ning
sun
. The
ene
my
had
fl ed
and
the
air
was
qui
et. T
he s
hip’
s de
ck
was
stil
l, an
d Ja
ck fi
nally
not
iced
how
tire
d he
was
. His
legs
felt
as if
they
w
ere
abou
t to
colla
pse
bene
ath
him
. His
fore
head
was
dam
p w
ith s
wea
t. A
ll th
at m
atte
red,
thou
gh, w
as th
at th
e sh
ip w
as s
afe.
15
“I
hav
e le
arne
d an
impo
rtan
t les
son
toda
y, C
apta
in,”
Jack
sai
d to
C
apta
in M
urta
ugh.
“I t
houg
ht I
was
n’t h
elpi
ng b
ecau
se I
was
n’t a
s go
od
as th
e ot
her
boys
, but
now
I se
e th
at I
shou
ldn’
t giv
e up
on
som
ethi
ng
just
bec
ause
it’s
har
d.”
He
hung
his
hea
d. “
I’m s
orry
for
falli
ng a
slee
p an
d pu
ttin
g th
e cr
ew in
dan
ger.”
16
“D
on’t
wor
ry a
t all,
Jack
,” h
is c
apta
in r
eplie
d. “
We
have
all
mad
e m
ista
kes
and
have
had
failu
res—
do y
ou th
ink
I wou
ld h
ave
gott
en a
s fa
r as
I ha
ve if
I ha
dn’t
mad
e a
few
hun
dred
mis
take
s m
ysel
f?”
17
Ja
ck la
ughe
d at
the
idea
of
his
capt
ain
mak
ing
even
a s
ingl
e m
ista
ke,
but w
hen
he lo
oked
up
at C
apta
in M
urta
ugh’
s fa
ce, h
is e
xpre
ssio
n sh
owed
that
he
knew
failu
re a
s w
ell a
s an
y m
an d
id. “
Rem
embe
r fr
om
now
on
that
failu
res
have
one
pur
pose
, and
that
’s to
hel
p us
lear
n. Ju
st
rem
embe
r yo
ur m
ista
kes,
but
don
’t le
t the
m li
mit
you.
”
[R
eadi
ng L
evel
: 880
–980
L; W
ord
Cou
nt: 9
40]
REA
DIN
G N
OT
ES
[ 216
]m
aste
ryed
ucat
ion.
com
| E
nglis
h La
ngua
ge A
rts
| L
evel
FC
opyi
ng is
pro
hibi
ted.
Less
on 2
2
C
OM
PAR
E A
ND
CO
NT
RA
ST F
OR
MS
AN
D G
ENR
ES
IND
EPEN
DEN
T PR
ACTI
CER
ead
the
two
shor
t sto
ries.
The
n, a
nsw
er th
e qu
estio
ns th
at fo
llow
.
The
You
ng W
atch
man
Gen
re: H
isto
rical
Fic
tion
1
“BO
OM
!” A
loud
bla
st w
oke
Jack
up
from
whe
re h
e la
y on
the
fl oor
of
the
ship
’s de
ck. G
iven
the
way
the
ship
roc
ked
and
shoo
k vi
olen
tly b
enea
th
him
it w
as in
cred
ible
that
he
had
stay
ed a
sleep
for
as lo
ng a
s he
had
. H
owev
er, h
e w
asn’
t on
the
fl oor
of t
he s
hip
for
long
—so
on h
e w
as o
n hi
s fe
et, t
urni
ng a
roun
d to
see
the
rest
of t
he c
rew
run
ning
and
pan
icki
ng.
2
“Jac
k, w
e’ve
bee
n at
tack
ed!”
Cap
tain
Mur
taug
h re
peat
ed th
at p
hras
e ag
ain
as h
e ap
proa
ched
whe
re Ja
ck s
tood
. “T
he e
nem
y sh
ip is
rig
ht th
ere
befo
re u
s—w
hy d
idn’
t you
see
it?”
3
Whe
n th
e N
orth
and
the
Sout
h w
ent t
o w
ar, J
ack
had
wan
ted
to d
o w
hate
ver
he c
ould
to p
lay
his
part
and
ser
ve th
e U
nion
arm
y. H
owev
er,
he w
as o
nly
ten
year
s ol
d. T
his
mea
nt th
e on
ly jo
b av
aila
ble
to a
boy
hi
s ag
e w
as a
s a
pow
der
mon
key.
Pow
der
mon
keys
wer
e sm
all b
oys
who
man
ned
the
cann
ons
and
help
ed to
load
gun
pow
der
aboa
rd th
e ba
ttle
ship
s. If
doi
ng th
at w
as th
e on
ly w
ay h
e co
uld
help
the
war
eff o
rt,
it di
d no
t mat
ter
to Ja
ck.
4
Very
soo
n, h
owev
er, J
ack
foun
d th
at h
e w
as n
ot a
goo
d po
wde
r m
onke
y. T
he w
ork
was
exh
aust
ing
and
diffi
cult.
The
oth
er b
oys
wer
e fa
ster
than
him
, and
som
etim
es h
e fe
lt th
at h
is p
ace
slow
ed e
very
one
on th
e sh
ip d
own!
But
he
did
have
ver
y sh
arp
eyes
. In
fact
, he
had
no
diffi
culty
see
ing
anot
her
ship
from
mile
s aw
ay o
n th
e ho
rizon
.
5
“Ple
ase,
giv
e m
e a
diff e
rent
job,
” he
ple
aded
with
Cap
tain
Mur
taug
h ev
ery
time
he s
aw h
im w
alk
past
the
cann
ons.
“Yo
u ca
n te
ll th
at th
is
is n
ot m
y st
reng
th, s
ir.”
Afte
r w
hat s
eem
ed li
ke y
ears
(bu
t was
onl
y a
coup
le o
f w
eeks
), th
e ca
ptai
n ag
reed
.
6
“All
right
, Jac
k,”
Cap
tain
Mur
taug
h si
ghed
. “Si
nce
you
do h
ave
good
ey
es a
nd s
ince
I’m
tire
d of
hea
ring
you
beg,
I w
ill g
ive
you
a sh
ot a
s ni
ght
wat
chm
an. Y
ou’ll
just
hav
e to
be
awak
e w
hen
ever
yone
is a
slee
p, n
o m
atte
r ho
w ti
red
you
are.
”
7
“You
won
’t be
dis
appo
inte
d, C
apta
in!”
Jack
sm
iled
ear
to e
ar.
8
On
his
fi rst
day
as
wat
chm
an, J
ack
slept
all
mor
ning
as
the
othe
rs w
orke
d ab
oard
the
ship
. Nor
mal
ly h
e w
ould
not
dar
e st
ay a
sleep
pas
t six
o’c
lock
in
the
mor
ning
, so
he fe
lt as
if b
eing
abl
e to
roll
out o
f bed
just
as
the
cook
w
as s
ervi
ng lu
nch
was
a g
reat
priv
ilege
. He
chan
ged
his
min
d an
hou
r af
ter
sund
own,
as
he w
atch
ed h
is cr
ewm
ates
pre
pare
for
bed.
How
ever
, he
knew
he
had
an im
port
ant m
issio
n. W
ith a
slig
ht y
awn,
he
took
his
plac
e at
th
e sh
ip’s
bow
. Alth
ough
he
was
tire
d al
read
y, du
ty w
as a
bove
all
else
.
9781609796815_MUSS_ELA_NY6_TE_int.indb 1409781609796815_MUSS_ELA_NY6_TE_int.indb 140 8/13/2018 4:53:14 PM8/13/2018 4:53:14 PM
[ 141 ]Unit 2 | Literature | masteryeducation.comCopying is prohibited.
[ 219
]C
opyi
ng is
pro
hibi
ted.
Uni
t 2
| L
itera
ture
| m
aste
ryed
ucat
ion.
com
CO
MPA
RE
AN
D C
ON
TR
AST
FO
RM
S A
ND
GEN
RES
Le
sson
22
13
“W
ell,
toda
y’s
your
luck
y da
y, b
ecau
se m
ine
is p
arke
d rig
ht o
ver
here
, an
d I’m
feel
ing
quite
gen
erou
s.”
Tha
t ver
y se
cond
, Mr.
Pilk
ingt
on s
topp
ed
and
poin
ted
to th
e ca
r th
at w
as p
arke
d ne
xt to
the
curb
. It w
as b
lack
an
d re
d. T
he w
ay it
shi
ned
rem
inde
d H
erbe
rt o
f th
e fi r
st s
pace
ship
he
ever
pilo
ted,
the
KR
W-4
000,
whi
ch p
ut a
big
sm
ile o
n hi
s fa
ce. “
How
w
ould
you
like
to g
ive
it a
spin
, Her
b?”
14
H
erbe
rt’s
happ
ines
s im
med
iate
ly tu
rned
to w
orry
on
his
face
. M
r. Pi
lkin
gton
was
visi
bly
conf
used
. “W
hat,
Her
b? Y
ou d
on’t
wan
t to
driv
e an
Aus
tin 7
? You
kno
w h
ow to
dri
ve, d
on’t
you?
It’s
bran
d ne
w a
nd a
ll,
but i
t’s n
o di
ff ere
nt th
an d
rivi
ng a
Mod
el T
.”
15
“I
kno
w h
ow to
dri
ve a
Mod
el T
, and
I w
ant t
o dr
ive
your
aut
omob
ile,”
H
erb
repl
ied.
He
bold
ly o
pene
d th
e dr
iver
’s s
ide
door
and
slid
beh
ind
the
stee
ring
whe
el. P
ilkin
gton
ent
ered
on
the
othe
r si
de a
nd h
ande
d hi
m
the
key,
whi
ch H
erb
slid
into
the
slot
nex
t to
the
whe
el u
ntil
it fi t
insi
de.
Turn
ing
the
key,
he
hear
d th
e en
gine
mak
e a
loud
noi
se th
at s
ound
ed
noth
ing
like
the
gent
le h
um th
at th
e K
RW
-400
0 m
ade
whe
n its
eng
ine
was
sta
rted
. Her
b ga
ve th
e w
heel
a tw
ist a
nd p
ress
ed th
e ga
s pe
dal.
Befo
re h
e kn
ew it
, he
was
cru
isin
g do
wn
the
stre
et.
16
“T
hat’s
rig
ht,”
Mr.
Pilk
ingt
on g
rinne
d. “
So m
uch
bett
er th
an d
rivi
ng
a M
odel
T, i
n m
y op
inio
n. D
oesn
’t it
just
mak
e yo
u fe
el—
hey,
wai
t a
min
ute,
Her
b, y
ou r
eally
nee
d to
put
you
r fo
ot o
n th
e—”
17
T
he n
ext t
hing
Her
bert
kne
w, t
he s
ound
of
cras
hing
met
al w
as e
choi
ng
in h
is e
ars.
He
fl ew
forw
ard,
nea
rly
hitt
ing
the
stee
ring
whe
el. W
hen
he
look
ed u
p, h
e sa
w th
at h
e ha
d dr
iven
the
Aus
tin 7
dire
ctly
into
a tr
ee!
18
“H
erb,
you
wre
cked
my
new
car
!” M
r. Pi
lkin
gton
was
con
side
rabl
y le
ss a
ngry
than
Cap
tain
Toi
xert
wou
ld h
ave
been
. How
ever
, he
cert
ainl
y w
asn’
t ple
ased
.
19
H
erbe
rt w
as te
mpt
ed to
com
e cl
ean
and
tell
Mr.
Pilk
ingt
on th
at h
e w
as a
n al
ien
spy,
but
then
he
imag
ined
how
furio
us th
e ca
ptai
n w
ould
be.
“O
kay,
I co
nfes
s,”
he b
egan
. “I a
ctua
lly d
on’t
know
how
to d
rive
.”
20
M
r. Pi
lkin
gton
frow
ned.
“So
you
take
the
trai
n to
wor
k?”
21
“Y
es!”
Her
bert
exc
laim
ed. H
e ha
d fo
rgot
ten
that
hum
ans
used
trai
ns
to tr
avel
as
wel
l.
22
M
r. Pi
lkin
gton
look
ed m
ore
conf
used
than
eve
r. “W
hy d
id y
ou li
e ab
out t
hat?
”
23
H
erbe
rt’s
min
d ra
ced
for
an e
xpla
natio
n. “
I was
em
barr
asse
d an
d di
dn’t
wan
t you
to k
now
I w
asn’
t any
goo
d at
dri
ving
. I’m
not
rea
lly g
ood
at a
nyth
ing.
”
24
“W
hat a
re y
ou ta
lkin
g ab
out,
Her
b? Y
ou’re
a g
reat
acc
ount
ant!
I’d
rath
er y
ou h
andl
e m
y bo
oks
than
any
body
! In
fact
, it’s
bee
n al
mos
t thi
rty
min
utes
, so
I thi
nk y
ou s
houl
d pr
obab
ly g
et b
ack
to th
e offi
ce.
Just
stic
k to
wha
t you
kno
w, a
nd s
tay
away
from
the
stee
ring
whe
el!”
Mod
el T
[ 218
]m
aste
ryed
ucat
ion.
com
| E
nglis
h La
ngua
ge A
rts
| L
evel
FC
opyi
ng is
pro
hibi
ted.
Less
on 2
2
C
OM
PAR
E A
ND
CO
NT
RA
ST F
OR
MS
AN
D G
ENR
ES
A F
aile
d M
issi
onG
enre
: Sci
ence
Fic
tion
1
“Hey
ther
e, H
erb!
”
2
The
tall
man
wea
ring
the
plai
n bl
ack
suit
paus
ed a
t the
sou
nd o
f so
meo
ne y
ellin
g.
3
“I k
now
you
can
hea
r m
e—yo
u ha
ven’
t for
gott
en w
ho I
am, h
ave
you?
”
4
It to
ok s
ever
al s
econ
ds fo
r th
e m
an to
real
ize th
at th
e fe
llow
yel
ling
dow
n th
e st
reet
was
talk
ing
to h
im a
nd tr
ying
to g
et h
is at
tent
ion.
It h
ad b
een
thre
e w
eeks
sin
ce th
e m
an h
ad m
oved
to h
is ne
w h
ome.
He
was
stil
l try
ing
to
get h
is be
arin
gs—
he o
ften
forg
ot th
at h
is na
me
was
now
Her
b, o
r H
erbe
rt
offi c
ially
, not
his
give
n na
me,
Gyd
dar.
And
he
now
live
d on
Ear
th—
not
Her
cixx
. He
had
to d
o ev
eryt
hing
he
coul
d to
act
as
natu
rally
as
poss
ible
. If
anyo
ne fo
und
out h
is tr
ue id
entit
y, hi
s en
tire
miss
ion
wou
ld b
e ru
ined
. C
apta
in T
oixe
rt w
ould
be
furio
us w
hen
he re
turn
ed to
the
spac
eshi
p.
5
Turn
ing
arou
nd to
look
at w
ho w
as y
ellin
g at
him
, Her
b re
cogn
ized
th
e m
an in
the
pins
trip
ed s
uit f
rom
the
offi c
e w
here
he
wor
ked.
It w
as
Mr.
Pilk
ingt
on, o
ne o
f hi
s fi r
m’s
big
gest
clie
nts.
6
“How
’s m
y fa
vorit
e ac
coun
tant
toda
y, H
erb?
” M
r. Pi
lkin
gton
slu
ng h
is
arm
aro
und
Her
bert
, who
was
not
sur
e ho
w to
rea
ct—
the
two
men
had
on
ly m
et o
nce
befo
re. H
owev
er, M
r. Pi
lkin
gton
was
act
ing
like
they
had
kn
own
each
oth
er a
ll th
eir
lives
.
7
“I a
m fi
ne a
nd h
ave
neve
r be
en b
ette
r,” H
erbe
rt r
eplie
d w
ith a
slig
ht
sens
e of
une
ase.
8
“Wel
l, th
at’s
good
! Loo
k, I
had
a lu
nch
mee
ting
with
a c
lient
, and
he
just
ha
d hi
s se
cret
ary
call
me
and
canc
el. I
hav
e a
coup
le h
ours
bef
ore
my
next
m
eetin
g, s
o w
hat d
o yo
u sa
y ab
out y
ou le
ttin
g m
e bu
y yo
u lu
nch
toda
y?”
9
“Tha
t is
very
kin
d of
you
,” H
erbe
rt s
aid
nerv
ousl
y, “
but I
mus
t ret
urn
to
the
offi c
e in
30
min
utes
bec
ause
they
are
exp
ectin
g m
e th
ere,
and
they
will
be
ver
y an
gry
if I a
m la
te.”
10
“A
w, t
hat’s
too
bad,
but
bef
ore
you
get b
ack
to w
ork,
I w
ant t
o sh
ow y
ou
som
ethi
ng I
just
had
shi
pped
from
Eng
land
. It’s
cal
led
an A
ustin
7—
have
you
ev
er h
eard
of i
t?”
Mr.
Pilk
ingt
on c
huck
led
and
poke
d H
erbe
rt in
the
ribs.
11
T
he y
ear
was
192
3, a
nd th
e ot
her
acco
unta
nts
in H
erb’
s offi
ce
had
talk
ed a
bout
litt
le e
lse.
Fro
m w
hat h
e ha
d ga
ther
ed, t
he A
ustin
7 w
as a
ne
w t
ype
of a
utom
obile
—a
mac
hine
with
four
whe
els
that
Ear
thlin
gs
used
to tr
avel
long
dis
tanc
es. I
t had
sea
ts fo
r pa
ssen
gers
, and
one
pa
ssen
ger
oper
ated
the
mac
hine
by
turn
ing
a fi f
th w
heel
and
ste
ppin
g on
ped
als
on th
e fl o
or in
fron
t of
his
seat
. Sup
pose
dly,
the
Aus
tin 7
was
un
like
any
othe
r au
tom
obile
that
had
bee
n m
ade.
12
“Y
es, I
kno
w th
at th
e A
ustin
7 is
a n
ew t
ype
of a
utom
obile
.” A
s so
on
as th
e w
ords
esc
aped
his
mou
th, H
erbe
rt k
new
he
shou
ld h
ave
spok
en
with
mor
e en
thus
iasm
.
REA
DIN
G N
OT
ES
9781609796815_MUSS_ELA_NY6_TE_int.indb 1419781609796815_MUSS_ELA_NY6_TE_int.indb 141 8/13/2018 4:53:16 PM8/13/2018 4:53:16 PM
[ 142 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
[ 221
]C
opyi
ng is
pro
hibi
ted.
Uni
t 2
| L
itera
ture
| m
aste
ryed
ucat
ion.
com
CO
MPA
RE
AN
D C
ON
TR
AST
FO
RM
S A
ND
GEN
RES
Le
sson
22
3. W
hich
sta
tem
ent
best
des
crib
es t
he t
hem
e sh
ared
by
both
sto
ries
?
Ⓐ
Pay
atte
ntio
n to
the
deta
ils.
Ⓑ
Do
not l
ie to
peo
ple
in a
utho
rity.
Ⓒ
Belie
ve in
you
rsel
f ev
en if
you
mak
e m
ista
kes.
Ⓓ
Try
to d
o as
man
y di
ff ere
nt th
ings
as
you
can.
4. W
hich
tw
o de
tails
, one
from
eac
h st
ory,
best
sup
port
s th
e th
eme
shar
ed
by b
oth
stor
ies?
Ⓐ
“Her
bert
’s ha
ppin
ess
imm
edia
tely
turn
ed to
wor
ry o
n hi
s fa
ce, a
nd
Mr.
Pilk
ingt
on w
as v
isibl
y co
nfus
ed.”
(“A
Fai
led
Miss
ion,
” pa
ragr
aph
14)
“‘R
emem
ber
from
now
on
that
failu
res
have
one
pur
pose
, and
th
at’s
to h
elp
us le
arn.
’” (
“The
You
ng W
atch
man
,” p
arag
raph
17)
Ⓑ
“‘R
emem
ber
from
now
on
that
failu
res
have
one
pur
pose
, and
th
at’s
to h
elp
us le
arn.
’” (
“The
You
ng W
atch
man
,” p
arag
raph
17)
“He
wou
ld n
o lo
nger
dou
bt h
imse
lf—an
d he
wou
ld d
efi n
itely
take
th
e tr
ain.
” (“
A F
aile
d M
issi
on,”
par
agra
ph 2
5)
Ⓒ
“Whe
n he
look
ed u
p, h
e sa
w th
at h
e ha
d dr
iven
the
Aus
tin 7
di
rect
ly in
to a
tree
!” (
“A F
aile
d M
issi
on,”
par
agra
ph 1
7)“H
ow st
upid
of h
im fo
r not
bei
ng a
wak
e to
war
n th
e ot
hers
whe
n it
had
been
his
job—
his
only
job!
” (“
The
You
ng W
atch
man
,” p
arag
raph
10)
Ⓓ
“‘I h
ave
lear
ned
an im
port
ant l
esso
n to
day,
Cap
tain
,’ Ja
ck s
aid
to
Cap
tain
Mur
taug
h.”
(“T
he Y
oung
Wat
chm
an,”
par
agra
ph 1
5)“H
e w
ould
no
long
er d
oubt
him
self—
and
he w
ould
defi
nite
ly ta
ke
the
trai
n.”
(“A
Fai
led
Mis
sion
,” p
arag
raph
25)
Ⓒ
Ⓑ
TIP
S A
ND
TR
ICK
ST
he th
eme
can
ofte
n be
the
less
on
a ch
arac
ter
lear
ns in
a te
xt. A
sk
your
self,
“W
hat
do H
erbe
rt a
nd
Jack
kno
w a
t th
e en
d of
the
sto
ry
that
the
y di
d no
t kn
ow a
t th
e be
ginn
ing?
” T
hen
fi gur
e ou
t how
th
ey le
arne
d th
at le
sson
.
[ 220
]m
aste
ryed
ucat
ion.
com
| E
nglis
h La
ngua
ge A
rts
| L
evel
FC
opyi
ng is
pro
hibi
ted.
Less
on 2
2
C
OM
PAR
E A
ND
CO
NT
RA
ST F
OR
MS
AN
D G
ENR
ES
25
A
s H
erbe
rt w
alke
d ba
ck to
wor
k, h
e fe
lt ha
ppy.
He
had
kept
his
true
id
entit
y a
secr
et, a
nd h
e no
w k
new
that
Mr.
Pilk
ingt
on th
ough
t he
was
go
od a
t his
job.
He
wou
ld n
o lo
nger
dou
bt h
imse
lf—an
d he
wou
ld
defi n
itely
take
the
trai
n.
[R
eadi
ng L
evel
: 870
–970
L; W
ord
Cou
nt: 9
86]
1. W
hich
sen
tenc
e be
st d
escr
ibes
how
bot
h m
ain
char
acte
rs s
how
th
e th
eme?
Ⓐ
Both
are
ner
vous
in fr
ont o
f pe
ople
in a
utho
rity.
Ⓑ
Both
do
not l
ike
to tr
y an
ythi
ng d
iffi c
ult.
Ⓒ
Both
dou
bt th
emse
lves
whe
n th
ey m
ess
up.
Ⓓ
Both
car
e to
o m
uch
abou
t wha
t oth
ers
thin
k of
them
.
2. W
hat
spec
ifi c
info
rmat
ion
does
the
aut
hor
prov
ide
earl
y in
the
sto
ries
to
let
you
know
wha
t th
e ge
nre
is?
Wri
te e
ach
deta
il un
der
the
genr
e it
show
s. Y
ou n
eed
not
use
ever
y de
tail.
“to
play
his
par
t and
ser
ve th
e U
nion
arm
y”“A
nd h
e no
w li
ved
on E
arth
—no
t Her
cixx
.”“‘
The
ene
my
ship
is r
ight
ther
e be
fore
us—
why
did
n’t y
ou s
ee it
?’”“C
apta
in T
oixe
rt w
ould
be
furio
us w
hen
he r
etur
ned
to th
e sp
aces
hip.
”“T
he ta
ll m
an w
earin
g th
e pl
ain
blac
k su
it pa
used
at t
he s
ound
of
som
eone
yel
ling.
”“W
hen
the
Nor
th a
nd S
outh
wen
t to
war
”
“TH
E YO
UN
G W
ATC
HM
AN
”
HIS
TORI
CAL
FIC
TIO
N
“A F
AIL
ED M
ISSI
ON
”
SCIE
NCE
FIC
TIO
N
“Whe
n th
e N
orth
and
S
outh
wen
t to
war
”“A
nd h
e no
w li
ved
on
Ear
th—
not H
erci
xx.”
“to p
lay
his
part
and
serv
e th
e U
nion
arm
y”“C
apta
in T
oixe
rt w
ould
be
furio
us w
hen
he re
turn
ed to
th
e sp
aces
hip.
”
1.
Ⓒ
TH
INK
ABO
UT
ITT
hink
abo
ut w
hat e
ach
of t
he m
ain
char
acte
rs d
oes.
Whi
ch o
f the
se
sent
ence
s de
scri
bes
som
ethi
ng
both
cha
ract
ers
do?
9781609796815_MUSS_ELA_NY6_TE_int.indb 1429781609796815_MUSS_ELA_NY6_TE_int.indb 142 8/13/2018 4:53:18 PM8/13/2018 4:53:18 PM
[ 143 ]Unit 2 | Literature | masteryeducation.comCopying is prohibited.
[ 223
]C
opyi
ng is
pro
hibi
ted.
Uni
t 2
| L
itera
ture
| m
aste
ryed
ucat
ion.
com
CO
MPA
RE
AN
D C
ON
TR
AST
FO
RM
S A
ND
GEN
RES
Le
sson
22
7. W
rite
a p
arag
raph
com
pari
ng t
he li
mita
tions
and
adv
anta
ges
of s
how
ing
a th
eme
usin
g th
e tw
o ge
nres
you
rea
d—hi
stor
ical
fi ct
ion
and
scie
nce
fi ctio
n.
Use
exa
mpl
es fr
om t
he t
exts
to
supp
ort
your
ans
wer
.
Sam
ple
resp
onse
: Bot
h ge
nres
giv
e th
e w
riter
a lo
t of
free
dom
to s
how
them
e th
roug
h th
e se
tting
, ch
arac
ters
, and
plo
t, bu
t his
toric
al fi
ctio
n is
lim
ited
to
actu
al h
isto
rical
fact
s. F
or e
xam
ple,
the
“pow
der
mon
keys
” in
“The
You
ng W
atch
man
” wer
e re
al
peop
le in
the
Civ
il W
ar—
the
auth
or c
ould
not
mak
e up
ne
w k
inds
of j
obs
that
did
not
exi
st in
the
Civ
il W
ar.
The
auth
or c
ould
not
sho
w th
e th
eme
by m
akin
g Ja
ck
an a
irpla
ne p
ilot b
ecau
se a
irpla
nes
did
not e
xist
. Sc
ienc
e fi c
tion
lets
the
writ
er m
ake
up ju
st a
bout
an
ythi
ng h
e or
she
wan
ts b
ecau
se s
cien
ce fi
ctio
n is
of
ten
set i
n th
e fu
ture
or i
nvol
ves
crea
ture
s fro
m o
ther
w
orld
s. In
“A F
aile
d M
issi
on,”
the
writ
er m
ade
up a
nal
ien
pret
endi
ng to
be
hum
an a
nd a
kin
d of
spa
cesh
ipca
lled
“the
KRW
-400
0.” O
ne li
mita
tion
with
sci
ence
fi c
tion
mig
ht b
e th
at w
hate
ver t
he w
riter
mak
es u
p ha
s to
at l
east
be
belie
vabl
e to
the
read
er. T
his
way
th
e re
ader
can
focu
s on
the
them
e ra
ther
than
the
stra
nge
deta
ils o
f the
sto
ry.
7.
[ 222
]m
aste
ryed
ucat
ion.
com
| E
nglis
h La
ngua
ge A
rts
| L
evel
FC
opyi
ng is
pro
hibi
ted.
Less
on 2
2
C
OM
PAR
E A
ND
CO
NT
RA
ST F
OR
MS
AN
D G
ENR
ES
5. W
hich
sen
tenc
e be
st e
xpla
ins
how
the
mai
n ch
arac
ters
in b
oth
stor
ies
com
e to
hav
e co
nfi d
ence
in t
hem
selv
es?
Ⓐ
Her
bert
and
Jack
bot
h ne
eded
to s
ucce
ed a
t som
ethi
ng in
ord
er to
le
arn
to h
ave
confi
den
ce in
them
selv
es.
Ⓑ
Oth
er c
hara
cter
s—M
r. Pi
lkin
gton
and
Cap
tain
Mur
taug
h—he
lp
Her
bert
and
Jack
lear
n to
hav
e co
nfi d
ence
in th
emse
lves
.
Ⓒ
Her
bert
and
Jack
bot
h cr
eate
a p
robl
em th
at th
ey h
ave
to s
olve
by
them
selv
es, a
nd th
is g
ives
them
con
fi den
ce.
Ⓓ
Her
bert
and
Jack
ove
rcom
e in
terf
eren
ce b
y ot
her
char
acte
rs—
Mr.
Pilk
ingt
on a
nd C
apta
in M
urta
ugh—
to le
arn
to h
ave
confi
den
ce
in th
emse
lves
.
6. A
rea
der
coul
d m
ake
the
infe
renc
e th
at M
r. Pi
lkin
gton
mig
ht h
ave
been
aw
are
of H
erbe
rt’s
secr
et. W
rite
a s
hort
par
agra
ph t
hat
cite
s ev
iden
ce
from
the
tex
t in
sup
port
of t
he a
bove
infe
renc
e.
Stud
ent a
nsw
ers
will
vary
but
sho
uld
incl
ude
“so
wha
t do
you
say
abou
t you
letti
ng m
e bu
y yo
u lu
nch
toda
y?” a
nd “I
t’s c
alle
d an
Aus
tin 7
—ha
ve y
ou e
ver
hear
d of
it?
Mr.
Pilk
ingt
on c
huck
led
and
poke
d H
erbe
rtin
the
ribs.
” “W
hat,
Her
b? Y
ou d
on’t
wan
t to
driv
e an
Aust
in 7
? Yo
u kn
ow h
ow to
driv
e, d
on’t
you?
”
Ⓑ
6.
9781609796815_MUSS_ELA_NY6_TE_int.indb 1439781609796815_MUSS_ELA_NY6_TE_int.indb 143 8/13/2018 4:53:20 PM8/13/2018 4:53:20 PM
[ 144 ] masteryeducation.com | English Language Arts | Level F Copying is prohibited.
[ 224
]m
aste
ryed
ucat
ion.
com
| E
nglis
h La
ngua
ge A
rts
| L
evel
FC
opyi
ng is
pro
hibi
ted.
Less
on 2
2
C
OM
PAR
E A
ND
CO
NT
RA
ST F
OR
MS
AN
D G
ENR
ES
EXIT
TIC
KET
Now
tha
t yo
u kn
ow h
ow t
o co
mpa
re a
nd c
ontr
ast
genr
es,
let’s
rev
isit
the
Real
-Wor
ld C
onne
ctio
n an
d Le
na’s
stor
y of
the
di
scov
ery
of a
met
al b
ox.
Lena
’s st
ory
can
be e
ither
fant
asy
or r
ealis
tic fi
ctio
n. S
he h
as
not
mad
e up
her
min
d ye
t ab
out
whi
ch d
irect
ion
she
will
tak
e th
e st
ory.
She
does
kno
w t
hat
it w
ill in
volv
e fi n
ding
a s
eale
d m
etal
box
in h
er b
acky
ard.
She
kno
ws
it w
ill in
volv
e as
king
her
be
st fr
iend
, Pet
er, f
or h
elp.
Bra
inst
orm
a li
st o
f ide
as—
fant
asy,
real
istic
fi ct
ion,
or
both
—of
wha
t co
uld
happ
en w
hen
Lena
and
Pet
er o
pen
the
box.
Sam
ple
answ
ers:
Pet
er a
nd L
ena
are
trans
ferr
ed to
a d
iffer
ent t
ime
perio
d.P
eter
and
Len
a op
en th
e bo
x to
dis
cove
r a w
orld
insi
de.
Pet
er a
nd L
ena
disc
over
pho
togr
aphs
bur
ied
by th
e pr
evio
us o
wne
r of
her h
ouse
.P
eter
and
Len
a di
scov
er a
tim
e ca
psul
e.
RL.6
.9
9781609796815_MUSS_ELA_NY6_TE_int.indb 1449781609796815_MUSS_ELA_NY6_TE_int.indb 144 8/13/2018 4:53:21 PM8/13/2018 4:53:21 PM
[ 145 ]Copying is prohibited. Unit 2 | Literature | masteryeducation.com
TEACHER NOTESREAL-WORLD GOALS FOR STUDENTS• Compare diff erent genres.
• Contrast the diff erent approaches each genre uses for a particular theme or topic.
TIPS FOR THE STRUGGLING LEARNER• Students may not have prior knowledge of the moon landing. Be sure to provide context
and background knowledge on the topic before reading the stories in the lesson.
• For additional support, provide students with a list of key elements in each genre that they can use as a reference in determining the genre of a story.
TIPS FOR THE ENGLISH LANGUAGE LEARNER• English learners may have diffi culty deciding which information is valuable in understanding
the theme of the text. For the passage “Armstrong’s Boot,” have students work in pairs to discuss the underlined sentences in the text.
• Some English learners may fi nd determining the theme challenging if they do not have adequate background knowledge of the reading passages. Encourage them to look online at websites, both in English and in their native language, about space travel.
ACTIVITIES FOR THE ADVANCED LEARNER• Ask students to brainstorm topics for short stories based on their favorite genres.
• From their list, challenge the students to write their short stories.
COMPARE AND CONTRAST FORMS AND GENRES Lesson 22
9781609796815_MUSS_ELA_NY6_TE_int.indb 1459781609796815_MUSS_ELA_NY6_TE_int.indb 145 8/13/2018 4:53:23 PM8/13/2018 4:53:23 PM