TABLE OF CONTENTS
Elementary Novels Bundle I
Charlotte's Web............................................................2
Sarah, Plain and Tall....................................................6
Ecology with Seuss ......................................................9
Intermediate Reading Comprehension Bundle
Contemporary Women Leaders ...................................96
Earth Heroes ................................................................98
Great Performing Artists..............................................101
Elementary Novels Bundle II
In the Year of the Boar and Jackie Robinson...............12
Julie of the Wolves ......................................................17
Tuck Everlasting..........................................................22
High School Novels Bundle I
Of Mice and Men.........................................................107
The Great Gatsby.........................................................109
To Kill a Mockingbird .................................................115
Elementary Skills Bundle I
Sentence Writing I .......................................................29
Sentences to Paragraphs I ............................................32
Paragraphs to Essays I .................................................35
High School Novels Bundle II
The Old Man and the Sea ............................................119
The Pearl......................................................................121
Romeo and Juliet .........................................................124
Elementary Skills Bundle II
Check the Deck............................................................37
Flip the Deck ...............................................................45
Sentences with Aesop ..................................................52
High School Skills Bundle I
Mark Twain Sampler ...................................................126
Persuasive Essays.........................................................134
Sentence Combining II.................................................136
Intermediate Novels Bundle I
The Indian in the Cupboard .........................................54
Island of the Blue Dolphins .........................................56
The Outsiders...............................................................59
High School Skills Bundle II
Answering Essay Questions .........................................138
Polishing Prose ............................................................144
Stack the Deck .............................................................146
Intermediate Novels Bundle II
The Diary of Anne Frank.............................................63
The Call of the Wild ....................................................66
Where the Red Fern Grows .........................................70
High School Reading Comprehension Bundle
Classic American Short Stories....................................15
Principles of Personal Responsibility...........................159
Voices from the Past - Messages for Today! ...............166
Intermediate Skills Bundle I
Sentence Combining II ................................................74
Sentences to Paragraphs II...........................................76
Paragraphs to Essays II ................................................79
Spanish Elementary Language Development Bundle
Combinando las Oraciones con Aesop ........................170
El Disco Mío................................................................172
Poesía Para Poetas Jóvenes..........................................176
Intermediate Skills Bundle II
Cut the Deck ................................................................82
Open the Deck .............................................................87
Sentence Writing II......................................................93
Spanish Elementary Writing Skills Bundle
Escribiendo Oraciones I...............................................182
Mis Primeras Oraciones...............................................185
De Oraciones a Párrafos ..............................................189
TABLE OF CONTENTS
In addition to ten lessons described below, support materials include:
• student handouts 1 through 4 for paper and pencil activities;
• an extensive teacher handout outlining ideas for sequencing the writing activities with reading, group discussion, and student handouts;
• sample ideas on a vocabulary teacher handout for reviewing story vocabulary along with specific uses of language.
Learning objectives:
• read a classic story with understanding and enjoyment;
• demonstrate understanding of a classic story through discussion; and,
• deepen understanding of literature as life by exploring personal experience through writing.
Handouts:
• Discussion and Activity Suggestions
• Vocabulary
• A Runty Pig
• Wilbur and Friends and Me
• Spinning, Swinging, and Sitting Still
• Web of Friendship
A+ and A+LS are registered trademarks of The American Education Corporation. MediaWeaver is a registered trademark of Renaissance Learning, Inc.
MEDIAWEAVER® CURRICULUM
A+LS™ SOFTWARE EDITION
Lessons in the MediaWeaver® A+LS™ Software Edition program combine the management and lesson planning capabilities of the A+LS software program with the highly
acclaimed MediaWeaver product from Humanities Software, A Division of Renaissance Learning, Inc. MediaWeaver is a complete multimedia authoring system, which
allows students and teachers to create documents, which utilize multiple fonts, colors, pictures, sounds, and videos, all of which are supplied with the MediaWeaver A+LS
Software Edition program. Process writing skills are taught by requiring students to create documents which are based on commonly-taught literature appropriate to the
grade level such as Charlotte’s Web, The Indian in The Cupboard, Of Mice and Men, and To Kill a Mockingbird.
The MediaWeaver A+LS Software Edition curriculum encompasses seventeen title bundles. One of these, the MediaWeaver® A+LS™ Software Edition Introductory Kit,
includes everything required to run the program, and must be purchased before, or in conjunction with, any of the other bundles. Each of the bundles includes three
MediaWeaver A+LS Software Edition titles.
The MediaWeaver product is fully integrated with the A+LS program. Educators can author their own lessons, edit those provided, create whole new subjects, and assign
MediaWeaver lessons just as they would any other A+LS lesson, using the same, standard A+LS interface.
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
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CHARLOTTE’S WEB
Elementary Novels Bundle Grade Levels 3-6
LESSON
LESSON CONTENT
Strong Feelings (for use after reading chapters 1 and 2 of Charlotte’s Web)
Working with examples from the text, students write about strong feelings they have had about being right. First, the theme of conflict between Fern and her
father is explored; then students write about a conflict situation from their own experience. The idea of compromise is examined for resolving conflict both
within and outside of the story. For example, students respond to this suggestion:
Write about a time when you compromised to stop a conflict. Tell what you and the other person did or gave up.
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Students are told to share their writing or keep it for their private journals.
Ups and Downs (for use after reading chapters 3 and 4 of Charlotte’s Web)
An example from the text demonstrates how Wilbur’s emotions yo-yo as he adjusts to his new home. Students list words to describe his ups and downs, leading
to the conclusion that Wilbur feels bored and trapped. They write a letter to Wilbur, telling him about a time they felt as he does. Wilbur, of course, writes a
letter back, thanking them for their understanding of feeling bored and lonely. He begs for another letter so he knows he’s not alone in his feelings. Students
write a second letter about what it’s like to feel bored and lonely. Students share their letters or keep them for their private journals.
Best Day Plans (for use also after reading chapters 3 and 4 of Charlotte’s Web)
On-screen, students review Wilbur’s list of breakfast leftovers for his “best day” plan. They make their own lists of interesting leftovers for breakfast, lunch, and
supper, pretending Wilbur lives with them. Next, using Wilbur’s “best day” activities for examples, they list things they would like to do or see, making a “best
day” plan for morning, afternoon, and evening. They use their ideas to write a story entitled “My Best Day.” Best day stories are shared with writing partners
and classmates and saved for private journals.
Comics (as in “Stand-Up Comics”) (for use with any chapters)
The teacher handout “Discussion and Activity Suggestions” suggests a procedure to use this lesson with any or all chapters to help students share varieties of
humor found in Charlotte’s Web. Writing activities can lead students into performance, holding a Stand-Up Comics Day.
Students are reminded that one of the reasons Charlotte’s Web is fun to read is because of the funny or warm-hearted things characters say and do. They see an
example of story dialogue written as lines for a play. For example:
AVERY: Can I have a pig, too, Pop?
Students examine elements of humor in Mr. Arable’s response to Avery, such as Mr. Arable’s use of big words and phrases. Students tell what makes other
excerpted lines of dialogue from the story funny. Then with a writing partner, they find lines of dialogue between two Charlotte’s Web characters that strike
them as funny. They choose lines from anywhere in the book and copy and format them as lines written for a play. Writing partners then choose characters and
memorize and practice lines out loud as though they were stand-up comics.
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CHARLOTTE’S WEB, continued
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LESSON
LESSON CONTENT
All Kinds (for use after reading chapters 5 through 7)
It’s easy to forget that characters in Charlotte’s Web are not human. Students pretend that Wilbur, goose, Templeton, Charlotte, and old sheep are human. An
example of humanlike behavior is given for each character, such as “Wilbur’s sleepless night,” which has students write about their own sleepless night. They
describe sounds and sights they heard and saw on the sleepless night, and tell how they felt and acted.
Students read and write about particular human behaviors shown by four characters - that is, Wilbur’s being restless and fearful, the goose successful, the rat
greedy, Charlotte truthful, and old sheep nasty. These writings lead to the conclusion that “all kinds of people make up our world” and to Wilbur’s saying,
“What a gamble friendship is!” Students consider if Wilbur is right in view of their own experience. They write a thing a friend says or does that makes that
friendship seem safe or risky.
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With a writing partner, students think about actions of Wilbur, goose, Templeton, Charlotte, and old sheep. They add words to a list to show ways the
character’s actions seem like human actions. They complete the activity by writing a short essay called “Friendship Is a Gamble,” using examples from
Charlotte’s Web or from their own experience.
Wilbur’s Opinions (for use after reading chapters 8 through 10)
In conjunction with an on-screen example from the story, students consider that feelings, attitudes, and opinions can change as we learn more about someone or
something. They recall reasons why Wilbur came to admire Charlotte, the trapper spider he’d once thought bloodthirsty. They compare Wilbur’s opinion of
Charlotte with unkind things people may say about spiders, and name words they’ve heard used to describe spiders.
Students consider that, for her part, Charlotte doesn’t think too highly of people. Examples of what Charlotte says are given with space for missing words.
Students tell in their own words what is suggested. For example:
People trot <BACK> and <FORTH> thinking there is something better on the other <SIDE>. This suggests Charlotte thinks: < > people are never
satisfied.
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Templeton, too, has an opinion. Students tell what habit he has (never wasting anything) that saves Charlotte from Avery. They recall the Arable family
opinions on whether or not animals can talk, and end by writing their own opinion, giving arguments for and against.
Promises (for use after reading chapters 11 through 13)
Reading concurrent examples about Charlotte’s promise to Wilbur and her plan to keep it, students write about a promise they might make and make a plan to
keep it. Probably, they are told, their promise won’t be to save a life, but it should be of importance to the other person. They see these examples:
- keeping the family car clean, inside and out
- teaching a younger brother or sister to swim or ski
- helping a friend in need
Promising is easy, but keeping the promise may mean work. After listing ideas to help keep their promise, students choose and make a plan for keeping it.
Next, students consider how Charlotte’s plan works out in the Zuckerman’s’ barn by writing a “Web Words” poem. For example:
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CHARLOTTE’S WEB, continued
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LESSON
LESSON CONTENT
Wilbur is Some Pig!
His every pound
Is fat and round
Wilbur is Some Pig!
They begin by adding words to fit five idea words.
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Wonders (for use after reading chapters 14 through 16)
Mrs. Arable’s fears about Fern lead to asking students if anyone has ever thought something they like to do may be strange, or not normal. They write why, like
Mrs. Arable, someone who cares about them might worry and wonder. Like Fern’s mother, people sometimes fear what isn’t understood. Students name fears
they or others might have because they don’t understand, like fear of a person of a different race.
Dr. Dorian contrasts with Mrs. Arable. Students recall the doctor calling the thing he doesn’t understand a miracle. Like the miracle of a web spun by a spider,
students name a little miracle they know about but may not understand. They list special things about it to give others their sense of wonder. Given examples,
students write miracles into similes, such as: “The asparagus patch looked like a silver forest.”
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They share writing with classmates and family, and keep copies for private journals.
True Friends (for use after reading chapters 17 through 19)
How different a pig is from a spider! True friends can be very unlike each other, and students think back on the friendship between Wilbur and Charlotte as it
develops throughout the story. They list things Wilbur and Charlotte think or feel about each other, then name the one most important thing they feel for each
other (love).
They examine how the character of love and friendship can change by describing change between the Arable children and their parents, and Fern’s change
toward Wilbur at the fair. They write about a friendship of their own that has changed over time. In thinking about the friendship between Charlotte and Wilbur,
students suppose Charlotte does NOT go along with Wilbur to the fair. They write a “Dear Charlotte” postcard from Wilbur, describing what he sees and hears
at the fair.
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The element of sacrifice in friendship is shown in Charlotte’s going to the fair when she feels “like the end of a long day.” They write about a time when they put
another’s best interests before their own, or perhaps wished they had. Finally, they write their ideas on what they think makes a lasting friendship.
Full Circle (for use after reading chapters 20 through 22)
In as many words as they please, students write about Charlotte’s Web by summarizing their thoughts and feelings on what the story was about. They complete
ideas about how the story moves full circle. For example, it begins in springtime and ends in springtime; it begins with new life and ends with new life.
Students write about a memorable sad, happy, and funny story moment.
Does the story have a bad character, one who is always bad? Students explain their answers. A word list for Charlotte and Templeton is used to write a
comparison/contrast with examples. They list words for Wilbur and describe how his behavior changes by the end of the story. They write about the minor
character they remember best.
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CHARLOTTE’S WEB, continued
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LESSON
LESSON CONTENT
Charlotte’s Web traces a full circle of life in the barnyard, students are told, but the story is much more. It is a story about how life is lived. They think about an
idea or actual lines in Charlotte’s Web. They type a thought they would like to remember their whole life, an idea to weave into their own life’s web.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
SARAH, PLAIN AND TALL
Elementary Novels Bundle I, Grade Levels 3-6
Students develop critical reading, creative writing, and higher level thinking skills while exploring the Newbery Award-winning novel Sarah, Plain and Tall by Patricia
MacLachlan.
Language Skills: Listening, speaking, reading, writing, thinking.
Reading Objectives: Reading for meaning, reading for pleasure, understanding literature.
Reading Processes: Prereading, guided reading, postreading.
Reading Comprehension Levels: Literal, inferential, critical, affective.
Writing Processes: Prewriting, brainstorming, organizing, composing, revising, editing, publishing.
Thinking Skills: Comprehending, comparing, associating, summarizing, analyzing, evaluating, synthesizing, decision-making.
Handouts: 12-page section.
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LESSON
LESSON CONTENT
Biography Poem 1 (for use with Chapter 1)
Students gather their first information about Sarah Wheaton from the letter she writes to Jacob. Students compile this information from chapter 1 into a
biographical sketch and make predictions about Sarah to check during their reading.
Opinion (for use with Chapter 1)
Students read Sarah’s letter in chapter 1 and formulate answers in response to her question, “Do you have an opinion on cats?” Students are also invited to share
opinions about their own family pets.
Memories (for use with Chapter 1)
Students reflect upon Anna and Caleb’s loss as they list the important things about mothers. Students write lists of memories to share with Caleb, whose mother
died when he was born.
Questions (for use with Chapter 2)
Students read Sarah’s answers to Anna and Caleb in her letters, to determine the questions the children wrote to Sarah in their letters. Students are invited to add
important questions of their own.
Biography Poem 2 (for use with Chapter 2)
Students gain more information about Sarah from her letters and create a second biography poem about her. Using the same writing template, students create a
biographical sketch about themselves.
Letter (for use with Chapter 2)
In this lesson, students introduce themselves to Sarah, writing about their special interests and unique talents. They write “what they are” and “what they are
not”!
Pesky Paragraph (for use with Chapter 2)
Caleb worries that Sarah will think he is pesky and will not want to stay. Students make guesses what pesky means, confirm or modify their guesses with a
dictionary, and write paragraphs about times they were loud and pesky.
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SARAH, PLAIN AND TALL, continued
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LESSON
LESSON CONTENT
Talk-To-Me Poem (for use with Chapter 3)
Imagine that objects in nature could talk! Students do just that to write questions in free verse poetry for things like seashells and pinecones.
Smart Souvenirs (for use with Chapter 3)
Caleb says moon snails and sea stones from Maine are very smart. In this activity, students analyze an object from nature in their home state and write what it
does that is very smart.
Wish List (for use with Chapter 3)
Anna wishes everything would be perfect for Sarah so she would stay with them. In this lesson, students compose their own wish lists that would make things
perfect.
Word Picture (for use with Chapter 4)
Descriptions are an important part of narrative writing. In this activity, student authors learn to use all five senses to describe interesting places and special
events.
Persuasion (for use with Chapter 4)
Students imagine they are Caleb or Anna and build a paragraph that would persuade Sarah to stay. They learn to introduce a main idea in a topic sentence, add
supporting details, and close with a summarizing statement.
Family Album (for use with Chapter 5)
All families need a little excitement! Students share in a fun-filled experience with the Witting family and compose stories about memorable times with their
own families.
I Hate Winter (for use with Chapter 6)
Caleb hates winter but Anna loves it. In this lesson, students explore two sides of an issue and complete a poetry form that demonstrates how a person can feel
two ways at the same time about something.
Used to Be (for use with Chapter 7)
In this activity, students explore the ways Sarah changes her beliefs and behaviors as she learns to appreciate and adjust to life on the prairie.
Diamonte (for use with Chapter 7)
With a diamonte poem, students explore the pull between opposing views, characters, or settings in literature. Students learn to begin this diamond-shaped poem
with a description of one concept and make a transition in the middle of the poem to the opposite concept.
Just Because (for use with Chapter 8)
Students list the ways Sarah begins to feel at home with the Witting family on the prairie. To relate Sarah’s feelings to their own experiences, students review
times they began to feel at home in new surroundings.
Color My World (for use with Chapter 8)
Sarah feels at home on the prairie when she sees the colors of the sea during a summer squall. In this lesson, students paint a word picture of a scene from
Sarah, Plain and Tall and search for interesting color words to enhance their writing.
Story Frame - Character (for use with Chapter 9)
Students examine the protagonist in the story by completing a story frame that summarizes the most important things about Sarah.
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SARAH, PLAIN AND TALL, continued
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LESSON
LESSON CONTENT
Story Frame - Setting (for use with Chapter 9)
In this story frame, students list key words that are evidence to the time and place of the story.
Story Frame - Plot (for use with Chapter 9)
Students analyze the plot of the story by completing a template that outlines the beginning situation of the story, the ensuing events, the conflict, the resolution,
and the story ending.
Four Seasons (for use with the Epilogue)
Students learn that authors organize narratives in a way that shows the passing of time. In Sarah, Plain and Tall, Patricia MacLachlan uses the four seasons as a
background against which her story unfolds. Students review the events of each season in the book and create a poem about the things that seasons bring.
Cinquain (for use with the Epilogue)
In this lesson, students compose cinquain poems that describe Sarah. Students must decide if the two descriptive words from the title - plain and tall - are good
choices for the second line of their cinquains, or if they would like to choose two other words that fit their perceptions of the character they have grown to know.
Sarah Sequel (for use with the Epilogue)
Students write an original chapter as a sequel to Sarah, Plain and Tall. They receive coaching to plan the details of their stories, including major and minor
characters, story setting, problem and resolution, plot surprises, and a story ending.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
ECOLOGY WITH SEUSS
Elementary Novels Bundle I, Grade Levels 3-6
Based on The Lorax by Dr. Seuss, this product contains thirteen writing activities which range from pure language arts poetry and creative writing to persuasive essays on
environmental dilemmas.
Handouts:
The Music Box Story
The Kreepingkrud Dilemma
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LESSON
LESSON CONTENT
Predict the Story
Children read the first three pages of The Lorax and study the pictures. They discuss Dr. Seuss’s question about what the Lorax was, then try to guess. They
predict why he was “lifted away,” and where they think the Lorax might have gone. Finally, they try to guess a major theme of the book and put it into words.
Made-Up Words
Dr. Seuss made up words which sound wonderful and are fun to say. Often his made-up words contain a real word the children will recognize. Or, they sound
the way Dr. Seuss wants the reader to feel.
In this two-part activity, students begin by quickly typing one or two words they think tell the meaning of made-up words in The Lorax. Next, they answer
prompts that include the made-up words and put them into an imaginary situation. The made-up words are:
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Grickle-grass
Gruvvulous glove
Whisper-ma-Phone
Snergelly hose
Rippulous pond
Super-Axe-Hacker
Gluppity-Glup
Schloppity-Schlopp
Once-ler
Thneed
Lerkim (place where the Once-ler lives)
Need or Want
Students talk with a friend, writing partner, or group about things they would really like to have, then list them. They discuss differences between a want and a
need and label and sort items on their lists of wants or needs.
Next, students write their needs and wants into sentences, such as:
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ECOLOGY WITH SEUSS, continued
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LESSON
LESSON CONTENT
“I need < > because”
“I want < > because”
To call attention to how some needs are created, students read about a boy named Jason who sees a walkie-talkie advertised on television. Then they answer this
question: What might you do to get something you really want but don’t need?
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Finally, they do a QUICK WRITE, telling why they think it is (or is not) important to know the difference between a need and a want.
Something Everyone Needs
In the Lesson “Need or Want,” students examined differences between a want and a need. This activity has them think of and describe one thing (except food)
that, in their opinion, everyone in the whole world really, really NEEDS. They add their ideas to a list, then choose one thing they feel strongly about. They
complete the prompt below:
“A Thneed’s a Fine-Something-That-All-People-Need!” said the Once-ler. I believe “a Fine-Something-That-All-People-Need” is < >, because < >.
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Students share ideas with peers by printed copy or by reading off the computer screen.
Write an Advertisement
Children imagine the Once-ler has hired them to write and produce an ad to sell Thneeds. They decide on how they will sell to customers, using appeals such as
economy, quality, and group identity. They write ad copy, including setting, action, and dialogue. The activity encourages working in small writing groups.
Unless We Care
The circle of stones left by the Lorax contains the word UNLESS. At the end of the book, the Once-ler realizes the meaning of the word, and states that unless
we “care a whole awful lot,” nothing will change. In this activity, children think and write about those environmental problems we need to “care a whole awful
lot” about and what solutions there are to these problems.
They brainstorm a list of environmental problems including: too many cars, litterbugs, not the right kind of laws to protect our environment. Using their
brainstormed list as background, students complete the chant prompt below by entering an environmental problem in the first insert prompt and a solution in the
second.
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The problem of < >
has our world in a MESS,
and it will never get better UNLESS
we < >
The Book of Ten Rules
Students imagine themselves as Swomee-Swans from The Lorax. They are leaving the Truffula forest which has been destroyed by the Once-ler. They look for
and find a new home and must write Ten Rules which will protect their new home from being destroyed like the Truffula forest.
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ECOLOGY WITH SEUSS, continued
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LESSON
LESSON CONTENT
Personify
Students guess the meaning of the term personify, and then read a definition and examples, such as:
“The trees whispered a lullaby.” Only people whisper.
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They use the device of personification to bring to life The Lorax’s characters, objects, or machines, such as the Brown Bar-ba-loot, the Swomee-Swan, the
Humming-Fish, the Lerkim, or the Super-Axe-Hacker. They write rhyming verses in the manner of Dr. Seuss or write in prose paragraphs.
We Write Poems
Students type a list of made-up words that are fun to say and hear. They define their words by providing a meaning or description. Next, the task is reversed.
Students are given definitions or descriptions and make up the keywords. For example:
sneezledorp: a fuzzy little creature that sneezes a lot
twitterpated: feeling all ticklish inside
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They choose a favorite made-up word and make a list of rhyming words (real or made up) to write a Dr. Seuss-like poem, using rhyme and rhythm.
Lorax Saves the Forest
Students take over as the Lorax to imagine changing the course of the story. As the Lorax, they think of three actions that might have stopped the Once-ler from
destroying the forest, and write about the results of each action. Using the action they think would work best, they write a story. They describe how the Lorax’s
new action affects the Once-ler and other characters in the story.
Sequel: Grow a New Forest
Students write a sequel to The Lorax. They imagine the Once-ler gave them the last Truffula Seed to plant a new Truffula forest, and write about how they
might grow and manage the forest.
The Kreepingkrud Dilemma
In this activity, students add to the story begun in the lesson “Sequel: Grow a New Forest.” They write a new chapter built around a new event. When the
Truffula tufts are needed to produce a much-needed medicine, decisions must be made between helping people by producing a product and meeting the needs of
the forest.
The Music Box Story
Children imagine the Once-ler as a young child. They imagine he has been given a very delicate music box by his father who got it from the boy’s grandfather
and he must care for it. Children decide on an event involving the music box and write a story in which they portray the Once-ler as a child. Then they compare
Boy Once-ler’s treatment of the music box with his grown-up treatment of the Truffula forest.
Page 11
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
YEAR OF THE BOAR
Elementary Novels Bundle II, Grade Levels 3-6
Students write poems, paragraphs, cheers, games, dialogue, similes, letters of advice, a letter to the author, and a sequel, as they read and enjoy Bette Bao Lord’s In the
Year of the Boar and Jackie Robinson. Students experience the problems of fitting into a new culture as they read this moving story about a young, immigrant Chinese
girl.
Handouts
Compare and Contrast Chart
Batter Up
Batter Up Stamp
Diamonte Poem
People and Places
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1
LESSON
LESSON CONTENT
It’s All Relative
Students can complete this activity after reading the first chapter (“January”) of In the Year of the Boar and Jackie Robinson.
In the first part of this activity, students comment about the advantages and disadvantages of living near many relatives. Then they write an opinion paragraph
about whether they would like to live near many of their relatives. Pairs of students can read, revise, and edit their opinion paragraphs.
In the second part of this activity, students write their own version of how “pick-up-beans” might be played. If there is time, you may want students to print
their descriptions. Pairs of students could then try to play the game following the directions in their descriptions. (Small squares of paper can be used instead
of lima beans.)
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Students can then revise the descriptions to match what actually happened when they played the game. You may want several students to demonstrate their
games for the entire class.
Celebrations
Students can complete this activity after reading the first chapter (“January”) of In the Year of the Boar and Jackie Robinson.
In the first part of this activity, students complete a poem about the Chinese New Year celebration. Before starting the writing activity at the computer, you
may want to read the description of the New Year’s celebration together with students and review the vocabulary words for the first chapter. (Please see the
Vocabulary Section of the supplement.)
In the second part of the activity, students complete a poem about a family, religious, or national celebration in which they participate.
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Now and Then
Students can complete this activity after reading the third chapter (“March”) of In the Year of the Boar and Jackie Robinson.
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YEAR OF THE BOAR, continued
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LESSON
LESSON CONTENT
In the first part of this activity, students think and write about the contrasts between 1947 and today in a “Then and Now” poem. Before students begin the
writing activity, you may want the class to discuss the following questions:
What was an icebox? How did it keep food cold?
Has anyone seen a wringer washer? How did it work?
What would it be like not to have television?
What conveniences do we have today that were not available in 1947?
How is life different today than in 1947?
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In the second part of the activity, students speculate and write about what life might be like fifty years in the future. Students may enjoy sharing their poems
comparing their lives now to those of children in the future. Students may want to illustrate their poems by drawing a picture of a child holding or using some
future object, wearing futuristic clothing, or traveling in a way we do not have today.
Just Like Shirley
Students can complete this activity after reading the fourth chapter (“April”) of In the Year of the Boar and Jackie Robinson.
Before beginning the activity, you might ask students the meaning of this statement: “The more things change, the more they stay the same.”
Compare and Contrast
Students can complete this activity after reading the fourth chapter (“April”) of In the Year of the Boar and Jackie Robinson.
In the first part of this activity, students complete compare and contrast poems about China and Brooklyn. In the second part of the activity, they write poems
comparing and contrasting the grade they are in now with a lower grade.
Before students begin writing, you may want to discuss the words “compare” and “contrast.” To compare is to tell how two things are similar; to contrast is to
tell how two things are different. You may want to use the handout entitled, “Compare and Contrast Chart,” as a class activity to help students learn to
construct a compare and contrast chart before they create one with the word processor. (You can use the chart on the handout to compare and contrast any two
items.)
Remind students to use the arrow keys, not the space bar, to reach the indicated markers in the prewriting chart and in the poem comparing and contrasting
Brooklyn and China.
6
Batter Up
Students can complete this activity after reading the sixth chapter (“June”) of In the Year of the Boar and Jackie Robinson.
In the first part of this activity, students first express opinions about American sports, then describe a stamp honoring a person of their choice. The handout,
entitled “A Stamp In Honor of _____” lets students illustrate the stamp they wrote about in the activity.
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YEAR OF THE BOAR, continued
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LESSON
LESSON CONTENT
In the second part of the activity, students first create new games, then write cheers for Shirley and for someone else. If time allows, you might want to select
one of the games invented by students and read the rules. Have students organize teams and play the game at recess or in gym class. Students may enjoy
having their cheers printed and posted on a class bulletin board.
7
The handout, entitled “Batter Up” lets students use their math skills to determine the batting averages for Shirley and her friends.
Writing Dialogue
Students can complete this activity after reading the seventh chapter (“July”) of In the Year of the Boar and Jackie Robinson.
In the first part of this activity, students write dialogue between Shirley and Fourth Cousin. In the second part of the activity, students write dialogue between
Shirley and Toscanini.
8
Students may enjoy using part of their dialogue to write and act out a short play.
A Wonderful Challenge
Students can complete this activity after reading the eighth chapter (“August”) of In the Year of the Boar and Jackie Robinson.
In the first part of this activity, students complete a poem about a “wonderful challenge” that Shirley had to face. In the second part of the activity, they write
about their own wonderful challenges.
Before beginning this activity, you may want the class to discuss the following ideas:
What are the advantages of looking at difficulties as “wonderful challenges?”
How can one’s attitude toward a problem help towards solving it?
9
10
Students might enjoy printing a copy of their “wonderful challenge” and illustrating it in some way..
Dodging Bullets and Arrows: Vivid Writing
This activity can be completed after students have read most of the story.
In this activity, students write simile poems about the sea, then review the text for examples of vivid writing. Before beginning this activity, you may want to
introduce or review similes with your class.
Diamonte Poems
This activity can be completed after students have read most of the story.
The diamonte (dee-ah-mahn-tay) is a poem that shows contrast. It has seven lines and can be a challenge to write! In this activity, students first write diamonte
poems about the differences between China and the United States, then write diamonte poems about themselves. Before beginning this activity, you may want
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YEAR OF THE BOAR, continued
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LESSON
LESSON CONTENT
to distribute and discuss the handout entitled “Diamonte Poem.” (You can also use the handout to create an overhead transparency.) Students will need to
become familiar with the poem pattern and shape. They will also need to note that the contrast occurs in the second half of the fourth line.
Before beginning this activity, you may want to distribute and discuss the handout entitled “Diamonte Poem.” (You can also use the handout to create an
overhead transparency.) Students will need to become familiar with the poem pattern and shape. They will also need to note that the contrast occurs in the
second half of the fourth line.
11
Remind students to use the arrow keys, not the space bar, to reach the indicated markers. The markers are there to help students write the diamonte in a
diamond shape. The markers can be deleted when the poem is completed.
Letters of Advice
Students can complete this activity after reading most of the story.
Since there are three parts to the activity, you may want students to complete only one part at a time.
In the first part of this activity, students imagine they are Shirley and write a letter asking for advice. Then students write a letter of advice in response to
Shirley.
In the second part of the activity, students imagine they have moved to China and write a letter to Shirley asking for advice. The students then respond from
Shirley’s point of view.
12
In the third part of the activity, students write a letter to a writing partner asking advice about something in their own lives. Their writing partners respond in a
short letter.
Author, Author!
Students can complete this activity after reading the entire story.
In the first part of this activity, students write questions and comments about the story. In the second part of the activity, students use their notes to write a
letter to the author, Bette Bao Lord.
Before students begin this activity, tell them that they will be sending their letters to
Bette Bao Lord, the author of In the Year of the Boar and Jackie Robinson. Because their letters will be sent to Ms. Lord, motivate students to spend time
planning, revising, and editing their letters. Encourage students to help each other revise and edit letters.
If necessary, review how to use the move function of your word processor since some students may want to move some of their notes into the actual letter.
As of 1990, Bette Bao Lord’s address was:
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YEAR OF THE BOAR, continued
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LESSON
LESSON CONTENT
In care of Bao
626 Floyd Street
Englewood Cliffs, New Jersey 07632
13
Encourage students to share any responses with the class.
After That
Before beginning this activity, help students understand what a sequel is by giving them several familiar movie examples. Then use a story like “Goldilocks
and the Three Bears” or “Little Red Riding Hood.” Ask them to imagine what happened to Goldilocks after she ran away from the three bears’ house or to
Little Red Riding Hood after the wolf was destroyed.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
JULIE OF THE WOLVES
Elementary Novels Bundle II, Grade Levels 3-6
This novel study involves students in reading, discussing, and writing about the novel Julie of the Wolves. The book—organized as “Part I: Amaroq, the wolf”; “Part II:
Miyax, the girl”; and “Part III: Kapugen, the hunter”—is explored in sets of lesson activities for each part. Computer work within a lesson is intended to take the better
part of a class period, augmented by prior reading of text and class discussion. Pre- and post-writing questions amplify ideas met within the story. Suggestions for an
integrated classroom reading, writing, and discussing approach are contained in the “Procedures” section of each description. In addition, there are student handouts for
work apart from the computer.
Objectives:
• To read a literary selection with understanding and enjoyment
• To demonstrate understanding of a literary selection through discussion
• To deepen understanding of literature as life by exploring personal experience through writing
• To practice writing structures of language, including sentence, paragraph, letter, essay, article, description, sketch, and story
Handouts:
• Julie’s Route (2 pages)
• Survival (2 pages)
• Seeing in Colors
• Tradition and Change
• Signs and Similes (2 pages)
#
1
2
LESSON
LESSON CONTENT
Alone
Unlike many stories where “setting” could be any city or any town or any countryside, the Arctic “setting” is essential to Julie of the Wolves. Students think
about the setting and decide if the story could take place somewhere else, and why or why not. They answer questions to establish the relationship of Miyax to
her environment and write a description of the “tundra” as seen through Miyax’s eyes.
Students evaluate the comment that “the Arctic has sculptured life into compact shapes.” They compare popular views of “what wealth is” to the Eskimo
view, and write their ideas of how the Eskimo view of wealth helps Miyax to survive alone in the Arctic.
Wolf Tale
In contrast to the “big bad wolf” of “Little Red Riding Hood” and “The Three Little Pigs,” students write a new tale for small children. They write about a
“big black wolf” like Amaroq, including Eskimo ideas to common notions of wolves. They list Eskimo ideas about wolves as known to Miyax. For example,
wolves were “gentle brothers.” Students are told to let their imaginations go—to use new understanding about wolves as they write a “Wolf Tale.” Then, they
revise and share with writing partners and classmates.
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JULIE OF THE WOLVES, continued
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3
LESSON
LESSON CONTENT
Missing
Pretending to be reporters, students write articles on a missing person for the Point Barrow Times. They imagine they are gathering facts on Miyax by
interviewing people who knew her. They take notes on what they are “told” by, for example, the husband of Miyax. They review their notes and add
information using a guided who-when-where-what-why formula. Articles are drafted under the headline “Local Wife Missing.”
With writing partners, students review articles for facts and interest. “Interest” may be a telling quotation or anecdote about the missing person. For the “final
edition,” they write their final copy for the Point Barrow Times and give it to the “editor” for suggestions.
4
Student Handout 1: Julie’s Route
Assign on-going mapping activity to make a classroom mural or to complete in small groups or individually. In addition to mapping places and Julie’s route,
the map activity calls for making cutouts of Arctic animals (patterns provided on handout). Have students prepare oral reports on animals, their habitats, and
ecology.
Song
A gift of caribou was a life-giving source for Miyax. “She cut open the belly and lifted out the warm liver, the ‘candy’ of her people.” Students read on-screen
the song Miyax sings in thanksgiving as she cuts off the strips of caribou.
Amaroq, wolf, my friend,
You are my adopted father.
My feet shall run because of you.
My heart shall beat because of you.
And I shall love because of you.
Students tell in their own words why Miyax is so grateful, then write words they use when they are grateful to someone. They name a gift they are truly
grateful for, and the giver.
Miyax’s words of “thanks,” students are told, are simple, but she expressed them in song. Would they feel silly “singing” their thanks, they are asked; they
won’t know unless they try it. They begin writing a song of thanks by completing lines of the pattern Miyax used, then revise until their song of thanks reads
and feels “right.”
Student Handout 2: Survival
Students can add to this handout throughout their reading of the book. For example, under “controlling fear” (“try something different—you’re probably
doing something wrong”), students list things Julie did, such as singing, rhyming, keeping busy, and combining the known with the unknown.
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JULIE OF THE WOLVES, continued
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LESSON
LESSON CONTENT
Home
Students are referred to drawings in the text for Part II, picturing Miyax and her father outside their house. They work from a factual description of the
drawing provided on-screen, and are asked if a “house” or a “home” is described and to tell why they think so. They list objects, colors, and sounds that show
how Miyax felt about “the home inside her heart.” Next, they write a factual description of the “place” where they live just as a stranger walking past might
describe it.
A second description has students describe a “home.” It may be the house they live in or a place inside their hearts. Students reread their “My ‘Home’”
descriptions to add specific objects, colors, sounds, and figures of speech. Examples of each are given, such as:
“The sealskin kayak...glowed as if the moon had been stretched across it and its graceful ribs shone black.”
Students are encouraged to team up descriptions with a photograph, drawing, or collage, and to share or save for their private journals.
Student Handout 3: Seeing in Colors
6
Bladder Feast
Students write a letter to a friend describing what they remember about the celebration of the Bladder Feast, as recalled by Miyax. They begin by listing
something remembered under headings such as “Colors,” “Feelings,” “Thoughts,” and “People.” Their letters are to include their reactions, either as an
outsider or as an Eskimo.
Next, they think about a “feast” or festival in their own community, and list memories of the occasion as they did for the Bladder Feast. This time, however,
the tables are turned when Miyax shows up at the festivities. Students write a letter from Miyax to her father, Kapugen, to tell him what she thinks about all
the sights and sounds she hears and sees.
7
Earth
Understanding the earth from the Eskimo point of view is a basic theme of the story. Students write about Miyax as a small child, making up words “about the
seal who wanted to be a coat.” Then, they read words she might have sung, written from thoughts and feelings in the story:
Seal of silver and gold
Your fur keeps out the cold.
My body’s skin is much too thin
To keep away the Arctic wind.
Your fur, great seal, my father takes
A warm fur coat my father makes.
Thick and fine, silver-gold hair—
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JULIE OF THE WOLVES, continued
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LESSON
LESSON CONTENT
No seal could want a coat more rare!
8
They write about the Eskimo idea of being thankful for the seal’s gift of fur. Students choose from words (for example, “brother”) and write a short paragraph
to show how the word fits an Eskimo understanding of Earth. They write an “earth song” Julie might make up. They begin by thinking about Arctic animals,
and write a word or two after each animal listed. They note an idea they’ve learned about how Eskimos view the sea and the land. Finally, they write their
“earth song” as though they were Julie, speaking or singing a song of thanks.
Changes
Students write their first, most immediate reactions to the statement “Miyax became Julie,” a critical point in the story. They write about a specific Eskimo
tradition and tell why they think it was practiced by Eskimos. They consider if the custom of arranged marriages may be necessary in some societies, and tell
why or why not.
Questions about a different culture lead students to step into imagination. They pretend that, like Miyax, they are swept up from home and taken to live
among people whose language is not their own. They give themselves a new name, new relatives, a new language, and briefly describe their new
surroundings. They change or add to their ideas as needed to write a story with the title “The Day My Life Changed Forever.”
Student Handout 4: Tradition and Change
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Hope
Alone in the vast Arctic, Miyax does not give in to helpless fears. Instead, she looks to nature around her for hopeful signs. Student’s react to passages from
the story that show nature is her guide and teacher. They tell what Miyax sees as a sign of hope of something to come. For example, they tell what change in
the weather is forecast by:
“At sunset the clouds were dark and soft-edged like bears.”
Examples of Eskimo use of plants, animals, and temperature are asked for in discussing traditional Eskimo ways of changing “the harsh Arctic into a home.”
They name things Miyax can do with her ulo, needles, and matches—things she considers essential to her survival. Students agree or disagree with her
choices, telling why or why not. Finally, they choose one quality of Miyax’s they would most like to have—one that helps her to survive—and write an “If I
Were Miyax” sketch about themselves.
Student Handout 5: Signs and Similes
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Dance
A quotation sparks students to act as choreographers:
“She stepped forward on the vast stage at the top of the world and bowed to her immense audience.”
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JULIE OF THE WOLVES, continued
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LESSON
LESSON CONTENT
In writing, students design a set and create a dance, showing Miyax dancing at the top of the world. Before they write, they read through a list of
choreographer “To-Do’s.” For example, they name the principal dancer and describe the costume and any others on stage, such as birds and animals. They
use objects, colors, and lighting in describing “the set.” They describe movements of the dancer(s) “as the curtains open....”
11
Students tell what they see and hear happening on stage. A list of transition words is given, such as: next, after that, then, suddenly, from the
right/left/center/downstage. Working in small groups, they make “cut and paste decisions” to decide which parts of a team’s creations will work best to show
the dance “at the top of the world.”
Fitting In
Students write their first, most immediate reactions to this passage:
“Out here she understood how she fitted into the scheme of the moon and stars and the constant rise and fall of life on the earth.”
Another excerpt tells more about how Miyax fit into her world:
“Even the snow was part of her, she melted it and drank it.”
Using the above sentence as a pattern, students write more details to tell how Miyax fitted into her world. They choose from items shown or others they
remember:
snow wolves caribou ice lemmings stars
Even the_______(was) (were) part of her, she ______________.
12
They consider how different the Eskimo idea of “fitting in” may be from the way they think about fitting into their surroundings, and list ideas that mean
“fitting in” for them—for example: getting along with people.
Hard Choices
Like the Eskimo game of tug-o-war, Miyax is pulled back and forth. She sings “that the hour of the wolf and the Eskimo is over.” Students write their ideas
of the tug-o-war going on inside her mind and heart. They write their reactions to Kapugen when Miyax finds his house in Kangik, by considering if he did
what he had to do, and telling why or why not. They react to the Eskimo idea of “wealth” when Kapugen calls himself “rich.” And, finally, students tell how
they felt on reading “Julie pointed her boots toward Kapugen.”
Questions lead to writing about hard choices. They choose one of three titles to write about a hard choice, either their own, Julie’s, or one they know about.
They tell what they think was learned as a result of making the choice.
The last writing activity has students write about the ending of Julie of the Wolves. Was it a happy ending? They are to write why they think the story ended
as it did.
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TUCK EVERLASTING
Elementary Novels Bundle II, Grade Levels 3-6
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
Students think, speak, and write about Tuck Everlasting by Natalie Babbitt. Prereading activities, poetry, reading logs, and other writing activities result in a thorough
analysis of this delightful tale. Students express how the themes and ideas in Tuck Everlasting relate to their own lives, opinions, and values.
Language skills: Writing, reading, discussing, cooperative group decision-making
Writing processes: Prewriting, composing, sharing, publishing
Handout: Titles
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1
LESSON
LESSON CONTENT
A Path
This activity can be completed as soon as students begin reading chapter 1.
Natalie Babbitt begins the first chapter of Tuck Everlasting with a wonderful description of a path “trod out long before by a herd of cows who were, to say the
least, relaxed.” This path later became the road used by the villagers as they passed by the piece of woods which forms the centerpiece of this story. Students
list the most important words used to create the mood of “the road.”
Then they imagine a road being made by a force of nature of their choosing: carved by water; by deer, wild horses, or elk; or by wolves, sheep, tigers, or
elephants. They imagine how these animals would move through the natural vegetation; how they would eat and/or break the plant life. How would their feet
or hooves shape a path that would later become a road for people to travel?
Then students write a one-paragraph, detailed description of this path. The prompt below begins their description.
The road began as a path made by < >.
Materials: Students will need their Tuck Everlasting book at the computer to complete this activity.
2
3
Pre-Reading Writing Activity, Chapter 2
Before reading chapter 2, students write their predictions on what events and plot development will occur based upon chapter 1. In particular, the last
paragraph from chapter 1 provides foreshadowing of events in chapter 2. This paragraph is reproduced in the lesson. After writing all the predictions,
speculations, or hypotheses they can imagine, they consider a quote from the end of chapter 2 which helps them revise their original writing.
The primary objective of this activity is to provide the rich basis for a student-developed plot. Babbitt’s writing in chapter 1 sets the stage and stimulates
students’ imaginations. Then the students can take the plot in whatever imaginative direction they determine. It is not too important they predict the actual plot
development as written by Babbitt in chapter 2.
Runaway
Complete this writing activity after students read chapter 3.
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TUCK EVERLASTING, continued
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LESSON
LESSON CONTENT
A character study of Winnie is the focus of writing in this lesson. Students write their understanding of Winnie’s character and speculate on why she is
considering running away. Excerpts from chapter 3 are selected by the student and used to support their writing. Finally they write their own opinions about
what motivates young people to run away from home.
Materials: Students need their copy of Tuck Everlasting for reference as they complete this activity.
4
Secret Told
Use this activity after students have read chapter 7.
The essential theme of the book is clarified in chapter 7. The Tuck family explains to Winnie what has happened to them and why it was so important to them
that Winnie not drink from the fountain. In this activity lesson, students summarize the good and bad consequences of having drunk from the spring. They
then respond to this writing prompt:
If what they were saying is true, do you think they were blessed or cursed by drinking from the fountain?
5
6
Wings
Use this activity lesson after students have completed the reading of chapter 8.
In chapter 8, we are told: “Winnie, laughing at him, lost the last of her alarm. They were friends, her friends. She was running away after all, but she was not
alone. Closing the gate on her oldest fears as she had closed the gate of her own fenced yard, she discovered the wings she’d always wished she had.”
Students interpret and write about the symbolism in this passage, offering their own ideas for symbols with parallel meanings. The lesson concludes with
personal writing about what it would mean for students to “close the gate on your oldest fears and discover the wings you had always wished you had.”
Describe Home
Use this writing activity after students have completed reading chapter 10.
In chapter 10, Winnie looks at the Tuck’s home and compares it to the home she grew up in. Students list some of the key words and phrases Winnie uses to
describe and compare her home to the Tuck’s home. Then they write a description of their own home, or, if they prefer, an imaginary home. Emphasis is on
detailed descriptive writing which reveals the character of the occupants.
7
Materials: Students need their copy of Tuck Everlasting for reference as they complete this activity.
Moods
This lesson can be done at any time but is based on events and descriptions of Winnie’s stay with the Tucks found in chapters 16 through 19.
Students think and write about how Winnie’s mood keeps changing. Sometimes she feels so at home and excited to be with the Tuck family. At other times
she feels homesick and frightened. In the lesson is a model poem which Winnie may have written about how she feels.
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TUCK EVERLASTING, continued
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LESSON
LESSON CONTENT
Students think about and list places and events that make them feel happy and at home, and places and events that make them feel lonely, creepy, or unhappy.
Based on their lists and the model “Winnie” poem, students write a mood comparison poem. Their poem consists of pairs of sentences that make comparison
statements.
I feel happy when I get an “A” on my schoolwork.
I feel lousy when I get a “D” or worse on my schoolwork.
I feel happy when I see the sun rising or setting in bright, golden colors.
I feel nervous when the sun rises or sets in dark gray clouds
without any colorful light, just darkness turning into night.
8
Tuck Visits
Use this activity after students have completed the reading of chapter 12.
In chapter 12, Tuck takes Winnie for a rowboat ride on the lake at sunset. Mae has told Winnie that it is very important that she visit with Tuck. Mae feels
that Tuck has worked out his ideas about the problem of living forever and Mae wants Winnie to fully understand Tuck’s thinking.
Students explain why they think it was probably easier for Tuck to explain his ideas to Winnie in the rowboat than it would have been for him to just talk with
her in the house. They describe events from nature which Tuck uses to help Winnie understand his ideas about life.
After summarizing what they feel are Tuck’s main ideas about life, they choose a few sentences from Tuck’s speech to Winnie that illustrates Tuck’s thinking.
The lesson concludes with their personal reaction to Tuck’s ideas, and their response to this writing prompt:
If you had a chance, would you drink from the spring and gain immortality, or would you agree with Tuck and choose to be able to die?
9
Materials: Students will need their Tuck Everlasting book to complete this activity.
Two Views
Before students begin this activity they should be very familiar with the opposing lifestyles of Miles and Jesse. This requires reading of most of the book and
could benefit from classroom discussion prior to writing at the computer.
Jesse and Miles have different views of the world. Miles feels that if a person is going to take up space in the world, they should do something important and
try to make the world a better place. Jesse’s view is that a person should just try to enjoy life. Students discuss in writing whether they feel these two views
contradict each other.
These two views are related to views held by their families. Students describe actions and statements through which these views are expressed.
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TUCK EVERLASTING, continued
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LESSON
LESSON CONTENT
Then students express their own view about how life should be lived, describing their opinion about whether or not there is a conflict between living for
personal pleasure and living in order to contribute something to the world. Included in their writing are the choices they plan to make in order to live the kind
of life they believe in.
10
Finally they write about how they feel about people who choose to live the opposite kind of life from the one they are choosing.
Moral Dilemma 1
Students should complete reading through chapter 19 before doing this activity.
A topic of controversy is the breaking of the law described in Tuck Everlasting—both the murder, and Winnie’s part in helping Mae escape following the
murder. Since it is a controversial topic, we have duplicated the lesson for you to preview before assigning it. You can, of course, modify the contents of the
lesson.
In this lesson, students discuss and write about the killing of the man in the yellow suit. Students respond to the following writing prompts:
MORAL DILEMMA 1
In chapter 19, the man in the yellow suit explains his plans to the Tuck family.
What are his plans?
What do you think of what he hopes to do?
How are his plans for the spring different from the Tuck family’s plans?
Are both the Tuck family and the man in the yellow suit right in their ideas? Explain your thinking.
The first part of the last paragraph of chapter 19 is written below:
“But Mae’s face was dark red. ‘Not Winnie!’ she said between clenched teeth. ‘You ain’t going to do a thing like that to Winnie. And
you ain’t going to give out the secret.’ Her strong arms swung the shotgun round her head like a wheel. The man in the yellow suit
jerked away, but it was too late.”
Please consider the following question and write your response below:
Why do you think Mae was right or wrong to murder the man in the yellow suit?
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TUCK EVERLASTING, continued
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LESSON
LESSON CONTENT
Is murder ever justified? Please explain your answer.
Moral Dilemma 2
Students should read through chapter 23 before completing this writing activity.
A topic of controversy is the breaking of the law described in Tuck Everlasting—both the murder, and Winnie’s part in helping Mae escape following the
murder. Since this is a controversial topic, we have duplicated the lesson for you to preview before assigning it. You can, of course, modify the contents of
the lesson.
In this lesson, students discuss and write about Winnie’s part in rescuing Mae from the gallows. Students respond to the following writing prompts:
MORAL DILEMMA 2
In chapter 22, Winnie thinks of how she can help Mae escape. In chapter 23, she acts upon her plan and helps the Tuck family.
Winnie is choosing to act without regard for the law. Please explain why you think Winnie has the right or does not have the right to act in
this way.
12
Should Winnie be punished for helping Mae to escape? If yes, please explain what would be a just punishment. If no, why not?
Forever
Students should read through chapter 25, but not the epilogue, before doing this activity.
At the very end of chapter 25, Winnie pours her little bottle of water from the spring over the toad that is threatened by the dog. The very last line of the last
chapter is: “‘There!’ she said, ‘You’re safe. Forever.’” Students write their response to this action and discuss whether or not they would have done the same
thing. Then they speculate about whether or not Winnie will choose to refill her little bottle at the spring and drink the water when she is seventeen.
Writing about their personal viewpoints, students explain if they would drink from the spring and whether they would let others know about the spring.
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TUCK EVERLASTING, continued
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LESSON
LESSON CONTENT
Theme Poems
This activity should be done when the students have completed the reading of Tuck Everlasting.
Tuck Everlasting has many key concepts. By writing an acrostic poem around a key concept or a character, students are challenged to summarize their ideas
in a neatly organized way.
Students begin by brainstorming key concepts and characters and then create an acrostic poem. They are given several models such as the ones below:
M ae is
Always a mother
Enjoying and caring for her family
Worlds turn like a wheel
Healing all life through dying
Eternally turning
Every
L ife ending to make way for new life
14
Her Choice
Students should read through the book including the epilogue before doing this activity.
After reading the epilogue at the end of Tuck Everlasting, students respond to the following writing prompts:
CHOICE
Discuss the epilogue with a small group of students. Please list the main ideas that you think Natalie Babbitt is meaning to communicate to
her readers.
Please discuss with your group the epitaph for Winnie:
In Loving Memory
Winifred Foster Jackson
Dear Wife
Dear Mother
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TUCK EVERLASTING, continued
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LESSON
LESSON CONTENT
1870-1948
What is your group's reaction to the decision that Winnie made?
15
What do you think Natalie Babbitt is trying to express through Tuck’s reaction to the tombstone?
Cycles
Students should have completed the reading of the book before doing this activity.
Perhaps the key theme in Tuck Everlasting is that life upon the earth moves through cycles. The book opens with the image of a rotating ferris wheel and it
ends with the sound of Mae’s music box. Students respond to the following writing prompts:
Can you see a similarity between the ferris wheel and the music box?
Can you think of or find any other images or ideas that relate to cycles, particularly life cycles, on the earth?
In the epilogue, we learn that Winnie chose to complete her own life cycle. Tuck’s response, just after discovering Winnie’s grave, is grief,
and he says, “Good girl.” Please explain why you think Tuck says, “Good girl.”
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
SENTENCE WRITING I
Elementary Skills Bundle I, Grade Levels 3-6
Through computer activities and modeling, students practice creating sentences. These activities provide practice with sentence fragments, compound sentences,
adjectives, adverbs, and simple paragraphs.
Language Skills:
• Understanding balanced sentence structure through practice exercises
• Recognizing sentence fragments
• Using adjectives and adverbs to create more interesting sentences
• Using one or more sentences to form simple paragraphs
#
1
2
LESSON
LESSON CONTENT
Favorites
A variety of activities leads students to think and write about some of their favorite things. Topics covered include color, number, shape, music, food,
entertainment, and people. Sentence starters are provided for students to complete.
Adjective Sentences
Adjectives are taught using a model. Students start by adding one adjective to a noun in a sentence, then work up to adding five adjectives.
1.
2.
3.
4.
5.
3
4
My sheepdog is ugly.
My hairy sheepdog is ugly.
My gray, hairy sheepdog is ugly.
My clumsy, gray, hairy sheepdog is ugly.
My huge, clumsy, gray, hairy sheepdog is ugly.
Students are encouraged to use adjectives to color their sentences.
Adverb Sentences
Model sentences are provided to demonstrate how adverbs help to describe verbs. Then students add adverbs to verbs in five sentence starters.
1. Alice talked quietly to me.
2. Alice talked loudly to me.
3. Alice talked sadly to me.
4. Alice talked angrily to me.
5. Alice talked sweetly to me.
Sentence Fragments
A list consisting of sentences and sentence fragments is provided, and students are asked to select the complete sentences. Next, students are given fragments
and asked to make complete sentences by adding verbs or subjects.
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SENTENCE WRITING I, continued
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5
LESSON
LESSON CONTENT
Good News - Bad News
Students are provided with model sentences. One of the sentences is good news, the other is bad news.
GOOD NEWS: I bit into a nice, fresh, juicy apple.
BAD NEWS: The apple had a worm in it.
6
Students are encouraged to follow the models and create five of their own good news/bad news sentences. Excitement can be added to this activity by having
students work with a partner. One partner creates the good news sentence, the other creates the bad news sentence. After finishing their sentences, students are
asked to make their sentences more interesting and colorful by adding descriptive words.
Telling More
Students are asked to explore the three topics below by completing sentence starters.
1. The most beautiful thing in your house
2. Your favorite toy
3. Something you bought with your own money
7
Through the completion of more sentence starters, students expand their descriptions. Then they use these ideas to write a short paragraph about the topic.
Again, sentence starters are provided to help the students.
Colorful Sentences
Students learn that a sentence is composed of nouns and verbs, with adjectives and adverbs added to help describe, or color, the nouns or verbs. This model of a
simple sentence is shown.
EXAMPLE
ADJECTIVE
Blue
NOUN
cars
VERB
drive
ADVERB
slowly.
Students are encouraged to write their own lists of nouns, verbs, adjectives, and adverbs. After composing four sentences from this list using the model as an
example, they choose one sentence they like and add two more sentences to form a simple paragraph.
Students choose from the following word bank:
ADJECTIVE
tiny
green
smelly
funny
NOUN
mouse
bike
sock
Fred
VERB
speaks
spins
jiggles
swims
Page 30
ADVERB
warmly
crazily
proudly
strangely
SENTENCE WRITING I, continued
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8
LESSON
LESSON CONTENT
prickly
potato
crumples
loudly
Name Play
This activity uses names as motivation for students to practice writing sentences. Name sentences are done somewhat like acrostics but in a horizontal format.
Name: JO
Sentence: Juggle Oranges. - Or - Jam Oozes.
9
Students are asked to write three sentences based on the letters in their names. They are encouraged to choose and use one of the sentences as the topic sentence
for a short paragraph.
Easy Paragraphs
How to write a paragraph is explained. Then a topic sentence is provided to help students get started writing simple paragraphs. For example:
“A gorilla makes a wonderful pet for two reasons.”
Students simply write two reasons and they have a paragraph. Students write four paragraphs this way. Then, a topic sentence is provided without the main
idea, and students fill in the missing topic.
“If I had enough money, I would buy < > for two reasons. < > ”
Page 31
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
SENTENCES TO PARAGRAPHS I
Elementary Skills Bundle I, Grade Levels 3-6
Lessons in Sentences to Paragraphs I give practice in writing paragraphs which include the use of our senses, things we hate/love, sticking to the topic, and many more
themes. Modeling and paragraph starters are used to help students. Lessons are arranged so students begin working with main ideas; however, lessons may be used in
any order for reinforcement of skills already taught.
#
1
LESSON
LESSON CONTENT
Simple Paragraph
A sentence starter is provided, but the actual topic is left up to the student to choose. Examples are:
1.
2.
3.
4.
There are two things which I love to do on Saturday. < >
A gorilla makes a wonderful pet for two reasons. < >
There are two ways to keep your room clean. < >
I would like to make two changes in school. < >
Another example to help students get started is the following:
If I had enough money, I would buy < > for two reasons. < >
2
3
4
Students are given ideas for topics, yet they have plenty of latitude in their specific choices.
Alpha Paragraph
Students choose a topic then use the letters of the alphabet to help them think of things to say about the topic. The first topic, television, is provided but students
choose their own topics for the remainder of their paragraphs. Once they have listed ideas next to the letters of the alphabet, they take the best of those ideas to
make a paragraph. They must produce a topic sentence, then at least three supporting detail sentences, and a summary sentence.
Senses
This activity asks students to use their senses to describe an event or a place. They are asked to consider all five senses as they write ideas about a cave, a
dentist’s office, a friend’s birthday party, their first day at school, the school cafeteria, and a day at the beach. After exploring these topics, students develop a
four-sentence paragraph on the topic they like best.
Just Hate Just Love
This activity concerns likes and dislikes using the sayings “Don’t you just hate” and “Don’t you just love.” Students are asked to add to lists of likes and dislikes.
They then choose one phrase, make it into a sentence, and use it to write a three-sentence paragraph.
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SENTENCES TO PARAGRAPHS I, continued
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5
LESSON
LESSON CONTENT
Keep to the Subject
Paragraphs, with the topic sentences in brackets for identification purposes, are provided. Students are asked to delete any sentences that are not related to the
topic. An example:
[My Uncle Nick lives on a farm.] He raises corn and soybeans as cash crops. I walked in a cornfield once. He also raises pigs, cattle, and sheep. He
works long hours taking care of his crops and animals. I worked hard at school today.
6
After completing a number of these paragraphs, students are asked to add sentences that don’t relate to a topic and then to challenge a friend or classmate to
remove the extraneous sentences.
Summary Sentence
This activity helps students understand that paragraphs are made up of related sentences based on a topic. They are provided with two sentences and are asked to
complete the paragraph by adding a summary sentence. An example:
7
Peter smiled as he watched the television show. He was watching his favorite comedy. < >
Sentence Mix
Students are presented with out-of-order sentences that need to be rearranged to make a sensible paragraph. The steps involved are:
8
1. Find the topic sentence to begin the paragraph.
2. Then, look for key words that link certain sentences together. Order the supporting detail sentences after the topic sentence.
3. Finally, put the summary sentence at the end of the paragraph.
Add Details
A paragraph consisting of a topic sentence, a detail sentence, and a summary sentence is provided as a starter. Students must add at least two more detail
sentences to the paragraph. Some examples of paragraph starters are:
I would love to have a gorilla for a pet. They have great personalities! < > It would be the best pet a person could have.
The dream was the scariest one I have ever had. It seemed very real. < > I hope I never have another dream like that one.
When they have completed this activity, students are asked to write a five-sentence paragraph with a topic sentence, three detail sentences, and a summary
sentence.
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SENTENCES TO PARAGRAPHS I, continued
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9
LESSON
LESSON CONTENT
Time Order
Students are provided with a word bank of linking words that help a paragraph flow. They are asked to put these linking words in their proper place in the model
paragraph provided. An example:
WORD BANK:
after
first
10
afterward
later
at last
next
before
second
finally
then
until
third
As I lay in my sleeping bag, the sunset behind a distant hill. The sky turned dark. Stars appeared and shone brightly. The moon rose in the east. What
a peaceful evening.
Town Names
This activity sparks the interest of students and motivates them, by providing informative paragraphs about how certain towns arrived at their rather unusual
names. The problem is that words are missing in the paragraph and students must use context clues to provide the missing words. An example:
LONE EAGLE PARK, COLORADO
Charles Lindbergh is < > for being the < > to make a nonstop solo flight across the Atlantic Ocean. The world considered him a < >. A small town in
Colorado wished to < > by naming a mountain after him. But the U.S. Board of Geographic Names will not allow mountains, rivers, or other
geographic features to be named after living people. So the town decided to < > by using Lindbergh’s nickname.
11
Once students have completed this activity they are provided with strange names of other towns and asked to make up their own stories of how these towns
acquired their names.
Separate the Sentences
Paragraphs are provided with ending punctuation and beginning capital letters missing. Students must insert appropriate punctuation marks and capitalize the
first word of the sentences. Some hints are provided to help students pay attention to such things as exclamation points. An example:
SEPARATE THREE SENTENCES: Use periods and capital letters between sentences.
Tanya Smith is a bubbly, busy fifth grader she has curly hair, and her braces shine in the sun when she smiles she would like to be a lawyer some day.
12
Once they have completed the paragraphs, they are asked to make up their own paragraph, take out the punctuation, and ask a classmate to correct the paragraph.
Title Topics
For this final activity, students are given the topics for paragraphs but no paragraphs. They are asked to create paragraphs based on these topics. The following
topics are provided:
The Dream, The Worst Fight in the World, A Pet I Wish I Had, My Favorite TV Program, My Best Friend, THUD!
Page 34
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
PARAGRAPHS TO ESSAYS I
Elementary Skills Bundle I, Grade Levels 3-6
Lesson in Paragraphs to Essays I give practice in writing paragraphs, beginning with the topic sentence and progressing through techniques and strategies such as
summarizing, ordering, specifying, and describing. Lessons are arranged so that students begin working with main ideas. However, lessons may be used in any order for
reinforcement of skills already taught.
#
1
2
3
4
5
LESSON
LESSON CONTENT
Topic Sentences
Students read examples of topic sentences which are too broad, too narrow, and just right to express the main idea of a paragraph. Next, they are given titles,
such as “How to Bake Cookies” and “How to Trap a Boa Constrictor,” and are asked to write a topic sentence for each title. With a writing partner, students
decide if a topic sentence is too broad, too narrow, or just right and then edit and revise.
Students select one of their topic sentences to write a “how-to paragraph” to include all of the steps needed in the process they describe. They are given a list of
transition or direction words, such as first and next, to help them order the steps in their paragraphs.
Summary Sentences
Students work with three-sentence paragraphs. The first, or topic, sentence is to state the main idea. The second sentence adds information and the third
summarizes or highlights the main idea. A series of two-sentence paragraphs is presented for students to complete with a third and final sentence.
Sense It
Students are given titles and write descriptive sentences using the five senses to make writing lively and fun to read. For example, for a title “In a Haunted
House” students list several words to describe what they imagine for each of the five senses. Next, they select one of their lists of descriptive words to write a
brief paragraph. Their paragraphs are to include a topic sentence, two or more detail sentences, and a summary sentence.
Keep to the Subject
Students read a series of high-interest paragraphs on subjects such as “A Human Cannonball” to which unrelated sentences have been added. They delete any
sentence which is not about the topic, or main idea, of a given paragraph. Next, they check their revised paragraphs with the paragraphs as originally written.
Examples
To appreciate the heightened interest examples lend to writing, students read simple sentences of fact. For each set of sentences, they write two more sentences
giving illustrative examples. For example, they read these sentences:
The dog was very excited.
He barked and ran about the yard.
Next, they answer “what” and “how” questions to help them decide upon ideas they might add to the set of statements.
6
A second series presents topic sentences only. Students add sentences to each, then select one set to develop into a related brief paragraph.
Sentence Mix-Up
Students are presented three exercises, each containing a series of related sentences in a mixed-up order. They order the sentences, keeping in mind that there
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PARAGRAPHS TO ESSAYS I, continued
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LESSON
LESSON CONTENT
may not be just one correct order, but that some choices of ordering will be better than others. They are given these steps to follow:
7
8
9
10
1. Find the topic sentence to begin the paragraph.
2. Then, look for key words that link certain sentences together. Order the supporting detail sentences after the topic sentence.
3. Finally, put the summary sentence at the end of the paragraph.
Keeping Things in Order
Students are given two exercises, each containing related sentences of a process which calls for ordered steps. Students are asked to order the events in which
they can be expected to occur. After rearranging the sentences, students should have a clear, well-ordered paragraph.
Spicy Words
Students read paragraphs with overworked words, such as big. They choose words of their own or from a word bank to replace overworked words with “spicy”
words. Next, they choose an overused word from a word bank and write a five-sentence paragraph using that word as many times as they can. They list as many
synonyms as they can for the overused word, using a thesaurus if they need to. They edit their paragraph by replacing their overworked word with a spicier
synonym.
Tired Words
This activity has students replace overworked, or “tired,” words in a series of paragraphs with specific words or phrases. They replace words used often in
conversation, such as really and neat, that lend vagueness to writing.
Make Me
Students bring paragraph-writing skills together by choosing from a list of topics and writing five-sentence paragraphs. The “Make Me” subjects ask students to
create an emotion or feeling in their readers - for example, to make them laugh, cry, or wonder. They share paragraphs with a writing partner and answer
questions such as:
Is there a good lead-in or topic sentence which catches your interest?
Is there a good concluding sentence?
Answers are discussed and paragraphs revised and edited.
Page 36
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
CHECK THE DECK
Elementary Skills Bundle II, Grade Levels 3-6
Using Check the Deck, students experiment with language to develop colorful, descriptive language using adjectives and adverbs, combining and rewriting sentences, and
describing through simile.
These activity lessons are designed to accompany the text Check the Deck (grades 3 and 4), the first in the Stack the Deck series. Most of the activities are taken directly
from the text but with adaptations for the screen. In order to reduce the amount of text while increasing student’s interactivity with text, we selected only those activities
that benefit directly from the use of word processing or which are easier to perform in word processing than in printed format.
Check the Deck lessons can be used with or without the book. Optimum practice, however, assumes the book activities are integrated with the computer activities per the
suggestions in this supplement.
The Check the Deck book can be ordered directly from:
The Stack the Deck, Inc.
P.O. Box 429
Tinley Park, Il 60477-0429
1-800-253-5737
Handouts
Checklist for Lesson 10
Sentence Opening Sheet
#
1
LESSON
LESSON CONTENT
Colorful Words
Adding colorful descriptive words (adjectives and adverbs) to student writing is the focus of this opening lesson. Students may work singly or in pairs.
Activity 1
Students insert colorful words that describe phrases, such as “how a bakery smells.”
Activity 2
Students select and mark with brackets their favorite words from a set of describing words.
Activity 3
Students extend a list of related words: big, large, < >, < >, < >
Activity 4
“Who Am I ?” riddle. They insert words to describe themselves, print and exchange with classmates, and attempt to guess identities from descriptive words
only.
Key Terms: descriptive words, combining, comma
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CHECK THE DECK, continued
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LESSON
LESSON CONTENT
Combining Colorful Words
Students combine three simple sentences (each containing an adjective) into one sentence and apply the comma rule for adjectives in a sequence.
Students are introduced to the concept of sentence combining as a way to make sentences more interesting. Models show the difference between a set of short
sentences and a combined sentence which includes adjectives in a series separated with commas and the connecting word and.
The comma rule for this usage is presented with examples.
Practice 1
Students add an adjective to a sentence.
Dickson loves rich, spicy, and < > food.
Practice 2
Students add commas to a sentence containing adjectives in a series.
3
Practice 3
They replace missing commas in a short paragraph.
Similes
This lesson calls for lots of creativity. Students review the function of colorful words to describe people, places, animals, and things. They are reminded that
another way to describe is to compare using the words like or as, and they are introduced to the term simile. They warm up by typing in a few words to
complete similes. Working in pairs or groups is especially appropriate here.
Practice 1
Students match pieces of comparisons they often hear.
Example: hungry as a bear
Practice 2
They invent better similes than these by using their imaginations to complete partial similes.
Example: Space traveler Captain Rhonda Rocket was hungry as < >
Practice 3
They hunt for and mark a simile in a short piece of writing.
Key Terms: compare, simile
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CHECK THE DECK, continued
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LESSON
LESSON CONTENT
Descriptive
Writing process lesson: students get an authentic writing experience in which to practice descriptive language. They are also introduced to the Think Sheet, a
technique used throughout this series. Answering the prompts in a Think Sheet is an effective way to gather notes or an outline in preparation to write.
Teachers will want to decide in advance what they want students to do with the Think Sheet. Print? Share? Use as an outline for a first draft? Students
prepare, in this lesson, to create a descriptive travel brochure for a location in their community. The lesson can be completed by pairs or groups in
collaboration.
Brainstorm
Students generate a list of neighborhood places that are interesting and think of descriptive words.
Think Sheet
Directions are given for completing the Think Sheet with writing ideas. It is suggested to students that they copy and paste their best ideas from the Think
Sheet to the end of this lesson, and then turn the ideas into good sentences. They can then print, share, and use this draft when constructing the text for their
published brochure.
You may follow directions in the text (page 22) for constructing a brochure, if you wish. If using Media Weaver, students can easily use the three-column
format and the media menu to make beautiful folding brochures.
Key Terms: travel brochure, Think Sheet
5
Text References: page 22, creating a travel brochure from paper
Combining with Glue Words
Students review the glue work they did in Lesson 2 and are introduced to glue words before, after, when, because. They warm up by selecting the best glue
words to complete given sentences.
Practice 1
They copy and paste or type sentences into new combinations using the glue words before, after, when, and because.
Practice 2
Students are given short sentences to combine any way they like with after, before, when, or because to make new sentences.
Example: Deven read Charlotte’s Web. Deven made a book poster. < >
Practice 3
Students see models for combined sentences that begin with glue words. They notice the comma placement and then practice placing commas in sentences of
this type.
Key Terms: combining, glue words, comma
Text References: page 23, a drawing of the character Chi Chi the Anteater; pages 25 and 26, for more examples.
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CHECK THE DECK, continued
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6
LESSON
LESSON CONTENT
Imaginative Writing
Writing process lesson: students proceed from brainstorming through the first draft stage of an imaginative story. They complete a Think Sheet.
Students are given a situation: “In your story you will use your imagination and write about Super Turkey, who has super powers. The situation should be
dangerous. Super Turkey comes to the rescue to solve the problem. Your story should have a beginning, a middle, and an ending.”
Think Sheet
Students answer prompts to get their ideas flowing and a plot forming. They use their best responses to help them get started writing the first draft of their
story.
Key Terms: Think Sheet, first draft
Text References (Optional): pages 30-36, for art and examples
7
Checklist
Writing process lesson: revising and proofreading with peer checklist
Students are introduced to a checklist guide for revising. They print it from this lesson, attach it to a printed draft of the story in Lesson 6, exchange with a
partner, and complete the checklist as part of peer review.
They are encouraged to add artwork and copy the hints for better sentence writing.
Key Terms: checklist, revise
Text References (Optional): pages 39-40, with extra examples and practice with checklist
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CHECK THE DECK, continued
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8
LESSON
LESSON CONTENT
Sentences
Students make discoveries about sentence parts (subjects), compound subjects, and incomplete sentences. They practice stretching and fixing faulty sentences.
This lesson works well for students in collaboration.
Practice 1
Students mark the DOERS (subjects) in a set of sentences.
Practice 2
They combine pairs of sentences into new sentences with compound subjects.
Practice 3
Students make up sentences for given compound subjects.
Practice 4
Students do a warm-up exercise on recognizing fragments, then practice marking for sentences and fragments.
Key Terms: subjects, compound subjects, fragments
9
Text References (Optional): page 47, simple and compound subjects; page 48, “ I believe that” rule for testing fragments
Reporting
Writing process lesson: from Think Sheet to revising with peer review
Students create a detective’s voice and plan an imaginative report based on facts.
This lesson is most appropriate to individual work.
You may want to have students do this lesson in several sessions
1. Complete Think Sheet
2. Write first draft
3. Print draft and checklist for peer review and revision
Key Terms: report, voice
Text Reference (Optional): pages 49-53
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CHECK THE DECK, continued
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10
LESSON
LESSON CONTENT
Persuading
Writing process lesson: from warm up to revision
Student’s warm-up sentence skills by recognizing and deleting fragments.
They then answer prompts to create notes for a letter to their parents, in which they will try to persuade parents to get them a special pet.
You may want to have students do this lesson in several sessions
1. Complete Think Sheet
2. Write first draft
3. Print draft and checklist for peer review and revision
Key Terms: persuasive, argument
11
Text References (Optional): pages 63-66
Narrating (Telling a Story)
Writing process lesson: Think Sheet, first draft, reminders for peer review
Students warm up with a sentence combining exercise using connectors: and, but, or. They also practice applying the rules for quotation marks. Then they
complete a Think Sheet in order to plan and write a story about their worst accident.
You may want to have students do this lesson in several sessions
1. Do warm-up exercises
2. Complete Think Sheet
3. Write first draft
4. Print draft for peer review and revision
Key Terms: connectors, quotation marks
Text References (Optional): pages 83-88 and 98-100
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CHECK THE DECK, continued
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12
LESSON
LESSON CONTENT
More Glue Words
Students review the glue words before and after, and they practice new glue words as and while. They also practice transition words such as first and then to
make sentences flow better, and they review the associated comma rule. They practice these skills by editing and improving a set of “how to do it”
instructions.
Key Terms: glue words, transition words
13
Text References (Optional): page 110, comma rule
Write a Memo
Students share their new writing expertise by composing a memo to an unknown audience of future students. “Remember: a memo is longer than a note, but
shorter than a story or a report. Be brief, but be clear.”
They complete the by now familiar Think Sheet, create a memo using a standard memo format, and are encouraged to read aloud to peers. They ask each
other:
1. What did I just read to you?
2. Is there anything you do not understand?
3. What writing tips did you hear?
4. What one thing do you think you will remember?
The teacher may want to collect their best efforts and distribute these to next year’s class.
Key Terms: memo, audience
14
Text References (Optional): pages 111-113
Literature
Writing process lesson: brainstorming, planning, first draft, revision
Students write their own version of “terrible, horrible, no good, very bad day.” They warm up by recalling synonyms for “bad” and then complete a Think
Sheet to get ideas flowing. Like Judith Viorst, they choose a line to repeat in the story. They write a first draft and are given hints for revising.
Key Terms: synonym, first person
Text References (Optional): page 128
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CHECK THE DECK, continued
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LESSON
LESSON CONTENT
Doing Research
Students warm up with a review of glue words, adjectives in a series, and indenting paragraphs. They choose to report on dinosaurs or a planet and brainstorm
ideas with partners. After completing a Think Sheet, they organize notes by categories, and write a first draft. They are encouraged to add illustrations to their
final draft.
You may want to have students do this lesson in several sessions
1. Do warm-up exercises
2. Complete Think Sheet and gather facts
3. Write first draft
4. Print draft for peer review and revision
Key Terms: glue words, indent, report, research
Text References (Optional): page 133, 139-141
Page 44
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
FLIP THE DECK
Elementary Skills Bundle II, Grade Levels 3-6
Using Flip the Deck students develop language awareness and practice writing skills such as use of commas, adjectives, writing description using similes, and writing
character sketches.
These activity lessons are designed to accompany the text Flip the Deck, the second in the Stack the Deck series (grades 5 and 6). Most of the activities are taken directly
from the text but with adaptations for the screen. In order to reduce the amount of text while increasing students’ interactivity with it, we selected only those activities that
provide direct benefit from the use of word processing or which are easier to perform in word processing than in printed format.
Flip the Deck lessons can be used with or without the text. Optimum practice, however, assumes that students have read the instructional sections in the textbook or have
been introduced to the lesson concepts by the teacher. The lesson activities also build upon the terms highlighted in the text, especially those connected with sentence
combining and the writing process.
The Flip the Deck book can be ordered directly from:
The Stack the Deck, Inc.
P.O. Box 429
Tinley Park, Il 60477-0429
1-800-253-5737
Handouts
Editor’s Checklist for Description
Editor’s Checklist—Persuasive Letter
Editor’s Checklist
Listener’s Response Sheet
Sentence Opening Sheet
#
1
LESSON
LESSON CONTENT
Fun with Language
Students become conscious of their language competence by unscrambling and reconstructing sentences. They also review (from Check the Deck lessons)
using commas with adjectives and inserting descriptive adjectives. This lesson is appropriate for pair or group work.
Practice 1: The Language Machine.
Students mix and match word classes to make simple sentences. Then they add connecting and glue words (and, but, or, before, while, by, of, who, after) to
make compound and complex sentences.
Practice 2: The Sentence Machine
They build sentences from formulas and connecting words.
Practice 3
They add colorful descriptive words and necessary commas to simple sentences and review the comma rule applying to adjectives.
Key Terms: sentence expansion, sentence combining, colorful words, comma
Optional Text References: pages 7-12 (on sentence expansion), page 13 (comma rule)
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FLIP THE DECK, continued
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LESSON
LESSON CONTENT
Describing
Writing process lesson: from brainstorming to first draft, with hints for revising
Student’s warm-up by creating descriptions with similes. Then, using a Think Sheet, they plan a descriptive essay about their room at home. (If this is their
first exposure to a Think Sheet, you may want to do one with them first, using an LCD projector or the board.)
You may want to have students do this lesson in several sessions:
1. Do warm up exercises
2. Complete Think Sheet and gather facts
3. Write first draft
4. Print draft for peer review and revision
3
Key Terms: descriptive essay, Think Sheet
Sentence Combining
Now that students have practiced combining describing words in a series, they practice combining whole sentences with glue words (connecting words, also
known as subordinating conjunctions, such as because, if, after, until). They are introduced to the concept of stretching sentences and get lots of practice
manipulating sentences.
A variation on glue words is modeled and practiced: beginning a stretched sentence with a glue word. They practice the comma rule for this pattern.
They can work in pairs or groups to generate lots of ideas.
Practice 1
Students insert glue words (or use copy and paste) to combine two related sentences. First, they are given a specific glue word. Then they choose one from a
list in the lesson.
Practice 2
Students complete sentences with a given glue word. Then they make up a sentence of their own with that same glue word.
Practice 3
Students rewrite a stretched sentence by reversing the order of clauses and placing the glue word at the beginning.
Key Terms: glue words, stretching, combining
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FLIP THE DECK, continued
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4
LESSON
LESSON CONTENT
Fragments
This lesson focuses on catching and repairing sentence fragments. Since fragments are often the result of beginning a sentence with a glue word, this kind of
practice naturally follows well from the practices in Lesson 3.
Practice 1
Students recognize and mark fragments beginning with glue words.
Practice 2
They recognize and repair fragments in a long paragraph.
Key Terms: fragment, glue word, sentence combining, expansion
5
Optional Text References: page 41 (“I believe that...” rule for testing fragments)
Editing Your Character Sketch
Writing process lesson: from brainstorming to first draft, with emphasis on revising/editing
Students plan and write a character sketch. “Remember that you want your reader to really get to know your character—almost as well as you know him or
her.” They complete a Think Sheet.
Note: You may want to have them return to this lesson to do the editing warm-up exercise (last practice) before editing their own work. Alternatively, show
the exercise with an LCD projector and edit together as a class.
You may want to have students do this lesson in several sessions:
1. Do warm-up exercises
2. Complete Think Sheet and gather facts
3. Write first draft
4. Print draft for peer review and revision
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FLIP THE DECK, continued
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6
LESSON
LESSON CONTENT
Review of Glue Words
Students warm up their sentence combining skills by inserting connector words and glue words.
Practice 1
They expand sentences to make new compound sentences with and, but, or.
Practice 2
They complete compound sentences.
Practice 3
Students review writer’s vocabulary skills learned in past lessons by improving the sentences in a paragraph.
Key Terms: connector words, glue words, sentence expansion
7
Optional Text References: page 13 (items in a series), page 34 (glue word), page 59 (connector words)
Persuasive Letter
Writing process lesson: from brainstorming to first draft of a persuasive letter
Students write a letter to their teacher or principal which describes what they most want to learn and how they want to learn it. They brainstorm ideas,
complete a Think Sheet.
This lesson may be started by pairs or groups, but writing should be done individually.
You may want to have students do this lesson in several sessions:
1. Do warm-up exercises
2. Complete Think Sheet and gather facts
3. Write first draft
4. Print draft for peer review and revision
Key Terms: persuasive
Page 48
FLIP THE DECK, continued
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8
LESSON
LESSON CONTENT
Article Writing
With the opening reminder that “Good writers have to guess (or predict) what readers want to hear,” students prepare to write a magazine-like story which will
be gathered together into a class collection on the order of a class “People Magazine.” Following doing this lesson, they should conduct an interview with
someone they’d like to write about. First, they warm up with a new combining technique to add variety to their sentences.
Practice 1
Students match sentence pieces from two groups to produce five new sentences about a sports event. Then they write three original sentences based on these
models. They observe the comma placement for these sentences.
Practice 2
They complete the sentences by adding a sentence to the -ing phrase.
Practice 3
They create a lead to catch a reader’s attention, answering possible who, what, when, where, why, and how questions.
The students benefit from working in pairs or groups in this lesson.
Key Terms: predict, -ing sentences, lead questions
9
Optional Text References: page 105 (-ing sentences)
Think Interview
Students should conduct an interview before doing this lesson.
They complete a Think Sheet which helps them recall details and organize the details into main and supporting ideas. They are reminded to collect “five
colorful words, action words, or special vocabulary words which could fit into your story” and “write a simile or an alliteration which would help the reader
see something you want to describe.”
They turn their notes into a first draft in a new lesson.
Key Terms: main ideas, supporting details, simile, alliteration
Optional Text References: pages 117-118
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FLIP THE DECK, continued
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10
LESSON
LESSON CONTENT
Editing
Students prepare to do some business writing in Lesson 13 by doing some editing practice here, working with a sample letter. They are instructed to make
improvements in these categories:
• spelling and punctuation
• using glue words to combine sentences or to add variety to sentences
• correcting sentence fragments
• making some sentences compound sentences
• expanding with a few well placed descriptive words
• checking to be sure that several sentences do not all start with the same word
You may want students to print out and exchange their edited versions so that they can compare their work against your corrected version or against another
student’s.
This lesson may be completed in pairs, or groups, or individually.
11
Key Terms: editing
More Sentence Combining
Students review glue words that can begin sentences and the associated comma rule, and they practice editing for this feature.
Practice 1
Students recognize and insert commas as needed.
Practice 2
They choose an appropriate glue word to maintain sentence sense.
Practice 3
They edit a letter for correct comma placement and missing commas.
This lesson is appropriate for pairs and groups as well as for individuals.
Key Terms: glue words, commas
Optional Text References: Pages 13, 38, 60, and 109 (comma rules)
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FLIP THE DECK, continued
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12
LESSON
LESSON CONTENT
Transitions
Students are introduced to transition words that are especially useful in business writing: also, consequently, finally, first, for example, in addition, in
conclusion, next, similarly, therefore, instead. They read and copy an incomplete business memo, mark the transition words in it, and finish writing it.
This lesson is appropriate for pairs and groups as well as for individuals.
13
Key Terms: memo, transition words, unified
Business Writing
Writing process lesson: from warm-up through final draft
Students prepare to write a memo based on the form they saw in Lesson 12, this time role-playing a given persona.
They read a “fact and information sheet” on which to base their Think Sheet answers. They organize items into main ideas and supporting details.
If students have not yet used an SOS (Sentence Opening Sheet), this is a good place to assign it. See Lesson 15.
Key Terms: memo, main ideas, supporting details, lead
14
Optional Text References: pages 142, 144
Editing Checklists
This lesson contains all the checklists—to aid peer review—printed in the text version of Flip the Deck— and linked to all the writing process lessons. You
will find these extremely useful to encourage peer review and self-review during the editing stage.
Students may use these checklists on the computer or they can print them and use them along with a printed copy of their drafts. The checklists are also
provided as handouts in this supplement.
Page 51
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
SENTENCES WITH AESOP
Elementary Skills Bundle II, Grade Levels 3-6
Students read delightful fables by Aesop, decide what the “morals” are, and reconstruct sentences from the fables. They learn to recognize “overstuffed” and “skinny”
sentences and to revise them for “sleekness” by applying the principles of sentence combining.
Learning to write better, more adult sentences is what sentence combining is all about. And writing with a word processor is a natural “fit” with this editing approach to
learning; word processing features allow students to manipulate sentences freely, making all the changes they want to.
Learning Objectives
• Increase each child’s repertory of sentence structures.
• Encourage, through practice, the transfer of these structures to the child’s independent writing.
• Acquire the skills for drawing inferences from literature.
#
1
2
3
4
5
6
7
LESSON
LESSON CONTENT
Warm Up
Students get their “brains bubbling” by juggling sentence parts to make complete sentences. They complete a recipe for making popcorn, putting the steps in
the right order, and they review sentence “completeness.”
Fables
Introduces the fable genre and “sentence sense.” Students add punctuation to mark sentence boundaries and then delete the connecting words. They notice the
difference between a story that uses sentence combining and one that doesn’t.
And
“The Dog in the Manger.” Focus is on the overuse of a combining device. Students delete words from “long, fat sentences” to make the sentences more
readable. Students are introduced to the concept of a moral and paraphrase Aesop’s moral in their own words.
And Then
“The Milkmaid and Her Pail.” Focus is on the overuse of “AND THEN” to link sentences. Students “fix up” a scribe’s version of the fable, and take turns
combining sets of two sentences. Unraveling a code leads them to the moral of the story.
Disguise
“The Wolf in Sheep’s Clothing.” Students infer the moral and then compare it to Aesop’s. Then they combine “skinny sentences.” Comparing their work to
another’s, they decide which they prefer.
Because
Students focus on the major combining word “BECAUSE” and practice using it in two places in sentences. They are introduced to the class of words we’re
labeling “BECAUSE” words (subordinating conjunctions), so called because they all behave similarly in sentences.
Grapes
“The Fox and the Grapes.” Students combine two related sentences to ascertain the moral about “sour grapes,” and in doing so are introduced to “WHEN” as
another “BECAUSE” word. They use it to combine sentences in several different ways.
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SENTENCES WITH AESOP, continued
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8
9
10
11
12
13
14
15
LESSON
LESSON CONTENT
If Egg
“The Goose that Laid the Golden Eggs.” Students choose which paraphrase of the fable is closest to their version. They rewrite their version using “IF” in two
different ways and then they freely combine, noting which words were deleted along the way.
Goose Combo
Using “skinny sentences” adapted from the last fable “The Goose that Laid the Golden Eggs,” students recombine the sentences with additional practice with
“IF” and then “AFTER”—both in the “BECAUSE” word class. Lessons include directed and free sentence combining with “-ING” and “BECAUSE.”
Comma But
“The Bundle of Sticks.” Students warm up by fixing up an “un-sentence.” Then they fix up the fable, which has been written down by a scribe who forgot the
periods and capitals. Focus is on the combining device of “, but” “, and” “, or.” Students make their own sentences using this pattern, as well as combine
sentences from the fable. They predict the moral, write it in their own words, and then play Mixer/Fixer.
Boy Who
“The Boy and the Nuts.” A silly scribe went to a sale on “and so,” and so the fable needs some editing. Students recognize the moral from a list of different
ways to express it. They then paraphrase in their own words. Introduced to “WHO,” “THAT,” and “WHICH” as combining words, students infer the usage
rule and practice combining with these words.
More or Less
Students try combining from hints suggested to them in [brackets]. Introduction to the concept of when to leave a sentence short (uncombined with another) is
an important stylistic reality. They judge which ideas are important enough to stand alone in short sentences.
Pebbles
“The Crow and the Pitcher.” Students paraphrase Aesop’s moral “Necessity is the mother of invention” by combining a simple paraphrase with “IF.” They do
free combining of sentences from the fable and play Mixer/Fixer again.
-Ing
From sentences in the last fable, “The Crow and the Pitcher,” students make combinations with and without [hints]. They use “-ING” to change one sentence
and insert it into another, then practice turning verbs into “-ING” words.
Frog Review
A scribe has made up a funny fairy tale, but he still hasn’t learned much about sentence combining. Students know better! They fix up his “skinny sentences”
in this review of all the combining methods they’ve learned so far. They also get to add to the ending of the story.
Page 53
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
INDIAN IN THE CUPBOARD
Intermediate Novels Bundle I, Grade Levels 6-9
The Indian in the Cupboard. Curious title? But what a story Lynne Reid Banks weaves to kindle history and spark imaginative writing of fantasy and real life experience
from other times and places.
#
1
2
3
4
5
6
7
8
9
LESSON
LESSON CONTENT
Predicting Outcomes
This lesson prepares readers for the adventure that awaits them. It also prepares the students to make associations between the literature and themselves.
Writing Instructions
When faced with a miniature Iroquois brave, Omri, an English schoolboy, must create a safe haven for this new and unique person in his life. A QUICK WRITE
allows students the opportunity to generate ideas and to recall personal experiences. Students gain insights into and empathy for people faced with challenges.
The student draws upon their ideas to write an explanatory paragraph which gives instructions. The example models the use of transitions which guide the
reader through a set of instructions.
Descriptive Paragraph (“The Great Outdoors”)
Lynne Reid Banks’ descriptive details create a picture of Omri’s backyard in the reader’s mind. Students identify the author’s vivid words. They then write a
descriptive paragraph using sensory details to enrich their word picture. The lesson includes prompts to guide the students’ writing.
Context Clues (“Tommy”)
English colloquialisms compliment the setting of this story. This activity promotes the use of context clues to understand new words while students experiment
with British terms for familiar objects.
Acrostic Poem (“The Chief is Dead, Long Live the Chief”)
In chapter 6, Omri’s curiosity about Little Bear’s people leads him to the library. This activity requires that the student investigate the Iroquois nation. The
writer assimilates some the information gathered from research into an acrostic poem.
Letter of Recommendation (“The Chief is Dead, Long Live the Chief”)
In this activity the students are called upon to list Omri’s personality traits. Students are to imagine they must write a letter of recommendation for Omri based
upon what they have learned about him. Included is a template for writing a business letter.
Compare/Contrast Paragraph (“Uninvited Brothers”)
In this chapter the differences between Omri and Patrick become clearer. The students demonstrate their understanding of these characters in the compare and
contrast paragraph.
Diamonte Poem (“Cowboy!”)
Problems arise for Omri and Patrick’s friendship because their views and feelings about the magical qualities of the cupboard differ. Using the structure of a
diamonte poem, the students write about these differences.
Irony (“Shooting Match”)
Omri had accepted the stereotyped movie version of cowboys as the reality, but in chapter 9 he is shocked to discover Boone crying. In this lesson, students
create original ironic situations.
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INDIAN IN THE CUPBOARD, continued
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10
11
12
13
14
15
16
17
18
LESSON
LESSON CONTENT
Nicknames (“Breakfast Truce”)
Nicknames are often verbal caricatures. In this activity, students demonstrate an in-depth understanding of the characters by assigning appropriate and accurate
nicknames. Once the nickname has been chosen the students must defend their choice with proof from the text.
Predicting Outcomes (“School”)
This lesson encourages the students to anticipate what may happen when Omri takes Little Bear and Boone to school. Then predictions are checked against
actual events in the story.
“Used To Be” Poem (“School”)
Perhaps the reader has noticed Omri assuming a parent’s responsibilities. For example, the author labels Omri’s speech as sounding like his mother’s. To help
the students identify these changes in Omri, the lesson uses the form of a “Used to Be” poem. The lesson includes a model and a template.
Cause and Effect (“Trouble with Authority”)
Omri finds some of his worst fears realized when Patrick demands that Boone be taken to school. The students examine cause and effect relationships while
writing a “The Trouble With” poem. This lesson contains a model and a template for this poetry form.
Practical Jokes (“Art and Accusation”)
Omri is delighted when he fools his teacher into believing Boone’s minuscule artwork is his own. This lesson guides the students in creating a harmless yet
clever practical joke.
Diary (“Art and Accusation”)
Falsely accused of shoplifting, Omri experiences shame and then is angry with Mr. Yapp, the shopkeeper. The students recall an event which evoked powerful
emotions and express those feelings through a QUICK WRITE activity.
Five Senses Poem (“The Missing Key”)
Having done something he now regrets, Little Bear battles a war of conflicting emotions. He feels justified rage as well as guilty remorse. Using the “Five
Senses Poem” format, the students define an abstract idea with physical qualities. An example and a template are contained in this lesson.
Narrative (“Underfloor Adventure”)
To redeem himself for his anger and his wounding of Boone, Little Bear volunteers to undertake a dangerous mission. Knowing a rat several times his size is
lurking about, Little Bear courageously risks his life to look for the missing key. Lynne Reid Banks relates the events that took place in Omri’s room. The
reader is left to imagine what happened under the floorboards. The students’ task is to tell from Little Bear’s point of view what happened as he searched for the
key.
Acrostic Poem (“Brothers”)
Omri and Patrick ultimately decide to do what is best for their tiny friends. Despite their sadness, the boys act unselfishly by sending Little Bear, Boone, and
Bright Stars back to their own time. In an acrostic poem, students capture the emotions of saying goodbye. Students are encouraged to use a thesaurus to find
synonyms for goodbye. The lesson includes a model poem and a template.
Page 55
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
ISLAND OF BLUE DOLPHINS
Intermediate Novels Bundle I, Grade Levels 6-9
Through computer writing activities, students explore the Newbery Award-winning classic Island of the Blue Dolphins. This unit contains a pre-reading reproducible
page, a vocabulary list, daily lesson plans, reading assignments, and integrated reading/writing activities that focus on the elements of literature and the writing process.
Language Skills: listening, speaking, reading, writing, thinking
Reading Processes: prereading, guided reading, critical reading, postreading
Writing Processes: prewriting, brainstorming, composing, peer conferencing, revising, editing, publishing
Thinking Skills: critical thinking, creative thinking, comprehending, summarizing, analyzing, synthesizing, hypothesizing, imagining, decision-making
Learning Objectives:
• use critical reading skills
• utilize directed reading strategies that emphasize reading for meaning and “reading as thinking”
• explore the universal elements of literature including plot structure, character development, story setting, literary devices, polarity, conflict, theme, and author’s
point of view
• expand reading vocabulary
• develop the skills of “writing to think” and “writing to learn” while examining literary elements through writing activities
• develop writing skills in a process of brainstorming, composing, revising, editing, and publishing
• master several writing patterns including poetry, paragraphs, friendly letter, research organizer, interview summary, story chapter, and personal narrative
• develop higher level thinking skills
Handouts:
• Teacher Worksheet
• Introduction: Literary Elements
• Vocabulary Worksheet
#
1
2
3
LESSON
LESSON CONTENT
Book Predictions: Prereading
Students make predictions about the story in order to focus their attention and set personal reading objectives. They are directed to return to this lesson later to
self-check their predictions.
Chapter Predictions: Setting Reading Objectives
Students use background knowledge, personal experiences, and what they already know about the story to make specific predictions about characters, events,
and problems in each chapter. They learn to confirm, modify, and disprove their predictions after reading.
Chapter Titles: Main Idea, Plot Development, Story Sequence
Students are directed to think about the main idea of each chapter in order to compose chapter titles. Students gain an understanding of plot development and
story sequence while building a summary of the novel in their chapter titles.
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ISLAND OF BLUE DOLPHINS, continued
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5
6
7
8
9
10
11
12
LESSON
LESSON CONTENT
Response Log: Personal Response Log
Good readers respond to a story from a personal point of view and compare what they read to their own experiences. In this lesson students choose from several
leads for thoughtful examination in a personal response log. For example:
“What I liked about this chapter was < >.”
“Something that confused me was < >.”
“If I were Karana, I would < >.”
Simile and Metaphor: Literary Devices/Figurative Language
Students are introduced to the author’s use of figurative language. This lesson examines similes and metaphors from the story and allows students to create
original examples of each form. Students learn to compose simile and metaphor poems to create symbolic sketches of story characters and themselves.
Acrostic poem: Characterization
Students learn that an author develops story characters by writing what the characters think, what they say, and what they do. Students use an acrostic name
poem to describe Karana, the main character of the story.
Writing Haiku: Story Setting
Using the Japanese form haiku, students examine and illustrate the setting of the story in word pictures. Students are given examples and patterns to help them.
Sequence Paragraph: Author’s Authenticity
Students learn that authors must write about story details in the proper time order and in a way that makes sense to their readers. Students use a template to write
a concise “how to” paragraph based on personal experience.
Diamonte Poem: Polarity/Conflict
Students use diamonte poems to examine and illustrate examples of polarity in the novel. They write about opposing concepts in setting, characters, and story
events.
Good News/Bad News: Ambivalence
In this lesson, students are introduced to the concept of ambivalence: how characters feel more than one emotion at the same time. A Good News/Bad News list
allows student writers to examine the issues of polarity in the novel and in their own lives.
Science Research Organizer: Advance Organizer–Science
Students learn to use an advance organizer to verify facts and to chart their research of a scientific topic from the novel. By writing what they already know
about a subject, what they want to learn, and a hypothesis for their research, they focus their efforts and their composition.
Social Studies Paragraph: Author’s Authority–Social Studies
In this lesson, students practice the basic rules of expository writing as they explore social studies topics from the novel. They learn to develop paragraphs with
a topic sentence, supporting details, and a conclusion.
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ISLAND OF BLUE DOLPHINS, continued
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13
14
15
16
17
LESSON
LESSON CONTENT
Sense-Sational Poem: Story Theme
This writing activity helps students respond to a variety of themes in literature through their five senses. Students follow a poetry pattern to write about story
themes such as courage, personal discovery, and the beauty of nature.
Cinquain Poem: Character Development
As the story unfolds and students see how Karana has changed, they summarize her most important and unique characteristics in cinquain poems.
Review/Summary: Postreading Activities
Students compose a book review in the form of a friendly letter. To help them plan future reading, students conduct interviews with other readers and
summarize their findings.
Sequel: Extension Activity
Student authors create a new chapter for Island of the Blue Dolphins. Prewriting questions stimulate their imaginations while the extension activity challenges
their creative writing skills.
Personal Narrative: Creative Writing
Everyone has a story to tell! Here student authors combine all they have learned about writing techniques to create a personal narrative. Students are coached in
the steps of the writing process: brainstorming, composing, revising, editing, and publishing.
Page 58
THE OUTSIDERS
Intermediate Novels Bundle I, Grade Levels 6-9
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
Through varied activities and reading responses, students develop an understanding of the novel The Outsiders written by S. E. Hinton.
Excerpts from The Outsiders by S. E. Hinton, copyright 1967 by S. E. Hinton.
Reproduced by permission of The Viking Press, Inc.
Sequencing Lessons:
Before using each of these lessons, students should have completed reading
through the chapter listed on the chart below, or further.
Lesson #
1
2
3
4
5
6
Read through
Chapter
10
12
4
9
10
7
Lesson #
7
8
9
10
11
For the remainder of the lessons, the student should not have read further than
the chapter listed.
Read through
Chapter
9
5
4
3
12
Lesson #
12
13
14
15
16
17
18
Read no further
than chapter
0
1
3
5
6
7
8
Handouts:
• Titles
• Changes: A Group Writing Activity
• Pre-/Post-Reading and Writing Activity (for Chapters 1, 2, 4, 6, 7, 8, and 9)
#
1
LESSON
LESSON CONTENT
A Sixteen-Year-Old Author
Susie Hinton was sixteen years old when she wrote The Outsiders. She says she wrote the book because she couldn’t find any stories that portrayed the lives of
teenagers outside of the narrow world of the high school prom.
After reading the novel, students give their interpretation of the author’s teenage concerns and explain how these concerns relate to today’s teenagers. They
describe how they would change the novel and tell what theme they would choose for a novel they might write.
Page 59
THE OUTSIDERS, continued
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2
LESSON
LESSON CONTENT
A Change of Perception
Ponyboy’s perception of his brother Darry changes throughout the novel. Based on their own understanding and on passages from the text, students describe the
events that cause Ponyboy’s perception of Darry to change. They explain why they think Ponyboy sees his brother differently at the end of the novel than he
does at the beginning.
3
Students are asked to think of someone in their life whom they now perceive very differently than they did when they first met. Students write a few paragraphs
that describe their change of perception and what happened to cause that change.
Changing Characters
Ponyboy’s understanding of several of the characters in the story changes as the story proceeds. Students record Ponyboy’s original perceptions at the beginning
of the novel, and then write about the perceptions he comes to hold at the end.
In Part I of this lesson, students refer to the first four chapters of The Outsiders to write a literal and an interpretive description of three characters from the point
of view of Ponyboy. They support each of their descriptions with at least one quotation from the novel. Students choose three of the following characters to
write about:
4
Two-Bit Mathews
Johnny
Robert (Bob) and Randy
Sodapop
Darrel (Darry)
Dally
A Dialogue between Cherry and Saundra
Students write a dialogue between Cherry and a friend. In the dialogue, they have Cherry explain why she befriended the greasers. Students must keep Cherry’s
character clearly in mind as they write their dialogue.
First, a situation is described:
Cherry’s friend Saundra has just returned from a trip to Europe. She has been hearing about the events of the past week and about Cherry’s part in
them. Saundra is really astonished at Cherry’s actions. She is not condemning Cherry, but truly wants to understand why she behaved in the way she
did.
Then the dialogue begins:
Saundra sat nervously on the edge of Cherry’s bed and began, “That Ponyboy kid was he really a greaser? I mean a genuine, longhaired, grease ball?
Did you really tell the greasers what was happening with our guys? I can’t believe what everyone’s saying. Even my mom was telling me about it!”
Cherry replied, “Yeah. Ponyboy’s a greaser but he’s different. Or maybe he isn’t different. I don’t know. I just know I had to help him and his
friends. I kind of feel different now, Saundra. Let me try to explain.”
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THE OUTSIDERS, continued
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LESSON
LESSON CONTENT
Students create the rest of the dialogue by themselves. If they wish, they can delete or rewrite the opening lines.
5
6
7
A rewrite/edit step completes the activity. Students are asked to consider how the characters sound in their dialogue. With the help of a word bank, they are
encouraged to use descriptive words. Students are also asked to elaborate on the mannerisms the characters use as they speak.
Types of Conflict
Conflict in a novel can be any of several types. For example, it may involve a character’s struggle against another character; against society; against nature; or
against the unknown. Ponyboy is involved in each of these conflicts at some point in the novel. Students describe how Ponyboy exhibits each type of conflict,
and include an excerpt from the novel to illustrate each one.
Parents and Discipline
There are three very different parenting roles described in The Outsiders. Students write about each of these and how they affected the children. The
relationships are Johnny’s relationship with his parents, Ponyboy’s relationship with Darry, and Bob’s relationship with his parents.
Randy’s explanation of Bob’s need to have someone say no is used as the basis for students to write about the meaning of discipline in families that they are
familiar with. Students are asked to consider what healthy discipline is and to discuss situations in which discipline might have a bad effect.
Significant Events
In this activity, students consider how an author may develop a character by placing him or her in revealing situations; that is, in situations that cause the
character to show true feelings, beliefs, or motives. Such significant events will help extend or reshape the reader’s understanding of a character. They extend
understanding if the reader has correctly predicted the character’s behavior. They reshape understanding if the reader is surprised by the character’s behavior.
Hinton uses this technique effectively throughout The Outsiders. To further their understanding of the novel, students write about three events: the stabbing in
the park, the church fire, and the rumble.
In the final part of the activity, students write a personal response in which they imagine themselves as greasers and describe how they think they would react in
each of three situations. For example:
8
• You are one of the run-away greasers. How would you respond to the church fire? Describe your actions, your reasons for those actions, and how
you feel as the event takes place.
• You are a greaser who is thinking about tonight’s rumble. Will you go to the rumble? Think carefully about your decision and make sure it reflects
the person you are in real life. Then tell why you will or will not take part in the rumble.
• Describe what happens as a result of your decision to take part or not to take part in the rumble. How do your friends react to your decision? How
do you feel about your decision after the rumble is over?
Nature’s First Green Is Gold
The poem “Nothing Gold Can Last” by Robert Frost was recited by Ponyboy after he and Johnny watched a beautiful sunrise. The meaning of the poem was
unclear to Ponyboy: “I always remembered it because I never quite got what he meant by it.” But the poem seemed clear to Johnny, and it moved him very
much.
Page 61
THE OUTSIDERS, continued
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10
11
LESSON
LESSON CONTENT
In this activity, students read the poem and think about what it means. Then they discuss its meaning with their writing partner or group. Finally, they write a
brief essay on why the poem was meaningful to Johnny.
Belonging to a Group
Students describe four groups: the Socs, the greasers, a group they belong to at school, and a group in their community they do not belong to. In their
descriptions, they are to summarize details about appearance, transportation, speech, entertainment, attitudes, common problems, and group code.
Students compare their descriptions with those of their classmates and then rewrite/edit their own work.
An Ideal Place
In Chapter 3, Ponyboy has a daydream about an ideal place. Students describe what that place is like and compare it with Ponyboy’s real-life surroundings.
Then they imagine their own ideal place. They describe how it looks, feels, smells, and sounds. They also tell who else might share it, what they would eat, and
what they would do for entertainment and for work.
In the final step of this activity, students reread the description of Ponyboy’s ideal place and the description of their own ideal place. They discuss, in writing,
what parts of these dreams could come true, what parts are impossible, and what actions could be taken now to make them a reality.
Key Events in the Plot
Plot is defined in this lesson as a series of events or actions that make up a story. Through these events, the author reveals what is happening to characters and
why.
Students first do a QUICK WRITE describing the plot of The Outsiders. Then they think about twelve key events in the story and list them. Finally, they write
statements that explain how each event advances plot and character development. For example:
EVENT 1: >> Johnny, Ponyboy, and Dally meet the Soc girls at the drive-in theater.
HOW DOES THIS EVENT ADVANCE THE PLOT? >> It sets the stage for a conflict between the Socs and the greasers.
HOW DOES THIS EVENT ADVANCE THE DEVELOPMENT OF A CHARACTER/S? >> We see Dally acting like a tough hood, Ponyboy being
sensitive and concerned, and Johnny standing up for the girls even though he is quiet and fearful.
12 through 18
Pre-/Post-Reading and Writing Activity for Chapter...
Several chapters from The Outsiders have pre-/post-reading and writing activities. By reading a passage from a chapter, students are able to make predictions
about the events and the characters in that chapter. In the pre-reading part of the activity, students read an excerpt from the chapter and predict events based on
that excerpt. In the post-reading part of the activity, students compare their predictions to what actually happened in the chapter. Before doing these lessons, the
student should have read no further than:
for Lesson 12: 0
for Lesson 16:
6
for Lesson 13: 1
for Lesson 17:
7
for Lesson 14: 3
for Lesson 18:
8
for Lesson 15: 5
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A+LS™ Software Edition
THE DIARY OF ANNE FRANK
Intermediate Novels Bundle II, Grade Levels 6-9
As students read Anne Frank: The Diary of a Young Girl and complete the activities, they integrate literature with history and social problems. By writing dialog and
examining common qualities such as courage and freedom and ideas such as discrimination and friendship from a variety of perspectives, their feelings and thoughts
evolve into essays, poems, plays, quotations, and journals. Students realize that literature is not just a “story” but also an author extending a hand through time to relate
his or her experience.
Anne Frank’s experience was in Holland, fifty years ago, under extremely harsh circumstances; yet her writing enables us to sympathize with her troubles, laugh at her
jokes, and internalize her emotions. In many ways, she is much like us. This title helps students learn about the historical and the personal Anne Frank, and, in so doing,
helps them understand themselves.
Handout: Keeping a Journal
Order of Use
To use some lessons, students will need to read through a given entry. Other lessons may be used at any time. Although all lessons are independent of each other, the
order recommended below encourages a sequential and logical use of the lessons. You may want to experiment with the order that is appropriate for your class.
Lesson 1: Use as part of introduction to Anne Frank: The Diary of A Young Girl and after entry dated June 20, 1942.
Lesson 2: Use after entry dated Oct. 1, 1942.
Lesson 3: Use after entry dated Nov. 7, 1942.
Lesson 4: Use at any time.
Lesson 5: Use after entry dated June 13, 1943.
Lesson 6: Use after Anne interacts with all others.
Lesson 7: Use after entry dated July 23, 1943.
Lesson 8: Use after entry dated March 7, 1944.
Lesson 9: Use at any time.
Lesson 10: Use after entry dated April 11, 1944.
Lesson 11: Use after entry dated July 6, 1944.
Lesson 12: Use at end or middle of diary.
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1
LESSON
LESSON CONTENT
Discrimination
This lesson helps students learn about the extent of the prejudice, intolerance, and discrimination against Jewish people. It also asks students to write about
instances of discrimination and prejudice when they have been victims. Finally, students write an essay summarizing their insights about mistreatment of any
member of the human family.
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2
3
4
5
6
7
8
9
LESSON
LESSON CONTENT
Mrs. Van Daan
Most students enjoy reading about Mrs. Van Daan, who they see as a comic (and pathetic) character! In this lesson, they read excerpts from Anne’s diary
about Mrs. Van Daan, then write key words that describe her personality and actions. They write a poem about Mrs. Van Daan from Anne’s point of view and
a poem about Anne from Mrs. Van Daan’s point of view.
Margot and Mummy
Students read excerpts from the diary to understand Anne’s perception of her sister and her mother. They think about Anne’s understanding (and, at times
perhaps, her misunderstanding) of others. In the light of Anne’s writing, students examine their relationships to their own brothers and sisters and to their
parents.
Friendship
Friendship is one of the most important concerns of junior high school students. This lesson capitalizes on this interest to expand students’ concept of
friendship and to motivate student writing.
The lesson discusses Anne’s friendship with schoolmates and Miep and asks students to describe friends their age and friends who are a different age. The
lesson mentions Anne’s diary and the Westertoren clock as important friends and asks students to write about their “nonhuman” friends. The lesson briefly
discusses Anne’s lack of friendship with her mother and asks students to examine if one can be friends with a parent. Finally, students write a poem in honor
of one of their friends.
Birthday Celebrations
Anne Frank celebrated her thirteenth birthday right before her family went into hiding. Her fourteenth and fifteenth birthdays were celebrated while they were
in the Secret Annexe. In this activity, students summarize events in the text and interpret the meaning of Anne’s birthday poem. Then they write about a
significant birthday celebration—one of their own or one in which they participated. Finally, they write a poem honoring a person they admire and respect.
Conversations
Students “warm up” by writing several short conversations between Anne and other characters. Then they write a longer skit between several members of the
Secret Annexe.
Freedom
In this lesson, students put themselves in the shoes of one of the members of the Secret Annexe. They use their knowledge from the diary to write about what
freedom (and lack of freedom) means to that person. Then they write about confinement and freedom from their own point of view. Finally, students write a
poem about freedom from their perspective or from the perspective of one of the members of the Secret Annexe.
Quotes I
Many junior high school students like to read quotations and decorate their rooms with posters that have quotations on them. Using that interest in quotations,
this lesson includes eight quotations from Anne Frank’s diary. For each quotation, there is background information about when it was written and under what
circumstances. Students read the quotations and the background information, then decide which three to write about. They describe what they think each
meant to Anne and what it means to them.
What Is Courage?
In this activity, students explore the nature of courage. After reading a quotation by Ernest Hemingway, they describe what courage smells, tastes, and feels
like. Then they analyze and interpret quotations and poems about courage. As a summary, they write their own “quotation” that discusses courage.
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10
11
12
LESSON
LESSON CONTENT
I Am Anne
Students analyze excerpts from the diary to understand Anne’s perception of how others assess her at the beginning of the diary and how she assesses herself
at the end of the diary. After critiquing Anne’s initial writing, students complete a poem about her and a portrait of themselves. After reading Anne’s selfassessment, they write a “before and after” sketch of themselves.
Quotes II
This lesson is similar to Lesson 9. It, too, includes eight quotations from Anne Frank’s diary. For each quotation, there is background information about when
it was written and under what circumstances. Students read the quotations and the background information, then decide which three quotations to write about.
They describe what they think each quotation meant to Anne and what it means to them.
Your Reaction
In this activity, students record some of their specific observations and impressions about part of the diary or the entire diary. At the end of the lesson, they
write a paragraph summarizing their feelings about Anne Frank.
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A+LS™ Software Edition
THE CALL OF THE WILD
Intermediate Novels Bundle II, Grade Levels 6-9
Students develop critical reading, creative writing, and higher level thinking skills while exploring Jack London’s The Call of the Wild, one of the most popular books
ever written.
Handouts
Contrast: Several Paragraphs (2 pages)
Point of View: Chapter 1
Point of View: Chapter 5
“I Remember…” Poem (2 pages)
Award-Winning Photograph
“Wild” Poems (2 pages)
Crossword Puzzle
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1
2
3
LESSON
LESSON CONTENT
Contrast: Jack London
In The Call of the Wild, Jack London often contrasts people, places, dogs, events, and situations. In this set of two activities, students first examine passages
from the story contrasting the environment of the Santa Clara Valley with the environment of the Yukon Territory. They look at the types of words London
uses to establish a mood toward his topics. Then they write a single paragraph contrasting the two environments. Finally, in Lesson 2, they write a paragraph
contrasting two topics of interest to them.
Contrast: My Topic
Students write a paragraph contrasting two topics of interest to them.
Contrast: Several Paragraphs
In the The Call of the Wild, Jack London often writes about one idea or topic over several paragraphs, pages, or even chapters. He moves the plot along by
contrasting the topic with another topic over the next several paragraphs, pages, or chapters.
In Lesson 1 and Lesson 2, students contrasted two ideas in a single paragraph. In this activity, they try London’s technique of extending a contrast over
several paragraphs.
4
5
6
Handout: Contrast: Several Paragraphs
Lost Dog Ad
Students write a classified ad for a “lost dog” from Francois and Perrault’s viewpoint.
Letters Home
Students write a letter from John Thornton to a younger brother or sister-describing Thornton’s relationship with Buck. As part of the letter, students may
write a poem or song about Buck.
Point of View: Chapter 1
In The Call of the Wild, Jack London lets readers know how Buck thinks and feels. He also gives Buck the ability to see into human thought, behavior, and
emotions.
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THE CALL OF THE WILD, continued
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LESSON
LESSON CONTENT
In the “Lost Dog Ad” lesson, students examined Buck from the viewpoint of two of the characters in the story. In this lesson, students explore some
characters in the story from Buck’s viewpoint.
7
8
Handout: Point of View: Chapter 1
Point of View: Chapter 5
In this lesson, students explore some characters in the story from Buck’s viewpoint.
Handout: Point of View: Chapter 5
I Remember: As Myself
Throughout the story, Buck remembers and thinks about the places he has lived, the people he has known, and the events and animals who have shaped his
life. Buck even seems to remember the distant past—a time when he did not live, but somehow knows about.
The lesson introduces students to the “I Remember…” poem by having them complete a poem about themselves. A model is provided in the lesson.
9
10
11
12
13
Handout: “I Remember…” Poem
I Remember: As Buck
In this lesson, students use information from the story to write an “I Remember…” poem from Buck’s viewpoint.
Sentence Combining
In this lesson, students explore Jack London’s sentence structure, noting how he often combines several thoughts and ideas into one sentence, giving readers
layers of complexity and richness while moving the story along.
Award-Winning Photograph: Chapters 1 and 2
Students become “photographers” traveling with Buck during his adventures. They list images from the story that they think would make award-winning
photographs. Using specific details, they then describe their “photograph” in a paragraph.
Handout: Award-Winning Photograph (optional)
Award-Winning Photograph: Chapters 3 and 4
Students become “photographers” traveling with Buck during his adventures. They list images from the story that they think would make award-winning
photographs. Using specific details, they then describe their “photograph” in a paragraph.
Handout: Award-Winning Photograph (optional)
Award-Winning Photograph: Chapters 1 and 2
Students become “photographers” traveling with Buck during his adventures. They list images from the story that they think would make award-winning
photographs. Using specific details, they then describe their “photograph” in a paragraph.
Handout: Award-Winning Photograph (optional)
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14
15
16
17
18
19
LESSON
LESSON CONTENT
Wild Cinquains: Part 1
Students write a cinquain after reading a passage in the lesson (the passage is also
provided in the “Wild Poems” handout). The passage tells about Buck’s first remembrances of the distant past—a time he did not live, but seems to know
about instinctively. The passage provides both ideas and language for students to use in composing poetry.
Handout: Wild Poems
Wild Cinquains: Part 2
Students write a cinquain after reading a passage in the lesson (the passage is also provided in the “Wild Poems” handout). The passage tells about Buck’s
first encounter with the wolf in the forest near John Thornton’s camp. The passage provides both ideas and language for students to use in composing poetry.
Handout: Wild Poems
Wild Cinquains: Part 3
Students write a cinquain after reading a passage in the lesson (the passage is also provided in the “Wild Poems” handout). The passage describes Buck’s final
answering of “the call of the wild” and his joining the wolves in the forest. The passage provides both ideas and language for students to use in composing
poetry. Students will combine the three parts of their poem. (Part 1 of the poem was created in Lesson 14, part 2 of the poem was created in Lesson 15, and
part 3 of the poem was created in this lesson.)
Handout: Wild Poems
Wild Free Verse: Part 1
Students write a free verse after reading a passage in the lesson (the passage is also provided in the “Wild Poems” handout). The passage tells about Buck’s
first remembrances of the distant past—a time he did not live, but seems to know about instinctively. The passage provides both ideas and language for
students to use in composing poetry.
Handout: Wild Poems
Wild Free Verse: Part 2
Students write a free verse after reading a passage in the lesson (the passage is also provided in the “Wild Poems” handout). The passage tells about Buck’s
first encounter with the wolf in the forest near John Thornton’s camp. The passage provides both ideas and language for students to use in composing poetry.
Handout: Wild Poems
Wild Free Verse: Part 3
Students write a free verse after reading a passage in the lesson (the passage is also provided in the “Wild Poems” handout). The passage describes Buck’s
final answering of “the call of the wild” and his joining the wolves in the forest. The passage provides both ideas and language for students to use in
composing poetry. Students will combine the three parts of their poem. (Part 1 of the poem was created in Lesson 17, part 2 of the poem was created in Lesson
18, and part 3 of the poem was created in this lesson.)
Handout: Wild Poems
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20
LESSON
LESSON CONTENT
Your Reactions to the Story
This activity gives students a chance to express their opinions and to record some of their observations and impressions about one of the most popular books
ever written.
Students write brief answers to several questions about The Call of the Wild and extend and polish one of their responses into a well-written paragraph.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
WHERE THE RED FERN GROWS
Intermediate Novels Bundle II, Grade Levels 6-9
Through discussion, computer writing activities, and “EXTRA” activities, students explore Where the Red Fern Grows by Wilson Rawls. This MediaWeaver® A+LS™
Software Edition novel study assists students in understanding what they read and how the content relates to their own lives.
Language skills: listening, speaking, reading, writing, and thinking
Reading processes: prereading, guided reading, critical reading, and postreading extensions
Writing processes: prewriting, brainstorming, composing, peer conferencing, revising, editing, and publishing
Thinking skills: critical thinking, creative thinking, comprehending, summarizing, analyzing, synthesizing, hypothesizing, imagining, and decision-making
Student objectives: that students be able to read and write about a contemporary story with understanding and insight by considering questions that reveal:
• plot and factual detail
• characterization and traits of character
• interpretations of significant ideas and major themes
• literal and figurative meanings
• relationships to their own lives
Handouts
Teacher Handout: Discussion and Activity Ideas
Student Handout: Colorful Expressions
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1
LESSON
LESSON CONTENT
Chapters 1 through 4
Students relate literature to life to answer questions such as this one on motivation:
Like Billy, do you ever want something so bad, you can think of little else? Name something you would really like to have:
>>
Tell how likely it is that you will get what you want:
Very good
Possible Very poor Impossible
After telling what they have done or could do about getting what they want, students tell what change(s) getting it might make in their lives.
Understanding is the object of writing a short paragraph to describe what the term “hillbilly” means. Students give opinions about the “rightness” and/or
“wrongness” of calling Billy a “hillbilly.”
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WHERE THE RED FERN GROWS, continued
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LESSON
LESSON CONTENT
Chapters 5 and 6
Following the class discussion activity in the teacher handout, students read an example that relates Billy’s story to their own life. They write a short paragraph
about a time they experienced two different emotions over a short period of time.
Description of Scene questions explain how character, action, setting—all story elements—can come together to set up a “scene.” Students choose a scene,
such as “Billy making a home for his pups in his gunny sack,” to describe as if they were eyewitnesses.
Certain events stay important throughout a story. Students predict how important three events may be to the story, select one as being the MOST important to
the story, and write why they think so.
3
4
5
A Literature and Life question asks students if they have ever felt “picked on” and, like Billy Colman, been the brunt of mean jokes or worse. Or, instead of
being the victim, have they ever been on the “doing it” side? They choose one response and write a letter to someone they trust, telling what happened and
how they felt.
Chapters 7 through 9
Following class discussion of Character Action and Motivation (teacher handout “Discussion and Activity Ideas”), students choose between pairs of words to
describe the relationship between Billy and Pa and then between Billy and Grandpa. They support choices with examples from the text.
Action and Interpretation questions consider Billy in relation to the huge sycamore tree. For example, students tell why Billy thinks he must cut the tree down
and, later, they write how they might have acted in Billy’s place. They also write or discuss Grandpa’s advice: “Don’t ever start anything you can’t finish.”
They give examples from their own experience to show when the advice is good, and when it is not so good. The Literature and Life section has students
consider Billy’s faith in God as influencing events, and then compare life and literature outlooks.
Chapters 10 through 13
The discussion of cause and effect suggested in the teacher handout prepares students to begin lesson work at a given point in the story’s chain of events:
Grandpa’s bragging and its effect on Billy. They give short answers to questions like:
Carrying out the bet results in death. In one or two words, tell how the tragedy is shown to affect each of the following:
Rubin Pritchard >>
Rainie Pritchard >>
Old Blue>>
Old
>>
Little Ann
>>
The ghost coon >>
Billy
>>
They write how they might feel if they were Billy Colman at the end of chapter 13. Carrying on the theme of life after death, students recall Billy’s simple act
of putting flowers on Rubin’s grave and how it makes him feel.
Chapter 14
The class discussion suggested in the teacher handout looks at events leading up to the turning point in the story of Billy Colman, and how a turning point in
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LESSON
LESSON CONTENT
Billy’s story might relate to life. They examine clues that show Billy at his low point for example, his “sleepless night.” Student writing activities in the lesson
take up at the turning point, when things change after life seems at its worst! They describe the turning point in Billy’s life, then describe a turning point in
their own life.
6
7
8
9
The theme of “love” is introduced through examples found in poetry of what love “is” and what it is “like.” After an example from Robert Burns, students
write similes using the pattern “Love is like….” They look at how love is shown between Billy and Grandpa and give examples of how it is expressed in
words, but more clearly in actions. They look to their own lives for examples. Action questions have students tell how persons and “nature” contribute to
Billy’s happiness after learning about the championship coon hunt.
Chapters 15 through 17
The teacher handout suggests an analogy for introducing the idea of “theme” using music, and how theme in story may be implied rather than stated. For
example, in Where the Red Fern Grows, the theme of “growing up” is not stated, but is ever present. Students write about specific events that support the
themes of “growing up,” “caring and sharing,” and “struggling against the odds.” They name heroes from myth, from legend, and from comics or television
dramas who “struggle against great odds.” They go on to list events to show how Billy Colman “struggles against great odds.”
Chapters 18 and 19
The group discussion in the teacher handout and writing activities in this lesson continue the theme of “struggling against the odds,” then looks at
“overcoming the odds” or “victory.” The death of Rubin and the death of Billy’s dogs invite comparison and contrast, as does Billy’s grief in both instances.
An interpretive question has students tell how Old Dan’s act shows both the beauty of love and the violence of death.
Chapter 20
The story resolution, begun in the previous lesson, invites discussion of change in Billy’s character (see Teacher Handout: Discussion and Activity Ideas).
That is, much of the earlier struggle went on “outside” the character, but shifts to “inside” the character when Billy’s dogs die. Students compare natural
images that bring Billy relief. Writing activities in the lesson begin with students explaining what the “red fern” might mean to Billy. A Literature and Life
question considers Billy’s loss and loss in the students’ own lives. They consider the relief that simple things can bring, like Billy and the red fern. They
name a simple thing that might give them relief when they feel sad, with the hope that, like Billy and the red fern, a simple thing will bring them joy all of
their lives.
Writing Summaries
Students are told a summary is to writing what “skimming” is to reading. A summary gives a quick look at events or ideas in general; the tough part is
deciding what to put in and what to leave out. They are given a list of “happenings” from chapter 15 and decide which of six events “needs” to be in a
summary. An explanation of the answer follows. Then students decide whether A or B would include the most details from a single chapter:
A. a SUMMARY of chapter 1
B. a SUMMARY of chapters 1 through 5
Why “A” is correct is explained, followed by this guideline:
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WHERE THE RED FERN GROWS, continued
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LESSON
LESSON CONTENT
THE MORE TEXT TO BE SUMMARIZED,
THE MORE DETAILS TO BE LEFT OUT.
As an example, a paragraph summarizing main ideas and events in chapters 15 through 17 of Where the Red Fern Grows is presented. Students name a few
details left out of the summary (supplied within the lesson). They are told to notice that the focus of this summary is NOT on the main event, but on the main
character; they examine “clues” in the summary.
Next, students write their own summary by choosing an activity that has them summarize either a single chapter or a group of chapters. Guidelines for each
are provided, along with this suggestion:
You may wish to read summaries in Lesson 10 for examples of “putting in” and “leaving out.”
10
Summaries are exchanged with writing partners or groups for reading and identifying main events in summaries. Students revise as needed and keep the
summaries in their notebooks.
Chapter Summaries of Where the Red Fern Grows
This lesson groups the novel’s chapters into eight brief overviews. Summaries should prove useful for teachers and students in reviewing the flow of the
novel; they in no way substitute for a thorough reading. Chapter summaries may also provide helpful examples for how to summarize the story’s main ideas
and events, an activity students are called upon to do in Lesson 9.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
SENTENCE COMBINING I
Intermediate Skills Bundle I, Grade Levels 6-9
Students read delightful fables by Aesop, decide what the morals are, and try their own hand at reconstructing sentences from the fables. They learn to recognize
overstuffed and skinny sentences and revise them for sleekness by applying the principles of sentence combining.
Learning to write better sentences is what sentence combining is all about. Writing with a word processor is a natural fit with this editing approach to learning; word
processing features allow students to manipulate sentences freely, making any changes they want to - easily.
Learning objectives:
• increase each student’s repertoire of sentence structures
• encourage the transfer of these structures to the student’s independent writing through practice
• aid students in acquiring the skills for drawing inferences from literature
Handout: Things to Know about Combining Sentences (Reference File).
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2
3
4
5
6
LESSON
LESSON CONTENT
Warm Up
This lesson is an introduction to sentence combining. Students read three sets of skinny sentences and combine them freely, then they compare their work to the
way other writers did it. Their attention is drawn to the process they’ve just performed and to how much more flowing the combined sentences are compared to
the skinny ones.
“The Cat and the Fox”
Students write the moral in their own words and compare it to other morals. Seeing the work of a scribe who didn’t know about sentence combining, they edit
his work. Then they add their own expanded ending to the fable.
“The Fox and the Stork”
Students add a few lines to the ending of the fable and then write the moral themselves. They summarize a personal experience not unlike that of the fox in the
fable. This time, the scribe has produced overstuffed sentences that students will make sleek through editing. Finally, they write a character description of the
fox from their notes.
“The Young Man and the Swallow”
Students compare the moral they write to Aesop’s moral. Imagining they are now scribes with an editor who throws in suggestions for revision, they edit for
flowing sentences. Focus is on the combining technique of insertion, which students practice on some original sentences.
“The Father and His Two Daughters”
The focus is on combinations using WHO, THAT, and WHICH. Students deduce the rules for determining which relative pronoun to use, and they apply these
rules to skinny sentences adapted from the fable.
Amazing Brain
Now that students are warmed up, they are encouraged to write a fable of their own, based on the moral of the previous lesson. Writing prompts guide their
work. Partners play editor for one another.
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8
9
10
11
LESSON
LESSON CONTENT
“Jupiter and the Bee”
This is a fable which explains how the bee got its sting. Students are asked to judge the outcome and write the moral, then choose which other version is most
like theirs. The scribe, having messed up his note cards, has misplaced the combining words, so students have to fix the sentences. Then they play Mixer/Fixer
in two different forms.
“The Old Woman and the Physician”
Some fables feature people instead of animals, but the people aren’t any smarter! Students decide which moral from a previous fable is most similar to the one in
“The Old Woman and the Physician” and then paraphrase it. Aesop’s careless scribe again needs student help to repair his mixed-up note cards. Students
review and apply BECAUSE words (subordinating conjunctions) and combine skinny sentences.
“The Man and His Two Wives”
This fable’s moral has a dual edge, and students try to frame both sides of it. This time the scribe has used the wrong connecting words entirely, so students edit
his work. Overstuffed sentences are broken into skinny ones and then recombined. On their own, students reduce another passage to skinny sentences and
recombine the passage with their own ideas.
“The Fox and the Crow”
Flattery is the theme here, and the students imagine the styles the scribe might feel flattered about. They edit the best of his overstuffed and skinny work and
then add their own ending to the fable.
EXPAND!
As a culmination to all they’ve learned about fables and sentence style, students are led through the process of choosing a moral and writing a fable for it. With
prompts to generate their own notes, they compose, edit, and print out the fable written in sleek sentences.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
SENTENCES TO PARAGRAPHS II
Intermediate Skills Bundle I, Grade Levels 6-9
Lessons in Sentences to Paragraphs II give practice in writing paragraphs that exhibit a strong topic sentence, supporting details, and a summary sentence. Specific
strategies are reviewed: narrowing too broad a topic; ordering; adding supporting details; and linking sentences by example, by cause and effect, by comparison, and by
contrast. Lessons are arranged so that students begin working with topic sentences. However, lessons may be used in any order for reinforcement of skills already taught.
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1
LESSON
LESSON CONTENT
Good Start
Three characteristics of strong, well-ordered paragraphs are reviewed: a topic sentence, supporting details, and a summary sentence. The first activity has
students practice writing topic sentences.
Effective topic sentences are modeled, such as:
Subject:
Comment:
Topic Sentence:
Waves
They’re rolling, crashing, spraying
The waves rolled endlessly toward the shore, crashing against the rocks and spraying high in the air.
Next, students write topic sentences modeled after the example. They are given a series of five sets, including:
Subject:
Comment:
2
Wind
It’s whistling, howling, tearing
They select one of their topic sentences to write a three- to five-sentence paragraph. They work with a writing partner to revise and edit paragraphs, checking for
a strong topic sentence, supporting details, and a good summary sentence.
Sentence Mix-Up
Students read three exercises, each containing a series of related sentences in a mixed-up order. They order the sentences, keeping in mind that there may not be
just one correct order, but that some choices of ordering will be better than others. They are given these steps to follow:
1. Find the topic sentence to begin the paragraph.
2. Then, look for key words that link certain sentences together. Order the supporting detail sentences after the topic sentence.
3. Finally, put the summary sentence at the end of the paragraph.
Students conclude by writing a four-sentence paragraph of their own, using words that link sentences together. They review their work with a writing partner.
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SENTENCES TO PARAGRAPHS II, continued
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3
4
LESSON
LESSON CONTENT
Clustering
Students brainstorm clusters of words on a series of given topics. They use colors, feelings, smells, objects, actions, appearances, sounds, or tastes to describe
each topic word. Then they choose three of their clusters to write paragraphs with topic sentences and supporting details.
Add Details
This activity gives practice in adding supporting detail sentences to paragraphs. Three-sentence paragraphs are presented containing topic, detail, and summary
sentences.
I would love to take a trip to Africa. Wild animals fascinate me! It would be the best trip I could imagine.
5
6
7
8
9
Students insert two more detail sentences into each paragraph. Next, they write a paragraph on a topic of their own choosing, following the model of topic
sentence, three supporting detail sentences, and a summary sentence.
Too Broad
Students review characteristics of the topic sentence paragraph with supporting details and a summary sentence. They read topic sentences that are too general
and change them to more specific ones. A model is given. After narrowing their topic sentences, they select one and write a three- to five-sentence paragraph.
They revise and edit, following guidelines which check for supporting details and a concluding summary sentence.
Lively Lingo
Students read a much-modified passage by C. S. Lewis about walking in the woods. Next, they read the author’s original passage to observe descriptive
techniques used by Lewis in The Lion, the Witch, and the Wardrobe. Then students write a paragraph using Lewis’s passage for a model.
Sense It
Students are given titles and write descriptive sentences, using the five senses to make writing lively and fun to read. For example, for “A Tough Workout in the
Gym,” students list several words to describe what they imagine for each of the five senses. Next, they select one of their lists of descriptive words to write a
five-sentence paragraph. Their paragraphs are to include a topic sentence, three detail sentences, and a summary sentence.
Transitions 1
Students review transition words which order events first in chronological order and then in spatial order. They use word banks to add chronological words to a
set of sentences, forming paragraphs. They do a similar activity adding spatial order words.
Transitions 2
Topic sentences are presented with word banks, first for linking. For example:
for instance
in particular
10
in other words
that is
Students write a brief paragraph for each topic sentence, using at least one set of words that links an example. A similar set of activities is presented for cause
and effect, comparison, and contrast.
Proverbs
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SENTENCES TO PARAGRAPHS II, continued
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LESSON
LESSON CONTENT
Proverbs are used as summary sentences for paragraphs. Students write a paragraph to explain each proverb by giving examples. A sample paragraph is
modeled. Next students read a series of proverbs, such as: “It’s dangerous to criticize a person until you have walked in his/her shoes.” They choose three
proverbs and write paragraphs containing examples to prove or explain each proverb.
Page 78
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
PARAGRAPHS TO ESSAYS II
Intermediate Skills Bundle I, Grade Levels 6-9
Lessons in Paragraphs to Essays II give practice in writing paragraphs that exhibit a strong topic sentence, supporting details, and a summary sentence. Specific
strategies include: idea generating by clustering, narrowing too broad a topic, ordering, adding supporting details, and linking sentences. In addition, students review
types of writing: descriptive, expository, narrative, and persuasive. Lessons are arranged so that students begin working with topic sentences. However, lessons may be
used in any order for reinforcement of skills already taught.
#
1
LESSON
LESSON CONTENT
Good Start
Three characteristics of strong, well-ordered paragraphs are reviewed: the topic sentence, supporting details, and the summary sentence. The first activity has
students practice writing topic sentences.
Effective topic sentences are modeled:
Subject:
Comment:
Topic Sentence:
Meadow
Soft breeze
A soft summer breeze teased the flowers in the meadow.
Next, students write topic sentences, given a series of five sets, such as:
Subject:
Comment:
2
3
4
Hallway after school
A silent, empty feeling
They select one of their topic sentences to write a three- to five-sentence paragraph. They work with a writing partner to revise and edit paragraphs, checking
each paragraph for a strong topic sentence, supporting details, and a good summary sentence.
Cluster
Students brainstorm clusters of words on a series of given topics. They use colors, feelings, smells, objects, actions, appearances, sounds, or tastes to describe
each topic word. They choose three of their clusters to write paragraphs with topic sentences and supporting details.
Add Details to Support the Topic
Students read a series of sentences on John Audubon, one of which is a topic sentence. Some of the sentences are unrelated to the topic. Students delete
unrelated sentences then rearrange the sentences which are left so they form an ordered paragraph. Next, they check their revised paragraph to be sure each
supporting detail relates to the topic sentence. Students repeat this process with another topic.
Too Broad
Students review characteristics of the topic sentence paragraph with supporting details and a summary sentence. They read topic sentences that are too general
and change them to more specific ones. A model is given. After narrowing their topic sentences, students select one and write a three- to five-sentence
paragraph. They revise and edit, following guidelines in the lesson.
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PARAGRAPHS TO ESSAYS II, continued
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5
6
7
LESSON
LESSON CONTENT
Senses
Students are given titles and asked to write descriptive sentences, using the five senses to make their writing lively and fun to read. For example, for a title “A
Monster’s Picnic Basket” students list several words to describe what they imagine for each of the five senses.
Next, they select one of their lists of descriptive words to write a five-sentence paragraph. The paragraph is to include a topic sentence, three detail sentences,
and a summary sentence.
Time Ordering
Students review transitions, or linking words which order events by time. They work with sentences to order historical events and to order steps in a recipe.
They choose transitions from word banks or use their own linking words.
Five Linkers
Students are introduced to linking words. They write a paragraph using spatial linking words. Topic sentences are presented with word banks, first for linking
by example.
for example
in particular
8
in other words
that is
Students write a three- to five-sentence paragraph for each topic sentence, using at least one set of words that links by example. A similar set of activities is
presented for cause and effect, comparison, and contrast.
Descriptive Writing
Students review definitions of four types of paragraphs: descriptive, narrative, expository, and persuasive. Activities in the lesson focus on descriptive writing
which appeals to the senses. Students read a topic sentence followed by details, such as:
On a trip to China in March of 1977, I witnessed the impact of the largest meteorite ever recovered.
a. weighed 3,902 pounds
b. broke into several pieces
c. landed near some homes but no one was hurt
d. made a hole in the earth six meters deep and two meters wide
e. sounded like a sonic boom
f. saw a grayish flash
g. created a mushroom-shaped cloud of yellow smoke and dust
Students are asked to employ strategies for writing a descriptive paragraph that they learned in other lessons. They revise and edit, using guidelines to insure
their paragraph has:
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PARAGRAPHS TO ESSAYS II, continued
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LESSON
LESSON CONTENT
1) a topic sentence that is specific and not too broad
2) supporting sentences that develop, explain, and support the topic sentence
3) a summary or concluding sentence that holds the paragraph together by restating the main idea or drawing a conclusion
Expository Writing
Students review definitions of four types of paragraphs: descriptive, narrative, expository, and persuasive.
Activities in the lesson focus on expository writing which explains a process. For example, students are given an outline to determine how far away a
thunderstorm is:
a. Count the seconds between when you see the flash and when you hear the thunder.
b. Consider that sound travels about one mile in five seconds.
c. Divide by five the number of seconds you counted to find the number of miles the sound of the thunder traveled.
10
Students are asked to employ strategies in writing an expository paragraph that they learned in other lessons. They revise and edit, using the same guidelines
noted above for descriptive writing.
Narrative Writing
Students review definitions of four types of paragraphs: descriptive, narrative, expository, and persuasive. Activities in the lesson focus on narrative writing
which tells a story by relating a series of events in the order they occurred. They read outlined information on the topic of Manuel’s first day in a new school
and use the details to write a narrative.
a.
b.
c.
d.
11
He slips quietly into the room.
He sits all alone.
He watches the other children visiting with each other.
He feels very lonesome.
Students revise and edit, following guidelines noted above for descriptive writing.
Persuasive Writing
Students review definitions of four types of paragraphs: descriptive, narrative, expository, and persuasive. Activities in the lesson focus on persuasive writing
which states an opinion and attempts to convince the reader, using information and arguments. Students develop a persuasive paragraph using the topic
sentence: The fly swatter works much better than the hand for swatting flies. They use these details to develop their paragraph:
a. A fly’s body is covered with tactile hairs sensitive to air movement.
b. The movement of the hand creates air movements.
c. The fly swatter has many holes through which the air moves.
Page 81
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
CUT THE DECK
Intermediate Skills Bundle II, Grade Levels 6-9
Cut the Deck provides solid practice with writing skills including sentence combining, working with verbs, adverbs, and forms of editing and revision.
Unless otherwise stated all Cut the Deck activity lessons are appropriate for one student working alone or for two or three students working together, talking over answers,
and then taking turns typing. We urge students to use word processing editing features, such as Cut and Paste, in order to reduce typing where possible.
Cut the Deck lessons can be used with or without the book. Optimum practice, however, assumes the book activities are integrated with the computer activities per the
suggestions in this supplement.
The Cut the Deck book can be ordered directly from:
The Stack the Deck, Inc.
P.O. Box 429
Tinley Park, Il 60477-0429
1-800-253-5737
#
1
LESSON
LESSON CONTENT
Language Awareness
Language awareness is the focus here, asking students to tap their word-making ability and sentence sense to demonstrate how much they really know about
their language. This lesson is longer than the others, perhaps requiring a return trip to the computer, but the extra time spent is well worth the effort since the
positive and playful attitude sets the tone for the rest of the program.
Correspondence to Text
Unit 1, pp.1–10
Exercise 1 = Exercise 1, pp. 1–2
Exercise 2 = Exercise 3, p. 3
Exercise 3 = Exercise 6, p. 5
Exercise 4 = Exercise 11, p. 7
Exercise 5 = Exercise 13, p. 8
2
See Teaching Guide: pp. 4–8
Sentence Combining and Rearranging
Students will be practicing sentence combining, one of the Writer’s Vocabulary activities in this series. Key terms are: kernel ideas, idea words, glue words.
Correspondence to Text
Unit 2, pp. 11–15
Exercise 1 = Exercise 1, pp. 11–12
Exercise 2 = Exercise 2, p. 14
Exercise 3 = Exercise 3, p. 15
Page 82
CUT THE DECK, continued
#
LESSON
LESSON CONTENT
See Teaching Guide: pp. 9–13
3
Related Stack the Deck Materials: Writer’s Vocabulary poster
Rearranging Kernel Ideas
Unit 2 continued. Students will practice the skill of rearranging phrases and clauses for impact and for sentence variety.
Correspondence to Text
Unit 2, pp. 16–17
Exercise 1 = Exercise 4, p. 16
Exercise 2 = Exercise 5, p. 17
See Teaching Guide: pp.13–15
4
Related Stack the Deck Materials: Writer’s Vocabulary poster, Colleague Letter
Revising with an SOS
Unit 2 concluded. Students will be putting it all together, using combining and rearranging skills practiced earlier in order to turn a set of choppy sentences
into a paragraph. The Sentence Opening Sheet (SOS) on pages 23 and 24, a major fixture of this series, is introduced in the context of revision.
Correspondence to Text
Unit 2, pp. 18–26
There are no conventional exercises in this lesson. This is the first lesson that takes students through the whole writing process, while also reviewing the skills
of previous lessons.
See Teaching Guide: pp. 15–19
Related Stack the Deck Materials
Colleague Letter, writing poster, hard copy of SOS
5
Controlling Idea
This is a very important lesson on recognizing and composing the controlling idea (or topic sentence) of a paragraph. Students will benefit from reading the
text for excellent examples of strong vs. weak controlling ideas and then collaborating on the exercises. Some time spent on full-class instruction to assure
understanding of the controlling idea will be a time-saver later on.
Correspondence to Text
Unit 3, pp. 27–31
Exercise 1 = Exercise 1, p. 30
Exercise 2 = Exercise 2, p. 31
See Teaching Guide: pp. 20–21
Page 83
CUT THE DECK, continued
#
6
LESSON
LESSON CONTENT
How to Do Paper—An Expository Composition
This lesson and the next are on process writing: the how to expository paper. This lesson includes the warm-up (or prewriting) stage. Students will practice
sequencing the steps in a process, brainstorming for a topic, and critiquing a student model. Lesson 7 continues with Think Sheet planning through publishing.
You may want to assign specific readings in Unit 5 to review the controlling idea, organizing, glue words, the ending, and verb forms.
Correspondence to Text
Unit 5, pages 40–50
Exercise 1 = Exercise 1, pp. 40–41
Exercise 2 = Selecting a Topic, p. 41
Exercise 3 = Questions about the Student Model, p. 45
See Teaching Guide: pp. 26–31
7
Related Stack the Deck Materials: writing poster
How to Do Paper, continued
This lesson is process writing continued with the Think Sheet, which students may complete in this lesson. The lesson is mostly instructions about procedures
which will become automatic as students proceed. Have students come back to this lesson if they get lost in the writing process. Students will benefit from
reading and interacting with the student model in the textbook on page 45 before coming to the computer. Exercise 3, pages 48–49 and the Supplemental
Exercise on pages 49–50 are good warm-up exercises for revision.
Correspondence to Text
Unit 5, pp. 40–52
See Teaching Guide: pp. 26–31
8
Related Stack the Deck Materials
hard copy of SOS, pp. 47–48; Partner Checklist, p. 51
Subtracting Deadwood
Students will practice subtracting (a writer’s vocabulary word) unnecessary and redundant words—or deadwood—from sentences.
Correspondence to Text
Unit 4, pp. 34–36
Exercise 1 = Exercise 1, p. 35
Exercise 2 = Exercise 2, p. 36
See Teaching Guide: pp. 23–24
Page 84
CUT THE DECK, continued
#
9
LESSON
LESSON CONTENT
Related Stack the Deck Materials: Colleague Letter, writing poster
Expanding with Specific Details
Students will practice expanding (another writer’s vocabulary word) sentences by answering the journalistic questions: who, what, when, where, why, how.
Page 37 of the text will provide useful examples.
Correspondence to Text
Unit 4, pp. 37–38
Exercise 1 = Exercise 3, p. 37
Exercise 2 = Exercise 4, p. 38
See Teaching Guide: p. 24
10
Related Stack the Deck Materials: Colleague Letter, writing poster
Verb Power
Students will recognize weak verbs (such as be, have, do, and get) and will practice replacing them with strong, colorful verbs. They may need extra
instruction or will need to read the textbook, pages 71–72 for examples of strong verbs. Exercises are conducive to working in pairs.
Correspondence to Text
Unit 8, pp. 71–74
Exercise 1 = Exercise 1, p. 72
Exercise 2 = Exercise 2, p. 73
Exercise 3 = Exercise 3, p. 74
11
See Teaching Guide: p. 36
A Narrative of Observation
This lesson introduces the observation paper, to be written in narrative third person form. As the first stage in process writing, the lesson contains warm-ups
and brainstorming formats. Instruction or reading from the text about organization, gluing, and conclusions might be helpful prior to or immediately after
working at the computer. Helpful student models are on pages 93–95. Students should have their textbooks handy while at the computer. Lesson 12 will pick
up with Think Sheet planning and take students through the publishing stage.
Correspondence to Text
Unit 11, pp. 90–101
Exercise 1 = Brainstorming a topic, p. 91
Exercise 2 = Exercise 1, p. 92
Page 85
CUT THE DECK, continued
#
12
LESSON
LESSON CONTENT
See Teaching Guide
pp. 26–29 and p. 40; Student Objectives and Evaluation Sheet, p. 54
Observation Paper, continued
This lesson takes students from Think Sheet planning (page 96) through publishing of the observation narrative paper. Students will complete the Think Sheet
in this lesson (to print out or copy). They will need a hard copy of the SOS on page 97 and of the Partner Checklist on page 100. An excellent warm-up to the
revision stage is the supplemental exercise on page 99.
Correspondence to Text: Unit 11, pp. 96–101
See Teaching Guide: p. 40
13
Related Stack the Deck Materials: hard copy of SOS, Partner Checklist
The Opinion Paper
This is another process writing lesson, this time on the opinion paper. As one form of persuasive writing, this genre is most important. Any time spent on
warm-up and suggestions in the text (which are referred to in the lesson) is time well spent. Students should have their textbook handy while at the computer
since they are referred to text readings and student models. Ideally, students should type their topics as “controlling ideas” at the end of the lesson in order to
be ready for the Think Sheet in the next lesson.
Correspondence to Text
Unit 13, pp. 104–115
Exercise 1 = Discussion topic, p. 105
Exercise 2 = From “Organizing the Paper,” p. 107
Exercise 3 = Exercise 1, p. 107
14
See Teaching Guide: p. 43; Student Objectives and Evaluation Sheet, p. 54
Opinion Paper, continued
This lesson takes students from Think Sheet planning through publishing of the opinion paper. Students will complete the Think Sheet (page 111) in this
lesson. Suggestions are given in the lesson for sharing the final paper. Students will need a hard copy of the SOS (page 112) and of the Partner Checklist (page
114). An excellent warm-up to revision is the supplemental exercise on page 99, which reviews fragment errors and the I BELIEVE THAT hint.
Correspondence to Text: Unit 13, pp. 104–113
See Teaching Guide: p. 43
Related Stack the Deck Materials: hard copy of SOS, Partner Checklist
Page 86
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
OPEN THE DECK
Intermediate Skills Bundle II, Grade Levels 6-9
Use Open the Deck to develop language awareness and practice writing skills such as sentence combining and expansion, verb creation, and revision for fluency and
detail.
Unless otherwise stated, all Open the Deck activity lessons are appropriate for one student working alone or for two or three students working together, talking over
answers, and then taking turns typing. We urge students to use word processing editing features, such as Cut and Paste.
Ideally, students will bring their Open the Deck textbooks to the computer since reference is often made to printed instructions as background to a specific activity lesson.
An alternative, however, is for the teacher to introduce the concepts and offer enough instruction to assure that computer-users will be oriented to the exercises in a lesson.
While we have often changed the number of a textbook exercise in order to normalize numbering in the word processing lessons (calling them Exercise 1, 2, 3, etc. in a
lesson), we have not changed the content, so that exercises for all students are based on the same concepts, whether they are working at their desks or at computers. A
quick glance at the supplement notes here will give teachers the text location of individual lesson exercises.
The Open the Deck book can be ordered directly from:
The Stack the Deck, Inc.
P.O. Box 429
Tinley Park, Il 60477-0429
1-800-253-5737
1
New Verbs and Other Fun with Language
This lesson is a warm-up to the fun of word play with the most flexible language there is—English. Stressed here is the flexible verb-making feature of the
language, allowing easy and creative verbs to be derived from nouns. Something entirely new to students may be “Tom Swifties” which call for making -ly
adverbs. Don’t worry about defining terminology; the models should suffice. As in all inductive learning, students will be able to create definitions of their
own once they’ve had a chance to manipulate language consciously.
Correspondence to Text
Unit 2, pp. 21–22 and Unit 6, p. 103
Exercise 1 = First ten problems in Warm-Up Activity 1, p. 21
Exercise 2 = First ten problems in Warm-Up Activity 2, p. 22
Exercise 3 = Warm-Up Activity 5, p. 103
Prerequisite Word Processing Skills
Cut and Paste (Move), Copy, simple typing
See Teaching Guide p. 18; and Oral Language into Writing Introduction, p. 11
Page 87
OPEN THE DECK, continued
#
2
LESSON
LESSON CONTENT
Sentence Combining and Expanding
This lesson is the introduction at this level to exploring sentence structure; in this case, it is the concept of “kernel” ideas being implicit in each sentence and
that they can be combined and expanded to produce more fluent sentences. Word processing is the ideal tool for practicing sentence combining and expansion
because revising sentences is made so easy. Students would benefit from discussing and performing orally the exercises on pages 1–4 before going to
computer.
This lesson includes Comma Rule 1 (on commas in a series) and the first reference to a student-created notebook of comma rules. This comma rule notebook
is optional, and corresponds to the notebook list described on page 7 of the text.
Correspondence to Text
Unit 1, pp. 1–10
Exercise 1 = Exercise 2, pp. 5–6
Exercise 2 = Exercise 3, p. 7
Exercise 3 = Exercise 6, p. 9
See Teaching Guide: pp. 12–15
3
Supplementary Materials from the Stack the Deck Series
writing poster dealing with writer’s vocabulary; colleague letter
Persuading—Business Letter
Students will warm up to writing a business letter of complaint. Specialized formats and stylistic rules are modeled in the text on pages 29 and 32, so students
will benefit from having their text at the computer. In the next file, they will be completing their first Think Sheet about the subject they will brainstorm in
Exercise 4 of this lesson.
Correspondence to Text
Unit 2, pp. 28–38
Exercise 1 = Exercise 6, p. 30
Exercise 2 = Exercise 7, p. 30
Exercise 3 = Comparison of two letters on p. 32 (good discussion opportunity)
Exercise 4 = Brainstorm preparation for Think Sheet in next lesson
See Teaching Guide: pp. 5–10 and pp. 21–22
Page 88
OPEN THE DECK, continued
#
4
LESSON
LESSON CONTENT
Think Sheet for Business Letter
In this lesson students complete the Think Sheet from page 34 and print it out. They open a new file in which to write, and use the printout as their guide to
composing a first draft. If you prefer—or if computer usage is limited—they can do their composing in this lesson, scrolling back to consult the Think Sheet.
Then they can delete all but their letter in order to print it out.
Correspondence to Text: Unit 2, p. 34
See Teaching Guide: pp. 5–10 and p. 22
5
Supplementary Materials from the Stack the Deck Series
business letter models, p. 32
Revision Checklist
The Partner Checklist is the subject of this lesson since it may be new to students. Students are asked to print it out, attach it to the printout of their first draft,
and exchange with a partner, who then gives them feedback via the checklist. Students are encouraged to revise in their draft lesson, and then print out. Ideas
for sharing the letters can be found in the teachers guide on page 22. In subsequent process-writing assignments on this disk, the checklist is to be provided by
the teacher or used in the text itself rather than found in a lesson.
Correspondence to Text
Unit 2, pp. 34–35
Business Letter Think Sheet, p. 34
6
See Teaching Guide
pp. 5–10 and p. 22
Business Letter Student Objectives and Evaluation Sheet, p. 60
Sentence Combining
Students will combine sentences by creating compound verb strings and then combine them using connectors and, but, and or. This adds another combining
strategy to the pool of sentence-combining strategies stressed in the text series.
Comma Rule 2 (page 25) is presented in context. Students should add it to their own punctuation file, in a notebook.
Correspondence to Text
Unit 2, pp. 23–27
Exercise 1 = Exercise 1, pp. 23–24
Exercise 2 = Exercise 2, p. 24
Exercise 3 = Exercise 3, p. 25
Page 89
OPEN THE DECK, continued
#
LESSON
LESSON CONTENT
See Teaching Guide: pp. 19–20
7
Supplementary Materials from the Stack the Deck Series
writing poster dealing with writer’s vocabulary; colleague letter
Revising with an SOS
Students will practice revising for sentence fluency at the same time they are introduced to the Sentence Opening Sheet (SOS) as a revising aid. The SOS is a
major feature of the series, so students need to focus on procedures for using it until the use of the SOS becomes natural to them. If it is indeed new to them,
you will need to lead students through pages 49–51 in the text, perhaps using an overhead projector. In this and subsequent lessons, the SOS will be provided
by the teacher and completed with instructions in the text.
Correspondence to Text
Unit 3, pp. 49–51
Exercise 1= Exercise 8, p. 49
Sentence Opening Sheet, pp. 49–50
8
See Teaching Guide: pp. 26–27
“Jan’s Chance” a Story to Finish
Students will perform the writing process version of the writing assignment “Jan’s Chance” which ends Unit 3. Since this is a rather long lesson, you may have
students do their reading, talking, and consulting before they go to the computer, so computer time can be mostly spent on writing and revising.
Presented with a list of “short, choppy” sentences that comprise an unfinished narrative, students will revise for sentence fluency and detail and then add an
ending of their own. In a sense, this and the previous lesson create an authentic training ground for independent writing done in subsequent Open the Deck
lessons. The reminder about combining tricks on page 52 should be referred to often. In fact, students could Copy and Paste this brief list into a writing lesson.
Students will need a hard copy of the SOS (page 56) and the Partner’s Checklist (page 59).
Correspondence to Text
Unit 3, pp. 52–60
Exercises correspond to stages of the writing process:
Exercise 1 = Twenty-two sentences to combine, p. 53
Exercise 2 = Writing an ending, p. 54
Exercise 3 = Applying SOS suggestions, p. 57
Exercise 4 = Revising and publishing
See Teaching Guide: pp. 6–10 and p. 28
9
Supplementary Materials from the Stack the Deck Series colleague letter; Student Objectives and Evaluation Sheet, p. 61
Narrating a Memory
The focus is on warm-up and prewriting for this assignment of a memory paper, which ends Unit 6. Students warm up by working with a student model which
Page 90
OPEN THE DECK, continued
#
LESSON
LESSON CONTENT
focuses on past tense verbs (page 112), and by brainstorming for a subject from their memories. There are rich opportunities for students to collaborate in
order to spur each others’ memories. Students will need a hard copy of the Think Sheet, the SOS, and the Partner Checklist.
Correspondence to Text
Unit 6, pp. 111–114
Exercise 1 = “Where Do I Start?” pp. 111–112
Exercise 2 = Helpful Drill 1, p. 112
Exercise 3 = Helpful Drill 2, p. 114
See Teaching Guide
pp. 5–10 and 46; Student Objectives and Evaluation Sheet, p. 64
10
Supplementary Materials from the Stack the Deck Series
writing process poster; hard copy of Think Sheet, p. 116; SOS, pp. 117–118; and Checklist, p. 121
Memory Paper
This lesson takes students from where they left off in the previous lesson—at the subject selection stage—through the publishing stage. Students may write in
this lesson and print it out. Students will need a hard copy of the Think Sheet, the SOS, and the Partner Checklist.
Correspondence to Text: Unit 6, pp. 115–122
11
See Teaching Guide: pp. 46–47; Student Objectives and Evaluation Sheet, p. 61
Correcting Run-On Sentences
Students will be confronting the “infamous, dreaded, notorious Run-on Sentences,” practicing both recognition and repairing. A review of the glue words
(subordinate conjunctions) on pages 40–41 will help students remember those as one strategy for repairing two sentences which have been run together. (The
text refers to such cases as “forgotten glue words.”)
Correspondence to Text
Unit 7, pp. 126–129
Exercise 1 = Exercises 1 and 2, pp. 126–127
Exercise 2 = Exercise 3, p. 127
Exercise 3 = Exercise 2, pp. 126–127, expanded into a revising problem
See Teaching Guide: pp. 49–50
12
Supplementary Materials from the Stack the Deck Series: run-on poster
More Run-Ons
Continuing with work on repairing run-ons, students do a warm-up taking them through the examples on page 128. A review of ing words, wh words, and glue
Page 91
OPEN THE DECK, continued
#
LESSON
LESSON CONTENT
words will reinforce these as strategies to be practiced in this lesson. Boys Fan words (coordinating conjunctions) on page 130 make up the second set of
repair strategies to be practiced. Since this is a rather long file, you may have students do their reading, talking, and consulting before they go to the computer,
so computer time can be mostly spent on writing and revising.
Correspondence to Text
Unit 7, pp. 126–132
Exercise 1 = Exercise 4, pp. 128–129
Exercise 2 = Exercise 6, p. 130
Exercise 3 = Exercise 7, p. 130
See Teaching Guide: pp. 49–51
13
Supplementary Materials from the Stack the Deck Series: run-on poster
Combining with -ING Words
Students will focus on ing words (participles and gerunds) as powerful devices for combining sentences, building sentence fluency, and repairing fragments
and run-ons. This lesson is especially valuable as a final review of all the units on combining and expanding. Comma Rule 5 (page 69) is included here in
context, and again students could copy it into a punctuation notebook.
Correspondence to Text
Unit 4, pp. 68–72
Exercise 1 = Exercise 3, p. 69
Exercise 2 = Exercise 4, p. 70
Exercise 3 = Exercise 6, pp. 71–72
See Teaching Guide: pp. 32–33
Supplementary Materials from the Stack the Deck Series: writing poster
Page 92
SENTENCE WRITING II
Intermediate Skills Bundle II, Grade Levels 6-9
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
Writing effective sentences through the use of correct structure and expressive language is reinforced through activities in the sentence series. Students experiment with
the use of nouns, verbs, adverbs, pronouns, and adjectives; combine sentences; and vary sentence type, length, and style.
Language skills
• Understanding correct sentence structure through practice exercises
• Recognizing incorrect structures, such as fragments and run-on sentences
• Using adjectives and adverbs to create more interesting sentences
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LESSON CONTENT
Good News/Bad News
Students are provided with model sentences; one sentence is good news, the other is bad news.
GOOD NEWS: I rode my bike over a big bump and didn’t fall off.
BAD NEWS: The big bump was my poor dog, Alfie.
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Students follow the models and create five of their own “good news, bad news” sentences. Students are encouraged to work with a partner. One partner
creates the “good news” sentence, and then the other creates the “bad news” sentence. After finishing their sentences, they go back and try to make their
sentences more interesting and check them for correct spelling and punctuation.
Sentence Fragments
A list consisting of sentences and sentence fragments is provided and students select the complete sentences. Next, students are given fragments and make
complete sentences by adding verbs or subjects.
Separating Sentences
Paragraphs are provided with no beginning capitals and no punctuation between sentences. Students must correct the sentences by inserting proper
punctuation and capitalizing words. They are first presented with paragraphs consisting of three sentences and progress to paragraphs with seven sentences.
Finally, they type a paragraph containing at least three sentences, remove the punctuation, and ask a partner to replace the missing punctuation.
Combining Sentences
Students are presented with short, choppy sentences and given an example of how these can be combined into one smooth sentence. Then they combine the
remaining seven sentences. Later in this activity, one student creates short, choppy sentences and asks a partner to combine them.
The following word bank is provided to help students.
and
but
while
where
after
although
as
since
when
who
because
that
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SENTENCE WRITING II, continued
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Adjectives and Adverbs
Adjectives and their uses are explained and a number of examples are provided.
1.
2.
3.
4.
5.
My room is the pits.
My small room is the pits.
My shabby, small room is the pits.
My dirty, shabby, small room is the pits.
My unpainted, dirty, shabby, small room is the pits.
Then students add adjectives to sentences provided. Markers are used to indicate the number of adjectives students are to use, starting with one and working
up to four. The following word bank of adjectives is provided to help the students:
white
cranky
black
hungry
soft
fat
slinky
slim
naughty
smooth
sly
dirty
silky
tired
brown
happy
wild
lonely
Adverbs are explained and the same process as above is followed. The following word bank is provided to help students as they add adverbs to the five
sentences:
loudly
nervously
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softly
sleepily
sadly
hungrily
angrily
painfully
hopelessly
bravely
Color It
The use of adjectives and adverbs to provide color to sentences is explained and then an example is provided. A word bank follows with adjective, noun, verb,
and adverb categories. Students create five sentences using the words in this word bank:
ADJECTIVE
burly
shiny
trembling
ticklish
lovely
NOUN
Cindy
truck
turtle
Jell-O
piglet
VERB
stomped
spun
jiggled
squealed
rumbled
ADVERB
heavily
timidly
oddly
happily
loudly
The following model, created from the words above, is provided as an example:
Model sentence: The burly turtle squealed happily.
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When students have completed the five sentences, they choose their favorite sentence from the five, retype or move it, and add two more sentences to it to
make a paragraph, as in the following example:
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The burly turtle squealed happily. He slid down the long, muddy bank and splatted into the cool water. The big bullfrog croaked as the
turtle knocked him off of his green lily pad.
Telling More
Using these sentence starters, students explore three things that made a difference in their lives:
The most important thing I ever learned is < >.
The best gift anyone ever gave me was < >.
The hardest problem I ever solved was < >.
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Next, they expand on these sentences to make them more interesting. Sentence starters help students explore why this event, gift, or problem was important;
when it took place; how the student felt because of this; and so on. When this is completed, students put their ideas together into two sentences.
Overloaded Sentences
Overloaded sentences are explained with this example:
Wool hats, insulated snow suits, heavy boots, thermal underwear, and huge mittens made the children look like small, fat dwarfs struggling
through the snowdrifts toward the school where they would spend the day studying spelling, math, history, and science, including a unit on
life in the tropics, while outside the temperature plummets to 40 degrees below zero with a wind-chill factor of 80 degrees below zero.
To make the sentence easier and more interesting to read, it is broken into several smaller sentences as shown in the next example:
Wool hats, insulated snowsuits, heavy boots, thermal underwear, and huge mittens made the children look like small, fat dwarfs. They
struggled through the snowdrifts toward the school. There they would spend the day studying spelling, math, history, and science, including
a unit on life in the tropics! Outside, the temperature plummets to 40 degrees below zero with a wind-chill factor of 80 degrees below zero.
Next, eight overloaded sentences are provided for students to rewrite. Then students write their own overloaded sentences. They are encouraged to make their
sentences as long as possible using words from this word bank:
and
but
while
where
when
because
for
after
although
as
since
if
Then they rewrite their sentences in more manageable form, adding information sentences and a sentence at the end to tie the paragraph together.
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A+LS™ Software Edition
WOMEN LEADERS
Intermediate Reading Comprehension Bundle,
Grade Levels 6-9
Students expand reading skills and step inside the lives of great women with Contemporary Women Leaders: Changing the Face of America. By reading the multicultural biographies presented in these lessons, students become acquainted with women such as Barbara Jordan, Amy Tan, and Gloria Steinem. Intimate childhood
anecdotes make the lessons especially relevant to young readers. Discrimination, poverty, and divorce give way to hope, courage, and dedication in gripping, true-life
stories. Adult accomplishments and life-molding values are also offered, leaving readers with several penetrating messages.
Students read and respond to questions and prompts designed to develop literal, interpretive, and applied comprehension as well as thinking and discussion skills. Written
student responses include opportunities for both objective and subjective writing. All lessons are written so students may work either in a group with partners or
individually.
Language Skills Emphasized
Reading, writing, speaking, listening, group decision-making
Reading Processes Emphasized
Reading at literal, interpretive, and applied levels. Use of pre and post-questioning strategies
Student Objectives
Students will:
• Use pre-questions to activate and assess prior knowledge of each woman and the area of her accomplishments
• Improve reading skills by examining the text for literal, interpretive, and applied concepts
• Develop both objective and subjective written responses to the text
• Participate in group discussion and group decision-making
• Develop summary-writing skills
• Develop word processing skills
• Identify with great leaders as relevant models for their own lives, thus boosting personal self-esteem
Handout
Biographical Sketch and Thought Questions
The biographical text and some of the extra credit questions from each writing lesson are included in this reproducible handout for use in the classroom.
Lesson Organization
Each lesson contains pre-questions to help students activate and assess their prior knowledge. The reading text follows. Post-questions start at the literal level and then
progress through interpretive and applied levels. The questions elicit both objective and subjective written and oral responses. Each lesson contains an opportunity for
students to do summary writing. Two extra credit activities follow the post-questions in each lesson. Each lesson is a self-contained unit. The collection of biographies can
be used in any sequence. The “Women in Leadership” lesson is for use as a culminating activity.
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Marian Wright Edleman: Defender of Children
In this biography, the poverty and discrimination endured by the founder of the Children’s Defense Fund are balanced by her hope and tenacity. Edelman’s
dedication to offering fundamental rights to all of America’s children finds poignant echoes in the minds of students.
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Delores Huerta: Champion of Farm Workers’ Rights
The life of this United Farm Workers’ leader is painted against a background of strong family values and a life dedicated to improving the world. Racism
experienced by Huerta as a teen provides the impetus for her unending struggle for farm workers’ rights.
Barbara Jordon: Public Servant and Ethics Guru
From her close relationship to her grandfather who taught her “life is not a playground, but a schoolroom,” Barbara Jordan’s path from Congress to
contemporary “ethics guru” is revealed. Jordan’s adherence to the qualities of integrity and self-sacrifice and the abiding need for integrity in the lives and
values of public servants are stressed.
Wilma Mankiller: Chief of the Cherokees
This biography of Chief Wilma Mankiller offers a stunning example of cultural pride and rejuvenation. The pain of an Indian child confronted with culture
shock when transported from her native home to the city, only reinforces the strength of Wilma Mankiller’s heritage. Reaffirming the legacy of her people
becomes her life work.
Barbara Roberts: Governor of Oregon
A native Oregonian with only a high school diploma fights for her disabled son’s right to an education. In the process, she finds herself slowly becoming
involved in the world of politics, eventually becoming Governor of Oregon.
Gloria Steinem: Leader of the Women’s Movement
This founding mother of the women’s movement began life as the itinerant daughter of wandering parents. Family dysfunction and divorce soon turned her
into a serious, care-giving child who escaped into books. Political events in the late sixties, combined with her frustrations as a women’s writer, came together
and created within her a new direction for her life. She devoted herself to pursuing women’s rights, justice, and peace.
Amy Tan: Award-Winning Novelist
A traditional Chinese-American upbringing gives way to a gripping struggle between two cultures in the life journey of this famous writer. Her assimilation
into American culture threatens to destroy her relationship with her mother. Her work as a novelist helps heal the tensions between herself and her family.
Women in Leadership
This lesson is intended for use after working with several other lessons. The lesson explores the character traits that have helped these women achieve success
and encourages students to synthesize and apply their knowledge about women leaders.
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A+LS™ Software Edition
EARTH HEROES
Intermediate Reading Comprehension Bundle,
Grade Levels 6-9
From the earliest Americans to contemporary youths, some inhabitants of North America have shown unique appreciation for its vast natural resources and diverse scenic
beauty. Yesterday’s stewards and today’s alarmists are profiled together in this chronologically organized educational program focusing on America’s top environmental
leaders. The program, including twelve interactive profiles, takes the reader from Chief Seattle and other early Native Americans to present-day scientists, such as
population expert Paul Ehrlich, to tomorrow’s leading activists, like the Toxic Avengers, a group of Hispanic youths in Brooklyn. Each profile contains a brief biography
of the individual or group, followed by excerpts from their most popular and relevant writings interspersed with thought-provoking questions on environmental ethics and
the relevance to our own situations and our future.
The text in the “Earth Heroes” lessons provides challenging reading materials. Students read and respond to questions and prompts designed to develop literal,
interpretive, and applied comprehension as well as thinking and discussion skills. Written student responses include opportunities for both objective and subjective
writing. All lessons are written so students may work either in a group with partners or individually.
Language Skills Emphasized
Reading, writing, speaking, listening, group decision-making
Reading Processes Emphasized
Reading at literal, interpretive, and applied levels. Use of pre-, during, and post-questioning strategies
Student Objectives
Students will:
• Use pre-questions and concept identification to activate and assess prior knowledge of each environmentalist and that person’s contributions to the environmental
movement
• Improve reading skills by practicing reading strategies and by examining the text for literal, interpretive, and applied concepts
• Develop both objective and subjective written responses to the text
• Participate in group discussion and group decision-making
• Develop summary-writing skills
• Develop word processing skills
• Identify and develop a response to environmentalists and environmental concerns
Handouts
Bibliography
Student and Youth Groups That Address Environmental Issues
Lesson Organization
The profiles are presented in chronological order. You may wish to have students complete them in this order to give a historical background about environmentalists.
However, each of these lessons is complete within itself and can be used in any order. The “Environment and the Future” lesson is designed for use after several or all of
the lessons have been completed. Each lesson contains pre-questions and key vocabulary and concept prompts to help students activate and assess their prior knowledge.
The reading text is interspersed with literal, interpretive, and applied-level questions and prompts. The questions elicit both objective and subjective written and oral
responses. Each lesson contains an opportunity for students to do summary writing. An extra credit activity follows each lesson.
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LESSON
LESSON CONTENT
Native Americans: America’s Earliest Environmentalists
Identifies the basic philosophies of the Native American Indians that have today become the foundation of modern environmental thought. Includes quotations
and early writings of Native American leaders about the oneness of humans and nature and the concept of land ownership. Develops the concepts of Native
American environmental philosophy, sustainability, and depletion of resources.
Henry Thoreau: Naturalist and Philosopher
Presents a brief biographical description of Thoreau and his writings. Uses excerpts from “The Maine Woods” to exemplify Thoreau’s thinking on
transcendentalism and naturalism. Develops the concepts of transcendentalism, wilderness, and preservation. Provides an excellent literary example of early
American writing about nature.
John Muir: The Father of Conservation
Identifies Muir as the “father of conservation” and the founder of the Sierra Club. Uses excerpts from “Stickeen”, Muir’s book about his experiences while
exploring Alaska’s glaciers. While his book “Stickeen” does not overtly suggest wilderness protection, it inherently suggests that humans learn about
themselves through their knowledge of the wilderness. Develops the concepts of conservation, conservation organizations, and observations from nature.
Theodore Roosevelt: The Conservation President
Briefly describes Roosevelt’s accomplishments as the “conservation president.” Uses excerpts from “Theodore Roosevelt: the Making of a Conservationist” to
develop Roosevelt’s stance on the value of the environment as part of the nation’s wealth. Outlines his arguments for a balance between preservation and
utilization of natural resources Develops the concepts of conservation, forestry, and natural resources. Provides an early look at the problems of pollution.
Aldo Leopold: The Father of Wildlife Management
Describes how Leopold, through his studies about wildlife and the wilderness, came to the realization of the interdependence of all living things thus
establishing a foundation for the science of ecology. Uses excerpts from his essay “Thinking Like a Mountain” to describe how he came to this understanding
about interdependence. Develops concepts of wildlife, wildlife management, and ecology.
Rachel Carson: Catalyst for the Environmental Movement
Identifies Carson as the author of the landmark book, “Silent Spring”, that started the environmental movement. Uses excerpts from “Silent Spring” to cite her
warnings against the use of pesticides and other human-made chemicals. Examines humankind’s relatively new ability to alter nature and suggests the need for
alternative solutions for management of the environment Develops the concepts of the environmental movement, deteriorated environment, entomology, and
the use of pesticides.
David Brower: Environmental Activist
Describes Brower’s shift from a leader of the conservation movement to an environmental activist and lobbyist. Uses excerpts from his credo to establish the
need for personal conviction about environmental issues. Uses metaphors from his book ”Only a Little Planet” to help students appreciate the finite qualities of
the environment and the relatively short time that man has exploited the earth. Develops concepts of activism, lobbying, credo, and restoration.
Paul Erlich: Population Biologist
Examines Ehrlich’s work as a population biologist and warnings about the threat of overpopulation. Uses excerpts from “The Population Explosion” to
develop an appreciation for the serious consequences of overpopulation. Develops concepts of overpopulation, conservation biology, carrying capacity, and
global climate problems.
Norman Myers: Environmental Optimist
Describes Myers’ role as an environmental consultant and expert on biodiversity, deforestation, and desertification. Uses excerpts from “Gaia: An Atlas of
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EARTH HEROES, continued
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Planet Management.” Examines the paradox of human’s ability to understand and respond intelligently to the needs of the environment and the obvious misuse
and destruction of the environment by people. Highlights Myers’ optimism about the growing numbers of people actively engaged in improving environmental
attitudes and problems. Develops concepts of biodiversity, deforestation, and desertification.
David Foreman: Eco-Warrior
Explains Foreman’s disillusionment from “working within the system” to solve environmental issues and his shift to the radical approach of the EarthFirst!
organization. Uses excerpts from “Confessions of an Eco-Warrior” to express Foreman’s concerns about the imminent danger in the current high rate of
extinctions. Stresses the need for becoming actively involved in the environmental movement, but also encourages personal choice about which actions to
take. Develops concepts of eco-defense, eco-terrorism, and extinction.
Robert Bullard: Environmental Justice For All
Identifies Bullard as a leader in the environmental justice movement and describes his role as an advocate against the disproportionate impact of pollution on
low-income and minority citizens. Uses excerpts from “Environmental Justice for All” to identify and describe the problem of environmental inequities.
Briefly describes the history of these inequities and the actions being taken to resolve them. Develops the concepts of disproportionate impact, environmental
justice, and environmental inequities.
Environment and the Future
Examines the actions that youths and youth groups are currently taking to address environmental issues. Provides a list and description of these groups.
Encourages students to consider environmental issues that affect their communities. Recommended for use after students have completed several or all of the
lessons.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
GREAT PERFORMING ARTISTS
Intermediate Reading Comprehension Bundle,
Grade Levels 6-9
Eight multicultural biographies encapsulate the lives and contributions of contemporary and historic American performing artists. Students read, analyze, and interact with
text that provokes creative and critical thinking about the accomplishments of these performers.
Teacher Preparation
The activity lessons can be used independently or in a classroom setting. Preview the biographical and lesson overview information. The text of each biography is based
on a specific organizational pattern. You might review the organizational patterns with students to help them develop reading and comprehension strategies.
Prereading Activities
Each lesson begins with a brief concept building activity based on the concept/theme developed in the biography. This activity prepares students for reading the
biography.
During Reading Activities
Students complete the reading and writing activities on the computer, or as an alternative, use a printout to complete the prereading activities and read the biography. In
either case, encourage students to be active readers by notating the biography as they read. Students using the computer can use bold or underline to mark areas of
interest; students using printouts can underline or highlight text.
Post Reading Activities
Questions and prompts at the end of the biography focus students on literal comprehension, interpreting, and applying information. The final activity uses a variety of
writing activities that allow students to synthesize their learning.
Extension Activities — Search On!
An Extra Credit — Search On! activity completes each lesson. This activity helps students conduct their own research into the history and events surrounding the
performing artist’s life. Search words specific to the artist’s life and time period are provided. Students report their findings in a “behind the scenes” paragraph.
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Marian Anderson - The First Black Diva of Spiritual and Classical Music
Biography Overview
Born in 1902, Marian Anderson showed an early talent for singing. Her family managed to provide limited instruction for her. At nineteen, Anderson
received a fellowship for study in Europe. Despite her success in Europe, racial barriers in the United States hindered Anderson’s success here. A turning
point came in 1939 when Eleanor Roosevelt spoke against the DAR’s attempt to bar Anderson from singing in Constitution Hall. Anderson accomplished
many firsts in her life, including being the first black woman to receive the Presidential Medal of Freedom.
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Lesson Overview
Students read the biography which uses a time-order organizational pattern. Activities include completing a timeline based on events in Anderson’s life,
comparing her European and American success, analyzing the inscription on her Presidential Medal of Freedom, and using context clues to define diva.
Students select their final activity from a choice of three: as Eleanor Roosevelt, write a letter of resignation to the DAR or a letter to Marian inviting her to
perform at Lincoln Memorial, create a name acrostic that describes Anderson, or write a poem that expresses how Anderson may have felt about one of her
experiences.
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Objectives
• understand the relationship of events according to time
• compare and contrast events and reasons
• analyze written information
• demonstrate understanding through synthesis of information
Gloria Estephan: “There’s Always Tomorrow”
Biography Overview
In 1958, Gloria Estephan and her family fled Cuba and settled in Miami, Florida. Her early years were marked by a love for music and language and by a
determination to accept and conquer challenges. Her early years were also often lonely and troubled due in part to natural shyness and her father’s serious
health problems. Due to her singing and writing abilities, Estephan underwent a remarkable transformation—going from a girl who performed only for herself
in the privacy of her room to a world famous lead singer in a band. After an accident left Estephan with a broken back, she once again showed her
determination to accept and conquer challenges.
Lesson Overview
Students read the biography which uses a cause and effect organizational pattern. Activities include summarizing events in Estephan’s childhood, analyzing
the effect of certain events and personality traits, identifying transformations in Estephan’s life, and developing a personal response to Estephan’s outlook on
life.
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Objectives
• summarize factual information
• analyze cause and effect
• develop a personal response to written material
June Kuramoto - The Song Inside
Biography Overview
June Kuramoto moved with her family to the United States from Japan when she was five. Soon after, she heard the koto, a Japanese instrument, at a Japanese
American social event. She loved the instrument and began lessons. In grade school, June proudly played the koto. By junior high, she felt pressured by her
peer’s teasing about the instrument. In high school, she succumbed to the teasing and quit. Soon, she realized the foolishness of giving up a dream because of
peer pressure. Currently, Kuramoto performs with the jazz and rock band Hiroshima. Kuramoto believes playing the koto has taught her discipline, a sense of
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LESSON CONTENT
accomplishment, and how to find and share the song inside her.
Lesson Overview
Students read the biography which uses enumeration as its organizational pattern. Activities include identifying descriptive details, writing a paragraph that
compares and contrasts a personal experience with Kuramoto’s efforts in pursuing the koto, listing the lessons Kuramoto learned through playing the koto,
identifying cause and effect, interpreting statements and comparing them to Kuramoto’s beliefs, identifying and explaining a special interest that the student
would like to share with others.
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Objectives
• list descriptive details
• compare and contrast personal experience with experience in biography
• understand cause and effect
• interpret meaning and apply understanding to written material
Yo Yo Ma
Biography Overview
Yo-Yo Ma is Chinese, but he was born in France to musician parents. Ma started violin at an early age, but he actually loved the cello. He was too small for
the cello so his father transformed his violin into a cello. Ma sat on stacked phone books so he could hold and play the instrument. Ma gave his first recital in
Paris at age six. Soon after, he and his family moved to the United States. After Bernstein heard him, he performed on television and then debuted at Carnegie
Hall when he was nine. After college, Ma played with several major orchestras. Ma is noted for his ability to play a variety of music styles from classical to
jazz with extraordinary expression and to make even the most difficult music accessible to audiences.
Lesson Overview
Students read the biography which uses a time-order organizational pattern. Activities include describing how Ma overcame being “too small,” listing
events and circumstances that led to Ma’s success, and writing a paragraph that summarizes his success. In the final activity, students select one of three
assignments: explain how someone who appeared to be too small for a task succeeded, describe how an older person helped a younger person gain
confidence, or describe a time when a person boasted too much about his or her abilities. Student can use fiction or nonfiction.
Objectives
• understand cause and effect relationships
• analyze information
• write a summary paragraph
• apply understanding to an original fiction or nonfiction story
James Edward Olmos “I Take Away All the Excuses”
Biography Overview
Olmos, who grew up in East Los Angeles, learned the value of self-discipline at an early age. Through self-discipline, he developed his musical talents. While
playing in a band, he discovered how much he loved performing, but also realized he would need more education to be successful as a performer. He studied
drama and soon received several small television parts. Then he got a major role in the production Zoot Suits. After this, Olmos began choosing roles that
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LESSON CONTENT
allowed him to portray disadvantaged people overcoming difficulties. Well known for his starring role in Stand and Deliver, Olmos has used his fame to teach
others his message — that with self-discipline, education, and a desire to help others, people can overcome and achieve.
Lesson Overview
Students read the biography which uses a cause and effect organizational pattern. Activities include analyzing quotations, identifying details about Olmos’
career, identifying Olmos’ principles of success, writing a paragraph or poem that explains a key to success, creating dialogue for role play in which a school
counselor helps a discouraged student, and writing a paragraph that explains how any one can be successful.
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Objectives
• analyze quotations
• identify supporting details
• write an explanatory paragraph or poem
• synthesize learning by developing a role play situation
Will Rogers: “I Never Met a Man I Didn’t Like”
Biography Overview
Perhaps one of the best loved performers in American history, Will Rogers based his success on simple beliefs — always tell the truth, get along with people,
respect them, and stay humble. Rogers was raised on a ranch in the Oolagah Indian Territory. As a teenager, he fascinated others with his incredible tricks and
dry humor. He began a career as a trick roper, but soon his humor became the highlight of his act. Along with his humor, people loved him for his honesty,
humility, and profound understanding of life. Rogers was successful as a Vaudeville performer, a radio show host, a newspaper columnist, an author of books,
and a movie actor. Through his wit and wisdom he became the insight and comfort of the nation during distressing times. Through it all, Rogers never left his
tenets about truth, getting along, and humility.
Lesson Overview
Students read the biography which uses a time-order organizational pattern. Activities include listing descriptive details, using a quotation as supporting
evidence, creating dialogue based on an understanding of the biography, explaining how Rogers beliefs affected his work, and writing an opinion paragraph on
whether or not a person today could be successful following Roger’s standards.
Objectives
• understand description
• use supporting evidence
• analyze and interpret written information
• write an opinion paragraph
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Maria Tallchief: Woman of Two Worlds
Biography Overview
Maria Tallchief was the first Native American prima ballerina. Born in Osage Territory, she studied ballet from an early age. Her family moved to California
to continue her ballet instruction. As a teenager, Tallchief devoted hours to studying ballet. After graduation from high school, she became a professional
ballerina becoming the prima ballerina for the Ballet Russe de Monte Carlo. Though Tallchief was pressured to fit the image of European ballerinas, she
remained loyal to her Native American heritage. Tallchief is considered one of the greatest ballerinas ever, dancing even the most difficult parts with grace and
impeccable technique. Recognized by her tribe for her accomplishments, Tallchief was given the honor name Woman of Two Worlds.
Lesson Overview
Students read the biography which uses a comparison and contrast organizational pattern. Activities include comparing and contrasting Tallchief’s two
worlds, identifying events that show Tallchief’s pride in her Native American culture, writing a descriptive paragraph or poem about Tallchief, analyzing
the meaning of her honor name, and writing Tallchief’s acceptance speech for receiving the honor name.
Lesson 7, continued
Objectives
• summarize information
• compare and contrast two situations
• describe personality traits and abilities
• analyze information
• synthesize information through development of a speech
Stevie Wonder: Signed, Sealed, and Delivered
Biography Overview
Stevie Wonder was born blind, but his mother used music to help him “see” the world. At two, Wonder was already playing his first instrument. At nine, he
had a recording contract with Motown Records. Despite his incredible abilities, Wonder’s early career was marked by both success and failure. Wonder was
most successful when he was allowed to perform music in his own way. This set in motion a desire to have control over his music and performances. By
fifteen, Wonder had established himself as a successful songwriter and performer. By twenty-one, Wonder had developed his music production skills and
started his own production and publishing companies. Through his music, Wonder invites the world to see his vision.
Lesson Overview
Students read the biography which combines time-order and cause and effect organizational patterns. Activities include summarizing how and why Wonder
was introduced to music, listing and analyzing his accomplishments, identifying and organizing the steps Wonder took to achieve his goals, identifying a
personal goal and developing a plan which includes identifying necessary skills for reaching the goal.
Objectives
• summarize information
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LESSON
LESSON CONTENT
• identify and analyze accomplishments
• understand cause and effect relationships
• develop a personal goal and plan for reaching the goal
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A+LS™ Software Edition
OF MICE AND MEN
High School Novels Bundle I, Grade Levels 9-12
Through computer writing activities, students explore the contemporary classic Of Mice and Men. This unit provides practice in titling chapters, interacting with dialogue,
considering essay topics, analyzing plot structure, analyzing point of view, and reading/writing activities focusing on character and thematic development. Students work
alone and with their peers to revise and edit.
Language Skills: Writing, listening, critical thinking, critically responding, decision-making
Writing Processes: Prewriting, composing, sharing, rewriting/editing, peer reviewing, publishing
Learning Objectives:
• identify tone of chapters
• identify tone of dialogue
• identify issues in essay topics
• identify character traits
• identify plot structure elements
• identify aspects of the themes such as brotherly love, murder, responsibility
• identify author’s point of view towards euthanasia, the mentally handicapped, and the socially inept
Handouts:
Chapter Titles (4 pages)
Test (2 pages)
Test Answers (2 pages)
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LESSON CONTENT
Plot Structure
This lesson provides the student with the definitions of a plot structure formula. Students analyze the plot of Of Mice and Men and fill in the formula. The
elements of plot structure defined are: exposition, inciting incident, rising action, crisis, climax or resolution, and denouement or falling action.
Point of View
This lesson gives the student three aspects of the novel to consider from the viewpoint of two characters. They examine attitudes towards dreams/goals, another
character’s wife, and animals.
Couples Essay
Students write comparisons of three sets of characters in relationships. They contrast the couples to other characters in the book.
Character Sketch - George
Eight methods of characterization are provided for the student to use when writing a character sketch and a detailed example. Methods include: physical
description, name analysis, attitudes/appearance, dialogue, thoughts, reactions of others, action or incident, and the physical and emotional setting. Students
write a character sketch of George.
Character Sketch - Lennie
The eight methods of characterization are used to write a character sketch of Lennie.
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Character in Conflict
This lesson defines seven different types of conflicts for the student to learn and use to identify excerpts of dialogue representing conflicts. Types of conflict
include: man against self, against man, against society, against his environment, against nature, against fate, and against the supernatural. Students explain
instances of conflict involving George and Lennie.
Theme - Mercy Killing
Writing prompts are provided for the student to contrast two parallel scenes concerning the controversial issue of mercy killing. They examine attitudes toward
dreams or goals of two characters.
Essay Opinion - Controversial Issue
This lesson provides the teacher and the student with potential issues to be discussed and/or written about. They may discuss Lennie as representing all misfits
in society. They consider responsibility for another, justice for misfortune, punishment, and alternatives.
Epilogue
Students create a scene from their imagination involving George at a later date talking with a newly created character.
Final Essay
This lesson provides the student the opportunity to condense all activities experienced into one writing assignment producing an essay that reacts to the novel
and its title.
Chapter Titles
Students write an essay based on the summary of the novel that is reflected in their choice of chapter titles.
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THE GREAT GATSBY
High School Novels Bundle I, Grade Levels 9-12
Through varied activities and reading responses, students discover the classic novel The Great Gatsby by F. Scott Fitzgerald.
Learning Objectives: That students be able to read a literary classic with understanding and insight by considering questions that reveal:
• plot and factual detail
• characterization and traits of character
• interpretations of significant ideas and major themes
• literal and figurative meanings
• use of literary devices, such as irony and satire
• contemporary truths out of an early twentieth century setting
Handouts: Vocabulary (7 pages)
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LESSON
LESSON CONTENT
Chapter 1
This and lessons begin by having students do a QUICK WRITE, giving their personal reactions to a single chapter. Specific questions establish F. Scott
Fitzgerald’s first-person character/narrator, or storyteller, of The Great Gatsby. Characterization questions have students choose from a list of words or use their
own words to characterize Nick Carraway - his background; how he sees himself; and how he sees others reacting to him. A comparison of characters is
developed by listing character traits of three other characters. Interpretive questions delve into the story setting. Students read a key passage on-screen. Then,
partly for fun, they draw a picture in their minds (or on paper) of the physical setting described in the passage. The specific object students are left to guess (a
pair of eyeglasses, binoculars, etc.) is a metaphorical description of the omniscient narrator - a configuration that reappears throughout the book.
A figurative language question asks students to speculate on the figure “standing with his hands in his pockets regarding the silver pepper of the stars.” All
lessons end with a “Then and Now” essay question for students to support or attack. This lesson’s essay question introduces the nonfiction world, a Fitzgerald
backdrop:
The Great Gatsby was published in 1925. In Germany, Adolph Hitler was building the Nazi party and writing Mein Kampf, which plainly stated his
ideas about the superior race.
Students are asked to consider Tom Buchanan’s views on this subject and write a short essay to support or attack the following statement, using examples to
defend their position.
We can be thankful that the Tom Buchanans of an F. Scott Fitzgerald world lived back then and not now!
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Chapter 2
Again, students do a QUICK WRITE, giving personal reactions to chapter 2 in a short paragraph. Specific questions of factual detail inquire into two
contrasting characters. Interpretive questions extend those contrasts. They quote a key statement of the narrator’s, and ask what the statement suggests about his
character and why it is necessary to the novel. Literal and figurative language questions draw students out about Fitzgerald’s other setting - his “valley of
ashes.” This work is preparatory to examining figurative language and the author’s purpose.
The difference between author and character/narrator is explained as it relates to ascribing beliefs to an author. Still, readers can certainly speculate on an
author’s purpose! For example, students are asked to consider what the author - through the narrator - may be trying to say in the figurative comparison/contrast
which describes “the great wet barnyard of Long Island Sound” and “the valley of ashes.” They do so, first by listing qualities of each. Then, in their own
words, they write their conclusions about the author’s purpose in making such a contrast. The “Then and Now” essay question asks for the student’s reactions to
this statement, using examples to defend their position:
Fitzgerald’s characters sit around in a crummy apartment making stupid remarks. They talk about each other, clothes, Jews, boyfriends, spouses.
What’s the point? I’d just get up and leave.
3
Chapter 3
Following the QUICK WRITE, students examine the novel through questions of characterization, contrast, and figurative language. The extravagance of
Gatsby’s parties is richly described in cosmic imagery as in this passage:
“The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music.”
Questions move with Fitzgerald from the cosmic to the international to the national, and zero in on the immediate Gatsby world. Specific literary devices in the
author’s style define juxtaposition, epithet, and understatement. Students apply terms to quotations and explain characterizations in, for example, “...an elegant
young roughneck.”
4
The “Then and Now” essay question has students play Casting Director. The students think about famous people from movies, television, history, or literature
whom they would like to see playing the role of a Fitzgerald character. Then, they defend their cast! They cite examples to support a right to play: Nick
Carraway, Tom Buchanan, Daisy Buchanan, Jordan Baker, Jay Gatsby.
Chapter 4
After the QUICK WRITE, questions relate background of the novel to the plot. Because the novel assumes knowledge about a time period that today’s readers
may or may not know, students may need to do a bit of research on World War I, the military figure Paul von Hindenburg, and the Eighteenth Amendment to the
Constitution. They are to tell how the background information works in the novel. The social division between East Egg and West Egg is examined through
Fitzgerald’s use of names. Questions of characterization, contrast, and sensory language have students describe Gatsby’s “gorgeous car” (make, colors, textures,
size, etc.). They examine the credentials of the narrator and the traits he ascribes to the book’s namesake. Interpretive questions examine attitudes of racism
outwardly shown in the narrator’s attitudes. Students are asked to consider the element of cynicism in specific quotations, for example:
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LESSON
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“There are only the pursued, the pursuing, the busy, and the tired.”
5
The “Then and Now” question asks students to begin collecting data for a longer essay to be developed as their study of the novel progresses. The topic is
disintegration of the individual and/or disintegration of society. Students are to define these terms in their own words. They are to use specific examples from
Fitzgerald’s world and their own world or the world at large. For starters, they can use two quotations in the lesson under “Interpretation” and their already
completed answers.
Chapter 5
The QUICK WRITE asks for personal reactions to the character of Jay Gatsby as shown in chapter 5. Under character development and contrast questions,
students examine the shift in the “balance of power” between two characters, considering such things as actions, emotions, influence, and services. They add to
the list of attitudes characters express by telling in their own words what is signified, for example, by:
“Americans, while occasionally willing to be serfs, have always been obstinate about being peasantry.”
Specific details are asked for that show Jay Gatsby in his states of embarrassment, joy, and wonder. Characterization and descriptive language questions inquire
into the shift in overall imagery. Students consider changes in colors, textures, scents, sounds, and taste when describing things such as Jay Gatsby’s physical
appearance for four o’clock tea with Daisy’s arrival in the “open car,” and the exterior of Gatsby’s estate. Figurative language questions look at metaphor and
simile both singly and together. For example, students consider the internal and external life led by both characters and then tell in their own words how
“ghostly heart” and “deathless song” work together. Questions about the author’s style examine the literary device of understatement as it characterizes Daisy.
The “Then and Now” essay question supports the essay suggested for chapter 5:
The threads of individual or societal disintegration are a labyrinth of interconnections, too complicated for most of us to unravel. However, unraveling
The Great Gatsby can help us understand ourselves and others. Add data for your ongoing essay by considering this quotation:
“There must have been moments even that afternoon when Daisy tumbled short of his dreams - not through her own fault, but because of the colossal
vitality of his illusion.”
Most of us won’t ever build a palace for someone we love. But think how entangled “heart” can become with the things we do as you look around for
examples to write the “now” part of your essay.
6
Chapter 6
The QUICK WRITE asks for personal reactions to the evolution of James Gatz as revealed in chapter 6. Questions of character development and contrast ask
students to recapture in their own words the “sidewalks white with moonlight” vision that Gatsby looked at “out of the corner of his eye.”
They are asked to notice the common element in three questions, something looked at in chapter 1 (the emphasis on eyes - the all-seeing eyes that pervade the
novel). Figurative language and contrast questions examine metaphor and imagery and call for an analysis of a key passage for its literal and figurative meaning.
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A question on the author’s style examines classical and Biblical allusions in a passage. Terms are defined. Students analyze the passage in a short paragraph
that answers the question: What is the character’s perception of himself? They also examine references to an American figure of historical and legendary fame.
The “Then and Now” essay question on the topic of individual or societal disintegration, considers this quotation:
“...he could climb to it, if he climbed alone, and once there he could suck on the pap of life, gulp down the incomparable milk of wonder.”
7
Fitzgerald’s characters are flawed or human. None are all bad or all good. Students consider the gradations of human conduct as they look inside and outside
the novel for examples to build into their ongoing essay.
Chapter 7
The QUICK WRITE asks for personal reactions to the evolution of Tom Buchanan as a character. Descriptive and figurative language questions examine levels
of meaning in specific passages; for example:
“On the green Sound, stagnant in the heat, one small sail crawled slowly toward the fresher sea....”
Questions of characterization and plot examine quotations that reveal characters in a new or changing light. For example, after the classical reference is
explained, students relate Gatsby to “and, as obscurely as it had begun, his career as Trimalchio was over.” They examine interactions between characters and
attitudes suggested toward children. They also look at change within characters - which might be called Fitzgerald’s “puppet effect.” They use specific examples
to show how characters “ride up and down” in their estimation.
The “Then and Now” essay question to add to their ongoing essay on the topic of individual or societal disintegration, asks students to consider this statement:
Like people, story characters who are morally motivated will usually accept responsibility for their own behavior.
8
They cite examples to show how Fitzgerald characters sidestep responsibility for their own actions. Then they cite examples from their own world or the world
at large.
Chapter 8
As the novel winds down, the QUICK WRITE asks for immediate reactions to chapter 8. Questions on the denouement, or unraveling, of plot and characters
examine key passages. For example, students reconcile the following two quotations, or tell how they fit together:
“ ...Daisy, gleaming like silver, safe and proud above the hot struggles of the poor.”
“She wanted her life shaped now, immediately - and the decision must be made by some force - of love, of money, of unquestionable practicality - that
was close at hand.”
Specific questions ask for two details that foreshadow the end of Gatsby. Three questions ask for textual details and an interpretation. For example: the words
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LESSON
LESSON CONTENT
“and the holocaust was complete” refers to what two immediate events, and suggest what larger meaning?
Descriptive and figurative language questions define and explore irony in a passage and ask students to explain the irony as it applies to the triangle of characters
involved. They explain the state of mind described in this passage:
“He must have looked up at an unfamiliar sky through frightening leaves and shivered as he found what a grotesque thing a rose is and how raw the
sunlight was upon the scarcely created grass.”
The “Then and Now” ongoing essay question on the topic of individual or societal disintegration, asks students to consider literal and figurative meanings in this
quotation:
“It was this night that he told me the strange story of his youth with Dan Cody - told it to me because ‘Jay Gatsby’ had broken up like glass against
Tom’s hard malice, and the long secret extravaganza was played out.”
They consider illusions and delusions of Fitzgerald characters as they look inside and outside the novel for examples of human conduct to build into their
ongoing essay.
Chapter 9
The QUICK WRITE asks for responses to the character of the narrator in the final chapter of The Great Gatsby. Questions about the novel’s resolution, or
ending, examine the narrator’s recollections and summing up of “the rest of that day, and that night and the next day.” Interpretive questions ask students to
characterize “the investigation” and to compare or contrast it with an example from the real world. Questions interpret behavior of characters and examine
passages, such as:
“I became aware of the old island here that flowered once for Dutch sailors’ eyes - a fresh green breast of the new world.”
Figurative language and literal and implied meanings are looked at in quotations such as:
“So we beat on, boats against the current, borne back ceaselessly into the past.”
The “Then and Now” essay question gives this final quotation to consider for the ongoing essay topic on individual or societal disintegration:
“Man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to
face for the last time in history with something commensurate to his capacity for wonder.”
Students are asked to think if the narrator and/or author was too pessimistic in saying, “for the last time in history.” They are also asked how on target or off
target they judge this statement to be as it relates to their own generation’s capacity for wonder.
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LESSON
LESSON CONTENT
By the end of chapter 9 students may have more ideas than needed for a single essay. They are advised to review those they have collected and choose the one
idea that interests them most to develop into a thesis sentence - the focus for their longer essay.
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A+LS™ Software Edition
TO KILL A MOCKINGBIRD
High School Novels Bundle I, Grade Levels 9-12
Through computer writing activities, students explore the contemporary classic To Kill a Mockingbird. This unit provides a daily lesson plan, reading logs, a vocabulary
worksheet, and integrated reading/writing activities focusing on character and thematic development.
Language Skills Emphasized: Writing, speaking, listening, debating, group decision-making
Writing Processes: Prewriting, composing, sharing, rewriting/editing, peer reviewing, publishing
Learner Objectives:
• identify the methods the author uses to create the setting
• identify and analyze the mockingbird symbol in the novel
• identify aspects of the social issues relevant to the time of the story
• understand social and financial considerations of the characters of the novel
• identify concepts of parenting that the author attempts to present
Handouts:
• Vocabulary (2 pages)
• Student Assignment Schedule
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LESSON
LESSON CONTENT
Reading Log 1: Chapters 1-11
After reading chapters 1 through 11, students list major events and write a paragraph or two in answer to questions and directives. For example:
Think about one of the characters. Then identify two ideas Harper Lee presents that amuse you and tell why.
Why do you think Harper Lee uses Scout as the author's voice to tell the story?
What do you like or dislike about the novel so far?
Observations by Boo Radley
Students are asked to become the character Boo, then to write a description, from Boo’s viewpoint, of several incidents Boo observed from his window. In their
description, students include Boo’s physical and emotional reactions to the incidents, as well as some internal monologue.
Cal’s Church
To Kill a Mockingbird presents a number of situations in which the reader is made aware of social issues that affect African Americans. No reference in the
novel is quite as pointed as the visit Scout and Jem make with Calpurnia to her church. In this lesson, students are given a list of several of such situations and
then are asked to describe observations or discoveries made by the children about the lives of the African Americans.
Reading Log 2: Chapters 12-22
After reading chapters 12 through 22, students list major events and write a paragraph or two in answer to questions and directives. For example:
List one incident of prejudice that the children experience and tell how you know the incident is a surprise to them.
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What are some things you realize about Mayella Ewell after reading about her testimony?
Comment on something this book has made you aware of that you hadn’t thought about before.
Have you ever acted on your prejudices or been a victim of someone else’s prejudices? Explain.
Aunt Alexandra, Character Analysis
Students type text from the novel to describe Aunt Alexandra’s personality, attitudes, and beliefs. Starting at chapter 13, they choose lines of dialogue,
descriptions of actions, etc. Then they are given a list of several modern-day topics and asked to describe how Aunt Alexandra would react to each of them.
Reading Log 3: Chapters 23-31
After reading chapters 23 through 31, students list major events and write a paragraph or two in answer to questions and directives. For example:
List two things which make you feel the suspense as Harper Lee creates the attack on Jem.
Why do you think Harper Lee wrote this book?
What prejudices are you aware of in yourself and in your community?
Character Study 1
This lesson studies the development of the character Jem. Students focus on strong passages and dialogue used for character development by Harper Lee in To
Kill a Mockingbird. They write examples of Jem’s actions or statements, or the feelings these might evoke in the reader. Paying close attention to Jem’s attitude
about southern justice and prejudice, students then list what Jem realizes about his community in response to the trial verdict. Finally, they relate this realization
to an incident in their own lives.
Character Study 2
This lesson studies the development of the character Atticus. Students focus on strong passages and dialogue used for character development by Harper Lee in
To Kill a Mockingbird. They write examples of Atticus’s actions or statements, or the feelings these might evoke in the reader. Paying close attention to
Atticus’s attitude about community and social responsibility, students then list characteristics they admire in Atticus as a parent and as a community leader.
Finally, they relate these qualities to something they admire about their own parents or caretakers.
Character Study 3
This lesson studies the development of the character Scout. Students focus on strong passages and dialogue used for character development by Harper Lee in To
Kill a Mockingbird. They write examples of Scout’s actions or statements, or the feelings these might evoke in the reader. Paying close attention to Scout’s
feelings about education, social standing, and relationships, students list realizations or discoveries which occur to Scout as a result of her experiences. Finally,
students explain once more why they think Harper Lee used Scout to tell the story.
Essay
In the final activity, students choose between two themes or topics and develop an essay. (With teacher approval, students may instead choose to develop
another topic of their own.) It is recommended that prewriting activities precede use of this lesson. These prewriting activities can be done on the computer and
include brainstorming or other thought-gathering activities. The two suggested essay topics which the students choose between are listed below.
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LESSON
LESSON CONTENT
ESSAY CHOICE ONE
Look for this incident on the last few pages of the novel.
Scout reflects that, “Atticus was right. One time he said you never really know a man until you stand in his shoes and walk around in them. Just
standing on the Radley porch was enough.”
a. Explain in your own words what this means.
b. Tell how Scout’s understanding of this idea makes more sense to her now than it did earlier in the story when Atticus first mentioned it.
c. Tell of an occasion in your life or a situation when you were made more aware of a person’s situation by “standing in his shoes.”
ESSAY CHOICE TWO
Look for this incident in the first few pages of chapter 10.
Scout and Jem receive guns for Christmas, and Atticus admonishes them, “I’d rather you shot at tin cans in the backyard, but I know you’ll go after
birds. Shoot all the bluejays you want, if you can hit ‘em; but remember it’s a sin to kill a mockingbird.”
a. What is Atticus’s point?
b. What in your life might qualify as a situation in which you shot at or killed a mockingbird?
c. What were the long-term effects on you?
d. If you had to do it again, how would you do things differently?
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A+LS™ Software Edition
THE OLD MAN AND THE SEA
High School Novels Bundle II, Grade Levels 9-12
Through varied activities and reading responses, students experience the classic novel The Old Man and the Sea, by Ernest Hemingway. Lessons provide chapter-bychapter reading responses, logs and vocabulary studies.
Objectives: The overall objective is to promote the students’ enjoyment of a work of literature through increased understanding of the work. Students are expected to
demonstrate their understanding by:
• answering factual questions about the text in short sentences or paragraphs
• interpreting factual and contextual statements in writing
• analyzing conceptual ideas, such as theme, in the text
• writing an essay on a subject drawn from the text and supporting it with examples
Handouts
Conflict (4 pages)
Characters and Theme (2 pages)—These activities are suggested for working in a cooperative learning setting of perhaps two to four students. Discussion prior to
composing will bring out many good ideas and responses.
Vocabulary in Context ( 2 pages)
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LESSON
LESSON CONTENT
Questions on The Old Man and the Sea
This lesson covers the first section of the novel-taking students to the actual “hooking” of the big fish. Questions examine the setting, introduction of
characters and interaction among characters. For example, questions examine how other fishermen interact with Santiago. Students are asked to comment on
such aspects of the novel as dreams, and what the life of the sea means to the old man. Students discuss the theme of manhood by exploring the relationship
between the old man and the boy. This theme is enlarged on later in Lesson 6. A final activity asks students to do a QUICK WRITE (quickly writing their
ideas, without paying too much attention to spelling, punctuation, etc.) to summarize what they have learned about the novel thus far.
Questions on The Old Man and the Sea
This lesson continues the format begun in the previous lesson. Activities cover the second section of the novel. Questions take students to the actual long fight
between the old man and the big fish. Specific questions delve into the relationship of Santiago to sea animals and what it reveals about his character.
Questions then ask how Hemingway contrasts mankind and the great fish by using the words “intelligent” and “noble.” The author’s use of parallelism is
considered. Students examine how Santiago’s feelings start to change toward the big fish. Students review their answers and summarize what more they have
learned about the character of the old man, the fish and any dominant idea for theme.
Questions on The Old Man and the Sea
This lesson concludes the direct question/response format, covering the last section of the novel, or the actual climax of the novel. Students continue to look at
characters and theme; for example, the theme of “endurance” and how it is exhibited in the old man. They explain the theory that man can be destroyed but not
defeated. They examine a character in conflict by looking at character reactions and their own reactions. The term “paradox” is explained and shown in
Santiago’s statement that fishing kills him as well as keeps him alive. Students discuss paradoxes in the novel and in their own lives. After completing a close
study of the main character, students look back over their responses and summarize their profile of the old man.
Descriptive Scene
Students examine Hemingway’s use of specific vocabulary to create a strong environment within the novel; that is, his special vocabulary of the sea. Students
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LESSON
LESSON CONTENT
choose ten words from a list to construct a paragraph of their own. They recreate a scene or make up an imaginary scene about being out on the ocean, alone
for days—without food—seeking the biggest catch of a lifetime. They check a dictionary for the meaning of any words they don’t know and weave their
selected words into a descriptive paragraph, establishing a scene.
Write a First Person Monologue
Students write a first person monologue in the character of Santiago. After reading The Old Man and the Sea, they are probably familiar enough with the old
man to know what his thoughts would be in a given situation; so, they write as if they were the old man himself, using first person “I.” As the subject of their
monologue, the following events in the book are suggested:
Santiago seeing a Portuguese man-of-war
Santiago feeling pity for the big fish
Santiago seeing the older men making fun of him
Santiago going out to sea too far
Santiago defending his big fish from the sharks
Santiago telling why he kills the big fish
Santiago telling that he doesn’t care if he lives or dies
Essay on a Theme
Students write an essay using examples from The Old Man and the Sea to show how a particular theme works in the novel. They think about the following
themes and how they might relate to the book:
Dedication and Love
Authority and Respect
Endurance and Strength Manhood and Pride
Destiny and Fatalism
Students are given an example of the theme of “dedication and love” as shown in the novel through the character of Manolin. After reviewing the example onscreen, students choose their own specific example to show how the theme of “dedication and love” works in the novel. They go on to cite specific examples
for each of the themes listed above. Students then prepare to write their essay by choosing one of these themes. Four writing strategies are suggested to aid
students in drafting their essays:
1) You might work a quotation into the opening of your essay that epitomizes, or pinpoints, the main idea you will be enlarging upon in
your essay.
2) Consider qualities of character and circumstances from your own experience that relate to the theme, and list them. For example, if
your theme were “Dedication and Love,” you might list these:
-staying with a sick relative
-using spending money to buy a gift
-helping a neighbor child with homework
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LESSON
LESSON CONTENT
Examining things in your own life will help you recognize instances of dedication and
love in the novel.
3) List page numbers of examples in the novel that show dedication and love.
7
8
4) As you gather examples and think about your theme in detail, consider its effect on the characters. Do they learn anything or change as a result? This idea
might be worked into a concluding statement for your essay.
Write a Dual Character Sketch
Students write a “dual” character sketch on the subject “Santiago and Me.” Upon first reading The Old Man and the Sea, students may wonder why the old
man went through so much just to lose his catch. Yet, by looking into his true character, students are helped to understand that Santiago is like each of us,
trying for “the big one.” The “big one” might be a football touchdown, a ballet performance, a cheerleader tryout or anything requiring hours of effort to
master. In their sketch, students are asked to show how traits of the old man fit or do not fit how they have acted—or can imagine themselves acting—as they
“go for the big one.”
For help in getting started, they answer questions, such as: What in your real or imagined life represents “the big one”? Other questions ask about the literal or
figurative battle Santiago fought, goals and internal thinking. They are asked to conclude their sketch, “Santiago and Me,” by comparing or contrasting
Santiago’s success with their own real or imagined success. A list of ideas to consider in writing a character sketch is provided.
Write a Biographical Essay
Students are reminded that there is a Santiago in all of us, and that reading allows us learn without having been present for the traumatic event. They are asked
to use what they’ve learned about Santiago to produce a biographical essay on the character of the old man. After stating their dominant impression of the
character, students do a QUICK WRITE about the character. They answer questions for ideas to include in their essays, such as how they feel about the
character and how the author seems to feel towards his character. They list or describe the major characteristics of the character. In their rough draft, they are
asked to give both factual and descriptive details; to describe the character’s internal and external qualities and to explain why the character does or does not
make a lasting impression.
The activity ends by taking students through steps for peer review, revision and final editing of their biographical essays.
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A+LS™ Software Edition
THE PEARL
High School Novels Bundle II, Grade Levels 9-12
In the following activities, students write songs, parables, paragraphs, essays, poems, and short stories in response to John Steinbeck’s beloved masterpiece, The Pearl.
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LESSON
LESSON CONTENT
Comparison
Steinbeck often compares characters and settings in The Pearl. In this activity, students write paragraphs comparing Kino and the doctor; Kino’s and Juana’s
strengths; Kino’s and Juana’s feelings about the pearl; and Kino’s feelings about the pearl at the beginning and at the end of the story.
You may wish to have your students complete just one of the four comparison paragraphs in this activity. Or, you may wish students to complete Comparison
#1 (Kino and the doctor) after reading chapter 1. Then, after reading chapter 5, they can complete Comparison #2 (Kino’s and Juana’s feelings about the
pearl). After they have read the entire story, they can complete Comparison #3 (Kino’s and Juana’s strengths) and Comparison #4 (Kino’s feelings about the
pearl at the beginning and at the end of the story).
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For each comparison, students work collaboratively with a writing partner at the computer. Together they prewrite, write, and revise paragraphs and poems.
They can take advantage of the power of the word processor to delete unnecessary text, insert words and phrases, and rearrange sentences on-screen.
Discrimination
In The Pearl, Steinbeck portrays many instances of discrimination and prejudice. In this activity, students explore these instances and write paragraphs about
them. Finally, in a short essay, students summarize their feelings about mistreatment of one group of people by another.
This activity can be completed after students read chapter 3 of The Pearl. After answering a number of questions, students write a paragraph describing how
the doctor feels about the Indians, and a paragraph describing how the priest feels about Kino and his people. Depending on your computer time and
classroom discussions, you may want students to complete only one of the paragraphs. Another alternative would be to discuss in class the doctor’s and the
priest’s discrimination against the Indians, then have students use the computer to complete the essay, summarizing their individual feelings about
mistreatment of one group of people by another. If your students have not written essays, you may need to work through several examples with them before
they complete this part of the activity.
Greed
In this activity, students examine how greed affects the characters in The Pearl. They also explore the nature of greed and what causes people to become
greedy. They write a short story or poem about a character who is greedy and what happens as a result of that greed.
Students can complete this activity after reading chapter 5 of The Pearl.
Changes
At the beginning of chapter 3, Steinbeck describes the town where Kino lives as a colonial animal. Students explore this idea as well as the idea of their own
school as a living organism. Then students think about how Kino’s actions disrupted the life of the town. In a poem format, they describe Kino (or someone
of their own choice) as “a dissatisfied fool” or as “a person with strong convictions.” Finally students describe, in a paragraph or poem, what would result
from a personal change in their own lives.
Students should read through chapter 5 of The Pearl before completing this activity.
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Detail and Style
In this activity, students first examine how Steinbeck uses details to give readers a mental picture of a setting. Next, students use the word processor to format
selected details into a free verse poem. After students examine and make observations about Steinbeck’s writing style, they try to write original sentences and
paragraphs in his style. Working with their writing partners, they revise their Steinbeck-style paragraphs.
This activity can be completed after students read chapter 2.
Songs
Throughout The Pearl, Steinbeck describes many songs but does not put words to them. In this activity, students write several songs for Kino and for
themselves. They use the word processor to copy words and phrases, then format the words and phrases into a poem.
There are three sections in this lesson: “The Song of the Family,” “The Song of Evil,” and “Juana’s Song.” In “The Song of the Family” section, students
write words for the song in The Pearl as well as words for a song of their own families. In “The Song of Evil” section, and in the section called “Juana’s
Song,” students write words only for the songs in The Pearl. Depending on your computer time and classroom plans, you may want students to complete only
one section of this lesson.
Nature
In The Pearl, Steinbeck uses many references to animals and nature. Characters are frequently compared to animals. After exploring the often-opposing
nature of animals, students write a metaphor poem describing themselves as the animal they are most like.
Students can use this activity after reading all of The Pearl.
Parables
In this activity, students examine The Pearl as a parable. Then they write an original parable of their own.
Students can complete this activity after reading all of The Pearl.
Unresolved Issues
In this activity, students write about several unresolved issues in The Pearl. Then they write an ending that resolves some of the questions Steinbeck left
unanswered.
There are three unresolved issues about which students can write: “The Attackers,” “The Trackers,” and “The Boat.” Depending on your computer time, you
may want students to write about only one of these issues. Before students can complete the last section of this activity, they need to read all of The Pearl.
What If...?
Asking “what if…?” is a way of exploring possibilities and options. In this activity, students explore some situations in The Pearl and answer some “what if”
questions. The first part of this activity asks students what they would do if they won a lottery. You may want students to write their ideas on a 3x5 card and
post their answers on a bulletin board. After students read each other’s cards, you can discuss their ideas in class.
Students need to read all of The Pearl before completing this activity.
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Your Reactions
This activity gives students a chance to express their opinions and record some of their observations and impressions about The Pearl.
This activity can be used after students read all of The Pearl.
Your Pearl
In this activity, students describe the “pearls” in their lives—those items that mean more to them than the objects themselves. Then they write a story about a
character who has the same “pearl” as the one they selected for themselves.
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ROMEO AND JULIET
High School Novels Bundle II, Grade Levels 9-12
The lessons in Romeo and Juliet: A Play Study allow students to work with various elements of Shakespeare’s style. The activities are meant to enhance the
understanding of any Shakespearean play. All necessary text to be studied is duplicated in the lessons.
Learner Objectives:
• to understand elements of Shakespeare’s writing style
• to improve ability to understand Shakespearean writing by rewriting and modernizing passages
• to relate themes from Romeo and Juliet to own life
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LESSON CONTENT
Understanding Shakespeare’s Style
Using the this lesson, students practice rewriting Shakespeare’s writing as prose instead of poetry. This strategy allows them to concentrate on punctuation
instead of line endings when they are reading for understanding. Also, by rewriting the prologue in modern language, students become familiar with
Shakespearean English, and are better able to “get around” the language barrier.
Visualizing the Scene
In this opening scene from Act 1, two men from Juliet’s household are walking in town looking for trouble and bragging about what they will do if they meet
someone from Romeo’s family. Soon two members from Romeo’s household enter and, as expected, insults lead to a sword fight. Other members of the two
factions join in until it becomes a large street brawl.
Students are asked to imagine they are converting Romeo and Juliet to a modern novel. They rewrite the scene for the opening fight in modern English as
though it were the second paragraph in their novel.
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During the Prewrite phase of the lesson, students must pick the feuding factions (e.g., families, business competitors, gangs, members of certain races,
members of particular religions, etc.), and choose the time period and the location (e.g., a Los Angeles slum, an old West town, a quiet suburban
neighborhood, etc.). Then during the Write portion of the lesson, students write the scene.
Shakespeare’s Puns
Romeo and Juliet contains many puns. Sometimes they are difficult to understand because Shakespeare used many of the idioms and slang words of his time.
Students read examples of Shakespeare’s puns with explanations. They then demonstrate an understanding of puns by writing some puns of their own.
Thinking about What You Read
The Balcony Scene from Romeo and Juliet contains many famous lines which may not be readily understood by students. They will read explanations of
several lines; then, by rereading and thinking about other lines, they will rewrite the other lines themselves.
Truth or Lie?
Students demonstrate an understanding of nuances in Shakespeare’s writing by studying examples of half-truths and then writing some of their own.
Understanding What You Read
Juliet has just returned from Friar Laurence’s cell where she received from him a vial of the herbs which will make her appear dead for a period of time. Her
wedding to Paris is set for the next day, and Juliet, who knows she cannot marry Paris because she is already married to Romeo, is in bed about to drink from
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the vial. When it is decided that she is dead, she will be placed in a burial vault with her dead relatives. Romeo will meet her in the vault as she is recovering
from the appearance of death. She has some worries, but she manages to relieve her mind of most of them.
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Students will demonstrate an understanding of several passages by describing the worry expressed by Juliet, and her resolution of that worry.
Point of View
Students read the story of Romeo and Juliet from the point of view of Friar Laurence (reproduced in the lesson). Not all the facts are presented because Friar
Laurence doesn’t know them. He tells what he thinks are the most important facts of the story.
After reading this account, students pick either Romeo or Juliet (just before they die) or Benvolio and retell the story of Romeo and Juliet from that person’s
point of view, recounting information only that person would have known.
Essay on a Theme
There are many themes from Romeo and Juliet which are personally relevant to young people in today’s world. Students brainstorm a list of themes; e.g.,
suicide, justification of the taking of another person’s life, love between people in opposing circumstances, blood feuds, stereotyping and discrimination,
matchmaking, family bonds, etc. Then they write an essay on their own feelings, experiences, values, and opinions related to a theme of their choice.
The lesson structure parallels the writing process. Cooperative writing groups are very successful in doing the Prewrite and Peer Review parts of this lesson,
and it is suggested the students work with their writing group at these points.
Plan for the students to continue work on this lesson over several days of computer time.
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MARK TWAIN SAMPLER
High School Skills Bundle I, Grade Levels 9-12
Overall, the objective of the Mark Twain Sampler activities is that students greet the author and glimpse his work with understanding of “story” and form.
In a sense, the author’s writing takes a back seat as the student’s own writing is put forward. All lessons look to the May 1984 issue of Cobblestone, the issue of this
history magazine for young people which is devoted to Mark Twain and his writings including:
•
•
•
•
•
•
•
“The Celebrated Jumping Frog of Calaveras County”
Life on the Mississippi
“The Hunting of the Cow”
Roughing It
The Adventures of Tom Sawyer
“War Prayer”
The Adventures of Huckleberry Finn
Four lessons deal with Twain, as a teller of tall tales. Before writing their own tales, students use analysis and imagination to see how Twain told a tale. They consider
aspects of style and author purpose to use in writing tall tales and fact-into-fiction anecdotes. They write summaries in prose and/or poetry. Three lessons continue
examining specific techniques found in Twain’s humorous style to use in writing a tall tale, a humorous story, and a personal narrative. One lesson has students develop a
Tom Sawyer-type character. Students examine the darker side of America’s greatest humorist by reading and responding to Twain’s “War Prayer.” The last lesson, in
preparation for describing a natural event, looks at richness of expression in a Huck Finn dialect passage.
The May 1984 issue of Cobblestone is included as a resource. Student copies can be ordered directly from Cobblestone (see magazine for directions).
Handouts:
Tall Tale Excerpts
Excerpt from Life on the Mississippi
“The Hunting of the Cow”
Excerpt from Roughing It
Chapter Summaries, The Adventures of Tom Sawyer, chapters 1–3
“War Prayer”
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Tall Tale, Spin a Yarn
Students read “Storytelling Journalist,” about the journalist who told tall tales, in the May 1984 issue of Cobblestone, a history magazine for young people.
They read it to examine the techniques Twain used in constructing a tale and to help them spin their own yarns.
Students are told that thanks to an old folktale he heard as a newspaperman in Carson City, Nevada, Mark Twain gave us “The Celebrated Jumping Frog of
Calaveras County.” Twain didn’t just repeat what he heard; he would spin a tale into a yarn by adding salt and pepper characters, and turning a bit of silliness
into a belly laugh. Students read an excerpt to “listen” to Twain talk in the voice of “good-natured, garrulous old Simon Wheeler,” whom the author finds
“dozing comfortably by the bar-room stove, . . . in the ancient mining camp of Angel’s.” They answer a question about Simon Wheeler, who takes his time
getting to the point, and they tell what the point is (that Jim Smiley will bet on anything).
They read a second passage about Jim Smiley:
If there was a horse-race, you’d find him flush, or you’d find him busted at the end of it; if there was a dog-fight, he’d bet on it; if there was a cat-fight,
he’d bet on it; if there was a chicken-fight, he’d bet on it; why, if there was two birds setting on a fence, he would bet you which one would fly first.
Students tell which of the five examples is the “clincher” to establish Jim Smiley as a betting man. Then they examine some of Mark Twain’s techniques. For
example:
EXTRA WORDS: “there was” and “somehow”
NONSTANDARD SPELLINGS: “may be” and “feller”
Other techniques described are informal speech, rambling sentences, and exaggeration. Students decide if Twain’s purpose in creating a character who uses
rambling sentences and exaggeration is most likely:
a. to ridicule speakers of substandard language
b. to imitate the speech of a colorful character
Students are asked to read the entire story “The Celebrated Jumping Frog of Calaveras County” to see how Twain wrote the “Parson Walker” incident, and also
to do a final activity, which has them write their own tall tale. Ideas and examples are provided. Next, they try writing like Mark Twain. They read a “facts
only” account based on a passage giving a third example of the betting habits of Jim Smiley - that “dangdest feller.” Then, they let their minds ramble with the
facts in the style of Mark Twain’s Simon Wheeler - in a spin-a-yarn style.
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Lie or Tall Tale?, Write a Tall Tale
The activity begins with a brief discussion of the differences between a lie and a tall tale. Students are asked their opinions of a teller of tall tales in a situation
involving a boy named Clyde, and they decide whether he is telling a lie or a tall tale. Both lies and tall tales are untruths; however, the difference is one of
purpose. Students are told that a lie is meant to deceive or give false information, while a tall tale is meant to exaggerate, or stretch the truth, just for fun.
Students are encouraged to read the entire story “The Celebrated Jumping Frog of Calaveras County” again. They read an excerpt from the story in the lesson.
Next, they think about a tall tale centered on a pet. After selecting a tall tale pet, they name the pet and think of something it can be trained to do. A series of
“suppose” examples is given. Students then write tall tales, stretching the truth just for fun.
3
A checklist for reviewing tall tales is given. A tall tale follows the structure of a short story, having a beginning, a middle, and an end. Students exchange tall
tales with writing partners, asking partners if their tall tale stretches the truth just for fun.
Summary 1, Write a Summary
Students read the “Excerpt from Life on the Mississippi” handout. They read a summary of that excerpt given in the lesson as a model for writing their own
summary. The summary can be of the handout, but more useful would be a summary of another incident of their own choosing from Life on the Mississippi or
another work of Twain’s. They write a summary of the tale, using the lesson summary as a model for giving main points of a lengthy incident. Guidelines given
for reviewing the lesson summary are presented in a form to help students structure their own summaries. They exchange work with writing partners to
determine if their writing retells major ideas.
Both summary lessons (Lesson 3 and Lesson 4) refer students for background to “Perplexing Lessons” and “Steamboating in America” in the May 1984 issue of
Cobblestone. They read how America’s greatest humorist often mixed facts in with fiction to tell a tall tale.
Before reading the summary about piloting a riverboat, students tell in their own words what they think a summary does. Next, they read the summary and
answer questions which later serve as guidelines to writing their own summaries. They look for words from details which summarize the beginning, the middle,
and the end of an incident. They are told to notice that the summary includes a revealing quotation. They look for specific words, such as later, and other
transitions which help tie ideas together.
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Summary 2, Retell a Summary in Verse
This lesson takes summarizing a step further. Reading an entire excerpt such as the one on the handout “Excerpt from Life on the Mississippi” and readings in
the May 1984 issue of Cobblestone are encouraged but are not essential to doing the activity. Students retell an incident in verse form based on the summary
provided in the lesson:
In the story Life on the Mississippi, Twain tells about a riverboat pilot, Mr. X., who is a “somnambulist” - a person who sleepwalks. One dark night,
the pilot on duty just can’t keep the boat on course. He spins “around and around the wheel like a squirrel.” Mr. X. offers to help and guides the boat
to safety as though it is high noon. “That’s the sweetest piece of piloting that was ever done on the Mississippi River!” says the pilot, who later finds
out Mr. X. guided the boat in his sleep.
Students read a verse based on the summary:
Round and round the pilot spun
Like a squirrel on the run
The night was dark
The course no lark
When on the deck
Walked Mr. X.!
They are asked to notice the order of events in the summary and in the verse and tell if the order of events in each place has the same or a different arrangement.
They answer four questions about the verse including identifying figures of speech and choosing the rhyme pattern of the poem from two options. Alternative
activities ask them to write a tall tale verse by adding verses to the one in the lesson or, if they did the writing activity for Lesson 3, to write a verse retelling
aspects of the incident they already summarized in prose.
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Anecdote, Write a “Little Story”
“Perplexing Lessons,” an excerpt from Life on the Mississippi in the May 1984 issue of Cobblestone, tells some of how Mark Twain learned to pilot a riverboat.
Students are asked what kind of safety measures they think steamboat operators had to follow. For facts on safety and piloting, they are referred to
“Steamboating in America” in the May 1984 issue of Cobblestone.
Then, to introduce two aspects of Mark Twain’s style to use in the writing activity, students are told that learning something new is often a “perplexing lesson.”
They add to a list of things that are often perplexing or puzzling when first tried: learning to skate, ski, or swim, etc.
This example of how Mark Twain could have written (but didn’t!) about learning to pilot a riverboat is given:
First, I had to learn that boats run all night. Next, that the front end of a boat is called the bow, and the back end the stern. I had to learn to hug the
bank going upstream to take advantage of the easy water close to shore.
Students decide if the above paragraph reads more like a factual account or a fictional story and are told that Mark Twain didn’t just report facts, but laced facts
and ideas together with anecdotes, or “little stories.” They read an excerpt provided from Life on the Mississippi. They are told to notice how Twain tells what
he thinks and feels and how he uses specific details. They complete five sentences illustrating Twain’s techniques. Next, they consider that Twain’s purpose in
writing Life on the Mississippi was not to teach others how to pilot a riverboat, but to entertain his readers.
The writing activity has students choose one “perplexing lesson” from their list of things they once found confusing and write it into an anecdote using these
guidelines:
Remember, you are to:
• Tell how you thought and felt about the lesson.
• Use specific details to describe the experience.
Feel free to add bits of fiction to the real event you describe. Like Twain, your purpose will be to entertain your readers, not to instruct them.
6
Students exchange anecdotes with a writing partner to decide if their writing reads more like a factual account or a “little story.”
Humorous Story, Write a Humorous “True” Event
For background, students read “Storytelling Journalist” in the May 1984 issue of Cobblestone and use the handout “The Hunting of the Cow.”
Students read quotations about Mark Twain from Cobblestone and from E. B. White. Then they name qualities that make a story humorous for them. If
something like stretching the truth or exaggerating is among their choices, they are told they are in good company, that Mark Twain’s humorous stories have a
grain of truth, but exaggerate beyond belief. They find the word in a quotation that makes us know Twain is exaggerating and are told that words like always or
everything are sure-fire clues to exaggeration. They are told that another technique Mark Twain used for a humorous effect is juxtaposition, or putting side-byPage 130
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side unlike words and ideas.
On-screen, students read a portion from the handout “The Hunting of the Cow.” The portion they read is about the invention of the wireless telegraph and they
are asked to tell what Twain juxtaposes for humorous effect. They also look for an example of lampooning, or poking fun. Poking fun at a pope, a president, a
king - or any person many people are taught to revere - might be called irreverent. Students decide why Twain gets by with being irreverent.
Next, students find their own examples of exaggeration, juxtaposing, and lampooning in “The Hunting of the Cow” on the handout. They list words that Twain
used for comic effect, such as: colossal, echoing, flushing, multitude.
7
The formal writing assignment has students write their own humorous story. They begin with a hot news item from a current newspaper, news magazine, or
television news brief and use techniques and words like those Twain used to embellish the truth. They are told to remember that their purpose is to write humor
just for the fun of it. Stories are exchanged with writing partners to weigh comic effect.
Personal Narrative, Write a Twain-Like Account
Students read “The Trouble Begins at Eight” in the May 1984 issue of Cobblestone for background on Mark Twain’s career as a public speaker. They read the
Roughing It handout to become familiar with the author’s account of his first public lecture.
Students are asked if they have ever stood before an audience to dance, to sing, or to give a speech. They imagine a case of severe stage fright. Each part of the
student’s personal exploration of stage fright is preceded by an excerpt from Mark Twain’s account of his stage fright. For example:
At the mere thought of giving a public lecture in San Francisco, Mark Twain says in Roughing It: “I was the most distressed and frightened creature on
the Pacific coast.”
Students borrow words from Twain’s account, such as tortured or humiliating, or create hyperboles of their own to describe stage fright. They do the same for
Twain’s technique of linking impressive and common words for a comic effect. An example, “vestige of fun,” is given.
After reading the middle section of “The Trouble Begins at Eight” on-screen or on the handout, students examine Twain’s wish to escape a potentially “dead”
audience. They imagine what they might do to escape an audience.
8
After prewriting process is completed, students write their own “roughing it” account, an imagined personal narrative with an introduction, a middle, and an end.
They exchange accounts with writing partners, asking if true feelings show, even though the feelings may be overblown, or Twain-like, exaggerations.
Character Sketch, Sketch a Twain-Like Character
The Cobblestone article “Born on the Tail of a Comet” gives students facts about Mark Twain’s birthplace - some that show up in The Adventures of Tom
Sawyer. They also read chapters 1–3 of The Adventures of Tom Sawyer and/or the chapter summaries on the “Chapter Summaries” handout.
Whistling is characteristic of Tom Sawyer. Students are asked to remember when they first tried to whistle and to write a sentence or two telling how they felt.
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Next, they read how Tom looks when he learns to whistle; to name the “twin” pictures, or images, Twain uses to “paint” Tom (“mouth full of harmony and a
soul full of gratitude”). Six questions delve into Tom’s character. For example, students give an example that shows Tom likes to get even.
It seems, students are told, that Tom Sawyer has many sides to his character. In short, he is a very human boy. Students are asked to write their own character
sketch, describing someone they know who is “very human” and full of “Old Scratch.” They are to use examples that show the character they have chosen to be
many-sided. They consider how that person looks, acts, thinks, and talks and they name their character (not necessarily using the person’s real name).
9
A checklist for reviewing character sketches is given and sketches are exchanged with writing partners. Students ask their writing partners if their sketch paints
a many-sided character - a very human person.
Opinion Piece, Write Your Opinion
The Cobblestone article “The Humorist and the General” shows students pictures of General and President Ulysses S. Grant and tells how Mark Twain came to
publish the memoirs of the penniless general and former president. Students are given two seemingly contradictory quotations and are asked to explain how
both statements can be true.
Next, they consider another side of America’s greatest humorist, the side many view as “gloomy, even tragic,” especially as his outlook is expressed in later
writings on themes of racial prejudice, human selfishness, and war. Students give their first, most immediate reaction to the title of Twain’s “War Prayer.” They
learn that Twain chose not to publish it during his lifetime and tell what his saying “Only dead men can tell the truth in this world” suggests about his outlook.
Students are asked to read “War Prayer,” which begins:
It was a time of great and
exalting excitement
The country was up in arms,
the war was on,
in every breast
burned the holy fire of patriotism;
the drums were beating,
the bands playing,
the toy pistols popping,
Students list “war things” that have changed since the Civil War, then tell things they think have remained the same about wars.
Next, students choose and type some lines from the “War Prayer” they want most to remember. Then, they choose a writing idea that will help them explain
why their chosen lines should be remembered. They are told when they should use footnotes and an example of footnoting a quotation is shown.
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WRITING IDEA 1: Write a letter to the President. Quote your lines. Tell what you feel or think.
WRITING IDEA 2: Write an essay. Quote your lines and explain your reactions.
WRITING IDEA 3: Do a photographic essay. Use real photos or pictures from magazines. Use the lines as captions.
WRITING IDEA 4: Write your own poem. If you wish, you can include the ”War Prayer“ lines in quotes.
Lesson 9, continued
WRITING IDEA 5: Write a letter to yourself. Quote the lines and tell how you feel, now, at your age. You might wish to share the letter with a parent
or a friend.
Students may wish to send their letter to the President, or to enter an essay or poem into a contest. It is suggested they check with their teacher or they could take
their paper with them to talk about while hiking, camping, or rafting.
10
“It’s lovely to live on a raft. We had the sky up there, all speckled with stars, and we used to lay on our backs and look up at them, and discuss about
whether they was made or only just happened.”
Huck Finn, in The Adventures of Huckleberry Finn
Expression, Write a Twain-Like Description
Students read the passage on the back cover of the May 1984 issue of Cobblestone for one look at how Huck Finn sees and feels. They read a second passage
from The Adventures of Huckleberry Finn given in the lesson.
Huck doesn’t speak the “King’s English,” students are told; his speech breaks the rules of strict grammar. But anyone with nerve enough to give Huck an F in
grammar, better give his rich descriptions and ideas an A+. Huck speaks the boyhood dialect Twain remembered from the Mississippi river town of Hannibal,
Missouri. Students are asked if they know someone whose speech warms their heart.
They read a passage that comes after Huck runs away from his father who beats him; after he lets the world think his mutilated carcass is in the river; after he
meets up with Jim the runaway slave; and after he and Jim set up camp in a cave on Jackson Island. The excerpt begins:
We spread the blankets inside for a carpet, and eat our dinner in there. We put all the other things handy at the back of the cavern. Pretty soon it
darkened up and begun to thunder and lighten; so the birds was right about it. Directly it begun to rain, and it rained like all fury, too, and I never see
the wind blow so. It was one of these regular summer storms. It would get so dark that it looked all blue-black outside, and lovely; and the rain would
Students give examples of Huck’s ability to see and hear the natural world around him and his use of figures of speech, or word pictures. Next, they think
through their own description of a natural event. They name the natural event and tell where it took place and describe its colors and sounds. They are asked to
create figures of speech.
Suppose you are describing wind. Huck at one point calls the wind “a perfect ripper of a gust.” There are as many metaphors and similes (word
pictures) as there are imaginations to write them!
They are asked to set their ideas down in a paragraph or two and to read the paragraph aloud. They are told that if their words make them feel the event they are
describing, that is very, very good. They exchange descriptions with a writing partner for reactions.
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PERSUASIVE ESSAYS
High School Skills Bundle I, Grade Levels 9-12
Students are taken through the steps needed to write a persuasive essay. They receive guidance at each stage - from selecting a topic through polishing and proofreading.
Handouts:
Essay-in-Progress (2 pages)
Length of School Year
Common Transitional Words and Phrases
Revising and Proofreading Checklist
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LESSON
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Persuasive Writing
After a brief discussion of persuasive writing, students give examples of recent persuasive writing they have done. They are given a list of opinion statements
and are asked to supply a reason for either agreeing or disagreeing with each of the statements. The next activity has the students take one of those opinion
topics along with their reason for agreeing or disagreeing with it and add two more reasons. Students then write a concluding sentence. Either from the list of
opinion topics used earlier or from topics of their own choosing, students select three topics they wish to write about. Using these topics, they supply three
reasons for thinking the way they do and they also supply a concluding sentence for each topic.
Writing to Your Audience
The term audience is discussed. In a paragraph on lengthening the school year, students supply reasons that would persuade their classmates rather than an adult
audience. Next, they move to Lesson 1. Taking two of the three paragraphs in that lesson, they choose a specific audience for each paragraph and list reasons
that audience would react favorably to it.
Revision I: Paragraph Development
Students move sentences around in a sample paragraph to strengthen its argument. Then they compare their version with a suggested version. The sample
paragraph is then further developed by adding details that support the main points. The paragraph is broken down sentence by sentence, so students can see how
each sentence fits into the paragraph. Next, they go back to Lesson 1 and take one of their paragraphs and develop it by adding sentences that support each main
point. This work is saved as students will continue to work on the paragraph throughout the rest of this subject.
Unity and Style
After a brief description of unity, students edit ten sentences, eliminating deadwood (wordiness). Students then practice by editing three paragraphs that contain
numerous unity breaks. Then they work in Lesson 1, where they revise their paragraph for unity. When students finish, they exchange work with a partner, each
reading and offering suggestions for improving the unity of the paragraph of the other. The revised paragraph is saved as students will continue to work on it
throughout the rest of this subject.
Revision II
After reading through a sample paragraph, students take a seven-sentence paragraph and expand it to eleven sentences by adding more specific details and
support. They are encouraged to compare their version with their partner’s version. Students then follow the same procedure with their paragraph in Lesson 1.
Five-Paragraph Essay
After being shown an outline of what a five-paragraph essay should be, students review their eleven-sentence paragraph from the previous lesson’s activity and
develop it into five paragraphs, in Lesson 1.
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PERSUASIVE ESSAYS, continued
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LESSON
LESSON CONTENT
Revision III
Students are given the chance to refute the essay on extending the school year with the understanding that anticipating and then refuting an argument is necessary
when writing effective persuasion. Then, taking their own essay from Lesson 1, students (with or without the help of partners) list several potential arguments
and afterwards revise their essays by rebutting those arguments.
Transitional Words Hold Your Essay Together
Transitional words and phrases are briefly explained followed by an extensive list. Students can look at the sample essay included in the handout and should
notice the transitional words and phrases that have been capitalized. Then, working with their own essay from Lesson 1, students are to supply transitional
words and phrases that will help their essays read better.
The Lead-In Sentence
Students examine some sample lead-in sentences and revise them for liveliness and interest. Collaboration with partners is encouraged. After reconsidering the
opening sentence of their own essay-in-progress, students rewrite the sentence in a number of ways, and then decide which is the most effective.
Proofreading Your Final Essay
A distinction is made between revising and proofreading. Students then sharpen their proofreading skills by reading and correcting corrupted passages from “To
Build a Fire” by Jack London. Finally, students either do one last careful reading of their persuasive essay in Lesson 1, or they may exchange papers with a
classmate and proof the classmate’s paper. A revising and proofreading checklist is provided as one of the handouts to accompany this package.
Page 135
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
SENTENCE COMBINING II
High School Skills Bundle I, Grade Levels 9-12
Students read passages from several American writers of the mid-nineteenth century to focus on the passages’ sentence styles. Students try their hand at a number of
different interactions with the text - from rewriting and combining underlying skinny sentences to imitating the author’s style - all the while practicing the art of sentence
construction.
Learning to write a variety of sentence types is what sentence combining is all about. And writing with a word processor is a natural fit with this editing approach to
learning. Word processing features allow students to manipulate sentences freely, making and seeing all the changes they wish.
Learning objectives:
• increase each student’s repertoire of sentence structures
• encourage, through practice, the transfer of these structures to the student’s independent writing
• acquire the skills for drawing inferences from literature
• notice the sentence structures a writer chooses as an indication of style
• practice the imitation of an author’s style using student’s own subject matter, thereby acquiring an understanding of individual style as a literary quality
Handout: Reference File
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1
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3
4
LESSON
LESSON CONTENT
Warm Up
This is an introduction to sentence combining. Students read three sets of skinny sentences and combine them freely, then compare their work to the way other
writers did it. Students’ attention is drawn to the process they’ve just performed and how much more flowing the combined sentences are compared to the
skinny ones.
Hawthorne
Students work with the skinny sentences underlying one of Hawthorne’s long, complex sentences, recombining the ideas into two sentences. Attention is drawn
to WHO, THAT, and WHICH as combining words and how skillfully Hawthorne uses combining words.
Flower
Students again recombine ideas found in one long sentence to form two sentences, noticing and marking the combining words they chose to use. Then, given a
prompted frame to work with, they plug their own ideas on a similar topic into Hawthorne’s sentence structure.
E. A. Poe
In order to assure comprehension, students paraphrase portions of the text. Attention is drawn to Poe’s use of the semicolon. Students replace semicolons with
periods and decide which of these versions they like best. Imagining a related situation, they use a prompted frame from Poe’s sentence structure in which to
enter their own details.
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SENTENCE COMBINING II, continued
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7
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9
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LESSON
LESSON CONTENT
Melville
Students are asked to focus on the relative positions of long and short sentences in a text and to decide on the stylistic reasons for these decisions. Imagining
themselves as Melville’s editor, they rewrite a long sentence, then reconstruct it as two sentences. Now changing from the editor’s hat to the writer’s, they
describe a person as colorful as Melville’s subject by entering their own details into Melville’s sentence structure.
Walden Pond
After paraphrasing to insure comprehension, students practice the BECAUSE words (subordinating conjunctions) by manipulating sentences in prompted
frames. Next, they practice combining Thoreau’s long list of items by deleting the repetitious words.
Simplify
Attention is focused on Thoreau’s use of coordinating conjunctions - with and without the preceding comma. Students review the rule for this combination and
practice building combined sentences that do, and also do not, require the comma.
Since this passage is about Thoreau’s belief that the post office is something he could do without, students have a chance to decide what they could do without in
modern life and write about it, using Thoreau’s opening sentence as a beginning.
Ladies
Students are shown an overstuffed sentence and try to revise it by reshaping it into two or three flowing sentences. They play Mixer/Fixer by taking turns
moving sentence parts around and then replacing them. Finally, students make a “declaration” of their own and use the authors’ framework to do it.
Webster
Students list Webster’s reasons for supporting railroads and then create two sentences - using combining techniques - which include all those reasons. Similarly,
imagining the reasons why one might have objected to railroads, students list and then combine these reasons into two sentences. (This is a good introduction to
persuasive writing, as well.) Next, students play fixer to the passage which has been tampered with by a careless editor.
Mark Twain
This is a good introduction to satire; its tongue-in-cheek tone is accessible to young readers. Students locate and move hints in the text which show Twain’s
view of Eve. They recombine underlying sentences and are introduced to the formula for creating absolute phrases (ING phrases) so that they can create their
own. Finally, students have a chance to write their own piece of satire with the help of prompted frames.
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MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
ANSWERING ESSAY QUESTIONS
High School Skills Bundle II, Grade Levels 9-12
Directive words used in essay questions (such as explain, compare, discuss, justify, contrast, and evaluate) are defined. Answers are modeled and, using cooperative
learning strategies, responses are evaluated by the students. These lessons are good preparation for writing college entrance exams.
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1
LESSON
LESSON CONTENT
Simplest Essay Questions, Part 1
The simplest type of essay question is explained as one that asks about a subject upon which the student is an authority; for example, to describe a friend, a
parent, or a favorite TV show. The most important thing to do is to make sure to answer the question. Students are given examples of both how to answer and
how not to answer an essay question. If a question says to describe a favorite sandwich, writing about one’s favorite food may not answer that question. The
trick, students are told, is to write what the question asks in the opening sentence of the answer, then to make that sentence the topic sentence of the paragraph.
Seven simple essay questions ask students for their opinion on a variety of topics. For example:
“Tell about your first friend you can remember.”
2
The student’s task is to rewrite each of the question sentences into the first sentence of their answer. Next, students write three essay questions that they might
want someone else to answer, followed by an answering topic sentence for each of their question sentences.
Simplest Essay Questions, Part 2
This file expands on the first step to answering an essay question presented in Lesson 1. Additional tips are given followed by an essay question, a possible
answer, and a revised answer.
1.
2.
3.
4.
5.
Stick to the topic all the way through your answer.
Organize your ideas logically.
Give as many details as you can.
Make sure the details you give relate to the topic.
Summarize or otherwise bring your answer to a conclusion.
The revised answer, which explains about eating that all-time favorite food, pizza, has students scroll back through their essay and consider these questions:
1.
2.
3.
4.
5.
Does the essay stick to the topic all the way through the answer?
Is the essay logically organized?
Are enough details given?
Do all of the details relate to the topic sentence?
Is the answer summarized or otherwise brought to a conclusion?
Next, students choose one of two essay questions to answer as completely as they can, following the suggestions just presented. They have a writing partner
read their essay for suggestions based on the five criteria for evaluation shown in the lesson.
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ANSWERING ESSAY QUESTIONS, continued
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LESSON
LESSON CONTENT
Complex Essay Questions, Part 1
Tips are reviewed for answering simpler types of essay questions before moving on to more complex types (questions which have two or more parts).
Students are told to include as many parts of the question in the topic sentence of their answer as possible and then to write topic sentences for the remaining
parts in the order they plan to answer. An example is shown:
Complex Essay Question
Tell about your first friend and about how your friendship developed.
Answering Topic Sentence
In this essay I will write about my first friend, Jamie, and how our friendship developed.
OR
My first friend I can remember is Jamie. At first Jamie and I …
4
Examples of unsatisfactory answers follow. Students practice these techniques by answering several essay questions with two or more parts. They write an
answering topic sentence that includes as many important details of the question as is reasonable. A final task has them write three essay questions that have
several parts to each and then write answering topic sentences for each.
Complex Essay Questions, Part 2
After reviewing tips for answering essay questions, students choose between two essay questions to answer as completely as they can. The questions are:
1. Tell about a time when you were very frightened and a time when you were very angry.
2. Tell about a time when you were very sad and a time when you were very happy.
They reread their essay to examine it according to the criteria below, revise, and have a writing partner evaluate their essay based on the same criteria.
1.
2.
3.
4.
5.
Does your essay stick to the topic all the way through the answer?
Is the essay logically organized?
Are enough details given?
Are all the details related to the main topic?
Is the answer summarized or otherwise brought to a conclusion?
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ANSWERING ESSAY QUESTIONS, continued
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LESSON
LESSON CONTENT
Key Terms
Answering an essay question effectively means understanding what is being asked for in the question and writing it; writing everything one knows about a
topic may be a faulty approach. Guidelines for answering essay questions are given, including rereading, looking for key words, rephrasing the question,
determining a strategy for answering the question, and keeping the key words in mind while writing the answer.
Eight key words used frequently in essay questions are presented for students to match with definitions. The key words are: define, classify, describe, discuss,
compare, contrast, criticize, and illustrate. Answers are checked against these definitions:
CLASSIFY:
To place persons or things together in a group because they are alike or similar.
DEFINE:
To give a clear, concise meaning for a term.
COMPARE:
To point out similarities and differences with emphasis on similarities.
CONTRAST: To point out similarities and differences with emphasis on differences.
CRITICIZE:
To point out the good and bad aspects of an idea or situation.
DESCRIBE:
To give a word picture of a thought, idea, or situation.
DISCUSS:
To examine and talk about an issue from all sides.
ILLUSTRATE:
To make clear by giving examples.
Six more key words often used in essay questions are presented for students to match with definitions: explain, outline, argue/justify, evaluate, interpret, and
review or summarize. Answers are checked against these definitions:
EVALUATE:
To make a value judgment. To state positive and negative worth.
ARGUE/JUSTIFY:
To tell why a position or point of view is good, right, or proper. To convince others they should agree with the
position or point of view.
REVIEW OR SUMMARIZE:
To present the main points of an issue in condensed, shortened form. Details, illustrations, and
examples are not given.
EXPLAIN:
To make clear, to analyze, to make known in detail. Should be presented in a step-by-step, organized manner.
OUTLINE:
To organize a set of facts or ideas in terms of main points and subpoints.
INTERPRET:
To explain, translate, or show a specific application of a given fact or principle
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ANSWERING ESSAY QUESTIONS, continued
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LESSON
LESSON CONTENT
“Compare” Essay Questions
Essay questions which ask for a comparison of one thing to another are explained as a discussion of both similarities and differences. One method for making
a comparison is to set up two separate sets of categories. Comparing love and hate might look like this:
LOVE
HATE
SIMILAR
emotion
emotion
intense
intense
feeling
feeling
hot
hot
action
action
LOVE
HATE
DIFFERENT
gentle
violent
patient
impulsive
happy
painful
learns
reacts
takes turns
controls
A four-step method is suggested for writing the comparison, including rephrasing the question into a topic sentence, describing similarities, describing
differences, and writing a summary or concluding statement.
Next, students choose three out of nine questions to compare, citing similarities and differences for each of the three sets. They choose one of the three lists of
comparisons to write an essay on comparing similarities and differences. Students have a writing partner evaluate their essay according to the criteria
established in this and previous lessons. Then they make revisions based on the peer feedback.
7
The final activity in this lesson has students express how they felt about writing a comparison essay. Students get the opportunity to think about the learning
process and to help their teachers understand how they can assist their students.
“Contrast” Essay Questions
An essay of “contrast” is explained as one that discusses only differences between or among things. One strategy for making a contrast is to list differences
that fall into the same category using the word “while.” For example, a contrast between love and hate might be:
LOVE IS: gentle
LOVE IS: patient
LOVE IS: happy
LOVE IS: learning
LOVE IS: taking turns
LOVE IS: kisses
while
while
while
while
while
while
HATE IS: violent
HATE IS: impulsive
HATE IS: painful
HATE IS: reacting
HATE IS: controlling
HATE IS: hits
Students write an essay of contrast, using strategies which include rephrasing the question into a topic sentence, describing differences, and writing a summary
or concluding statement.
Next, they choose three out of nine questions to contrast, citing differences for each of these three sets. They choose one of the three lists of contrasts to write
an essay on contrasting differences. Students have a writing partner evaluate their essay according to the criteria established in this and previous lessons.
Then they revise their essay based on the feedback.
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ANSWERING ESSAY QUESTIONS, continued
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LESSON
LESSON CONTENT
“Describe” Essay Questions
Essay questions which ask the student to describe something mean to give a word picture of a thought, idea, or situation. Examples are given, and a strategy
for answering is suggested. Students should jot down everything they know about the topic, brainstorm a list of ideas using sensory words, include everything
they know about the topic in brief phrases, and later, cut back to only those things which answer the question.
Students are shown this essay question and outline for answering:
Describe the collision of the world’s largest meteorite with the earth.
The topic is stated as “world’s largest meteorite” followed by a list of nine ideas or details about the topic. Students follow a step-by-step procedure by
rephrasing and incorporating the question into a topic sentence, and writing the information listed about the meteorite into sentences supporting that topic
sentence. They are to be sure to do what their topic sentence says without wandering from the topic.
9
Next, they choose three essay questions (for example, “Describe the preparation of popcorn”) and make a list of descriptive ideas about each topic. For one
essay question, they write a complete answer using their list of supporting ideas. They follow established pointers for writing the essay, including organizing
and providing enough details and examples to make their answer interesting and original.
“Explain” Essay Questions
An essay question can ask the student to “explain” something. This means writing an answer to clarify ideas, give facts, provide directions, or describe a
process. From the explanation, readers should be able to understand cause and effect relationships.
Students are told not to confuse “explain” with “describe” and differences are shown. A strategy for writing an essay to explain something includes outlining
the information with a topic and subtopics, using a sequential organization. Next, students rephrase and incorporate the question into a topic sentence. They
write their set of organized subtopics into paragraphs to support their topic sentence and are told not to wander from this objective. They finish by writing a
summary sentence.
After that, students outline information to answer five essay questions, such as, “Explain the difference between an aristocracy and a democracy.” They
choose one essay question and write a complete essay answer to explain it, following criteria for evaluation and revision as shown in the lessons.
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ANSWERING ESSAY QUESTIONS, continued
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LESSON
LESSON CONTENT
“Summarize” Essay Questions
Essay questions which ask the student to “summarize” or “review” mean to give main points in a condensed form and to use a step-by-step organization
without dwelling on small details. Examples of this type of question are given, such as, “Summarize the events leading up to World War I.”
The suggested strategy for writing an answer to summarize includes selecting only the major ideas after listing, or brainstorming, everything the student knows
about the subject. The essay question “Summarize the ways in which humans have caused some species to become endangered” is presented and followed by
a list of thirteen ideas. The question is rephrased and incorporated into a topic sentence, such as:
I will summarize the ways in which man has endangered the survival of many species of animals.
Students then look at their list of ideas and select main topics, keeping others to illustrate. For example, a main idea—such as the destruction of habitat
through farming, lumbering, and housing—can be restated to form a topic sentence.
11
For four topics, students practice listing ideas to summarize a process. Next, they choose one essay question from a list and write an essay answer to
summarize ideas that support it, using the criteria for organizing, evaluating, and revising established in the lessons.
Argument Type Essay Questions
Essay questions may ask the student to “argue,” “prove,” or “justify” an idea or situation. Students must show their position is right, positive, valid, proper,
and reasonable, stressing advantages over disadvantages. Examples of “argument” type questions are given. When presenting an argument or a persuasive
viewpoint, students are told to follow the same rules they applied in answering other essay questions with one additional rule:
Think about the opinion, attitude, or viewpoint you need to change in your reader.
Students take a few minutes to organize thinking and then practice jotting down arguments for a given essay question. Next, they are shown five persuasive
argument essay questions, such as:
Argue that you should be given a job as a complaint counter clerk at a local department store. Audience: personnel officer
They note ideas for three of the questions, then choose one and write a complete essay answer. They are to remember who their audience is as they write their
argument. They write their persuasive essay following criteria established in the lessons for evaluation and revision.
Page 143
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
POLISHING PROSE
High School Skills Bundle II, Grade Levels 9-12
These lessons address basic mechanics, grammar, usage, and stylistic issues that will guide students as they polish their prose. Jack London’s story “To Build a Fire”
provides models and examples.
Handouts
Basic Comma, Period, and Semicolon Rules
Confusing Words (2 pages)
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1
2
3
4
5
6
LESSON
LESSON CONTENT
Capitalization/Punctuation
Students add punctuation to altered passages from Jack London’s story. After they proofread the passages, they compare their work with the original version.
Students should use their textbooks or the handout if they are in doubt about specific capitalization or punctuation usage.
Handout: Basic Comma, Period, Semicolon Rules (for use at the computer)
Homophones
Students are to select the correct word of the homophone choices in the first twenty sentences. Students can compare their sentences with corrected versions
that follow. Students may refer to the alphabetized list of homophones that is provided with this supplement. Students then proofread three passages from
London’s “To Build a Fire,” correcting the homophone errors and comparing their versions with London’s originals. In the final activity, students try to stump
their partners with deliberate homophone errors that they make.
Handout: Confusing Words (for use at the computer)
Dangling Modifiers
Students and their partners give two possible corrections for sentences with misplaced modifiers and then compare their versions with the suggested versions.
Students deliberately write sentences with dangling modifiers; then their partners correct these sentences.
Fragments
After reading a brief explanation of fragments, students and their partners correct the sentence fragments in “messed up” versions of passages from “To Build
a Fire.” They then compare their versions with London’s originals.
Comma Splice
After reading a brief definition of the comma splice, students correct comma splices in the definition. Students then correct ten sentences and compare to the
suggested versions. Students then correct three “messed up” passages from “To Build a Fire” and compare their versions with London’s originals.
Active/Passize Voice
This lesson presents many examples of active and passive voice sentences and suggests guidelines for choosing between them in the revision process.
Students read ten sentences and decide in each of the sentences whether to change the voice. Suggested responses follow with explanations. Students are then
to write two paragraphs based on one of the previous sentences, one paragraph in active voice and one paragraph in passive voice.
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POLISHING PROSE, continued
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8
9
10
LESSON
LESSON CONTENT
Sentence Variety
Students play editor with London’s “To Build a Fire.” Taking some “simplified London,” students add variety to the passages and then compare their versions
with London’s originals.
Show; Don’t Tell
Students read several examples of London’s writing that “show” rather than “tell.” Students revise a descriptive paragraph by eliminating as many to be verbs
as possible and by adding more descriptive details. Students continue to practice “showing” by revising ten sentences that “tell.” They then take one of those
sentences (or one of their own creations) and write a one hundred word paragraph that “shows” rather than “tells.”
Sentence Combining
Sentence combining is explained briefly, showing students how it can be used to strengthen writing. Students take “simplified” passages from “To Build a
Fire,” combine the sentences, and then compare their versions with London’s originals. Using the capabilities of their word processors, students bring the
paragraph they wrote in Lesson 8 to this lesson. Then, they strengthen their writing by combining sentences and adding specific details.
Specific Detail
Students add specific details to simplified passages from “To Build a Fire” and then compare their versions with London’s originals. Students continue to
practice finding specific details for a more contemporary paragraph. Students move the paragraph they revised in the previous lesson and then list ten specific
details that might fit. They then expand the original paragraph into two paragraphs using specific details from their list.
Page 145
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
STACK THE DECK
High School Skills Bundle II, Grade Levels 9-12
Using Stack the Deck, students learn to write chronological papers, order of importance papers, and business letters.
Most Stack the Deck activity lessons are appropriate for two or three students working together, talking over answers and then taking turns typing. Those which we call
process-writing lessons—based on major writing assignments in the Stack the Deck textbook—are more suited for one student working alone, although the final stage of
revision is an ideal time for peer collaboration. Where possible, we urge students to use word processing editing features, such as Cut and Paste, in order to reduce typing.
Ideally, students will bring their Stack the Deck textbooks to the computer since reference is often made to printed instructions as background to a specific activity lesson.
An alternative, however, is for the teacher to introduce the concepts and offer enough instruction to assure that computer-users will be oriented to the exercises in a lesson.
The Stack the Deck book can be ordered directly from:
The Stack the Deck, Inc.
P.O. Box 429
Tinley Park, Il 60477-0429
1-800-253-5737
#
1
LESSON
LESSON CONTENT
Sentence Manipulation: Combining
This lesson is a review of writing vocabulary with focus on sentence combining and its related techniques: using glue words, connector words, WH words, and
ING words.
Correspondence to Text
Unit 2, pp. 5–7
Exercise 1 = Exercise 1, pp. 6–7
Exercise 2 = Exercise 1 continued, pp. 6–7
See Teaching Guide: pp. 12–14
Related Stack the Deck Materials
Writing vocabulary poster. Review of Cut, Copy, and Paste will be helpful.
2
Sentence Manipulation: Rearranging
This lesson is a review of writing vocabulary with focus on rearranging phrases and clauses for the purposes of impact and sentence variety.
Correspondence to Text
Unit 2, pp. 8–10
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STACK THE DECK, continued
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LESSON
LESSON CONTENT
Exercise 1 = Exercise 2, pp. 8–9
Exercise 2 = Exercise 3, p. 10
See Teaching Guide: pp. 14–15
Related Stack the Deck Materials: Writing vocabulary poster
3
Putting It All Together: Revision
Students review principles of sentence revision and improvement while being introduced to the Sentence Opening Sheet (SOS).
Correspondence to Text
Unit 2, pp. 10–19
Exercise 1 = Exercise 4, pp. 10–12, which calls for the revising of four sets of kernels—rudimentary paragraphs that need “flow”
See Teaching Guide: pp. 16–19
4
Related Stack the Deck Materials: Hard copy of SOS, pp. 13–16
Verb Power
Students practice replacing overused verbs (do, have, be, and get) with more specific and colorful verbs. The Going Further activity encourages students to
develop the habit of using a thesaurus.
Correspondence to Text
Unit 5, pp. 34–38
Exercise 1 = Exercise 1, p. 35
Exercise 2 = Exercise 2, p. 36
5
See Teaching Guide: p. 25
Solving-a-Problem Paper
This is a process-writing lesson in which students proceed through all the stages of writing an expository essay on problem solving. Students choose a personal
or academic problem and propose several solutions from which they choose the best. Good critical thinking is called for here.
Correspondence to Text
Unit 6, pp. 39–54
Steps in the writing process using a word processor with Stack the Deck—found in all process-writing lessons in Stack the Deck
Brainstorming list of “problem” topics p. 40
Think Sheet on p. 44 and in this lesson to work on or print out
Page 147
STACK THE DECK, continued
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LESSON
LESSON CONTENT
Revision warm-up activity: Exercise 3, p. 53 on correcting fragments
See Teaching Guide: pp. 26–29
6
Related Stack the Deck Materials
Sample essay, pp. 42–43
Problem-solving paper: Students should read pp. 39–46 for advice about this paper before choosing their subject.
Subtracting
In this lesson, students practice rewriting awkward sentences and deleting the unnecessary words or repeated ideas. The lesson is one long exercise and is
highly recommended since “deadwood” is characteristic of young writers’ sentences.
Correspondence to Text
Unit 3, pp. 20–22
Exercise 1 = Exercise 1, pp. 20–21
See Teaching Guide: p. 20
7
Related Stack the Deck Materials: Writing vocabulary poster
Expanding
Students practice expanding the kernel ideas by answering choices from among the journalistic questions (who, what, why, where, when, how). They are
warned not to overload sentences when they try to expand.
Correspondence to Text
Unit 3, pp. 22–24
Exercise 1 = Exercise 3, p. 23
Exercise 2 = Exercise 4, pp. 23–24
8
Related Stack the Deck Materials: Writing vocabulary poster
Business Letter
All instructions for going through the stages of the writing process are in this lesson. The assignment is for students to write a letter to one of their teachers,
trying to persuade her or him to give them a good grade for their work. Because the letter must be mailed once the assignment is completed, brainstorming opportunity for an
alternate subject is included. Students read about organizing the letter on page 93. Then they follow the standard directions for process-writing lessons. The
Think Sheet is in the lesson and is to be completed.
Correspondence to Text: Unit 11, pp. 88–96
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STACK THE DECK, continued
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LESSON
LESSON CONTENT
See Teaching Guide: p. 37
9
Related Stack the Deck Materials
Hard copy of SOS and Checklist, p. 93; business letter format, pp. 88–89
Combining with ING Words
Practice converting verbs into participles (ING words). For the purposes of sentence building, ING words are indispensable tools for combining short
sentences into flowing, fluent sentences. A comma rule is introduced.
Correspondence to Text
Unit 7, pp. 55–58
Exercise 1 = Exercise 1, pp. 55–56
Exercise 2 = Exercise 2, pp. 57–58
Punctuation rule, p. 55
10
See Teaching Guide: pp. 30–31
Chronological Development Paper
This is a process-writing file in which students proceed through all the stages of writing a chronological development paper. The suggested topic is a
description of a storm, but alternative topics are explored. Examples and models of controlling idea are found on pages 50–54.
Correspondence to Text
Unit 8, pp. 59–69
Steps in the writing process using a word processor with Stack the Deck
Brainstorming for a topic
Think Sheet, pp. 60–63
See Teaching Guide: pp. 32–33
11
Related Stack the Deck Materials: Hard copy of SOS and Checklist, p. 68
Persuasive/Order of Importance Paper
This is a process-writing lesson, taking students through prewriting and warm-up to a major writing assignment, this time a persuasive essay defending a
position on an issue. The process is continued through publishing in the next lesson. Here students practice brainstorming, creating controlling ideas, and
critiquing student samples. They will benefit from having the textbook handy.
Correspondence to Text
Unit 15, pp. 118–130
Exercise 1 = Exercise 1, p. 119 (brainstorming pros and cons)
See Teaching Guide: p. 44
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LESSON CONTENT
Persuasive/Order of Importance Paper Continued
This lesson is process writing of a persuasive essay continuing with subject selection and a Think Sheet. Organization is major in this assignment since order
of importance is stressed as a tool in persuasive writing. Students will benefit from having their textbooks handy.
Correspondence to Text
Unit 15, pp. 118–130
Steps in the writing process using a word processor with Stack the Deck
Think Sheet, p. 122
See Teaching Guide: p. 44
Related Stack the Deck Materials: Hard copy of SOS and Checklist, p. 129
Page 150
AMERICAN SHORT STORIES
High School Reading Comprehension Bundle,
Grade Levels 9-12
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
The short story genre, as we know it, is essentially an American creation. Those writers seeking to entertain the citizens of a fledgling society drew upon the diversity of
that society and tried to feed its vast hunger for diversions. But no less importantly, those writers also drew upon shared American roots: revolution, puritanism,
individualism, patriotism, duty, family, romance, urban problems, and of course down-home rural humor. The lessons open with a pre-computer activity on a reproducible
handout (Introduction to American Short Stories) that asks students to think about stories they have read and how stories figure in contemporary media as well as in
books. After interacting with all of the lessons, students are asked these same questions and are encouraged to alter and extend their original answers using word
processing features.
The ten stories selected here represent some of the best writers of the late 19th to early 20th centuries. Students interact with these stories on multiple levels—from literal
to applied comprehension. They are asked to recall, predict, fantasize, interpret, and extend their skills to peers. Each lesson includes a Vocabulary Warm-up which
prepares them to unlock new words through contextual clues. Each lesson ends with a Going Further activity that is designed to tap students’ creativity as well as their
understanding of the story. The final activity, Meet the Authors, asks students to research the biographies of these authors and enter a brief synopsis of their findings
according to guidelines provided. The overall goal for this literary interactions is to stimulate students’ interest in reading more of the American greats.
Language Skills Emphasized
Reading, writing, group collaboration and decision-making
Reading Processes Emphasized
Reading at literal, interpretive and applied levels: pre-reading and post-reading strategies for greater comprehension.
Literary Skills
Learning to recognize and interpret the functions of character, point of view, plot, setting, and denouement in stories; gaining experience in reading for sub-textual
features such as tone, imagery, and underlying theme; building an understanding of how short stories differ from other genres of literature.
Student Objectives
Student will:
• activate their prior knowledge and experience in order to connect with the dilemmas that characters face in the course of a story
• practice a variety of reading strategies to unlock meaning
• practice vocabulary skills of acquiring meaning through word structure and contextual clues
• answer questions at all levels in collaboration with others when appropriate
• practice writing skills such as brainstorming, summarizing, sentence combining, adding descriptive details.
• develop skills required for literary interpretation such as recognizing symbolism, imagery, tone and deciphering the theme of a story.
• build upon their previous knowledge of what a short story is and what forms it takes in contemporary media.
Before Using the On-computer Activities
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AMERICAN SHORT STORIES, continued
All students should do Handout A, Introduction to American Short Stories, to get oriented to the genre and record what they already know about short story form. On this
handout, students read a brief history of the short story as an American creation, and respond to questions asking what they know now (or want to guess) about the
features of short stories.
After finishing the lessons, you may want them to complete Handout A a second time and compare their previous answers with the answers they give after studying this
genre. At this time they might respond to the following questions as a writing team or cooperative group:
1. Which are your favorite stories?
2. Do any of the stories seem so old-fashioned that they couldn’t happen today?
3. Which ones make you smile! Which ones make you sad?
Demonstration Lesson
Students might benefit from an introduction to the structure of the lessons and how to proceed. You may want to do an activity lesson as a class demonstration lesson,
using a large screen monitor or LCD panel.
Vocabulary Exercise
Because these stories were written in an earlier period, many words will be unfamiliar to your students. Therefore most activity descriptions in this supplement include a
set of vocabulary words. As a class or in writing groups, see if students can come up with a tentative synonym for each of these words which they will find in the story
when they read it.
After reading the story, have students give their final opinion on a synonym based on its use in the context of the story. Then confirm their synonym/definition by
checking the dictionary.
On-Computer, the Activities
There are four sections to each computer lesson. The first section should be completed by writing teams or cooperative groups working together. The remainder of the
lesson is best done by individuals.
1.
Before reading the story: Each activity lesson begins with a pre-reading activity which is designed to be completed by the writing team or cooperative group. Group
thinking and response to the questions in this pre-reading section of the lesson is important for developing the concepts prior to individual reading of the stories.
Since the “After reading the story” responses are best done as individual students, you may assign one student from each group to submit this section of the lesson
completed for the group. Or, it may not be required to turn in this part of the assignment.
2.
Reading the story: After completing the pre-reading section of the activity lesson, students are directed to read the story. This can be done away from the computer
by using the story reprint handouts included with this documentation. It can be done at the computer by reading the story within the lesson. Both are the same and
your choice of which to use may be based on computer access time or other logistics.
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AMERICAN SHORT STORIES, continued
3.
After reading the story: A set of questions designed to stimulate inquiry and reader response follows the reading of the story. Students need to have access to the
story text while responding to these questions, so they should take the story reprint handout to the computer or bring up the story within the lesson for reference as
they work.
4.
Going Further: Finally, students may complete an enrichment activity, which varies from lesson to lesson. You may want to offer this as extra credit work.
While the on-computer activities follow the chronological order of the publication of the short story upon which it’s based, it is not imperative that they be used in
that order. However, this sequence is recommended for a full exposure to the genre.
Logistics
Even in a one computer classroom, writing groups might be scheduled on the computer so that while one group is completing the “Before reading the story” part of the
activity lesson, another group has finished and is elsewhere reading the story from the handout or reviewing and responding to another group’s printouts of their lesson.
If computer time is limited, students might do the Going Further part of the activity lesson away from the computer in groups, and then present their work to the rest of the
class.
Extension Activities
Handout K, Meet the Authors, provides activities and instructions for creating a brief biography for each of the authors presented in this collection. Possible sources for
research materials are suggested. The handout provides guidelines for types of information to include and a basic outline for the biographies.
In addition to the Meet the Author biography extension activity, you may encourage students to read other short stories written by these authors or to read other short
stories that develop similar themes. Students could also write their own short stories modeled upon a plot structure of theme similar to the stories in this collection. You
might use the story within the lesson as the basis for the students own stories. In this case, they would bring up the story within the lesson and rewrite the original author’s
work using the word processor.
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Dr. Heidegger’s Experiment
The classic “fountain of youth” story “Dr. Heidegger’s Experiment” is the subject of this lesson. Students engage in pre-reading warm up by imagining and
brainstorming their ideas about being old but given another chance at youth.
Before reading the story, they create from context their own definitions of “rejuvenescent” and “visage.” Under Interact, they practice the skills of
paraphrasing and deciding on the tone of a particular passage. As they extend Hawthorne’s message to their own time, they have a chance to choose one theme
from a list of possible themes, supporting their decision with examples drawn from characters. Going Further calls for students to role-play a magazine
interviewer and a potential subject for Heidegger’s experiment.
Handout: Dr. Heidegger’s Experiment
Vocabulary
veracious
rejuvenescent
2
venerable
tremulous
forbear
complaisant
visage
effaced
The Tell Tale Heart
This lesson is based on “The Tell-Tale Heart,” the classic by Edgar Allan Poe horror story that influenced so many subsequent writers. Individually or
collaboratively, students first think and write about why people like horror stories. Then they decide what makes a good horror story. Before reading the story,
they create from context their own definitions of “acute” and “cunningly.” Questions and activities under Interaction ask them to decide about the speaker’s
madness and to support their decision with details from the text. They also have a chance to expand upon their original list of horror story features, now that
they’ve read this one. Going Further calls for role-playing newspaper reporters called to the murder scene. In that role, students take notes and turn them into a
news story.
Handout: The Tell Tale Heart
Vocabulary
acute
3
cunningly
stealthily
gesticulations
dissemble
What Stumped the Bluejays
This lesson is based on Mark Twain’s witty examination of human characteristics in the story “What Stumped the Bluejays.” Students engage in pre-reading
activities by predicting what types of human behaviors bluejays might exhibit. Before reading the story, they create from context their own definition of
“countenance.” Under Interact, they practice identifying plot sequence and reading for details. Students also identify human behaviors in the bluejays and have
an opportunity to respond to Twain’s depiction of the jay and human behaviors. Going Further calls for students to examine the differences between an
animal’s methods of communication and human language.
Handout: What Stumped the Bluejay
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A New England Nun
Mary E. Wilkins Freeman’s story “A New England Nun” is the subject of this lesson. Students engage in pre-reading activities by identifying their concept
about the qualities of a nun and by examining their experiences of making promises that they did not want to keep. Before reading the story, they create from
context their own definitions of “consternation” and “acquiescing.” Under Interact, they work to develop an understanding of characterization, foreshadowing,
and internal conflict. Going Further calls for students to develop a sequel to the story based on the established characters and resolution of the story.
Handout: A New England Nun
Vocabulary
consternation
gloated
5
acquiescing
redolent
docility
ascetic
stint
The Gift of the Magi
This lesson is based on O.Henry’s classic story “The Gift of the Magi.” Students engage in pre-reading activities about the concepts of the surprise ending and
making a sacrifice to provide for someone else. Before reading the story, they create from context their own definitions of “imputation” and “parsimony.”
Under Interact, they compare and contrast current life styles with early 1900s life styles, paraphrase the plot, and compare their personal gift-giving
experiences with the experience in the story. Students also examine the reasons for O.Henry’s title. Going Further calls for students to develop a modern
screenplay of the story.
Handout: The Gift of the Magi
Vocabulary
imputation
meretricious
6
parsimony
singe
mendicancy
The Furnished Room
This lesson is based on “The Furnished Room,” another O.Henry story with a surprise ending. As part of the pre-reading activities, students preview a
paragraph from the story to familiarize themselves with O.Henry’s style and language choices. Students also contemplate reasons for transiency and develop a
strategy for finding a missing person. Before reading the story, they create from context their own definitions for “interrogation” and “pseudo.” Under Interact,
they practice summarizing by developing a summary of the plot and compare their strategy for finding a missing person with the strategy the main character
uses in the story. Going Further calls for students to write a newspaper feature story based on the tragic death of the story’s main character.
Handout: The Furnished Room
Vocabulary
mitigated
interrogation
perfunctory
heliotrope
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poignantly
AMERICAN SHORT STORIES, continued
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subterranean
7
peripatetic
flotsam
polychromatic
To Build a Fire
This lesson is based on Jack London’s classic “To Build a Fire.” Students engage in pre-reading activities by contemplating the roles of intellect, intuition, and
attitude when responding to the powerful forces of nature. Before reading the story, they create from context their own definitions for “speculatively” and
“poignant.” Under Interact, they discover how an author uses internal conflict to develop characterization and how a character’s attitude affects his actions.
Students use a reading levels guide to help determine and write about theme. Going Further calls for students to change the point of view for the story and
write a monologue from that new point of view.
Handout: To Build a Fire
Vocabulary
claim (in prospecting terms)
speculatively
8
intangible
apprehension
conjectural
poignantly
unwonted
The Enchanted Bluff
“The Enchanted Bluff” by Willa Cather is the subject of this lesson. Students engage in pre-reading activities by making predictions about the futures of their
childhood friends based on their memories of those friends. Before reading the story, they create from context their own definitions for “purported” and
“dolorous.” Under Interact, they examine and identify the author’s use of descriptive writing. They identify details about the characters’ childhood and adult
lives. A reading levels guide helps students identify and write about possible themes. Going Further calls for students to develop a strategy for finding and
exploring the enchanted bluff in the story.
Handout: The Enchanted Bluff
Vocabulary
spumy
oblique
8
indefatigably
translucent
inconsolable
complaisance
mutinous
dolorous
The Untold Lie
This lesson is based on “The Untold Lie” by Sherwood Anderson. In pre-reading activities, students are prompted with typical adolescent situations and then
asked to advise their friends to either do what’s expected or do what they want to do about these situations. Before reading the story, they create from context
their own definitions for “reprobate” and “incessant.” Under Interact, they use the story’s ending to further examine the issues of “doing what’s expected” and
“doing what pleases oneself.” Students use the text to develop an understanding of characterization and theme. Going Further calls for students to assume the
role of a high school counselor and advise a student considering dropping out of school.
Handout: The Untold Lie
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Vocabulary
reprobate
humdrum
indifferent
roistering
confronted
Page 157
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
PERSONAL RESPONSIBILITY
High School Reading Comprehension Bundle,
Grade Levels 9-12
MediaWeaver® A+LS™ Software Edition Principles of Personal Responsibility is a course of study based on Stephen Covey’s book The Seven Habits of Highly
Effective People. The Seven Habits of Highly Effective People centers on the premise “that there are basic principles of effective living, and that people can only
experience true success and enduring happiness as they learn and integrate these principles into their basic character.” These principles of effective behavior are integrated
into character through the development of principle-based habits. Principles of Personal Responsibility provides a collection of reading lessons based on these habits.
The Principles of Personal Responsibility lessons can serve as curriculum or can enhance current curriculum for courses with personal development objectives, such as
health, study skills programs, or counseling classes, and for courses with reading and writing objectives. Excerpts and adaptations of text from the book provide
enlightening, appealing, and relevant reading that nourishes character development. Lesson activities expand students’ reading skills and strategies and promote literal,
interpretive, and applied comprehension of the material.
As students read and complete activities in the lessons, they learn about and apply principles of effective human behavior and interaction. Students consider how
perceptions, beliefs, and goals affect behavior and interactions with others and learn the importance of personal choice and responsibility.
Language Skills Emphasized - Reading, writing, decision-making
Reading Processes Emphasized - Reading at literal, interpretive, and applied levels; use of concept development; pre- and post-questioning strategies; comprehension
monitoring strategies; analysis, synthesis, and evaluation
Student Objectives
• Use pre-questions and prompts to activate and assess prior knowledge of each concept and principle
• Improve reading skills by examining the text for literal, interpretive, and applied concepts
• Develop objective and subjective written responses to the text
• Identify main ideas and supporting ideas
• Practice note collecting and summary writing skills
• Develop and practice word processing skills
• Cultivate self-esteem, personal responsibility, and decision-making
• Develop and apply strategies for personal growth
• Develop and apply strategies for effective interpersonal relationships
Handouts - Handouts are included for lessons that have lengthy excerpts or text or for activities useful in group or class settings. Handouts can be used to facilitate
reading, to generate discussion, to monitor comprehension, or to provide opportunities for individual responses when access to computers is limited. Handouts are
identified in the Lesson Descriptions that follow.
Lesson Organization - Each lesson develops a concept and/or habit from the book The Seven Habits of Highly Effective People by Stephen Covey. Each lesson begins
with a concept development activity designed to activate students’ prior knowledge and to provide a foundation for the concept. The lessons progressively build a
knowledge and understanding of principles of effective behavior by relating previous concepts and principles to new information. The text and excerpts in each lesson are
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interspersed with prompts that develop literal, interpretive, and applied comprehension and that provide opportunities for objective and subjective responses to the
information. The conclusion in each lesson summarizes the information presented and then introduces the next concept, habit, or principle.
The lessons should be used in the order presented. Lessons 1 through 5 develop the necessary concepts for working with the remaining lessons. Lessons 6 through 11
present the first three habits of Private Victory. These habits develop self-awareness, self-esteem, and personal responsibility. Lessons 12 and 13 develop the concept of
interdependence. Lessons 14 through 18 present the habits of Public Victory. These habits develop skills for maintaining and improving interpersonal relationships.
Lesson 19 presents the habit of Renewal which focuses on personal maintenance and renewal. The Lesson 20 presents a concluding essay and summarizes the principles
inherent in the seven habits.
Acknowledgments
All quoted text in the lessons is from The Seven Habits of Highly Effective People by Stephen Covey. Text in the lessons is adapted from information presented by
Stephen Covey in The Seven Habits of Highly Effective People.
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1
2
LESSON
LESSON CONTENT
Introduction — What the Seven Habits Are All About
This lesson focuses on the concept of making personal changes through the development of effective and successful habits. The lesson develops and contrasts
the concepts of quick fix solutions and long-term successes and introduces the concept of principle-based behavior. Students respond to prompts about these
concepts and compare their definitions of success to the definition presented in the book. Students are encouraged to develop a willingness to make changes.
Pre-discussion can be based on typical beliefs about success. Post-discussion can include students’ responses to long-term success and principle-based
solutions.
Changing the Way You See
This lesson develops two concepts: perception and paradigm. Before using the lesson, students should complete a handout activity either individually or in a
group situation. The handout activity uses a picture that can be perceived in two ways to develop several concepts about perception. Through the handout
activity and lesson, students learn that one person’s perception differs from another person’s perception; that a person’s perceptions present a picture of the
reality, but are not the reality; that perceptions are affected by conditioning; and that perceptions affect thinking and behavior. The importance of examining
and sometimes changing perceptions is highlighted. Students use a reading levels guide (see teacher’s manual) to respond to literal, interpretive, and applied
statements about perception. This lesson also introduces and develops through comparison and illustration the concept of paradigm. Because this concept is
used frequently throughout the remaining lessons, students should develop a working understanding of this concept. The reading levels guide about perception
is provided as an optional handout for review and discussion. Post-discussion should monitor and reinforce understanding of the term “paradigm.”
Handout: Changing the Way You See
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Making a Paradigm Shift
This lesson explains that by shifting paradigms, or by changing perspective, people can gain a larger and more accurate view of the world. This shift in
perspective or paradigm creates powerful personal changes. Using a personal experience from the book, the lesson describes a paradigm shift and shows how
making a paradigm shift enables people to be more effective and successful. Students identify the paradigm shift in the excerpt and explain the concept of
paradigm shift. Students are encouraged to begin thinking about examining and shifting their basic paradigms. Post-discussion could include examples of
paradigm shifts that students have experienced and ideas on how shifting paradigms can produce personal change.
The Principle-Centered Paradigm
This lesson develops the concept of using a principle-centered paradigm. Using a principle-centered paradigm means recognizing the principles that exist
within the world and then basing decisions on those principles. The lesson uses an excerpt from the book to illustrate the reality and constancy of principles
and the benefits of using principles rather than personal perceptions in decision-making. Student responses to the story develop an understanding of these
ideas. The lesson explains three paradigm shifts that students should consider making: shifting to a principle-centered paradigm, shifting from quick fix
solutions, and changing the way they see problems. Students write both an objective and a personal response about these paradigm shifts. Pre-discussion can
include a review of the term “paradigm.” Post-discussion can include additional examples and experiences that demonstrate the reality and constancy of
principles.
Handout: The Principle-Centered Paradigm
5
6
7
What Is a Habit?
This lesson explains the term “habit.” The lesson uses an excerpt from the book to explain what habits are, how they’re developed, and how they help create
effective and successful behavior. Students define “habit,” read the excerpt about habits, respond to prompts about the text, and then revise their original
definition of “habit” to include new information and understanding from the text. Students preview information about the seven habits. Habits 1, 2, and 3
develop character growth. Habits 4, 5, and 6 develop teamwork, cooperation, and communication. Habit 7 develops renewal and maintenance of the other
habits. Post-discussion can include discussion of students expectations and predictions concerning the Seven Habits.
Habit 1 Be Proactive—Principles of Personal Vision Part 1
Habit 1, Be Proactive, is the habit of personal vision. This lesson defines the term “proactive” and focuses on the capabilities that enable humans to be
proactive: self-awareness, independent will, imagination, and conscience. The lesson includes an excerpt based on the experiences of Victor Frankl a Jewish
psychiatrist who was imprisoned in the Nazi concentration camps. Students identify Frankl’s use of self-awareness, independent will, imagination, and
conscience to develop a proactive response to his imprisonment. Activities help students realize the importance of developing accurate self-awareness rather
than a distorted picture based on how other people view them and expect them to behave. Students define “self-awareness,” “independent will,” “conscience,”
and “imagination.” Students read, analyze, and paraphrase the definition of “proactivity” and begin to focus on developing personal responsibility for behavior
and decisions. Post-discussion can include personal responses to Frankl’s experience and explanations of how proactivity contributes to effective and
successful living.
Handout: Habit 1: Be Proactive
Habit 1 Be Proactive—Principles of Personal Vision Part 2
This lesson explains how to develop the habit of proactivity. The lesson focuses on two important aspects of personal responsibility: behavior is a function of
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LESSON CONTENT
our decisions and feelings are subordinate to values. Students learn the differences between proactive and reactive behavior and learn ways to identify whether
their behavior is proactive or reactive. The lesson describes four strategies used to develop the habit of being proactive. These strategies include taking an
inside-out approach, working within circles of influence, acknowledging consequences and mistakes, and making and keeping commitments. Students respond
to questions about the strategies and then write a paragraph that explains how each of the strategies contributes to developing the habit of proactivity. Prediscussion can include reviewing the definition of proactivity. Post-discussion can include ideas about how to personally put the four strategies that contribute
to developing proactivity into practice. To reinforce learning about proactive and reactive behavior, students can be encouraged to monitor their conversations
for proactive or reactive phrases.
Habit 2 Begin with the End in Mind—Principles of Personal Leadership Part 1
Habit 2, Begin with the End in Mind, is the habit of personal leadership. Beginning with the end in mind means having a clear picture of personal values,
goals, and mission and then living in a manner that will lead to that picture. Students consider whether their current thinking and behavior will contribute to
the end they have in mind for themselves. The lesson focuses on the principle of two creations and on the concept of rescripting. The principle of two creations
states that everything has two creations, a first or mental creation and a second or physical creation. This principle is illustrated with the example of building a
home. The concept of rescripting involves taking personal responsibility and leadership for creating one’s own script, rather than following the plans or scripts
of other people. The concept of rescripting is developed using an excerpt about former Egyptian president Anwar Sadat. Students respond to the excerpt to
clarify and reinforce the concept of rescripting. The lesson identifies several steps needed for taking personal leadership. Students identify the steps and then
select one and describe how they would accomplish that step. Pre-discussion can include a review of Frankl’s experience with a focus on the leadership he
provided for himself during imprisonment. Post-discussion can include personal experiences involving use of the principle of two creations and rescripting.
Handout: Habit 2: Begin with the End in Mind
9
10
11
Habit 2 Begin with the End in Mind—Principles of Personal Leadership Part 2
This lesson explains and develops a personal mission statement. A personal mission statement is a statement that expresses a person’s mental picture of the
end in mind. The statement clarifies a person’s mission, vision, values, and goals. The lesson describes advantages of using principle-based behavior as the
center of the personal mission statement rather than placing money, friends, family, or pleasure at the center. Students analyze and evaluate these different
centers. Students read an example of a personal mission statement and then use a writing process that includes visualization and identification of roles and
goals to draft their personal mission statements. Students are encouraged to use the mission statement as a criterion for measuring their thoughts and actions.
Post-activities can include developing final drafts for the personal mission statements.
Habit 3 Put First Things First—Principles of Personal Management Part 1
Habit 3, Put First Things First, is the habit of making sure that the things which matter most are handled as priorities. This lesson develops the concept of using
effective self-management to put first things first. The text explains that effective self-management involves making and carrying out decisions on a daily basis
and that effective self-management depends on a person’s independent will, personal integrity, and discipline. Students respond to prompts about the text and
then write a paragraph that explains the interdependent relationship of discipline, personal integrity, independent will, and self-management. Students select
one goal from Habit 2 and explain how they’d use Habit 3 to accomplish that goal. Pre-discussion can be prompted by asking for experiences in which
important matters were crowded out by unimportant things. Post-discussion can include contemplation on how to determine which matters in an individual’s
life are truly important.
Habit 3 Put First Things First—Principles of Personal Management Part 2
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This lesson focuses on making a paradigm shift from efficient to effective self-management and on identifying priorities. Effective self-management puts
vision, values, and goals first and relates situations, relationships, and activities to them. Students examine the differences between efficiency and effectiveness
and reflect on the change. The text explains that daily activities can be categorized in one of four ways: important but not urgent, important and urgent, not
important but urgent, or not important and not urgent. Students categorize a list of activities and add one of their daily activities to each category. The lesson
reasons about why important activities are often put off and how crises develop by putting them off. Students identify this chain reaction. The lesson explains a
process for developing a weekly schedule for effective self-management. Students write a paragraph that describes how each step of the process contributes to
a good schedule. Post-activities can include developing a weekly schedule. This can be continued weekly to help students create the habit of weekly
scheduling. Post-discussion can include how forethought contributes to effectiveness and success.
Paradigms of Interdependence
This lesson develops the concept of interdependence and focuses on recognizing and working within the interdependent reality of the world. The lesson
explains the relationship between and transition from the habits of personal independence (Habits 1, 2, and 3) to the habits of interdependence (Habits 4, 5, and
6). Students write a paragraph that explains how success with Habits 1, 2, and 3 provides a foundation for Habits 4, 5, and 6. The lesson introduces Covey’s
concept of an Emotional Bank Account. The concept of an Emotional Bank Account draws a comparison between making deposits and withdrawals in a bank
account and making deposits and withdrawals in human relationships. Students answer literal and interpretive questions about the Emotional Bank Account,
explain the term “Emotional Bank Account,” and describe how the Emotional Bank Account functions. Pre-discussion can include a review of the first three
habits. Post-discussion can include student responses to the idea that personal development precedes successful interpersonal relationships.
Handout: Paradigms of Interdependence
13
Making Deposits in an Emotional Bank Account
This lesson includes excerpts about each of the six major deposits in an Emotional Bank Account. These deposits include: Understanding the Individual,
Attending to the Little Things, Keeping Commitments, Clarifying Expectations, Showing Personal Integrity, and Apologizing Sincerely When You Make a
Withdrawal. Students answer comprehension questions about the excerpts, paraphrase a definition for each deposit, and explain how each deposit is made.
Students develop a strategy for creating the habit of making deposits. Post-activities can include additional practice in creating the habit of making deposits.
Pre- and post-discussion can include experiences and reactions to making and receiving deposits.
Handout: Making Deposits in an Emotional Bank Account
14
Habit 4 Think Win/Win—Principles of Interpersonal Leadership Part 1
Habit 4, Think Win/Win, is the habit of interpersonal leadership. This lesson develops the concept of interpersonal leadership and focuses of paradigms of
human interaction. Interpersonal leadership is the ability to supply leadership during interactions with others. The lesson examines four typical paradigms of
human interaction (Win/Lose, Lose/Win, Lose/Lose, and Win) and introduces two other paradigms of human interaction (Win/Win, and Win/Win or No
Deal). Students read an anecdote about interactions among students and then apply the definitions of the paradigms to the interactions. Students paraphrase
definitions for Win/Win and Win/Win or No Deal paradigms, consider their own paradigms of interaction, and reflect on whether a Win/Win paradigm seems
realistic. Pre-discussion can be prompted by suggesting several hypothetical problem situations involving human interaction. Students can offer suggestions as
to how they would solve the problems. Post-discussion can continue the idea of whether or not Win/Win thinking seems realistic.
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Habit 4 Think Win/Win—Principles of Interpersonal Leadership Part 2
This lesson focuses on the five interdependent dimensions that are needed to develop and use a Win/Win or No Deal paradigm. The lesson explains each of the
five interdependent dimensions: principle-centered character, relationships with others, agreements about working together, systems based on Win/Win
thinking, and a process to help achieve goals. Students write a brief summary for each dimension and explain how each dimension contributes to Win/Win
thinking. Students identify a personal experience in which others used either a Win/Lose, Lose/Win, Lose/Lose, or Win paradigm and then develop an
alternative Win/Win or No Deal approach to their experience. The lesson includes an excerpt from the book that explains how the author and his son
developed a Win/Win or No Deal solution to a problem. Students read the excerpt and then look for behaviors and attitudes in the excerpt that demonstrate
Win/Win or No Deal thinking. Students practice developing a Win/Win or No Deal solution for a problem in a specific relationship. Post-activities can include
the use of role-playing to reinforce the development of Win/Win or No Deal thinking.
Handout: Habit 4: Think Win/Win
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Habit 5 Seek First to Understand, Then to Be Understood
Principles of Empathic Communication Part 1
Habit 5, Seek First to Understand, Then to Be Understood, is a habit of empathic communication. Empathic communication involves listening with the intent
to understand another person’s frame of reference. The lesson explains the first half of this principle, seek first to understand, by developing the concept of
empathic listening. The lesson uses an excerpt from the book to explain the differences among active, reflective, and empathic listening, the necessity of
making a paradigm shift to develop empathic listening habits, and the advantages of using empathic listening. Students respond to literal and interpretive
prompts about the excerpt to differentiate traits for each type of listening and then summarize what they have learned about empathic listening. Pre-discussion
can be generated about students’ experiences in which misunderstandings lead to problems in communication. Post-discussion can be used to monitor
students’ understanding of empathic listening and to reinforce the concept.
Habit 5 Seek First to Understand, Then to Be Understood
Principles of Empathic Communication Part 2
This lesson uses an excerpt from the book to describe the four developmental steps of empathic listening: mimic content, rephrase content, reflect feeling, and
rephrase content and reflect feeling. The lesson also uses a conversation from the book to demonstrate a how listening can affect a conversation and a person’s
willingness to explain himself or herself. Students read the conversation, find examples of empathic listening in it, and explain how empathic listening affects
the conversation. The lesson then focuses on the second half of the principle: seek to be understood. The text explains why it is important to be understood and
the skills that are needed to be understood. As a final activity, students read the beginning of a conversation and identify where the listening style in the
conversation prevents understanding. Students look for opportunities to practice empathic listening by rephrasing content and reflecting feelings. Students
assume the role of the second person in the conversation and rewrite the conversation so that it reflects the principle “seek first to understand, then to be
understood.” Post-activities can include sharing the conversations that students have developed and creating additional conversations that demonstrate the use
of empathic listening skills.
Habit 6 Synergize—Principles of Creative Cooperation
Habit 6, Synergize, is the habit of developing synergy by employing principles of creative cooperation. The lesson defines the concept of synergy, explains
why synergy works and how it is developed, and outlines the advantages of using synergy to develop effectiveness in interdependent relationships. The lesson
explains how Habits 1, 2, 3, 4, and 5 contribute to developing synergy in human relationships. Students summarize how the first three habits, Win/Win
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thinking, and empathic listening contribute to synergy. The lesson examines the concept of negative synergy and explains how to overcome negative synergy.
Students identify and describe personal experiences involving both positive and negative synergy and identify what contributed to the situations. Postdiscussion can include student responses to the concept valuing differences. Post-activities can include using the concept of synergy or small group
presentations about synergy.
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U-conclude: Habit 7 Sharpen the Saw—Principles of Balanced Self-Renewal
Habit 7, Sharpen the Saw, is based on the principles of self-renewal. The lesson identifies four areas of renewal: physical, spiritual, mental, and
social/emotional. Renewal of the physical dimension includes information on nutrition, stress management, and exercise. Renewal of the spiritual dimension
involves being in touch with personal values and the higher attributes of man. Renewal of the mental dimension includes the importance of continuing
education and taking in knowledge on a regular basis. Renewal of the social/emotional dimension includes being a positive scripter and affirmer for others and
contributing positively to society. Students respond to an anecdote about renewal, collect and summarize information from the text about Habit 7, describe the
four dimensions of renewal, develop a personal strategy for renewing the dimensions, and write a concluding paragraph that explains their ideas about
applying the principle of self-renewal. Pre-discussion can center around the concept of “renewal.” Post-discussion and activities can include further
development of personal renewal strategies.
Inside-Out Again The Upward Spiral
This lesson is based on Covey’s concluding essay about the renewal of conscience and on the concept of becoming a transition person. The lesson defines and
provides examples for the concept of conscience. Students consider why Covey suggests the need for renewal of conscience, respond to interpretive prompts
about the essay, and then write a response to the essay. The lesson also explains the concept of using the Seven Habits to become a transition person, a person
who creates and passes positive scripts to others. Students read a summarized list of principles from the book and then select a principle and a personal
situation in which they can assume the role of a transition person and positively rescript another person. Post-activities can include the use of role-playing to
reinforce the concept of being a transition person.
Handout: Inside-Out Again, The Upward Spiral
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VOICES FROM THE PAST
High School Reading Comprehension Bundle,
Grade Levels 9-12
Voices from the Past—Messages for Today! helps students think, read, and write about values to consider for the world today. Stepping back in time through excerpts
from speeches and documents that helped shape America’s history, students expand their reading skills and knowledge while examining the text for relevance to today’s
world. The values of freedom, equality, and literacy and the problems of prejudice, intolerance, and hypocrisy are just a few of the topics examined. The lessons make this
potentially difficult reading from America’s past accessible to both middle school and high school students.
Students read and respond to questions and prompts designed to develop literal, interpretive, and applied comprehension as well as thinking and discussion skills. Student
responses include opportunities for both objective and subjective writing. All lessons are written so students may work either in a group with partners or individually.
The program, including eleven interactive profiles, takes the reader from John Adams’ “Liberty and Knowledge” (1765) to Helen Hunt Jackson’s “A Century of
Dishonor” (1881). Each lesson contains brief biographical and historical information to provide a frame of reference for the student. Excerpts are interspersed with
thought-provoking questions on past ideas, policies, and ethics and their relevance to our world today and its future.
Language Skills Emphasized
Reading, writing, speaking, listening, group decision-making
Reading Processes Emphasized
Reading at literal, interpretive, and applied levels; use of prequestioning and postquestioning strategies
Student Objectives
Students will:
• Use prequestions to activate and assess prior knowledge of the concepts discussed in each lesson
• Improve reading skills by examining the text for literal, interpretive, and applied concepts
• Develop both objective and subjective written responses to the text
• Participate in group discussion and group decision-making
• Develop summary writing skills
• Develop word processing skills
• Examine the concerns and values of historical American writers for their relevancy and importance today
Lesson Organization
The profiles are presented in an order designed to give students a historical reference. However, each lesson is complete within itself and can be used in any order. Each
lesson contains prequestions to help students activate and assess their prior knowledge. The reading text is interspersed with literal, interpretive, and applied level
questions and prompts. The questions elicit both objective and subjective written and oral responses. Each lesson contains a final writing activity designed to help students
synthesize and apply their thinking about the lesson’s concepts. A Going Further activity extends each lesson.
The historical text upon which the lesson is based is also included as a handout.
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John Adams’s Liberty and Knowledge
Based on John Adams’ 1765 article “Liberty and Knowledge” the lesson focuses on Adams’ beliefs about the interdependence between liberty and knowledge
and the public’s right to information about the behavior of government officials. Interspersed questions and prompts first help students develop their
comprehension of the writing. Students are then asked to analyze and develop their own beliefs about these topics. The concluding activity asks students to
write a response to the quotation, “Where there is knowledge, there is also liberty.”
The Going Further activity asks the student to either assume the role of a reporter who wants to publish private information about a government official or an
editor who rejects the article for publication.
Patrick Henry’s Speech to the Second Virginia Convention
Patrick Henry’s Speech to the Second Virginia Convention
Based on Patrick Henry’s famous 1775 Speech to the Second Virginia Convention (“Give me liberty or give me death.”), this lesson develops the speech’s
concepts of knowing and accepting the whole truth, not holding onto false hopes, and taking necessary action to correct a problem. Interspersed questions and
prompts first help students develop their comprehension of the text. In the concluding activity, students write a speech for community leaders that applies
these concepts to a current problem or crisis.
The Going Further activity asks students to write a short story about a character who knowingly ignores the truth about the consequences of an action he’s
about to take.
Abigail Adams’s Remember the Ladies
In 1776, Abigail Adams wrote to her husband, John Adams, while he met with the Continental Congress and asked him to “remember the ladies” as new laws
for the country were developed. Based on that letter, this lesson examines Abigail Adams’ beliefs that continued tyrannical behavior toward women would
yield only disrespect and rebellion. Interspersed questions and prompts first help students develop their comprehension of the text. Students use a reading
levels guide to help determine literal and implied concepts from the text. In the concluding activity, students assume the role of Abigail Adams and use these
implied concepts to write a reply to a modern world leader who has asked Abigail Adams’ opinion about methods of governing.
The Going Further activity asks students to write an article for a school newspaper in response to a problem involving a lack of student input into school
policies and a growing disrespect between students and teachers.
Thomas Jefferson’s First Inaugural Address
After an intense and divisive campaign between Federalists and Republicans, Thomas Jefferson hoped to begin the reunification of the country with his
“Inaugural Address” in 1801. This address develops the concepts of uniting in common efforts for the common good, allowing the will of the majority to
prevail, protecting the equal rights of the minority, and maintaining tolerance toward differences of opinion. Interspersed questions and prompts first help
students develop their comprehension of the text. The concluding activity asks students to assume the role of a mediator who has been asked to help two
opposing groups develop tolerance toward each other.
The Going Further activity asks students to respond to a question about man’s ability to govern himself raised by Jefferson in his speech.
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Henry David Thoreau’s Walden
Based on an excerpt from Thoreau’s Walden published in 1854, this lesson examines Thoreau’s concepts of living life deliberately by examining the value and
importance of ones daily activities and simplifying where necessary, and maintaining control of ones life rather than letting the system and world’s events be
in control. Interspersed questions and prompts first help students develop their comprehension of the text. Students examine their lives in light of Thoreau’s
beliefs about simplicity and deliberateness. The concluding activity asks students to write a paragraph in response to Thoreau’s question, “Why should we live
with such hurry and waste of life?”
The Going Further activity asks students to write a journal entry based on their experience of living for three weeks in a situation similar to Thoreau’s at
Walden.
Horace Mann’s The Case for Public Schools
This lesson, based on Horace Mann’s final report to the Massachusetts School Board in 1848, looks at the reasons for his belief that education is the “great
equalizer of the conditions of men.” Interspersed questions and prompts first help students develop their comprehension of the text. Students use a reading
levels guide to help determine literal and implied concepts from the text. Students then compare and contrast these concepts with the education they are
receiving. The concluding activity asks students to write about the changes they would like to see in education to help meet the needs of people in the next
century.
The Going Further activity asks students to project themselves into the future and respond as parents to their teenage children who are complaining about
school.
Sojourner Truth’s Address to the Ohio Women’s Rights Convention
Sojourner Truth’s address to the Ohio Women’s Rights Convention in 1851 develops several reasoning points for women’s rights and identifies several
fallacies in arguments against women’s rights. Through Sojourner Truth’s speech, this lesson shows the importance of using reasoning ability and of
examining the premises of common beliefs when arguing against an established belief. Interspersed questions and prompts first help students develop their
comprehension of the text. Students identify Sojourner Truth’s reasoning points and her counterarguments and participate as Sojourner Truth in an interview
designed to establish key concepts. In the concluding activity, students develop their opinion on whether it is important to examine the premises for current
beliefs.
The Going Further activity asks students to show why the premises of a current belief are faulty and then develop an argument against that belief.
Chief Seattle’s 1854 Oration
Based on Chief Seattle’s 1854 speech to U.S. government officials about the government’s offer to buy Indian lands and establish reservations, this lesson
examines the concepts of honorable and respectful behavior despite circumstances, the necessity of peaceful coexistence, the perils of impulsiveness, and the
shared communality among all men. Interspersed questions and prompts first help students develop their comprehension of the text. Students select statements
from the speech that have application for solving current ethnic and racial problems. The concluding activity asks students to explain a message that Chief
Seattle’s speech could deliver to the modern world.
The Going Further activity asks students to assume the role of a high school newspaper reporter and write an article dissuading students from participating in a
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fight for revenge among students of differing racial backgrounds.
David Walker’s Appeal
This lesson, based on David Walker’s 1829 Appeal against the enslavement and deplorable conditions of people of color, considers the issue of hypocrisy and
the inability to often either comprehend or address such personal faults. Interspersed questions and prompts first help students develop their understanding of
the text. Students use the text to consider the long-term results of hypocritical standards. For the concluding activity, students develop a paragraph around a
modern-day example of hypocrisy and explain how humans can learn to reject such hypocritical standards.
The Going Further activity asks students to analyze what goes on inside the human mind to allow humans to treat each other inhumanely and to identify how
people today can guard against acquiring an inhumane attitude toward others.
Frederick Douglass’s Narrative of the Life of Frederick Douglass
Based on Frederick Douglass’ 1845 autobiographical account of learning to read and write, this lesson highlights the value of literacy and the relationship
between literacy and freedom. Interspersed questions and prompts first help students develop their comprehension of the text. Students use the text to learn
about the power that literacy gives. In the concluding activity, students recall and relate the circumstances surrounding their own experiences in learning to
read and examine the value that was placed on their learning.
The Going Further activity asks students to write a persuasive letter to classmates about those who are reluctant readers.
Helen Hunt Jackson’s A Century of Dishonor
Helen Hunt Jackson’s “A Century of Dishonor” (1881) addresses the government’s failure to provide equal rights and equal treatment to native American
Indians. This lesson considers the differences between applying principles of equality and giving lip service to them and examines reasons why people would
fail to apply basic principles of equality and respect to others. Interspersed questions and prompts first help students develop their comprehension of the text.
Students consider how an equal application of basic principles could have changed conditions for the Indians. For the final activity, students write a paragraph
explaining what they think keeps people or governments from applying basic principles of equality to all.
The Going Further activity asks students to create a short-story, dialogue, or journal entry based on an imagined experience of being denied the basic
principles of equality that they have identified as being important in their daily lives.
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COMBINANDO LAS ORACIONES CON AESOP
Spanish Elementary Language Development Bundle,
Grade Levels 3-6
Students read delightful fables by Aesop, decide what the “morals” are, and reconstruct sentences from the fables. They learn to recognize “overstuffed” and “skinny”
sentences and to revise them for “sleekness” by applying the principles of sentence combining.
Learning to write better, more adult sentences is what sentence combining is all about. And writing with a word processor is a natural “fit” with this editing approach to
learning; word processing features allow students to manipulate sentences freely, making all the changes they want to.
Learning Objectives
• Increase each child’s repertory of sentence structures.
• Encourage, through practice, the transfer of these structures to the child’s independent writing.
• Acquire the skills for drawing inferences from literature.
Advice to Teachers
Making up supplementary paper activities for extra practice in sentence combining is very simple. Just choose any paragraph from a text the students share. Break the
sentences from the paragraph down into the very simplest form—simple subject, verb, and direct object or predicate adjective. (See any lesson for an abundance of
examples.) Then ask students to combine these in any way they like, again working in groups. Finally, have students look at the original for self-checking. As in the
lessons, you can ask them to decide which versions they like best! Before long, you’ll have some confident junior editors around.
Handout - Spanish Glossary
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¡A Calentarnos!
Students get their “brains bubbling” by juggling sentence parts to make complete sentences. They complete a recipe for making popcorn, putting the steps in
the right order, and they review sentence “completeness.”
Fábulas
Introduces the fable genre and “sentence sense.” Students add punctuation to mark sentence boundaries and then delete the connecting words. They notice the
difference between a story that uses sentence combining and one that doesn’t.
La Palabra 'Y'
“The Dog in the Manger.” Focus is on the overuse of a combining device. Students delete words from “long, fat sentences” to make the sentences more
readable. Students are introduced to the concept of a moral and paraphrase Aesop’s moral in their own words.
Y Luego
“The Milkmaid and Her Pail.” Focus is on the overuse of “AND THEN” to link sentences. Students “fix up” a scribe’s version of the fable, and take turns
combining sets of two sentences. Unraveling a code leads them to the moral of the story.
Disfraz
“The Wolf in Sheep’s Clothing.” Students infer the moral and then compare it to Aesop’s. Then they combine “skinny sentences.” Comparing their work to
another’s, they decide which they prefer.
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El Porqué
Students focus on the major combining word “BECAUSE” and practice using it in two places in sentences. They are introduced to the class of words we’re
labeling “BECAUSE” words (subordinating conjunctions), so called because they all behave similarly in sentences.
Las Uvas
“The Fox and the Grapes.” Students combine two related sentences to ascertain the moral about “sour grapes,” and in doing so are introduced to “WHEN” as
another “BECAUSE” word. They use it to combine sentences in several different ways.
Si un Huevo
“The Goose that Laid the Golden Eggs.” Students choose which paraphrase of the fable is closest to their version. They rewrite their version using “IF” in two
different ways and then they freely combine, noting which words were deleted along the way.
La Gallina
Using “skinny sentences” adapted from the last fable “The Goose that Laid the Golden Eggs,” students recombine the sentences with additional practice with
“IF” and then “AFTER”—both in the “BECAUSE” word class. Lessons include directed and free sentence combining with “-ING” and “BECAUSE.”
Coma Pero
“The Bundle of Sticks.” Students warm up by fixing up an “un-sentence.” Then they fix up the fable, which has been written down by a scribe who forgot the
periods and capitals. Focus is on the combining device of “, but” “, and” “, or.” Students make their own sentences using this pattern, as well as combine
sentences from the fable. They predict the moral, write it in their own words, and then play Mixer/Fixer.
Niño Quien
“The Boy and the Nuts.” A silly scribe went to a sale on “and so,” and so the fable needs some editing. Students recognize the moral from a list of different
ways to express it. They then paraphrase in their own words. Introduced to “WHO,” “THAT,” and “WHICH” as combining words, students infer the usage
rule and practice combining with these words.
Más de Menos
Students try combining from hints suggested to them in [brackets]. Introduction to the concept of when to leave a sentence short (uncombined with another) is
an important stylistic reality. They judge which ideas are important enough to stand alone in short sentences.
Piedrecitas
“The Crow and the Pitcher.” Students paraphrase Aesop’s moral “Necessity is the mother of invention” by combining a simple paraphrase with “IF.” They do
free combining of sentences from the fable and play Mixer/Fixer again.
-Ando y -Iendo
From sentences in the last fable, “The Crow and the Pitcher,” students make combinations with and without [hints]. They use “-ANDO” or "-IENDO" to
change one sentence and insert it into another, then practice turning verbs into “-ANDO” or "-IENDO" words.
Repaso de Rana
A scribe has made up a funny fairy tale, but he still hasn’t learned much about sentence combining. Students know better! They fix up his “skinny sentences”
in this review of all the combining methods they’ve learned so far. They also get to add to the ending of the story.
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EL DISCO MÍO
Spanish Elementary Language Development Bundle,
Grade Levels 3-6
Writing activities focus on a child’s own feelings, experiences, memories, and values using journal writing, letters, biography, and poetry. Many prewriting strategies help
students find, sort, and select writing topics. The activities are for children to work on independently or in small groups. Writing is more individual and child-specific than
is generally required on disks in this collection.
Language Skills
Writing, editing, revising
Writing Processes
Prewriting, composing, proofreading, sharing, revising, word processing, publishing
Handout
Spanish Glossary
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Para Terminar
Half-finished sentences make up this lesson. Students read and decide what meaning each incomplete statement has for them. They type their own endings,
ones which tell how they think or feel.
Me hace reír cuando < >.
Me asusto cuando < >.
Si pudiera hacer todo lo que quisiera en este momento, yo < >.
Me averguenzo cuando < >.
Siento orgullo cuando < >.
Siento soledad cuando < >.
Poemas de Patrones
Students are taken through a process to describe themselves. Then, they’re ready to write a “Me Poem” that is similar in form to a cinquain. Here is the pattern
they will use:
Línea 1 Tu primer nombre
Tomás
Línea 2 Dos palabras que te describen A TI
Amable, servicial
Línea 3 Dos personajes que TU JUEGAS
Estrella de baloncesto, cantante
Línea 4 Una frase “Me gusta” sobre ti mismo
Le encanta comer galletas de chocolate
Línea 5 Tu apellido
García
Mi Familia
Discovering more about one’s own family is the purpose of this lesson.
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LA PERSONA DE MÁS EDAD EN MI FAMILIA
La persona de más edad en mi familia es < >.
Algo maravilloso sobre él/ella es < >.
Una cosa que le gusta hacer a él/ella es < >.
Algo que me gusta hacer con él/ella es < >.
Una de las cosas más cómicas que él/ella hizo fue < >.
Mi primer recuerdo de él/ella haciendo algo conmigo es < >.
Algo agradable que yo hice por él/ellla es < >.
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Antes...
Students think, talk, and write about “change” through the use of opposites.
Antes yo era lento
Antes yo tocaba cha-cha-cha,
Pero ahora soy rápido.
Pero ahora toco Chopin
Antes yo tenía pelo corto
Antes yo < >.
Pero ahora lo tengo largo.
Pero ahora yo < >.
Sentimientos Que Cambian
A series of activities helps students discover and write about their feelings as they undergo change.
MIS BUENOS SENTIMIENTOS
Me siento < > cuando < >.
MIS MALOS SENTIMIENTOS
Me siento < > cuando < >.
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CAMBIANDO MAL PARA BIEN
Siento soledad cuando no tengo con quien jugar.
Podría ser:
Siento soledad cuando no tengo con quien jugar, y < por eso pongo mis discos y me siento mejor.>.
Cosas Favoritas
A variety of activities in this lesson leads students to think and write about some of their favorite things in different areas of their lives. For example, here is
the pattern students complete on the subject of “Food”:
COMIDA
Mi comida favorita es < >.
Como esta comida < > veces por semana.
Si pudiera,la comería < > veces por semana.
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La primera vez que probé esta comida fue < >.
Una Carta Para Mí
Writing a letter to oneself can tell “all.” Not only that; students are asked to answer their own letters as they would a best friend. After writing the “Letter to
Me,” students look back at their letter and read it carefully. Then they imagine that they are a good friend to themselves. They write a letter answering their
own letter, telling how they feel about the things described in the letter. Do they have similar problems? Can they make any suggestions?
Poema Sobre Mí
A “Me, I Poem” has students write about things they like, hate, have, wish, or get. Models are provided.
A mí… me encanta tomar chocolate calienbte cuando afuera está lloviendo.
A mí… no me gusta cuando mis padres no me permiten salir a jugar.
A mí… me encantan los números que se dividen fácilmente.
A mí… me encanta cuando la salsa del espaguetí está roja y muy espesa.
A mí… me encanta desayunar con helado frío y sabroso.
A mí… no me gusta ver a nadie herido, llorando o sufriendo.
Now students close their eyes and gather some images. They write a “Me, I Poem” following the pattern provided.
A mi… me encanta < >
A mi… no me gusta < >
A mi… < >
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Mis Sueños
Students write about a dream. Titles used as story starters provide a structure. Dreams can be fun, scary, amazing, confusing, or helpful. Many writers keep
dream journals. Dr. Seuss says that many of his characters and ideas for books came from his dreams. Have students write about their dreams in as many of the
following categories as they can:
Mi primer sueño
Mi sueño más miedoso
Mi sueño más feliz
Mi sueño más raro
Mi sueño más bello
Mi sueño imaginario
Me Siento Tan... Como...
How a student feels lends itself to writing similes. And, oftentimes, similes are a satisfying and original way to describe feelings.
Un símile usa “tan” o “cómo” para describir algo. Por ejemplo,
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Me siento tan triste como un pez fuera del agua.
Me siento tan cansado como un corredor después de un maratón.
Me siento tan furioso como una abeja atrapada entre dos ventanas.
From their list of feelings, students choose the ten that are most important to them. Then they write about their feelings using the simile patterns provided
below.
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Mi sentimientos de símiles:
Me siento tan < > como < >.
Me siento tan < > como < >.
Me siento tan < > como < >.
Escoge Tres Cosas
Nothing like a simulated disaster to charge the emotions! Students decide upon their most important possessions. Then, they write not only about what is
important, but why it is important.
Te acaban de decir que tu casa va a ser destruida por un terremoto. Tienes solamente tiempo suficiente para tomar tres de tus cosas más
valiosas. Al sentir la tierra temblar, tomas estas cosas valiosas. Estas son < >, < > y < >.
Piensa sobre las tres cosas que escogiste para salvar. ¿Por qué escogiste estas cosas? ¿Qué es lo que las hace especial? Escribe una
descripción de estos tres objetos. Ponle muchos detalles a tu descripción.
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POESÍA PARA POETAS JÓVENES
Spanish Elementary Language Development Bundle,
Grade Levels 3-6
Through a step-by-step scope and sequence for developing poetry writing skills, students learn and practice basic poetry forms, including the chant, transformation, recipe,
simile, and metaphor. Ideal for individual and cooperative writing activities.
Language Skills Emphasized
Writing, reading, speaking, listening
Writing processes
Poetry writing, prewriting, composing, sharing, publishing
Learner Objectives
Students will:
• participate in prewriting and motivational activities
• participate in self-discovery writings
• share own writing with peers for encouragement and response, and serve as appreciative audience for peers
• use a word processing software program to communicate ideas
Handouts
Student Writing Samples—2 pages (Photocopies may be made of the handout so that each student can illustrate the poem or write their own poem in the space provided.)
Picture (This may be used with any of the lessons for illustrating student poetry.)
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LESSON
LESSON CONTENT
Cantos de Sonidos
Children begin their sound chants with a word which tells the sound of something that happens over and over again. For example, the chant word may be the
sound a dog, cat, or telephone makes. Chant sound lines are provided. The students read these lines and think of a picture or idea that describes the action.
Then they write a second line below the chant line. Here is an example:
Chu, chu, chu
El largo tren pasa por allí.
Chants are both predictable and creative. Perhaps more than any other form or device, chants are ideal for stimulating and challenging the beginning
reader/writer.
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2
LESSON
LESSON CONTENT
Cantos de Comida
Children begin their “eating” chants with a word which describes an eating sound or action. The students read these lines and think of a picture or idea that
describes the action. Here are examples of sound chant lines which are provided in the lesson:
masticar masticar mastica
tragar tragar tragar tragar
tomar tomar tomar
limpiar limpiar limpiar
Then children write a second line below the chant line. For example:
3
Picotea, picotea, picotear
El pollito picotea el grano dorado
Palabras de Acción
Children begin their action chants with a word which describes an action. Chant lines are provided. The students read these lines and think of a picture or idea
that describes the action. Then they add more description to their poem.
4
Río, río, río
Río, río, río
Me río con el payaso
Me río con el payaso que hace malabares con tomates.
Diversión con los Nombres
A name acrostic poem uses a person’s name as the trunk of the poem. Each line is like a branch, and each branch must begin from the trunk. The example
below is based on the name Nancy. Notice that Nancy is describing herself.
N
A
N
C
Y
ancy es una niña que es siempre
legre y
unca se enoja. Le gusta mucho
antar, jugar
our friend
Handout: Student Writing Samples
5
Patrones 1
Students read examples of different pattern poems and are asked to choose the ones they like and to write their own poems. One of the simplest patterns is the
I WISH pattern. Here is an example of an I WISH pattern poem:
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LESSON
LESSON CONTENT
Ojalá que los gusanos supieran a espagueti.
Ojalá que el lodo fuera flan de chocolate.
Ojalá que yo tuviera una máquina de hacer tareas.
Ojalá que mis padres me dejaran acostarme cuando yo quisiera.
Ojalá que mañana fuera sábado y que el lunes fuera vacación de verano.
Students can also choose to write in the TODAY or MAYBE pattern.
Handout: Student Writing Samples
6
Patrones 2
A fun kind of poem is a DREAM poem. Dream poems tell what different things might dream about if they dreamed. Children read examples to get ideas, and
then write their own DREAM poem.
La mostaza sueña sobre perros calientes.
Las flores sueñan sobre nuevos brotes.
Los zorros sueñan que están persiguiendo conejos.
Los conejos sueñan que un zorro los está persiguiendo.
Las computadoras sueñan que están guardando grandes ideas.
Los chistes sueñan sobre la gente riéndose.
Los maestros sueñan sobre estudiantes callados.
Los estudiantes sueñan sobre el recreo.
Other pattern poems in this lesson are LIE, REMEMBER, and HELLO-GOODBYE.
Handout: Student Writing Samples
7
Un Poema de Mí
Children write a ME poem following a structure similar to the cinquain. The activity starts out with the children brainstorming words which describe
themselves, roles they play, and things they love. These words are used in the five-line pattern shown below. Then they write a five-line poem.
Línea 1 nombre
Línea 2 dos palabras que te DESCRIBEN A TI
Tomás,
simpático, amable,
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LESSON
LESSON CONTENT
Línea 3 dos PAPELES A QUE TÚ JUEGAS
Línea 4 una frase ENCANTA sobre ti
Línea 5 tu apellido
estrella de baloncesto, cantante,
le encanta comer galletas de chocolate,
González
Handout: Student Writing Samples
8
Aliteración
Alliteration is a big word with a simple meaning. Poetry using alliteration contains two or more words which begin with the same consonant sound. Here are
some examples of alliterations:
El sábado vi una serpiente salir del salón
Una oruga obra en esta ocasión
Tongue twisters use alliteration to trick tongues. Students read tongue twisters and then write their own. Below are two famous tongue twisters.
rr con rr cigarro; rr con rr carril.
Mira que rápido corre el ferrocarril.
9
10
Símil 1
A simile is a phrase or sentence that tells how two things are alike. A simile always uses the words “like” or “as … as.” Students complete the patterns
provided. For example:
Un pozo es COMO un pequeño lago.
Un pequeño lago es TAN mojado COMO un océano.
Símiles 'Yo Soy'
Three common patterns for writing similes are used in this activity. Here are the patterns:
Yo soy tan _____ como un/a _____.
Yo soy _____ como un/a _____ .
Yo soy como un/a _____ .
Students complete patterns then write their own I AM simile poems.
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LESSON
LESSON CONTENT
De Símiles a Metáforas
To change a simile which uses “like” or “as” into a metaphor, you remove the “like” or “as” words. Then rewrite the sentence so it makes sense and so it states
that you are what you say you are.
SÍMILES
Mis dedos son TAN resbalosos COMO las serpientes.
Mis dedos son resbalosos COMO serpientes.
Mis dedos son COMO serpientes.
METÁFORAS
Mis dedos SON serpientes resbalosas.
SOY una casa con luz en las ventanas.
SOY un río que pasa por las piedras.
Students rewrite the I AM simile poem into an I AM metaphor poem.
Handout: Student Writing Samples
12
Receta para un Poema
Children learn they can write recipe poems about many things and add their ideas to a list which is already started.
Una receta para una fiesta
Una receta para una amistad
Una receta para una enfermedad
Una receta para una guerra
Then students write their own recipe poem modeled after sample poetry in the lesson.
13
Handout: Student Writing Samples
Verbos de Transformación
Children learn that words such as “becomes,” “changes into,” “turns into,” “transforms” are general, or vague. To say “the wood becomes ashes,” does not
give as sharp an image as a specific action word:
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la madera se consume en cenizas
la madera se quema y se vuelve cenizas
Students rewrite transformation poems changing “become(s)” into a more interesting verb. They read sample poems then write their own transformation poem.
14
Handout: Student Writing Samples
Cambios Imaginarios
In this transformation poem lesson, children write about imaginary changes. For the imaginary transformation poems, the poet turns inward.
Las flores florecen en mariposas.
El pensar crece a ser un plato de espagueti.
Calcetines perdidos se convierten en gusanos.
Yo retuerzo un cordón y lo hago una culebra.
La culebra se corta en gusanos.
Los gusanos se fríen en cereal.
El cereal te lo sirven en la
cafetería de la escuela.
Students list imaginary changes from fairy tales and cartoons. Using their own imagination students write a transformation poem. Then they write an
evaluation of their poem.
Page 181
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
ESCRIBIENDO ORACIONES I
Spanish Elementary Writing Skills Bundle,
Grade Levels 3-6
Through computer activities and modeling, students practice creating sentences. These activities provide practice with sentence fragments, compound sentences,
adjectives, adverbs, and simple paragraphs.
Language Skills
• Understanding balanced sentence structure through practice exercises.
• Recognizing sentence fragments.
• The use of adjectives and adverbs to create more interesting sentences.
• The use of one or more sentences to form simple paragraphs.
Handout: Spanish Glossary
#
1
2
LESSON
LESSON CONTENT
Nuestros Favoritos
A variety of activities leads students to think and write about some of their favorite things. Topics covered include color, number, shape, music, food,
entertainment, and people. Sentence starters are provided for students to complete.
Oraciones con Adjetivos
Adjectives are taught using a model. Students start by adding one adjective to a noun in a sentence, then work up to five adjectives. The following model is
provided.
1.
2.
3.
4.
5.
3
4
Mi perro es feo.
Mi perro peludo es feo.
Mi perro gris y peludo es feo.
Mi perro torpe, gris y peludo es feo.
Mi perro grande, torpe, gris y peludo es feo.
Students are encouraged to use adjectives to “color” their sentences.
Oraciones con Adverbios
The following model sentences are provided to demonstrate how adverbs help to describe verbs. Then students add adverbs to verbs in five sentence starters.
1. Alicia me habla calmadamente.
2. Alicia me habla fuertemente.
3. Alicia me habla tristemente.
4. Alicia me habla furiosamente.
5. Alicia me habla dulcemente.
Fragmentos de Oraciones
A list consisting of sentences and sentence fragments is provided, and students are asked to select the complete sentences. Next, students are given fragments
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5
LESSON
LESSON CONTENT
and asked to make complete sentences by adding verbs or subjects.
Buenas - Malas Noticias
Students are provided with model sentences. One sentence is good news, the other is bad news.
BUENAS NOTICIAS: Mordí una manzana rica y jugosa.
MALAS NOTICIAS:
La manzana tenía un gusano dentro de ella.
6
Students are encouraged to follow the models and create five of their own “good news/bad news” sentences. Working with a partner adds excitement to this
activity. One partner creates the “good news” sentence, the other creates the “bad news” sentence. After finishing their sentences, they are asked to go back
and make their sentences more interesting and colorful by adding descriptive words.
Dime Más
Students are asked to explore the three topics below by completing sentence starters.
1) Lo más bello en tu casa.
2) Tu juguete favorito.
3) Algo que compraste con tu propio dinero.
7
Through the completion of more sentence starters, students expand their descriptions. Then they use these ideas to write a short paragraph about the topic.
Again, sentence starters are provided to help the student.
Oraciones Pintorescas
Students learn that a sentence is composed of nouns and verbs, with adjectives and adverbs added to help describe, or “color,” the nouns or verbs. This model
of a simple sentence is shown.
Por ejemplo
NOMBRE
Carros
ADJETIVO
azules
VERBO
corren
ADVERBIO
lentamente.
Students are encouraged to write their own lists of nouns, verbs, adjectives, and adverbs. After composing four sentences from this list using the model as an
example, they choose one they like and add two more sentences to form a simple paragraph.
Students choose from the following word bank.
NOMBRES
ratón
bicicleta
media
niñocómico
BANCO DE PALABRAS
ADJETIVOS
VERBOS
pequeño
habla
verde
gira
sucia
brinca
nada
extrañamente
ADVERBIOS
cariñosamente
locamente
orgullosamente
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LESSON
LESSON CONTENT
papas
espinosas
crujen
ruidosamente
Juegos de Nombres
This activity uses names as motivation for students to practice writing sentences. These are done somewhat like acrostics but in a horizontal format.
Nombre: JO
Oración: Juega oscuro. – o – Juntos obligan
9
Students are asked to write three sentences based on the letters in their names. Encourage them to choose and use one of the sentences as the topic sentence for
a short paragraph.
Párrafos Fáciles
A paragraph is explained and a topic sentence is provided which helps students get started writing simple paragraphs. For example:
Un gorila es un maravilloso mascota por dos razones.
Students simply write two reasons and they have a paragraph. Students write four paragraphs this way. Then, a topic sentence is provided without the main
idea, and students fill in the missing topic.
Si yo tuviera suficiente dinero, compararía < > por dos razones. < >. < >.
Page 184
MIS PRIMERAS ORACIONES
Spanish Elementary Writing Skills Bundle,
Grade Levels 3-6
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
Students experiment with the use of nouns, verbs, adverbs, pronouns, and adjectives; combine sentences; and vary sentence type, length, and style in learning to write
effective sentences.
Language Skills
Writing sentences, use of adjectives, use of adverbs, and the use of question and answer forms
Writing Processes
Prewriting, composing, proofreading, sharing, revising, word processing, publishing
Lessons Designed for Use by Small Groups
Each lesson is written for use by a teacher, cross-age tutor, or parent volunteer typing at the keyboard, assisting a group of children as they compose at the computer.
Where prompts are written for completion by individuals, there are eight prompts provided.
Sentence writing ability will vary with children at this age. Some will have a natural, almost intuitive understanding of what makes a complete sentence. Others will still
be developing this “ear” for what sounds right. Working with your children in small groups will help them learn from one another.
Small Group Work and Reading Skills
Read the directions aloud to the children as you are doing the lesson. Whenever appropriate, have children read their own writing on-screen. As soon as a child has offered
an idea and has watched you type it at the computer, help that child read their writing aloud to the rest of the group.
Use Imagery to Free Writer’s Block
Imagery will help those children who are blocked in their writing. Have children close their eyes and think about the prompt. Then have them describe what they are
imagining to complete the prompt. (Often this will bring on a flood of ideas so you may want to tell the children you will use their first thought only, or you may want to
enter the entire dictation!)
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LESSON
LESSON CONTENT
Oraciones de Cantos 1
Using the simple rhythm and pattern of the chant, children find it easy to write simple sentences using action verbs such as “play” and “run,” and interesting
nouns such as “puppy,” “school,” and “balloons.”
Lesson 1, Lesson 2, and Lesson 3 should be taught as a sequential unit. All three are based on the chant as a rhythmic unit which helps children frame a
complete thought. This complete thought often is stated by the child as a sentence. It is then a matter of reinforcing and modeling the sentence structure as a
result of writing chant poetry.
One caution: The reason a chant works so well for helping children express themselves in writing is the rhythm and spontaneity of the form which seems basic
to young children’s way of thinking. This freeing effect can be stifled by too strong an emphasis on sentence structure. So please don’t worry too much about
the sentence structure as the children offer their chant lines. Rather, enter the children’s ideas as offered. Many of them will be stated as sentences. Others,
which are incomplete sentences, can be rewritten as a later step in the activity with the help of the author and other children in the group. Punctuation and
capitalization can be added during this rewrite step.
2
3
4
It is not necessary that children be able to define what a sentence is at this point. Some children will have developed a sense for what “sounds” like a complete
sentence and this is fine. Other children will learn through the modeling that takes place during these lessons. So please hold the definitions for later!
Oraciones de Cantos 2
Using the simple rhythm and pattern of the chant, children find it easy to write simple sentences using action verbs such as “play” and “run.”
Oraciones de Cantos 3
Using the simple rhythm and pattern of the chant, children find it easy to write simple sentences using interesting nouns such as “puppy,” “school,” and
“balloons.”
Oraciones de Animales
Lesson 4, Lesson 5, and Lesson 6 should be taught as a sequential unit. All three teach the writing of simple sentences.
In this activity lesson, a simple explanation of a sentence is provided and some simple two-word examples—“Dogs run,” etc. Sentence starters consisting of
subjects are then provided and children choose action verbs from a short word bank to complete the sentences. There are several word banks and the subjects
are expanded from just a one-word “animal,” to more general subjects. In later exercises, children are encouraged to write their sentences with no sentence
starters provided.
5
Next, children are introduced to the idea of topics. Instead of a sentence starter, they are given a topic such as “about my mom” to use to write a sentence.
Using verbs from a word bank, the children write five sentences about animals.
Oraciones de Personas
In this activity lesson, a simple explanation of a sentence is provided and some simple two-word examples— “I look,” etc. Sentence starters consisting of
subjects are then provided and children choose action verbs from a short word bank to complete the sentences. There are several word banks and the subjects
are expanded from just a one-word “person,” to more general subjects. In later exercises, children are encouraged to write their sentences with no sentence
starters provided.
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6
7
LESSON
LESSON CONTENT
Next, children are introduced to the idea of topics. Instead of a sentence starter, they are given a topic such as “about my mom” to use to write a sentence.
Using verbs from a word bank, the children write five sentences about persons.
Oraciones de Cosas
In this activity lesson, a simple explanation of a sentence is provided and some simple two-word examples— “Balls roll,” etc. Sentence starters consisting of
subjects are then provided and children choose action verbs from a short word bank to complete the sentences. There are several word banks and the subjects
are expanded from just a one-word “thing” to more general subjects. In later exercises, children are encouraged to write their sentences with no sentence
starters provided.
Next, children are introduced to the idea of topics. Instead of a sentence starter, they are given a topic such as “about my mom” to use to write a sentence.
Using verbs from a word bank, the children write five sentences about things.
Respuestas Por Favor
In this activity, children write sentences in response to questions. The questions revolve around common personal traits and the children are provided sentence
starters. Some examples are:
1.
2.
8
¿Cuál es tu juguete favorito?
Mi juego favorito es < >.
¿Qué es lo mejor que aprendiste hoy?
Lo mejor que aprendí hoy es < >.
In the first part of the activity, children provide only one word to finish the sentence. The second part requires them to use as many words as they can to
complete the sentence.
Palabras Descriptivas 1
Children brainstorm describing words (adjectives) to use in their sentences. Then they are given some simple sentences and asked to add describing words.
Por ejemplo:
Las pequeñas pelotas rojas ruedan.
The next exercise provides students with a chance to write their own sentences using describing words and to make the sentences as long as possible.
9
Por ejemplo:
El elefante alto, gris, gordo y suelto gruñó.
Palabras Descriptivas 2
This exercise is much like Lesson 8, but addresses use of action describing words (adverbs). Sentence starters are provided.
Los osos corren <rápidamente>.
La lechuzas gritan < >.
Los conejos saltan < >.
El tigre ruge < >.
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LESSON
LESSON CONTENT
Children go on from here to create their own sentences with no sentence starters provided. Children are also asked to use brainstorming to come up with their
own list of adverbs. Proofreading is also required once children complete their sentences.
Oraciones Opuestas
This activity models sentences for children and asks them to write their own sentence with opposite meaning.
Prewriting step has children identify words with opposite meanings. Then they write sentences using the word list of opposites they have generated.
Page 188
MEDIAWEAVER CURRICULUM
A+LS™ Software Edition
DE ORACIONES A PÁRRAFOS I
Spanish Elementary Writing Skills Bundle,
Grade Levels 3-6
Lessons on De oraciones a párrafos: Nivel I give practice in writing paragraphs which include the use of our senses, things we hate/love, sticking to the topic, and many
more. Modeling and paragraph starters are used to help students. Lessons are arranged so students begin working with main ideas; however, lessons may be used in any
order for reinforcement of skills already taught.
Handout: Spanish Glossary
#
1
LESSON
LESSON CONTENT
A Párrafo Sencillo
A sentence starter is provided, but the actual topic is left up to the student to choose. Examples are:
1.
2.
3.
4.
Hay dos cosas que me gusta hacer los sábados. < >
Hay dos razones por la cual un gorila puede ser una mascota maravillosa. < >
Hay dos formas como puedes mantener tu habitación limpia. < >
Me gustaría hacer dos cambios en la escuela. < >
Another example to help students get started is the following:
Si yo tuviera suficiente dinero, compraría < > por dos razones. < >
2
3
4
5
Students are given help, yet they have plenty of latitude in their specific topic choices.
Párrafo Alfabeto
Students choose a topic then use the letters of the alphabet to help them come up with things to say about that subject. The first subject, television, is provided
but students choose their own for the remainder of their paragraphs. Once they have listed ideas next to the letters of the alphabet, they take the best of those
ideas to make a paragraph. They must produce a topic sentence, then at least three supporting detail sentences and a summary sentence.
Los Sentidos
This activity asks students to use their senses to describe an event or a place. They are asked to consider all five senses as they write ideas about a cave, a
dentist’s office, a friend’s birthday party, their first day at school, the school cafeteria, and a day at the beach. After exploring these topics, students develop a
four sentence paragraph about the topic they like best.
Lo Odio... Me Encanta...
This activity concerns likes and dislikes using the sayings “Don’t you just hate…” and “Don’t you just love….” Students are asked to create a list of likes and
dislikes using this method. They then choose their best and include it with at least three other sentences to make a paragraph.
La Idea Principal
Paragraphs, with the topic sentences in brackets for identification purposes, are provided. Students are asked to delete any sentences that are not related to the
topic. An example:
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[Mi tío Nicolás vive en una granja.] Él cultiva maíz y frijoles como cosechas de venta. Yo caminé por un campo de maíz una vez. Él
también cría cerdos, ganado y ovejas. Trabaja muchas horas cuidando su cosecha y sus animales. Yo trabajé mucho en la escuela hoy.
6
After completing a number of these paragraphs, students are asked to add sentences that don’t relate to a topic and then to challenge a friend or classmate to
remove the extraneous sentences.
Oraciones de Resumen
This activity helps students understand that paragraphs are made up of related sentences based on a topic. They are provided with two sentences and are asked
to complete the paragraph by adding a summary sentence. An example:
7
Pedro se sonrió al mirar el programa de televisión. Miraba su programa cómico favorito. < >
Mezcla de Oraciones
Students are presented with out-of-order sentences that need to be rearranged to make a sensible paragraph. The steps involved are:
8
1. Encuentra la oración del tema para comenzar tu párrafo.
2. Luego busca las palabras claves que pueden unir ciertas oraciones. Ponle orden a los detalles de apoyo después de la oración de tema.
3. De último, pon la oración de resumen al final del párrafo.
Agregar Detalles
A paragraph consisting of a topic sentence, a detail sentence, and a summary sentence is provided as a starter. Students must add at least two more detail
sentences to the paragraph. Some examples of paragraph starters are:
Me encantaría tener un gorila como mascota. Tienen una gran personalidad. < > Sería la mejor mascota que pudiera tener uno.
Fue el sueño que más me asustó. Fue tan vivo. < > Espero nunca tener otro sueño como ese.
9
When they have completed this activity, students are asked to write a five sentence paragraph with topic sentence, three detail sentences, and a summary
sentence.
El Orden de Tiempo
Students are provided with a word bank of linking words that help a paragraph flow. They are asked to put these linking words in their proper place in the
model paragraph provided. An example:
después
en seguida
WORD BANK
de último
antes
finalmente
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hasta
10
primero
luego
segundo
tercero
Mientras reposaba en mi saco de dormir, el sol se ponía detrás de una colina distante. El cielo se había oscurecido. Las estrellas habían
salido y brillaban con resplandor. La luna salía en el este. Qué noche tan tranquila.
Nombres de los Pueblos
This activity sparks the interest and motivation of students by providing informative paragraphs about how certain towns arrived at their rather unusual names.
The problem is words are missing in the paragraph and students must use context clues to provide the missing words. An example:
PARQUE DEL ÁGUILA SOLO, COLORADO
Charles Lindgergh se < > por ser el < > en hacer un vuelo solo sin escala a través del Océano Atlántico. El mundo lo consideró un < >.
Un pequeño pueblo en Colorado quiso < > al ponerle su nombre a una montaña. Sin embargo la Junta de Nombres Geográficos de los
Estados Unidos no permite que ninguna montaña, río, u otro rasgo geográfico sea nombrado por personas aún vivas. Fue por eso que el
pueblo decidió usar el apodo < > de Lindbergh.
11
Once students have completed this activity they are provided with strange names of other towns and asked to make up their own stories of how these towns
acquired their names.
Separa las Oraciones
Paragraphs are provided with ending punctuation and beginning capital letters missing. Students must insert appropriate punctuation marks and capitalize the
first word of the sentences. Some hints are provided to help students pay attention to such things as exclamation points. An example of a paragraph:
SEPARA LAS TRES ORACIONES: Usa puntos y letras mayúsculas entre las oraciones.
Toña Suarez es estudiante de quinto grado es muy viva y ocupada tiene pelo rizo, y los frenillos en sus dientes brillan en el sol cuando se sonríe
ella quisiera ser abogado algún día
12
Once they have completed the paragraphs, they are asked to make up their own paragraph, take out the punctuation, and ask a classmate to correct the
paragraph.
Títulos de los Temas
For this final activity, students are given the titles for paragraphs but no paragraphs. They are asked to create paragraphs based on these titles. The following
titles are provided:
EL SUEÑO, EL PEOR PLEITO DEL MUNDO, LA MASCOTA QUE QUISIERA TENER, MI PROGRAMA DE TELEVISIÓN FAVORITO, ¡BUM!
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CLASS
DATE:
STUDENT:
PAGE:
SUBJECT
LESSON #
LESSON TITLE
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LESSON CONTENT
TEACHER’S LESSON PLANNER, continued
CLASS
DATE:
STUDENT:
PAGE:
SUBJECT
LESSON #
LESSON TITLE
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LESSON CONTENT
TEACHER’S LESSON PLANNER, continued
CLASS
DATE:
STUDENT:
PAGE:
SUBJECT
LESSON #
LESSON TITLE
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