English 3-4
Curriculum Guide
Portland Public Schools
Version 1.0:
September 2010
1
Table of Contents
Acknowledgments
3
Introduction to Curriculum Guide
4
Using this Curriculum Guide
6
Introduction to English 3-4
7
List of Units for English 3-4
11
Introduction to the Units of Study
12
Grade 10 Priority Standards
13
Priority Standards by Unit
16
Possible Year-Long Plans
20
Blank Year-Long Planning Templates
23
Work Sample Requirements and Information
29
Academic Vocabulary for English 3-4
34
Modes of Writing
39
Summary of Understanding by Design
41
Types of Assessments
42
Optional English 3-4 Diagnostic Assessment
43
2
Acknowledgements
Thank you to all of the amazingly talented and generous teachers who participated in the
curriculum writing sessions in June of 2010 that led to the development of the tenth and
eleventh grade curriculum guides:
Bob Anderson, Wilson
Sarah Blount
Bill Boly, Wilson
Richard Brown, Roosevelt
Gene Brunak, Madison
Anne Dierker, Cleveland
Jordan Guetlerner, Lincoln
Mark Halpern, Lincoln
Evan Hansen, Roosevelt
Karen Margolis
AJ Nelson, Lincoln
Bethany Nelson, Marshall
Mary Rodeback, Grant
Gary Sletmoe, Cleveland
Alicia Smith, Marshall
Kristin Wallace, Marshall
Janice Wallenstein, Cleveland
Amy Wright, Marshall Night
Jamie Zartler, Grant
Special thanks to those who assisted with the editing, assembly and organization of the guides:
Alex Gordin, Cleveland
David Hillis, Cleveland
Kelly Gomes, Madison
Barbara Brown, Lincoln
Artie Knight, Rice
Isaac Prahl, Student Intern
Also, thank you to all of the writers of previous years’ curriculum packets that served as the basis
for much of the work found here. For over ten years, PPS teachers, with the unwavering support
and direction of Linda Christensen, have come together to write and share curriculum. You will
find that so much of their labor remains in active use in this guide and in classrooms around the
district.
3
Introduction to PPS Curriculum Guides (May 2009)
Overview
Middle and high school courses in the core content areas will have curriculum guides teachers
can use as a resource. The guides developed by teams of teachers and revised as needed, will
include all the grade level standards and assessments for the priority standards.
Standards and summative assessments will be consistent across schools, while specific
instructional strategies and supplemental materials may vary. These guides will provide at least
one plan for addressing all standards using district-adopted materials, district-supported
instructional strategies, and district assessments. Strategies for differentiating learning for
students will be included.
Purpose and Rationale
An aligned curriculum benefits students, their families, and our teachers, and provides the basis
to measure student progress across the district.
Students benefit from encountering the same high expectations, are less likely to experience
either gaps or repetition in content and skills, and do better when it is clear what they are
expected to learn and how their progress will be measured. Their families are better able to
support consistent standards and can expect the same curriculum even if they make a move
within the district.
Having a common guide for teachers provides resources (especially for teachers new to the
District), opportunities to plan collaboratively and share exemplary practices, and up-to-date
instructional materials that support struggling and advanced students
The guides provide a foundation for each secondary course. Teachers may supplement the
foundation with other resources and strategies, but may not eliminate standards or assessments.
Development Process
Teams of 4-7 teachers including special education and ESL will work with a curriculum
specialist to design the curriculum guides. They will meet together periodically and will do work
independently. Sessions for review by the team and others will be scheduled throughout the
process. At the end of the development phase, copies of the guide will be available to any teacher
who would like to field test. The developers will field test the entire guide. Those who are field
testing will convene periodically for professional review and review of student work. After the
field test period, all teachers will use the standards and common course assessments.
Teachers will be compensated for group development and review time. Before individual work is
started, the curriculum specialist will submit a budget to the director for approval. Teachers will
4
submit completed curriculum with payment request. Teachers who field test will be compensated
for group review sessions and up to eight hours per month for participation.
Future Vision
This work is the foundation for helpful guides for teachers now and for a powerful future. As we
develop a web-based system to store and share these resources, we imagine these results:
o Teachers will have instantaneous access to all core curriculum materials, classroom
assessments, and student progress reports
o Teachers will be able to collaborate electronically anytime and anywhere, sharing lessons
and contributing insights
o Professional development will be teacher-directed, focused on what they need, with the
opportunity to improve their practice by viewing videos on specific content, exemplary
lessons and effective instruction
o Teachers will save time by having relevant Internet resources all in one place
o Students and teachers will find resources in our public libraries and libraries throughout
our system.
o We will be able to adapt and replace materials and resources with greater ease and
frequency
5
Using this Curriculum Guide
This guide for English 3-4 is intended to be used as a planning tool to assist teachers in
clearly targeting specific grade-level priority standards, and it includes resources for on-going
progress monitoring and assessment of student achievement toward those expectations. It has
been developed in a manner to provide students with multiple opportunities throughout the year
to show their proficiency with the priority standards. It represents one way that a full year of
English 3-4 could be delivered.
This guide, however, need not be used as a lock-step scope-and-sequence for how to teach
this grade level. There is no expectation that all teachers will be teaching the same topic or text
on any particular day. In fact, this guide, developed by classroom teachers, has been designed to
encourage professional flexibility, by providing information and resources so that teachers can
make the most appropriate curricular choices for their students.
Suggestions for how to use this guide for planning your year:
1. Look through the pages that follow about the grade-level focus, core novels, adopted
materials, and commonly taught works.
2. Read through the list of units that are a part of this guide. Notice each unit’s duration,
focus, and culminating assessment.
3. Scan the horizontal charts that identify the priority standards addressed in each of the
units. Consider your own priorities and those of your school and department.
4. Look over the possible year-long plans suggested by the developers of this guide. These
possible plans address, as fully as possible, the majority of the priority standards in a way
that reflects a typical year in this grade level. Notice that some units on these suggested
year-long plans are not yet found in this guide.
5. Sketch out your own possible year-long plan on the blank unit template, which asks you
to consider the duration, focus, and assessments.
6. Go through the blank priority standards horizontal chart with each of your units to
identify the priority standards you will most likely address in that unit. Look out for gaps
and too much repetition of priority standards.
7. Locate the resources found within and outside this guide that you will need to address the
topics and priority standards you have identified.
8. During each unit, you may want to track students’ progress in meeting identified priority
standard by using the monitoring form found in each unit, which has been filled in with
some of the unit’s identified priority standards, though it can be modified to reflect your
individual focus as well.
6
Introduction to English 3-4
In 2006, over forty Language Arts teachers from across the district came together in a series of
meetings in an effort to define and distinguish each of the four years of English in Portland Public
Schools. Their recommendations were shared with our colleagues and were refined further. The
result is the following consensus document that lays out, in broad strokes, the themes and main
texts of English 3-4.
Course Description
Sophomore language arts students develop an appreciation for and understanding
about ideas and experiences from around the world. Through the lens of cultural
encounters, students read a balance of contemporary and classic works—short stories,
essays, novels, poetry, nonfiction, drama, and non-print media—that encourages
examination of multiple points- of-view. Students work to become effective writers,
critical thinkers, attentive readers, and engaging presenters.
Essential Questions






What is culture?
What are the benefits and boundaries of cultures?
What is the role of literature in culture?
What are circumstances that give rise to intolerance?
What is the importance of memory?
What is love? What is real?
Themes
•
•
•
•
Cultural Encounters
Oppression, Resistance, and Social Action
Diversity and Tolerance
Making Sense of One’s World
Commonly Assigned Projects
•
•
•
•
Cultural Encounter Narrative
Point of View/Perspective Piece
Social Issue Essay
Comparative Literary Analysis Essay
7
Core Works List
GRADE TEN
Title
Animal Farm
Antigone
Deadly, Unna
Fahrenheit 451
Julius Caesar
Macbeth
A Midsummer Night’s Dream
Nervous Conditions
Night
Nisei Daughter
Of Mice And Men
Persepolis
Previously
Developed Guide
Found in this
Guide
*
*
+
Parental Opt Out
Letter Suggested
+
+
*
+
*
*
+
+
P
Class sets for all Core Works are available for delivery through the multimedia library.
8
Commonly Taught Works in English 3-4
TITLE
AUTHOR
Orwell
Animal Farm
Sophocles
Antigone
The Bean Trees
Kingsolver
Black Boy
Wright
Cannery Row
Steinbeck
The Chosen
Potok
Gwynne
*Deadly, Unna?
Esperanza Rising
Ryan
Bradbury
*Fahrenheit 451
The Farming of Bones
Danticat
The Good Earth
Buck
Hope Was Here
Bauer
I Know Why the Caged Bird Sings
Angelou
*Imani All Mine
Porter
Inherit the Wind
Lawrence/Lee
Jasmine
Mukherjee
Shakespeare
Julius Caesar
*Kaffir Boy
Mathabane
Kaffir Boy in America
Mathabane
*A Lesson Before Dying
Gaines
Living Up the Street
Soto
*Lord of the Flies
Golding
Shakespeare
*Macbeth
*The Merchant of Venice
Shakespeare
*A Midsummer Night’s Dream
Shakespeare
Dangaremba
*Nervous Conditions
Wiesel
*Night
Sone
Nisei Daughter
Steinbeck
*Of Mice and Men
One Day in the Life of Ivan Denisovich
Solzhenitsyn
*Out of the Dust (curr. specific to ESL)
Hesse
Satrapi
*Persepolis
*Ricochet River
Cody
*Right By My Side
Haynes
River Song
Lesley
Samurai’s Garden
Tsukiyama
A Separate Peace
Knowles
Silas Marner
Eliot
Slaughterhouse Five
Vonnegut
A Tale of Two Cities
Dickens
The Taming of the Shrew
Shakespeare
Touching the Void
Simpson
The Underdogs
Azuela
Walkabout
Marshall
The Way to Rainy Mountain
Momaday
*When I Was Puerto Rican
Santiago
*Where the Heart Is
Letts
Winterkill
Lesley
*Witness (curr. specific to ESL)
Hesse
Women of the Silk
Tsukiyama
Titles in bold are Core Works. *titles have PPS curriculum packets available.
9
DRP
60
53
56
53
56
51
54
54
58
52
57
45
LEXILE
1170L
1090L
900L
950L
930L
970L
750L
890L
1530L
710L
1070L
580L
850L
53
59
1040L
51
57
58
750L
1140L
770L
51
59
52
56
1100L
590L
630L
900L
630L
59
63
56
45-62
1110L
1330L
850L
1130L
56
58
55
56
52
850L
800L
890L
1020L
950L
890L
English 3-4 Adopted Materials
In 2007, the PPS School Board approved the following texts for adoption and purchase for the
English 3-4 course. These texts are in addition to the Core Works listed on a previous
page.
Holt Rinehart Winston (2007), Elements of Literature, 4th Course
In addition to a teachers’ edition, this includes the following ancillary Holt materials: The
Reader, The Adapted Reader, Daily Language Activities, Leveled Library, two volumes of
Assessments, Visual Connections, Fine Art Transparencies, Reading Solutions, as well as the
Holt One-Stop Planner and a collection audio stories on CD.
Great Source (2007) Write Source 10
In addition to a teachers’ edition, this includes the following ancillary materials: Skills Book,
Daily Language Workouts, Assessments, and a CD-ROM.
*If you do not have access to these adopted resources, please first contact your librarian or book
clerk, and then contact the Textbook office.
Additional Resources:
While the following curriculum packets have not yet been revised to be included in this
curriculum guide, they have been proven to be extraordinarily useful over the years and
appropriate for most tenth grade classrooms. If you do not have access to these or any of the other
curriculum packets, please contact the high school Language Arts TOSA.
Inside Poetry
Lit Analysis
Personal Essay
Persuasive Writing
Reading Strategies
Teaching Tone
Kaffir Boy
Merchant of Venice
Writing Paragraphs
Deadly, Unna?
Imani All Mine
Nervous Conditions
Right by my Side
When I was Puerto Rican
10
Units in English 3-4 Curriculum Guide
The curriculum guide consists of the following units listed in alphabetical order:
Unit
Duration
Skill
Focus
Culminating
Assessment
The Alchemist
5 weeks
Literary genres, magical
realism, cultural
differences
Cultural Encounters
and Short Stories
5 weeks
Elements of a short story
and thematic aspects of
Writing a Short Story
culture
Fahrenheit 451*
5 weeks
Analysis of literary
elements
Literary Analysis
6 weeks
Symbolism and theme
Literary Analysis
5 weeks
Using persuasive
elements and supporting
examples
Persuasive Trailer for
Film
7 weeks
Character and thematic
analysis; performance
choices and effects on
audience
Dramatic Performance
and
on-demand literary
analysis
4 weeks
Identifying and analyzing Comparative essay
representations of events analyzing points of
in the media
view
7 weeks
Identifying, evaluating
and using appropriate
sources for research
Lord of the Flies
Macbeth
Midsummer Night's
Dream
Newsmedia
Night
Of Mice and Men*
Persepolis*
Personal Response
Project
Research Methods
5 weeks
Characterization,
imagery, and theme
Literary Analysis
6 weeks
Analyzing stereotypes,
writing personal
narratives
Personal Narrative or
Research on
Human Rights Action
*Revisions of previously developed materials.
11
Introduction to Units of Study
This curriculum guide is made up of units written, compiled, and revised by
teachers from around the district. The majority of the units were written during the
summer of 2010, though many are revisions of units that had been written earlier and are
in widespread use in schools across the district.
The most significant aspect of the units in this guide is that they have attempted to
focus, as closely as possible, on the priority standards for the particular grade level and to
give students multiple opportunities to demonstrate their proficiency. There are suggested
pathways through a year of this grade level based upon the priority standards in each unit,
but you will find several planning tools and blank templates to allow you to develop your
year.
Each unit in the curriculum guide includes:
1. An Introduction to the unit, usually written as a brief narrative by the authors about
the unit’s purposes, unique features, and so on.
2. The Unit Template with the components of the Understanding by Design model.
3. The Learning Plan: list of lessons and activities with priority standards and page
numbers.
4. A list of the Academic Vocabulary used prominently in the unit (literary terms,
academic language, aspects of the course).
5. A lesson that introduces students to Essential Questions in the unit and includes
directions to the teacher to keep returning to the Essential Questions.
6. A Pre-Assessment of the main priority standards of the unit with a student and
teacher reflection opportunity. It also has a rubric that uses the priority standards
found in the culminating assessment.
7. The Lessons of the Learning Plan that scaffold toward the culminating assessment.
At least one of the lessons is designed as a tiered activity to assist teachers in trying to
meet all students’ needs.
8. The Culminating Assessment with a rubric that refers to the priority standards that
have been addressed throughout the unit.
9. A Unit Reflection: lesson or activity that asks students to look back on the unit and
the essential questions/priority standards.
10. A Resources page.
12
Grade Ten Priority Standards (DRAFT)
In 2006, the group of Language Arts teachers from around the district who met to discuss
the distinguishing features of the four grade-level English courses recognized that the
state and district-approved standards are not too practical for assisting grade-level
articulation because they are essentially identical in grades 9 through 12. Additionally,
the sheer volume and depth of the standards make them difficult to incorporate in the
classroom in any practical way.
Therefore, that group began developing what it called “Power Standards” and the work
continued in 2008-09 with teachers and TOSAs from grades 6-12 and district
Instructional Facilitators offering feedback on what is truly essential at each grade level,
with specific focus on eligible content for the 10th grade state-wide assessment. This draft
document serves as the foundation for the units that were developed for this curriculum
guide and will continue be revised based on feedback throughout the years.
These priority standards are not expected to be the only focus of the curriculum; in fact,
the main PPS standards document should be used to assist you in your overall planning,
but the priority standards are those aspects that a teacher can say with some certainty that
his or her students will have multiple opportunities to practice and master throughout the
year. These are in draft form and will need to be under continual revision.
13
Grade 10 Priority Standards
Language Arts
READING
*10.01 Analyze figurative expressions, comparisons and analogies. (10.3.4)
10.02 Distinguish between the denotative and connotative meanings of words. (10.3.7)
10.03 Analyze the structure and format of job and consumer-related materials. (10.4.5)
10.04 Analyze the information and ideas presented to infer cause and effect. (10.6.5)
*10.05 Differentiate among facts, supported inferences, emotional appeals, opinions in text. (10.7.2)
*10.06 Compare and contrast information on the same topic making perceptive connections. (10.7.5)
*10.07 Draw conclusions about reasons for actions/beliefs and support assertions. (10.7.6), (10.9.2)
10.08 Evaluate if and how the author uses authoritative sources to establish credibility. (10.7.10)
LITERATURE
10.09 Identify and analyze the development of themes (10.9.4)
10.10 Identify the qualities the character, and analyze the effect of these qualities (10.9.5), (10.9.9).
*10.11 Describe the function and effect upon a literary work of common literary devices, such as:
symbolism, irony, oxymoron, poetic devices: alliteration, assonance, onomatopoeia. (10.10.1)
*10.12 Differentiate among the different types of fiction: realistic, historical, science fiction, folklore,
fantasy, adventure, mystery. (10.10.2)
10.13 Evaluate subtleties, ambiguities, contradictions, and ironies in a text. (10.10.3)
10.14 Analyze how voice/choice of narrator affect characterization and the tone, plot, credibility of a
text. Identify and analyze the use of subjective and objective point of view. (10.10.5), (10.10.6)
10.15 Evaluate how literary elements (conflict, point of view, and setting) are used to establish mood,
place, time period, and cultures, and contribute to the development of its theme. (10.10.8)
WRITING
Writing Traits
10.16
10.16.1 *Establish a context where appropriate. (10.12.1)
10.16.2 *Use organizational structures such as similarity and difference. (10.12.2)
10.16.3 *Provide transitions to link paragraphs. (10.12.2)
10.16.4 Variation in sentence structure,/length,/beginnings adds interest to the text. (10.12.5)
Conventions (10.12.6)
10.17
Writing Modes (10.13)
10.18
(E=expository, P=persuasive, LA=literary analysis, N=narrative/reflective, R=Research)
*Develop a thesis. (P and E)
*Support a position with precise and relevant examples and evidence. (P and E)
Address anticipated reader concerns. (P)
Letters to the editor. (P)
Use effective note taking techniques and tools to ensure proper documentation. (R)
*Identify sources and judge their usefulness or credibility. (R)
Document sources using appropriate citation format. (R)
*To compare and contrast themes, characters, ideas, or stylistic devices. (LA)
Develop characters of appropriate complexity. (N)
Exclude extraneous details and inconsistencies. (N)
*Reveal the significance of, the subject and events. (N)
Develop a commonplace, specific occasion as the basis for the reflection. (N)
10.18.1
10.18.2
10.18.3
10.18.4
10.18.5
10.18.6
10.18.7
10.18.8
10.18.9
10.18.10
10.18.11
10.18.12
14
SPEAKING/LISTENING/VIEWING
10.19 Employ group decision-making techniques. (10.16.7)
10.20 Interpret a speaker's verbal messages and nonverbal messages to determine the speaker's
purpose, perspective, and/or attitude toward the subject. (10.17.4)
10.21 Respond to presentations with affirmations, challenges, and relevant questions. (10.17.5)
*10.22 Evaluate the role of media in focusing attention and in forming opinions. (10.18.4)
*10.23 Compare and contrast ideas and points of view in media. (10.18.6)
The numbers in italics refer to the full PPS-approved standard document. The full
standards document is available on the OTL website.
15
Priority Standards by Unit
Grade 10 Priority Standards
Language Arts BY UNIT
Persepolis
Mice & Men
Night
News media
Midsummer
Macbeth
Lord Flies
Fahrenheit
Cultural
Encounters
Alchemist
READING
*10.01 Analyze figurative expressions, comparisons and analogies. (10.3.4)
x
x
x
x
x
x
x
x
x
x
x
Distinguish between the denotative and connotative meanings of
words. (10.3.7)
10.03 Analyze the structure and format of job and consumer-related
materials. (10.4.5)
10.04 Analyze the information and ideas presented to infer cause and effect.
(10.6.5)
*10.05 Differentiate among facts, supported inferences, emotional appeals,
opinions in text. (10.7.2)
*10.06 Compare and contrast information on the same topic making
perceptive connections. (10.7.5)
*10.07 Draw conclusions about reasons for actions/beliefs and support
assertions. (10.7.6), (10.9.2)
10.08 Evaluate if and how the author uses authoritative sources to establish
credibility. (10.7.10)
10.02
x
x
x
16
x
x
x
x
x
x
x
x
x
x
x
x
x
Identify and analyze the development of themes (10.9.4)
10.09
Identify the qualities the character, and analyze the effect of these
qualities (10.9.5), (10.9.9).
*10.11 Describe the function and effect upon a literary work of common
literary devices, such as: symbolism, irony, oxymoron, poetic devices:
alliteration, assonance, onomatopoeia. (10.10.1)
*10.12 Differentiate among the different types of fiction: realistic, historical,
science fiction, folklore, fantasy, adventure, mystery. (10.10.2)
10.13 Evaluate subtleties, ambiguities, contradictions, and ironies in a text.
(10.10.3)
10.14 Analyze how voice/choice of narrator affect characterization and the
tone, plot, credibility of a text. Identify and analyze the use of
subjective and objective point of view. (10.10.5), (10.10.6)
10.15 Evaluate how literary elements (conflict, point of view, and setting) are
used to establish mood, place, time period, and cultures, and contribute
to the development of its theme. (10.10.8)
10.10
x
x
x
x
Persepolis
x
Mice & Men
x
Night
x
News media
Midsummer
x
Lord Flies
Fahrenheit
x
Macbeth
x
Cultural
Encounters
Alchemist
LITERATURE
x
17
Persepolis
Mice & Men
Night
News media
Midsummer
Macbeth
Lord Flies
Fahrenheit
Cultural
Encounters
Alchemist
WRITING
Writing Traits
10.16.1 *Establish a context where appropriate. (10.12.1)
10.16.2 *Use organizational structures such as similarity and
difference. (10.12.2)
10.16.3 *Provide transitions to link paragraphs. (10.12.2)
10.16.4 Variation in sentence structure,/length,/beginnings adds
interest to the text. (10.12.5)
Conventions (10.12.6)
Writing Modes (10.13)
(E=expository, P=persuasive, LA=literary analysis,
N=narrative/reflective, R=Research)
*Develop a thesis. (P and E)
10.18.1
*Support a position with precise and relevant examples and
10.18.2
evidence. (P and E)
Address anticipated reader concerns. (P)
10.18.3
Letters to the editor. (P)
10.18.4
Use effective note taking techniques and tools to ensure
10.18.5
proper documentation. (R)
*Identify sources and judge their usefulness or credibility.
10.18.6
(R)
Document sources using appropriate citation format. (R)
10.18.7
*Compare and contrast themes, characters, ideas, or
10.18.8
stylistic devices. (LA)
10.16
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
10.17
10.18
x
x
x
x
18
x
Persepolis
Mice & Men
Night
News media
Midsummer
Macbeth
Lord Flies
Fahrenheit
Cultural
Encounters
Alchemist
x
x
x
x
10.18.9
10.18.10
10.18.11
10.18.12
x
x
x
x
Develop characters of appropriate complexity. (N)
Exclude extraneous details and inconsistencies. (N)
*Reveal the significance of, the subject and events. (N)
Develop a commonplace, specific occasion as the basis for
the reflection. (N)
Persepolis
Mice & Men
Night
News media
Midsummer
Macbeth
Lord Flies
Fahrenheit
Cultural
Encounters
Alchemist
SPEAKING/LISTENING/VIEWING
x
x
x
x
x
x
Employ group decision-making techniques. (10.16.7)
Interpret a speaker's verbal messages and nonverbal messages to
determine the speaker's purpose, perspective, and/or attitude toward the
subject. (10.17.4)
10.21 Respond to presentations with affirmations, challenges, and relevant
questions. (10.17.5)
*10.22 Evaluate the role of media in focusing attention and in forming
opinions. (10.18.4)
*10.23 Compare and contrast ideas and points of view in media. (10.18.6)
10.19
10.20
x
x
x
19
Possible Year-long Unit Plan #1
First
Q
Unit
Community
Building Unit*
Cultural
Encounters
Through the Short
Story
Independent
Reading Program*
Fourth
Third
Second
Persepolis
Duration
Focus
1.5 to 2 weeks
Poetry, profile.
6 Weeks
Elements of a short story
and thematic aspects of
culture
Weekly unit
running
throughout the
year
6 weeks
Students read high
interest texts for pleasure
Symposium and
the Persuasive
Essay*
4 weeks
Night
7 weeks
A Midsummer
Night’s Dream
7 weeks
Literature Circles*
6 weeks
Analyzing stereotypes,
writing personal
narratives
Persuasive writing
techniques
Identifying, evaluating,
and using appropriate
sources for research
Character and thematic
analysis and performance
choices
Student led discussion,
poetry, essay writing
workshops, presentation
skills
*Units not found in this curriculum guide
20
Culminating
Assessment
Profile of a
classmate
Short Story
Book report,
pitching an
alternative book
cover.
Personal Narrative
Persuasive Essay
(Problem-Solution
Essay)
A Short Research
Paper
Dramatic
Performance
Group
Presentation and a
Literary Essay of
Comparison
Possible Year-long Unit Plan #2
Q
Unit
Duration
1.5 weeks
Persepolis
6 Weeks
Second
First
Community
Building
activities*
Night
7 Weeks
Newsmedia
4 Weeks
Fourth
Third
Macbeth
The Alchemist
7 weeks
5 weeks
Focus
Culminating
Assessment
Ice-breakers, goal setting,
establishing ground rules,
learning about “where we
come from” as people as well
as readers and writers.
Read Around of a
creative piece
from unit
activities
Analyzing stereotypes,
writing personal narratives
Personal
Narrative
Human Rights
Action
A Short Research
Paper
Identifying, evaluating, and
using appropriate sources for
research
Identifying and analyzing
representations of events in
the media
Comparative
Essay analyzing
points of view
Using persuasive elements
and supporting examples
A Persuasive
Movie Trailer
Literary genres, magical
realism, cultural differences
Expository Essay
Of Mice and
Men
5 weeks
Characterization, imagery,
and theme
Literary Analysis
Poetry
Anthology*
3 weeks
A collection of poetry
workshops designed to hit the
essential questions of the year
and apply literary features
studied.
Book of poems
and art
*Units not found in this curriculum guide
21
Possible Year-long Unit Plan #3
First
Q
Unit
Culminating
Assessment
1.5 weeks
Ice-breakers, goal setting,
establishing ground rules,
learning about “where we
come from” as people as well
as readers and writers.
Read Around of a
creative piece
from unit
activities
Cultural
Encounters
Through the
Short Story
6 Weeks
Elements of a short story and
thematic aspects of culture
Short Story
Literary genres, magical
realism, cultural differences
Expository Essay
5 weeks
Literary Analysis
Fahrenheit 451*
5 weeks
Analysis of literary elements
Portfolio
Reflection
1.5 weeks
Students review and revise
work from the first semester
and do a creative reflective
piece on their progress.
Students participate in a
symposium to develop ideas
and then study elements of
persuasive writing as they
compose their own problemsolution paper.
Character and thematic
analysis and performance
choices
Teacher spends the first
week preparing students for
on-demand essay writing and
then students participate in
the week long test.
Identifying, evaluating, and
using appropriate sources for
research
A revision and a
reflection
Students review and revise
work from the year and do a
creative reflective piece on
their progress.
A revision and a
reflection
3 weeks
Third
Persuasive
Writing Unit
Fourth
Focus
Community
Building
activities*
The Alchemist
Second
Duration
A Midsummer
Night’s Dream
7 weeks
Direct Writing
Assessment
2 Week
Night
7 Weeks
Portfolio
Reflection
2 weeks
*Units not found in this curriculum guide
22
Dramatic
Performance
Direct Writing
Assessment
A Short Research
Paper
Blank Template for Year-long Unit Planning
Unit
Duration
Fourth
Third
Second
First
Q
*Units not found in this curriculum guide
23
Focus
Culminating
Assessment
Year-long Writing Planner
Major
Texts/Themes
Writing
Genre
Materials
Used
Craft
Lessons
Conventions
(based on genre)
First
Quarter
Second
Quarter
Third
Quarter
Fourth
Quarter
Example:
First
Quarter
Major
Texts/Themes
Writing
Genre
Identity,
Resistance, Voice,
Power of Story
Personal
Essay for
College
or Scholarship
Essay
Materials
Used
Student
created
Personal
Journey Map
Elements of
P.E.
Student
Samples
Siddhartha
24
Craft
Lessons
Conventions
Controlling the
Prompt
Circular
Pattern:
Introductions
Conclusions
Anecdotes
Figurative
Language
Punctuation with
dialogue
Blank Priority Standards Planning Template
Grade 10 Priority Standards
Language Arts BY UNIT
READING
*10.01 Analyze figurative expressions, comparisons and analogies. (10.3.4)
Distinguish between the denotative and connotative meanings of
words. (10.3.7)
10.03 Analyze the structure and format of job and consumer-related
materials. (10.4.5)
10.04 Analyze the information and ideas presented to infer cause and effect.
(10.6.5)
*10.05 Differentiate among facts, supported inferences, emotional appeals,
opinions in text. (10.7.2)
*10.06 Compare and contrast information on the same topic making
perceptive connections. (10.7.5)
*10.07 Draw conclusions about reasons for actions/beliefs and support
assertions. (10.7.6), (10.9.2)
10.08 Evaluate if and how the author uses authoritative sources to establish
credibility. (10.7.10)
10.02
25
LITERATURE
Identify and analyze the development of themes (10.9.4)
Identify the qualities the character, and analyze the effect of these
qualities (10.9.5), (10.9.9).
*10.11 Describe the function and effect upon a literary work of common
literary devices, such as: symbolism, irony, oxymoron, poetic devices:
alliteration, assonance, onomatopoeia. (10.10.1)
*10.12 Differentiate among the different types of fiction: realistic, historical,
science fiction, folklore, fantasy, adventure, mystery. (10.10.2)
10.13 Evaluate subtleties, ambiguities, contradictions, and ironies in a text.
(10.10.3)
10.14 Analyze how voice/choice of narrator affect characterization and the
tone, plot, credibility of a text. Identify and analyze the use of
subjective and objective point of view. (10.10.5), (10.10.6)
10.15 Evaluate how literary elements (conflict, point of view, and setting) are
used to establish mood, place, time period, and cultures, and contribute
to the development of its theme. (10.10.8)
10.09
10.10
26
WRITING
Writing Traits
10.16.1 *Establish a context where appropriate. (10.12.1)
10.16.2 *Use organizational structures such as similarity and
difference. (10.12.2)
10.16.3 *Provide transitions to link paragraphs. (10.12.2)
10.16.4 Variation in sentence structure,/length,/beginnings adds
interest to the text. (10.12.5)
Conventions (10.12.6)
Writing Modes (10.13)
(E=expository, P=persuasive, LA=literary analysis,
N=narrative/reflective, R=Research)
*Develop a thesis. (P and E)
10.18.1
*Support a position with precise and relevant examples and
10.18.2
evidence. (P and E)
Address anticipated reader concerns. (P)
10.18.3
Letters to the editor. (P)
10.18.4
Use effective note taking techniques and tools to ensure
10.18.5
proper documentation. (R)
*Identify sources and judge their usefulness or credibility.
10.18.6
(R)
Document sources using appropriate citation format. (R)
10.18.7
*Compare and contrast themes, characters, ideas, or
10.18.8
stylistic devices. (LA)
10.16
10.17
10.18
27
10.18.9
10.18.10
10.18.11
10.18.12
Develop characters of appropriate complexity. (N)
Exclude extraneous details and inconsistencies. (N)
*Reveal the significance of, the subject and events. (N)
Develop a commonplace, specific occasion as the basis for
the reflection. (N)
SPEAKING/LISTENING/VIEWING
Employ group decision-making techniques. (10.16.7)
Interpret a speaker's verbal messages and nonverbal messages to
determine the speaker's purpose, perspective, and/or attitude toward the
subject. (10.17.4)
10.21 Respond to presentations with affirmations, challenges, and relevant
questions. (10.17.5)
*10.22 Evaluate the role of media in focusing attention and in forming
opinions. (10.18.4)
*10.23 Compare and contrast ideas and points of view in media. (10.18.6)
10.19
10.20
28
Work Sample Requirement Information
Work Samples will be required to be delivered, scored, and recorded for all students for two separate, but related purposes:
 Local Performance Assessments
 Assessments of Essential Skills
What are Local Performance Assessments?
All students – at some point during high school -- must have an opportunity to complete a Work Sample for the following:
 Writing (any mode)
 Speaking (any mode)
 Math (any type)
 Science Inquiry
These work samples must be administered and scored using the state scoring guide and under the conditions required by the state, but
students do not have to meet the state achievement standards.
How are Work Samples related to the Assessment of Essential Skills?
For graduation, all students will need to demonstrate their proficiency in the Essential Skills of reading (beginning with the class of
2012), writing (beginning with the class of 2013), mathematics (beginning with the class of 2014), and speaking (timeline is
undetermined). The primary method for demonstrating these Essential Skills is through passing scores on the OAKS. If students are
not able to achieve passing scores on OAKS, they can demonstrate their proficiency in the Essential Skills by completing Work
Samples in the categories below:
Reading (2012)
Writing (2013)
Math (2014)
Students must receive a 4 or higher on each trait
for TWO Reading Work Samples:
 One Informational sample
 One literary sample
Students must receive a 4 or higher on each trait
for THREE Writing Work Samples:
 One expository
 One persuasive
 One narrative
Students must receive a 4 or higher on each trait
for TWO Math Work Samples. Choose from:
 Geometry
 Algebraic relationships
 Statistics/probability
29
Note that passing scores on Work Samples for the Local Performance Assessments can also be used for Assessments of Essential Skills.
In what courses will students be required to complete Work Samples?
Reading
English 1-2
English 3-4
Writing
Writing WS
Narrative
Biology
Chemistry
Health 1-2
Modern World History
Speaking
Science Inquiry
Reading WS
Literary
English 5-6
English 7-8
Algebra
Geometry
Bridges
Advanced Algebra
FPC
Math
Algebraic
Relationships WS
Geometry WS
Reading WS
Informational (Gr. 9)
Reading WS
Informational (Gr. 9)
Science Inquiry WS
(Gr. 10)
Science Inquiry WS
(Gr. 10)
Writing WS
Expository
Writing WS
Persuasive
Speaking Persuasive
WS
US History
Government/Economics
Notes:
1. Courses with identified Work Sample obligations will require samples to be assessed and recorded for all students.
2. Courses without identified Work Sample obligations will require relevant Work Samples for those students who have not met the Essential Skills
Assessments (OAKS) or have not completed the Local Performance Assessments.
3. Course guides for all core classes will contain materials for multiple opportunities for relevant Work Samples. See chart below.
30
4. Because this chart only identifies the minimum requirements students need for graduation, school leadership teams may want to require additional Work
Sample opportunities for students to demonstrate their proficiencies with these essential skills. .
31
General Work Sample Conditions:
All teachers will want to use these conditions for Work Sample completion. Any student who
earns a passing score under these conditions will be able to use that Work Sample as evidence of
meeting Essential Skills.
1. Time Allowances Work Samples are not meant to be timed. Students should be given
ample time to demonstrate his or her skills, and some students may require significantly
more time than others. Most work samples will take more than one session for students to
complete.
2. Supervision To ensure that a work sample is a student’s own independent work, ODE
has set some guidelines regarding the degree of supervision required while the student
completes the work sample. For those work samples requiring direct supervision, the
entire work sample must be completed in a closely supervised school setting and students
may not have access to outside resources. For those work samples requiring research
districts may allow students to complete parts of the work sample outside of class. If
teachers choose to offer this option, the student must provide additional evidence to
verify that the final product is the student’s own independent work. Examples include, but
are not limited to notes, outlines, data collections, attached sources of information, and
lists of works cited. These are required for work samples used to meet the Essential
Skills requirement.
3. Revision and Feedback: When a work sample is close to meeting the achievement
standard, it is appropriate to allow students to revise their work. Work samples that
nearly meet may be returned to the student along with the official scoring guide and
optional ODE scoring form. Teachers may use these forms to indicate what students
should work on by checking off particular phrases. Teachers may also use the official
scoring guide to circle or highlight areas that need attention. Except for the use of
these forms, no teacher or peer feedback is permitted for work samples applied
toward the Essential Skills requirement. Teachers may not discuss the student’s work
with them, make any written, or oral comments or point out any specific errors in the
work sample itself. Students may not complete revisions outside of the classroom.
32
Writing Work Samples: Curriculum Connections
The culminating assessment for the following units could be completed as a Work Sample if the
conditions described above are followed:
GRADE 10
Mode
Narrative
Unit
Topic
Alchemist
Write a personal essay about a topic
explored in the novel
Persepolis
Write a reflective essay about time in
your life when you were challenged
Imaginative
Short Stories and Culture
Research
Night
Write a short piece of fiction that
demonstrates knowledge of fiction
elements
Write a piece that demonstrates
effective research skills
Expository
Fahrenheit 451
Conduct and present research on a
social issue that the novel raises
Midsummer Night’s
Dream
Write an on-demand literary analysis
Lord of the Flies
Write a literary analysis on one of
several literary elements
Fahrenheit 451
Write a literary analysis on a theme in
the novel
Newsmedia
Write an essay that compares the
points of view of the media
33
Reading Work Samples: Curriculum Connections
The Reading Work Samples listed below can serve two purposes. Administered under Work
Sample conditions, they can serve as an Essential Skills Requirement in Reading for graduation
purposes if the need arises and for district reporting. Ideally, however, they could also be used to
enhance the grade level units by providing background information or by exploring a similar
theme or topic. If successfully embedded within the unit, a Reading Work Sample need not feels
as an add-on to the curriculum.
Grade 10
Title
“A
Breakthough”
Type
Literary
Text
Summary of Text
A senior in high school
discovers he may be the first in
his family to attend college.
“Gary Lee”
Informational
from Speaking Text
of Reading
An adult recounts his struggles
with school and his attempts to
learn to read.
The All
Literary
Powerful State Text
Two men discuss the process of
giving in to power
Possible Unit and
Topic Connection
 Short Stories and
Culture
 Of Mice and Men









Short Stories and
Culture
Persepolis,
Fahrenheit 451,
The Alchemist,
Night
Night
Persepolis
Newsmedia
All work samples listed above appear in the separate packet called “Reading
Work Samples 2010.”
34
Academic Vocabulary
Robert Marzano, in Building Academic Vocabulary, says that “people’s knowledge of any topic
is encapsulated in the terms they know that are relevant to the topic” (2) and that students who
have a broader background knowledge in a subject perform better. Neither of these statements is
particularly groundbreaking or surprising to most classroom teachers. But what Marzano and
others argue for is that we need to explicitly teach the terminology of our discipline rather than
assume that our students have already learned it or will pick it up in the context of our
classrooms. He concludes that “one of the most crucial services that teachers can provide,
particularly for students who do not come from academically advantaged backgrounds, is
systemic instruction in important academic terms” (3).
In his text referred to above, Marzano offers a list of over a hundred terms from “adjective
clause” to “word origin” for high school Language Arts classes. But instead of merely copying or
compiling a list of such terms, the writers and editors who worked on this curriculum guide went
about the process a bit differently. After the writers completed writing their units, they went back
and asked themselves, “What is the implicit and explicit vocabulary that students would need to
know in order to be successful in this unit?” So, the following list is not designed to be a
checklist of terms that you need to “cover” over the course of the year, but rather, are the terms
that grade-level teachers identified are an integral part of their curriculum and of which students
need to be aware.
Because these terms are those that are normally only implied during instruction, when we falsely
assume that students already know them, we do need to be more explicit about our teaching of
these terms. Suggestions for teaching academic vocabulary are:
1. Frayer Model: in which students work to define a terms, along with its examples and
non-examples.
2. Concept Circles: in which students try to define relationships between words and
concepts.
3. Concept Ladders: in which students focus on the function and parts of the terms.
Probably the most effective method for teaching Academic Vocabulary is to keep a Word Wall
of the terms found in a particular unit posted prominently in the classroom and referred to often
during instruction.
35
Frayer Model
Directions:
Complete the chart to show what you know
about_________________. Write as much as you can.
Definition
Information
Examples
Non-Examples
36
Concept Circles
Describe the meaning and relationships between and among the words in the sections of the concept
circles.
choice
technology
censorship
support
strategies
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
genres
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
__
confidence recognition
37
Concept Ladder
Concept ladders can be used when you want the students to focus on one particular
word/concept rather than on a set of words.
As written by Jean Gillet and Charles Temple in
Understanding Reading Problems: Assessment and Instruction: "...it is useful to think of the
meaning of one word in relation to the meanings of others. To semanticists, meanings come not
by themselves but in family or hierarchial relationships. A duck can be thought of not just as a
white or yellow creature with a beak and feathers but as a kind of bird. Moreover, it is useful to
know that there are varieties of ducks: mallards, teals, wood ducks, mergansers. Ducks are seen
in stages, too. A little fuzzy yellow-beaked thing grows up to be a brown-and-green adult duck...
Albert Upton (1973), has suggested a set of questions that people should ask when they are
striving for exactness in meaning:  What is it a kind of / what are the kinds of it?
 What is it a part of / what are the parts of it?
 What is it a stage of / what are the stages of it?
 What is it a product or a result or / what are the products or results of it?
These four questions can be adapted to yield much information about any meaning or word
under consideration. Depending on whether the item under scrutiny is a class of things
(that is, ducks in general) or a particular thing (that mallard over there with the twisted
beak), one side of the question or the other will be useful but not always both."
From: http://4sbccfaculty.sbcc.edu/lessons/success/vocabulary/vocab_R.htm
38
Academic Vocabulary English 3-4
Terms in bold appear in three or more unit:
Action verbs
Allegory
Alliteration
Allusion
American Dream
Analysis
Archetype
Assonance
Authority
Blocked Quotes
Blocking
Characterization
Citations
Civilization
Clarifying Question
Connotation
Convert
Denotation
Dialogue
Drama
Embedded Quotes
Epigram
Essential Question
Evidence
Fable
Figurative Language
Foreshadowing
Homonym
Iambic Pentameter
Imagery
Immigrant
Imperialism
Inequity
Inference
Irony
Literary Analysis
Literary Devices
Literary Features
Lens
Malapropism
Metaphor
Metonymy
MLA Format
Monologue
Motif
Mood
Objective
Oxymoron
Paraphrased Evidence
Passage
Persona
Personification
Prologue
Protagonist
Pun
Quotations
Reflection
Retrospective
Rising Action
Rubric
Scene
Sensory Details
Setting
Simile
Social Commentary
Soliloquy
Sonnet
Subjective
Subtext
Summary
Symbol/Symbolism
Synopsis
Synonym
Tableau
Technique
Theme
Thesis
Tragedy
Topic Sentences
Transitions/Transitional
Streamline
39
Writing Modes
There are many different forms – or modes – that student writing can take. The
following definitions, which are adapted from the Oregon Department of Education, are
not the only definitions of these modes, nor should student writing necessarily take any
one of these forms exclusively; good writing often blends multiple modes. The purpose
of this section is only to have a common language about the four most frequent modes of
student writing: narrative, expository, persuasive, and imaginative.
The Narrative Mode
Definition: Narrative writing recounts a personal experience or tells a story based on
a real event or on an imagined event. All details come together in an
integrated way to create some central theme or impression and, in the case
of fiction, is created to entertain the reader. Narrative writing is usually
characterized by the following:
 use of first or third-person narrator;
 plot, characters, setting;
 dialogue;
 showing, not telling;
 events organized in time-order sequence (although flashbacks and
other organizational patterns are also used).
Forms: Narrative writing appears in poetry, short stories, novels, personal essays,
tall tales, and folk tales, to name just a few. It also takes a particular form
in scripts and plays. A writer might use narrative writing to make a point
in persuasive essay or to give an example in expository writing. Whatever
the form, its purpose is to tell.
The Expository Mode
Definition: Expository writing gives information, explains something, clarifies a
process or defines a concept. Though objective and not dependent on
emotion, expository writing may be lively, engaging, and reflective of the
writer's underlying commitment to the topic. Expository writing is
characterized by the following:
 development of a main idea;
 support of the main idea using examples, details, and/or facts;
 presentation of logically organized information;
 commitment to the topic.
Forms: Expository writing appears in lab reports, letters, newsletters, definitions,
guidebooks, catalogues, newspaper articles, magazine articles, how-to
writing, pamphlets, comparison/contrast essays, cause-effect essays,
problem-solution essays, reports, research papers, literary analyses, to
name just a few. Whatever the form, its purpose is to inform, explain,
clarify, define, or instruct.
39
40
The Persuasive Mode
Definition: Persuasive writing attempts to convince the reader that a point of view is
valid or persuade the reader to take a specific action. Successful persuasive
writing is based on a topic that is limited in scope (readily definable),
debatable, and meaningful or important to both the writer and intended
audience. Persuasive writing is characterized by the following:
 topic or issue stated;
 position of writer clearly stated;
 argument supported by reasons, examples and/or facts.
Forms: Persuasive writing appears in letters to the editor, editorials,
advertisements, advice columns, award nominations, pamphlets, petitions,
and opinion writing, to name just a few. Whatever the form, its purpose is
to persuade
The Imaginative Mode
Definition: Imaginative writing invents a situation, perspective or story based on the
writer's imagination. The writer may create a scene, situation or character,
may predict what might happen under hypothetical circumstances, or use
his/her creativity to solve a hypothetical problem. The writer may use
his/her knowledge of the world to bring a special flair or flavor to the
writing, but is not bound by the constraints of reality. Imaginative writing
may contain elements of fantasy. The key question, however, is not how
fantastic it is, but rather how inventive is it?
 Frequently allows writer to select topic of interest
 Demonstrates high degree of creativity of the writer
 Can require the reader to believe or accept the "unusual"
 Requires good use of description to hold the reader's attention
 Includes forms of poetry or drama
Forms: Imaginative writing appears in short stories, plays, film scripts, poetry, to
name just a few.
41
Understanding by Design
The model that the curriculum writers used to develop the units that make up the bulk of
this curriculum guide is Understanding by Design by Grant Wiggins and Jay McTighe.
The central question of their text, and the work of this guide, is: “How do we make it
more likely – by our design – that more students really understand what they are asked
to learn?” (4). As writers involved in this curriculum guide, we have only skimmed the
surface of the Understanding by Design model, but there are a few key terms that we
tried to keep in the forefront of our minds:
1. Big Idea: is a “concept, theme, or issue that gives meaning and connection to the
discrete facts and skills” (5). These are the ideas that offer students the value of
their learning and helps us to prioritize what is most important in our discipline.
2. Desired results: these are the content and performance standards as identified by
our “priority standards” and are the expected outcomes of the curriculum.
3. Assessment: these are the ways that we identify whether (and how well) the
desired results are being achieved. This guide makes frequent use of “formative
assessment,” as a way of measuring ongoing progress. “Assessment” refers to any
method through which we collect evidence, and includes such classroom activities
as observation, discussion, tasks, and projects. “Assessment” is not the same as
“evaluation,” which tends to be summative in nature.
So, before we began writing, we developed a three-stage planning template proposed by
Wiggins and McTighe for each unit that guided the rest of our work by truly beginning
with the end in mind. In summary, the three stages of the template are:
1. Stage 1 – Desired Outcomes: this starts with the priority standards address: the
essential questions of the unit, what students will know and what they will be able
to do by the end of the unit.
2. Stage 2 – Assessment Evidence: how will we know if our desired outcomes have
been met? This section of the template includes a brief description of the
Culminating Assessment of the unit as well as a list of other sources of evidence.
3. Stage 3 – The Learning Plan: how will we move students through the unit leading
them to the desired outcomes. We wrote this section as a “Pathway” through the
unit, with page numbers and priority standards, to help you to determine how best
to plan your delivery.
One other essential feature that found at the very beginning of every unit is a PreAssessment. This activity will help you to determine the current level of performance of
your students in relation to the identified priority standards. Armed with this information,
you will be able to best determine the most appropriate path for your students.
42
Types of Assessments
Most educators identify three main types of assessments that are designed for different
purposes and are used in different ways to inform instruction.
Diagnostic: these are intended to determine students’ current knowledge and skill levels
and are often done at the beginning of a unit of study. These types of assessments are
used to help teachers plan appropriate lessons and cooperative groups. A written
diagnostic assessment in a math class preparing to study operations with fractions might
ask students to write about what they already think they know about the concept. A
teacher looking at the results of this type of assessment would know where s/he should
spend more time preparing background or scaffolding lessons.
Formative: these types of assessments are thought of as “assessments FOR learning
instead of assessments OF learning.” In other words, both teachers and students should
look at formative assessments as an opportunity to identify and reflect on what skills and
knowledge have been gained and where improvement is still necessary. Focusing the
“where am I now/where do I want to be/how do I get there?” series of questions is a way
of understanding formative assessment. Students produce evidence of their learning or
lack of understanding, and the teacher supports them in moving to the next level of
understanding. A formative writing assessment in a health class might ask students to
create a Public Service Announcement about the dangers of food-borne illnesses. When a
teacher examines the results of this type of assessment, s/he will be able to target
individual instruction for those who did not demonstrate their knowledge of food safety
and help them students revise their thinking and perhaps give the project another try.
Students, too, should have an opportunity to examine this formative assessment to reflect
on their own learning of food safety and set goals for improvement. Formative
assessments are given with the intent of providing specific feedback for improvement,
and an opportunity for students to reflect on their learning.
Summative: these are “final outcome” assessments normally given to describe a
student’s skill and/or knowledge at any point in time, and often given at the end of an
entire course of study. They are designed to measure a student’s overall mastery of an
identified set of criteria. These are not designed to provide students with specific
feedback for improvement, but are, rather, a “snapshot” of a student’s achievement.
Teachers generally use summative assessments as one form of program evaluation to
reflect on course syllabus, priority standards, and classroom materials. The statewide
Direct Writing Assessment (DWA) is an example of a summative writing assessment.
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Optional English 3-4 Diagnostic Assessment
You may want to take a class period to give students a chance to take this diagnostic
assessment, generated by the Holt Exam View Pro, early in the year to give you a quick
sense of where your students are with specific reading and analysis skills. It is fully
editable, so you can add, delete, or change questions.
44
English 3-4 Diagnostic Assesssment
Multiple Choice
Identify the letter of the choice that best completes the statement or answers the question.
Reading Comprehension/Vocabulary
DIRECTIONS: Read the passage below, and answer the following questions.
SAMPLE
Antarctica is the most isolated place on earth. It is also the world’s largest, driest, and
windiest desert. Such extreme conditions have led to interesting adaptations in some
Antarctic organisms. Small groups of scientists have learned to endure the continent’s
harsh conditions in order to study the mutations in these fascinating creatures.
One of these creatures is a type of fish that survives in some of the world’s coldest
waters by manufacturing a chemical that keeps its blood and tissues from freezing.
Phytoplankton are another. These tiny organisms have developed their own built-in
sunscreen for protection from radiation. Scientists are excited about these discoveries
and the possibility that they will someday be used to help humanity.
1.
Scientists live in the extreme conditions of Antarctica because they want to —
A.
adapt to extreme conditions
B.
study some of its organisms
C.
evaluate the effects of isolation
D.
measure radiation levels
Correct answer: B
2.
The easiest way to learn more about scientists currently working in Antarctica
would be to —
A.
fly to Antarctica to meet them
B.
search for articles about them in newspapers
C.
read about them on the Internet
D.
look for books about them at the library
Correct answer: C
45
DIRECTIONS: Read the selection, and answer the following questions.
Home
By Gwendolyn Brooks
What had been wanted was this always, this always to last, the talking softly on this
porch, with the snake plant in the jardiniere1 in the southwest corner, and the obstinate
slip from Aunt Eppie’s magnificent Michigan fern at the left side of the friendly door.
Mama, Maud Martha, and Helen rocked slowly in their rocking chairs, and looked at the
late afternoon light on the lawn and at the emphatic iron of the fence and at the poplar
tree. These things might soon be theirs no longer. Those shafts and pools of light, the tree,
the graceful iron, might soon be viewed possessively by different eyes.
Papa was to have gone that noon, during his lunch hour, to the office of the Home
Owners’ Loan. If he had not succeeded in getting another extension, they would be
leaving this house in which they had lived for more than fourteen years. There was little
hope. The Home Owners’ Loan was hard. They sat, making their plans.
“We’ll be moving into a nice flat2 somewhere,” said Mama. “Somewhere on South Park,
or Michigan, or in Washington Park Court.” Those flats, as the girls and Mama knew
well, were burdens on wages twice the size of Papa’s. This was not mentioned now.
“They’re much prettier than this old house,” said Helen. “I have friends I’d just as soon
not bring here. And I have other friends that wouldn’t come down this far for anything,
unless they were in a taxi.”
Yesterday, Maud Martha would have attacked her. Tomorrow she might. Today she said
nothing. She merely gazed at a little hopping robin in the tree, her tree, and tried to keep
the fronts of her eyes dry.
“Well, I do know,” said Mama, turning her hands over and over, “that I’ve been getting
tireder and tireder of doing that firing.3 From October to April, there’s firing to be done.”
“But lately we’ve been helping, Harry and I,” said Maud Martha. “And sometimes in
March and April and in October, and even in November, we could build a little fire in the
fireplace. Sometimes the weather was just right for that.”
She knew, from the way they looked at her, that this had been a mistake. They did not
want to cry.
But she felt that the little line of white, sometimes ridged with smoked purple, and all that
cream-shot saffron4 would never drift across any western sky except that in back of this
house. The rain would drum with as sweet a dullness nowhere but here. The birds on
South Park were mechanical birds, no better than the poor caught canaries in those “rich”
women’s sun parlors.
“It’s just going to kill Papa!” burst out Maud Martha. “He loves this house! He lives for
46
this house!”
“He lives for us,” said Helen. “It’s us he loves. He wouldn’t want the house, except for
us.”
“And he’ll have us,” added Mama, “wherever.”
“You know,” Helen sighed, “if you want to know the truth, this is a relief. If this hadn’t
come up, we would have gone on, just dragged on, hanging out here forever.”
“It might,” allowed Mama, “be an act of God. God may just have reached down and
picked up the reins.”
“Yes,” Maud Martha cracked in, “that’s what you always say—that God knows best.”
Her mother looked at her quickly, decided the statement was not suspect, looked away.
Helen saw Papa coming. “There’s Papa,” said Helen.
They could not tell a thing from the way Papa was walking. It was the same dear little
staccato walk,5 one shoulder down, then the other, then repeat, and repeat. They watched
his progress. He passed the Kennedys’, he passed the vacant lot, he passed Mrs.
Blakemore’s. They wanted to hurl themselves over the fence, into the street, and shake
the truth out of his collar. He opened his gate—the gate—and still his stride and face told
them nothing.
“Hello,” he said.
Mama got up and followed him through the front door. The girls knew better than to go in
too.
Presently Mama’s head emerged. Her eyes were lamps turned on.
“It’s all right,” she exclaimed. “He got it. It’s all over. Everything is all right.”
The door slammed shut. Mama’s footsteps hurried away.
“I think,” said Helen, rocking rapidly, “I think I’ll give a party. I haven’t given a party
since I was eleven. I’d like some of my friends to just casually see that we’re
homeowners.”
1.
2.
3.
4.
5.
jardiniere (jär´duh ·nir´): ornamental pot or stand for plants.
flat: apartment.
firing: starting a coal fire.
saffron: yellow-orange color.
staccato (stuh ·kät´ô) walk: walk of short, abrupt steps.
47
____
____
____
____
____
____
____
____
____
____
____
1. This story takes place during —
a. the late afternoon
c. a week and a half
b. two full days
d. fourteen years
2. How does the emotional dialogue among the sisters and the mother affect the plot?
a. Causes external conflicts
c. Hints at the way the story ends
b. Builds suspense
d. Motivates the family to move
3. The climax of the story occurs when —
a. Helen sees Papa coming up the street
b. Papa opens the gate and tells them nothing
c. Mama exclaims, “It’s all right. . . .He got it.”
d. the door slams and Mama hurries away
4. Which of the following phrases conveys the author’s distinctive voice in this story?
a. “‘Hello,’ he said,” “some of my friends,” “the vacant lot,” “Home
Owners’ Loan”
b. “graceful iron,” “poor caught canaries,” “the talking softly,” “magnificent
Michigan fern”
c. “in October,” “There’s Papa,” “his lunch hour,” “into the street”
d. “their rocking chairs,” “He got it,” “the poplar tree,” “this old house”
5. The dialogue in this story reveals that —
a. the family is hoping to move
c. Mama and Papa are elderly
b. the sisters do not get along
d. this is a loving family
6. Why do Mama and Helen argue that moving might be a good thing?
a. They want to move into an apartment. c. They are putting up a brave front.
b. They dislike their run-down house.
d. They are trying to sell the house.
7. The dialogue in this story creates a tone that is —
a. tender
c. cheerful
b. morose
d. critical
8. What does the word extension mean in this sentence from the story?
“If he had not succeeded in getting another extension, they would be leaving this house in
which they had lived for more than fourteen years.”
a. An outward movement of the arms
c. A larger amount of space
b. A structural addition to the house
d. Extra time to repay a loan
9. When the narrator says that Maud Martha “tried to keep the fronts of her eyes dry,” it
means that she —
a. struggled to keep from crying
c. tried to keep from arguing
b. reacted to the effects of the sun
d. attempted to watch the robin
10. Which sentence best expresses the universal theme of this story?
a. Hard work always pays off.
c. There’s no place like home.
b. New experiences are educational.
d. Don’t judge a book by its cover.
11. Read this sentence from the story.
“‘It’s just going to kill Papa!’ burst out Maud Martha.”
Which of the following words would have the least emotional connotation of the word
kill?
a. Destroy
c. Upset
48
b. Devastate
d. Shatter
The following question is not about the selection. Read and answer the question.
____
12. In a flashback a writer —
a. comments directly on the events in the c. gives a short summary of the plot
plot
b. tells about a character’s life in the
d. interrupts the story to show a past
future
event
DIRECTIONS: Read the selection, and answer the following questions.
The Tropics in New York
Claude McKay
Bananas ripe and green, and ginger-root,
Cocoa in pods and alligator pears,°
And tangerines and mangoes and grape fruit,
Fit for the highest prize at parish fairs,
5
10
Set in the window, bringing memories
Of fruit-trees laden by low-singing rills,
And dewy dawns, and mystical blue skies
In benediction° over nun-like hills.
My eyes grew dim, and I could no more gaze;
A wave of longing through my body swept,
And, hungry for the old, familiar ways,
I turned aside and bowed my head and wept.
-------------------------2.
6.
8.
____
____
____
alligator pears: avocados, tropical fruits. All the foods mentioned in this stanza grow in Jamaica, the
Caribbean island where the poet was born.
rills: streams; brooks.
benediction: blessing.
13. The first-person narration of this poem adds to its tone of —
a. fear
c. bitterness
b. yearning
d. anger
14. The speaker of this poem is remembering —
a. a place where he used to live
c. where to buy some fruit
b. how hungry he is
d. going to church to pray
15. The title of the poem, “The Tropics in New York,” is ironic because —
a. it is a very unusual title for a poem
49
____
16.
____
17.
____
18.
____
19.
____
20.
b. sometimes it gets extremely hot in New York
c. we don’t expect to find the tropics in New York
d. the weather is a lot nicer in the tropics
From the narration in this poem, you can tell that the speaker is —
a. happy-go-lucky
c. competitive
b. homesick
d. hungry
What topic do the short story “Home” and the poem “The Tropics in New York” share?
a. Fruits and vegetables
c. Wanting to go home
b. Keeping your house
d. Feelings about home
What universal theme could apply to both “Home” and “The Tropics in New York”?
a. Home is where the heart is.
c. Memories stir powerful feelings.
b. Home is where they have to take you d. We often long for the past.
in.
The poet used the word gaze in line 9 instead of its synonym look probably because gaze
has connotations of —
a. seeing what isn’t there
c. glancing quickly
b. looking longingly
d. looking very closely
Both the story and the poem express their theme through —
a. dialogue
c. soliloquies
b. multiple characters
d. figurative language
DIRECTIONS: Read the selection, and answer the following questions.
Henna Body Painting
In many cultures in Africa, India, and the Middle East, the plant dye henna has been used
for adorning the body for more than five thousand years. People in the United States and
Europe have only recently become interested in its possibilities beyond its old-fashioned
use as a hair coloring.
Henna dye comes in shades of brown, russet, and crimson. It is made from the dried
leaves, flowers, and twigs of the henna shrub, which are ground into a fine powder. One
mixes the powder with water and an oil to form a paste, which is the basis for the paint
that outlines the intricate designs.
Henna painting varies from country to country and spans different cultures and religious
traditions. African henna designs have angular geometric patterns that are large and
striking. Arabic henna painting features broad, floral patterns on hands and feet. Indian
henna painting uses fine, lacelike floral and paisley designs that cover the entire hands,
forearms, and feet.
Often the painting is done to celebrate special occasions. In North Africa, red palms
signal a young person’s passage into a new stage in life. In Morocco, a soldier’s right
hand might be painted with henna designs to protect him in battle. In the northern and
western parts of India, henna painting is an important part of the wedding ritual. There is
a romantic notion that the deeper the color obtained on the skin, the longer the love in the
50
marriage will last.
If the custom of henna body painting has existed in other cultures for so long, why is it
only now receiving attention in the United States and Europe? Its growing popularity may
be related to the increased interest in tattooing. However, henna enjoys a prime advantage
over tattooing—it doesn’t hurt! Composed of harmless ingredients, the henna dye washes
away after a period of time, and the application of a simple design takes less than thirty
minutes. Henna painting also avoids the health risks connected with tattooing.
If you decide to give henna body painting a try, not only will you get a hip look without
pain or health hazards but you’ll be following an honorable and ancient tradition.
____
____
____
____
____
____
21. The writer’s main purpose in writing this article is to —
a. warn people against using henna hair c. persuade readers to try henna painting
dye
b. criticize those who use henna coloring d. inform readers about henna painting
22. Which of the following is not evidence given for the benefits of henna painting over
tattooing?
a. Tattooing is painful.
b. Henna painting is more beautiful than tattooing.
c. Henna painting is not bad for your health.
d. Henna painting can be done in a short amount of time.
23. Which evidence supports the argument that henna is a “natural skin decoration”?
a. Henna decorations vary from culture to culture.
b. Henna has been used for five thousand years.
c. Henna paint is made from the henna shrub.
d. Henna decorations are used on special occasions.
24. Which research question would best lead to more information about the topic of this
article?
a. When do the flowers on the henna shrub bloom?
b. What types of traditional henna painting are used today?
c. What is the typical age at which people marry in India?
d. How many people in the United States use henna hair dye?
25. For research about painting hands and feet with henna, the best source of information
would be —
a. an atlas with maps of the Middle East c. reading a romance novel set in India
b. do-it-yourself directions for tattooing d. typing “henna” into a search engine
26. Which reference belongs in a bibliography of sources about henna body painting?
a. Walter, Cindy, and Jennifer Priestly. The Basic Guide to Dyeing and Painting
Fabric. Iola, Wisconsin: Krause Publications, 2002.
b. Patrick, Diane. Family Celebrations. New York: Silver Moon Press, 1993.
51
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____
____
c. Weinberg, Norma Pasekoff. Henna from Head to Toe! North Adams,
Massachusetts: Storey Books, 1999.
d. Frazer, Sir James. The Golden Bough. Ware, Hertfordshire: Cumberland House.
27. All of the following could be connections to the ideas in this article except —
a. Some henna body designs may be similar to some fabric designs.
b. With mass communications, many ideas spread across cultures.
c. Originally all paints were made from natural sources.
d. Ancient pottery gives archaeologists clues to its creators and their society.
28. To know that henna comes from the Arabic word hinnâ´ is to understand its —
a. connotation
c. derivation
b. denotation
d. pronunciation
29. When the writer says that henna painting uses “floral patterns,” this means that the
designs look like —
a. shrubs
c. paisley
b. flowers
d. angles
The following question is not about the selection. Read and answer the question.
____
30. We borrow words as well as customs from other cultures. From the names of the Norse
gods Odin, Thor, and Freya we get which words?
a. Wednesday, Thursday, Friday
c. alpha, beta, kappa
b. origin, thirsty, frightened
d. January, February, March
Vocabulary DIRECTIONS: Choose the word or group of words that has the same, or
about the same, meaning as the underlined word. Then, mark the space for the answer
you have chosen.
SAMPLE
A prodigy is someone who is —
A.
cautious
B.
patient
C.
talented
D.
mischievous
Correct answer: C
____
____
____
31. A refuge is a —
a. shelter
b. dessert
32. Something that is inevitable is —
a. inedible
b. capable
33. Someone who is serene is —
c. bit of garbage
d. refusal
c. unavoidable
d. interesting
52
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____
____
a. kind
b. critical
34. An omen is a —
a. scary monster
b. sign of the future
35. Remorse is another word for —
a. power
b. argument
36. Something that is luminous is —
a. glowing
b. puzzling
c. cheerful
d. calm
c. happy event
d. body of work
c. guilt
d. resolve
c. questioning
d. unfeeling
DIRECTIONS: Read each sentence. Then, choose the answer in which the underlined
word is used in the same way. Mark the space for the answer you have chosen.
SAMPLE
The winter decorations have been taken down, and there is a spring display in the store window.
A.
That lively man always seems to have a spring in his step.
B.
By summer we will have blooms from our spring planting.
C.
If that spring dries up, there will be no water for the horses.
Correct answer: B
____
____
____
____
37. Who is the authority in charge here?
a. You must ask an authority to sign this document.
b. The court has final authority for that decision.
c. We have it on good authority that the claim is false.
d. Using reliable sources will lend authority to your report.
38. If we hurry we can see the 7:00 P.M. feature at the theater.
a. I have been told that my nose is my best feature.
b. The fashion collection will feature silks and wools.
c. He wrote the feature story in the newspaper.
d. When does the next feature begin?
39. There were scores of people at the ballgame.
a. He plans to settle some old scores.
b. Did you get good scores on your exams?
c. Scores of visitors lined up to enter the museum.
d. She will bring the musical scores for the production.
40. When the strain of the work ended, his health improved.
a.
b.
c.
d.
Do not strain my patience by teasing me.
The constant strain of the deadlines was exhausting.
Be sure to save the juice when you strain the pineapple slices.
He has to strain to hit the low notes when he sings.
Grade Ten Diagnostic
Answer Section
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MULTIPLE CHOICE
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10.1.3 (setting and mood/atmosphere)
10.2.1.4 (drawing conclusions), 10.1.1 (plot)
10.1.1 (plot)
10.1.7.15 (speaker), 10.1.5 (point of view)
10.1.10.4 (speech)
10.2.1.13 (monitoring your reading or comprehension)
10.1.10.4 (speech)
10.3.3 (context clues)
10.1.5 (point of view)
10.1.6 (theme)
10.3.4 (denotation and connotation)
10.1.2 (time and sequence)
10.1.5 (point of view)
10.1.7.15 (speaker)
10.1.7.9 (irony)
10.1.7.15 (speaker)
10.2.1.3 (comparing and contrasting)
10.1.6 (theme)
10.3.6 (figurative meanings of words and phrases)
10.1.6 (theme)
10.2.1.16 (determining the writer's purpose or intent)
10.2.1.13 (monitoring your reading or comprehension)
10.2.1.13 (monitoring your reading or comprehension)
10.2.1.21 (generating research questions)
10.2.1.22 (researching questions or information/using sources)
10.2.2.15 (Works Cited list)
10.2.1.5 (making connections)
10.3.5 (derivation/etymology/word origins)
10.3.9 (literal meanings of words)
10.3.5 (derivation/etymology/word origins)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
10.3.14 (synonyms)
54