Transition to Common Core Standards
Grade 8
English Language Arts Module 2
Teacher Support Materials
N: ELA-Secondary/ Gr. 8_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN
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January 2014
Dear English Teachers,
The enclosed materials are provided to support your successful instruction of the required ELA Learning
Module for Semester 2 as you address the focus Common Core State Standards (CCSS) for this module.
While we recognize that you will be introducing additional standards during semester 2, the SBAC-like
District Performance Task (Assessment) being developed in collaboration with lead teachers will focus on the
CCSS listed on the ELA Module 2 for your grade level. This second integrated Reading/Writing Assessment
will be delivered in early March and must be administered and entered into EduSoft by May 30, 2014.
The teacher packet includes copies of the selections found in the student packet that support the required
novel for module 2, as well as instructional resources to assist you during this transition to CCSS.
Student packets (in class sets of 40) contain materials not found in the 2002 Timeless Voices Edition of
Prentice Hall that are needed for Module 2:
 Additional informational and literary reading selections
 Graphic organizers
 Materials for formative assessments
Collaboration with lead English teachers began last fall and is ongoing. We want to recognize the
outstanding work done by the following teachers for their contributions to these modules which aid in
transitioning to the rigorous expectations of the CCSS and the new Smarter Balanced assessments.
Ralph Bedwell – Kennedy High School
Curt Douglas – El Cerrito High School
Lynn Bernhardt – Hercules Middle School
Stephanie Fitch – Richmond High School
Caroline Braun – DeAnza High School
Lucy Giusto- Hercules Middle School
Tuyen Bui – Richmond High School
Jessica Jones – Hercules High School
Sofia Close – Middle College High School
Igor Litvin – Hercules High School
Timothy Crugnale – DeAnza High School
Dingane Newsom – Crespi Middle School
Laura Curtis – Pinole Middle School
Madison Schmalz – Richmond High School
Lynne Dirk – Hercules Middle School
Chris Silva – El Cerrito High School
Please take the time to complete the feedback form so we can use this information to refine and enhance
what was produced for next year. Once again thank you in advance for what you all do on a daily basis to
ensure that our children are achieving.
Sincerely,
Lyn Potter, Director – Educational Services
Sonja Neely-Johnson – Coordinator – Educational Services
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WCCUSD English Language Arts Transition to CCSS Guide
Grade 8 – Semester 2
January 22, 2014 – June 6, 2014: The teacher-developed ELA Module 2 (semester 2) includes a novel supported by PH and other resources and activities.
There will be an integrated Reading/Writing district assessment based on the essential question of this module. The second assessments will be delivered to sites by midMarch and need to be completed prior to the end of Quarter 4 (by May 30, 2014). Please pace the required 4-6 week module accordingly.
Semester 2 Module – Grade 8
Essential Question: How do information, knowledge, and experience shape your understanding of the world?
Recommended Novel: The Phantom Tollbooth by Norton Juster
Supporting Prentice Hall Selections *ONLY in new CCSS Edition (TE p.);
Additional Supporting Primary and Secondary Sources (provided)
**BOTH new TE and Timeless Voices SE; No asterisk – ONLY in Timeless Voices (SE p.)
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“The Road Not Taken”** (TE 774, SE 44)
“Charles”** (TE 336, SE 22)
“I Know Why the Caged Bird Sings”** (TE 513, SE 32)
“Science and the Sense of Wonder”* (TE 581)
“Words to Sit in Like Chairs”* (TE 1152)
Instructional Strategies (see reverse)
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Close Reading
Collaborative Conversations
o Dialectical Journals
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“Six Blind Men and an Elephant” – a fable
“Your Perception IS Your Reality” – Tony D. Clark (internet article)
“How does Perception Change Everything?” – Tara Dobbs (internet blog)
Formative Assessments (see reverse)
Exit Slips
Summary Writing
Common Core ELA Focus Standards for 2nd Semester Module and Assessment:
Reading Standards for Literature and Information Text
R.8.1 Cite textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.
R.8.2 Determine a central idea of a text and analyze its development over the course of the text, including its relationship to supporting ideas…
R.8.3 Analyze how a text makes connections among and distinctions between individuals, ideas, or events (e.g. through comparisons, analogies, or
categories.)
R.8.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings…
RL.8.6 Analyze how differences in points of view of the characters and the audience or reader create such effects as suspense or humor.
Writing Standards
W.8.1 Write arguments to support claims with clear reasons and relevant evidence.
W.8.4 Produce clear and coherent writing in which the development, organizations and style are appropriate to task, purpose, and audience.
W.8.9 Draw evidence from literary or informational texts to support analysis, reflection, and research.
Speaking and Listening Standards
SL.8.1 Engage effectively in a range of collaborative discussions with diverse partners building on others’ ideas and expressing their own clearly.
Language Standards
All Language Standards L.8.1-6
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COMMON CORE-ALIGNED INSTRUCTIONAL STRATEGIES
Task
Standards
Addressed
Suggested Reading Selection
Task Description
“Charles”
Students will use a graphic organizer to analyze how differences in
the points of views of the characters create the effects of humor in
the story. They will also analyze how particular lines of dialogue or
incidents in the story reveal aspects of the characters, or provoke a
decision. Students may also be asked to write an argument from
the point of view of the main character in the story.
Close Reading
“Road Not Taken”
Teacher leads class in a close read using guide included in Teacher
Packet. A Depth of Knowledge (DOK) question stem handout is
provided for use with this or other close readings in Teacher
Resources as well.
RL.8.1-4
Collaborative
Conversations
“How Does Perception Change
Everything?”
Students work in pairs to complete a dialectical journal. This
collaboration supports them in writing a summary paragraph
independently.
RI.8.1
RI.8.2
SL.8.3
Students complete Exit Slips to demonstrate understanding of key
concepts taught that period. An evidence-tracking graphic
organizer is provided to prepare students for writing a summary of
the text selection.
R.8.1
R.8.2
Close Reading
Formative
Assessment
Any selection
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RL.8.3
RL.8.6
W.8.1
Name ____________________________
Period ____
Date __________________
Reading Guide for “Charles”
RL.8.6 Analyze how differences in the points of view of the characters and the audience or reader create such
effects as suspense or humor.
What clues indicate that this story is told by a first-person narrator? Write 2-4 sentences supporting
your answer by citing examples from the story.
RL.8.3 Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects
of a character, or provoke a decision.
As you read the story, look for characteristics of Laurie and Charles. Make a 3-column organizer with
the following labels.
Character’s Appearance
How the Character Behaves
What Others Think of the Character
Laurie
Charles
Your teacher may ask you to use this graphic organizer to write a compare and contrast essay. (TE p.338)
RL.8.3 Analyze how particular lines of dialogue or incidents in a story or drama propel the action, reveal aspects
of a character, or provoke a decision.
Identify the major events of the story using a plot map as shown below. How did the mother’s lack of
information and her mistaken belief about her son set up the humor for the end of the story?
Climax
Exposition
Resolution
W.8.1 Write arguments to support claims with clear reasons and relevant evidence.
Imagine you are Laurie and your mother has just gotten home from the parent-teacher meeting.
Develop a logical argument to support your behavior with clear reasons and relevant evidence. Use
the back of this sheet or lined paper to write your 3-5 paragraph essay.
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CLOSE READING: “Road Not Taken”
R.8.1 Cite textual evidence that most strongly supports an analysis of what the text says explicitly, as well as inferences drawn from the text.
R.8.4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings…
Lesson Procedure
Students read the poem “The Road Not Taken” by Robert Frost and use that to deepen their exploration of the module’s
essential question. They will take notes of the close analytic reading of the poem.
1.
Read the poem aloud and then direct students to reread the poem independently. Use a “Think Aloud” to model a close
reading of the title and stanza 1 of the poem. Use these guiding questions to model the “Think Aloud.”
(Q1): What is the speaker thinking about at the beginning of the poem?
The speaker remembers standing in the woods at a fork in the road and regretting being just one person, which meant
that he was not able to travel both roads in the “fork” at the same time. He says that he stood for a long time examining
one of the roads until it passed out of sight in the brush. TEXT EVIDENCE: “two roads diverged,” “sorry I could not travel
both,” “one traveler,” “long I stood,” “looked down one as far as I could” “To where it bent in the undergrowth”
(Q2): What is the tone at the beginning of the poem? Cite specific words and details that contribute to this tone.
The beginning of the poem has a tone of regret. TEXT EVIDENCE: The word “Not” in the title creates a negative feeling;
the speaker uses the word “sorry,” which implies regret. The speaker points out his own limitations by saying that he
“could not travel both” roads. The woods are “yellow,” a description which suggests autumn, a time of year associated
with endings, death, etc.
(Q3): Understanding poetry often involves understanding the difference between what is said and what is meant. For
example, the two roads could literally be two roads, as the speaker says. However, the “two roads” could also be a
metaphor for something else. What could the “two roads” represent?
The two roads could represent choices that people have to make in their lives. The speaker says he could not travel
both roads at once because he is only one person, so he had to make a choice about which way to go. Making a choice is
not always easy or simple; sometimes we wish we didn’t have to choose at all. TEXT EVIDENCE: “two roads diverged,”
“sorry I could not travel both”
2.
3.
Direct students to read lines 1-12 independently. (NOTE: For struggling readers, revisiting the first five lines after the
previous discussion enables them to better understand the literal and also the figurative meaning of the poem.)
Divide the class into pairs and direct each pair to respond to guiding questions about what they have read and reread.
Students should record their responses on note paper.
(Q4): What does the speaker do rather abruptly at the beginning of the second stanza (line 6)?
After considering one road for quite a while, the speaker suddenly decides to take the other road. TEXT EVIDENCE:
“Then took the other”
(Q5): Cite details that describe the physical appearance of the two roads.
One road has a bend at its farthest point; the other road looked just as nice and maybe even better because it was grass
covered and looked like people hadn’t used it very often. But, even with that, travelers had used both roads equally and
on this particular morning, both roads were covered in yellow leaves that nobody had made dirty by walking on them.
TEXT EVIDENCE: “looked down one as far as I could/To where it bent in the undergrowth;” “the other, as just as fair;”
“having perhaps the better claim;” “it was grassy and wanted wear;” “the passing there/Had worn them really about the
same;” “both that morning equally lay/In leaves no step had trodden black.”
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Lesson Procedure, cont’d
4. Direct students to paraphrase lines 1-12 on their note paper. Circulate to scan what students are writing as a quick
check for understanding. Then read the entire poem aloud, directing students to listen for a shift or a change on the
part of the speaker. Share guiding questions to discuss the remaining 8 lines of the poem. Direct students to record
their responses.
(Q6): Paraphrase the speaker words in lines 13-15.
The speaker says that he hoped to return and take the other road at some point in the future. Yet, he knew
that the chances of that were slim, since time marches on with one day leading to another. He doubted that
he would ever go back.
(Q7): What does the speaker mean in lines 13-15?
The speaker implies that once life choices are made, once a “road” is chosen, going back is hard. As you gain
knowledge or have different life experiences, you may wish you had made different choices in your life. But
second chances don’t often occur. So, being able to go back and take the other road or make the other choice
probably won’t happen, and he senses that as he makes his choice at the beginning of stanza 2. The fact that
he is alone in this choice is also important – sometimes nobody can help you or make choices for you.
(Q8): How do these lines connect to the title of the poem? To the tone of the poem?
The title refers to the road not taken, and this section of the poem implies that it will probably always remain
the road not taken. The regretful tone of the opening still seems evident here. The speaker has made a
choice, alone with no help from anyone else and won’t have the chance to go back and make another choice.
(Q9): Remember that words have both denotations (dictionary definitions) and connotations (associated
suggestions or feelings). In line 16, the poet uses the word “sigh”? What feelings can be associated with a
sigh? What about the phrase “made all the difference”? How do people often respond to the phrase “made
a difference”? What specific difference did the speaker’s choice make?
A sigh is sometimes associated with relief, “a sigh of relief.” A sigh can also be associated with regret,
boredom, half-hearted acceptance, disapproval or disgust. The phrase “made all the difference” would
probably be seen as a positive thing; however, not all differences are good. And, the speaker never describes
or explains the difference.
(Q10): Is the speaker satisfied with having chosen the “one less traveled by”? Is there a shift in tone in lines
16-20? If so, explain the shift. If not, explain why there is no shift.
It is actually hard to tell. The sigh and the difference could both be interpreted as positive; on the other hand,
they could also be interpreted as negative.
5.
Direct students to work individually for a few minutes to piece together the information from Qs 1-10 and the
class discussions in order to compose a theme statement for “The Road Not Taken.” Then ask students to
participate in a “Think-Pair-Share” to share and explain their theme statements, revise as necessary, and post
for the class to see. Conduct a class review of the theme statements to come to consensus on the best theme
statement for the poem. (EXAMPLES: Choice is inevitable in life. Knowing the consequences of one’s choices
is not always possible. Making choices is often a lonely endeavor.)
For homework you might have students write a paragraph explaining how the poem relates to the topic and
essential question of this unit.
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“Six Blind Men and an Elephant”
A parable of different perceptions
A long time ago in the valley of the Brahmaputra River in India there lived
six men who were much inclined to boast of their wit and lore. Though
they were no longer young and had all been blind since birth, they would
compete with each other to see who could tell the tallest story.
One day, however, they fell to arguing. The object of their dispute was the
elephant. Now, since each was blind, none had ever seen that mighty
beast of whom so many tales are told. So, to satisfy their minds and settle
the dispute, they decided to go and seek out an elephant.
Having hired a young guide, Dookiram by name, they set out early one morning in single file along the forest track,
each placing his hands on the back of the man in front. It was not long before they came to a forest clearing
where a huge bull elephant, quite tame, was standing contemplating his menu for the day.
The six blind men became quite excited; at last they would satisfy their minds. Thus it was that the men took
turns to investigate the elephant's shape and form.
As all six men were blind, neither of them could see the whole elephant and approached the elephant from
different directions. After encountering the elephant, each man proclaimed in turn:
'O my brothers,' the first man at once cried out, 'it is as sure as I am wise that this elephant is like a great mud wall
baked hard in the sun.'
'Now, my brothers,' the second man exclaimed with a cry of dawning recognition, 'I can tell you what shape this
elephant is - he is exactly like a spear.'
The others smiled in disbelief.
'Why, dear brothers, do you not see,' said the third man -- 'this elephant is very much like a rope,' he shouted.
'Ha, I thought as much,' the fourth man declared excitedly, 'This elephant much resembles a serpent.'
The others snorted their contempt.
'Good gracious, brothers,' the fifth man called out, 'even a blind man can see what shape the elephant resembles
most. Why he's mightily like a fan.'
At last, it was the turn of the sixth old fellow and he proclaimed,
'This sturdy pillar, brothers' mine, feels exactly like the trunk of a great areca palm tree.'
Of course, no one believed him.
Their curiosity satisfied, they all linked hands and followed the guide, Dookiram, back to the village. Once there,
seated beneath a waving palm, the six blind men began disputing loud and long. Each now had his own opinion,
firmly based on his own experience, of what an elephant is really like. For after all, each had felt the elephant for
himself and knew that he was right!
And so indeed he was. For depending on how the elephant is seen, each blind man was partly right, though all
were in the wrong.
Source: http://www.cob.sfasu.edu/pstetz/Six-Blind-Men.html 20030811
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Blogging Activity for “Six Blind Men and an Elephant”
W.8.4 Produce clear and coherent writing in which the development,
organizations and style are appropriate to task, purpose, and
audience.
W.8.6 Use technology, including the Internet, to produce and publish
writing and present the relationships between information and ideas
efficiently as to interact and collaborate with others.
The author of a blog posted the story “Six Blind Men and an Elephant” on the Internet and asked readers to post their
insights, interpretations, or understanding of the fable.
A) After reading and discussing the fable with your class, choose the quote below that you feel best captures the
meaning behind the tale. Write your chosen quote in the top box. In the bottom box tell why you chose that quote.
I chose the following blog posting:
Justification:
-Freeman
We all have different ways of understanding things. It depends on how one perceives them.
-Camilia
It’s not necessary that we all believe in the same thing, the important thing is respecting each other’s ideas and beliefs.
-Frank Francis
We all have the facts...but the real picture lies in combining what others know and what you know…arguing is not a solution.
-Fatima
One should take a decision on what the situation is in and out and depending on the truth, not from the partial view or as it
is viewed by the individual.
-Sandeep
One can state what one can feel but truth can only be understood when objects are seen as a whole, and not as parts.
B) Now write your own one sentence blog as if you were going to post it online. Write it in the box below. Be prepared
to share your blog with your classmates.
My blog posting would be:
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Your Perception IS Your Reality
OCTOBER 31, 2013 BY TONY D. CLARK
“Reality is merely an illusion, albeit a very persistent one.” – Albert
Einstein
“Everything you see or hear or experience in any way at all is specific to
you. You create a universe by perceiving it, so everything in the universe
you perceive is specific to you.” – Douglas Adams
Take a minute to scan your surroundings. Are you in a familiar place or somewhere new? Stop reading this, and
just look around you. Pick out an object, maybe something you hadn’t noticed before, and focus your attention
on it. If you really focus, it’ll get brighter and more “real” than it was when it was just an unnoticed piece of the
background noise of your life. Now, try to view your surroundings from the point of the object. Some people can
do this with no effort, and for others, it takes some concentration. Depending on how adept you are at focusing
your concentration, you may notice a slight shift in your perception – a weird jump in reality, where you are
suddenly viewing the world from a different perspective.
Did it work? Whether you noticed anything or not, your perception did change, albeit for an instant. It’s
important to be conscious of your perception, because if you’re not, someone else will create it for you.
Trick the Eye in French
Things aren’t always what they seem. Marketers and magicians rely on this fact to make you see things – the
way they want you to see them. Artists do too.
You may have seen Julian Beever’s amazing pavement drawings [see next page]. He utilizes the Trompe-l’oeil
technique, which means “trick the eye” in French. He uses his drawing skills to create a perception. Like an
optical illusion, our mind attempts to fill in the details of something it either thinks it already knows, or doesn’t
quite understand. This works out fine, when that’s the intention – momentarily letting our world be shaped for
fun. But wandering through life, letting others create your perceptions, can make for a very unfulfilling life.
Change Your Story, Change Your Perception, Change Your Life
We all get caught up in our stories. Most of us think we are our stories. It’s when those stories take on a life of
their own, and that life isn’t the one we want, that things start to suck.
Think about the story you’re living right now. Who wrote it? Did you consciously decide to create the reality
you’re living now, or was it mainly shaped by your parents, friends, spouse, school, or the media? If you don’t
like the story your living, then change the perception. Envision how you’d write the next chapter of your story.
Better yet, actually sit down and write it. Focus your perception on creating a new reality, one where you are in
charge of the story. Take back the job as screenwriter and director, and stop just being an actor (unless you’re
Rachel McAdams – I rather enjoy her acting).
Everything begins with a decision – decide now to be in charge of your own perception of reality. Because if you
don’t, there are plenty of folks whose sole purpose in life is to craft that perception for you. Do you trust them
to have your best interest in mind…?
Source: http://www.lifehack.org/articles/lifehack/your-perception-is-your-reality.html
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The artist, Julian Beever (crouched on the ledge in the
sidewalk art piece above), hails from the United Kingdom
and has been creating sidewalk art since the 1990's.
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How Does Perception Change Everything?
Posted on June 15, 2012 by Tara Dobbs
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Perception influences all that we do. Logic and facts may tell us one thing, and yet we will still take what we
perceive – or others around us perceive – to be true.
Think of high school. The kids I wanted to like me the most were the kids that were the meanest to me.
Logic would say to avoid them. However, perception said that those were the kids I must choose to be
around. If only they liked me, then life would be perfect.
The same goes for family. For me, for many years, no decision could be made without including the thought
of what my family would think.
In fact, looking back on my life (I am an ancient 38 after all), I see a series of decisions designed either to
rebel against my family or build myself up to my family. On the rebelling side, I moved out at a young age,
and married someone who I knew would cause my parents some grief. On the build myself up side, I took
over the family business when it was in crisis and ensured that when I bought my own house it was close to
my parents.
The realization I am having lately is that this is a very slender view of reality, and as it turns out, a very
limiting one.
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Of course my upbringing and my desire to please my parents would affect my perception. So does how I
interact socially.
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I have never fit in. And I’ve tried. I still do.
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I remember being in elementary school and being the singled out girl. The girl who was hated for the
day…and then the next day it was another girl, and I was only too happy — no — relieved — to take part
in being mean to that other girl. Thankful it wasn’t me.
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And while I can laugh at these interactions now — these immature attempts at fitting in — they’re no
different to what we do as adults. Just less sophisticated.
I am continuously wondering if I’m going to be ostracized, or if I am going to belong. And I see I have spent
my life gravitating from one to the other. Either basking in the acceptance of my friends and community,
or reveling in my rebellion. Either way, I’m dabbling in both sides of this coin.
Rather than getting away from this as I grow up and mature, it just changes form. And I do the same
oscillation– at one moment fitting in with the best of them, and the next, so different it’s farcical.
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So what is fitting in? What if I don’t? What if, normal, actually isn’t? A slight shift in perception is a game
changer.
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And this is where I am at.
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And you? Where are you at?
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Source: http://www.taradobbs.com/how-does-perception-change-everything/#.Us3hIxjTmpo
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Collaborative Conversation: “How Does Perception Change Everything?”
Name:______________________________________________________ Date: ________________
Dialectical Journal Partner Work:
On your second read of the article, work with a partner to identify two or three sentences or phrases that most
clearly support the claim that increasing your knowledge and experience changes your perception of the world.
Record the line number(s) of the sentences of your choice in the left column. In the right column, justify your choices
by telling how they relate to the claim above. Lastly, working on your own, write a paragraph that summarizes the
central theme of this article.
RL.8.1: Cite textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.
SL.8.1: Engage effectively in a range of collaborative discussions with diverse partners…building on others’ ideas and expressing their own clearly.
W.8.4: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
Line
number(s)
Our justification: How the quote supports the claim
Summary paragraph:
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Formative Assessment
“Formative assessment is capable of triggering big boosts to students’ achievement – the educational
equivalent to the cure for the common cold.”
James Popham, 2010 Strategic Priorities for School Improvement, Harvard Education Letter, No. 6
R.8.1 Cite textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.
R.8.2 Determine a central idea of a text and analyze its development over the course of the text, including its relationship to supporting ideas…
W.8.4: Produce clear and coherent writing in which the development, organizations and style are appropriate to task, purpose, and audience.
Teachers: Please use one or both of the following strategies to assess student learning throughout your
instruction of the module.
1. Exit Slips are used frequently to measure student learning. Exit Slips allow both teachers and students to
document and monitor levels of understanding and can help develop fluency for less confident writers.
They provide teachers with immediate feedback on the effectiveness of their lesson. Choose one of the
Exit Slips included in the teacher packet or write your own tailored to the lesson you are monitoring to
check for understanding.
How it works:
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3.
4.
Students respond to a prompt that asks them to reflect on their learning for the day. See preslugged prompts on next page, or have students respond to one that you provide on notepaper.
Students should write non-stop for a few minutes right at the end of the period.
Collect the Exit Slips as students walk out the door. Your review of these will provide data about
student progress and inform next steps of instruction.
You may provide sentence frames for those who need them to get started.
2. Citing Evidence/Summary Writing
Use the attached Central Idea/Evidence Graphic organizer to support students in identifying specific words
or sentences that support the central idea or thesis of a text. It could be used for a Prentice Hall selection,
an additional resource provided, or one that you have chosen to support the essential question and the
novel. Allow them to use this information to write a brief summary of the selection.
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From Our Classroom Strategy Library
Exit Slips
Write one thing you learned today.
Name
Rate your understanding of today’s topic on a scale of 1-10. What can you do to improve
your understanding?
Name
All About Adolescent Literacy
Resources for Parents and Educators of Kids Grades 4—12
www.adlit.org
From Our Classroom Strategy Library
Exit Slips
Discuss one way today’s lesson could be used in the real world.
Name
Describe one topic that we covered today that you would like to learn more about.
Name
All About Adolescent Literacy
Resources for Parents and Educators of Kids Grades 4—12
www.adlit.org
From Our Classroom Strategy Library
Exit Slips
One thing I didn’t understand:
Name
Of the two strategies we learned today, which one did you find most useful? Why?
Name
All About Adolescent Literacy
Resources for Parents and Educators of Kids Grades 4—12
www.adlit.org
From Our Classroom Strategy Library
Exit Slips
Name
Name
All About Adolescent Literacy
Resources for Parents and Educators of Kids Grades 4—12
www.adlit.org
Name
#
Per.
Date
Central Idea/Evidence
R.8.2 Determine a central idea of a text and analyze its development over the
course of the text, including how it emerges and is shaped and refined by
specific details; provide an objective summary of the text.
Title of Reading:
Thesis/Central Idea:
Specific Phrase or Statement
How it Supports the Central Idea
1.
2.
3.
4.
5.
N: ELA-Secondary/ Gr. 8_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN
Educational Services – CISS
Teacher Resources
N: ELA-Secondary/ Gr. 8_ELA Module-Sem. 2_Teacher Packet/1-2014/LB-CN
Educational Services – CISS
DOK Question Stems
DOK 1
• Can you recall______?
• When did ____ happen?
• Who was ____?
• How can you recognize____?
• What is____?
• How can you find the meaning of____?
• Can you recall____?
• Can you select____?
• How would you write___?
• What might you include on a list
about___?
• Who discovered___?
• What is the formula for___?
• Can you identify___?
• How would you describe___?
DOK 2
• Can you explain how ____ affected ____?
• How would you apply what you learned
to develop ____?
• How would you compare ____?
Contrast_____?
• How would you classify____?
• How are____alike? Different?
• How would you classify the type of____?
• What can you say about____?
• How would you summarize____?
• How would you summarize___?
• What steps are needed to edit___?
• When would you use an outline to ___?
• How would you estimate___?
• How could you organize___?
• What would you use to classify___?
• What do you notice about___?
DOK 3
• How is ____ related to ____?
• What conclusions can you draw _____?
• How would you adapt____to create a
different____?
• How would you test____?
• Can you predict the outcome if____?
• What is the best answer? Why?
• What conclusion can be drawn from
these three texts?
• What is your interpretation of this text?
Support your rationale.
• How would you describe the sequence
of____?
• What facts would you select to
support____?
• Can you elaborate on the reason____?
• What would happen if___?
• Can you formulate a theory for___?
• How would you test___?
• Can you elaborate on the reason___?
DOK 4
• Write a thesis, drawing conclusions from
multiple sources.
• Design and conduct an experiment.
Gather information to develop
alternative explanations for the results of
an experiment.
• Write a research paper on a topic.
• Apply information from one text to
another text to develop a persuasive
argument.
• What information can you gather to
support your idea about___?
• DOK 4 would most likely be the writing of
a research paper or applying information
from one text to another text to develop
a persuasive argument.
• DOK 4 requires time for extended
thinking.
From Depth of Knowledge – Descriptors, Examples and Question Stems for Increasing Depth of Knowledge in the Classroom Developed by
Dr. Norman Webb and Flip Chart developed by Myra Collins
Figurative Language Resource Page
A tool that an author uses to help readers
visualize what is happening in the story.
Some Types of Figurative Language
Alliteration: Repeated consonant sounds at the beginning of several
words in a phrase (Robbie saw rabbits resting by roses.)
Hyperbole: An exaggeration (That building can touch the clouds.)
Idiom: An expression that cannot be understood from the individual
meanings of its elements, as in kick the bucket or under the
weather.
Irony: The opposite of what is meant.
Metaphor: A comparison of two unlike things that suggests a similarity
between the two items. (Love is a rose.)
Onomatopoeia: Words that sound like what they are. (POP! BAM! Slosh)
Personification: Making an inanimate object or animal act like a person
Puns: A word or words, which are formed or sounded alike, but have
different meaning; to have more than one possible meaning. (Using
that pencil is pointless.)
Simile: A comparison using "like" or "as" (She sings like an angel.)
Copyright 2002 IRA/NCTE. All rights reserved.
ReadWriteThink.org materials may be reproduced for educational purposes.
Figurative Language Chart
Student Name: _________________________________________________
WORD
OR
PHRASE
Example: In the
doldrums
Expectations
Watchdog
(As easy as)
Falling off a log
Spelling Bee
Rhyme and Reason
Make mountains out
of molehills
Leaves no stone
unturned
A light meal
Jump to Conclusions
PAGE IN
BOOK
22
LITERAL
MEANING
An area near the
equator where either
strong winds or no
winds come and go
without warning.
FIGURATIVE
MEANING
(Meaning in the
story)
The place where you go
to when you aren’t
thinking. You are not
moving or doing
anything here.
Figurative Language Chart
ANSWER KEY
Student Name:_________________________________________________
WORD
OR
PHRASE
PAGE IN
BOOK
LITERAL
MEANING
FIGURATIVE
MEANING
(Meaning in the
story)
Example: In the
doldrums
22
Expectations
19
Watchdog
33
(As easy as)
Falling off a log
42
Spelling Bee
50
The place where you go
to when you aren’t
thinking. You are not
moving or doing
anything here.
The place you must
always go to before you
get to where you are
going
A dog that guards or
A dog who has a clock
watches over property in his side who has
been given the job of
making sure no one
ever wastes time
Tumbling or slipping A task that is simple
and easy to do
off of a large tree
branch lying on the
ground
A contest where
An insect that spells
people spell words
nearly every word it
says
76
Logic, sense, and a
plan
Rhyme and Reason
Make mountains out
of molehills
An area near the
equator where either
strong winds or no
winds come and go
without warning
Things or occurrences
looked forward to
Use molehills to
create mountains
85
Leaves no stone
unturned
85
A light meal
86
Jump to Conclusions
168
To turn over every
stone on the planet
A meal that has few
calories
Make assumptions
that aren’t necessarily
true
Two princesses who
solve all problems in a
fair and reasonable way
To make matters more
complicated than they
need to be
To make sure that
every option has been
explored
A meal made from
shafts of light
To suddenly be in a
place called
Conclusions
The Phantom Tollbooth by Norton Juster
Figurative Language Rubric
Possible Points
1
2
3
Completion of
figurative
language chart
Completed 1 to 5
examples of
figurative
language from
the story.
Completed 6 to 9
examples of
figurative
language from
the story.
Completed all 10
examples of
figurative
language and
identified an
additional 5
examples from
the story.
Figurative
meanings
Provided the
correct figurative
meanings for 1 to
5 examples of
figurative
language from
the story.
Provided the
correct figurative
meanings for 6 to
9 examples of
figurative
language from
the story.
Provided the
correct figurative
meanings for 10
or more
examples of
figurative
language from
the story.
Literal
meanings
Provided the
correct literal
meanings for 1 to
5 examples of
figurative
language from
the story.
Provided the
correct literal
meanings for 6 to
9 examples of
figurative
language from
the story.
Provided the
correct figurative
meanings for 10
or more
examples of
figurative
language from
the story.
Works cited
Provided
information
about Internet
sources, but did
not cite them
using MLA
guidelines
OR
Did not provide
any information
about Internet
sources that were
used to complete
the chart
Provided
information
about Internet
sources, cited
them using the
MLA guidelines,
but did not
format them
correctly (e.g.,
not alphabetized
according to
author’s last
name)
Provided
information
about Internet
sources and
correctly cited
them using the
MLA guidelines
Total Score:
Score