Agenda
Planning for the High Quality ELA Classroom
Given high-quality instruction, all students tackle cognitively complex
tasks by building knowledge through daily interaction with rich text,
marshalling evidence to support an idea, creating unique and
purposeful writing, and building a dynamic vocabulary to become
skilled in each content area.
In today’s session you will…
Connect the instructional shifts to classroom practices;
Define text-dependent questions;
Explore if questions are text-dependent;
Evaluate text-dependent questions for quality and alignment
to Tennessee’s State Academic Standards for ELA; and
• Practice writing text-dependent questions.
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Miah Daughtery, Ed.D
K-12 Literacy Coordinator
Tennessee Department of Education
[email protected]
Six Qualitative Dimensions
Qualitative Dimension
Level of Meaning of Purpose
Low Levels of Complexity
• Single level of meaning
• Explicitly stated purpose
Structure
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Simple
Explicit
Conventional
Chronological Order
Simple Graphics
Complex
Implicit
Unconventional
Out of chronological order
Graphics essential to
understanding the text, Graphics
provide information not
otherwise conveyed in the text
Language Conventionality
and Clarity
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Literal
Clear
Contemporary, familiar
Conversational
Figurative or ironic
Ambitious or purposefully
misleading
Archaic
General academic and domainspecific
Knowledge Demands: Life
Experiences
• Simple themes
• Single theme
• Common, everyday
experiences or clearly
fantastical
• Single perspective
• Perspective(s) like one’s
own
Complex, sophisticated themes
Multiple themes
Experiences distinctly different
from one’s own
Multiple perspectives
Perspective(s) unlike or in
opposition to one’s own
Knowledge Demands:
Cultural/Literary Knowledge
(chiefly literary text)
• Everyday knowledge and
familiarity with genre
conventions required
• Low intertextuality (few, if
any, references/allusions
to other texts)
• Everyday knowledge and
familiarity with genre
conventions required
• Low intertextuality (few, if
any, references
to/citations of other texts)
Cultural and literary knowledge
useful
High intertextuality (many
references/allusions to other
texts)
Knowledge Demands:
Content/Discipline
Knowledge (chiefly
informational text)
High Levels of Complexity
Multiple levels of meaning
Implicit, hidden purpose
Extensive, perhaps specialized
discipline-specific content
knowledge required
High intertextuality (many
references to/citations of other
texts)
An Introduction to Narrative Textual Analysis: Read as a Reader, not as a Teacher
This guide is a way to get started analyzing narrative texts (e.g., stories, novels, vignettes, plays, and poems). This process
will help guide your instructional decision-making while strengthening your understanding about the text(s) you wish to teach.
While these questions certainly can be used in a classroom, they are intended for teachers prior to instruction. Readers adept
at textual analysis should maneuver between all levels. Adept readers mark the text as they are reading, jotting down new
ideas and gathering textual support. Readers may also want to develop new questions that stem from those listed below, or
even branch out to construct completely new ones of their own.
Literal: questions help the reader gain an understanding of what is actually happening in the text. This level of
understanding builds a solid foundation for deeper analysis. These questions deepen a surface-level understanding of an
expository text.
Analytical: questions to help readers analyze the text in its entirety, and specific elements.
Evaluative: questions for readers who are ready to deconstruct the subtle nuances of text and evaluate the author’s
choices in the text as a whole as well as the impact the text has on the audience.
Literal
Consider the
characters
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•
Consider the
setting
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Consider the tone
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Consider the plot
structure
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Analytical
Consider the
theme
Consider the
figurative language
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Consider the word
choice and
connotation
Revised July, 2015
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Questions to Ask Yourself as You Analyze the Text
How would you describe the characters’ internal and external characteristics?
How do the characters change throughout the piece? Consider subtle internal and external changes.
How do characters view and respond to each other?
What does the dialogue tell us about the character? What can we infer about the characters based
off what they say or think?
Where does the narrative take place? How would the narrative change if the setting were altered?
How does the setting impact the characters and their decisions?
What stands out to you about the setting? Does the author spend considerable time describing the
setting, or does he/she only briefly mention it? How does the author’s description of the setting
enhance your understanding of the narrative?
How would you determine the tone at the beginning of the narrative?
How would you determine the tone at the end of the narrative?
Where does the tone change?
How does the tone change?
Why would the author make the tone change at the time the tone changes? What impact does the
tonal change have on the narrative?
What is the plot of the narrative? Is the plot traditional, or does the author employ foreshadow or
flashback? (e.g., Beloved by Toni Morrison)
Where does the author put the climax? How does the placement of the climax impact the piece?
Are there multiple climaxes? Would a different reader identify a different climax? Why?
Are all the elements of plot evident in the piece, or does the author not include a critical element
like resolution? If a critical piece of the plot chart is missing, how does this impact the narrative?
Questions to Ask Yourself as You Analyze the Text
What major issues does the author address?
What is the theme (broader lesson or message) that the author shares in the narrative?
How do you know? What happens throughout the narrative to help you understand the theme?
Where do you notice literal and extended metaphors/similes? What do they mean? Evaluate the
impact of the metaphor on the piece as a whole. Why would the author include a metaphor?
Where do you notice personification? Is the personification extended or short? Why would the
author include personification? What impact does personification have on the piece?
Where do you notice imagery? Why would the author include imagery at this point in the narrative?
What impact does imagery have on the piece? Do you understand the characters, plot, setting or
theme better because of imagery?
What is the author’s word choice? What is the connotation of his words and phrases?
Is there dialect? If so, why did the author choose to include it?
An Introduction to Narrative Textual Analysis: Read as a Reader, not as a Teacher
Consider the
length of
paragraphs and
sentences
Consider
connections to
other texts
Consider the
audience
Consider the
historical, social,
or economic
impact
Consider the
structure of the
text
Consider the
syntax
Consider how the
author creates
specific effects,
like humor, irony,
or suspense
Evaluative
Consider
connections across
the piece
Consider making
judgments about
the strength of the
writing
Consider
connections
between pieces
(allusion) or to the
world
Revised July, 2015
• Does the author have a mix of longer and shorter paragraphs/stanzas/sentences, or are they about
the same? What impact does paragraph/stanza/sentence length have on the piece?
• Do the ideas in this text remind you of another text, either narrative or expository? What
connections can you make? Does this text deepen your understanding of the other text, or does the
other text deepen your understanding of the narrative you are currently reading?
• To whom is the author writing? How do you know? How does your knowledge of the audience
impact your understanding of the piece?
• Are you the intended audience? If so, how does the author speak to you? If not, what questions do
you have and do you feel disconnected?
• When does the narrative take place? When was the narrative written? Is there a difference (e.g.,
1984 was written in 1949. How does that knowledge impact your understanding of 1984?)
• Whom in society does the narrative revere, ignore, or put down? Does the text glorify the wealthy,
famous and proud, or the powerless and oppressed? How does the glorification of specific groups
impact your understanding of the text?
• Does the text make the reader feel content about the world, or does the text make the reader want
to alter, fix, or change the world?
• What comes first? Next? Does the narrative follow a sequential time-line, a logical sequence, a
problem-solution-resolution?
• What does the structure reveal about the author’s overall message?
• Analyze the punctuation: Does the author mix internal punctuation like semicolons, colons, and
commas? Where do the punctuation marks appear? Are they visual clues that lead the reader to a
deeper understanding of the text?
• Does the author intrude with the use of asides or parenthetical interruptions? What impact does
the author’s intrusion have on the piece?
• Is the piece written in a regional or historical dialect? What impact does the characters’ speech have
on the piece? Is there a shift from the narrators’ voice to the characters’ voice(s)?
• Does the author go out of his way to create humor, suspense, irony, or fear? What is the topic?
Why would the author go to grave lengths to create a certain response for a certain topic?
• Does the response clash with the topic (e.g., humor at a funeral) or give extended support for the
topic (e.g., humor at a carnival)?
Questions to Ask Yourself as You Analyze the Text
• Is there a recurring motif, symbol or abstract idea? In what context does it show up? Does the
recurring idea mean the same throughout the piece, or does the meaning change depending on the
context?
• Does the beginning of the piece lead to any insight in the middle or the end?
• Does the end of the piece circle back to the beginning? What impact does circling back have on the
narrative?
• Evaluate the author’s decision to include ideas or symbols across the piece.
• Judge the value of the author’s use of….(characterization, tone, setting, etc.)
• How effective is the author’s use of … (characterization, tone, setting, etc.)
• Are there any biblical/mythological/Shakespearean allusions? Are the allusions clear and direct, or
are they obscure and abstract? How does the allusion alter, change, impact, or deepen the
message? How does the use of allusion make the piece stronger?
• Are there any other cultural or historical allusions? Evaluate the impact of the allusions on the
piece.
An Introduction to Informational Textual Analysis: Read as a Reader, not as a Teacher
If textual analysis is a new skill, or one that has not been practiced regularly, consider this guide as a way to get started
analyzing informational/expository texts (e.g., traditional speeches, arguments, historical documents, primary source documents,
essays, newspaper/magazine articles, and advertisements). This process will help guide your instructional decision-making while
strengthening your understanding about the text(s) you wish to teach.
Literal: questions for readers new to expository textual analysis. These questions are intended to deepen a surface-level
understanding of an expository text.
Analytical: questions for readers who feel comfortable analyzing key ideas and details and want to begin understanding the
author’s craft and structure.
Evaluative: questions for readers who are ready to deconstruct the subtle nuances of text and evaluate the author’s
choices in the text as a whole as well as the impact the text has on the audience.
Readers do not have to stick with one level at a time; in fact, readers adept at textual analysis should maneuver between all
levels, depending on the text. Like students, adept readers also mark the text as they are reading, jotting down new ideas and
gathering textual support. Readers may also want to develop new questions that stem from those listed below, or even branch out
to construct completely new ones of their own. Reader questions are best developed when anchored by: What does the author
claim (literal)? Why does the author make the claim (evaluative)? What does the claim mean (metaphorical)?
Literal
Consider the audience
Consider the key
individuals
Consider the key events
Consider the central
ideas
Consider the author’s
claim(s)
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Evaluative
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Consider the figurative
language
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Consider the word
choice and connotation
Consider the length of
paragraphs and
sentences
Consider connections to
other texts
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Questions to Ask Yourself as You Analyze the Text (NOT FOR STUDENTS)
To whom is the author writing? How do you know?
What does your knowledge about the audience tell you about the piece as a whole?
Who are the key individuals in the text? How do you know?
How does the author make connections among and distinctions between key individuals?
Where are key events addressed or written about? Why were these key events?
What is the topic?
What is the author’s central idea(s)? How do you know? How does the central idea develop
during the course of the text?
What is the author’s stance? What does the author claim?
What support does the author have for his/her claim?
What is the overall argument, in one sentence? What does the author want the audience to
believe?
Does the author address and define a counterclaim? What impact does addressing the
counterclaim have on the piece?
Questions to Ask Yourself as You Analyze the Text (NOT FOR STUDENTS)
Where do you notice literal and extended metaphors/similes? What do they mean? Evaluate the
impact of the metaphor on the piece as a whole. Why would the author include a metaphor?
Where do you notice personification? Is the personification extended or short? Why would the
author include personification? What impact does the personification have on the piece?
Does the author include imagery? Why would the author include imagery at this point in the
expository piece? What impact does the imagery have on the piece? Do you understand the claim,
topic, or stance better because of the imagery used?
What is the author’s word choice? What is the connotation of his words and phrases?
Does the author use words with strong connotation? Where are they? Words with a weaker
connotation? Where are they? What impact do those words have on the piece?
Is there dialect? If so, why did the author choose to include it?
Does the author maintain a formal or informal speech? Why would the author choose to maintain
formality or informality? What impact do the levels of formality have on the piece?
Does the author have a mix of longer and shorter paragraphs, or are they about the same? What
impact does paragraph length have on the piece?
Does the author have a mix of longer and shorter sentences, or are they about the same? What
impact does sentence length have on the piece?
Do the ideas in this text remind you of another text, either narrative or expository? What
connections can you make? Does this text deepen your understanding of the other text, or does
the other text deepen your understanding of the narrative you are currently reading?
An Introduction to Informational Textual Analysis: Read as a Reader, not as a Teacher
Consider the audience
Consider the historical,
social, or economic
impact
Consider the structure
of the text
Consider the use of
Rhetoric and Rhetorical
Strategies
Consider the syntax
Consider how the author
creates specific effects,
like humor, irony, or
suspense
Consider the fluidity of
the text
Evaluative
Consider connections
across the piece
Consider making
judgments about the
strength of the writing
Consider connections
between pieces
(allusion) or to the world
• To whom is the author writing? How do you know? How does your knowledge of the audience
impact your understanding of the piece?
• Are you the intended audience? If so, how does the author speak to you? If not, what questions
do you have and do you feel disconnected?
• What is the context of the expository piece? When was the piece written?
• Whom in society does the expository revere, ignore, or put down? Does the text glorify the
wealthy, famous and proud, or the powerless and oppressed? How does the glorification of specific
groups impact your understanding of the text?
• Does the text make the reader feel content about the world, or does the text make the reader
want to alter, fix, or change the world?
• What comes first? What comes after? How is it built? Does the narrative follow a sequential timeline, a logical sequence, a problem-solution-resolution? How are chapters divided? How is the
message arranged?
• What does the structure reveal about the author’s overall message?
• Does the author employ any use of rhetorical strategies (e.g., ambiguity, analogy, anaphora,
annotations, anecdotes, bandwagon appeals, caricatures, parallelism) How do the rhetorical
strategies strengthen the author’s argument?
• Does the author appeal to the reader’s logos, pathos, or ethos? How? What impact do such
appeals have on the piece and the reader?
• Analyze the punctuation: Does the author mix internal punctuation like semicolons, colons, and
commas? Where do the punctuation marks appear? Are they visual clues that lead the reader to a
deeper understanding of the text?
• Does the author intrude with the use of asides or parenthetical interruptions? What impact does
the author’s intrusion have on the piece?
• Does the author use headings and subheadings? What impact do the headings and subheadings
have on the piece?
• Does the author go out of his way to create humor, suspense, irony, or fear? What is the topic?
Why would the author go through grave lengths to create a certain response for a certain topic?
• Does the response clash with the topic (e.g., humor at a funeral) or give extended support for the
topic (e.g., humor at a carnival)?
• Is the piece fluid or choppy? Why would the author write a choppy piece? What impact does the
fluidity of the piece have on the story?
Questions to Ask Yourself as You Analyze the Text (NOT FOR STUDENTS)
• Is there a recurring motif, symbol or abstract idea? (e.g., think of President Obama’s “Yes We Can”)
In what context does it show up? Does the recurring idea mean the same throughout the piece, or
does the meaning change depending on the context?
• Does the beginning of the piece lead any insight to the middle or the end?
• Does the end of the piece circle back to the beginning? What impact does circling back have on the
narrative?
• Evaluate the author’s decision to include ideas or symbols across the piece.
• Judge the value of the author’s use of…. (characterization, tone, setting, etc.)
• How effective is the author’s use of … (characterization, tone, setting, etc.)
• Are there any biblical allusions? Are the allusions clear and direct, or are the obscure and abstract?
Why would the author allude to the bible? How does the allusion alter, change, impact, or deepen
the message?
• Are there any other cultural or historical allusions? Evaluate the impact of the allusions on the
piece.
"DUJWJUZ
Below is an excerpt from The Great Fire, an informational book written by Jim Murphy. Read the excerpt annotating for teaching/testable points. Excerpt from The Great Fire by Jim Murphy The Great Fire of Chicago is considered the largest disaster of the 1800s. It is rumored to have started in the barn of Patrick and Catherine O’Leary. (1) A shed attached to the barn was already engulfed by flames. It contained two tons of coal for the winter and a large supply of kindling wood. Fire ran along the dry grass and leaves, and took hold of a neighbor’s fence. The heat from the burning barn, shed, and fence was so hot that the O’Learys’ house, forty feet away, began to smolder. Neighbors rushed from their homes, many carrying buckets or pots of water. The sound of music and merrymaking stopped abruptly, replaced by the shout of “FIRE!” It would be a warning cry heard thousands of times during the next thirty‐one hours. (2) Chicago in 1871 was a city ready to burn. The city boasted having 59,500 buildings, many of them—such as the Courthouse and the Tribune Building—large and ornately decorated. The trouble was that about two‐thirds of all these structures were made entirely of wood. Many of the remaining buildings (even the ones proclaimed to be “fireproof”) looked solid, but were actually jerrybuilt1 affairs; the stone or brick exteriors hid wooden frames and floors, all topped with highly flammable tar or shingle roofs. It was also a common practice to disguise wood as another kind of building material. The fancy exterior decorations on just about every building were carved from wood, then painted to look like stone or marble. Most churches had steeples that appeared to be solid from the street, but a closer inspection would reveal a wooden framework covered with cleverly painted copper or tin. (3) The situation was worst in the middle‐class and poorer districts. Lot sizes were small, and owners usually filled them up with cottages, barns, sheds, and outhouses—all made of fast‐
burning wood, naturally. Because both Patrick and Catherine O’Leary worked, they were able to put a large addition on their cottage despite a lot size of just 25 by 100 feet. Interspersed in these residential areas were a variety of businesses—paint factories, lumberyards, distilleries, gasworks, mills, furniture manufacturers, warehouses, and coal distributors. (4) Wealthier districts were by no means free of fire hazards. Stately stone and brick homes had wood interiors and stood side by side with smaller wood‐frame houses. Wooden stables and other storage buildings were common, and trees lined the streets and filled the yards. (5) The links between richer and poorer sections went beyond the materials used for construction or the way buildings were crammed together. Chicago had been built largely on soggy 1
Built cheaply or poorly constructed marshland that flooded every time it rained. As the years passed and the town developed, a quick solution to the water and mud problem was needed. The answer was to make the roads and sidewalks out of wood and elevate them above the waterline, in some places by several feet. On the day the fire started, over 55 miles of pine‐block streets and 600 miles of wooden sidewalks bound the 23,000 acres of the city in a highly combustible knot. (6) Fires were common in all cities back then, and Chicago was no exception. In 1863 there had been 186 reported fires in Chicago; the number had risen to 515 by 1868. Records for 1870 indicate that fire‐fighting companies responded to nearly 600 alarms. The next year saw even more fires spring up, mainly because the summer had been unusually dry. Between July and October only a few scattered showers had taken place and these did not produce much water at all. Trees drooped in the unrelenting summer sun; grass and leaves dried out. By October, as many as six fires were breaking out every day. On Saturday the seventh, the night before the Great Fire, a blaze destroyed four blocks and took over sixteen hours to control. What made Sunday the eighth different and particularly dangerous was the steady wind blowing in from the southwest. (7) It was this gusting, swirling wind that drove the flames from the O’Learys’ barn into neighboring yards. To the east, a fence and shed of James Dalton’s went up in flames; to the west, a barn smoldered for a few minutes, then flared up into a thousand yellow‐orange fingers. Used by permission of Scholastic Inc. ACTIVITY 2: Deep Dive Into Assessment – Text-Dependent
Questions Worth Answering
Directions: In this activity, you will analyze 10 questions associated with the excerpt from The Great Fire.
Read the criteria at the top of the chart below to remember what to analyze as you review the questions.
Then below the chart you will see the 10 questions. Working in pairs at your table, read each question
and apply the criteria, noting your responses in the chart below. You have 20 minutes for the activity and
then we will have a 10-minute table discussion about what you decided for the questions.
Question
1
2
3
4
5
6
7
8
9
10
Can the student answer
the question without
relying on prior or outside
knowledge?
Does answering the
question require
that students have
read the passage?
Is the
question tied
to a passage
(not “stand
alone”)?
Does the question require
students to cite or use
evidence from the passage
to determine the correct
answer?
Does the question
require students to
follow the details, make
inferences, and/or
evaluate what is read?
Based on these factors,
is the question textdependent?
QUESTIONS FOR EXCERPT FROM THE GREAT FIRE
1. Reread this sentence from paragraph 5 of the passage:
The answer was to make the roads and sidewalks out of wood and elevate them above the
waterline, in some places by several feet.
Which two phrases in the sentence best help the reader determine the meaning of the word
“elevate”?
A.
B.
C.
D.
E.
F.
The answer was
to make the roads and sidewalks
out of wood
above the waterline
in some places
by several feet
2. Read this sentence from paragraph 2 of the passage:
The city boasted having 59,500 buildings, many of them—such as the Courthouse and the Tribune
Building—large and ornately decorated.
What does the word “boasted” mean?
A.
B.
C.
D.
greatly exaggerated
proudly claimed
roughly estimated
loudly stated
3. In what state is Chicago located?
A.
B.
C.
D.
Texas
California
Illinois
New York
4. The author claims that “Chicago in 1871 was a city ready to burn.” How does he develop this argument
with evidence to make it convincing to the reader? Use details and evidence from the text to support
your response.
5. According to the passage, which one of these businesses was located in residential areas?
A.
B.
C.
D.
grocery stores
lumberyards
bookstores
doctors’ offices
6. How do the details in paragraphs 3 and 4 about the poor, middle-class, and wealthier neighborhoods
contribute to the development of the central ideas of the passage?
A. The paragraphs support the idea that the fire spread widely because of the amount of wood in
all three areas.
B. The paragraphs support the idea that wood was the most readily available resource because of
the number of trees in the area.
C. The paragraphs support the idea that long ago people were unaware of the importance of wellconstructed buildings.
D. The paragraphs support the idea that Chicago was different from other large cities during that
time.
7. This question has two parts. Answer Part A and then answer Part B.
Part A: Which statement below best summarizes the central idea of this passage?
A.
B.
C.
D.
The Great Fire of Chicago was one of the most damaging fires in American history.
The Great Fire of Chicago quickly got out of control in some neighborhoods but not others.
Chicago firefighters could not put out the fire even though many people tried to help.
Chicago provided almost perfect conditions for a widespread and damaging fire.
Part B: Which sentence from the passage provides the best support for the correct answer in Part
A?
A.
B.
C.
D.
“Neighbors rushed from their homes, many carrying buckets or pots of water.”
“Chicago in 1871 was a city ready to burn.”
“The situation was worst in the middle-class and poorer districts.”
“Fires were common in all cities back then, and Chicago was no exception.”
8. The Great Fire explains one of the biggest disasters of the 19th century. Think about a disaster that
you’ve heard about in recent times. How was this disaster similar to the one discussed in The Great
Fire? Use details and examples from the passage in your response.
9. In the chart below, the left-hand column contains a list of details from the passage. The right-hand
column is headed “Reasons Chicago Burned in October 1871 Instead of Later.” Find two details that
show why Chicago burned when it did, and copy each detail into one of the empty boxes.
Details from The Great Fire
Neighbors rushed from their homes, many carrying buckets or pots
of water.
The sound of music and merrymaking stopped abruptly, replaced
by the shout of “FIRE!” It would be a warning cry heard thousands
of times during the next thirty-one hours.
Lot sizes were small, and owners usually filled them up with
cottages, barns, sheds, and outhouses—all made of fast-burning
wood, naturally.
Chicago had been built largely on soggy marshland that flooded
every time it rained.
On the day the fire started, over 55 miles of pine-block streets and
600 miles of wooden sidewalks bound the 23,000 acres of the city
in a highly combustible knot.
Reasons Chicago Burned in October
1871 Instead of Later
Detail 1:
Detail 2:
Between July and October only a few scattered showers had taken
place and these did not produce much water at all.
On Saturday the seventh, the night before the Great Fire, a blaze
destroyed four blocks and took over sixteen hours to control.
What made Sunday the eighth different and particularly dangerous
was the steady wind blowing in from the southwest.
10. This question has two parts. Answer Part A and then answer Part B.
Part A: Based on The Great Fire, which statement is true about conditions in Chicago in 18701871?
A. Land for building homes was abundant in Chicago.
B. Firefighters in Chicago were inexperienced.
C. The growth of Chicago was being carefully planned.
D. A fire was likely to occur almost every day in Chicago.
Part B: Which sentence from the passage provides the best support for the correct answer in Part
A?
A. “Lot sizes were small, and owners usually filled them up with cottages, barns, sheds, and
outhouses—all made of fast-burning wood, naturally.”
B. “As the years passed and the town developed, a quick solution to the water and mud problem
was needed.”
C. “Records for 1870 indicate that fire-fighting companies responded to nearly 600 alarms.”
D. “On Saturday the seventh, the night before the Great Fire, a blaze destroyed four blocks and
took over sixteen hours to control.”
DISCUSSION QUESTIONS FOR TABLE:
1. Did this activity help illustrate the difference between text-dependent questions and those that are not?
2. Did the questions help you see one reason this excerpt is a “text worth reading”?
3. Do the questions you deemed text-dependent seem like questions you currently see in your instructional
materials?
4. Where there any specific questions with which you struggled? If so, what information best helped you
make your decision about the question?
5. Did you see a relationship between points you annotated this morning or those provided by Student
Achievement Partners and the items in this exercise? Did the important, teachable and testable points
get covered?
ACTIVITY 3: Text-Dependent Questions Worth Answering
Directions: In this activity, you will use the criteria for alignment to analyze some text-dependent
questions associated with the excerpt from The Great Fire (from Activity 1), determining whether each
question aligns to the expectations of the standards for grade 6. Read the criteria at the top of the
chart below to remember what to analyze as you review the questions. Then below the chart you will
see some text-dependent questions. Working in pairs at your table, read each question and apply the
criteria, noting your responses in the chart below. You have 30 minutes for the activity and then we
will have a 15-minute table discussion about what you decided for the questions.
1
Question
Does the question clearly align with the intent
and language of one or more Standard(s)? If so,
which standard(s)? NOTE: Remember the focus of
vocabulary items should be tier 2 words central to
understanding the text.
Does the question
require rigorous
analysis of complex
texts, not just surface
understanding?
Does the question
reflect the
cognitive
complexity at the
heart of the
standards?
Does the question
align to the
expectations of the
standards overall?
1
2
3
4
5
2
6
7
8
9
3
QUESTIONS FOR EXCERPT FROM THE GREAT FIRE
1. Reread this sentence from paragraph 5 of the passage:
The answer was to make the roads and sidewalks out of wood and elevate them above the waterline, in some
places by several feet.
Which two phrases in the sentence best help the reader determine the meaning of the word “elevate”?
A. The answer was
B. to make the roads and sidewalks
C. out of wood
D. above the waterline
E. in some places
F. by several feet
2. The author claims that “Chicago in 1871 was a city ready to burn.” How does he develop this argument with
evidence to make it convincing to the reader? Use details and evidence from the text to support your response.
3. Which literary device does the author use in the last sentence of Paragraph 7?
A.
flashback
B.
alliteration
C.
simile
D.
metaphor
4
4. How do the details in paragraphs 3 and 4 about the poor, middle-class, and wealthier neighborhoods contribute to
the development of the central ideas of the passage?
A. The paragraphs support the idea that the fire spread widely because of the amount of wood in all three areas.
B. The paragraphs support the idea that wood was the most readily available resource because of the number of
trees in the area.
C. The paragraphs support the idea that long ago people were unaware of the importance of well-constructed
buildings.
D. The paragraphs support the idea that Chicago was different from other large cities during that time.
5. How many fires were reported in Chicago during 1870?
A. 186
B. 515
C. nearly 600
D. over 23,000
6. This question has two parts. Answer Part A and then answer Part B.
Part A: Which statement below best summarizes the central idea of this passage?
A. The Great Fire of Chicago was one of the most damaging fires in American history.
B. The Great Fire of Chicago quickly got out of control in some neighborhoods but not others.
C. Chicago firefighters could not put out the fire even though many people tried to help.
D. Chicago provided almost perfect conditions for a widespread and damaging fire.
Part B: Which sentence from the passage provides the best support for the correct answer in Part A?
A. “Neighbors rushed from their homes, many carrying buckets or pots of water.”
B. “Chicago in 1871 was a city ready to burn.”
C. “The situation was worst in the middle-class and poorer districts.”
D. “Fires were common in all cities back then, and Chicago was no exception.”
5
7. In the chart below, the left-hand column contains a list of details from the passage. The right-hand column is headed “Reasons Chicago Burned in
October 1871 Instead of Later.” Find two details that show why Chicago burned when it did, and copy each detail into one of the empty boxes.
Details from The Great Fire
Neighbors rushed from their homes, many carrying buckets or pots of water.
Reasons Chicago Burned in October 1871
Instead of Later
Detail 1:
The sound of music and merrymaking stopped abruptly, replaced by the shout of
“FIRE!” It would be a warning cry heard thousands of times during the next thirty-one
hours.
Lot sizes were small, and owners usually filled them up with cottages, barns, sheds,
and outhouses—all made of fast-burning wood, naturally.
Chicago had been built largely on soggy marshland that flooded every time it rained.
Detail 2:
On the day the fire started, over 55 miles of pine-block streets and 600 miles of
wooden sidewalks bound the 23,000 acres of the city in a highly combustible knot.
Between July and October only a few scattered showers had taken place and these did
not produce much water at all.
On Saturday the seventh, the night before the Great Fire, a blaze destroyed four blocks
and took over sixteen hours to control.
What made Sunday the eighth different and particularly dangerous was the steady
wind blowing in from the southwest.
6
8. This question has two parts. Answer Part A and then answer Part B.
Part A: Based on The Great Fire, which statement is true about conditions in Chicago in 1870-1871?
A. Land for building homes was abundant in Chicago.
B. Firefighters in Chicago were inexperienced.
C. The growth of Chicago was being carefully planned.
D. A fire was likely to occur almost every day in Chicago.
Part B: Which sentence from the passage provides the best support for the correct answer in Part A?
A. “Lot sizes were small, and owners usually filled them up with cottages, barns, sheds, and outhouses—
all made of fast-burning wood, naturally.”
B. “As the years passed and the town developed, a quick solution to the water and mud problem was needed.”
C. “Records for 1870 indicate that fire-fighting companies responded to nearly 600 alarms.”
D. “On Saturday the seventh, the night before the Great Fire, a blaze destroyed four blocks and took over
sixteen hours to control.”
9. A claim could be made that wood was a major contributing factor for the Great Fire of Chicago. Write an essay
explaining how wood helped to make the Chicago Fire of 1871 the “Great Fire.” Use evidence from the text to support
your response.
7
Activity 4 – Analyzing Writing Tasks for Text-Dependency
Instructions: Working either individually or in pairs at your table, take the next 10 minutes to
analyze the writing prompts below.
Identify which tasks are text-dependent and which are not, placing a Y or an N in the column on
the right.
Number
1
2
3
4
5
6
7
Prompt
You have just read an excerpt from the book Nature by Design, in
which a young person visits a farm each summer. If you had a choice
of visiting a farm or a city, which would you choose? Write an essay
telling what your choice would be and explaining the reasons for it.
(Grade 7)
Based on the information Susan B Anthony presents in her speech
titled “Is It a Crime for a Citizen of the United States to Vote?” explain
why you agree or disagree with her definition of the role of
government in a democracy. (Grade 11)
J.T. Holden uses Lewis Carroll’s poem “The Walrus and the Carpenter”
as the source material for his poem titled “The Walrus and Carpenter
Head Back.” Write an essay that makes and defends a claim about the
ways in which Holden has transformed the Carroll poem into
something new. Use evidence from both poems in your response.
(Grade 9)
In the excerpt from Counting on Grace, Grace’s attitude toward the
letter-writing activity changes as she learns more about it. Write an
essay that tells what Grace’s attitude is at the beginning of the
excerpt and how it changes as the story continues. Use evidence from
the story to support your response. (Grade 6)
In both passages, the authors provide evidence that Marco Polo’s
tales may or may not have been true.
Integrating information from both sources, write an essay that either
claims that Marco Polo told the truth in his book or claims that Marco
Polo made up his stories. Be sure to use information from both
passages to support your answer. (Grade 5)
Imagine that you are playing at a park and suddenly a dog runs up to
you and says, “I’m lost and need help finding my owner.” Write a
story about what happens next. (Grade 4)
In the Great Fire, the author indicates that there were several factors
that, when combined, made Chicago an ideal location for a deadly
fire. Using evidence from the passage, write an essay that tells the
conditions that made the Chicago fire spread so widely and quickly.
(Grade 6)
Text-Dependent?
Y/N
Number
8
9
10
11
12
13
14
Prompt
In her speech “Is It a Crime for a Citizen of the United States to Vote?”
Susan B. Anthony is clearly passionate about the importance of the
right to vote. What does the right to vote mean to you? Use details
from the speech in your response. (Grade 11)
You have just read an article about a famous traveler named Marco
Polo. Imagine that you, like Marco Polo, have been given a chance to
travel to a new land. Write a story telling what you see on your
adventures. Be sure to include details about what you see during your
trip and at your destination. (Grade 5)
The author of Counting on Grace tells this story from Grace’s point of
view. How would this story be different if it were told from Miss
Lesley’s point of view? Using details from the story, rewrite the story
telling the same events from Miss Lesley’s point of view. (Grade 6)
Write an essay that analyzes how Hamilton structures his ideas in this
excerpt from the Federalist Papers. What are the key ideas he
develops and refines as he shapes his argument in favor of unification
of the states? Use evidence from the text to develop and support
your response. (Grade 11)
The author of “The Emperor’s New Clothes” includes two minor
characters, the minister who serves the emperor and the child
watching the final procession. Write an essay that makes and defends
a claim about the different ways each of these characters reacts to
the emperor’s situation. Include details from the text in your
response. (Grade 5)
Using evidence from Roosevelt’s speech declaring war, write an essay
that analyzes how the concept of treachery is important to the
president’s reasoning. (Grade 10)
In “Is It a Crime for a Citizen of the United States to Vote?” Susan B.
Anthony mentions the word “right” or “rights” nearly more than 20
times. How does she use and refine this key term over the course of
her speech, and why is the concept of rights important to her primary
argument? Use evidence from the speech to support your response.
(Grade 11)
Text-Dependent?
Y/N
Activity 5 – Analyzing the Quality of Writing Tasks
Instructions: Working individually or in pairs at your table, take the next 10 minutes to evaluate the following prompts according to the quality criteria we
just discussed. The criteria are repeated as the middle column on the worksheet.
PROMPT
QUALITY CRITERIA
1. Does the prompt require students to engage in
close reading and determine meaningful
insights about the text(s)?
1
The child in the story plays a big part in what happens during the parade at the
end of the story. Pretend you are the child who is watching the parade. Retell the
events of the parade from the child’s point of view. Use details from the story to
help you write your response. Your story will be scored on how well you tell the
events of the parade and how well you use descriptive details. (Grade 5)
2. Does the prompt require students to draw on
textual evidence in their response (some
narrative prompts being an exception)?
3. Does the prompt ask for one or more of the
required types of writing?
4. Does the prompt provide clear guidance to
students about what the prompt requires?
5. Does the prompt use clear, concise, and ageappropriate language?
6. Does the prompt provide students criteria on
which they will be scored?
7. Does the prompt provide scoring notes that
will be useful to teachers?
8. Does the prompt use language of the
standards where appropriate?
1. Does the prompt require students to engage in
close reading and determine meaningful
insights about the text(s)?
2. Does the prompt require students to draw on
textual evidence in their response (some
narrative prompts being an exception)?
2
3. Does the prompt ask for one or more of the
required types of writing?
Susan B. Anthony begins her speech “Is It a Crime for a Citizen of the United
States to Vote?” by declaring that she will prove that she did not commit a crime.
Did she do it or did she not? Use evidence from the speech to support your
response. (Grade 11)
4. Does the prompt provide clear guidance to
students about what the prompt requires?
5. Does the prompt use clear, concise, and ageappropriate language?
6. Does the prompt provide students criteria on
which they will be scored?
7. Does the prompt provide scoring notes that
will be useful to teachers?
8. Does the prompt use language of the
standards where appropriate?
MEETS CRITERIA? (Y/N) and
NOTES
PROMPT
QUALITY CRITERIA
3
In the second paragraph of this excerpt from The Federalist, Hamilton writes:
“To presume a want of motives for such contests as an argument against their
existence would be to forget that men are ambitious, vindictive, and rapacious. To
look for a continuation of harmony between a number of independent,
unconnected sovereignties in the same neighborhood would be to disregard the
uniform course of human events . . . ” (Grade 11)
How does Hamilton use the ideas in these sentences to structure his argument that
a national government is important? Write an essay that analyzes the structure of
Hamilton’s arguments in terms of these sentences. Use valid and relevant evidence
from the text to develop and support your response. Your essay with be graded on
completeness of expression and content, use of evidence, and use of standard
English conventions.
Probable claims or assertions with corresponding evidence that are likely to be considered as part of a sample topscore response:
First key idea: The first argument Hamilton refutes is that there would not be any motives for dissension between the
states. Hamilton argues that human nature will always create disharmony, for a variety of reasons; human nature will
drive man to be divisive.
Supporting textual evidence:
Of this description are the love of power or the desire of pre-eminence and dominion--the jealousy of power, or the
desire of equality and safety.
There are others which have a more circumscribed though an equally operative influence within their spheres. Such
are the rivalships and competitions of commerce between commercial nations.
And there are others, not less numerous than either of the former, which take their origin entirely in private passions;
in the attachments, enmities, interests, hopes, and fears of leading individuals in the communities of which they are
members.
Has it not, on the contrary, invariably been found that momentary passions, and immediate interest, have a more
active and imperious control over human conduct than general or remote considerations of policy, utility or justice?
Have republics in practice been less addicted to war than monarchies? Are not the former administered by men as
well as the latter?
Second key idea: The second argument Hamilton refutes is that the states will continue to have peaceful relationships,
as they do now. Hamilton argues that past experience shows that people tend to be disharmonious, and it would be
unwise to ignore history.
Supporting textual evidence:
Men of this class, whether the favorites of a king or of a people, have in too many instances abused the confidence
they possessed; and assuming the pretext of some public motive, have not scrupled to sacrifice the national tranquility
to personal advantage or personal gratification. . . .
Is it not (we may ask these projectors in politics) the true interest of all nations to cultivate the same benevolent and
philosophic spirit? If this be their true interest, have they in fact pursued it? Has it not, on the contrary, invariably been
found that momentary passions, and immediate interest, have a more active and imperious control over human
conduct than general or remote considerations of policy, utility or justice?
1. Does the prompt require students to engage in
close reading and determine meaningful
insights about the text(s)?
2. Does the prompt require students to draw on
textual evidence in their response (some
narrative prompts being an exception)?
3. Does the prompt ask for one or more of the
required types of writing?
4. Does the prompt provide clear guidance to
students about what the prompt requires?
5. Does the prompt use clear, concise, and ageappropriate language?
6. Does the prompt provide students criteria on
which they will be scored?
7. Does the prompt provide scoring notes that
will be useful to teachers?
8. Does the prompt use language of the
standards where appropriate?
MEETS CRITERIA? (Y/N) and
NOTES
PROMPT
QUALITY CRITERIA
1. Does the prompt require students to engage in
close reading and determine meaningful
insights about the text(s)?
4
What do the words “highly combustible knot” mean? Use details and reasons from
the passage in your response. Your writing will be scored on organization and
development of ideas, use of evidence from the passage, and use of the
conventions of standard written English. (Grade 6)
A top-score response will focus on the fact that the city built miles of wooden roads and sidewalks that
were made of wood and burned easily.
2. Does the prompt require students to draw on
textual evidence in their response (some
narrative prompts being an exception)?
3. Does the prompt ask for one or more of the
required types of writing?
4. Does the prompt provide clear guidance to
students about what the prompt requires?
5. Does the prompt use clear, concise, and ageappropriate language?
6. Does the prompt provide students criteria on
which they will be scored?
7. Does the prompt provide scoring notes that
will be useful to teachers?
8. Does the prompt use language of the
standards where appropriate?
1. Does the prompt require students to engage in
close reading and determine meaningful
insights about the text(s)?
2. Does the prompt require students to draw on
textual evidence in their response (some
narrative prompts being an exception)?
5
In the excerpt from Sherwood Anderson’s story “Departure,” the author provides
many small details about the setting that help develop the theme of the story.
Write an essay that tells what the main theme of the story is and how the setting
contributes to the development of that theme. Use details from the story in writing
your response. (Grade 8)
3. Does the prompt ask for one or more of the
required types of writing?
4. Does the prompt provide clear guidance to
students about what the prompt requires?
5. Does the prompt use clear, concise, and ageappropriate language?
6. Does the prompt provide students criteria on
which they will be scored?
7. Does the prompt provide scoring notes that
will be useful to teachers?
8. Does the prompt use language of the
standards where appropriate?
MEETS CRITERIA? (Y/N) and
NOTES
PROMPT
QUALITY CRITERIA
1. Does the prompt require students to engage in
close reading and determine meaningful
insights about the text(s)?
6
You have read excerpts from six short historical documents, each expressing a
different point of view about the July 24, 1945, discussion between Harry Truman
and Joseph Stalin regarding the U.S. Manhattan project. You have been asked to
write a report on the conversation between Truman and Stalin as part of a group
project for your world history class. Integrating the information in the six sources,
write a report that tells the most likely content of the conversation and gives logical
reasons for some of the variations in the different accounts. Your response will be
scored on the selection, organization, and analysis of ideas, the accuracy of use of
the sources, and use of English conventions. (Grade 10)
2. Does the prompt require students to draw on
textual evidence in their response (some
narrative prompts being an exception)?
3. Does the prompt ask for one or more of the
required types of writing?
4. Does the prompt provide clear guidance to
students about what the prompt requires?
5. Does the prompt use clear, concise, and ageappropriate language?
6. Does the prompt provide students criteria on
which they will be scored?
7. Does the prompt provide scoring notes that
will be useful to teachers?
8. Does the prompt use language of the
standards where appropriate?
9. Does the prompt require students to engage in
close reading and determine meaningful
insights about the text(s)?
7
You have read Horace Greeley’s open letter to President Lincoln and Lincoln’s
response. Write an essay evaluating Greeley’s claims and Lincoln’s response to
each claim, assessing whether each writer uses valid reasoning and sufficient
evidence to establish his position. Also, identify any areas in which either writer
uses fallacious reasoning. Use evidence from the text to support your
response. (Grade 10)
10.
Does the prompt require students to
draw on textual evidence in their response
(some narrative prompts being an exception)?
11.
Does the prompt ask for one or more
of the required types of writing?
12.
Does the prompt provide clear
guidance to students about what the prompt
requires?
13.
Does the prompt use clear, concise,
and age-appropriate language?
14.
Does the prompt provide students
criteria on which they will be scored?
15.
Does the prompt provide scoring
notes that will be useful to teachers?
16.
Does the prompt use language of the
standards where appropriate?
MEETS CRITERIA? (Y/N) and
NOTES
A Guide to Creating Text Dependent and Specific Questions for Close Analytic Reading
Text Dependent Questions: What Are They?
The standards for reading strongly focus on students gathering evidence, knowledge, and insight from
what they read. Indeed, eighty to ninety percent of the Reading Standards in each grade require text
dependent analysis; accordingly, aligned curriculum materials should have a similar percentage of text
dependent questions.
As the name suggests, a text dependent question specifically asks a question that can only be answered
by referring explicitly back to the text being read. It does not rely on any particular background
information extraneous to the text nor depend on students having other experiences or knowledge;
instead it privileges the text itself and what students can extract from what is before them.
For example, in a close analytic reading of Lincoln’s “Gettysburg Address,” the following would not be
text dependent questions:
•
•
•
Why did the North fight the civil war?
Have you ever been to a funeral or gravesite?
Lincoln says that the nation is dedicated to the proposition that “all men are created equal.”
Why is equality an important value to promote?
The overarching problem with these questions is that they require no familiarity at all with Lincoln’s
speech in order to answer them. Responding to these sorts of questions instead requires students to go
outside the text. Such questions can be tempting to ask because they are likely to get students talking,
but they take students away from considering the actual point Lincoln is making. They seek to elicit a
personal or general response that relies on individual experience and opinion, and answering them will
not move students closer to understanding the text of the “Gettysburg Address.”
Good text specific questions will often linger over specific phrases and sentences to ensure careful
comprehension of the text—they help students see something worthwhile that they would not have
seen on a more cursory reading. Typical text dependent questions ask students to perform one or more
of the following tasks:
•
•
•
•
•
•
•
Analyze paragraphs on a sentence by sentence basis and sentences on a word by word basis to
determine the role played by individual paragraphs, sentences, phrases, or words
Investigate how meaning can be altered by changing key words and why an author may have
chosen one word over another
Probe each argument in persuasive text, each idea in informational text, each key detail in
literary text, and observe how these build to a whole
Examine how shifts in the direction of an argument or explanation are achieved and the impact
of those shifts
Question why authors choose to begin and end when they do
Note and assess patterns of writing and what they achieve
Consider what the text leaves uncertain or unstated
Creating Text-Specific Questions for Close Analytic Reading of Texts
An effective set of text dependent questions delves systematically into a text to guide students in
extracting the key meanings or ideas found there. They typically begin by exploring specific words,
details, and arguments and then moves on to examine the impact of those specifics on the text as a
whole. Along the way they target academic vocabulary and specific sentence structures as critical focus
points for gaining comprehension.
While there is no set process for generating a complete and coherent body of text dependent questions
for a text, the following process is a good guide that can serve to generate a core series of questions for
close reading of any given text.
Step One: Identify the Core Understandings and Key Ideas of the Text
As in any good reverse engineering or “backwards design” process, teachers should start by identifying
the key insights they want students to understand from the text—keeping one eye on the major points
being made is crucial for fashioning an overarching set of successful questions and critical for creating an
appropriate culminating assignment.
Step Two: Start Small to Build Confidence
The opening questions should be ones that help orientate students to the text and be sufficiently
specific enough for them to answer so that they gain confidence to tackle more difficult questions later
on.
Step Three: Target Vocabulary and Text Structure
Locate key text structures and the most powerful words in the text that are connected to the key ideas
and understandings, and craft questions that draw students’ attention to these specifics so they can
become aware of these connections. Vocabulary selected for focus should be academic words “(Tier
Two”) that are abstract and likely to be encountered in future reading and studies.
Step Four: Tackle Tough Sections Head-on
Find the sections of the text that will present the greatest difficulty and craft questions that support
students in mastering these sections (these could be sections with difficult syntax, particularly dense
information, and tricky transitions or places that offer a variety of possible inferences).
Step Five: Create Coherent Sequences of Text Dependent Questions
The sequence of questions should not be random but should build toward more coherent understanding
and analysis to ensure that students learn to stay focused on the text to bring them to a gradual
understanding of its meaning.
Step Six: Identify the Standards That Are Being Addressed
Take stock of what standards are being addressed in the series of questions and decide if any other
standards are suited to being a focus for this text (forming additional questions that exercise those
standards).
Step Seven: Create the Culminating Assessment
Develop a culminating activity around the key ideas or understandings identified earlier that reflects (a)
mastery of one or more of the standards, (b) involves writing, and (c) is structured to be completed by
students independently.
Creating Questions for Close Analytic Reading Exemplars: A Brief Guide
1. Think about what you think is the most important learning to be drawn from the text. Note this
as raw material for the culminating assignment and the focus point for other activities to build
toward.
2. Determine the key ideas of the text. Create a series of questions structured to bring the reader
to an understanding of these.
3. Locate the most powerful academic words in the text and integrate questions and discussions
that explore their role into the set of questions above.
4. Take stock of what standards are being addressed in the series of questions above. Then decide
if any other standards are suited to being a focus for this text. If so, form questions that exercise
those standards.
5. Consider if there are any other academic words that students would profit from focusing on.
Build discussion planning or additional questions to focus attention on them.
6. Find the sections of the text that will present the greatest difficulty and craft questions that
support students in mastering these sections. These could be sections with difficult syntax,
particularly dense information, and tricky transitions or places that offer a variety of possible
inferences.
7. Develop a culminating activity around the idea or learning identified in #1. A good task should
reflect mastery of one or more of the standards, involve writing, and be structured to be done by
students independently.
McDougal Littell Literature ‐ 2009
7 Unit 1
Title: “Thank You, M’am” Suggested Time: 4 days (45 minutes per day)
ELA Standards: RL.7.1, RL.7.2, RL.7.3, RL.7.4; W.7.1, W.7.4, W.7.9; SL.7.1; L.7.1, L.7.2, L.7.5 Teacher Instructions Preparing for Teaching 1.
Read the Big Ideas and Key Understandings and the Synopsis. Please do not read this to the students. This is a description for
teachers about the big ideas and key understanding that students should take away after completing this task.
Big Ideas and Key Understandings Forgiveness, kindness and empathy can have a positive impact on another person. Synopsis In this short story, by Langston Hughes, a teenage boy named Roger wants a pair of blue suede shoes. He tries to snatch Mrs. Jones’s purse as she is walking home. The attempt fails, and Mrs. Jones collars the boy, who is no match for his captor. She drags Roger home with her, feeds him, talks to him, and gives him ten dollars for his shoes. She ends their encounter with advice to behave himself. 2.
Read the entire selection, keeping in mind the Big Ideas and Key Understandings.
3.
Re‐read the text while noting the stopping points for the Text Dependent Questions and teaching Tier II/academic vocabulary.
McDougal Littell Literature ‐ 2009
7 During Teaching 1.
Students read the entire selection independently.
2.
Teacher reads the text aloud while students follow along or students take turns reading aloud to each other. Depending on the
text length and student need, the teacher may choose to read the full text or a passage aloud. For a particularly complex text,
the teacher may choose to reverse the order of steps 1 and 2.
3.
Students and teacher re‐read the text while stopping to respond to and discuss the questions, continually returning to the text.
A variety of methods can be used to structure the reading and discussion (i.e., whole class discussion, think‐pair‐share,
independent written response, group work, etc.)
Text Dependent Questions Text dependent Questions Evidence based Answers On page ___, what was the woman’s initial reaction when the boy The woman reacted aggressively. She “kicked him square in his tried to snatch her purse? blue jean sitter…she picked the boy up by his shirt front, and shook him until his teeth rattled.” She then demanded that the boy pick up her pocketbook and hand it back to her. On page ___, Mrs. Jones says, ‘Um‐hum! And your face is dirty. I Mrs. Jones could have decided to take Roger home as a result of got a great mind to wash your face for you. Ain’t you got nobody his apology, and/or she could have felt sorry him due to his home to tell you to wash your face?’ What clues does the author physical appearance and/or the fact that he reported that there give us about why Mrs. Jones decided to bring Roger home with was no one at home to tell him to wash his face. In addition, she her? sees that he is frail and willow‐wild and may want to care for him.
McDougal Littell Literature ‐ 2009
7 On page ___, the woman finally turns Roger loose, “Roger looked The author may have chosen to italicize this part of the text to at the door‐looked at the woman‐looked at the door‐and went to demonstrate Roger’s decision to stay. This is in contrast to the sink.” Why did the author choose to italicize this part of the Roger’s initial attempts to run away, and now that he has the text? chance to run away, he chooses to stay. On page ___, Mrs. Jones says, “Maybe you haven’t been to your After Mrs. Jones asks Roger whether he’s had supper, she states supper either late as it be. Have you?” What can we infer about that she believes that he is or has been hungry. She then Mrs. Jones’s character based on what she does next? prepares dinner for both of them. We can infer that Mrs. Jones is a caring person because she’s willing to feed someone who has wronged her. On age ___, Mrs. Jones begins to tell Roger about when she was Roger probably now feels that Mrs. Jones understands him and young. Mrs. Jones shares, “I have done things, too, which I would now wants to be trusted by her. He even volunteers to go the not tell you, son.” What effect does did this admission have on store for her. Roger? How did it influence his actions? On page ___, the narrator states, “The woman did not ask the Mrs. Jones did not want to embarrass Roger so she talked about boy anything about where he lived or his folk.” What did she do her job in a hotel beauty shop. instead? Why? On page ___, Mrs. Jones states, “Shoes come by devilish like that Things you get wrongfully will bring you harm. will burn your feet.” State in your own words what Mrs. Jones meant. On page ___, Mrs. Jones gives Roger money. What motivates Mrs. Jones? What does she expect from him in the future? Mrs. Jones might give Roger money because she feels sorry for him and doesn’t want him to steal again. She tells him, “I wish you would behave yourself, son.” McDougal Littell Literature ‐ 2009 7 Tier II/Academic Vocabulary Meaning needs to be provided Meaning can be learned from context These words require less time to learn These words require more time to learn (They are concrete or describe an object/event/ process/characteristic that is familiar to students)
(They are abstract, have multiple meanings, are a part of a word family, or are likely to appear again in future texts) roomer blue‐jeaned sitter frail presentable mistrusted latching willow‐wild half‐nelson kitchenette‐furnished suede stoop barren McDougal Littell Literature ‐ 2009
7 Culminating Writing Task •
Prompt
Forgiveness, kindness, and empathy can have a positive impact on a person’s life. How does Mrs. Jones’s kindness to Roger
change him? Explain how he changes and provide evidence from the text. Compose an argument that is one page in length.
Support your claims with valid reasoning and relevant and sufficient evidence from the text, including direct quotes and page
numbers.
•
Teacher Instructions
1.
Students identify their writing task from the prompt provided.
2.
Students complete an evidence chart as a pre‐writing activity. Teachers should remind students to use any relevant notes
they compiled while reading and answering the text‐dependent questions.
3.
Students compose a rough draft. With regard to grade level and student ability, teachers should decide how much
scaffolding they will provide during this process (i.e. modeling, showing example pieces, sharing work as students go).
4.
Students complete final draft.
Evidence Quote or paraphrase Page number Elaboration / explanation of how this evidence supports ideas or argument “…a boy ran up behind her and tried to snatch her purse.” We are introduced to a boy as he attempts to steal a purse. “What did you want to do it for?” The boy said, “I didn’t aim to.” Roger tries to deny that he was trying to steal the woman’s purse. McDougal Littell Literature ‐ 2009
7 She said, “You lie!”
“And your face is dirty….Ain’t you got nobody home to tell you to wash your face?” “No’m,” said the boy. “Sweat popped out on the boy’s face and he began to struggle.” “Then, Roger, you go to that sink and wash your face,” said the woman, whereupon she turned him loose‐at last. Roger looked at the door‐
looked at the woman‐looked at the door‐and went to the sink. “I have done things, too, which I would not tell you, son‐neither tell God, if he didn’t already know.” “The boy took care to sit on the far side of the room where he thought she could easily see him out of the corner of her eye, if she wanted to. He did not trust the woman not to trust him. And he did not want to be mistrusted now.” “Do you need somebody to go to the store,” asked the boy, “maybe get some milk or something.” “Now, here, take this ten dollars and buy yourself some blue suede shoes. And next time, do not make the mistake of latching onto my pocketbook nor nobody else’s” “The boy wanted to say something else other than “Thank you, m’am” to Mrs. Luella Bates Washington Jones, but he couldn’t do so” Roger doesn’t have anyone at home to care for him. He is dirty. Mrs. Jones forces Roger to stay with her against his will. At the moment that Mrs. Jones lets Roger go, he looks at the door and we know that he considers leaving, but makes a decision to stay. With this information, Roger begins to understand that Mrs. Jones different than what he assumed. Roger now wants to show that he can be trustworthy. He stays within view of Mrs. Jones. Roger is now attempting to be helpful. Mrs. Jones gives Roger ten dollars and advice for the future. Roger is speechless at this unexpected act of kindness. McDougal Littell •
Literature ‐ 2009
7 Sample Answer
In Langston Hughes’s short story, “Thank you, M’am” we see a boy who is transformed by a woman’s act of kindness after he tries to steal her purse. In the beginning of the story Roger is a thief and a liar. He attempts to steal Mrs. Jones’ purse and tries to run away. When she asks him, “What did you want to do it for?” He lies and says, “I didn’t aim to.” We learn from the conversation that Roger has a dirty face and nobody at home. Roger is described as, “fourteen or fifteen, frail and willow‐wild, in tennis shoes and blue jeans.” Roger struggles and tries to get away, but he is not strong enough. Mrs. Jones puts him in a half‐nelson and drags Roger up the street. After they arrive at her home, she asks his name and directs him to wash his face. She turns Roger loose and though he considers running, Roger chooses to stay. He washes his face like she asks, but Roger is still unsure about what to do next, or what will happen next. “”You gonna take me to jail?” Mrs. Jones does not take Roger to jail. Instead, she begins to talk to him about herself. She shares that she “ha[s] done things too” in her past. At this point Roger seems to understand that Mrs. Jones is different than what he assumed; maybe he feels that she understands him. Roger no longer tries to get away, on the contrary, he now wants to be trusted by Mrs. Jones. He stays within view so she will know he is not going to take her purse anymore, he even offers to go to the store for her. “Do you need somebody to go to the store,” asked the boy, “maybe to get some milk or something?” Mrs. Jones is generous with her food and shares a meal with Roger. She does not try to embarrass him, but talks about herself during the meal. At the end, She gives him the ten dollars for the shoes and advises him to “behave [him]self.” Roger is speechless and is barely able to say “Thank you” at the end of the story. Roger never sees Mrs. Jones again, but we are left with the feeling that he probably tries to live up to her expectations. Roger has changed from someone who is thinking only about himself, willing to steal money for shoes, into someone who yearns to be trusted and helpful, and is thankful for money given to him. McDougal Littell Literature ‐ 2009
7 Additional Tasks •
On page ___, Mrs. Jones says, “You ought to be my son. I would teach you right from wrong.” Find all the examples in the text
that demonstrate how Mrs. Jones treats Roger like a son.
Answer: On page ___, “Least I can do right now is wash your face.” On page 124, Mrs. Jones tells Roger, “You might run that comb through your hair so you will look presentable.” On page ___, Mrs. Jones tells Roger, “Eat some more, son.” On page ___, Mrs. Jones says, “Now, here, take these $10 and buy yourself some blue suede shoes.” On page ___, Mrs. Jones says, “But I wish you would behave yourself, son, from here on in.” •
Imagine that Roger is now a grown man and he writes a letter to Mrs. Jones explaining what that night meant to him.
Answer: Dear Mrs. Jones, Over twenty years ago, I crossed your path and my life has never been the same. You may not remember me, but I will never forget the events of that evening when I was a skinny, unkempt, self‐centered, and irresponsible teenager. I saw you walking down the street and now I realize that I underestimated you. You looked tired and distracted and I assumed you were an easy target, so I charged up from behind and snatched your purse. I will never forget how stunned I was when you grabbed me, and dragged me to your home. The fear of being turned in to the authorities consumed me. My parents had died seven years before and my brothers and sisters had been divided among relatives. I was living with an uncle who had threatened to kick me out if I got in trouble with the police one more time. He was tired of the constant stream of ordeals that I put his family through and he had just warned me that he was at the end of his rope. He had no more to give, and he reminded me that I wasn’t his responsibility anyway. McDougal Littell Literature ‐ 2009
7 When you took me home and made me wash up and shared your meal, I couldn’t believe that you were willing to look past my offense and give me another chance, like a parent would. At that point in my life, I had lost hope in people and most of all in myself. Before I met you, the people whose money I stole were nameless strangers who somehow deserved to experience even a monetary form of loss. Your act of kindness renewed my faith and motivated me to better myself. I can’t say that I didn’t make any more mistakes after that, but our encounter reminded me of my mother and father and I told myself that if they were still around they too would forgive me, give me advice, and provide a home. During difficult times I would walk past your house and imagine a conversation between us, but I never had the courage to knock on your door. I’m grown now and I have kids of my own and they make mistakes as well. I have learned that to offer forgiveness and to withhold judgment is the best I can do as a parent. Thank you for the life lesson. Sincerely, Roger Reflection
What did you learn
in this session
about literacy?
So, what about it?
Why is what you
learned relevant
for students?
Now, what are you
going to do?