GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Welcome to Credit Recovery
This is how it works:
There are no letter grades awarded for credit recover--only pass or fail.
Each quarter equals .25 credits.
You can get the credit in two ways:
1) Pass the pre-test with at least 80%. This test is optional. You will be required to show ID
to take this test. You may also take this test as a diagnostic so that you know what you
need to learn as you go through the module.
2) If you don't pass the pre-test with at least 80% you will work through the course, hand
in all assignments, and then you need to pass the post-test with 60%. You will be required to show ID to take this test.
To earn .25 credits for 9th grade Quarter 4 - English Language Arts, you need to complete:
Section 1: Language
Section 2: Reading Literature
Section 3: Reading Informational Texts
Section 4: Writing
Section 5: Speaking and Listening
You must complete all of the work. All learning activities are either graded as complete or incomplete. If
you get an incomplete, the teacher will let you know what needs to be fixed and you can submit again
after you have improved your work.
You must also:
Pass the final assessment at 60% or higher
When you are reviewing for the post-test, you may revisit and/or redo any of the assignments and review resources as many times as you would like and need to help you prepare
for the exam.
1 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Instructions for this module:
1. Reading and other referenced materials are either included in the packet or from an open source that can be accessed from the given URL address. Instructions and URLs will be given with each assignment.
2. Check off each assignment as you finish it and are marked as complete by the teacher. Keep the assignments –
you must turn them in at the end of the packet to receive credit.
3. You will need internet access for some of the work.
a. If you are working from the module/packet as a PDF, web sites are linked directly to the web page. Move the
cursor over the web address and click. If the link does not work, type in or copy and paste the web site into the
address bar of your browser.
b. If you are working from paper, you will need to type the web site into the address bar of your browser.
c. If you are sure you have typed in or linked correctly and the web site is unavailable, see your instructor for solutions or suggestions.
4. There are 5 sections in this module. Work through each section. If you can know and learn the skills you will be
ready for the final. If you need to redo sections more than once to prepare for the final, you may.
*A Note about English: The content for English is the skill expected as determined by the Utah State Core. For
example, “identify the author's tone” is a skill, but understanding any particular text is not. The skills that will be
focused on for each quarter are expressed through the "I Can" statements. The texts for the pre-test, module
work, and post-test are different. That way it is the skill - not the text - that is being tested and learned.
Pre-assessment
Take the 9th grade quarter 4 pre-assessment test.
If you score 80% or higher –
You do not have to complete the packet.
Your credit recovery teacher will verify your score and help arrange for credit.
If you score 79% or lower –
Complete the packet.
Turn in all work.
Pass the final assessment at 60% or higher.
2 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
KEY VOCABULARY
As you study this unit, you will be using the following key vocabulary words:
analyze
coherent whole
cultural experience
denotations
description
dialogue
distorted evidence
effective technique
euphemism
event sequences
exaggerated evidence
fallacious reasoning
figurative language
flashbacks
formal English
historical significance
literary significance
manipulate
mediums
multimedia
multiple plots
narrative
nuances
oxymoron
pacing
parallel plots
point of view
reflection
related themes
seminal
sensory imagery
smooth progression
structure
tension
text complexity
Make sure you know their definitions and how to use them correctly. Even if there are no specific exercises practicing these terms, you will be responsible for knowing them.
I Can Statements for 9th Grade Quarter 4
(What you are expected to know and be able to do.)
Reading Literature
I can use order of events, flashback, and parallel plot structure to understand text (RL5).
I can use point of view to compare cultural experiences (RL6).
I can read and comprehend literature at grade level (RL10).
Reading Informational Text
I can analyze life stories in print and other media (RI7).
I can read and comprehend nonfiction at grade level (RI10).
Writing
I can write a narrative with narrator, characters, dialogue, and multiple points of view (W3).
I can write routinely over both extended and short time frames (W10).
Speaking/Listening
I can evaluate speaker's point of view, reasoning, and use of evidence (SL3).
I can give give clear, concise presentations (SL4).
I can adapt my speech for a variety of contexts (SL 6).
Language
I can demonstrate command of capitalization, spelling, semicolon, and colon (L2).
I can determine how word relationships and figurative language affects text (L5).
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Unit 1-Language
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Conventions
I can demonstrate command of capitalization, spelling, semicolon, and colon (L2).
Section 1-1: Capitalization
Assignment 1-1a - Review Capital Letters
There are several good sources for capitalization rules. Glance through the following resources to see what is there,
review the rules, and determine which looks like the best information. You will be expected to use proper capitalization in all of your work. Use these resources when you are unsure.
Grammarbook.com at http://www.grammarbook.com/punctuation/capital.asp
A Little Help with Capitals at https://owl.english.purdue.edu/owl/resource/592/01/
Assignment 1-1b - Practice 1
Take the practice quiz at http://www.quia.com/quiz/113746.html . Work until you have 100%. Print to turn in.
Assignment 1-1c - Practice 2
Take the practice quiz at http://www.grammarbook.com/grammar_quiz/capitalization_1.asp. Work until you have
100%. Print to turn in.
Assignment 1-1d - Quiz
Take the quiz. Check and fix any errors that are made.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
when i last saw john he was moving to atlanta, georgia.
the golden gate bridge is amazing.
mom and dad bought a gift for aunt abigail’s wedding.
the idea of the greek gods was used as a basis for novels like percy jackson: sea of monsters.
i recently spoke to mayor smith of salt lake and the governor of oregon.
halloween , christmas, and all fridays are my favorite day.
my mom said, “ go study your english homework.”
our trip to france is in two weeks. i want to see the eiffel tower most of all.
doctor diaz likes to be called doc.
my courses this semester are french, economics, philosophy, and algebra 101.
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Section 1-2: Spelling
Assignment 1-2a - Review Spelling Rules
There are several good sources for spelling rules. Glance through the following resources to see what is there, review the rules, and determine which looks like the best information. You will be expected to use proper spelling in all
of your work. Use these resources when you are unsure.
Common words that sound alike from OWL at https://owl.english.purdue.edu/owl/resource/660/01/
Look at each of the sections under spelling rules and tips at http://www.oxforddictionaries.com/words/spelling-rules
-and-tips
Here are some basic rules for spelling from The Riggs Institute at http://www.riggsinst.org/28rules.aspx.
Assignment 1-2b - Quiz
Take the quiz. Check and fix any errors that are made.
A. Fix spelling errors or choose the correct word.
1. I (advise, advice) you to be cautious.
2. Most people thought that Michael, an eligale bachelor, was an adorabel, personable man.
3. The whole army is out of step (accept, except) Fred.
4. Please (accept, except) this pot of Mama’s chicken soup.
5. Wars (affect, effect) everybody, and their destructive (affect, effect) lasts for generations.
6. There are (eight, ieght) candles on the cake.
7. I have not (received, received) a letter since Saturday.
8. Her (neice, niece) is going to come to (grief, greif).
9. He does not have any (enemys, enemies).
10. The flowers are (abundant, abundant), the birds (eloquant, eloquent) in their praise.
B. Make the singular words plural.
11. Chief
12. Solo
13. Berry
14. Church
15. Fox
16. Stomach
17. Knife
18. Zoo
19. Buffalo
20. Vortex
C. Spell the words.
21. Ach _ _ve
22. Bel _ _f
23. C _ _ ling
24. For _ _ gn
25. Finance _ _ r
26. n _ _ ghbor
27. P _ _ ce
28. Rev _ _ w
29. W _ _ ght
30. Y _ _ l d
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Section 1-3: Colons and Semicolons
Assignment 1-3a - Notes
Copy or recreate the chart. Take notes as you watch and as you read through the information from The Writing Center at http://writingcenter.unc.edu/handouts/semi-colons-colons-and-dashes/.
What are semicolons?
Where and when are they used?
Examples
What are colons?
Where and when are they used?
Examples
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 1-3b - Quiz 1
Take the quiz. Keep practicing until you get 100%. Print to turn in.
Semicolons and Colons Quiz 1 from grammarbook.com at http://www.grammarbook.com/grammar_quiz/
semicolons_and_colons_1.asp
Assignment 1-3c - Quiz 2
Each of the following sentences needs either a colon or a semicolon. Put in the necessary punctuation.
1. Many companies make sugar-free soft drinks, which are flavored by synthetic chemicals the drinks usually contain
only one or two calories per serving.
2. The catering facility offers the following entrees fried catfish, grilled chicken, panseared salmon, and sirloin steak.
3. The crab grass was flourishing the rest of the lawn, unfortunately, was dying.
4. The hill was covered with wildflowers it was a beautiful sight.
5. My teacher’s remark on my final essay was very complimentary “This essay coherently analyzes musical trends of
the late 20th century.”
6. The artist preferred to paint in oils he did not like watercolors.
7. The house was clean, the table set, and the porch light on everything was ready for the guests' arrival.
8. I don’t understand why everyone shops at that store everything there is so expensive.
9. The foundations of the house had been poured to his disappointment, nothing else had been done because of
the carpenters' strike.
10. Jared said “My favorite part of Thanksgiving Day is Football.”
11. Several countries participated in the airlift Italy, Belgium, France, and Luxembourg.
12. The dog, growling and snarling, snapped at me I was so frightened that I ran.
13. "Only one course was open to us surrender," said the ex-major, "and we did."
14. The suspect said that he had never met the victim however, the detective knew that he was lying.
15. In the first place, it was snowing too hard to see the road in the second place, we had no chains.
Lesson 2 - Figurative Language
I can determine how word relationships and figurative language affects text (L5).
Section 2-1: Review Figurative Language
Assignment 2-1a - Review Figurative Language
Figurative language is where the literal meaning of words or phrases is disregarded in order to show an imaginative
relationship between diverse things. There are many forms of figurative language. Let’s take a look at just eight
that are used most often.
As you watch the following videos, fill out the form on the next page. You may copy or recreate it.



Find the first six by watching “Language Arts Figurative Language Tutorial” by wrynne10 at https://
www.youtube.com/watch?v=6QbV81Ilq0I.
1 more in “Assonance” by Mr08327 at https://www.youtube.com/watch?v=LMMrSb0Yc1Y
1 more in “Symbols and Symbolism” by mistersato411 at https://www.youtube.com/watch?v=9-F599mU6L4
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Form for figurative language work -
Term
Definition
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Examples
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 2-1b - Watch
Act II scene ii in Romeo and Juliet (The Balcony Scene) is one of the most well-known scenes in the history of drama.
Watch these different versions of the scene becoming familiar with the words.
“Balcony Scene from Romeo & Juliet” by shakeoutloud at https://www.youtube.com/watch?v=S0qao2xINsE
“Shakespeare, “Romeo and Juliet,” Act 2 Scene2, “What light through yonder window breaks?” - BBC by BBC at
https://www.youtube.com/watch?v=H3MiaSG1SMQ
Here is an interesting combination of different interpretations all mashed together. “Romeo and Juliet Balcony
Compilation by Kade hill at https://www.youtube.com/watch?v=DCyHvYdcVDc
Assignment 2-1c - Identify
Here are some examples of figurative language from the scene. Using your chart and any other resources you need,
identify what type of figurative language each underlined example represents. Then explain what the figurative
example means. Check your answers and fix any errors until it is all correct. Some phrases have more than one figure of speech represented. Number 1 is done for you.
1. What light through yonder window breaks? It is the East, and Juliet is the sun.
Light—is a symbol of life, perfection, heaven - It is saying that Juliet is the light
Juliet is the sun - metaphor - Juliet is being compare to the sun in brightness and warmth
2. Two stars in heaven have business elsewhere, and ask her eyes to twinkle in their place.
3. The bud of our love will bloom when we next meet.
4. Rise fair sun and kill the jealous moon, who is sick and pale with grief.
5. You are as glorious as a heavenly angel.
6. My love is as deep as the deepest sea.
7. Her eyes speak, but not me.
8. I have no joy about our love tonight…it is like lightning…
9. The brightness of her cheek would shame those stars as sunlight shames a lamp.
Assignment 2-1d - Compare
Study the chart on the next page that compares the examples of figurative language from Romeo and Juliet to the
literal meaning.
Answer these questions. Explain your answers and use examples from the chart.
1. Is the figure of speech or the literal meaning more affective?
2. What does the use of figurative language add to or take away from the text/meaning?
3. What are the benefits, if any, of using figurative versus literal language?
9 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Chart for 2-1d
Figure of Speech
What light through yonder window breaks? It
is the East, and Juliet is the sun.
Suggested Literal Translation
The sun is shining through that window over
there. Juliet is warm and beautiful.
Two stars in heaven have business elsewhere,
and ask her eyes to twinkle in their place.
The stars are going away since the day is
breaking. Juliet’s eyes are bright.
The bud of our love will bloom when we next
meet.
Next time we meet, our interest in each other
will turn into love.
Rise fair sun and kill the jealous moon, who is
sick and pale with grief.
The sun is rising. The moon is setting. It is sad
to see the night end.
You are as glorious as a heavenly angel.
You are so beautiful.
My love is as deep as the deepest sea.
My love is really strong.
Her eyes speak, but not me.
Her eyes are moving. I don’t speak.
I have no joy about our love tonight…it is like
lightning…
I don’t feel good about our love tonight. It is
bright, short, and frightening.
The brightness of her cheek would shame
those stars as sunlight shames a lamp.
Her cheek is so bright. The stars are not as
bright hers are.
Unit 2 - Reading Literature
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Literary Elements
I can use order of events, flashback, and parallel plot structure to understand text (RL5).
Section 1-1: Order of Events
Assignment 1-1a - Parts of the Plot
Read the information on the next page about plot structure.
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
adapted from shmoop.com
1. The Parts of the Plot
The plots of stories or plays, and even of some poems, can be broken down into their component parts. Each
part has its own name, but don’t worry too much about remembering them. The important thing is to remember how
the parts work together to tell a story.
At some point between 1816 (when he was born) and 1895 (when he died), a German novelist named Gustav
Freytag, who read a lot of Greek plays, figured out that most stories, if not all of them, can be broken down into five
parts:
Exposition: The introduction. Introduces the characters, the setting, and the “inciting incident,” or the event that sets
the rest of the story in motion. Any information that answers one of the “five W’s” - who, what, when, where, or why is probably part of the exposition, especially if it’s in the first few paragraphs.
Rising Action: This is the stuff that leads up to the climax (see below). In many stories, the “rising action” takes up
some or all of the tale. For instance, in Harry Potter and the Sorcerer’s Stone (which is also a stunning example of another plot-building tool, the “end-of-chapter cliffhanger”), the rising action of Harry and his friends figuring out what
the Sorcerer’s Stone is and what’s happening to it takes up most of the book - the climax doesn’t occur until Harry faces Voldemort, and the falling action is restricted almost entirely to the scene in the infirmary.
Climax: A.k.a. “The Big Event.” This is the point where the main character finally has to face the bad guy or make a
major decision. Far too many Sunday-night movies reach the climax just in time for Mom or Dad to switch off the TV
and announce that it’s bedtime, immediately resulting in a chorus of: “But I want to know what happens!” The climax
can also be thought of as the “turning point,” or the point at which the hero can’t just go, “Oh, forget it, let’s just go
home and have some tea.”
Falling Action: The events that occur right after the climax, usually as a result of it. The infirmary scene in Harry Potter
and the Sorcerer’s Stone is an excellent example of falling action.
Denouement: The final word or “moral” of the story. “And they all lived happily ever after” is probably the bestknown denouement in English literature. Short stories tend to have much shorter - often only one sentence - and
punchier denouements than novels, though of course exceptions exist on both sides.
Sometimes things appear to belong in one or more category. The lines aren’t always clearly drawn!
Assignment 1-1b - Practice Exposition
Read this section of “That Spot” by Jack London—adapted from Gutenberg.org. Then answer the questions.
I don't think much of Stephen MacKaye any more, though I used to swear by him. I know that in those days I
loved him more than my own brother. If ever I meet Stephen MacKaye again, I shall not be responsible for my actions.
It passes beyond me that a man with whom I shared food and blanket, and with whom I mushed over the Chilcoot
Trail, should turn out the way he did. I always sized Steve up as a square man, a kindly comrade, without an iota of
anything vindictive or malicious in his nature. I shall never trust my judgment in men again. Why, I nursed that man
through typhoid fever; we starved together on the headwaters of the Stewart; and he saved my life on the Little Salmon. And now, after the years we were together, all I can say of Stephen MacKaye is that he is the meanest man I ever
knew.
We started for the Klondike in the fall rush of 1897, and we started too late to get over Chilcoot Pass before the
freeze-up. We packed our outfit on our backs part way over, when the snow began to fly, and then we had to buy
dogs in order to sled it the rest of the way. That was how we came to get that Spot. Dogs were high, and we paid one
hundred and ten dollars for him. He looked worth it. I say looked, because he was one of the finest appearing dogs I
ever saw. He weighed sixty pounds, and he had all the lines of a good sled animal. We never could make out his breed.
He wasn't husky, nor Malamute, nor Hudson Bay; he looked like all of them and he didn't look like any of them; and
on top of it all he had some other dog in him, for on one side, in the thick of the mixed yellow-brown-red-and-dirtywhite that was his prevailing color, there was a spot of coal-black as big as a water-bucket. That was why we called
him Spot.
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GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 1-1b - Questions
Exposition: The introduction. Introduces the characters, the setting, and the “inciting incident,” or the event that sets
the rest of the story in motion. Any information that answers one of the “five W’s” - who, what, when, where, or why is probably part of the exposition, especially if it’s in the first few paragraphs.
1.
2.
3.
4.
5.
Who are the characters? (remember that animals can be characters)
What do you think the story will be about?
When does the story take place?
Where does the story take place?
Why did they buy the dog?
Assignment 1-1c - Rising Action
Read the next section of “That Spot” by Jack London
He was a good looker all right. When he was in condition his muscles stood out in bunches all over him. And he
was the strongest looking brute I ever saw in Alaska, also the most intelligent looking. To run your eyes over him,
you'd think he could out pull three dogs of his own weight. Maybe he could, but I never saw it. His intelligence didn't
run that way. He could steal and forage to perfection; he had an instinct that was positively gruesome for divining
when work was to be done and for making a sneak accordingly; and for getting lost and not staying lost he was nothing short of inspired. But when it came to work, the way that intelligence dribbled out of him and left him a mere clot
of wobbling, stupid jelly would make your heart bleed.
There are times when I think it wasn't stupidity. Maybe, like some men I know, he was too wise to work. I
shouldn't wonder if he put it all over us with that intelligence of his. Maybe he figured it all out and decided that a licking now and again and no work was a whole lot better than work all the time and no licking. He was intelligent enough
for such a computation. I tell you, I've sat and looked into that dog's eyes till the shivers ran up and down my spine
and the marrow crawled like yeast, what of the intelligence I saw shining out. I can't express myself about that intelligence. It is beyond mere words. I saw it, that's all. At times it was like gazing into a human soul, to look into his eyes;
and what I saw there frightened me and started all sorts of ideas in my own mind of reincarnation and all the rest. I
tell you I sensed something big in that brute's eyes; there was a message there, but I wasn't big enough myself to
catch it. Whatever it was (I know I'm making a fool of myself)—whatever it was, it baffled me. I can't give an inkling of
what I saw in that brute's eyes; it wasn't light, it wasn't color; it was something that moved, away back, when the eyes
themselves weren't moving. And I guess I didn't see it move, either; I only sensed that it moved. It was an expression,
—that's what it was,—and I got an impression of it. No; it was different from a mere expression; it was more than
that. I don't know what it was, but it gave me a feeling of kinship just the same. Oh, no, not sentimental kinship. It
was, rather, a kinship of equality. Those eyes never pleaded like a deer's eyes. They challenged. No, it wasn't defiance.
It was just a calm assumption of equality. And I don't think it was deliberate. My belief is that it was unconscious on
his part. It was there because it was there, and it couldn't help shining out. No, I don't mean shine. It didn't shine; it
moved. I know I'm talking rot, but if you'd looked into that animal's eyes the way I have, you'd understand. Steve was
affected the same way I was.
Why, I tried to kill that Spot once—he was no good for anything; and I fell down on it. I led him out into the
brush, and he came along slow and unwilling. He knew what was going on. I stopped in a likely place, put my foot on
the rope, and pulled my big Colt. And that dog sat down and looked at me. I tell you he didn't plead. He just looked.
And I saw all kinds of incomprehensible things moving, yes, moving, in those eyes of his. I didn't really see them move;
I thought I saw them, for, as I said before, I guess I only sensed them. And I want to tell you right now that it got beyond me. It was like killing a man, a conscious, brave man who looked calmly into your gun as much as to say, "Who's
afraid?" Then, too, the message seemed so near that, instead of pulling the trigger quick, I stopped to see if I could
catch the message. There it was, right before me, glimmering all around in those eyes of his. And then it was too late. I
got scared. I was trembly all over, and my stomach generated a nervous palpitation that made me seasick. I just sat
down and looked at that dog, and he looked at me, till I thought I was going crazy. Do you want to know what I did? I
threw down the gun and ran back to camp with the fear of God in my heart. Steve laughed at me. But I notice that Ste-
12 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
ve led Spot into the woods, a week later, for the same purpose, and that Steve came back alone, and a little later Spot
drifted back, too.
At any rate, Spot wouldn't work. We paid a hundred and ten dollars for him from the bottom of our sack, and he
wouldn't work. He wouldn't even tighten the traces. Steve spoke to him the first time we put him in harness, and he
sort of shivered, that was all. Not an ounce on the traces. He just stood still and wobbled, like so much jelly. Steve
touched him with the whip. He yelped, but not an ounce of work. Steve touched him again, a bit harder, and he
howled—the regular long wolf howl. Then Steve got mad and gave him half a dozen, and I came on the run from the
tent. I told Steve he was brutal with the animal, and we had some words—the first we'd ever had. He threw the whip
down in the snow, and walked away mad. I picked it up and went to it. That Spot trembled and wobbled and cowered
before ever I swung the lash, and with the first bite of it he howled like a lost soul. Next he lay down in the snow. I
started the rest of the dogs, and they dragged him along while I threw the whip into him. He rolled over on his back
and bumped along, his four legs waving in the air, himself howling as though he was going through a sausage machine. Steve came back and laughed at me, and I apologized for what I'd said.
There was no getting any work out of that Spot; and to make up for it, he was the biggest pig-glutton of a dog I
ever saw. On top of that, he was the cleverest thief. There was no circumventing him. Many a breakfast we went
without our bacon because Spot had been there first. And it was because of him that we nearly starved to death up
the Stewart. He figured out the way to break into our meat-cache, and what he didn't eat, the rest of the team did.
But he was impartial. He stole from every body. He was a restless dog always very busy snooping around or going
somewhere. And there was never a camp within five miles that he didn't raid. The worst of it was that they always
came back on us to pay his board bill, which was just, being the law of the land; but it was mighty hard on us, especially that first winter on the Chilcoot, when we were busted, paying for whole hams and sides of bacon that we never ate. He could fight, too, that Spot. He could do anything but work. He never pulled a pound, but he was the boss of
the whole team. The way he made those dogs stand around was an education. He bullied them, and there was always
one or more of them fresh-marked with his fangs. But he was more than a bully. He wasn't afraid of anything that
walked on four legs; and I've seen him march, single-handed, into a strange team, without any provocation whatever,
and put the kibosh on the whole outfit. Did I say he could eat? I caught him eating the whip once. That's straight. He
started in at the lash, and when I caught him he was down to the handle, and still going.
But he was a good looker. At the end of the first week we sold him for seventy-five dollars to the Mounted Police. They had experienced dog-drivers, and we knew that by the time he'd covered the six hundred miles to Dawson
he'd be a good sled-dog. I say we knew, for we were just getting acquainted with that Spot. A little later we were not
brash enough to know anything where he was concerned. A week later we woke up in the morning to the dangdest
dog-fight we'd ever heard. It was that Spot came back and knocking the team into shape. We ate a pretty depressing
breakfast, I can tell you; but cheered up two hours afterward when we sold him to an official courier, bound in to
Dawson with government dispatches. That Spot was only three days in coming back, and, as usual, celebrated his arrival with a rough-house.
We spent the winter and spring, after our own outfit was across the pass, freighting other people's outfits; and
we made a fat stake. Also, we made money out of Spot. If we sold him once, we sold him twenty times. He always
came back, and no one asked for their money. We didn't want the money. We'd have paid handsomely for any one to
take him off our hands for keeps. We had to get rid of him, and we couldn't give him away, for that would have been
suspicious. But he was such a fine looker that we never had any difficulty in selling him. "Unbroke," we'd say, and
they'd pay any old price for him. We sold him as low as twenty-five dollars, and once we got a hundred and fifty for
him. That particular party returned him in person, refused to take his money back, and the way he abused us was
something awful. He said it was cheap at the price to tell us what he thought of us; and we felt he was so justified
that we never talked back. But to this day I've never quite regained all the old self-respect that was mine before that
man talked to me.
When the ice cleared out of the lakes and river, we put our outfit in a Lake Bennett boat and started for Dawson. We had a good team of dogs, and of course we piled them on top the outfit. That Spot was along—there was no
losing him; and a dozen times, the first day, he knocked one or another of the dogs overboard in the course of
fighting with them. It was close quarters, and he didn't like being crowded.
"What that dog needs is space," Steve said the second day. "Let's maroon him."
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We did, running the boat in at Caribou Crossing for him to jump ashore. Two of the other dogs, good dogs, followed him; and we lost two whole days trying to find them. We never saw those two dogs again; but the quietness
and relief we enjoyed made us decide, like the man who refused his hundred and fifty, that it was cheap at the price.
For the first time in months Steve and I laughed and whistled and sang. We were as happy as clams. The dark days
were over. The nightmare had been lifted. That Spot was gone.
Three weeks later, one morning, Steve and I were standing on the river-bank at Dawson. A small boat was just
arriving from Lake Bennett. I saw Steve give a start, and heard him say something that was not nice and that was not
under his breath. Then I looked; and there, in the bow of the boat, with ears pricked up, sat Spot. Steve and I sneaked
immediately, like beaten curs, like cowards, like absconders from justice. It was this last that the lieutenant of police
thought when he saw us sneaking. He surmised that there was law-officers in the boat who were after us. He didn't
wait to find out, but kept us in sight, and in the M. & M. saloon got us in a corner. We had a merry time explaining, for
we refused to go back to the boat and meet Spot; and finally he held us under guard of another policeman while he
went to the boat. After we got clear of him, we started for the cabin, and when we arrived, there was that Spot sitting
on the stoop waiting for us. Now how did he know we lived there? There were forty thousand people in Dawson that
summer, and how did he know our cabin out of all the cabins? How did he know we were in Dawson, anyway? I leave
it to you. But don't forget what I have said about his intelligence and that immortal something I have seen glimmering
in his eyes.
There was no getting rid of him any more. There were too many people in Dawson who had bought him up on
Chilcoot, and the story got around. Half a dozen times we put him on board steamboats going down the Yukon; but he
merely went ashore at the first landing and trotted back up the bank. We couldn't sell him, we couldn't kill him (both
Steve and I had tried), and nobody else was able to kill him. He bore a charmed life. I've seen him go down in a dogfight on the main street with fifty dogs on top of him, and when they were separated, he'd appear on all his four legs,
unharmed, while two of the dogs that had been on top of him would be lying dead.
I saw him steal a chunk of moose meat from Major Dinwiddie's cache so heavy that he could just keep one jump
ahead of Mrs. Dinwiddie's cook, who was after him with an axe. As he went up the hill, after the cook gave up, Major
Dinwiddie himself came out and pumped his Winchester into the landscape. He emptied his magazine twice, and never touched that Spot. Then a policeman came along and arrested him for discharging firearms inside the city limits.
Major Dinwiddie paid his fine, and Steve and I paid him for the moose meat at the rate of a dollar a pound, bones and
all. That was what he paid for it. Meat was high that year.
I am only telling what I saw with my own eyes. And now I'll tell you something also. I saw that Spot fall through a
water-hole. The ice was three and a half feet thick, and the current sucked him under like a straw. Three hundred
yards further was the big water-hole used by the hospital. Spot crawled out of the hospital water-hole, licked off the
water, bit out the ice that had formed between his toes, trotted up the bank, and whipped a big Newfoundland belonging to the Gold Commissioner.
In the fall of 1898, Steve and I poled up the Yukon on the last water, bound for Stewart River. We took the dogs
along, all except Spot. We figured we'd been feeding him long enough. He'd cost us more time and trouble and money
and grub than we'd got by selling him on the Chilcoot—especially grub. So Steve and I tied him down in the cabin and
pulled our freight. We camped that night at the mouth of Indian River, and Steve and I were pretty facetious over having shaken him. Steve was a funny fellow, and I was just sitting up in the blankets and laughing when a tornado hit
camp. The way that Spot walked into those dogs and gave them what-for was hair-raising. Now how did he get loose?
It's up to you. I haven't any theory. And how did he get across the Klondike River? That's another facer. And anyway,
how did he know we had gone up the Yukon? You see, we went by water, and he couldn't smell our tracks. Steve and I
began to get superstitious about that dog. He got on our nerves, too; and, between you and me, we were just a mite
afraid of him.
The freeze-up came on when we were at the mouth of Henderson Creek, and we traded him off for two sacks of
flour to an outfit that was bound up White River after copper. Now that whole outfit was lost. Never trace nor hide nor
hair of men, dogs, sleds, or anything was ever found. They dropped clean out of sight. It became one of the mysteries
of the country. Steve and I plugged away up the Stewart, and six weeks afterward that Spot crawled into camp. He was
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a perambulating skeleton, and could just drag along; but he got there. And what I want to know is who told him we
were up the Stewart? We could have gone a thousand other places. How did he know? You tell me, and I'll tell you.
No losing him. At the Mayo he started a row with an native dog. The native who owned the dog took a swing at
Spot with an axe, missed him, and killed his own dog. Talk about magic and turning bullets aside—I, for one, consider
it a blamed sight harder to turn an axe aside with a big man at the other end of it. And I saw him do it with my own
eyes.
Assignment 1-1c - Questions
Rising Action: This is the stuff that leads up to the climax (see below). In many stories, the “rising action” takes up
some or all of the tale. For instance, in Harry Potter and the Sorcerer’s Stone (which is also a stunning example of another plot-building tool, the “end-of-chapter cliffhanger”), the rising action of Harry and his friends figuring out what
the Sorcerer’s Stone is and what’s happening to it takes up most of the book - the climax doesn’t occur until Harry faces Voldemort, and the falling action is restricted almost entirely to the scene in the infirmary.
1. What did we learn about Spot from the first two paragraphs of this section?
2. There are many events or happenings that in this section that constitute the rising action. List them. The first one
is listed for you.
A. The narrator and Steve both try to kill Spot but can’t because of his “eyes.”
B.
C.
D.
E.
F.
G.
H.
I.
J.
Etc. Add as many others as you can.
3. Give a short description of the characters and their personalities at this point.
A.The Narrator
B.Stephen MacKaye
C.Spot
Assignment 1-1d - Climax
Read the next section of “That Spot” by Jack London. Then answer the questions.
I told you about Spot breaking into our meat-cache. It was nearly the death of us. There wasn't any more meat
to be killed and meat was all we had to live on. The moose had gone back several hundred miles. There we were.
Spring was on and we had to wait for the river to break. We got pretty thin before we decided to eat the dogs, and we
decided to eat Spot first. Do you know what that dog did? He sneaked. Now how did he know our minds were made
up to eat him? We sat up nights laying for him, but he never came back, and we ate the other dogs. We ate the whole
team.
And now for the sequel. You know what it is when a big river breaks up and a few billion tons of ice go out, jamming and milling and grinding. Just in the thick of it, when the Stewart went out, rumbling and roaring, we sighted
Spot out in the middle. He'd got caught as he was trying to cross up above somewhere. Steve and I yelled and shouted
and ran up and down the bank, tossing our hats in the air. Sometimes we'd stop and hug each other, we were that
boisterous, for we saw Spot's finish. He didn't have a chance in a million. He didn't have any chance at all. After the ice
-run, we got into a canoe and paddled down to the Yukon, and down the Yukon to Dawson, stopping to feed up for a
week at the cabins at the mouth of Henderson Creek. And as we came in to the bank at Dawson, there sat that Spot,
waiting for us, his ears pricked up, his tail wagging, his mouth smiling, extending a hearty welcome to us. Now how did
he get out of that ice? How did he know we were coming to Dawson, to the very hour and minute, to be out there on
the bank waiting for us?
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Assignment 1-1d - Questions
Climax: A.k.a. “The Big Event.” This is the point where the main character finally has to face the bad guy or make a
major decision. Far too many Sunday-night movies reach the climax just in time for Mom or Dad to switch off the TV
and announce that it’s bedtime, immediately resulting in a chorus of: “But I want to know what happens!” The climax
can also be thought of as the “turning point,” or the point at which the hero can’t just go, “Oh, forget it, let’s just go
home and have some tea.”
1.Why would this section be considered the climax or turning point for the story?
2.What do the human characters finally learn from this section?
Assignment 1-1e - Falling Action
Read this section of “That Spot” by Jack London. Answer the questions.
The more I think of that Spot, the more I am convinced that there are things in this world that go beyond science.
On no scientific grounds can that Spot be explained. It's psychic phenomena, or mysticism, or something of that sort, I
guess, with a lot of Theosophy thrown in. The Klondike is a good country. I might have been there yet, and become a
millionaire, if it hadn't been for Spot. He got on my nerves. I stood him for two years all together, and then I guess my
stamina broke. It was the summer of 1899 when I pulled out. I didn't say anything to Steve. I just sneaked. But I fixed it
up all right. I wrote Steve a note, and enclosed a package of "rough-on-rats," telling him what to do with it. I was worn
down to skin and bone by that Spot, and I was that nervous that I'd jump and look around when there wasn't anybody
within hailing distance. But it was astonishing the way I recuperated when I got quit of him. I got back twenty pounds
before I arrived in San Francisco, and by the time I'd crossed the ferry to Oakland I was my old self again, so that even
my wife looked in vain for any change in me.
Assignment 1-1e - Questions
Falling Action: The events that occur right after the climax, usually as a result of it. The infirmary scene in Harry Potter
and the Sorcerer’s Stone is an excellent example of falling action.
1. How are the narrators action in this section a result of the happenings in the climax?
Assignment 1-1f - Denouement
Read the final selection from “That Spot” by Jack London. Answer the questions.
Steve wrote to me once, and his letter seemed irritated. He took it kind of hard because I'd left him with Spot.
Also, he said he'd used the "rough-on-rats," per directions, and that there was nothing doing. A year went by. I was
back in the office and prospering in all ways—even getting a bit fat. And then Steve arrived. He didn't look me up. I
read his name in the steamer list, and wondered why. But I didn't wonder long. I got up one morning and found that
Spot chained to the gatepost and holding up the milkman. Steve went north to Seattle, I learned, that very morning. I
didn't put on any more weight. My wife made me buy him a collar and tag, and within an hour he showed his gratitude by killing her pet Persian cat. There is no getting rid of that Spot. He will be with me until I die, for he'll never die.
My appetite is not so good since he arrived, and my wife says I am looking peaked. Last night that Spot got into Mr.
Harvey's hen-house (Harvey is my next door neighbor) and killed nineteen of his fancy-bred chickens. I shall have to
pay for them. My neighbors on the other side quarreled with my wife and then moved out. Spot was the cause of it.
And that is why I am disappointed in Stephen Mackaye. I had no idea he was so mean a man.
Assignment 1-1f - Questions
Denouement: The final word or “moral” of the story. “And they all lived happily ever after” is probably the best-known
denouement in English literature. Short stories tend to have much shorter - often only one sentence - and punchier
denouements than novels, though of course exceptions exist on both sides.
1. What lesson did the narrator learn?
2. How does the author tie this section back to the very beginning of his story?
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Assignment 1-1g - Your Turn
Read “The Tell –Tale heart” by Edgar Allen Poe. Answer these questions as you read.
Exposition:
1. Identify (first ? paragraphs, etc.) which section is the exposition.
2. Who are the characters? (characters don’t need to be human. Even inanimate objects can be a character.)
3. What do you think the story will be about?
4. Where does the story take place?
5. When does the story take place?
6. What else do you learn from the exposition?
Rising Action:
7. Give a step by step timeline of the events in the rising action –
8. Give a short description of the characters and their personalities through this section? How have they changed?
Climax
9. Summarize the climax of the story.
10. What makes this the climax or the turning point?
Falling Action
11. Summarize the falling action?
12. What purpose does the falling action have?
Denouement
13. What is the denouement of the story?
14. What life lessons have the characters learned?
15. How does the author tie the denouement into the rest of the story?
THE TELL-TALE HEART by Edgar Allen Poe
From Gutenberg.org
TRUE!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard
all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe
how healthily—how calmly I can tell you the whole story.
It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me
insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture—a pale blue eye,
with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees—very gradually—I made up my
mind to take the life of the old man, and thus rid myself of the eye forever.
Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have
seen how wisely I proceeded—with what caution—with what foresight—with what dissimulation I went to work! I
was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I
turned the latch of his door and opened it—oh so gently! And then, when I had made an opening sufficient for my
head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would
have laughed to see how cunningly I thrust it in! I moved it slowly—very, very slowly, so that I might not disturb the
old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay
upon his bed. Ha! would a madman have been so wise as this? And then, when my head was well in the room, I un-
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did the lantern cautiously—oh, so cautiously—cautiously (for the hinges creaked)—I undid it just so much that a single
thin ray fell upon the vulture eye. And this I did for seven long nights—every night just at midnight—but I found the
eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye.
And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him
by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound
old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.
Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more
quickly than did mine. Never before that night had I felt the extent of my own powers—of my sagacity. I could scarcely
contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of
my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back—but no. His room was as black as pitch with the thick darkness,
(for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the
door, and I kept pushing it on steadily, steadily.
I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old
man sprang up in bed, crying out—"Who's there?"
I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him
lie down. He was still sitting up in the bed listening;—just as I have done, night after night, hearkening to the death
watches in the wall.
Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief—
oh, no!—it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the
sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening,
with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him,
although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned
in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could
not. He had been saying to himself—"It is nothing but the wind in the chimney—it is only a mouse crossing the floor,"
or "It is merely a cricket which has made a single chirp." Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow
before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him
to feel—although he neither saw nor heard—to feel the presence of my head within the room.
When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little—a very, very
little crevice in the lantern. So I opened it—you cannot imagine how stealthily, stealthily—until, at length a simple dim
ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.
It was open—wide, wide open—and I grew furious as I gazed upon it. I saw it with perfect distinctness—all a dull
blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's
face or person: for I had directed the ray as if by instinct, precisely upon the damned spot.
And have I not told you that what you mistake for madness is but over-acuteness of the sense?—now, I say, there
came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well,
too. It was the beating of the old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into
courage.
But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could
maintain the ray upon the eve. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and
louder and louder every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment!—do you mark me well I have told you that I am nervous: so I am. And now at the dead hour of the night, amid
the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some
minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And
now a new anxiety seized me—the sound would be heard by a neighbour! The old man's hour had come! With a loud
yell, I threw open the lantern and leaped into the room. He shrieked once—once only. In an instant I dragged him to
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the floor, and pulled the heavy bed over him. I then smiled to find the deed so far done. But, for many minutes, the
heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length
it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I
placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye
would trouble me no more.
If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off
the head and the arms and the legs.
I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye—not even his—could have detected any thing wrong.
There was nothing to wash out—no stain of any kind—no blood-spot whatever. I had been too wary for that. A tub
had caught all—ha! ha!
When I had made an end of these labors, it was four o'clock—still dark as midnight. As the bell sounded the hour,
there came a knocking at the street door. I went down to open it with a light heart,—for what had I now to fear?
There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had
been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at
the police office, and they (the officers) had been deputed to search the premises.
I smiled,—for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The
old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search—search
well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my
confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the
wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of
the victim.
The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My
head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct:—
It continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness—until, at length, I found that the noise was not within my ears.
No doubt I now grew very pale;—but I talked more fluently, and with a heightened voice. Yet the sound increased—and what could I do? It was a low, dull, quick sound—much such a sound as a watch makes when enveloped in cotton. I gasped for breath—and yet the officers heard it not. I talked more quickly—more vehemently; but
the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the
noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to
fury by the observations of the men—but the noise steadily increased. Oh God! what could I do? I foamed—I raved—I
swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all
and continually increased. It grew louder—louder—louder! And still the men chatted pleasantly, and smiled. Was it
possible they heard not? Almighty God!—no, no! They heard!—they suspected!—they knew!—they were making a
mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more
tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and
now—again!—hark! louder! louder! louder! louder!
"Villains!" I shrieked, "dissemble no more! I admit the deed!—tear up the planks! here, here!—It is the beating of
his hideous heart!"
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Section 1-2: Flashback
Assignment 1-2a - What Is Flashback?
Watch “Introduction to Flashback” by NMSteacher at https://www.youtube.com/watch?v=9yIp3RHgQXk.
Answer the questions as you watch. Ignore the assignments given in the video. Just answer the questions below.
Watch as often as needed.
1. What is flashback and what does it do?
2. What types of events can trigger a flashback?
3. Copy the summary.
Assignment 1-2b - Examples
Watch the following examples of flashback. Answer the questions>
A. “Flashback” by StaceyOlinger at https://www.youtube.com/watch?v=i5OfSami1jA
1. What does the flashback do for the story?
B. “Lion King: Mufasa’s Ghost/Flashbacks” by TARDIS.Universe at https://www.youtube.com/watch?v=ls0XS6J3fs0
1. What triggers the flashback?
2. How does it affect the character?
Assignment 1-2c - Your Turn
Watch “Rapunzel’s Flashback” by wisterialanelover’s channel at https://www.youtube.com/watch?v=oUwjGTlACrI
1. What triggers the flashback?
2. What does the flashback do?
3. How does it affect the character?
Section 1-3: Parallel Plots
Assignment 1-3a - What Is a Parallel Plot?
Read and understand:
A Parallel Plot: The writer weaves two or more dramatic plots (story lines) that are usually linked by a common character and a similar theme.
Read the quote.
Parallel plot means that the author has two plot lines going at the same time. For example, in one of
my stories, one plot has the characters working on a mystery for the government. A second plot that
happens at the same time, parallel to the first, has them working at their security firm. Using parallel
plots makes the story more interesting because there is more action. - J. E S. Hays
This seems simple, but it is sometimes difficult to recognize.
Assignment 1-3b - Examples
Read and understand:
Revenge of the Sith
 Grevous is partly removed from a mechanical suit and set on fire. Anakin is set on fire and put into a mechanical
suit.
 Anakin kills Dooku at Palpatine’s behest on the grounds that he’s too dangerous to be left alive. Later, Mace Windu tries to do the same thing to Palpatine.
 The critical scene where Anakin’s fall to the dark side hinges upon a sadistic choice is also parallel to the finale of
Return of the Jedi. In the first incident, Anakin agonizes as he watches Windu tries to kill the man he believes can
save Padme and must decide who to help as the victim pleads with him to be saved. In Return of the Jedi, Anakin
has to do the same thing when watching the Emperor try to kill his own son.
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Assignment 1-3c - Your Turn
Think of movies and TV Shows that you like and are very familiar with. Pick three examples of parallel plots. They
can be from the same movie or show or be from three separate movies or shows. Answer the questions for each example.
Title of movie or show _____________________________________________________________________
1. What is the parallel plot? (or plots)
2. How do the parallel plots enhance each other?
3. Do the characters or incidents intersect at some points (yes, parallel plots can do this)? If so, what is the effect of
this intersection?
Lesson 2 - Point of View and Cultural Experiences
I can use point of view to compare cultural experiences (RL6).
Section 2-1: Point of View and Cultural Experiences
Assignment 2-1a - Review and Identify
About the standard from shmoop.com
RL.9-10.6. Analyze a particular point of view or cultural experience reflected in a work of literature
from outside the United States, drawing on a wide reading of world literature.
Cultures vary widely throughout the world, so it’s no surprise that literature does as well. Being able
to understand different points of view or cultural experiences within a text gives readers the tools to
understand them in real life.
Review “That Spot” by Jack London. Answer the point of view and cultural experience questions about the story.
Answer completely and with evidence from the text. Write a paragraph (8-10 sentences) for each response.
1. The story takes place during the Alaskan gold rush. What in the story shows what it was like during this time and
place?
2. Claim - One of the keys to survival in the Alaskan wilderness during the 1890’s was to have a good team of sled
dogs.
What evidence in the story supports this claim?
3. Consider the thoughts and conditions of survival during the Alaskan gold rush. Are the narrator and Stephen
MacKay good or bad dog owners? Show evidence to support your points.
4. Now, think about how life is different today even in the Alaskan wilderness. If this story took place today, would
you consider the narrator and Stephen Mackay good or bad dog owners? What evidence supports your points?
5. How does the setting (time and place of a story) affect the point of view of both the writer and the reader?
Unit 3 - Reading Informational Text
{Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Analysis of Life Stories
I can analyze life stories in print and other media (RI7).
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Section 1-1: Benjamin Franklin
Assignment 1-1a - Ben Franklin - Videos
Watch “Ben Franklin” by LearnMediaOfAmerica at https://www.youtube.com/watch?v=cW7CmKD5Cj0.
Assignment 1-1b - Ben Franklin - Read
Read this extract from “The Autobiography of Benjamin Franklin.”
“My elder brothers were all put apprentices to different trades. I was put to the grammar-school at eight
years of age, my father intending to devote me to the service of the Church. My early readiness in learning to read
(which must have been very early, as I do not remember when I could not read), and the opinion of all his friends,
that I should certainly make a good scholar, encouraged him in this purpose of his.
I continued, however, at the grammar-school not quite one year, though in that time I had risen gradually
from the middle of the class of that year to be the head of it, and farther was removed into the next class above it,
in order to go with that into the third at the end of the year. But my father, in the meantime, from a view of the
expense of a college education, which having so large a family he could not well afford, he took me from the grammar-school, and sent me to a school for writing and arithmetic, kept by a then famous man, Mr. George Brownell,
very successful in his profession generally. Under him I acquired fair writing pretty soon, but I failed in the arithmetic, and made no progress in it. At ten years old I was taken home to assist my father in his business, which was that
of a tallow-chandler and soap-boiler; a business he was not bred to, but had assumed on his arrival in New England.
Accordingly, I was employed in cutting wick for the candles, filling the dipping mold and the molds for cast candles,
attending the shop, going of errands, etc. […]
From a child I was fond of reading, and all the little money that came into my hands was ever laid out in
books. Pleased with the Pilgrim's Progress, my first collection was of John Bunyan's works in separate little volumes. I afterward sold them to enable me to buy R. Burton's Historical Collections; they were small books, and
cheap, 40 or 50 in all. My father's little library consisted chiefly of books in [religion], most of which I read, and have
since often regretted that, at a time when I had such a thirst for knowledge, more proper books had not fallen in
my way since it was now resolved I should not be a clergyman.
This bookish inclination at length determined my father to make me a printer, though he had already one
son (James) of that profession. In 1717 my brother James returned from England with a press and letters to set up
his business in Boston. I liked it much better than that of my father, but still had a hankering for the sea. […] I now
had access to better books. An acquaintance with the apprentices of booksellers enabled me sometimes to borrow
a small one, which I was careful to return soon and clean. Often I sat up in my room reading the greatest part of the
night, when the book was borrowed in the evening and to be returned early in the morning, lest it should be
missed or wanted.”
Assignment 1-1c - Ben Franklin - Questions
1. Which element of his story is included in his written autobiography but skipped over in the video version?
2. Which detail of his life has been omitted by the video version? Provide evidence the "texts." Give 5- 8 examples.
Section 1-2 Elie Wiesel
Assignment 1-2a. - Elie Wiesel - Nobel Acceptance Speech
Read the Nobel Prize acceptance speech from 1986 at http://www.pbs.org/eliewiesel/nobel/
Assignment 1-2b - Elie Wiesel - About the Speech
Watch “Hope, Despair, and Memory” by Shmoop at https://www.youtube.com/watch?v=51aBCKlJ2wA.
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Assignment 1-2c - Elie Wiesel - Short Bio
Read the following biographical information about Elie Wiesel excerpted from biography.com.
“Sometimes we must interfere. When human lives are endangered, when human dignity is in jeopardy,
national borders and sensitivities become irrelevant. Whenever men or women are persecuted because of
their race, religion or political views, that place must—at that moment—become the center of the universe.” —Elie Wiesel
Elie Wiesel is a Nobel-Prize winning writer, teacher and activist known for the memoir Night, in which he
recounts his experiences surviving the Holocaust.
Synopsis
Born on September 30, 1928, in Sighet, Transylvania (then and now part of Romania), Elie Wiesel pursued
Jewish religious studies before his family was forced to relocate to Nazi death camps during WWII. Wiesel
survived, and later wrote the internationally acclaimed memoir Night. He has also penned many books
and become an activist, orator and teacher, speaking out against persecution and injustice across the
globe.
Early Life
Elie Wiesel was born Eliezer Wiesel on September 30, 1928, in Sighet, Transylvania, which would later become Romania. Wiesel, who grew up with three sisters and pursued religious studies at a nearby yeshiva,
was influenced by the traditional spiritual beliefs of his grandfather and mother, as well as his father's liberal expressions of Judaism.
Surviving the Holocaust
In 1944, Nazi Germany forced Jews who resided in Bulgaria, Hungary and Romania to relocate to labor
and death camps in Poland. At the age of 15, Wiesel and his entire family were sent to Auschwitz as part
of the Holocaust, which took the lives of more than 6 million Jews. Wiesel lived in the camps under deplorable, inhumane conditions, gradually starving, and was ultimately freed from Buchenwald in 1945. Of
his relatives, only he and two of his sisters survived.
Assignment 1-2d - Elie Wiesel - Write
Write a 2-3 (or more) paragraph comparison of the videos and texts. In your writing address the following:
What is similar?
What is different?
What can you learn in one selection that is missing in another?
Which piece is more effective—or do you need all three to have understanding?
In addition Be sure that your writing is
 logical and organized.
 free of grammatical, punctuation, or mechanical errors.
 show evidence that you have watched, read, and understood the material.
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Unit 4 - Writing
(Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Write Every Day
I can write routinely over both extended and short time frames (W10).
You have heard the saying "practice makes perfect." Writing is no exception. In order to get good at writing, you
need to write often--to make it a routine .
Section 1-1: The Journal
Assignment 1-1a - Timed Writing (You will be using this process for several assignments throughout.)
1. Set a timer for 5 minutes.
2. Choose one of these to write about:
 Something that happened today
 Something you like or dislike to do
 Something you have been thinking about
3. Get ready to write - you may type or write by hand. Get your equipment such as computer or paper and pencil/pen.
4. Start the timer and begin writing. Here is the tricky part: You can't stop writing until the timer goes off. In other words, you need to keep on writing. You shouldn't even stop to think, rewrite, or check spelling. You don't
have to write fast, but you do have to keep on writing. If one thing makes you think of another, just write it
down.
5. When the timer is done, read through what you wrote. Not always, but often, you will be surprised how good
some of this writing is.
Assignment 1-1b - 3 Journal Entries
1. Do not write more than one journal entry a day.
2. Use the instructions in 1-1a for each journal entry.
3. You may work on other assignments at the same time. (3 timed writing = 3 days—so keep working on the rest
of the unit rather than waiting to finish this one.)
4. Choose one of the following suggestions or make up one of your own.
5. Keep all of your journal entries together to be turned in at once.
Some suggested topics:
 The asteroid was hurtling straight for Earth…
 A kid comes out of the bathroom with toilet paper dangling from his or her waistband.
 There’s a guy sitting on a park bench reading a newspaper…
 He turned the key in the lock and opened the door. To his horror, he saw…
 There are three children sitting on a log near a stream. One of them looks up at the sky and says…
 There is a magic talisman that allows its keeper to read minds. It falls into the hands of a young politician…
 And you thought dragons didn’t exist…
 Write about nature. Include the following words: hard drive, stapler, phone, car, billboard.
 Write about one (or both) of your parents. Start with “I was born…”
 Write about a friend.
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Lesson 2 - Narrative Writing
I can write a narrative with narrator, characters, dialogue, and multiple points of view (W3).
I can write routinely over both extended and short time frames (W10).
You will be writing a narrative. The story needs to show evidence that you can use a narrator, develop characters,
write dialogue correctly, and use multiple points of view. The steps in this unit will help you.
Your story can be a personal narrative (based on your own experiences) or fiction (made up). You decide. The one
mandated qualification is that it must deal with one of the 30 Human Rights.
Section 2-1: Exploring Possible Story Ideas
Assignment 2-1a - 30 Human Rights
Click on the link. It should take you directly to the video of Human Right #1.
Watch that video, then click NEXT to go to Human Right #2. There are 30 short videos and 30 human rights.
Produced by Youth for Human rights - http://www.youthforhumanrights.org/what-are-human-rights/videos/bornfree-and-equal.html
Assignment 2-1b - Choose
To review the Human Rights, you may refer to the list on the next page. Choose five of the 30 Human Rights that
stand out to you. Tell why you chose this right.
1. Human Right
Why?
2. Human Right
Why?
3. Human Right
Why?
4. Human Right
Why?
5. Human Right
Why?
Assignment 2-1c - Story Ideas
Copy or recreate the form. Come up with a story idea for each of the human rights that you have chosen. One idea
has been given as an example. You may use the example or ignore it an make one of your own.
HUMAN RIGHT
STORY IDEA
# 2 Don’t Discriminate
Ann Martin doesn’t get the job as the CEO because she
is a woman.
Or
2 alien races have settled the same planet. The main
character is discriminated against because he is not of
the dominant race.
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United Nations - Universal Declaration of Human Rights
1. We Are All Born Free & Equal. We are all born free. We all have our own thoughts and ideas. We should all be
treated in the same way.
2. Don't Discriminate. These rights belong to everybody, whatever our differences.
3. The Right to Life. We all have the right to life, and to live in freedom and safety.
4. No Slavery. Nobody has any right to make us a slave. We cannot make anyone our slave.
5. No Torture. Nobody has any right to hurt us or to torture us.
6. You Have Rights No Matter Where You Go. I am a person just like you!
7. We're All Equal Before the Law. The law is the same for everyone. It must treat us all fairly.
8. Your Human Rights Are Protected by Law. We can all ask for the law to help us when we are not treated fairly.
9. No Unfair Detainment. Nobody has the right to put us in prison without good reason and keep us there, or to send
us away from our country.
10. The Right to Trial. If we are put on trial this should be in public. The people who try us should not let anyone tell
them what to do.
11. We're Always Innocent Till Proven Guilty. Nobody should be blamed for doing something until it is proven. When
people say we did a bad thing we have the right to show it is not true.
12. The Right to Privacy. Nobody should try to harm our good name. Nobody has the right to come into our home,
open our letters, or bother us or our family without a good reason.
13. Freedom to Move. We all have the right to go where we want in our own country and to travel as we wish.
14. The Right to Seek a Safe Place to Live. If we are frightened of being badly treated in our own country, we all have
the right to run away to another country to be safe.
15. Right to a Nationality. We all have the right to belong to a country.
16. Marriage and Family. Every grown-up has the right to marry and have a family if they want to. Men and women
have the same rights when they are married, and when they are separated.
17. The Right to Your Own Things. Everyone has the right to own things or share them. Nobody should take our
things from us without a good reason.
18. Freedom of Thought. We all have the right to believe in what we want to believe, to have a religion, or to change
it if we want.
19. Freedom of Expression. We all have the right to make up our own minds, to think what we like, to say what we
think, and to share our ideas with other people.
20. The Right to Public Assembly. We all have the right to meet our friends and to work
together in peace to defend our rights. Nobody can make us join a group if we don't want to.
21. The Right to Democracy. We all have the right to take part in the government of our country. Every grown-up
should be allowed to choose their own leaders.
22. Social Security. We all have the right to affordable housing, medicine, education, and childcare, enough money to
live on and medical help if we are ill or old.
23. Workers' Rights. Every grown-up has the right to do a job, to a fair wage for their work, and to join a trade union.
24. The Right to Play. We all have the right to rest from work and to relax.
25. Food and Shelter for All. We all have the right to a good life. Mothers and children, people who are old, unemployed or disabled, and all people have the right to be cared for.
26. The Right to Education. Education is a right. Primary school should be free. We should learn about the United
Nations and how to get on with others. Our parents can choose what we learn.
27. Copyright. Copyright is a special law that protects one's own artistic creations and writings; others cannot make
copies without permission. We all have the right to our own way of life and to enjoy the good things that art, science
and learning bring.
28. A Fair and Free World. There must be proper order so we can all enjoy rights and freedoms in our own country
and all over the world.
29. Responsibility. We have a duty to other people, and we should protect their rights and freedoms.
30. No One Can Take Away Your Human Rights.
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Assignment 2-1d - One Idea and a Narrator
1. Choose one idea from your story.
2. Decide who would best tell this story. This is your narrator.
NARRATOR—
One who tells a story / the person whose viewpoint is used in telling a story
3. Start your story using the timed writing instructions from Writing 1-1a. Set a 10-20 minute timer. Write as much
as you can in the allotted time. Remember not to worry about anything at this point other than getting your
thoughts down on paper.
- You may repeat this process for other story ideas. That way you can choose between story starts for your next assignment.
Section 2-2: Characterization
Assignment 2-2a - Character Outline
Choose one of the story starts from 2-1d. Using your story outline, decide on a main character for the story. Get to
know what she/he/it is like. (Remember that characters don’t need to be human.) Copy or recreate the chart below
to help you develop your character.
Character Name:
Main or minor character (circle one)
Age:
Gender:
Build (height/weight):
Eye Color:
Hair Color/Style:
Style of Dress:
The most striking or memorable physical feature:
Personality
Strengths:
Weaknesses:
What does the character really want?
What is the character most afraid of?
What would the character want to be remembered for?
Characters Journey: At the end of the story, what did the character learn?
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Assignment 2-2b - Write About Your Character
Using the techniques for timed writing and the basics that you determined in the organizer on page 27, write about
your character. Make sure to include both physical and personality traits. Describe by showing (not telling) how
and what the character is. You “show” your character by putting him into situations. For example—do not tell the
reader “Peter was strong.” Instead, say “After miles of fast galloping, Peter’s horse was too tired to go on. Peter
lifted the horse to his shoulders and kept running.”
Section 2-3: Dialogue
Assignment 2-3a - What Is dialogue?
Read the following information about dialogue.
Dialogue, as you probably know, is what happens when two or more characters speak to one another. We experience dialogue all the time in our everyday lives.
Here’s a dialogue you might’ve heard today.
"Hey, dude. How are you?" Isobel said.
"I'm really good. Thanks for asking. And you?" Gabe said.
"Good, thanks," Isobel said.
Of course, this kind of dialogue is important. If we didn't say hello and ask people how
they were doing, we might lose a lot of friends, fast. But in a story, long scenes of daily dialogue end up being boring. Readers want to hear characters make interesting or exciting declarations, or challenge each other, or reveal
the whereabouts of hidden treasure.
In a story, dialogue should do one, if not all, of the following:
1. Reveal characters’ relationships to one another.
2. Move the story forward.
3. Increase the tension.
source: The mechanics of writing dialogues
Assignment 2-3b - Dialogue Punctuation
Dialogues also need to include correct punctuation and quotation marks in the right spots. You may have seen a
dialogue that does not follow this rule in other places, such as in a comic book or a chat. When you write a story,
however, follow the rules so that readers won't get confused.
Read the rules for punctuation. You will be expected to follow them.
1. Put quotation marks around what a character is saying.
"What is that woman doing here?"
2. Periods and commas always occur inside quotation marks:
"What's the capital of Spain?" Jerry asked, pausing over his crossword puzzle.
Susan looked up from her book and rolled her eyes before saying, "Madrid, duh."
"Why are you so sarcastic all the time?” Jerry slammed his pencil on table. He looked like he was going to
cry. “I don't think I can take much more of this."
3. Question and exclamation marks may occur inside or outside quotation marks, depending on the meaning of
the sentence:
He said, “Am I the guilty one?”
Did he say, “I am the guilty one”?
Did he say, “Am I the guilty one?”
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4. To prevent the reader from being confused about who is speaking, each change in speaker is indicated by an
indent. For example:
Finally, her mother went upstairs, and I leaned over and kissed Janet. “Have you ever been kissed before?” I
said suspiciously.
“Never,” she quickly replied.
“Are you sure?”
“Absolutely.”
“Well, then, tell me this. How come you kiss so well?”
“I watched them do it in the movies.”
Assignment 2-3c - Write
1. Write a dialogue between two characters from the story you have started. You need to have at least five exchanges (each character says at least five things). Make sure to follow what you learned about dialogue (both content and mechanics) in the lesson.
2. When done, edit it to make sure it follows the punctuation rules for dialogue (see above).
Section 2-4: Point -of-View
Assignment 2-4a - Understanding Point-of-View
We have talked about point of view meaning the attitude a character or speaker has toward the subject. In this case
we are talking about narrative point-of-view or who is telling the story. Study the information posters
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Assignment 2-4b - More Explanation
Watch Point-of-View by Elizabeth Morales at https://www.youtube.com/watch?v=YOjCbL60SRE.
Assignment 2-4c - Write a Scene with a Particular Point-of-View
Choose a scene from the story that you have started. Decide if you want to tell the story from first or third person.
Write this scene with the chosen point-of-view. Write at least 1/2 — 1 page.
Assignment 2-4d- Multiple Points-of-View
One of the requirements of this term is to write a story using multiple points-of-view. Take the scene you wrote in
2-4c, and rewrite it in a different point-of-view. For example, if you used first-person (I, me, mine) the first time,
rewrite it using third-person. Write at least 1/2 - 1 page.
Section 2-5: Write a Narrative
Assignment 2-5a - What to Write
You have already worked with a specific storyline of your choice in the last few assignments. Next you will be writing the
complete story. Below are the assignment guidelines and requirements. Review them well before starting your rough
draft.
You will write a narrative/story.
The story needs to show evidence that you can use a narrator, develop characters, write dialogue correctly, and use multiple
points-of-view.
Your story can be a personal narrative (based on your own experiences) or fiction (made up).
You should integrate one of the 30 Human Rights.
Review any previous sections that you need to do this assignment.
Assignment 2-5b - Writing Tips
Before you start the rough draft, here are some writing tips that may help you along the way:








Enjoy the process!
Use what you already have written this term—timed writings , descriptions, dialogues, etc.
Remember to use sensory details to SHOW what is happening. Avoid just telling the story.
Write every day!
Don’t be afraid of changing things when you read it through.
Read your text aloud to yourself. You will catch a lot of errors as well as places where you forgot to write what
was in your head.
Share your writing with somebody that can give you ideas and good feedback.
Think about your writing even when you are not writing.
Assignment 2-5c - Plan Your Story
Organize the prewriting and ideas that you already have. Use the story map on the next page to create a plan to
complete your story. You may copy or recreate, but do not limit yourself to the single page provided.
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A story map can help plot out just what happens in a story. Fill in each part of the story map. Use the story map to
guide your writing.
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Assignment 2-5d - Write a Rough Draft
Write the first draft of your story.
Requirements:
You need:
 A narrator with a distinct voice (first, second, or third person, etc.)
 Well developed characters
 At least one perfect dialogue that either reveals the characters’ relationships to one another, moves the story forward, or
increases the tension.
 At least one change of point-of-view in the story - You can choose to tell your story from two different characters point of
view.
 Your story needs to be at least 1500 words long.
To get 100% on the rough draft you need to have followed the basic requirements listed above.
Section 2-6: Perfect Your Narrative
Assignment 2-6a - Self-Evaluation
Read through your story with the rubric (correction guide). Analyze how well you have done in each area. Make
written notes for improvement either on the worksheet or directly on you paper/story. The evaluation rubric is on
the next page.
Assignment 2-6b - Rewrite
Rewroie your story into the next draft implementing all of the suggestions and ideas that you had. Keep the rubric
paper to turn in.
Assignment 2-6c - Share
Have another person (friend, classmate, parent, neighbor . . .) read your paper with the same rubric giving constructive feedback to aid in your final draft of the paper. Keep this rubric paper to turn in.
Assignment 2-6d - Final Draft
Rewrite your paper aiming to get 15-20 pts in every category to pass the paper.
If you do not score 15-20 in each category with your final draft, continue to rewrite until
you do earn that score.
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Rubric
Criterion
Possible
points
Exposition: The text
sets up a story by
introducing the
event/conflict, characters, and setting.
20
Narrative Techniques and Development: The story is
developed using
dialogue, description, and multiple
points of view.
20
Organization and
Cohesion: The text
follows a logical sequence of events.
20
Style and Conventions: The text uses
sensory language
and details to create
a vivid picture of the
events, setting, and
characters.
20
Conclusion: The text
provides a conclusion that follows
from the course of
the narrative. The
conclusion provides
a reflection on or
resolution of the
events.
20
The narrative is completed (at least 1500
words).
20
Find and fix any
grammar, spelling,
and punctuation
errors.
Must
have
fewer
than 10
to pass.
Selfawarded
points
Evidence: Cite or paraphrase
what part in the story supports each criterion.
33 - Revised 5/2/2015
Suggested changes
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Unit 5 - Speaking and Listening
(Make sure you show evidence to the teacher that all assignments have been completed and have the teacher
check them off even when there is not a paper to be turned in. Most of the time, you will be using your own paper.
When a specific organizer or worksheet is required, ask the Credit Recovery teacher to get you a copy. Be sure to
keep all of your work to be handed in, scored, and recorded. The Assignment Record is found at the end of this
module /packet.)
*Throughout this module you will be expected to demonstrate the ability to use Standard English punctuation,
grammar, and spelling.
Lesson 1 - Evaluate
I can evaluate speaker's point of view, reasoning, and use of evidence (SL3).
Section 1-1: Point of View
For this section we are using the term point of view to mean an opinion, attitude, or judgement of the speaker.
Assignment 1-1a - Summary
This first excerpt consists of eight paragraphs. For each paragraph provide a one-sentence summary.
President F. D. Roosevelt—”Four Freedom’s” Speech
Adapted from ourdocuments.gov
“I address you, the Members of the Seventy-seventh Congress, at a moment unprecedented in the history of the Union. I use the word ‘unprecedented,’ because at no previous time has American security been as seriously threatened
from [outside] as it is today.
Since the permanent formation of our Government under the Constitution, in 1789, most of the periods of crisis in our
history have related to our domestic affairs. Fortunately, only one of these--the four-year War Between the States-ever threatened our national unity.
It is true that prior to 1914 the United States often had been disturbed by events in other continents. We had even
engaged in two wars with European nations and in a number of undeclared wars in the West Indies, in the Mediterranean and in the Pacific for the maintenance of American rights and for the principles of peaceful commerce. But in no
case had a serious threat been raised against our national safety or our continued independence.
[…] Even when the World War broke out in 1914, it seemed to contain only small threat of danger to our own American future. But, as time went on, the American people began to visualize what the downfall of democratic nations
might mean to our own democracy.
During sixteen long months this assault has blotted out the whole pattern of democratic life in an appalling number of
independent nations, great and small. The assailants are still on the march, threatening other nations, great and small.
Therefore, as your President, performing my constitutional duty to ‘give to the Congress information of the state of
the Union,’ I find it, unhappily, necessary to report that the future and the safety of our country and of our democracy
are overwhelmingly involved in events far beyond our borders.
In times like these it is immature--and incidentally, untrue--for anybody to brag that an unprepared America, singlehanded, and with one hand tied behind its back, can hold off the whole world.
Therefore, the immediate need is a swift and driving increase in our [weapons] production.”
34 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 1-1b - Read
Read this excerpt from Roosevelt’s speech.
“The happiness of future generations of Americans may well depend upon how effective and how immediate we can
make our aid felt. The Nation's hands must not be tied when the Nation's life is in danger.
[…] In the future days, which we seek to make secure, we look forward to a world founded upon four essential human freedoms.
The first is freedom of speech and expression--everywhere in the world.
The second is freedom of every person to worship God in his own way--everywhere in the world.
The third is freedom from want--which, translated into world terms, means economic understandings which will secure to every nation a healthy peacetime life for its inhabitants-everywhere in the world.
The fourth is freedom from fear--which, translated into world terms, means a world-wide reduction of armaments to
such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggression against any neighbor--anywhere in the world.
That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation.”
Assignment 1-1c - Quiz
Answer the questions based on the two excerpts from Roosevelt’s speech. Check your answers and fix any errors
understanding the reasoning for the answers.
1. The president structures his argument by—
a. proposing a general vision for the future and then giving specific examples to back it up.
b. presenting his opponent's views and then disproving them.
c. asking a rhetorical question and then presenting the answer.
d. stating the definition of a word and then providing alternate definitions for that word.
2.
a.
b.
c.
d.
In order to show the severity of the coming war, the speaker uses detailed images to show how inadequate other nations’ weapons were against intruders.
describes conflicts in the past, showing how small they were in comparison.
describes methods of torture used by the enemy.
highlights America’s inability to produce enough weapons for the conflict.
3.
a.
b.
c.
d.
In the speech, the President draws a connection between the shared values of democratic countries and the enemies.
America's military preparedness and the security of America’s future.
America’s past failures and America’s current conflict.
his own life and the history of the country.
4. Analyze the point of view. Respond.



What is the speaker's point of view toward his subject?
How does the speaker’s point of view affect the speech—words chosen, structure, power, etc.?
How does the speaker’s point of view affect those listening or reading the speech?
35 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Lesson 2 - Presenting/Adapting a Speech
I can give clear, concise presentations (SL4).
I can adapt my speech for a variety of contexts (SL 6).
Section 2-1: Presenting
Assignment 2-1a - Choose a Topic
Choose from the topics below to use for creating a presentation:
The story of Romeo and Juliet
Narrative writing: Topic, Narrator, Characterization, dialogue, and Point-of-View
My Narrative (Take the story you write in the writing unit and present it.)
Figurative language: explanation and examples
The Life of Elie Wiesel
The Life of Benjamin Franklin
Any other topic specific to this quarter
My topic is ________________________________________________________________________________
Assignment 2-1b - Choose a Tool
Investigate and choose a tool with which to make you your presentation.
Prezi
PowerPoint
Explain Everything
iMovie (make a trailer)
Educreation (Beware, you only get one shot at recording)
Avatar app: Buddypoke or Tellagami
...or any other presentation tool you want to use--just check with your teacher before you start to make sure it
meets the requirements.
My tool will be ______________________________________________________________________________
Assignment 2-1c - Plan Your Presentation
If you are using your story from the writing unit, you can use the outline you have already made as your organizer. If
you have chosen a different topic, make an organization chart/outline of your presentation.
Assignment 2-1d - Create Version 1
Your presentation needs to come in two versions each addressing a different audience. The first will address a
group your age. Create your presentation. You should have fun with this. Consider what words and phrases to use
to distinguish this presentation from your other version. It will be graded on meeting all the expectations at an appropriate level.
Expectations:
1) It clearly deals with the chosen topic.
2) It is logical and concise.
3) It considers the intended audience/s.
4) It is well-structured and interesting to watch.
5) It has no grammatical or spelling mistakes.
6) It is your best effort.
7) It proves that you can adapt your speech. This one is appropriate to and interesting to an audience of teenagers.
36 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Assignment 2-1e - Create Version 2
Create a second version of your presentation. This version has a future employer who is looking for an employer
with technical presentation skills as the audience. Your presentation needs to come in two versions each addressing a different audience. Consider what words and phrases to use to distinguish this presentation from your other
version. It will graded on meeting all the expectations at an appropriate level.
Expectations:
1) It clearly deals with the chosen topic.
2) It is logical and concise.
3) It considers the intended audience/s.
4) It is well-structured and interesting to watch.
5) It has no grammatical or spelling mistakes.
6) It is your best effort.
7) It proves that you can adapt your speech. This one is appropriate to and interesting for a future employer.
Assignment 2-1f - Present
Present both versions of your presentation to a live audience (teacher, other students, etc.) Part of this is standard
is to deliver a speaking element. Get feedback from your audience such as what does the audience think worked
best, which presentation is preferred, etc.
Assignment 2-1g - Self-Reflection
After receiving the feedback, write a 1-2 paragraph reflection about your work. You may use the questions as a
guideline, but are not limited to them.
What did you do best?
What did not turn out the way you expected?
What would you do differently if doing this assignment again?
Etc.
STOP!
CHECKLIST - Gather and turn in all of the following for credit. Mark each assignment you have done and/or included. Attach this check-off sheet to the
front of your work:
Pre-assessment Score _____________
Unit 1 – Language
Lesson 1 – Conventions
Section 1-1: Capitalization
_____Assignment 1-1a - Review Capital Letters
_____Assignment 1-1b - Practice 1
_____Assignment 1-1c - Practice 2
37 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
_____Assignment 1-1d - Quiz
Section 1-2: Spelling
_____Assignment 1-2a - Review Spelling Rules
_____Assignment 1-2b - Quiz
Section 1-3: colons and Semicolons
_____Assignment 1-3a - Notes
_____Assignment 1-3b - Quiz 1
_____Assignment 1-3c - Quiz 2
Lesson 2 - Figurative Language
Section 2-1: Review Figurative Language
_____Assignment 2-1a - Review Figurative Language
_____Assignment 2-1b - Watch
_____Assignment 2-1c - Identify
_____Assignment 2-1d - Compare
Unit 2 - Reading Literature
Lesson 1 - Literary Elements
Section 1-1: Order of Events
_____Assignment 1-1a - Parts of the Plot
_____Assignment 1-1b - Practice Exposition
_____Assignment 1-1c - Rising Action
_____Assignment 1-1d - Climax
_____Assignment 1-1e - Falling Action
_____Assignment 1-1f - Denoument
_____Assignment 1-1g - Your Turn
Section 1-2: Flashback
_____Assignment 1-2a - What Is Flashback
_____Assignment 1-2b - Examples
_____Assignment 1-2c - Your Turn
Section 1-3: Parallel Plots
_____Assignment 1-3a - What Is a Parallel Plot?
_____Assignment 1-3b - Examples
_____Assignment 1-3c - Your Turn
Lesson 2 - Point of View and Cultural Experiences
Section 2-1: Point of View and Cultural Experiences
_____Assignment 2-1a - Review and Identify
Unit 3 - Reading Informational Text
Lesson 1 - Analysis of Life Stories
Section 1-1: Benjamin Franklin
_____Assignment 1-1a - Ben Franklin - Videos
_____Assignment 1-1b - Ben Franklin - Read
38 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
_____Assignment 1-1c Section 1-2: Elie Wiesel
_____Assignment 1-2a _____Assignment 1-2b _____Assignment 1-2c _____Assignment 1-2d -
Ben Franklin - Questions
Elie Wiesel
Elie Wiesel
Elie Wiesel
Elie Wiesel
-
Nobel Acceptance Speech
About the Speech
Short Bio
Write
Unit 4 - Writing
Lesson 1 - Effect Write Every Day
Section 1-1: The Journal
_____Assignment 1-1a - Timed Writing
_____Assignment 1-1b - 3 journal Entries
Lesson 2 - Narrative Writing
Section 2-1: Exploring possible Story IDeas
_____Assignment 2-1a - 30 Human Rights
_____Assignment 2-1b - Choose
_____Assignment 2-1c - Story Ideas
_____Assignment 2-1d - One idea and One Narrator
Section 2-2: Characterization
_____Assignment 2-2a - Character outline
_____Assignment 2-2b - Write About Your Character
Section 2-3: Dialogue
_____Assignment 2-3a - What Is Dialogue?
_____Assignment 2-3b - Dialogue Punctuation
_____Assignment 2-3c - Write
Section 2-4: Point-of-View
_____Assignment 2-4a - Understanding point-of-View
_____Assignment 2-4b - More Explanation
_____Assignment 2-4c - Write a Scene
_____Assignment 2-4d - Multiple Points-of-View
Section 2-5: Write a narrative
_____Assignment 2-5a - what to Write
_____Assignment 2-5b - Writing Tips
_____Assignment 2-5c - Plan Your Story
_____Assignment 2-5d - Write a Rough Draft
Section 2-6: Perfect your Narrative
_____Assignment 2-6a - Self Evaluation
_____Assignment 2-6b - Rewrite
_____Assignment 2-6c - Share
_____Assignment 2-6d - Final Draft
39 - Revised 5/2/2015
GRANITE SCHOOL DISTRICT
English Language Arts 9 th Grade Quarter 4 Module
Credit Recovery
Aligned to Utah ELA Standards
Unit 5 - Speaking and Listening
Lesson 1 - Evaluate
Section 1-1: Point of View
_____Assignment 1-1a - Summary
_____Assignment 1-1b - Read
_____Assignment 1-1c - Quiz
Lesson 2 - Presenting/Adapting a Speech
Section 2-1: Presenting
_____Assignment 2-1a - Choose a Topic
_____Assignment 2-1b - Choose a Tool
_____Assignment 2-1c - Plan your Presentation
_____Assignment 2-1d - Create Version 1
_____Assignment 2-1e - Create Version 2
_____Assignment 2-1f - Present
_____Assignment 2-1g - Self Reflection
Now, you must also:
Pass the final assessment
*NOTE: You must pass off all the work for each section. You must
also pass the end-of-module assessment at 60% or higher.
Post-Assessment Score _____
40 - Revised 5/2/2015