Table of Contents
South Carolina
Standards and
Indicators
Letter to the Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Test-Taking Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
South Carolina Academic Standards and Indicators. . . . . . . . . . . . . . . . . . . 7
South Carolina HSAP Test Blueprint—English Language Arts . . . . . . . . . . 15
Chapter 1
Literary Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Lesson 1
Lesson 2
Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Compare and Contrast: Literary Texts . . . . . . . 22
E2-1.7
Lesson 3
Conclusions and Inferences: Literary Texts . . . 26
E2-1.1
Lesson 4
Cause and Effect: Literary Texts . . . . . . . . . . . 30
HSAP Test Blueprint,
E2-1.1
Standard 1
Lesson 5
Plot and Conflict . . . . . . . . . . . . . . . . . . . . . . . 34
E2-1.4
Mid-Chapter 1 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Lesson 6
Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
E2-1.4
Lesson 7
Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
HSAP Test Blueprint,
Standard 1
Lesson 8
Theme and Main Idea . . . . . . . . . . . . . . . . . . . 54
E2-1.4
Lesson 9
Point of View . . . . . . . . . . . . . . . . . . . . . . . . . . 58
E2-1.2
Lesson 10
Figurative Language. . . . . . . . . . . . . . . . . . . . . 62
E2-1.3
Lesson 11
Author’s Craft . . . . . . . . . . . . . . . . . . . . . . . . . . 66
E2-1.5
Chapter 1 Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Chapter 2
Informational Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Lesson 12
Compare and Contrast: Informational Texts . . 80
E2-2.1
Lesson 13
Conclusions and Inferences:
Informational Texts . . . . . . . . . . . . . . . . . . . . . . 84
E2-2.2
Cause and Effect: Informational Texts . . . . . . . 88
HSAP Test Blueprint,
Lesson 14
Standard 2
Lesson 15
Bias and Propaganda. . . . . . . . . . . . . . . . . . . . 92
E2-2.3, E2-2.7
Lesson 16
Text Elements . . . . . . . . . . . . . . . . . . . . . . . . . . 96
E2-2.5
Lesson 17
Graphic Features . . . . . . . . . . . . . . . . . . . . . . 100
E2-2.6
Chapter 2 Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
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Chapter 3
Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Lesson 18
Roots and Affixes. . . . . . . . . . . . . . . . . . . . . . 114
E2-3.2
Lesson 19
Context Clues. . . . . . . . . . . . . . . . . . . . . . . . . 118
E2-3.1
Lesson 20
Idioms and Euphemisms . . . . . . . . . . . . . . . . 122
E2-3.3
Chapter 3 Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Chapter 4
Writing and Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Lesson 21
Subject-Verb Agreement . . . . . . . . . . . . . . . . 132
E2-4.4
Lesson 22
Verb Tense . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
E2-4.4
Lesson 23
Capitalization and Punctuation . . . . . . . . . . . 140
E2-4.6
Lesson 24
Sentence Structure and Variety . . . . . . . . . . . 144
E2-4.2
Lesson 25
Opening and Concluding Sentences . . . . . . . 150
E2-4.3
Lesson 26
Writing an Essay. . . . . . . . . . . . . . . . . . . . . . . 154
E2-5.2, E2-5.3
Lesson 27
Revising and Editing . . . . . . . . . . . . . . . . . . . 158
E2-4.5, E2-4.6
Chapter 4 Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Chapter 5
Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Lesson 28
Using a Dictionary and Thesaurus . . . . . . . . 174
E2-6.7
Lesson 29
Using the Research Process . . . . . . . . . . . . . 178
E2-6.1, E2-6.8
Lesson 30
Summarizing and Paraphrasing . . . . . . . . . . . 184
E2-6.2
Chapter 5 Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Pretest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Posttest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
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1
Genre
E2-1.7
Getting the Idea
Genre is a type of writing characterized by specific elements.
Fiction is a piece of writing that is made up by the author. Sometimes fiction is realistic, meaning
that the characters and events in the story are close to real-life experience. Other times, fiction
is fantastic or imaginary and does not seem much like reality at all. Fiction includes the following
types of writing:
a novel: a long work of fiction, usually involving major and minor characters, as
well as main plots and subplots;
a short story: a short work of fiction, usually meant to be read in one sitting,
that has one plot and a limited number of characters;
a fairy tale: a story that contains imaginative characters, events, and elements
of magic;
a fable: a story that teaches a lesson or moral; and
a myth: a story that explains something about the world and typically involves
supernatural or immortal characters.
Nonfiction is factual writing about real persons, places, things, or ideas. Articles and reports are
both nonfiction. A biography is a factual account of a person’s life written by another person. An
autobiography is a factual account of a person’s life written by that person.
Poetry is a genre of writing, separated into lines and stanzas, in which an author uses figurative
language and literary devices to create meaning and evoke emotion in the reader. Poetry often
uses rhythm and rhyme. Two types of poetry are narrative poetry, which tells a story, and lyric
poetry, which creates strong emotion often through the use of musical sounds.
Drama is a fictional genre written to be performed, in which the story is told through dialogue.
Plays, short sketches, and some musicals are all types of drama.
Often, writers choose a genre that is appropriate for the theme they want to convey. Theme is an
insight about life that the writer wants the reader to comprehend. Money is the root of all evil and
honesty is the best policy are two common themes in fiction.
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Coached Example
DIRECTIONS
Read the selection and answer the questions that follow. The hints can help you find the
correct answers.
Afternoon on a Hill
by Edna St. Vincent Millay
I will be the gladdest thing
Under the sun!
I will touch a hundred flowers
And not pick one.
5
10
I will look at cliffs and clouds
With quiet eyes,
Watch the wind bow down the grass,
And the grass rise.
And when lights begin to show
Up from the town,
I will mark which must be mine,
And then start down!
Thinking It Through
1.
Which of the following aspects does this
poem share with a work of realistic fiction?
A. It has an identifiable rhythm
and rhyme.
B. It is broken into lines and stanzas.
C. It has characters and a conflict.
D. It relates a real-life experience.
HINT
Could the poem be written as a paragraph
in a short story?
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2.
Poetry is meant to evoke strong emotions
or feelings. Which of the following
BEST describes the speaker’s feelings in
“Afternoon on a Hill”?
A. She is secretive and keeps to herself.
B. She likes to be strange and mysterious.
C. She is filled with longing and sorrow.
D. She respects and admires everything.
HINT
Read the poem out loud, examining the
words Millay chooses to describe the
speaker’s actions.
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Lesson Practice
Coached Reading
DIRECTIONS
Read the selection below. While you are reading, look to the Reading Guide for tips.
Reading Guide
The genre of this selection
becomes clear in the first
sentence. How does the
rest of the paragraph
confirm this?
If paragraph 2 were
written as a poem, it
would take a different
form. The story would be
told in lines using rhythm
and perhaps rhyme.
How could you change the
author’s descriptions and
the characters’ actions into
dialogue for a drama?
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excerpted from
The Jungle Book
by Rudyard Kipling
It was seven o’clock on a very warm evening in the Seeonee
hills when Father Wolf woke up from his day’s rest, scratched
himself, yawned, and spread out his paws one after the other to get
rid of the sleepy feeling in their tips. M other Wolf lay with her big
gray nose dropped across her four tumbling, squealing cubs, and
the moon shone into the mouth of the cav e where they all lived.
“Augrh!” said Father Wolf. “It is time to hunt again.” He was going
to spring downhill when a little shadow with a bushy tail crossed
the threshold and whined: “Good luck go with you, O Chief of the
Wolves. Good luck and strong white teeth go with noble childr en
that they may never forget the hungry in this world.”
It was the jackal—Tabaqui, the Dish-licker—and the wolves of
India despise Tabaqui because he runs about making mischief, and
telling tales, and eating rags and pieces of leather fr om the village
rubbish-heaps. They are afraid of him too, because Tabaqui, more
than anyone else in the jungle, is apt to go mad, and then he forgets
that he was ever afraid of anyone and runs through the forest biting
everything in his way. Even the tiger runs and hides when little
Tabaqui goes mad, for madness is the most disgraceful thing that
can overtake a wild creature. We call it hydrophobia, but they call it
dewanee—the madness—and run.
“Enter, then, and look,” said Father Wolf stiffly, “but there is no
food here.”
“For a wolf, no,” said Tabaqui, “but for so mean a person as
myself a dry bone is a good feast. Who are we, the Gidur-log (the
jackal people), to pick and choose?” H e scuttled to the back of the
cave, where he found the bone of a buck with some meat on it, and
sat cracking the end merrily.
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Lesson 1: Genre
Independent Practice
DIRECTIONS
Use the selection to answer each question.
1.
If Rudyard Kipling had written this
selection as realistic fiction, what change
would he need to make?
Based on the information in this selection,
which of the following may NOT be a
possible genre to describe The Jungle Book?
A. He would have to add humans to
the story.
A. fable
B. He would have to tell the story in
dialogue only.
C. biography
C. He would have to omit the
animals’ dialogue.
D. He would have to add a moral to
the story.
2.
3.
Which part of the selection is MOST
similar to the way that fables end?
A. the line, “madness is the most
disgraceful thing that can overtake a
wild creature”
B. novel
D. fantasy
4.
What aspect of the selection is MOST
like nonfiction?
A. the rhythms of Kipling’s words
and sentences
B. Father Wolf’s lessons to his children
C. the descriptions of the jungle animals
D. Kipling’s original names for
his characters
B. the strange dialogue between the
animals in the story
C. the information about how animals in
India behave
D. the details about the mother wolf, her
cubs, and the cave where they live
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2
Compare and Contrast:
Literary Texts
E2-1.1
Getting the Idea
An important reading skill is the ability to compare and contrast texts. Though two texts may
seem very different, they likely have certain traits in common that you may not have expected. For
example, you might think an adventure story of the high seas and a southern romance novel have
nothing in common on the surface. However, after reading them, you may find they both have
strong male protagonists, or main characters. By the same token, texts that may look alike at first
sight might actually be very different, such as two sonnets that have opposing themes.
When you are comparing and contrasting two texts, you should first identify the individual literary
elements of each text. Then, see how these elements are alike and how they are different. For two
works of fiction, you could consider the plot, conflict, characters, setting, theme, mood, and point
of view of each text. For example, you read two stories about teenage boys. They have different
settings. One is set in South Carolina during the 1950s. The other takes place in New York during
the 1980s. However, the stories have a similar conflict. Both teenagers want to pursue a music
career despite their parents’ strong disapproval.
As you read the poem and story below, consider their similarities and differences.
Excerpt from “Rain in Summer”
by Henry Wadsworth Longfellow
How beautiful is the rain!
After the dust and heat,
In the broad and fiery street,
In the narrow lane,
How beautiful is the rain!
How it clatters along the roofs,
Like the tramp of hoofs,
How it gushes and struggles out
From the throat of the overflowing spout!
The Flood
Marco watched in complete disbelief, his
mouth hanging open, as the swirling water
continued to rise. The rain had poured down
for days, causing the river to swell over its
banks. The black water already covered most
of his backyard and was slowly inching its way
toward his house. He wished the rain would
stop, but there seemed to be no end in sight.
He wasn’t sure what to do next.
Both the poem and the story are about rain. However, the way the authors treat the topic is very
different. The poem describes rain as “beautiful,” while the story describes how the rain has
caused a dangerous and destructive flood. The mood of the poem is cheerful, while the mood of
the story is ominous—you can sense that something bad may happen to Marco’s house.
You may find it helpful to use a Venn diagram or to make a list when you compare and contrast
texts. This will help you organize each text’s traits, allowing you to easily visualize the relationship
between the texts.
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Coached Example
DIRECTIONS
Read the selections and answer the questions that follow. The hints can help you find the
correct answers.
Selection 1
Carla sat up straight in bed and listened. A moment ago, she had heard the floorboards
creak in her bedroom. Now she could hear nothing but the autumn wind gusting through the
trees outside her window. Carla’s eyes darted around the room. It was pitch-black except for
the sliver of moonlight that illuminated the front of Carla’s desk chair. Hadn’t she left the chair
facing the desk? Suddenly, the floorboards creaked again.
Selection 2
Kyoko typed the last sentence on the page and held up her arms like a conquering warrior.
“Yes!” she exclaimed, grinning to herself. She hit the PRINT button on her computer and ran
over to her bedside phone. As the pages of her report printed, she dialed Christy’s number.
“I’m done!” she said happily. “Ready to go to the beach?”
Thinking It Through
1.
Which BEST describes how the moods of
the selections differ?
2.
Which is true about the setting of both
selections?
A. Selection 1 is suspenseful; selection 2
is lighthearted.
A. Both selections take place in school.
B. Selection 1 is lonely; selection 2 is
exciting.
C. Both selections take place at night.
C. Selection 1 is peaceful; selection 2
is cheerful.
D. Selection 1 is mysterious; selection 2
is somber.
HINT
D. Both selections take place in a
bedroom.
HINT
Find clues to the setting in each selection.
Where does each selection take place?
Think about the overall feeling created by
each selection.
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B. Both selections take place in the fall.
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Lesson Practice
Coached Reading
DIRECTIONS
Read the selections below. While you are reading, look to the Reading Guide for tips.
Riva in Love
Reading Guide
Think about the different
literary elements as you
read each selection.
Why is the central
character in the first
selection distracted?
What key words best
describe the speaker of
the second selection?
Think of ways in which
the selections are alike or
different.
“Earth to Riva! Earth to Riva!” Elisa waved her hand
impatiently across the breakfast table. Finally, Riva looked up, her
eyes far away and dreamy. She smiled sweetly at Elisa.
“You look like a goofball!” Elisa said. “Lately, all you do is stare
into space and sigh.”
Riva’s face reddened. Elisa watched her sister slyly. “Would this
have anything to do with Jason?” she asked, savoring the moment.
Riva dropped her spoon. “How do you—no! He’s just another
of Eric’s friends. What’s he to me?” She tried to sound nonchalant.
Riva hadn’t realized she had been so transparent. Ever since her
brother had brought Jason home for dinner, Riva had thought of
nothing else. She woke up thinking of Jason. She scribbled his name
in the margins of her notebook. S he saw his face when she closed
her eyes.
“Oh, okay,” Elisa said. “He’s out on the porch, waiting to walk
you to school. But if you don’t care. . .”
Riva bolted out of her chair.
When I Have Fears That
I May Cease to Be
by John Keats
5
10
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When I have fears that I may cease to be
Before my pen has glean’d my teeming brain
Before high-piled books, in charactery,
Hold like rich garners the full ripen’d grain; . . .
. . .And when I feel, fair creature of an hour,
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love;—then on the shore
Of the wide world I stand alone, and think
Till love and fame to nothingness do sink.
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Lesson 2: Compare and Contrast: Literary Texts
Independent Practice
DIRECTIONS
Use the selections to answer each question.
1.
Which statement BEST describes the
characters in “Riva in Love”?
In “When I Have Fears That I May Cease
to Be,” the mood can BEST be described as
A. Elisa is distracted, but Riva
is perceptive.
A. formal
B. Elisa is annoyed, but Riva
is entertained.
C. silly
C. Elisa is flustered, but Riva
is composed.
D. Elisa is amused, but Riva
is embarrassed.
2.
3.
B. scornful
D. sarcastic
4.
Which of the following BEST describes
the theme of both selections?
A. Life should be lived to the fullest.
A key difference between the two selections
is that
B. Love can consume one’s thoughts.
A. the story describes a person’s
emotions, but the poem focuses on
external elements.
D. One should never fall in love too
young.
B. the story is set over one hundred years
ago, but the poem is set in modern
times.
C. the story is written from the thirdperson point of view, but the poem
is written from the first-person point
of view.
D. the story focuses on the feelings of
one central character, but the poem
explores multiple perspectives.
C. Fear is a painful and futile emotion.
5.
Based on both selections, which of the
following is true?
A. “Riva in Love” has a more serious
mood than “When I Have Fears...”.
B. “Riva in Love” is written for a
younger audience than “When I Have
Fears…”.
C. Neither “Riva in Love” nor “When
I Have Fears…” has a central conflict.
D. Both “Riva in Love” and “When
I Have Fears…” are examples of
fiction.
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