CALI.FTORNIA STATN UNIVAR$ITY SAN MARCOS PROJSCTSIGNATITREPAGB PROJECTSUBMITTEDIN PARTTAL FULLFILLMENT OFTIIE KEQUTREMENTS FORT}IB DEGREE MASTER OF ARTS rN EDUCA PROJECTTITLE PrewritingStategies for Mainstrearn EnglishLeirnrers AUTHOR: Elizabeth Bas,sett DEFENSE: May 3,2012 DATEOF SUCCtsSSFUL TI{E PROJECT IIAS tsI,XNACCNPTtsDBY THNPROJECTCOMMITTEEIN PARTIAI, I.:ULI,FII.,[,MENT FOR THE DEGREB OF OFTI{E RNQUIREMENTS MASTER OF *nTS Dr. AnnefteDaoud PROJACTCOMhdITTRACIIAIR Dr. ErikaDaniels PROJECTCOMMIT'TIiEMEMBER PROJECTCOMMITTEE MAMBER SI$NATURE I r SlgllALz DAr$l7-- DATE
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Prewriting Strategies for Mainstream English Learners 34
successful in the lesson is presented at the start of the class. A detailed explanation of this
vocabulary is presented later in the lesson. This is a reminder - to introduce specific
vocabulary so that all students can grasp the new concepts. Here is where specific
prewriting strategies that we were to learn are outlined. The rest of the lesson plan
template is divided into three parts: into activities, through activities, and beyond
activities. A template of the SDAIE lesson plan format is provided in Appendix A.
The first part of each SDAIE lesson, into activities, gave the researcher a chance
each day at the start of the class, to summarize the upcoming lesson. This allowed
students to be aware of what they would be required to do during that period. For each
prewriting activity that we did, the researcher explained to students what was involved in
the activity and what they would be doing with the concept. Following the
summarization, an anticipatory activity occurred where students would have a warm-up
or something that introduced them to the new information. Once students completed the
into or introduction activities, the “teaching” began. Students were first provided with
new information on a new concept, thoroughly explaining the vocabulary, and offering
them a chance to ask questions and receive clarification on the material. Because it was
imperative that students understand how to complete each prewriting activity, the
researcher provided students with information on why the tool is useful, what type of the
seven intelligences it might be best suited for, and clear instructions on how to complete
the task. Once students were presented the new material, guided practice occurred. A
vital part of guided practice is teacher modeling. The researcher modeled for the students
what was expected of them to be able to do. The researcher slowly and precisely walked
Prewriting Strategies for Mainstream English Learners 35
students through the process of doing it, and in so doing saw them complete the process
under my supervision. The researcher was able to see who was struggling and what
material needed more re-teaching. Whatever prewriting strategy we were learning,
students saw how to complete the process successfully.
Lastly, was the independent practice. This is the place in the lesson where
students are required to complete the process on their own, without the teacher’s help. It
might be an individual or a small group activity where students work without teacher
guidance. For each prewriting activity we did, the researcher provided them with a
scoring sheet and gave it to them at the start of the independent practice. An essential
component of the independent practice is time. Students, especially ELs, need sufficient
time to complete an activity and cannot be rushed because they are learning both the
content and the language. The independent practice occurred within one class period or
continued over a span of several days. At the end of the period, five minutes were left to
complete a closure activity. The researcher summarized what was taught that day and
might require students to leave by completing an exit slip if necessary. This exit slip is a
short activity such as one or two questions that they must answer about that day’s lesson
in order to exit the room; an alternative is also to ask them to write one or two questions
they had about the activity or something for which they needed clarification.
Procedures
The best practices that were discussed in the literature review included using
multiple intelligences that enabled students of all learning styles to be successful in
prewriting. This required the activities to target kinesthetic, visual, and auditory learners.
Prewriting Strategies for Mainstream English Learners 36
It was stated that students learn best when they were provided with detailed explanations
of how to successfully complete the activity through teacher modeling. In order for the
best practices to be inserted into the prewriting activities, the researcher created a survey
to determine all students understanding of prewriting and familiarity as well as
determining what their preference was for learning. Next, the researcher created lesson
plans for each activity. A SDAIE lesson plan was made for each prewriting activity that
include the into, through, and beyond activities.
The focus of much of the literature reviewed for this project, stated that students
need to visually see how to successfully complete an assignment. Much of the research
presented in an array of articles stated that all expectations should be displayed prior to
any independent work. Therefore, students needed instruction on what they would be
doing as well as modeling of what a successful completion of the pre writing activity
looked like. Plenty of time was delegated for each activity. Many of the best practices
outlined in the research stated that because students are grasping concepts and language
skills, students need a considerable amount of time to complete the activity. In each
lesson, a minimum of one class period was devoted to the prewriting activity.
The desired goal was that most if not all prewriting occurred in the classroom so
that students and the researcher could answer emerging questions. Activities that were
designed included journal writing, using graphic organizers both hard copies and digital,
using manipulatives such as legos to construct their draft, and movement around the
classroom with specific symbols to represent new ideas, old ideas, connection between
the two, etc. Lastly, visualization activities once ideas had been established took place
Prewriting Strategies for Mainstream English Learners 37
where students used pictures and symbols to compose their prewriting ideas. The above
activities support the notion made in many scholarly articles that learning should be
multi-modal which allows students to be most successful.
The time frame for implementing the curriculum will span over the course of a
school year. Approximately 6-8 weeks will be spent on each unit and the writing portion
will immediately follow the close of the reading portion. For example, students read the
novel the To Kill a Mockingbird which was read half at home and half in class and took
about 4 weeks to complete. Students then began their prewriting activity on the 5th week
and were actively involved with prewriting for about 3 days.
Project Evaluation
In order to evaluate the created curriculum presented in chapter four, a set of
standards was used to determine if my curriculum was successful. Students learn best
when “abstract concepts are concretized and contextualized along with active
engagement and involvement of the learner” (Cline & Necochea, 2003, p. 20). The
lessons that students participated in during the prewriting curriculum was deemed
successful if students consistently were actively involved in the learning process. Lecture
was kept to a minimum and a majority of the time was spent on teaching modeling and
independent practice.
The focus of the curriculum was to use activities that relied on multiple
intelligences. Cline and & Necochea (2004) state it is imperative that students “…use
visuals, manipulatives, technology and realia” which will “help language learners both in
the aquistion of English and the understanding of abstract concepts” (p.20). The
Prewriting Strategies for Mainstream English Learners 38
curriculum was evaluated based on the students’ ability to not only understand the
concepts but be able to apply their knowledge successfully to partake in each prewriting
activity. The researcher used manipulatives, visuals, and technology in order for students
to grasp the abstract concepts.
Wiggins & McTighe (2004) state that a successful curriculum follows the three
stages of backwards design: desired results, evidence, and learning plan. To create a
successful curriculum, the researcher set out to follow the backwards design method and
began by identifying the desired outcome. First, it was decided what knowledge, skills,
and big ideas the students needed to grasp. After creating a list of the type of prewriting
strategies students needed to learn, it was determined how the activities needed to be
developed for the prewriting activities as well as ways to make it meaningful for students.
The curriculum was designed by beginning with direct instruction with lecture and
questioning students. Then, students received instructions of how to make meaning to the
content. Guided practice, discussion, reciprocal teaching, and feedback from students
was implemented. Lastly, transfer of knowledge where clear performance goals and
supervision of their independent practice was provided (Wiggins & McTige, 2004). This
curriculum was evaluated on the discussed standards and whether or not students are able
to apply their gained knowledge of how to prewrite to various writing activities.
Summary of Chapter
The goal of this chapter was to prepare for the creation of the curriculum aimed at
improving the prewriting skills for mainstream English learners. Students were given
step-by-step instructions on how to not only complete the prewriting activities but how
Prewriting Strategies for Mainstream English Learners 39
they were be graded. Explicit instruction occurred for each activity followed by guided
practice, and independent practice. Various instruments were used over the course of the
semester which narrowed in on a variety of learning styles. These instruments included
graphic organizers, manipulatives, and visualization tools. The curriculum created in this
next chapter will challenge students to prewrite using a variety of instruments and will
prepare them for any writing assignment. Each activity as well as the entire curriculum
was evaluated on a set of standards based on SDAIE strategies and Understanding by
Design. It was my goal for students to be able to enjoy the activities as well as being able
to take their new found knowledge of how to prewrite and be successful in future writing
tasks.
Prewriting Strategies for Mainstream English Learners 40
Chapter Four
Prewriting Strategies Curriculum
The curriculum that many teachers use for prewriting is more often than not a
premade graphic organizer that students use to fill in and organize their ideas before the
drafting process. However, many students struggle with writing, and sitting in their desk
staring at a blank sheet of paper become daunting. It is imperative for the success of the
students for teachers to “embrace the diversity in the classroom…allowing teachers to
accept diverse approaches to learning” (Young, p. 235, 1996). Because there is such an
array of learning styles, it is imperative that teachers offer multi-intelligence activities
during the prewriting step so all students can more easily develop their ideas.
What challenges do English learners face when acquiring a new language? What
prewriting strategies would help ELs develop and organize their ideas in order to begin
the drafting process? Would multi-intelligence activities using alternative ways of
learning such as using manipulatives and movement be useful to ELs during their
prewriting phase? Would providing ELs with the SDAIE lesson plan format benefit their
ability to pre write? These questions are considered to develop lessons to improve the
skills students have during prewriting.
Because English learners struggle with both language barriers and understanding
content, they often times feel “ostracized by dominantly linguistic approaches to
learning” (Young, p. 235, 1996). In order for some learners to be successful at writing,
alternative techniques need to be implemented so that all students are successful in
Prewriting Strategies for Mainstream English Learners 41
developing and organizing their ideas. This curriculum meets the needs of most all
learning styles and hinges on the use of multi-intelligence practices. The curriculum
designed for eighth grade language arts and its purpose is to improve students’ prewriting
skills as well as instructing students on ways in which they learn the best. The curriculum
includes the direct instruction, modeling, activities, and assessments the teacher and
students would partake in.
The curriculum is titled Prewriting strategies for English learners; however, the
activities may be applied with other students as well as different levels and subjects. This
curriculum is designed around the 8th grade literary works including Flowers for
Algernon, short stories including Edgar Allan Poe, Anne Frank, The Girl or the Tiger, To
Kill a Mockingbird, and a poetry unit. California English language arts (ELA) standards
as well as English language development (ELD) standards are incorporated in each lesson
plan. The curriculum is divided into six units: three occur during one semester and the
other three occur during the second semester. Each unit will take approximately 6-8
weeks and much of the reading is done in class. Each lesson plan will include: ELA
standards, ELD standards, language and learning objectives, academic vocabulary, and a
resources needed to complete each activity. Every other day for the entire year, students
will free write for the first five minutes of class. Students at the start of the year will be
instructed on the “rules” of free writing. Students are to write for the entire five minutes
and if they get stuck, they are to write a word or phrase over and over until another
thought comes into their head. This repetition of non-stop writing allows the students to
Prewriting Strategies for Mainstream English Learners 42
feel more confident in writing because it becomes easier. An anticipatory activity which
will link students’ prior knowledge to the new concept will begin the lesson followed by
direct instruction and modeling on how to successfully complete each prewriting
strategy; independent practice where students work independently or with a partner will
follow. All prewriting activities are solely done in class; however, if needed, students can
complete unfinished work at home. An assessment of each prewriting task will occur and
students will be instructed on what is expected from each task wither from a rubric or
checklist. Because this curriculum is solely designed for prewriting, there will not be
instruction on the rest of the writing process. On each lesson plan, it
will state what literary work the prewriting activity goes with but there will not be lessons
involving that particular piece of literature.
Prewriting Strategies for Mainstream English Learners 43
Lessons Standards Objectives Activity Assessment Lesson 1: Writing Create a diagram or Graphic organizer ~Graphic Prewriting Strategies 1.2 & map using using the software organizer made activity on 1.3 Inspiration that program Inspiration on Inspiration Flowers for Writing shows arguments to create notes for ~ A rubric will Algernon Applications
2.0d: and counter arguments
persuasive speech be provided for students
Lesson 2: Writing Complete the entire Students complete ~Graphic Prewriting Strategies: 1.6 graphic organizer; pre-made graphic organizer activity for short Writing include specific organizer to graded using a story for the Applications: details to include in prepare them to provided rubric Edgar Allan Poe 2.1a,b,& c their own short write a cohesive short story unit story short story
Lesson 3: Writing Students will Visualization ~Check off Prewriting Strategies 1.1 & illustrate their ideas activity for chart to activity for Anne 1.6 with commentary reflective essay determine if all Frank unit Writing
Applications 2.1c and provide evidence
requirements are met
Lesson 4: Writing ~Use movement to Movement using ~Notes taken Prewriting Strategies 1.1 & map out their body symbols for ideas- by partner that Activity on The 1.6 paragraph in their students work in outlines Lady or the Tiger Writing
Applications 2.2d essay ~Provide support from the text to defend claim
pairs student’s movements and students reflection
Lesson 5: Writing ~Use legos to map Students use legos ~Sketch or map Prewriting Strategies: 1.1, out their essay to construct their of lego Activity on To 1.2, 1.3, & 1.6 ~Understand the outline for their construction Kill a Writing importance of each essay ~Identification Mockingbird Applications:
2.2b & 2.2d element of an essay by providing it in their model
of all elements for the essay
Lesson 6: Prewriting activity for poetry unit
Writing Applications 2.2 a &b
Incorporate poetic techniques in each entry learned from a particular lesson
Students will work in stations to brainstorm and prewrite for each form of poetry
~Graded on final drafts of poetry projects
Prewriting Strategies for Mainstream English Learners 44
Unit 1 CURRICULUM AREA/DURATION OF Flowers for Algernon LESSON Day 1 (Even day) 8th grade Language Arts
3-4 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Applications 2.2d: Response to Literature Support judgments through references to the text, other works, other authors, or to personal knowledge Writing Strategies 1.2 &1.2 1.1 Create compositions that establish a
controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. 1.2 Establish coherence within and among paragraphs through effective transitions, parallel structures, and similar writing techniques.
ELD STANDARD(S) Writing Strategies and Application: Organization & focus, evaluation & revision Intermediate: Proceed through the writing process to write short paragraphs that contain supporting details about a given topic. There may be some inconsistent use of standard grammatical forms. Early Advanced: Write persuasive and expository compositions that include a clear thesis, describe organized points of support, and address a counter argument.
Language Objective: Students will be able Learning Objective: All students will be to organize their arguments and counter able to successfully complete the prewriting arguments through using the computer activity and have hard copy of their program Inspiration. prewriting to use for drafting their
persuasive speech.
KEY VOCABULARY RESOURCES AND MATERIALS (INCLUDING Argument: a reason to support your point SUPPLEMENTARY AND ADAPTED) of view • Software program inspiration Counter Argument: An argument that is in • Flowers for Algernon text opposition of the main argument. The counter argument tries to invalidate the argument
TIME LESSON/ACTIVITIES
5 minutes Every even class period (on even days- 2nd, 4th, 6th…) students will free write in a provided journal which they will leave in class. They will write for five consecutive minutes without stopping. Rules on how to journal correctly, will occur at the start of the year. Even though it will not be included in the following lessons, please note that it will occur in the
m
Prewriting Strategies for Mainstream English Learners 45
classroom on the designated days.
15-20 minutes
Argument
Developing/Reviewing Key Vocabulary Students will take out a sheet of paper for notes on key vocabulary to reference when prewriting These instructions can be done on a smart board, document camera, of white board depending on choice or access to technology. ∗ On one side of the board, write the word ARGUMENT and on the other
side of the board write the word COUNTERARGUMENT (best to write the words in two different colors)
∗ Begin with ARGUMENT- write the definition • an argument is a main idea, often called a "claim" or "thesis
statement," backed up with evidence that supports the idea. Inform students that we are going to do an example together not related to Flowers for Algernon to fully comprehend what each vocabulary word
eans • Provide students with an example argument: • A later start time for school from 8:02 to 9:00 am.
Write this on the board below the definition • Include an arrow labeling it ARGUMENT
Ask students to list some reasons of why this is a good idea and write their answers on the board- only ask for two or three. Label those reasons with an arrow and label is SUPPORT ∗ Now, go to the other side of the board and write the definition of
COUNTERARGUMENT and students take notes on what I am writing. ∗ Verbally, ask why is it important to have counterarguments in your
speech? • Counterarguments strengths your argument because you show a
deeper understanding of the topic you are discussing and consider those who might disagree with you.
∗ Definition: • a counterargument reasons that go against your thesis or some
aspect of your reasoning ∗ Look back at the reasons given in the ARGUMENT side for why
students should have a later start time. Put an arrow from one board to the other and have students provide the counterargument. (See example below) • Reasons:
∗ students have more time to do homework they might just sleep later and not get that homework done
Give students more time to get to school so they are on time some parents have to drop their child off early and they are unsupervised at school
Prewriting Strategies for Mainstream English Learners 46
TIME
5 minutes
1 minute 15-20 minutes
3 minutes
5-7 minutes
10 minutes
5 minutes
LESSON SEQUENCE (LIST YOUR ENTIRE LESSON SEQUENCE HERE, INCLUDING “BUILDING BACKGROUND”) ∗ Journal writing- students will walk in, row leader will get their rows
books and distribute- students will write for a 5 minutes ∗ Row leader returns journals ∗ Students will work on the vocabulary lesson outlined in the Reviewing
vocabulary section ∗ Students will keep their notes out and take out their textbooks, opening
to Flowers for Algernon. • Also students will take out their tutorial forms for Inspiration.
Students will also have a scratch sheet of paper ∗ Each person will come and receive their laptop and open to the program
Inspiration ∗ Prior to the start of the prewriting activity using Inspiration software,
students will receive a full period of instruction on how to use it. They will receive written instructions (see appendix) and students will receive a step by step tutorial prior to beginning their prewriting task.
∗ Students will begin by clicking on the diagram button in Inspiration to begin prewriting activity
∗ Students will create their first bubble stating “Flowers for Algernon” ∗ Next, students will create two additional bubbles on opposite ends of the
screen ∗ Have students have the left bubble state “Charlie should have the
surgery” and the one on the right “Charlie shouldn’t have the surgery” ∗ The two bubbles should be different colors Ex. The left bubble should be
green and the right bubble should be yellow- something readable ∗ Have students link the bubbles accordingly (students can reference their
tutorial forms) ∗ Next, ask students on their paper to draw three pictures that represent the
reasons why Charlie should have the surgery. • Example: a heart (ask students why a heart would be a good example
and write their reason on the board with the symbol of a heart) Students will now go to their digital locker and save their document www.smusd.org/moodle Students login- ID and last name Click digital locker at the top left Click browse, find their saved document and click insert Upload document
∗ Students will return laptops to assigned position in cart and resume the
Prewriting Strategies for Mainstream English Learners 47
following day on their prewriting.
Prewriting Strategies for Mainstream English Learners 48
UNIT 1 CURRICULUM AREA/DURATION OF FLOWERS FOR ALGERNON LESSON DAY 2 (ODD DAY NO JOURNALING) 8th grade Language Arts
2-3 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Applications 2.2d: Response to Literature Support judgments through references to the text, other works, other authors, or to personal knowledge Writing Strategies 1.2 &1.2 1.1 Create compositions that establish a
controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. 1.2 Establish coherence within and among paragraphs through effective transitions, parallel structures, and similar writing techniques.
ELD STANDARD(S) Writing Strategies and Application: Organization & focus, evaluation & revision Intermediate: Proceed through the writing process to write short paragraphs that contain supporting details about a given topic. There may be some inconsistent use of standard grammatical forms. Early Advanced: Write persuasive and expository compositions that include a clear thesis, describe organized points of support, and address a counter argument.
Language Objective: Students will be able to organize their arguments and counter arguments through using the computer program Inspiration.
Learning Objective: All students will be able to successfully complete the prewriting activity and have hard copy of their prewriting to use for drafting their persuasive speech.
KEY VOCABULARY Argument: a reason to support your point of view Counter Argument: An argument that is in opposition of the main argument. The counter argument tries to invalidate the argument
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Software program inspiration • Flowers for Algernon text • Notes on Argument and
counterargument • Sheet on symbols started yesterday
TIME LESSON/ACTIVITIES 5 minutes ∗ Students will get their designated laptops
∗ Take out Flowers for Algernon, tutorial for Inspiration, notes on argument and counterargument, and scratch piece of paper that you started yesterday on symbols for why Charlie should have the surgery
∗ Go to moodle and open their digital locker to the diagram they started
Prewriting Strategies for Mainstream English Learners 49
10 minutes
10 minutes
15-20 minutes
10 minutes
5 minutes
yesterday in Inspiration ∗ If students did not draw three pictures and state the meaning on their
scratch paper yesterday, they need to finish it. If they completed that task, go into inspiration and find three symbols and insert them on the side with the bubble “Charlie should have the surgery”
∗ Link them together ∗ Insert text in the middle of the arrow stating what the symbol represents. • Example if you put a heart, in the middle of the arrow, you would
write love with teacher- Ms. Kinnian ∗ Next, students will insert a bubble under each symbol/picture to explain
the significance of the symbol. • Example: In the bubble, you could write he never knew real love till
he became smart and he got to experience emotions he never knew existed.
• They should now have three items per symbol for why Charlie should have the surgery------- comment of what the symbol is, symbol, and bubble to state explanation/significance of symbol relating to topic
∗ On their scratch sheet of paper, they are to draw three opposing reasons/counterarguments for the three reasons they put under arguments • For example: Counter argument for love is that he is now all alone-
could put a picture of a lone man. Save work and upload it to moodle Return laptop to correct section on cart
Prewriting Strategies for Mainstream English Learners 50
Unit 1 CURRICULUM AREA/DURATION OF Flowers for Algernon LESSON Day 3 (Even day) 8th grade Language Arts
3-4 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Applications 2.2d: Response to Literature Support judgments through references to the text, other works, other authors, or to personal knowledge Writing Strategies 1.2 &1.2 1.1 Create compositions that establish a
controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. 1.2 Establish coherence within and among paragraphs through effective transitions, parallel structures, and similar writing techniques.
ELD STANDARD(S) Writing Strategies and Application: Organization & focus, evaluation & revision Intermediate: Proceed through the writing process to write short paragraphs that contain supporting details about a given topic. There may be some inconsistent use of standard grammatical forms. Early Advanced: Write persuasive and expository compositions that include a clear thesis, describe organized points of support, and address a counter argument.
Language Objective: Students will be able to organize their arguments and counter arguments through using the computer program Inspiration.
Learning Objective: All students will be able to successfully complete the prewriting activity and have hard copy of their prewriting to use for drafting their persuasive speech.
KEY VOCABULARY Argument: a reason to support your point of view Counter Argument: An argument that is in opposition of the main argument. The counter argument tries to invalidate the argument
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Software program inspiration • Flowers for Algernon text
TIME LESSON/ACTIVITIES 5 minutes 5 minutes
30
∗ Journaling ∗ Students get out all materials from previous day (tutorial form, scratch
paper, Flowers for Algernon, and notes on arguments and counterarguments)
∗ Students get their laptop and open their diagram via moodle
Prewriting Strategies for Mainstream English Learners 51
minutes
5 minutes
∗ Students should now be inserting pictures for their three counterarguments
∗ Students then are to write what the symbol is in the middle of the arrow connecting the picture to the bubble
∗ Students are to create a bubble underneath each symbol to explain the significance of that picture- remember it is the counterargument so it should state why the argument is invalid
∗ Students are to link all items together accordingly- link the top bubble “Charlie shouldn’t have the surgery” to the picture, to the explanation bubble.
∗ All arrows should be going down ∗ Make sure the counterargument bubbles are a different color than the
argument bubbles Any remaining time during the period, students can finish any incomplete items on their diagram. Once students are completed, they are to turn in their diagram. Students are to make sure they have completed all requirements as stated on the rubric. Students will receive their graded graphic organizer back and use it to begin writing for their debate.
Prewriting Strategies for Mainstream English Learners 52
Tutorial on using Inspiration Software Make sure you save all your work several times while working
Introduction to creating a Diagram
Open Inspiration software and in the opening menu, click diagram
A bubble will appear- type in the topic you a writing about o Example: Surgery for Charlie, Artifacts for hiding, etc.
To create the next item, you can choose a bubble or a picture o To insert a new bubble:
Click on the white space surrounding the bubble you created
Make sure you see a “t”
Begin typing for a new bubble to appear
o If you want to a picture, make sure there are no bubbles clicked: Type the desired picture you want in the box that states “enter search words”
Then hit enter for the selections to appear
Prewriting Strategies for Mainstream English Learners 53
Click on the picture you want once, and it will appear in the diagram.
∗ To link two items together to show a connection or relationship:
Click the Link button on the top panel.
the edges. Finally, click on the bubble you are attaching to and a line an arrow
should appear.
Once you have the arrow, if you want to change the direction, click on the icon shown below, which is at the bottom of the screen and choose in or out to change the direction.
Attach the arrow to the other bubble or picture you want Make sure that bubble you want to attach is highlighted green around
comment between the two. ∗ Once you have inserted two items and linked them together, you can insert a
Make sure the arrow is long enough so that a comment can be inserted Click on the box in the middle of the arrow Write your comment Click anywhere on the screen to finalize
. ∗ To change the color of any of the bubbles: Click on the blue oval at the bottom of the screen Colors will appear Click on the color you want the bubble to be The bubble will be another color- makes sure you can still read the text
Prewriting Strategies for Mainstream English Learners 54
Rubric of Organizer on Flowers for Algernon
Beginning Developing Accomplished 3
Exemplary 4
Score 1 2
Symbols for Has four or Have four or Has three Has three symbols for Arguments less total five symbols symbols for the arguments and three and symbols that total that the arguments symbols for the Counter- somewhat or accurately & three counter-arguments that arguments do not represent the symbols for accurately represent the (total of 6) represent the
themes from the story
story the counter-arguments that somewhat represent the themes
themes from the story
Explanation Has a few Has four to Has a bubble Has a bubble for each for symbols bubbles that
include some explanation but is not accurate or detailed enough
five bubbles for each symbol that includes a minimal explanation of how the symbols represents a theme
for each symbol that includes a minimal explanation of how the symbols represents a theme from the story
symbol that includes an accurate explanation of how the symbols represents a theme from the story
Color There is no A few bubbles Almost all The bubbles for the coding difference in
color coding for the arguments & counter-arguments
are colored coded
bubbles are colored coded
argument and counter-arguments are different colors
Linking No arrows Missing some Most ideas are All ideas are linked and ideas link the ideas
together arrows and/or the direction is incorrect throughout
linked but a few arrows are in the wrong direction
the arrows start from top and go down to the bottom
Spelling/ Multiple Some errors 1-2 spelling or No grammar or spelling Grammar errors that
hinder the reader
throughout grammar errors
errors
Prewriting Strategies for Mainstream English Learners 55
Unit 2 CURRICULUM AREA/DURATION OF Short Story Unit LESSON Day 1 (Odd day- no journaling) 8th grade Language Arts
2-3 50 minute class periods CALIFORNIA STATE STANDARDS: ELA ELD STANDARD(S) Writing Applications 2.1 a & c: Write short Writing Strategies and Application: stories Organization & focus, evaluation &
a. Relate a clear, coherent incident, revision event, or situation by using well-chosen Early Advanced: Write in different genres details. (e.g., short stories and narratives), including c. Employ narrative and descriptive coherent plot development, strategies (e.g., relevant dialogue, specific characterization, and setting. action, Advanced : Write documents (e.g., fictional physical description, background biographies, autobiographies, short stories, description, comparison or contrast of and characters). narratives) that include coherent plot Writing Strategies 1.6 : Evaluation and development, characterization, setting, and Revision a variety of literary strategies (e.g., 1.6 Revise writing for word choice; dialogue, appropriate organization; consistent point suspense). of view; and transitions between paragraphs, passages, and ideas.
Language Objective: Students will be able Learning Objective: All students will be to complete the premade graphic organizer able to successfully complete the prewriting in a detailed manner that will assist them activity and have hard copy of their in writing their own short story. prewriting to use for drafting their short
story.
KEY VOCABULARY Exposition: Background information regarding the setting, characters, plot. Rising Action - The process the story follows as it builds to its main conflict. A series of events that lead to the climax of the story- usually conflicts of struggles of the protagonist. Conflict: The problem or struggle in a story that triggers the action- there are four types of conflict: person v. person, person v. society, person v. self, and person v.
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Premade graphic organizer • Notes on plot chart • Plot chart on Tell Tale Heart • Document Camera, smart board, or
overhead projector
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nature. This is the actual moment when the deciding factor takes place. What happens at this point determines the outcome of the piece. Falling Action: The action of a story that works out the decision arrived at during the climax. Resolution: The portion of the story where the problem is solved. It comes after the climax and falling action and brings the story to an end.
TIME LESSON/ACTIVITIES
2 minutes
20-25 minutes
The short story unit consists of three short stories: The Landlady, The Monkey’s Paw, and Tell Tale Heart. After reading Tell Tale Heart, students will complete the story map which will assist them in writing their own short story. (For a blank version and a completed organizer, see Appendix)We will do the story map as a class with volunteers to fill in the blanks. Once students are completed, students will be given the premade graphic organizer for their own short story.
The lesson will begin with overview of the plot elements. ∗ Students will be given a blank plot chart ∗ Students will open their text books to the Tell Tale Heart (TTH) and
take out their notes on elements of plot ∗ We will begin with the exposition- asking for volunteers to state the
definition. Students will write the definition on their graphic organizer next to the appropriate box.
∗ Next, the question of what is the exposition for TTH will be asked ∗ I will fill in their answer on the document camera ∗ Next, students will discuss what the definition of the rising action is
with a partner ∗ We will come together as a class and discuss their response as well
as what are the rising actions in TTH ∗ We will as a class state what the climax is and how we determine
this ∗ Then, a volunteer will state what the climax is in TTH ∗ Next, students will state what the definition of falling action is and
what it is in the story ∗ Lastly, students will state what a resolution is and what it is in the
story Students will then be given a premade graphic organizer where they will
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complete individually. We will go over what is on the premade organizer as well as discuss the rubric that will be used to grade their organizer. After students have completed the organizer, they will map out their story on a plot chart (blank one used for TTH) and submit both for a grade.
Name ___________________________________ Date _______________ Period _____
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Name ___________________________________ Date _______________ Period _____
Title Tell Tale Heart
Basic Conflict, Problem or Situation:
The narrator describes the hate he has for the old man
Author Edgar Allan Poe
STORY MAP Rising Action (complications,
events, problems): The narrator watches the old man sleep The narrator kills the old man
The narrator cuts the body into pieces The police search the house The narrator hears the
beating of the heart
Climax (crisis, big event):
The narrator admits to killing the old man
Setting: An old house in England
He tries to convince the reader that he is not insane
Falling Action:
• The narrator is arrested or taken to an insane asylum
Resolution: The narrator tells the story of what happened.
Characters(s):
Protagonist – The narrator Antagonist – The old man Others – The police who come to question the narrator
Background: The narrator claims he has no hard feelings towards the old man besides his eye
(revised 12-10 Blume)
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Edgar Allan Poe
TRUE! nervous, very, very dreadfully nervous I had been and am; but why WILL you say that I am mad? The disease had sharpened my senses, not destroyed, not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How then am I mad? Hearken! and observe how healthily, how calmly, I can tell you the whole story.
It is impossible to say how first the idea entered my brain, but, once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! One of his eyes resembled that of a vulture -- a pale blue eye with a film over it. Whenever it fell upon me my blood ran cold, and so by degrees, very gradually, I made up my mind to take the life of the old man, and thus rid myself of the eye for ever.
Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded -- with what caution -- with what foresight, with what dissimulation, I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night about midnight I turned the latch of his door and opened it oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern all closed, closed so that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly, very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this? And then when my head was well in the room I undid the lantern cautiously -- oh, so cautiously -- cautiously (for the hinges creaked), I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights, every night just at midnight, but I found the eye always closed, and so it was impossible to do the work, for it was not the old man who vexed me but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he had passed the night. So you see he would have been a very profound old man, indeed , to suspect that every night, just at twelve, I looked in upon him while he slept.
Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers, of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was opening the door little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea, and perhaps he heard me, for he moved on the bed suddenly as if startled. Now you may think that I drew back -- but no. His room was as black as pitch with the thick darkness (for the shutters were
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close fastened through fear of robbers), and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.
I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening , and the old man sprang up in the bed, crying out, "Who's there?"
I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed, listening; just as I have done night after night hearkening to the death watches in the wall.
Presently, I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief -- oh, no! It was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself, "It is nothing but the wind in the chimney, it is only a mouse crossing the floor," or, "It is merely a cricket which has made a single chirp." Yes he has been trying to comfort himself with these suppositions ; but he had found all in vain. ALL IN VAIN, because Death in approaching him had stalked with his black shadow before him and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel, although he neither saw nor heard, to feel the presence of my head within the room.
When I had waited a long time very patiently without hearing him lie down, I resolved to open a little -- a very, very little crevice in the lantern. So I opened it -- you cannot imagine how stealthily, stealthily -- until at length a single dim ray like the thread of the spider shot out from the crevice and fell upon the vulture eye.
It was open, wide, wide open, and I grew furious as I gazed upon it. I saw it with perfect distinctness -- all a dull blue with a hideous veil over it that chilled the very marrow in my bones, but I could see nothing else of the old man's face or person, for I had directed the ray as if by instinct precisely upon the damned spot.
And now have I not told you that what you mistake for madness is but over-acuteness of the senses? now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well too. It was the beating of the old man's heart. It increased my fury as the beating of a drum stimulates the soldier into courage.
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But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder, every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment! -do you mark me well? I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me -- the sound would be heard by a neighbour! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once -- once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But for many minutes the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.
If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence.
I took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly so cunningly, that no human eye -- not even his -- could have detected anything wrong. There was nothing to wash out -- no stain of any kind -- no blood-spot whatever. I had been too wary for that.
When I had made an end of these labours, it was four o'clock -- still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, -- for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.
I smiled, -- for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search -- search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.
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The officers were satisfied. My MANNER had convinced them. I was singularly at ease. They sat and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears; but still they sat, and still chatted. The ringing became more distinct : I talked more freely to get rid of the feeling: but it continued and gained definitiveness -- until, at length, I found that the noise was NOT within my ears.
No doubt I now grew VERY pale; but I talked more fluently, and with a heightened voice. Yet the sound increased -- and what could I do? It was A LOW, DULL, QUICK SOUND -- MUCH SUCH A SOUND AS A WATCH MAKES WHEN ENVELOPED IN COTTON. I gasped for breath, and yet the officers heard it not. I talked more quickly, more vehemently but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why WOULD they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men, but the noise steadily increased. O God! what COULD I do? I foamed -- I raved -- I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder -louder -- louder! And still the men chatted pleasantly , and smiled. Was it possible they heard not? Almighty God! -- no, no? They heard! -- they suspected! -- they KNEW! -they were making a mockery of my horror! -- this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! -- and now -- again -- hark! louder! louder! louder! LOUDER! -
"Villains!" I shrieked, "dissemble no more! I admit the deed! -- tear up the planks! -here, here! -- it is the beating of his hideous heart!"
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Unit 3 CURRICULUM AREA/DURATION OF Anne Frank LESSON Day 1 (Even date-journaling) 8th grade Language Arts
2 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.1c- Write narratives 2.1c Employ narrative and descriptive strategies (e.g., relevant dialogue, specific action, physical description, background description, comparison or contrast of characters).
ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use strategies of note taking, outlining, and summarizing to structure drafts of clear, coherent, and focused essays with consistent use of standard grammatical forms. Advanced: Produce writing by using various elements of discourse_(e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing
Language Objective: Students will be able to create sketches of objects they will choose on a premade graphic organizer as well as write details about each object.
Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive narrative essay.
Key Vocabulary Imagery- see activity below
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Paper and pen for notes on imagery
TIME LESSON/ACTIVITIES ∗ Students will do journaling/free writing today. Prior to the bell ringing,
5 minutes they will get their journals kept in the classroom and write for 5 minutes straight once the bell rings.
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1 minute
10-15 minutes
1 minute
1 minute
8-10 minutes
1 minute
5-7 minutes
15-20 minutes
∗ The first person in each row will collect the journals and return to the class period’s shelf.
∗ Students will take out a piece of paper for notes. This is a review lesson on imagery. I will write the definition on the document camera or smart board.
Imagery - an image, in its basic sense, is something concrete that appeals to any of the five senses - sight, sound, touch, taste, smell - as well as metaphor, simile, and personification.
For example, the following images might be used to describe a stroll on a summer night:
Sight - a full moon in a black sky
Ask students for another image use the “sight” sense Sound - the chirp of crickets Taste - the tang of a cold glass of lemonade Ask students for an example they might have on taste Touch - a warm breeze Smell - freshly mowed grass ∗ Students will then divide the rest of their notes into 5 columns and label
each column with one sense- sight, sound, taste, smell, & touch ∗ I will write the topic on the board- “Saturday afternoon” ∗ They are to then close their eyes from one minutes, until I say open, and
picture a Saturday afternoon- where might they be, what are they seeing, hearing, etc.
∗ Students are to then fill in their chart with one or two images for each sense
∗ We then share out as a class, a few example for each sense- we verify as a class if the images of visual enough and how they might improve if necessary.
∗ Discuss why imagery is important
∗ Handout out assignment sheet for Anne Frank essay ∗ Go over instructions with students ∗ Provide due date for them for the prewriting, rough draft, and final draft ∗ Give students the rest of the period to think of the items they will
include in their essay. On the back of the sheet began writing down ideas. They can discuss with their neighbors or work independently but they should have three items they are thinking of writing about for the following class period.
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Unit 3 CURRICULUM AREA/DURATION OF Anne Frank LESSON Day 2 8th grade Language Arts
2 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.1c- Write narratives 2.1c Employ narrative and descriptive strategies (e.g., relevant dialogue, specific action, physical description, background description, comparison or contrast of characters).
ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use strategies of note taking, outlining, and summarizing to structure drafts of clear, coherent, and focused essays with consistent use of standard grammatical forms. Advanced: Produce writing by using various elements of discourse (e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing
Language Objective: Students will be able to create sketches of objects they will choose on a premade graphic organizer as well as write details about each object.
Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive narrative essay.
Key Vocabulary • Imagery notes form the pervious
class period
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Imagery notes • Graphic organizer for prewriting
activity • Anne Frank project instructions • Check off list for prewriting activity
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TIME 1 minute
10-15 minutes
LESSON/ACTIVITIES ∗ Students will take out their assignment sheet for the Anne Frank project
and their notes on imagery ∗ They will receive a premade graphic organizer for prewriting ∗ Once each student receives a graphic organizer, I will put it under the
document camera and show students how to complete correctly. ∗ First they will write down the three items they would take into hiding
I would then write down my three items in the first box to show what they are to do
∗ Next, students will take the item they have written on number 1 and draw it the box under item number one
I would then sketch my first item for them. I would explain that they aren’t graded on artistic talent but it in some way must resemble their item and it should be neat to receive full credit. ∗ Since my first item is a puzzle, I would think to myself, what does it
small like- underneath the picture of the nose, I would write, cardboard, women’s perfume because it was my grandma’s puzzle and musty because it is old. I would write all of this under the nose symbol. I would then describe what it looks like under the eye symbol. I might write- tiny pieces, many colors of reds and blues because it is of the American flag, small box holds the pieces, cardboard is flaking off at the edges, etc. I would make sure I verbalize all the instructions above so that students can see how I come up with my answers
∗ For the last box, why it is important to me, I would list in bullets why the puzzle is important or something I chose to bring. I foresee that I will have a lot of time and this would keep me occupied, it would remind me of my family, the smells would take me back to my home.
∗ After I completed the above explanation, I would begin taking my colored pencils and shading in the first box.
∗ If students want to draw everything, they can but they are only required to illustrate the first box.
∗ Lastly, once I am complete, I would revisit the check off sheet to make sure that I have completed all the requirements. • Did I write neatly and is it readable? Yes • Is the first box colored? Yes • Do I have at least two things written down for each sense? No, so
I need to complete this requirement. • Etc.
∗ After this modeling, I would hand out the graphic organizer and have students begin working on theirs.
∗ Students will have the remainder of the period to work on their organizer. They are only allowed to get colored pencils if they have
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shown me their completed product. If they do not finish the assignment, it does become homework. Students who do not have three items for their essay will work in a small group with me. We will verbally discuss things that are important to them and decide how that translates into artifacts. Once they have come up with those three items, they are free to work independently.
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ANNE FRANK WRITING ASSIGNMENT Please follow this format, 5 paragraphs. Use as much information as you can.
Paragraph #1 - introduction - Write this word for word, then fill in the blanks with your choices.
It is February of 2010, and I am going into hiding for a period of 25 months. I may choose three things to take with me. During this time, I cannot contact anyone outside of my hiding place. My life will end if I break any of the rules of the hiding place. The three items I will take are: ______________________, ____________________ and ________________________.
Paragraph #2-3 shoebox items You may only take three of your prized possessions. They must be small enough to fit into a shoebox. (These are the same items as named in paragraph #1.)
a. For the purpose of this essay, you must limit your choices to 3 small items (must fit collectively in a shoebox) and describe each one (food, money and clothing choices are not allowed). As you describe, be as specific as possible. Here are some questions you could ask:
b. What does it look like, feel like, smell like? Remember details! c. Why do you value this item? d. What purpose will it have while you are in hiding? e. Why do you choose this item over others you have? f. Remember you are going to a place without telephones, TV, VCRs, CD players,
Nintendo, ipods, cell phones, etc., because all make too much noise during the daytime. NOTHING ELECTRONIC!
Paragraph #4 - flashback to 2008 a. How old were you two years ago? (Exact age) b. Where did you go to school? c. Who was your best friend? One or two names only d. What was your ONE favorite activity? e. How did you spend most of your free time? f. How has your life changed in the last two years???
Paragraph #5 - conclusion It is now March of 2012, and (unlike Anne Frank) you have survived and may
leave your hiding place. Answer these questions. Predict the answers. a. What events have you missed in the past 2 years? b. How did you use your shoebox items, described above? c. How have you changed? d. What have you learned?
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Name: __________________ Graphic Organizer for Anne Frank
List the three items here that you will be discussing in your essay.
1) 2) 3)
In the first box of each column, draw one picture that represents each item listed in the box above. Make sure the item matches the order you wrote in the box above.
Item number Item number Item number
1
What does your item smell What does your item smell What does your item like and what does it look like and what does it look smell like and what does like? Use specific details like? Use specific details it look like? Use specific
Why is your item important to Why is your item important to Why is your item important to YOU? YOU? YOU?
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Check off sheet for the Anne Frank graphic organizer
√ Is the writing neat and readable? √ Do I have a picture for each of the three items? √ Are they in order from what is written in the first box? √ Do I have two bullet points for each sense? √ Are my pictures in color? √ Are the objects I choose acceptable in regards to what is allowed for the
items?
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Unit 4 CURRICULUM AREA/DURATION OF The Lady or the Tiger LESSON Day 1 (odd date- no journaling) 8th grade Language Arts
3-4 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.2d- Write narratives 2.2d Support judgments through references to the text, other works, other authors, or to personal knowledge.
ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use strategies of note taking, outlining, and summarizing to structure drafts of clear, coherent, and focused essays with consistent use of standard grammatical forms. Advanced: Produce writing by using various elements of discourse (e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing
Language Objective: Students will be able to create work with a partner and walk out their ideas for their essay.
Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive response to literature essay.
Key Vocabulary Inferences
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Construction paper • Markers • The Lady or the Tiger
TIME LESSON/ACTIVITIES ∗ During the reading, we will have discussed what the definition of
inference is. They will have taken notes on the definition: Inference is a conclusion or judgment. If you infer that something has happened, you do not see, hear, feel, smell, or taste the actual event. But from what you know, it makes sense to think that it has happened.
Throughout the reading, we then make inferences of what will come next in the reading. Throughout, we will stop and infer what will happen next. I
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Instructions: 5 minutes
20-30 minutes
15-20 minutes
will follow up with asking them to back up their claim and cite passages from the text
. ∗ At the end of the story, I inform them that their writing assignments is
going to make an inference of what the ending of the story is based on the evidence from the text.
∗ After we have read the story, make sure there is no discussion of the ending as that is their next activity.
∗ Students will break up into pairs- either by your or their choice ∗ They will receive a large piece of paper and markers ∗ Students will then write in the middle of their paper which door the
lady told her lover to pick- the tiger or the woman ∗ Students are to then branch off with lines and write supporting
evidence from the text using quotes and page numbers. See example below. I will provide them with the example seen below so students can see what is expected. They are to write big enough that other students can read it from their seats.
∗ Students will have 20-30 minutes to complete the activity. ∗ Once the time has concluded, each pair will come up and share which
ending they thought the lady chooses and a few pieces of evidence. • Students are informed that they will need various arguments for
their formal writing assignment and if they hear good arguments from other groups, they should jot notes down on their paper.
On page 30, the author The door that was opened was_________
writes “……..”
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Unit 4 CURRICULUM AREA/DURATION OF The Lady or the Tiger LESSON Day 2 (journaling) 8th grade Language Arts
2-3 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.2d- Write narratives 2.2d Support judgments through references to the text, other works, other authors, or to personal knowledge.
ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use strategies of note taking, outlining, and summarizing to structure drafts of clear, coherent, and focused essays with consistent use of standard grammatical forms. Advanced: Produce writing by using various elements of discourse (e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing
Language Objective: Students will be able Learning Objective: All students will be to create work with a partner and walk out able to successfully complete the prewriting their ideas for their essay. activity and have a clearer understanding of
how to put together a cohesive response to literature essay.
Key Vocabulary Inferences
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Handout on symbols for walking an
essay • Pen/paper • Notes taken with partner from
previous day where students stated which door the princess chose and reasons cited from the text
• Notes on inferences • Smart board or document camera
used to show students how to take notes while partner walks and thinks aloud
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TIME
1 MINUTE
5 MINUTES
15 MINUTES
30 MINUTES
40 MINUTES
LESSON/ACTIVITIES
∗ To prepare for the formal essay for The Lady or the Tiger, students will be with the partners they were in yesterday and will be using walking to map out their essay
∗ First, students will receive the symbol chart below to use for this activity Students will have notes out to jot down examples given I will provide an example that isn’t related to the text to give them the idea of how the activity will work. My example: I love tomatoes; however, I don’t like them in salads. Also, I like to cook them to make pasta sauce. Although, I don’t always have the time. For my notes, I would ask students how I would put the above statements in my notes using the symbols.
Answer: I love tomatoes I don’t like them in salads. I like to cook
them to make pasta sauce. I don’t always have the time. I would then ask for a volunteer to show how an example would look from the story The Lady or the Tiger. ∗ I will ask for a volunteer to discuss the ideas they had come up with
from the previous day that they presented to the class on which door was chosen
∗ That student will come up and bring their notes ∗ I will ask them to begin by walking and stating their first reason
For example: Volunteer walks and states that the princess told her lover to choose the door with the tiger because she didn’t want him to marry someone else. She wanted him for herself.
∗ I, as the students partner, would jot down notes of what the volunteer had stated Princess chose door with tiger > she didn’t want him to marry
other person. She loved him, she wanted him for herself. Students are to get in the same pairs they were in the previous day They are to have the sheet of notes they took together on which door the princess chose and the evidence provided in the text Each person will need the handout given on symbols for walking an essay Each person will need a pen/pencil and a sheet of notes Examples given on what this activity will look like ∗ Partners will begin to map out their ideas ∗ The first person to go will have the remainder of the period.
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∗ The following day, the second partner will walk out their ideas and the person who went the previous day will take the notes. If needed, a fourth day can be inserted to finish up.
∗ Students should have two body paragraphs mapped out and will be graded on their use of symbols and the amount of information they have in their notes
∗ They will rely on their rubric/grading sheet to determine what is expected
∗ I will go over with the students the rubric prior to them beginning their partner work
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Grade sheet for movement activity
Beginning Developing Accomplished Score Symbols The notes from
the movement activity have lesson than four symbols
The notes from the movement activity have a minimum of four symbols
The notes from the movement activity has a minimum of six symbols
Examples There one or no example to support the claim of whether the princess chose the lady or the tiger
There are at least one example for each paragraph supporting the claim of whether the princess chose the lady or the tiger
There are at least two examples for each paragraph supporting the claim of whether the princess chose the lady or the tiger
Paragraphs Students have minimal to no notes for each paragraph
Students have some notes for both body paragraphs (minimum of two sentences per paragraph not including the examples from the text)
Students have notes for both body paragraphs (minimum of three sentences per paragraph not including the example from the text)
Partner’s notes Student does not have their partner’s notes that are about your essay
Student has partner’s notes on your essay
Student has partner’s notes on your essay
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Frank Stockton The Lady Or The Tiger?In the very olden time there lived a semi-barbaric king, whose ideas, though somewhat polished and sharpened by the progressiveness of distant Latin neighbors, were still large, florid, and untrammeled, as became the half of him which was barbaric. He was a man of exuberant fancy, and, withal, of an authority so irresistible that, at his will, he turned his varied fancies into facts. He was greatly given to self-communing, and, when he and himself agreed upon anything, the thing was done. When every member of his domestic and political systems moved smoothly in its appointed course, his nature was bland and genial; but, whenever there was a little hitch, and some of his orbs got out of their orbits, he was blander and more genial still, for nothing pleased him so much as to make the crooked straight and crush down uneven places. Among the borrowed notions by which his barbarism had become semified was that of the public arena, in which, by exhibitions of manly and beastly valor, the minds of his subjects were refined and cultured.
But even here the exuberant and barbaric fancy asserted itself. The arena of the king was built, not to give the people an opportunity of hearing the rhapsodies of dying gladiators, nor to enable them to view the inevitable conclusion of a conflict between religious opinions and hungry jaws, but for purposes far better adapted to widen and develop the mental energies of the people. This vast amphitheater, with its encircling galleries, its mysterious vaults, and its unseen passages, was an agent of poetic justice, in which crime was punished, or virtue rewarded, by the decrees of an impartial and incorruptible chance.
When a subject was accused of a crime of sufficient importance to interest the king, public notice was given that on an appointed day the fate of the accused person would be decided in the king's arena, a structure which well deserved its name, for, although its form and plan were borrowed from afar, its purpose emanated solely from the brain of this man, who, every barleycorn a king, knew no tradition to which he owed more allegiance than pleased his fancy, and who ingrafted on every adopted form of human thought and action the rich growth of his barbaric idealism.
When all the people had assembled in the galleries, and the king, surrounded by his court, sat high up on his throne of royal state on one side of the arena, he gave a signal, a door beneath him opened, and the accused subject stepped out into the amphitheater. Directly opposite him, on the other side of the enclosed space, were two doors, exactly alike and side by side. It was the duty and the privilege of the person on trial to walk
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directly to these doors and open one of them. He could open either door he pleased; he was subject to no guidance or influence but that of the aforementioned impartial and incorruptible chance. If he opened the one, there came out of it a hungry tiger, the fiercest and most cruel that could be procured, which immediately sprang upon him and tore him to pieces as a punishment for his guilt. The moment that the case of the criminal was thus decided, doleful iron bells were clanged, great wails went up from the hired mourners posted on the outer rim of the arena, and the vast audience, with bowed heads and downcast hearts, wended slowly their homeward way, mourning greatly that one so young and fair, or so old and respected, should have merited so dire a fate. But, if the accused person opened the other door, there came forth from it a lady, the most suitable to his years and station that his majesty could select among his fair subjects, and to this lady he was immediately married, as a reward of his innocence. It mattered not that he might already possess a wife and family, or that his affections might be engaged upon an object of his own selection; the king allowed no such subordinate arrangements to interfere with his great scheme of retribution and reward. The exercises, as in the other instance, took place immediately, and in the arena. Another door opened beneath the king, and a priest, followed by a band of choristers, and dancing maidens blowing joyous airs on golden horns and treading an epithalamic measure, advanced to where the pair stood, side by side, and the wedding was promptly and cheerily solemnized. Then the gay brass bells rang forth their merry peals, the people shouted glad hurrahs, and the innocent man, preceded by children strewing flowers on his path, led his bride to his home.
This was the king's semi-barbaric method of administering justice. Its perfect fairness is obvious. The criminal could not know out of which door would come the lady; he opened either he pleased, without having the slightest idea whether, in the next instant, he was to be devoured or married. On some occasions the tiger came out of one door, and on some out of the other. The decisions of this tribunal were not only fair, they were positively determinate: the accused person was instantly punished if he found himself guilty, and, if innocent, he was rewarded on the spot, whether he liked it or not. There was no escape from the judgments of the king's arena. The institution was a very popular one. When the people gathered together on one of the great trial days, they never knew whether they were to witness a bloody slaughter or a hilarious wedding. This element of uncertainty lent an interest to the occasion which it could not otherwise have attained. Thus, the masses were entertained and pleased, and the thinking part of the community could bring no charge of unfairness against this plan, for did not the accused person have the whole matter in his own hands?
This semi-barbaric king had a daughter as blooming as his most florid fancies, and with a soul as fervent and imperious as his own. As is usual in such cases, she was the apple of his eye, and was loved by him above all humanity. Among his courtiers was a young man of that fineness of blood and lowness of station common to the conventional heroes of romance who love royal maidens. This royal maiden was well satisfied with her lover, for he was handsome and brave to a degree unsurpassed in all this kingdom, and she loved him with an ardor that had enough of barbarism in it to make it exceedingly warm and strong. This love affair moved on happily for many months, until one day the
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king happened to discover its existence. He did not hesitate nor waver in regard to his duty in the premises. The youth was immediately cast into prison, and a day was appointed for his trial in the king's arena. This, of course, was an especially important occasion, and his majesty, as well as all the people, was greatly interested in the workings and development of this trial. Never before had such a case occurred; never before had a subject dared to love the daughter of the king. In after years such things became commonplace enough, but then they were in no slight degree novel and startling. The tiger-cages of the kingdom were searched for the most savage and relentless beasts, from which the fiercest monster might be selected for the arena; and the ranks of maiden youth and beauty throughout the land were carefully surveyed by competent judges in order that the young man might have a fitting bride in case fate did not determine for him a different destiny. Of course, everybody knew that the deed with which the accused was charged had been done. He had loved the princess, and neither he, she, nor any one else, thought of denying the fact; but the king would not think of allowing any fact of this kind to interfere with the workings of the tribunal, in which he took such great delight and satisfaction. No matter how the affair turned out, the youth would be disposed of, and the king would take an aesthetic pleasure in watching the course of events, which would determine whether or not the young man had done wrong in allowing himself to love the princess. The appointed day arrived. From far and near the people gathered, and thronged the great galleries of the arena, and crowds, unable to gain admittance, massed themselves against its outside walls. The king and his court were in their places, opposite the twin doors, those fateful portals, so terrible in their similarity. All was ready. The signal was given. A door beneath the royal party opened, and the lover of the princess walked into the arena. Tall, beautiful, fair, his appearance was greeted with a low hum of admiration and anxiety. Half the audience had not known so grand a youth had lived among them. No wonder the princess loved him! What a terrible thing for him to be there! As the youth advanced into the arena he turned, as the custom was, to bow to the king, but he did not think at all of that royal personage. His eyes were fixed upon the princess, who sat to the right of her father. Had it not been for the moiety of barbarism in her nature it is probable that lady would not have been there, but her intense and fervid soul would not allow her to be absent on an occasion in which she was so terribly interested. From the moment that the decree had gone forth that her lover should decide his fate in the king's arena, she had thought of nothing, night or day, but this great event and the various subjects connected with it. Possessed of more power, influence, and force of character than any one who had ever before been interested in such a case, she had done what no other person had done - she had possessed herself of the secret of the doors. She knew in which of the two rooms, that lay behind those doors, stood the cage of the tiger, with its open front, and in which waited the lady. Through these thick doors, heavily curtained with skins on the inside, it was impossible that any noise or suggestion should come from within to the person who should approach to raise the latch of one of them. But gold, and the power of a woman's will, had brought the secret to the princess.
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And not only did she know in which room stood the lady ready to emerge, all blushing and radiant, should her door be opened, but she knew who the lady was. It was one of the fairest and loveliest of the damsels of the court who had been selected as the reward of the accused youth, should he be proved innocent of the crime of aspiring to one so far above him; and the princess hated her. Often had she seen, or imagined that she had seen, this fair creature throwing glances of admiration upon the person of her lover, and sometimes she thought these glances were perceived, and even returned. Now and then she had seen them talking together; it was but for a moment or two, but much can be said in a brief space; it may have been on most unimportant topics, but how could she know that? The girl was lovely, but she had dared to raise her eyes to the loved one of the princess; and, with all the intensity of the savage blood transmitted to her through long lines of wholly barbaric ancestors, she hated the woman who blushed and trembled behind that silent door.
When her lover turned and looked at her, and his eye met hers as she sat there, paler and whiter than any one in the vast ocean of anxious faces about her, he saw, by that power of quick perception which is given to those whose souls are one, that she knew behind which door crouched the tiger, and behind which stood the lady. He had expected her to know it. He understood her nature, and his soul was assured that she would never rest until she had made plain to herself this thing, hidden to all other lookers-on, even to the king. The only hope for the youth in which there was any element of certainty was based upon the success of the princess in discovering this mystery; and the moment he looked upon her, he saw she had succeeded, as in his soul he knew she would succeed.
Then it was that his quick and anxious glance asked the question: "Which?" It was as plain to her as if he shouted it from where he stood. There was not an instant to be lost. The question was asked in a flash; it must be answered in another. Her right arm lay on the cushioned parapet before her. She raised her hand, and made a slight, quick movement toward the right. No one but her lover saw her. Every eye but his was fixed on the man in the arena. He turned, and with a firm and rapid step he walked across the empty space. Every heart stopped beating, every breath was held, every eye was fixed immovably upon that man. Without the slightest hesitation, he went to the door on the right, and opened it. Now, the point of the story is this: Did the tiger come out of that door, or did the lady ? The more we reflect upon this question, the harder it is to answer. It involves a study of the human heart which leads us through devious mazes of passion, out of which it is difficult to find our way. Think of it, fair reader, not as if the decision of the question depended upon yourself, but upon that hot-blooded, semi-barbaric princess, her soul at a white heat beneath the combined fires of despair and jealousy. She had lost him, but who should have him? How often, in her waking hours and in her dreams, had she started in wild horror, and covered her face with her hands as she thought of her lover opening the door on the other side of which waited the cruel fangs of the tiger!
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But how much oftener had she seen him at the other door! How in her grievous reveries had she gnashed her teeth, and torn her hair, when she saw his start of rapturous delight as he opened the door of the lady! How her soul had burned in agony when she had seen him rush to meet that woman, with her flushing cheek and sparkling eye of triumph; when she had seen him lead her forth, his whole frame kindled with the joy of recovered life; when she had heard the glad shouts from the multitude, and the wild ringing of the happy bells; when she had seen the priest, with his joyous followers, advance to the couple, and make them man and wife before her very eyes; and when she had seen them walk away together upon their path of flowers, followed by the tremendous shouts of the hilarious multitude, in which her one despairing shriek was lost and drowned!
Would it not be better for him to die at once, and go to wait for her in the blessed regions of semi-barbaric futurity? And yet, that awful tiger, those shrieks, that blood! Her decision had been indicated in an instant, but it had been made after days and nights of anguished deliberation. She had known she would be asked, she had decided what she would answer, and, without the slightest hesitation, she had moved her hand to the right. The question of her decision is one not to be lightly considered, and it is not for me to presume to set myself up as the one person able to answer it. And so I leave it with all of you: Which came out of the opened door - the lady, or the tiger?
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Unit 5 CURRICULUM AREA/DURATION OF To Kill a Mockingbird LESSON Day 1 (Odd day- no journaling) 8th grade Language Arts
4-5 50 minute class periods CALIFORNIA STATE STANDARDS: ELA Writing Strategies: 1.1 , 1.2, 1.3 Organization and Focus 1.1 Create compositions establish a controlling impression, have a coherent thesis, and end with a clear and well-supported conclusion. 1.2 Establish coherence within and among paragraphs through effective transitions, parallel structures, and similar writing techniques. 1.3 Support theses or conclusions with analogies, paraphrases, quotations, opinions from authorities, comparisons, and similar devices. Evaluation and Focus 1.6 1.6 Revise writing for word choice; appropriate organization; consistent point of view; and transitions between paragraphs, passages, and ideas Writing Applications: 2.2b, 2.2d Response to Literature 2.2b Connect the student’s own responses to the writer’s techniques and to specific textual references. 2.2d Support judgments through references to the text, other works, other authors, or to personal knowledge.
ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Develop a clear thesis and support it by using analogies, quotations, and facts appropriately. Write responses to selected literature that develop interpretations, exhibit careful reading, and cite specific parts of the text. Advanced: Write responses to literature that develop interpretations, exhibit careful reading, and cite specific parts of the text.
Language Objective: Students will be able to design scenes using legos to represent their thesis, topic sentence, and organize ideas visually.
Learning Objective: All students will be able to successfully complete the prewriting activity and have a clearer understanding of how to put together a cohesive expository
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essay. KEY VOCABULARY Thesis: The thesis is the last sentence of the introduction paragraph. It is one sentence. It tells the reader how you will interpret the significance of the subject matter under discussion. It will also tell the reader what to expect through the rest of your paper. It directly answers the prompt given, and it makes a claim. Topic Sentence: A topic sentence tells the reader what that theme of the entire paragraph will be. It is one sentence and is the first sentence of each body paragraph.
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED) • Legos for each person • Writing utensil • Paper to jot down notes when
creating scenes with legos • Notes on what each part of the essay
is • TKMB novel • Notes taken throughout novel-
theme journals, character charts, etc. • Creativity
Each topic sentence will correspond with the order of the themes you put in your thesis statement. It is never a question; it is always a declarative sentence. Commentary: Analysis of the quote that refers back to the topic sentence and thesis. It answers the question of how does the quote support the claim made in the thesis. It is a minimum of two sentences and it directly follows the quote. Conclusion Sentence: One sentence that ends each body paragraph that states what the overall theme is of that paragraph. Hook: A statement(s) that draws the reader in. Might be a quote, a fact, and personal experience that make the reader want to further read into the essay. TAG: title, author, genre. It occurs in the introduction after the hook.
TIME LESSON/ACTIVITIES
10 minutes
2 minutes
Students will have completed reading To Kill a Mockingbird (TKMB).
∗ Students will be given a cloze and are to fill it in from the notes given on the key vocabulary. (see handout)
∗ Once students have completed the cloze, they will be given their essay prompt. • Explain how Scout and/or Jem change over the course of the novel.
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10 minutes
30 minutes
What is the author trying to say about childhood? They have a choice on whether they want to write the essay about both characters or to choose just one. It is their choice.
∗ On the essay prompt sheet, they will be given 10 or so minutes to decide if they want to write about both characters or if they want to write about just one. Once they have decided that, they will jot down some ideas they have on themes or ways these characters have grown. They are going to want to refer back to their notes taken throughout the novel to help them come up with examples and themes.
∗ I will then stop everyone and instruct them on their next step. After all instructions are given, they are able to move and sit on the floor if they want or to stay in their seats. They will need some room to work though. Instructions: Students must have decided if they are writing about both characters or if they are choosing one to focus on. ∗ Students will be given a bag of legos that will have different color legos,
shapes, and a few people. ∗ Students will be instructed on what part of the essay they are
constructing. For example, students will begin developing their thesis through constructing a scene(s) with legos. All students must be working on their thesis.
∗ Students will have the rest of the period to create a thesis by creating one or several scenes.
∗ They will jot down on their notes what they have created. For example, if they create a scene with Scout in a courtroom watching a trial, they need to write down on their notes that Scout changes through the course of the novel by watching/listening to Tom’s trial.
∗ Students will do this for the thesis and topic sentences ∗ After completing the pictures for both, they will write 3-5 sentences of
how their picture proves the point of the thesis. Students who are unable to behave and follow directions will be given a premade graphic organizer and lose their privilege in using the legos. Those students who are having difficulty coming up with themes or ideas will be put in a small group with the teacher. The group will discuss themes or ideas and discuss how that could be put into a lego scene. Once students are able to work individually, they will be dismissed from the group and given their own bag of legos. Below are examples of how to put ideas into a lego scene and what notes would be taken
Picture 1: Theme- loss of innocence
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Picture 2: Theme- accepting others
Picture 3: Theme- respecting and listening to her father.
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Students will take notes after they create each scene of what they have created. They will then put all three themes together to create their thesis. The example below shows that the notes taken on each picture allowed for a thesis to easily develop.
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Parts of an essay CLOZE
The ________________ is the ________ sentence of the ______________
______________. It is _____________ sentence. It tells the reader how you will
_____________ the significance of the subject matter under discussion. It will also tell
the reader what to expect through the rest of your paper. It directly answers the prompt
given, and it ____________________ _____ _______________.
A ____________ _____________ tells the reader what that theme of the ___________
_________________ will be. It is ___________sentence and is the ___________
____________ of each body paragraph. Each topic sentence will correspond with the
order of the themes you put in your thesis statement. It is __________ a question; it is
always a declarative sentence.
_____________ is the analysis of the quote that refers back to the __________
______________ ______ ______________. It answers the question of _________
___________the quote support the claim made in the thesis. It is a minimum of
__________ sentences and it directly _________ the quote.
A _____________ _______________ is _________ sentence that ___________ each
body paragraph that states what the overall theme is of that paragraph.
A ______________ is a statement(s) that ___________ _________ ______________ in.
It might be a ____________, a ___________, or personal experience that makes the
reader _______ to further read into the essay.
The _______ is the title, author, and genre. It occurs in the introduction __________ the
hook.
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Unit 6 CURRICULUM AREA/DURATION OF Poetry Unit LESSON Day 1 (odd date-no journaling) 8th grade Language Arts
9 days for about 10-15 minutes per period CALIFORNIA STATE STANDARDS: ELA Writing Applications: 2.2a,b- Responses to literature 2.2a Exhibit careful reading and insight in their interpretations. 2.2b. Connect the student’s own responses to the writer’s techniques and to specific textual references.
ELD STANDARD(S) Writing Strategies and Application: Organization & focus Early Advanced: Use appropriate language variations and genres in writing for language arts and other content areas. Advanced: Produce writing by using various elements of discourse (e.g., purpose, speaker, audience, form) in narrative, expository, persuasive, and/or descriptive writing
Language Objective: Students will be able Learning Objective: All students will be to participate in each station to prewrite able to successfully complete the prewriting for each form of poetry learned. activity and use their journaling from each
station to create poems. Key Vocabulary Notes on the format of each poetic form to write their own poem
RESOURCES AND MATERIALS (INCLUDING SUPPLEMENTARY AND ADAPTED)
Notes on poetry terminology Supplies for each station Poetry books- a variety from Maya
Angelou to Shel Silverstein Magnetic poetry- one-two boxes 10-12 brown paper bags with the
words “smell, taste, or touch” Fabric- silk, feathers, etc Candy Coffee, licorice, cinnamon, etc Pieces of laminated pictures of art (I
use impressionist)- any will work Music without words- Enya or
classical Words on small sheets of paper Explanation of how to write various
forms such as odes, acrostic, sonnet, etc.
The poem “Where I’m From”
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TIME LESSON/ACTIVITIES ∗ Students will be put into group of 3-5(depending on the class size) with a
total of 9 groups ∗ Students will be informed that they will be in these same groups for all
stations they will work in ∗ Each station will occur almost every day after students have learned a
new form of poetry ∗ This will act as their warm-up when students come into class Here are a list of stations:
Station 1: Borrowing from the greats In this station, I provide the students with a huge pile of poetry books, ranging from Shel Silverstein to Maya Angelou. They are to flip through and find a title or line that interests them, and begin a poem with those words, continuing with their own. They are instructed to write down the name of the poet and poem; i.e. "Based on 'Ain't I a Woman' by Sojurner Truth".
Station 2: Where I’m From Students will read the poem Where I’m From by George Ella Lyon. They will then discuss the poem as a group. What was good, what they liked, etc. They will then use the format of this poem to write their own poem with the same theme of Where I’m From. Students will use the graphic organizer provided to assist them in brainstorming and prewriting.
Station 3: Use your senses! In this station, I have around 10-12 brown paper bags with the words "smell, taste, or touch" written on them. The students are instructed to do as the bags say, using only that sense. Then they are to describe what it is they feel, smell, or taste, focusing less on trying to guess exactly what it is, and more on the details of description, along with images they associate with those details. They will write these descriptions in their notebook. For “touch” bags, silk or velvet scarves, rice, and strange objects like a koosh ball are inserted. For “smell”, coffee grounds, incense, clean scented candles, and cinnamon are used. For taste, I insert individually wrapped candies and students take one for this section
Station 5: Look! This station asks the students to look at various pieces of art and describe what they see. I provide students with about 10-12 laminated impressionist art pieces. In their notebook, they write the name and painter of the art piece
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and write what do they make students think of? Can they tell a story about what may be going on in the picture? If nothing else, I tell them to just describe the picture itself, especially focusing on the colors and designs.
Stations 6: Listen! I have several soothing CD's with no words (or very few) such as Enya, classical composers such as Beethoven and Tchaikovsky, or jazz. I ask them to listen at first with their eyes closed, then to write what they envisioned when they hear the music. They will write after the song has played. The song ranges from 1-1.5 minutes.
Station 7: Word clusters. In an envelope I have several words typed onto small slips of paper. I ask the students to choose one and create a word cluster (web) until they can think of no other words. Students will write their word in the center and branch off with ideas and thoughts about the word. They are finished when they can think of no more. Students will then use these words to make a poem about the particular word.
Station 8: Poetry forms and activities. I have several activities on paper which explain how to write haiku, limerick, odes, and acrostic. I then ask the students to try out one or more of these forms. I also provide list poem starters (i.e. I dream . . . lies, secrets, and fears in my life . . . things I believe in . . .) as an alternative.
Station 9: Magnetic poetry. Students are instructed to simply play with the magnetic poetry words. I tell the students to spend the majority of the time manipulating the words and to write down what they created during the 5-7 minutes they are at their station even it is doesn’t seem like anything.
For stations 1,3,5,6,7, & 9, students will be told what poetic forms they are to emulate when creating their own poem using their notes from the centers. For center 1, students will create a free verse poem. For center 3, students will write a narrative poem. Center 5 will be a sonnet, center 7 is an elegy, and center 9 will be a ballad. Students will know in advance what station equals what poetic format to be created. ∗ After each station, students will have 5-7 minutes to write in silence their
ideas down from the stations, begin writing their poems in the correct format, etc. Students will use the stations as a starting point for each poem created.
∗ At the end of the poetry unit, students will compile their final drafts and put them together in a creative way- ie: book.
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Where I'm From By George Ella Lyon
I am from clothespins, from Clorox and carbon-tetrachloride. I am from the dirt under the back porch. (Black, glistening, it tasted like beets.) I am from the forsythia bush the Dutch elm whose long-gone limbs I remember as if they were my own.
I'm from fudge and eyeglasses, from Imogene and Alafair. I'm from the know-it-alls
and the pass-it-ons, from Perk up! and Pipe down! I'm from He restoreth my soul
with a cottonball lamb and ten verses I can say myself.
I'm from Artemus and Billie's Branch, fried corn and strong coffee. From the finger my grandfather lost
to the auger, the eye my father shut to keep his sight.
Under my bed was a dress box spilling old pictures, a sift of lost faces to drift beneath my dreams. I am from those moments-snapped before I budded -leaf-fall from the family tree.