visit siriuseducationsolutions.com for additional staar ... · question 1 2 review: skill lesson...
TRANSCRIPT
9 781943 008629Printed in Texas on recycled paper.
ENGLISH I EOC READINGSTAAR® Preparation and Practice
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
• 31 passages with over 180 authentic STAAR questions
• 18 reading skills with STAAR Strategies
• 3-step approach for efficient remediation
ENG
LISH I EO
C READ
ING
STAA
R Preparation and Practice
1: Literary TextsFiction
Diagnostic Test, Reading Skills & Practice,Post Test
DramaDiagnostic Test, Reading Skills & Practice,Post Test
Literary NonfictionDiagnostic Test, Reading Skills & Practice,Post Test
PoetryDiagnostic Test, Reading Skills & Practice,Post Test
2: Informational TextsExpository
Diagnostic Test, Reading Skills & Practice,Post Test
PersuasiveDiagnostic Test, Reading Skills & Practice,Post Test
3: Paired TextsDiagnostic Test, Reading Skills & Practice,Post Test
ENGLISH I EOC READING CONTENTS
Visit SiriusEducationSolutions.com for additional STAAR EOC resources.
2017 UPDATE
2017 UPDATE
Use with Your Students!
Copyright © 2017 by Sirius Education Solutions LLC. All rights reserved. No part of this work may be reproduced or distributed in any form or by any means, electronic, mechanical, photocopying, scanning, recording, or stored in a database or retrieval system, without the prior written permission of the publisher.
STAAR® is a registered trademark of the Texas Education Agency. The Texas Education Agency does not endorse this program or its content. Sirius Education Solutions is not affiliated with the Texas Education Agency or the State of Texas.
STAAR® test questions copyright © by the Texas Education Agency. All rights reserved.
Printed in Texas.
ISBN: 978-1-943008-62-9
Possession of this publication in print format does not entitle users to convert this publication, or any portion of it, into electronic format.
Thank you for respecting the copyright and supporting the effort involved in creating this product.
Sampler
iii Table of Contents
Table of ContentsWelcome Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vAbout the STAAR English I EOC Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viHow to Use This Book for STAAR Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viiSTAAR Multiple-Choice Test-Taking Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ixStudent Progress Monitoring Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Section 1: Literary TextsIntroduction to Literary Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
FICTIONDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Reading Skills1 Making Inferences in Fiction (E1.5 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Using a Dictionary Entry (E1.1E) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Using Context Clues to Determine Meaning (E1.1B) . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Analyzing Character Development (E1.5B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Analyzing Point of View (E1.5C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Understanding Historical or Cultural Setting (E1.2C) . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Reading PracticeFiction 1 The Open Boat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Fiction 2 Summer of the Mariposas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
DRAMADiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Reading Skills1 Analyzing Drama (E1.4A, E1.4 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Determining Theme (E1.2 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Reading PracticeDrama 1 A Doll’s House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
LITERARY NONFICTIONDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Reading Skill 1 Analyzing Literary Nonfiction (E1.6A, E1.6 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Reading PracticeLiterary Nonfiction 1 The Great Depression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
POETRYDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Reading Skills1 Analyzing Poetic Language (E1.3A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732 Interpreting Poetry (E1.3 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Included in Sampler
Sampler
iv English I EOC Reading
Reading PracticePoetry 1 Driving Through West Texas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Section 2: Informational Texts Introduction to Informational Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
EXPOSITORYDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Reading Skills1 Understanding the Controlling Idea and Author’s Purpose (E1.8A) . . . . . . . . . . . . . . 902 Analyzing Opinions (E1.9B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 923 Making Inferences in Expository Texts (E1.9C) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944 Evaluating Summaries (E1.9A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965 Analyzing Procedural and Graphic Elements (E1.11A, E1.12A) . . . . . . . . . . . . . . . . . . . 98
Reading PracticeExpository 1 Babe Didrikson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Expository 2 Sallie Tate’s Emancipation Dress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
PERSUASIVEDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Reading Skill1 Analyzing Persuasive Texts (E1.10A, E1.10 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Reading PracticePersuasive 1 Remarks at the Signing of the Highway Beautification Act of 1965 . . . . 123Persuasive 2 Volunteering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Section 3: Paired TextsIntroduction to Paired Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
PAIRED TEXTSDiagnostic Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Reading Skill1 Making Inferences Across Texts (E1 Fig. 19B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Reading PracticePaired Texts 1 United Skies over Terrell / Here Come the Yanks! . . . . . . . . . . . . . . . . . 147Paired Texts 2 City of the Dead / Storm and Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . 158Paired Texts 3 The Drought / Between Hell and Texas . . . . . . . . . . . . . . . . . . . . . . . . . 167
Post Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
Student Answer Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Sampler
v Welcome Letter
Dear Students,
The STAAR English I assessment measures your knowledge of the English I standards (TEKS). STAAR tests are not designed to measure many important qualities of character and intelligence — as this cartoon shows.
Dys
lexi
cKid
s.ne
t
Qualities Not Measured by STAAR Tests
Big-Picture ThinkingComp�ionReliabilityMotivationHumorEmpathy
Sense of Beauty
Humility
Sense of Wonder
PersistenceCuriosityEnthusiasm
COURAGE
LeadershipCreativityCivic-Minded
Resourcefulness
PositivityResilience
What are some other important qualities of character and intelligence missing in STAAR tests?
But performing well on the STAAR tests is important, so you want to do all you can to succeed on them. That’s where this workbook comes in! It was designed to help you prepare for the Reading part of the STAAR English I test by
• teaching the skills to approach and answer different STAAR test questions, and by• providing practice questions that are similar to those you will answer on the actual test.
But as good as this workbook is, it only helps if you use it. So, please use this workbook!
Practicing Smart Is the Secret to STAAR Success There is a secret to success on the STAAR tests — practice, practice, and more practice. This is good news because you are in control of how much effort you put into practicing. But not all practice is the same… you need to practice smart.
First, practice with test questions that are very similar to the actual STAAR test. That’s easy because this workbook is full of them! Next, focus on your weaknesses —spend extra time on questions you have trouble with. Think of it like this: if your basketball shot needs improvement, you don’t practice dribbling. Instead, you practice shooting.
Focusing on your weaknesses also means carefully analyzing each test question you get wrong. Why did you get it wrong? Why is another answer correct? You can learn more from test questions you get wrong, so don’t be afraid of making mistakes. If your basketball shot is off, you identify what you are doing wrong (too far left) and correct it with your next shot (aim further right).
When you practice, give each question your full attention. Do not take a break until after you answer the question. Your attention is like a muscle that you can build by using it, one practice test question at a time. Do you believe unfocused, sloppy practice of your basketball shot will help you perform during a big game? No! Your attention is your greatest power. You develop it with practice.
Preparing for the STAAR test can actually be a fun challenge. And when you practice smart, you are building life skills while you prepare for the STAAR test!
Your partners in STAAR success,
The Sirius Education Team
Sampler
vii How to Use This Book for STAAR Success
How to Use This Book for STAAR Success3-Step Approach to Differentiate InstructionThis interactive workbook is easily adapted for different needs and includes an optional 3-step approach to efficiently prioritize and individualize remediation when preparation time is limited.
Step 1 Identify Your Needs — Diagnostic Tests for Each GenreUse the Diagnostic Tests for each genre to identify what you know and what you need to review. Record your results in the Progress Monitoring Chart.
4 English I EOC Reading ■ Literary Texts
2 Why does Uncle Zeno call the boy “Doc” in paragraph 6? (E1.2C)
F “Doc” is an affectionate nickname.
G The boy wants to be a doctor.
H The uncle is teasing the boy for playing ball poorly.
J The uncle is frustrated with the boy.
3 Which sentence provides the strongest evidence that Jim’s uncles are kind and caring? (E1.5B)
A He blames himself for the boy’s lack of success.
B They do not creep closer because it would make the boy feel bad.
C All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys.
D Each uncle would still gladly play a game of baseball, should anyone ask, though no one has asked for several years.
GO ON
Fiction Diagnostic
Read the selection and answer the questions that follow.
from Jim the Boyby Tony Earley
xi Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS.
1 Diagnostic Mark a ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark a ✓ in the box beside each question that you answered correctly. Find the total correct. Refer
back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as in the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Using Context Clues to Determine Meaning (p. 10) E1.1B
2 Understanding Historical and Cultural Settings (p. 17) E1.2C
3 Analyzing Character Development (p. 12) E1.5B
4 Understanding Historical and Cultural Settings (p. 17) E1.5C
5 Analyzing Character Development (p. 12) E1.5B
6 Making Inferences in Fiction (p. 6) E1.5 Fig. 19B
Total / 6 Total / 6
DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Drama (p. 38) E1.4A
2 Analyzing Drama (p. 38) E1.4A
3 Analyzing Drama (p. 38) E1.4A
4 Analyzing Drama (p. 38) E1.4A
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Drama (p. 38) E1.4 Fig. 19B
Total / 6 Total / 6
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Literary Nonfiction (p. 59) E1.6A
2 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
3 Analyzing Literary Nonfiction (p. 59) E1.6A
4 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
Total / 6 Total / 6
STEP 2 Focus Remediation — Skill Lessons and Genre PracticeUse your Diagnostic results to focus skills instruction and practice to meet your unique needs.
12 English I EOC Reading ■ Literary Texts
Reading Skill 4Analyzing Character
DevelopmentWriters create complex and believable characters in different ways.
Describe the character’s personality Sasha was obsessed with world events.
Describe the character’s appearance His shirt was rumpled and unevenly buttoned.
Use the character’s own words “I dress while watching the morning news,” he explained.
Tell the character’s inner thoughts and feelings He worried that a daily news item might escape his notice.
Show the character’s actions He listened to a podcast about North Korean famine, striding past the hungry beggar.
Show other characters’ reactions to the character
His daughter found it difficult to compete with the car radio during the ride home.
By combining details about a character with your own knowledge, you can make inferences about that character. When you answer a test question asking about a character, you’ll want to look for these details in the selection.
STAAR StrategyRead the question from a previous STAAR test below. The related passage follows the question. Then read the steps for answering a question like this.
1 Read each answer choice. Then read the relevant part of the selection. Underline and label details relating to each answer choice.
(E1.5B)
From the paragraph, the reader can infer that the three uncles —
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally STAAR English I, 2014, #28
All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys. Uncle Al’s mitt was made for a right-handed fielder, but he has worn it on the wrong hand for so long that he no longer notices that it doesn’t fit. Each uncle would still gladly play a game of baseball, should anyone ask, although no one has asked for years. They keep their tiny, relic gloves properly oiled, however, as if such invitations were not only commonplace, but imminent.
13 Reading Skill ■ Fiction
2 Evaluate the evidence you underlined. Cross out answer choices not supported by evidence.
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally
Guided Practice Read the paragraph and question. Follow the steps for analyzing a character. Remember: underline details that support specific answer choices, and cross out answer choices not fully supported by evidence.
Think About Your Thinking
In the chart below, note how you evaluated each answer choice.
Answer Choices
Textual EvidenceIs inference supported?
A Reference to when “the army loses,” doesn’t apply to the captain specifically. no
B
C
D
Independent PracticePractice analyzing character in Fiction Practice 1 and 2, and Paired Practice 2 and 3.
The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.
From the paragraph, the reader can infer that the captain —
A has previously fought in a war C is not respected by his crew
B has lost his mind D is depressed over the loss of his ship
A
There is no mention that the uncles played professionally.
No evidence explains how they feel about winning.
No evidence supports this idea.
Yes! They lovingly maintain their gloves, which are symbols of their youth.
23 Reading Practice ■ Fiction
1 Read the following from paragraph 1. (E1.5 Fig. 19B)
These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.
The reader can infer from this line that the characters —
A are happy to be on the open water
B have strong visual memories
C have all been to sea before
D are experienced fishermen
2 In paragraph 3, the word invariably means — (E1.1B)
F constantly
G worriedly
H nervously
J resentfully
3 From paragraph 6, the reader can infer that the captain — (E1.5B)
A had previously fought in a war
B has lost his mind
C is not respected by his crew
D is depressed over the loss of his ship
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
STEP 3 Monitor Your Progress — Post TestsUse each genre Post Test to monitor progress and to identify additional lessons for review. The Post Test questions cover the same TEKS in the same order as the Diagnostic Test.
Each item correlates to a TEKS and Skill lesson.
Diagnostic Tests cover 7 genres
Practice with support for Active Reading
Guided Practice
19 Skills Lessons
Models strategy with released STAAR items
Critical thinking
TEKS
Independent Practice
Fiction Post Test
Read the selection and choose the best answer to each question.
From Call of the Wild
xi Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS.
1 Diagnostic Mark a ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark a ✓ in the box beside each question that you answered correctly. Find the total correct. Refer
back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as in the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Using Context Clues to Determine Meaning (p. 10) E1.1B
2 Understanding Historical and Cultural Settings (p. 17) E1.2C
3 Analyzing Character Development (p. 12) E1.5B
4 Understanding Historical and Cultural Settings (p. 17) E1.5C
5 Analyzing Character Development (p. 12) E1.5B
6 Making Inferences in Fiction (p. 6) E1.5 Fig. 19B
Total / 6 Total / 6
DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Drama (p. 38) E1.4A
2 Analyzing Drama (p. 38) E1.4A
3 Analyzing Drama (p. 38) E1.4A
4 Analyzing Drama (p. 38) E1.4A
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Drama (p. 38) E1.4 Fig. 19B
Total / 6 Total / 6
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Literary Nonfiction (p. 59) E1.6A
2 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
3 Analyzing Literary Nonfiction (p. 59) E1.6A
4 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
Total / 6 Total / 6
✓✓
✓
✓✓
4
Focus on skills you need most.
Monitor your progress
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
sio
n©
Siri
us E
duca
tion
Solu
tions
Sampler
viii English I EOC Reading
How to Use This Book for STAAR SuccessFocused Remediation is provided by 18 reading skill lessons and 15 reading passages with STAAR practice items .
Reading Skill LessonsEach lesson provides concise and student-friendly instruction in answering a released STAAR test item. Each TEKS-based skill models a STAAR Strategy that students apply in Guided Practice.
90 English I EOC Reading ■ Informational Texts
Understanding the Controlling Idea and Author’s PurposeThe controlling idea—also called a thesis or main idea—is the central idea of an informative text. The controlling idea also reflects the author’s purpose—the author’s reason for writing the text. Each paragraph supports the controlling idea and purpose.
The STAAR test asks about the controlling idea and author’s purpose in different ways. You may be asked to identify specific evidence that supports a paragraph’s topic. Or you might be asked about the purpose of a specific paragraph.
STAAR StrategyRead the question below. The selection that follows it is about Dick Fosbury, who developed a high jump called the Fosbury Flop. Then read the steps for answering a question like this.
1 Determine what the question is asking. Analyze the stem and answer choices.
2 Figure out a strategy for finding the information you need. You can figure out the topic by deciding what most of the evidence in the paragraph is about.
3 Mark up the passage and question. Underline evidence and cross out incorrect choices.
A show Fosbury’s determination and eventual success
B explain the mechanics of the Fosbury Flop
C demonstrate Fosbury’s reluctance to follow the advice of others
D emphasize Fosbury’s desire to get a college education
(E1.8A)
The author includes the information in this paragraph to —
A show Fosbury’s determination and eventual success
B explain the mechanics of the Fosbury Flop
C demonstrate Fosbury’s reluctance to follow the advice of others
D emphasize Fosbury’s desire to get a college education STAAR English I, 2013, #17
At Oregon State University, where [Fosbury’s] jumping skill earned him a full scholarship, Coach Berny Wagner discouraged him from using the flop and urged him to use the traditional form. After a year without success he returned to his own move and broke the school record with a six-foot-ten-inch jump. Fosbury developed the jump so well that he won back-to-back National Collegiate Athletic Association (NCAA) championships during his college career. At the 1968 Olympic trials he was almost eliminated but then cleared a personal record height of seven feet, two inches.
—from Scribner Encyclopedia of American Lives: Sports Figures
D
A
This is a body paragraph. The answer choices are topics. I need to choose the right topic.
Going back to his move, improving it, and making the Olympic trials are evidence that supports this answer.
Fosbury followed his coach’s advice for a year, so the idea that he was reluctant is not supported.
College is mentioned, but not Fosbury’s feelings about education.
91 Reading Skill ■ Expository
Guided PracticeRead the following passage about Dick Fosbury. Then read and answer the question that follows. Use the steps on the previous page to analyze the question and the answer choices. One part, analyzing the stem, has been done for you.
According to the selection, why was it not surprising that younger athletes were the first to use the Fosbury Flop?
F Younger athletes were less afraid to use the “scissors” approach.G Older athletes were already committed to the established style
of high jumping.H Successful high jumpers were convinced the Fosbury Flop
wouldn’t result in higher jumps.J It is human nature to resist change.
Think About Your Thinking
In the chart below, evaluate each answer choice based on evidence you identified in the paragraph. One evaluation has been done for you.
Answer Choices
Textual EvidenceIs answer
supported?
F Younger athletes mentioned, but not in this way. no
G
H
J
Independent PracticeYou will have the opportunity to practice this skill in Expository Practice 1 and 2, Persuasive Practice 1, and Paired Practice 1.
Fosbury said, “The problem with something revolutionary is that most of the elite athletes had invested so much time in their technique and movements that they didn’t want to give it up, so they stuck with what they knew.” It would be ten years before the majority of jumpers used Fosbury’s technique. The first athletes to pick it up were, not surprisingly, the youngest ones.
These words tell me I’m looking for something in the text.
After re-reading the paragraph, I see that this is its topic. The correct answer will support the topic.
Reading Genre PracticeThis workbook provides authentic STAAR practice in the 7 tested genres, using grade-appropriate selections and test questions that mimic released STAAR tests.
20 English I EOC Reading ■ Literary Texts
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
5 The correspondent2, pulling at the other oar, watched the waves and wondered why he was there.
6 The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain
1someone who oils the machinery of a ship2a reporter
23 Reading Practice ■ Fiction
1 Read the following from paragraph 1. (E1.5 Fig. 19B)
These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.
The reader can infer from this line that the characters —
A are happy to be on the open water
B have strong visual memories
C have all been to sea before
D are experienced fishermen
2 In paragraph 3, the word invariably means — (E1.1B)
F constantly
G worriedly
H nervously
J resentfully
3 From paragraph 6, the reader can infer that the captain — (E1.5B)
A had previously fought in a war
B has lost his mind
C is not respected by his crew
D is depressed over the loss of his ship
29 passages in 7 genres
Margin features promote active reading.
Over 100 questions match the released STAAR tests in content and format.
TEKS
Uses a 3-step model for• understanding
questions• searching for text clues
or support• evaluating answer
choices
Key terms
Analyzes released STAAR questions
TEKS
Independent Practice
Guided Practice helps students apply the strategy.
Show your thinking by analyzing each answer choice.
Un
lawfu
l to p
ho
toco
py o
r pro
ject with
ou
t perm
ission
© Sirius Education Solutions
Sampler
xi Student Progress Monitoring Chart
Name Class Date
Student Progress Monitoring Chart—How Am I Doing?Use the Diagnostic Tests to identify skill lessons you need to review. Monitor your progress using the steps and chart below. Because some skill lessons cover a broad standard or are assessed in multiple ways, those lessons are referred to more than once in the chart. Boldfaced skill lessons are connected to readiness TEKS .
1 Diagnostic Mark a ✓ in the box beside each question that you answered correctly. Find the total correct.2 Review Study the skill lesson and genre practice associated with each question you missed.3 Post Test Mark a ✓ in the box beside each question that you answered correctly. Find the total correct. Refer
back to the skill lesson for additional practice. (The Post Test questions are in the exact same order as in the Diagnostic Test.)
FICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Using Context Clues to Determine Meaning (p. 10) E1 .1B
2 Understanding Historical and Cultural Settings (p. 17) E1.2C
3 Analyzing Character Development (p. 12) E1 .5B
4 Understanding Historical and Cultural Settings (p. 17) E1.5C
5 Analyzing Character Development (p. 12) E1 .5B
6 Making Inferences in Fiction (p. 6) E1 .5 Fig . 19B
Total / 6 Total / 6
DRAMAQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Drama (p. 38) E1.4A
2 Analyzing Drama (p. 38) E1.4A
3 Analyzing Drama (p. 38) E1.4A
4 Analyzing Drama (p. 38) E1.4A
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Drama (p. 38) E1.4 Fig. 19B
Total / 6 Total / 6
LITERARY NONFICTIONQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Literary Nonfiction (p. 59) E1.6A
2 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
3 Analyzing Literary Nonfiction (p. 59) E1.6A
4 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
5 Determining Theme (p. 41) E1.2 Fig. 19B
6 Analyzing Literary Nonfiction (p. 59) E1.6 Fig. 19B
Total / 6 Total / 6
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
sio
n©
Siri
us E
duca
tion
Solu
tions
Included in Sampler
Sampler
xii English I EOC Reading
POETRYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Interpreting Poetry (p. 76) E1.3 Fig. 19B
2 Analyzing Poetic Language (p. 73) E1.3A
3 Interpreting Poetry (p. 76) E1.3 Fig. 19B
4 Analyzing Poetic Language (p. 73) E1.3A
5 Interpreting Poetry (p. 76) E1.3 Fig. 19B
6 Interpreting Poetry (p. 76) E1.3 Fig. 19B
Total / 6 Total / 6
EXPOSITORYQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Opinions (p. 92) E1.9B
2 Understanding the Controlling Idea and Author’s Purpose (p. 90)
E1 .8A
3 Making Inferences in Expository Texts (p. 94) E1 .9C
4 Making Inferences in Expository Texts (p. 94) E1 .9C
5 Analyzing Procedural and Graphic Elements (p. 98) E1.12 Fig. 19B
6 Evaluating Summaries (p. 96) E1 .9A
Total / 6 Total / 6
PERSUASIVEQuestion 1 2 Review: Skill Lesson and Genre Practice 3 TEKS
1 Analyzing Persuasive Texts (p. 120) E1.10 Fig. 19B
2 Analyzing Persuasive Texts (p. 120) E1.10 Fig. 19B
3 Analyzing Persuasive Texts (p. 120) E1.10A
4 Understanding the Controlling Idea and Author’s Purpose (p. 90)
E1.8A
5 Analyzing Persuasive Texts (p. 120) E1.10A
6 Analyzing Persuasive Texts (p. 120) E1.10 Fig. 19B
Total / 6 Total / 6
PAIRED TEXTSQuestion 1 2 Review: Skill Lesson 3 TEKS
1 Making Inferences Across Texts (p. 144) E1 Fig . 19B
2 Making Inferences Across Texts (p. 144) E1 Fig . 19B
3 Making Inferences Across Texts (p. 144) E1 Fig . 19B
4 Making Inferences Across Texts (p. 144) E1 Fig . 19B
5 Making Inferences Across Texts (p. 144) E1 Fig . 19B
6 Making Inferences Across Texts (p. 144) E1 Fig . 19B
Total / 6 Total / 6
Un
lawfu
l to p
ho
toco
py o
r pro
ject with
ou
t perm
ission
© Sirius Education Solutions
Sampler
12 English I EOC Reading ■ Literary Texts
Reading Skill 4Analyzing Character
DevelopmentWriters create complex and believable characters in different ways.
Describe the character’s personality Sasha was obsessed with world events.
Describe the character’s appearance His shirt was rumpled and unevenly buttoned.
Use the character’s own words “I dress while watching the morning news,” he explained.
Tell the character’s inner thoughts and feelings He worried that a daily news item might escape his notice.
Show the character’s actions He listened to a podcast about North Korean famine, striding past the hungry beggar.
Show other characters’ reactions to the character
His daughter found it difficult to compete with the car radio during the ride home.
By combining details about a character with your own knowledge, you can make inferences about that character. When you answer a test question asking about a character, you’ll want to look for these details in the selection.
STAAR StrategyRead the question from a previous STAAR test below. The related passage follows the question. Then read the steps for answering a question like this.
1 Read each answer choice. Then read the relevant part of the selection. Underline and label details relating to each answer choice.
(E1.5B)
From the paragraph, the reader can infer that the three uncles —
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally STAAR English I, 2014, #28
All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys. Uncle Al’s mitt was made for a right-handed fielder, but he has worn it on the wrong hand for so long that he no longer notices that it doesn’t fit. Each uncle would still gladly play a game of baseball, should anyone ask, although no one has asked for years. They keep their tiny, relic gloves properly oiled, however, as if such invitations were not only commonplace, but imminent.
Un
lawfu
l to p
ho
toco
py o
r pro
ject with
ou
t perm
ission
© Sirius Education Solutions
Sampler
13 Reading Skill ■ Fiction
2 Evaluate the evidence you underlined. Cross out answer choices not supported by evidence.
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally
Guided Practice Read the paragraph and question. Follow the steps for analyzing a character. Remember: underline details that support specific answer choices, and cross out answer choices not fully supported by evidence.
Think About Your Thinking
In the chart below, note how you evaluated each answer choice.
Answer Choices
Textual EvidenceIs inference supported?
A Reference to when “the army loses,” doesn’t apply to the captain specifically. no
B
C
D
Independent PracticePractice analyzing character in Fiction Practice 1 and 2, and Paired Practice 2 and 3.
The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.
From the paragraph, the reader can infer that the captain —
A has previously fought in a war C is not respected by his crew
B has lost his mind D is depressed over the loss of his ship
A
There is no mention that the uncles played professionally.
No evidence explains how they feel about winning.
No evidence supports this idea.
Yes! They lovingly maintain their gloves, which are symbols of their youth.
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
sio
n©
Siri
us E
duca
tion
Solu
tions
Sampler
17 Reading Skill ■ Fiction
Reading Skill 6Understanding Historical
or Cultural SettingWorks written or set in an earlier time period or a distant place sometimes contain unfamiliar words, phrases, or figures of speech. Some of these cultural expressions, or idioms, may have a meaning different from the literal meaning of the words. These idioms often express the historical or cultural attitudes of the characters in the story. Context clues and other textual evidence can help you decode the meaning.
STAAR StrategyRead the drama excerpt and question below. Then read the steps for answering a question like this. In the excerpt, a girl named Anne is waiting at a train station. As she waits, she talks with the stationmaster, the person who manages the station.
1 Make sure you understand what you are being asked. It may help to turn the stem into a question. Then circle key words in the question.
What does the stationmaster’s figurative language in paragraph 1 1 indicate about Anne?
(E1.2C)
8 ANNE: . . . . I don’t ever expect to be a bride myself. I’m too homely. But I hope that someday I shall have a white dress. That is my highest ideal of earthly bliss.
[An older man, very tentative and shy, enters. He stands diffidently off to the side, looking around for something at first, and then focuses in on Anne and hears her last few lines.]
9 STATIONMASTER: [Sees the man and goes to him.] About time you got here, Matthew.
10 MATTHEW: Will the 5:30 train be long?
11 STATIONMASTER: Been in and gone half an hour. [Indicating Anne.] There she is. [Confidently.] She’s a case. Got a tongue runs longer than a freight train to Ottawa.
In paragraph 11, the stationmaster uses figurative language to indicate that Anne —
A has traveled a long way
B talks too much
C has a wild imagination
D cannot be fully trusted STAAR English I, 2012, #2
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
sio
n©
Siri
us E
duca
tion
Solu
tions
Sampler
18 English I EOC Reading ■ Literary Texts
2 Try answering the question in your head.
The stationmaster says something strange: “Got a tongue runs longer than a freight train to Ottawa.” I’m not sure what that means—it must be a figure of speech. Maybe she talks a lot or tries to trick people?
3 Confirm your answer among the answer choices. If your answer doesn’t match up, look for evidence in the text to support one of the responses given.
Both B and D seem like my answers. Reading paragraph 8, I don’t get the feeling that Anne is untrustworthy. It just seems as if she talks on and on. For instance, why is she talking to the stationmaster about being a bride? I think choice B is correct.
Guided Practice Read the selection and then respond to the question. Follow the STAAR strategy on the previous page.
“Okay, Doc,” Uncle Zeno says. “Keep your eye on the ball. Here it comes.”
The baseball in Uncle Zeno’s hand is almost invisible, a piece of smoke, a shadow. The woods on the far side of the pasture are already dark as sleep; the river twists through them by memory. Uncle Zeno tosses the ball gently toward the boy, who does not see it until its arc carries it above the black line of trees, where it hangs for a moment like an eclipse in the faintly glowing sky. The boy is arm-weary; he swings as hard as he is able. The bat and ball collide weakly. The ball drops to the ground at the boy’s feet. It lies there stunned, quivering, containing flight beneath its smooth skin. The boy switches the bat into his left hand, picks up the ball with his right, and throws it back to Uncle Zeno.
“I hit it just about every time,” the boy says.
“Batter, batter, batter, batter,” Uncle Al chirps in the field.
“Say, whatta-say, whatta-say, whatta-say,” chants Uncle Coran in the ancient singsong of ballplayers. The uncles are singing to the boy. He has never heard anything so beautiful. He does not want it to stop.
“Okay, Doc,” says Uncle Zeno. “One more. Now watch.”
Which of the following is an example of an expression related to the game of baseball?
F “Here it comes.”
G “I hit it just about every time”
H “Say, whatta-say, whatta-say, whatta-say”
J “One more. Now watch.”
Un
lawfu
l to p
ho
toco
py o
r pro
ject with
ou
t perm
ission
© Sirius Education Solutions
Sampler
19 Reading Skill ■ Fiction
Think About Your Thinking
In the chart below, note how you used the evidence in the paragraph to help you choose the answer. One line has been completed for you.
Answer Choices
Textual EvidenceIs answer
supported?
F “Here it comes” means what it says—here comes the ball. But this expression could apply to anything, not just baseball. no
G
H
J
Independent Practice You will have the opportunity to practice understanding a work’s cultural and historical setting in Fiction Practice 2.
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
sio
n©
Siri
us E
duca
tion
Solu
tions
Sampler
20 English I EOC Reading ■ Literary Texts
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
5 The correspondent2, pulling at the other oar, watched the waves and wondered why he was there.
6 The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain
1someone who oils the machinery of a ship2a reporter
Un
lawfu
l to p
ho
toco
py o
r pro
ject with
ou
t perm
ission
© Sirius Education Solutions
Sampler
21 Reading Practice ■ Fiction
FIGURATIVE LANGUAGE
What is the boat compared to in paragraph 9? How does this metaphor help to develop the story’s setting?
had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.
7 “Keep ‘er a little more south, Billie,” said he.
8 “’A little more south,’ sir,” said the oiler in the stern.
9 A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high. The manner of her scramble over these walls of water is a mystic thing, and, moreover, at the top of them were ordinarily these problems in white water, the foam racing down from the summit of each wave, requiring a new leap, and a leap from the air. Then, after scornfully bumping a crest, she would slide, and race, and splash down a long incline, and arrive bobbing and nodding in front of the next menace.
10 A singular disadvantage of the sea lies in the fact that after successfully surmounting one wave you discover that there is another behind it just as important and just as nervously anxious to do something effective in the way of swamping boats. In a ten-foot dinger one can get an idea of the resources of the sea in the line of waves that is not probable to the average experience that is never at sea in a dinghy. As each salty wall of water approached, it shut all else from the view of the men in the boat, and it was not difficult to imagine that this particular wave was the final outburst of the ocean, the last effort of the grim water. There was a terrible grace in the move of the waves, and they came in silence, save for the snarling of the crests.
...
11 In disjointed sentences the cook and the correspondent argued as to the difference between a life-saving station and a house of refuge. The cook had said: “There’s a house of refuge just north of the Mosquito Inlet Light, and as soon as they see us, they’ll come off in their boat and pick us up.”
12 “As soon as who see us?” said the correspondent.
13 “The crew,” said the cook.
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
sio
n©
Siri
us E
duca
tion
Solu
tions
Sampler
22 English I EOC Reading ■ Literary Texts
14 “Houses of refuge don’t have crews,” said the correspondent. “As I understand them, they are only places where clothes and grub are stored for the benefit of shipwrecked people. They don’t carry crews.”
15 “Oh, yes, they do,” said the cook.
16 “No, they don’t,” said the correspondent.
17 “Well, we’re not there yet, anyhow,” said the oiler, in the stern.
18 “Well,” said the cook, “perhaps it’s not a house of refuge that I’m thinking of as being near Mosquito Inlet Light. Perhaps it’s a life-saving station.”
19 “We’re not there yet,” said the oiler, in the stern.
Courtesy of the artist, Robert Quackenbush.
CHARACTER
What remark does the oiler make in paragraphs 17 and 19? Why do you think he repeats himself?
ANALYZE IMAGES
What does the image reveal about the story’s setting? Write down some things you learn about the story or characters from looking at the woodcut drawing.
Un
lawfu
l to p
ho
toco
py o
r pro
ject with
ou
t perm
ission
© Sirius Education Solutions
Sampler
23 Reading Practice ■ Fiction
1 Read the following from paragraph 1. (E1.5 Fig. 19B)
These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.
The reader can infer from this line that the characters —
A are happy to be on the open water
B have strong visual memories
C have all been to sea before
D are experienced fishermen
2 In paragraph 3, the word invariably means — (E1.1B)
F constantly
G worriedly
H nervously
J resentfully
3 From paragraph 6, the reader can infer that the captain — (E1.5B)
A had previously fought in a war
B has lost his mind
C is not respected by his crew
D is depressed over the loss of his ship
Un
law
ful t
o p
ho
toco
py
or
pro
ject
wit
ho
ut
per
mis
sio
n©
Siri
us E
duca
tion
Solu
tions
Sampler
24 English I EOC Reading ■ Literary Texts
4 Read the following from paragraph 9. (E1.7 Fig. 19B)
A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.
The author uses figurative language in this paragraph to show —
F the characters are like cowboys
G the setting is dangerous
H the sailors’ adventure is exciting
J the boat has a mind of its own
5 In paragraphs 11 through 19, what role does the oiler play in the development of the story? (E1.5B)
A He shares his knowledge about houses of refuge.
B He offers a pessimistic outlook.
C He acts as a realist and is concerned with the present.
D He tries to settle the argument between the others on the boat.
6 Which detail is emphasized more in the woodcut than it is in the story? (E1.12A)
F The captain’s mood
G The size of the boat
H The conditions at sea
J The relationship between the sailors
Un
lawfu
l to p
ho
toco
py o
r pro
ject with
ou
t perm
ission
© Sirius Education Solutions
Sampler
Using This Teacher’s Edition T5
24 English I EOC Reading ■ Literary Texts
4 Read the following from paragraph 9. (E1.7 Fig. 19B)
A seat in this boat was not unlike a seat upon a bucking bronco, and, by the same token, a bronco is not much smaller. The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.
The author uses figurative language in this paragraph to show —
F the characters are like cowboys
G the setting is dangerous
H the sailors’ adventure is exciting
J the boat has a mind of its own
5 In paragraphs 11 through 19, what role does the oiler play in the development of the story? (E1.5B)
A He shares his knowledge about houses of refuge.
B He offers a pessimistic outlook.
C He acts as a realist and is concerned with the present.
D He tries to settle the argument between the others on the boat.
6 Which detail is emphasized more in the woodcut than it is in the story? (E1.12A)
F The captain’s mood
G The size of the boat
H The conditions at sea
J The relationship between the sailors
Re
ad
ing
Pra
ctice ■ Fictio
n©
Sirius Education SolutionsAnswer Choice Explanations
4 F The author uses rodeo imagery not to suggest that the setting is similar to a rodeo, but to illustrate that the setting is wild and dangerous.
G Correct. The image of the boat bucking like a bronco, prancing and rearing, and rising for each wave “like a horse making at a fence outrageously high” illustrates the dangerous position the boat’s occupants are in.
H The figurative language is used to make the setting seem wild to the point of being dangerous, not exciting.
J The author uses animal imagery to illustrate how wild and dangerous the setting is, not to suggest that it is literally like an animal.
5 A The correspondent shares his knowledge about houses of refuge, not the oiler.
B “We’re not there yet” is a statement of fact; it is neither inherently pessimistic nor optimistic. It is a reminder of the reality of the situation.
C Correct. The oiler tells his fellow crewmembers twice, “We’re not there yet,” pointing out the futility of arguing about the house of refuge before they know if they’ll even make it there.
D The oiler does not get involved in the argument or try to stop it; he merely points out the reality of the situation.
6 F It is difficult to determine anything about the captain’s mood from the woodcut, but it is discussed in great detail in the story (paragraph 6).
G Correct. It is immediately clear from looking at the woodcut that the boat is tiny compared to the waves, but the physical description of the boat is more of a minor point in the story.
H The conditions at sea are emphasized greatly both in the woodcut (the large waves) and the story (paragraph 9).
J It is difficult to determine anything about the relationship between the sailors from the woodcut, but it is discussed in paragraphs 11 through 19 of the story.
24
Using This Teacher’s Edition
Active Reading in Genre Practice Each practice reading selection features activities that help students apply the reading skills taught in this workbook.
1 As You Read ActivityEach practice reading selection begins with an activity that helps students read with a purpose for that specific genre and selection. These activities help students
• practice annotating and making notes • understand the selection as a whole • focus on relevant TEKS content
2 Interactive Margin ActivitiesActivities in the margin are tied to specific practice questions that follow the selection. These activities help students
• find the information needed to answer questions• practice TEKS standards in free response activities • explain their thinking
Answer choice explanations are provided for EACH answer choice in all STAAR practice items.
A student who correctly answers a margin activity but misses the related practice item may have made a careless error despite possessing sufficient command of the skill. The converse may also be true, and both can provide important information to teachers.
20 English I EOC Reading ■ Literary Texts
Reading Practice Fiction 1Active ReadingAs You ReadIn the margin, write a C (for character) next to dialogue or details that help you understand what characters are thinking or feeling. Underline and write a P (for plot) next to events or conflict that the author uses to develop the plot.
VOCABULARY
Read invariably in paragraph 3 and think about its meaning. Break the word into word parts that you know. The suffix –ly means “in a way that is.” What does the prefix in– mean? What definition for invariably can you come up with looking at word parts?
Read the selection and choose the best answer to each question.
from The Open Boatby Stephen Crane
1 None of them knew the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in points like rocks.
2 Many a man ought to have a bath-tub larger than the boat which here rode upon the sea. These waves were most wrongfully and barbarously abrupt and tall, and each froth-top was a problem in small boat navigation.
3 The cook squatted in the bottom and looked with both eyes at the six inches of gunwale which separated him from the ocean. His sleeves were rolled over his fat forearms, and the two flaps of his unbuttoned vest dangled as he bent to bail out the boat. Often he said: “Gawd! That was a narrow clip.” As he remarked it he invariably gazed eastward over the broken sea.
4 The oiler1, steering with one of the two oars in the boat, sometimes raised himself suddenly to keep clear of water that swirled in over the stern. It was a thin little oar and it seemed often ready to snap.
5 The correspondent2, pulling at the other oar, watched the waves and wondered why he was there.
6 The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain
1someone who oils the machinery of a ship2a reporter
In a way that is not variable; constantly
P
C
C
C
3 Answer Choice Explanations
These explanations help teachers identify student mistakes and facilitate remediation.
Use these activities with small groups, partners, or individuals.
Activities use scaffolding to help students explain their thinking.
Red boxes show correct answers.
1
2
3
Teacher’s Edition Sampler
12 English I EOC Reading ■ Literary Texts
Reading Skill 4Analyzing Character
DevelopmentWriters create complex and believable characters in different ways.
Describe the character’s personality Sasha was obsessed with world events.
Describe the character’s appearance His shirt was rumpled and unevenly buttoned.
Use the character’s own words “I dress while watching the morning news,” he explained.
Tell the character’s inner thoughts and feelings He worried that a daily news item might escape his notice.
Show the character’s actions He listened to a podcast about North Korean famine, striding past the hungry beggar.
Show other characters’ reactions to the character
His daughter found it difficult to compete with the car radio during the ride home.
By combining details about a character with your own knowledge, you can make inferences about that character. When you answer a test question asking about a character, you’ll want to look for these details in the selection.
STAAR StrategyRead the question from a previous STAAR test below. The related passage follows the question. Then read the steps for answering a question like this.
1 Read each answer choice. Then read the relevant part of the selection. Underline and label details relating to each answer choice.
(E1.5B)
From the paragraph, the reader can infer that the three uncles —
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally STAAR English I, 2014, #28
All three of the uncles wear the small, pocketless, old-fashioned baseball gloves they have had since they were boys. Uncle Al’s mitt was made for a right-handed fielder, but he has worn it on the wrong hand for so long that he no longer notices that it doesn’t fit. Each uncle would still gladly play a game of baseball, should anyone ask, although no one has asked for years. They keep their tiny, relic gloves properly oiled, however, as if such invitations were not only commonplace, but imminent.
H
H
13 Reading Skill ■ Fiction
2 Evaluate the evidence you underlined. Cross out answer choices not supported by evidence.
F think that winning is important
G prefer baseball to all other games
H miss the days of their youth
J used to play baseball professionally
Guided Practice Read the paragraph and question. Follow the steps for analyzing a character. Remember: underline details that support specific answer choices, and cross out answer choices not fully supported by evidence.
Think About Your Thinking
In the chart below, note how you evaluated each answer choice.
Answer Choices
Textual EvidenceIs inference supported?
A Reference to when “the army loses,” doesn’t apply to the captain specifically. no
B
C
D
Independent PracticePractice analyzing character in Fiction Practice 1 and 2, and Paired Practice 2 and 3.
The injured captain, lying in the bow, was at this time buried in that profound dejection and indifference which comes, temporarily at least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army loses, the ship goes down. The mind of the master of a vessel is rooted deep in the timbers of her, though he commanded for a day or a decade, and this captain had on him the stern impression of a scene in the greys of dawn of seven turned faces, and later a stump of a top-mast with a white ball on it that slashed to and fro at the waves, went low and lower, and down. Thereafter there was something strange in his voice. Although steady, it was deep with mourning, and of a quality beyond oration or tears.
From the paragraph, the reader can infer that the captain —
A has previously fought in a war C is not respected by his crew
B has lost his mind D is depressed over the loss of his ship
A
There is no mention that the uncles played professionally.
No evidence explains how they feel about winning.
No evidence supports this idea.
Yes! They lovingly maintain their gloves, which are symbols of their youth.
The captain “sees” the ship going down, but this is a real memory; he’s not insane. no
No evidence supports this response. noHis voice is “deep with mourning,” haunted by vision of his ship going down. yes
D
D
B{
{
En
glish
I EO
C R
ea
din
g ■ Literary Texts
© Sirius Education Solutions
12–13
Teacher’s Edition Sampler
16 English I EOC Reading ■ Literary Texts
Think About Your Thinking
In the chart below, note how you evaluated each answer choice based on the evidence in the paragraph. One evaluation has been completed for you.
AnswerChoices
EvaluationIs answer
supported?
F The narrator is telling the story to Marge, so the reader is a secondhand witness. no
G
H
J
Independent Practice You will have the opportunity to practice analyzing point of view in Fiction Practice 2.
The reader does not tell the story, so this is not the correct answer. no
Yes, we are listening to, or observing, the narrator as she tells the story to Marge, so we become third-party observers. yes
The reader does not participate in the story. no
17 Reading Skill ■ Fiction
Reading Skill 6Understanding Historical
or Cultural SettingWorks written or set in an earlier time period or a distant place sometimes contain unfamiliar words, phrases, or figures of speech. Some of these cultural expressions, or idioms, may have a meaning different from the literal meaning of the words. These idioms often express the historical or cultural attitudes of the characters in the story. Context clues and other textual evidence can help you decode the meaning.
STAAR StrategyRead the drama excerpt and question below. Then read the steps for answering a question like this. In the excerpt, a girl named Anne is waiting at a train station. As she waits, she talks with the stationmaster, the person who manages the station.
1 Make sure you understand what you are being asked. It may help to turn the stem into a question. Then circle key words in the question.
What does the stationmaster’s figurative language in paragraph 1 1 indicate about Anne?
(E1.2C)
8 ANNE: . . . . I don’t ever expect to be a bride myself. I’m too homely. But I hope that someday I shall have a white dress. That is my highest ideal of earthly bliss.
[An older man, very tentative and shy, enters. He stands diffidently off to the side, looking around for something at first, and then focuses in on Anne and hears her last few lines.]
9 STATIONMASTER: [Sees the man and goes to him.] About time you got here, Matthew.
10 MATTHEW: Will the 5:30 train be long?
11 STATIONMASTER: Been in and gone half an hour. [Indicating Anne.] There she is. [Confidently.] She’s a case. Got a tongue runs longer than a freight train to Ottawa.
In paragraph 11, the stationmaster uses figurative language to indicate that Anne —
A has traveled a long way
B talks too much
C has a wild imagination
D cannot be fully trusted STAAR English I, 2012, #2
En
glish
I EO
C R
ea
din
g ■ Literary Texts
© Sirius Education Solutions
16–17
16 English I EOC Reading ■ Literary Texts
Think About Your Thinking
In the chart below, note how you evaluated each answer choice based on the evidence in the paragraph. One evaluation has been completed for you.
AnswerChoices
EvaluationIs answer
supported?
F The narrator is telling the story to Marge, so the reader is a secondhand witness. no
G
H
J
Independent Practice You will have the opportunity to practice analyzing point of view in Fiction Practice 2.
The reader does not tell the story, so this is not the correct answer. no
Yes, we are listening to, or observing, the narrator as she tells the story to Marge, so we become third-party observers. yes
The reader does not participate in the story. no
17Reading Skill ■ Fiction
Reading Skill 6Understanding Historical
or Cultural SettingWorks written or set in an earlier time period or a distant place sometimes contain unfamiliar words, phrases, or figures of speech. Some of these cultural expressions, or idioms, may have a meaning different from the literal meaning of the words. These idioms often express the historical or cultural attitudes of the characters in the story. Context clues and other textual evidence can help you decode the meaning.
STAAR StrategyRead the drama excerpt and question below. Then read the steps for answering a question like this. In the excerpt, a girl named Anne is waiting at a train station. As she waits, she talks with the stationmaster, the person who manages the station.
1 Make sure you understand what you are being asked. It may help to turn the stem into a question. Then circle key words in the question.
What does the stationmaster’s figurative language in paragraph 1 1 indicate about Anne?
(E1.2C)
8 ANNE: . . . . I don’t ever expect to be a bride myself. I’m too homely. But I hope that someday I shall have a white dress. That is my highest ideal of earthly bliss.
[An older man, very tentative and shy, enters. He stands diffidently off to the side, looking around for something at first, and then focuses in on Anne and hears her last few lines.]
9 STATIONMASTER: [Sees the man and goes to him.] About time you got here, Matthew.
10 MATTHEW: Will the 5:30 train be long?
11 STATIONMASTER: Been in and gone half an hour. [Indicating Anne.] There she is. [Confidently.] She’s a case. Got a tongue runs longer than a freight train to Ottawa.
In paragraph 11, the stationmaster uses figurative language to indicate that Anne —
A has traveled a long way
B talks too much
C has a wild imagination
D cannot be fully trusted STAAR English I, 2012, #2
En
glish
I EO
C R
ea
din
g ■ Literary Texts
© Sirius Education Solutions
16–17
16 English I EOC Reading ■ Literary Texts
Think About Your Thinking
In the chart below, note how you evaluated each answer choice based on the evidence in the paragraph. One evaluation has been completed for you.
AnswerChoices
EvaluationIs answer
supported?
F The narrator is telling the story to Marge, so the reader is a secondhand witness. no
G
H
J
Independent Practice You will have the opportunity to practice analyzing point of view in Fiction Practice 2.
The reader does not tell the story, so this is not the correct answer. no
Yes, we are listening to, or observing, the narrator as she tells the story to Marge, so we become third-party observers. yes
The reader does not participate in the story. no
17Reading Skill ■ Fiction
Reading Skill 6Understanding Historical
or Cultural SettingWorks written or set in an earlier time period or a distant place sometimes contain unfamiliar words, phrases, or figures of speech. Some of these cultural expressions, or idioms, may have a meaning different from the literal meaning of the words. These idioms often express the historical or cultural attitudes of the characters in the story. Context clues and other textual evidence can help you decode the meaning.
STAAR StrategyRead the drama excerpt and question below. Then read the steps for answering a question like this. In the excerpt, a girl named Anne is waiting at a train station. As she waits, she talks with the stationmaster, the person who manages the station.
1 Make sure you understand what you are being asked. It may help to turn the stem into a question. Then circle key words in the question.
What does the stationmaster’s figurative language in paragraph 1 1 indicate about Anne?
(E1.2C)
8 ANNE: . . . . I don’t ever expect to be a bride myself. I’m too homely. But I hope that someday I shall have a white dress. That is my highest ideal of earthly bliss.
[An older man, very tentative and shy, enters. He stands diffidently off to the side, looking around for something at first, and then focuses in on Anne and hears her last few lines.]
9 STATIONMASTER: [Sees the man and goes to him.] About time you got here, Matthew.
10 MATTHEW: Will the 5:30 train be long?
11 STATIONMASTER: Been in and gone half an hour. [Indicating Anne.] There she is. [Confidently.] She’s a case. Got a tongue runs longer than a freight train to Ottawa.
In paragraph 11, the stationmaster uses figurative language to indicate that Anne —
A has traveled a long way
B talks too much
C has a wild imagination
D cannot be fully trusted STAAR English I, 2012, #2
En
glish
I EO
C R
ea
din
g ■ Literary Texts
© Sirius Education Solutions
16–17
Teacher’s Edition Sampler
To obtain a copy of the remaining answers to this Sampler, email:
23 Reading Practice ■ Fiction
1 Read the following from paragraph 1. (E1.5 Fig. 19B)
These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea.
The reader can infer from this line that the characters —
A are happy to be on the open water
B have strong visual memories
C have all been to sea before
D are experienced fishermen
2 In paragraph 3, the word invariably means — (E1.1B)
F constantly
G worriedly
H nervously
J resentfully
3 From paragraph 6, the reader can infer that the captain — (E1.5B)
A had previously fought in a war
B has lost his mind
C is not respected by his crew
D is depressed over the loss of his ship
En
glish
I EO
C R
ea
din
g ■ Literary Texts
© Sirius Education Solutions
Answer Choice Explanations
1 A There is no evidence to suggest the men are happy to be on the open water. Their feelings are not discussed.
B It is not necessary for the men to have strong visual memories for them to be familiar with the colors of the sea.
C Correct. The line says “all of the men knew the colors of the sea,” suggesting that they’ve been out to sea before.
D It can be inferred that the men have been out to sea before, but not that they are fishermen.
2 F Correct. Invariably is an adverb comprising the prefix in– (“not”) and the stem variable (“changeable”). Something that is done invariably is done constantly.
G While the character may be worried, his act of gazing out to the sea is not done worriedly but instead done constantly while he speaks.
H Invariably does not mean “nervously.”J Invariably never means “resentfully.”
3 A A ship going down is compared to an army losing in this paragraph, but there is no evidence to suggest that the captain has personal experience of the latter.
B Although the passage describes how the mind of a captain is rooted in the timbers of the ship, this is purely figurative and there is no evidence to suggest the captain has “lost his mind” (i.e., gone crazy).
C There is no mention in this paragraph of how the captain’s crew responds to him.
D Correct. The captain is described as being buried in the “profound dejection” (a synonym for depression), which happens when “the ship goes down.”
23
Teacher’s Edition Sampler
To obtain a copy of the remaining answers to this Sampler, email:
9 781943 008629Printed in Texas on recycled paper.
ENGLISH I EOC READINGSTAAR® Preparation and Practice
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
• 31 passages with over180 authentic STAAR questions
• 18 reading skills with STAAR Strategies
• 3-step approach for efficient remediation
ENG
LISH I EO
C READ
ING
STAA
R Preparation and Practice
1: Literary TextsFiction
Diagnostic Test, Reading Skills & Practice,Post Test
DramaDiagnostic Test, Reading Skills & Practice,Post Test
Literary NonfictionDiagnostic Test, Reading Skills & Practice,Post Test
PoetryDiagnostic Test, Reading Skills & Practice,Post Test
2: Informational TextsExpository
Diagnostic Test, Reading Skills & Practice,Post Test
PersuasiveDiagnostic Test, Reading Skills & Practice,Post Test
3: Paired TextsDiagnostic Test, Reading Skills & Practice,Post Test
ENGLISH I EOC READING CONTENTS
Visit SiriusEducationSolutions.com for additional STAAR EOC resources.
2017UPDATE
2017 UPDATE
Page 2 © Sirius Education Solutions
Written Composition
STUDENTS MAY NOT WRITE OUTSIDE OF THE BOX
Page 1 © Sirius Education Solutions
1 A DB C
2 F JG H
3 A DB C
4 F JG H
5 A DB C
6 F JG H
7 A DB C
8 F JG H
9 A DB C
10 F JG H
11 A DB C
12 F JG H
13 A DB C
14 F JG H
15 A DB C
16 F JG H
17 A DB C
18 F JG H
19 A DB C
20 F JG H
21 A DB C
22 F JG H
23 A DB C
24 F JG H
25 A DB C
26 F JG H
Name Class Date Form
STAAR English I Practice Test Student Answer Sheet
27 A DB C
28 F JG H
29 A DB C
30 F JG H
31 A DB C
32 F JG H
33 A DB C
34 F JG H
35 A DB C
36 F JG H
37 A DB C
38 F JG H
39 A DB C
40 F JG H
41 A DB C
42 F JG H
43 A DB C
44 F JG H
45 A DB C
46 F JG H
47 A DB C
48 F JG H
49 A DB C
50 F JG H
51 A DB C
52 F JG H
2017 UPDATE
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
STAAR® ENGLISH IPractice Test—Form B
2017 UPDATE
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
STAAR® ENGLISH IPractice Test—Form A
2017 UPDATE
STAAR® is a registered trademark of the Texas Education Agency, which does not endorse this program or its content.
STAAR® ENGLISH IPractice Test—Forms A & BTeacher’s Edition
Table of Contents Form A
Answer Key 1 Composition Sample Responses 2 Answer Explanations 4
Form B Answer Key 12 Composition Sample Responses 13 Answer Explanations 15
References STAAR English I Expository Compositions 22 Tips for Grading Expository Responses 24 Student Answer Sheet 26
Copyright © 2017 by Sirius Education Solutions LLC. All rights reserved. No part of this work may be reproduced or distributed in any form or by any means, electronic, mechanical, photocopying, scanning, recording, or stored in a database or retrieval system, without the prior written permission of the publisher.
STAAR® is a registered trademark of the Texas Education Agency. The Texas Education Agency does not endorse this program or its content. Sirius Education Solutions LLC is not affiliated with the Texas Education Agency or the State of Texas.
Printed in Texas.
Possession of this publication in print format does not entitle users to convert this publication, or any portion of it, into electronic format. Thank you for respecting the copyright and the hard work involved in creating this product.
Practice Test – Form A Answer Key
© Sirius Education Solutions 1
Item Number
Reporting Category
Readiness or Supporting
Content Student Expectation
Correct Answer
1 5 Supporting E1.16(A) C 2 5 Supporting E1.16(A) G 3 5 Readiness E1.13(C) A 4 5 Readiness E1.13(C) G 5 5 Readiness E1.13(C) D 6 5 Supporting E1.15(A) F 7 5 Readiness E1.13(C) B 8 5 Readiness E1.13(C) H 9 5 Supporting E1.15(A) D 10 6 Readiness E1.19(A) G 11 6 Readiness E1.13(D) A 12 6 Readiness E1.17(C) J 13 6 Supporting E1.18(B) B 14 6 Supporting E1.18(B) G 15 6 Readiness E1.17(C) A 16 6 Readiness E1.19(A) H 17 6 Supporting E1.18(B) A 18 6 Supporting E1.17(A) G 19 2 Readiness E1.5(B) C 20 1 Readiness E1.1(B) G 21 2 Supporting E1.2(C) C 22 2 Readiness E1.5(B) G 23 2 Readiness E1.5(B) A 24 2 Supporting E1.7 Fig. 19(B) H 25 1 Readiness E1.1(B) B 26 3 Readiness E1.8(A) H 27 3 Readiness E1.9(C) A 28 3 Readiness E1.9(C) G 29 3 Readiness E1.9(C) D 30 3 Readiness E1.9(C) J 31 3 Supporting E1.12 Fig 19(B) B 32 3 Readiness E1.9(C) F 33 1 Readiness Fig. 19(B) D 34 1 Readiness Fig. 19(B) G 35 1 Readiness Fig. 19(B) C 36 1 Readiness Fig. 19(B) H 37 2 Supporting E1.4(A) D 38 2 Supporting E1.4(A) H 39 2 Supporting E1.4(A) A 40 2 Supporting Fig. 19(B) J 41 2 Supporting E1.4(A) A 42 2 Supporting E1.4(A) H 43 2 Supporting E1.2B B 44 2 Supporting Fig. 19(B) F 45 2 Supporting Fig. 19(B) B 46 1 Readiness E1.1(B) H 47 2 Supporting E1.2B C 48 2 Supporting E1.6(A) F 49 2 Supporting Fig. 19(B) B 50 2 Supporting E1.6(A) F 51 2 Supporting Fig. 19(B) C 52 1 Readiness E1.1E J
Practice Test – Form A Answer Explanations
4 © Sirius Education Solutions
1 A This sentence states a fact but does not state the writer’s position.
B This sentence is unnecessarily harsh and accusative and might turn off readers.
C Correct. The position statement clarifies the focus of the paper, making it clear why Monika wants readers to support water conservation.
D This sentence focuses on the writer and does not effectively influence the reader.
2 F This personal anecdote supports the idea
that the summer of 2011 was hot, but not the hottest.
G Correct. This sentence provides statistical evidence to prove that the summer of 2011 was the hottest.
H This fact is common knowledge and does very little to support sentence 8.
J This fact is interesting, but not relevant to sentence 8 since it discusses water, not temperature.
3 A Correct. The pronoun referent of they
is unclear, so it’s best to replace they with The wildfires.
B Demolish means “to knock down.” Fires typically consume things, rather than knock them down.
C It is unclear whether all the homes destroyed were houses, so this replacement is problematic.
D Inhabitants is awkwardly formal for this context.
4 F Changing sentence 34 into an introductory
clause using when creates an inappropriate causal relationship between the ideas in the original two sentences.
G Correct. The revised sentence correctly uses a semicolon to join two independent clauses. The adverb similarly strengthens the connection between the subjects of each clause.
H The revised sentence incorrectly uses a compound subject, farmers and ranchers, because ranchers do not lose money when their crops fail and farmers do not have to spend more money to get feed and water for their livestock.
J The coordinating conjunction then creates an inappropriate chronological relationship between the ideas in the original two sentences.
5 A The adverb wisely correctly modifies the
verb using. The adjective wise would be incorrect in this context.
B Insure means “to get insurance,” which would be inappropriate in this context. An acceptable replacement would be ensure, “to make certain,” but the change would not make the sentence any clearer.
C Wildlife is a broad category that includes more than just mammals; for example, birds, insects, and lizards. Substituting wildlife with mammals would be incorrectly limiting.
D Correct. Desires are things that are strongly wished for or wanted, but not necessarily needed. The focus of the paper is on how essential water is for living things, so needs is a more appropriate word choice.
6 F Correct. The sentence introduces the
topic of the paper and makes readers want to learn more about it.
G This sentence provides the same information as the original sentence and is unnecessarily wordy.
H This sentence focuses on the writer and not the topic of the paper, which is still a mystery.
J This statement identifies the paper’s topic, but because it uses the Latin name, readers are still in the dark about what the topic actually is.
Includes student Answer Sheets
Full explanations
Student booklets
Teacher’s Edition
STAAR ENGLISH I EOC
Practice Tests Forms A & BTwo full-length authentic practice tests that match the STAAR blueprint and released test items.
Practice Tests are sold in 10-packs: 10 Form A & 10 Form B student booklets with bubble sheets, and 1 Teacher’s Edition