ࡱ> /1,-. bjbj 4xx&11Fsb}}}}}rrrrrrruJxr#@^##r11}}s&&&#1l}}r&#r&&j ,q} i|~$`l<rs0Fslx%|xxqqxqD&L rr`&XFs####x : 9th Grade English Language Arts & Reading First Six Weeks: Weeks 1-2 Genre: Fiction, Nonfiction Writer: Anya Miller Focus: Character/Plot Writing: Autobiography or Fictional NarrativeTEKS: Listen responsively to a speaker by taking notes that summarize, synthesize, or highlight the speakers ideas for critical reflection and by asking questions related to the content for clarification and elaboration. [ELAR 9.24A] Analyze non-linear plot development (e.g., flashbacks, foreshadowing, sub-plots, parallel plot structures) and compare it to linear plot development. [ELAR 9.5A B] Analyze the way in which a work of fiction is shaped by the narrators point of view. [ELAR 9.5C ] Make subtle inferences and draw complex conclusions about the ideas in text and their organizational patterns. [ELAR 9.9C ] Objective: The students will be introduced to the campuss procedures and teachers expectations for success in the class. The students will complete a student information sheet and diagnostic tests. The students will establish learning community norms and engage in discussions that are accountable to the learning and the community. The students will focus attention on speakers message. The students will write in voice and style appropriate to audience. The students will demonstrate control over grammatical elements. The students will expand vocabulary. The students will listen responsibly by taking notes. The students will revise drafts to improve language and style. The students will edit drafts. Overview: A syllabus should be provided to students which give general information about supplies needed, major pieces of literature and essays to complete, school policies, teacher expectations, grading practices, and contact information. The student letter could address goals that are academic, social, family-related, skills-related, or personal in nature. Although many excellent diagnostic tests exist, a TAKS type assessment is suggested to get an accurate evaluation of a students ability to pass the EXIT level TAKS test this year. Work within a literacy learning community and develop the habit of successful readers; Read grade-level text with fluency and comprehension Understanding and using new vocabulary when reading and writing Comprehending theme and genre in literary texts Comprehending structure and elements of literary genre: narrative Using elements of the writing process to compose text Using comprehension skills to listen attentively to others Working productively with others in team Literary Terms: inferences drawing conclusions point of view flashbacks foreshadowing plot structure narrative characterization protagonist antagonist first person third person limited omniscient omniscient Essential Questions: What are your goals this school year? What do we learn about facing challenges from these texts? What do we learn about narratives from these texts? How do these authors build suspense? Suggested Lesson Ideas: Suggestions for Establishing a Literacy Learning Community: Diagnose fluency rates by administering individual fluency probes. Lead students to set up their Readers/Writers Notebook Plan activities such as paired reading and independent reading in an effort to improve fluency and automaticity. Model reading strategies by reading aloud an AR book along with class. Diagnostic Test: A portion of a released TAKS Test (the literary selection with short answer; revising and editing selection). Explain your answer and support it with evidence from the selection. Students complete STAR testing. (AR program) Enrichment: Close read, note-taking, and review of answers could be done after Diagnostic Test (continued): completion of the test as a class. Intervention: One-on-one tutoring with students who earned very low scores Independent Reading: The results of the various reading pre-assessments (i.e. STAR, benchmarks, teacher-made) will help group students according to their reading needs and to choose appropriate reading materials. Collect and make available to students a classroom library composed of culturally diverse magazines, fiction and nonfiction books. (See weblink for matching readers ability with text difficulty). Allocate time for students to visit school library to check books in or out. Establish the roles and routines for small group instruction and clear expectations and accountability for independent reading done in class and outside of class. 20-minute time period per week in class for sustained silent reading (SSR) combined with a standing homework assignment to read for a half hour each night, keep a list of books read, and respond in a Readers-Writers notebook with three to five opportunities to write per week. Reading Aloud: Establish a routine of frequently beginning class with a read aloud or for students to read silently. Read for approximately 10 minutes and allow students to write a personal response to the text in their Readers/Writers notebook. Establish clear expectations for the norms and skills of Accountable Talk during the Read Aloud time. Choose a few of the Accountable Talk stems (e.g., This reminds me of Can you tell me more about ____?) to model and talk about initially with the whole class. Listen to books on tape. Have students to use a graphic organizer during the listening and reading of the selection will give them a purpose for reading. Teacher Note: Creating an Active Reading Model There should be a before reading activity- sets the purpose, previews, or plans for what is about to read, during reading sets the purpose for reading and make connections. After school reading students pause and reflect, read, and to remember. Unit Introduction Teacher Notes: Throughout this unit, students will, read, talk, write about, and write like the narratives they read, while keeping a Reader/Writer Notebook to record their learning. During the unit, students will use their new understanding about characteristics of effective narratives and methods used by authors to build suspense. Culminating Project: At the end of the unit, students will write a suspenseful autobiographical or fictional narrative. Lesson 1: Routines of Thinking, Reading, Writing, and Talking about Narratives Remember a Narrative: Access Prior Knowledge Ask students to recall a narrative (short story, song that has a story, movie, or a television story that has had a strong influence on them). Make sure they tell why during the discussion. Use Readers/Writers Notebook Have students transfer their verbal summaries into written summaries in their Readers/Writers Notebooks. Before writing, the teacher should model the process of writing a summary. Genre Study: What Is a Narrative? Create a class chart titled What Is a Narrative? Invite students to share their summaries with a partner. Using these summaries, help students formulate a definition of a narrative by asking: What is a narrative? What are the features of a narrative? Chart responses and post the chart as a visual reference to be utilized throughout the unit. Challenge them to explain the importance of a literary element. For example, as they talk about conflict, ask them what happens to a story without a conflict. Possible answers might be: It stops. It gets boring. Lead students to realize that conflict moves the plot. Engage students in a discussion of the elements of a narrative story, and have them compare and contrast characters, setting, theme, point of view, conflict, climax, resolution, etc. of texts they read in class. (See Elements of a Story) Develop characteristics: What Makes a Narrative Story Suspenseful? Create a class chart titled What Makes a Narrative Story Suspenseful? As students answer, write their responses on a chart and tell them that they will continue to add to this preliminary chart as they read texts in class. Preview the Unit Architecture and Content and habits of Thinking Provide students with a copy of the unit architecture. Increase student interest and ownership of the work and help them develop their own learning goals by reviewing the components of the architecture. The discussion should include the texts, theme, overarching questions, Disciplinary Literacy process, WriteAbouts, WriteLikes, StepBacks, and the culminating project. Lesson 2: Hook and Reading to Get the Gist Connect and Engage: Before the class reads The Most Dangerous Game, invite students to talk about the different challenges we face in life and how these challenges affect and/or change us. Give examples of challenging situations and ask students, If you find yourself in this situation, which response would you take? Fight or flight? Have them explain their choices. Model thinking aloud some prediction questions successful readers ask, such as: Based on its title, the pictures, or the first or last paragraph of the text, what might this story be about? After reading the text in its entirety, have them revisit and talk about their predictions. Reading to Get the Gist As the class reads the text, ask students: Whats happening here? What is the setting? What is the conflict? What do we know about the character/s? How do we know this? Read aloud a portion of text and demonstrate text annotation as a way to create a visual scaffold of a readers thoughts. Students could make a chart for display. Lesson 3: Reading for Significance Ask students to look for significant moments in the story. Challenge them to explain the importance of the moment to the story. Engage in a discussion of possible steps in choosing and explaining a significant moment. Provide guidance as students select and write their explanations. Lesson 4: Reading to Interpret Ask students to reread to respond to a text-specific interpretive question: Why does Zaroff hunt humans? Establish the expectations for their written response. Have students share their responses. Engage with the group as a facilitator of learning. Press for clarity; remind students to support their interpretations with relevant textual evidence and logical reasoning. After the discussion, invite students to reflect on the discussion and to revise their first responses. Ask them to share what they revised and why. Engage students in a Stepback: What steps did you take to develop and write your answer to the question? Chart students responses . Ask students to discuss model responses to identify the components of a successful response and develop a criteria chart. Lesson 5: Point of View As you engage students in a discussion of point of view, ask them: Who is the narrator of the story? It is beneficial to show examples of sections from the text that demonstrate the narrators point of view. Lead students to conclude that the section produces a type of story-telling called third person narration. Then ask students: Why did Connell write this story in third person? What is the effect? A possible response might be: Since the story is told in a neutral or unbiased view, it makes the narrator sound credible. After the discussion, ask students to change the sentence from third person to first person. Then ask, What is the effect on the reader of changing the sentence from third to first person narration? Lesson 6: Analyzing Conflict Ask students, What conflict did Rainsford face from within and without? Use students responses to this question as a springboard to a deeper discussion of different types of conflict: man versus man or society, man versus nature, man versus himself. For homework, ask them to interview somebody they know and ask the following questions: What conflict or challenge have you faced? How did you solve or overcome it? How did the challenge or conflict affect or change you? Lesson 7: Writing the Beginning of a Narrative Allow students to share their homework with a partner and the class. Invite students to read and discuss the culminating writing assignment for this unit. Explain that they can either write a suspenseful autobiographical narrative or suspenseful fictional narrative. Ask students to brainstorm possible suspenseful narratives they can write about. Have them make decisions about the following: What kinds of challenges have I faced? What dangers have other people encountered? What do I write at the beginning, middle, and end of my suspenseful narrative? What methods can I use to build suspense? It would be beneficial for students to sequence major events in their narratives in a story board or any graphic organizer. Ask them to analyze how Richard Connell wrote the beginning of The Most Dangerous Game. Have them identify what he did effectively. Have them share their observations and chart them. Ask them to write the beginning of their suspenseful narrative. As they write, have them make decisions about the following: What did Richard Connell do at the beginning of his story to engage the reader? What could I do thats similar to what he did? How would I make the beginning of my narrative compelling so that it will grab the attention of the reader? What can I do to make my characters believable? How can the setting make my narrative suspenseful? What point of view would be most effective in writing my suspenseful narrative? Have students share the beginnings of their suspenseful narratives with a partner and the class. Lesson 8: Reading to Analyze Authors Techniques Play a suspenseful excerpt from a movie and ask students to identify the method/s used by the director to build suspense. Ask them to explain the effect of the method/s to the viewer. Have them share their responses to a partner and the class. Chart their responses. Provide opportunities for students to emulate writing techniques of published writers. Use texts students read in class and other published pieces of texts as models of effective writing. For example, as the class reads The Most Dangerous Game, challenge them to look for methods that Richard Connell used to build suspense. Allow students to come up with their own terminologies as they identify methods used by Connell to build suspense. Have them look for an example of the method and explain its effect on the reader. Give them time to go back to their suspenseful narrative stories, and apply what theyve learned from Richard Connell. Extensions: Students can interview people outside of class to learn about what makes a narrative interesting to them. Students can share these ideas with a small group or with the class. Students can research the fight or flight response and share their findings with the class. Students can choose a portion of a text and play music that matches the mood of the excerpt from the text. Have students analyze and imitate what the directors did to inspire fear in horror movies or thrillers. Intervention: Tier 1 Provide students the time to talk with a partner before and after writing responses. - Provide support for understanding the word suspense. For example, you can show a video clip of a balloon being filled with air. You can also play a recording of Beethovens 5th symphony that builds up to a crescendo. Ask students. What makes the video clip or musical score suspenseful? While reading aloud, you might pause and model how successful readers monitor their comprehension by re-telling events and asking gist questions. For those having difficulty with comprehension, work with small groups, pairs, or individuals by- Rereading aloud excerpts of the assigned texts. Modeling more ThinkAlouds and having students emulate these as they work through texts. - During small group, differentiated instruction, model analyzing and imitating methods authors use to build suspense. Tier 2 Based on data from the oral reading fluency probes, set goals with students and provide opportunities for students to engage in additional activities during small group or tutoring sessions. Engage students activities that will develop their oral reading fluency such as repeated readings, practice of vocal inflection, and word study. - Conference with struggling students other content and elective teachers about the need to reinforce text annotations and comprehension monitoring. - As students reread The Most Dangerous Game to interpret, consider introducing inference by showing students that they INFER every day: Walk up to a responsive student and frown or smile, and then ask the student, What am I thinking? Continue this process until you get answers like: Youre mad; Im in trouble; Youre happy about something; etc. Try questioning students about HOW their peer decided that you were feeling a certain way when you did not explicitly state it. Students might try discussing this or making lists of ideas. Students should eventually see that making an INFERENCE is nothing more than creating NEW IDEAS based on two things: 1) what a person already knows 2) new information that a person encounters. This is often referred to as the equation of inference: What I know + new information = INFERENCE Students need multiple opportunities to hear proficient readers ThinkAloud as they make inferences. What students already know = background knowledge; the new information is usually from a TEXT. Provide a graphic organizer to help visual learners better understand the equation of inference. Also consider reminding students that the predictions they have made BEFORE and DURING reading are a form of inference. - Encourage students to read high interest suspenseful narratives during any breaks or extra time that presents itself during the course of the school day. Have them analyze and imitate methods used by the author to build suspense. Tier 3 - Establish a before/after and Saturday school program. Content and attendance are determined by specific student needs and based on performance as indicated by data gathered via profiling. - Teachers invite elective teacher to collaborate. Teacher may select a book to read aloud during the electives as a model for fluent reading. - Stop students regularly to annotate and clarify their literal comprehension. Prompt their understanding by providing questions for each section that will help them monitor comprehension. Suggested Assessment: Vocabulary Quiz Teacher observations Narrative draft (rough/final) Grammar Diagnostic Journals Graphic Organizer Class Discussion Benchmark (pre-assessment) Open-Ended Questions (analysis) Reflective Page Resources: Literature Textbook Grammar Textbook ELA Terms Grammar Diagnostic Graphic Organizers Bio Poem 1,000 SAT Vocabulary *America Now: Short Readings from Recent Periodicals by Robert Atwan Literature Selections: The Most Dangerous Game by Richard Connell pp.60-80   9th Grade English Language Arts & Reading First Six Weeks: Weeks 3-4 Genre: Fiction, Nonfiction Writer: Anya Miller Focus: Characterization Writing: Autobiography or Fictional Narrative TEKS: Analyze non-linear plot development (e.g., flashbacks, foreshadowing, sub-plots, parallel plot structures) and compare it to linear plot development. [ELAR 9.5A B ] Summarize text and distinguish between a summary that captures the main ideas and elements of a text and a critique that takes a position and expresses an opinion. [ELAR 9.9A ] Make subtle inferences and draw complex conclusions about the ideas in text and their organizational patterns. [ELAR 9.9C] Use a variety of correctly structured sentences (e.g., compound, complex, compound-complex). [ELAR9.17C] Objective: The students will expand vocabulary. The students will identify main idea, summarize texts, and draw conclusions The students will identify literary elements. The students will analyze plot development. The students will understand structure and elements of drama. Overview: Read grade-level text with fluency and comprehension Understanding and using new vocabulary when reading and writing Comprehending theme and genre in literary texts Comprehending structure and elements of literary genre: narrative Using elements of the writing process to compose text Using comprehension skills to listen attentively to others Working productively with others in team Literary Terms: summarize identify analyze draw conclusions main idea theme plot analysis (expo, rising, climax, falling, & resolution) irony character foreshadowing authors purpose Essential Questions: What are the writers saying in this text? What do we learn about narratives, songs, poems, and essays? How are fictional and real characters affected by their setting? What do these texts say about the concept of family? Suggested Lesson Ideas: Lesson 9: Language Study: Mentor Sentences Ask students What is a complete sentence? Have them compare and contrast fragments and complete sentences. Explain that authors use different types of sentences to achieve a variety of effects. Then, have students analyze and imitate how Richard Connell effectively combined two independent clauses: For example, have them analyze this sentence: His face was set, and he forced the machinery of his mind to function. Ask students: What do you notice about this sentence? A possible answer might be: There are two complete sentences joined by a comma and a conjunction. Then, ask students to imitate this sentence pattern and share their sentences with a partner and the class. Play with the sentence by removing the comma or the conjunction, and lead students to discuss the effect of the missing comma or conjunction. Follow the same process when teaching students other sentence patterns such as: He slid down from the tree and struck off again into the woods. (One sentence with two verbs joined by a conjunction.) Students may analyze and imitate other sentences or phrases with commas from The Most Dangerous Game. It would be beneficial to compare and contrast sentence patterns. Give students opportunities to write these sentence patterns in the narratives they are writing. Students may also analyze and imitate sentences in The Most Dangerous Game with prepositional phrases such as He executed a series of intricate loops; he doubled on his trail again and again, recalling all the lore of the fox hunt, and all the dodges of the fox. Have them find a place in their narratives to add prepositional phrases. StepBack: Thinking About Learning: Ask students: What are you learning about what readers do to understand texts they are reading? What are you learning about what authors do when writing a suspenseful narrative? What supported your learning? Have students share their responses. Chart students responses and remind them that they will continue adding to this chart as they read and analyze other texts. Lesson 10: Writing the Middle of a Suspenseful Narrative Challenge students to discuss the possible methods that Richard Connell used to build suspense (compelling hero and villain, time constraints, sensory details, dilemma, deepening complications, etc. ) WriteLike: Encourage students to imitate how Connell used methods such as sensory details, dilemma, or deepening complications to build suspense by adding any of these methods in their suspenseful narratives. Have them share their methods with partners or the class. StepBack: Engage students in the creation of a criteria chart for an effective suspenseful narrative by asking them: What did you learn about the characteristics of effective suspenseful narratives from reading, listening to, and discussing The Most Dangerous Game? Give students time to write the middle of their suspenseful narratives. As they write, ask them to make decisions about the following: What methods could I use to build more suspense? How would I heighten suspense in the middle of my narrative to make the reader want to continue reading? Overarching Questions: Ask students: How do challenges we face affect us? How do we find solutions to our problems? What are the consequences of our decisions? Have them write their responses in their Readers/Writers Notebooks. Invite students to turn and talk about their responses. Continue encouraging students to build upon what others say. Lesson 11: Vocabulary Building As students read New Directions, have them identify unfamiliar words and ask them to write each word in a note card, a graphic organizer, or a Personal Dictionary. Tell them to write the words definition, some context clues, and represent it with a drawing or a picture. Consider the following as you teach vocabulary. Create Vocabulary Knowledge Rating Chart Note: Vocabulary Building Students may learn up to 3,000 new words a year, but if you DIRECTLY teach 10 words a week, you can only cover about 300 a year. Thus, most vocabulary learned by students is learned indirectly. The single best method for learning new vocabulary is reading a wide variety of texts. Students often need between 7 and 10 exposures to a word before they learn it and subsequently retain it. With limited time, it is advisable to choose carefully the vocabulary words for which you provide direct instruction. When choosing, consider these criteria: Is the word critical to comprehending the text being read? Are students likely to see the word again? Is the word a good example of a skill students need such as 1) context clues 2) multiple meanings 3) a discernable prefix, root, and/or suffix? If the answer to any or all of the above questions is yes, then the word MAY be a good candidate for direct instruction. Using the dictionary to define words may not be useful for students with limited vocabulary knowledge. Dictionaries are most useful when their use is combined with vocabulary instruction. Lesson 12: Reading to Get the Gist and Find Significant Moments As students read New Directions, ask them: Whats happening here? What is the conflict? What do we know about the character/s? How do we know? Have students write their responses in their Readers/Writers Notebooks. Before reading, have students complete Anticipation Guide. (See TE p.36) Lesson 13: Characterization Ask students to discuss way people describe a person. Chart students responses. As students read New Directions, have students describe the character/s. Lesson 14: Reading to Interpret and Analyze Authors Techniques/Language Study/Point of View As they read New Directions, ask students to analyze the storys point of view and its effect on the reader. Have them discuss the effect of telling a story from the first person point of view. Lead students to understand that in a first person point of view narration, a narrator sometimes exaggerates. Here are other possible effects of writing in the first person point of view: The story revolves around the narrator. A character's inner thoughts are conveyed openly to the audience. The narrator interjects his or her own opinions and biases. Students respond to text-specific interpretive questions such as, What challenge did the narrator face? or How is the narrator affected by the challenge she faced? Challenge students to change the point of view of the story and analyze how a different point of view affects the reader. Lesson 15: Reading Sonata for Harp and Bicycle to Get the Gist As students read Sonata for Harp and Bicycle, ask them gist questions such as Whats happening here? What do we know about the characters? How do we know? Have students write their response in their Readers/Writers Notebooks. Note: ThinkAloud As the class reads texts, model and encourage students to think aloud about how the plot of the text follows the plot development pattern. Recognizing plot structure should help students transfer this organizational pattern (chronological narration) into their own writing. Lesson 16: Reading to Identify Significant Moments As the class reads Sonata for Harp and Bicycle, have students look for words, phrases, or sentences that describe the conflict and point of view. Then, ask them to explain how the word, phrase, or sentence describes the conflict and point of view and its significance to the story. Note: Literature Circle Consider using Literature Circles and/or whole class, paired, and/or trio discussions to identify and analyze (using the support of specific textual evidence) the storys literary elements. Lesson 17: Language Study: Appositives Have students analyze and imitate how Joan Aiken used appositives: For example, invite them to analyze this sentence: But why is it? Jason Ashgrove, the new copywriter, asked his secretary one day. Then, ask students: What do you notice about this sentence? A possible answer might be: The phrase a the new copywriter is describing the subject. Then, ask students, What is the effect of the appositive? Possible responses might be, It tells me that Jason Ashgrove is the new copywriter who does not understand something so he asks questions. By adding an appositive to the sentence, the author creates tension. Play with the sentence and challenge students to rewrite it. For example, take away the subject or the appositive, and then analyze the effect. Then, ask students to imitate how Aiken used appositives, add their sentences with appositives in their suspenseful narratives, and share their sentences with a partner and the class. Play with the sentence and have students discuss the effect. Extensions: Encourage students to read increasingly challenging stories, novels, and nonfiction books according to their interests. Ask students to compare the challenges faced by the characters in their independent reading and the characters of the texts they read in class. Have students use vocabulary building strategies and tools such as graphic organizers, vocabulary journals, personal dictionaries, reference aids, word maps, word walls, structural analysis, and context clues as they learn SAT vocabulary words. Ask parents to share the most unusual word they know and explain why it interests them. Encourage them to use vocabulary cards to quiz students or to ask students every day about the new words theyve learned. Ask students to re-write a story they have read independently by changing the point of view and then analyze the effect this has on the narrative. Consider having students re-write the ending of a narrative, resolving (or failing to resolve) the conflict in a different way. Intervention: Tier 1 Provide students the time to talk with a partner before and after writing responses. - During small group, differentiated instruction, re-teach any of the vocabulary strategies with which students are having difficulty. Encourage students to practice particular strategies over and over; try turning each unsuccessful attempt to use a strategy into an opportunity to learn to use it successfully. - The links listed under Websites contain a number of alternate strategies for vocabulary instruction. - Collaborate with teachers in other subject areas to compile a glossary of academic vocabulary that students will use in all of their courses. - During small group, differentiated instruction, think about working with students who are having difficulty identifying methods used by the author to build suspense by writing individual sentences from a brief paragraph on note cards. Students could then work in pairs/groups to look for words or phrases that build suspense. - Consider having students turn and talk about this question: What traits or characteristics do most narrative or fictional stories have? The class could then produce a criteria chart that should eventually include the following (with some variations): 1) characters 2) plot 3) setting 4) conflict 5) theme, etc. Tier 2 Teachers invite elective teacher to collaborate. Teacher may select a book to read aloud during the electives as a model for fluent reading. - Stop students regularly to annotate and clarify their literal comprehension. Prompt their understanding by providing questions for each section that will help them monitor comprehension. - Encourage students to continue reading high interest suspenseful texts at their independent reading level during any breaks or extra time that presents itself during the course of the school day. - Think about asking parents and/or a sibling to show a suspenseful excerpt from a movie or TV show and ask the student the following questions: What makes the moment suspenseful What did the director do to build suspense? What is the effect of the method on the reader? - As students work in small groups, reinforce the expectation for learning and using academic vocabulary and course-specific terms. Engage students in using visuals to understand and use new words. - Encourage students to read high interest fiction at their independent reading level during any breaks or extra time that presents itself during the course of the school day. Tier 3 Students attend before/after and Saturday school programs. - Establish a before/after and Saturday school program. Content and attendance are determined by specific student needs and based on performance as indicated by data gathered via profiling. - Sending students home with high-interest texts that they can read independently. Ask their parents to discuss their reading. Have students critique different texts for their peers. Suggested Assessment: Quizzes Teacher observations Literary Elements Quiz ELA terms test Journals Graphic Organizer Class Discussion Most Dangerous Game Vocabulary Open-Ended Questions (analysis) Benchmark Reflective PageResources: 1,000 SAT definitions Prentice Hall Literature Textbook Prentice Hall Grammar Textbook Short Writing Vocabulary Handout Literature Elements Handout Most Dangerous Game Debate: Rainsford Innocent or Guilty *America Now: Short Readings from Recent Periodicals by Robert Atwan Websites: http://www.tea.state.tx.us/r eading/practices/redbk5.pd f (TEA resource on teaching vocabulary) http://www.texasreading.or g/downloads/secondary/gu ides/2003enhancVocab_pr esent.pdf (An extensive set of instructional strategies for vocabulary), http://web000.greece.k12.ny.us/instruction/ela/612/Tools/mainideanotes.pdf (A useful graphic organizer for introducing the concept of main idea) http://www.texasreading.org/downloads/secondary/booklets/Secondary_ELA_Resource.pdf (Consult Pages 59-62 and 65-69 for detailed lessons on teaching main idea) Literature Selections: The Most Dangerous Game by Richard Connell pp.60-80 New Directions by Maya Angelou pp.36-38 Sonata for Harps and Bicycles pp.46-56  9th Grade English Language Arts & Reading First Six Weeks: Weeks 5-6 Genre: Fiction, Nonfiction Writer: Anya Miller Focus: Plot Writing: Autobiography or Fictional Narrative TEKS: Analyze the way in which a work of fiction is shaped by the narrators point of view. [ELAR 9.5C] Revise drafts to improve style, word choice, figurative language, sentence variety, and subtlety of meaning after rethinking how well questions of purpose, audience, and genre have been addressed. [ELAR 9.13C] Revise final draft in response to feedback from peers and teacher and publish written work for appropriate audiences. [ELAR 9.13E] Write an engaging story with a well-developed conflict and resolution, interesting and believable characters, and a range of literary strategies (e.g., dialogue, suspense) and devices to enhance the plot. [ELAR 9.14A] Objective: The students will analyze plot development. The students will understand structure and elements of drama. The students will expand vocabulary. Overview: Using elements of the writing process to compose text Using comprehension skills to listen attentively to others Working productively with others in team Literary Terms: summarize identify analyze draw conclusions main idea theme plot analysis (expo, rising, climax, falling, & resolution) irony character foreshadowing authors purpose Essential Questions: What are the writers saying in this text? What do we learn about narratives, songs, poems, and essays? How are fictional and real characters affected by their setting? What do these texts say about the concept of family? Suggested Lesson Ideas: Lesson 18 Informational Texts: Distinguish between a summary and a critique Teacher conducts Book Talk about The House on Mango Street by Sandra Cisneros. Have students to pair read or divide class into two groups. Group/ Student A reads Student Guide to: The House on Mango Street. Group/ Student B reads Blog entry to: The House on MangoStreet. Challenge students to list the features of each text. Students share responses. Teacher chart response (Venn diagram). Using checklist (see page 376), class analyze each text. Lesson 19: Writing the Ending of a Suspenseful Narrative Give students time to write the ending of their suspenseful narratives. As they write the ending of their suspenseful narratives, ask them to make decisions about the following: How would you intensify the suspense even more at the end of your narrative? How would you resolve the conflict? How would you show the effect of the challenge on the main character? It would be beneficial to have students analyze how Connell, Wright, and Bauer ended their narratives. Give students opportunities to imitate what one or all of these authors did well in concluding their narratives. It would help struggling writers to see the teacher model his/her own writing. Give students opportunities to share what they have written with a partner or the whole class. Creating and using a rubric of what makes an effective suspenseful narrative would also be extremely helpful. As you model writing a suspenseful narrative, challenge students to notice methods you are using to build suspense and explain their effects on the reader. Lesson 20: Writing a Suspenseful Narrative The teacher can give mini-lessons on how writers effectively develop ideas and give students time to apply what theyve learned in their own writing. As you teach students how to develop their ideas effectively, consider the following: Note: Development of Ideas: The extent to which a topic is explored and the depth of thinking revealed by the writer. Well-developed papers: o Anticipate and answer such reader questions as Who? What? When? Where? Why? and How? o SHOW instead of TELL. They use such techniques as dialogue and description to help readers visualize the writers ideas. o Use vivid (strong and specific) verbs, adjectives, and adverbs . o Leave readers with a clear sense of the writers purpose (such as to narrate, to explain, to persuade, etc) o Articulate why the topic is important to the writer or how (s)he feels about or has been affected by the subject matter of the paper. o Contain sentences that provide the greatest detail possible. One strategy for writing such sentences is Gretchen Bernabeis Ba-Da-Bing (See web link). Have students make decisions about guiding questions. (See Model: Guiding Questions) Lesson 21: Revising and Editing a Suspenseful narrative Writers Workshop: Peer Conferences Have students engage in writing, revising and editing conferences. The conference could be between teacher and student or between students. As students engage in writing, revising or editing conferences about their suspenseful narrative stories, please consider the following: Any stage of the writing process may be conducive to a conference, including pre-writing and drafting. When students work in pairs to revise (consider the content based upon the traits of writing) their papers, one way to structure this work is as follows: 1. Student A reads his paper ALOUD to Student B. Student B uses Accountable Talk either to paraphrase the main idea of Student As paper or to ask questions (Did I hear you say?) 2. Student B then reads her paper aloud to Student A. Student A then emulates the feedback from Student B. 3. Student A then reads Student Bs paper aloud to her. If he has any questions about content or conventions, the two writers confer. 4. Student B then reads Student As paper aloud to him, again conferring about content and/or conventions. (See Model: Guiding Questions) Motivate students to continue imitating mentor sentence patterns that effective authors use as they write their suspenseful narratives. Lesson 22: Publishing and Sharing Final Drafts Possible ways to publish final drafts of suspenseful narratives: Use Technology: Blog it in a district-approved, safe, and student-friendly blog site like Gaggle.net, or post it in a wiki like Wetpaint.com, or screen cast it using Jing.com, or have them act it out, videotape it, and post it in a wiki or any other online venue, or copy it on a DVD disc. Make a large copy of the essay, annotate what the writer did well, and post it on a bulletin board. Possible ways to share final drafts of suspenseful narratives: Authors Chair: Have a chair in front of the class with a sign on it that says, Authors Chair. Give students a photocopy of their final drafts and invite volunteers to sit in the chair to read their suspenseful narrative to the class. Campfire Presentations: Simulate a campfire by placing logs in the middle the classroom with a circle of chairs. To create drama, you can turn off the lights, and ask students to read their suspenseful narratives using a flashlight. Use Technology: Have students view the DVD of their role-played suspenseful narrative, or read the blog or view the role-played video embedded in a wiki site or any other online venue. Engage students in a discussion analyzing methods that they used to build suspense and the effect of the methods on the reader. Possible ways to share final drafts of suspenseful narratives (continued): Create and use a rubric to assess the effectiveness of presentations of final drafts of suspenseful narrative stories. Retrospective Work: Thinking about the Theme: Ask students: What do we learn about facing challenges from these texts? What do we learn about narratives from these texts? StepBack: How were your responses to the overarching questions affected by the texts you read and the composition you wrote? What techniques did you learn that you can use in other forms of writing? StepBack: Thinking about Learning: Ask students: What are you learning about what readers do to understand texts they are reading? What are you learning about what authors do when writing a suspenseful narrative? What supported your learning? Extensions: - Students can bring in an artifact from their home or neighborhood that they consider to be a treasure. - Working independently, or in pairs/groups, students can re-read the final drafts of the papers they have written during the first six weeks and select one composition that they like best or that they feel represents their best writing up to this point in the course. - Encourage students to read their papers aloud to the class. Such papers could also be copied onto an overhead transparency and used as models for the entire class. - Encourage students (who demonstrate independent proficiency with utilizing each stage of the writing process and with producing successful compositions) to read their papers aloud to the class. Such papers could also be copied onto an overhead transparency and used as models for the entire class. - Think about allowing proficient writers to draft several types of real-world documents, including resumes, letters, and college application essays. - Students create a blog about a novel or short story they are reading or have read. Intervention: Tier 1 Provide students the time to talk with a partner before and after writing responses. - During small group, differentiated instruction, consider providing selected students with more examples of effective and ineffective papers. You might only focus on one trait at a time until students can identify it and use textual evidence to explain its effectiveness (or lack of effectiveness). - Consider working through some of the visual representations of the writing traits available through the 5th web resource. - During small group, differentiated instructional time, consider allowing proficient writers to assist their peers by conferencing with them at any stage of the writing process. - For students having difficulty generating or focusing ideas, consider encouraging them to free write without regard to content. Like writing a journal, sometimes this technique helps writers discover ideas. - For students having difficulty editing, consider trying a strategy like clocking in which every student in a group reads every draft but only focuses on finding one type of error. - During small group, differentiated instructional time, consider allowing proficient writers to assist their peers by conferencing with them at any stage of the writing process. Tier 2 Teachers invite elective teacher to collaborate. Teacher may select a book to read aloud during the electives as a model for fluent reading. - Stop students regularly to annotate and clarify their literal comprehension. Prompt their understanding by providing questions for each section that will help them monitor comprehension. - Work with colleagues in other disciplines to support their ability to use the traits of effective writing that your students are studying. Ask them to reinforce these concepts as students write for them in other contexts. - During available conference time or through other content area colleagues, use highlighters to color code specific, frequent errors requiring either editing or revising. Tier 3 Students attend before/after and Saturday school programs. - Ask students to watch a newscast or read newspaper stories and explain why they are or are not effective. The same traits identified for writing should begin to emerge. Tier 3 Think about encouraging students to read after school and on weekends and to try imitating a piece of writing they like. - Consider asking students to discuss with friends, siblings, and/or their parents several real-life situations in which writing something might be necessary (ex: a letter to resolve a disputed charge on a phone bill). Encourage students to try a similar writing task for the same reason. - Think about encouraging students to read after school and on weekends and to try imitating a piece of writing they like.  Suggested Assessment: Quizzes Teacher observations Literary Elements Outline SAT Vocabulary 2 Journals Graphic Organizer Class Discussion Plot Analysis Open-Ended Questions (analysis) Benchmark Reflective PageResources: 1,000 SAT definitions Prentice Hall Literature Textbook Prentice Hall Grammar Textbook Short Writing Vocabulary Lesson 2 Plot Analysis Handout The House on Mango Street by Sandra Cisneros *America Now: Short Readings from Recent Periodicals by Robert Atwan Websites: http://www.tea.state.tx.us/student.assessment/resources/release/taks/2006/july06_xlscore2.pdf (A TEA resource containing annotated student papers ranging from ineffective to highly effective), http://www.trailofbreadcrumbs.com/studentsamples/2004/CollGr10-4s.doc (A collection of successful student compositions from which teachers can choose papers to share with their students), http://www.trailofbreadcrumbs.com/studentsamples/2004/CollGr10-1s.doc (A collection of unsuccessful student compositions from which teachers can choose papers to share with their students), http://www.texasreading.org/downloads/special_ed/SEDsecondaryoriginal/2000_writing_inst_SE.PDF (An extensive collection of background information about writing, including a number of strategies for teaching writers at various stages of development), http://www.texasreading.org/downloads/secondary/guides/2003IntensRW_Present.pdf, http://www.trailofbreadcrumbs.net (Gretchen Bernabeis website that links to several good resources for teaching the traits of writing), http://www.texasreading.org/downloads/special_ed/SEDsecondaryoriginal/2000_writing_inst_SE.PDF (An extensive collection of background information about writing, including a number of strategies for teaching writers at various stages of development), http://www.texasreading.org/downloads/secondary/guides/2003IntensRW_Present.pdf, http://www.writingfix.org (An excellent resource for information about the traits of writing with which students must become proficient), http://writingfix.org (A comprehensive web resource for information and teaching tools addressing the traits of writing), http://getinthefold.blogspot.com/2011/03/ba-da-bing-simple-quick-writing.html (Gretchen Bernabeis website that links to several good resources for teaching the traits of writing). Model: Guiding Questions Ask students to make decisions about the following essential questions on traits or writing: What are at least three traits of writing by which a composition could be evaluated? How can I evaluate whether a paper is focused? How can I tell if a papers ideas are well-developed? What specific techniques do successful writers use to develop their ideas? Literature Selections: The Most Dangerous Game by Richard Connell pp.60-80 New Directions by Maya Angelou pp.36-38 Sonata for Harps and Bicycles pp.46-56 h  TEKS: Analyze how authors develop complex yet believable characters in works of fiction through a range of literary devices, including character foils. [ELAR 9.5B ] Make subtle inferences and draw complex conclusions about the ideas in text and their organizational patterns. [ELAR 9.9C] Plan a first draft by selecting the correct genre for conveying the intended meaning to multiple audiences, determining appropriate topics through a range of strategies (e.g., discussion, background reading, personal interests, interviews), and developing a thesis or controlling idea. [ELAR 9.13.A ] Revise drafts to improve style, word choice, figurative language, sentence variety, and subtlety of meaning after rethinking how well questions of purpose, audience, and genre have been addressed. [ELAR 9.13C B] Edit drafts for grammar, mechanics, and spelling. [ELAR 9.13D B ] TEKS: Analyze how authors develop complex yet believable characters in works of fiction through a range of literary devices, including character foils. [ELAR 9.5B ] Analyze the way in which a work of fiction is shaped by the narrators point of view. [ELAR 9.5C ] Revise drafts to improve style, word choice, figurative language, sentence variety, and subtlety of meaning after rethinking how well questions of purpose, audience, and genre have been addressed. [ELAR 9.13C ] TEKS: Plan a first draft by selecting the correct genre for conveying the intended meaning to multiple audiences, determining appropriate topics through a range of strategies (e.g., discussion, background reading, personal interests, interviews), and developing a thesis or controlling idea. [ELAR 9.13A] Edit drafts for grammar, mechanics, and spelling. [ELAR 9 .13D B ] Use a variety of correctly structured sentences (e.g., compound, complex, compound-complex). 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